Fine Art

FINE ART

AUCTION CATALOGUE VOLUME 16 ISSUE 18

LJ8704

COVER: Lot 10 (detail)

FRED WILLIAMS (1927-1982)

Kosciusko Landscape c.1975-76

oil on canvas

90.5 x 106cm

$180,000-220,000

© Fred Williams/Copyright Agency, 2023

INSIDE COVER: Lot 23 (detail)

ROBERT JACKS (1943-2014)

Blue Window (Out of the Shadow) 1987

oil on canvas

167 x 251cm

$8,000-12,000

leonardjoel.com.au

Fine Art to Inspire –

From the sharp terrain of Mount Kosciuszko and the domestic sensibilities of European genre painting, to the patterns of wrought-iron doorways and the diverse forms of the flower - our October Fine Art sale showcases the myriad of inspirational sources that can lead an artist towards a master work or series.

Our front cover is graced with an important painting by esteemed landscape painter, Fred Williams. After an eye-opening trip to Kosciuszko National Park in the mid-1970s, Williams produced a small body of work inspired by the landscape and imbued with an expressive freedom unseen in many of his other series’. Kosciusko Landscape c.1975-76 (lot 10) signals a remarkable shift in form and colour for Williams and presents a unique collecting opportunity having been in the one collection since its first sale through Rudy Komon Gallery.

Further abroad, a small group of Vietnamese artists in the first half of the 20th century found great inspiration in the artistic circles of Parisian society. Lê Phổ is one of Vietnam’s most revered artists whose ebullient works frequently merged Western and Eastern influences. Les Amaryllis, lot 54, is from the artist’s ‘Findlay’ period (in recognition of his highly influential American dealer) and demonstrates Phổ ’s inspiration from not only the diverse flora between his two homes but also the modern techniques of thwwe Impressionists in regards to colour and light.

When looking back at the artists of the 18th and 19th centuries in Europe, they were finding great inspiration in the furnishings of everyday life to refine what we now term ‘genre painting’. Artists like Luigi Scaffai (lot 55), Moritz Stifter (lot 56) and Gaetano Chierici (lot 57) were major exponents of the style and caught the eye of astute Australian collector, David Hains, on one of his many trips to London. Leonard Joel is honoured to present these three important works from the Estate of David Hains to the Australian market for the first time.

In stark contrast to the idealised genre painters of the 18th and 19th centuries specifically, modern artists of the 20th century took inspiration from pop culture, graphic design, and even architecture. Andy Warhol helped to define Pop Art and pioneered appropriation in visual arts. In Warhols’ Flowers (Feldman & Schellmann II.6) 1964 (lot 15), the artist used a photograph of hibiscus flowers taken by Patricia Caulfield from a 1964 issue of Modern Photography. Whilst controversially used without Caulfield’s permission, the image went on to become one of the artist’s most iconic and revisited. Warhol’s influence on artists around the world is evident, with Australian artist Howard Arkley a prime example. Arkley, similar to Warhol, developed his own unique visual language that still enthralls collectors today. In Curvilinear with Grid 1978 (lot 16) Arkley displays his ‘pattern-consciousness’ through his amalgamation of collected material related to the wrought-iron doorways he had recently sighted abroad with the more domestically plain Australian fly-wire screen door. Produced in a doorway size, the painting comes from the artists’s monochromatic period and presents yet another premium collecting opportunity within our latest Fine Art auction.

Olivia Fuller | Head of Art

PROVENANCE:

PROVENANCE:

1

RAY CROOKE (1922-2015) (Villagers and Lake) oil on canvasboard signed lower right: RCrooke 74.5 x 60cm

Corporate collection, Sydney $18,000-22,000

2

DONALD FRIEND (1915-1989)

The Lugger Darnley, North Queensland oil with goldleaf on board signed upper right: DONALD FRIEND 23.5 x 33.5cm

Sotheby’s, Melbourne, 30 July 1986, lot 7 Private collection, Melbourne $16,000-20,000

1 © Ray Crooke/Copyright Agency, 2023

PROVENANCE:

PROVENANCE:

Leonard Joel, Melbourne, 8 May 2011,

2 © Donald Friend/Copyright Agency, 2023

3 JOHN PERCEVAL (1923-2000) Hanging Rock with Ladder 1990 oil on canvas signed and dated lower left: Perceval / ‘90 signed, titled and dated verso 60 x 75cm

Mossgreen Auctions, Works from the Studio of John Perceval AO, Melbourne, 19 March 2013, lot 348

Private collection, Melbourne $8,000-10,000

4 § MIRKA MORA (1928-2018) Mother and Child 1979 pastel on paper signed and dated lower right: Mirka 7954 x 65cm

lot 151

Private collection, Melbourne $8,000-12,000

PROVENANCE:

Niagara

PROVENANCE:

Art Equity, Sydney 2015 Private collection, South

NOEL MCKENNA (born 1956)

Blue Vase with Geometric Pattern 2006 glazed ceramic signed and dated on base: NMcKenna/06 29cm (height)

Galleries, Melbourne Private collection, Melbourne $3,000-5,000

7 © The Sidney Nolan Trust. All rights reserved. DACS/Copyright Agency, 2023

ADAM CULLEN (1965-2012)

Ned Kelly and Sergeant Steele’s Horse 2010 ink on archival paper initialled and dated lower right: AC’10 66 x 102cm (sheet)

Australia $4,000-5,000

PROVENANCE:

Private collection, Melbourne

Deutscher~Menzies, Melbourne, 21 September 2005,

8 © John Olsen/Copyright Agency, 2023

7

SIDNEY NOLAN (1917-1992)

Ned Kelly & Landscape mixed media on paper on board signed lower right: Nolan titled on gallery label verso 51 x 75cm

PROVENANCE: Wagner Art Gallery, Sydney (label verso) Corporate collection, Sydney $25,000-35,000

8 JOHN OLSEN (1928-2023) Landscape 1977 watercolour and gouache on paper on card signed and dated lower right: John/ Olsen/ 77 66 x 96.5cm

lot 70

Private collection, Melbourne $18,000-24,000

Jeffrey Smart

JEFFREY SMART (1921-2013)

First Study for ‘Conversation Piece’ 1997 oil and pastel on canvas signed lower right: JEFFREY SMART titled and dated on gallery label verso 13.5 x 45.5cm

PROVENANCE:

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

Deutscher~Menzies, Sydney, 14 June 2006, lot 62 Private collection, Melbourne

EXHIBITIONS:

Jeffrey Smart Paintings and Studies 1993-1998, Australian Galleries, Sydney, 27 October21 November 1998, cat. no. 5 (illus. p.11)

Jeffrey Smart Paintings 1958-1999 including Seven New Works, Australian Galleries, Sydney, 27 August-15 September 1999, cat. no. 10

RELATED WORKS:

Conversation Piece 1998, oil on canvas, 60 x 200cm, Menzies, Melbourne, 27 February 2020, lot 36 $70,000-90,000

Jeffrey Smart drew inspiration from seemingly casual and unassuming sights while traveling and living abroad in Italy. Whether capturing a glimpse of an intriguing shape, a gathering of people on the sidewalk, or the construction of a new bridge along the roadside, Smart’s discerning eye translated these images into meticulously detailed sketches and studies, many of which eventuated as larger paintings.

One of his favourite locations for painting was the industrial estate near Arezzo in Italy, nestled close to his Tuscan villa and located along a highway linking Rome, Florence and Bologna. While the exact location of this body of work has never been revealed, they each bear a strong resemblance to his other works of the same area, most notably Arezzo Panorama 2002-03 and Parking Lot Near Bologna 1992.

It was no secret that Smart drew inspiration from the Italian Renaissance artists and their approach to spatial composition and classical aesthetics. Incorporating geometrically precise and meticulously rendered architectural elements into his paintings, Smart’s works often feature carefully arranged buildings, roads and objects, showcasing his understanding of these spatial organisations.

Significantly, the Sacra Conversatione holds importance in this study, a theme that emerged during the early Renaissance era in Italy, portraying saints, scholars and patrons in a way that made them physically approachable to general viewers. It has been further suggested by academics that the format of Piero Della Francesca’s famous Flagellation of Christ was the prime influence of this piece. Adapting its visual concept, Smart substitutes the ornate posture, attire and classical architecture with contemporary figures engaging in casual conversation - a bare-chested man in jeans, another in a worker’s singlet and shorts and a woman in a skirt.

9 © The Estate of Jeffrey Smart

The background gives way to 20th century symbols, aligning with the western notion that industrialisation associates with progress and change.

The creation of Conversation Piece was born from five painting studies (the first of which is the present lot), a figure drawing and the major final work, all of which unfolded during the period of 1997-1998, when Smart was preparing for a significant retrospective at the Art Gallery of New South Wales. In this work, First Study for ‘Conversation Piece’, Smart focuses on the simplicity of form, set against a background of vivid blue. The elongated format primarily comprising of contrasting blocks and rectangles, achieving a harmonious balance of form, colour and light. The imposing structure of the long B-double truck sits centrally with the cab on the left-hand side. Smart’s iconic palette accentuates the size of the vehicles by the bold use of orange, green and white with the positioning of three conversing figures on the left, from which the artwork derives its name. In his further studies, Smart goes on to explore these subjects further, introducing multiple trucks as layered blocks of colour in the second study, however he soon resolves this by returning to the original idea, as in this first painting, determining this concept to be the best for the final painting.

Smart developed a meticulous working process as a tribute to artists of the past that allowed him to achieve his most refined results. First Study for ‘Conversation Piece’, along with the subsequent studies and the final painting, took centre stage in a major exhibition of Smart’s works at Australian Galleries in 1998. This body of work was particularly highlighted for its daring use of primary colours, conveying a timeless sensibility all while narrating a story that is uniquely and undeniably Jeffrey Smart.

Lucy Foster | Senior Specialist, Fine Art

Fred Williams

Fred Williams pioneered a new artistic vision of the Australian landscape and is considered to be one of the most important Australian artists of the twentieth century. Whilst many of Williams’ representations of the Australian landscape encapsulate its idyllic warmth; a pivotal moment occurred in the mid-1970s when Williams sighted the grandeur of Mount Kosciuszko resulting in a dramatic shift in his work.

