Centum by Leonard Joel

CENTUM i

AUCTION CATALOGUE VOLUME 13 ISSUE 5 Front Cover 33 TIM STORRIER (born 1949) Afternoon Haze 2004 synthetic polymer paint on linen 91.5 x 152cm $80,000-120,000 Inside Cover 31 JOHN KELLY (born 1965) Light 2006 oil on canvas 114.5 x 146.5cm $35,000-45,000 © John Kelly/Copyright Agency, 2020 Inside Back Cover 36 JAN SENBERGS (born 1939) Landing at Exotica 1991 (detail) oil on canvas 152 x 183cm $16,000-20,000 © Jan Senbergs/Copyright Agency, 2020

leonardjoel.com.au ii

59 (detail) 2

CENTUM CONTACT

Olivia Fuller | Head of Art

Lucy Foster | Art Specialist

Cameron Menzies | Guest Advisor

03 8825 5624

03 8825 5609

0466 636 142

olivia.fuller@leonardjoel.com.au

lucy.foster@leonardjoel.com.au

guestadvisor@leonardjoel.com.au

leonardjoel.com.au 3 27 opposite (detail)

INTRODUCTION – Overseeing the Leonard Joel art department is full of fast-paced excitement and a plethora of art that would make many envious! Having the opportunity to thoughtfully curate an auction of contemporary art is one I relish. Along with the devoted members of the Leonard Joel Art Department and our wonderful Guest Advisor, Cameron Menzies, I am excited to present our inaugural Centum offering. The concept of Centum unfolded naturally, beginning with the idea of shaping the sale within 100 lots by 100 important living Australian artists - a number that has resonated with us here at Leonard Joel after our recent Centenary year in 2019. Such a list of artists and artworks is difficult to produce as there is a wealth of notable names worthy of featuring. It has been with the enthusiasm and support of a network of private and industry individuals that this auction was able to come together and produce a catalogue that will remain a personal favourite. At Leonard Joel we are committed to harnessing the new collector and with that comes a commitment to inviting our ever-expanding network of buyers and sellers to connect with this auction concept. Now, more than ever, there are a multitude of ways to engage with Centum, from browsing our print and online catalogues, participating in one of our virtual viewing options, or perhaps taking advantage of a Video Call consultation and virtual tour with one of our specialists. With numerous options at your disposal, I invite you to immerse yourself in Centum and I look forward to welcoming you, in whatever fashion, to our exhibition and auction.

OLIVIA FULLER, HEAD OF ART

It has been an honour, and an adventure, to assist the dedicated Art Department at Leonard Joel with Centum, this unique auction of Contemporary Australian Art. Just to be clear, Centum is a numerical reference to the quantum of individual works in the catalogue (100). It is not a ‘best of’ list; nor have we sought to rank Australia’s wonderful roster of living visual artists as one might arbitrarily order their top AFL players, racehorses, restaurants or Pop songs! Still, some measure of individual taste, commercial viability and of course the forces of supply and demand dictated the make-up of this offering. The Art Department at Leonard Joel works tirelessly to represent their consignors for about forty-nine weeks each year, often with limited control over the type of art they choose to handle. So it was refreshing to call upon art collectors, institutions, artists, galleries, consultants, sections of the trade, and even family members for consignments by a cross section of artists, genres and media which would honour the Centum concept. In order that a secondary market for their work exists, an artist must of course have a primary market. I take this opportunity to acknowledge the gallerists and dealers who have fostered the careers of the artists appearing in this catalogue, long before they became propositions for auction. Furthermore, I sincerely thank those artists and galleries who have supported the Centum initiative, thereby embracing the obviously symbiotic relationship which exists between the primary and secondary art markets. In closing, it would be customary for me to wax lyrical about the quality of this offering and highlight a few key lots. But I believe this catalogue speaks for itself and in this spirit of true artistic democracy I will let the pages do all of the talking.

CAMERON MENZIES, GUEST ADVISOR

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ARTIST INDEX â&#x20AC;&#x201C; A

ADAIR, TOM AMOR, RICK ARKLEY, HOWARD ARMSTRONG, BRUCE

73 24 34 26

HEARMAN, LOUISE HICKEY, DALE HUANG, GRACE

BARTLETT, GEOFFREY BARTON, DEL KATHRYN BELL, RICHARD

25 19 15

BENJAMIN, JASON BENNETT, ANTHONY BOOTH, PETER BOSTON, PAUL BRENNAN, ANGELA BRETTLE, MERRIC BROMLEY, DAVID BROWNE, ANDREW BUSH, STEPHEN

5 89 83 47 45 1 23 49 9

K KEELING, DAVID KELLY, JOHN KLARFELD, LINDA KNIGHT, JASPER KOVACS, ILDIKO KOZIC, MARIA

7 31 59 86 65 34

L LAITY, DAVID LEACH, SAM

56 44

Q QUILTY, BEN

SANSOM, GARETH SCIBERRAS, LUKE SENBERGS, JAN SENSE, NIGEL SETON, ALEXANDER SHARPE, WENDY SHEAD, GARRY SIWES, DARREN SMETS, PETER STARKEY, LAWRENCE STEWART, ESTHER STORRIER, TIM

NAPANGARDI, LILY KELLY 99 NICHOLLS, MIKE 94 NORRIE, SUSAN 17 NUNGURRAYI, GABRIELLA POSSUM 97 NUNGURRAYI, MICHELLE POSSUM 100 NYADBI, LENA 63

WARDLE, DARREN WATSON, JENNY WEI, GUAN WEIR, BARBARA WELLS, JODIE WHALEN, MARK WHISSON, KEN

EDWARDS, MCLEAN EMERY, TROY EVERTON, SAMANTHA

57 74 41

F FERRIS, JEFFREY FIRTH-SMITH, JOHN FRANK, DALE FRANSELLA, GRAHAM

78 51 29 50

82 58

H HARPER, MELINDA

OLSEN, JOHN

PAAUWE, DEBORAH PERCEVAL, CELIA PICCININI, PATRICIA PIPERIDES, PHILLIP PWERLE, CHARMAINE PWERLE, EMILY

42 20 80 22 98 96

46 92 36 88 60 76 30 39 4 79 72 33

T TILLERS, IMANTS TJAPALTJARRI, WARLIMPIRRNGA TJUNGURRAYI, GEORGE HAIRBRUSH TUCKER, KATE TYNDALL, PETER

35 61 62 70 81

8 18 16 95 75 12 10

Z ZAVROS, MICHAEL

G GOWER, ELIZABETH GRAHAM, PETER

64 13 84 11 90 69

DAVILA, JUAN 34 DAWS, LAURENCE 52 DOONEY, HAZEL 37 DUMBRELL, LESLEY 66

21 87 43 55

54 93 48 77 2 6 14 91 71 38 40

RAMSEY, RAMMEY RENNIE, REKO RICE, LESLIE ROBINSON, WILLIAM RYAN, PAUL RYDER, GILES

MACLEOD, EUAN MAESTRI, GUY MAUDSLEY, HELEN MAUROVIC, RICHARD MCKENNA, NOEL MCVINISH, CHRISTOPHER MELLOR, DANIE MILLER, LEWIS MILNE, DAVID MOFFAT, TRACEY MORTON, CALLUM

CANNING, CRISS CHEN, ZHONG CORNISH, LUKE CULLITON, LUCY

J JOHNSON, MATTHEW

53 27 85

34 ÂŠ Licensed by Kalli Rolfe Contemporary Art 7

1 MERRIC BRETTLE (born 1967) Phosphene 2 2019 automotive paint on MDF 92 x 73cm EXHIBITIONS: Hypnagogic Blink, Blockprojects, Melbourne, 23 June – 17 August 2019 “Behind these marks you will find me and behind these patterns you will find the way that I see the world.” With Blockprojects Gallery, Melbourne $3,000-4,000

2 NOEL MCKENNA (born 1956) A Fine Bespeckled Gentleman (Google Series Men Smoking Pipes) 2009 oil on plywood signed, titled and dated verso: A fine bespeckled gentleman/ Google Series / Men Smoking Pipes / N. McKENNA 09 38.5 x 39cm EXHIBITIONS: Noel McKenna, Heiser Gallery, Brisbane, 9 March â&#x20AC;&#x201C; 3 April 2010 (label verso) $4,000-6,000

