Fine Art by Leonard Joel

FINE ART AUCTION TUESDAY 8 JUNE 2021, MELBOURNE

AUCTION CATALOGUE VOLUME 14 ISSUE 9

Cover: Lot 11 CLEMENT MEADMORE (1929-2005) Meditation 1974 bronze ed. 2/10 signed, dated and editioned to base: Meadmore 2/10 ‘74 31cm (height, excluding wooden base) $15,000-20,000 Viewing in Sydney

leonardjoel.com.au

Inside Cover: Lot 43 (detail) WILL ASHTON (1881-1963) Shore Scene oil on canvasboard signed lower right: WILL ASHTON 40 x 50cm $3,500-5,000 Viewing in Sydney

7 (detail) JOHN COBURN (1925-2006) Night Forest gouache on paper laid on board signed lower right: Coburn 35.5 x 26cm $4,000-6,000 © John Coburn /Copyright Agency 2021 Viewing in Sydney

FINE ART AUCTION TUESDAY 8 JUNE 2021, 6PM MELBOURNE

VIEWING Selected Viewing in Sydney Friday 28 - Sunday 30 May, 10am-4pm The Bond, 36-40 Queen Street, Woollahra, NSW 2025 Viewing in Melbourne: Friday 4 - Sunday 6 June, 10am - 4pm Monday 7 June by appointment 333 Malvern Road, South Yarra, VIC 3141

CONTACT

Olivia Fuller

Lucy Foster

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

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

leonardjoel.com.au

68 (detail) ALUN LEACH-JONES (1937-2017) The Romance of Death 1980 synthetic polymer paint on canvas 228.5 x 185cm $9,000-12,000 © Alun Leach-Jones /Copyright Agency 2021

An Abstract Eye Abstraction is one of the most influential developments in art history. Beginning from avant-garde movements in Europe in the early twentieth century, it has continued to evolve through to contemporary times. When reviewing Australian art history, there are three exhibitions that occurred in the rise of Abstraction through the 1950s and 60s that should be acknowledged: Direction I in 1956, Antipodeans in 1959 and The Field in 1968. Of the three, The Field is considered to have had the most profound impact upon a generation of abstract artists. Its name stemming from the term Colour-Field Painting, The Field was characterised by a reductionist philosophy, heavily concerned with colour, flatness of the picture plane and the shape of the support which had all been the focus of some of the great American Modern artists of the time. A host of new labels were emerging from America including pop, minimal, hard-edge, kinetic and more – all of which were making their way into the practices of Australian artists. Included in this groundbreaking exhibition were forty Australian artists. Within our June Fine Art auction, we are thrilled to present works by key Field contributors including Alun Leach-Jones (lot 68), Robert Jacks (lot 9) and Clement Meadmore. Meditation 1974 by Meadmore (lot 11) displays his signature seamless fluidity with a Minimalist aesthetic largely adopted from his American counterparts. Much like the jazz music he was so fond of, there are unexpected bends, curves, and changes of direction.

The Field exhibition was not the catalyst for a drastic change in popular, or even curatorial taste, from that of the Antipodeans nearly 10 years earlier, but instead marked a seismic and generational shift that was then occurring in the art world. This shift affected the practice of both Inge King and Robert Klippel heavily. Exhibiting in the Direction I show in the 1950s, Klippel soon began to take on a new focus within his sculpture, learning new skills in arc welding, silver soldering and panel beating. Metals allowed Klippel to mature and grow his sculptures, often literally, in ways that wooden structures could not. In No. 253b Metal Construction 1971 (lot 66) we see Klippel’s skills with metal exemplified with a focus on assemblage style sculpture rather the minimalist approach of Meadmore. Inge King, too, displayed a favouritism for assemblage within her sculptures with an Abstract Expressionist edge. King was truly one of Australia’s greatest abstract sculptors by the 1990s at which point she was constructing from a series of flat abstract planes. These were originally created in fibreboard and then cast into bronze, often taking on the forms of gods, angels, and celestial beings. Inge’s Venus (lot 12) exhibits a quiet solemnity and monumentality, standing firm at just over one metre in height. Depicting the goddess of love and beauty, the work displays an inherent sensuality, strength, and power much like Venus herself. We are delighted to present these works in our upcoming June auction and hope you find something to delight in. Olivia Fuller / Head of Art

