WHAT’S IN A NAME?
Centum was first held in 2020, with a desire to provide an auction devoted exclusively to Australian contemporary art. There was, in our view, a gap in the secondary market for a refined contemporary art auction which was sought after by buyers and sellers, but also needed for a sustainable secondary market for the work of contemporary artists. We wanted a name and a goal and so we set about curating 100 lots annually, honoured through the name Centum. The name remains, the commitment to nurturing a secondary market for contemporary Australian and International art continues but the number of works moves with and reflects the market.
This year’s Centum exhibition and auction returns to both Sydney and Melbourne, and brings together some of our most covetable pieces of contemporary art from Australia and abroad. Works by Michael Zavros, Sam Leach, and Junko Mori have never before been seen by the public having been commissioned directly from the artists before entering private collections. We are thrilled to have examples by Prudence Flint, Gregory Hodge, Troy Emery and Victoria Reichelt, who are rare to see on the secondary market.
It gives me great pleasure to bring together this year’s Centum exhibition and auction, and I look forward to presenting these works through our Sydney and Melbourne galleries as well as online.
Olivia Fuller | Head of Art
Lot 50 (detail opposite) Courtesy The Artist and Sullivan+Strumpf
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Lot 26 (detail)
ARTIST INDEX –5 A ADAIR, TOM 64 ALBERT, TONY 6 AMOR, RICK 12 ASPDEN, DAVID 31 B BAIRD, JOHN 36 BECK, ANDREW 27 BIENIEK, NATASHA 3 BINNS, FERGUS 44 BOOTH, PETER 33 BORLAND, POLLY 52 BRETTLE, MERRIC .............................. 28 C COELHO, KIRSTEN 71 COPPERSMITH, YVETTE 8 CULLEN, ADAM 61 D DAVIES, GERWYN .............................. 53 DAVIES, PAUL ...................................... 65 DICKENS, KARLA................................ 25 DRYSDALE, PIPPIN ............................. 40 E E.L.K 63 EMERY, TROY 2 EVERTON, SAMANTHA 9 F FLINT, PRUDENCE 20 FORD, JUAN 21 G GREENWOOD, HOLLY 14 H HARDING, CHARLIE INGEMAR 43 HARRIS, BRENT 30 HATTAM, KATHERINE 57 HIRSCHMANN, ROBERT 32 HODGE, GREGORY 4 HUGHES, NATALYA 49, 6 J JEFFREYS, LEILA .................................. 18 K KELLY, JOHN 35 KINNANE, AARON 15 KNIGHT, JASPER 56 L LAING, ROSEMARY 51 LAMB, JOANNA 45 LARWILL, DAVID 37 LEACH, SAM 26 LEE, RHYS 58 LEE, LINDY 60 LINDEMAN, MICHAEL 54 LONGHURST, KATHRIN .................... 81 LOVETT, DANE .................................... 70 M MACDONALD, TRAVIS 41 MAESTRI, GUIDO 16 MARTI, DANI 29 MCLUCKIE, ALASDAIR 62 MCGREGOR, LAITH 76 MCKENZIE, ALEXANDER 79 MCMONAGLE, FIONA 73 MEAGHER, JULIAN 46 MERRETT, LARA 59 MILLER, LEWIS 80 MINCHAM, JEFF 78 MOMBASSA, REG 42 MORI, JUNKO 23 MORRIS, JOANNE 77 N NITHIYENDRAN, RAMESH MARIO 7 NOONAN, DAVID 82 O OLSEN, JOHN 13 P PAAUWE, DEBORAH 68 PERCEVAL, CELIA 39 PICCININI, PATRICIA 67 PIPERIDES, PHILLIP 74 Q QUICK, MATTHEW ............................. 19 R REICHELT, VICTORIA 1 RENNIE, REKO 5 ROHAN, MONICA 75 S SENBERGS, JAN 34 SETON, ALEX 55 SILVER, TIM 17 SKOCZEK, MIRANDA 69 SMETS, PETER 11 SMITH, PETER JAMES 48 STARKEY, LAWRENCE 72 SYLVESTER, DARREN ........................ 50 T THOMPSON, CHRISTIAN 24 TWIGG, JULIAN 38 W WELLS, JODIE ......................................10 WYMAN, JEMIMA ............................... 47 Z ZAHALKA, ANNE 66 ZAVROS, MICHAEL 22
VICTORIA REICHELT (born 1979)
Tangle 2017
oil on linen
signed and dated lower right: REICHELT.17
signed, titled and dated on frame verso 42 x 42cm
PROVENANCE: THIS IS NO FANTASY, Melbourne Private collection, Melbourne
EXHIBITIONS:
Precipice, THIS IS NO FANTASY, Melbourne, 1 - 24 June 2017
“The paintings in Precipice follow on from earlier works that considered the growing obsolescence of libraries and archives. For this exhibition Reichelt takes ordinary objects and office stationary, strips them of their context and presents them in a fresh tableaux. These items, which were at one time essential to rational organisation and workplace efficiencies, are facing redundancy as we turn our backs more and more on the analogue, in favour of the digital.” (exhibition statement)
$5,000-7,000
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© Victoria Reichelt/Copyright Agency, 2023
TROY EMERY (born 1981)
Yellow Footed Blue 2021 polyester, polyurethane, adhesive, screws, pins
54 x 57 x 43cm
PROVENANCE:
Martin Browne Contemporary, Sydney Private collection, Melbourne
LITERATURE:
Holcombe, N, Troy Emery, Artist Profile, Sydney, issue 55, 2021, accessed online:
“Troy Emery’s practice is imbued with tactility that points to the role of animals and their forced complicity within contemporary life. Emery’s life-size sculptures of animal forms include the usual domesticated subjects of dogs and cats but are also joined by ones that were considered ‘wild’ such as sloths, lions and foxes. The sculptures are often presented in bright colours and assume postures that are unsettlingly familiar, as if they could shift and breathe life at any moment. These forms however are composed of intricately placed layers and layers of textile, not flesh and blood. They remain faceless, a hint to their agency stripped through anthropocentric destruction and possession.”
