Centum Contemporary Art

VIEWINGS

Centum Contemporary Art

20.05.2024, 6pm CONTACTS

viewing in sydney fri 10 – sun 12 may The Bond, 36-40 Queen Street, Woollahra, NSW 2025

Dickerson Gallery 34 Queen Street, Woollahra, NSW 2025

viewing in melbourne fri 17 – sun 19 may 2 Oxley Road, Hawthorn, VIC 3122

Please refer to our website for viewing times — leonardjoel.com.au

wiebke brix

head of art

03 8825 5624 wiebke.brix@ leonardjoel.com.au

hannah ryan art specialist 03 8825 5666 hannah.ryan@ leonardjoel.com.au

amanda north art specialist 03 8825 5644 amanda.north@ leonardjoel.com.au lot 26

JUAN DAVILA (born 1946)

Untitled 2003 (detail) 153 x 206cm

$40,000-50,000 © Juan Davila, licenced by Kalli Rolfe Contemporary Art

200 x 400cm

$40,000-50,000

Courtesy The Artist

(New Zealander, born 1943)

Hydra (Star Cluster) 2000

acrylic on canvas, diptych

Echoes of Today

I am delighted to introduce you to the fifth edition of Centum which has firmly established itself as an anticipated event in the Australian auction calendar with this year being no exception. Centum was established to address a need in the secondary market, providing a platform for refined contemporary art and fostering a sustainable environment for the works of contemporary artists. In 2024, Centum will once again showcase a curated selection of art from Australia and beyond with viewings across Sydney and Melbourne.

Contemporary art serves as a dynamic reflection of the rapidly evolving landscapes of our modern era, encapsulating the profound impacts of technological advancements and looming environmental challenges. With its finger on the pulse of global shifts, contemporary art emerges as a vital commentator on the intricacies of our world today.

Each piece in this exhibition offers a rare opportunity to acquire a significant artwork that captures this Zeitgeist. Our definition of contemporary art, extending from the latter half of the 20th century to the present, ensures that Centum encompasses a diverse range of works, including those by deceased artists whose legacies continue to shape the art world.

We are privileged to present standout pieces such as Gretchen Albrecht’s monumental duo chromatic painting Hydra (Starcluster) showcasing Albrecht’s ability to create immersive, otherworldly abstract ‘landscapes’ that captivate the imagination.

Tudor Village B/W stands as an exemplary presentation of the artistry of Howard Arkley and marks a rare opportunity to acquire a significant piece by one of Australia’s most iconic artists.

It is with great pleasure that I invite you to join us for the Centum exhibition and auction, whether in person or virtually. I am looking forward to the opportunity to connect with many of you during our viewings. For those unable to attend in person, Centum will be available online, providing access to this exceptional collection from anywhere in the world.

wiebke brix head of art

Selective

provenance

Station Gallery, Melbourne Private collection, Melbourne

exhibitions

Tom Polo: Recent Positions, Station Gallery, Melbourne, 4 June - 2 July 2016

other notes

Tom Polo’s style is instantly identifiable, featuring abstract portraiture filled with emotion and bubblelike prose in bold, striking colours that can be simultaneously emotive and ironic. He focuses on people and the dynamics of human relationships that emerge from our interactions in both public and private spaces. Although portraiture comprises a significant portion of his work, his paintings are not based on real life. Instead, they are shaped by his experiences and encounters, capturing the sentiments or gestures embodied by others.

$3,000-5,000

© Tom Polo/Copyright Agency 2024

1 TOM POLO (born 1965)

Memory 2016 acrylic on canvas signed and dated verso: Tompolo 2016 62 x 52cm

2

GREGORY HODGE (born 1982)

Without Fear II 2014

synthetic polymer paint on canvas

signed and dated verso: GREGORY HODGE 2014

122 x 102cm

provenance

Sullivan+Strumpf, Sydney 2014

Private collection, Sydney

exhibitions

Gregory Hodge, Sullivan+Strumpf, Sydney, 19 August - 6 September 2014

other notes

Gregory Hodge blends an assortment of images and materials, such as abstract gestures, drafting film, and coloured paper, to craft intricate compositions that he brings to life with paint. He adeptly controls the medium’s translucent and opaque properties, and the cast shadows give the impression of three-dimensional depth, with layers of paint seeming to emerge from the two-dimensional surface.

$9,000-12,000

2 Courtesy The Artist and Sullivan+Strumpf

3

SAM LEACH (born 1973)

Large Diagram for Rhinoceros 2014 oil and resin on board

signed, titled and dated verso: Sam Leach 2014/ Large diagram for Rhinoceros 46 x 61cm

provenance

Sullivan+Strumpf, Melbourne 2014

Private collection, Melbourne

exhibitions

Paradox of Research, Sullivan+Strumpf, Melbourne

Art Fair, Melbourne, 14 - 17 August 2014

other notes

Sam Leach is known for his intricate and thoughtprovoking works using a unique blend of scientific inquiry and artistic expression. Inspired by themes of evolution, ecology, and the interplay between nature and culture, Leach’s paintings often feature meticulously rendered flora and fauna sometimes set against surreal landscapes. Large Diagram for Rhinoceros, 2014 exemplifies Leach’s signature style, which combines attention to detail with conceptual depth. Through his exploration of the natural world, Leach invites viewers to contemplate humanity’s place within the intricate tapestry of existence, fostering a deeper appreciation for the wonders of life.

$12,000-16,000

4

DARREN SYLVESTER (born 1974)

Hard To Say I’m Sorry 2014

lightjet print, ed. 1/3

signed, titled, editioned and dated on label verso 119 x 89cm

provenance

Sullivan+Strumpf, Sydney

Private collection, Sydney

exhibitions

Darren Sylvester: Dreams End With You, Sullivan+Strumpf, Sydney, 10 June - 5 July 2014

$7,000-9,000

3 Courtesy The Artist and Sullivan+Strumpf

4 Courtesy The Artist and Sullivan+Strumpf

5

MASON KIMBER (born 1985)

Relic/Replay 2018

acrylic, resin, synthetic polymer, gypsum and glass fibre on plywood

signed, titled and dated verso: “Relic/Replay”/ MASON KIMBER 2018

58 x 42.5cm

provenance

Sophie Gannon Gallery, Melbourne 2020 Private collection, Sydney

exhibitions

Future Relics: Mason Kimber, Sophie Gannon Gallery, Melbourne, 9 - 26 May 2018

$2,000-3,000

6

JULIAN TWIGG (born 1964)

Blue Sail, Hobson’s Bay 2018 oil on board

initialled and dated verso: JT/ 18 19 x 30.5cm

provenance

Australian Galleries, Melbourne (label verso) Private collection, Melbourne

exhibitions

Gatehouse Paintings - Julian Twigg, Australian Galleries, Melbourne, 29 May - 17 June 2018

$2,000-4,000

6 Courtesy The Artist

NEIL FRAZER (New Zealander, born 1961)

Break Point 2016

synthetic polymer paint on canvas signed, titled and dated verso: ‘BREAK POINT’/ Neil F 2016.