1 © Celia Perceval /Copyright Agency 2021

1 CELIA PERCEVAL (born 1949) Landscape oil on canvas signed lower right: Celia Perceval 64.5 x 70cm PROVENANCE: Private collection, Melbourne $4,000-6,000 Viewing in Sydney

2 DOROTHY BRAUND (1926-2013) Beach Scene with Figures watercolour and gouache on paper 27 x 20cm PROVENANCE: Estate of the Artist Private collection, Melbourne $2,500-3,500

3 HAL HATTAM (1913-1994) Dunes and Fishing (Fraser Island) 1975 oil on canvas signed and dated lower left: Hattam 75 titled on gallery label verso 111.5 x 112cm PROVENANCE: South Yarra Gallery, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Fraser Island Harold Hattam, South Yarra Gallery, Melbourne 1975, cat. no.10 $7,500-9,500

4 © Ray Crooke /Copyright Agency 2021

4 RAY CROOKE (1922-2015) Untitled (Islander Series) synthetic polymer paint on board signed lower left: R Crooke 50 x 39.5cm

5 ANNE MARIE GRAHAM (born 1925) Oranges at an Open Window 1974 oil on canvas signed and dated lower right: Anne Graham ‘74 91.5 x 61cm

PROVENANCE: Andrew Ivanyi Galleries, Melbourne Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

$6,000-8,000 Viewing in Sydney

EXHIBITIONS: Possibly Anne Graham, Paintings of Seville, Manyung Gallery, Mt. Eliza, 5 - 17 May 1974 $1,200-1,600

9 © Robert Jacks /Copyright Agency 2021

6 MIRKA MORA (1928-2018) Figures ink on $2 note 7.3 x 14.5cm PROVENANCE: Gift of the artist 1974 Private collection, Brisbane $1,200-1,800

7 JOHN COBURN (1925-2006) Night Forest gouache on paper laid on board signed lower right: Coburn 35.5 x 26cm PROVENANCE: Private collection, Melbourne Thence by descent $4,000-6,000 Viewing in Sydney

10 © Courtesy of the Estate of Dorothy Braund

8 MIRKA MORA (1928-2018) Double-Headed Creature c.1974 hand-painted soft doll 32cm (length) PROVENANCE: Gift of the artist 1974 Private collection, Brisbane $2,000-3,000

9 ROBERT JACKS (1943-2014) Pier and Skirt II 1985 oil on linen signed, titled and dated verso: R Jacks 1985/ pier and skirt 2 91 x 91cm

10 DOROTHY BRAUND (1926-2013) Beach 1960 watercolour and gouache on paper signed and dated lower left: BRAUND ‘60 titled verso 36 x 48.5cm

PROVENANCE: Private collection, Melbourne Thence by descent

PROVENANCE: Estate of the Artist Private collection, Melbourne

$3,000-4,000 Viewing in Sydney

$3,000-5,000 Viewing in Sydney

CLEMENT MEADMORE

Clement Meadmore is undeniably one of Australia’s most recognised modern sculptors and designers. Working with large scale sculptures and smaller maquettes, his artworks are held in high esteem within public and private collections around the world, and his furniture designs frequently sought after by modernist collectors. Growing up in Melbourne, Meadmore originally studied aeronautical engineering at the Royal Melbourne Institute of Technology (RMIT). Whilst this remained purely an academic achievement, the skills he learned during these studies greatly influenced his approach to furniture making as well as sculpture. In his 20s, Clement travelled abroad to England, France, Germany, and Japan after which his focus began to divert away from industrial design and further towards sculpture. In 1960, Meadmore moved to Sydney where his output of sculpture increased dramatically and his work was exhibited, although not with the reception he had hoped for. The year prior, the Antipodean artist group had released their manifesto comdemning Abstract Expressionism. This approach to art amongst his peers frustrated Clement, and so rather than producing the work he wanted for an unreceptive market, Clement made the life-changing decision to move to New York City in 1963. Within his first few years in New York, Clement’s sculptures progressed into geometric variations mostly using rectangular planes and then towards the minimal and conceptual style being seen in America. His career proceeded on an upward trajectory from here, with his work traversing new ground. In the mid 1970s he pushed the boundaries again by introducing multidirectional forms, with elements moving in multiple directions, into his compositions. Meditation 1974 displays Meadmore’s signature seamless fluidity. It’s upward stance is beautifully interrupted by the smooth curve before returning to its vertical end and final blunt edge. It’s smoothly machined edge and fluid lines lend themselves heavily to a Minimalist aesthetic. Meadmore was a lover of jazz music, which is not only seen in many of his titles but also the rhythym of his sculptures. Much like the music, there are unexpected bends, curves, and changes of direction. Although he grew up in Australia, Clement Meadmore spent the majority of his life in New York where he eventally passed away in 2005. His work is still an important part of the dialogue on Modernist sculpture today, with a legacy that has extended around the world. Olivia Fuller / Head of Art

