Centum by Leonard Joel

CENTUM AUCTION 9 MAY 2022, MELBOURNE —

AUCTION CATALOGUE VOLUME 15 ISSUE 8 LJ8454 Cover: Lot 7 (detail) § DARREN WARDLE (born 1969) Teenage Wasteland 2013 oil and synthetic polymer paint on canvas 153 x 213.5cm $10,000-15,000 © Darren Wardle/Copyright Agency 2022

leonardjoel.com.au 2

Inside Cover: Lot 13 (detail) NARELLE AUTIO (born 1969) Snorkellers 2001 c-type photograph, ed. 6/15 80 x 120cm (image) $3,000-4,000

Lot 76 (detail) © The Artist

CENTUM AUCTION 9 MAY 2022 AT 6PM, MELBOURNE — VIEWING Viewing in Sydney Friday 29 April - Sunday 1 May The Bond, 36-40 Queen Street, Woollahra, NSW 2025 Dickerson Gallery, 34 Queen Street, Woollahra, NSW 2025 Viewing in Melbourne Friday 6 - Sunday 8 May 333 Malvern Road, South Yarra, VIC 3141

CONTACT

Olivia Fuller

Lucy Foster

Hannah Ryan

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

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

Art Specialist 03 8825 5666 hannah.ryan@leonardjoel.com.au

Please refer to our website for viewing times

leonardjoel.com.au 1

CONTACT A SPECIALIST FOR THIS AUCTION

CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au

HEAD OF FINE ART Olivia Fuller 03 8825 5624 | olivia.fuller@leonardjoel.com.au

FINE ART SPECIALIST Lucy Foster 03 8825 5609 | lucy.foster@leonardjoel.com.au

ART SPECIALIST, MANAGER OF SPECIALITY AUCTIONS Hannah Ryan 03 8825 5666 | hannah.ryan@leonardjoel.com.au

SENIOR DECORATIVE ARTS & FINE ART SPECIALIST, SYDNEY Madeleine Norton 02 9362 9045 | madeleine.norton@leonardjoel.com.au

SENIOR ADVISOR, SYDNEY Ronan Sulich 02 9362 9045 | ronan.sulich@leonardjoel.com.au

QUEENSLAND REPRESENTATIVE SPECIALIST Troy McKenzie 0412 997 080 | troy.mckenzie@leonardjoel.com.au

ADELAIDE REPRESENTATIVE SPECIALIST Anthony Hurl 0419 838 841 | anthony.hurl@leonardjoel.com.au

CENTUM – Our third annual Centum Contemporary Art auction once more presents 100 examples that showcase the diverse talents in Australian contemporary art, from emerging newcomers to established staples. Artists shown in this auction practice across a diverse range of media including photography, painting, sculpture and printmaking using materials such as MDF, aerosol, collage, resin, and fabric. We are thrilled to be taking Centum on tour to Sydney first, occupying both our Leonard Joel Sydney premises at 36-40 Queen Street and the nearby Dickerson Gallery at 34 Queen Street, Woollahra, before returning to Melbourne. We look forward to seeing you across either viewing and hope you enjoy this year’s selection of Contemporary Art.

— Olivia Fuller | Head of Fine Art

Lot 15 5

ARTIST INDEX – A

ABDULLA, IAN.....................................68 ADAIR, TOM......................................... 38 ADNATE.................................................10 AITKEN, BENJAMIN.......................... 100 ALLEN, NICOLE.................................... 58 AMOR, RICK......................................... 49 ANDREW, BROOK............................... 70 ARKLEY, HOWARD.............................20 ASPDEN, DAVID.................................. 28 AUDETTE, YVONNE............................21 AUTIO, NARELLE..................................13

GERRARD, TOM...................................86 GREEN, CHARLES ...............................77

PAPAPETROU, POLIXENI...................80 PARR, MIKE........................................... 54 PATROL, GHOST.................................. 97 PECK, MICHAEL................................... 78 PERCEVAL, CELIA................................30 PRATT, LOUIS....................................... 45

JACKS, ROBERT..................................... 6 JOHNSON, TIM..................................... 4 JOHNSON, MATTHEW..................... 92

BELL, RICHARD.................................... 69 BENJAMIN, JASON..............................16 BERTINI, JO..........................................94 BOOTH, PETER.................................... 53 BOSTON, PAUL.................................... 47 BRASSINGTON, PAT........................... 39 BRENNAN, ANGELA............................61 BRIDGE, CLAIRE...................................15 BROWN, LYNDELL ..............................77 BROWNE, ANDREW............................76

C CLUTTERBUCK, JOCK........................ 27 COLE, PETER D.................................... 26 COOKE, WILL....................................... 37 CULLITON, LUCY.................................50

D DAVILA, JUAN......................................20 DOBLE, ROBERT.................................. 36 DREWFUNK.......................................... 87 DRINKWATER, JAMES........................ 73

E EDWARDS, MCLEAN.......................... 99 E.L.K..........................................................11 EMDUR, MARTINE.............................. 75

F FIRTH-SMITH, JOHN.......................... 59 FLINT, PRUDENCE..............................84 FLOROS, YANNI................................... 43 FOLEY, FIONA...................................... 57

H HALL, MILES......................................... 74 HARPER, MELINDA............................... 5 HARRIS, BRENT...................................46 HATTAM, KATHERINE........................ 35 HENSON, BILL......................................14 HEWSON, SOPHIA.............................90

K KELLY, JOHN........................................ 22 KNIGHT, JASPER................................. 93 KOVACS, ILDIKO.................................60

L LAING, ROSEMARY.............................40 LARWILL, DAVID.................................. 66 LEE, LINDY............................................ 55 LEWER, RICHARD............................... 25 LEWITT, VIVIENNE SHARK................ 85 LJUBICIC, ALESANDRO.................... 32 LONGHURST, KATHRIN................... 83

Q QUILTY, BEN......................................... 71

R RAE, JUDE..............................................51 REIHANA, LISA..................................... 42 RENNIE, REKO....................................... 9 ROSS, SALLY.........................................98 ROTHWELL, CAROLINE..................... 56 RYAN, PAUL.......................................... 33

S SANSOM, GARETH............................. 65 SKOCZEK, MIRANDA.......................... 34 SMITH, PETER JAMES......................... 96 STANIAK, MICHAEL.............................91 SUNKEE, KRIS......................................88

T TILLERS, IMANTS................................ 23 TWIGG, JULIAN...................................... 1 TYNDALL, PETER................................. 24

MACLEOD, EUAN............................... 29 MACPHERSON, ROBERT................... 72 MAGUIRE, TIM...................................... 17 MAKIN, JEFF......................................... 95 MCKENNA, NOEL............................... 52 MEILAK, SEAN...................................... 82 MOMBASSA, REG................................ 67 MORRIS, JOANNE...............................44

VEXTA....................................................89

N NAMATJIRA, VINCENT......................... 2 NAMPITJINPA, ALICE .........................64 NINUKU ARTS COLLABORATIVE.... 63 NELSON, JAN......................................... 8 NELSON, CATHERINE........................41

W WADELTON, DAVID.............................81 WARDLE, DARREN.................................7 WATSON, JENNY.................................. 3 WELLS, JODIE.......................................31 WHALEN, MARK...................................12 WHISSON, KEN...................................48 WILLIAMSON, RUBY TJANGAWA.... 62

Y YOUNG, JOHN.....................................18

Z ZAHALKA, ANNE................................. 79

O OWEN, ROBERT...................................19 Lot 84 (detail opposite) 7

JULIAN TWIGG (born 1964) Off Loading, Port of Melbourne 2008 oil on board signed, titled and dated verso: Off loading, Port of Melbourne / JTwigg 2008 48 x 37cm PROVENANCE: The Artist’s Studio Private collection, Melbourne $1,800 – 2,800

Lot 1 (detail) 8

VINCENT NAMATJIRA (born 1983) Prince Philip and Queen Elizabeth 2014 synthetic polymer paint on canvas inscribed verso with artist’s name, title and Iwantja Arts cat. no. 632-14 60 x 101cm PROVENANCE: Iwantja Arts, South Australia Private collection, South Australia “Vincent’s grandfather, Albert Namatjira, and several of Vincent’s aunts and uncles have had the opportunity to meet the Queen and the royal family either in Australia or in England. Vincent enjoys painting imagery of the royal family, painting portraits of the iconic figures, and representing them in joyful and celebratory depictions.” (Iwantja Arts statement) $12,000 – 16,000