152 x 152cm

provenance

Martin Browne Contemporary, Sydney 2016 Private collection, Sydney

$12,000-18,000

7 Neil Frazer is represented by Martin Browne Contemporary, Sydney and Philip Bacon Galleries, Brisbane.

8 JODIE WELLS (born 1981) Colossal Zebra Finch 2022 oil on canvas signed lower right: JODIE WELLS titled verso 60 x 60cm

provenance

Anthea Polson Art, Queensland (label verso) Private collection, Queensland

$2,000-3,000

9 ANGELA BRENNAN (born 1960) Here and Now II 2002 oil on linen

signed and dated lower right: Angela Brennan 2002 signed, titled and dated verso 150 x 120cm

provenance

Roslyn Oxley9 Gallery, Sydney (label verso) Private collection, Melbourne

exhibitions

Angela Brennan: Oestrogen, Roslyn Oxley9 Gallery, Sydney, 20 February - 15 March 2003 (label verso)

$4,000-6,000

8 © Jodie Wells/Copyright Agency 2024

9 © Angela Brennan/Copyright Agency 2024

10

ESTHER STEWART (born 1988)

This is not a Distinction of Nature, but in Point of View 2015

acrylic on board

signed and dated verso: ESTHER STEWART/ esther. s/ 2015

180 x 150cm

provenance

Station Gallery, Melbourne

Private collection, Melbourne

exhibitions

Esther Stewart: Timeshare, Station Gallery, Melbourne, 28 March - 18 April 2015

“Balustrades or beds, off centre; just blocked colour, whacked and slightly shifted. These 10 panels are unmistakably works by Esther Stewart. Here her intuitive geometries leave from Sim city for the tiles of an elaborate Escher palace missing the illusion. Repositioned and/or refined, Stewart’s work in hardedged abstraction comes through enamel and object painting and now appears at its flattest, thickest in vibrant acrylic. The history of geometric painting, an avant-garde become tradition, is coded: the notion of Cartesian space is projected against a wall of hypocrisy. Many leave it at that-the minimal object literalises the space, its novel negativity exploding the gestalt threshold between art and life. Stewart’s paintings do not follow this overly formalised and ultimately hubristic logic however, the abstraction surfs a different ambiguity.” (excerpt, exhibition statement)

$10,000-15,000

11 JAMES DRINKWATER (born 1983)

Le Jardin Musee Henri Matisse 2016 mixed media on board signed and dated verso: Drinkwater 16 180 x 120cm

provenance

Nanda\Hobbs, Sydney

Private collection, Sydney

exhibitions

WE ARE CLUMSY NOW ON THIS SOUTHERN BEACH, New work from the South of France, Nanda\ Hobbs, Sydney, 22 March - 5 April 2016

“Drinkwater’s love of the great Modernists, in particular Henri Matisse and Pablo Picasso is acknowledged and celebrated. It is an exhibition that lifts the soul and engages the mind. Drinkwater finds the beauty of our world and questions ʻwhy do we not seek light over darkness?’ (excerpt, exhibition statement)

$12,000-18,000

11 © James Drinkwater

Searching Around 1969

gouache on paper

signed and dated lower left: John/ Olsen/ 1969

75.5 x 56cm

provenance

Private collection, Melbourne

Thence by descent

Private collection, Melbourne

$10,000-15,000

12 © John Olsen/Copyright Agency 2024

JOHN OLSEN (1928-2023)

Gretchen Albrecht

Gretchen Albrecht’s artistic journey is a testament to the power of colour, form, and expression shaping the cultural landscape of New Zealand and beyond. Born in Auckland in 1943, Albrecht emerged as a pioneering figure in contemporary art, pushing the boundaries of abstraction.

Albrecht’s early work was influenced by the vibrant energy of the New Zealand landscape and the Abstract Expressionist movement of the mid-20th century. Her works from this period often feature dynamic compositions, characterised by gestural brushstrokes and a rich, emotive use of colour.

As Albrecht’s career progressed, she continued to push the boundaries of her practice, exploring new techniques and concepts in her pursuit of mastering abstract art. In 2000, she created the iconic work, Hydra (Star Cluster). This monumental monochromatic painting exemplifies Albrecht’s ability to create immersive, otherworldly abstract “landscapes” that captivate the imagination. Hydra (Star Cluster) is a mesmerising composition of dynamic forms, reminiscent of a cosmic explosion. Albrecht’s works are immersive experiences that invite viewers to engage with the elemental forces of the natural world. Through her painting Albrecht transports viewers to a realm of ethereal beauty and wonder, inviting them to contemplate the mysteries of the universe.

While Albrecht is known primarily as a painter, her unconventional use of paint and shaped canvases blur the boundaries between painting and sculpture, pushing both domains into a distinctive style. Her innovative approach has left an enduring impact, inspiring countless artists to explore the limitless possibilities of abstraction.

Albrecht has a guiding force in the New Zealand art community, mentoring younger artists and advocating for the importance of arts education. Her contributions to the cultural life of New Zealand have been widely recognised, earning her numerous accolades and honours, including the prestigious Order of New Zealand in 2018.

Albrecht’s impact extends far beyond her native country, with her works held in major collections around the world, including prominent Australian institutions, such as the National Gallery of Victoria, Melbourne, National Gallery of Australia, Canberra, and the Art Gallery of New South Wales, Sydney. These collections recognise the significance of Albrecht’s contributions to the field of contemporary art, ensuring that her legacy endures for generations to come.

wiebke brix head of art

GRETCHEN ALBRECHT

(New Zealander, born 1943)

Hydra (Star Cluster) 2000

acrylic on canvas, diptych

titled and dated verso: HYDRA (star cluster)

2000/ Star cluster/ ‘HYDRA’ 2000

artist’s name on label verso

200 x 400cm

provenance

The Artist’s Studio

Tony C. Lewis, Sydney

$40,000-50,000

13 Courtesy The Artist

14

DANI MARTI (born 1963)

Whitescapes #5 2004

polypropylene, nylon and rope on wood signed, titled and dated on stretcher bar verso: Whitescapes #5/ DM 04

247 x 127.5 x 10cm

provenance

ARC One Gallery, Melbourne 2004 (label verso)

Private collection, Melbourne

$9,000-12,000

14 © Dani Marti/Copyright Agency 2024

other notes

15

CAROLINE ZILINSKY (born 1978)

The Haunting of Timothy Shaw 2020 oil on linen initialled lower right: CZ signed, titled and dated verso 97 x 97cm

provenance Private collection, Sydney

Caroline Zilinsky displays a distinctive style characterised by bold colours, dynamic compositions, and a playful exploration of form and texture. Zilinsky creates layered and expressive pieces that blur the boundaries between abstraction and representation.

The artist’s meticulous approach adds depth and complexity to her work, inviting viewers to immerse themselves in the rich textures and intricate details of each piece. There is a unique quality to her style that sets her apart from her contemporaries, a fascinating signature blend of playfulness and sophistication.

In Zilinsky’s art, there is an element of caricature

that adds a playful twist to her depictions of human figures. Her characters are not conventionally pretty; instead, they exude raw authenticity. Through her bold portrayal of imperfections and idiosyncrasies, Zilinsky offers a poignant commentary on societal norms and expectations.

With her works featured in the National Gallery of Victoria, Melbourne, National Gallery of Australia, Sydney, Art Gallery of New South Wales, Sydney, and Art Gallery of South Australia, Adelaide, Zilinsky is gaining recognition for her fresh perspective and innovative approach to contemporary art.

$8,000-10,000

15 Courtesy The Artist

16 Courtesy The Artist

KATHRIN LONGHURST (born 1971)

PETER D. COLE (born 1947)

Red and Yellow Landscape 2008

painted, patinated brass and aluminium signed and dated at base: Peter D. Cole 08

66.5 x 93 x 8cm

provenance

Australian Galleries, Melbourne, cat. no.107813 (label verso)

Private collection, Melbourne

Menzies, Sydney, 23 September 2014, lot 19

Private collection, Melbourne

$6,000-9,000

17 © Peter D. Cole/Copyright Agency 2024

Brett Whiteley

Brett Whiteley was one of the most prominent Australian artists of the 20th century, known for his remarkable versatility and prolific output across various artistic mediums. Whiteley embraced a range of styles, techniques, and influences with a sense of urgency and intense curiosity. His admiration for different artists evolved over time, shaping his unique artistic vision, and leading him to view art as an adventurous journey into his own perceptions and emotions.