3 BEN QUILTY (born 1973) Self Portrait (Paris Riot) 2014 oil on canvas signed, titled and dated verso: Self Portrait Study from Paris (Riot) Ben Quilty / 2014 60 x 50cm EXHIBITIONS: 2018 Blue Chip XX: The Collectors Exhibition, Niagara Galleries, Melbourne, 6 March â&#x20AC;&#x201C; 7 April 2018, cat no. 32 (label verso) $10,000-15,000

4 PETER SMETS (born 1962) Site Offices #2 oil on canvas signed lower right: Peter Smets 45 x 65cm EXHIBITIONS: Men At Work: Peter Smets, Anthea Polson Art, Queensland, March 25 - April 8 2017 (label verso) $4,000-6,000

5 JASON BENJAMIN (born 1971) I Looked At The Past And It Just Scarred My Eyes 2019 oil on linen signed, dated, and titled verso 120 x 120cm $12,000-16,000

6 CHRISTOPHER MCVINISH (born 1952) Beacon Tower 2002 oil on canvas signed and dated lower right: ‘McVINISH ‘02’ 125 x 75cm Beacon Tower is an iconic landmark situated at the the top of ‘The Hill’ - an historic residential suburb of Newcastle, New South Wales. The two towers were used in the navigation of ships. The alignment of the two towers - one at the top of the Hill (in the painting) the other at the bottom (no longer existing) - directed light to create a near perfect navigational aid for ships. Christopher McVinish is represented by Gallery One, Southport, Queensland $2,500-3,500

7 DAVID KEELING (born 1951) Mobile Man 2003 oil on linen signed, dated, and titled verso: D.Keeling/ 2003/ ‘Mobile Man’ 62 x 51cm EXHIBITIONS: Second Love Song, Niagara Galleries, Melbourne, 28 October - 22 November 2003, cat. no. 9 Three Sixty Degrees: The Landscapes of David Keeling, Deakin University Art Gallery, Melbourne, 24 February - 27 March 2010 $4,000-6,000

8 DARREN WARDLE (born 1969) Anaheim 2001 oil on canvas signed, dated, and titled verso: Darren Wardle / 2001 / ‘ANAHEIM’ 137 x 198cm EXHIBITIONS: Urbane Profane, Nellie Castan Gallery, Melbourne 2001 $6,000-8,000

9 STEPHEN BUSH (born 1958) Lily of the Valley 2008 oil and enamel on linen signed, dated, and titled on stretcher bar verso: Stephen Bush â&#x20AC;&#x2DC;Lily of the Valleyâ&#x20AC;&#x2122; 2008 101.5 x 94.5cm With Sutton Gallery, Melbourne (label verso) $9,000-12,000

10 KEN WHISSON (born 1927) A Range of Untypical Types 2011 indian ink on paper 50 x 70cm EXHIBITIONS: Ken Whisson: As If, Niagara Galleries, Melbourne, 2012, cat. no. 7 (label verso) $2,000-3,000

11 WILLIAM ROBINSON (born 1936) The Farm pencil on paper signed lower centre: William Robinson 56 x 76cm RELATED WORK: (Farmyard Scene) c.1982, oil on canvas, 98.2 x 106.2cm, The Collection of the Art Gallery of New South Wales, Sydney With Anthea Polson Art, Queensland (label verso) $7,000-10,000

12 MARK WHALEN (born 1982) Taking Notes 2015 synthetic polymer paint, ink, gouache and resin on panel 51 x 41cm EXHIBITIONS: Improper Fraction: Mark Whalen, Chalk Horse, Sydney, 7th May - 6th June 2015 $1,600-2,400

ÂŠ Reko Rennie

13 REKO RENNIE (Kamilaroi/Gamilaraay/ Gummaroi people, born 1974) Message Stick 2011 hand pressed metallic textile foil, screenprint and synthetic polymer paint on Begian linen 140 x 140cm RELATED WORK: Message Stick (Green), 2011, hand-pressed metallic textile foil, screenprint and synthetic polymer paint on Begian linen, 150 x 150cm, Collection of the National Gallery of Australia, Canberra $8,000-10,000

14 DANIE MELLOR (born 1971) Moving in Moving Out 2004 glazed slip cast earthenware edition of 3 signed, dated, titled and numbered verso 77.5 x 41.5cm RELATED WORK: Moving On, Moving Out 2007, slip cast earthenware, Collection of the National Gallery of Australia, NGA 2015.1139 $2,500-3,500

15 © The Artist

RICHARD BELL (born 1953) Untitled (I am not a racist I just don’t like abboze, juze, woggz, niggaz, slow pedze, and rag headz) 2003 mixed media on canvas signed and dated verso: ‘Richard Bell/ 2003’ 120 x 90cm With Milani Gallery, Brisbane $8,000-12,000

16 GUAN WEI (born 1957) Day After Tomorrow No. 3 2007 synthetic polymer paint on canvas diptych signed with initials and dated lower right: G. W. 07 titled, dated and signed verso: ‘Day After Tomorrow’ No 3.B / Guan Wei 2009 130 x 106cm EXHIBITIONS: Day After Tomorrow: Guan Wei, Red Gate Gallery, Beijing, 2011 $9,000-12,000

17 SUSAN NORRIE (born 1953) Destination Moon (Somewhere) 2008 oil and screen print on canvas signed, titled, and dated verso: Susan Norrie/ Destination Moon/ 2008/ Somewhere 132 x 141cm Susan Norrie’s practice begins with painting and photography and extends to filmmaking and multimedia installations. Over her artistic career to date, she has developed an art practice that acts as a tool for political commentary. The Asia-Pacific has often been her focus, incorporating the environmental and humanitarian disasters that have impacted on the region. “I feel that artists are often a barometer of events in the world: they can synthesize socio-political and environmental concerns with powerful visual encapsulations. Blurring the boundaries of fiction and fact, artists can deal with the overload of media information and misinformation with a certain clarity and poetic detachment”. (Susan Norrie 2007)

Since 2004, Norrie has been working with the Japanese Aerospace Exploration Agency (JAXA), exploring the many forewarnings and elemental forces of nature that seem to be demanding a more considered human behaviour. ‘’I believe that the Japanese developed their space program in relation to the Earth as they have such a deep connection with nature,’’ she says. ‘’I also feel that another aspect of the program is looking into alternative and renewable energies, for example capturing solar energy from space.’’ In Destination Moon 2008, Norrie adheres to a monochromatic palette. Dark and black are words frequently used to describe her work and this is not without intention. “When I use black, there is a reason for it” says Norrie. Perhaps here it is a symbol of our uncertain environmental future, an issue that Norrie has addressed repeatedly over her extensive career. OLIVIA FULLER, HEAD OF ART $10,000-15,000

18 JENNY WATSON (born 1951) (Ballerina) 2004 oil on fabric signed with initials and dated lower right: JW ‘04 124 x 90.5cm $5,000-7,000

19 DEL KATHRYN BARTON (born 1972) Boy Becoming Man 2006 watercolour, pen, and fabric on paper titled, signed and dated upper left: - boy becoming man del kathryn barton 2006 79.5 x 60.5cm EXHIBITIONS: Please. Don’t Stop., Kaliman Gallery, Sydney, 6 October 28 October 2006 $8,000-12,000

ÂŠ Celia Perceval/Copyright Agency, 2020

20 CELIA PERCEVAL (born 1949) Poppies and Olive Trees by the Old Iglesia, Spain 2014 oil on canvas signed lower right: Celia Perceval titled verso 71 x 90.5cm With Bridget McDonnell Gallery, Melbourne (label verso) $8,000-12,000

ÂŠ Criss Canning/Copyright Agency, 2020

21 CRISS CANNING (born 1947) Proteas in Vases 1992 oil on linen signed lower left: Criss Canning title and date on label verso 49 x 44cm $10,000-15,000