3 Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

JENNY WATSON (born 1951) My Father’s Music 2001 stone lithographs on various fabrics (10), ed. 6/20 lithographer: Muka Press, Auckland artist’s name, title, date and edition on gallery label verso (each) 76 x 55cm; 56 x 27cm, set of 5 images (2 pieces each) PROVENANCE: Roslyn Oxley9 Gallery, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: The First 20 Years: Group Show, Roslyn Oxley9 Gallery, Sydney, 7 February – 9 March 2002 (another example) $3,000 – 5,000

TIM JOHNSON (born 1947) Green Tara 2002 synthetic polymer paint on linen signed, titled and dated verso: Green Tara/ Tim Johnson/ 2002 183 x 153cm PROVENANCE: Private collection, Melbourne Tim Johnson spent time in the Pintupi, Warlpiri and Anmatyerr communities in the 1980s at Papunya in the Western Desert. This period was enormously significant for him and his practice, as he began to draw upon cultural and spiritual references from Aboriginal, Buddhist and east Asian sources, exploring artistic and spiritual connections across cultures. Tara is an important figure in Buddhism, often referenced as the mother of liberation and commonly depicted as either green or white. $9,000 – 12,000

MELINDA HARPER (born 1965) Untitled 2009 oil on canvas signed and dated on stretcher bar verso: MHARPER 2009 122 x 112cm PROVENANCE: Private collection, Melbourne $4,000 – 5,000

ROBERT JACKS (1943-2014) Ritual Guitar oil on linen signed and titled verso: Jacks/Ritual Guitar 84 x 84cm PROVENANCE: Private collection, Queensland Lawson~Menzies, Sydney, 28 September 2008, lot 223 Private collection, Melbourne $3,000 – 4,000

7 © Darren Wardle/Copyright Agency 2022

Teenage Wasteland 2013 oil and synthetic polymer paint on canvas signed, titled and dated verso: Darren Wardle 2013/ “TEENAGE WASTELAND” 153 x 213.5cm

Walking in Tall Grass: Gracie II 2011 oil on linen signed, titled and dated on stretcher bar verso: Jan Nelson 2011/ Walking in Tall Grass: Gracie 2 77 x 59cm

PROVENANCE: Nellie Castan Gallery, Melbourne Private collection, Melbourne

PROVENANCE: Anna Schwartz Gallery, Melbourne 2012 Private collection, Melbourne

Darren Wardle’s artwork depicts seemingly abandoned urban settings in high saturation colours reminiscent of 1980s Los Angeles and stylised film sets. This work depicts the iconic Gerrit Rietveld designed armchair, within a run-down space covered in neon graffiti.

EXHIBITIONS: Marshland, Anna Schwartz Gallery, Melbourne, 3 June – 2 July 2011 “In these hyperrealistic portrait paintings, Nelson depicts adolescence in colourful isolation: individual portraits of young teens who avoid the viewer’s gaze and remain defiantly absorbed in themselves. Lucy’s headphones cancel out the noise of the world, and communication with Gracie is deferred as our empathy is channeled instead through the imploring gaze of her puppy. Nelson’s subjects are named, but by no means do they allow themselves to be identified - these youths wear their layers of mirrored sunglasses, comical masks, hats, and codified clothing as impenetrable defenses.” (exhibition statement)

§ DARREN WARDLE (born 1969)

$10,000 – 15,000

JAN NELSON (born 1955)

RELATED WORK: Walking in Tall Grass, Gracie I 2010, oil on linen, 77 x 59 cm $14,000 – 18,000

8 (detail opposite) © Jan Nelson/Copyright Agency 2022 14

REKO RENNIE (born 1974) Green Aborigine Stamp 2012 synthetic polymer paint on linen 101 x 84cm PROVENANCE: Karen Woodbury Gallery, Melbourne 2013 Private collection, Melbourne

EXHIBITIONS: SCOPE Art Fair, New York, March 2012 King and Country, Karen Woodbury Gallery, Melbourne, 13 November - 14 December 2013 LITERATURE: Connolly, E., Rennie Breaks New Ground, Sydney Morning Herald, Sydney, 6 March 2012: “One of his works, titled Aborigine and made with stencils, was inspired by a stamp from the 1950s, which depicted a traditional Aboriginal man. About 100 million of these stamps were circulated around the world at a time when Aborigines were not recognised as citizens of Australia, he says. “It’s such a beautiful image which was exported around the world, advertising this kitschy Australia with its Aboriginal people but at the same time we did not have citizenship.” $14,000 – 18,000

§ ADNATE (born 1984) Awaken the Dust 2014 aerosol and synthetic polymer paint on paper signed and dated lower right: ADNATE 2014 titled on gallery label verso 99 x 68cm (sheet) PROVENANCE: Metro Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: Beyond The Lands, Metro Gallery, Melbourne, 5 May - 11 June 2014 $3,000 – 4,000

Show of Force 2013 aerosol on glass signed, titled and dated on backing card affixed verso: “SHOW OF FORCE/ ELK 13” 130.5 x 81cm

After Hours Again 2012 synthetic polymer paint, ink, gouache and holographic film on paper, mounted on wood, coated in resin signed, titled and dated verso: ‘AFTER HOURS AGAIN’/ MDW- 2012 34.5 x 44.5cm

PROVENANCE: Nanda Hobbs, Sydney Private collection, Melbourne

PROVENANCE: The Artist Private collection, Melbourne

§ LUKE CORNISH (E.L.K.) (born 1979)

EXHIBITIONS: Before Afghanistan, Nanda Hobbs, Sydney, 1 - 16 August 2013

§ MARK WHALEN (born 1982)

$2,500 – 3,500

$3,000 – 4,000

11 (detail opposite) © E.L.K/ Copyright Agency 2022 19

NARELLE AUTIO (born 1969) Snorkellers 2001 c-type photograph, ed. 6/15 80 x 120cm (image) PROVENANCE: Stills Gallery, Sydney Private collection, Melbourne $3,000 – 4,000

BILL HENSON (born 1955) Untitled 2009-2010 c-type photograph, unique, ed. 1/1 81 x 71cm PROVENANCE: Gift from the Artist Private collection, Melbourne Untitled 2009-2010 portrays the same models as those used by Henson in his 2019 Roslyn Oxley exhibition in Sydney. As a gift to the current owner from the artist, this work is unique in its singular edition, and less commonly seen sizing. $20,000 – 30,000 21

CLAIRE BRIDGE (born 20th Century) Dark Matters 2014 oil on linen signed and dated verso: CLAIRE BRIDGE ‘14 titled on gallery label verso 105 x 123.5cm PROVENANCE: Flinders Lane Gallery, Melbourne 2014 Private collection, Melbourne EXHIBITIONS: The Dark Side, Flinders Lane Gallery at Melbourne Art Fair, Melbourne, 13-17 August 2014 $4,000 – 6,000

JASON BENJAMIN (born 1971) As We Open Up The Gates 2002 oil on canvas signed, titled and dated verso: as we open up/ the gates/ Feb ‘02/ Benjamin 122 x 183.5cm PROVENANCE: Metro 5 Gallery, Melbourne Private collection, Melbourne $15,000 – 20,000

TIM MAGUIRE (born 1958) Untitled 20040902 2004 oil on canvas signed, titled and dated verso: Maguire ‘04 / Untitled 20040902 203 x 198cm PROVENANCE: Martin Browne Fine Art, Sydney (label verso) Private collection, Victoria

Tim Maguire’s paintings depict the beauty of nature, with luxurious blooms and plump rich fruits depicted in close details across largescale canvases. They also, however, express the transience of nature, much like the work of the Dutch masters. In the seventeenth century, Dutch still-life paintings were more than meets the eye, often possessing a moral function. Although they celebrated the beauty of nature and all its bounties, they also depicted elements of memento mori (reminders of death). This may have been done through the depiction of insects, skulls, falling petals, or shriveling fruit, for example.

