Fine Art

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FINE ART

AUCTION TUESDAY 27 JUNE 2023, MELBOURNE

AUCTION CATALOGUE VOLUME 16 ISSUE 12

LJ8685

COVER: Lot 19 (detail)

VU CAO DAM (Vietnamese, 1908-2000)

Le Cavalier 1978 oil on canvas

99 x 79.5cm

$80,000-100,000

INSIDE COVER: Lot 65 (detail)

SAM LEACH (born 1973)

Landscape for a Better Tomorrow 2019 oil on linen

101.5 x 136.5cm

$20,000-25,000

Courtesy The Artist & Sullivan + Strumpf

leonardjoel.com.au

FINE ART

AUCTION TUESDAY 27 JUNE 2023, 6PM MELBOURNE

VIEWING

Viewing in Melbourne: Friday 23 - Sunday 25 June

Monday 26 - Tuesday 27 June, by appointment 333 Malvern Road, South Yarra, VIC 3141

CONTACT

Please refer to our website for viewing times

leonardjoel.com.au
Lot 58 (detail opposite)
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Looking Abroad

Discovering international works of art amongst Australian collections is always an exciting experience. Our country’s history of immigration has brought onto Australian shores some highly collectible and important artworks, in addition to those collectors who have acquired while abroad.

Our cover lot is the first important painting by Vietnamese modernist, Vu Cao Dam, to come to market in Australia. Acquired by the current owner while travelling in New York in the late 1970s from the esteemed Wally Findlay Galleries, the painting Le Cavalier 1978 (lot 19) highlights the richness and delicacy of Vietnamese painting, infused with the principles of modern art prevalent at the time in Europe. After visiting France in the 1930s, Vu Cao Dam never returned home to Vietnam but retained his cultural heritage through the subjects he painted. His friend and neighbour, Marc Chagall, undoubtedly had an influence on his painting style. Vu Cao Dam’s paintings are now highly sought after by collectors in South East Asia and around the world.

In the early 1930s, at around the same time that Vu Cao Dam was setting foot in Paris, the British artist and printmaker Cyril Power was producing one of his most iconic linocuts, The Tube Station c.1932 (lot 13). After establishing the Grosvenor School of Art in London with Claude Flight in the 1920s, Power began to form his printmaking practice in the ensuing years. As his practice developed, his interest in speed and metropolitan life transpired onto his medium. The Tube Station captures the rapid pace of London’s underground railway system, with Power’s recognisable fluid and sweeping forms indicating the strength at which the train moves through the vortex of the underground tunnel. The Tube Station encapsulates the spirit of the interwar period, a time of rapid urbanisation and social change. This important edition was acquired in England by the photographer, Gwendolyn Morris, before its inheritance to her descendents in South Australia.

These two important international works of art will be presented in our June Fine Art auction alongside other important Australian and International works of art.

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–Lot 13 (detail opposite)

PROVENANCE:

Private collection, Melbourne

Thence by descent

$5,000-8,000

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PROVENANCE:

Sotheby’s, Melbourne, 27 November 1989, lot 267

Private collection, Melbourne

Deutscher~Menzies, Melbourne, 8 August 2004, lot 79 (label verso)

Private collection, Melbourne

The Estate of the above

$15,000-25,000

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1 W.B. MCINNES (1889-1939) Hot Summer’s Day, Trawool, Victoria 1919 oil on canvas signed and dated lower right: McINNES 19 titled on frame verso 50 x 60cm ARTHUR BOYD (1920-1999) Mornington Peninsula 1939 oil on canvas on board signed and dated lower right: Arthur Boyd 39 43.5 x 48.5cm 2 © Arthur Boyd/Copyright Agency, 2023

PROVENANCE: Private collection, Melbourne Thence by descent

EXHIBITIONS:

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

LITERATURE:

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

$12,000-18,000

Lakescene oil on board certified by Daryl Lindsay, then Director, National Gallery of Victoria and Co-Trustee of The Rupert Bunny Estate (label verso) 19 x 21.5cm

PROVENANCE:

Macquarie Galleries, Sydney (label verso) Private collection, Queensland $4,000-6,000

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EMANUEL PHILLIPS FOX (1865-1915) Woodland Scene, France oil on board signed lower left: E. PHILLIPS FOX titled on exhibition label verso 25.5 x 33cm 4 RUPERT BUNNY (1864-1947)

HANS HEYSEN (1877-1968)

Rialto, Venice 1902

watercolour,

21.5

PROVENANCE:

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

WILL ASHTON (1881-1963)

Luxembourg

PROVENANCE:

Quigley & Bonython Antiques, Adelaide 1979

Private collection, South Australia $4,000-6,000

5 pencil and gouache on paper signed, titled and dated lower right: Rialto, Venice / H. Heysen / 1902 x 27.5cm
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6 Gardens, Paris oil on canvas on board signed lower right: WILL ASHTON inscribed lower left: PARIS 36 x 43.5cm

PROVENANCE:

Eastgate

EXHIBITIONS:

Robert

$2,500-4,000

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HERBERT ROSE (1890-1937) Street Scene oil on canvas on board signed lower right: HERBERT ROSE 25.5 x 32.5cm
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PROVENANCE: The Sedon Galleries, Melbourne (label verso) Private collection, Melbourne Thence by descent $2,500-4,500 ROBERT RICHMOND CAMPBELL (1902-1972) Laundry Boat on the Seine oil on canvas on board signed lower left: ROBERT CAMPBELL titled on exhibition label verso 43.5 x 54cm & Holst, Melbourne 2002 Private collection, Melbourne Richmond Campbell: An Australian Impressionist, Queen Victoria Museum and Art Gallery, Launceston, February-March 1986, cat. no. 8 (label verso)

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CELIA PERCEVAL (born 1949)

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PETER WEGNER (born 1953)

Enamel

PROVENANCE:

Anthea Polson Gallery, Queensland (label verso) Private collection, Queensland $5,000-6,000

PROVENANCE:

Australian Galleries, Melbourne (label verso) Private collection, Melbourne $15,000-20,000

Sunlight in Creek Bed with Black Cockatoos oil on canvas signed lower right: Celia Perceval titled on gallery label verso 41 x 51cm
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Bowls and Oil Funnel II 2005 oil on linen signed and dated lower left: WEGNER 2005 titled verso 91 x 182.5cm

PETER MCINTYRE (New Zealander, 1910-1995)

King Country and Woolshed c.1975 oil on board

51.5 x 75cm

PROVENANCE:

John Leech Gallery, Auckland 2001 (accompanied by a certificate of authenticity and original purchase invoice)

Private collection, Melbourne

The Estate of the above $20,000-30,000

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Jeffrey Smart

When looking at an artwork of Jeffrey Smart’s, we may not immediately think of the considered sketches and drawings that took place prior. The adjustments, refinements, and spontaneous scribbles of the pencil that occurred on paper to experiment with an idea to the point of completion are often filled with invaluable insights. Some of Smart’s drawings express a fleeting thought, others are considered and intimate artworks, to be viewed as original creations in their own right. Smart believed vehemently in the tradition of studio drawing, and that draughtsmanship was essential to the success of painting.

“It is my conviction that great painting is based on good drawing. A poor draughtsman cannot be a great painter” 1

After returning to Australia to present his solo exhibition with Australian Galleries in 1986, Smart decided to explore the print medium for the first time resulting in one of his most recognisable images, The Waiting Bus. The final image produced a lithographic print in collaboration with master printmaker, Neil Leveson. Jeffrey provided Neil with a preliminary sketch, illustrating the overall composition with notes for colour preferences, as presented here as lot 12. There are only minor changes from this sketch to the final lithograph. While intended for the specific purpose of becoming a lithograph, The Waiting Bus design exemplifies Smart’s meticulous attention to architectural details and the urban landscape, reinforced in this preparatory drawing. Tonal variations and texture in The Waiting Bus image are clearly defined, details that could only be reproduced accurately by a lithography stone. This process also offered Smart a collaborative dimension to his artistic process, engaging in a dialogue that extended beyond the solitary act of painting. Printmaking allowed Smart to tap into the technical expertise of printers and embrace the possibilities afforded by the medium, becoming an integral part of his later career.

Depicted in an urban landscape, the yellow bus patiently awaits its passengers at an otherwise desolate bus top. Filled with a sense of anticipation, the viewers are faced with a T-intersection and a series of signs and arrows. Steeped in symbolism, Smart invites the viewer to consider The Waiting Bus as a quiet moment in time amidst the urban chaos. The stark architectural elements create visual tension, contrasting the warm and inviting yellow of the bus with the various greys of the landscape, reinforcing the sense of isolation amidst the hustle and bustle of city life. The Waiting Bus exemplifies Smart’s innate ability to highlight the quiet beauty found within the ordinary and everyday.

The decision to ultimately produce The Waiting Bus as a print highlights Smart’s artistic evolution and willingness to explore new mediums. Being able to understand his process further through this dedicated preparatory sketch is invaluable and forms an important part of the artist’s oeuvre.

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JEFFREY SMART (1921-2013)

Drawing Study for The Waiting Bus c.1986 pencil on paper signed, with dedication lower right: For Neil with / immense gratitude & affection, / Jeffrey Smart 18 x 24cm

PROVENANCE:

Gift from the artist to Neil Leveson, Melbourne

The Collection of Dr. Lynne Leveson, Melbourne $20,000-30,000

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1. Smart, J., Jeffrey Smart Drawings and Studies 1942-2001, Australian Galleries in association with Jeffrey Smart and Australian Art Publishing, 2001, p.11
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12 © The Estate of Jeffrey Smart

Cyril Power

Celebrated for his contributions to the Grosvenor School of Modern Art, Cyril Power was a founding member of the Claude Flight group, revolutionising the linocut print medium in the early 20th century. As the oldest child of an architect father, Power’s interest in the arts and design were encouraged throughout his childhood, eventually becoming an architect himself. Power went on to win the Sloane Medallion awarded by the Royal Institute of British Architects (RIBA) for his designs, as well as write and publish a threevolume book, The History of English Medieval Architecture, illustrated with his own drawings.

