Fine Art by Leonard Joel

FINE ART AUCTION TUESDAY 28 JUNE 2022, MELBOURNE

AUCTION CATALOGUE VOLUME 15 ISSUE 11 LJ8459 COVER Lot 33 (detail) WILLIAM ROBINSON (born 1936) A Small Study of Sunlight 1998 oil on canvas 30 × 40cm $28,000 – 35,000 INSIDE COVER Lot 30 (detail) TIM STORRIER (born 1949) The Scattering 2003 oil on canvas 122 × 245cm $100,000 – 140,000

leonardjoel.com.au

FINE ART AUCTION TUESDAY 28 JUNE 2022, 6PM MELBOURNE

VIEWING Viewing in Melbourne: Friday 24 - Sunday 26 June Monday 27 June by appointment 333 Malvern Road, South Yarra, VIC 3141

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 times

Lot 14 (detail opposite)

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An artist’s rise –

The rate of career success for a practising artist can often be considerably low given how fiercely competitive the art world can be. A significant factor in the measure of an artist’s overall success can be timing. When a successful artist ‘hits their stride’ could historically differ depending on their location, gender, practice, and the time in which their career was forged. Clarice Beckett, for example, was practicing largely in the 1920s and 1930s in Melbourne, Australia. Unlike many of her peers, her career did not expand interstate or overseas due to her inability to travel, mostly due to her unmarried status and position as a woman, as well as her parental responsibilities. Her career predominantly existed within the surrounds of Beaumaris. Roughly 40 years after her death, a remarkable discovery by Rosalind Hollinrake projected the career of this important woman artist back into the spotlight. Unfortunately, Clarice was no longer around to enjoy the spoils but her position as one of Australia’s most significant women artists remains strong to this day. By stark contrast, the artist Jordy Kerwick has been in the rare position to see a swift and significant rise in his market in the last few years alone. Existing in a time of social media where images and information can be shared globally within seconds, his work has now attracted international attention (in all the right places) and seen his works increase in value at a level that is truly mind-boggling. Works that were once selling in 2017 for just over $1,000AUD are now attracting figures closer to $100,000AUD and beyond. Even better, Jordy is around to enjoy his success and all within the first 10 years of his professional art career. Australian artists William Robinson and Tim Storrier both enjoyed mid-career success. Born in the 1930s and 40s respectively, both artists have enjoyed a similar career trajectory. Their first solo shows were when they were in their early thirties, and they have each gone on to enjoy consistent career growth with art prizes, retrospectives, and commercial success under their belts. With both artists still actively practicing and exhibiting, the opportunities for their careers are still limitless. — Olivia Fuller | Head of Art

Lot 24 (detail opposite) © Estate of David Larwill/Copyright Agency 2022

1 ETHEL CARRICK FOX (1872-1952) A Street in Dax, France gouache on paper signed lower left: Carrick Fox title inscribed verso Lucien Lefebvre-Foinet, Paris, label verso (stock no. 4991) 20.5 × 27cm PROVENANCE: Private collection, Melbourne $4,000 – 5,000

2 A. H. FULLWOOD (1863-1930) An Evening at Earls Court 1902 watercolour on paper signed and dated lower right: A. H. Fullwood/ 02 titled on Kozminsky gallery label verso 46 × 36cm PROVENANCE: The Collection of Geoffrey Barr Fullwood, the artist’s son Leonard Joel, The Rogowski Collection, Melbourne, 23 February 1998, lot 62 Private collection, Melbourne EXHIBITIONS: Albert Henry Fullwood, Joseph Brown Gallery, Melbourne, 26 February - 15 March 1973, cat. no. 33 Spring exhibition, Joseph Brown Gallery, Melbourne, 10 - 24 March 1981, cat. no. 30 $4,000 – 6,000

3 HAROLD SEPTIMUS POWER (1878-1951) Horse oil on canvasboard signed lower right: H. S. POWER 29 × 39cm

4 CATHLEEN EDKINS (1922-2008) Morning Break oil on canvas signed lower left: C. E. Edkins 59.5 × 75cm

PROVENANCE: Private collection, Queensland $2,000 – 4,000

PROVENANCE: Leonard Joel, Melbourne, 10 April 1990, lot 39 Private collection, Melbourne $6,000 – 8,000

5 HAROLD SEPTIMUS POWER (1878-1951) Horse Eating oil on canvas laid on board signed lower left: H.S. Power 19.5 × 24.5cm

6 JAMES ALFRED TURNER (1850-1908) Drover by the Lake 1890 oil on canvas signed and dated lower left: J.A. Turner 1890 21 × 29cm

PROVENANCE: Private collection, Queensland $1,800 – 2,800

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

7 WALTER WITHERS (1854-1914) Way Home oil on canvas signed lower left: Walter Withers 39.5 × 50cm

8 REX BATTARBEE (1893-1969) Simpsons Gap 1956 watercolour on paper signed and dated lower left: REX BATTARBEE 1956 38 × 31.5cm

PROVENANCE: Private collection, Melbourne, c.1910 Thence by descent Leonard Joel, Melbourne, 11 October 2004, lot 330 as “On the Eltham Road” Private collection, Melbourne Deutscher~Menzies, Melbourne, 21 September 2005, lot 81 as “Road and Cottage, Heidelberg” Private collection, Melbourne Leonard Joel, Melbourne, 16 October 2011, lot 43 Private collection, Melbourne $8,000 – 12,000

PROVENANCE: Acquired directly from the Artist, 1957 Private collection, Melbourne $2,000 – 4,000

Albert Namatjira

The artworks of Albert Namatjira express his relationship with his country through the delicate medium of watercolour. 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. 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. Across several visits, Namatjira showed Battarbee sacred areas of the land and in return Battarbee taught Namatjira the medium of watercolour with his natural talents quickly showing through. Albert would paint sitting cross-legged

9 ALBERT NAMATJIRA (1902-1959) Central Australian Landscape watercolour on paper signed lower right: ALBERT NAMATJIRA 26 × 36.5cm PROVENANCE: Acquired by the vendor’s father c.1940s whilst stationed in Alice Springs as a soldier during WWII Private collection, Melbourne Thence by descent Leonard Joel, Melbourne, 24 March 2015, lot 119 Private collection, Melbourne $30,000 – 40,000

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 Central Australian Landscape is a superior example of Albert Namatjira’s archetypal representation of the Australian landscape. The ghost gum is a symbol of the Australian bush, powerfully withstanding the harsh conditions of the outback with its brilliant white bark starkly contrasting against the burnt reds of the landscape. Namatjira frequently includes the ghost gum in his compositions to highlight the beauty and strength of the Australian bush. 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 [able] to take a European cultural item and, in a subversive sense, make it his own”.2 The Hermannsburg School, as they are commonly known, consists of a number of revered artists all painting in watercolours. With Albert Namatjira (Senior) considered the leader of this group, his watercolours have become a symbol of Australian art and

1. K. McGregor, The Life & Times of Albert Namatjira, Badger Editions, 2021, p. 48

have left a legacy far beyond just paint to paper. These works exist as a symbol of

2. Philip Jones, “Traveller Between Two Worlds”, The Heritage

Namatjira’s resilience as an artist in the face of racism and art world trivialisation, and

of Namatjira: The Watercolourists of Central Australia,

support to preserve the spiritual heritage of Indigenous Australia. Olivia Fuller | Head of Art

edited by Jane Hardy, J.V.S. Megaw and M. Ruth Megaw, William Heinemann Australia, 1992, pp.111-112

9 © Namatjira Legacy Trust/Copyright Agency 2022

10 © Hans Heysen/Copyright Agency 2022

10 HANS HEYSEN (1877-1968) Cattle Watering, Hahndorf 1915 watercolour on paper signed and dated lower left: HANS HEYSEN / 1915 artist’s name and title on Tasmanian Museum and Art Gallery exhibition label verso 47.5 × 60.5cm PROVENANCE: Private collection, Melbourne Thence by descent $30,000 – 40,000

11 THEODORE PENLEIGH BOYD (1890-1923) The Copse 1921 oil on canvas signed and dated lower left: Penleigh Boyd/ 21 70 × 80cm PROVENANCE: Private collection, Melbourne Thence by descent $18,000 – 24,000