$60,000 – 80,000 “I first started using these Dutch floral still-lifes as subject matter for my paintings in the early 1990s. In those days, the only imagery I could access was low-resolution. My reference materials were muddy reproductions in books, or the occasional blurry postcard collected in a museum. By the time I had zoomed in on the photo, and found a composition in it, the source image was in some cases reduced to a few square centimetres – which I then blew up a thousand-fold onto canvases of up to 2 x 6 metres. This cropping and enlarging reduced the botanical details to simple shapes and colours, and I sometimes had no idea which part of which plant the areas of my paintings represented.” (The Artist, 2020) Tim Maguire’s technique of layering leads to an almost psychedelic intensity of colour and texture. He applies thin layers of paint, similar to a mechanical printing process, overlaying magenta, cyan and yellow to build up the richness of colour. Then, he activates the surface by pulling the layers back using droplets of solvent creating a sort of bleeding and blistering of paint surface. The result leaves the viewer wanting to draw inwards to the work and inspect the painstaking detail of the surface yet also stand back and absorb the overall grandeur of his works and their cinematic scale. All the elements combined result in Maguire’s now renowned interplay between still life and cinema, figuration and abstraction, the beautiful and the monstrous, and the seemingly domestic yet also exotic. OLIVIA FULLER, HEAD OF ART

Tim Maguire is represented by Martin Browne Contemporary, Sydney and Tolarno Galleries, Melbourne

JOHN YOUNG (born 1956) Spectrumfigure VIII 2018 oil on Belgian linen titled and inscribed verso: Spectrumfigure VIII/ 2017 Summer/ assisted by/ C. AHERN/ A. MARBURG/ Mateja Simenko titled and dated on gallery label verso 190 x 150cm

John Young is one of Australia’s foremost contemporary artists, combining innovative painterly practice along with scholarly discourse. Born in Hong Kong, John Young relocated to Australia with his family in the late 1960s. Young nurtured an interest in Philosophy of Science and Aesthetics but returned to study Painting and Sculpture at the Sydney College of the Arts, completing his studies in 1980. Spectrumfigure is a series of seven works that Young had been

PROVENANCE: Olsen Gallery, Sydney (label verso) Private collection, Melbourne

experimenting with for 12 years. Produced by a unique process,

EXHIBITIONS: This is a Shelter, Olsen Gallery, Sydney, 30 May-24 June 2018

abstracts of colour, which the artist then intricately replicates onto

$20,000 – 25,000

spectrum, or ‘algorhythm’, so vibrant on the canvas that you can

the artist collates thousands of photographic images sourced online. Then using an algorithm these images are blended into formless canvas. The result is a resonating conglomeration of the colour almost hear it. 1 After more than 70 solo exhibitions, including two survey exhibitions, Young continues to innovate his artistic practice. HANNAH RYAN, ART SPECIALIST 1. Downes, B., John Young: Algorhythms of Colour, Art Collector, issue 84 April-June 2018, accessed online

An Important Work from the NAB Art Collection

ROBERT OWEN (born 1937) Shadow Play - Fourth Constellation 2011 painted stainless steel (3) from the Thought Forms series 198 x 190.5 x 101.5cm each (approx.) PROVENANCE: Commissioned from the artist The National Australia Bank Art Collection

“These sculptures reconstruct Euclidian geometry through an intuitive play with space and structure in a process of change and transformation, revealing new geometric relationships to the organic and poetic. Shadow Play – Fourth Constellation is a sculpture series based on the geometry of the hypercube, a mathematical concept referring to the fourth dimension, typically symbolised as a cube within a cube. The four-dimensional figure of the hypercube is related to the cube as the cube is related to the square. The hypercube has sixteen corners, thirty-two edges, twenty-four square faces and eight bounding cubes.”

$60,000 – 80,000 (Artist’s statement) PLEASE NOTE: This lot is available for viewing in Melbourne by appointment only. Please contact the Art Department for further details

HOWARD ARKLEY AND JUAN DAVILA (1951-1999; born 1946) Interior with Built-in-Bar 1992 gouache on paper with silkscreen detailing diptych signed and dated lower right, right hand sheet: Juan Davila 92 initialled and dated lower left, left hand sheet: H.A. 91. inscribed upper left, partially upside down: Roy Davila 92/ Lichtenstein titled upper right, upside down 159 x 108cm (each, sheet); 159 x 216cm (overall) PROVENANCE: Private collection, Melbourne LITERATURE: Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/blog/2022/03/28/interior-with-built-inbar-1992-w-p-howard-arkley-juan-davila/ RELATED WORK: Interior With Built-In Bar 1992, silkscreen, diptych, edition of 6 + 4 Artist’s Proofs, 169 x 216cm (sheet, overall) $55,000 – 75,000

Juan Davila and Howard Arkley had an extensive collaborative

done previously, whilst for Davila it was new territory. The two artists

partnership that evolved over many years and led to the production of

continued to push the boundaries for each other, challenge eachother,

three-dimensional installations, silkscreen prints, paintings and works

right up to the point where ego would normally want to take over but

on paper. Interior with Built-in Bar 1992 is a major work on paper

there remained a harmony to the process.

collaboration that signifies a momentus shift in their partnership. Howard Arkley and Juan Davila’s collaborations have made a

Howard Arkley’s Mix ’n Match show at Tolarno Galleries in 1992 was

significant impact on art history in Australia and demonstrated the

inspired largely by images found in the American book, The Instant

possiblities of artistic partnerships that, until more recently, has been

Decorator, by Frances Joslin Gold. The book was given to Arkley

greatly underappreciated.

by fellow artist John Nixon and several pages went on to inspire both Arkley and Davila in their collaborations. The book featured

In 1992, Juan Davila was already well known for his sharp political

transparent sheets which enabled the reader to experiment with

paintings and Howard Arkley for his domestic interiors. Aesthetically,

swatches and colour choices. This overlaying of colour and pattern

the work of Arkley and Davila did not typically speak the same

throughout both artists’ work, especially in the early 90s, can be

language. While Arkley took a cleaner approach to his paintwork, and

traced back to this book.

frequently drew upon appropriation and manipulation of existing images, Davila was far more gestural, with his work driven by political

Arkley and Davila presented their first major collaborative installation,

commentary and the mainstream media. In contrast, too, Arkley was

Blue Chip Instant Decorator: A Room, at Tolarno Galleries in

more naturally inclined to accept the role of collaborator, as he had

1991. Shortly after this the pair created the original gouache, and

resulting silkscreen print Interior with Built in Bar 1992, a work which demonstrates the union between the two and the balanced merging of their two artistic styles. This gouache here illustrates the key moment when “Arkley and Davila adopted a copycat mode of authorship where the hand was deliberately muddled though appropriations of each other’s form and style”1 . The composition of Interior with Built in Bar displays picture frames lopsided and an inversion of floor to ceiling, reflecting Davila’s vision of the interior whilst responding to Arkley’s perspective. Interior with Built in Bar deliberately and successfully “blurs the signifiers of authorship”2 . Arkley and Davila’s project Icon Interior 1994-2001 was the final resulting collaboration between the pair, completed by Davila after Arkley’s death. In Interior with Built in Bar and Icon Interior we can identify more than one author within the work, but the focus is not to be on who created what, but rather how the two hands at work responded to eathother’s strengths and limitations as artists and collaborated in the truest sense of the word. Howard Arkley and Juan Davila’s Blue Chip Instant Decorator: A Room 1991-92 © The Estate of Howard Arkley and Juan Davila Courtesy of Kalli Rolfe Contemporary Art

OLIVIA FULLER, HEAD OF ART

YVONNE AUDETTE (born 1930) Game of Football No. 1 2001 oil on board signed and dated lower right: Audette 2001 signed, titled, dated and inscribed with cat. no. A182 verso 122 x 91.5cm

Yvonne Audette revisits a figural theme from an earlier part in her career when she was heavily influenced by Paul Cézanne and the Australian Abstractionist, John Passmore. Here, Audette presents figures in an abstract composition titled Game of Football No. 1 2001. Using broad slabs of colour, the artist has liberally applied thick strokes to draw out the subjects in movement. Audette reveals untouched areas of the board beneath - the absent room allowing

PROVENANCE: The Lowenstein Collection of Modern & Contemporary Australian Art, Melbourne

her subjects to appear almost suspended, hovering in mid-motion.

LITERATURE: Patten, S., Creative Exchanges, The Australian Financial Review, 11-12 February 2017, p. 35 (illus.)