22 PHILLIP PIPERIDES (born 1956) Resting Dancer bronze edition of 11 signed and editioned at base: PIPERIDES 3/8 58 x 33 x 58cm EXHIBITIONS: Phillip Piperides: The Nude, Anthea Polson Art, Queensland, February 24 - March 10 2018 The Shape of Things: Blackman, Bowen, Cay, Gray, Halpern, Klarfeld, Piperides, Redford, Sheffer, Watson, West, Anthea Polson Art, October 19 October 30 2019 $12,000-16,000

23 DAVID BROMLEY (born 1960) Anna cast bronze signed and inscribed: BROMLEY a/p 100 x 65 x 45cm $18,000-22,000

RICK AMOR (born 1948) Man in Landscape 1995 unique bronze (3) i) 23 x 7.5 x 6cm; ii) 15.8 x 5.9 x 5.9cm; iii) 17 x 6.3 x 6.3cm RELATED EXHIBITION: Rick Amor: Sculpture and Drawings, Liverpool Street Gallery, Sydney, 23 June-19 July 2007 RELATED WORK: Maquette for Man in a Landscape, bronze, The Elliot Eyes Collection, Sydney With Niagara Galleries, Melbourne $6,000-9,000

25 GEOFFREY BARTLETT (born 1952) Study No. 6 2009 stainless steel, bronze, and wood base edition of 2 artist’s name, title and date inscribed verso: Geoffrey Bartlett / 2009 / Study for Large Work / Study 6 1/2 65cm (height) $7,000-9,000

26 BRUCE ARMSTRONG (born 1957) Owl 2016-20 painted bronze on cypress plinth edition of 7 signed, dated, and numbered to base of owl 190cm height (including base) RELATED WORKS: Owl 2011, cast composite, steel, hardwood, paint, commissioned for artsACT for Corner Belconnen & Benjamin Way Eagle (Bunjil) 2002, Red Gum, aluminium, steel, fibreglass, Collection of the Victorian State Government (Places Victoria) $18,000-24,000

27 DALE HICKEY (born 1937) Studio Stuff 2008 oil on canvas signed lower right: Dale Hickey 183 x 183cm $20,000-30,000

Dale Hickey remains one of the last surviving Australian abstractionists and conceptualists from a generation of artists who so defiantly reshaped art in Australia. This generation of artists were leading names in the iconic Field exhibition – a collection of colour field paintings that became a landmark within Australian art history. Hickey, along with 40 other artists, explored hard edge colour and flat geometric abstraction influenced by some of America’s greatest painters of the time. The exhibition opened to much divisive opinion which helped to launch the careers of these artists, specifically Hickey. Following the exhibition, Hickey experimented with different artistic styles drawing inspiration from Leger, Mondrian, and Motherwell, eventually settling on strippeddown portrayals of his own studio where easels, windows, and studio supplies create patterns of overlapping shapes. “These paintings might be seen as both abstract and figurative. They are ‘art about art’, but also meditations on the solitary life of the painter, on the search for inspiration that haunts all artists” (John McDonald) Studio Stuff 2008 is an exceptional example of Hickey’s ability to portray the seemingly mundane with calm complexity worthy of high abstraction. The placement of the easel as though at the altar, flanked by gridded windows and graced by a featureless cup and rolled up tube of paint – solitary symbols of functionality. Hickey plays with perspective – objects appear as though they should topple or roll yet they remain static. He uses trompe l’oeil to create the illusion of both depth and volume with a smooth graphic surface that invites considered contemplation. OLIVIA FULLER, HEAD OF ART

Â© Dale Hickey/Copyright Agency, 2020

28 ยง MICHAEL ZAVROS (born 1974) Red/Blue 2001 oil on canvas signed with initials and dated lower right: MZ 01 100.5 x 100cm With Anthea Polson Art, Queensland (label verso) $20,000-25,000

The artistic process of Michael Zavros is immaculate. His paintings are carefully and meticulously rendered that they are left with no evidence of a brush. Originally taking inspiration from the pages of GQ magazine and other advertising material, Zavros continues to explore notions of decadence and desire. In Red/Blue 2001 he portrays two males in slick and luxurious suits, perfectly balanced their poses reminiscent of a high-end photoshoot. OLIVIA FULLER, HEAD OF ART

29 DALE FRANK (born 1959)

When standing before a work by Dale Frank you may find yourself entranced by its inherent dynamism and majestic qualities. Pools of resin combine to ignite all the senses stimulating sight, touch, and smell amongst the lingering

Tom Welling 2007 synthetic polymer paint and varnish on canvas signed and dated verso: Dale Frank / 2007 200 x 200cm

aroma of varnish. Aside from their material wonder,

RELATED EXHIBITION: Dale Frank: The Big Black Bubble, Anna Schwartz Gallery, Melbourne, 12 March– 11 April 2009

At close distance this is revealed to us in ebbs and flows,

$28,000-35,000

layers blend and create topographical-like circles that are

they also reveal a trace of the artist himself in the act of creation.

as it has been dripped and poured across the surface. The more apparent the longer you spend with the work. Frank’s monochrome paintings of the 1990s and 2000s have specific male titles of which the artist notes, “[they] were always titled after sexy or cool male actors, usually with connections to films I liked, sometimes actors falling into old age, sometimes actors falling into disgrace, sometimes actors whose star has risen and fallen, actors in the Good looking Top 50 List, actors sometimes known only to a select fan base”. Whilst Frank is never opposed to contrasting colours, here in Tom Welling he transfixes us with oozing black. Much like Rothko’s black paintings, the paintings are not just black. They reflect and absorb other colours from their surroundings - they alternate between slick gloss, matte and even metallic reminiscent of an oil spill. They absorb the viewer themselves making them a part of the work. OLIVIA FULLER, HEAD OF ART

Â© Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

30 GARRY SHEAD (born 1942) The Bucolic Dance oil on board signed lower right: Garry Shead titled on gallery label verso 40 x 40cm EXHIBITIONS: Celebrating 40 Years, Christopher Day Gallery, Sydney, 23 November 2019 - 31 January 2020 $26,000-30,000

Garry Shead has established a considerable reputation as one of Australia’s most prominent figurative artists. Shead’s career rose to considerable heights following a period when modern art, particularly that in Sydney, favoured abstraction. During such a time, Shead instead focused on the figurative - in many ways a rebellious act against the establishment. His works are today considered whimsical, with a narrative and uniquely lyrical undertone. As a young man, Shead discovered the work of D. H. Lawrence yet did not explore his writings within his own oeuvre until later in life. When Shead began painting this series in the early 1990s, he was living in Bundeena near where Lawrence had lived with his wife Frieda in 1922 whilst he penned the book Kangaroo. In this series, Shead explores many characters, often mirroring Lawrence and his wife Freida with himself and his wife Judith. Of the D.H. Lawrence paintings, art historian Sasha Grishin noted: ‘Shead’s [paintings] are a personal, intuitive response to the novel, rather than an attempt to illustrate the narrative. The imagery has much to do with the Lawrences at Thirroul, as with the characters in the novel. Richard Somers and his wife Harriet, of the novel, in the paintings appear as strange and ambiguous figures, at times taking on the features of Lawrence and Frieda, at others, having more than a passing resemblance to Shead and his wife Judith.’ Shead faithfully depicts the strange beauty of the native landscape, a character in its own right. Shead thoughtfully depicts the town and buildings of Thirroul as they are in Lawrence’s writings. The artist has carefully upheld the spirit of the novel whilst creating his own unique visual language. Shead commonly uses the character of the kangaroo as a symbol of the Australian landscape - he belongs to the country, and Lawrence throughout the novel refers to the ‘continent of the kangaroo’. Shead’s D.H Lawrence paintings are in numerous institutional collections across Australia and continue to be amongst Shead’s most highly sought after paintings on the secondary market. OLIVIA FULLER, HEAD OF ART

Â© Garry Shead/Copyright Agency, 2020

31 JOHN KELLY (born 1965)

John Kelly’s radiant and characteristically irreverent canvas Light, of 2006, belongs to this celebrated artist’s Sun of Moonboy series of work.

