Fine Art by Leonard Joel

FINE ART AUCTION TUESDAY 23 NOVEMBER 2021, MELBOURNE

AUCTION CATALOGUE VOLUME 14 ISSUE 21 LJ8436 COVER Lot 24 (detail) JOHN COBURN (1925-2006) Nullabor oil on canvasboard 60 x 75.5cm $18,000 – 22,000 © John Coburn /Copyright Agency 2021 INSIDE COVER Lot 39 (detail) MICHAEL ZAVROS (born 1974) Mercedes Benz in a Landscape 1999 oil on board 118 x 183cm $25,000 – 35,000 Courtesy the Artist and Philip Bacon Galleries, Brisbane

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Lot 74 (detail) CHRISTINE YUKENBARRI (born 1977) Winpurpurla 2005 synthetic polymer paint on linen 150 x 100cm $10,000-15,000 © Christine Yukenbarri/Copyright Agency, 2021 4

FINE ART AUCTION TUESDAY 23 NOVEMBER 2021, 6PM MELBOURNE

CONTACT

Olivia Fuller

Lucy Foster

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

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

Please refer to our website for viewing details

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Lot 9 (detail) PAUL DAVIES (born 1979) Two Palms + Yellow Sky + Modern Home 2009 synthetic polymer paint on canvas 152 x 124cm $8,000-12,000 © The Artist

Introducing Post War and Contemporary –

Extending off the success of our annual Centum contemporary art auction, Leonard Joel is delighted to launch our new Post War and Contemporary capsule within our Fine Art auctions. The secondary art market in Australia has seen a sophisticated elevation in market sales and awareness of contemporary art, in pursuit of the major markets overseas. With our 2021 Centum auction securing eight new artist auction records, it is our intention to harness the contemporary art market at auction in new and stronger ways to spotlight this category even further. With that intention in mind, we are thrilled to present a diverse and highly collectable range of post war and contemporary artworks across lots 1-56 in our November Fine Art auction. Key artists represented include Bill Henson, Michael Zavros, Del Kathryn Barton, Ildiko Kovacs, Paul Davies, Brook Andrew, Peter D. Cole, John Coburn, John Olsen, and Criss Canning with many more names worthy of mention. From lots 61-74, our catalogue presents works that are highly significant to Australian Indigenous Art as well as Australian history and culture. Beginning with Rex Battarbee (lot 61) - one of the artists recognised as having taught the Hermannsburg School their now renowned style of watercolour painting in recognition of the Central Australian landscape. His most acclaimed pupil was, of course, Albert Namatjira. Lot 62 is from Albert’s very first solo exhibition in 1938, and lots 63 and 64 are two examples from his prime period of painting in the 1940s and 50s, with all three illustrated in Ken McGregor’s recent monograph on the artist and from an esteemed private South Australian collection. Following on from these stunning watercolours is a collection of Indigenous Art (lots 65-74) with premium provenance. These lots are being sold with 5% of the sale price distributed directly to NEIVA to support this initiative. The National Endowment for Indigenous Visual Arts (NEIVA) was formed by D’Lan Contemporary in collaboration with Australian Executor Trustees, as part of a mission to build a strong and inclusive marketplace for Australian Indigenous art and to distribute profits from art sale proceeds back to artists, programs that educate Indigenous artists and industry workers, and the broader Indigenous communities. We are delighted to present such a diverse range of art in our November sale and thoroughly hope you enjoy our final Art auction for 2021. — Olivia Fuller | Head of Art

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Lot 3 Courtesy the Artist and Philip Bacon Galleries, Brisbane. 5

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LOTS 1 – 56 Lot 19 6

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1 © Noel McKenna /Copyright Agency 2021

1 Tree, 1 Leaf, 1 Bird 2004 enamel on canvasboard signed and dated upper left: N. McKENNA 04 signed, titled and dated verso 40 x 30cm

Floating in the Night 2003 oil on board signed, titled and dated verso: Floating in the Night / 2003 / MZ / 03 24 x 16.5cm

PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Brisbane $3,000-4,000

PROVENANCE: Art Gallery Schubert, Queensland (label verso) Private collection, Western Australia

NOEL MCKENNA (born 1956)

MICHAEL ZAVROS (born 1974)

$6,000-8,000

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2 Courtesy the Artist and Philip Bacon Galleries, Brisbane

Pinacoteca Ambrosiana 2003 oil on board signed, titled and dated verso: MICHAEL ZAVROS/ PINACOTECA AMBRSIANA [sic]/ 2003 14 x 21cm

Dark Afternoon Near Sofala synthetic polymer paint on card initialled lower left: C.O.D. initialled lower right: R. M. titled on gallery label verso 15.5 x 17cm

MICHAEL ZAVROS (born 1974)

PROVENANCE: Mori Gallery, Sydney 2003 Private collection, Western Australia $5,000-7,000

REG MOMBASSA (born 1951)

PROVENANCE: Watters Gallery, Sydney (label verso) Private collection, Brisbane $2,500-3,500

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§ PAUL RYAN (born 1964) Colonial and Tall Ship 2014 oil on linen signed, dated and titled verso: ryan 12+14 colonial and TALL SHip 153 x 123cm PROVENANCE: Private collection, Melbourne OTHER NOTES: Paul Ryan’s paintings allude to the lush and pure pre-colonial landscapes of mostly NSW. Inserted into these pristine natural scenes are colonial figures, often formally dressed in their military attire. Ryan attempts to draw attention to the impacts of colonialism on the landscape. $12,000-16,000

COLIN PENNOCK (born 1964) Landmarks 2014 oil on linen signed, titled and dated verso: ‘LANDMARKS’ 2014 / Colin Pennock 122 x 107cm PROVENANCE: Scott Livesey Galleries, Melbourne Private collection, Melbourne $8,000-10,000 6

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DEL KATHRYN BARTON (born 1972) Girl 2004 watercolour, gouache and ink on paper with padded fabric border signed and dated lower right: del. k. barton 2004 80 x 60cm PROVENANCE: Gift of the Artist Private collection, Sydney $7,000-10,000

7 Courtesy of the Artist and Roslyn Oxley9 Gallery, Sydney.

ILDIKO KOVACS (born 1962) Untitled 1998 oil on card, laid on linen on board signed and dated verso: ILDIKO KOVACS/ 10 1998 76 x 58cm PROVENANCE: Christine Abrahams Gallery, Melbourne Private collection, Melbourne $5,000-7,000 8 Ildiko Kovacs is represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide. 11

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Two Palms + Yellow Sky + Modern Home 2009 synthetic polymer paint on canvas signed lower right: -Pdaviessigned, titled and dated verso 152 x 124cm

Untitled 2012 oil on canvas signed and dated verso: Matthew Johnson 2012 100 x 90cm

PAUL DAVIES (born 1979)

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

BILL HENSON (born 1955) Untitled SH3 N28 2018-19 archival pigment ink-jet print, ed. 2/5 127 x 180cm PROVENANCE: Tolarno Galleries, Melbourne Private collection, Melbourne

§ MATTHEW JOHNSON (born 1963)

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

§ HOWARD TAYLOR (1918-2001) Untitled pastel on paper signed lower right: HTAYLOR 69 x 46.5cm PROVENANCE: McKenzies Auctioneers, Perth, 19 March 2013, lot 19 Private collection, Western Australia $10,000-15,000

EXHIBITIONS: The Light Fades but the Gods Remain: Bill Henson, Monash Art Gallery, Melbourne, 27 July-29 September 2019 (traveled to: Newcastle Art Gallery, New South Wales, 27 February 2021 - 16 May 2021; traveling to: Hervey Bay Regional Gallery, Queensland, 12 August - 9 October 2022) (another example) LITERATURE: Henson, B., The Light Fades but the Gods Remain, Monash Gallery of Art, Thames & Hudson, Melbourne, 2019, p.140-141 (illus.) (accompanied by a copy of the book) $25,000-35,000

10 © The Artist

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13 Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney.

BROOK ANDREW (born 1970) Miriam (Kalar Midday Series) 2003 ilfochrome print, edition of 10 102 x 111cm PROVENANCE: Greenaway Art Gallery, Adelaide Private collection, Melbourne

EXHIBITIONS: Brook Andrew: Kalar Midday, Greenaway Art Gallery, Adelaide, November 2003 Brook Andrew: Kalar Midday, Gallery Gabrielle Pizzi, Melbourne, 13-27 March 2004 Brook Andrew: Photography and Neon, Stills Gallery, Sydney, 4 August - 4 September 2004 LITERATURE: Delany, M., Papastergiadis, N., Riphagen, M., Andrew, B., Barlow, B., Loxley, A., Russell, L., Brook Andrew: Eye to Eye, MUMA, Melbourne, 2007, illus. in exhibition catalogue p. 27 $5,000-6,000

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§ MICHAEL PECK (born 1977) New Recruit #10 2012 oil on Belgian linen signed lower right: M Peck signed, titled and dated verso 198 x 198cm PROVENANCE: Metro Gallery, Melbourne Private collection, Melbourne $12,000-16,000

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16 © John Coburn /Copyright Agency 2021

Untitled Construction 2004 steel stamped: PS / 04 22cm (height)

Celtic Cross oil on board signed upper right: Coburn 76 x 102cm

PAUL SELWOOD (born 1946)

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

§ JOHN COBURN (1925-2006)