Brett Whiteley's exceptional skill as a draughtsman and his passion for portraying the nude emerged in London during the early 1960s, as his style transitioned from abstraction to figuration. During this period, he created a collection of drawings and paintings that highlighted the curvaceous form of his wife Wendy.

These intimate and evocative works of love and desire were just the beginning of Whiteley's enduring fascination with the female form, a central theme in his oeuvre. Whiteley’s nudes are dynamic and passionate, blending both intimacy with tenderness. Despite the exaggerated forms that characterise them, Whiteley's assured, fluid, and sensuous lines with smooth contours, highlight the artist's inspiration derived directly from life. These artworks reflect both a deeply personal expression of Whiteley's experience with sensuality and sexuality expressed through his brilliantly mastered calligraphic lines and his ongoing quest to achieve what he termed “the great nude”; the highest form of artistic creativity.

In 1989, Whiteley adeptly conveyed his profound interest in the nude subject matter when he stated: “The nude has been predominant really…a very major part of my work. Even when I was painting abstractions, in a way I was painting the nude, but out of focus with no specific definition, and when I broke into figuration, it was the bathroom pictures, it was pictures of my wife in the bath”. 1

Nude no.1 from 1974, offers an intimate portrayal of a soft, curvaceous nude figure turned away from the viewer, her buttocks resting on her left foot that is tucked beneath her. Although her face remains concealed, the texture of her loose hair, with its carefully rendered strands cascading over her arm, echoes Whiteley's admiration for the ink and brush techniques of Chinese landscape artists and calligraphers.

Whiteley’s great admiration for Zen philosophy and his affinity with calligraphy emerged at a time when the Asian aesthetic, particularly the brushwork of Chinese and Japanese calligraphy, permeated Australian visual culture in the 1960s. This resulted in ample inspiration for Whiteley’s practice and led to the creation of this work, Nude no.1, where the fluid brushwork reflects a lyrical response to this calligraphic style.

Nude No. 1 was originally purchased by Stuart Purves, the National Director of Australian Galleries in 1994. He recalls “I have a good recollection of this particular drawing by the artist, and in fact it was amongst several that I purchased from a private collection on a visit to the UK several decades ago now. This piece stood out as is was on yellow paper. All the others were on white paper, and I can only surmise that there was a piece of yellow paper handy that Whiteley took advantage of…”

amanda north art specialist

1. Brett Whiteley, The Figure, Art Gallery of NSW; https://www.artgallery.nsw.gov.au/artboards/ brett-whiteley/the-figure/#:~:text=The%20nude%20has%20been%20predominant,my%20wife%20in%20 the%20bath

18

BRETT WHITELEY (1939-1992)

Nude No. I 1974

brush and ink on paper

signed and dated lower right: Brett Whiteley 74 titled on Australian Galleries label verso 76 x 50cm

provenance

Fischer Fine Art, London

Australian Galleries, Melbourne 1994, reference number 5043-3 (label verso)

Private collection, Melbourne

Thence by descent

exhibitions

Australian Galleries, Melbourne, August 1994 (label verso)

literature

Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol. 3, pp. 205 (illus. as black and white), 299, vol. 5, p. 88, cat. no. 55.74

$40,000-60,000

18 © Wendy Whiteley/Copyright Agency 2024

19

JELENA TELECKI (born 1976)

Untitled oil on canvas

47 x 33cm

provenance

Private collection, Sydney

other notes

Jelena Telecki is recognized for her paintings and sculptures that delve into human relationships, particularly examining dynamics of power and dominance, while seamlessly merging the real with the imagined. Her works often depict partially obscured figures and fragmented, dreamlike scenes, rich in intrigue and interspersed with moments of levity and humour.

$2,000-4,000

19 Courtesy The Artist

20

SANGEETA SANDRASEGAR (born 1977)

Untitled (Ranch Worker) 2007-2008

From The Shadow Class Series felt and nylon dimensions variable

provenance

Murray White Room, Melbourne Private collection, Melbourne

exhibitions

The Shadow Class, Murray White Room, Melbourne 2008

other notes

“A project on contemporary slavery, and the myriad forms existing today, each piece in the series depicts a type of bonded or forced labour. Arising from research around Joseph Conrad’s ‘Heart of Darkness’ the series explores slavery in our ostensibly Post-colonial, Postslavery present day.

Tracing the silhouette of my cast shadow performing various roles of forced labour, was a way to talk about the many forms slavery takes today with my personal feelings towards the subject, which are deeply mixed, complex, and ambivalent.” (The Artist)

$5,000-7,000

20 © Sangeeta Sandrasegar/Copyright Agency 2024

Electric Bushland Beauty 2021

CMYK Polymer and LED Diorama in oak frame signed, titled and dated verso: “ELECTRIC BUSHLAND BEAUTY “ 2021/ TOM ADAIR

146 x 110.5cm

provenance

Nanda\Hobbs, Sydney

Private collection, Melbourne

$10,000-15,000

TOM ADAIR (born 1983)

21 Courtesy The Artist

PETA O’BRIEN (POB) (born 20th Century)

Stipple 2 2021

stoneware clay and glaze artist’s monogram to base

42 x 21 x 18cm

provenance

Nanda\Hobbs, Sydney

Private collection, Melbourne

exhibitions A D A P T o r P E R I S H, Nanda\Hobbs, Sydney, 9 - 26 November 2022

other notes

“With a particular interest in texture, POB fashions the finishes of her works to alter the way in which we interact with each piece. We are drawn to the dimpled surfaces of some silhouettes, while tools and found objects are used to intricately engrave the surfaces of others. When the works enter the kiln, an aspect of chance comes into play and the artist must trust in the alchemic process.”

(Nanda\Hobbs, Sydney)

$4,000-6,000

Courtesy The Artist

Howard Arkley

Tudor Village B/W 1994 is a key example of a subject only occasionally addressed by Howard Arkley, but one that still summarises many of his formal and thematic concerns. These include direct reference to some of his favourite comic-book and children’s picture-book sources, and the discipline of a severely restricted monochrome palette. Above all, the subject seems to deliberately undercut the suburban theme dominating his later oeuvre.1

The canvas first appeared in May - June 1994, in a solo exhibition at Bellas Gallery, Brisbane, comprising 19 works on canvas and paper, all black and white, thus prefiguring Arkley’s White + Black: 20 Years Work on Paper and Canvas, 1975-1995 at Tolarno Galleries, Melbourne, in September 1995. Like several other works in the Brisbane exhibition, Tudor Village B/W also incorporates stencilled areas suggesting printed or metallic sources, a notable feature of Arkley’s 1990s work.

Even before his premature death in July 1999, aged 48, Arkley had become typecast as “the painter of suburbia.” A role he had adopted temporarily in the 1980s, it struck a chord with critics and viewers tired of the usual gallery fare – landscapes (of course), abstracts, and obscure conceptual gestures. And so, despite his own best efforts, he had become saddled with the part. Admittedly, he did sometimes play up to the idea in interviews, and the volume of his suburban images ballooned as the 1990s progressed. But throughout his last decade he kept exploring different themes and ideas – urban subjects including factories and freeways, stylised heads, and collaborative work, especially with Juan Davila.

