Fine Art

Fine Art

19.03.2024, 6pm

VIEWING

fri 15 – sun 17 mar 1A Oxley Road, Hawthorn, VIC 3122

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

CONTACTS

georgina lewis

acting head of art

03 8825 5624

georgina.lewis@ leonardjoel.com.au

amanda north art specialist

03 8825 5644

amanda.north@ leonardjoel.com.au

hannah ryan art specialist

03 8825 5666

hannah.ryan@ leonardjoel.com.au

lot 37

RUSTY PETERS (C.1935-2020) (LANGUAGE GROUP: GIJA)

Grandfather’s Tree 2002 (detail) natural earth pigments and synthetic binder on linen, diptych 122 x 270cm (overall); 122 x 135cm (each)

$10,000-15,000 © Rusty Peters/Copyright Agency, 2024

Fine Art

Very occasionally I’m asked to write a catalogue introduction, I’ll confess that I find this task the most challenging when it comes to our Fine Art catalogues. What to write about that may be of value, and how to write given I am an art enthusiast but not an art historian? These are the questions that challenge me. I’ll begin with the least daunting task and warmly welcome you to our first Fine Art auction in 2024 and the first that will be exhibited in our state-of-the-art gallery within our new salerooms in Hawthorn.

It is one thing to view a work of art in print, another to view it on a digital device, but nothing compares to the experience of viewing art in the flesh. For me, the scale and presence of a work are the two elements that I find the most impactful when I shift from gazing at a computer screen to being in the room with a work of art. It is this experience, this delight, that I look forward to all our visitors experiencing when they decide that seeing something in print or online draws them into our new gallery spaces for a more personal art encounter.

A Leonard Joel art auction is really a culmination of a collaborative curation between all our Art Specialists, who are endlessly and passionately allocating and curating works into the most suitable exhibition environments. Composition, rarity, origin, medium, period and history are just some of the concepts and questions they continually discuss amongst themselves as works are selected, reviewed and agreed upon.

As it’s my introduction, I’ll remark on what has piqued my interest; sure in the knowledge that what I have chosen is what our Fine Art team has identified as having the credibility to be included in our first Fine Art auction in Hawthorn. These are the works I will go to first, when the auction viewing opens and I’m with this catalogue. Admittedly, this list will change over time, as it inevitably does.

At the viewing, I will continue to marvel at the composition of William Dargie’s Before the Mirror (Lot 17) while in Clarice Beckett’s The Red Drive (Lot 5), I will wonder if this is her Meldrumesque response to a Streeton or Roberts high-summer work. I won’t be embarrassed to enjoy the prettiness of the pointillism that informs Arthur Baker-Clack’s French Farmhouse (Lot 56). With Wakelin’s At the Boat (Lot 66), a work of a family by the waterside, I will continue to speculate as to what could have been if he had turned his eye more to the interior than the exterior; our own Edward Hopper perhaps? I will ponder the unlikely family portrait, Family TV Viewing (Lot 126) by Kenneth Jack, a curious blend of sombre, modern domesticity. This is how I think about our Fine Art auctions, this is how I’m drawn to works and I’m thrilled that now all our collectors can experience and enjoy art in our new gallery spaces within our Melbourne salerooms.

john albrecht chairman & head of important collections

lot 31

PETER SMETS (BORN 1962)

Lift Me Up oil on canvas signed lower right: Peter Smets 180 x 140cm

$25,000-30,000

© Peter Smets/Copyright Agency, 2024

Tapestry of Night 1966

oil on canvas signed lower right: Coburn artist’s name, title and date inscribed verso 91 x 76cm

provenance

The Johnstone Gallery, Brisbane (label verso) Private collection, Queensland $25,000-35,000

Delirium Stage III 1990 oil on canvas signed, titled and dated verso: ‘Delirium’ Stage III/ Philip Wolfhagen 1990 126 x 105cm

provenance

Syme Dodson Gallery, Sydney

The Collection of William Mora Galleries, Melbourne

exhibitions

The Stages of a Delirium, Syme Dodson Gallery, Sydney, 9 October - 3 November 1990

$10,000-15,000

1 © John Coburn/Copyright Agency, 2024

1 JOHN COBURN (1925-2006)

2 PHILIP WOLFHAGEN (BORN 1963)

provenance

The Artist Private collection, Queensland $10,000-15,000

Across the Water 2010 oil on linen initialled and dated lower right: a McK 10 signed, titled and dated verso 122 x 153cm

provenance

Private collection, Melbourne $24,000-30,000

3 PETER SMETS (BORN 1962)

Water Main oil on canvas signed lower right: Peter Smets 75 x 90cm

2 © Philip Wolfhagen/Copyright Agency, 2024

4 ALEXANDER MCKENZIE (BORN 1971)

Clarice Beckett

Clarice Beckett stands as one of the foremost artists from the interwar period in Australia, arguably the most significant modern Australian female artist of the 20th century. Beckett symbolises the overlooked female painter who, after being brought out of obscurity, is finally receiving the recognition she deserves.

In a remarkable encounter with Australian art history, Dr. Rosalind Hollinrake stumbled upon a striking painting signed “C. Beckett”. It would be five years before she uncovered the identity of this very talented artist who had deeply moved her. It took many more years before Hollinrake rescued Clarice’s neglected artworks from a shed in Victoria during the 1960s, many with irreparable damage. This marked the beginning of a revival in the career of one of Australia’s finest tonalist painters and a shift in the Australian art scene, leading to the long overdue acknowledgement of numerous women artists.

Clarice Beckett’s paintings beautifully capture the tranquility and enchantment of the Australian landscape. Employing what appears to be a minimalist technique, Clarice adeptly evokes the atmospheric interplay of light and shadow. Through her use of shifting and dissolving hues, she conveys the mood or essence of a fleeting natural moment rather than a static portrayal.

In ‘The Red Drive’, she skillfully crafted a rich palette comprising creamy yellows, gentle auburns, and blues. The melding of sky and landscape forms a radiant spectrum of colours, vividly portraying the tranquility of the expansive scenery.

hannah ryan art specialist

“To give a sincere and truthful representation of a portion of the beauty of Nature, and to show the charm of light and shade, which I try to give forth in correct tones so as to give as nearly as possible an exact illusion of reality.”1

clarice beckett, 1923

1. Clarice Beckett, Twenty Melbourne Painters catalogue: 6th annual exhibition, Phoenix Press, Melbourne, 1924, quoted in Frances Lindsay, ‘Foreword’, in Rosalind Hollinrake, Clarice Beckett: Politically Incorrect, exhibition catalogue, The Ian Potter Museum of Art, Melbourne, 1999, p 19.

CLARICE BECKETT (1887-1935)

The Red Drive oil on board signed lower left: C Beckett 29 x 39.5cm

provenance

Lauraine Diggins Fine Art, Melbourne 1999

Private collection, London

Thence by descent

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

Evening on the Harbour 1920 oil on canvas on board signed and dated lower left: E GRUNER / 1920 29 x 37cm

provenance

Leonard Joel, Melbourne, 22 July 1987, lot 60 (titled Sydney Harbour Mist)

Sotheby’s, Melbourne, 22 April 1996, lot 109 Private collection, Sydney $25,000-35,000

Foothills, Southern France 1920 watercolour on paper signed and dated lower left: John P. Russell/ 20 26.5 x 37.5cm

provenance

Christie’s, Melbourne, 22 August 2000, lot 101 Private collection, Melbourne $7,000-9,000

In an Old Garden 1899 oil on canvas signature incised and dated lower left: H HEYSEN/ ‘99 55 x 40cm

provenance

Private collection, Tasmania

exhibitions

Adelaide South Australian Society of Artists Annual Exhibition, July 1899, cat. no. 100 $25,000-35,000

8 HANS HEYSEN (1877-1968)

6 ELIOTH GRUNER (1882-1939)

7 JOHN PETER RUSSELL (1858-1930)

Harold Septimus Power

We are honoured to present a remarkable work from the eminent war artist, Harold Septimus Power. The compelling subject of the painting ‘(Soldiers with Cart over the Hill)’, and Power’s distinctive style, offers a window into a pivotal era of history and art.