$4,500-6,500
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© Troy Emery/Copyright Agency, 2023
NATASHA BIENIEK (born 1984)
Biopod #2 2018 oil on silver mirror dibond signed, titled and dated verso: NATASHA BIENIEK/ ‘Biopod #2’/ 2018 14 x 9cm
PROVENANCE:
THIS IS NO FANTASY, Melbourne Private collection, Melbourne
EXHIBITIONS:
Intimate Monument, THIS IS NO FANTASY, Melbourne, 28 April - 19 May 2018 “Bieniek’s miniature sized oil paintings are painted with meticulous precision. Their diminutive scale and glossy surfaces also reflect on the way we view images today, bringing to mind smart phones and tablet screens.” (THIS IS NO FANTASY)
$7,000-10,000
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Courtesy The Artist and THIS IS NO FANTASY, Melbourne
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GREGORY HODGE (born 1982)
Ocean Town 2021 synthetic polymer paint on canvas signed, titled and dated verso: GREGORY HODGE/ “Ocean Town” 2021 200 x 159.5cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
EXHIBITIONS:
Studio, Gregory Hodge, Sullivan+Strumpf, Sydney, 27 May - 3 July 2021 “Gregory Hodge constructs illusionary abstractions from a mélange of source material including painted abstract motifs on drafting film, coloured paper and masking tape, before rendering these collages in paint. Using complex and systematic technical processes such as trompe-l’oeil, cast shadows and manipulating paints’ translucent and opaque qualities, the paintings playfully mimic the physical fragility and provisional nature of the source material. The paintings blur the boundaries between two and three dimensionality and playfully explore the space between image and reality, representation and abstraction.” (Sullivan+Strumpf)
$16,000-22,000
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Courtesy The Artist and Sullivan+Strumpf
REKO RENNIE (born 1974)
Yes (Celebrating 40 Years Since the Yes Vote in the 1967 Referendum)
2017
synthetic polymer paint with aerosol on canvas
120.5 x 120cm
PROVENANCE:
Kronenberg Wright Artists Projects, Sydney 2017 Private collection, Melbourne
EXHIBITIONS:
YES, Kronenberg Wright Artists Projects, Sydney, 27 April - 20 May 2017
OTHER NOTES:
“In 1967 a Federal referendum was held asking Australians whether two references in the constitution which discriminated against Aboriginal people should be removed. One of the references slated for change stated that ‘in reckoning the numbers of the people of the Commonwealth, or of a State or other part of the Commonwealth, aboriginal (sic) natives should not be counted.’ 90.77% of respondents voted for change – the highest YES vote ever recorded in a Federal referendum. The YES font featured in my work was used in advertising and promotional material prior to the referendum during a period when momentum for political change within Indigenous affairs was growing. Fifty years on from the 1967 referendum, this country and its Government still have a long way to go in recognising and restoring the rights of the traditional owners of this land” (The Artist, 2017)
$16,000-18,000
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© Reko Rennie
TONY ALBERT AND NATALYA HUGHES (born 1981; born 1977)
Silent Conversation (07) 2020 synthetic polymer paint and vintage appropriated Aboriginal fabric on canvasboard artist’s signatures, title and date on label verso 20 x 25cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
OTHER NOTES:
“Silent Conversations was initiated during lockdown and represents an abstract dialogue between artists and friends Natalya Hughes and Tony Albert. Through the application of mark making, the canvas boards (posted back and forth multiple times) continue decades of academic dialogue between the two artists.” (excerpt, Artists’ Statement)
$1,800-2,800
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Courtesy The Artist and Sullivan+Strumpf
RAMESH MARIO NITHIYENDRAN (born 1988)
Terracotta Figure 36 2020
terracotta
27 x 22cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
OTHER NOTES:
“Ramesh Mario Nithiyendran creates rough-edged, vibrant, new-age idols that are at once enticing and disquieting. He experiments with form and scale in the context of figurative sculpture to explore politics of sex, the monument, gender and organised religion. He capitalises upon the symbolism of clay as fundamental corporeal matter. While proceeding from a confident atheist perspective, Nithiyendran draws upon his Hindu and Christian heritage as reference points as well as a large range of sources including the internet, pornography, fashion and art history”. (Sullivan+Strumpf)
$2,500-3,500
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© Ramesh Mario Nithiyendran/Copyright Agency, 2023
8 YVETTE COPPERSMITH (born 1980)
Afterimage No. 9 2021
oil on jute
signed, titled and dated verso: Yvette Coppersmith/ Afterimage No 9/
2021
76 x 61cm
PROVENANCE:
Sullivan+Strumpf at Melbourne Art Fair, Melbourne 2022 Private collection, Melbourne
EXHIBITIONS:
Sullivan+Strumpf at Melbourne Art Fair, Melbourne, 17-20 February 2022
OTHER NOTES:
Yvette Coppersmith’s Afterimage series features matte textured surfaces, created through the use of sand combined with rich pigment that give these paintings the appearance of being woven. Greatly inspired by musical compositions, her paintings explore the sound of colour with her rich colour palette inviting us to appreciate a series of beautiful harmonies.
$4,000-6,000
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© Yvette Coppersmith/Copyright Agency, 2023
9 SAMANTHA EVERTON (born 1971)
Huai Niao 2018 pigment ink on cotton rag, ed. 6/8 artist’s name, edition, title and date on gallery label verso 83.5 x 115cm
PROVENANCE:
Anthea Polson Art, Queensland (label verso) Private collection, Queensland
EXHIBITIONS:
Indochine, Arthouse Gallery, Sydney, 25 April – 19 May 2018 (another impression)
Indochine, Anthea Polson Art, Queensland, 17 June – 30 June 2018 (another impression)
“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)
$4,500-5,500
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Courtesy The Artist and Anthea Polson Art, Queensland
JODIE WELLS (born 1981)
PROVENANCE:
Anthea
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Swift Descent Barn Owl 2021 oil on canvas signed lower left: JODIE WELLS signed titled and dated verso 30.5 x 41cm
Polson Art, Queensland (label verso) Private collection, Queensland $1,400-1,800
© Jodie Wells/Copyright Agency, 2023
(born
PROVENANCE: The Artist Private collection, Queensland $10,000-15,000
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PETER SMETS
1962)
City View 2022 oil on canvas signed lower right: Peter Smets 75 x 90cm
© Peter Smets/Copyright Agency, 2023
RICK AMOR (born 1948)
The Ladder 1999 oil on canvas signed and dated lower right: RICK AMOR ‘97-99 titled and dated verso 100 x 63cm
PROVENANCE: Niagara Galleries, Melbourne 1999 Corporate collection, Melbourne
$25,000-30,000
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© Rick Amor/Copyright Agency, 2023
JOHN OLSEN (born 1928)
Rabbit Warren - Rydal 1997 oil on canvas
signed lower right: John Olsen titled and dated on Olsen Gallery label verso 106 x 121cm
PROVENANCE:
The Artist
Private collection, Melbourne, acquired from the above in 1998
LITERATURE:
Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 190 (illus.)