His stylistic range also developed significantly during the second half of his career, often including intricate stencilled patterns (overlaid or in variegated colours), a softer palette, and air-brushed line-work in grey and other hues, rather than his trademark black. Large open fields of colour became a feature of some 1990s works, especially the large-scale freeways, and his magnum opus, Fabricated Rooms 1997-99. In Homezone 1999 he revisited his earlier furniture installations, but in a highly reduced formal manner. In the mid 1990s, he also reprised his youthful taste for a strict monochrome palette, as in Tudor Village B/W.

Another strategy Arkley used to vary and extend his repertoire during his final decade and a half, often specifically to complicate the suburban theme, was to loosen the uniformity of some solo exhibitions by including alternate or contradictory images. For example, in his Pointillist Suburbs show at Tolarno late in 1994, the intricately patterned houses were counterpointed by two large freeway canvases, their sweeping lines and broad fields of blue and green signalling a completely different idea of the modern city.

An earlier instance occurred in 1986, in Arkley’s Recent Paintings exhibition at Tolarno (September – October 1986). Here, Tudor Village, a large, square, vividly coloured canvas, contrasted markedly with the general urban/suburban content of the other paintings. On the one hand, its Grimm’s fairy-tale imagery struck a fanciful note. Conversely, though, its heavy black shadows hinted at more sinister forces, also lurking in the Australian suburban houses depicted elsewhere in the Tolarno show, especially in the dark recesses of brick, foliage and asphalt in Our Home and Nubrick. For all its bright colour, then, Tudor Village played a subversive role in the Tolarno exhibition, almost that of an antisuburban image.

1. Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006

Howard Arkley, pictured in the Melbourne suburbs photographer: Martin Kantor

© The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

23 HOWARD ARKLEY (1951-1999)

Tudor Village B/W 1994

synthetic polymer paint on canvas

signed, titled, dated and inscribed verso: Title “Tudor Village B/W”/ Name Howard Arkley/ Medium Acrylic on Canvas/ size 1230cm X 1650cm

165 x 123cm

provenance

Bellas Gallery, Brisbane 1994 (listed thus in Arkley’s 1993-6 stock-book)

The Artist’s collection

Private collection, Melbourne

Kalli Rolfe Contemporary, Melbourne

Private collection

Deutscher~Menzies, Sydney, 12 September 2007, lot 28 (listed as Tudor Village c.1986)

Private collection, Melbourne

exhibitions

Howard Arkley: “Black and White Paintings” and Works on Paper, Bellas Gallery, Brisbane, 24 May - 11 June 1994, cat. no. 5

literature

Gregory, J., Arkley Works: Howard Arkley Online

Catalogue Raisonné, (https://www.arkleyworks.com/ blog/2009/12/14/tudor-village-bw-1994/)

related work

Howard Arkley, Model Tudor Village, Fitzroy Gardens 1986, synthetic polymer paint on canvas, 162.5 x 162cm, private collection

$150,000-200,000

23 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

Howard Arkley

The 1986 painting was first exhibited a few months earlier, together with a black and white twin, in a collaborative installation forming part of a show pairing artists and architects (5AR: Artists and Architects, George Paton Gallery).2 Arkley took his cue from the miniature Tudor Village in the Fitzroy Gardens, donated to Melbourne by England in 1948, in thanks for Australian generosity after the London Blitz. Despite the scorn heaped on “Mock Tudor” by fans of architectural modernism such as Robin Boyd, the Fitzroy Gardens Village proved popular with Melbournian families, and was later fully restored and reopened in 2008. Arkley visited the quaint collection of 1:20 scale Tudor houses on the recommendation of his 1986 architect collaborator, Howard Raggatt (who had been there with his family), and later, in remarks quoted in Spray: The Work of Howard Arkley (1997), recalled his experience:

“I went to see the thing in a taxi at three in the morning It was very windy, and I became aware that there were people in the bushes. It was very gothic. So I tore out of there and when I got out I realised that was how the painting should be - black and white, with dramatic lighting.”

Subsequent variants of the Tudor theme included two relatively benign 1987 canvases in toy-town hues, reflecting the source, apparently from a children’s colouringbook. But in his 1988 Casual Works exhibition, Arkley showed another black and white version, and associated sources and sketches, including an outline drawing (now in State Library Victoria’s Howard Arkley Archive, MS 14217/1/1777). This composition, the basis for the original monochrome painting of 1986, reappears – in more concentrated form – in Tudor Village B/W, and also in a closely related work-on-paper version, also monochrome (Collection of the National Gallery of Australia, Canberra), included in Arkley’s 1995 White + Black exhibition. In this last example, the darkest of all, heavily sprayed black clouds add to the atmosphere of gathering gloom.

Arkley’s response to the Fitzroy Gardens site as “gothic” is particularly interesting in relation to alternative readings of his oeuvre, especially that of his friend and colleague Tony Clark. In his catalogue essay for the 1991 Monash University survey, Clark described Arkley as a “contemporary goth”, noting his references to Dürer, medieval art, and so on. Also relevant here is the emergence of “New Gothic Art” in the 2000s, exemplified locally by the spooky work of David Noonan. Finally, Arkley’s insights into the darker aspects of both urban and suburban life should also be mentioned, bringing to mind the Freudian notion of the “uncanny” (Unheimlich: literally, “un-homely”).

Tudor Village B/W is a classic example of the work of this “other” Arkley, no mere chronicler of the ’burbs, but a thoughtful artist, finely attuned to both the light and darkness of the modern world.

dr john gregory

1. Austin, V., (Ed.) 5AR: Artists and Architects ’86 (Special Catalogue Issue of Transition No. 17), Melbourne, George Paton Gallery, 1986

2. Crawford, A. and Edgar, R., Spray: The work of Howard Arkley, Craftsman House, Sydney, 1997, p. 89

3. Duncan, J., (Ed.), and Clark, T., “Howard Arkley”, HA: Howard Arkley, Monash University Gallery, 1991 pp. 5-6

Working drawings from Howard Arkley 'Casual Works: Working Drawings, Source Material, Doodles 1974-1987', 200 Gertrude Street, Melbourne and Institute of Modern Art, Brisbane 1988. (State Library Victoria, Melbourne, Howard Arkley Archive, MS 14217/1/1777).

© The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

24

PETER SMETS (born 1962)

To Day Plans oil on canvas

signed lower right: Peter Smets

85 x 120cm

provenance

The Artist’s Studio Private collection, Queensland

$15,000-20,000

25 AIDA TOMESCU (born 1955)

Untitled 1987 mixed media on canvas initialled and dated lower left: ACT/ 87

152 x 122.5cm

provenance

The Artist Private collection, Melbourne

$7,000-10,000

24 © Peter Smets/Copyright Agency 2024

Juan Davila

Art serves as a powerful medium for challenging societal norms, provoking thought, and igniting change. Artists often use their work as a means of critiquing and questioning the world around them, delving into issues of identity, culture, and power structures. Among these bold and incisive artists is Juan Davila, whose journey from political turmoil in his native Chile to becoming one of Australia’s most acclaimed and uncompromising artists, speaks to his resilience and dedications to his craft. Davila’s work, marked by its deliberate political overtones and engagement with historical and contemporary references, consistently pushes boundaries of traditional art forms integrating cultural, sexual, and social identities. Through his provocative approach, Davila has been able to reinterpret and subvert cultural images, particularly those that reinforce traditional norms and power dynamics. His take on well-known historical artworks, such as those by Fredrick McCubbin, Claude Monet, Edouard Manet, and Gustave Courbet, offers viewers an opportunity to confront uncomfortable truths and reconsider their perspectives on the world.