During the winter of 1975 and again in 1976, Fred Williams made several photographs of Mount Kosciuszko (then spelled Mount Kosciusko, and hereafter in this essay for that reason) from multiple flights over the region. As such, his resultant series of gouaches and oils combined both aerial views together with his plein air perspective from below to transcend traditional perspectives. This series was the first ‘view’ paintings that Williams ever attempted. 1

The traditional vision of the Australian landscape is perhaps centred on its heat and dryness, but occasionally an artist may take a different approach as seen by both Eugene Von Guerard and Fred Williams. In fact, Von Guerard’s own depictions of Mount Kosciusko, notably Mt. Kosciusko housed in the National Gallery of Australia, greatly inspired Williams’ own. Von Guerard’s paintings served as an inspiring reference point within the realm of romantic art, motivating Williams to break away from his own customary reserve and embark on creating painting infused with expressive awe. As Williams commented, “The shapes of the snow are fascinating & [in] some of the sketches I attempt to do “portraits” of certain areas – the snow areas!”2 . It was the patches of snow that allowed Williams to form inventive shapes less explored in his other landscapes.

Just as crucial as Wiliams’ shift in form was that of his colour palette. Following the bright and lustrous palette of the Kew Billabong series which preceded it, the Kosciusko series by sharp contrast presented a dark and moody palette with shifting chiaroscuro. This stark and somewhat austere atmosphere introduced a heightened sense of drama to the monumental mountain peak depicted. The immediate shift in colour palette also liberated Williams from his self-imposed constraints regarding the ‘picturesque’. In essence, this transformation in Williams’ art stemmed from a renewed commitment to bringing life to the landscape through his brush, even as he cast aside previous reservations about contrast and embraced a more intuitive and emotive connection with his subject.

Although Williams produced only a handful of paintings of Mount Kosciusko, this series is a testament to the profound and lasting impact this part of the Australian landscape had on Williams’ artistic journey. After being in the possession of the respected Rudy Komon Gallery in Sydney, the present lot entered a prominent collection where it has remained ever since. The current auction presents only the second opportunity for the public to acquire this important painting and a rare opportunity to acquire a painting from this significant series which was such a pivotal turning point in Williams’ ouevre. Fred Williams’ exploration of Mount Kosciusko remains a testament to his ability to capture the diverse and captivating essence of the Australian terrain in his art.

10

FRED WILLIAMS (1927-1982) Kosciusko Landscape c.1975-76 oil on canvas signed lower left: Fred Williams 90.5 x 106cm

PROVENANCE: Rudy Komon Art Gallery, Sydney 1981 (label verso, stock no. 4316) Corporate collection, Sydney

RELATED WORKS: Mountain Creek, Mount Kosciusko 1976, oil on canvas, 182.5 x 111.7cm, Sotheby’s, Sydney, 27 August 2019, lot 11, sold for $1,708,000 IBP

Kosciusko 1976, oil on canvas, 91.4 x 106.7cm, Rudy Komon Art Gallery stock no. 4315, Deutscher~Menzies, Melbourne, 21 August 2000, lot 51

Mt Kosciusko 1975-76, oil on canvas, 152.5 x 185cm, The Collection of Rupert Murdoch, illustrated in P. McCaughey, Fred Williams, Bay Books, Sydney, 1980, pl.180, p.288

Mt Kosciusko 1975, gouache on paper, 56 x 77.4cm, The Collection of the National Gallery of Australia, Canberra $180,000-220,000

Madeleine Norton | Head of Decorative Arts & Art, Sydney

1 McCaughey, P., Fred Williams: 1927-1982, Bay Books, Sydney, 1980, p. 287

2 Hart, D., Fred Williams – Infinite Horizons, National Gallery of Australia, Canberra, 2011, p. 142

3 Op. cit., McCaughey, p. 287

10 © Fred Williams/Copyright Agency, 2023

11

GUY BOYD (1923-1988)

Untitled (Woman) c.1972 bronze, ed. 1/6 signed at base: Guy Boyd 82 x 35cm (irreg.)

PROVENANCE: Manyung Gallery, Victoria 1972 Private collection, Victoria Thence by descent

OTHER NOTES: This work is accompanied by a perspex and wood plinth $6,000-8,000 12

§ ROBERT JUNIPER (1929-2012)

Quondong 1996 mixed media on canvas signed and dated lower right: Juniper/ ‘96 titled on gallery label verso 119 x 137cm

PROVENANCE: The artist Philip Bacon Galleries, Brisbane (label verso) Corporate collection, Brisbane Deutscher~Menzies, Sydney, 5 December 2007, lot 68

Private collection, Melbourne Lawson~Menzies, Sydney, 11 August 2011, lot 60 Private collection, Melbourne Menzies, Sydney, 21 March 2013, lot 101 Private collection, Melbourne $12,000-18,000

13

14

PROVENANCE:

Acquired

12 © Robert Juniper/Copyright Agency, 2023

RALPH BALSON (1890-1964)

Matter Painting 1960 enamel on composition board signed and dated lower centre: R. Balson 60 55.5 x 61cm

PROVENANCE: The Estate of Jim Alexander $8,000-12,000

GERARD SCHNEIDER (Swiss, 1896-1986) Untitled 1968 gouache on paper signed and dated lower left: Schneider/ -68 24.5 x 33cm

directly from the artist Maurice Solomon Collection, New York Sotheby’s, France, 3 December 2021, lot 131 Private collection, Melbourne $3,000-5,000

Andy Warhol

In the world of art, there are certain moments that breathe life into artworks, giving them a deeper meaning than what meets the eye. Andy Warhol’s Flowers series, a peak in his artistic journey, represents an important part of the Pop Art movement. While his Campbell’s Soup and Marilyn prints had become iconic, they were firmly rooted in a specific time and cultural context. Flowers, in contrast, reinvigorated the movement, becoming timeless and iconic in their own right while transcending pop culture references.

The Flowers series emerged in 1964 when Henry Geldzahler, then curator of the Metropolitan Museum of Art, sought to divert Warhol’s focus from deceased icons and tragedies into something different and refreshing. Geldzahler proposed a change, “I looked around the studio and it was all Marilyn and disasters and death. I said, ‘Andy, maybe it’s enough death for now.’ He said, ‘What do you mean?’ I said, ‘Well, how about this?’ I opened a magazine to four flowers.” 1

It was at this pivotal moment that Warhol encountered a photographic foldout of hibiscus flowers within the June issue of Modern Photography magazine, an image originally captured by Patricia Caulfield. The magazine layout itself hinted at the artistic potential of these floral images. One side of the foldout presented four variations of the photograph with subtle differences in colours to demonstrate the new Kodak colour processing system, yet also reminiscent of the repetition that Warhol embraced in his own practice.

To bring the Flowers series to life, Warhol undertook a meticulous artistic process. He initially cropped the photograph of flowers to achieve a square format, containing just four blossoms. Once the final composition was established, Warhol collaborated with his studio assistants at the Factory to apply flat areas of colour to each canvas, typically using green as the background and warm vibrant hues for the flowers. Subsequently, they would screenprint to overlay the appropriated photographic image. The fusion of vivid colour with the medium of screenprint instilled the Flowers series with its intended distinctive visual impact.

Warhol’s unwavering dedication to the Flowers series throughout 1964 was revealed to the world through his transformative exhibition at Leo Castelli Gallery in New York. The space was enriched with his 24-inch floral screenprints, all densely displayed to enhance the repetition of the motif and highlight the absence of a fixed upright position. To coincide

with this exhibition, Warhol published Flowers (11.6). Arthur C. Danto recalls, “I remember the stack of offset lithographs, Flowers (11.6), at the receptionist’s desk at Leo Castelli Gallery in 1964, where they cost, in my recollection, five dollars each. I was surprised to learn … that there were only approximately three-hundred of these since everyone I knew bought one or two. That shows the narrow radius of the art world in that era. That they were cheap and unnumbered, printed on ordinary paper by a vernacular shop not especially known for fine art prints, corresponded, I think, with the idea that everyone who wanted one could have one, and that there were no relevant differences from print to print …. Because they were so democratised, on the other hand, those prints were treated as virtually disposable – who thought of them as Art with a capital A? People wrapped packages with them or tacked them up unframed until they became soiled and torn, so that by now they have a rarity and value altogether subversive of artistic intention.” 2

The intimacy of the art world at the time is indicative in the provenance of this lot, whereby Leo Castelli gifted this work to fellow artists Christo and Jeanne-Claude who had newly arrived in New York in 1964. The artists treasured Flowers (11.6) in their personal collection until their momentous auction with Sotheby’s Paris in 2021. This provenance not only enhances its historical and artistic value, but also connects two of the art world’s great entities whose influence transcended their own artistic realms.

The Flowers series resonates with not only the timelessness of nature’s beauty but also Warhol’s enduring popularity as an artist and fascination with repetition. More than half a century after their creation, the series continues to signify a turning point within the oeuvre of Warhol’s prints. Unlike his iconic representations of brand names or celebrities, the Flowers are free from cultural context yet have remained quintessentially ‘Warhol’ alongside Marilyn and his Campbell’s soup cans.

Hannah Ryan | Prints & Multiples Specialist

1 Lobel, M., In Transition: Warhol’s Flowers, 2012, accessed 18 September 2023: https://www. academia.edu/6606038/In_Transition_Warhols_Flowers

2 Danto, C. A 2003, ‘From Warhol and the Politics of Prints’, in Feldman, F., Schellmann, J., Andy Warhol Prints: A Catalogue Raisonnee 1962 – 1987, Distributed Art Publishers, Inc., p. 14

15 © Andy Warhol Foundation for the Visual Arts, Inc.

ARS/Copyright Agency, 2023

15

ANDY WARHOL (American, 1928-1987)

Flowers (Feldman & Schellmann II.6) 1964 offset lithograph, ed. of approximately 300 signed and dated lower right: andy warhol 64

printed by Total Color

published by Leo Castelli, New York

55.5 x 55.5cm

PROVENANCE:

The Collection of Christo and Jeanne-Claude (a gift from Leo Castelli)

Sotheby’s, Unwrapped, Part I: The Hidden World of Christo and Jeanne-Claude, Paris, 17 February 2021, lot 17

Private collection, Melbourne

LITERATURE:

Feldman, F., and Schellmann, J., Andy Warhol Prints: A Catalogue Raisonne 1962-1987, Ronald Feldman Fine Arts, New York, fourth edition, 2003, cat. no. 11.6, p. 60 (illus., another example)

$40,000-50,000

Howard Arkley

Howard Arkley’s subjects broadly extended from suburban houses and freeway overpasses, to zappo heads and pattern appropriations. When looking at the work of Howard Arkley and his extensive archives, the plethora of references is quickly apparent. Beneath each of Arkley’s canvases is a complex history of ideas and experimentations from drawings, notes, clippings, photographs and more. Where some artists look to conceal their source material, Arkley placed it front and centre and even exhibited it alongside his paintings on at least one occasion.