$50,000-70,000
John Olsen - En plein air 1996
Greg Weight
gelatin silver photograph on paper
National Portrait Gallery of Australia
Gift of Patrick Corrigan AM 2004. Donated through the Australian Government’s Cultural Gifts Program. © Gregory Weight/Copyright Agency, 2023
Developing over more than 70 years, John Olsen’s career remains one of Australia’s most expansive and successful throughout which he has created an oeuvre with substantial breadth and vitality. Not content with merely being an observer, Olsen has repeatedly travelled across the far reaches of Australia, exploring regions few have had the opportunity to experience themselves. Through his artworks he is able to take us on a journey through these beautiful surroundings, whether it be a vast plain or a majestic body of water.
John Olsen has a unique understanding and appreciation of the Australian landscape. His appreciation of the natural world ever changing and growing transcends onto the canvas through his ability to portray life and movement within the landscape. In 1990, John Olsen and his wife moved to Chapel House Farm at Rydal, near Bathurst in the Central Tablelands of New South Wales. The residence and surrounding landscape were of significant influence to Olsen throughout the ensuing years. The town carried a modest population of no more than one hundred, but the landscape afforded Olsen all the luxuries of Australia’s natural beauty. Often painting en plein air, Olsen captured the daily wonder of his new home in Rydal. In this work we see a glimpse of a rabbit at the base, beneath a bird perched on a nearby branch. The colour palette of predominantly deep reds and browns, to capture the rich ochres of the land, are offset with flickers of greens and blues to capture the movement of the inhabiting flora and fauna. During his time at Rydal, Olsen also produced the masterpiece Summer at Rydal 1997 which was a finalist in the Art Gallery of New South Wales’ Wynne Prize as well as a diptych Spring at Rydal earlier in 1992.
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
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© John Olsen/Copyright Agency, 2023
HOLLY GREENWOOD (born 1992)
Creek Bed Fire, Broken Hill 2019
oil and oil stick on board
80 x 100cm
PROVENANCE:
James Makin Gallery, Melbourne
Private collection, Sydney
EXHIBITIONS:
Wake in Fright, James Makin Gallery, Melbourne, 3-19 October 2019, cat. no. 8
$2,800-3,800
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© Holly Greenwood/Copyright Agency, 2023
15 AARON KINNANE (born 1977)
Notes From A Lighthouse Keeper 2015 oil on canvas signed, titled and dated verso: NOTES FROM A LIGHTHOUSE KEEPER/ 2015/ AARON KINNANE
175 x 160cm
PROVENANCE:
Arthouse Gallery, Sydney (stamp verso) Private collection, Melbourne
EXHIBITIONS:
Winter Passing, Milk Moon Rising, Arthouse Gallery, Sydney, 12 - 28 November 2015
$12,000-16,000
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© Aaron Kinnane/Copyright Agency, 2023
GUIDO MAESTRI (born 1974)
Wilcannia 2013 oil on canvas signed, titled and dated verso: Guy Maestri / ‘Wilcannia No. 4’ / 2013 87 x 76.5cm
PROVENANCE:
Gallery Ecosse, New South Wales Private collection, Melbourne
EXHIBITIONS: Guy Maestri, Bank of America Merrill Lynch: Art of Connecting, Sydney, December 2015 - March 2016 (illus. exhibition cover)
$3,500-4,500
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Courtesy The Artist
TIM SILVER (born 1974)
Untitled (Heartbeats) JM 2021 copper infused Forton MG, unique inscribed at base: JM 11 x 14 x 19cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
EXHIBITIONS:
Inbetween Days, Sullivan+Strumpf, Sydney, 25 November - 18 December 2021
$3,500-5,500
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Courtesy The Artist and Sullivan+Strumpf
LEILA JEFFREYS (born 1972)
‘Mrs Skyring’ Gang-Gang Cockatoo 2012 photograph on archival fibre based cotton rag, ed. 2/12 signed lower right: LEILA JEFFREYS titled and editioned lower left 112 x 89cm (sheet)
PROVENANCE:
Tim Olsen Gallery, Sydney Private collection, Melbourne
EXHIBITIONS:
Biloela, Tim Olsen Gallery, Sydney, 7-25 November 2012
$2,000-3,000
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MATTHEW QUICK (born 1967)
Pure Escapism 2008 oil on Italian linen signed lower left: Quick 100.5 x 100cm
PROVENANCE:
The Collection of the Perc Tucker Regional Gallery, Townsville Acquired by the current owner at a charity auction at Perc Tucker Regional Gallery, Townsville Private collection, Queensland
EXHIBITIONS:
Townsville Open Art Award, Winner, 2008
OTHER NOTES:
“Pure Escapism plays with the ideals of the great Australian family holiday and the current trend of Baby Boomer Grey Nomads and evolves it into a ‘playful nightmare.’ That the ‘escapees’ are still tethered is deliberately poignant.” (The Artist)
$4,000-6,000
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Courtesy The Artist
Courtesy The Artist and Lennox St. Gallery, Melbourne
20 PRUDENCE FLINT (born 1962)
Mirror 2011 oil on linen artist’s stamp verso titled and dated verso 113 x 100.5cm
PROVENANCE:
Chapman Gallery, Canberra 2011 Private collection, Melbourne
RELATED WORK:
Contact Lens 2009, oil on linen, 114 x 102cm, Finalist 2010 Doug Moran National Portrait Prize.
Prudence Flint’s paintings of women focus on the intimate moments that often happen indoors. Whilst Flint initially used herself as a model, many of the women she paints are created from real moments and real individuals she has encountered. Her subjects are intimate, yet never sexualised, with pink-toned skin which parallels notions of femininity but also intimacy. Her paintings can often take up to three months to complete - each one a careful creation full of coded information exploring notions of the feminine self, and self-reflection.
$8,000-10,000
21 JUAN FORD (born 1973)
Superflower 2011 oil on linen
signed, titled and dated verso: Juan Ford/ 2011/ ‘Superflower’
107.5 x 91.5cm
PROVENANCE:
Sullivan+Strumpf, Sydney (label verso) Private collection, Melbourne
$8,000-10,000
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21 Courtesy The Artist
MICHAEL ZAVROS (born 1974)
Abs 2019-2020 oil on canvas
initialled and dated lower right: MZ20 titled and dated on gallery label verso 120 x 160cm
PROVENANCE:
Commissioned from the artist through Sullivan+Strumpf, Sydney (label verso) Private collection, Melbourne $40,000-50,000
Michael Zavros’ paintings are painstakingly produced, brushstroke by careful brushstroke, to produce impeccably rendered photo-realist paintings that leave the viewer in awe. Whilst the artist has delved into a variety of mediums, including photography and video work, it is the canvas that he continuously returns to exploring ideas of luxury, commercialisation, and above all, beauty.