Moving to London in 1925, Power assisted Claude Flight in establishing the Grosvenor School of Modern Art. While attending Flight’s linocut classes at night, Power taught architecture and structural form during the day. This art and architecture crossover is evident from his early linocut works such as Lavenham 1928 and Westminster Cathedral 1928, each bearing structurally accurate building elements, depicted in monochromatic ink. As his practice developed, so did his interest in movement, speed and metropolitan life. Filled with layered colour and often a touch of humour, this period of his practice is what he is now most celebrated for.

Symbolising the modernisation of the machine and transport, The Tube Station captures the rapid pace of London’s underground railway system during the 1920s and 30s. A vibrant red train emerges from the left, sweeping across the frame and directing the viewer towards the dark tunnel of the underground. Fluid lines and forms indicate the speed at which the train is slicing through the air straight past the railway worker, with their hand raised in motion. Power’s signature design elements are present, from the sweeping art deco design to the blue and green hues mirrored across both the platform and curved arches. The complexities of line and repetitive form hollow out the focal point, paving the way for the red carriage to cut through the centre of the work.

Printed from 5 blocks in yellow ochre, red, light cobalt blue, viridian and dark blue on oriental tissue, The Tube Station captures the essence of movement and vitality that the Grosvenor School was recognised for. Employing the linocut technique, this fluid carved medium allowed its students to create bold, sweeping lines and intricate details with precision and bold colouring, many of which are now housed in major collections including: MOMA, New York; The National Gallery of Australia, Canberra; and Metropolitan Museum of Art, New York, where another impression of this print is housed.

At such a transformative point in modern history, The Tube Station encapsulates the spirit of the interwar period, a time of rapid urbanisation and social change. London’s underground railway system, often referred to as the Tube, became a symbol of modernity and progress. The significance of Power’s prints lay in the fact that he captured London during this exciting period, depicting everyday scenes which are considered to carry cultural significance, but are also highly collectible editions sought after internationally.

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CYRIL POWER (British, 1872-1951)

The Tube Station c.1932

colour linocut on oriental tissue ed. 50/60 signed, titled and editioned lower right: “The Tube Station”/ No. 50/60/ Cyril L. Power 24.5 x 29cm

PROVENANCE:

The Collection of Ms. Gwendolyn Morris, England Thence by descent Private collection, South Australia

EXHIBITIONS:

Modern Colour Prints, Redfern Gallery, London, 21 July – 20 August 1932, cat. no. 2 (another example)

Modern Colour Prints and Wood Engravings from the Redfern Gallery, Old Bond Street, London, Collins House, under the auspices of the Arts and Crafts Society of Victoria, Melbourne, 7 – 23 December 1932, cat. no. 28 (another example)

Out of the Book and On to the Wall: The Relief Print, Australian National Gallery, Canberra, 20 February – October 1984 (another example)

The Grosvenor School: British Linocuts Between the Wars, Museum of Art, Rhode Island School of Design, and touring, cat. no. 45 (illus. in exhibition catalogue, p. 67, another example)

Avant Garde British Printmaking 1917 – 1960, British Museum, London, September 1990 - January 1991 (another example)

Rhythms of Modern Life: British Prints 1914–1939, Museum of Fine Arts, Boston, 30 January – 1 June 2008 and touring, cat. no. 49 (another example)

Modern Britain 1900 –1960, National Gallery of Victoria, Melbourne, 15 November 2007 – 2 4 February 2008 (another example)

Speed and Flight, Auckland Art Gallery Toi O Tamaki, Auckland, 14 April – 15 July 2012 (another example)

LITERATURE:

‘Redfern Gallery’, The Times, London, 23 July 1932, p. 8

Rutter, F., ‘Modern Colour Prints. A Democratic Art’, The Sunday Times, London, 7 August 1932, p. 5

Coppel, S., Linocuts of the Machine Age: Claude Flight and the Grosvenor School, Scolar Press, Aldershot, England, in association with the National Gallery of Australia, Canberra, 1995, cat. no. CEP 32, pp. 98 – 99 (illus., another example)

Vann, P., Cyril Power Linocuts: A Complete Catalogue, Lund Humphries, Farnham, 2008, cat. no. 32, p. 85 (illus., another example)

Ackley, C.S. (ed.), British Prints from the Machine Age: Rhythms of Modern Life 1914–1939, Thames & Hudson, London, 2008, cat. no. 49, pp. 94, 215 (illus. front cover and p. 105, another example)

OTHER NOTES:

Other examples of this print are held in the collections of the Metropolitan Museum of Art, New York; National Gallery of Victoria, Melbourne; Auckland City Art Gallery, Auckland; and the Art Gallery of Ontario, Ontario.

$35,000-45,000

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RON ROBERTSON-SWANN (born 1941)

Vault 2000

aluminium, ed. 10/12 artist’s stamp and edition at base 62 x 32cm

PROVENANCE:

Charles Nodrum Gallery, Melbourne 2003 Private collection, Melbourne

EXHIBITIONS:

Modern Australian Paintings, Charles Nodrum Gallery, Melbourne, 22 April - 8 May 2004, cat. no. 15 (illus., accompanied by a copy of the catalogue)

LITERATURE:

Wallis, G J., Peril In The Square, The Sculpture that Challenged a City, Indra Publishing, Victoria, 2004 (accompanied by a copy of the book)

OTHER NOTES:

This cast is related to the 1978 original commission for the Melbourne City Square, which has been since relocated to ACCA, South Melbourne. $15,000-20,000

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LEONARD GORDON CRAWFORD (1920-1996)

Sevillana c.1960 enamel on board signed lower right: CRAWFORD 62 x 75cm

PROVENANCE:

The Estate of Hal and Kate Hattam Charles Nodrum Gallery, Melbourne 2010 Private collection, Melbourne

EXHIBITIONS:

Modern Australian Paintings, Charles Nodrum Gallery, 18 March - 10 April 2010, cat. no. 12

LITERATURE:

McCaughey P., Two Versions of Melbourne Humanism in the Hattam Collection, Art and Australia, Vol. 6, No. 1, June 1968, p. 52 $5,000-7,000

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LEONARD FRENCH (1928-2017)

Study for Creation

oil and gold leaf on canvas laid on board signed lower right: French 46 x 46cm

PROVENANCE:

Corporate collection, Melbourne Bonhams & Goodman, Masterpieces of Australian Art from the Julian & Miriam Sterling Collection, Melbourne, 26 August 2008, lot 58 Private collection, Melbourne The Estate of the above $6,000-8,000

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DONALD FRIEND (1915-1989)

The Verandah 1954 oil on canvas signed and dated lower left: DONALD FRIEND 54 titled on gallery label verso 36 x 43.5cm

PROVENANCE:

The Johnstone Gallery, Brisbane 1954

Mrs Ivan Lewis, Sydney

The Johnstone Gallery, Brisbane

Dr Peter M. Elliott AM, Sydney Mossgreen Auctions, The Peter Elliott Collection, Sydney, 30 August 2015, lot 21 Savill Galleries, Sydney (label verso, stock no. 610362)

Sotheby’s, The Denis Savill Collection of Australian Art, Sydney, 10 May 2016, lot 2

Private collection, Melbourne

The Estate of the above

EXHIBITIONS:

At Home and Abroad by Donald Friend, The Johnstone Gallery, Brisbane, 24 August6 September 1954, cat. no. 6, 35 gns Donald Friend, Holdsworth Galleries, Sydney, 18 March - 26 April 1975, cat. no. 63 Up Close and Personal: Works from the Collection of Dr Peter Elliott AM, S.H. Ervin Gallery, Sydney, 12 August - 18 September 2011

LITERATURE:

Fry, G., The Peter Elliott Collection of Australian Art, The Beagle Press, Sydney, 2013, cat. no. 40, pp. 64 (illus.), 165 $20,000-25,000

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ILA VASSILIEFF (1897-1958)

Chinese Still Life c.1935 oil on board titled verso 34 x 43cm

PROVENANCE:

The Estate of Elizabeth Vassilieff, New South Wales Private collection, Melbourne

EXHIBITIONS:

Oil Paintings by Danila Vassilieff, The Macquarie Galleries, Sydney (possibly)

LITERATURE:

St. John Moore, F. Vassilieff and His Art, Oxford University Press, London, 1982, p. 141 (as Still Life), cat. no. P24

Art in Australia, A Quarterly Journal, February edition 1936, p. 74 (illus.)

RELATED WORK: Trio, (monkeys, fruit and flowers)

1935, plywood, 45.5 x 51.4cm, The Collection of Mr and Mrs Alan Geddes (illus. in Vassilieff and his Art p.188)

$10,000-15,000

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Vu Cao Dam

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Vietnamese artist, Vu Cao Dam, played a pivotal role in the development of 20th century modern Vietnamese painting. Born in Hanoi, Vu Cao Dam studied at the Indochina College of Fine Arts (École des Beaux-Arts de l’Indochine) graduating in 1931 as a student of sculpture, before moving to Paris on a scholarship. Initially, he was to study sculpture at the École du Louvre but decided instead to focus on painting. After spending this time in Paris’ artistic circles, he remained in France, never to return to Vietnam although forever retaining his heritage within his art practice.

In the early 20th century, an interest in Western art and culture was already infiltrating Japan and China predominantly, soon to be followed by Vietnam and other southeast Asian countries. There were, at this time, three applied arts schools in Vietnam: Thủ Dầu Một, Biên-Hoà and Gia Ðịnh. While these schools were largely founded with the aim of encouraging local traditional craftsmanship, many artists of the time were attune to the demands of a growing European clientele and the art styles they were promoting.

Vu Cao Dam’s father encouraged him to live in France, after having visited himself as a young man with his own artistic talents. Le Phổ, Vu Cao Dam and Mai Trung Thứ were all three graduates of the School of Fine Arts of Indochina and decided to leave Vietnam to settle permanently in France where they could immerse themselves in foreign art circles. Vu Cao Dam thrived in Paris, settling comfortably into the artistic milieu of the bustling city. Although he immersed himself into the social and cultural stimuli of Paris, he did not mirror the artistic style of the French in his subject matter, continuing to honour his homeland in his depictions of the Vietnamese people, folklore, poetry, and landscape. Dam predominantly painted on silk with gouache using traditional Asian techniques, but after living in Paris for nearly twenty years he relocated to the south of France with his wife, Renee, and evolved into new mediums such as tempera. His style, too, changed after residing in southern France studying Matisse, Bonnard, Van Gogh, and other Impressionists, and befriending his neighbour, Marc Chagall, amongst others.