PROVENANCE: Private collection, Sydney Lawsons, Sydney, 17 December 2020, lot 561 Private collection, Melbourne $8,000-12,000

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Untitled 2005 painted wood on backing board signed and dated lower right: E. Carchesio 2005 103 x 71cm

Red, Yellow and Grey Landscape 2006 painted brass and aluminium 52 x 118 x 20cm

EUGENE CARCHESIO (born 1960)

PROVENANCE: Private collection, Brisbane $2,000-3,000

PETER D. COLE (born 1947)

PROVENANCE: The Artist John Buckley Gallery, Melbourne 2006 Private collection Melbourne $9,000-12,000

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JOHN PEART (born 1945) Siderial Grey 1994 oil on canvas signed, titled and dated verso: John Peart / SIDERIAL / GREY / 1994 171 x 290cm

PROVENANCE: The Artist Charles Nodrum Gallery, Melbourne, 2004 (label verso) Private collection, Brisbane EXHIBITIONS: John Peart, Watters Gallery, Sydney, 1994; Charles Nodrum Gallery at Studio 91, Adelaide, March, 2002 Modern Australian Painting, Charles Nodrum Gallery, Melbourne, 22 April - 8 May 2004, cat. no. 1 $12,000-18,000

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Top Hat, Ubu Roi 1986 oil on linen signed and dated lower right: David / Larwill ‘86 183 x 188.5cm

Untitled 2003-04 ink on paper dated lower left 33 x 48cm

PROVENANCE: Commissioned by Black Ink Theatre Company, Canberra 1986 Private collection, Melbourne

PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Brisbane $1,500-2,500

OTHER NOTES: In 1986, David Larwill was commissioned to produce the poster and set design for the play, Ubu Roi, by Alfred Jarry at the Australian National University in Canberra. $9,000-12,000

DAVID LARWILL (1956-2011)

KEN WHISSON (born 1927)

KEN WHISSON (born 1927) Birds, Cat and Bright Blue House 2001 oil on linen signed, titled and dated verso: Ken Whisson/ “Birds, Cat and/ Bright Blue House”/ 1/06/01 + 26/06/01 119 x 84.5cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Brisbane $20,000-25,000

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No. 682 1988 wood assemblage initialled, numbered and dated to base: RK. 682. 88. 179cm (height)

Nullabor oil on canvasboard signed lower right: Coburn 60 x 75.5cm

ROBERT KLIPPEL (1920-2001)

PROVENANCE: Watters Gallery, Sydney Private collection, Melbourne EXHIBITIONS: Robert Klippel - Painted Wood Sculptures At Three Locations, Roslyn Oxley9 Gallery, Legge Gallery and Watters Gallery, Sydney, 14 November-1 December 1990, cat. no. 50 LITERATURE: Legge, G., Robert Klippel - Painted Wood Sculptures At Three Locations, Watters Gallery, Sydney, 1990, cat. no. 50 (illus.) Edwards, D., Robert Klippel: A Catalogue Raisonne of Sculpture, (CD-Rom), 2002, CD-Rom Artworks, catalogued as no. 682 (illus.) $15,000-20,000

JOHN COBURN (1925-2006)

PROVENANCE: Australian Galleries, Melbourne (label verso) Private collection, Melbourne Estate of the above Private collection, Melbourne EXHIBITIONS: Recent Paintings, Prints and Tapestries, Australian Galleries, Melbourne, 8 - 22 June 1976 $18,000-22,000

§ DAVID ASPDEN (1935-2005) Cyclone 1996 oil on canvas signed, titled and dated verso: ASPDEN / ‘96 / OIL / “CYCLONE” 45.5 x 61cm PROVENANCE: The Artist Private collection, Sydney Shapiro Auctioneers, Sydney, 10 June 2020, lot 68 Private collection, Melbourne $2,000-4,000

23 © Andrew Klippel. Courtesy of The Robert Klippel Estate, represented by Annette Larkin Fine Art, Sydney and Galerie Gmurzynska, Zurich.

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24 © John Coburn /Copyright Agency 2021

Red Burgundy 1965-67 oil on panel signed, titled and dated verso: Michael Kmit/ 1965-7/ “Red Burgundy” 100 x 71cm

Abstract acrylic on card, double-sided 44.5 x 59cm

§ MICHAEL KMIT (1910-1981)

PROVENANCE: Vickers & Hoad Auctioneers, Sydney, 6 December 2015, lot 1033 Private collection, Melbourne $4,000-6,000

ROGER KEMP (1908-1987)

PROVENANCE: Gift of the Artist Thence by descent Private collection, Melbourne $2,500-3,500

§ STANISLAUS RAPOTEC (1913-1997) Moon II 1970 oil on board signed, titled and dated verso: “MOON II” S. Rapotec 70 107 x 92cm PROVENANCE: Private collection, Western Australia GFL Fine Art, Perth, 26 November 2014, lot 147 Private collection, Melbourne $5,000-7,000

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Arthur Boyd Growing up between the wars on the outskirts of Melbourne, Arthur Boyd was surrounded by the art of his parents and grandparents at their homestead Open Country. Murrumbeena was the centre of an important artistic community for which in the decades to come witnessed the rise of some of the most important Australian artistic figures of the 20th century. Establishing a pottery studio at the property, Merric, Arthur’s father has been widely credited for pioneering the field of ceramic art in Australia. In 1944, Arthur Boyd and John Perceval collaborated; setting up Arthur Merric Boyd Pottery (AMB), a shopfront located a short walk away from the home. While the immediate aim was to manufacture utilitarian ware to supply post-war demand, Boyd and Perceval placed heavy emphasis on artistic design creating product that the Australian market had no previous exposure to. Each individual piece was liberally adorned with free-flowing impressionistic motifs featuring native birds, angels, lovers and nature, all hand painted and vibrantly coloured. While making an impact locally, this modern, post-war imagery soon caught the attention of major galleries. In 1954 Boyd exhibited 16 pieces at the Peter Bray Gallery in Melbourne featuring tiles, ceramic paintings and a few sculptures. With biblical themes prominent, Boyd’s subjects were mainly characters from the New Testament, while others were simple depictions of everyday domestic subjects. The original School Boy Riding a Goat was a glazed terracotta artwork from this 1954 exhibition. The school boy stands as the dominant subject, grasping the goat with both hands. The two figures morph into one, creating a unified subject with pronounced lines and flowing form connecting them. The definition between the rotating subjects becomes just as varied as it is unified, reminiscent of the Cubist method that Boyd was known to experiment with briefly during this period. While Boyd mastered in pottery, painting, printmaking and sculpture, he consistently worked with themes of love, loss, mythology and religion across all his mediums. Honing his broad technical skills and superior artistic oeuvre saw him become one of the most technically brilliant artists of the post-war period in Australia. This work, School Boy Riding a Goat 1952-1954, is a bronze sculpture cast from the original terracotta artwork by Meridian Sculpture Foundry in Melbourne, produced in conjunction with Australian Galleries for Arthur Boyd in 1996. From the edition of nine, this work is an Artist’s Proof and is an example of the universality and timelessness of Boyd’s vision. — Lucy Foster | Fine Art Specialist

ARTHUR BOYD (1920-1999) School Boy Riding a Goat 1952-1954 bronze, A/P later casting c.1996 signed and inscribed verso: Arthur / Boyd / E/E stamped verso with Meridian foundry mark 76cm (height) PROVENANCE: Acquired directly through Meridian Foundry, Melbourne 2003 The Estate of Mr. Hyman Sharp EXHIBITIONS: Paintings, Sculpture, and Two New Suites of Etchings, Australian Galleries, Melbourne, 30 June - 26 July 1997 (another example) LITERATURE: Franz, P., Arthur Boyd, Thames and Hudson, London 1967, p. 253 $20,000-25,000

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29 © Arthur Boyd /Copyright Agency 2021

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John Olsen At 93 years of age, John Olsen’s career remains one of Australia’s most expansive and successful, throughout which he has created an oeuvre with substantial breadth and vitality. Not content with merely being an observer, Olsen has repeatedly travelled across the far reaches of Australia, exploring regions few have had the opportunity to experience themselves. Through his artworks he is able to take us on a journey through these beautiful surroundings, whether it be a vast dry plain or a majestic body of water. While the landscape has long inspired Australia’s best artists, John Olsen provided a unique approach. Where most landscape artists are preoccupied with humanity’s natural vision of the landscape at the horizon, Olsen forced us to see the land from a different perspective – the sky. He pioneered the aerial perspective in modern Australian art, with inspiration from Australian Indigenous artists, and has stuck to this perspective throughout most of his ensuing artwork. As the artist himself notes: “The only way to see the landscape is from the air, look at the patterns on the earth, they are like a beautiful skin...it’s incomprehensible to most people, but for me it’s just as essential to observe the geological lay of the land from an aerial perspective as it is to crawl into the microscopic depths of a pond. The obsessive lyrical interpretations are just the same.” 1

JOHN OLSEN (born 1928) Billabong 1995 oil on canvas signed and dated lower right: John Olsen ‘95 signed, titled and dated on stretcher bar verso 82 x 75cm PROVENANCE: Gift of the Artist Private collection, Melbourne $40,000-50,000