Across Zavros’ nearly three decades long career, his paintings have continued to demonstrate his devotion to realism. In a society filled with digital and photographic imagery, and the immediacy of these mediums and platforms to deliver a commercialised ideal, Zavros’ meticulous paintings are a luxury within themselves.
“In viewing a painting by Zavros we witness his devotion to his subject. There is evidence of the beauty he feels in his infatuations, as measured in the time, care and technical know-how that he employs in painting his subject so beautifully. In this way, the viewer is not necessarily agreeing to love what the artist loves but, instead, appreciates the beauty felt by the artist, and can share in his emotion without committing to his specific desires”.1
Consistent across many of Zavros’ paintings is the presence of beauty. Not only in the enviable skill the artist displays with his brush, but also in his subjects. In Abs, the artist highlights our obsession with self image and the pursuit of the ideal body. Here, the ideal form is stripped back to bare bones – literally. Posing like a fashion model, the skeleton lays itself across the canvas, chin lifted with confidence. The subject remains the sole focus, with the canvas background pure white, untainted by any implications of space or depth. Not one to shy away from a touch of humour, the painting’s title Abs is imagined by Zavros through 6 pure white flowers, arranged like the ideal 6-pack. The flowers are a direct reference to the beautiful, but the combination of skeleton and bouquet parallel as a classic memento mori reminding us that underneath it all we are still but human.
Michael Zavros remains one of Australia’s most celebrated painters, with works in nearly every institutional collection. His paintings are a series of rhythmically applied layers, each rendered with a sharp focus and attention to detail that allow Zavros’ exploration of beauty to remain ever present.
OLIVIA FULLER, HEAD OF ART
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1. Mckay, P., Michael Zavros: Beyond Beauty?, Art Monthly Australia, May 2015, number 279, p.59
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Courtesy The Artist and Sullivan+Strumpf
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JUNKO MORI (Japanese, born 1974)
Botany; Lavender Kokedama 2021 wax-coated mild steel and fine silver 999 (665g silver)
35 x 23 x 26cm
PROVENANCE:
Commissioned from the artist through Adrian Sassoon, London
Private collection, Melbourne
OTHER NOTES:
“My work consists of multiples of individually forged steel or other metals, and the subtle difference of each piece results from hand hammering. No piece is individually planned but becomes fully formed within the making and thinking process. Repeating little accidents, like the mutation of cells, the final accumulation of units emerges within the process of evolution. The uncontrollable beauty is the core of my concept.”
(The Artist)
$14,000-18,000
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DR. CHRISTIAN THOMPSON AO (born 1978)
The Wild Places 2021 c-type print on Fuji metallic paper, ed. 3/6 118.5 x 118.5cm
PROVENANCE: Michael Reid, Sydney Private collection, Melbourne
OTHER NOTES:
Thompson’s work focuses on the exploration of identity, sexuality, gender, race and memory. In his ongoing Flower Wall series’, Thompson conceals himself within a plethora of Australian flora with just a hint of painted limbs and eyes concealed beneath. In 2010 Thompson made history when he became the first Aboriginal Australian to be admitted into the University of Oxford in its 900-year history.
$7,000-9,000
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Courtesy The Artist and Michael Reid Gallery, Sydney
WARRIOR WOMEN
Turning the washing basket upside down, inside out looking for Reg Grundies resilient and well made
No frills no pastel flowers nor see-through lace no crotchless G-strings
Hardened undergarments big-girls’ undies protective covers personal security guards
The world needs facing wearing raw pain, old pain shared and naked pain standing up, showing up
Being heard and being counted holding courage tight ready to love and be loved to be real, to be hurt, to be brave
Big-girl underwear
big-girl knickers
tough and ready until the time allows then the cheeks will shake Run, dance, fart and sing as the nakedness is unleashed on the darkest of nights glowing under moons of glory
Warrior women play again butts blowing in the breeze gracefully relaxed in empowered freedom
KARLA DICKENS (born 1967)
Warrior Woman XI 2017
aluminium underwear, treated taxidermy feral cat, tassels, goggle eyes signed and dated upper right edge: 2017/ KARLA/ DICKENS titled upper left edge 34 x 35 x 18cm (overall)
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
EXHIBITIONS:
Warrior Woman, Andrew Baker Art Dealer at Melbourne Art Fair, Melbourne, 2018
OTHER NOTES:
Karla Dickens is a Wiradjuri woman living in regional New South Wales, who explores the experiences of women and First Nations people through her art. Dickens collects an abundance of found objects and materials, often scavenged from dump sites, hard rubbish, her local second-hand marketplaces. Nearly every part of her artist creations are repurposed. The above poetic statement was written by Karla in 2017 when this series was created, and reproduced in the exhibition material for her recent exhibition at Campbelltown Arts Centre running from January through March 2023.
$4,000-6,000
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(Karla Dickens, 2017)
© Karla Dickens/Copyright Agency, 2023
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SAM LEACH (born 1973)
Landscape with Macaw 2019 oil and resin on board, 6 panels signed and dated verso each panel: Sam Leach 2019 149.5 x 99.5cm
PROVENANCE:
Commissioned from the artist Private collection, Melbourne $35,000-45,000
Sam Leach’s paintings are known for their lustrous, oil-slick finish, yet underneath their sleek surface his paintings often reference history, scientific theories and concepts, particularly those related to biology, ecology, and the natural world.
Leach’s landscapes draw inspiration from the Dutch Golden Age of the 17th century, a period in history known for its economic and cultural prosperity. This era was marked by a fascination with science, technology, and the natural world, which Leach often acknowledges in his paintings through his use of scientific imagery as well as extinct or exotic animals. Beautiful, exotic, and rare, parrots are a mainstay of 17th century Dutch genre paintings typically appearing in domestic or interior scenes. In Landscape with Macaw, Leach depicts the macaw bird in the wild, perched on a branch, wings flared, beaming out towards the mystical landscape beyond while a lion watches over from the left. The overlay of bright circular colours contrast against the subdued landscape, a scientific reference to human interference with the natural environment and the delicate balance of nature and technology.
This amalgamation of ideas relating to past, present and future are further highlighted through Leach’s technique. Blending a traditional method of oil painting with a contemporary layering process with epoxy resin, his paintings can appear almost digital before the eye spots the intricate hand-crafted detail beneath.
“I wanted to create some distance between the art of creating artworks and the viewer, and lengthen that moment the viewer has before connecting with the artist. That has now become a standard part of my practice”.1
In 2010 Sam Leach was the recipient of the Archibald and Wynne prize, being only the third artist to win both in the same year, behind William Dobell and Brett Whiteley. His works have been exhibited extensively around the world, and are included in major institutional collections across Australia.