Dam mainly painted figures of women, alongside children, musical instruments, flowers, or horses, with the figure of Kim Van Kieu, from the Vietnamese poem The Tale of Kieu, a favourite. His colour palette favoured pink, lilac, yellow, blue, and shades of white with black detailing. This often reflected a duality between Eastern and Western preferences, with the influence of Chagall very apparent. By the 1960s, Dam was painting with oils on canvas, driven largely by his representation with the American gallery, Wally Findlay.

Dam exhibited his work at annual exhibitions in Paris, such as the Salon d’ Automne and the Salon des Tuileries, as well as numerous other exhibitions in southern France. More recently his paintings have been showcased to the world, with exhibits in London, Brussels, Sweden, and Switzerland. Vu Cao Dam remains one of the most important southeast Asian artists of the 20th century, and a fundamental exponent of Vietnamese modernism.

VU CAO DAM (Vietnamese, 1908-2000)

Le Cavalier 1978 oil on canvas

signed and dated lower left: vu cao dam 78 signed, titled, dated, and inscribed on canvas verso: Le Cavalier/ Vu Cao Dam/ 1978/ No 4/ 890 inscribed on stretcher bar verso: WF N.Y 40F/ 70589 99 x 79.5cm

PROVENANCE:

Wally Findlay Galleries, New York, 1979 (no. 70589, label on backing verso, accompanied by a certificate of authenticity, dated 14 August 1979) Private collection, Melbourne $80,000-100,000

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

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VINCAS JOMANTAS (1922-2001)

Girl with Birds 1958/1976

bronze shell cast, brown oil patina

created by Vincas Jomantas, Melbourne, in 1958 and cast by Vittoro & Fernando Art Foundry, Melbourne, in 1976

135.5 x 68.5cm

PROVENANCE:

Created by Vincas Jomantas, Melbourne, Victoria, Australia 1958

Cast by Vittoro & Fernando Art Foundry, Moorabbin, Melbourne, Victoria, Australia 1976

Sold by Rudy Komon Gallery, Woollahra, Sydney, New South Wales, Australia to the National Gallery of Australia, Canberra, Australian Capital Territory, Australia 1976

Deaccessioned from the collection of the National Gallery of Australia, Canberra, Australian Capital Territory, Australia 2020

OTHER NOTES:

Girl with Birds is known to exist in an edition of two. Both works were acquired by the Interim Council of the National Gallery in 1976, with one work intended for the permanent collection, and the other for loan to international embassies.

$25,000-35,000

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§ RICK AMOR (born 1948)

Study for the Librarian’s Daughter 2013 pencil on paper signed and dated lower left: Rick Amor 7/6/13 titled on gallery label verso 56 x 55.5cm

PROVENANCE:

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

EXHIBITIONS: Rick Amor, Paintings, Drawings and Watercolours, Niagara Galleries, Melbourne, 28 August - 22 September 2018, cat. no. 13 (illus. in exhibition catalogue)

$4,000-6,000

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LOUIS JAMES (1920-1996)

High Noon (No Right Turn) 1966 oil on board signed and dated lower right: Louis James ‘66 signed, titled and dated verso 68 x 79cm

PROVENANCE: Private collection, Adelaide Hill Smith Gallery, Adelaide 2000

Private collection, Melbourne

LITERATURE: Luck, R. K., A Guide To Modern Australian Paintings, Sun Books, Australia, 1969, p. 58 (illus.) (accompanied by a copy of the book)

$4,000-6,000

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PETER D. COLE (born 1947)

Kelly Story 2002 painted and patinated brass, bronze and aluminium signed and dated at base: P.D. Cole 2002 110 x 57 x 15cm

PROVENANCE:

Australian Galleries, Melbourne 2008 Private collection, Melbourne

$8,000-10,000

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23 © Peter D. Cole/Copyright Agency, 2023

(Image

PROVENANCE:

Gift from Barbara Tucker, 2007 (dedication on backing verso) Private collection, Melbourne $12,000-18,000

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Girl

PROVENANCE: Wagner Art Gallery, Sydney (label verso) Southern Cross Gallery, Melbourne Private collection, Melbourne Shapiro Auctioneers, Sydney, 29 August 2017, lot 5 Private collection, Melbourne $12,000-16,000

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§ ALBERT TUCKER

Landscape with Bird oil on board signed lower right: Tucker 25 x 35cm

PROVENANCE:

Leonard Joel, Melbourne, 6 June 2017, lot 8A Private collection, Melbourne $10,000-15,000

(1914-1999) CHARLES BLACKMAN (1928-2018) in the Park oil on paper on board signed upper right: BLACKMAN titled on gallery label verso 36 x 46cm
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ALBERT TUCKER (1914-1999) of Modern Evil) 1978 mixed media on paper signed and dated lower right: Tucker ‘78 37 x 44.5cm
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24 © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art

90

PROVENANCE:

The Artist

Acquired by Denis Savill, c.1995

Private collection, New South Wales

Private collection, Queensland $70,000-90,000

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ARTHUR BOYD (1920-1999) Shoalhaven oil on canvas signed lower right: Arthur Boyd inscribed verso: Studio Assistant / RAMSHOLT / Hugh Webster x 120.5cm 27 © Arthur Boyd/Copyright Agency, 2023

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JOHN PERCEVAL (1923-2000)

Williamstown Jetty oil on linen signed lower left: Perceval signed and titled verso 25 x 30.5cm

PROVENANCE:

Eva Breuer Art Dealer, Sydney (label verso) Private collection, Sydney

Shapiro Auctioneers, Sydney, 29 August 2017, lot 6 Private collection, Melbourne $6,000-8,000

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STANISLAUS RAPOTEC (1913-1997)

Blue & Yellow Flowers 1989 oil on board signed and dated lower centre: Rapotec 89 75 x 56cm

PROVENANCE: Private collection, Sydney Private collection, Melbourne $4,000-6,000

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MIRKA MORA (1928-2018)

Untitled 2007 watercolour and gouache on paper signed and dated lower right: 07. MiRKA 29.5 x 41.5cm

PROVENANCE:

William Mora Galleries, Melbourne (stamp verso) Private collection, Queensland $5,000-7,000

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JOHN PERCEVAL (1923-2000)

Untitled 1951 ceramic tiles (9) signed and dated upper right: John / Perceval / 1951 46 x 46cm

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

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31 © John Perceval/Copyright Agency, 2023

JOY HESTER (1920-1960)

(Portrait of a Girl) 1956

ink wash, pencil and charcoal on paper signed and dated lower right: Joy Hester. / 56 34.5 x 25.5cm

PROVENANCE:

The Collection of Sunday Reed

The Collection of Frank Kellaway, acquired from the above

Thence by descent

Joel Fine Art, Melbourne 16 October 2006, lot 9

Private collection, Melbourne

The Estate of the above $12,000-16,000

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MAX DUPAIN (1911-1992)

Sunbaker 1937

silver gelatin, printed c.1970s signed and dated lower right: Max Dupain ‘37 signed and dated verso 36.5 x 41.5cm

PROVENANCE:

Church Street Photographic Centre, Melbourne c.1980s

Private collection, Melbourne

Leonard Joel, Melbourne, 23 June 2015, lot 110 Private collection, Melbourne

EXHIBITIONS:

The Thirties and Australia, S.H. Ervin Gallery, Sydney, 19 June - 13 July 1980, cat. no. 101 (another example)

Max Dupain Retrospective 1930-1980, Art Gallery of New South Wales, Sydney, 29 August - 28 September 1980, cat. no. 28 (another example)

Ten Years on, Art Gallery of New South Wales, Sydney, January 1986 (another example)

Celebrity Choice - Sam Neill, Art Gallery of New South Wales, Sydney, 8 January - 8 February 1987 (another example)

Four Photographers, Art Gallery of New South Wales, Sydney, 2 June - 19 August 1990 (another example)

Fine and Mostly Sunny: Photographs from the Collection, Art Gallery of New South Wales, Sydney, 28 September - 1 December 1991, cat. no. 22 (another example)

Max Dupain - An Appreciation, Art Gallery of New South Wales, Sydney, 11-30 August 1992 (another example)

Soft Shadows and Sharp Lines: Australian Photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney, 30 September17 November 2002 (another example)

On the Beach: With Whiteley and Fellow Australian Artists, The Brett Whiteley Studio, Sydney, 1 March29 June 2003 (another example)

Modern Times, Powerhouse Museum, Sydney, 1

August 2008 - 8 February 2009 (another example)

The Photograph and Australia, Art Gallery of New South Wales, Sydney, 21 March - 8 June 2015 (another example)

The Photograph and Australia, Queensland Art Gallery, Brisbane, 4 July - 11 October 2015 (another example)

LITERATURE:

Missingham, H., Dupain, M., Max Dupain Photographs, Ure Smith, Sydney, 1948, plate 7 (illus., another example)

The Thirties and Australia, S.H. Ervin Gallery, Sydney, 1980, p.18 (illus., another example)

Newton, G., Max Dupain: Photographs 1928-80,

The David Ell Press, Sydney, 1980, p. 64 (illus., another example)

Max Dupain’s Australia, Viking Press, Sydney, 1986, p. 104 (illus., another example)

Ennis, H., Max Dupain: Photographs, National Gallery of Australia, Canberra, 1991, p. 18 (illus., another example)

White, J., Smee, S. and Cawood, M., Dupain’s Beaches, Chapter and Verse, Sydney, 2000, p. 69 (illus., another example)

Annear, J., The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, pp. 40, 50, 104, 294 (another example)

$15,000-20,000

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32 © Joy Hester/Copyright Agency, 2023