12 ROBERT TAYLOR-GHEE (1869-1951) Campsite 1891 oil on board signed and dated lower left: R E Taylor Ghee 91 30 × 33cm PROVENANCE: Private collection, Melbourne $3,500 – 4,500

13 ALEXANDER DOUGLAS COLQUHOUN (1862-1941) The Shrine From The Domain c.1930 oil on canvas laid on board signed lower right: A. Colquhoun titled verso 34.5 × 30cm PROVENANCE: The Estate of A.M.E. Bale Leonard Joel, Melbourne, 7 April 2016, lot 3037 Private collection, Melbourne $2,800 – 3,800

14 ADRIAN FEINT (1894-1971) Still Life 1960 oil on board signed and dated lower left: Adrian Feint 1960 44.5 × 34.5cm PROVENANCE: Acquired directly from the Artist The Collection of Thomas Harrison Thence by descent Private collection, South Australia $7,000 – 9,000

Clarice Beckett

Before adopting Tonalism, Beckett graduated from the National Gallery School, studying under L. Bernard Hall and Frederick McCubbin in 1916. After leaving the school, she continued her studies with Max Meldrum, becoming involved with A.M.E. Bale, Colin Colahan, Percy Leason and Alma Figuerola. Unlike many of her other female counterparts who travelled abroad to further her studies in Europe, she chose to remain in Melbourne, unmarried and her parents’ primary caregiver. In 1919 Beckett’s family moved to Beaumaris where she lived and worked without a studio1. Despite not having a physical studio, Beckett made the outdoors her space

15 CLARICE BECKETT (1887-1935) Beaumaris Seascape c.1928 oil on board 18 × 22cm PROVENANCE: The Collection of Brian Mangan, Victoria cat. no. 270 The Collection of Rosalind Hollinrake, Victoria c.1980s Private collection, Victoria, acquired from the above $35,000 – 45,000

with the opportune moments she had, painting en plein air. While prioritising her home duties, Beckett’s painting time was limited to the early hours of the morning and evenings. This work, Beaumaris Seascape c.1928 captures Beckett’s extraordinary skill with light and texture. Drawing out the warm tones from the Beaumaris coastline, Beckett effortlessly creates a complex pallete of creamy yellows, pale greens and crisp blues. This particular aspect invites the viewer to look through the scene while catching wisps of colour and movement, suggesting a warm breezy day. The little time Beckett had to paint was cherished and did not arrest her development as an artist. Honing pace and consistency, Clarice managed a large output of works over a small period of time, exhibiting regularly with the Society of Twenty Melbourne Painters and the Melbourne Society of Women Painters and Sculptors. Clarice Beckett was perhaps the most important yet underappreciated woman artist during the 1920s and 1930s in Australia. Capturing Melbourne’s landscape and its most atmospheric nuances, Beckett’s works appear effortless, bringing a sincere and truthful representation of nature before her. Only since her rediscovery in the 1970s by Rosalind Hollinrake has she now been formally recognised and celebrated as one of the most important female artists and Tonalist innovators to capture Melbourne at a time of growth, making her an invaluable part of Australian art history. Lucy Foster | Art Specialist

1. Burke, J., Australian Women Artists 1840-1940, Greenhouse Publications, Melbourne, 1980, p. 160

16 ARTHUR BOYD (1920-1999) School Boy Riding a Goat 1952-1954 later casting c.1996 bronze, A/P 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 Collection of Mr. Hyman Sharp

LITERATURE: Franz, P., Arthur Boyd, Thames and Hudson, London 1967, p. 253 (original terracotta casting) OTHER NOTES: 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. $15,000 – 20,000

17 ROBERT DICKERSON (1924-2015) Portrait pastel on paper signed lower right: DICKERSON 75 × 55cm PROVENANCE: Wright Fine Art, Sydney 2001 Private collection, Melbourne $5,500 – 7,500

EXHIBITIONS: Paintings, Sculpture, and Two New Suites of Etchings, Australian Galleries, Melbourne, 30 June - 26 July 1997 (another example)

Charles Blackman

Charles Blackman was one of the most recognised Australian figurative artists of the 20th century. His works revolved around narrative, often in series and based on ideas absorbed through music, literature, and his own experiences. In 1959, Blackman along with seven of his artistic counterparts dedicated themselves to the Antipodean manifesto in support of figuration. Twelve months later, he received the Helena Rubenstein Travelling Scholarship and moved to London for six years with Barbara. From London, they were able to travel throughout Europe where Charles explored a new and heightened style of figuration. His paintings produced during these London years are more contained, with the emotional intent imbued through darkened palettes and a deeper symbolism. Not long after settling in London, Charles and Barbara took a trip to Italy where he was able to sight the works of De Chirico in person – an artist who had profoundly influenced the isolating architecture of his ‘Schoolgirls’ series. During their time in Italy, they visited the small Tuscan city of Siena. “Charles and I went together to Siena for our first time early in 1962 in winter. It was a wonderful experience, that extraordinary cathedral in its licorice allsort marble, its sense of elevation in earthly and heavenly sense, the great square at Siena, the small and powerful Duccio museum and everywhere the guitar music of Sigovia seeming to hover in the air. The angel and the new born seem somehow to appropriate Charles’ memory image of our moment there.” (Letter from Barbara Blackman to St. Vincent’s Art Curator, dated 30 August 1995)

18 CHARLES BLACKMAN (1928-2018) Angels at Siena 1963 oil on composition board 136 × 158.5cm PROVENANCE: The Collection of Barbara Blackman AO, New South Wales The Collection of St. Vincent’s Hospital, Melbourne, acquired from the above in 1995 $35,000 – 45,000

18 © Charles Blackman/Copyright Agency 2022

The Duomo di Siena has an exterior and interior constructed of white and black marble in alternating stripes in a Gothic style. Black and white are the symbolic colours of Siena tracing back to the city’s founders, Senius and Aschius, who rode black and white horses when fleeing Rome. Charles’ adaptation of the stripes in this painting bring us to the unmistakable location of Siena. In true Blackman fashion, we begin to dissect the symbolic clues that Charles selects for this work – the baby, the angel, and floating ghost-like figures, all with eyes closed and surrounding the formality of the Duomo. Barbara herself has an interesting interpretation of Charles’ deeper meaning to this work: “[the Duomo] contained the statue, dated about 1400, of ‘a woman Pope’ captioned as ‘Johannes VIII Femina ex Anglia’ translating as ‘John 8 – Woman form England’. The story is that she was a brilliant scholar who posed as a man and was elected pope. Her real identity was only discovered when she gave birth to a child in a narrow street near the church of San Clemente, close to the Colosseum in modern Rome, while riding in procession from St. Peters to the Lateran Palace.” (Letter from Barbara Blackman to St. Vincent’s Art Curator, dated 2 October 1995) In the late 14th Century, a long series of busts of past Popes was made for the Duomo di Siena, which included one of a female pope, now more commonly known as Pope Joan. In 1601, Pope Clement VIII declared the legend of the female pope to be untrue and the bust was either destroyed or recarved. Perhaps her invisibility within the male dominated space of papal authority combined with her inherent power and femininity inspired Charles and drew parallels to his beloved Barbara, now experiencing the full effects of her blindness. Through Barbara, Charles developed a richer understanding of literature and found that he absorbed imagery more deeply through the written word. Blackman’s paintings are commanding yet also deeply imbued with poetic sensibility. The narratives he ingrains within each brushstroke not only relay his rejection of abstraction but also the narrative of the human condition. Olivia Fuller | Head of Art

18 (detail) © Charles Blackman/Copyright Agency 2022 16

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19 (detail) © Vera Moeller/Copyright Agency 2022

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19 § VERA MÖLLER (born 1955) Popular Pest Pattern - Digital Park No. 3 2000 modelling material, synthetic polymer paint and varnish 36 × 59 × 39cm (excluding metal stand) PROVENANCE: Span Galleries, Melbourne 2000 The Collection of Sandra and Peter Geyer, Melbourne Menzies, Sydney, 9 August 2018, lot 100 Private collection, Melbourne $3,000 – 4,000

20 § MIRKA MORA (1928-2018) Smiling Angel at Night 2011 watercolour on paper signed and dated lower right: MiRKA/ 2011 title inscribed verso 50 × 65cm PROVENANCE: William Mora Galleries, Melbourne (stamp verso) Private collection, Melbourne $8,000 – 12,000