John Olsen truly has a unique understanding and appreciation of the Australian landscape. His works are a perfect blend of poetry and art, resulting in a visual language that is entirely his to transcribe. Much like his artistic subjects, Olsen believes that poetry should be reread and revisited repeatedly with new meanings to be found upon each turn of the page. This appreciation of things everchanging and growing transcends onto the canvas through Olsen’s ability to portray movement. “[Olsen’s] longheld view is that the very essence of painting and drawing is movement. “Nature is never static, it is in constant flux”.” He was inspired by Paul Klee who spoke of the journey of line, and how form is always growing, developing, just like nature itself.” 2 With his brush, he is attempting to communicate the rhythym of the landscape. “Taking that line for a walk” as Olsen calls it. He very rarely does preparatory drawings as he prefers to make decisions of the brush spontaneously. In Billabong 1995 we see Olsen’s characteristic circular arc to indicate the meeting of water and land. We can imagine John Olsen with brush in hand moving the line in whatever direction feels natural, twisting, writhing and bleeding this way then that way in fluid harmony. There is not a single line that could be seen as static, they are so full of movement and spontaneity that we feel the painting is interacting with us. Forms start to develop, reminiscent of animal shapes – a common theme in Olsen’s aerial works. The solidity of the water is felt through the use of block colour and strong yet smooth directional brushlines. John Olsen manages to draw the viewer in, making us feel as though we are getting a special glimpse into this natural haven seemingly removed of human touch. For John Olsen, the landscape has always been more than a purely external phenomenon and he approaches his landscape paintings with a poetic sensibility and spiritual understanding of the natural world. In this regard, Olsen’s works are timeless and universal. — Olivia Fuller | Head of Art

1 Zimmer, J., McGregor, K., John Olsen: Journeys into the ‘You Beaut Country’, Macmillan Art Publishing, Melbourne, 2007, p.247 2 Hart, D., John Olsen, Craftsman House, Sydney, 1991, p. ix

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30 © John Olsen /Copyright Agency 2021

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31 © Criss Canning /Copyright Agency 2021

CRISS CANNING (born 1947) Anemones with Pink Heath oil on canvas signed lower left: Criss Canning 50.5 x 55.5cm PROVENANCE: Melbourne Art Exchange, Melbourne 1987 Private collection, Melbourne

EXHIBITIONS: Criss Canning, Melbourne Art Exchange, Melbourne, 22 October-1 November 1987, cat. no. 17 LITERATURE: Thomas, D., Criss Canning: The Pursuit of Beauty, Thames & Hudson, Melbourne, 2020, p. 321 OTHER NOTES: Surrounded by inspiration in her own home, floral arrangements and objects have taken pride of place in Criss Canning’s works throughout her career. As one of Australia’s most distinguished still life artists, her works celebrate the true magic of art within an

intimate domestic setting. Her works are a celebration of light, texture and placement, capturing the detail of ordinary, everyday objects. Working with hundreds of bowls, vases and jugs over the course of her career, Canning often re-uses them, allowing objects to reappear years later in her newer paintings but in vastly different contexts. The success of Criss Canning’s work lies in the fact that she looks beyond the still object into the true essence of her subjects, drawing out their complexities, and therefore achieving an energy and vitality that has set her apart from many of her artistic counterparts. $12,000-18,000

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§ PETER WEGNER (born 1953) Floral Chair 2015 oil on canvas signed lower left: WEGNER 113 x 90cm PROVENANCE: Australian Galleries, Melbourne 2016 Private collection, Melbourne

OTHER NOTES: Melbourne born artist, Peter Wegner, is best known for his armchair ‘portraits’. Working with themes of absence, love and loss “each of these chairs bear the marks and scars of their particular history and through Wegner’s close observation and reverence for his subject, we feel the sitter profoundly present in the representation of their absence.” (Peter Wegner - Artist Statement) Peter Wegner won the 2021 Archibald Price for his portrait of artist, Guy Warren. $10,000-15,000

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LAWRENCE DAWS (born 1927) Blue Landscape oil on board signed lower right: DAWS titled on gallery label verso 40 x 45cm PROVENANCE: Philip Bacon Galleries, Brisbane (label verso) Private collection, Queensland $2,000-4,000

RICK AMOR (born 1948) Alleyway with Light 1988 watercolour on paper signed and dated lower right: Rick AmoR 1/2/88 titled and dated on gallery label verso 34.5 x 25cm PROVENANCE: Niagara Galleries, Melbourne Private collection, Melbourne $3,000-4,000

34 © Rick Amor /Copyright Agency 2021

35 © Rick Amor /Copyright Agency 2021 28

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36 © John Kelly /Copyright Agency 2021

Railway Viaduct, West Melbourne 1989 watercolour on paper signed and dated lower left: Rick AmoR 27/6/89 titled and dated on gallery label verso 26.5 x 36.5cm

Australian Landscape Painting 1998 oil on linen signed and dated upper left, and lower right: Klly [sic] 98 titled and dated verso 122 x 152cm

RICK AMOR (born 1948)

PROVENANCE: Niagara Galleries, Melbourne Private collection, Melbourne $3,000-4,000

JOHN KELLY (born 1965)

PROVENANCE: Niagara Galleries, Melbourne Collection of The Mansion Hotel, Werribee, Victoria Company collection, Melbourne Private collection, Melbourne $15,000-25,000

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Belt 2007 oil on board signed and inscribed verso (concealed): for Tony/ Michael Zavros 15 x 8.5cm

Mother and Foal - Morning Salutations oil on canvas signed lower left: LAWRENCE STARKEY signed and titled verso 90 x 146cm

MICHAEL ZAVROS (born 1974)

PROVENANCE: Gift from the artist Private collection, Melbourne $5,000-7,000

LAWRENCE STARKEY (born 1959)

PROVENANCE: Anthea Polson Art, Queensland (label verso) Private collection, Queensland $4,500-5,500

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MICHAEL ZAVROS (born 1974) Mercedes Benz in a Landscape 1999 oil on board signed and dated verso: MICHAEL ZAVROS/ 1999 118 x 183cm PROVENANCE: Private collection, Brisbane EXHIBITIONS: Smith and Stonely Gallery, Brisbane 1999 $25,000-35,000

JASON BENJAMIN (born 1971) You Know Who You Are 2004 oil on linen signed, titled and dated verso: you know who/ you are/ Jan ‘04/ JBenjamin 120 x 120cm PROVENANCE: Metro Gallery, Melbourne Private collection, Melbourne $8,000-12,000

37 Courtesy the Artist and Philip Bacon Galleries, Brisbane.

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§ KATHRIN LONGHURST (born 1971) Viktoriya 2012 oil on canvas signed and dated lower right: 12 K.Longhurst titled on stretcher bar verso 121.5 x 91.5cm PROVENANCE: Private collection, Melbourne OTHER NOTES: “As a child of the cold-war era, Kathrin Longhurst has long addressed the contrast between warpropaganda imagery and glamorous promises of the other side of the wall. She reconsidered war propaganda aesthetics with ‘flying’ female warriors, in place of fearsome male figures of power. Her early works aim to bend the visual paradigm of men and women at war, imposed by the patriarchal power structures of the past. Longhurst’s initial approach is self-observational, rewriting the recent history to empower the idea of a gender-equal future.” (Kathrin Longhurst - Artist Statement) $9,000-12,000

ALEXANDER HODA (British, born 1980) Untitled (Plum) bronze, edition of 3 + 1 A/P 40 x 37.5 x 28.5cm PROVENANCE: Metro Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: Hostage, Metro Gallery, Melbourne, 5–24 December 2011 $4,000-6,000

JOHN BAIRD (born 1954) Woman Wearing Pearls wood, metal, paint, faux pearls and ring on wooden base 111 x 92 x 38cm PROVENANCE: Eastgate Gallery, Melbourne 2006 Private collection, Western Australia $3,000-5,000

42 32

41 (detail opposite) © The Artist

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49 © Matthew Johnson /Copyright Agency 2021

JOSHUA YELDHAM (born 1970) Red Box - Ant Highway oil on linen signed lower right: YELDHAM titled on unknown gallery label verso 110 x 86cm PROVENANCE: Private collection, Melbourne $7,000-9,000

Cape Schanck Lighthouse 2016 enamel, gloss acrylic and gesso on linen signed, dated and titled verso: Cape Schanck Lighthouse Jasper Knight 2016 152 x 137cm

Climate #4 2009 oil on linen titled and dated on label verso 153 x 183cm

§ JASPER KNIGHT (born 1978)

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

§ GEOFFREY DYER (1947-2020)

PROVENANCE: Acquired directly from the artist Art Index, Sydney c.2012 Private collection, Sydney $10,000-15,000

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§ MATTHEW JOHNSON (born 1963) Untitled 2016 oil on canvas signed and dated verso: Matthew Johnson 2016 100 x 200cm PROVENANCE: Private collection, Melbourne $5,000-8,000

HOWARD ARKLEY (1951-1999) Untitled (Distorted Head) 1998 synthetic polymer paint on paper signed and dated lower right: Howard Arkley 98 76 x 55.5cm PROVENANCE: Acquired from a fundraising auction, Melbourne c.1999 Private collection, Melbourne LITERATURE: Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, https://www.arkleyworks.com/ blog/2021/10/09/untitled-distorted-head-1998-w-p/ $8,000-12,000

Jazz 2007 bronze, ed. 1/7 initialled, editioned and dated at base: JM 1/7 07 85cm (height, including base)