A linear sequence falls into place as the footballers almost appear to

$18,000 – 24,000

move swiftly past the subjects, emphasising the speed at which the

Dominant highlights of orange and white further enhance the pictorial movement while calligraphy-like motifs outline the footballers in play. roll out and then back into one form, drawing the viewers eye the centre of the work. The broad linear strokes across the background game is unfolding. Yvonne Audette guides the viewer through the image using her strokes or ‘rhythm lines’… ‘to keep the image alive by keeping it moving’1 . Audette employed the use of calligraphy in her practice as early as the mid-1950s. Her small abstract work titled Lyrical Painting c.19542 employs the distinct use of black line in a very similar style to Game of Football No. 1 2001, revealing the impact of Passmore’s teachings, who himself had recently returned from overseas passing on his own influences by Cézanne to Audette. It was during this time she also experimented with life drawings and incorporating figural attributes into her abstract technique. Developing her own distinct style, Audette hones an analytical approach to her subjects, reducing them to a series of simpler geometric-like forms, using interlocking shapes and planes of heavy colour to draw out her subjects and define them with her signature black line. LUCY FOSTER, ART SPECIALIST 1. Audette, interview with Adams, 13 November 1998, cited from Heathcote, C., Adams, B., Vaughan, G., Grant, K., Yvonne Audette, Paintings and Drawings 1949-2003, Macmillan Art Publishing, Melbourne 2003, p. 170 2. Heathcote, C., Adams, B., Vaughan, G., Grant, K., Yvonne Audette, Paintings and Drawings 1949-2003, Macmillan Art Publishing, Melbourne 2003, p. 225

JOHN KELLY (born 1965) The Red Cow 2001 oil on linen signed and dated lower right: klly 01 91.5 x 182.5cm

John Kelly paints cows like no other. Often floating in mid-air, upside down or in obscure positions and locations, off balance with elongated necks and miniature limbs. His inspiration primarily comes from fellow artist, William Dobell. Kelly’s subjects are often referred to as ‘Dobell’s Cows’, a nod towards the 1940’s Australian war-time artist. Alongside many of his artistic peers at the time, Dobell was hired as a ‘camouflage artist’

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

to deliberately deceive and confuse Japanese air force planes flying

$30,000 – 40,000

scene. Furthermore, Dobell’s Archibald Prize winning portrait of

overhead. It has been speculated that Dobell would create giant papier-mâché cows, strategically placed to imitate a Japanese market Mr. Joshua Smith inspired Kelly with the sitter’s elongated neck and hands. These Dobell-inspired features became Kelly’s most dominant motif. Dobell’s Cows’ became the breakthrough series in Kelly’s career, expressing his playful appropriation of the cows in awkward and peculiar positions and spaces. Audiences were quickly enthralled, resulting in multiple sell-out exhibitions. Kelly pursued this focus for several more years, extending it to a selection of animals, such as horses and kangaroos that continued this playful exploration of illusion versus reality. HANNAH RYAN, ART SPECIALIST

IMANTS TILLERS (born 1950) Nature Speaks: K 2006 synthetic polymer paint and gouache on 16 canvasboards, no’s. 77740–77755 101 x 141.5cm (overall) PROVENANCE: Sherman Galleries, Sydney Private collection, Victoria

EXHIBITIONS: Clemenger Contemporary Art Award, The Ian Potter Centre, National Gallery of Victoria, Melbourne, 22 August – 22 October 2006 LITERATURE: Thomas, S., Imants Tillers: The Unpromised Land, Clemenger Contemporary Art Award, Melbourne: National Gallery of Victoria, Melbourne, 2006 (exhibition catalogue) RELATED WORKS: The Unpromised Land 2006, synthetic polymer paint and gouache on 168 canvasboards, no’s. 77128–77295, 279.4 x 533.4cm Terra Negata 2005, synthetic polymer paint and gouache on 288 canvasboards, no’s. 72142—72429, 304.8 x 853.4cm $10,000 – 15,000

detail A Person Looks At A Work Of Art/ someone looks at something... LOGOS/HA HA synthetic polymer paint and ink on paper, ed. 3/10 29 x 8cm

People Are Too Well To Make Art 2002 synthetic polymer paint on pegboard artist’s name, title and date on unknown label verso 59.5 x 40cm

§ PETER TYNDALL (born 1951)

PROVENANCE: West Space Gallery Fundraiser, Melbourne 2017 Private collection, Melbourne

RICHARD LEWER (born 1970)

PROVENANCE: Private collection, Melbourne $1,000 – 2,000

$1,000 – 1,500

PETER D. COLE (born 1947) AIR 2003 painted and patinated bronze, brass and aluminium 96 x 114 x 20cm PROVENANCE: John Buckley Gallery, Melbourne 2003 Private collection, Melbourne $8,000 – 10,000

JOCK CLUTTERBUCK (born 1945) Small Extrapolated Landscape 1984 cast iron and enamel coating 45 x 38 x 24cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Jock Clutterbuck Sculpture and Etchings, Gerstman Abdallah Fine Art, Melbourne, 5 - 28 November 1986 Jock Clutterbuck Sculpture and Etching, Gerstman and Abdallah Fine Art, Germany, 3 February - 12 March 1987 “I have developed a method of making cast iron sculptures from foam patterns which I assemble and put together in the studio; and one of the intriguing aspects to this is the sense of trust that has grown up in the work. I have been able to give up agonising over the process and am amazed that as long as I persevere with the role of allowing the structure to happen, to manifest itself, it all flows into existence with a dazzling amount of ease, and I am more of a spectator to the event.” (Artist’s statement, 1986) $3,000 – 4,000

DAVID ASPDEN (1935-2005) Garden II 1988 synthetic polymer paint on paper monogrammed lower right signed, titled and dated verso: GARDEN II 88 / ASPDEN titled and dated on gallery label verso 133 x 98cm PROVENANCE: Bonython-Meadmore Gallery, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: David Aspden, Bonython-Meadmore Gallery, Sydney, 10 November - 6 December 1988, cat. no. 18 $3,500 – 6,000

§ EUAN MACLEOD (born 1956) Walking with Icebergs 2011 oil on canvas signed, titled and dated verso: Walking with Icebergs/ Euan Macleod 2011 84 x 110cm PROVENANCE: The Artist Private collection, Sydney $8,000 – 10,000

CELIA PERCEVAL (born 1949) Honey Eaters by the Studio, Nethercote oil on canvas signed lower right: Celia Perceval titled verso 89 x 89cm PROVENANCE: Bridget McDonnell Gallery, Melbourne Private collection, Melbourne $7,000 – 8,000

JODIE WELLS (born 1981)

§ ALESANDRO LJUBICIC (born 1986)

Precision Balance Rainbow Lorikeet 2017 oil on board signed lower right: JODIE WELLS signed, titled and dated verso: Precision Balance/Rainbow Lorikeet/ 2017 / Jodie Wells 30 x 30cm

Yellow Nickel 2016 oil on birch signed and dated upper edge: Alesandro Ljubicic 16 31 x 26cm

PROVENANCE: Anthea Polson Art, Queensland (label verso) Private collection, Melbourne $1,500 – 2,500

PROVENANCE: Michael Reid Gallery, Sydney Private collection, Melbourne $1,000 – 1,500

§ PAUL RYAN (born 1964) Queen of Wollongong 2014 oil on canvas signed, titled and dated on stretcher bar verso: QUEEN OF/ WOLLONGONG/ ryan 14 122.5 x 122cm PROVENANCE: The Artist Private collection, Sydney $8,000 – 10,000

MIRANDA SKOCZEK (born 1977) Buried With Her Loom 2018 oil on linen signed, titled and dated on stretcher bar verso: Buried with her Loom 2018 Miranda Skoczek 153 x 137cm PROVENANCE: Nicholas Thompson Gallery, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Flashes Across the Field, Nicholas Thompson Gallery, Melbourne, 21 March - 8 April 2018, cat. no. 1 $5,000 – 7,000

KATHERINE HATTAM (born 1950) Yellow Kitchen Chairs and Green Light Bulb (4 Classroom Chairs) oil on canvas signed lower right: K. HATTAM inscribed verso: 4 Classroom Chairs 153 x 122cm PROVENANCE: Stephanie Burns Fine Art, Canberra (label verso) Private collection, Melbourne $5,000 – 7,000

ROBERT DOBLE (born 1961) Dream 2015 gloss enamel on Belgian linen signed, titled and dated verso: DREAM/ DOBLE/ 2015 122 x 122cm PROVENANCE: Scott Livesey Galleries, Melbourne 2015 Private collection, Melbourne EXHIBITIONS: Robert Doble, Scott Livesey Galleries, Melbourne, 4 – 28 March 2015 $3,000 – 4,000

WILL COOKE (born 1989) Synthetic Fantasy (Watcha See is Whatcha Get) 2019 primer and acrylic on aluminium panel signed, titled and dated verso: SYNTHETIC FANTASY/ (WATCHA SEE IS WHATCHA GET)/ W. COOKE 2019 150 x 120.5cm PROVENANCE: Blockprojects Gallery, Melbourne Private collection, Melbourne $3,000 – 5,000