While visiting the Musée d’Orsay in Paris, Juan Davila encountered paintings by Gustave Courbet, particularly those featuring the artist’s model and lover, Jo Heffernan. In many of these portraits Jo is depicted nude, serving as a public expression of Courbet’s desire. Courbet’s renowned portrait Woman with a Parrot 1886 embodies the artist’s mastery of realism while also reflecting the limitations of the male gaze. She is positioned in such a matter that we cannot meet her gaze. Rather, our gaze goes to the makeshift theatrical presentation: a woman playing in bed with a bird.1

In 2003, Davila created this own interpretation of Courbet’s Women with a Parrot with two works on paper, one being of the same title, along with Untitled. In these works, Davila introduces an Australian setting and cultural references, situating the narrative in his own cultural environment and challenging traditional perspectives. By repositioning the woman’s body and altering the visual composition, Davila disrupts the viewer’s expected gaze and infuses the artwork with psychological complexity. In contrast to Davila’s Women with a Parrot where the female figure is depicted nude, Untitled features the same female subject clothed, with her gaze meeting the viewer’s, expanding on the notion that the female sitter need not be portrayed nude, as is common in many of Courbet’s paintings. The metaphor of the parrot has been expanded; it is now a pictogram representing the Lacanian psychotic structure of holes without signifiers, as explored in the nude woman’s analysis.2 Davila integrates a male sitter, possibly an analyst, into the composition, offering a new perspective on the events and contributing to a more nuanced interpretation of the narrative. Davila’s art acts as a bridge between eras and perspectives, creating a tapestry of anxieties, celebrations and introspection that challenges and confronts the viewer with an unfamiliar perspective. His ability to reimagine iconic works, infusing them with Australian context and fresh interpretations, enriches the narrative and transcends conventional limitations. His influence is felt across Australia, South America, North America, and Europe, with his works included in major international events such as the 1982 and 1984 Biennales of Sydney and the 1998 Bienal de São Paulo, Brazil and prominently featured in Documenta 12, Kassel, Germany, in 2007. In 2006, a major retrospective exhibition was held at the Museum of Contemporary Art, Sydney and National Gallery of Victoria, Melbourne. Today, his contributions are recognised and appreciated in major public collections worldwide.

hannah ryan art specialist

1. Brett, G., Benjamin, R. and Davila, J., Juan Davila, The Miegunyah Press, Museum of Contemporary Art, Sydney, 2006, p. 216

2. Brett, G., Benjamin, R. and Davila, J., Juan Davila, The Miegunyah Press, Museum of Contemporary Art, Sydney, 2006, p. 216

26

JUAN DAVILA (born 1946)

Untitled 2003

mixed media on paper

signed and dated lower right: Juan Davila 2003 153 x 206cm

provenance

Kalli Rolfe Contemporary, Melbourne

Private collection, Melbourne

literature

Brett, G., and Benjamin, R., Juan Davila, The Miegunyah Press, Melbourne, in association with Museum of Contemporary Art, Sydney, 2006, p. 242 (illus.), pl. 136

related work

Juan Davila, Women with a Parrot 2003, mixed media on paper, 188 x 234cm, private collection

$40,000-50,000

26 © Juan Davila, licenced by Kalli Rolfe Contemporary Art

27

PRUDENCE FLINT (born 1962)

Contact Lens 2010

oil on linen

titled and dated verso: 2010/ Contact Lens artist’s stamp verso

114 x 102cm

provenance

Nellie Castan Gallery, Melbourne

Chapman Gallery, Canberra

Private collection, Melbourne

exhibitions

World Map, Nellie Castan Gallery, Melbourne, 2010

related work

Prudence Flint, Mirror 2011, oil on linen, 113 x 100.5cm, Leonard Joel, Melbourne, 15 May 2023, lot 20

other notes

Prudence Flint, an artist celebrated for her evocative and enigmatic paintings, seamlessly blends elements of realism and surrealism in her works, inviting viewers into a world of introspection and contemplation. Inspired by everyday scenes and domestic interiors, Flint infuses her paintings with a sense of mystery, often featuring solitary female figures engaged in mundane yet intriguing activities. Her distinctive use of colour, coupled with her meticulous attention to detail, captivates by promoting a deep reflection on themes of identity, femininity, and the human experience.

$10,000-15,000

28

ALESANDRO LJUBICIC (born 1986)

Homage to Klein, Table 2016 oil with Brilliant Green pigments, polished stainless steel, acrylic vitrine and glass

37 x 100 x 120cm

provenance

Michael Reid Gallery, Sydney 2020

Private collection, Sydney

related work

Alesandro Ljubicic, Homage to Klein, Table, 2016 (magenta), oil with Pink pigments, polished stainless steel, acrylic vitrine and glass, 37 x 100 x 120cm (private collection)

“Alesandro Ljubicic has created a horizontal painting, within a vitrine table. A significant colourist and texturalist in his own right, Ljubicic is now commissioning his own unique colours in the search for pure pigments that more intensely describe the world within his widely celebrated work. A palette very much informed by the energy and depth of Ljubicic’s original colours; the simple, the endless and the overpowering. Homage to Klein, Table, is an expression of both broad creativity, vibrant pigment and clear design.” (The Artist)

$12,000-16,000

29 Image Courtesy The Artist and Ames Yavuz, Sydney

ABDUL ABDULLAH (born 1986)

It Doesn’t Matter How I Feel 2013

chromogenic print

147 x 108cm

provenance

Fehily Contemporary, Melbourne Private collection, Melbourne

exhibitions

Homeland, Fehily Contemporary, Melbourne, 7 - 21 February 2013

other notes

“My 2013 work ‘It Doesn’t Matter How I Feel’ speaks to the erasure of the individual and suppression of self-determination, when facing overwhelming political and social adversity. While our bodies, identities and voices are pushed into the shadows, diminished and repressed we use our limited means to have our say.” (The Artist)

$5,000-7,000

30

ROSEMARY LAING (born 1959)

Bulletproofglass #1 2002

c-type photograph, ed. 7/10

signed, titled, dated, editioned and inscribed verso: Rosemary Laing/ bulletproofglass #1/ 2002, 7/10 70.5 x 124.5cm

provenance

Gitte Weise Gallery, Sydney 2003

Private collection, Sydney

Christie’s, Melbourne, 22 August 2005, lot 144 Private collection, Melbourne

exhibitions

Rosemary Laing - Bulletproofglass, Gitte Weise Gallery, Sydney, 8 May - 1 June 2002

literature

Alexander, G., Forsyth, G., French, B., and Jonson, A., Rosemary Laing: A Survey 1995-2002, Gitte Weise Gallery, Sydney, 2003, pp. 55, 49 (illus. another example)

Salomon-Godeau, A., Rosemary Laing, Piper Press, Sydney, 2012, p. 116 (illus. another example)

other notes

“Bulletproofglass #1 is one of the most visually powerful works in a visually powerful series.