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LUDWIG HIRSCHFELD-MACK (German/Australian, 1893-1965)

Cathedral Ranges 1944 watercolour on paper 38 x 55.5cm

PROVENANCE:

Gift of Val Russell (sister in law of the artist)

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

35

RUPERT BUNNY (1864-1947)

Lady with a Fan c.1898 monotype monogrammed upper left: RWB 33.5 x 23.5cm

PROVENANCE:

The Collection of Mrs. F. E. M. Plews, Melbourne Thence by descent

Private collection, Melbourne

LITERATURE:

Thomas, D., The Life and Art of Rupert Bunny, A Catalogue Raisonne: Vol. 2, Thames & Hudson, London 2017, p. 111, cat. no. M41 $6,000-8,000

36

WILLIAM BOISSEVAIN (born 1927)

Interior Scene oil on canvas signed lower right: W Boissevain 56 x 53cm

PROVENANCE:

Private collection, Perth

Thence by descent

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

24
36

37

ALBERT HENRY FULLWOOD (1863-1930)

Jerusalem Bay, Ku-ring-gai Chase oil on board initialled lower left: AHF title inscribed verso 11.5 x 24.5cm

PROVENANCE: Private collection, Melbourne Thence by descent

$4,000-6,000

38

THEODORE PENLEIGH BOYD (1890-1923)

Sydney Harbour 1922 oil on canvas signed and dated lower left: Penleigh Boyd/ 22 75 x 100.5cm

PROVENANCE: Private collection, Melbourne Thence by descent

$25,000-35,000

39

NORMAN LINDSAY (1879-1969)

Reclining Nude oil on canvas laid on board accompanied by a certificate of authenticity signed by Helen Glad 42 x 53cm

PROVENANCE:

Anthea Polson Gallery, Queensland (label verso) Private collection, Queensland $20,000-25,000

25
38 39

40

NORMAN LINDSAY (1879-1969)

41

ADRIAN FEINT (1894-1971)

42 WILL ASHTON (1881-1963)

28 x 37.5cm

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

PROVENANCE: Private collection,

PROVENANCE:

Leonard Joel, Melbourne, 6 July 1983, lot 769

Private collection, Victoria

Menzies, Melbourne, 27 February 2020, lot 86 (label verso)

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

26
Nude Figures oil on canvas on board signed lower left: NORMAN LINDSAY 33.5 x 30cm Still Life 1968 oil on board signed and dated lower left: Adrian Feint 1968 14 x 14cm
42
Brisbane $3,000-5,000 La Perouse Monument c.1919 oil on canvas signed lower right: WILL ASHTON

PROVENANCE:

Savill Galleries, Melbourne 2005 (label verso) Private

EXHIBITIONS:

The Works of Arthur Boyd, Savill Galleries, Sydney, 12 May - 6 June 1998, cat. no. 19

$60,000-80,000

27
43 ARTHUR BOYD (1920-1999) The Grampians c.1970 oil on board signed lower right: Arthur Boyd titled on gallery label verso 90 x 120cm collection, Melbourne The Estate of the above 43 © Arthur Boyd/Copyright Agency, 2023

44

Glimpse

45

The

PROVENANCE: Private collection,

PROVENANCE: Private collection,

The

48

PROVENANCE:

Christie’s, Melbourne, 24 November 1999, lot 27

Private collection, Melbourne

Menzies, Sydney, 25 March 2010, lot 78 (label verso)

Private collection, Melbourne $18,000-25,000

28
KEN KNIGHT (born 1956) of Mosman Bay 2004 oil on board signed lower right: KEN KNIGHT title inscribed verso 147.5 x 77cm Melbourne $6,000-8,000 HUGH SAWREY (1923-1999) Bush Lawyer oil on canvas signed lower right with thumbprint: SAWREY signed and titled on stretcher bar verso 34 x 44.5cm London $6,000-8,000 46 CHARLES BLACKMAN (1928-2018) Red Earth oil on paper on board signed lower left: BLACKMAN titled verso x 73cm 46 © Charles Blackman/Copyright Agency, 2023

PROVENANCE:

RELATED WORK:

48

DAVID

The

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

49

64

PROVENANCE:

Pinacotheca Gallery, Melbourne

Private collection, Sydney Private collection, Melbourne

$5,500-7,500

29
PETER BOOTH (born 1940) Untitled (Birdwood Series) 1978 pastel on paper signed with dedication verso (concealed): FOR TRACEY / FROM / PETER x 102cm 47 NOEL COUNIHAN (1913-1986) Woman at the Window 1981 oil on canvas signed and dated lower right: Counihan ‘81 90 x 121cm Private collection, Melbourne Woman at the Window 1981, lithograph A/P , 43.4 x 59.8 cm, The Collection of the National Gallery of Australia, Canberra. $12,000-18,000 BOYD (1924-2011) Ship and the Sunflower 1973 oil on canvas signed and dated lower left: David Boyd 1973 titled on stretcher bar verso 71.5 x 90.5cm 47 © Noel Counihan/Copyright Agency, 2023

50

ARTHUR BOYD (1920-1999)

Nebuchadnezzar ink and watercolour on paper signed lower right: Arthur Boyd 31 x 35.5cm

PROVENANCE:

Leonard Joel, Melbourne, 26 November 1991, lot 552 Private collection, Melbourne $5,000-7,000

51

PETER POWDITCH (1942-2022)

Sun Torso 130 (Bunch) 1972 oil on board signed, titled and dated verso: Sun-Torso (Bunch) 72 Powditch 137.5 x 122cm

PROVENANCE: Gallery A, Melbourne Private collection, Melbourne

EXHIBITIONS:

Travelodge Art Prize, 1972, cat. no. 31 Gallery A, Melbourne, 25 September8 October 1973, cat. no. 20 $9,000-12,000

52

MIRKA MORA (1928-2018)

Erotic Scene 1974 pastel and charcoal on paper laid on board signed and dated upper left: mirka. 74 56 x 76cm

PROVENANCE: The Artist

The Collection of Irena and Andrew Sibley

Thence by descent

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

30
53 © Alun Leach-Jones/Copyright Agency, 2023

53

ALUN LEACH-JONES (1937-2017)

Music of Colours No. 1 1989 synthetic polymer paint on canvas signed and titled verso: A Leach-Jones/The Music of Colours #1

122 x 137cm

PROVENANCE:

Corporate collection, Adelaide Private collection, Melbourne

LITERATURE:

Ballard, B., Butler, R., Goodman, J., Alun Leach-Jones Painting & Sculpture, Marnling Press, Sydney, 2008, p. 91 (illus.) (accompanied by a copy of the book)

$8,000-12,000

54

PIPPIN DRYSDALE (born 1943)

Sticky Kurrajong 2009

From the Kimberley Series II porcelain, closed form signed, dated and inscribed at base: PIPPIN/ DRYSDALE/ CODE/ 26-09/ 2009/ KIMBERLEY/ SERIES II 40 x 21cm

PROVENANCE:

Linton & Kay Galleries, Perth Private collection, Melbourne

EXHIBITIONS:

The Patterning of Light: Breakaway Series II, Linton & Kay Galleries, Perth, 9-31 October 2021

$7,000-9,000

55

COLIN LANCELEY (1938-2015)

Country Fair 1984 mixed media on paper signed and dated lower right: Colin Lanceley 7 8 ‘84 titled lower left 105 x 237cm

PROVENANCE: Private collection, Queensland

$5,000-8,000

31
54 © Pippin Drysdale/Copyright Agency, 2023

Untitled

signature of Merle Kemp verso, dated 15.12.89 134 x 144cm

PROVENANCE: Corporate collection, Melbourne $20,000-30,000

168 x 137cm

PROVENANCE:

Olsen Irwin Gallery at Sydney Contemporary, Sydney 2015 Private collection, Melbourne

EXHIBITIONS:

Olsen Irwin Gallery at Sydney Contemporary, Sydney, 10 - 13 September 2015 $14,000-18,000

58

Untitled (Jane Doe) 2013 mixed media on paper laid on canvas signed and dated verso: RONE/July-2013 243 x 182cm

PROVENANCE: The Artist Corporate collection, Melbourne $15,000-20,000

32
56 ROGER KEMP (1908-1987) c.1979 synthetic polymer paint on cartridge paper mounted on canvas artist’s name, title and medium on unknown label verso
56
57 PAUL DAVIES (born 1979) Displaced, Home Forest 2014 synthetic polymer paint on canvas signed lower right: Pdavies signed, titled and dated verso RONE (born 1980)

59 PATRICK DAGG (born 1985)

King (for Phillip) 2017

neon, ceramic glaze and oil on linen signed, titled and dated verso: dagg / 2017 / “KING (FOR PHILLIP)”

199.5 x 199cm

PROVENANCE:

James Makin Gallery, Melbourne Private collection, Melbourne $8,000-10,000

60 TIM MCMONAGLE (born 1971)

Purple Patch I 2004 oil on canvas

83.5 x 83.5cm

PROVENANCE:

Crossley & Scott Gallery, Melbourne 2004 Private collection, Melbourne $1,500-2,500

61 BEN QUILTY (born 1973)

Untitled 2005

aquarelle on paper signed and dated in pencil verso: Ben Quilty 05 17.5 x 15cm

PROVENANCE:

Acquired directly from the artist Private collection, South Australia $3,000-5,000

33

62

ADAM CULLEN (1965-2012)

Infanticide 2002

ink, enamel and synthetic polymer paint on canvas artist’s name, title and date on exhibition label verso 152.5 x 182.5cm

PROVENANCE:

Michael Reid Galleries, Sydney Private collection, Melbourne

EXHIBITIONS:

Adam Cullen - Product of Compulsion, Michael Reid Galleries, Sydney, 14-31 March 2005, cat. no. 16 (label verso)

LITERATURE:

Periz, I., Adam Cullen - Scars Last Longer, Craftsman House, Melbourne, 2004, p.96 (illus.) $20,000-30,000

63

GLENN BARKLEY (born 1972)

Greek Style Pot with Extrusions and Ears 2021 earthenware and glaze 49cm (height)