Light 2006 oil on canvas 114.5 x 146.5cm

Constructed with Kelly’s trademark sense of wit, irony

EXHIBITIONS: John Kelly: Son of Moonboy, Niagara Galleries, Melbourne, 31 October - 25 November 2006, cat. no.1

Moonboy, whilst perpetuating his long-standing protest

Inaugural Collector’s Exhibition, Menzies, Sydney, Melbourne,15 February - 16 March, 2018, cat no. 15

body’s circular logo into his compositions.

LITERATURE: Kelly, J., John Kelly: Sun of Moonboy, Niagara Galleries, Melbourne, 2006 (illus.)

Like Nolan, an Australian artist of Irish descent, John Kelly

$35,000-45,000

and at times, absurdity, Light simultaneously pays homage to Sidney Nolan’s (1917-1992) polarising 1940 picture, against the Australia Council and its art funding policies through the clever appropriation and integration of that

is both a significant figure in the global contemporary art landscape, and a keen observer of same. Thus, one is able also to draw parallels between the work and influence of the late Neo-expressionist painter Philip Guston (19131980, Canadian), and the present major Kelly painting Light, with the appearance of a haphazard and nonsensical inanimate object dominating the picture plane. John Kelly’s Light has remained in the same private collection since its original purchase in 2006, and though exhibited at Niagara Galleries (2006) and Menzies Art Brands (2018), it makes its maiden auction appearance in

Black Eyed Alien 2006 Menzies, Melbourne, 10 August 2017 SOLD for $50,000 (including buyer’s premium)

Centum. CAMERON MENZIES, GUEST ADVISOR

Â© John Kelly/Copyright Agency, 2020

32 JOHN OLSEN (born 1928) Torres Strait 2006 watercolour and pastel on paper signed, titled and dated lower left: “Torres Strait” John Olsen 06 108 x 118cm $50,000-70,000

John Olsen has travelled extensively throughout Australia, exploring regions few have had the opportunity to experience themselves. Through Olsen’s artworks he takes us on a journey through these beautiful surroundings, whether it be a vast dry plain or a majestic ocean. He redefined how the Australian landscape was depicted by shifting to aerial perspective. As the artist himself notes: “The only way to see the landscape is from the air, look at the patterns on the earth, they are like a beautiful skin... it’s incomprehensible to most people, but for me it’s just as essential to observe the geological lay of the land from an aerial perspective as it is to crawl into the microscopic depths of a pond. The obsessive lyrical interpretations are just the same.” (John Olsen) Through aerial perspective, Olsen reveals the dynamism of the ocean. In Torres Strait, a deep blue tunnel bursts through the centre, intersecting with topographical-like lines dancing across the paper in perfect free-form. The soft bleed of the watercolour with the more defined shapes and lines of the pastel create a sense of movement and inspire further images of underwater life. For John Olsen, the landscape has always been more than a purely external phenomenon and he approaches his landscape paintings with a poetic sensibility and spiritual understanding of the natural world. In this regard, Olsen’s works are timeless and universal. OLIVIA FULLER, HEAD OF ART

Â© John Olsen/Copyright Agency, 2020 45

“I was taken to see a lot of paintings by my mother in the late 1950s and early 1960s. Streeton, Bunny, Ashton and Roberts, to name a few, transfixed me. Having grown up in the Western Districts of NSW I related to their largely rural subjects. George W Lambert’s “Across the Black Soul Plains” (1899) was a quiet and insistent inspiration. I look back on those paintings with their warm gold frames with nostalgia and affection.” TIM STORRIER AM, 2018

33 TIM STORRIER (born 1949) Afternoon Haze 2004 synthetic polymer paint on linen signed lower right: Storrier 91.5 x 152cm With Metro 5 Gallery, Melbourne 2005 $80,000-120,000

34 HOWARD ARKLEY (1951-1999) JUAN DAVILA (born 1946) MARIA KOZIC (born 1957) Untitled 1984 Sheet 4 From Exquisite Corpse mixed media on paper 248 x 127cm

Howard Arkley’s tragically premature passing whilst at the peak of his artistic powers in 1999 would, at first glance, make him an unlikely candidate to appear in a standalone catalogue of living artists in 2020. But by virtue of his 1984 collaboration with contemporaries Juan Davila and Maria Kosic, who remain very much part of the vanguard today, we are thrilled to present this monumental mixed media work, Untitled (Exquisite Corpse 4), for public sale.

LITERATURE: Crawford, A. and Edgar R., Spray: The Work of Howard Arkley, Craftsman House, Sydney, p. 77 (illustrated)

The genesis of this Exquisite Corpse project arose when

With Niagara Galleries, Melbourne $40,000-50,000

Kosic, three eminent contemporary artists with Pop Art

curator Denise Robinson approached Arkley, Davila and sensibilities, to collaborate on a project which referenced Surrealist experiments of the same theme which originated in Paris in 1925. In accordance with the original premise whereby individual artists made their contributions sequentially and without reference to the efforts of each other, Davila worked first on the piece, followed by Kosic, then Arkley. The resultant series (of which this is sheet 4) was then exhibited at Melbourne University’s George Paton Gallery in May 1984 and again (sans the present example) at Sydney’s Roslyn Oxley9 in January 1988. The current example is afforded a colour plate in Ashley Crawford and Ray Edgar’s defining Howard Arkley monograph, Spray (Craftsman House, 1997/2001), and the wider Exquisite Corpse series is credited as heralding Arkley’s artistic transition from his cacti doodles of the early 1980s to the visionary impressions of modern suburbia which make him the cultural icon and market behemoth he is today.

Crawford/Edgar book reference

CAMERON MENZIES, GUEST ADVISOR

ÂŠ Licensed by Kalli Rolfe Contemporary Art

35 IMANTS TILLERS (born 1950) Four Books 2002 synthetic polymer paint and gouache on canvas boards (54) 229.5 x 216cm With Arc One Gallery, Melbourne $25,000-30,000

Born in Australia to Latvian refugees, Imants Tillers grew up in Australia as part of the great post-war European diaspora. His family experienced displacement in a new foreign land, removed from their cultural history. Since the 1970’s, Tillers has explored this isolation and displacement through his artwork, critiquing 20th century Australian art as well as the Western world in the process. Tillers, therefore, is an extremely significant figure in discussions of postmodernism and appropriation in Australian art. His works, most often landscapes, are comprised of numerous individual canvas boards that, when placed together, form a progressive visual poetry. Tillers appropriates imagery and phrases related to notions of identity and place and brings them together in an often confusing and disjointed manner - much like the experiences of the artist and his family. The result is a convergence of ideas with multiple references that are drawn from art, history, literature, politics, society and his own personal history. His works instigate an important dialogue that was as relevant in the 1950s as it is today. Painted in blue around the edge of Tillers’ works are words by the pioneering poet Stéphane Mallarmé, whom Tillers has cited in almost every work he has made since the late 1990s: “a throw of the dice will never abolish chance”. It refers to chance happenings but also to Mallarmé’s experimentations with typography in visual presentation. For Tillers, his artworks are as much word poems as paintings. OLIVIA FULLER, HEAD OF ART

36 JAN SENBERGS (born 1939) Landing at Exotica 1991 oil on canvas signed and dated lower right: J. Senbergs ‘91 152 x 183cm With Niagara Galleries, Melbourne (label verso) $16,000-20,000

A true statesman of the Australian Contemporary Art scene, Jan Senbergs is best known for his dark and robustly constructed paintings which examine the encroachment of machines and industry upon the landscape and indeed, humanity. There is however nothing sinister about the the present, major canvas from 1991, Landing at Exotica, which explores another preoccupying theme in Senbergs’ art: the miraculous and transformational nature of air travel. Senbergs and his mother emigrated to Australia in 1950, leaving behind a bleak and volatile political climate in their native Latvia. Landing at Exotica speaks to the sense of wonderment a young man experienced in arriving in what was comparatively, an abundant tropical paradise. This is a view of his adopted land which has endured throughout the artist’s decorated career which continues unabated into its seventh decade of practice. Senbergs’ March 2020 exhibition at Melbourne’s Niagara Galleries, Not quite the last picture show, bears ample testament to this, and his ongoing fascination with the aircraft. Stylistically, Landing at Exotica carries all of the hallmarks and employs the characteristic devices we are accustomed to in a top Senbergs picture. That is because, quite simply,

Installation view: Jan Senbergs: Not quite the last picture show, Niagara Galleries, Melbourne, March 2020

it is one. CAMERON MENZIES, GUEST ADVISOR

Â© Jan Senbergs/Copyright Agency, 2020

37 HAZEL DOONEY (born 1978)

The Big Pin-Ups series was first conceived in early 2010. I had wanted to paint portraits of a few ‘adult’ performers I knew, but had resisted, mainly because I wanted to do them in a way that was credible - read ‘politically correct’

Big Pin-Up: Miss March 2011 high gloss enamel on canvas signed and dated upper left signed, dated and titled verso 152 x 180cm

- as serious art.