Sunrise, Sorrento 2016 oil on canvas initialled, titled and dated verso: JT/2016/ Sunrise/ Sorrento 133 x 94cm

JOHN MILDER (born 1951)

PROVENANCE: The Artist Private collection, Melbourne $4,500-6,500

§ JULIAN TWIGG (born 1964)

PROVENANCE: Australian Galleries, Melbourne (label verso) Private collection, Melbourne $4,000-5,000

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§ COL JORDAN (born 1935) Song Cycle - Fifth Song 1988 synthetic polymer paint on canvasboard signed and dated lower right: Jordan/ 1.2.’88 74 x 59.5cm PROVENANCE: Private collection, Sydney Davidson Auctions, Sydney, 24 May 2020, lot 69 Private collection, Melbourne $2,000-2,500

§ COL JORDAN (born 1935) Song Cycle - Sixth Song 1988 synthetic polymer paint on canvasboard signed and dated lower right: Jordan/ 6.2.’88 74 x 59.5cm PROVENANCE: Private collection, Sydney Davidson Auctions, Sydney, 24 May 2020, lot 69 Private collection, Melbourne $2,000-2,500

SONG LING (born 1961) Untitled 2006 synthetic polymer paint on canvas artist’s name, title and date on gallery label verso 151.5 x 122cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $3,000-4,000

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TOM GERRARD (born 1977) Stocktake Sale spray paint and synthetic polymer paint on board 110 x 60cm PROVENANCE: The Artist Private collection, Melbourne $3,000-4,000

§ SOPHIA HEWSON (born 1984) There Should Be a Book Written on Italian Men 2010 oil and resin on board artist’s name, title and date on gallery label verso 121 x 161.5cm

PROVENANCE: Metro Gallery, Melbourne (label verso) Private collection, Melbourne $5,000-7,000

§ JOANNE MORRIS (born 20th Century) Innocence 2017 charcoal and mixed media on cotton rag initialled and dated lower right: JM/ 17 75 x 104cm PROVENANCE: Private collection, Melbourne $3,000-4,000

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57 XUE MO (Mongolian, born 1966) Woman and Owl 2000 oil on linen signed and dated verso: Xue. Mo./ 2000 61 x 46cm PROVENANCE: The Artist’s Studio, Beijing Private collection, Melbourne $3,000-4,000

58 REARNGSAK BOONYAVANISHKUL (Thai, born 1961) Holy Wall 2007 oil on canvas signed, dated and titled lower right: Rearngsak 2007/ “Holy Wall” 149 x 119cm PROVENANCE: Anthony Smith Fine Art, Melbourne 2008 Private collection, Melbourne $22,000-28,000

59 DOROTHY BRAUND (1926-2013) Australian House 1977 Trio of works gouache and pencil on paper (3) each initialled and dated lower right: DB77 i) partially inscribed lower left: _AN HOUSE; signed and dated lower right: BRAUND 77 12 x 16cm (each) PROVENANCE: Private collection, Melbourne $3,000-5,000

60 DOROTHY BRAUND (1926-2013) Figures 1988 gouache and watercolour on paper signed and dated lower centre: BRAUND/ ‘88 37 x 49cm

61 REX E. BATTARBEE (1893-1973) Mount Hermannsburg, Finke River 1936 watercolour and pencil on paper signed and dated lower left: REX BATTARBEE 1936 33.5 x 50cm

PROVENANCE: Eastgate and Holst, Melbourne 2009 Private collection, Melbourne $3,500-4,500

PROVENANCE: Private collection, South Australia $2,000-3,000

Albert Namatjira 62 ALBERT NAMATJIRA (1902-1959) Mereenie Bluff Range 1938 watercolour and pencil on paper signed lower right: ALBERT NAMATJIRA 25 x 35cm

63 ALBERT NAMATJIRA (1902-1959) Rutjupma (Mount Sonder) 1940 watercolour and pencil on paper signed lower right: ALBERT NAMATJIRA 26.5 x 35cm

PROVENANCE: Private collection, South Australia

EXHIBITIONS: Exhibition of Watercolours by Albert Namatjira, under the Patronage of Her Excellency Lady Huntingfield and the Anthropological Society of Victoria, The Fine Art Society Gallery, Melbourne, 5-17 December 1938, cat. no. 35

LITERATURE: McGregor, K., The Life & Times of Albert Namatjira, Badger Editions, 2021, p. 218 (illus.), 420 $30,000-40,000

LITERATURE: McGregor, K., The Life & Times of Albert Namatjira, Badger Editions, 2021, p. 194 (illus.), 418 $25,000-30,000

The artworks of Albert Namatjira express his relationship with the Arrernte country, particularly the Western Arrernte lands, for which he was a traditional custodian. Ghost gums with glowing white trunks, gorges and mountain ranges are all the classic subjects of the Hermannsburg school and Albert was the artist who mastered the European style of watercolour painting whilst maintaining the sacred stories of his culture. The Hermannsburg Mission was established by Lutheran missionaries in 1877 near the Finke River, west of Alice Springs. Artists and friends, Rex Battarbee and John Gardner first visited the Hermannsburg Mission in 1932, but it was not until their second visit in December 1934 that they would first meet Albert. Battarbee and Gardner showed their art to the Aranda people in an exhibition in the schoolroom. Albert was one of the visitors and was immediately interested in their work. Albert wanted to earn good money to support his family. After learning that the artists could earn up to fifteen guineas for one piece, he had resolved that he could do the same. It would be another two years from this first meeting before Battarbee would return to the Mission and would begin his first painting lessons with Albert. In the winter of 1936, Battarbee returned for the third time and Albert offered his services as a cameleer in return for an invitation to accompany Battarbee on his painting expeditions. Albert shared his knowledge of the sacred stories of the land, showing Battarbee sites inaccessible by car, and in return Battarbee showed Albert the mixing of colours and expert handling of watercolour. Albert would paint sitting cross-legged on the ground, supporting the back of the board with his left hand while painting with his right. Battarbee remarked that “…within a fortnight [Albert] had advanced to watercolours and completed his first painting on his own, and then I realised that this man had arrived in the art world”. 1 Albert’s talents in art extended beyond his skill with the brush. As Philip Jones comments, “in a society undergoing trauma, in which the traditional power of the old men was being eroded and supplanted by a complex set of new values, Namatjira’s actions had a deeper resonance. By mastering the art of landscape painting he was the first Aranda man to take a European cultural item and, in a subversive sense, to make it his own”. 2

1. K. McGregor, The Life & Times of Albert Namatjira, Badger Editions, 2021, p. 48 2. Jones, P., “Traveller Between Two Worlds”, The Heritage of Namatjira: The Watercolourists of Central Australia, William Heinemann Australia, 1992, pp.111-112

62 © Namatjira Legacy Trust/Copyright Agency, 2021

63 © Namatjira Legacy Trust/Copyright Agency, 2021

Albert’s successes, however, were not without consistent obstacles. By 1938, Battarbee attempted to secure Albert a solo show at the Melbourne Fine Art Society. Much to his disappointment, their interest was only in keeping Albert as an “uncivilised” native so as not to disrupt the art world structures of the time. Fortunately for Albert and Battarbee, the Governor and his wife, Lady Huntingfield, had visited Hermannsburg in mid-1938 and greatly encouraged Albert’s artistic practice. So much so, that she offered to open his suggested Melbourne exhibition, forcing the Society to change their stance and agree to the exhibition on Battarbee’s initial terms – that Albert be offered the same dignity as any other practicing artist. Forty-three works were exhibited, mounted but not framed, including number 35, Mereenie Bluff Range 1938 (lot 62). These works were the first where Albert signed as “Albert Namatjira”, previously signing just as “Albert”. By the 1940s, Albert was as accomplished as any other watercolourist in Australia. His reputation grew and he was fortunate enough to meet with visiting dignitaries from around the world, including the Queen of England. It is during these sucessful years he produced Rutjupma (Mount Sonder) 1940 (lot 63) and Illumba Parta c.1952 (lot 64). His exhibitions continued to sell out and Albert shared his skills with his peers, going on to inspire a whole generation of artists including his children. The ensuing years would bring him much success, albeit within the bounds of the second world war, bureaucracy, and institutionalised racism. Although he became the first Aboriginal person to be granted conditional Australian citizenship in 1957, he still found himself caught between cultures - exhibited as a great Australian veiled with inherent condescension. It is this deeper and darker side of his success story that is still being addressed and acknowledged today. — Olivia Fuller | Head of Art

64 ALBERT NAMATJIRA (1902-1959) Illumba Parta c.1952 watercolour and pencil on paper signed lower right: ALBERT NAMATJIRA 25.5 x 36.5cm PROVENANCE: Private collection, South Australia LITERATURE: McGregor, K., The Life & Times of Albert Namatjira, Badger Editions, 2021, p. 336 (illus.), 431 $35,000-45,000

64 © Namatjira Legacy Trust/Copyright Agency, 2021

The National Endowment for Indigenous Visual Arts (NEIVA) was formed by D’Lan Contemporary in collaboration with Australian Executor Trustees, as part of a mission to build a strong and inclusive marketplace for Australian Indigenous art and to distribute profits from art sale proceeds back to artists, programs that educate Indigenous artists and industry workers, and the broader Indigenous communities. NEIVA, a charitable trust governed by an Indigenous advisory board, recognises the critical role art centres and other affiliated organisations play in creating employment opportunities and economic agency in remote communities.