In Howard’s diary from 1978, he demonstrates a clear influence from John Perreault’s essay ‘Issues in Pattern Painting’, which discusses contemporary art and its characteristic of calling attention to that which is often invisible. Those artists that are ‘pattern-conscious’, such as Arkley, bring these invisible elements into focus. Above this reference in Arkley’s diary, he scribed his mission: “I want to re-energise abstract painting”.

In the same year, Arkley and his wife Elizabeth Gower travelled to Europe and New York where he filled a small notebook with sketches and musings from different patterns he had sighted along the way. What appears to have struck him the most were the wrought-iron doorways. Upon returning to Australia, he continued this fascination and it was the provincial Australian fly-wire security door that provided a local equivalent.

“I used the door format to arrive at my canvas proportion using what turned out to be unlimited variations of patterns and shapes.” 1

The resulting paintings from this period are known as his ‘door paintings’, not only for their source material but also their size akin to a classic doorframe. These paintings were exhibited across shows in 1979 and 1980, referencing doors, sewing patterns and I Ching symbols. They demonstrate Arkley’s ‘pattern-conscious’ approach, with free-flowing curves, curls and peaks reminiscent of wrought iron contained within the subtle grid-form of the doorframe.

In Howard Arkley’s paintings, elements of modern life become the protagonist whilst he challenges our notions of art and décor through his pattern-making. He makes no attempts to conceal his thought process, referencing his source material openly. Through his paintings, Arkley identified a new Australian art identity, positioning him as the foremost painter of Australian suburbia for which he is still recognised today.

Olivia Fuller | Head of Art

16

HOWARD ARKLEY (1951-1999)

Curvilinear with Grid 1978 synthetic polymer paint on canvas signed, titled and dated verso: Curvilinear / with grid / 78 / H Arkley 203 x 78.5cm

PROVENANCE:

Private collection, Melbourne By inheritance from the above

EXHIBITIONS:

Howard Arkley: Recent Paintings, Tolarno Galleries, Melbourne, 9 – 20 May 1979

Howard Arkley, Coventry Gallery, Sydney, 4 – 22 March 1980, cat. no. 4

Howard Arkley, Monash University Gallery, Melbourne, 18 October - 30 November 1991, cat. no. 15

LITERATURE:

Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/ blog/2009/11/13/curvilinear-with-grid-1978/ (illus.) $30,000-40,000

1 Fitzpatrick, A., Lynn, V., Howard Arkley and Friends, Tarrawarra Museum of Art, Victoria, 2015, p.12

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

17

REKO RENNIE (born 1974)

Nguwa Relentless 2021

synthetic polymer paint on pink mirrored acrylic

signed, titled and dated on stretcher bar verso:

NGUWA - HERE - REKO 2021

150 x 120cm

PROVENANCE:

Station Gallery, Melbourne 2021

Private collection, Melbourne

EXHIBITIONS:

Reko Rennie, Relentless, Station Gallery, Melbourne, 30 October – 27 November 2021

$20,000-25,000

18

ADAM CULLEN (1965-2012)

Wild Isaiah Wright 1876 2007-08

synthetic polymer paint on canvas

signed and inscribed verso: ADAM CULLEN 07 “WILD”

initialled verso: AC08 92 x 91.5cm

PROVENANCE:

Art Equity, Sydney 2013

Private collection, South Australia

$10,000-15,000

19

ADAM CULLEN (1965-2012)

Steve Hart 1880 2008-09

synthetic polymer paint on canvas

signed, titled and dated verso: ADAM CULLEN 09

“STEVE HART”

initialled verso: AC08 91.5 x 91.5cm

PROVENANCE:

Art Equity, Sydney 2013

Private collection, South Australia $10,000-15,000

18 © Adam Cullen/Copyright Agency, 2023

20

20

KEN WHISSON (1927-2022)

For the Moment of Porto Alegre 2000-01 oil on Belgian linen

signed, dated and inscribed verso: Artist: Ken Whisson/ Title: “For the Moment of Porto Alegre”/ (For the bright and beautiful/ moment of Porto Alegre)/ Painted Perugia 13/2/2000/ + 9/7/2000 + 7/2/2001

artist’s inscriptions across canvas edge verso 89.5 x 119cm

PROVENANCE:

Watters Gallery, Sydney 2001 (label verso)

Private collection, Melbourne

Menzies, Sydney, 17 May 2017, lot 56

Corporate collection, Melbourne

Menzies, Melbourne, 27 February 2020, lot 52

Private collection, Melbourne $25,000-35,000

21

JAMES DRINKWATER (born 1983) Monument of Nice 1 2016 oil, collage and mixed media on board signed, titled and dated verso: Drinkwater 16 / Monument / of / Nice 1 180 x 122cm

PROVENANCE:

Nanda Hobbs, Sydney Private collection, South Australia

EXHIBITIONS:

The Sea Calls Me By Name, Newcastle Art Gallery, Newcastle, 7 June - 11 August 2019

$12,000-18,000

22

ALAN CONSTABLE (born 1956) Untitled (Camera) 2007

ceramic

Arts Project Australia cat no. on base: ACC 07-0009 11 x 30 x 14cm

PROVENANCE:

Private collection, Western Australia $1,800-2,800

23

Blue

167 x 251cm

PROVENANCE:

Shapiro Auctioneers, Sydney, 11 September 2007, lot 7

Private collection, Queensland $8,000-12,000

24

HOWARD

24 x 16cm

PROVENANCE:

Galerie Düsseldorf, Perth (label verso)

Private collection, Sydney

Deutscher and Hackett, Melbourne, 25 November 2009, lot 3

Private collection, Melbourne

EXHIBITIONS:

Howard Taylor: Towards Discovery - Paintings, Maquettes and Drawings, Galerie Düsseldorf, Perth, 2004, cat. no. 30

$10,000-15,000

25

KEVIN

Two White Cards No. 1 1985 oil on linen signed upper left: KLincoln titled and dated verso: 9-12-85 / TWO WHITE/ CARDS No.1

95 x 116cm

PROVENANCE:

Private collection, Melbourne

Stuart Gerstman Galleries, Melbourne $5,000-8,000

LINCOLN (born 1941)

TAYLOR (1918-2001)

Study for Foliage Light 1987 oil on plywood artist’s name, title and date on gallery label verso

ROBERT JACKS (1943-2014)

Window (Out of the Shadow) 1987 oil on canvas signed, titled and dated verso: “Blue Window”/ (OUT OF THE SHADOW)/ jacks/ 1987

28 © Tim Storrier/Copyright Agency, 2023

PIPPIN DRYSDALE (born 1943)

Kimberley Series (Wild Fruits) 2019

porcelain vessel with incised lines signed and dated at base: PIPPIN/ DRYSDALE/ 2019 28.5 x 20cm

EXHIBITIONS:

Pippin Drysdale - Kimberley Series 2019, Linton & Kay Galleries, Perth, 18 October - 24 November 2019 $5,000-7,000

27

PETER SMETS (born 1962) Pickup Point oil on canvas signed lower right: Peter Smets 75 x 90cm

PROVENANCE: The artist Private collection, Queensland $10,000-15,000

28

TIM STORRIER (born 1949)

The Light Line (Evening) oil and rope on canvas signed and titled lower right: The light line (evening) Storrier 60 x 181.5cm

PROVENANCE:

Baker Galleries, Sydney

Sotheby’s, Melbourne, 24 November 1998, lot 136 Private collection, Melbourne $50,000-70,000

29

BRYAN WESTWOOD (1930-2000) (Jockey Shirt, Hat and Bridles) oil on canvas initialled lower right: W Robin Gibson Gallery label verso 148.5 x 209.5cm

PROVENANCE: Corporate collection, Sydney $10,000-20,000

30

ROBERT DICKERSON (1924-2015)

The Appeal oil on canvas signed lower right: DICKERSON titled on gallery label verso 118.5 x 89cm

PROVENANCE:

Art Galleries Schubert, Queensland Private collection, Queensland Sotheby’s, Melbourne, 21 November 2006, lot 137 Anthea Polson Art, Queensland (label verso) Private collection, Melbourne

RELATED WORK:

The Appeal, charcoal on Arches paper, 36 x 29cm, Lawsons, Sydney, 31 March 2022, lot 545 $25,000-35,000

31

CHARLES BLACKMAN (1928-2018)

Early Morning Blues 1954-55 oil and acrylic on paper on board signed indistinctly lower right: BLACKMAN titled on gallery label (now detached) 99.5 x 134.5cm

PROVENANCE:

Tolarno Galleries, Melbourne c.1981 Private collection, Melbourne

LITERATURE:

Shapcott, T., The Art of Charles Blackman, Andre Deutsch, London, 1989, pl.47, pp. 120 (illus.), 251 $35,000-45,000

29 © Bryan Westwood/Copyright Agency, 2023

74.5

PROVENANCE:

Holdsworth Galleries, Sydney (label verso) The Collection of Lady Primrose Potter, Melbourne $16,000-22,000

PROVENANCE: Private collection, Melbourne $8,000-12,000

Tribesman at Yuendumu 1974

signed and dated lower left: Lin Onus 1974 artist’s name, title and date inscribed verso 50 x 57cm

PROVENANCE: Private collection, Melbourne

Thence by descent $25,000-35,000

31 © Charles Blackman/Copyright Agency, 2023

32

RAY CROOKE (1922-2015)

Billyand Avenue, Sydney oil on canvas on board signed lower left: R Crooke titled on gallery label verso

x 100cm

33 RAY CROOKE (1922-2015) Island Scene oil on canvasboard signed lower left: R Crooke 45 x 34.5cm

34 LIN ONUS (1948-1996)

oil on canvasboard

ALBERT TUCKER (1914-1999)

Parrot and Bush II 1965

signed and dated lower left: Tucker 65 titled verso

59 x 74cm

PROVENANCE:

Art Galleries Schubert, Queensland (label verso)

Anthea Polson Art, Queensland (label verso)

Private collection, Melbourne $20,000-25,000

36

DAVID BOYD (1924-2011)