The suspended bride of Laing’s previous series, ‘Flight-Research’, hovered in the air often seeming to transcend gravity. These were images of freedom but also poignancy as we were aware of her inevitable fall to earth. The same bride in ‘Bulletproofglass #1’ again hovers in the air, but this time she is shot through, wounded in the abdomen with blood splattered down her dress and over her neck. In this eerie photograph it is hard to tell if she is on her way to the heavens or about to plummet towards the ground: the bride seems strangely caught between these opposites of transcendence and oblivion.” (Art Gallery of New South Wales, Sydney)

$7,000-9,000

28 Courtesy The Artist

31

SAMANTHA EVERTON (born 1971)

Giong Chim 2018

pigment ink on canson rag, ed. A/P 1 signed, titled and dated on Anthea Polson Art label verso 84 x 115cm

provenance

Anthea Polson Art, Queensland (label verso) Private collection, Queensland

exhibitions

Indochine, Arthouse Gallery, Sydney, 25 April - 19 May 2018 (another example)

Indochine, Anthea Polson Art, Queensland, 17 - 30 June 2018 (another example)

“Indochine depicts a woman navigating the conflicting cultural pressures of the East and the West. Exuding visual luxury and vivid sensuality, the artworks plunge the viewer into a colour-saturated dreamscape. The series explores the encroachment of Western fashion within Asian cultures and the struggle for authenticity amidst contemporary influences.” (excerpt, exhibition statement)

$4,000-5,000

31 Courtesy the Artist and Anthea Polson Art, Queensland

The Late 24 Year Old Travis Boyd’s Thick and Hairy Belly 4 2018 varnishes, epoxyglass on Perspex signed and dated verso: Dale Frank 2018

150.5 x 100.5cm

provenance

Pearl Lam Galleries, Hong Kong

Private collection, Sydney

$10,000-15,000

DALE FRANK (born 1959)

32 Courtesy of The Artist and Roslyn Oxley9 Gallery, Sydney

33

GODWIN BRADBEER (New Zealander; born 1950)

Imago - Point Blank 2012 chinagraph, silver oxide, pastel and acrylic on paper signed and dated lower left: 2012 godwin Bradbeer artist’s name printed lower left 171 x 130cm

provenance

James Makin Gallery, Melbourne Private collection, Melbourne

exhibitions

Dobell Prize for Drawing 2012, Art Gallery of New South Wales, 11 April - 18 May 2014 (finalist)

other notes

“In contrast to this charged pathos expressed outwardly through the body, Bradbeer’s Imago drawings contain a more internalised, meditative focus. All the works from this series feature a frontal view of a head suspended in an often black, vacuum-like space. Drawn on an impressively large scale, the epic planes, peaks and valleys that comprise the Imago faces allows for each part of the whole to be examined in isolation, where the abstracted nature of these figurative drawings can be fully comprehended. The unwavering gaze that looks through the viewer and serene facial features that characterise these works are evocative of Eastern deities in their sublime and idealised countenance. Yet Bradbeer avoids direct cultural reference and its subsequent symbolic implications, maintaining instead universality in form and metaphor.” (Marguerite Brown)

$20,000-25,000

33 Courtesy The Artist

34

KATHRYN RYAN (born 1965)

From Back Roads 2019

oil on linen

signed, titled and dated verso: KATHRYN RYAN

From Back Roads 2019

183 x 137cm

provenance

Private collection, Sydney

other notes

In Kathryn Ryan’s work, landscapes take on a sensuous resonance. Set in the space between night and day, her scenes are at once bold and subtleevoking the suggestive poetry of the land. Here, she traces the smokey silhouette of trees at dusk. The work is expansive, filling the viewer’s field of vision. Just as Claude Monet’s waterlilies transported their beholder to the water’s edge, Ryan’s From Back Roads invites you for a long walk in the paddock, suffused by the dregs of terror twilight. This is a truly transformative aesthetic experience.

$9,000-12,000

34 Courtesy The Artist

John Kelly

Australian artist John Kelly is known for his sculptural works and paintings that often explore themes of identity, environment, and cultural heritage. Born in 1965, Kelly draws inspiration from his upbringing on a dairy farm, incorporating elements of rural life and the Australian landscape into his art. He gained widespread recognition for his series of cow sculptures, which blend humour and social commentary while challenging traditional notions of art and representation. Through his eclectic body of work, Kelly continues to captivate audiences with his thought-provoking interpretations of Australian identity.

Kelly blends history, social commentary, and personal narrative into his artwork, and his piece First Past the Post-Modern (1998) stands as a testament to his approach. Kelly explores identity and legacy through the lens of his painting depicting the legendary racehorse Phar Lap.

Born in England and raised in Australia, John Kelly's upbringing in both countries deeply influences his artistic perspective. His fascination with cultural icons and historical events is evident in his body of work, which often features surreal interpretations of familiar subjects.

First Past the Post-Modern revolves around the enigmatic figure of Phar Lap, the champion Australian Thoroughbred racehorse. Kelly deconstructs the mythology surrounding Phar Lap, offering viewers a fresh perspective on this iconic symbol of resilience and triumph. The work embodies Kelly's distinctive blend of intelligent social commentary and whimsical humour.

At first glance, First Past the Post-Modern presents a striking image: the severed hindquarters of Phar Lap, meticulously rendered in ghostly white against a backdrop of an Australian landscape. Here, Kelly confronts themes of mortality, legacy, and the passage of time, inviting viewers to contemplate the ephemeral nature of greatness.

Central to Kelly's artistic practice is his exploration of identity and belonging. As an artist with roots in both England and Australia, he grapples with questions of cultural heritage and personal history. First Past the Post-Modern serves as a metaphorical reflection of Kelly's own journey of self-discovery, as he navigates the complexities of his dual identity. By infusing the narrative of Phar Lap with his own experiences and perspectives, Kelly creates a deeply resonant and universally relatable artwork.

wiebke brix head of art

35 JOHN KELLY (born 1965)

First Past the Post-Modern 1998 oil on linen

signed and dated lower right: Klly 98 titled verso

136.5 x 182.5cm

provenance

Niagara Galleries, Melbourne (label verso)

Private collection, Melbourne

Lawson~Menzies, Sydney, 2 May 2007, lot 527

Private collection, Queensland

Lawson~Menzies, Sydney, 19 March 2008, lot 223

Private collection, Melbourne

Menzies, Sydney, 22 March 2012, lot 66

Company collection, Melbourne

Menzies, Sydney, 10 December 2015, lot 49

Private collection, Melbourne

exhibitions

John Kelly, Niagara Galleries, Melbourne 1998, cat. no. 3 (label verso)

$30,000-50,000

35 © John Kelly/Copyright Agency 2024

CELIA PERCEVAL (born 1949)

Joan in the Dam with her Dog oil on linen

signed lower right: Celia Perceval

61 x 81.5cm provenance

Bridget McDonnell Gallery, Melbourne

Private collection, Melbourne

$9,000-12,000

36 © Celia Perceval/Copyright Agency 2024

37

WILLIAM ROBINSON (born 1936)

Josephine

charcoal on paper, diptych

signed lower centre: William Robinson

102.5 x 131cm

provenance

Sotheby’s, Sydney, 15 August 2000, lot 135

Art Galleries Schubert, Queensland

Private collection, Sydney

Lawsons~Menzies, Sydney, 2 May 2007, lot 530

Private collection, Sydney

Lawsons~Menzies, Sydney, 19 June 2008, lot 232

Private collection, Melbourne

Menzies, Melbourne, 20 June 2012, lot 10

Private collection, Melbourne

Menzies, Sydney, 24 September 2014, lot 231

Company collection, Melbourne

Menzies, Melbourne, 10 August 2017, lot 26

Private collection, Melbourne

related work

William Robinson, William with Josephine, oil on canvas,122 x 184cm, Sotheby’s, Melbourne, 24 November 2008, lot 7

The title Josephine refers to William Robinson’s cow who was named Josephine; an animal often appearing in his work. Robinson developed his own unique perspective on the landscape. A comparison can be drawn between his animal farmyard scenes and the still life genre, through the artist’s placement of his subject matter; each animal (cow, chicken and goat) is arranged and meticulously placed across the surface of the artwork. Movement of these farm animals is captured through the placement of his subject matter along the edges of his artwork - often cropped and half visible - so they appear as if they are coming out, or walking across the artwork.