Born in 1877, Harold Septimus Power’s journey as an artist took a profound turn with the outbreak of World War I. Well known for his majestic depictions of horses, Power brought this skill and passion to his war art, creating images that captured the raw power and tragic beauty of these animals amidst the chaos of war. The artist’s work as an official war artist for the Australian Government allowed him to witness the front lines, capturing scenes with authenticity and a profound sense of immediacy.

Power’s war paintings are distinguished by their realism and attention to detail. The painting ‘(Soldiers with Cart over the Hill),’ is an emotive representation of war, featuring soldiers on horses pulling a cart, in what can be presumed as a battlefield scenario. Power’s ability to infuse life and motion into his equine subjects stands as a testament to his exceptional skill and deep understanding of these animals and their movements. In this work, the horses are not mere background figures; they are dynamic participants in the scene he portrays, encapsulating the emotional and physical strains of war.

This painting is not just an artistic creation, it is a historical document of the war. Power’s works provide invaluable insights into the significant role of horses in World War I, highlighting their contribution and the bond they shared with the soldiers. The use of light, colour, and composition in this painting and the loose brushstrokes, reflects the dramatic intensity and emotional gravity of the war.

amanda north art specialist

provenance

9

HAROLD SEPTIMUS POWER (1878-1951) (Soldiers with Cart over the Hill)

oil on canvas laid on wooden panel signed lower right: H.S.POWER 36.5 x 61.5cm

The Collection of Andrew Ernest Anderson

Thence by descent

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

Rosa Bonheur

The French realist painter Rosa Bonheur is one of the most accomplished animalière of the nineteenth century. Bonheur’s dedication to the naturalistic and anatomically precise portrayal of animals sets her apart in an era that had few comparisons. Her works reflect a combination of direct observation and a deep understanding of her subjects, standing as a testament to her talent in capturing not only the anatomy but also the essence of equine subjects.

The painting ‘A Grey Breton Draft Horse’ is a fine example of her ability to depict the nobility and strength of a working horse. With meticulous brushwork and subtle tonality, Bonheur highlights her intimate knowledge of equine form, presenting the drafthorse’s robust build and serene temperament.

‘Tethered Pony’, offers a contrast in both colour and mood. The warm hues and the darker palette evoke a sense of intimacy and perhaps a narrative of the pony’s quiet contemplation. The tether, a simple but poignant detail, suggests not only the physical state of being bound but also hints at a deeper, emotive state of restraint. This work, whilst less detailed, is no less significant in demonstrating Bonheur’s skill in rendering the texture of the pony’s coat and the lifelike portrayal of its stance.

Bonheur’s works are praised not only for their technical excellence but also for their emotive power and focus on working animals, opposed to the representation of riding horses or war horses more commonly illustrated at the time. These paintings invite viewers to contemplate the natural world and its beings, a hallmark of Bonheur’s artistic philosophy.

Her commitment to portraying animals in their most truthful state earned her international acclaim, with ‘The Horse Fair’ being one of her most celebrated artworks, which is now held in the Metropolitan Museum of Art. To depict her subject most accurately, Bonheur regularly went to the horse market dressed as a man in trousers to sketch her subject matter, as women were not allowed to visit the market.

Collectors now have the opportunity to own a piece of Bonheur’s celebrated career. These works which have never been seen on the Australian market are a fitting tribute to Bonheur’s legacy, encapsulating her respect for animals and her mastery of painting.

amanda north art specialist

10

provenance

Christie’s, London, 23 January 2008, lot 260

Private collection, Melbourne $22,000-26,000

11

provenance

Christie’s, London, 23 January 2008, lot 65

Private collection, Melbourne

ROSA BONHEUR (FRENCH, 1822-1899)

A Grey Breton Draft Horse (Un Cheval Breton) oil on canvas stamp signed lower right: Rosa BonheuR artist’s seal on stretcher bar verso 36.5 x 46.5 cm

ROSA BONHEUR (FRENCH, 1822-1899)

Tethered Pony oil on canvas signed lower left: Rosa BonheuR artist’s seal on stretcher bar verso 76 x 96cm

$18,000-22,000

provenance

Private collection, Tasmania

provenance

Christie’s, Melbourne, 22 November 2000, lot 118

provenance

The Artist

Thence by descent

Christie’s, Melbourne, 3 May 1988, lot 111

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

12

HAROLD SEPTIMUS POWER (1878-1951)

The Stag Hunt oil on board signed lower right: H.S.POWER 37 x 28cm

$5,000-7,000

13

ETHEL CARRICK FOX (1872-1952)

Distant Alps oil on board signed lower left: CARRICK FOX 24 x 35cm

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

14

WILLIAM CHARLES PIGUENIT (1836-1914)

Beddgelert, North Wales 1889 oil on canvas signed lower left: W C Piguenit 44.5 x 75cm

15

HAUGHTON FORREST (1826-1925)

Lake St. Clair, Tasmania 1892 oil on canvas signed and dated lower right: HForrest/ 1892 54 x 88cm

provenance

Christie’s, Melbourne, 9 May 1989, lot 288 Private collection, Tasmania $15,000-20,000

16

HANS HEYSEN (1877-1968)

The Murray at Red Cliffs watercolour on paper signed lower right: HANS HEYSEN 31 x 39cm

provenance

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

17

WILLIAM DARGIE (1912-2003)

Before the Mirror 1935

oil canvas laid on board signed upper left: Dargie

71.5 x 55.5cm

provenance

Eastgate Galleries, Melbourne

Private collection, Melbourne

exhibitions

Sir William Dargie, Selected Works 1931-1995, Eastgate Gallery, Melbourne, 25 June - 15 July 1995, cat. no. 3

$6,000-8,000

18 ALBERT TUCKER (1914-1999)

Parrots c.1980

synthetic polymer paint on board signed lower right: Tucker

45.5 x 59.5cm

provenance

Albert Tucker, Melbourne

Infinite Art Gallery, Melbourne, acquired from the above

Private collection, Melbourne, acquired from the above in 1988

$18,000-25,000

19 PIPPIN DRYSDALE (BORN 1943)

Tanami Mapping Code 2011 porcelain, closed form signed, dated and inscribed at base:

PIPPIN/ DRYSDALE/ T.M/ 2011/ code 018-11

41 x 18cm

provenance

Private collection, Melbourne

$7,000-9,000

17 © William Dargie/Copyright Agency, 2024

20

KEMP (1908-1987)

provenance

Estate of the artist Eastgate Gallery, Melbourne Private collection, Melbourne $40,000-50,000

21

JOHN COBURN (1925-2006)

Study for Desert Birds gouache and pastel on paper signed lower right: Coburn titled lower centre 29.5 x 33.5cm

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

22

JOHN BRACK (1920-1999)

By the Seaside 1952 watercolour, ink and gouache on paper signed, dated and inscribed lower left: To Bill Grant/ with best regards John Brack 1952 23 x 35cm

provenance

Christie’s, Melbourne, 27 November 2000, lot 232

Private collection, Melbourne $4,000-7,000

ROGER

(Untitled) synthetic polymer paint on paper mounted on linen 143 x 291.5cm

20 © Copyright courtesy The Artist’s Estate

23

ROY DE MAISTRE (1894-1968)

The Annunciation c.1934

oil on board signed lower right: R. de Maistre titled on gallery label verso

65.5 x 54cm

provenance

Dimitrije Mitrinovic, United Kingdom Trustees of the New Atlantis Foundation, United Kingdom (label verso)

Gladys MacDermot, United Kingdom

Thence by descent

Private collection, Switzerland

Sotheby’s, Melbourne, 24 November 2008, lot 74 (label verso)

Corporate collection, Victoria

Menzies, Sydney, 23 June 2011, lot 59

Corporate collection, Melbourne

exhibitions

The Zwemmer Gallery, London, November 1934 (label verso)