§ TOM ADAIR (born 1983) Unreal #1 2021 airbrush polymer on dibond in an oak frame signed, titled and dated verso: “UNREAL”/ TOM ADAIR 2021 180 x 40cm PROVENANCE: Five Fifty Art Advisory, Melbourne Private collection, Melbourne $6,000 – 8,000

PAT BRASSINGTON (born 1942) Boucher 2001 pigment print, edition of 4 plus 2 Artist Proofs 60 x 43cm

EXHIBITIONS: Pat Brassington: Gentle, Australian Centre for Contemporary Art, Melbourne, 9 June –15 July 2001 (another example) LITERATURE: Marsh, A., Doing Feminism: Women’s Art and Feminist Criticism in Australia, Melbourne University Publishing, Melbourne, 2021, p. 193 (illus.) $1,200 – 1,800

PROVENANCE: Corporate collection, Melbourne

Weather #5 2006 c-type photograph, ed. 3/8 signed, titled, dated and editioned verso: Rosemary Laing/ weather # 5/ 3/8 2006 108 x 154cm

Cartago 2020 eco solvent pigment print on alupanel, ed. 1/7 100 x 100cm

ROSEMARY LAING (born 1959)

PROVENANCE: Tolarno Galleries, Melbourne Private collection, Victoria EXHIBITIONS: Weather, Tolarno Galleries 1 March – 5 April 2007 $10,000 – 15,000

§ CATHERINE NELSON (born 1970)

PROVENANCE: Michael Reid Gallery, Sydney Private collection, Melbourne EXHIBITIONS: Future Memories, Michael Reid Gallery, Sydney, 20 August - 22 September 2020 Cartago was a finalist in the Ravenswood Australian Women’s Art Prize, 2020. $2,000 – 3,000

LISA REIHANA (New Zealander, born 1964) Camarillo, from the Pelt Series 2010 archival pigment print on 305gsm paper, ed. 1/5 160 x 160cm PROVENANCE: Fehily Contemporary, Melbourne 2012 Private collection, Melbourne “Pelt establishes spaces which exist somewhere and nowhere, the inhabitants of which seem of this world but also apart from it. The artist’s balancing of the familiar and the strange has the effect of drawing in and repelling the viewer: unnervingly beautiful, the longer the works are looked at, the harder it becomes to drag the gaze away. The subjects of Pelt control the discourse and reconfigure pre-conceptions of gender, sexuality, aesthetics, representation.” (Artist’s statement) $15,000 – 20,000

YANNI FLOROS (born 1981) Chaos Theory 2013 charcoal on paper initialled lower right 76 x 56cm (sheet) PROVENANCE: Scott Livesey Galleries, Melbourne Private collection, Melbourne EXHIBITIONS: Hostile Takeover, Scott Livesey Galleries, Melbourne, 6 - 28 March 2013 $2,000 – 2,500

§ JOANNE MORRIS (born 20th Century) Urban Princess 2020 charcoal on cotton rag paper 75 x 105cm PROVENANCE: Private collection, Melbourne $3,000 – 4,000

LOUIS PRATT (born 1972) Whatever 2012 fibreglass, steel, urethane, paint and wooden base ed. 2/4 signed to base: Louis 118 x 42 x 100cm; plinth: 62 x 40 x 40cm PROVENANCE: Private collection, Sydney Cooee Art, Contemporary Fine Art Auction, Sydney, 24 June 2021, lot 23 Private collection, Melbourne EXHIBITIONS: Wynne Prize, Art Gallery of New South Wales, Sydney, 2012 (another example) “Whatever examines the near future in a world that is digitised and mapped. It is a sculpture of a disenfranchised youth living in a cyber world, his existence depending on technology. The work uses ‘organic data’, taken from life and digitised by a scanning process. I manipulate the data with digital tools then prepare it for 3D thermal plastic printing. The many 3D pieces are assembled and hand finished.” (Artist’s statement, 2012) $16,000 – 24,000

BRENT HARRIS (born 1956) Study for the Untimely No. 4 1997 colour pencil on paper signed and dated lower right: BHarris 97 titled lower centre 50.5 x 40.5cm PROVENANCE: Tolarno Galleries, Melbourne (label verso) Leonard Joel, Melbourne, 28 November 2017, lot 15 Private collection, Melbourne RELATED WORKS: The Untimely (No. 4) 1997, oil on canvas, 122 x 100 cm, Smith & Singer, Sydney, 20 April 2021, lot 52 Study for the Untimely No. 4, 1997, charcoal on paper, 54 x 43.5cm, Deutscher~Menzies, Sydney, 16 March 2005, lot 191 $2,500 – 3,500

PAUL BOSTON (born 1952) Painting 5 1992 oil on linen signed, titled and dated verso: Paul Boston/ 1992/ Painting 5 138 x 91.5cm PROVENANCE: Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $4,000 – 5,000

KEN WHISSON (1927-2022) From the Newspapers No. 2 1998 oil on linen signed, dated and inscribed verso: Ken Whisson/ 12/4/98 + 30/5/98/ 31/5/95 + 5/6/98 “From the Newspapers No. 2” 90 x 119.5cm PROVENANCE: Niagara Galleries, Melbourne Private collection, Melbourne EXHIBITIONS: Ken Whisson: As If, Heide Museum of Modern Art, Heide, 17 March - 15 July 2012, and Museum of Contemporary Art, Sydney, 28 September - 25 November 2012 $18,000 – 24,000

RICK AMOR (born 1948) Station 1989-90 oil on canvas signed and dated lower right: Rick Amor’90 titled and dated verso: STATION / NOV - DEC 89 107 x 76cm

PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Queensland EXHIBITIONS: Rick Amor, Niagara Galleries, Melbourne, 19 June - 7 July 1990, cat. no. 1 LITERATURE: Catalano, G., A Harsh View of the City as Fearful Labyrinth, The Age, Melbourne, 27 June 1990, p. 14 $14,000 – 20,000

LUCY CULLITON (born 1966) White Horse, Dark 1996 oil on canvas signed and dated verso: CULLITON/ 1996 177 x 145cm PROVENANCE: National Art School, Sydney Private collection, Sydney Shapiro Auctioneers, Sydney, 17 May 2018, lot 51 Private collection, Queensland $10,000 – 15,000

JUDE RAE (born 1955) Portrait (of a Young Man) 2 2004 oil on linen signed, titled and dated verso: Portrait (of a young man)/ 2/ JudeRae 2004 41 x 38.5cm PROVENANCE: Private collection, Melbourne $4,000 – 5,000

NOEL MCKENNA (born 1956) Rose Bay Golf Club (Watsons Bay to Waterloo) 2006 oil on linen signed and dated upper left: NMcKenna 06 signed, titled and dated on stretcher bar verso 21 x 26cm PROVENANCE: Heiser Gallery, Brisbane (label verso) Private collection, Sydney $2,500 – 3,500

PETER BOOTH (born 1940) Drawing (Man with Black Background) 2009 pastel on paper signed verso (concealed) 12.5 x 16cm PROVENANCE: Rex Irwin Art Dealer, Sydney (label verso) Private collection, Sydney Lawson~Menzies, Sydney, 16 August 2012, lot 188 Private collection, Sydney $1,000 – 2,000 © Peter Booth/Copyright Agency 2022

MIKE PARR (born 1945) Untitled (Self Portrait) charcoal, pencil and pastel on paper 127 x 287cm (sheet) PROVENANCE: Private collection, United Kingdom $14,000 – 18,000

LINDY LEE (born 1954) Trio of works From The Birth and Death series 2007 inkjet print and acrylic on Chinese accordion books (3) 40 x 180cm (each) PROVENANCE: Roslyn Oxley9 Gallery, Sydney Private collection, Melbourne “Birth and death are fabric to what we are. Death, non-being, is the void and yet there is also renewal – rebirth – no matter what”. (The Artist) $8,000 – 12,000

Tygers II 2010 bronze automative paint and lacquer, ed. 2/6 56.5 x 88 x 20cm

Mangrove Pods, 0 aluminium (6), ed. 1/10 dimensions variable, longest: 153cm

PROVENANCE: Tolarno Galleries, Melbourne Private collection, Victoria

PROVENANCE: Roslyn Oxley9 Gallery, Melbourne Private collection, Melbourne

EXHIBITIONS: Caroline Rothwell: Transmutationism, Tolarno Galleries, Melbourne, 21 August - 11 September 2010