$10,000-15,000

38 GORDON BENNETT (1955-2014)

Psychotopographical Landscape (Cage) 1991 oil on canvas

signed, titled and dated verso: “Psychotopographical Landscape (Cage)” 1991/ GBennett 18-3-’91

100 x 100cm

provenance

Department of Aboriginal & Island Affairs, Brisbane Bellas Gallery, Brisbane

Private collection, Brisbane

exhibitions

Gordon Bennett, Bellas Gallery, Brisbane, 7 - 25 May 1991

literature

Compassion Calms the Rage, Courier Mail, 14 May, 1991

Southern Crossings: Empty Land in the Australian Image, Camerawork, London, 1992

other notes

“Gordon Bennett’s bold and humane art challenged racial stereotypes and provoked critical reflection on Australia’s official history and national identity. Bennett was one of Australia’s most significant and critically engaged contemporary artists, addressing issues relating to the role of language and systems of thought in forging identity. He rejected racial stereotypes and freed himself from being categorised as an Indigenous artist by creating an ongoing pop art inspired alter ego, John Citizen, who he considered to be ‘an abstraction of the Australian Mr Average, the Australian Everyman’.” (The Museum of Contemporary Art Australia, Sydney)

$15,000-20,000

39 RICHARD BELL (born 1953)

The Nine Nothings 2001 oil on linen

signed, dated and titled verso: ‘The Nine Nothings’/ Richard Bell/ 2001

80 x 80cm

provenance

The Artist

Private collection, Queensland

other notes

Activist and artist, Richard Bell provocatively challenges preconceived ideas of Indigneous Art, whilst addressing contemporary issues of identity, place and politics.

In this artwork titled The Nine Nothings, Bell is referencing the Imants Tillers and Michael Nelson Jagamara appropriation incident that occured in 1985, where Tillers used imagery from Jagamara’s painting Five Dreamings without permission in his work The Nine Shots. This act sparked intense discussion around issues of appropriation in art and was particularly heated due to the opposing cultural ideologies of the artists and the lack of cultural sensitivity.

$5,000-7,000

39 © Gordon Bennett, managed by John Citizen Arts Pty Ltd

provenance

exhibitions

other notes

Sophie Cape’s art merges abstraction and figuration, blending the sublime with explosive energy. Her largescale, dynamic pieces express visceral drama, drawing from her past as a former elite athlete to capture raw, direct emotion. Working outdoors in the desert, Cape experiments with unconventional materials, embracing their rawness to tap into her subconscious and explore the figure.

Her work serves as psychological self-portraits, depicting the tension between survival and decay, and the interplay between internal and external worlds. Cape seeks to engage the viewer in a powerful, theatrical experience that transcends language.

$10,000-15,000

40 SOPHIE CAPE (born 1975)

The Earth She Bleeds 2011 soil, acrylic, tar, charcoal, ink and bone on canvas signed and dated verso: Sophie Cape/ 2011 190 x 144cm

Olsen Gallery, Sydney Private collection, Melbourne

Sophie Cape New Works, Olsen Gallery, Sydney, 9 - 27 February 2011

40 Courtesy The Artist

41 PAUL BOSTON (born 1952)

Round House 2016

acrylic on board

signed, titled and dated verso: Round house/ 2016/ Paul Boston 60 x 70cm

provenance

Niagara Galleries, Melbourne (label verso)

Mrs Rae Rothfield, Melbourne

Sotheby’s, Melbourne, 23 October 2019, lot 101

Private collection, Melbourne

exhibitions

Paul Boston, Niagara Galleries, Melbourne, 30 August1 October 2016, no. 6 (label verso)

$4,000-6,000

42

JOANNE MORRIS (born 1974)

Tendrils 2023

charcoal on Arches paper

signed lower right: Joanne/ Morris 101 x 66cm

provenance

The Artist

Private collection, Melbourne

$4,000-5,000

41 © Paul Boston/Copyright Agency 2024

42 Courtesy The Artist

signed and dated lower right: Dunlop 11

signed, titled, dated and inscribed verso 150 x 180cm

Private collection, Melbourne

Menzies, Sydney, 23 June 2011, lot 103

Private collection, Melbourne

Lawson~Menzies, Sydney, 17 May 2012, lot 27

Private collection, Melbourne

Menzies, Melbourne, 10 August 2017, lot 123

Private collection, Melbourne

$7,000-9,000

RICHARD DUNLOP (born 1960)

Anzac Memorial (Flows to River) 2011 oil on canvas

43 © The Artist

44

JASON BENJAMIN (born 1971)

Taste Everything 2000 oil on canvas

signed, titled and dated verso: taste everything/ April ‘00/ Benjamin

122 x 122cm

provenance

Tim Olsen Gallery, Sydney (label verso)

Private collection, Melbourne

$6,000-8,000

45

Morning Sun Arkaroola 2009

oil on board

signed, titled and dated verso: Morning SunArkaroola/ Luke Scibberas/ ‘09

90 x 170.5cm

provenance

Private collection, Melbourne

$6,000-8,000

mixed media on linen

signed verso: Ben Aitken (concealed)

35 x 38cm

provenance

Private collection, Sydney

$2,000-3,000

LUKE SCIBBERAS (born 1975)

46 © Benjamin Aitken/Copyright Agency 2024

46 BENJAMIN AITKEN (born 1991)

Portrait of Tony Albert

47

MARIE MANSFIELD (born 20th century) Artists Lounge (National Art School) 2020 oil on board

signed and titled verso: Artists Lounge (National Art School)/ Marie Mansfield

40 x 40cm

provenance

Nanda\Hobbs, Sydney

Private collection, Melbourne

$2,000-3,000

(born 1948)

48 © Rick Amor/Copyright Agency 2024

49 PHILLIP PIPERIDES (born 1956)

Carmen 2021

bronze, ed. 1/11

signed and editioned on side: P PIPERIDES 1-11

77 x 30 x 23cm

provenance

Anthea Polson Art, Queensland

Private collection, Queensland

$8,000-10,000

49 Courtesy The Artist and Anthea Polson Art, Queensland

Synchronicity

signed lower right: -LAWRENCE STARKEYsigned and titled verso

66.5 x 150.5cm

provenance

$5,000-7,000

LAWRENCE STARKEY (born 1959)

oil on canvas

Anthea Polson Art, Queensland (label verso) Private collection, Queensland

50 Courtesy The Artist and Anthea Polson Art, Queensland

provenance

Seventh Gallery, Melbourne 2006

Private collection, Melbourne

exhibitions

Virtual Banality, Seventh Gallery, Melbourne, 15 - 26 August 2006

$1,000-2,000

JACKSON SLATTERY (born 1983)

Funeral Wreath/ Another Skull in a Gallery 2006

watercolour on paper

signed verso (concealed)

146 x 94cm

titled and dated verso: “Dawn Light” 2009/10/

provenance

Olsen-Irwin Gallery, Sydney

Private collection, Melbourne

$6,000-8,000

52 © Matthew Johnson/Copyright Agency 2024 52

MATTHEW JOHNSON (born 1963) Dawn Light 2009-2010 oil on linen signed,

Matthew Johnson

99.5 x 199.5cm

53 © Katherine Hattam/Copyright Agency 2024

53 KATHERINE HATTAM (born 1950)

WE 2012 oil on linen

signed on stretcher bar verso: K. HATTAM

107 x 107cm provenance

The Artist

$5,000-7,000

LOUISE GRESSWELL (born 1970)