HANNAH RYAN, ART SPECIALIST
1. Kale, N., Sam Leach, New Realms of Perception 2015, Vault Australasian Art & Culture Magazine, September 2015, https://www.vaultmagazine.com/ISS11/leach.php
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ANDREW BECK (born 1987)
Untitled 2018
silver gelatin print, amber acrylic sheet with conservation glass in artist’s frame
93 x 74cm
PROVENANCE:
Bowerbank Ninow at the Melbourne Art Fair, 2018
Private collection, Melbourne
$4,000-6,000
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MERRIC BRETTLE (born 1967)
Phosphene 3 2018
auto paint on MDF
92 x 73cm
PROVENANCE:
Blockprojects Gallery, Melbourne 2020
Private collection, Melbourne
EXHIBITIONS:
Merric Brettle: Hypnagogic Blink, Blockprojects Gallery, Melbourne, 23 July - 17 August 2019
“In Hypnagogic Blink Merric explores the relationship between handpainted and digitally-created mark-making. In order to do this, he employs various visual art computer programs, spray paint and a variety of material and conceptual digital image-making techniques.” (excerpt, exhibition statement)
$2,000-3,000
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Courtesy The Artist and Blockprojects Gallery, Melbourne
DANI MARTI (born 1963)
How to Dress a Saint #2 2002 nylon rope
signed, titled and dated on frame verso: - How to dress a Saint #2 - / DM ‘02
60 x 62 x 11cm
PROVENANCE:
ARC ONE Gallery, Melbourne Private collection, Melbourne
LITERATURE:
Hynes, V., Dani Marti: The Semiology of Weaving, Art & Australia, issue #40, pp. 411-417
“I love painting, but I like the sensuality of the rope, the touch. Sometimes the ropes are so beautiful that they carry many messages already; they almost speak for themselves. I am really inspired by industrial materials. I like the colour and the form of artificial fibres”.
(The Artist, p. 412)
$3,000-5,000
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© Dani Marti/Copyright Agency, 2023
30 BRENT HARRIS (born 1956)
Mint 1990 oil on linen
signed and dated verso: BHARRIS / BHarris 90 / ‘MINT’
152 x 152cm
PROVENANCE:
Martin Browne Fine Art, Sydney 1995
Christie’s, Sydney, 26 August 2001, lot 64
Wesfarmers Art Collection, Perth
Leonard Joel, Melbourne, 16 September 2013, lot 47 Corporate collection, Melbourne
EXHIBITIONS:
The Black Show, Geelong Art Gallery, Victoria (toured to Warrnambool Regional Gallery, Victoria; Waverley City Gallery, Victoria; Mildura Regional Gallery, Victoria; Latrobe Regional Gallery, Victoria; Orange Regional Gallery, New South Wales; Wollongong City Galleries, New South Wales; Nolan Gallery, Canberra), July 1993 - December 1994, cat. no. 11
Brent Harris, Martin Browne Fine Art, Sydney, 26 September - 15 October 1995, cat. no. 95
$7,000-9,000
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DAVID ASPDEN (1935-2005)
Balmain 1985 synthetic polymer paint on paper monogrammed lower right 109 x 78cm
PROVENANCE: Corporate collection, Melbourne Private collection, Melbourne, acquired from the above $3,500-5,500
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© David Aspden/Copyright Agency, 2023
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Lookout oil and pigment on linen signed, titled and dated verso: R.H./ “Lookout”, ‘00 71.5 x 71.5cm
PROVENANCE: King Street Gallery, Sydney 2000 Private collection, Melbourne $1,500-2,000
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ROBERT HIRSCHMANN (born 1968)
Courtesy The Artist and King Street Gallery, Sydney
33 PETER BOOTH (born 1940)
Landscape with Four Figures and Red Sun mixed media on paper artist’s name and title inscribed verso 11.5 x 22.5cm
PROVENANCE:
The Artist’s Studio Private collection, Queensland
$2,000-3,000
40
© Peter Booth/Copyright Agency, 2023
34 JAN SENBERGS (born 1939)
PROVENANCE:
Realities Gallery, Melbourne 1992 Private collection, Melbourne
$6,000-9,000
41
Enclosure (Williamstown) 1981 oil on canvas signed and dated lower right: J.Senbergs ‘81.
75.5 x 91cm
© Jan Senbergs/Copyright Agency, 2023
35 JOHN KELLY (born 1965)
Farrow and Ball 2001
oil on canvas
signed and dated lower right: Klly 01
titled on gallery label verso
22 x 27cm
PROVENANCE:
Art Galleries Schubert, Queensland (label verso)
Niagara Galleries, Melbourne 2002 (stamp verso)
Anthea Polson Art, Queensland (label verso)
$12,000-16,000
42
© John Kelly/Copyright Agency, 2023
120 x 90cm
PROVENANCE: The Artist Private collection, Melbourne $5,000-7,000
43
36 JOHN BAIRD (born 1954)
Blue Jug 2021 oil on board signed, dated and titled verso: JOHN BAIRD/APRIL 2021/BLUE JUG
37 DAVID LARWILL (1956-2011)
Dog 2008
oil on board initialled and dated lower right: D.L/ ‘08 signed, titled and dated with dedication verso 26 x 36cm
PROVENANCE:
Gift of the artist Private collection, Melbourne
$4,000-5,000
44
© David Larwill/Copyright Agency, 2023
38
JULIAN TWIGG (born 1964)
Sunset, Netley 2013 oil on board signed, dated and titled verso: JT 2013/ Sunrise, Netley 2013 59.5 x 59.5cm
PROVENANCE: Australian Galleries, Melbourne Private collection, Melbourne
EXHIBITIONS: Shipping Views - Julian Twigg, Australian Galleries, Melbourne, 1122 February 2014
$3,000-4,000
45
Courtesy The Artist
39
CELIA PERCEVAL (born 1949)
PROVENANCE:
46
Broken Bridge with Cedar Tree in the Flowering Bush oil on canvas signed lower right: Celia Perceval titled verso 76 x 96.5cm
Bridget McDonnell Gallery, Melbourne Private collection, Melbourne $9,000-10,000
© Celia Perceval/Copyright Agency, 2023
40 PIPPIN DRYSDALE (born 1943)
Breakaway Series I 2020 porcelain signed, dated and inscribed at base: PIPPIN/ DRYSDALE/ B K A/ 2020 38 x 22.5cm
PROVENANCE:
Acquired directly from the artist Private collection, Melbourne
OTHER NOTES:
Pippin Drysdale creates vivid and delicate masterpieces reflecting the vibrant landscapes of outback Australia. Often standing on a base no larger than the size of a 20-cent piece. Her process is labour-intensive and extremely technical, involving linear incisions through fine layers of glaze each added once the previous layer is completely dried. These delicate patterns cannot be achieved by spraying, with only small areas being able to be worked on at a time, taking days to create a single vessel.