Roy de Maistre: A Retrospective Exhibition of Paintings and Drawings 1917-1960, Whitechapel Art Gallery, London, May - June 1960, cat. no. 34

literature

Johnson, H., Roy de Maistre: The English Years 1930-1968, Craftsman House, Sydney, 1995, pp. 77, 80, 129 $20,000-30,000

24

§ ELAINE HAXTON (1909-1999)

Columbine 1953

oil on board signed and dated lower left: ELAINE HAXTON 53 signed and titled on label verso

30.5 x 20cm

provenance

Private collection, New South Wales

Menzies, Sydney, 23 September 2014, lot 129

Private collection, Melbourne $2,500-3,500

25

ROBERT JACKS (1943-2014)

Head of the Harlequin 1996

oil on canvas

signed, titled and dated verso: Head of the/ Harlequin/ 1996/ Jacks

182.5 x 152cm

provenance

Lawson~Menzies, Sydney, 29 October 2002, lot 35

Private collection

Lawson~Menzies, Sydney, 17 July 2005, lot 11

Private collection

Lawson~Menzies, Sydney, 26 March 2006, lot 13

Private collection, Melbourne

$7,000-9,000

26

ROBERT JACKS (1943-2014)

Spanish Suite No. 7 1996

painted timber assemblage titled and dated under base: Spanish/ Suite/ No7/ 1996 81.5 x 45 x 31cm

provenance

The Lowenstein Sharp Collection of Contemporary Australian Art, Melbourne

Deutscher-Menzies, Melbourne, 11 November 2002, lot 83 (as ‘Harmony in Grey’)

Private collection, Melbourne

Lawson~Menzies, Sydney, 23 September 2009, lot 95

Private collection, Melbourne $3,000-4,000

27

PERCY WATSON (1919-1995)

Clear-Cut 1956 oil on masonite signed and dated centre right: ‘56/ Percy Watson signed, titled and dated verso 59.5 x 90.5cm

provenance

Eastgate and Holst Gallery, Melbourne

Private collection, Melbourne $3,500-5,500

28

§ GRAEME DRENDEL (BORN 1953)

Spectre - The Believers 2013 oil on canvas signed and dated lower right: DRENDEL 2013 signed, titled and dated verso 122.5 x 92cm

provenance

Australian Galleries, Melbourne (label verso, stock no. 500037)

Private collection, Melbourne

Menzies, Sydney, 24 September 2014, lot 314

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

27

29

BEN QUILTY (BORN 1973)

The Daughter 2023

oil on linen signed, dated and titled verso: THE DAUGHTER

Ben Quilty 2023

202 x 180cm

provenance

Tolarno Galleries, Melbourne

Private collection, Melbourne

exhibitions

SHADOWED, Tolarno Galleries, Melbourne, 2 June - 1 July 2023

“Shadowed, is the articulation of human difference, whether that be in our mental states or in our appearance. The vacuums and shadows generated by these processes are utilised fully, expressive tools and not accessories to form.

Meanwhile, The Daughter, a familiar face for the artist, hums with a sickly incandescence, and might have belonged in Laloux’s Fantastic Planet (1973).” (excerpt, exhibition statement)

$65,000-85,000

30

§ ANN THOMSON (BORN 1933)

Through 1999

oil on canvas signed, titled and dated verso: ‘THROUGH’

Ann Thomson 1999

81 x 60cm

provenance

Charles Nodrum Gallery, Melbourne 2004 (label verso)

Masterpiece Fine Art Gallery, Hobart (label verso)

Lawson~Menzies, Sydney, 17 May 2012, lot 72

Private collection, Melbourne

$3,000-4,000

31 PETER SMETS (BORN 1962)

Lift Me Up

oil on canvas signed lower right: Peter Smets 180 x 140cm

provenance

The Artist

Private collection, Queensland $25,000-30,000

32 SAM LEACH (BORN 1973)

Two Lions

oil and resin on board 30 x 42cm

provenance

The Artist

Private collection, Melbourne $6,500-8,500

31 © Peter Smets/Copyright Agency, 2024

33 MATTHEW JOHNSON (BORN 1963)

Untitled 2019

oil on canvas signed and dated verso: Matthew Johnson 2019 91 x 122cm

provenance

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

34 KATHERINE HATTAM (BORN 1950)

Monkeys in the Dark mixed media with collage on canvas signed lower right: K HATTAM 112 x 76.5cm

provenance

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

34 © Katherine Hattam/Copyright Agency, 2024

35

REKO RENNIE (BORN 1974)

Green Aborigine Stamp 2012

synthetic polymer paint on linen 101 x 84cm

provenance

Karen Woodbury Gallery, Melbourne 2013 (label verso)

Private collection, Melbourne

Leonard Joel, Melbourne, 9 May 2022, lot 9

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’.”

$15,000-18,000

36

§ KATHRIN LONGHURST (BORN 1971)

Postcard from the Battlefield Green 2016 oil on canvas signed, titled and dated verso: 2016/ Postcard from the/ Battlefield green/ K. Longhurst 122 x 92cm

provenance

The Artist

Private collection, Melbourne

exhibitions

The International Artist Grand Prix, Get Art Museum, Taipei, Taiwan, October 2017

$6,000-9,000

35 © Reko Rennie

The Collection of William Mora

Galleries

lots 37–54

After working with his father Georges at Tolarno Galleries, William Mora started his own gallery in 1985. William Mora Galleries is committed to supporting and exhibiting contemporary art, Australian art and emerging and established Indigenous artists. Originally located in Flinders Lane, the gallery space moved to Richmond in 2000, where it is today.

From 1987, William represented his mother, Mirka Mora, as well as many other artists. Very early on in his career, William travelled throughout Australia and was one of the first gallerists to host solo shows by Indigenous artists, working with some of the First Nations greater artists. We are privileged to feature works by significant Indigenous artists in our Fine Art auction, including Rusty Peters, Phyllis Thomas, Goody Barrett, and Nola Campbell. Following the death of William in 2023, in acknowledgement of his legacy, the Melbourne Art Foundation created the William Mora Indigenous Art Centre Program. In addition, the Heide Museum of Modern Art appointed William as the Heide 2023 Heide Fellow alongside his parents, Georges Mora (1989) and Mirka Mora (2008).

“I have had the immense privilege to work alongside my husband for over a decade. I wish nothing more than to continue and see his legacy grow.”

anna mortley

©Georges Petitjean

37

RUSTY PETERS (C.1935-2020)

(LANGUAGE GROUP: GIJA)

Grandfather’s Tree 2002

natural earth pigments and synthetic binder on linen, diptych

each inscribed verso with artist’s name, title, date, and Jirrawun Arts cat. no. RP32002.62 122 x 270cm (overall); 122 x 135cm (each)

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne

exhibitions

Rusty Peters - Recent Paintings, William Mora Galleries, Melbourne, 12 - 20 March, 2002, cat. no. 8 $10,000-15,000

38

GOODY BARRETT (BORN 1930)

(LANGUAGE GROUP: GIJA)

Ngali-ngalim (Dreamtime Women) 1999 natural earth pigments and synthetic polymer paint on linen

inscribed verso with Jirrawun Arts cat. no. GB999.22 120 x 120cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $4,000-6,000

39

PHYLLIS THOMAS (1933-2018)

(LANGUAGE GROUP: GIJA)

Nawanji Gawarren 1999

natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s initials and Jirrawun Arts cat. no. PT999.38 122 x 136cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $3,000-5,000

39 © Phyllis Thomas/Copyright Agency, 2024

40

GOODY BARRETT (BORN 1930) (LANGUAGE GROUP: GIJA)

Berndoowarlem thoon Lilmim-ngiyiwa Dayiwool (Forehead Band and Barramundi Scales) 1999 natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name and Jirrawun Arts cat. no. GB799.18