Please note that for lots 65 to 74, 5% of the sale price will be distributed directly to NEIVA to support this initiative.

65 ENOS NAMATJIRA (1920-1966) Flynn’s Grave c.1950 watercolour and pencil on board signed lower right: ENOS NAMATJIRA 28 x 37cm $2,500-3,500

66 MICK KUBARKKU (c.1922-2008) Namangwari 1980 natural earth pigments on bark inscribed verso with artist’s name and Maningrida Arts and Crafts cat. no. E514/OAR 148 x 58cm PROVENANCE: Maningrida Arts and Crafts, Northern Territory (certificate of authenticity attached verso) $6,000-8,000

67 GEORGE MUNG MUNG (1921-1991) Untitled 1988 natural earth pigments and binders on linen artist’s name inscribed verso 61 x 76cm PROVENANCE: Waringarri Aboriginal Arts, Western Australia Joel Smoker, Western Australia D’Lan Davidson, Melbourne Private collection, Melbourne $5,000-7,000

68 (detail opposite) © Mick Walangkari Tjakamarra/Copyright Agency, 2021 44

68 OLD MICK GILL TJAKAMARRA (1919-2002) Lawalmanu 1990 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 344/89 and GA225 180 x 120cm PROVENANCE: Warlayirti Artists, Western Australia Deutscher Gallery, Melbourne 1990 Private collection, Melbourne EXHIBITIONS: Paintings from Kukatja Country, Balgo, Deutscher Gallery, Brunswick Street, Melbourne, 5-21 July 1990, cat. no. 16 $6,000-8,000 69 MICK JAWALJI (c.1920-2012) Jiyirrinyjarrggarringinawa 2007 natural earth pigments and synthetic binders on board signed verso: MickJ inscribed verso with date, title and Warmun Art Centre cat. no. 578/07 80 x 60cm PROVENANCE: Warmun Art Centre, Western Australia William Mora Galleries, Melbourne $3,000-5,000 70 YUMPULULU TJUNGURRAYI (c.1930-1998) Tjipurru 1976 synthetic polymer paint on composition board inscribed verso with Papunya Tula Artists cat. no. Y76441 50.5 x 40cm

71 © Wimmitji Tjapangarti/Copyright Agency, 2021

PROVENANCE: Papunya Tula Artists, Northern Territory (copy of certificate of authenticity affixed verso) $3,000-5,000

71 WIMMITJI TJAPANGATI (c.1924-2000) Tingarri 2000 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 211/90 118 x 89cm

73 PADDY BEDFORD (1922-2007) Untitled 2003 gouache on acid free crescent board 51 x 76cm

PROVENANCE: Warlayirti Artists, Western Australia Private collection, United States of America $18,000-24,000

PROVENANCE: Jirrawun Arts, Western Australia 2003 William Mora Galleries, Melbourne (stamp verso) Leonard Joel, Melbourne, 3 June 2008, lot 64 Private collection, Melbourne $10,000-15,000

72 EUBENA NAMPITJIN (c.1925-2013) Kinyu 2007 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 361/07 90 x 60cm

74 CHRISTINE YUKENBARRI (born 1977) Winpurpurla 2005 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 347/05 150 x 100cm

PROVENANCE: Warlayirti Artists, Western Australia $2,500-3,500

PROVENANCE: Warlayirti Artists, Western Australia $10,000-15,000

75 (verso)

75 75 FRANK HINDER (1960-1992) i) Study for ‘Flight into Egypt’ 1940 ii) Cyclists c.1940 pencil and colour pencil on paper double-sided i) signed and dated lower right: F.C.HINDER - 40 ii) signed lower right: F. C. HINDER i) 23 x 19cm; ii) 19 x 23cm PROVENANCE: The Collection of Cherie and Harry Peate, Sydney Private collection, Sydney EXHIBITIONS: Frank and Margel Hinder - A Retrospective, Art Gallery of New South Wales, Sydney, 12 June-13 July 1980, cat. no. 109 (label verso) $2,500-4,500 76 FRANK HINDER (1906-1992) Margel 1972 oil on card initialled and dated lower right: FCH 72 35.5 x 27cm PROVENANCE: Von Bertouch Galleries, New South Wales Private collection, New South Wales Lawson~Menzies, Sydney, 6 December 2007, lot 378 Private collection, Melbourne EXHIBITIONS: Frank Hinder: Survey, Von Bertouch Galleries, Newcastle, 3-19 September 1993 $3,000-5,000 76 48

78 © The Estate of Jeffrey Smart

77 IAN ARMSTRONG (1923-2005) Still Life on a Table 1960/91 oil on board signed and dated upper right: Ian Armstrong ‘60-’91 signed and dated verso: Ian Armstrong ‘60 100 x 75cm PROVENANCE: Private collection, Melbourne $3,000-4,000

78 JEFFREY SMART (1921-2013) Untitled (Pilastri Aqueduct, Ischia) 1949-50 gouache, ink, and pen on paper on board signed lower right: JEFFREY SMART 27 x 37cm PROVENANCE: Australian Galleries (label verso) Sotheby’s, Melbourne, 21 August 1995, lot 84A Private collection, Melbourne Thence by descent $10,000-15,000

79 © Judy Cassab/Copyright Agency, 2021

79 JUDY CASSAB (1920-2015) Caryatids 1986 oil on canvas signed and dated lower right: Cassab 86 titled verso 135 x 94cm PROVENANCE: Private collection, Queensland $3,000-4,000

80 ROLAND WAKELIN (1887-1971) Still Life with Green Bowl and Fruit oil on board signed lower right: R Wakelin 41.5 x 53cm PROVENANCE: Mossgreen Auctions, Melbourne, 13 November 2007, lot 27 Private collection, Sydney $3,000-5,000

81 SAM FULLBROOK (1922-2004) Dudley Flats, West Kensington c.1949 oil on canvas initialled and illegibly dated lower right: SF 4_ 39.5 x 49.5cm PROVENANCE: Leonard Joel, Melbourne, 27 April 1992, lot 269 Private collection, Melbourne $3,000-4,000 82 ROLAND WAKELIN (1887-1971) The Gateway 1950 oil on board signed and dated lower right: R. Wakelin 50 title inscribed verso 42 x 55cm PROVENANCE: Sotheby’s, Melbourne, 26 April 1999, lot 59 Private collection Mossgreen Auctions, Melbourne, 31 May 2011, lot 104 Private collection, Sydney $4,000-5,000

83 ROLAND WAKELIN (1887-1971) Centennial Park, Sydney 1965 oil on board signed and dated lower right: R.Wakelin 65 title inscribed on frame verso 44 x 62cm PROVENANCE: Pickles Art Auctions, Sydney Mr Raymond Kidd and Mrs Diana Kidd, Sydney October 1987 Sotheby’s, Sydney, 19 July 2016, lot 117 Private collection, New South Wales Leonard Joel, Melbourne, 27 November 2018, lot 145 Private collection, Sydney EXHIBITIONS: A Private Collection, S. H. Ervin Gallery, Sydney, 18 April - 24 May 1992, cat. no. 117 $6,000-8,000

84 ETHEL CARRICK FOX (1872-1952) Fish Market in Nice c.1930 oil on canvas signed lower left: CARRICK FOX titled on artist’s label verso 48 x 58.5cm PROVENANCE: Private collection, Melbourne, acquired in the 1950s Thence by descent Private collection, Melbourne $35,000-45,000

85 EMANUEL PHILLIPS FOX (1865-1915) Study of a Peasant Woman (with Mauve Dress) c.1904 oil on panel 33 x 25.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above LITERATURE: Zubans, R., E. Phillips Fox: His Life and Art, Melbourne University Press, Melbourne, 1995, illus. p.92 pl. C32, p. 221 as cat. no. 187 $8,000-10,000

86 WILL ASHTON (1881-1963) St. Ives oil on canvas on board signed and titled lower left: J Will Ashton/ St. Ives 59.5 x 74cm

87 DAVID DAVIES (1864-1939) A Dieppe Street Scene oil on board signed lower right: D. DAVIES 22.5 x 31.5cm

88 BLAMIRE YOUNG (1862-1935) Landscape watercolour on paper signed lower right: BLAMIRE YOUNG. 19.5 x 20cm

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

PROVENANCE: Gift of the artist to Richard Heyworth Private collection, Melbourne Private collection, Melbourne $5,000-7,000

PROVENANCE: Private collection, Melbourne Thence by descent $1,800-2,800

89 HORACE TRENERRY (1899-1958) Far North oil on canvas on board signed and titled lower right: HORACE TRENERRY / FAR NORTH 33 x 38cm PROVENANCE: Private collection, Adelaide Thence by descent $9,000-14,000

90 HORACE TRENERRY (1899-1958) Landscape 1937 oil on board signed and dated below image: TRENERRY 37 57 x 50cm PROVENANCE: Private collection, Adelaide Thence by descent $9,000-14,000

91 W.D. KNOX (1880-1945) Old Mine, Taradale oil on canvasboard signed lower right: W.D. KNOX titled on two unknown labels verso 27 x 35cm PROVENANCE: Private collection, Melbourne $2,500-4,500

