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
Viewing in Melbourne: Friday 23 - Sunday 25 June
Monday 26 - Tuesday 27 June, by appointment 333 Malvern Road, South Yarra, VIC 3141
Please refer to our website for viewing times
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.
Olivia Fuller | Head of ArtPROVENANCE:
Private collection, Melbourne
Thence by descent
$5,000-8,000
2
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
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
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 27.5cmPROVENANCE:
Eastgate
EXHIBITIONS:
Robert
$2,500-4,000
9
CELIA PERCEVAL (born 1949)
10
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 51cmPETER 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
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.
Lucy Foster | Senior Specialist, Fine Art12
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
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.
Lucy Foster | Senior Specialist, Fine Art13
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
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
15
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
16
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
15
17
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
18
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
19
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.
Olivia Fuller | Head of ArtVU 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.
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
21
§ 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
22
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
23
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
(Image
PROVENANCE:
Gift from Barbara Tucker, 2007 (dedication on backing verso) Private collection, Melbourne $12,000-18,000
25
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
26
§ 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 46cm90
PROVENANCE:
The Artist
Acquired by Denis Savill, c.1995
Private collection, New South Wales
Private collection, Queensland $70,000-90,000
28
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
29
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
30
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
31
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
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
33
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
34
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
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
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
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
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
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
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
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
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
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
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
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
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
PROVENANCE: Private collection, Melbourne
PROVENANCE: Adrian Sassoon, London Private collection, Melbourne
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
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
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
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
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
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
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
PROVENANCE:
PROVENANCE:
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
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
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
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
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
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
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
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
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
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
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
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
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
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.
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.
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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.
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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
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For recommended carriers please refer to our website.
Partners:
To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.
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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