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22 Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

21 BEN QUILTY (born 1973) Wilcannia 2012 Derwent water soluble ink and pencil on paper artist’s name, title and date on gallery label verso 66 × 51cm PROVENANCE: Jan Murphy Gallery, Brisbane (label verso) Private collection, Melbourne $5,000 – 6,000

22 DEL KATHRYN BARTON (born 1972) For Realies...You Killed My Flow 2017 ink and synthetic polymer paint on hot press paper, in original exhibition frame signed and titled upper edge: - for realies...you killed my flow - / - del/ kathryn/ barton dated lower right 76 × 56cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney (label verso) Private collection, Sydney EXHIBITIONS: Soft River Yr Girl, Roslyn Oxley9 Gallery, Sydney, 6 October – 28 October 2017 $9,000 – 12,000

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Jordy Kerwick Melbourne born Jordan “Jordy” Kerwick has rapidly gained international attention for his striking and bold approach to colour and pattern, producing highly intense imagery on the canvas. Interior scenes, teeth-baring animals and mythical creatures are paired with patterned rugs, wild wallpaper, lyrics, and even cigarettes, creating a unique fairy-tale narrative. Jordy Kerwick quickly found his calling as an artist after experimenting with painting garden pots in his Melbourne courtyard in 2016. With his first solo show held in Melbourne at Lindberg Galleries, the still life scene quickly became his trademark subject. Using sand as a key ingredient to his primer, Kerwick achieves a gritty, thick impasto which serves as the base to his skeletal-like flowers, often bursting out of quirky patterned pots. His ability to take what seems so universally domestic and innocent and strip the beauty back to a raw aesthetic is what has developed Kerwick’s vast fan base. His more recent works look at predatory animals, specifically tigers, alongside domestic objects to create a vibrant, expressionist and playful composition. Since starting his own family, Kerwick touched on themes surrounding memory, nostalgia and retaining his youth, forming the basis of his recent body of work. Crediting his family as his key inspiration and motivator, he often expresses his newfound joys as a parent in interviews. While it is his family that inspires his integrity as an artist, Kerwick’s visual inspirations are vast. Contemporary counterparts such as Andrew Salgado, Adam Lee, Rhys Lee and Wolfgang Vogel have all had a profound impact on Kerwick’s works, using similar colour vibrancy, layered imagery, mark making and use of lyrics, these characteristics can be seen across his practice and now credited as a defining characteristic in his oeuvre. Jordy Kerwick’s paintings are now seen in major galleries and auction houses spanning across New York, Berlin and London. Kerwick’s rise was cemented on the secondary market when his oil on paper work of a lion attacking a two-headed beast sold for €17,000 at Sotheby’s in London. As a measure of his expanding market, this record only lasted a day, with Phillips auctioning a still life piece Cool Cats 2019 selling for €82,353 before their New York outpost offered Le Tigre achieving a staggering US$220,000. To see a self-taught artist rise with such market vigour in a short period of time is a rare occurrence in today’s market where talent and competition is fierce. Leonard Joel is honoured to be the first Australian auction house to present a work by Jordy Kerwick for major public auction. Lucy Foster | Art Specialist

23 JORDY KERWICK (born 1982) Still Life 2017 synthetic polymer paint on canvas signed and dated verso: JORDY / 2017 40 × 30cm PROVENANCE: Acquired directly from the Artist, 2017 Private collection, Melbourne $12,000 – 20,000

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David Larwill As a deeply intuitive artist, David Larwill has drawn on an array of cultural influences including Indigenous art, environmental issues and politics with the style of international artists Jean-Michel Basquiat and Pablo Picasso influencing his form. His spontaneity in execution and the fleeting qualities of form and movement were highly praised over the course of his career, making him one of the most recognisable Australian artists. The iconic imagery that Larwill is most known had not fully formed until after visiting New York for the first time in 1992. He found himself completely mesmerised by the volume of colourful tags and graffiti in the subways and on the streets, much like that of Jean-Michel Basquiat and Keith Haring who were highly active during this period. Absorbing what he could from the art galleries the city had to offer, it was Picasso’s mask-like faces and strong physiques that Larwill was fascinated by and soon after his works too began to resemble African sculpture, masks and tribal figures. Embracing his fast-paced technique, Larwill used bold outlines to create his abstract figures alongside surface writings and patterns, creating an explosion of vibrations and movement on the canvas that was to follow him throughout his career. Games 1998, shows the accomplished technique and a deep rendering of influences that go back to this earlier period in Larwill’s practice. Larwill explores the qualities of colour and layering while using dark, silhouetted forms heavily contrasted over a bare white background. Larwill continues to explore the influential impact Picasso made on his work by working with raw primitivist themes, seen in the shield-like heads and the readied stances of each figure in this work. His subjects pose playfully, bouncing across the canvas while his use of pattern takes each figure into a different variation of movement. The naïve patterns floating around each figure are reminiscent of the technique used by Basquiat to emphasize movement and inject a playful child-like energy to the work. Indeed, it is the sheer breadth of Larwill’s intellectual curiosity as a painter which provided his art with so much of its variety and impact giving Larwill a truly international perspective. Larwill was able to maintain a consistent output right up until his death in 2011, earning wide respect for his contribution to the art community and as one of the founding members of the Melbourne-born Roar School studios, lending himself to become one of Australia’s most unique artists. Lucy Foster | Art Specialist

24 DAVID LARWILL (1956-2011) Games 1998 oil on linen diptych initialled and dated lower right: D. L. / 98 signed, titled and dated verso 152.5 × 244cm PROVENANCE: Gould Galleries, Melbourne Private collection, Victoria 1998 Gould Galleries, Melbourne Private collection, Melbourne 2000 $45,000 – 55,000

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24 © Estate of David Larwill/Copyright Agency 2022

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25 © Geoffrey Bartlett

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25 GEOFFREY BARTLETT (born 1952) High Rise Dancer 1999 cast aluminium, timber and marble signed and dated on plaque adhered to timber 270cm (overall height) PROVENANCE: Commissioned by Citi Bank Private collection, Melbourne $22,000 – 28,000 PLEASE NOTE: This lot is available for viewing in Melbourne by appointment only. Please contact the Art Department. 26 JAMES MCGRATH (born 1969) Ex Libris X 2013 oil on canvas on board signed verso: James McGrath title and date on gallery label verso 120.5 × 80cm PROVENANCE: Tim Olsen Gallery, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: James McGrath, Lacuna/ Anamnesis, Tim Olsen Gallery, Sydney, 24 April – 12 May 2013 $3,000 – 4,000 26 © James Marshall McGrath/Copyright Agency 2021

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27 © Garry Shead/Copyright Agency 2021

27 GARRY SHEAD (born 1942) Italy 2008 oil on board ink on paper sketch verso signed and dated lower left: Garry Shead 08 53 × 74cm PROVENANCE: The Lucio’s Collection, Sydney Bonhams, Sydney, 24 August 2021, lot 85 Private collection, Melbourne

RELATED WORK: Garry Shead and Adrienne Levenson, Soffritto di Lucio 2009, oil on linen, 183.3 × 198.2cm, Finalist, Archibald Prize 2009, Art Gallery of New South Wales, Sydney, now in the permanent collection of the National Portrait Gallery, Canberra Lucio Galletto was the owner of the iconic Lucio’s restaurant in Sydney. Like his family’s restaurant in the village of Bocca di Magra, Italy, Lucio’s helped the local artists by displaying their works in return for meals. Here we see a figure reminiscent of Lucio over the village of Ameglia, near to his hometown, with wine and seafood on offer. $18,000 – 24,000

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28 © Wendy Whiteley/Copyright Agency 2022

28 § BRETT WHITELEY (1939-1992) Lovers 1973 pen, ink and collage on paper stamped lower right with artist’s monogram dated lower right signed, titled and inscribed on label verso: brett whiteley / about 1973 or 4 / ‘lovers’ 30 × 34cm PROVENANCE: Private collection Private collection, Sydney 1995 Menzies, Melbourne, 27 February 2020, lot 139 Private collection, Melbourne