$16,000-20,000

early Sixties, Bailey’s monograph featured everyone from

Then a friend lent me a copy of David Bailey’s A Box of Pin-Ups. A collection of black and white portraits from the the infamous Kray brothers to a young Mick Jagger and the world’s first supermodel (and Bailey’s then girlfriend), Jean Shrimpton. It made me realise that any attempt to sanitise my acquaintances would betray the essentially alternative, subversive self-regard I loved most about them. They were all smart, sexy and larger-than-life and they had made it ‘big’ in the multi-billion enterprise entertainment industry we refer to as porn. I re-conceived the portraits as a set of shiny ‘pin-ups’. Big - so big the figures loom over the viewer - and noxiously pretty, painted in high-gloss enamel with strong, simple lines and pretty, girlish hues, the surface of each has to be as sleek, idealised and sultry as the screen persona of each of the subjects. Adhering to a long-established convention, I painted a Miss for every month, a series of 12 in all, each in a different pose and with different dimensions. None were sexually graphic. I resisted giving the series a title that would offer an ironic wink to those looking for deeper intellectual substance. They were simply Big Pin-Ups. Nothing more - but nothing less, either. Big Pin-Up: Miss March is as much a portrait of a vulnerable, self-aware woman as it is of a sexually desirable one. Early feminism argued that women should oppose all exploitation of their bodies. But contemporary feminists knows better: we objectify and exploit ourselves - physically, sexually and intellectually - on our own terms. We reap the rewards, along with the reproof. HAZEL DOONEY

Â© Hazel Dooney

38 TRACEY MOFFATT (born 1960) Scarred for Life I 1994 offset lithographs (9) editions of 50 + 9 A/P The Wizard of Oz, 1956 Birth Certificate, 1962 Charm Alone, 1965 Heart Attack, 1970 Doll Birth, 1972 Useless, 1974 Mother’s Day, 1975 Job Hunt, 1976 Telecam Guys, 1977 80 x 60cm (each) EXHIBITIONS: Kwangju Biennale, Kwagju, Korea, 1995 (another example) Australian Perspecta 1995, Art Gallery of New South Wales, Sydney, 3 February 1995–26 March 1995 (another example) Prospect 19, Schim Kunsthalle, Frankfurt Germany, 1996 (another example) Campo 6, The Spiral Village, Museum of Modern Art, Torino, Italy and Bonnefanten Museum, Masstricht, Netherlands, 1996 (another example) From the Street - Photographs From the Collection, Art Gallery of New South Wales, Sydney, 27 April 1996–14 July 1996 (another example) Venice Biennale (Futuro Present Passato), Venice, Italy, 1997 (another example) Tracey Moffatt, The Institute of Modern Art, Brisbane, 8 September - 9 October 1999, (then toured Asia) (another example) Sydney Biennale, Art Gallery of New South Wales, Sydney, 2000 (another example)

LITERATURE: Snelling, M., (ed.), Tracey Moffatt, The Institute of Modern Art and Asialink, Brisbane, 1999, p. 50-53 (illustrated, another example) Newton, G., Tracey Moffatt: Fever Pitch, Piper Press, Sydney, 1995, p. 73-91 (illustrated, another example) RELATED WORK: Scarred for Life II 1999, a series of ten photographs PERMANENT COLLECTIONS: Art Gallery of New South Wales, Sydney TATE Modern, London, as of 1994 Widely exhibited in major international exhibitions, Scarred for Life is a series that reinforced Tracey Moffatt’s reputation as one of the most significant Australian contemporary artists of our time. In an interview with Gerald Matt, Moffatt describes the Scarred for Life series thus: “I have integrated rather ordinary washed out colour compositions with text describing the scene. I was inspired by looking at 1960s American Life magazine layouts. A kind of snapshot photography - very everyday moments based on real life tragic funny child-hood stories of my friends and myself. I felt that this was the only way to keep power in the image - to be ordinary, it does resonate. People remember the little boy giving birth to the doll. I could have shot this in a more clever dramatic way but in the end it had to be like a scene one would see as they passed and glanced in the living room door. In the case of this picture it means mother’s point of view. Snelling, M., Tracey Moffatt, exhibition catalogue, IMA, Brisbane, 1999, p.67 $15,000-20,000

Â© Tracey Moffat/ Copyright Agency, 2020

39 DARREN SIWES (born 1968) 1901 cibachrome photograph edition of 8 titled, editioned and signed on Greenaway Gallery label verso 118 x 98cm EXHIBITIONS: Darren Siwes: Just Is, Gag Projects, Adelaide 2004 “As if time-travelers from another era, the ghost like figures in Siwes’s photographs appear before us like messengers we cannot hear. Indeed, given their persistent Victorian and Edwardian settings, Siwes’s photographs recall the spirit photography of these times, in which spirits of the dead called up in seances were photographed for their grieving relatives. However Siwes does not photograph the ghosts of relatives, but the shadowy after-life of history or more accurately, of Siwes’s own historical consciousness. Acutely aware of his Aboriginal/Dutch descent and the global migrations and histories it implies, he is burdened by a corrosive (rather than affirmative) history; and this melancholy fate sets the mood of his artworks.” Uncanny: Darren Siwes’s Just Is series of photographs, by Ian McLean, 2004 $2,000-4,000 © Darren Siwes/Copyright Agency, 2020

40 CALLUM MORTON (born 1965) Casa Spizzico, Capri 2001 from the series Local +/or General, 2001 digital print on paper edition of 30 artist name, title and date on label verso 59.5 x 83.5cm EXHIBITIONS: Callum Morton: Local +/or General, Roslyn Oxley9 Gallery, Sydney, 4 October - 3 November 2001 (other example) $2,500-3,500 © Courtesy of the artist and Anna Schwartz Gallery

41 SAMANTHA EVERTON (born 1971) Chinoiserie 2018 From the Indochine Series pigment ink on canson rag edition of 8 titled, dated and signed on label verso 84 x 115cm EXHIBITIONS: Indochine - New Series Launch, Anthea Polson Art, 17 June – 30 June 2018 This series of work explores the intersection of Western influences and Eastern traditions, and the experience of women navigating the conflicting cultures of the East and West. $3,500-4,500

42 DEBORAH PAAUWE (born 1972) Tangled Whisper 2004 type c photograph edition of 6 100 x 100cm LITERATURE: Walker, W., Deborah Paauwe: Beautiful Games (SALA Series), Wakefield Press, (illustrated front cover) $2,000-4,000

43 LUKE CORNISH (E.L.K) (born 1979) Wake Up to the Stink 2009 spray enamel on board edition of 5 signed, titled, dated, and editioned verso: SOON you WILL WAKE UP,/ TO THE STINK that is/ your LIFE./ E.L.K 09/ ELK 2/5 140 x 87cm EXHIBITIONS: Urban Art Agenda #3, Brisbane Powerhouse, 2009 Cornish first developed a name for himself in Canberra when he began experimenting with stencil cutting and spray paint. He became the first stencil artist to be nominated for the Archibald Prize in 2012 for his portrait of Catholic priest Father Bob Maguire. The same painting made a further record securing the highest price at public auction for a work by an Australian stencil artist. His work has been no stranger to controversy with his piece Wake Up and Smell the Stink attracting criticism for his depiction of Jesus Christ wearing a crown of thorns and a gas mask. $3,000-5,000

ÂŠ E.L.K/ Copyright Agency, 2020

44 Â§ SAM LEACH (born 1973) Cockatoo with Probabilty Diagram 2010 oil and resin on board signed verso 45 x 30cm $7,000-9,000 60