PROVENANCE:

Sullivan+Strumpf, Sydney Private collection, Melbourne $2,000-3,000

64

MELINDA HARPER (born 1965)

Untitled No. 12 2005 oil on linen signed and dated verso: Melinda Harper 2005 titled on gallery label verso 80 x 80cm

PROVENANCE:

Tim Olsen Gallery, Sydney (label verso)

Private collection, Queensland

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

34
66 Courtesy The Artist & Sullivan + Strumpf

Landscape

PROVENANCE:

Sullivan+Strumpf at Sydney Contemporary, 2019 Private

EXHIBITIONS:

Sullivan+Strumpf at Sydney Contemporary, Sydney, 12 - 15 September 2019

$20,000-25,000

PROVENANCE:

PROVENANCE: The Artist Private collection, Queensland $18,000-24,000

35
65 SAM LEACH (born 1973) for a Better Tomorrow 2019 oil on linen signed and dated verso: Sam Leach/ 2019 101.5 x 136.5cm collection, Melbourne 66 SAM LEACH (born 1973) Two Lions oil and resin on board 30 x 42cm The Artist Private collection, Melbourne $9,000-12,000 67 © Peter Smets/Copyright Agency, 2023 67 PETER SMETS (born 1962) Highway Petrol oil on canvas signed lower right: Peter Smets 110 x 139.5cm

68

SAM MITCHELL (New Zealander, born 1971)

Mixed 2006 synthetic polymer paint on perspex signed and dated verso: Sam. MITCHELL / MAY 06 / AUCKLAND. NZ titled verso 38 x 28.5cm (reveal)

PROVENANCE: Acquired directly from the artist Private collection, South Australia $2,000-3,000

69

MICHAEL JOHNSON (born 1938)

Southern Refraction 2012-13 oil on linen signed, titled and dated verso: Southern Refraction/ Michael Johnson 2012/13 152 x 121.5cm

PROVENANCE: Private collection, Melbourne Art Index, Sydney 2014 Private collection, Melbourne $12,000-16,000

70

MICHAEL LINDEMAN (born 1973)

Regression Painting (Droll Figures...) 2022 synthetic polymer paint on mirror signed and dated verso: MLindeman 2022 titled on frame verso 51 x 42cm

PROVENANCE:

Sullivan+Strumpf, Sydney Private collection, Melbourne $1,800-2,800

36
68

PROVENANCE: Private collection, Melbourne

PROVENANCE: Adrian Sassoon, London Private collection, Melbourne

37
72 JUNKO MORI (Japanese, born 1974) British Hedgerow Cup 2018 fine silver 999 initialled at top: JM 8.5 x 8 x 8cm $2,500-3,500 69 © Michael Johnson/Copyright Agency, 2023 71 DAVID LARWILL (1956-2011) Can’t Say Too Much 1993 mixed media on paper signed, titled and dated below image: “can’t say too much” 1993 David Larwill 73.5 x 55cm (sheet) $3,000-5,000

73

JUNKO MORI (Japanese, born 1974)

Silver Poetry, Spring Fever Haiku 2020 forged fine silver 999, 320g initialled at base: JM

5.5 x 8.5 x 8cm

PROVENANCE:

Adrian Sassoon, London Private collection, Melbourne $5,000-7,000

74

CHRISTINE JOHNSON (born 1958)

Begonias III 2009 oil on linen signed, titled and dated verso: Christine Johnson / 2009 / ‘Begonias III’ 112 x 127cm

PROVENANCE:

Australian Galleries, Melbourne (label verso) Private collection, Melbourne $4,000-6,000

75

SARAH FAULKNER (born 1959)

Dinnertime 2003 oil on linen signed and dated lower right: S Faulkner 03 titled on gallery label verso 106 x 122cm

PROVENANCE:

Christine Abrahams Gallery, Melbourne (label verso) Private collection, Melbourne

EXHIBITIONS:

Sarah Faulkner, New Life, New Work, Christine Abrahams Gallery, Melbourne, 27 July - August 2004, cat. no. 10 $3,000-5,000

38

Interior

PROVENANCE:

Leonard Joel, Melbourne, 27 April 1992, lot 345 Private collection, Melbourne $5,000-7,000

152 x 122cm

PROVENANCE:

Papunya Tula Artists Pty. Ltd., Alice Springs Alcaston Gallery, Melbourne Private collection, Melbourne $6,000-8,000

PIPPIN

Orca Pod Collection 2021 ceramic, 5 items each signed and dated at base sizes vary; largest 10cm (height)

PROVENANCE:

Linton & Kay Galleries, Perth Private collection, Melbourne

EXHIBITIONS:

The Patterning of Light: Breakaway Series II, Linton & Kay Galleries, Perth, 9-31 October 2021

$7,500-9,500

39
76 JERZY MICHALSKI (born 1949) with Red Columns 1990 oil on canvas signed and dated lower right: JERRY MICH / 1990 signed, titled and dated verso 86 x 183cm 77 LORNA BROWN NAPANANGKA (born 1961) Untitled 2003 synthetic polymer paint on canvas inscribed verso with artist’s name, Papunya Tula Artist’s cat. no. LB0305013 and Alcaston Gallery cat. no. AK9708 78 DRYSDALE (born 1943) 74 © Christine Johnson/Copyright Agency, 2023

79 JOHN COBURN (1925-2006)

Study for ‘Dry Summer with Cloud’ gouache and pastel on paper signed lower right: Coburn titled lower centre 34 x 40cm

PROVENANCE:

Private collection

Leonard Joel, Melbourne, 21 March 2017, lot 214

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

80 § JOHN OLSEN (1928-2023) Spoonbill ink on paper initialled lower right: JO 48 x 26.5cm (sheet)

PROVENANCE: Lawson~Menzies, Sydney, 15 November 2012, lot 209

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

81 PETER WEGNER (born 1953)

Still Life oil on board signed lower left: Wegner 90 x 65cm

PROVENANCE:

Gift of the artist Private collection, Melbourne $8,000-12,000

82 © Anne Marie Graham/Copyright Agency, 2023
40

82

ANNE MARIE GRAHAM (born 1925)

Children’s Games 2006 oil on linen, triptych

signed and dated lower right: Anne Marie Graham ‘06 titled on artist’s label verso 121 x 241cm (overall)

PROVENANCE:

The Artist’s Studio, Melbourne (label verso) Private collection, Melbourne

The Estate of the above $8,000-12,000

83

KIRSTEN COELHO (born 1966)

Bowl 2020

porcelain, saturated iron glaze

initialled at base: K 17 x 25.5cm

PROVENANCE: Philip Bacon Galleries, Brisbane

Private collection, Melbourne $2,800-3,800

84

§ DONALD FRIEND (1915-1989)

Still Life with Nude Drawing 1984

watercolour on paper

signed, dated and titled lower right: Still Life with / NUDE DRAWING / Donald Friend / ‘84 55.5 x 76.5cm

PROVENANCE:

Private collection, Sydney

Shapiro Auctioneers, Sydney, 10 June 2020, lot 83

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

41

85

GRAHAME KING (1915-2008)

Italian Landscape with Lake 1948 oil on canvas signed and dated lower left: G King 48 titled on exhibition label verso inscribed verso: “NEMI” ‘48 44 x 56cm

PROVENANCE:

Eastgate & Holst, Melbourne 2011 Private collection, Melbourne

EXHIBITIONS:

Grahame King Selected Works 1938-1996, Eastgate & Holst, Melbourne, 16 April - 22 May 2011 (illustrated in exhibition catalogue)

LITERATURE:

Grishin, S., The Art of Grahame King, MacMillan Art, Melbourne 2005, p. 22 (illus.) $3,000-5,000

86

PERCY WATSON (1919-1995)

Beach Trio c.1950 oil on board signed lower left: Percy Watson titled verso 71 x 74cm

PROVENANCE:

Eastgate Gallery, Melbourne 1998 Private collection, Melbourne

EXHIBITIONS:

Percy Watson, Selected Works 1935-1969, Eastgate Gallery, Melbourne, 1998, cat. no. 6 $4,000-6,000

87

JEFFREY SMART (1921-2013)

Study for ‘Waiting for the Hovercraft’ 1985 watercolour, charcoal and ink on paper signed lower right: Jeffrey Smart.

33.5 x 27cm

PROVENANCE:

Rex Irwin Art Dealer, Sydney (label verso) The Collection of Dr. and Mrs N. Jools

Lawsons, Sydney, 8 June 2017, lot 549 Private collection, Melbourne

EXHIBITIONS:

Jeffrey Smart, Rex Irwin Art Dealer, Sydney, 3-21 November, 1987, cat. no. 17, $1500.00

LITERATURE:

McDonald, J. , Jeffrey Smart Paintings of the 70’s and ’80’s, Craftsman House, Roseville, 1990, p.161, cat. no. 316

Fry, G., The Nic Jools Collection, The Beagle Press/Knox Grammar School, Sydney, 2011, p. 64 (Illustrated)

$4,000-6,000

42
85 86

DONALD FRIEND (1915-1989)

Portrait with Fruit Bowl ink, gouache and pastel on paper signed and inscribed lower right: Donald Friend / Bali. 48 x 32.5cm

PROVENANCE:

Deutscher~Menzies, Sydney, 14 July 2006, lot 53 (as ‘Young Boy, Bali’) Private collection, Melbourne The Estate of the above

$4,000-5,000

89

DAVID STRACHAN (1919-1970)

Seated Nude 1968 oil on canvas, laid on board signed and dated lower left: d Strachan 68 19 x 39cm

PROVENANCE:

The Johnstone Gallery, Brisbane (label verso) Private collection, Melbourne $3,000-5,000

90

DONALD FRIEND (1915-1989)

Figures ink and gouache on paper signed upper right: Donald Friend 54 x 37cm

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

91

DANILA VASSILIEFF (1897-1958)

Lisa Picking Plums 1947 oil on canvas titled and dated on unknown label verso 67 x 59cm

PROVENANCE:

The Estate of Elizabeth Vassilieff, New South Wales Private collection, Melbourne

LITERATURE:

St John Moore, F. Vassilieff and His Art, Oxford University Press, London, 1982, p. 154, cat. no. P227 $12,000-18,000

91

43 88

92

NORMAN LINDSAY (1879-1969)

Preliminary Study for ‘Merchandise’ pencil on paper initialled lower centre: N.L titled on The Bloomfield Galleries authentication label verso 39.5 x 41.5cm

PROVENANCE: Private collection, Brisbane Mossgreen Auctions, Melbourne, 27 November 2017, lot 114

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

93 NORMAN LINDSAY (1879-1969) The Green Drape c.1960 oil on canvas on board signed lower right: NORMAN LINDSAY accompanied by a certificate of authenticity signed by Helen Glad 79.5 x 37.5cm

PROVENANCE: Lawson~Menzies, The Estate of Harry McPhee, 27 October 2004, lot 41 Private collection, Sydney $25,000-35,000

94 JAMES R. JACKSON (1882-1975)

Sunday Morning, Avalon Beach NSW oil on canvasboard signed lower left: JAMES R JACKSON artist’s name and title inscribed verso 16 x 37.5cm

PROVENANCE: Malvern Fine Art Gallery, Melbourne 1968 Private collection, Melbourne $2,500-3,500

44
93

PROVENANCE:

PROVENANCE:

45
95 J.H. SCHELTEMA (1861-1941) Timberyard oil on canvas signed lower right: J H Sheltema 49 x 75cm Private collection, Melbourne Leonard Joel, Melbourne, 26 November 2019, lot 12 Private collection, Melbourne $8,000-12,000 96 96 J.H. SCHELTEMA (1861-1941) Cattle by the Water oil on canvas signed lower right: J. H. Scheltema 70 x 100cm Private collection, Sydney $12,000-16,000

97

HENRY GRITTEN (British/Australian, 1818-1873)

Landscape 1866

oil on canvas

signed and dated lower left: H. GRITTEN/ 1866 44 x 71.5cm

PROVENANCE:

The Collection of Mr. Neale Harrison (1850-1918), c.1874

The Collection of Mrs. Elsie Gidney (née Harrison), by descent from the above

Private collection, Victoria c.1974, by descent from the above

Thence by descent

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

98

HENRY LEONARDUS VAN DEN HOUTEN (Dutch/Australian, 1801-1879)

Man Fishing 1874 oil on canvas

signed and dated lower right: H L van den Houten / 1874 44 x 60cm

PROVENANCE:

Deutscher~Menzies, Sydney, 13 March 2007, lot 93

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

99

LOUIS BUVELOT (1814-1888)

At Bacchus Marsh 1878

watercolour and gouache on paper signed and dated lower right: L. Buvelot 1878 signed and titled verso 25.5 x 35cm

PROVENANCE: Private collection, Melbourne

The Estate of the above $3,000-5,000

46
97

STANHOPE

Lake

70 x 90cm

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

PROVENANCE: Private collection, England Private collection, Perth Thence by descent

EXHIBITIONS:

The Royal Institute of Oil Painters, London, cat. no. 1 (label verso) $12,000-18,000

EDWARD

Maori Woman Weaving With Kete c.1910 oil on canvas signed lower left: Edward Friström. 60 x 50cm

PROVENANCE:

Private collection, Auckland

Dunbar Sloane, Auckland, 27 April 2001, lot 517

Private collection, Melbourne The Estate of the above

$7,000-9,000

47
100
ALEXANDER FORBES (British, 1857-1947) Scene with Village House 1902 oil on canvas signed lower left: StanhopE a FORBES / -02
98
101 CHARLES SPENCELAYH (British, 1865-1958) A Family Treasure oil on board signed lower right: C. SPENCELAYH. titled on exhibition label verso 29 x 19cm 102 FRISTRÖM (New Zealander, 1864-1950)

103

CONSTANTIN HANSEN (Danish, 1804-1880)

Portrait of Frederik Kobke 1865 oil on canvas initialled and dated lower right: C.H./ 1865 61.5 x 51cm

PROVENANCE:

Bruun Rasmussen, Denmark Private collection, Canberra $5,000-7,000

104

GEORG ACHEN (Danish, 1860-1912)

Portrait of the Artist’s Father, Eggert Christopher Achen 1905 oil on canvas signed and dated lower right: G. Achen. 05. 73.5 x 64cm

PROVENANCE:

Bruun Rasmussen, Denmark (label verso) Private collection, Canberra $10,000-15,000

105

LEANDER ENGSTROM (Swedish, 1886-1927)

Portrait 1922 oil on canvas signed and dated upper right: Leander Engstrom/ 1922 115 x 88cm

PROVENANCE:

Uppsala Auktionskammare, Sweden (label verso) Private collection, Canberra $2,000-4,000

48
104

106

LARS JORDE (Norwegian, 1865-1939)

Woman

19

107

BO

PROVENANCE:

Christiania Auksjoner, Norway Private collection, Canberra $2,500-4,500

PROVENANCE:

Bukowskis, Sweden

Private collection, Canberra $1,000-1,500

108

SVEN ERIXSON (Swedish, 1899-1970)

Eel

ERIXSON 34 75 x 74cm

PROVENANCE:

Uppsala Auktionskammare, Sweden (label verso) Private collection, Canberra $4,000-6,000

49
Spinning 1919 oil on board signed and dated lower right: LARS JORDE/ 39 x 45cm BESKOW (Swedish, 1906-1989) On The Terrace 1941 oil on canvas signed and dated lower right: Beskow/ 1941 81 x 90cm Sheds 1934 oil on board signed and dated lower left: SVEN/
106

109

WAYNE EAGER (born 1957)

St. Kilda 1985

mixed media on board artist’s name, title and date inscribed on gallery label verso

123 x 137.5cm

PROVENANCE:

Anima Gallery, South Australia

Private collection, South Australia

$4,000-6,000

110

DAVID LARWILL (1956-2011)

Skin Diving 1988 oil on canvas signed and dated indistinctly lower right: larwill ‘88 artist’s name, title and date inscribed on stretcher bar verso

98.5 x 97.5cm

PROVENANCE:

William Mora Galleries, Melbourne Private collection, Melbourne

EXHIBITIONS:

David Larwill: Recent Works, William Mora Galleries, Melbourne, 17 September - 8 October 1988, cat. no. 9

$7,000-9,000

111

MARICELLE OLIVIER (South African, born 1995)

La Piéce de Résistance 2021 hand built red raku with slip and underglaze 35 x 48cm

PROVENANCE:

Sabbia Gallery, Sydney Private collection, Melbourne

$1,800-2,800

50
111 Courtesy The Artist & Sabbia Gallery, Sydney

112

WAYNE EAGER (born 1957) Heartland 2002 oil on linen signed and dated verso: WAYNE EAGER 2002

152 x 137.5cm

PROVENANCE:

Nellie Castan Gallery, Melbourne Private collection, Melbourne $3,000-4,000

113

JEFFREY

PROVENANCE:

Sotheby’s, Melbourne, 18 June 1995, lot 433 Private collection, Melbourne

EXHIBITIONS:

Sulman Prize, Art Gallery of New South Wales, Sydney, 1983 (finalist)

Jeff Makin, Victor Mace Fine Art Gallery, Brisbane, 25 May - 13 June 1984 (label verso) $5,000-6,000

114

PRO HART (1928-2006) Beach Study oil on canvas signed lower left: PRO HARt titled verso 39.5 x 49cm

PROVENANCE:

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

51
112 Courtesy The Artist © Arthur Boyd/Copyright Agency, 2023 MAKIN (born 1943) Large Bather 1983 oil on canvas signed and dated lower right: makin ‘83 signed, titled and dated on stretcher bar verso 182 x 151.5cm

115

DOROTHY BRAUND (1926-2013)

Tenderness 1989 pencil and gouache on paper signed and dated lower right: BRAUND ‘89 title inscribed verso 37 x 48.5cm

PROVENANCE:

Eastgate & Holst, Melbourne Private collection, Melbourne $3,000-4,000

116

ARTHUR BOYD (1920-1999)

Shoalhaven oil on board signed lower right: arthur Boyd 22 x 15cm

PROVENANCE: Private collection, Perth Private collection, Melbourne $14,000-18,000

117

DAVID BOYD (1924-2011)

Children Playing oil on canvas signed lower left: David Boyd 60 x 70cm

PROVENANCE: Private collection, Queensland $14,000-18,000

118

DAVID BOYD (1924-2011)

Children In An Apple Tree Above a Waterfall On The Edge Of The Bush oil on board signed lower left: David Boyd titled verso 90 x 75.5cm

PROVENANCE:

Art Galleries Schubert, Queensland (label verso) Private collection, Melbourne $15,000-20,000

119

WILLIAM BOISSEVAIN (born 1927)

Still Life 1971 oil on board signed and dated lower right: W.Boissevain ‘71 105 x 86cm

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

120

HUGH SAWREY (1923-1999)

By Cobb and Co. to Roma oil on canvas signed lower right: SAWREY signed and titled verso 58.5 x 78.5cm

PROVENANCE: Acquired directly from the artist Private collection, Queensland $8,000-12,000

52
116 © Arthur Boyd/Copyright Agency, 2023

121

121

D’ARCY DOYLE (1932-2001)

The Baker’s Cart oil on board signed lower right: d’Arcy. W. Doyle 60 x 90cm

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

122

HUGH SAWREY (1923-1999)

Counting-Out Down the Nebine, Western Queensland oil on canvas signed lower right: SAWREY signed and titled verso 58.5 x 75.5cm

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

123

LEONARD LONG (1911-2013)

Wilpena Pound, Flinders Ranges, South Australia 1972 oil on canvas on board signed and dated lower left: LEONARD LONG 1972 90.5 x 126cm

PROVENANCE: Private collection, Brisbane Private collection, New South Wales $4,000-5,000

124

KEN KNIGHT (born 1956)

Kiama oil on board signed lower left: KEN KNIGHT 121 x 149.5cm

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

125

HOWARD ASHTON (1877-1964) (Brisbane) oil on canvasboard signed lower right: Howard Ashton 33.5 x 44cm