EXHIBITIONS: Brett Whiteley: Drawings 1960-1973, Bonython Art Gallery, Sydney, 6 - 30 January 1974, cat. no. 47 LITERATURE: Sutherland, K., Brett Whiteley: Catalogue Raisonne, Schwartz Publishing, Melbourne, 2020, cat. no. 69.73 $15,000 – 18,000

29 RICK AMOR (born 1948) Self Portrait in Grisaille 1996 oil on linen signed and dated lower right: RICK AMOR ‘96 titled and dated verso 34 × 29cm PROVENANCE: Niagara Galleries, Melbourne (label verso) The Collection of Mrs Rae Rothfield, Melbourne The Estate of the above EXHIBITIONS: Rick Amor, Niagara Galleries, Melbourne, 4-29 July 1996, cat. no. 31 $5,000 – 8,000

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Tim Storrier Tim Storrier has created a body of work instilled with images of life on the land. The four elements: earth, air, fire and water have provided a successful framework for Storrier to illustrate his impression of the Australian experience. Whilst fire may be his most recognisable element, it is the opposite element, water, that is represented within his most accomplished works. Both elements reveal an untamed power, but by the late 1990s and early 2000s, Storrier was seeking a new direction for his art beyond the flame. Storrier’s biographer, Catharine Lumby, notes that these water paintings are some of his strongest to date and mark a painter in full command of his craft1. His paintings of vast and deep oceans carry a sense of isolation and vulnerability that only a mature artist could successfully harness. “In a series of brooding seascapes, Storrier trained his gaze away from his traditional

30 TIM STORRIER (born 1949) The Scattering 2003 oil on canvas signed lower right: Storrier signed, titled and dated on stretcher bar verso 122 × 245cm PROVENANCE: Olsen Irwin Gallery, Sydney Private collection, Melbourne RELATED WORK: At sea (for Pamela) 2018, acrylic on canvas, 200 × 300cm, Wynne Prize Finalist, 2018, Art Gallery of New South Wales, Sydney $100,000 – 140,000

subject matter to the sea and to an entirely different kind of wild vastness – to bodies of water uncrewed and unmarked by anyone who traversed their boundaries, save for the odd scattering of flowers left drifting on the waves” 2 (Catharine Lumby). Flowers can be thrown out to sea for various reasons including for a blessing, good fortune, or even to honour the deceased as a ‘memento mori’. The Scattering displays a delicate spread of flowers gently resting atop the volatile swell of the sea. The building waves threaten the blooms floating precariously – an allusion to our own fragile mortality. Storrier utilised this combination for his 2018 Wynne Prize entry, At Sea (For Pamela). American actor, Lee Marvin, had passed away in 1987 after which his widow, Pamela, had scattered roses and his ashes into the ocean near Cairns near where Lee’s favourite fishing spot was located. The gesture paralleled with his experience as a marine during the Pacific campaign of World War II. In 2018, Pamela sadly passed away and Tim dedicated this Wynne prize painting to her. Whether a blazing sky, a flying paper plane or a wind-swept ocean, the sheer beauty and artistry of Storrier’s practice is imbued with poetic resonance. Olivia Fuller | Head of Art

1. Lumby, C., Tim Storrier: The Art of the Outsider, Craftman House, Sydney, 2000, p. 145 2. Ibid. p.144

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31 WILLIAM ROBINSON (born 1936) Five Peaches 2013 oil on linen signed and dated lower right: William Robinson 2013 titled on gallery label verso 31 × 36cm PROVENANCE: Philip Bacon Galleries, Brisbane (label verso) Private collection, New South Wales EXHIBITIONS: Eternal Present: The Still Life Paintings of William Robinson, William Robinson Gallery, Queensland University of Technology, Brisbane, 14 July 2017 - 25 June 2018 $25,000 – 30,000

“William Robinson’s approach to still life acknowledges both the ‘civilised’ nature of the genre and the simple integrity of the object. He pays a discreet homage to the artists he admires, and shows respect for the humble items he has gathered from many sources. He has not attempted any radical stylistic departures, being content to work from close observation, arranging his subjects in a manner that permits endless variations. The aim is not to break new ground but to dig ever more deeply into a well-worked quarry, uncovering motifs and relationships that are only available to those artists who understand that inspiration is perfectly compatible with the most patient investigation”. 1. McDonald, J., Eternal Present, The Still Life Paintings of William Robinson, William Robinson Gallery, Queensland University of Technology, Brisbane, 2017, p. 57

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32 ANTHONY VANDERZWEEP (born 1960) Centaur 2021 bronze, ed. A/P artist’s seal, date and edition at base 51.5 × 40 × 29cm (including base) PROVENANCE: The Artist Private collection, Melbourne $4,000 – 6,000

William Robinson

William Robinson has lived across diverse landscapes of the eastern coast of Australia, including Birkdale, Beechmont, Springbrook and Kingscliff. Across most of these locations, Robinson has been immersed within dense rainforest environments which is pivotal to his artistic practice. “I did not paint these works as a visitor to the landscape, but as one who lived in it and experienced it every day”.1 Robinson’s landscapes are set apart from his counterparts, largely because of his unique perspective. His richly detailed paintings depict the landscape from multiple perspectives simultaneously. It is shown to us through a series of inversions, where the sky becomes the ground and the ground the sky. Aside from his belief that his landscapes would need to present a different approach to the Australian terrain, he

33 WILLIAM ROBINSON (born 1936) A Small Study of Sunlight 1998 oil on canvas signed and dated lower left: William Robinson 98 title and date inscribed on backing verso 30 × 40cm PROVENANCE: Tim Olsen Gallery, Sydney Private collection, Melbourne EXHIBITIONS: Sol: A Summer Survey Gallery Artists, Tim Olsen Gallery, Sydney, 18 December - 27 January 2013 Melbourne Art Fair, Olsen Irwin Gallery, Sydney, 4-8 August 2010 $28,000 – 35,000

acknowledges through this multi-point perspective that the landscape is constantly moving around you. The clouds, the leaves, and sun, are always shifting and you are within it. “Living in the country everything moves—the seasons, the clouds, nothing is set. There are things behind you, all around you and you are in it. … You begin to realise that you are in a landscape that is really the crust of the earth. It is air and ground. We’re all just spinning through space. There is something about the painting that is indefinite, not solid.”2 William Robinson’s landscapes are delicately interwoven strokes of impasto paint work, with rich colour palettes to bring to life the intricacies and deep beauty of the landscape. Every leaf is rendered with the same deliberate attention to detail as the sky or towering tree trunks. These little details are what interlace to form the complex Australian landscape that Robinson is so recognised for representing. Across each of Robinson’s homes he has always maintained the experience of being in nature. His works have the ability to transport us to and within the landscape so that we feel we are within it, its branches enveloping us and the sunlight radiating within us. Perhaps it is this transportative quality that has honoured Robinson with being the only living Australian artist to have a public gallery in his name, and why his paintings continue to captivate collectors and critics alike. Olivia Fuller | Head of Art

1. Klepac, L., William Robinson: Paintings 1987-2000, Sydney, The Beagle Press, 2001, p.40 2. Hart, D., William Robinson: The Transfigured Landscape, Queensland University of Technology and Piper Press, Brisbane, 2011, p.33

34 MARTINE EMDUR (born 1967) High Tide 1999 synthetic polymer paint on board signed and dated lower right: M Emdur 99 19.5 × 48cm PROVENANCE: Art House Gallery, Sydney 1999 Private collection, Melbourne EXHIBITIONS: Martine Emdur, Art House Gallery, Sydney, 3 - 20 November 1999, cat. no. 17 $3,000 – 5,000

35 ANDREW TAYLOR (born 1967) Outside: Coyote Alley 2011 oil on linen 123 × 122cm PROVENANCE: Tim Olsen Gallery, Sydney Private collection, Melbourne EXHIBITIONS: Andrew Taylor, Outside: The Periphery - Works from New York, Tim Olsen Gallery, Sydney, 15 May - 3 June 2012 $4,000 – 6,000

36 MARTINE EMDUR (born 1967) Aqua View 2000 synthetic polymer paint on board signed and dated lower right: M Emdur 00 19 × 35cm PROVENANCE: Art House Gallery, Sydney 2000 Private collection, Melbourne EXHIBITIONS: Martine Edmur: Descent, Art House Gallery, Sydney, 30 August - 19 September 2000, cat. no. 38 $2,500 – 3,500