92 DAVID DAVIES (1864-1939) Cows Grazing oil on canvas signed lower left: D DAVIES 39 x 49cm PROVENANCE: Leonard Joel, Melbourne, 28 May 1980, lot 453 Private collection, Melbourne $6,000-8,000

93 MAX MELDRUM (1875-1955) Roses oil on board signed lower right: Meldrum signed verso 40.5 x 32cm

PROVENANCE: Private collection, Melbourne $2,500-3,500 94 W.B. MCINNES (1889-1939) Landscape oil on board signed lower right: W B McI. inscribed verso: To Friend Sedon/ with love/ W B McInnes 14 x 17.5cm PROVENANCE: Private collection, Melbourne Thence by descent $1,500-2,000

97 © Ray Crooke/Copyright Agency 2021

95 ERNEST BUCKMASTER (1897-1968) Landscape oil on canvas signed lower left: EBuckmaster 72.5 x 87cm

96 ERNEST BUCKMASTER (1897-1968) Freesias oil on canvas signed lower right: E Buckmaster 88.5 x 65.5cm

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

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

97 RAY CROOKE (1922-2015) Low Tide, Magnetic Island oil on board signed lower left: R Crooke titled on gallery label verso 48 x 38cm PROVENANCE: Philip Bacon Galleries, Brisbane (label verso) Private collection, Queensland EXHIBITIONS: Ray Crooke - Two Islands, Philip Bacon Galleries, Brisbane, October - November 1995, cat. no. 28 $4,000-6,000

98 RAY CROOKE (1922-2015) Samoan Garden pastel and gouache on paper on board signed lower left: RCrooke title inscribed verso 37 x 53.5cm

99 LOUIS R. JAMES (1920-1996) Autumn Arrangement 1946 oil on canvas signed and dated lower right: Louis James / ‘46 titled on exhibition label verso 55 x 45.5cm

PROVENANCE: Private collection, Queensland $2,000-3,000

PROVENANCE: Private collection, Melbourne

100 JAMIE BOYD (born 1948) Shoalhaven oil on board signed lower right: Jamie Boyd 90 x 59.5cm PROVENANCE: Blue Boy Galleries, Melbourne Private collection, Melbourne $3,000-5,000

EXHIBITIONS: Royal South Australian Society of Arts Exhibition, Adelaide, April 1946, cat. no. 4 (label verso) $3,000-5,000

105 © Arthur Boyd /Copyright Agency 2021

101 DAVID BOYD (1924-2011) The Pursuit of Butterflies 1974 oil on canvas signed and dated lower left: David Boyd 1974 titled on stretcher bar verso 54 x 65cm PROVENANCE: Eva Breuer Art Dealer, Sydney Private collection, New South Wales $10,000-15,000

102 DAVID BOYD (1924-2011) Europa oil on board signed lower left: David Boyd 12.5 x 23cm

103 § ARTHUR BOYD (1920-1999) Twilight Shoalhaven oil on board signed lower right: Arthur Boyd 30 x 19.5cm

PROVENANCE: McKenzies Auctioneers, Perth, 20 September 2006, lot 1 Private collection, Melbourne $3,500-5,000

PROVENANCE: Private collection, Sydney Davidson Auctions, Sydney, 16 August 2020, lot 8 Private collection, Sydney $9,000-12,000

104 ALBERT TUCKER (1914-1999) Ibis in Flight 1968 oil on composition board signed and dated lower left: Tucker 68 titled on unknown label verso 90 x 120.5cm PROVENANCE: Sotheby’s, Fine Australian Paintings including the Dr. John L. Raven Collection, Melbourne, 17 April 1989, lot 453 Private collection, Brisbane Deutscher~Menzies, Melbourne, 21 August 2001, lot 61 Private collection, New South Wales Private collection, Melbourne $28,000-38,000

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

106 105 ARTHUR BOYD (1920-1999) Landscape with Lovers c.1980 oil on canvas signed lower right: Arthur Boyd 89.5 x 120.5cm PROVENANCE: Mr Andrew Ivanyi, Melbourne Private collection, Melbourne Deutscher~Menzies, Sydney, 16 March 2005, lot 83 (label verso) Private collection, Melbourne $28,000-38,000

106 CLIFTON PUGH (1924-1990) Stumps and Lovers No. 5 1980 oil on masonite signed and dated lower right: clifton/ Aug ‘80 titled verso 59 x 89.5cm PROVENANCE: Private collection, Queensland $8,000-10,000

107 PRO HART (1928-2006) Jerusalem 1978 oil on board signed lower right: PRO / HART titled and dated verso 29 x 45cm PROVENANCE: Private collection, Melbourne $3,000-5,000

108 YOSL BERGNER (1920-2017) Painting to Franz Kafka’s ‘The Trial’ 1987 oil on canvas signed and dated upper left: Y. Bergner 87 inscribed at base: K. had to bend his head far back to see the/ priest at all signed and titled verso 59.5 x 45cm

109 SIDNEY NOLAN (1917-1992) The Cuckold Kills the Lover 1966 oil on canvas initialled lower right: ‘N’ signed, dated and inscribed verso: Nolan/ 8th Jan 1966/ Juvenal-Lowell/ The cuckold kills the lover etc/ mullet 150.5 x 120cm

PROVENANCE: Private collection, Queensland $6,000-8,000

PROVENANCE: Sir Sidney Nolan, United Kingdom Lady Nolan, United Kingdom The Estate of Lady Nolan, United Kingdom Bonhams, Sir Sidney Nolan Works from the Estate of Lady Nolan, Part III, Sydney, 24 November 2020, lot 92 EXHIBITIONS: Sidney Nolan: oeuvres d’un grand peintre Australien, Australian Embassy, Paris, 16 June - 28 July 1978, cat. no. 27 $25,000-30,000

110

110 § LAWRENCE DAWS (born 1927) Figure On Beach 1964 gouache, watercolour, charcoal and collage on paper laid on board signed and dated lower right: DAWS ‘64 titled on label verso 59 x 58.5cm PROVENANCE: Mertz Collection, United States of America The University of Texas, United States of America (label verso) Christie’s, Melbourne, 28 June 2000, lot 116 Private collection, Melbourne Deutscher-Menzies, Melbourne, 2 September 2003, lot 138 Private collection, Melbourne Lawson~Menzies, Sydney, 17 May 2012, lot 18 Private collection, Melbourne $3,500-5,500

111 PRO HART (1928-2006) Study oil on masonite signed upper right: HART signed and titled verso 44 x 59.5cm

112 ANTON HOLZNER (born 1935) Black Mirror 1992 oil on canvas signed verso: A Holzner titled and dated on stretcher bar verso 150 x 150cm

PROVENANCE: Private collection, South Australia $3,000-4,000

PROVENANCE: The Artist Private collection, Melbourne Thence by descent $2,000-3,000

113 © Lorna Fencer Napurrula /Copyright Agency 2021

113 LORNA FENCER NAPARRULA (c.1920-2006) Yarla Jukurrpa - Bush Yam Dreaming 2006 synthetic polymer paint on canvas inscribed verso with artist’s name, title and Japingka cat. no’s LNF506, JAP8465 174.5 x 124.5cm

114 ALMA WEBOU (c.1920-2009) Pinkalarta 2006 synthetic polymer paint on canvas inscribed verso with artist’s name, date and Short St Gallery cat. no. 3560 122 x 122cm

PROVENANCE: Japingka Aboriginal Art, Western Australia 2007 (accompanied by a certificate of authenticity) Framed - The Darwin Gallery, Darwin 2008 Private collection, Melbourne

PROVENANCE: Short St Gallery, Broome (accompanied by a certificate of authenticity) Private collection, Melbourne $5,000-7,000

EXHIBITIONS: Best of the Best, Framed - The Darwin Gallery, Darwin, August 2007 $3,500-5,000

115 © Peggy Napangardi Jones/Copyright Agency 2021

115 PEGGY JONES (born 1951) Birds 2000 synthetic polymer paint on canvas inscribed verso with Alcaston Gallery cat. no. AK5862 89 x 70cm PROVENANCE: Alcaston Gallery, Melbourne 2003 (accompanied by a certificate of authenticity) Private collection, Melbourne $1,200-1,800

116

116 § WILLIE GUDABI (1916-1996) Untitled c.1992 synthetic polymer paint on canvas inscribed verso with Alcaston Gallery cat. no. AK18999 125.5 x 91cm PROVENANCE: Commissioned from the artist Collection of St. Matthews Anglican Church, Northern Territory c.1993 Alcaston Gallery, Melbourne 2016 (label verso) Private collection, Melbourne EXHIBITIONS: Provenance Does Matter: The Collectors’ Exhibition, Alcaston Gallery, Melbourne, 22 March-30 April 2016 $3,000-4,000

118 © Jimmy Baker/Copyright Agency 2021

117 § PATRICK OLOODOODI TJUNGURRAYI (born c.1930) Puntujarrpa Country 2010 synthetic polymer paint on linen inscribed verso with artist’s name, date, title and Agathon Galleries cat. no. AGPT0810100003 108 x 155cm PROVENANCE: Agathon Galleries, Sydney 2010 (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne $7,000-9,000

118 JIMMY BAKER (1915-2010) Warmala 2006 synthetic polymer paint on Belgian linen inscribed verso with artist’s name and Maruku Arts cat. no. 2105 90 x 60cm PROVENANCE: Maruku Arts, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne $2,500-3,500