Â© Angela Brennan/Copyright Agency, 2020

45 ANGELA BRENNAN (born 1960) A Moment Later 2002 oil on linen signed with initial and dated lower right: A.B. 2002 168 x 198cm EXHIBITIONS: New Paintings, Niagara Galleries, Melbourne Art Fair, Melbourne 2002, cat. no. 17 $7,500-9,500

Â© Gareth Sansom/Copyright Agency, 2020

46 GARETH SANSOM (born 1939) Thick as a Brick 2004 oil on canvas signed, titled and dated verso: THICK AS A BRICK 2004/ Gareth Sansom 198 x 229.5cm $12,000-16,000

47 PAUL BOSTON (born 1952) Two Heads 2006 synthetic polymer paint on board and plaster artist name, title and date on label verso 121 x 81cm EXHIBITIONS: Paul Boston: Inverted Relief Paintings, Niagara Galleries, Melbourne, 2006, cat. no. 8 (label verso) LITERATURE: Payes, S., Untitled: Portraits of Australian Artists, Macmillan Publishers, Melbourne, 2007, p. 59 (illustrated) $6,000-8,000

48 HELEN MAUDSLEY (born 1927) Continuation - The Flame 2005 oil on panel signed and dated lower right: HELEN MAUDSLEY 2005 inscribed verso: CONTINUATION “THE FLAME”/ EACH ONE/ REDEFINE/ REDEFINING/ this refers to/ what was _____ on this board./ large painting, not worth keeps, board art/ up & re-cycled./ (2005) 26.5 x 22.5cm EXHIBITIONS: Helen Maudsley A Selection 2004 – 2006, Niagara Galleries, Melbourne, 2007, cat no. 25 $1,000-2,000 © Helen Maudsley

49 ANDREW BROWNE (born 1960) Untitled 1998/99 oil on linen signed titled and dated verso: ANDREW BROWNE/ UNTITLED 1998/99 305 x 121cm EXHIBITIONS: Andrew Browne: Painting Light, Bendigo Art Gallery 1999 The current painting relates to one panel of the commissioned four panel work for the Westin Hotel, Melbourne, completed late 1999. Andrew Browne is represented by Tolarno Galleries, Melbourne $12,000-16,000

50 GRAHAM FRANSELLA (born 1950) Dune Figure 2002 oil on canvas signed, dated, and titled verso 122 x 91.5cm $8,000-10,000

51 JOHN FIRTH-SMITH (born 1943) Wind III (Southerly) 2012 oil on linen signed, dated and titled verso: â&#x20AC;&#x2DC;WIND III (SOUTHERLY) / Firth-Smith 12 122.5 x 122.5cm $8,000-12,000 67

52 LAWRENCE DAWS (born 1927) Glasshouse Mountains with Willow Trees c.1980 oil on board signed lower right: DAWS titled and dated on gallery label verso 84 x 84cm Daws grew up on the Fleurieu Peninsula in South Australia, and from 1970 until 2010, lived by the Glasshouse Mountains at Beerwah on the edge of a Queensland rainforest, where many of his best-known works were created. With Anthea Polson Art, Queensland (label verso) $3,000-5,000

53 LOUISE HEARMAN (born 1963) Untitled #640 1998 oil on masonite signed, dated, and inscribed verso: #640/ Hearman 98 91 x 68.5cm Louise Hearman’s paintings always intrigue, inviting a second, or third, or even fourth look. They appear first as darkly atmospheric landscapes or portraits, but we soon realise that things are not as they seem. We are left to imagine what is glimmering in the half-light or hiding in the shadows and Hearman revels in this ambiguity always leaving her works as “untitled”. Hearman works predominantly on a small scale with oil paints revisiting certain motifs throughout her work - a child’s face, a partly concealed head, glowing beams of light, and often empty stretches of road or vast fields. These images have been collated from moments in her everyday life and brought together in often unsettling compositions. Hearman is a technical master, intently capturing flickers of light that are both beautiful and disfiguring, emphasising radiance yet also darkness. OLIVIA FULLER, HEAD OF ART $6,000-8,000

54 EUAN MACLEOD (born 1956) Lying Harbour Figure 1 1996 oil on canvas titled, signed and dated verso: LYING HARBOUR FIGURE 1 / EUAN MACLEOD / 3-4 1996 89 x 120cm $9,000-12,000

55 § LUCY CULLITON (born 1966) Ram and Horse 1999 oil on canvas (2) signed and dated lower right on each: CULLITON 99 40 x 40cm (each) EXHIBITIONS: Farm Paintings, Ray Hughes Gallery, Sydney, 1999 RELATED WORK: Shirley 2015, oil on canvas, collection of the National Portrait Gallery, London “Lucy is one of those painters whose paintings relate closely to each other, as well as to her own history and way of being now. Between life and canvas there’s a constant, evolving exchange. For example, she has pet sheep, and recently she’s painted dozens of head-andshoulders portraits of them, up close. That’s life; but from a painterly perspective, the sheep portraits developed out of her paintings of inanimate objects: knitted covered coat hangers and woollen dolls’ dresses and babies’ layettes. Having risen to the challenge of representing knitted wool, she went back to the source, painting the different fleeces of her flock, some arranged in greasy swathes, some in corkscrews.” National Portrait Gallery, London $4,000-5,000

Courtesy of Lucy Culliton

56 DAVID LAITY (born 1958) Clouds 2003 oil on hessian on board titled, signed and dated verso: Clouds / D Laity / 2003 (Sept) 140 x 140cm © David Laity/Copyright Agency, 2020

$5,000-7,000

57 MCLEAN EDWARDS (born 1972) Untitled (Portrait of Tim Storrier) 2009 oil on canvas dated lower right with artist’s age signed and dated verso 101.5 x 76.5cm EXHIBITIONS: Inaugural Collector’s Exhibition, Menzies, Sydney, Melbourne, 15 February - 16 March, 2018, cat no. 10 $7,000-9,000

58 PETER GRAHAM (born 1970) Awake: The Mask of the Moon 2004 oil on linen signed with initial and dated lower left: PSG 04 191 x 152cm

59 LINDA KLARFELD (born 1976) Levitating Lawyer bronze edition of 30 signed and numbered to base: L. KLARFELD 9/30 25 x 17 x 17cm RELATED WORK: Monument to a Lawyer, polychromed resin, 15 × 24 × 47 cm With Anthea Polson Art, Queensland $3,000-4,000

With Tolarno Galleries, Melbourne $5,000-8,000

60 ALEXANDER SETON (born 1977) A Paddle 2014 From the Last Resort Series wood and Bianco marble 123cm EXHIBITIONS: Last Resort, Alex Seton, McClelland Gallery and Sculpture Park, 16 November 2014 - 8 Febuary 2015 Sullivan+Strumpf, Art Basel, Hong Kong, 13 - 17 March 2015 The Last Resort series continues a body of work about asylum seekers that Seton began with â&#x20AC;&#x153;Somebody died trying to have a life like mineâ&#x20AC;?. Seton appeals to his audience to consider the plight of those attempting to reach Australian shores under dangerous circumstances, in contrast to our own safety and privelege. Seton carves his objects from marble, a dense and luxurious material not known for its buoyant qualities. The works allude to the inherent double standard - life jackets and paddles are intended to keep us afloat and secure safe passage. $7,000-9,000

61 WARLIMPIRRNGA TJAPALTJARRI (born c.1958, PINTUPI LANGUAGE GROUP) My Grandfather’s Country synthetic polymer paint on Belgian linen inscribed verso with MK MK cat no.16718 122 x 122.5cm $10,000-15,000

62 GEORGE HAIRBRUSH TJUNGURRAYI (born c.1947, PINTUPI LANGUAGE GROUP) Mamultjulkunga synthetic polymer paint on canvas signed ‘x’ verso accompanied by an extensive suite of photographs which document the creation of this painting 144 x 192cm $10,000-15,000 75

63 LENA NYADBI (born 1937, GIJA LANGUAGE GROUP) Kangaroo Rock, Bow River 2002 natural earth pigments on canvas artist’s name and Warmun Art Centre cat. no. inscribed verso: Lena Nyadbi / WAC025 / 02 60 x 80cm $2,500-3,500