Judge

90 x 100.5cm

PROVENANCE:

Private collection, Melbourne $18,000-24,000

37

SIDNEY NOLAN (1917-1992)

Notes for Oedipus V 1975

enamel on board signed lower right: nolan

121 x 121cm

PROVENANCE:

Sir Sidney Nolan

By inheritance to his widow, Lady Nolan

The Estate of Lady Nolan, UK $15,000-20,000

oil on board

in a Paperbark Tree 1986 oil on canvas signed lower left: David Boyd dated lower right titled verso

PROVENANCE:

Ray Hughes Gallery, Sydney Private

Queensland

Lawson~Menzies, Sydney, 19 March 2008, lot 251

Private collection, Melbourne

Menzies, Sydney, 21 March 2013, lot 92

Private collection, Melbourne $16,000-20,000

PROVENANCE:

Australian Galleries, Melbourne Private collection, Melbourne

Deutscher~Menzies, Melbourne, 3 May 2000, lot 125

Private collection, Melbourne

$6,500-8,500

38

§ WILLIAM ROBINSON (born 1936) Springbrook Waterfall pastel on paper signed lower right: William Robinson titled on Philip Bacon Galleries label verso 56.5 x 76cm

collection,

39

CLIFTON PUGH (1924-1990)

An Old Fence 1989 oil on board signed and dated lower right: 22.5.89 / Clifton 120 x 90cm

40

DAVID

Joseph Resting In His Coat Of Many Colours On His Journey Into Egypt 1966 oil on board

signed and dated lower right: David Boyd 1966 signed, titled and dated verso 36.5 x 49cm

PROVENANCE: Estate of the artist Thence by descent $5,000-8,000

41

DAVID

David and Saul 1966 sfumato and oil on board signed and dated lower right: David Boyd 1966 signed, titled and dated verso 95 x 85.5cm

PROVENANCE: Estate of the artist Thence by descent

EXHIBITIONS:

David Boyd: Survey Retrospective Exhibition (1957-1992), Andrew Ivanyi Galleries, Melbourne, 27 May - 10 June 1992, cat. no. 23 (illus.) $10,000-15,000

42

JAMES

The Wall 1986 oil on canvas signed and dated lower right: Gleeson ‘86 signed, titled and dated on stretcher bar verso 188.5 x 254cm

PROVENANCE:

Watters Gallery, Sydney

Private collection, New South Wales 2009 Menzies, Melbourne, 23 March 2016, lot 42 Private collection, Melbourne

LITERATURE:

Klepac, L., James Gleeson - Landscape out of Nature, Beagle Press, Sydney, 1987, p.22 (illus. p.49, p.23)

RELATED WORKS:

The Arrival of Implacable Gifts 1985, oil on canvas, 198 x 245cm, The Collection of the Art Gallery of New South Wales, Sydney

The Keeper of Used Shadows 1986, oil on canvas, 177 x 267cm, The Collection of Win Schubert, Queensland

In and Out of Time 1987, oil on canvas, 223 x 246cm, The Collection of the Methodist Ladies’ College, Melbourne

Rituals for an Anxious Spring 1987, oil on canvas, 182.5 x 274.5cm, The Collection of the Heide Museum of Modern Art, Melbourne

The Dance 1989, oil on canvas, 190 x 256cm, The Collection of James Fairfax AC, Sydney $30,000-40,000

BOYD (1924-2011)

BOYD (1924-2011)

41 © David Boyd/Copyright Agency, 2023

GLEESON (1915-2008)

PROVENANCE:

Art

Lawson~Menzies, Sydney, 13 September 2007,

Private

Lawson~Menzies,

2011,

61

PROVENANCE:

Lady Nolan, United Kingdom

Corporate collection, Melbourne

Menzies, Sydney, 13 September 2012, lot 48

Corporate collection, Melbourne

Menzies, Melbourne, 27 June 2019, lot 53 Private collection, Melbourne

EXHIBITIONS:

Landscapes and ‘Ned Kelly’ Paintings of 1979, Rudy Komon Gallery, Sydney, March 1980 (label verso, stock no. 4983)

$28,000-38,000

§ ROBERT DICKERSON (1924-2015) The Woman charcoal on paper signed lower right: DICKERSON titled on gallery label verso 132 x 76.5cm

Galleries Schubert, Brisbane (label verso) Corporate collection, Brisbane

lot 221

collection, Melbourne

Sydney, 11 August

lot

Private collection, Melbourne $10,000-15,000

SIDNEY NOLAN (1917-1992) Hanged Crucifix 1979 oil and enamel on hardboard signed and dated lower right: NolAN/ 79 signed, titled and dated verso

120.5 x 90cm

45 YOSL BERGNER (1920-2017)

Painting

inscribed verso: Yosl Bergner/ Painting to Franz Kafka/ No.11

115.5 x 80.5cm

PROVENANCE:

Private collection, Melbourne $5,000-8,000

46

§ JON MOLVIG (1923-1970)

Untitled

PROVENANCE:

Rudy Komon Gallery, Sydney (label verso, cat. no. 142)

The Collection of Ray Hughes

Shapiro Auctioneers, Sydney, 23 August 2016, lot 116

Private collection, Queensland $4,000-6,000

to Franz Kafka’s ‘Running Man’ 1975 oil on canvas signed lower left in Hebrew dated lower left

1960 oil on board signed and dated lower left: molvig 1960 69 x 121cm

47 © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art

§ ALBERT TUCKER (1914-1999)

Thames IV c.1957 mixed media on hardboard artist’s name and title inscribed verso 33.5 x 62cm

PROVENANCE:

Phillips Son and Neale Auctions, London 1970 Private collection, New South Wales Menzies, Sydney, 21 March 2013, lot 13 Private collection, Melbourne

RELATED WORK:

Thames I 1957, polyvinyl acetate, cardboard, hessian and sand on hardboard, 66.4 x 128.8cm, The Collection of the Art Gallery of New South Wales, Sydney $9,000-12,000

48 JOHN BRACK (1920-1999)

The Conflict 1959-60 watercolour and gouache on paper signed and dated upper right: John Brack 1959 60.5 x 50.5cm

PROVENANCE:

Skinner Galleries, Perth

Private collection, Adelaide Menzies, Sydney, 26 March 2015, lot 58 Corporate collection, Melbourne Private collection, Melbourne

LITERATURE:

Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, p.121 Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol.II, p.51, cat. no. p90 (illus. p.204)

RELATED WORK:

The Fight 1959, oil on canvas, 115.5 x 51.5cm, The Collection of the Museum and Art Gallery of the Northern Territory, Darwin $25,000-35,000

48 © Helen Brack

Sidney Nolan

SIDNEY NOLAN (1917-1992)

Kate Kelly Pursued by Constable Fitzpatrick c.1945 oil on board

62 x 74.5cm

PROVENANCE:

The artist Lady Nolan, United Kingdom Menzies, Melbourne, 23 September 2010, lot 34 Private collection, Melbourne

RELATED WORK:

Constable Fitzpatrick and Kate Kelly 1946, enamel on composition board, 90.5 x 121cm, Collection of the National Gallery of Australia, Canberra $90,000-120,000

Sidney Nolan is one of Australia’s most recognised and revered modern artists. Nolan took the barren Australian landscape and made it the set for his own theatrical imaginations, exploring the human condition in a myriad of ways that we are still decoding. His Ned Kelly paintings are some of the most important works from not only his own oeuvre, but also the broader discourse of Australian art history.

In the early 1940s, Nolan was again a bachelor and living at Heide. His deep relationship with Sunday Reed was burgeoning, with Reed becoming highly influential on his practice. Following her suggestion, he began to focus on a completely modern adaptation of the Australian landscape as a progression from the Heidelberg painters. While the exact instigator to Nolan’s Kelly series is often debated, there were two events that appear highly influential. The first was the Ern Malley hoax of 1943-44, which involved the fictional poet poking fun at the standards of modern writing. The hoax gave Nolan the courage to challenge accepted notions of modern art, and demonstrated that fact and fiction, history and lies, could in fact sit side by side. The second event was his desertion of the Army in 1944 amidst the possibility of being sent to the front lines in New Guinea.

Soon after, Nolan began to research the Kelly stories and his iconic 1940s paintings were executed in the dining room at Heide. As 27 of these works were donated by Sunday Reed to the National Gallery of Australia, Canberra, these associated works, such as the present lot, reveal a truly rare opportunity to obtain a piece of Australian art history.

Kate Kelly Pursued by Constable Fitzpatrick was likely painted in 1945, when Nolan was first exploring the Ned Kelly theme and forming his visual devices connected to the series, the most iconic of which became the minimalist black square helmet. Each painting sought to depict an ‘episode’ in the Kelly drama, and this painting focused on Constable

Fitzpatrick’s unwelcomed romantic pursuits of Kate Kelly. Fitzpatrick had arrived at the Kelly homestead in 1878 to arrest Dan Kelly for horse stealing. Fitzpatrick is depicted as a grotesque and lecherous being, opposite the young Kate Kelly. Both figures are forcefully separated by a crimson form, thought to be a shrub but perhaps also representative of the emotional turmoil of the scene – the lust being felt by Fitzpatrick, and the anger from Kate and her fellow Kelly members at his untoward actions. The painting is therefore a work of combined visual, historical and psychological importance, demonstrating the very start of Nolan’s exploration into the subject, the pivotal moment that drove Ned into outlawry and its parallels with Nolan’s own personal torment at the time.

While the 1946 painting of this scene, now in the National Gallery of Australia, brings the moment to the interior of the home, both paintings focus on the abhorrent disapproval of Fitzpatrick and the police as felt by Ned. In Ned Kelly’s iconic 8000-word Jerilderie letter, he ranges from well-argued accusations to child-like abuse: “a parcel of big, ugly, fatnecked, wombat-headed, big-bellied, magpie-legged, narrow-hipped, splay-footed sons of Irish Bailiffs or English lords which is better known as officers of Justice of Victoria Police”. So, too, the public, specifically the lesser classes at the time, popularised Ned as their hero-figure. “It is this same implacable hero of the common people, natural scourge of the police and inscrutable image of unqualified rightness, that Nolan has so brilliantly and with so disarming an air of simplicity extricated or rather abstracted from the Kelly story. His pictorial treatment of the episodes reflects his response to Kelly’s own words”.1 The pace of his response is evident in the immediacy of this painting, an indication of the immense inspiration Nolan was feeling when his exploration of the Kelly story was coming to fruition. As he mused to Edmund Capon, “Five minutes in the making, five years in the thinking, dear boy”.