38 © Marisa J Purcell/Copyright Agency 2022

37 MICHAEL ZAVROS (born 1974) Lavender Landscape (E320) 1997 oil on board signed and inscribed verso: MICHAEL ZAVROS/ 1999 118 × 183cm PROVENANCE: Private collection, Brisbane EXHIBITIONS: Smith and Stonely Gallery, Brisbane 1999 $16,000 – 20,000

38 MARISA PURCELL (born 1971) Moments at Once 2012 oil and synthetic polymer paint on linen signed, titled and dated verso: Marisa Purcell 2012 / Moment at once 184 × 173cm PROVENANCE: Tim Olsen Gallery, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: Marisa Purcell: Halo, Tim Olsen Gallery, Sydney, 17 October - 4 November 2012 $7,000 – 9,000

POST WAR & CONTEMPORARY 39 TIM MAGUIRE (born 1958) Light Fall II 2011 Duratran on light box, ed. of 5 + 1 A/P 220 × 120cm EXHIBITIONS: Urbane, Five-Fifty Art Advisory, Melbourne, 18 August - 20 November 2021, cat. no. 6 $14,000 – 20,000 40 TONY CLARK (born 1954) i) Bearded Man I 2004 ii) Still Life with Daffodils 2005 iii) Landscape 2005 i, ii) synthetic polymer paint and permanent ink on canvas iii) synthetic polymer paint and permanent ink on canvasboard i) 24 × 18cm, ii) 30 × 30cm, iii) 18cm (diameter) PROVENANCE: Roslyn Oxley9 Gallery, Sydney Private collection, Melbourne EXHIBITIONS: If These Walls Could Talk, Roslyn Oxley9 Gallery, Sydney, 3 – 26 March 2005 $4,000 – 6,000 41 § MELINDA HARPER (born 1965) Untitled 2018 oil on canvas signed and dated verso: Melinda Harper 2018 121.5 × 106.5cm PROVENANCE: Blockprojects Gallery, Melbourne (label verso) Private collection, Melbourne $3,000 – 5,000

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

POST WAR & CONTEMPORARY 42 MICHAEL GRAEVE (born 1971) Bundanon Improv II 2003 oil on canvas (4) each signed and dated verso: M. Graeve 2003 each titled verso 30 × 122cm (each) PROVENANCE: Private collection, Melbourne $2,500 – 3,500 43 § HOWARD TAYLOR (1918-2001) Untitled pastel on paper signed lower right: HTAYLOR 69 × 46.5cm PROVENANCE: McKenzies Auctioneers, Perth, 19 March 2013, lot 19 Private collection, Western Australia $8,000 – 12,000 44 PAUL BOSTON (born 1952) Painting 2 1992 oil on linen signed, titled and dated verso: Paul Boston / 1992 / Painting 2 137.5 × 92cm PROVENANCE: Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $4,000 – 5,000

POST WAR & CONTEMPORARY

45 LYNN CHADWICK (British, 1914-2003) Single Candle Holder, Model C146 1995-96 bronze, ed. 17/150 artist’s seal and foundry seal at base editioned and numbered at base 33cm (height) PROVENANCE: The Collection of Mrs Rae Rothfield, Melbourne The Estate of the above $5,000 – 7,000 46 DAVID LARWILL (1956-2011) Jog 2000 synthetic polymer paint on paper signed, titled and dated below image: “Jog” 2000 David Larwill 90 × 52cm PROVENANCE: The Artist’s Studio Private collection, Melbourne $4,000 – 5,000 47 MATTHYS GERBER (born 1956) Self Portrait 2002 oil on polyester initialled lower right artist’s name, title and date on gallery label verso 180 × 135cm PROVENANCE: Sarah Cottier Gallery, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: Contemporary Portraiture, National Portrait Gallery, Canberra, February 2003 LITERATURE: Matthys Gerber, Museum of Contemporary Art, Sydney, Australia, September 2015 $7,500 – 9,500

45 © The Estate of Lynn Chadwick

POST WAR & CONTEMPORARY

48 © Michal Rovner. ARS/Copyright Agency 2022

48 MICHAL ROVNER (Israeli, born 1957) Notes I 2002 pigment on archival paper edition 1/5 64.5 x 86cm

49 SUSAN NORRIE (born 1953) Even Titian Started That Way 2003 oil and lacquer on canvas signed and dated verso: Susan Norrie / 2003 150 × 180cm

PROVENANCE: Stephen Friedman Gallery, London 2003 Private collection, Melbourne $5,000-7,000

PROVENANCE: Mori Gallery, Sydney 2004 Private collection, Melbourne $9,000 – 12,000

POST WAR & CONTEMPORARY

50 BRIAN HAGIWARA (American, born 1943) Rocks Are Scattered 2017 oil on canvas signed lower right: BHagiwara titled verso 167.5 × 121cm

51 DADANG CHRISTANTO (Indonesian, born 1947) Mutilation: 7 2003 ink, synthetic polymer paint and pencil on linen signed, dated and inscribed verso: Dadang Christanto / Sydney, 2003 136 × 110cm

PROVENANCE: Colin Fisher Gallery, United States of America Private collection, Melbourne $4,000 – 5,000

PROVENANCE: Sherman Galleries, Sydney (label verso) Private collection, Melbourne $6,000 – 8,000

POST WAR & CONTEMPORARY

52 QU WEI WEI (Chinese, born 1979) Treading Water 2007 ink on paper artist’s name, title and date on gallery label verso 179.5 × 59cm (image)

53 TIM JOHNSON (born 1947) Heaven’s Door oil on canvas artist’s name and title on unknown label verso 91 x 121.5cm

PROVENANCE: Atkins & Ai Gallery, Beijing (label verso) Private collection, Victoria $3,000 – 6,000

PROVENANCE: Mori Gallery, Sydney Private collection, Melbourne $4,500 – 6,500

POST WAR & CONTEMPORARY

54 © Kate Beynon/Copyright Agency 2022

54 KATE BEYNON (born 1970) The Door God synthetic polymer paint and aerosol enamel on canvas 152 × 122cm PROVENANCE: Sutton Gallery, Melbourne (label verso) Private collection, Melbourne $4,000 – 6,000

55 CHRISTOPHER LANGTON (born 1954) Ruby 2004 polyurethane, pigment and PVC on canvas signed, titled and dated verso: Christopher Langton / “Ruby” 2004 130 x 170.5cm PROVENANCE: Brian Moore Gallery, Sydney 2005 Private collection, Melbourne $4,000 – 5,000

POST WAR & CONTEMPORARY

56 © Jasper Knight/Copyright Agency 2022

56 § JASPER KNIGHT (born 1978) We Go Up, We Go Down 2016 enamel, gloss, synthetic polymer paint and aluminium on board signed, titled and dated verso: JASPER KNIGHT/ ‘WE GO UP,/ WE GO DOWN”/ 2016 150 × 120cm PROVENANCE: Private collection, Sydney Private collection, Melbourne $8,000 – 10,000

57 § RICHARD BELL (born 1953) Heritage in Black and White 1991 oil and collage on canvas signed, dated and titled verso: RICHARD BELL. QLD./ “HERITAGE IN BLACK + WHITE” 1991 150.5 × 160cm PROVENANCE: Suncorp Collection Mossgreen Auctions, Melbourne, 2 June 2015, lot 112 Private collection, Melbourne $5,000 – 7,000

END OF POST WAR & CONTEMPORARY 45

Indigenous Art

58 © Estate of Ian W Abdulla/Copyright Agency 2022

58 IAN ABDULLA (1947-2011) Here I Am Riding My Daughter’s Bike 2001 synthetic polymer paint on paper signed and dated lower right: Ian W. Abdulla 20001[sic] 57.5 × 77cm PROVENANCE: Greenaway Art Gallery, Adelaide (label verso) Private collection, Victoria $2,000 – 2,500

59 PANTJITE MARY MCLEAN (born c.1935) Purinua Kutja - Springtime Ninga Mia, Kalgoorlie 1999 synthetic polymer paint on canvas inscribed verso with artist’s name, title, date and Ninga Mia cat. no. 48/99 100 × 100cm PROVENANCE: Gallery Gabrielle Pizzi, Melbourne (label verso) Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $2,000 – 4,000