$9,000-12,000
47
© Pippin Drysdale/Copyright Agency, 2023
41 TRAVIS MACDONALD (born 1990)
Torana 2014 oil on card 32 x 41.5cm
PROVENANCE:
c3 Contemporary Art Space, Melbourne Private collection, Melbourne
EXHIBITIONS:
Faux Museum, c3 Contemporary Art Space, Melbourne, 28 November –14 December 2014
$2,500-4,500
48
Courtesy The Artist and Niagara Galleries
42 REG MOMBASSA (born 1951)
Frank Watters on the Ridge of Cassilis 2004 charcoal, pastel, and coloured pencil on paper signed and dated lower right: Reg Mombassa ‘04 titled lower left 68 x 49cm (irregular)
PROVENANCE:
Gift of the artist
The Collection of Frank Watters, Sydney Shapiro Auctioneers, Paintings Sculpture Drawings From The Collection of Frank Watters, Sydney, 20 March 2019, lot 3 Private collection, Melbourne
$5,000-6,000
49
Courtesy The Artist
43 CHARLIE INGEMAR HARDING (born 1992)
Portrait of a Punter 2 & 3 2021 Pair of works oil on board (2) 24 x 20cm; 25 x 20.5cm
PROVENANCE:
THIS IS NO FANTASY, Melbourne Private collection, Melbourne
EXHIBITIONS: Amongst The Heat Of The Races, Beside The Trampling Camels, THIS IS NO FANTASY, Melbourne, 27 January - 12 February 2022
$1,800-2,800
50
Artwork courtesy The Artist and THIS IS NO FANTASY, Melbourne
44 FERGUS BINNS (born 1980)
Untitled 2002 oil on board
signed and dated verso, partially concealed: F. BINNS/ 200_ 61 x 91cm
PROVENANCE:
Niagara Galleries, Melbourne 2003
Private collection, Melbourne
EXHIBITIONS:
Unsigned Artists, Niagara Galleries, Melbourne, 14 January -1 February 2003, cat. no. 8
$2,000-3,000
51
Courtesy The Artist
45
JOANNA LAMB (born 1972)
Glass House 2021 synthetic polymer paint on superfine polyester signed and dated verso: Joanna Lamb 2021 122 x 91cm
PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne
EXHIBITIONS:
One Long Moment, Sullivan+Strumpf, Sydney, 18 November - 23 December 2021
$5,000-7,000
46
JULIAN MEAGHER (born 1978)
The Ridge 2019 oil on linen signed, titled and dated verso: ‘The Ridge’ JMeagher ‘19/ Julian Meagher/ 2019 183 x 152.5cm
PROVENANCE:
Olsen Gallery at Sydney Contemporary, Sydney 2019 Private collection, Melbourne
EXHIBITIONS:
Julian Meagher: The Space Into Bicheno, Olsen Gallery at Sydney Contemporary, Sydney, 12-15 September 2019
$10,000-12,000
52
45 (detail opposite) Courtesy The Artist and Sullivan+Strumpf
47 JEMIMA WYMAN (born 1977)
Plume 2 2021
hand cut digital photos, collage artist’s name, title and date on gallery label verso 139.5 x 140.5cm (reveal)
PROVENANCE:
Sullivan+Strumpf, Sydney 2021 (label verso) Private collection, Melbourne
EXHIBITIONS:
Fume, Sullivan+Strumpf, Sydney, 9 September - 2 October 2021
OTHER NOTES:
Jemima Wyman’s artworks feature collaged images of smoke from fires and flares from protests around the world. Wyman accumulates hundreds of images documenting global activism; printing, cutting and trimming these to form her layered creations. The images are arranged to create a new form, a complex plume of smoke.
$4,500-6,500
54
Courtesy The Artist and Sullivan+Strumpf
48
PETER JAMES SMITH (born 1954)
55
Falls on the Mackenzie River 2019 oil on linen
signed and titled lower left: Falls/On the/Mackenzie/River/Peter James Smith signed, titled and dated verso 91.5 x 122cm
PROVENANCE: The Artist Private collection, Melbourne $6,000-8,000
Courtesy The Artist and Sullivan+Strumpf
50
DARREN SYLVESTER (born 1974)
Silver Lockheed 2017 lightjet print, ed. AP 1/2 signed on label verso titled, dated and editioned on label verso 178.5 x 118.5cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
OTHER NOTES:
“Watching Die Hard 2 (1990) there are a number of scenes involving a plane flying into clouded darkness. I researched how that scene was done - a large model in a studio, and smoke machines. The real plane used was a Lockheed L-1011. Now decommissioned, it is used in film and TV as the plane to crash. The same was used in the TV series Lost. This plane felt like a ‘death machine’.
I purchased a model from eBay, and shot it as a simple, silvery ghost that bursts through a field of dry-ice clouds, just as the model did in Die Hard 2, towards darkness.” (The Artist)
$10,000-15,000
49
NATALYA HUGHES (born 1977)
Woman IV (Blue) 2020 synthetic polymer paint on board signed, titled and dated verso: Woman IV (Blue)/ Natalya Hughes/ 2020 50 x 40cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
RELATED WORK:
Woman IV 2020, cyanotype print, edition of 3 + 1AP, 76 x 56cm
“Time and time again in modernist painting you see women’s bodies used for the purposes of formal experimentation. For me, Willem de Kooning’s Woman series is an exemplar. I understand de Kooning’s contribution to painting – his dynamic figure/ground relationships, his handling of paint, and his ways of seeing. But I am not content to dismiss the unnamed women, who are the ‘vehicle’ for this, as the least important part of his visual language. De Kooning’s women are menacing. Their foreboding, castrating, looming grotesqueness is primary in his painterly experiments. I have been repainting them to understand them and bring them into my own visual language, sympathetic to their status in the history of painting.” (The Artist, 2018)
$1,800-2,800
51 ROSEMARY LAING (born 1959)
Weather #3 2006
c-type photograph, ed. 2/6 signed, titled, dated and editioned verso: Rosemary Laing/ weather #3/ 2/6 2006
59 x 101cm (image); 83 x 124.5cm (sheet)
PROVENANCE:
Tolarno Galleries, Melbourne 2007 Private collection, Melbourne
EXHIBITIONS:
Rosemary Laing: Weathering, Heide Museum of Modern Art, Melbourne, 20 February – 31 May 2015 (another impression)
$7,000-10,000
56
50 (detail opposite) Courtesy The Artist and Sullivan+Strumpf
Courtesy The Artist and Sullivan+Strumpf
52 POLLY BORLAND (born 1959)
Untitled (pink, green, orange) 2018 lenticular digital print on rice paper mounted on Lexan and wood 51 x 76cm (sheet); 57.5 x 83cm (perspex casing)
PROVENANCE:
Sullivan+Strumpf, Sydney
Private collection, Melbourne
OTHER NOTES:
Polly Borland is one of Australia’s most respected contemporary photographers, with a celebrated ability to render the female body in surreal and intriguing ways. Her use of lenticular images offer a venetianblind-like ability to look at the work from different angles. In this work, she has taken several photographs of actress, Gwendoline Christie, and utilised the lenticular perspective to provide contrasting perspectives of the nude.