122 x 135cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $4,000-6,000

41 HECTOR JANDANY (1929-2006) (LANGUAGE GROUP: GIJA)

Kulan 1998

natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name and Warmun Arts cat. no. H.J29801

title and date inscribed on stretcher bar verso 123 x 135cm

provenance

Warmun Art Centre, Western Australia

The Collection of William Mora Galleries, Melbourne $3,000-5,000

42

PHYLLIS THOMAS (1933-2018) (LANGUAGE GROUP: GIJA)

Loomoogool (Blue Tongue Lizard Dreaming) 1999 natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s initials and Jirrawun Arts cat. no. PT999.43

135 x 122cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $3,000-5,000

43

PHYLLIS THOMAS (1933-2018)

(LANGUAGE GROUP: GIJA)

Purnululu 1998

natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name, title, date and Jirrawun Arts cat. no. P.T.98.21

150 x 180cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $5,000-7,000

40 © Goody Barrett/Copyright Agency, 2024

44 RUSTY PETERS (1935-2020) (LANGUAGE GROUP: GIJA)

Balngawun the Sand Frog 2002 natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name and Jirrawun Arts cat. no. RP82002-72

122.5 x 135cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne

exhibitions

Jirrawun Artists - Painting Country, William Mora Galleries, Melbourne, 19 October - 9 November 2002

$4,000-6,000

45 GOODY BARRETT (BORN 1930) (LANGUAGE GROUP: GIJA)

Dayiwool - Ngiyiwa Nawan (The Barramundi Cove) 1999 natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name and Jirrawun Arts cat. no. GB999.21

122 x 135cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $4,000-6,000

46 RUSTY PETERS (1935-2020) (LANGUAGE GROUP: GIJA)

Rock Wallaby 1999

natural earth pigments and synthetic polymer paint on linen

artist’s name, title and Jirrawun Arts cat.no. RP99.17 inscribed on stretcher bar verso

80 x 100cm

provenance

Jirrawun Arts, Western Australia

William Mora Galleries, Melbourne (stamp verso on stretcher bar)

The Collection of William Mora Galleries, Melbourne $4,000-6,000

47

GOODY BARRETT (BORN 1930) (LANGUAGE GROUP: GIJA)

Untitled natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name and Jirrawun Arts Centre information

122 x 135cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $4,000-6,000

48

RUSTY PETERS (1935-2020) (LANGUAGE GROUP: GIJA)

Walu (My Father’s Birth Place) 1998 natural earth pigments and synthetic polymer paint on linen

inscribed verso with title and Jirrawun Arts cat.no. R.P.798.01

122 x 136cm

provenance

Jirrawun Arts, Western Australia

William Mora Galleries, Melbourne (stamp verso)

The Collection of William Mora Galleries, Melbourne $4,000-6,000

49

PHYLLIS THOMAS (1933-2018) (LANGUAGE GROUP: GIJA)

Marranyji The Dingo at Rugun 2000 natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name, initials and Jirrawun Art Centre details

134.5 x 122cm

provenance

Jirrawun Arts, Western Australia

The Collection of William Mora Galleries, Melbourne $3,000-5,000

50

CHARLIE WARD TJAKAMARRA AND YUKULTJI NAPANGATI (C.1940-2005; BORN 1970) (LANGUAGE GROUP: PINTUPI)

Ngarru 2000

synthetic polymer paint on linen

inscribed verso with artists’ names and Papunya Tula Artists cat. no. CW+YN20000588

138 x 122cm

provenance

Papunya Tula Artists, Alice Springs

The Collection of William Mora Galleries, Melbourne $6,000-8,000

51 GEORGE TJAMPU TJAPALTJARRI (C.1935-2005) (LANGUAGE GROUP: PINTUPI)

Tjantjan 2001

synthetic polymer paint on linen

inscribed verso with artist’s name and Papunya Tula Artists cat. no. GT0103136

122 x 61cm

provenance

Papunya Tula Artists, Alice Springs

The Collection of William Mora Galleries, Melbourne $3,500-5,500

50 © Charlie Ward Tjakamarra & Tukultji Napangati/Copyright Agency, 2024

52 NOLA CAMPBELL (BORN 1948) (LANGUAGE GROUP: MANYJILYJARRA)

Tika Tika 2006

synthetic polymer paint on linen inscribed verso with artist’s name and Kayili Artists 152 x 211cm

provenance

Kayili Artists, Alice Springs

The Collection of William Mora Galleries, Melbourne

exhibitions

Kayili Artists (Part 2), William Mora Galleries, Melbourne, 20 November - 14 December 2007 $5,000-7,000

53

Untitled

153 x 122cm

provenance

Delmore Gallery, Northern Territory

The Collection of William Mora Galleries, Melbourne $3,000-4,000

54

TJUNKIYA NAPALTJARRI (1928-2009) (LANGUAGE GROUP: PINTUPI)

Two Women at Munni Munni 2000 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN20000502

122 x 91.5cm

provenance

Papunya Tula Artists, Alice Springs (accompanied by a copy of the certificate of authenticity)

The Collection of William Mora Galleries, Melbourne (stamp verso) $3,000-4,000

52 © Nola Yurnangurnu Campbell/Copyright Agency, 2024

GLORIA TAMERRE PETYARRE (1942-2021) (LANGUAGE GROUP: ANMATYERRE)

synthetic polymer paint on linen inscribed verso with artist’s name and Delmore Gallery cat. no. 94L057

55

Surry Hills oil on canvas laid on board signed lower right: Vassilieff signed and titled verso 59 x 43.5cm

provenance

Private collection, United States of America

Christie’s, Sydney, 28 August 2001, lot 98

Private collection, Melbourne

exhibitions

Special Exhibitions of Contemporary Art, British and Continental Artists, National Gallery of New South Wales, Sydney, 10 October - 31 December 1938 (label verso) $20,000-30,000

56

French Farmhouses, Decorative Landscape

on canvas signed verso: A. Baker-Clack (concealed) 52.5 x 79.5cm

provenance

Beaux Art Gallery, London Emile Blanchet, Paris

Monsieur Caron Cousin, Etaples

Christie’s, Melbourne, 22 August 2000, lot 92

Private collection, Melbourne $6,000-9,000

57

JOHN OLSEN (1928-2023)

Untitled (Boat Race) 2007

watercolour and pastel on paper signed and dated lower right: John Olsen 07 29.5 x 41.5cm

provenance

The Artist

Private collection, Melbourne $15,000-18,000

DANILA VASSILIEFF (1897-1958)

57 © John Olsen/Copyright Agency 2024

ARTHUR BAKER-CLACK (1887-1955)

oil

58

RICK AMOR (BORN 1948)

The Sea 1988

oil on board signed and dated lower right: RICK AMOR ‘88 90 x 120.5cm

provenance

Niagara Galleries, Melbourne (label verso)

Private collection, Melbourne Menzies, Sydney, 26 March 2015, lot 26 Private collection, Melbourne

exhibitions

Rick Amor: The Sea, Mornington Peninsula Regional Gallery, Victoria, 24 September - 27 October 2002 (illus. exhibition catalogue)

Blue Chip X: The Collector’s Exhibition, Niagara Galleries, Melbourne, 4 March - 5 April 2008, cat. no. 19 (label verso, illus. exhibition catalogue)

literature

Drury, N. (ed.), New Art Three: Profiles in Contemporary Australian Art, Craftsman House, Sydney, 1989, p.19 (illus.)