60 WILLIE GUDIPI (1916-1996) Handing Down the Law 1991 synthetic polymer paint on canvas, laid on canvas signed lower centre: WILLIE 186 × 73.5cm PROVENANCE: Acquired directly from the artist at Ngukurr, Northern Territory Private collection, Darwin Sotheby’s, Aboriginal Art, Sydney, 29 July 2003, lot 420 Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $3,500 – 5,500

61 © George Tjampu Tjapaltjarri/Copyright Agency 2022

61 GEORGE TJAMPU TJAPALTJARRI (born c.1945) Untitled 2002 synthetic polymer paint on Belgian linen inscribed verso with artist’s name and Papunya Tula cat. no. GT0206030 151 × 183cm

62 KEITH STEVENS (born c.1940) Piltati 2009 synthetic polymer paint on canvas inscribed verso with artist’s name, title, date and Tjungu Palya cat. no. TPKS09569 199 × 117.5cm

63 IVAN NAMIRRKKI (born 1961) Ngalyod the Rainbow Serpent and Yawk Yawk 1991 natural earth pigments on bark artist’s name, title, date and Maningrida Arts & Culture cat. no. NAM-103 on label verso 53 × 150cm

PROVENANCE: Papunya Tula Artists, Alice Springs Scott Livesey Galleries, Melbourne Private collection, Victoria

PROVENANCE: Tjungu Palya, South Australia (accompanied by a copy of the certificate of authenticity) Private collection, South Australia $3,000 – 5,000

PROVENANCE: Maningrida Arts & Culture, Arnhem Land Private collection, Sydney Shapiro Auctioneers, Sydney, 8 May 2002, lot 325 The Kelton Foundation, United States of America $3,000 – 5,000

EXHIBITIONS: Aboriginal Art, Scott Livesey Galleries, Melbourne, 2003, cat. no. 17 (illustrated in exhibition catalogue, p.33) $10,000 – 12,000

64 © Dick Ngulei Ngulei Murrmurra/Copyright Agency 2022

64 DICK NGULEI-NGULEI MURRUMURRU (c.1920-1988) Mimi Spirits and Namorrodo Spirits c.1975 natural earth pigments on eucalyptus bark inscribed verso with Avant Galleries cat. no. 37 35.5 × 56cm

65 KANYA TJAPANGATI (born c.1951) A Tingari Story 1994 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. KT941132 151.5 × 60cm

PROVENANCE: The Collection of Dorothy Bennett, Northern Territory c.1975 Avant Galleries, Melbourne The Collection of Mr. Kelton, United States of America, acquired 1991

PROVENANCE: Papunya Tula Artists, Alice Springs The Collection of Mr. Kelton, United States of America, acquired 1997

EXHIBITIONS: Awake to the Dreamtime: Australian Aboriginal Art, San Diego Museum of Man, San Diego, California, 19 February – 24 May 1993 $4,000 – 5,000

EXHIBITIONS: The Australian Consulate, Los Angeles, California, 22 August 2003 to 31 August 2006 $4,000 – 5,000

66 ATTRIBUTED TO PAUL KROPINYERI (20th Century) Karuna Shield 1994 natural ochres on wood and kangaroo skin 62 × 24cm PROVENANCE: Karuna Art, Stuart, South Australia The Collection of Mr. Kelton, United States of America, acquired 1994 $4,000 – 5,000 66A DONNY WOOLAGOODJA et. al. (born 1947) Wandjina Ungud Spirits 2007 synthetic polymer paint on canvas 185 × 480cm PROVENANCE: Created at Mowanjum Arts in 2007 Sotheby’s, Sydney, Aboriginal and Oceanic Art, 25 November 2007, lot 127 The Kelton Foundation, United States of America OTHER NOTES: This work was painted by senior artists Donny Woolagoodja and Gudu Mungulu, assisted by Gabriella Dolby, Leah Umbagai, Mildred Mungulu and Margaret Mungulu, artists from the Mowanjum Community, near Derby in the Kimberley region of North West Australia. The work was created so that the artists themselves could raise the funds to self-publish Mowanjum’s 50th Anniversary Community History book. $7,000 – 10,000

65 © Kanya Tjapangati/Copyright Agency 2022

END OF INDIGENOUS ART 49

67 HUGH SAWREY (1923-1999) Waiting - The Outstation, Diamantina Lakes, Central Western Queensland oil on masonite signed lower right: SAWREY signed and titled verso 73.5 × 98.5cm PROVENANCE: Private collection, Queensland $10,000 – 15,000

68 PRO HART (1928-2006) Ballarat Landscape oil on board signed lower right: PRO / HARt 58 × 89cm PROVENANCE: Private collection, Melbourne $8,000 – 10,000

69 HUGH SAWREY (1923-1999) The Absent Player oil on canvas signed lower right: SAWREY signed and titled verso 74 × 100cm PROVENANCE: Barry’s Art Gallery, Queensland (label verso) Private collection, Melbourne $16,000 – 20,000

70 HUGH SAWREY (1923-1999) The Nockatunga Bloke, West Queensland oil on canvas signed lower right: SAWREY signed and titled verso 75 × 90cm PROVENANCE: Private collection, Melbourne $10,000 – 15,000

71 SIDNEY NOLAN (1917-1992) Towards Red Hills oil on paper on board signed lower right with backwards ‘N’: Nolan 48.5 × 74cm PROVENANCE: Leonard Joel, Melbourne, 10 April 1990, lot 220 Private collection, Melbourne $7,000 – 8,000

72 YOSL BERGNER (1920-2017) The Believers oil on canvas initialled lower right signed in Hebrew lower right signed and titled verso 98 × 69cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Yosl Bergner: Enlightenment, Dan Gallery, Tel Aviv, October 2014 (illustrated in exhibition catalogue) $16,000 – 20,000 73 YOSL BERGNER (1920-2017) Flying a Kite bronze, ed. 2/9 signed and editioned at base 62cm (height, excluding base) PROVENANCE: The Artist (accompanied by a leather bound certificate of authenticity) Private collection, Melbourne $8,000 – 10,000 74 JUDY CASSAB (1920-2015) Four Women with Child 1986 oil on linen study verso signed and dated lower right: Cassab 86 titled on stretcher bar verso 119 × 147cm PROVENANCE: Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $3,000 – 4,000

72 © Yosl Bergner/Copyright Agency 2022

75 MARY DUNCAN (British, 1885-1964) Untitled (Landscape) c.1920s oil on canvas signed lower right: M. Duncan 49.5 × 59.5cm PROVENANCE: Louise Whitford Ltd., 19th and Early 20th Century Paintings, London 1977 Private collection, Melbourne $2,500 – 4,500 76 ADRIAN FEINT (1894-1971) Still Life 1958 oil on canvas signed and dated lower right: Adrian Feint / 1958 37 × 29.5cm PROVENANCE: Private collection, Melbourne $4,500 – 6,500 77 FREDERICK MARRIOTT (British, 1860-1941) A Spring Festival oil on canvas signed lower right: F. MARRIOTT. 90 × 182cm PROVENANCE: The New Gallery, London The Collection of Mrs E Harry, Melbourne, acquired from the above c.1900 Thence by descent The Collection of Louis Ware, Melbourne, c.1932 Thence by descent The Collection of Ruth Crouch, Melbourne, 1962 Thence by descent The Collection of C. Crouch, Melbourne Leonard Joel, Melbourne, 24 July 1985, lot 695 Christopher Day, Sydney, acquired from the above Philip Bacon Galleries, Brisbane The Collection of Jack Manton, Queensland, acquired from the above in 1987 Thence by descent The Collection of Jennifer Manton, Sydney The Estate of the above $10,000 – 15,000

78 CHARLES CONDER (1868-1909) Landscape with Haystacks watercolour on silk 74.5 × 141.5cm PROVENANCE: Private collection, Melbourne $3,000 – 4,000 79 ALLAN THOMAS BERNALDO (1900-1988) Still Life Chrysanthemums watercolour on paper signed lower right: Allan Tho’s / Bernaldo 54 × 59cm PROVENANCE: Private collection, Melbourne $2,000 – 3,000 80 CARLTON ALFRED SMITH (British, 1853-1946) Woman by the Window watercolour on paper signed lower right: Carlton. A. Smith 50 × 33cm PROVENANCE: Private collection, London Private collection, Melbourne $3,000 – 4,000