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

126

MAX MIDDLETON (1922-2013)

Jessica Collecting Shells 1995 oil on canvas signed lower left: Max Middleton 40.5 x 76cm

PROVENANCE: The Estate of the Artist $4,000-6,000

53

127

ERNEST BUCKMASTER (1897-1968)

Goulburn Valley oil on canvas

signed lower left: E. Buckmaster titled on frame plaque 64 x 79cm

PROVENANCE:

The Collection of George W. Griffin

Thence by descent

Private collection, Melbourne

Thence by descent

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

128

RUBERY BENNETT (1893-1987)

Mount MacPherson oil on canvas

signed lower right: RUBERY BENNETT title inscribed on frame verso 58 x 73.5cm

PROVENANCE:

Private collection, Queensland

Christie’s, Melbourne, 3 May 2004, lot 119

Private collection, Melbourne

$5,000-6,000

129

KENNETH JACK (1924-2006)

Lerderderg River, Victoria 1947 oil on board signed and dated lower right: KENNETH JACK / Jan. / 1947 titled verso 61.5 x 86.5cm

PROVENANCE: The Estate of the Artist

$4,000-6,000

130

MURRAY GRIFFIN (1903-1992)

Landscape oil on board signed lower right: MURRAY / GRIFFIN 35 x 41.5cm

PROVENANCE: Eastgate & Holst, Melbourne 2002 Private collection, Melbourne $4,000-6,000

131

ERNEST BUCKMASTER (1897-1968)

Still Life oil on canvas signed lower right: E. Buckmaster 67 x 51.5cm

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

132

KENNETH JACK (1924-2006)

Banks of Goulburn, Kerrisdale, Victoria 1947 oil on canvas signed and dated lower left: KENNETH JACK / DEC. / 1947 titled on stretcher bar verso 63.5 x 88.5cm

PROVENANCE: The Estate of the Artist $3,500-5,500

54
134

HERBERT ROSE (1890-1937)

Church Scene with Figure oil on canvas, laid on board signed lower right: HERBERT ROSE

75 x 60cm

PROVENANCE:

Private collection, Melbourne

$3,000-5,000

134

WILL ASHTON (1881-1963)

A Bit of Old Sydney oil on canvas on board signed lower right: WILL ASHTON title inscribed verso

26.5 x 36.5cm

PROVENANCE:

Leonard Joel, Melbourne, 6 July 1983, lot 791

Private collection, Victoria Menzies, Melbourne, 27 February 2020, lot 85 (label verso)

Private collection, Melbourne

$5,000-6,000

135

RUBERY BENNETT (1893-1987)

Burragorang, New South Wales oil on canvas signed lower right: RUBERY BENNETT titled on gallery label verso

49 x 59cm

PROVENANCE:

The Sedon Galleries, Melbourne (label verso) Private collection, Melbourne

Thence by descent

$4,000-6,000

136

RUBERY BENNETT (1893-1987)

Where the Snowy River Begins oil on canvas signed lower left: RUBERY BENNETT titled on gallery label verso

59 x 74.5cm

PROVENANCE:

The Sedon Galleries, Melbourne (label verso)

Geoff K. Gray, Sydney, 15 June 1982, lot 197 (label verso)

Private collection, Melbourne

Thence by descent

$5,000-7,000

139

137

WALTER WITHERS (1854-1914) Beach Scene 1913 watercolour on paper signed and dated lower left: Walter Withers / 13 28 x 48cm

PROVENANCE:

Miriam Gallery, Melbourne (label verso) Private collection, Melbourne $4,000-6,000

138

LOUIS BUVELOT (1814-1888)

Landscape with Creek Bend 1877 watercolour and gouache on paper signed and dated lower right: L. Buvelot 1877 33 x 48cm

PROVENANCE: Private collection, Melbourne The Estate of the above $4,000-6,000

139

ARTHUR BAKER-CLACK (1887-1955)

Still Life Flowers oil on canvas signed lower right: A.Baker-Clack titled on unknown label verso 71 x 57.5cm

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

55 133

140

§ CLIFTON PUGH (1924-1990)

Judith 1971 oil on board signed and dated lower right: Clifton / OCT/ ‘71 89.5 x 89.5cm

PROVENANCE: The Artist

Joseph Brown Gallery, Melbourne Private collection, Queensland

Christie’s, Melbourne, 27 April 1998, lot 37

Private collection, Melbourne

Leonard Joel, Melbourne, 3 December 2013, lot 209 Private collection, Melbourne

EXHIBITIONS:

Contemporary Australian Portraits, Joseph Brown Gallery, Melbourne, 11-27 September 1972, cat. no. 12 (illus.)

LITERATURE:

Allen, T., Clifton Pugh: Patterns of a Lifetime, Thomas Nelson, Melbourne, 1981, pp. 97, 98 (illus.) $4,000-6,000

141

JAMIE BOYD (born 1948) Across The Bay oil on board signed lower right: Jamie Boyd 85 x 113.5cm

PROVENANCE: Blue Boy Gallery, Melbourne Private collection, Melbourne $3,000-5,000

142

JEFFREY MAKIN (born 1943) Wilsons Promontory 1987 oil on canvas signed and dated lower right: Makin ‘87 titled on stretcher bar verso 64.5 x 90cm

PROVENANCE: Blue Boy Gallery, Melbourne Private collection, Melbourne $3,000-5,000

143

DAVID BOYD (1924-2011)

Returning Home oil on board signed lower left: David Boyd titled on gallery label verso 54.5 x 65cm

PROVENANCE:

Wagner Art Gallery, Sydney (label verso) Private collection, Melbourne $10,000-15,000

144

PRO HART (1928-2006) (Rabbit Catchers) oil on board signed lower right: PRO HARt 58.5 x 58.5cm

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

145

DAVID BOYD (1924-2011)

Europa Falling oil on board signed lower left: David Boyd titled on gallery label verso 37 x 29.5cm

PROVENANCE:

Savill Galleries, Melbourne (label verso) Private collection, Melbourne $6,000-8,000

146

MIRKA MORA (1928-2018) Figure with Wings charcoal, pastel and ink on paper 50 x 36cm

PROVENANCE: Gift of the artist Private collection, Sydney $4,000-6,000

147

ROBERT DICKERSON (1924-2015) Figure charcoal on paper signed lower right: DICKERSON 73 x 52.5cm

PROVENANCE:

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

56
152 © Katherine Hattam/Copyright Agency, 2023

148

DAVID BOYD (1924-2011)

The Sign - Metaphors of Trial 1994 oil on board

signed and dated lower left: David Boyd 1994 titled verso 90 x 100cm

PROVENANCE:

The Collection of the Artist Thence by descent

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

149

SUSAN NORRIE (born 1953)

Destination Moon - Sooner or Later 2008 oil on canvas

signed, titled and dated verso: Susan Norrie /

Destination Moon / 2008 / Sooner / or later

132.5 x 141cm

PROVENANCE:

Mori Gallery, Sydney 2008

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

150

MIKE PARR (born 1945)

The Umbrella of Glass (Fading) (red) 1981-1993

cibachrome photograph

184 x 127cm

PROVENANCE:

Anna Schwartz Gallery, Melbourne

Private collection, Melbourne

Leonard Joel, Melbourne, 16 September 2014, lot 108

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

151

MIKE PARR (born 1945)

The Umbrella of Glass (Fading) (white) 1981-1993 cibachrome photograph

184 x 127cm

PROVENANCE:

Anna Schwartz Gallery, Melbourne Private collection, Melbourne

Leonard Joel, Melbourne, 16 September 2014, lot 107

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

152

KATHERINE HATTAM (born 1950)

Return of the Repressed 1998-2002 oil on linen

102 x 76.5cm

PROVENANCE: The Artist

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

153

§ MIRANDA SKOCZEK (born 1977) Road to Goodness 2010 synthetic polymer paint on canvas signed, titled and dated verso: Miranda Skoczek ‘Road to Goodness’ 2010 168 x 136.5cm

PROVENANCE: Fenton & Fenton, Melbourne Private Collection, Melbourne $4,000-6,000

154

MELINDA HARPER (born 1965)

Untitled 2006 oil on canvas signed and dated verso: Melinda Harper 2006 80 x 80.5cm

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

155

ANNE MARIE GRAHAM (born 1925)

Boy at the Entrance to Rain Forest 2009 oil on linen signed and dated lower right: Anne M Graham 09 98 x 148cm

PROVENANCE: Private collection, Melbourne The Estate of the above $5,500-7,500

156

PETER GRAHAM (born 1970)

Untitled 2004-07 oil and woodcut on linen initialled and dated lower right: PSG 04 titled and dated on gallery label verso 129.5 x 107cm

PROVENANCE:

Kaliman Gallery, Sydney (label verso) Private collection, Melbourne $3,000-4,000

57
154 © Melinda Harper/Copyright Agency, 2023

DAVID RANKIN (born 1946)

Umber Landscape 1981 oil on linen

signed and dated lower right: Rankin 81 signed, titled and dated verso

167.5 x 137cm

PROVENANCE:

Adrian Slinger Galleries, Brisbane

Private collection, Queensland

Private collection, Melbourne

$4,000-6,000

158

RICHARD LARTER (1929-2014)

Seeing U Construct 1970

mixed media including PVA, epoxy resin, timber and canvas on board signed and dated lower right: Richard Larter 1970 title inscribed on unknown label verso 122 x 183cm

PROVENANCE:

Watters Gallery, Sydney

James Baker, Brisbane, 2007

Private collection, Melbourne

EXHIBITIONS:

Abstraction 6, Charles Nodrum Gallery, Melbourne, 25 October - 17 November 2007, cat. no. 31 (label verso)

$5,000-8,000

159

§ JOHN WALKER (born 1939)

For You 1991

oil on canvas

signed and dated verso: Walker 91 titled on gallery label verso 61 x 51cm

PROVENANCE:

Rex Irwin Art Dealer, Sydney (label verso)

Lawsons, Sydney, 29 June 2017, lot 523

Private collection, Melbourne

$3,000-5,000

160

AIDA TOMESCU (born 1955)