$20,000-30,000

59

PETER WEGNER (BORN 1953)

Portrait of Rick Amor 1994 oil on board signed and dated lower left: WEGNER ‘94 121 x 121cm

provenance

Acquired directly from the artist

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

60

CLIFTON PUGH (1924-1990)

The Painter Rick Amor and a Royal Spoonbill 1986 oil on canvas

signed and dated lower right: Clifton/ ‘86 titled verso 94.5 x 105cm

provenance

Australian Galleries, Melbourne (label verso)

Private collection, Melbourne

Deutscher~Menzies, Melbourne, November 2000, lot 64

Private collection, Melbourne

$12,000-16,000

61

GARRY

Landscape 1988

oil on canvas signed and dated lower right: Garry Shead 88 120 x 181.5cm

provenance

Christie’s, Melbourne, 29 April 1997, lot 96

Private collection, Melbourne $10,000-18,000

62

KENNETH JACK (1924-2006)

Hotel at Waratah, TAS 1969

oil on board

signed and dated lower left: KENNETH JACK/ 1969 titled verso 83 x 113.5cm

provenance

The Artist

Private collection, Melbourne Thence by descent $5,000-6,000

63

CHARLES BLACKMAN (1928-2018)

Portrait of Kate 1977 charcoal on paper signed and titled lower right: BLACKMAN/ KATE 181.5 x 151cm (reveal)

provenance

Savill Galleries, Sydney (label verso)

Art Galleries Schubert, Queensland (label verso)

Corporate collection, Queensland

Deutscher~Menzies, Sydney, 18 March 2008, lot 114

Private collection, Melbourne

exhibitions

Charles Blackman: Schoolgirls and Angels, National Gallery of Victoria, Melbourne, 18 May - 22 August 1993

Art Gallery of New South Wales, Sydney, 15 September - 14 November 1993

Brisbane City Hall Art Gallery, Brisbane, 7 December 1993 - 27 January 1994

Art Gallery of Western Australia, Perth, 16 February - 4 April 1994 (label verso)

literature

Moore, F. St J., Charles Blackman Schoolgirls and Angels, National Gallery of Victoria, Melbourne, 1993, p. 116 (illus.)

other notes

The actress Kate Fitzpatrick sat for this larger-thanlife-size portrait after Blackman told her on their first meeting that she reminded him of the woman in Henry Fuseli’s ‘The Nightmare’. It is one of several poses Blackman drew, including one lying back on a sofa that became the model for the ‘Nightmare’ series. $14,000-18,000

61 © Garry Shead/Copyright Agency, 2024

SHEAD (BORN 1942)

64

ROBERT DICKERSON (1924-2015)

(Two Figures) c.1960s

oil on masonite

signature incised lower right: DICKERSON 121.5 x 90.5cm

provenance

The Johnstone Gallery, Brisbane (label verso)

Private collection, Queensland $35,000-45,000

65

KENNETH JACK (1924-2006)

Family TV Viewing 1960

oil on board

signed and dated lower right: KENNETH JACK/ 1960 90 x 121cm

provenance

The Estate of Kenneth Jack, Melbourne $6,000-9,000

66

ROLAND WAKELIN (1887-1971)

(At the Boat) 1953

oil on board

signed and dated lower right: RWakelin/ ‘53 32.5 x 29cm

provenance

Barry’s Art Gallery, Queensland (label verso)

Private collection, Queensland $3,000-4,000

64 © Robert Dickerson/Copyright Agency, 2024

67

CONSTANCE STOKES (1906-1991)

(Interior) 1931

oil on composition board signed twice and dated lower right: C PARKIN/ C Parkin 31

35.5 x 25.5cm

provenance

(Possibly) Decoration Gallery, Melbourne

The Estate of Sybil Craig

The Collection of Peter and John Perry

Private collection, Melbourne

exhibitions

(Possibly) Exhibition of Paintings by Constance Parkin, Decoration Gallery, Melbourne, 24 October4 November 1933, cat. no. 17 (“Interior”)

literature

(Possibly) ‘Constance Parkin’s Work,’ Argus, Melbourne, 24 October 1933, p.9

$10,000-15,000

68

ARTHUR MURCH (1902-1989)

Beach Interlude

oil on canvas on board signed lower right: MURCH

45.5 x 64.5cm

provenance

The Collection of Mr John Cooper

Private collection, Queensland

exhibitions

Received by the Queensland National Art Gallery on loan from Mr John Cooper on the 29th November 1950 (signed loan label verso)

$4,000-6,000

69

§ DANILA VASSILIEFF (1897-1958)

College Street, Sydney 1937

oil on board in hand-made and painted frame signed lower left: Vassilieff 23 x 30cm

provenance

Leonard Joel, Melbourne, 7 November 1975, lot 828

Private collection, Melbourne

Menzies, Melbourne, 20 March 2014, lot 5

Private collection, Melbourne

literature

Moore, F. St. J., Vassilieff and his Art, Oxford University Press, Melbourne, 1982, p.143, cat. no. 43

Moore, F. St. J., Vassilieff and his Art, MacMillan Publishers, Melbourne, 2012, p.198, cat. no. 76

$5,000-8,000

67

Untitled ink and pastel on paper signed lower right: John Olsen 28.5 x 20cm

provenance

Private collection, Melbourne $3,000-4,000

Self-Portrait 1956 oil and PVA on board signed and dated lower right: KENNETH JACK/ 1956 106 x 76cm

provenance

The Estate of Kenneth Jack, Melbourne

exhibitions

The Archibald Prize, Art Gallery of New South Wales, Sydney, 18 January - 17 February 1957 (finalist) $5,000-8,000

Bringenbrong

oil on canvas signed lower right: Makin titled on stretcher bar verso 75.5 x 101.5cm

provenance

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

70

JOHN OLSEN 1928-2023

71 KENNETH JACK (1924-2006)

72

JEFFREY MAKIN (BORN 1943)

73

HANS HEYSEN (1877-1968)

Aroona,

and dated

provenance

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

Private collection, Sydney

Leonard Joel, Sydney, 7 May 2019, lot 429

Private collection, Melbourne $14,000-18,000

74

Old

75

Flinders

provenance

Christies, Melbourne, 22 August 2000, lot 146 Private collection, Melbourne

provenance

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

Red Glow 1949 watercolour on paper signed

lower right: HANS HEYSEN/ 1949 23.5 x 36.5cm

ROBERT TAYLOR GHEE (1869-1951)

Pioneer’s Cottage 1896 oil on canvas signed and dated lower right: R. E Taylor Ghee/ 96 97 x 52.5cm

$5,000-8,000

JAMES R. JACKSON (1882-1975)

oil on canvas signed lower left: JAMES R JACKSON 58.5 x 85cm

78

provenance

provenance

Private collection, United Kingdom Private collection, Queensland

provenance

collection,

76

SYDNEY LONG (1871-1955)

Landscape oil on canvas laid on board signed lower left: SYDNEY LONG 45 x 60cm

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

77

HENRY GRITTEN (1818-1873)

A View to a Range of Mountains Near Woodend 1868 oil on canvas

$10,000-15,000

78

HAUGHTON FORREST (1826-1925)

Isle of Arran oil on board signed lower left: HForrest titled on unknown label verso 21.5 x 42.5cm

Private

Tasmania $5,000-7,000

79

HENRY JAMES JOHNSTONE (1835-1907)

In the Meadows, Near Cookham 1880 oil on canvas signed and dated lower right: H. J. Johnstone 1880 signed, titled and dated verso 29.5 x 45cm

provenance

Private collection, South Australia

Deutscher~Menzies, Sydney, 13 June 2007, lot 221

Private collection, Sydney

Deutscher~Menzies, Sydney, 16 December 2009, lot 48

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

80

EMANUEL PHILLIPS FOX (1865-1915)

Woodland Scene, France oil on board signed lower left: E. PHILLIPS FOX titled on exhibition label verso 25.5 x 33cm

provenance

Private collection, Melbourne Thence by descent

exhibitions

E. P. Fox Exhibition, Melbourne, May 1925, cat. no. 49 (label verso)

literature

Zubans, R., E. Phillips Fox His Life and Art, The Miegunyah Press, Melbourne, p. 237, cat. no. U281 $7,000-9,000