81 HAROLD SEPTIMUS POWER (1878-1951) Waterside Village oil on canvas signed lower right: H. S. Power 32 × 41cm PROVENANCE: Leonard Joel, Melbourne, 20 April 1943, lot 1519 (label verso) Private collection, Melbourne Thence by descent Leonard Joel, Melbourne, 6 September 2016, lot 164 Private collection, Melbourne $3,500 – 4,500

82 JAMES HUMBERT CRAIG (Irish, 1878-1944) The Road to Glenveigh from Muckish County Donegal oil on panel signed lower left: J. H. CRAIG titled and signed verso 28.5 × 41cm PROVENANCE: John Magee Limited, Belfast (label verso) Private collection, Melbourne $2,500 – 4,500

83 JAMES HUMBERT CRAIG (Irish, 1878-1944) Burning Kelp at Cushendun County Antrim oil on panel signed lower left: J. H. CRAIG titled and signed verso 28.5 × 41cm PROVENANCE: John Magee Limited, Belfast (label verso) Private collection, Melbourne $2,500 – 4,500

84 ERNEST BUCKMASTER (1897-1968) Still Life 1942 oil on canvas signed and dated lower left: E. Buckmaster 1942 54.5 × 47.5cm PROVENANCE: Private collection, Melbourne Leonard Joel, Melbourne, 6 September 2016, lot 157 Private collection, Melbourne $3,000 – 3,500

85 W. D. KNOX (1880-1954) Yan Yean oil on canvasboard signed lower right: W. D. KNOX artist’s name and title on Sedon Galleries label verso 34 × 44cm PROVENANCE: The Artist Thence by descent to the artist’s granddaughter Private collection, Tasmania $2,000 – 4,000

86 CATHLEEN EDKINS (1922-2008) Campsite oil on canvas signed lower left: C. E. Edkins 49 × 61cm PROVENANCE: Private collection, Victoria $3,000 – 4,000

87 LEONARD LONG (1911-2013) From the Pigeon House, Clyde Valley, New South Wales 1988 oil on canvasboard signed lower right: LEONARD LONG titled and dated on frame plaque titled verso 111 × 166cm PROVENANCE: The Artist Private collection, Melbourne Thence by descent $7,000 – 9,000

88 RUBERY BENNETT (1893-1987) Dappled Sunlight oil on panel signed lower right: RUBERY BENNETT titled verso 24.5 × 30cm

89 RUBERY BENNETT (1893-1987) Rising Mists, Burragorang Valley oil on canvasboard signed lower left: RUBERY BENNETT titled verso 24 × 29cm

PROVENANCE: Leonard Joel, Melbourne, 26 November 1991, lot 18 Private collection, Melbourne $3,000 – 4,000

PROVENANCE: Private collection, Melbourne $2,500 – 3,500

92 © Brian Dunlop/Copyright Agency 2022 90 RUBERY BENNETT (1893-1987) Days to Remember oil on board signed lower left: RUBERY / BENNETT titled verso 24 × 29cm PROVENANCE: Private collection, Melbourne $2,500 – 3,500

91 ANTHONY VANDERZWEEP (born 1960) Shearing of the Ram 2019 bronze, ed. 1/1 artist’s seal, date and edition at base 19 × 25 × 19cm (including base) PROVENANCE: The Artist Private collection, Melbourne $3,000 – 4,000

92 BRIAN DUNLOP (1938-2009) Filtered Light 1988 oil on canvas triptych signed and dated lower right: Dunlop 88 121 × 227cm (overall) PROVENANCE: Australian Galleries, Melbourne, stock no. 5938 (label verso) Private collection, Melbourne $6,000 – 9,000

94 TOM ALBERTS (born 1962) Salon 2004-5 oil on linen 152.5 × 183cm PROVENANCE: Charles Nodrum Gallery, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Tom Alberts: The Chapel Street Series, Charles Nodrum Gallery, Melbourne, 8 - 29 March 2005, cat. no. 1 $7,000 – 9,000 95 JOHN FIRTH-SMITH (born 1943) Sleeping Boats 1 1975 pastel on paper signed and titled lower right: Firth-Smith Sleeping Boats 67.5 × 140cm PROVENANCE: Gallery A, Sydney 1975 Private collection, Sydney $4,000 – 6,000 96 GUAN WEI (born 1957) Looking for Enemies #4 2004 synthetic polymer paint on canvas diptych initialled lower right titled and dated on stretcher bar verso 140.5 × 60cm (each) PROVENANCE: Sherman Galleries, Sydney 2004 Private collection, Melbourne Menzies, Sydney, 19 November 2020, lot 65 Private collection, Melbourne LITERATURE: Dysart, D., Hanru, H. & King, N., Guan Wei, Craftsman House, Sydney, 2006, p. 84 $8,000 – 10,000

93 PETER LINDSAY (1908-1998) Prelude 1998 oil on canvas signed and dated lower right: Peter Lindsay 98 titled on stretcher bar verso 89.5 × 75cm PROVENANCE: Private collection, Melbourne $2,000 – 4,000

93A PETER JAMES SMITH (born 1954) Wind Across Muttonbird Island 1993 synthetic polymer paint, oil and paper on board signed and dated lower right on canvas edge: Peter James Smith, 1993 inscribed upper centre: Kelp/ Wind Across Muttonbird Island/ Loch Ard Gorge signed and dated verso 252 × 124cm

97 VIV MILLER (born 1979) The Afternoon 2005 oil and enamel on canvas artist’s name, title and date on gallery label verso 180 × 152.5cm PROVENANCE: Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $3,000 – 4,000

PROVENANCE: The Artist Private collection, Melbourne $5,000 – 8,000 59

100

98 MARC DE JONG (Swiss/Australian, born 1970) Untitled 1996 oil on canvas signed and dated verso: “MARCSTA” / 96 100 × 131cm PROVENANCE: Acquired directly from the Artist, 1997 Private collection, Melbourne $3,000 – 5,000

99 VIV MILLER (born 1979) Edge of the Abyss 2004 oil, enamel and synthetic polymer paint on canvas signed, dated and titled on stretcher bar verso: VIV MILLER 2004 / “EDGE OF THE ABYSS” 180.5 × 150cm

100 § JILL NOBLE (born 1962) Beach Holiday 2016 synthetic polymer paint on linen initialled and dated lower right: JN16 signed, titled and dated verso 123 × 140cm

PROVENANCE: Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $3,000 – 4,000

PROVENANCE: The Artist Private collection, Melbourne $4,000 – 6,000

101 GILLIE & MARC SCHATTNER (born 1965 & 1961) Warren - Paparazzo Boy bronze, ed. 3/25 artists’ names and edition inscribed on subject’s leg: 3/25 / GILLIE AND MARC 64 × 26 × 26cm PROVENANCE: The Artists Private collection, Sydney $3,600 – 4,600 102 STEPHEN BUSH (born 1958) Deep Deeper 2003 oil on linen signed and dated on stretcher bar verso: Stephen Bush 2003 117 × 137cm PROVENANCE: Sutton Gallery, Melbourne (label verso) Leonard Joel, Melbourne, 5 June 2018, lot 168 (label verso) Private collection, Melbourne $4,500 – 6,500 103 JANENNE EATON (born 1950) Royal Enclosure- Painting For A Republic 2004 velvet, synthetic polymer paint, enamel and plastic on linen diptych signed and titled verso: EATON / ROYAL ENCLOSURE- / PAINTING FOR A REPUBLIC 200 × 200cm (overall) PROVENANCE: Helen Maxwell Gallery, Canberra Private collection, Melbourne EXHIBITIONS: Filter, Helen Maxwell Gallery, Canberra, 22 October - 21 November 2004 OTHER NOTES: “The figure represented in the right-hand panel is Queen Alexandra at her coronation ceremony in 1902. On August 9th 1902 Edward VII and his wife Alexandra were crowned King and Queen of the United Kingdom and the British Dominions, and as Emperor and Empress of India, at Westminster Abbey, London on the 9th August 1902. Following the death of Queen Victoria, the new Monarchs are crowned. Australia became a Federation 1901. As the new reigning Queen of Australia, to Edwards’ King, Australians became their subjects. In the left-hand panel a frieze of official royal emblems frames the borders of a highly reflective internal space. Drawn into the painting’s narrative, the audience is captured within the frame; reflected as ghostly images within.” (The Artist) $2,500 – 3,500