Despite Sidney Nolan achieving such public success, he maintained, “the key purpose of his painting was, in the end, a silent conversation with himself”2. Even his Kelly series Nolan declared to be the externalisation of an intensely private matter he would never disclose to another soul 3 It is this combination of visual, historical and psychological importance that presents these first Ned Kelly paintings of Nolan’s as his most significant, and perhaps, too, the most significant within modern Australian art and national identity.

Olivia Fuller | Head of Art

1 Melvile, R., “Ned Kelly”, Sidney Nolan, The Royal Dublin Society, Dublin, 1973, exhibition catalogue p.8

2 Pearce, B., Sidney Nolan, The Beagle Press and The Art Gallery of New South Wales, Sydney, 2008, p.17

3 Ibid.

49 © The Sidney Nolan Trust. All rights reserved. DACS/Copyright Agency, 2023

JEFFREY SMART (1921-2013)

Derelict Farmhouse 1945 oil on hessian signed and dated lower right: JEFFSMART 45 62 x 71cm

PROVENANCE:

Gift of the artist Private collection, Adelaide Thence by descent

EXHIBITIONS:

Jeff Smart, Royal Society of Arts South Australia, November 1945, cat. no. 23

LITERATURE:

Francis, I., Experiment Seen In Bright Art Exhibition, News, Adelaide, 7 November 1945, p.4

Young Artist’s Pictures, News, Adelaide, 10 November 1945, p.3 (illus.) $15,000-20,000

ROLAND WAKELIN (1887-1971)

Industry 1956 oil on board signed and dated lower right: R. Wakelin ‘56 31 x 24.5cm

PROVENANCE: Beth Mayne’s Studio Shop, Sydney The Estate of Jim Alexander $4,000-5,000

50 © The Estate of Jeffrey Smart

§ JOHN PERCEVAL (1923-2000)

Portrait of John Howley 1954 oil on composition board signed and dated lower centre: ‘54/ Perceval 59.5 x 59cm

PROVENANCE:

Gift of the artist

Private collection, Melbourne Australian Galleries, Melbourne (label verso, stock no. 3644)

Private collection, Melbourne

Leonard Joel, Melbourne, 23 July 1986, lot 1295

Private collection, Melbourne

Menzies, Melbourne, 15 December 2010, lot 80

Private collection, Melbourne

LITERATURE:

Allen, T., John Perceval, Melbourne University Press, Melbourne, 1992, p.155 $10,000-15,000

DULLAH (Indonesian, 1919-1996)

Balinese Dancer oil on canvasboard signed lower left: Dullah 121.5 x 76cm

PROVENANCE:

The artist, Kuching, Malaysia 1969 Private collection, Queensland Thence by descent $6,000-8,000

Lê Phô

Lê Phổ was a celebrated Vietnamese painter whose career left an enduring mark on the world of art during the 20th century. Born in the early days of French colonial rule, his artistic journey began in 1925 when he enrolled as one of the first students in the newly established Ecole des Beaux- Arts I’lndochine in Hanoi. The idea of an art academy in Vietnam took shape when Victor Tardieu (who studied under Matisse), founded the school with the hope of transforming local craftsmen and artisans into true artists. It was under his supervision that students, including Lê Phổ were taught French methodologies, but were encouraged to depict Eastern and local subjects.

Lê Phổ quickly found his calling in silk painting, a medium that demanded precision, agility and speed. His works depicted elegant women in pastel dresses, set gently within serene domestic scenes. Seen as a departure from Western conventions of nude portrayals, his subjects were intended not as objects of desire but symbolic of purity and virtuous beauty, standing in stark contrast to how French artists portrayed their female subjects.

In 1930 Lê Phổ assisted Tardieu to establish the French Indochina pavilion at the International Colonial Exhibition in Paris. Along with fellow artists, this was Lê Phổs first opportunity to exhibit to an international audience. This exhibition drew praise from critics, with one reviewer commenting “Would it be excessive to think that the students often surpass the masters?”1 . It was during this period that Lê Phổ and his classmates defined what would become the masters of colonial-era Vietnamese art.

Lê Phổ’s artistic journey can be divided into three distinctive periods: The Hanoi, Romanet and Findlay eras, the latter two named in honour of gallery owners who passionately advocated his work. This third and final period commenced in 1963 when American gallerist Wally Findlay introduced his works to the American audience. Findlay and Lê Phổ would work together until the artist’s death, with the gallery continuing to represent the Estate. This period is the most recognised period for Lê Phổ’s art, marking his shift towards the oil-on-canvas medium. It was during this sought-after period that this painting Les Amaryllis was created.

Encapsulating the Findlay period and the post-impressionist style he was so heavily influenced by, Lê Phổ employs a loose vivid palette of reds, yellows and lush greens. His fusion of Eastern and Western styles is noted here, presenting a romantic close-up of a garden, with each flower blooming across the canvas, exemplifying Lê Phổ’s energetic approach to this new period.

After the International Colonial Exhibition, Lê Phổ chose to remain in France for a brief period, before returning to Vietnam, in 1932. After Victor Tardieu’s death, Lê Phổ returned from France to head the Indochina section of the international arts and crafts exhibition 2 , solidifying his career in France, where he would spend the remainder of his life.

In a time marked by political turbulence and cultural clashes in both Europe and Asia, Lê Phổ’s art stands as a testament to his ability to bridge the gap between western and Asian influences. His paintings, capturing the serene beauty of Vietnamese life, offer a glimpse into a past era and continue to resonate with art enthusiasts worldwide.

Lucy Foster | Senior Specialist, Fine Art

54

LE PHÔ (Vietnamese, 1907-2001)

Les Amaryllis (Flowers) oil on canvas signed lower left: Lepho titled and inscribed on stretcher bar verso: 1536 G. Findlay B. H. Les Amaryelles 70287

26 x 34cm

PROVENANCE:

Artist Studio, Paris

Wally Findlay Galleries, New York 1978 (accompanied by a certificate of authenticity) Private collection, Melbourne

OTHER NOTES:

The present lot will be included in the artist’s forthcoming catalogue raisonné.

$40,000-60,000

1 Dr. Taylor, N., Le Pho (1907-200)

A Painter of Indochina, School of the Institute of Chicago (for Findlay Galleries), https://www.findlaygalleries.com/wpcontent/uploads/2021/08/Le%CC%82-Pho%CC%82%CC%89A-Painter-of-Indochina-Nora-Taylor-English.pdf, retrieved 5 September 2023 2 ibid.

The Estate of David Hains

LOTS 55–57

David Hains was the founder of the pioneering Melbourne firm, Portland House Group – one of Australia’s oldest and most sophisticated hedge funds. Training as an engineer, Hains began his career by establishing, and later selling, Peter Kaye Appliances. After meeting the British retailer, John James, David and his wife set off for their first overseas trip in the late 1950s. Having never left Australia prior, the trip took the pair to cities such as London, New York and Los Angeles, on a seven-week adventure. The trip forever changed Hains, giving him an entirely new perspective on economics and the particulars of culture and society. London bestowed the greatest insights, and Hains returned many times afterwards to continue his economic education and seek out investment opportunities. Despite running a business that made its successes by looking towards the future, David Hains remained a classic gentleman who never overlooked the merits of the past. David’s grand Georgian revival estate in Toorak, once the home of Sir Keith Murdoch, and his office at the ‘Paris’ end of Collins Street, contained artwork, furniture and antiques that demonstrated his adept eye for elegance, skill, and timelessness. On his many trips abroad, David would visit the antique galleries and shops to inspect what treasures awaited. His collection unfolded over time, but with a keen passion for classicism and genre painting of the 18th and 19th centuries.

David Hains exuded timelessness both as a businessman, collector, and individual. Whilst he undoubtedly cannot be summarised in just a few paragraphs, this capsule of his collection demonstrates his astute eye and passion for collecting the beautiful and rare.

Olivia Fuller | Head of Art

The former Toorak home of David Hains

55

LUIGI SCAFFAI (Italian, 1837-1899) (Dinner Time) oil on canvas signed lower right: LScaffai 63.5 x 84.5cm

PROVENANCE:

The Estate of Mr. David Hains, Melbourne $9,000-12,000

56

MORITZ STIFTER (Austrian, 1857-1905) (Flirtation) 1889 oil on panel signed and dated lower right: MStifter / 1889 39.5 x 30.5cm

PROVENANCE:

The Estate of Mr. David Hains, Melbourne $3,000-3,500

GAETANO CHIERICI (Italian, 1838-1920)

(The Happy Family) 1870

oil on canvas

signed and dated mid right: Gaetano Chierici fecit / 1870

80.5 x 107cm

PROVENANCE:

MacConnal-Mason & Son, London (label verso)

The Estate of Mr. David Hains, Melbourne $90,000-120,000

Despite beginning as a landscape painter, Gaetano Chierici earned an international reputation for his paintings of humble farming lifestyles executed with exquisite detail. The sincerity in his genre paintings earned him the title ‘poet of the family’, as it was not just the objects and settings of his paintings that were of importance to him but also the interactions between his characters and the overall narrative that they translated. The Happy Family 1870 dates from the artist’s ‘descriptive period’, where the poor are represented as a happy community. The fireplace is often central and represents the heart of the home, whilst also enabling Chierici to flex his brush in the balance of light and shadow. Great thought is given to the placement of every object in the scene, as well as the tattered clothing and smiling expressions of the figures with a father-figure noticeably absent.