EXHIBITIONS: Fiona Foley: Wild Times Call, Roslyn Oxley9 Gallery, Melbourne, 13 March – 6 April 2002

CAROLINE ROTHWELL (born 1967)

McClelland Sculpture Survey and Award 2010, McClelland Gallery and Sculpture Park, Victoria, 21 November 2010 - 17 July 2011 (another version)

FIONA FOLEY (born 1964)

$5,000 – 7,000

Transmutation describes concepts of evolutionary change as well as the alteration of base metals into precious metals. Caroline Rothwell blends these two meanings together in her art. Rothwell’s work revolves around our relationship with the natural world. Her ‘Tygers’ are metamorphic beings - creatures depicted in man-made materials complete with ‘oh so sexy’ candy red auto-lacquer, as she calls it. $4,000 – 6,000

57 © Fiona Foley/Copyright Agency 2022

56 © Caroline Rothwell/Copyright Agency 2022 63

NICOLE ALLEN (born 1967) Walk On By cast aluminium, ed. 5/10 173 x 28 x 39cm PROVENANCE: The Artist Private collection, Melbourne $4,000 – 6,000

JOHN FIRTH-SMITH (born 1943) Glow #8 2000 oil on linen signed, titled and dated verso: JOHN FIRTH-SMITH/ “GLOW” #8 2000 91 x 274cm PROVENANCE: Metro 5 Gallery, Melbourne (label verso) Private collection, Victoria $12,000 – 18,000

Ildiko Kovacs in represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide

ILDIKO KOVACS (born 1962) Untitled 1998 oil on card, laid on linen on board signed and dated verso: ILDIKO/ KOVACS/ 10-19 98 76 x 58cm PROVENANCE: Christine Abrahams Gallery, Melbourne Private collection, Melbourne $5,000 – 7,000

ANGELA BRENNAN (born 1960) Pinwheel Galaxy III 1998-2000 oil on canvas signed, titled and dated verso: Angela Brennan/ 1998-9/ -2000/ Pinwheel Galaxy III 168 x 107.5cm PROVENANCE: Niagara Galleries, Melbourne 2004 (label verso) Private collection, Adelaide $6,000 – 9,000

RUBY TJANGAWA WILLIAMSON (born c.1940) Ultukunpa – Honey Grevillea 2009 synthetic polymer paint on linen inscribed verso with artist’s name and Tjala Arts cat. no. 075-09 120 x 153cm PROVENANCE: Tjala Arts, South Australia Gallery Gabrielle Pizzi, Melbourne Private collection, Melbourne $8,000 – 12,000

NINUKU ARTS COLLABORATIVE Ninuku Tjukurpa - Bilby Dreaming 2007 synthetic polymer paint on linen inscribed verso with Alcaston Gallery cat. no. AK14110 accompanied by tape of ABC 7.30 Report segment featuring the painting 205 x 154cm PROVENANCE: Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne EXHIBITIONS: Ninuku Tjukurpa - Bilby Dreaming, New Paintings from Ninuku Arts, Alcaston Gallery, Melbourne, 18 March - 5 April 2008

Collaborately created by Yaritji Connelly, Judy Miller, Anyupa Nelson, Heather Watson, Tjuruparu Watson, Yangi Yangi Fox and Renae Fox. This significant work was collaboratively made to act as a ceremonial centrepiece for the inauguration of the Tjala Arts Niniku Studio in 2007. At the official launch the Niniku Tjukurpa was sung and performed around the work. The “Bilby Dreaming” has particular poignancy as the Bilby is listed as endangered and its habitat is under increasing pressure from feral foxes, wild dogs, and cats. “Tjukurpa minima ninu papmpa tjiti kutjara (this is the dreamtime story about the bilby woman and her two little boys). This is the story for Kalka. That minyma ninu (bilby woman) and her family were all earing the maku (witchetty grubs). There are lots of different maku, tjilka-tjilka, punti, ngarkalya and kanturangu. She ate so much that there were only ngingirpa left (little immature ones). The wati mututa (ant men) got really angry and they chased the bilby family, husband, wife and kids, spearing the Minyma Ninu and Mututa marched back down the hill and painted white paint in a vertical line between their stomaches and their pelvises. This is called ‘Kumpunturu’. ‘Mulapa’, this is a true story.” (Artists’ statement, 2008) $12,000 – 16,000

ALICE NAMPITJINPA (born c.1945) Untitled 2000 synthetic polymer paint on linen inscribed verso with artist’s name and Ikuntji Artists cat. no.’s IK00AN16 and 3/2000 166 x 122cm PROVENANCE: Ikuntji Artists, Northern Territory Framed, The Darwin Gallery, Darwin Private collection, Adelaide $2,500-4,500

GARETH SANSOM (born 1939) Twin Peaks and Santa Too 2006 oil and enamel on canvas signed, titled and dated verso: TWIN PEAKS + SANTA TOO Gareth Sansom 2006 122 x 122cm PROVENANCE: Niagara Galleries, Melbourne Private collection, Melbourne EXHIBITIONS: Blue Chip XXI: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 4 March-5 April 2019 $10,000 – 15,000

DAVID LARWILL (1956-2011) Candy 2003 oil on paper signed, titled and dated bottom edge: “Candy” 2003 David Larwill 80 x 55cm PROVENANCE: The Artist’s Studio Private collection, Melbourne $6,000 – 8,000

§ REG MOMBASSA (born 1951) Cruciform with Carbone and Truckskull 2017 oil on canvas signed lower right: Reg M. initialled lower left: C.O.D. titled on gallery label verso 61 x 45.5cm PROVENANCE: Watters Gallery, Sydney (label verso) Private collection, Melbourne $6,000 – 8,000

IAN ABDULLA (1947-2011) In My Childhood 1996 synthetic polymer paint on canvas signed and dated lower right: Ian. W. Abdulla 19-96. 91 x 121.5cm PROVENANCE: Private collection, United States of America Christie’s, Sydney, 30 November 2004, lot 18 Private collection, Victoria $4,500 – 5,500

Courtesy the Artist and Milani Gallery, Brisbane

RICHARD BELL (born 1953) Cityscape synthetic polymer and natural earth pigments on linen diptych inscribed verso with artist’s name, title and Fireworks Gallery cat. no FW5970 130.5 x 120cm (overall) PROVENANCE: Fireworks Gallery, Queensland James Makin Gallery, Melbourne (label verso) Private collection, Melbourne $6,000 – 8,000

BROOK ANDREW (born 1970) The Man (Tomato) 2005 screenprint on Italian rag, ed. 4/10 signed and dated lower right: B Andrew 2005 editioned lower left titled lower centre 149 x 98cm (image) PROVENANCE: Gallery Gabrielle Pizzi, Melbourne Private collection, Melbourne $4,000 – 5,000

§ BEN QUILTY (born 1973) Untitled 2015 ink on paper initialled and dated lower left: bq 15’ 100.5 x 71cm PROVENANCE: Lawsons, Sydney, 23 September 2021, lot 545 Private collection, Melbourne $6,000 – 8,000

ROBERT MACPHERSON (born 1937) 5555 Frog Poems - The Boxers Robert Pene St Joseph’s Convent Nambour 1947 1990-2006 mixed media on paper (each) titled and dated on artists label verso 29.5 x 41cm (each) PROVENANCE: YuillCrowley Gallery, Sydney Private collection, Melbourne This work comprises 10 individual drawings created by MacPherson under the persona of his alter ego, Robert Pene. Pene is a grade 4 student at St Joseph’s Convent, Nambour, in Queensland. Each sheet includes either a portrait of boxers Tommy Burns or Vic Patrick, a boxing glove, sometimes a caption added in Pene’s uncertain script, with the paper deliberately stained to give apparent age from 1947 (a year after Burns and Patrick’s most famous fight). $5,000 – 7,000

§ JAMES DRINKWATER (born 1983) Gata Knyn, Bark Lanes (Dusk) 2012 oil on canvas signed, titled and dated verso: James Drinkwater/ Gata Knyn/ 2012/ “Bark Lanes”/ (Dusk) 120 x 100cm PROVENANCE: Damien Minton Gallery, Sydney 2014 Private collection, Sydney EXHIBITIONS: James Drinkwater, The Ocean Parade, Damien Minton Gallery, Sydney, 23 October - 10 November 2012 $4,000 – 6,000