64 RAMMEY RAMSEY (born 1935, GIJA LANGUAGE GROUP) Untitled (My Country) 2007 natural earth pigments and synthetic polymer on board signed with initial and inscribed verso: ‘RR/ Jirrawun Arts/ RR 11 2007 127 80 x 100cm $6,000-8,000

65 ILDIKO KOVACS (born 1962) Untitled 12 2000 oil on card on linen on box canvas signed and dated verso: Ildiko Kovacs 12.2000 86.5 x 76cm $4,500-5,500

66 LESLEY DUMBRELL (born 1941) Untitled 1982 watercolour on paper signed and dated lower right: Lesley Dumbrell 82 62.5 x 83.5cm EXHIBITIONS: Colour and Transparency, National Gallery of Victoria, 22 February – 27 April, 1986, cat. no. 4 (label verso) Blue Chip XXI: The Collector’s Exhibition - 2019, Niagara Galleries, Melbourne, 5 March - 6 April 2019, cat. no. 11 (label verso) $1,500-2,500 © Lesley Dumbrell

67 MELINDA HARPER (born 1965) Untitled 2011 oil on linen signed and dated verso: Melinda Harper 2011 122 x 112cm $3,000-5,000 © Melinda Harper/Copyright Agency, 2020

68 MATTHEW JOHNSON (born 1963) After Pilbara 2005 oil on linen 140 x 180cm With Greenhill Galleries, Western Australia $7,000-9,000

69 GILES RYDER (born 1972) Here Comes the Sound of Colours: (Corner Stone Blues) 2007 coloured mirror, perspex, MDF and fixtures yellow: 4.5 x 21 x 10cm; green: 4.5 x 15.5 x 10.5cm; black/blue/pink: 5 x 15.5 x 10.5cm EXHIBITIONS: Blue Chip XXI: The Collectorâ&#x20AC;&#x2122;s Exhibition - 2019, Niagara Galleries, Melbourne, 5 March - 6 April 2019, cat. no. 17 (label verso) $1,200-1,800

70 KATE TUCKER (born 1980) Dazzle Camo 2012 synthetic polymer paint on linen signed and dated verso: Kate Tucker/ 2012 102.5 x 86.5cm EXHIBITIONS: Viewfinder, Helen Gory Gallery, 15 August - 8 September 2012 $1,800-2,800

71 DAVID MILNE (born 1946) Welcome Ideas the Comprehensive Mind, Creative Building Blocks for Mankind 2019 oil on Belgian linen signed with initial and dated lower right: DM 19 91 x 91cm $2,500-3,500

72 ESTHER STEWART (born 1988) I Wanna Fall in Love 2013 enamel on board 90 x 60cm EXHIBITIONS: Makinâ&#x20AC;&#x2122; Plans by Esther Stewart, Utopian Slumps, 4 - 25 May 2013 $2,500-4,500 IMAGE NOT ILLUSTRATED

Courtesy of Tom Adair

73 TOM ADAIR (born 1983) Beachside Condo 2018 airbrush, synthetic polymer paint, polymer and neon on Dibond, acrylic frame signed verso 105 x 180 x 12.5cm EXHIBITIONS: Tom Adair: Miami Vibes, Metro Gallery, Armadale, Australia, 21 May - 15 June 2019 $4,000-6,000 83

74 TROY EMERY (born 1981) Lidded Vase 2018 oil on linen signed and dated verso: TROY EMERY / 18 titled on gallery label verso 60 x 50cm EXHIBITIONS: Bayside Acquisitive Art Prize, Bayside Gallery, 2018, (Finalist) Martin Bowne Contemporary, Melbourne Art Fair, 2 â&#x20AC;&#x201C; 5 August 2018 $1,200-1,600

75 JODIE WELLS (born 1971) Intent Flight - Barn Owl 2013 oil on canvas signed lower right: JODIE WELLS titled and signed verso 40.5 x 51cm EXHIBITIONS: Four Of The Best: Cornelia Burless, Christian Morrow, Jack Pemble, Jodie Wells, Anthea Polson Art, Queensland, February 23 - March 9 2013 With Anthea Polson Art, Queensland $1,000-2,000

76 WENDY SHARPE (born 1960) Three Models (Joy with White Fan) 2002 oil on canvas signed lower right: ‘W Sharpe’ artist’s name and title inscribed verso dated on label verso 92 x 76 cm With Philip Bacon Galleries, Brisbane $3,000-4,000 85

77 RICHARD MAUROVIC (born 1963) Graham Street, Port Melbourne 2019 synthetic polymer paint on canvas signed lower left: RICHARD MAUROVIC signed, dated, and titled verso 60 x 60cm $2,000-3,000

78 JEFFREY FERRIS (born 1946) Bus Stop 65 2011 synthetic polymer paint on board signed and dated lower right: JJ Ferris 2011 61 x 91cm “I wanted to get some movement from the viewer back into the painting. The 65 refers to my age when I painted it, I think…” With Bridget McDonnell Gallery, Melbourne (label verso) $2,800-3,500

79 LAWRENCE STARKEY (born 1959) Out of the Mist (American Paint Horse) oil on canvas signed lower right: LAWRENCE STARKEY title and artist name inscribed verso 90.5 x 126.5cm With Anthea Polson Art, Queensland $4,500-6,500

80 PATRICIA PICCININI (born 1965) Natural Selection (Sandman Series) 2002 c-type photograph edition of 30 signed, dated and editioned below image 103.5 x 184cm EXHIBITIONS: Precautionary Tales, Roslyn Oxley9 Gallery, Sydney, 11 September - 11 October 2006 RELATED WORK: Sandman 2002, single-channel digital video, colour, sound, Collection of Museum of Contemporary Art $3,000-5,000 IMAGE NOT ILLUSTRATED

PETER TYNDALL (born 1951)

ELIZABETH GOWER (born 1952)

(A Person Looks At A Work Of Art) synthetic polymer paint on paper 75 x 55cm

Alarm 2000 From the Series Artefacts from the 20th Century printed paper collage on drafting film signed and dated lower right: E Gower 2000 97 x 73cm (sheet size)

Tindall’s work explores the relationship between art, language and meaning and the way in which these interact with the experience of looking at art. Working in the pop art tradition, his witty works often use imagery from the print media, including advertisements, newspapers and cartoons to conceptually explore how we interact with works of art. $1,600-2,000

EXHIBITIONS: Artefacts from the 20th Century, Sutton Gallery, Melbourne 2000 Gower emerged in the 1970s as a pioneering feminist artist, and is known for her ingenious formal manipulation and transformation of materials. She recycles and collages remnants of popular culture to create exquisite optical patterns and explore ideas of consumerism and consumption. Her work typically involves cutting up and intricately collaging—onto drafting film, canvas or paper surfaces— collected printed ephemera, packaging material and magazine pages. Sullivan, L., Cuttings - Elizabeth Gower, exhibition catalogue, Geelong Gallery $1,200-1,500

83 PETER BOOTH (born 1940) Fence 1993 pastel on paper diptych 8 x 27cm EXHIBITIONS: Peter Booth - Works on Paper, Rex Irwin Art Dealer, Sydney, 7 March - 1 April 1995, cat. no. 29 (label verso) Nocturne : Images Of Night And Darkness From Colonial To Contemporary, Mornington Peninsula Regional Gallery, 23 April - 16 June 2002 (label verso) $1,500-2,500

84 LESLIE RICE (born 1976) Christian Martyrs of the Roman Colosseum #8 2010 synthetic polymer paint on velvet artist name, title and date on gallery label verso 53 x 73cm EXHIBITIONS: Christian Martyrs of the Roman Colosseum, Jan Murphy Gallery, Brisbane, 23 November - 18 December 2010 Velvet, used throughout art history as a canvas upon which artists bring colour to the forefront of an image, the colours within Riceâ&#x20AC;&#x2122;s Christian Martyrs of the Roman Colosseum recedes into the darkness of the material, beckoning you to look further. Riceâ&#x20AC;&#x2122;s works play with condradictions, creating works that draws upon the history of Kitsch painting, the stylistic qualities of figures and religious imagery reminiscent of Baroque paintings, and elements of the fantastical. Rice is a trained painter, but also had a long history of working as a tattoo artist. $3,000-5,000