Zbor III 1991

oil and mixed media on paper initialled and dated lower right: AT ‘91 121 x 80cm

PROVENANCE:

Coventry Gallery, Sydney (stamp on backing verso)

Private collection, Sydney

Deutscher~Menzies, Sydney, 13, March 2007, lot 7

Private collection, Melbourne

EXHIBITIONS:

Aida Tomescu, Coventry Gallery, Sydney, 30 July - 17 August 1991

$5,000-6,000

161

MICHAEL PECK (born 1977)

The Seconds Passed and Then There Was Silence 2009 oil on linen

signed lower right: MPeck signed, dated and inscribed verso: MICHAEL PECK ‘EVANESCE’ 2009 Mpeck titled on unknown gallery label verso 137 x 137cm

PROVENANCE: Private collection Thence by descent Private collection, Melbourne $7,000-10,000

162

CHRISTINE JOHNSON (born 1958) Yellow Roses 2009 oil on linen signed, titled and dated verso: Christine Johnson 2009 / ‘Yellow Roses’ 139.5 x 111.5cm

PROVENANCE:

Australian Galleries, Melbourne (label verso) Private collection, Melbourne $4,000-6,000

163

ANNETTE BEZOR (1950-2020)

Tête DL1 2000

synthetic polymer paint on canvas signed, titled and dated verso: Tête DL1 Bezor / 3 9 00

artist’s name, title and date on gallery label verso 166 x 166cm

PROVENANCE:

Robert Lindsay Gallery, Melbourne 2001 (label verso) Private collection, Melbourne

EXHIBITIONS:

Annette Bezor: Head to Head, Robert Lindsay Gallery, Melbourne, 1-24 February 2001, cat. no. 3 $5,000-7,000

164

ANNETTE BEZOR (1950-2020)

Tête DL2 2000 synthetic polymer paint on canvas signed, titled and dated verso: Tête DL2 Bezor / 3 9 00 artist’s name, title and date on gallery label verso 166 x 166cm

PROVENANCE:

Robert Lindsay Gallery, Melbourne 2001 (label verso) Private collection, Melbourne

EXHIBITIONS:

Annette Bezor: Head to Head, Robert Lindsay Gallery, Melbourne, 1-24 February 2001, cat. no. 4 $5,000-7,000

165

KATHRIN LONGHURST (born 1971)

I Will Make You Change Your Mind 2003 oil on canvas signed and dated lower right: 03 KLonghurst signed and titled verso 121.5 x 91cm

PROVENANCE:

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

166

KATHRIN LONGHURST (born 1971)

Grenade Girl 2013 mixed media on paper signed and dated lower right: 13KLonghurst 73.5 x 53cm

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

167

ZHONG CHEN (born 1969)

Jessica and Friend 2007 oil on linen signed and dated verso: zhong chen/ 2007 220 x 184.5cm

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

168

DAVID WADELTON (born 1955)

Cuber Shift 2000 oil on linen artist’s stamp on stretcher bar verso titled and dated verso 101.5 x 197.5cm

PROVENANCE:

Robert Lindsay Gallery, Melbourne (label verso) Private collection

Sotheby’s, Melbourne, 24 November 2003, lot 36 Private collection, Melbourne

EXHIBITIONS:

Technopop, Robert Lindsay Gallery, Melbourne, 29 November - 23 December 2000, cat. no. 4 $3,000-4,000

58 157
59 161
MELBOURNE AUCTION Monday 26 June, 6pm 333 Malvern Road, South Yarra, VIC 3141 FINE JEWELS & TIMEPIECES Lot 119 Gold, Silver and Diamond Tiara/Collier, Circa 1890 $8,000-12,000 60 leonardjoel.com.au
61

CONDITIONS OF BUSINESS / SUMMARY

Special Conditions of Sale – Jewellery

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

Authenticity Certificates

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

GST

In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.

For further information contact:

Marie McCarthy accounts@leonardjoel.com.au

Admission

Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person.

Commission (Absentee) Bids

Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves.

Telephone Bidding

Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis.

Bidder Registration

To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them.

Buyer’s Premium

There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

Property subject to the Artist Resale Royalty

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

Damage

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

Title

Leonard Joel guarantees good title to all lots.

Warranties and Condition Reports

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

Estimates

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

Payment

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

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

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

Bank telegraph transfers should be directed to:

Account name: Leonard Joel Pty Ltd

Address: Westpac Banking Corporation

150 Collins Street, Melbourne VIC 3000 Australia

BSB: 033–364

Account no: 942956

Collection of Lots

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

Removal and Storage

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

Removal Charges

Each lot: $55

Storage Charges

Each lot: $33 per day

Protection of Movable Cultural Heritage Act 1986 (PMCH Act)

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

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

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index

Exporting Significant Australian Cultural Heritage

The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia.

The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’.

More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage

Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810

E: movable.heritage@environment.gov.au

CITES Regulations

It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale.

Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from:

The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601

Leonard Home Delivery

Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au

Recommended Carriers

For recommended carriers please refer to our website.

Partners:

64
To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

G

J

65
ACHEN, GEORG 104 AMOR, RICK 21 ASHTON, WILL 6, 42, 134 ASHTON, HOWARD 125
BAKER-CLACK, ARTHUR 139 BARKLEY, GLENN 63 BENNETT, RUBERY 128, 135, 136 BESKOW, BO 107 BEZOR, ANNETTE 163, 164 BLACKMAN, CHARLES 25, 46 BOISSEVAIN, WILLIAM 36, 119 BOOTH, PETER 49 BOYD, ARTHUR 2, 27, 43, 50, 116 BOYD, THEODORE PENLEIGH 38 BOYD, DAVID 48, 117, 118, 143, 145, 148 BOYD, JAMIE 141 BRAUND, DOROTHY 115 BUCKMASTER, ERNEST, 127, 131 BUNNY, RUPERT 4, 35 BUVELOT, LOUIS 99, 138
CAMPBELL, ROBERT RICHMOND 8 CHEN, ZHONG 167 COBURN, JOHN 79 COELHO, KIRSTEN 83 COLE, PETER D 23 COUNIHAN, NOEL 47 CRAWFORD, LEONARD GORDON 15 CULLEN, ADAM 62
DAGG, PATRICK 59 DAM, VU CAO 19 DAVIES, PAUL 57 DICKERSON, ROBERT 147 DOYLE, D’ARCY 121 DRYSDALE, PIPPIN 54, 78 DUPAIN, MAX 33 E EAGER, WAYNE 109, 112 ENGSTROM, LEANDER 105 ERIXSON, SVEN 108 F FAULKNER, SARAH 75 FEINT, ADRIAN, 41 FORBES, STANHOPE ALEXANDER 100 FOX, EMANUEL PHILLIPS 3 FRENCH, LEONARD 16 FRIEND, DONALD, 17, 84, 88, 90 FRISTRÖM, EDWARD 102 FULLWOOD, ALBERT HENRY 37
A
B
C
D
GRAHAM, ANNE MARIE 82, 155 GRAHAM, PETER 156 GRIFFIN, MURRAY 130 GRITTEN, HENRY 97
HANSEN, CONSTANTIN 103 HARPER, MELINDA 64, 154 HART, PRO 114, 144 HATTAM, KATHERINE 152 HESTER, JOY 32 HEYSEN, HANS 5 HIRSCHFELD-MACK, LUDWIG ............................... 34
H
JACK, KENNETH 129, 132 JACKSON, JAMES R. 94 JAMES, LOUIS 22 JOHNSON, MICHAEL 69 JOHNSON, CHRISTINE 74, 162 JOMANTAS, VINCAS 20 JORDE, LARS 106 K KEMP, ROGER 56 KING, GRAHAME 85 KNIGHT, KEN 44, 124 L LANCELEY, COLIN 55 LARTER, RICHARD 158 LARWILL, DAVID 71, 110 LEACH, SAM 65, 66 LEACH-JONES, ALUN 53 LINDEMAN, MICHAEL 70 LINDSAY, NORMAN 39, 40, 92, 93 LONG, LEONARD 123 LONGHURST, KATHRIN 165, 166 M MAKIN, JEFFREY 113, 142 MCINNES, W.B. 1 MCINTYRE, PETER 11 MCMONAGLE, TIM 60 MICHALSKI, JERZY 76 MIDDLETON, MAX 126 MITCHELL, SAM 68 MORA, MIRKA 30, 52, 146 MORI, JUNKO 72, 73
N NAPANANGKA, LORNA BROWN 77 NORRIE, SUSAN 149 O OLIVIER, MARICELLE 111 OLSEN, JOHN 80 P PARR, MIKE 150, 151 PECK, MICHAEL 161 PERCEVAL, CELIA 9 PERCEVAL, JOHN 28, 31 POWDITCH, PETER 51 POWER, CYRIL 13 PUGH, CLIFTON 140
QUILTY, BEN 61 R RANKIN, DAVID 157 RAPOTEC, STANISLAUS 29 ROBERTSON-SWANN, RON 14 RONE 58 ROSE, HERBERT 7, 133 S SAWREY, HUGH 45, 120, 122 SCHELTEMA, J.H., 95, 96 SKOCZEK, MIRANDA 153, 169 SMART, JEFFREY 12, 87 SMETS, PETER ..............................................................67 SPENCELAYH, CHARLES 101 STRACHAN, DAVID EDGAR 89
TOMESCU, AIDA 160 TUCKER, ALBERT 24, 26
VAN DEN HOUTEN, HENRY LEONARDUS 98 VASSILIEFF, DANILA 18, 91
ARTIST INDEX
Q
T
V
WWADELTON, DAVID 168 WALKER, JOHN 159 WATSON, PERCY 86 WEGNER, PETER 10, 81 WITHERS, WALTER 137

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Chris Salaoras, Logistics Assistant

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Lucy Lewis, Database & Marketing Coordinator

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Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

GRAPHIC DESIGN

Maria Rossi

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Lot 40 NORMAN LINDSAY (1879-1969) Nude Figures (detail) oil on canvas on board 33.5 x 30cm $25,000-35,000
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leonardjoel.com.au

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