Untitled (Blue) and Untitled (Hot Pink) 2020

Pair of works oil on canvas on board (2)

signed, titled and dated verso: Untitled (blue) 2020/ Louise Gresswell

signed, titled and dated verso: Untitled (hot pink) 2020/ Louise Gresswell

34 x 27cm; 36.5 x 29cm

provenance

Gallery 9, Sydney

Private collection, Sydney

$2,000-4,000

54 Courtesy The Artist

55

137 x 152cm

provenance

Private collection, Sydney

$6,000-8,000

JASPER KNIGHT (born 1978)

St Kilda Sea Baths 1931 2017 enamel, gloss acrylic and gesso on linen signed, titled and dated verso: JASPER KNIGHT/ ST KILDA SEA BATHS/ 1931/ 2017/ Jasper Knight

55 © Jasper Knight/Copyright Agency 2024

56

LUKE CORNISH (E.L.K) (born 1979)

Keel Billed Toucan (Belize) aerosol on handmade paper signed on frame verso: ELK titled on frame verso

42 x 30cm

provenance

Oshi Gallery, Melbourne (label verso)

Private collection, Melbourne

exhibitions

Dissimulation, Oshi Gallery, Melbourne, 17 August1 September 2023

“Are birds free? True, they know no borders, and they possess the ability to soar away at will (well, most of them anyway). Yet, they remain perilously low on the food chain, ever vulnerable to meeting their demise at the jaws of a larger predator. Through this collection, I pose fundamental questions about the nature of freedom and power. What does it mean to be free? How do we define power in a world where disparities persist? As we move into a future of digitisation, decentralised finance and Artificial intelligence, will the death of fiat currency enhance our freedoms or widen the existing chasm between rich and poor?”

(excerpt, exhibition statement)

$2,000-3,000

56 © Luke Cornish/Copyright Agency 2024

57 LINDA KLARFELD (born 1976)

The Chairman

bronze, ed. 6/30

signed and editioned at base: L. KLARFELD 6/30

23 x 14 x 23cm

provenance

Aquired directly from The Artist

Private collection, Melbourne

$3,000-5,000

58 PAUL RYAN (born 1964)

Pope Innocent X After V After FB 2018 oil on linen

signed and dated verso: ryan 2018 titled on stretcher bar verso

137.5 x 123cm

provenance

Private collection, Sydney

$6,000-8,000

57 Courtesy The Artist

Artist Index

A

Abdullah, Abdul 29

Adair, Tom 21

Albrecht, Gretchen 13

Aitken , Benjamin 46

Amor, Rick 48

Arkley, Howard 23

B Bell, Richard 39

Benjamin, Jason 44

Bennett, Gordon 38

Brennan, Angela 9

Boston, Paul 41

Bradbeer, Godwin 33

C Cape , Sophie 40

Cornish, Luke (E.l.k) 56

D Davila, Juan 26

D. Cole, Peter 17

Drinkwater, James 11

Dunlop, Richard 43

E Everton, Samantha 31

F Flint, Prudence 27

Frank, Dale 32 Frazer, Neil 7

G

Gresswell, Louise 54

H Hattam, Katherine 53

Hodge, Gregory 2

J Johnson, Matthew 52

K Kelly, John 35

Kimber, Mason 5

Klarfeld, Linda 57

Knight, Jasper 55

L

Laing, Rosemary 30

Leach, Sam 3

Ljubicic, Alesandro 28

Longhurst, Kathrin 16

M

Mansfield, Marie 47

Marti, Dani 14

Morris, Joanne 42

O O’brien, Peta (Pob) 22

Olsen, John 12

P

Perceval, Celia 36

Piperides, Phillip 49 Polo, Tom 1

R Robinson, William 37

Ryan, Kathryn 34

Ryan, Paul 58

S Sandrasegar, Sangeeta 20

Scibberas, Luke 45

Slattery, Jackson 51

Smets, Peter 24

Starkey, Lawrence 50

Stewart, Esther 10

Sylvester, Darren 4

T Telecki, Jelena 19

Tomescu, Aida 25

Twigg, Julian 6

B Wells, Jodie 8

Whiteley, Brett 18

Z Zilinsky, Caroline 15

lot 4

DARREN SYLVESTER (born 1974) Hard To Say I’m Sorry 2014 (detail) lightjet print, ed. 1/3 signed, titled, editioned and dated on label verso 119 x 89cm $7,000-9,000 Courtesy The Artist and Sullivan+Strumpf

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025

t: (02) 9362 9045

info@leonardjoel.com.au

leonardjoel.com.au

Laure Prouvost: Oui Move In You

MELBOURNE DESIGN

HRH Crown Princess Mary of Denmark 2006 (detail) by Ralph Heimans. The Museum of National History at Frederiksborg Castle © Ralph Heimans

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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.

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.

Credit card fees may apply.

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.

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 Environ-

ment, 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/tradeuse/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

leonard home delivery

Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@ leonardjoel.com.au

recommended carriers

For recommended carriers please refer to our website.

partners:

Our Specialists

chairman & head of important collections

John Albrecht, BA LLB MBA

chief executive officer

Marie McCarthy

fine art

Wiebke Brix, Head of Art

Amanda North, Specialist

Hannah Ryan, Specialist

Brooke Hyrons, Administrator and Registrar

decorative arts

Chiara Curcio BA, Head of Department

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Gemma Fitzgerald, Acting Administrator

asian art

Luke Guan, Head of Department

Trevor Fleming BA, Consultant, Japanese Art

sydney

Ronan Sulich, Senior Adviser

Madeleine Norton BFA, BComm, MLitt, Head of Decorative Arts & Art

Ella Nail, Office Manager & Administrator

important jewels

Hamish Sharma, Head of Department, Sydney

Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist

fine jewels & timepieces

Rebecca Sheahan, Head of Department, Melbourne

Patricia Kontos F.G.A.A., Senior Jewellery Specialist

Isabella Macciolli, Jewellery Assistant

Echo Liu, Administrator

Bethany McGougan, Consultant & Senior Auctioneer

Henrietta Maiyah, Consultant

modern design

Rebecca Stormont, Specialist

luxury

Indigo Keane, Specialist

Leila Bakhache, Assistant

Echo Liu, Administrator

prints

Hannah Ryan, Art Specialist

furniture

April Chandler, Manager

Angus McGougan, Assistant

Thomas Hindle, Assistant

Shawn Mitchell , Interiors Consultant

jewellery

Isabella Macciolli, Assistant

Leila Bakhache, Assistant

art salon

Noelle Martin, Manager

Millie Lewis, Assistant

objects & collectables

Dominic Kavanagh MFA, Manager

Kieran Grogan Carpenter, Assistant

valuations

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Troy McKenzie, Queensland Representative Specialist

Anthony Hurl, South Australia Representative Specialist

John Brans, Western Australia Representative Specialist

accounts

David Brady, Finance Manager

Michelle Draper, Account Manager

Karishma Sareen, Accounts Assistant

client services

Kim Clarke, Client Services Manager

Amelia Lewis, Client Services Liaison

Richard Grieve, Client Services Liaison

operations & logistics

Anthony Riepsamen, Manager

Chris Salaoras, Logistics Assistant

David Price, Logistics Assistant

marketing & communications

Blanka Nemeth, Senior Marketing, Media, & Communications Manager

Lucy Lewis, Database & Marketing Coordinator

photography

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

graphic design

Maria Rossi

melbourne 2 Oxley Road, Hawthorn, VIC 3122 03 9826 4333

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025 02 9362 9045

brisbane 54 Vernon Terrace, Teneriffe, QLD 4005 0412 997 080

adelaide 429 Pulteney Street, Adelaide SA 5000 0419 838 841

perth 0412 385 555

info@leonardjoel.com.au leonardjoel.com.au