101

104 MARIE HAGERTY (born 1964) Ryder 2012 oil on canvas signed and dated verso: Marie Therese Hagerty / 2012 160 × 160cm PROVENANCE: Tim Olsen Gallery, Sydney (label verso) Private collection, Melbourne $2,500 – 3,500

105 JOHN MILDER (born 1951) Jazz 2007 bronze, ed. 1/7 initialled, editioned and dated at base: JM 1/7 07 85cm (height, including base) PROVENANCE: The Artist Private collection, Melbourne $3,000 – 4,000

106 FRED CRESS (1938-2009) A Watcher Waits 1985 synthetic polymer paint on canvas signed, titled and dated verso: CRESS / “A WATCHER WAITS” 1985 121 × 137cm PROVENANCE: Macquarie Galleries, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: Macquarie Galleries, Sydney, 4-22 March 1986, cat. no. 8 $5,000 – 7,000

107

107 JOHN BAIRD (born 1954) Woman Wearing Pearls wood, metal, paint, faux pearls and ring on wooden base 111 × 92 × 38cm PROVENANCE: Eastgate Gallery, Melbourne 2006 Private collection, Western Australia $2,500 – 3,500

108 DAVID RANKIN (born 1946) The Spirit of the Place V 1997 oil and mixed media on linen signed, titled and dated verso: The Spirit of / the Place / V / Rankin / 97 184 × 124cm PROVENANCE: Adrian Slinger Gallery, Queensland 2006 Private collection, Queensland $3,000 – 5,000

109 HERMAN PEKEL (born 1956) St. Kilda, July 2009 oil on canvas signed, titled and dated lower left: PEKEL09 / ST KILDA JULY signed and titled verso 101 × 198cm PROVENANCE: Private collection, Melbourne $5,000 –8,000

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ARTIST INDEX

ATTRIBUTED TO PAUL KROPINYERI...................... 66 ABDULLA, IAN.............................................................. 58 ALBERTS, TOM.............................................................. 94 AMOR, RICK...................................................................29

GERBER, MATTHYS......................................................47 GRAEVE, MICHAEL...................................................... 42 GUDIPI, WILLIE............................................................. 60

QUILTY, BEN.................................................................. 21

B BAIRD, JOHN............................................................... 107 BARTLETT, GEOFFREY.................................................25 BARTON, DEL KATHRYN.............................................22 BATTERBEE, REX.............................................................8 BECKETT, CLARICE....................................................... 15 BELL, RICHARD..............................................................57 BENNETT, RUBERY......................................... 88, 89, 90 BERGNER, YOSL......................................................72, 73 BERNALDO, ALLAN THOMAS....................................79 BEYNON, KATE............................................................ 54 BLACKMAN, CHARLES................................................. 18 BOSTON, PAUL............................................................. 44 BOYD, THEODORE PENLEIGH................................... 11 BOYD, ARTHUR............................................................. 16 BUCKMASTER, ERNEST.............................................. 84 BUSH, STEPHEN........................................................ 102

C CARRICK FOX, ETHEL.....................................................1 CASSAB, JUDY...............................................................74 CHADWICK, LYNN...................................................... 45 CHRISTANTO, DADANG............................................. 51 CLARK, TONY................................................................ 40 COLQUHOUN, ALEXANDER DOUGLAS................. 13 CONDER, CHARLES.....................................................78 CRAIG, JAMES HUMBERT....................................82, 83 CRESS, FRED................................................................106

D DE JONG, MARC.......................................................... 98 DICKERSON, ROBERT...................................................17 DUNCAN, MARY...........................................................75 DUNLOP, BRIAN.......................................................... 92

E EATON, JANENNE......................................................103 EDKINS, CATHLEEN................................................ 4, 86 EMDUR, MARTINE................................................. 34, 36

F FEINT, ADRIAN....................................................... 14, 76 FIRTH-SMITH, JOHN....................................................95 FULLWOOD, A. H............................................................2

H HAGERTY, MARIE........................................................104 HAGIWARA, BRIAN..................................................... 50 HARPER, MELINDA....................................................... 41 HART, PRO..................................................................... 68 HEYSEN, HANS............................................................. 10

J JOHNSON, TIM.............................................................53

K KERWICK, JORDY.........................................................23 KNIGHT, JASPER...........................................................56 KNOX, W. D................................................................... 85

L LANGTON, CHRISTOPHER.........................................55 LARWILL, DAVID....................................................24, 46 LINDSAY, PETER............................................................93 LONG, LEONARD..........................................................87

M MAGUIRE, TIM...............................................................39 MARRIOTT, FREDERICK............................................... 77 MCGRATH, JAMES........................................................26 MCLEAN, PANTJITE MARY..........................................59 MILDER, JOHN............................................................105 MILLER, VIV..............................................................97, 99 MÖLLER, VERA.............................................................. 19 MORA, MIRKA............................................................... 20 MURRUMURRU, DICK NGULEI-NGULEI................ 64

R RANKIN, DAVID...........................................................108 ROBINSON, WILLIAM............................................31, 33 ROVNER, MICHAL........................................................ 48

S SAWREY, HUGH............................................... 67, 69, 70 SCHATTNER, GILLIE & MARC....................................101 SHEAD, GARRY..............................................................27 SMITH, CARLTON ALFRED......................................... 80 SMITH, PETER JAMES...............................................93A STEVENS, KEITH......................................................... 62 STORRIER, TIM............................................................. 30

T TAYLOR,ANDREW.........................................................35 TAYLOR, HOWARD...................................................... 43 TAYLOR-GHEE, ROBERT............................................. 12 TJAPALTJARRI, GEORGE TJAMPU............................. 61 TJAPANGATI, KANYA...................................................65 TURNER, JAMES ALFRED..............................................6

V VANDERZWEEP, ANTHONY.................................32, 91

W WEI, GUAN.................................................................... 96 WEI WEI, QU..................................................................52 WHITELEY, BRETT........................................................ 28 WITHERS, WALTER......................................................... 7 WOOLAGOODJA et. al., DONNY...........................66A

Z ZAVROS, MICHAEL.......................................................37

NAMATJIRA, ALBERT......................................................9 NAMIRRKKI, IVAN.........................................................63 NOBLE, JILL................................................................. 100 NOLAN, SIDNEY.............................................................71 NORRIE, SUSAN........................................................... 49

P PEKEL, HERMAN.........................................................109 POWER, HAROLD SEPTIMUS............................3, 5, 81 PURCELL, MARISA....................................................... 38

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

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

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

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

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

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

Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage. Title Leonard Joel guarantees good title to all lots. Warranties and Condition Reports Condition reports will be available for any lot upon request, subject to conditions.

Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale. Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer. Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. Credit card fees may apply. Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street, Melbourne VIC 3000 Australia BSB: 033–364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars. Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense. Removal Charges Each lot: $55 Storage Charges Each lot: $33 per day Protection of Movable Cultural Heritage Act 1986 (PMCH Act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell

objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act. Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Leonard Home Delivery Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au

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

CONTACT A LEONARD JOEL SPECIALIST Sale Rooms —

Leonard Joel Specialists —

The Auction Salon —

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

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

Nick Bastiras, Manager

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

INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Specialist DECORATIVE ARTS David Parsons, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Chiara Curcio BA, Head of Department (On Maternity Leave) SYDNEY Ronan Sulich, Senior Advisor Madeleine Norton BFA, BComm, MLitt, Decorative Arts and Fine Art Specialist Marcella Fox, Manager IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney Lauren Boustridge, Senior Specialist and Administrator 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

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

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

LUXURY John D’Agata F.G.A.A., Head of Department Indigo Keane, Assistant

PHOTOGRAPHY Adam Obradovic Paolo Cappelli

PRINTS Hannah Ryan, Art Specialist

GRAPHIC DESIGN Maria Rossi

Lot 23 (detail) JORDY KERWICK (born 1982) Still Life 2017 40 × 30cm $12,000 – 20,000

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