81 RUPERT BUNNY (1864-1947)

Study for ‘The Sonata’ c.1910 oil on canvas on board 48.5 x 38cm

provenance

Laurence Course, Melbourne

Thence by descent

Private collection, Melbourne

literature

Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonne, vol.2, Thames & Hudson, Australia, 2017, p.45, cat. no. O312

related work

The Sonata, c.1909-10, oil on canvas, 212 x 160 cm, The Collection of the Art Gallery of Ballarat, Victoria, illus. p. 57 in Thomas, D., Rupert Bunny 1864-1947, Lansdowne Press, Melbourne, 1970, p. 55, cat. no. O114 $10,000-15,000

provenance

Royal Glasgow Institute of Fine Arts, United Kingdom c.1940

Private collection, London

Thence by descent

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

82

Black

provenance

Private collection, Melbourne

Thence

provenance

Sotheby’s, Melbourne, 29 May 1984, lot 46

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

82

GERALD FESTUS KELLY (BRITISH, 1879-1972)

Reyes with Clasped Hands oil on canvas signed lower right: Kelly titled on gallery label verso 64 x 49cm

83

J.H. SCHELTEMA (1861-1941)

Cattle in Landscape oil on canvas signed lower left: J. H. Scheltema 28.5 x 50.5cm

by descent $3,000-5,000

84

WALTER WITHERS (1854-1914)

Rock oil on board signed lower right: Walter Withers 19.5 x 33cm

85

CLIFTON PUGH (1924-1990)

Swamp Birds 1975

oil on composition board signed and dated lower right: Clifton/ 75 24.5 x 46.5cm

provenance

Deutscher~Menzies, Melbourne, 5 March 2002, lot 205 Private collection, Melbourne $5,000-8,000

86

Reading by the Pond oil on canvas signed lower left: David Boyd 50 x 60.5cm

provenance

Lister Gallery, Perth (label verso)

Galloway Galleries, Bowen Heads, QLD (stamp verso)

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

87

HUGH SAWREY (1923-1999)

On the Board at Bexley QLD c.1965

oil on canvas signed lower right: SAWREY signed and titled verso 98.5 x 179cm

provenance

Grand Central Gallery, Brisbane 1966

The Collection of Dr A.D. Tonkin

Private collection, Queensland $35,000-45,000

DAVID BOYD (1924-2011)

88

DAVID BOYD (1924-2011)

Juggling

oil on board signed lower left: David Boyd 39 x 49cm

provenance

Christie’s, Melbourne, 22 August 2000, lot 141

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

89

PADDY SIMS TJAPALTJARRI (1917-2010) (LANGUAGE GROUP: WARLPIRI)

Wama Jukurrpa (Snake Dreaming) 1999 synthetic polymer paint on canvas inscribed verso with artist’s name and Warlukurlangu Artists cat. no. 79/99

122 x 61.5cm

provenance

Warlukurlangu Artists, Alice Springs (accompanied by a copy of the certificate of authenticity)

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

90

MITJILI NAPANANGKA GIBSON (C.1930-2010)

Kapi Pulka at Wilkinkarra (Big Rain at Lake Mackay) 2010

synthetic polymer paint on canvas inscribed verso with artist’s name and Gallery Gondwana cat. no. 14045MN and stamp 198 x 61cm

provenance

Gallery Gondwana, Alice Springs

Private collection, Melbourne

$7,000-9,000

93

FREDDIE TIMMS (C.1946-2017)

(LANGUAGE GROUP: GIJA)

91

WARAKURNA WOMEN’S COLLABORATIVE

Kungkarangkalpa Women’s CollaborativeSeven Sisters 2009 synthetic polymer paint on canvas 149.5 x 152.5cm

provenance

The Artists Warakurna Artists, Western Australia, cat. no.’s 240-09.1-8 (accompanied by the eight copies of the certificates of authenticity)

The Le Pley Collection, Western Australia, acquired from the above in 2009 $8,000-12,000

92

TJUNKIYA NAPALTJARRI (1928-2009) (LANGUAGE GROUP: PINTUPI)

Untitled 1999 synthetic polymer paint on canvas inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN9906135

167 x 46cm

provenance

Papunya Tula Artists, Northern Territory (accompanied by a copy of the certificate of authenticity)

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

Lake Argyle 1998

natural earth pigments on linen inscribed verso with artist’s name, title, date and Jirrawun Arts cat. no. F.T.798.59

150 x 180cm

provenance

The Artist

Jirrawun Arts, Western Australia

William Mora Galleries, Melbourne (stamp verso) Private collection, Melbourne

exhibitions

My Country, William Mora Galleries, Melbourne, 1998 $12,000-18,000

93 © Freddie Timms/Copyright Agency 2024

94

RUSTY PETERS (1935-2020) (LANGUAGE GROUP: GIDJA)

The Lost Boy Story 1999 natural earth pigments on linen inscribed on stretcher bar verso with artist’s name, title date and Jirrawun Arts cat. no. RP99.34 120 x 160cm

provenance

The Artist

Jirrawun Arts, Western Australia

William Mora Galleries, Melbourne (stamp on stretcher bar verso)

Private collection, Melbourne

exhibitions

Kimberley Stories, William Mora Galleries, Melbourne, 1999, cat. no. 9

$7,000-9,000

95

BILLY THOMAS (1920-2012) (LANGUAGE GROUP: WANGKAJUNGA)

Untitled 1998

natural earth pigments and synthetic polymer paint on linen

inscribed verso with artist’s name and Waringarri Aboriginal Arts cat. no. AP1203 140 x 100cm

provenance

The Artist

Waringarri Aboriginal Arts, Western Australia

William Mora Galleries, Melbourne (stamp on stretcher bar verso)

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

96

CHURCHILL CANN (C.1945-2016) (LANGUAGE GROUP: GIDJA)

Gum Creek (Comet Dreaming) 1998 natural earth pigments on board inscribed verso with artist’s name, title, date and Jirrawun Arts cat. no. C.C.1 120 x 122cm

provenance

The Artist

Jirrawun Arts, Western Australia

William Mora Galleries, Melbourne (stamp verso)

Private collection, Melbourne

exhibitions

Gidja Country: The Black fella Way, William Mora Galleries, Melbourne, 1998 $3,000-5,000

95 © Billy Thomas/Copyright Agency 2024

97

PHYLLIS THOMAS (1933-2018) (LANGUAGE GROUP: GIJI)

The Boab Tree and the Sun 1999 natural earth pigments and synthetic polymer paint on linen inscribed verso with artist’s initials and Jirrawun Arts cat. no. PT999.40

136 x 122cm

provenance

The Artist

Jirrawun Arts, Western Australia

William Mora Galleries, Melbourne (stamp on stretcher bar verso)

Private collection, Melbourne

exhibitions

New art from the Kimberley, William Mora Galleries, Melbourne, 1999 $4,000-6,000

98

DAVID DOWNS (C.1925-1995)

Children of the Kurtal 1990 natural earth pigments on canvas inscribed verso with artist’s name and title 75.5 x 137cm

provenance

Gallery Gondwana, Northern Territory (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne $7,000-10,000

99

LORNA FENCER NAPARRULA (C.1920-2006) (LANGUAGE GROUP: WARLPIRI)

Yarla (Bush Potato) 1996 synthetic polymer paint on cotton duck inscribed verso with artist’s name and Alcaston Gallery cat. no. AK3551

189 x 98cm

provenance

Alcaston Gallery, Melbourne (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne $3,000-4,000

98

100

JIMMY BAKER (C.1915-2010) (LANGUAGE GROUP: PITJANTJATJARA)

Kalaya Tjukurpa 2008

synthetic polymer paint on canvas inscribed verso with artist’s name and Tjungu Palya Arts cat. no. TPJB08214

93 x 141cm

provenance

The Artist

Tjungu Palya Arts, South Australia, cat. no. 08214 (accompanied by a copy of the certificate of authenticity) Araluen Arts Centre, Northern Territory

The Le Pley Collection, Western Australia, acquired from the above in 2008

exhibitions

Desert Mob, Araluen Arts Centre, Northern Territory, 2008

$9,000-12,000

101

GLORIA TAMERRE PETYARRE (1945-2021) (LANGUAGE GROUP: ANMATYERRE)