GRACE HUANG (born 1962)

§ JASPER KNIGHT (born 1978)

The Silent Corner 2006 oil on canvas signed lower right: G Huang artist name, title and date inscribed verso: Grace Huang / The Silent Corner / 2006 / Grace Huang 78 x 109cm

Three Blind Mice 2017 synthetic polymer paint and enamel on card titled, signed and dated lower right: THREE / BLIND / MICE / Jasper 2017 121 x 167.5cm

EXHIBITIONS: Guangdong Contemporary Oil Paintings, Garden Hotel, Guangzhou, China, 2006 $2,500-3,500

$3,500-4,500

87 ZHONG CHEN (born 1969) Happy Days 7 2005 synthetic polymer paint on canvas signed and dated verso: zhong chen/ 2005 122 x 122cm EXHIBITIONS: Zhong Chen: 2005 Happy Days, Eva Breuer Art Dealer, Sydney, 8 - 28 August 2005 (label verso) $7,000-9,000

88 NIGEL SENSE (born 1976) More Better 2019 synthetic polymer paint on canvas signed with initial lower right: NS 60 x 80cm EXHIBITIONS: Caterpillarness, Fox Galleries, Melbourne, 14 November 10 December 2019 $1,800-2,200

89 ANTHONY BENNETT (born 1966) Study 4 A Truly Excellent Portrait of Vincent (no. 2) 2010 mixed media signed and dated centre left: ant 2010 130 x 130cm With Art Galleries Schubert, Queensland $3,000-5,000 ÂŠ Anthony Bennett/Copyright Agency 2019

90 § PAUL RYAN (born 1964) Study for Cannibal 2013 oil on canvas signed with initial and dated verso: PR 13 81 x 71cm

On his Sulman Prize finalist painting, Ryan stated: “I prefer not to talk too much about this new work except to say that the painting explores notions of the civilised and the uncivilised and the thin line that separates the two”.

Paul Ryan’s Cannibal series explores the identity of Alexander Pearce, one of Australia’s most infamous cannibal convicts. Sent to Australia for stealing six pairs of shoes, Pearce served his sentence in Tasmania before escaping in 1822 with seven other convicts. After 15 days without food, the party began to kill and eat each other. Pearce was the only survivor.

RELATED WORK: Fine Young Cannibal 2013, oil on linen, 100 x 160cm, Sulman Prize Finalist Art Gallery of New South Wales 2013 $3,000-5,000

91 § LEWIS MILLER (born 1959) Oyster Shells 2015 oil on Belgian linen signed and dated lower right: LEWIS MILLER 15 23 x 56cm $3,000-4,000

92 § LUKE SCIBERRAS (born 1975) Squid 2019 watercolour and ink on paper signed with initial and dated lower right: LS 019 76 x 57cm $1,200-1,500

93 ยง GUY MAESTRI (born 1974) Bush Rock and Wombat 2005 oil on board signed, titled, and dated verso: GUY MAESTRI/ BUSH ROCK & WOMBAT/ 2005 170 x 120cm With Tim Olsen Gallery, Sydney $9,000-12,000

94 ยง MIKE NICHOLLS (born 1960) Merricks to Hastings 2019 oil on linen signed with initial and dated lower right: MN 19 75 x 130cm $4,000-5,000

95 BARBARA WEIR (born 1945 ANMATYERRE/ ALYAWARRE LANGUAGE GROUP) Grass Seed Dreaming 1998 synthetic polymer paint on linen inscribed verso with artist name, title and Central Art Painting cat no. 0512398 89.5 x 61cm $3,500-4,500

96 EMILY PWERLE (born 1925 ANMATYERRE/ ALYAWARRE LANGUAGE GROUP) Awelye 2008 synthetic polymer on Belgian linen inscribed verso with artist name, title, date and Dacou Gallery cat no. DG9422 150 x 120cm $7,000-9,000

97 GABRIELLA POSSUM NUNGURRAYI (born 1967, ANMATYERRELANGUAGE GROUP) Grandmother’s Country 2019 synthetic polymer paint on Belgian linen signed verso 99 x 144.5cm $3,500-5,000

100

98 CHARMAINE PWERLE (born 1975, ANMATYERRELANGUAGE GROUP) Aweyle 2019 synthetic polymer paint on Belgian linen artist name and cat no. inscribed verso: 18350 125 x 185cm $4,000-5,000

101

99 LILY KELLY NAPANGARDI (born 1948, LURITJA LANGUAGE GROUP) Sandhills and Riverbeds 2018 synthetic polymer paint on Belgian linen signed verso: LILY KELLY 149 x 89cm $4,000-5,000

102

100 MICHELLE POSSUM NUNGURRAYI (born 1967, ANMATYERRE LANGUAGE GROUP) Grandmother’s Country and Women’s Ceremony 2020 synthetic polymer paint on Belgian linen inscribed verso with artist name and cat no. 18550 120 x 200cm $3,500-5,000

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Request an image of the item/s in situ in the viewing, to get a better idea of just how your item of interest looks.

We offer a number of means of online payments for successful buyers. We can also help you find the most convenient option for shipping. View our website or contact us for our recommended carriers.

Please contact us at info@leonardjoel.com.au or 03 9826 4333 if you have any questions or requests. 104

/ Now Consigning / Fine Art & Jewels 2020 Auctions â&#x20AC;&#x201D; ENQUIRIES (03) 9826 4333 info@leonardjoel.com.au

LEFT:

ABOVE:

A Ruby, Emerald and Diamond

WILLIAM DELAFIELD COOK JNR (1936-2015)

Fish Bangle

Formal Garden 1970

Sold $8,060

Sold $27,280

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bespoke MoVes

Art / Antiques / Modern / sculpture / objects of Vertu / no MAtter whAt you need to MoVe, bespoke MoVes will tAilor A solution to your needs & budget, whether itâ&#x20AC;&#x2122;s A new conteMporAry instAllAtion or An old MAsterpiece weâ&#x20AC;&#x2122;re here to help / installation packing & crating restoration

unpacking & home setup Valuation courier service

import & export interstate & local

Contact Sasha Voss Tiltins:

www.bespokeMoVes.coM.Au E / sasha@bespokemoves.com.au

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P / 0417 119 040

Moving, logistics & project ManageMent

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

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

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

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

$55

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

Storage Charges Each lot

$33 per day

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

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

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: http://www.environment.gov.au/heritage/movable/index.html Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: http://www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, phone 02 6274 1810 or email movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/index. html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Recommended carrier for this auction Bespoke Moves Sasha Tiltins 0417 119 040 sasha@bespokemoves.com.au Collection and Storage: All lots must be collected no later than two days after the auction by 4pm. All uncollected items will be removed to third party storage at the purchaser’s expense.

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Sale Rooms

The Thursday Auction

MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333

Anthony Riepsamen, Manager

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

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

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

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

ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager Andrea Del Campo, Accountant

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

FRONT OFFICE Kim Clarke, Front of House Manager Amelia Lewis, Receptionist

JEWELLERY 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 Catherine Barnett BA, F.G.A., D.G.A., Sydney Specialist Hannah Grace-McIntyre BFA, Administrator Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant

MARKETING & COMMUNICATIONS Blanka Nemeth, Head of Department Nicole Kenning, Consultant Keryn Gilchrist, Database Administrator

MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department

GRAPHIC DESIGN Maria Rossi

COLLECTABLES Rebecca Stormont , Assistant

e-mail all lower case firstname.surname@leonardjoel.com.au

LUXURY John Dâ&#x20AC;&#x2122;Agata F.G.A.A., Head of Department Bethany McGougan F.G.A.A., BA Hons, MSc, Specialist PRINTS Hannah Ryan, Art Salon Manager Ella Perrottet BFA, Assistant

108

OPERATIONS & LOGISTICS Anthony Riepsamen, Manager

PHOTOGRAPHY Adam Obradovic Henry Murphy

109

MELBOURNE 110

SYDNEY

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