122 © Lofty Badayal Nadjamerrek/Copyright Agency, 2021

119 EILEEN NAPALTJARRI (born 1956) Untitled (Rockholes) 2003 synthetic polymer paint on Belgian linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. EN0301104 92 x 61cm

120 TJUNKIYA NAPALTJARRI (1928-2009) Untitled (Rockholes) 2003 synthetic polymer paint on Belgian linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. TN0303064 92 x 92cm

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne $1,500-2,500

PROVENANCE: Papunya Tula Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne $3,000-4,000

120 © Tjunkiya Napaltjarri/Copyright Agency 2021

121 MICK NAMARARI TJAPALTJARRI (1928-1998) Dingo Dreaming 1995 synthetic polymer paint on canvas inscribed verso with artist’s name and unknown cat. no. IYAP-MICK4 122 x 92.5cm PROVENANCE: Anima Gallery, Adelaide 1997 (accompanied by a certificate of authenticity and invoice) Private collection, Melbourne $3,000-5,000

122 LOFTY NABARDAYAL NADJAMERREK (1926-2009) Sugar Bag Woman natural ochres on Arches paper inscribed verso with Aboriginal Fine Arts cat. no. AFA89811315 and A7474 105 x 75cm PROVENANCE: Aboriginal Fine Arts Gallery, Darwin (accompanied by a certificate of authenticity and a copy of a photograph of the artist holding the work) Private collection, Melbourne $3,000-5,000

123 © Turkey Tolson Tjupurulla /Copyright Agency 2021

123 TURKEY TOLSON TJUPURRULA (c.1938-2001) Straightening of the Spears 1999 synthetic polymer paint on linen inscribed verso with artist’s name 182 x 107cm PROVENANCE: Australian Contemporary Aboriginal Art, Melbourne 2005 (accompanied by a certificate of autheniticity) Private collection, Melbourne $12,000-18,000

124 KITTY KANTILLA (c.1928-2003) Jilamara 1994 natural earth pigments on paper 53 x 72cm PROVENANCE: Jilamara Arts and Crafts, Melville Island Aboriginal and Pacific Art, Sydney Private collection, Sydney Deutscher + Hackett, Melbourne, 24 March 2010, lot 13 (label verso) Private collection, Melbourne EXHIBITIONS: Kitty Kantilla, Aboriginal and Pacific Art, Sydney, August 1994, cat. no. 21 $4,500-5,500

125 JACK DALE (c.1920-2013) Wandjinas at Beverley Springs 2002 natural earth pigments and synthetic polymer paint on canvas inscribed verso with artist’s name, title, date and Neil McLeod cat. no. NM1324 89 x 117cm PROVENANCE: Vivien Anderson Gallery, Melbourne 2002 Neil McLeod Fine Arts Studio, Victoria 2003 (accompanied by a certificate of authenticity, and nineteen original photographs of the artwork through creation) Private collection, Melbourne $4,000-6,000

124 © Kitty Kantilla/Copyright Agency 2021

126 § ROY UNDERWOOD (born 1937) Illimurdaa synthetic polymer paint on canvas inscribed verso with artist’s name, title and Spinifex cat. no. C.460 151 x 106cm PROVENANCE: Spinifex Arts Project, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne $4,000-6,000

127 § GABRIELLA POSSUM NUNGARRAYI (born 1967) Grandmother’s Country 2008 synthetic polymer paint on linen inscribed verso with artist’s name, title and date: Gabriella Possum Nungarrayi / Grandmother Country / 9-10/2/08 101.5 x 167.5cm PROVENANCE: Commissioned for Ken Hutchison, 2008 (copies of working photographs included) Private collection, Sydney Leonard Joel, Melbourne, 28 November 2017, lot 209 Private collection, Melbourne $3,000-5,000

128 GLORIA TAMERRE PETYARRE (born 1945) Bush Medicine 2006 synthetic polymer paint on canvas inscribed verso with artist’s name and Aranda cat. no. ASAAGP1680 206 x 138.5cm PROVENANCE: Aranda Aboriginal Art, Melbourne 2006 (accompanied by a certificate of authenticity) Leonard Joel, Melbourne, 13 November 2006, lot 201 Private collection, Melbourne $3,000-4,000

129 § BRUCE EARLES (born 1953) Magic Beach 2021 oil on canvas signed and dated lower right: Bruce Earles ‘21 signed, titled and dated verso 120.5 x 140cm PROVENANCE: Private collection, Melbourne $3,500-4,500 130 GILLIE & MARC SCHATTNER (born 1965 & 1961) Simon, the Magpie on Short Rope bronze with gold chrome patina, ed. 3/20 signed and editioned verso: GILLIE AND MARC 3/20 71 x 36 x 49cm PROVENANCE: The Artists (accompanied by a certificate of authenticity) Private collection, Sydney $2,400-3,000 131 DAVID BROMLEY (born 1960) Kate 2002 synthetic polymer paint and gold leaf on canvas signed lower right: BROMLEY signed, titled and inscribed verso: David Bromley/ ‘Kate’/ Sitting Flood St/ Bondi 153 x 122cm PROVENANCE: Scott Livesey Galleries, Melbourne 2002 Private collection, Melbourne LITERATURE: Bromley Unveils a Body of Work, The Age, 26 July 2002 $4,000-6,000 132 § JASPER KNIGHT (born 1978) Three Blind Mice 2017 synthetic polymer paint and enamel on card titled, signed and dated lower right: THREE/BLIND/MICE/Jasper 2017 121 x 167.5cm PROVENANCE: Private collection, Melbourne Leonard Joel, Centum, 5 May 2020, lot 86 Private collection, Melbourne $3,000-3,500

133 BETRA FRAVAL (born 20th Century) Shifting Field 2008 oil on linen diptych each signed, titled and dated verso: BFraval/ “Shifting Field”/ 2008 183 x 122cm (each) PROVENANCE: Private collection, Melbourne EXHIBITIONS: Unstable Ground, Victoria Park Gallery, Melbourne, 19 June - 5 July 2008 $4,000-6,000 134 § MARK RODDA (born 1973) Debris Floating on a Golden Sea 2010 oil on board signed, titled and dated verso: MARK RODDA/ ‘Debris Floating on a Golden Sea’/ oil/ 2010/ Mark Rodda 70 x 170cm PROVENANCE: Utopian Slumps, Melbourne Private collection, Melbourne $4,000-6,000 135 YIN KUN (Chinese, born 1969) Chinese Fairytales - Goodnight, Mr. Pig 2012 oil on canvas signed and dated verso 100 x 120cm PROVENANCE: Art Futures Group, Hong Kong (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne $6,000-8,000 136 GILLIE & MARC SCHATTNER (born 1965 & 1961) Walk with the Rhino bronze with polished gold patina, ed. 3/25 signed and editioned at base: GILLIE AND MARC 3/25 22 x 10.5 x 29cm PROVENANCE: The Artists (accompanied by a certificate of authenticity) Private collection, Sydney $2,800-3,800

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137 JOE FROST (born 1974) Eastwood Tyre Shop 2003-04 oil on plywood signed, titled and dated verso: Joe Frost/ “Eastwood Tyre Shop” 2003-4 64 x 68.5cm PROVENANCE: Legge Gallery, Sydney (label verso) Private collection, Brisbane $2,000-3,000

138 MUANGATHAI BUSAMARO (Thai, born 1960) The Tree 2005 oil on canvas signed and dated lower right 53 x 72cm PROVENANCE: Anthony Smith Fine Art, Melbourne 2009 Private collection, Melbourne $1,000-2,000

139 CHARLES BLACKMAN (1928-2018) Sketching (Cats) watercolour and ink on paper initialled lower right titled lower left 27 x 18.5cm PROVENANCE: Private collection, Melbourne $2,000-4,000

140 © Courtesy of the Estate of Dorothy Braund

140 DOROTHY BRAUND (1926-2013) Bathers watercolour and gouache on paper 20 x 27cm PROVENANCE: Estate of the Artist Private collection, Melbourne $3,000-4,000

141 JOHN PERCEVAL (1923-2000) Woman with Tears oil on canvas signed lower right: Perceval titled on gallery label verso 46 x 61cm PROVENANCE: Adrian Slinger Galleries, Brisbane (label verso) Private collection, Brisbane $8,000-12,000

142 JOHN PERCEVAL (1923-2000) Woman with Key oil on canvas artist’s name and title on gallery label verso 45.5 x 61cm PROVENANCE: Adrian Slinger Galleries, Brisbane (gallery label verso) Private collection, Brisbane $8,000-12,000

142 © John Perceval /Copyright Agency 2021

143 YOSL BERGNER (1920-2017) Flowers in the Evening oil on canvas initialled lower right signed in Hebrew lower right signed and titled verso 50 x 40cm PROVENANCE: Private collection, Melbourne $4,000-6,000

144 § GARRY SHEAD (born 1942) Artist with a Geisha c.2000 oil on printed paper signed lower left: Garry Shead 27 x 20cm

145 ROBERT DICKERSON (1924-2015) Boy in a Bath c.1963 charcoal on paper signed lower right: Dickerson 66.5 x 47.5cm

PROVENANCE: Private collection, Melbourne Deutscher-Menzies, Sydney, 8 December 2004, lot 289 Private collection, Brisbane Menzies, Melbourne, 23 September 2010, lot 95 Private collection, Melbourne $4,000-6,000