Mountain Devil Awelye 1994 synthetic polymer paint on linen artist’s name inscribed verso 130 x 310cm

provenance

The Artist Delmore Gallery, Northern Territory, cat. no. 94D002 (accompanied by a copy of the certificate of authenticity)

Leonard Joel, Melbourne, The Thomas Vroom Collection, Melbourne, 26 February 2017, lot 349

The Le Pley Collection, Western Australia, acquired from the above in 2017 $16,000-20,000

102

§ JON MOLVIG (1923-1970)

Construction Industrial 1960 oil and enamel on board signed and dated lower right: Molvig 60 signed and titled verso

135 x 122cm

provenance

Rudy Komon Art Gallery, Sydney (label verso)

The Estate of Ray Hughes, Sydney

Shapiro Auctioneers, Sydney, 21 November 2018, lot 88 Private collection, Melbourne $4,000-6,000

101 © Gloria Petyarre/Copyright Agency, 2024

(BORN 1960)

artist’s seal, date and edition inscribed at top of plinth

signed and inscribed lower right in Chinese characters

Macquarie Galleries, Sydney, 1984 (original label retained, accompanied by a copy of purchase receipt) (BORN 1943)

The Patterning of Light: Breakaway Series II, Linton & Kay

106

§ DALE FRANK (BORN 1959)

Hard & Fast 1989

synthetic polymer paint on canvas initialled, titled and dated verso: DF/ 89/ HARD & FAST 87 x 59cm

provenance

Philip Bacon Galleries, Brisbane (label verso)

Eva Breuer Art Dealer, Sydney (label verso, stock no. 13389)

Private collection, Brisbane

Menzies, Sydney, 24 September 2014, lot 348

Private collection, Melbourne $3,500-5,500

107

§ JUAN DAVILA (BORN 1946)

Carmen Gallardo 2005 gouache and synthetic polymer paint on paper and Perspex signed and dated lower right: Juan Davila 2005 126 x 85cm

provenance

Kalli Rolfe Contemporary, Melbourne Private collection, Melbourne Menzies, Melbourne, 24 July 2014, lot 115 Private collection, Melbourne $7,000-9,000

108

JOHN OLSEN (1928-2023)

Pouncing Cat mixed media on paper signed and inscribed with title lower right: Pouncing cat / John Olsen 55.5 x 77cm

provenance

Christie’s, Melbourne, 29 April 1997, lot 325

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

104 © Ian Fairweather/Copyright Agency, 2024

109

§ CHARLES BLACKMAN (1928-2018)

Plat Du Jour 1975

ink on paper

initialled and dated lower right: CB 75 62.5 x 98cm

provenance

(Possibly) Christie’s, Melbourne, 20 November 1995, lot 145 (within ‘Paris Dreaming A Suite of Forty Drawings and Paintings’)

Art Galleries Schubert, Queensland (label verso)

Private collection, Queensland

Menzies, Sydney, 22 March 2012, lot 126

Private collection, Melbourne

literature

Amadio, N., Paris Dreaming: A Celebration Of A City Of The Imagination, AH & AW Reed Pty Ltd, Sydney, 1982, p.23 (illus.)

$5,500-7,500

110

KEVIN LINCOLN (BORN 1941)

Untitled 2002

oil on linen

signed and dated verso: 2002/ Kevin Lincoln 51 x 41cm

provenance

Niagara Galleries, Melbourne

Private collection, Victoria $3,000-4,000

111

§ PAUL BOSTON (BORN 1952)

Torso (Torso with Raised Arms) 2002

oil on linen

signed, titled and dated verso: PAUL BOSTON 2002/ TORSO (torso with raised arms)

145.5 x 107cm

provenance

Niagara Galleries, Melbourne

Private collection, Melbourne

Menzies, Sydney, 23 June 2016, lot 129

Private collection, Melbourne

$8,000-10,000

111 © Courtesy of the artist and Niagara Galleries, Melbourne.

Fosterville When The Bulls Sing 1973

oil on canvas signed, titled and dated verso: FOSTERVILLE WHEN THE/ BULLS SING/ PETER TYNDALL/ 1973 198 x 198cm

provenance

Private collection, Melbourne Thence by descent $8,000-10,000

On The Track 1965

oil on composition board signed and dated lower right: Raokin 65 61.5 x 90.5cm

provenance

Christie’s, Melbourne, 27 April 1998, lot 13 Private collection

Lawson-Menzies, Sydney, 7 May 2006, lot 55

Corporate collection, Melbourne

Lawsons, Sydney, 7 June 2010, lot 620

Private collection, Melbourne

exhibitions

Macquarie Galleries, Sydney, 17-29 March 1976, cat. no. 36

Macquarie Galleries, Canberra, 23 September10 October 1976, cat. no. 25

Cintra House Galleries, Brisbane, RetrospectiveH. F. Weaver Hawkins, September 1978, cat. no. 33 $8,000-12,000

Cocktail VI 1967

oil and sfumato on board

signed and dated lower left: David Boyd 1967 signed verso 48.5 x 37.5cm

provenance

Deutscher and Hackett, Melbourne, 27 August 2008, lot 190

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

113

112

PETER TYNDALL (BORN 1951)

113

WEAVER HAWKINS (1893-1977)

114

DAVID BOYD (1924-2011)

115

§ ROBERT DICKERSON (1924-2015)

Figure in Cityscape pastel on paper signed lower right: DICKERSON

Private collection, Queensland

Lawson~Menzies, Sydney, 23 February 2011, lot 93

Private collection, Melbourne 6,000-8,000

DAVID BOYD (1924-2011)

1964

oil on paper laid on board signed and dated lower left: DAVID BOYD 64

The Johnstone Gallery, Brisbane (label verso)

Private collection, Queensland 5,000-8,000

PIPPIN DRYSDALE (BORN 1943)

Kimberley Series I 2007 porcelain, closed form signed, titled, dated and inscribed at base: PIPPIN DRYSDALE/ NO/ 102/ KIMBERLEY SERIES/ I-2007

Private collection, Melbourne

, John Curtin Gallery, Perth, 22 June - 12 August 2007 7,000-9,000

117 © Pippin Drysdale/Copyright Agency, 2024

118

BRIAN DUNLOP (1938-2009)

Dance of Shiva

oil on canvas signed lower centre: Dunlop titled verso

156.5 x 116.5cm

provenance

Christies, Sydney, 14 August 1994, lot 216

Private collection

Deutscher~Menzies, Melbourne, 01 May 2002, lot 13

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

119

PHILIP HUNTER (1958-2017)

Visit VI 1990

oil on canvas signed, titled and dated verso: VISIT VI Hunter 90 152 x 121.5cm

provenance

Private collection, Melbourne

Christie’s, Melbourne, 1 May 2000, lot 57

Private collection, Melbourne

exhibitions

Moët & Chandon Australian Art Foundation Touring Exhibition 1991, touring to: Tasmanian Museum and Art Gallery, Hobart; Queensland Art Gallery, Brisbane; Art Gallery of New South Wales, Sydney; Australian National Gallery, Canberra; Art Gallery of Western Australia, Perth; Westpac Gallery, Melbourne, 13 February - 8 December 1991

Philip Hunter the Territory: 1st Hemisphere, Monash University Gallery (MUMA), Melbourne, 25 June - 2 August 1992, cat. no. 21

literature

Carroll, A., Moët & Chandon Touring Exhibition catalogue, Melbourne, 1991

Gregory, J., Gott, T., and King, P., ww, Monash University Gallery, Melbourne, 1992, p. 28 $6,000-8,000

120

ARTHUR BOYD (1920-1999)

(Figures in Coffin) ink on paper signed lower right: Arthur Boyd 48.5 x 62cm

provenance

The Johnstone Gallery, Brisbane (label formerly affixed verso)

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

119 © Philip Hunter/Copyright Agency, 2024

121

122

provenance

Private collection, Melbourne $6,000-8,000

provenance

Private collection, Sydney

Deutscher~Menzies, Melbourne, 23 June 2003, lot 75

Private collection, Melbourne

Lawson~Menzies, Sydney, 13 September 2007, lot 229

Private company collection, Melbourne.