$15,000-18,000
58
Courtesy The Artist and Sullivan+Strumpf
53 GERWYN DAVIES (born 1985)
Mirror 2021 archival inkjet print, ed. 2/5 90 x 130cm
PROVENANCE:
Jan Murphy Gallery, Brisbane (label verso) Private collection, Melbourne
EXHIBITIONS:
Strange Magic, Jan Murphy Gallery, Brisbane, 24 February - 19 March 2022
OTHER NOTES:
“Strange Magic was prompted by an interest in the gaudy world of stage magic, its elaborate displays of smoke and mirrors, spectacular tricks of the eye and confounding sleights of hand. Where the camera is conventionally claimed to possess a unique capacity for exposing and revealing something of the subject to its viewer, in Strange Magic, I perform acts of photographic disappearance. In Strange Magic, I conjure a set of vivid and varnished self-representations, strings concealed, I vanish before the camera’s eye into a hall of smoke and mirrors.”
(Artist’s exhibition statement, 2022)
$2,000-3,000
54 MICHAEL LINDEMAN (born 1973)
Regression Painting (Colourful Lashings...) 2022 synthetic polymer paint on mirror signed and dated verso: MLindeman 2022 titled on frame verso 41.5 x 72.5cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
$1,800-2,800
59
© Michael Lindeman/Copyright Agency, 2023
Courtesy The Artist and Michael Reid Gallery, Sydney
55
ALEX SETON (born 1977)
Target Hardener 2019
Wombeyan marble, melted polystyrene and pigment
41 x 18 x 18cm
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
EXHIBITIONS:
Annual Summer Group Show, Sullivan+Strumpf, Sydney, 31
January - 8 February 2020
$12,000-18,000
60
Courtesy The Artist and Sullivan+Strumpf
56 JASPER KNIGHT (born 1978)
The Great Scenic Railway 2017 enamel, gloss acrylic and gesso on linen
titled, signed and dated verso: JASPER KNIGHT / ‘The Great Scenic Railway’
2017 / Jasper Knight
152 x 137cm
PROVENANCE: The Artist Private collection, Sydney $7,000-9,000
61
© Jasper Knight/Copyright Agency, 2023
57
KATHERINE
In My Father’s House 2004 oil on canvas signed lower right: K.HATTAM. signed and titled verso 61 x 61cm
PROVENANCE: The Artist Private collection, Melbourne $3,000-5,000
62
HATTAM (born 1950)
© Katherine Hattam/Copyright Agency, 2023
58
RHYS LEE (born 1975)
Untitled 2003 synthetic polymer paint on canvas
signed and dated verso: Rhys Lee 2003
184 x 152cm
PROVENANCE:
Helen Gory Galerie, Melbourne Private collection, Melbourne
$5,000-6,000
63
Courtesy The Artist and Nicholas Thompson Gallery, Melbourne
59 LARA MERRETT (born 1971)
PROVENANCE:
Karen Woodbury Gallery, Melbourne (label verso) Private collection, Melbourne $2,000-3,000
64
Silver Lining 2005 synthetic polymer paint and ink on canvas signed, titled and dated verso: ‘Silver Lining’ 2005/ LARA MERRETT/ LMerrett 112 x 100cm
Courtesy The Artist
60
LINDY LEE (born 1954)
Resurrecting the Light 1988 oil on canvas
signed verso: Lindy Lee / 1988 titled on gallery label verso 191 x 159cm
PROVENANCE:
Roslyn Oxley9 Gallery, Sydney 1988 Private collection, Melbourne
EXHIBITIONS:
The Cocktail Party, Roslyn Oxley9 Gallery, Sydney, 30 November –17 December 1988
$6,000-8,000
65
© Lindy Lee/Copyright Agency, 2023
61 ADAM CULLEN (1965-2012)
IRA (Clown on Cross) 2008 synthetic polymer paint and enamel on canvas initialled lower left and lower right signed and dated verso 183 x 151.5cm
PROVENANCE:
Smith and Hall, Sydney 2009 (accompanied by a certificate of authenticity) Private collection, Melbourne
$20,000-25,000
66
© Adam Cullen/Copyright Agency, 2023
62 ALASDAIR MCLUCKIE (born 1984)
Untitled (Jungle Painting 10) 2016 ballpoint pen, synthetic polymer paint and binder’s board collage, mounted on painted wood frame artist’s name, title and date on gallery label verso 91 x 62cm
PROVENANCE: Murray White Room, Melbourne (label verso) Private collection, Melbourne
EXHIBITIONS: Jungle Paintings, Murray White Room, Melbourne, 27 May - 2 July 2016
$1,800-2,800
67
© Alasdair McLuckie, Courtesy of Murray White Room, Melbourne
63 LUKE CORNISH (E.L.K) (born 1979)
Jesus H. Chimp 2015 acrylic and aerosol stencil on board signed and titled verso: “JESUS H. CHIMP”/ E.L.K (partially concealed) 48 x 33cm
PROVENANCE:
Acquired directly from the artist Private collection, Melbourne $2,000-3,000
68
© Luke Cornish/Copyright Agency, 2023
64 TOM ADAIR (born 1983)
Glitched 2018 acrylic and silkscreen on dibond, in artist’s oak frame, ed. 2/2 signed, titled and dated verso: “GLITCHED”/ Tom Adair 2018 80 x 80cm
PROVENANCE:
The Artist
Private collection, Melbourne $3,000-4,000
69
Courtesy The Artist
65 PAUL DAVIES (born 1979)
Forest House 2015
vinyl acrylic copolymer on canvas
signed, titled and dated verso: “FOREST HOUSE”/ PAUL DAVIES 2015
121 x 152cm
PROVENANCE:
Olsen Irwin Gallery, Sydney (label verso) Private collection, Sydney
EXHIBITIONS:
Other Desert Spaces, Olsen Irwin Gallery, Sydney, 7 - 25 October 2015
$10,000-15,000
70
Courtesy The Artist
66
ANNE ZAHALKA (born 1957)
Enchanted Forest, Fox Studio 2003
c-type photograph, ed. 3/12
editioned verso (concealed)
115 x 145cm
PROVENANCE:
Dominik Mersch Gallery, Sydney 2019 Private collection, Sydney
EXHIBITIONS:
Wonderland, ARC ONE Gallery, Melbourne, 31 January – 25 February 2006 (another impression)
$6,000-8,000
71
© Anne Zahalka/Copyright Agency, 2023
67 PATRICIA PICCININI (born 1965)
Shore 2002
digital c-type photograph, ed. 1/30
signed and dated lower right: Patricia Piccinini 2002 editioned lower left 102.5 x 184cm
PROVENANCE:
Roslyn Oxley9 Gallery, Sydney Private collection, Victoria
EXHIBITIONS:
Precautionary Tales, Patricia Piccinini, Tolarno Galleries, Melbourne, 630 September 2003 (another impression)
Precautionary Tales, Patricia Piccinini, Roslyn Oxley9 Gallery, Sydney, 11 September - 11 October 2003 (another impression)
$5,000-8,000
72
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
68 DEBORAH PAAUWE (born 1972)
Midnight Autograph 2002 c-type photograph, edition of 5 119 x 119cm
PROVENANCE: Greenaway Art Gallery, Adelaide (label verso)
Private collection, Melbourne
$2,000-3,000
73
© Deborah Paauwe/Copyright Agency, 2023
MIRANDA SKOCZEK (born 1977)
PROVENANCE:
74
69
Deconstructed Quilt 2015 oil on canvas signed, titled and dated on stretcher bar verso: Miranda Skoczek Deconstructed Quilt #2 2015 137.5 x 152.5cm
The Artist’s Studio Private collection, Melbourne $4,500-6,500
Courtesy The Artist
70
DANE LOVETT (born 1984)
Borrowed Goods 2010 synthetic polymer paint on canvas signed, titled and dated verso: DANE LOVETT/ BORROWED GOODS/ 2010 153 x 101.5cm
PROVENANCE:
Chalk Horse Gallery, Sydney (label verso) Private collection, Melbourne $3,000-4,000
75
Courtesy The Artist
76
© Kirsten Coelho/Copyright Agency, 2023
71 KIRSTEN COELHO (born 1966)
Lave 2021 5 pieces porcelain, matt white and pale grey glaze, iron oxide with saturated iron glaze bowl initialled at base (4) sizes vary; 27cm (height, tallest vase)
PROVENANCE:
Sullivan+Strumpf, Sydney Private collection, Melbourne
$4,500-6,500
72 LAWRENCE STARKEY (born 1959)
Making the Grade oil on canvas signed lower left: LAWRENCE STARKEY signed and titled verso 90 x 165cm
PROVENANCE:
Anthea Polson Art, Queensland (label verso) Private collection, Queensland
$4,500-6,500
77
Courtesy The Artist
73
FIONA MCMONAGLE (born 1977)
Maybe This Time 2021 watercolour, ink and gouache on paper artist’s name, title and date on gallery label verso 147 x 114.5cm
PROVENANCE:
Sophie Gannon Gallery, Melbourne Private collection, Melbourne
EXHIBITIONS:
Smoke and Mirrors, Sophie Gannon Gallery, Melbourne, 21 September –9 October 2021
OTHER NOTES:
This work continues the artist’s ongoing exploration of female identity and celebrity culture. “Exploiting the translucent qualities of watercolour as a medium, McMonagle reveals a melancholy and a nostalgia in her large-scale portraits of solitary female figures. McMonagle’s portraits depict the vulnerability and strength of her subjects, and examine the portrayal of women in popular culture.” (exhibition statement)
$5,000-7,000
78
Courtesy The Artist and Sophie Gannon Gallery, Melbourne
74 PHILLIP PIPERIDES (born 1956)
Sleeping Nude 2 bronze, ed. 1/25 signed and editioned on side: PIPERIDES 1/25 55cm (length)
PROVENANCE: Private collection, Queensland
$3,500-4,500
79
Courtesy The Artist
75
MONICA ROHAN (born 1990)
Locked 2017 oil on board signed verso: M C Rohan titled and dated on gallery label verso 61 x 40cm
PROVENANCE:
Jan Murphy Gallery, Brisbane (label verso) Private collection, Melbourne
EXHIBITIONS:
Monica Rohan: Look Down at the Ground, Jan Murphy Gallery, Brisbane, 18 July – 12 August 2017
$2,500-4,000
76
LAITH MCGREGOR (born 1977)
My Kind of Blue (Blue) 2009 Ballpoint on paper 185 x 150cm
PROVENANCE:
Helen Gory Galerie, Melbourne Private collection, Melbourne
EXHIBITIONS:
So It Goes, Helen Gory Galerie, Melbourne, 6-23 May 2009
$5,000-8,000
80
76 (detail opposite) © Laith McGregor/Copyright Agency, 2023
Courtesy The Artist
77
Dancing Feather 2021 charcoal on Arches paper initialled lower right 75.5 x 57.5cm
PROVENANCE: The Artist Private collection, Melbourne $3,000-5,000
82
JOANNE MORRIS (born 1974)
Courtesy The Artist
78
JEFF MINCHAM (born 1950)
Wind Gathered II 2016 high walled bowl, mid-fired multi glazed ceramic signed and dated on base: Mincham/ 2016 33 x 28cm
PROVENANCE:
Sabbia Gallery, Sydney Private collection, Melbourne
OTHER NOTES:
Jeff Mincham’s works are bold and expressive interpretations of the South Australian landscape. While he mainly works with hand-built earthenware, his works bear a strong Japanese influence. Using a range of unusual techniques and processes, Mincham’s works are multi-fired with layers of glaze and other surface treatments, resulting in a unique interpretation of the ancient Japanese technique, Raku.
$1,800-2,800
79
ALEXANDER MCKENZIE (born 1971)
Elevated Walkway 2017 oil on board initialled and dated lower right: aM’K/ 17 initialled, titled and dated verso 15 x 19cm
PROVENANCE: Private collection, Melbourne
$2,000-2,500
83
Courtesy The Artist and Sabbia Gallery, Sydney
Alexander McKenzie is represented by Martin Browne Contemporary, Sydney