§ MILES HALL (born 1974) Athena Graphite Celadon 2019 oil and casein on Belgian linen signed, titled and dated verso: Miles Hall/ 2019/ ‘Athena Graphite/ Celadon’ 151 x 120.5cm PROVENANCE: Nicholas Thompson Gallery, Melbourne (label verso) Private collection, Melbourne

EXHIBITIONS: Aegaeum, Nicholas Thompson Gallery, Melbourne, 14 August - 8 September 2019, cat. no. 2 “These paintings result from a sojourn on the Greek island of Sifnos, situated in the southwest arpeggio of the Cyclades. Living and working in an isolated cottage with no electricity or internet, surrounded by olive trees and goats, it’s possible to feel cut off from the world yet more connected to it. Inspired by the sensuous austerity of the landscape - the immensity of the sky and sea, the weathered landscape inscribed with human toil – these works attempt to harness the material dimension of painting to evoke the sensuality of the natural world and our place in the cosmos. The works play at crossing the line between abstraction into representation, and in doing so affirm the physical nature of painting and its ongoing history.” (Artist’s statement, 2019) $2,800 – 3,800

MARTINE EMDUR (born 1967) McKenzies Point 2000 synthetic polymer paint on board signed lower right: MEmdur 2000 35 x 35cm PROVENANCE: Art House Gallery, Sydney 2000 Private collection, Melbourne EXHIBITIONS: Martine Edmur: Descent, Art House Gallery, Sydney, 30 August - 19 September 2000, cat. no. 16 $3,000 – 5,000

ANDREW BROWNE (born 1960) Periphery #2 (Veil) 2010 oil on linen signed, titled and dated verso: A . BROWNE 2010/ ‘PERIPHERY #2’/ (THE VEIL) 198 x 147.5cm PROVENANCE: Tolarno Galleries, Melbourne Private collection, Victoria

EXHIBITIONS: Andrew Browne: From The Periphery, McClelland Gallery and Sculpture Park, Victoria, 2010 (commissioned project for McClelland Gallery and Sculpture Park) “Andrew Browne was invited to survey the newly acquired land adjoining McClelland Gallery, with a view to both map and respond to the eight hectares of apparently ‘degraded’ landscape at the periphery of the existing sculpture park. The result is an installation of a closely related group of paintings and photographic works that focus on details extracted from that area.” (Alan R. Dodge, exhibition catalogue essay) $10,000 – 15,000

LYNDELL BROWN AND CHARLES GREEN (born 1961 & 1953) The Waves oil on linen 122 x 122cm PROVENANCE: Span Galleries, Melbourne Private collection, Melbourne RELATED WORK: The Waves 2004, digital photograph on duraclear film, edition of 6, 104 x 104cm $4,000 – 6,000

§ MICHAEL PECK (born 1977) Topophilia 2014 oil on birch signed, titled and dated verso: MICHAEL PECK ‘TOPOPHILIA’ 2014 MPeck 121 x 121cm PROVENANCE: Metro Gallery, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Sanctuary, Metro Gallery, Melbourne, 10 - 29 November 2014 $8,000 – 10,000

III

ANNE ZAHALKA (born 1957) Gesture 1993 (I, III, V, VII) cibachrome print on perspex (4) 95 x 54cm (I); 69 x 91cm (III); 67 x 86cm (V); 79 x 99cm (VII) PROVENANCE: City Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: Gesture, City Gallery, Melbourne, 3 - 28 February 1993 $6,000 – 8,000

VII

POLIXENI PAPAPETROU (1960-2018) Olympia as Lewis Carroll’s Beatrice Hatch in ‘Apis Japanensis’ 2003 c-type photograph, ed. 1/6 105 x 105cm (image)

EXHIBITIONS: Olympia: Photographs by Polixeni Papapetrou, National Gallery Victoria, Melbourne, 7 September 2019 - 15 March 2020 (another example) In the Dreamchild series, Papapetrou casts her daughter, Olympia, as some of Lewis Carroll’s muses including Alexandra ‘Xie’ Kitchin, Irene McDonald and Beatrice Hatch. $4,000 – 6,000

PROVENANCE: Kalli Rolfe Contemporary Art, Melbourne 2005 Private collection, Melbourne

DAVID WADELTON (born 1955) Eternal Loveliness 1997 oil on canvas artist’s stamp on stretcher bar verso titled and dated on stretcher bar verso 137.5 x 91cm PROVENANCE: Robert Lindsay Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: David Wadelton: Icons of Suburbia, McClelland Gallery and Sculpture Park, Victoria, 6 March - 15 May 2011 $2,500 – 3,500

SEAN MEILAK (born 1971) i) Chris (Milk Fed) ii) Tim gouache and watercolour on paper (2) i) 43.5 x 22cm (image); ii) 44.5 x 23.5cm (image) PROVENANCE: Kaliman Gallery, Sydney Private collection, Melbourne $1,000 – 1,500

§ KATHRIN LONGHURST (born 1971) Girl with Ammunition Belt 2011 oil on canvas signed and dated lower left: 11 KLonghurst signed and titled verso 122 x 92cm PROVENANCE: Private collection, Melbourne $6,000 – 8,000

Hello, Hello, 1996 oil on linen signed, titled and dated on stretcher bar tape verso: PRUDENCE FLINT 1996 “HELLO, HELLO,” 76 x 56cm

The More Fool I, So Great a Fool to Adore 1991 oil on wood signed, titled and dated verso: Vivienne/ Shark LeWitt/ 1991/ “The more fool I,/ so great a fool to adore” 36 x 26cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Tolarno Galleries, Melbourne 1991 The National Australia Bank Art Collection

PRUDENCE FLINT (born 1962)

$3,500 – 4,000

VIVIENNE SHARK LEWITT (born 1956)

EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991, p.17 (illus.) $1,500 – 2,500

TOM GERRARD (born 1977) Snapshots of Suburbia 2018 synthetic polymer paint on MDF signed and dated verso: TOM GERRARD/ 2018 149 x 120cm PROVENANCE: Private collection, Melbourne $5,000 – 7,000

DREWFUNK (Malaysian/Australian, born 1983) Uni-heart 2013 aeresol and synthetic polymer paint on board signed and dated verso: DREWFUNK / 2013. 120 x 90cm PROVENANCE: The Artist Private collection, Melbourne EXHIBITIONS: Coalescence, Backwoods Gallery, Melbourne, 20-28 September 2013 $2,500 – 3,000

KRIS SUNKEE (born 20th Century) Ghost 2020 oil on canvas signed lower right signed, titled and dated verso 152 x 102cm PROVENANCE: The Artist Private collection, Melbourne $4,000 – 5,000

VEXTA (born 20th Century) Cosmic Owl I 2019 synthetic polymer paint, spray paint and chrome on canvas signed lower left: VEXTA signed, titled and dated verso 91.5 x 122cm PROVENANCE: The Artist Private collection, Melbourne $2,500 – 4,000

SOPHIA HEWSON (born 1984) Untitled (4) 2017 oil on board 151 x 112cm PROVENANCE: Mars Gallery at Sydney Contemporary, Sydney 2017 Private collection, Sydney

EXHIBITIONS: Sophia Hewson, Sydney Contemporary, Mars Gallery, Sydney, 7 - 10 September 2017, cat. no. 4 “In the series ‘Untitled (1-6)’ ‘Untitled (research / reader)’, I appropriate the work of 26 white cis-gendered male artists (from Disney’s ‘Nine Old Men’ to emoji designer William Van Lancker). I seek to examine how our ideological beliefs drive our imagery, and the role that these pre-existing beliefs play in the way we consume imagery. Cartoons, as the privileged medium for childhood renderings, often communicate a complex set of ideas that are meant to introduce the child to “our” social world. My series demonstrates that the dominant narratives embedded in these social symbols are authored by a singular patriarchal voice that deserves revision and expansion.” (Artist’s statement, 2017) $3,000 – 5,000

§ MICHAEL STANIAK (born 1982) IMG_739 2013 casting compound and synthetic polymer paint on canvas with a powder coated steel frame signed and dated verso: MICHAEL STANIAK / 2013 60 x 45cm

PROVENANCE: Artereal Gallery, Sydney 2013 Private collection, Melbourne EXHIBITIONS: Michael Staniak: Early Works, Artereal Gallery, Sydney, 7 - 16 April 2020 $4,000 – 5,000