57

57

58

58

WILLIAM BUELOW GOULD (1803-1853)

Still Life with Fruit 1849 oil on board

signed and dated lower left: WB Gould / 1849 31 x 27cm

PROVENANCE: Private collection, Melbourne $8,000-12,000

59

HAUGHTON FORREST (1826-1925)

South Stack Lighthouse, Anglesey UK oil on board signed lower left: HForrest titled verso 30 x 45.5cm

PROVENANCE: Mossgreen Auctions, Melbourne, 28 October 2014, lot 129 Private collection, Melbourne $9,000-12,000

60 JULIAN ROSSI ASHTON (1851-1942) (Picking Bluebells) 1877 oil on canvas signed and dated lower right: J. A. ASHTON/ 1877 59.5 x 44.5cm

PROVENANCE: Private collection, Canada $18,000-24,000

ANTOINE BOUVARD (French, 1870-1956)

European Scene oil on canvas signed with pseudonym lower left: Pelletier 49 x 64cm

PROVENANCE: The artist

(Possibly) Veinigen Brauov Collection, Europe (inscribed in pencil on stretcher bar verso)

Bundesdenkmalamt, Vienna, Austria (stamp on stretcher bar verso)

The Collection of Jason E. Sprague, Melbourne/ London

$8,000-12,000

62 CHARLES BLOMFIELD (British, New Zealander 1848-1926)

Lake Brunner 1892 oil on canvas

signed and dated lower left: C BLOMFIELD 92 titled on stretcher bar verso

59.5 x 95cm

PROVENANCE:

Private collection, Melbourne

$8,000-12,000

63 CHARLES BLOMFIELD

(British, New Zealander 1848-1926)

Kaneri Lake Near Hokitika 1892

oil on canvas laid on board signed and dated lower right: C. BLOMFIELD 1892

59.5 x 95cm

PROVENANCE:

Private collection, Victoria $10,000-15,000

64

WILLIAM MONTAGUE NEVIN WATKINS (New Zealander, 1835-1904)

Dandenong, View of Mount Juliet From the Road Between Lilydale and Healesville 1877 oil on canvas

signed and dated lower right: WMN WATKINS 1877 titled on unknown label verso

29 x 44cm

PROVENANCE:

Private collection, Victoria $4,000-6,000

HANS HEYSEN (1877-1968)

San Gimingamo 1902 watercolour on paper signed and dated lower left: HANS HEYSEN. / 02 estate stamp with cat. no. W-11-DHH verso 17 x 24cm

PROVENANCE: Private collection, Melbourne $4,000-5,000

66

ARTHUR STREETON (1867-1943)

Procession Josselin 1899 pencil and wash on paper signed lower left: astreeton titled and dated lower right: Procession ‘99/Josselin 24.5 x 33.5cm

PROVENANCE:

Private collection, Melbourne $4,000-6,000

67

§ BLAMIRE YOUNG (1862-1935)

The Market Place watercolour on paper unsigned 19.5 x 26cm

PROVENANCE:

Private collection, Melbourne Leonard Joel, Melbourne, 13 November 1990, lot 1237

Private collection, Melbourne Leonard Joel, 17 March 2020, lot 2

Private collection, Melbourne

LITERATURE:

Marshall, S., The Watercolours of Blamire Young, Meridian, Sydney, 2013, p. 278

$2,000-3,000

GEORGE HYDE POWNALL (1866-1939)

Twilight on the Embankment (By Ben) oil on academy board signed lower right: Geo. Hyde-P signed and titled verso

14.5 x 22.5cm

PROVENANCE:

Leonard Joel, Melbourne, 23 May 1979, lot 576 Private collection, Melbourne $3,500-5,500

WILL ASHTON (1881-1963)

Notre Dame, Paris oil on canvasboard signed lower right: WILL ASHTON titled verso

35.5 x 43.5cm

PROVENANCE:

The Collection of Hans Heysen Leonard Joel, The Hans Heysen Collection, Melbourne, 18 June 1970, lot 6

Private collection, Melbourne $5,000-7,000

§ WILL ASHTON (1881-1963)

The Fountain oil on board signed lower right: WILL ASHTON 20 x 25.5cm

PROVENANCE:

Private collection, Melbourne

Leonard Joel, Fine Art, Melbourne, 16 April 2021, lot 5

Private collection, Melbourne $2,000-3,000

72

72

ADOLPHE MILICH (French, 1884-1964)

A Town in Southern France oil on canvas signed lower right: Milich 38 x 55cm

PROVENANCE:

The Estate of Jim Alexander $3,500-4,500

73

ADOLPHE MILICH (French, 1884-1964)

A Farm in Southern France oil on canvas signed lower right: Milich 46 x 55cm

PROVENANCE: The Estate of Jim Alexander $3,500-4,500

74 PIERRE JEAN DUMONT (French, 1884-1936)

A Landscape with a Village and Hills Beyond oil on canvas signed lower left: Pierre Dumont 43 x 61cm

PROVENANCE: The Estate of Jim Alexander $3,000-4,000

75

75

§ KATE O’CONNOR (1876-1968)

Fireside c.1910-12 oil on canvas signed lower left: KLO’C artist’s name, title and date inscribed on stretcher bar verso

32 x 39.5cm

PROVENANCE:

Private collection, Hobart

Menzies, Sydney, 24 March 2011, lot 88

Private collection, Melbourne $9,000-12,000

76

SERGE MENDJISKY (French, 1929-2017)

Londres Avant L’orage (London Before The Storm) oil on canvas signed lower right: S. Mendjisky titled on gallery label verso 58.5 x 71.5cm

PROVENANCE:

Richmond Gallery, London (label verso)

Private collection, Melbourne $4,500-6,500

77

SERGE MENDJISKY (French, 1929-2017)

New York, La Nuit oil on canvas signed lower left: S. Mendjisky titled on gallery label verso 91 x 71.5cm

PROVENANCE: Richmond Gallery, London (label verso) Private collection, Melbourne $6,000-8,000

78

YOSL BERGNER (1920-2017)

The Jockey 2013 bronze, ed. 2/9 signed and editioned at base: YOSL BERGNER 2/9 accompanied by a certificate of authenticity from the artist 37cm (height)

PROVENANCE: The Estate of the artist $6,000-9,000

79

JOHN KELLY (born 1965)

Sunday Painting (Labyrinth) 1999 oil on canvas

signed and dated lower right: Klly [sic] 99 signed, titled and dated verso 76 x 91cm

PROVENANCE:

Niagara Galleries, Melbourne 2000

Private collection, Melbourne

Sotheby’s, Sydney, 26 August 2003, lot 194

Gould Galleries, Melbourne (label verso)

Corporate collection, Melbourne

Deutscher~Menzies, Sydney, 6 December 2006, lot 35

Private collection, Melbourne

Lawson~Menzies, Sydney, 15 November 2012, lot 49

Private collection, Melbourne $20,000-30,000

80

RICK AMOR (born 1948)

The Storm 1993 pastel on paper signed and dated lower right: Rick Amor 6/8/93 titled and dated on gallery label verso 55 x 74cm

PROVENANCE:

Rex Irwin Art Dealer, Sydney 1994 (label verso) Private collection, Melbourne $6,000-8,000

81

DAVID KEELING (born 1951)

Archipelago 1992 oil on wood signed and dated lower left: D. Keeling 92 titled on gallery label verso 89.5 x 119.5cm

PROVENANCE:

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

Deutscher~Menzies, Sydney, 24 June 2009, lot 8

Private collection, Melbourne

$5,000-7,000

79 © John Kelly/Copyright Agency, 2023

82

§ LOUISE HEARMAN (born 1963) 544 1997 oil on board signed, dated and inscribed verso: 28.1.98 LH0001/ 544/ Hearman 97 90 x 67.5cm

PROVENANCE: Mori Gallery, Sydney Private collection, Sydney Menzies, Melbourne, 20 March 2014, lot 16 Private collection, Melbourne $5,000-7,000

83

RICK AMOR (born 1948) Study for ‘Demolished Bridge’ 2000 oil on canvas signed and dated lower left: RICK AMOR ‘00 titled and dated verso 58 x 78cm

PROVENANCE: Niagara Galleries, Melbourne 2001 Corporate collection, Melbourne $12,000-18,000

84

§ LISA ROET (born 1967) Chimp Thumb 2014 yellow onyx signed and dated at base: Lisa Roet 14 85cm (height)

PROVENANCE: Karen Woodbury Gallery, Melbourne Private collection, Melbourne

EXHIBITIONS:

Lisa Roet: When I Laugh, He Laughs with Me, Karen Woodbury Gallery, Melbourne, 19 November - 20 December 2014

$9,000-12,000

80 © Rick Amor/Copyright Agency, 2023

85

ADAM CULLEN (1965-2012)

Honey Take This Australia Loves It synthetic polymer paint on canvas initialled lower left and lower right titled upper centre 152 x 183cm

PROVENANCE: Commissioned from the artist Private collection, Melbourne $18,000-24,000

86

ROBY DWI ANTONO (Indonesian, born 1990)

Livis 2021 spraypaint on canvas signed and dated verso: Roby/ 2021 60.5 x 50cm

PROVENANCE:

Beinart Gallery, Melbourne Private collection, Melbourne $12,000-18,000

87

JUNKO MORI (Japanese, born 1974) Silver Organism, Mini Square Spike 2020 forged fine silver 999, 245g initialled at base: JM 6.5 x 8 x 8.5cm

PROVENANCE:

Adrian Sassoon, London Private collection, Melbourne $3,000-5,000

SAM LEACH (born 1973)

Vulture 2020 oil on board signed and dated verso: Sam Leach/ 2020 35.5 x 28cm

PROVENANCE:

The Artist’s Studio Private collection, Melbourne $4,000-6,000

89

SAM LEACH (born 1973)

Black Cockatoo with Helmet 2019 oil on linen signed and dated verso: Sam Leach 2019 101.5 x 76cm

PROVENANCE:

The Artist’s Studio Private collection, Melbourne $12,000-18,000

90

MICHAEL LINDEMAN (born 1973)

New Types of Art (Adult Themes) 2021 synthetic polymer paint and enamel spray paint on canvas, in artist’s frame signed, titled and dated verso: Michael Lindeman ‘New Types of Art (Adult Themes)’ 2021 52 x 62cm (overall)

PROVENANCE:

Sullivan+Strumpf, Sydney Private collection, Melbourne

EXHIBITIONS:

The Future is Humanity, Multiple Artists, Sullivan+Strumpf, Sydney, 28 January -

6 February 2021

$1,800-2,800

88 Courtesy The Artist & Sullivan+Strumpf

90 © Michael Lindeman/Copyright Agency, 2023

§ MELINDA HARPER (born 1965)

Untitled 2017 oil on linen signed and dated verso: Melinda Harper 2017 152 x 121cm

PROVENANCE:

Olsen Gallery, Sydney (label verso) Private collection, Melbourne $8,000-10,000

BARBARA MOORE (born 1964)

Ngayukungura - My Country 2013 synthetic polymer paint on linen inscribed verso with artist’s name and Tjala Arts cat. no. 330-13

123.5 x 152cm

PROVENANCE:

Tjala Arts, South Australia (accompanied by a certificate of authenticity) Private collection, South Australia $4,000-6,000