Lawson~Menzies, Sydney, 10 December 2008, lot 209

Private collection, Melbourne

Menzies, Sydney, 21 March 2013, lot 129

Company collection, Melbourne

Menzies, Melbourne, 10 August 2017, lot 80

Private collection, Melbourne

$20,000-30,000

provenance

Tolarno Galleries, Melbourne

Private collection, Melbourne

Sotheby’s, Sydney, 26 November 2007, lot 84

Private collection, Queensland $15,000-20,000

121

JOSHUA YELDHAM (BORN 1970)

Lotus Wood 2001

oil on panel, diptych signed lower right: Yeldham signed, titled and dated verso 92 x 122.5cm (overall)

MICHAEL JOHNSON (BORN 1938)

Cattai Revisit 1990 oil on canvas signed and dated verso: Michael Johnson 1990 signed, titled and dated on stretcher bar verso 213 x 151.5cm

123

ADAM CULLEN (1965-2012)

Hygienically Sealed for Your Convenience and Hygiene oil on canvas inscribed with title verso 152 x 213cm

TRACEY MOFFATT (BORN 1960)

Something More #2 1989 cibachrome photograph, ed. 14/30 signed, dated and editioned verso: T. MOFFATT ‘89 98 x 127cm

provenance

L.A Galerie - Lothar Albrecht, Germany Private collection, Melbourne

exhibitions

Something More, Australian Centre for Photography, Australia, 1989 (then toured Australia) (another impression)

Antipodean Currents, John F. Kennedy Centre for Performing Arts, Washington D.C., USA, 9 - 16 October 1994 (another impression)

Tracey Moffatt, Kunsthalle Wien, Vienna, 10 April - 7 June 1998 (then toured Europe) (another impression)

Tracey Moffatt, Institute of Modern Arts, Brisbane and Asia Link, Melbourne, 1999 (another impression)

Tracey Moffatt, Nassau County Museum of Art, New York, February - April 2001 (another impression)

Tracey Moffatt, City Gallery, Wellington, 2002 (another impression)

Tracey Moffatt, Museum of Contemporary Art, Sydney, 17 December 2003 - 29 February 2004 (another impression)

Tracey Moffatt, Between Dreams and Reality, Spazio Oberdan, Milan, 28 June - 1 October 2006 (another impression)

Tracey Moffatt, Lismore Regional Gallery, New South Wales, 13 March - 25 April (another impression)

Know My Name: Australian Women Artists 1900 to Now, National Gallery of Australia, Canberra, 14 November 2020 - 4 July 2021 (another impression)

literature

Newton, G., Tracey Moffatt: Fever Pitch, Piper Press, Sydney, 1995, pp. 17, 57 (illus., another impression)

Shoemaker, A., A Sea Change - Australian Writing and Photography, Sydney Organising Committee for The Olympic Games, Sydney, 1998, pp. 30 - 31 (illus., another impression)

Byron, S., Crombie, I., Twenty Contemporary Australian photographers - from the Hallmark Cards Australian Photographic Collection, National Gallery of Victoria, Melbourne, 1990, p. 44 (another impression)

Ennis, H., Photography and Australia, Reaktion Books, London, 2007, pp. 31 - 50 (another impression)

Fink, H., One Sun One Moon: Aboriginal Art in Australia, Prestel Publishing, Sydney, 2007, pp. 312, 316 (illus., another impression)

other notes

Other impressions of this print are held in the permanent collections of the Museum of Contemporary Art, Sydney; Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne; and National Gallery of Australia, Canberra. $12,000-14,000

125

§ STEPHEN BUSH (BORN 1958)

Venetian Red No. 11 1995 oil on linen 101 x 137cm

provenance

Sutton Gallery, Melbourne

Private collection, Melbourne

Lawson~Menzies, Sydney, 19 June 2014, lot 27

Corporate collection, Melbourne Menzies, Melbourne, 10 August 2017, lot 121

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

126

DAVID BOYD (1924-2011)

Children Swimming oil on board signed lower left: David Boyd 39 x 49cm

provenance

Christie’s, Melbourne, 22 August 2000, lot 194

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

127

DAVID BOYD (1924-2011)

Children under Tree oil on board signed lower left: David Boyd 39 x 49.5cm

provenance

Christie’s, Melbourne, 22 August 2000, lot 194

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

124 ©Tracey Moffatt/Copyright Agency, 2024

Artist Index

A

Amor, Rick 58

B

Baker, Jimmy 100

Baker-clack, Arthur 56

Barrett, Goody 38, 40, 45, 47

Beckett, Clarice 5

Blackman, Charles 63, 109

Bonheur, Rosa 10, 11

Boston, Paul 111

Boyd, David 86, 88, 114, 116, 126, 127

Boyd, Arthur 120

Brack, John 22

Bunny, Rupert 81

Bush, Stephen 125

C

Campbell, Nola 52

Cann, Churchill 96

Carrick Fox, Ethel 13

Coburn, John 1, 21

Cullen, Adam 123

D

Dargie, William 17

Davila, Juan 107

De Maistre, Roy 23

Dickerson, Robert 64, 115

Downs, David 98

Drendel, Graeme 28

Drysdale, Pippin 19, 105, 117

Dunlop, Brian 118

F

Fairweather, Ian 104

Fencer Naparrula, Lorna 99

Forrest, Haughton 15, 78

Fox, Emanuel Phillips 80

Frank, Dale 106

G

Ghee, Robert Taylor 74

Gibson, Mitjili Napanangka 90

Gritten, Henry 77

Gruner, Elioth 6

H

Hattam, Katherine 34

Hawkins, Weaver 113

Haxton, Elaine 24

Heysen, Hans 8, 16, 73

Hunter, Philip 119

J

Jack, Kenneth 62, 65, 71

Jacks, Robert 25, 26

Jackson, James R. 75

Jandany, Hector 41

Johnson, Matthew 33

Johnson, Michael 122

Johnstone, Henry James 79

K

Kelly, Gerald Festus 82

Kemp, Roger 20

L

Leach, Sam 32

Lincoln, Kevin 110

Long, Sydney 76

Longhurst, Kathrin 36

M

Makin, Jeffrey 72

Mckenzie, Alexander 4

Moffatt, Tracey 124

Molvig, Jon 102

Murch, Arthur 68

N

Napaltjarri, Tjunkiya 54, 92

O

Olsen, John 57, 70, 108

P

Peters, Rusty 37, 44, 46, 48, 94

Petyarre, Gloria Tamerre 53

Petyarre, Gloria Tamerre 101

Piguenit, William Charles 14

Power, Harold Septimus 9, 12

Pugh, Clifton 60, 85

Q

Quilty, Ben 29

R

Rennie, Reko 35

Russell, John Peter 7

S

Sawrey, Hugh 87

Scheltema, J.h. 83

Shead, Garry 61

Smets, Peter 3, 31

Stokes, Constance 67

T

Thomas, Phyllis 39, 42, 43, 49, 97

Thomas, Billy 95

Thomson, Ann 30

Timms, Freddie 93

Tjakamarra, Charlie Ward & Napangati, Yukultji 50

Tjapaltjarri, George Tjampu 51

Tjapaltjarri, Paddy Sims 89

Tucker, Albert 18

Tyndall, Peter 112

V

Vanderzweep, Anthony 103

Vassilieff, Danila 55, 69

W

Wakelin, Roland 66

Warakurna Women’s Collaborative 91

Watson, Percy 27

Wegner, Peter 59

Withers, Walter 84

Wolfhagen, Philip 2

Y

Yeldham, Joshua 121

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

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AUCTION CATALOGUE

VOLUME 17 ISSUE 4 LJ8711