PROVENANCE: Acquired from the artist, c.1963 Private collection, Melbourne Deutscher-Menzies, Sydney, 15 March 2006, lot 301 Private collection, Melbourne $4,000-6,000

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146 KENNETH JACK (1924-2006) Landscape 1968 oil on board signed and dated lower left: KENNETH JACK/ 1968 51 x 73cm PROVENANCE: Private collection, Melbourne $3,000-4,000 147 KENNETH JACK (1924-2006) The Old Corner Store 1967 oil and mixed media on board signed and dated lower right: KENNETH JACK / 1967 90 x 120cm PROVENANCE: Private collection, Melbourne $7,000-9,000

148 § BASIL HADLEY (1940-2006) Into the Deep Red Country 1972 oil on canvas signed and dated upper left: Basil Hadley / 1972 signed, dated and titled verso 126 x 151cm PROVENANCE: Private collection, Melbourne Leonard Joel, Melbourne, 22 March 2016, lot 272 Private collection, Melbourne $3,000-5,000 149 PRO HART (1928-2006) Yabby Catchers oil on board signed lower left: PRO/HARt titled on gallery label verso 30 x 39.5cm PROVENANCE: Linton and Shaw Gallery, Perth (label verso) Private collection, Tasmania $3,000-4,000

150 MAX MIDDLETON (1922-2013) On the Sand, Sorrento oil on canvasboard signed lower left: Max Middleton 37 x 49cm PROVENANCE: The Estate of the Artist $2,500-3,000 151 HERMAN PEKEL (born 1956) Lorne oil on board signed lower right: PEKEL signed and titled verso 90 x 120cm PROVENANCE: Private collection, Melbourne $3,500-5,500 152 MAX MIDDLETON (1922-2013) In the Shallows oil on canvas signed lower right: Max Middleton 40 x 76cm PROVENANCE: The Estate of the Artist $3,500-4,000 153 DARRYL TROTT (1942-2004) Hibiscus 1980 watercolour on paper signed and dated lower right: Darryl Trott ‘80 74 x 55cm PROVENANCE: Private collection, Adelaide Thence by descent $3,000-5,000 153

NOTES

The Brans Collection: An Eye for the Exceptional

SYDNEY AUCTION Sunday 21 November, 4pm The Bond, 36-40 Queen Street Woollahra, NSW 2025

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FINE JEWELS & TIMEPIECES MELBOURNE AUCTION Monday 22 November, 6pm 333 Malvern Road, South Yarra, VIC 3141

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Lot 123 (detail) Kilpatrick & Co, 18ct Gold, Seed Pearl And Topaz Cameo Collar, Australian, Circa 1870 $18,000 – 24,000

IMPORTANT JEWELS SYDNEY AUCTION Tuesday 7 December, 6pm The Bond, 36-40 Queen Street Woollahra, NSW 2025

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A Rare Muzo Emerald, Argyle Fancy Pink Diamond and Diamond Ring $ 320,000 – 480,000

NOW CONSIGNING

An Important Imperially Inscribed Chinese Silver and Gold Embellished Zitan and Lacquer Inkstone Box Qianlong Mark and of the Period (1735-1796) Sold for $155,000

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

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ARTIST INDEX

AMOR, RICK............................................................ 34, 35

HART, PRO...................................................... 107, 111, 149

OLSEN, JOHN............................................................... 30

ANDREW, BROOK........................................................ 13

HENSON, BILL............................................................... 10

PEART, JOHN................................................................. 19

ARKLEY, HOWARD...................................................... 50

HEWSON, SOPHIA.......................................................55

PECK, MICHAEL............................................................. 14

ARMSTRONG, IAN........................................................ 77

HINDER, FRANK......................................................75, 76

PEKEL, HERMAN..........................................................151

ASHTON, WILL............................................................. 86

HODA, ALEXANDER.................................................... 42

PENNOCK, COLIN..........................................................6

ASPDEN, DAVID............................................................25

HOLZNER, ANTON......................................................112

PERCEVAL, JOHN.................................................141, 142

BAIRD, JOHN................................................................ 43

JACK, KENNETH................................................. 146, 147

PETYARRE, GLORIA TAMERRE.................................128

BAKER, JIMMY..............................................................118

JAMES, LOUIS R............................................................ 99

PUGH, CLIFTON................................................................

BARTON, DEL KATHRYN.............................................. 7

JAWALJI, MICK...............................................................69

106

BATTARBEE, REX E........................................................ 61

JOHNSON, MATTHEW.......................................... 11, 49

RAPOTEC, STANISLAUS............................................. 28

BEDFORD, PADDY........................................................73

JONES, PEGGY.............................................................115

RODDA, MARK............................................................134

BENJAMIN, JASON...................................................... 40

JORDAN, COL.......................................................... 51, 52

RYAN, PAUL......................................................................5

BERGNER, YOSL..................................................108, 143

KANTILLA, KITTY........................................................ 124

SCHATTNER, GILLIE & MARC........................... 130, 136

BLACKMAN, CHARLES............................................. 139

KELLY, JOHN..................................................................36

SELWOOD, PAUL.......................................................... 15

BOONYAVANISHKUL, REARNGSAK....................... 58

KEMP, ROGER................................................................27

SHEAD, GARRY............................................................144

BOYD, ARTHUR.............................................29, 103, 105

KLIPPEL, ROBERT..........................................................23

SMART, JEFFREY............................................................78

BOYD, DAVID....................................................... 101, 102

KMIT, MICHAEL.............................................................26

STARKEY, LAWRENCE................................................. 38

BOYD, JAMIE............................................................... 100

KNIGHT, JASPER...................................................45, 132

TAYLOR, HOWARD....................................................... 12

BRAUND, DOROTHY....................................59, 60, 140

KNOX, W.D..................................................................... 91

TJAKAMARRA, OLD MICK GILL................................ 68

BROMLEY, DAVID........................................................131

KOVACS, ILDIKO............................................................ 8

TJAPALTJARRI, MICK NAMARARI.............................121

BUCKMASTER, ERNEST........................................ 95, 96

KUBARKKU, MICK....................................................... 66

TJAPANGATI, WIMMITJI...............................................71

BUSAMARO, MUANGATHAI....................................138

KUN, YIN....................................................................... 135

TJUNGURRAYI, PATRICK OLOODOODI................. 117

CANNING, CRISS.......................................................... 31

LARWILL, DAVID.......................................................... 20

TJUNGURRAYI, YUMPULULU....................................70

CARCHESIO, EUGENE..................................................17

LING, SONG...................................................................53

TJUPURRULA, TURKEY TOLSON............................ 123

CASSAB, JUDY...............................................................79

LONGHURST, KATHRIN.............................................. 41

TRENERRY, HORACE.............................................89, 90

COBURN, JOHN......................................................16, 24

MCINNES, W.B.............................................................. 94

TROTT, DARRYL........................................................... 153

COLE, PETER D. ............................................................ 18

MCKENNA, NOEL............................................................1

TUCKER, ALBERT........................................................104

CROOKE, RAY..........................................................97, 98

MELDRUM, MAX...........................................................93

TWIGG, JULIAN............................................................ 48

DALE, JACK................................................................... 125

MIDDLETON, MAX............................................ 150, 152

UNDERWOOD, ROY.................................................. 126

DAVIES, DAVID........................................................87, 92

MILDER, JOHN..............................................................47

WAKELIN, ROLAND....................................... 80, 82, 83

DAVIES, PAUL...................................................................9

MO, XUE..........................................................................57

WEBOU, ALMA.............................................................114

DAWS, LAWRENCE............................................... 33, 110

MOMBASSA, REG........................................................... 4

WEGNER, PETER...........................................................32

DICKERSON, ROBERT................................................145

MORRIS, JOANNE.........................................................56

WHISSON, KEN.......................................................21, 22

DYER, GEOFFREY......................................................... 46

MUNG MUNG, GEORGE ............................................67

YELDHAM, JOSHUA.................................................... 44

EARLES, BRUCE........................................................... 129

NADJAMERREK, LOFTY NABARDAYAL.................. 122

YOUNG, BLAMIRE....................................................... 88

FOX, EMANUEL PHILLIPS........................................... 85

NAMATJIRA, ALBERT.......................................62, 63, 64

YUKENBARRI, CHRISTINE..........................................74

FOX, ETHEL CARRICK................................................. 84

NAMATJIRA, ENOS.......................................................65

ZAVROS, MICHAEL.........................................2, 3, 37, 39

FRAVAL, BETRA............................................................ 133

NAMPITJIN, EUBENA...................................................72

FROST, JOE................................................................... 137

NAPALTJARRI, EILEEN.................................................119

FULLBROOK, SAM........................................................ 81

NAPALTJARRI, TJUNKIYA..........................................120

GERRARD, TOM............................................................ 54

NAPARRULA, LORNA FENCER..................................113

GUDABI, WILLIE...........................................................116

NOLAN, SIDNEY..........................................................109

HADLEY, BASIL............................................................148

NUNGARRAYI, GABRIELLA POSSUM..................... 127

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

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

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

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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

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

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

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Lot 44 (detail) JOSHUA YELDHAM (born 1970) Red Box - Ant Highway oil on linen signed lower right: YELDHAM titled on unknown gallery label verso 110 x 86cm $7,000 – 9,000

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