PIPPIN DRYSDALE (born 1943)

Breakaway Series (Serpent II) 2020 porcelain vessel with coloured glazes signed, dated and inscribed at base: PIPPIN/ DRYSDALE/ BRS/ 2020 30 x 19.5cm

PROVENANCE:

Linton & Kay Galleries, Perth Private collection, Melbourne $5,500-7,500

93 © Pippin Drysdale/Copyright Agency, 2023

94

§ MATTHEW JOHNSON (born 1963)

Diminishing Light I 2010 oil on canvas signed, titled and dated verso: DIMINISHING LIGHT I/ 2010/ Matthew Johnson 91 x 70cm

PROVENANCE:

Fireworks Gallery, Brisbane (cat. no. FW 3612 verso) Private collection, Melbourne $3,000-4,000

95

GUAN WEI (Chinese, born 1957)

Carrot 1990

synthetic polymer paint on canvas initialled lower right: G. W. signed, titled and dated verso: “Carrot”/ Guan Wei/ 13.9.90

86 x 46cm

PROVENANCE:

Deutscher~Menzies, Lowenstein Sharp Collection of Contemporary Australian Art, Melbourne, 11 November 2002, lot 16

Private collection, Melbourne $4,000-6,000

96

§ IMANTS TILLERS (born 1950) Nature Speaks: EJ 2013 synthetic polymer paint and gouache on 16 canvasboards 101 x 142cm

PROVENANCE:

Jan Manton Gallery, Brisbane Private collection, Brisbane

EXHIBITIONS:

Metafisica Australe: Imants Tillers, Jan Manton Gallery, Brisbane, 21 October - 14 November 2015 “Metafisica Australe presents a body of work which attempts to find common ground between contemporary Western Desert painting and the metaphysical paintings of the 20th Century Italian master, Giorgio de Chirico.” (excerpt, exhibition statement)

$8,000-10,000

97 PETER BOOTH (born 1940) Landscape 1994 pastel and watercolour on paper artist’s name, title and date on gallery label verso 62 x 100cm

PROVENANCE:

Rex Irwin Art Dealer, Sydney 1995 (label verso) Private collection, Melbourne

EXHIBITIONS:

Peter Booth Works on Paper, Rex Irwin Art Dealer, Sydney 1995, cat. no. 14

$6,000-7,000

97 © Peter Booth/Copyright Agency, 2023

98

EMILY FLOYD (born 1972)

Onion Dome City wood, varnish, lacquer and acrylic paint 71 x 70 x 70cm (variable)

PROVENANCE: The artist Private collection, Melbourne $4,000-5,000

99

PATRICK DAGG (born 1985) King (for Phillip) 2017 neon, ceramic glaze and oil on linen signed, titled and dated verso: dagg / 2017 / “KING (FOR PHILLIP)”

199.5 x 199cm

PROVENANCE:

James Makin Gallery, Melbourne Private collection, Melbourne $6,000-8,000

100

§ DAVID LARWILL (1956-2011) Domestic Stuff 1999 gouache on paper signed lower right: David Larwill titled lower left dated lower centre

51 x 70cm

PROVENANCE:

Australian Galleries, Melbourne (label verso) Lawson~Menzies, 25 March 2009, lot 127 (label verso)

Art Index, Sydney 2016

Private collection, Sydney $5,000-6,000

100 © Estate of David Larwill/Copyright Agency, 2023

101

JOHN BEARD (born 1943)

Frame of Mind 1986

oil and wax on acrylic on linen signed, titled and dated verso: FRAME OF MIND / Beard ‘86

203.5 x 203.5cm

PROVENANCE: Corporate collection, Sydney $15,000-20,000

102

KATHERINE HATTAM (born 1950)

Pink Armchair / Green Light 2001 oil on canvas signed lower right: K. HATTAM signed, titled and dated verso 76 x 56cm

PROVENANCE: The artist Private collection, Melbourne $3,000-5,000

103

ALUN LEACH-JONES (1937-2017)

Loving Hearts, Hateful Deceits 1986 synthetic polymer paint on canvas signed and dated verso: A Leach-Jones 1986 signed, titled and dated on stretcher bar verso 121.5 x 152cm

PROVENANCE:

Sotheby’s, Melbourne, 10 November 1997, lot 400A Private collection, Melbourne

LITERATURE:

Gray, R., Sturgeon, G. and Gentle, C., Alun Leach-Jones, Craftsman House, Sydney, p. 97 (illus.) $7,500-9,500

104

PIPPIN DRYSDALE (born 1943)

Kimberley Series II 2009 porcelain, closed form signed, dated and inscribed at base: PIPPIN/ DRYSDALE/ CODE AAA/ KIMBERLEY/ SERIES II 2009 65 x 29cm

PROVENANCE: Private collection, Melbourne $7,500-9,500

101 © John Beard/Copyright Agency, 2023

105

HUGH SAWREY (1923-1999)

The Crab Seller oil on canvas signed lower right with thumbprint: SAWREY signed and titled on stretcher bar verso 74 x 99cm

PROVENANCE: Private collection, Melbourne Thence by descent $12,000-16,000

106

DAVID BOYD (1924-2011) (Ring a Ring of Roses) oil on board signed lower left: David Boyd 70 x 80cm

PROVENANCE: Aarwun Gallery, Canberra Private collection, Canberra $10,000-15,000

107

DAVID BOYD (1924-2011)

The Garden in the Walderman 1973 oil on canvas signed lower left: David Boyd dated lower right signed, titled, dated verso 89.5 x 99cm

PROVENANCE: The artist

Thence by descent The Collection of Jesamine Boyd $18,000-24,000

108

HUGH SAWREY (1923-1999)

Hup! Plunger! On the Western Downs Road, Queensland oil on canvas signed lower right with thumbprint: SAWREY titled verso 59.5 x 90cm

PROVENANCE: Private collection, Queensland $8,000-12,000

109

HUGH SAWREY (1923-1999)

The Fight at the Shearer’s Quarters oil on canvas signed lower right with thumbprint: SAWREY titled verso 50 x 60cm

PROVENANCE: Private collection, Melbourne $8,000-10,000

110

D’ARCY DOYLE (1932-2001)

The Baker’s Cart oil on board signed lower right: d’Arcy W. Doyle 48.5 x 59cm

PROVENANCE:

Private collection, Melbourne Leonard Joel, Melbourne, 31 August 2021, lot 111

Private collection, Melbourne $7,000-9,000

105 © Hugh Sawrey/Copyright Agency, 2023

111

HUGH SAWREY (1923-1999)

Off To The Rankine, Alexandria Downs, Northern Territory oil on canvas signed lower right with thumbprint: SAWREY titled verso 48 x 57.5cm

PROVENANCE: Acquired directly from the artist Private collection, Queensland $6,000-8,000

112

KEN KNIGHT (born 1956) Waterhole oil on board signed lower left: KEN KNIGHT signed and titled verso 121 x 119cm

PROVENANCE:

Aarwun Gallery, Canberra Private collection, Canberra $7,000-9,000

113

ERNEST BUCKMASTER (1897-1968) River in the Foothills oil on canvas signed lower right: E Buckmaster 62.5 x 87.5cm

PROVENANCE: Leonard Joel, Melbourne, 13 October 2003, lot 395 Private collection, Melbourne $5,000-6,000

114

HANS HEYSEN (1877-1968)

Hills of Aroona, Flinders Ranges 1933 watercolour on paper signed and dated lower right: HANS HEYSEN 33 titled lower left 27.5 x 37.5

PROVENANCE: Private collection, Melbourne $8,000-12,000

116

BLAMIRE YOUNG (1862-1935)

Under the Bridge (Morituros Saluta) watercolour on paper signed lower right: BLAMIRE YOUNG 52 x 72cm

PROVENANCE: Private collection, Melbourne

LITERATURE:

Marshall, S., The Watercolours of Blamire Young, Meridian, Sydney, 2013, p. 454 (illus.) $7,000-9,000

117

NORMAN LINDSAY (1879-1969)

Reclining Nude oil on canvas laid on board accompanied by a certificate of authenticity signed by Helen Glad

42 x 53cm

PROVENANCE:

Anthea Polson Art, Queensland (label verso) Private collection, Queensland $16,000-20,000

118

HANS HEYSEN (1877-1968)

Aroona, Red Glow 1949 watercolour on paper signed and dated lower right: HANS HEYSEN/ 1949 23.5 x 36.5cm

PROVENANCE:

Bonhams & Goodman, Sydney, 20 July 2004, lot 27A

Private collection, Sydney Leonard Joel, Sydney, 7 May 2019, lot 429

Private collection, Melbourne $18,000-24,000

119

J.H. SCHELTEMA (1861-1941)

Droving Cattle oil on canvas signed lower left: J. H.Scheltema 50 x 75cm

PROVENANCE: Private collection, Melbourne $7,000-9,000

120

HANS HEYSEN (1877-1968)

Cattle Grazing Beneath Gums 1919 watercolour on paper signed and dated lower left: HANS HEYSEN 1919 29.5 x 39.5cm

PROVENANCE:

Christie’s, Melbourne, 23 November 1998, lot 74 The Estate of Betty Bunce, Sydney $12,000-18,000

118 © Hans Heysen/Copyright Agency, 2023

122

121

JAMES ALFRED TURNER (1850-1908)

The Ploughman 1905 watercolour on paper signed and dated lower left: J. A. Turner 1905 29.5 x 44cm

PROVENANCE:

Leonard Joel, Melbourne, 27 February 2011, lot 17 Private collection, Melbourne $3,000-4,000

122

HENRY JAMES JOHNSTONE (1835-1907) Valley of the Sturt, Craigeburn South Australia 1878 oil on canvas signed and dated lower left: H. J. Johnstone 1878 signed, titled and dated verso 67 x 100.5cm

PROVENANCE:

Sotheby’s, Melbourne, 19 April 1993, lot 341 Private collection, Melbourne $25,000-35,000

123

JAMES CLARK WAITE (1832-1921) (Taking a Rest) oil on canvas signed lower right: J. C. Waite 60.5 x 90.5cm

PROVENANCE: Private collection, Melbourne $5,000-8,000

124

FRANCES PAYNE (1885-1976)

Girl Reading by a Window 1927 oil on panel, double-sided signed and dated lower right: Frank Payne/ 27 35.5 x 20.5cm

PROVENANCE:

Lawson~Menzies, Sydney, 29 October 2003, lot 91 Private collection, Sydney Leonard Joel, Melbourne, 21 October 2020, lot 23

Private collection, Melbourne $7,000-9,000

W.B. MCINNES (1889-1939)

(Portrait of Henry Lawson) oil on canvas laid on board signed lower left: W. B. McINNES 50.5 x 45cm

PROVENANCE:

Boronia Art Gallery, Sydney 1996 Private collection, Queensland, acquired from the above $5,000-6,000

126

ERNEST BUCKMASTER (1897-1968)

River Reflections oil on canvasboard signed lower right: E Buckmaster 66 x 85cm

PROVENANCE:

Private collection, Melbourne $4,500-6,000

127

ERNEST BUCKMASTER (1897-1968)

River with Mountains oil on canvas on board signed lower left: EBuckmaster 70 x 92.5cm

PROVENANCE:

Private collection, Melbourne $4,500-5,500

128

D’ARCY DOYLE (1932-2001)

Resting Swagman and his Dog oil on board signed lower right: d’Arcy W. Doyle 46 x 56cm

PROVENANCE: Private collection, Melbourne $4,000-5,000

129

PRO HART (1928-2006)

The Poor Miners 1973 oil on board signed and dated lower right: 73 / PRO / HARt titled lower left 50 x 34cm

PROVENANCE:

Private collection, Melbourne $5,000-7,000

130

RICK AMOR (born 1948)

The Time Ball Tower, Williamstown 1985 oil on canvas signed lower left: RICK AMOR signed, titled and dated verso 71 x 91cm

PROVENANCE:

Deutscher and Hackett, Melbourne, 29 August 2007, lot 180

Private collection, Queensland $7,000-9,000

131

JOHN BAIRD (born 1954)

Getting Past the Dog 2003 oil on board signed, titled and dated verso: JOHN. R. BAIRD. / GETTING PAST THE DOG. / 03. 157.5 x 122cm

PROVENANCE: Eastgate Gallery, Melbourne Private collection, Melbourne $5,000-7,000

132

DAN KYLE (born 1989)

Pink Smoke and Paper Daisies 2020 oil and mixed media on board signed, titled and dated verso: PINK SMOKE AND PAPER DAISIES / DAN KYLE 2020 122 x 122cm

PROVENANCE:

Martin Browne Contemporary, Sydney (label verso) Private collection, Brisbane

EXHIBITIONS:

Up In Smoke, Martin Browne Contemporary, Sydney, 30 April – 24 May 2020 $4,000-6,000

133

§ MIRKA MORA (1928-2018)

Erotic Drawing No. 30 (And All For Love And Nothing For Reward) 1973

charcoal, watercolour and transfer on paper signed and dated lower right: mirka 73 55 x 75cm

PROVENANCE:

Realities Gallery, Melbourne 1974

The Collection of Tom and Karin Smyth Charles Nodrum Gallery, Melbourne 2021 Private collection, Melbourne

EXHIBITIONS:

The Tom & Karin Smyth Collection, Charles Nodrum Gallery, Melbourne, 1 May - 16 May, 2021, cat. no. 7 $6,000-8,000

134

WALASSE TING (Chinese/American, 1929-2010)

Untitled c.1980

synthetic polymer paint and ink on rice paper artist’s seal centre left edge 58 x 88cm

PROVENANCE: The artist Private collection

Bonhams, Hong Kong, 25 November 2021, lot 16 Private collection, Melbourne $10,000-15,000

135

RICHARD LARTER (1929-2014)

Gina in Front of Mirror 1993

synthetic polymer paint, gesso and glitter on canvas initialled, dated and inscribed lower right: R.L./ MARCH 93/ GINA. 114 x 87cm

PROVENANCE:

Watters Gallery, Sydney (label verso)

Victor Mace Gallery, Queensland 2003 Private collection, Queensland $4,000-5,000

136

§ FRED CRESS (1938-2009)

Night Sitter 2002

synthetic polymer paint on canvas signed, titled and dated verso: ©Cress 2002/ CRESS/ ‘NIGHT SITTER’ 2002 122 x 137cm

PROVENANCE:

Commissioned for ‘The Credeaux Canvas’, The Stables Theatre, Sydney 2002

Private collection, Sydney

Cromwell’s, Sydney, 27 July 2004, lot 12 Mossgreen Auctions, The Collection of John Wregg and Judith Alexander, Sydney, 28 October 2012, lot 135

Private collection, Queensland

$4,000-6,000

ESTABLISHED 1919

RE–ESTABLISHED 2023

Leonard Joel’s flagship premises and Melbourne salerooms will relocate to a larger gallery later this year. We look forward to welcoming you to our new salerooms at 1A Oxley Road, Hawthorn, soon.

Lot 113

Paspaley, Platinum, Keshi Pearl,Tanzanite and Diamond ‘Marquise’ Pendant Necklace $9,500-12,500

PRINTS & MULTIPLES

Wednesday 15 November, 2023

333 Malvern Road, South Yarra, VIC 3141

leonardjoel.com.au

Françoise Gilot (French, 1921-2023) Stone Echoes: Original Prints by Françoise Gilot (part) lithograph in colours 29 x 19cm (image) $5,000-7,000

DECORATIVE ARTS & ASIAN WORKS OF ART

MELBOURNE AUCTION

Monday 20 November, 2023

333 Malvern Road, South Yarra, VIC 3141

leonardjoel.com.au

CENTRAL ITALIAN SCHOOL

First half 15th century

The Virgin and Child enthroned and crowned by two Angels, with St Francis and St Anthony Abbot Tempera and gold with punchwork on wood panel with engaged frame 62 x 47.5cm overall, including the engaged frame $30,000-50,000

NPG Principal Sponsor Support partner This project has been assisted by the Australian Government’s Visions of Australia program.

An Art Gallery of New South Wales touring exhibition

INTERIOR DESIGN

BESPOKE FURNITURE AND LIGHTING DESIGN

EXTERIOR DESIGN

ARTWORKS AND COLLECTIBLES CONSULTANCY

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.

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.

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.

Property subject to the Artist Resale Royalty

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

Damage

Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Title

Leonard Joel guarantees good title to all lots.

Warranties and Condition Reports

Condition reports will be available for any lot upon request, subject to conditions.

Estimates

Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates.

Payment

In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale.

Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer.

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

Bank telegraph transfers should be directed to:

Account name: Leonard Joel Pty Ltd

Address: Westpac Banking Corporation

150 Collins Street, Melbourne VIC 3000 Australia

BSB: 033–364

Account no: 942956

Collection of Lots

Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

Removal and Storage

Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense.

Removal Charges

Each lot: $55

Storage Charges

Each lot: $33 per day

Protection of Movable Cultural Heritage Act 1986 (PMCH Act)

Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of

nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the 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

Recommended Carriers

For recommended carriers please refer to our website.

Partners:

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

ARTIST INDEX

CONTACT A LEONARD JOEL SPECIALIST

Sale Rooms

MELBOURNE

333 Malvern Road, South Yarra, Melbourne VIC 3141

Telephone: (03) 9826 4333

Facsimile: (03) 9826 4544

Interstate: 1800 264 333

SYDNEY

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

Telephone: (02) 9362 9045

Facsimile: (03) 9826 4544

Interstate: 1800 264 333

BRISBANE OFFICE

201 Latrobe Terrace, Paddington QLD 4064

Telephone: 0412 997 080

ADELAIDE OFFICE

429 Pulteney Street, Adelaide SA 5000

Telephone: 0419 838 841

PERTH OFFICE

Telephone: 0412 385 555 email: info@leonardjoel.com.au leonardjoel.com.au

CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS

John Albrecht BA LLB MBA

CHIEF EXECUTIVE OFFICER

Marie McCarthy

Leonard Joel Specialists

FINE ART

Olivia Fuller BArtTh, Head of Department

Lucy Foster EMA, Senior Specialist, Fine Art

Hannah Ryan, Specialist

James Stanton, Administrator and Registrar

INDIGENOUS ART

Olivia Fuller BArtTh, Head of Department

Lucy Foster BCA EMA, Senior Specialist

DECORATIVE ARTS

Chiara Curcio BA, Head of Department

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

Trevor Fleming BA, Consultant, Japanese Art

Carl Wantrup, Consultant, Asian Art

Natasha Berlizova, Administrator

SYDNEY

Ronan Sulich, Senior Advisor

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

Ella Nail, Office Manager & Administrator

IMPORTANT JEWELS

Hamish Sharma, Head of Department, Sydney

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

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

Indigo Keane, Luxury Specialist & Jewellery Manager

Isabella Macciolli, Jewellery Assistant

Leila Bakhache, Luxury & Jewellery Assistant

Echo Liu, Jewellery & Luxury Administrator

Henrietta Maiyah, Consultant

MODERN DESIGN

Rebecca Stormont, Specialist

Paul Nicol, Modern Design Assistant

LUXURY

Indigo Keane, Specialist

PRINTS

Hannah Ryan, Art Specialist

The Auction Salon

FURNITURE

Shawn Mitchell, Manager

Angus McGougan, Assistant

April Chandler, Assistant

Daragh Geraghty-Singlton, Assistant

JEWELLERY

Indigo Keane, Manager

Isabella Macciolli, Assistant

ART SALON

Amanda North, Manager

Noelle Martin, Assistant

OBJECTS & COLLECTABLES

Dominic Kavanagh MFA, Manager

Kyle Walker, Assistant

VALUATIONS

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

Troy McKenzie, Queensland Representative Specialist

Anthony Hurl, South Australia Representative Specialist

John Brans, Western Australia Representative Specialist

ACCOUNTS

Aaron Gurney, Finance Manager

Michelle Draper, Account Manager

Karishma Sareen, Accounts Assistant

CLIENT SERVICES

Kim Clarke, Client Services Manager

Amelia Lewis, Client Services Liaison

Richard Grieve, Client Services Liaison

OPERATIONS & LOGISTICS

Anthony Riepsamen, Manager

Chris Salaoras, Logistics Assistant

MARKETING & COMMUNICATIONS

Blanka Nemeth, Senior Marketing, Media, & Communications Manager

Lucy Lewis, Database & Marketing Coordinator

PHOTOGRAPHY

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

GRAPHIC DESIGN

Maria Rossi

Lot 21

JAMES DRINKWATER (born 1983) Monument of Nice 1 2016 (detail) oil, collage and mixed media on board 180 x 122cm

$12,000-18,000