§ MATTHEW JOHNSON (born 1963) Untitled 2010 oil on linen signed and dated verso: Matthew Johnson 2010 170 x 151cm PROVENANCE: Private collection, Melbourne $6,800 – 7,800

§ JASPER KNIGHT (born 1978) Northern Waters 2017 enamel, gloss acrylic and gesso on linen signed, titled and dated verso: JASPER KNIGHT/ ‘NORTHERN WATERS’/ 2017 signed, titled and dated on stretcher bar verso 180 x 172cm PROVENANCE: The Artist Private collection, Sydney $9,000 – 12,000

JO BERTINI (born 1964) Warrior 2015 oil on canvas signed lower right: Jo Bert signed, titled and dated verso 107 x 84cm PROVENANCE: Mars Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: Jo Bertini, I am in the Landscape and the Landscape is in me, Mars Gallery, Melbourne, 28 May – 14 June 2015, cat. no. 16 $2,500 – 3,500

100

96 Courtesy of the artist and Bett Gallery, Hobart

PETER JAMES SMITH (born 1954)

JEFF MAKIN (born 1943) Campbell’s Creek 2014 oil on linen signed lower right: Makin 92 x 122cm

Rain at Hanging Rock 2019 oil on linen signed and dated lower centre: Peter James Smith 2019 titled mid centre inscribed lower centre in German: FRESH BLOWS/ FRESH BLOWS/ THE WIND/ TOWARDS HOME/ MY IRISH CHILD/ WHERE ARE YOU NOW? signed, titled and dated on stretcher bar verso 61 x 91cm PROVENANCE: The Artist Private collection, Melbourne $3,000 – 5,000

PROVENANCE: The Artist Private collection, Melbourne $7,000 – 9,000

101

§ GHOST PATROL (20th Century) Unguarded Moment 2011 synthetic polymer paint on linen initialled and dated lower right: gp. / 2011 122 x 87cm PROVENANCE: Edwina Corlette Gallery, Brisbane (stamp verso) Private collection, Melbourne $2,800 – 3,800

SALLY ROSS (born 1969) Untitled (Christopher - I’ve Been Searchin’ For Ya) 2002 synthetic polymer paint on linen signed, titled and dated on stretcher bar verso: Untitled (Christopher - I’ve Been Searchin’ For Ya) 2002/ Sally Ross 55 x 64cm PROVENANCE: The Artist’s Studio Private collection, Melbourne $2,000 – 3,000

102

100

Head - So You Say oil on board 100 x 100cm

Self Portrait Entering the Archibald 2020 synthetic polymer paint on canvas signed, titled and dated on Archibald label verso 50 x 41.5cm

MCLEAN EDWARDS (born 1972)

PROVENANCE: Martin Browne Gallery, Sydney Private collection, Melbourne $5,000 – 7,000

BENJAMIN AITKEN (born 1991)

PROVENANCE: The Artist Private collection, Melbourne EXHIBITIONS: The Archibald Prize, Art Gallery of New South Wales, Sydney, 2020 (finalist) “Initially not intended for the Archibald Prize, I was encouraged by a previous winner to enter, so I did. I don’t like to over-explain my paintings”. (The Artist) $2,000 – 3,000

103

NOTES

104

Now Consigning

FINE ART Leonard Joel offers expertise and extensive market knowledge in traditional, modern, international and contemporary fine art. MELBOURNE ENQUIRIES Olivia Fuller, Head of Fine Art 03 8825 5624 | olivia.fuller@leonardjoel.com.au SYDNEY ENQUIRIES Madeleine Norton, Senior Fine Art Specialist 02 9362 9045 | madeleine.norton@leonardjoel.com.au

leonardjoel.com.au

JEFFREY SMART (1921-2013) E.U.R. II 1965 Sold for $687,500 The Gordon & Jackie Samuels Collection, Sydney © The Estate of Jeffrey Smart

105

An Outstanding Pair of Diamond Pendant Earrings Sold for $800,000

NOW CONSIGNING — Leonard Joel offers specialist experience and regular, curated auctions across a diverse range of categories. MELBOURNE 333 Malvern Road, South Yarra, VIC 3141 info@leonardjoel.com.au (03) 9826 4333

leonardjoel.com.au leonardjoel.com.au 106

SYDNEY The Bond, 36-40 Queen Street, Woollahra, NSW 2025 sydney@leonardjoel.com.au (02) 9362 9045

BRISBANE OFFICE 201 Latrobe Terrace, Paddington QLD 4064 troy.mckenzie@leonardjoel.com.au 0412 997 080

ADELAIDE OFFICE 429 Pulteney Street, Adelaide SA 5000 anthony.hurl@leonardjoel.com.au 0419 838 841

AUSTRALIA AT THE VENICE BIENNALE BY KERRY GARDNER AM

With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work by chair of Australia at the Venice Biennale, documentary film maker and friend of Leonard Joel, Kerry Gardner, illuminates the untold stories and origins of the most important event of the art world. The book is now available through Melbourne University Publishing as a hardcover publication or an ebook at www.mup.com.au

AN EVENING WITH LEONARD JOEL AND KERRY GARDNER AM, 6 MAY Join us for a glass of champagne on Friday 6 May from 5-7pm at 333 Malvern Road, South Yarra, to browse the Centum collection and listen to Kerry introduce her book and chat about highlights from the auction. She will be available to sign copies of Australia at the Venice Biennale on the evening.

107

108

109

110

WHO ARE YOU: AUSTRALIAN PORTRAITURE

THE IAN POTTER CENTRE: NGV AUSTRALIA 25 MAR – 21 AUG AN NGV AND NATIONAL PORTRAIT GALLERY COLLABORATION PRINCIPAL PARTNER

MAJOR PARTNER

SUPPORTER

TOURISM PARTNER

EXHIBITION PARTNER

Brook Andrew; Trent Walter (printer) Marcia Langton 2009 (detail) National Portrait Gallery, Canberra. Commissioned with funds provided by Marilyn Darling AC 200 © Brook Andrew

111

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

CONDITIONS OF BUSINESS / SUMMARY Special Conditions of Sale – Jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement.

Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.

Authenticity Certificates As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale.

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.

GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged. For further information contact: Marie McCarthy accounts@leonardjoel.com.au Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person. Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves. Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis. Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them. Buyer’s Premium There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

112

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.

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 Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 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

For alternative recommended carriers please refer to our website. Partners:

CONTACT A LEONARD JOEL SPECIALIST Sale Rooms —

Leonard Joel Specialists —

The Auction Salon —

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

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Hannah Ryan, Specialist Noelle Martin, Administrator and Registrar

Nick Bastiras, Manager

SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 BRISBANE OFFICE 201 Latrobe Terrace, Paddington QLD 4064 Telephone: 0412 997 080 ADELAIDE OFFICE 429 Pulteney Street, Adelaide SA 5000 Telephone: 0419 838 841 email: info@leonardjoel.com.au leonardjoel.com.au CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht BA LLB MBA CHIEF EXECUTIVE OFFICER Marie McCarthy

INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Specialist DECORATIVE ARTS David Parsons, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Chiara Curcio BA, Head of Department (On Maternity Leave) SYDNEY Ronan Sulich, Senior Advisor Madeleine Norton BFA, BComm, MLitt, Decorative Arts and Fine Art Specialist Marcella Fox, Manager IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Hannah Sass, Jewellery Manager Indigo Keane, Assistant Isabella Macciolli, Administrator Henrietta Maiyah, Consultant MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department Paul Nicol, Modern Design Assistant LUXURY John D’Agata F.G.A.A., Head of Department Indigo Keane, Assistant PRINTS Hannah Ryan, Art Specialist

FURNITURE David Price, Manager Angus McGougan, Assistant Ari Walpole, Assistant JEWELLERY Hannah Sass, Jewellery Manager Indigo Keane, Assistant ART SALON Amanda North, Manager Tessa Pietsch, Assistant OBJECTS & COLLECTABLES Rebecca Stormont, Manager Natasha Berlizova, Assistant

— VALUATIONS David Parsons, Head of Department Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist ACCOUNTS Yue Zhang, Finance Manager Michelle Draper, Account Manager Andrea Del Campo, Accountant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Lucy Lewis, Client Services Liaison Richard Grieve, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant MARKETING & COMMUNICATIONS Blanka Nemeth, Marketing Manager Alice Wheeler, Database & Marketing Coordinator PHOTOGRAPHY Adam Obradovic Paolo Cappelli GRAPHIC DESIGN Maria Rossi

113

leonardjoel.com.au 116