11 CLEMENT MEADMORE (1929-2005) Meditation 1974 bronze ed. 2/10 signed, dated and editioned to base: Meadmore 2/10 ‘74 31cm (height, excluding wooden base) PROVENANCE: Private collection, Melbourne Thence by descent LITERATURE: Gibson, E., The Sculpture of Clement Meadmore, Hudson Hills Press, New York 1994, p. 72 (illus. larger version) $15,000-20,000 Viewing in Sydney

11 © Clement Meadmore /Copyright Agency 2021 9

INGE KING

From her arrival in Australia in 1950, Inge King AM was one of Australia’s most dynamic and revered sculptors. She was a pivotal part of the Centre 5 group, founded in 1961, whose aim was to increase public awareness of sculpture within Australia. The group included Julius Kane, Lenton Parr, Vincas Jomantas, Clifford Last and Norma Redpath. By the 1990s, Inge King was one of Australia’s most recognised sculptors, with decades of exhibition history and major public commissions already under her belt. But, it was this particular decade that saw a return to figuration and the processes of collage in her work. The technique she used, largely the assemblage of abstract forms in steel or bronze, was in some ways a return to her earlier 1940s and 1960s work. This new direction for Inge stemmed from a major commission she was awarded for a Melbourne office foyer. The work, titled Joie de vivre, was constructed from a series of flat abstract planes, originally created in fibreboard and then each plane cast into bronze. Each plane was then assembled and fixed with a welder, and finally the surface coloured and patinated. Inge followed this method throughout the next decade, where her sculptures took on the forms of gods, angels, and celestial beings. This new subject matter “extends the trend begun with the totemic figures of the 1980s and has much significance for the large body of works involving rings created throughout the 2000s”1. Whilst her angels display a sense of movement, Inge’s gods exhibit a quiet solemnity and monumentality. Her representation of Helios 1992, the god of the sun, stands firmly with large semi-circular discs held high in glory, facing upwards to the light resembling both the sun’s shape and the outline of wings. Similarly, Inge’s Venus, the goddess of love and beauty, exhibits a strong central line standing at just over one metre in height. Representations of Venus in history centre on fertility and femininity, often depicting her wearing a crown and in nude form. In Inge’s sculpture here we see Venus standing strong and tall, her womanly shape possibly noted through the circular breasts before her crown-shaped head with a regal bearing. She is strong, imposing, alluring and powerful much like Venus herself. Olivia Fuller / Head of Art

12 INGE KING (1915-2016) Venus bronze, unique cast 102.5cm (height) PROVENANCE: Private collection, Melbourne Thence by descent EXHIBITIONS: Sculpture, Australian Galleries, Sydney, 8 April - 1 May 1997, cat. no. 3 $18,000-24,000 Viewing in Sydney

— 1. Grishin, S., The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, p.337

12 © Inge King /Copyright Agency 2021

13 © Jan Senbergs /Copyright Agency 2021

13 JAN SENBERGS (born 1939) Landing at Exotica 1991 oil on canvas signed and dated lower right: J. Senbergs ‘91 152 x 183cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $14,000-18,000 Viewing in Sydney

14 GEORGE GITTOES (born 1949) Death 1971 oil on canvas signed and dated lower left: Gittoes 71 titled lower centre signed, titled and dated verso 55.5 x 60cm PROVENANCE: Private collection, Melbourne $1,500-2,500

14 © George Gittoes /Copyright Agency 2021

15 § DAVID LARWILL (1956-2011) Bungendore 1989 gouache and synthetic polymer paint on paper artist’s name, title and date inscribed verso 19 x 50cm (irregular) PROVENANCE: The Collection of William and Lucy Mora Leonard Joel, Melbourne, 9 December 2012, lot 91 Private collection, Melbourne

16 JOANNA LAMB (born 1972) Identity Is 2001 oil on board signed and dated lower left: J Lamb ‘01 signed, titled and dated verso 100.5 x 100cm PROVENANCE: Private collection, Melbourne $1,500-2,000

$1,200-1,800

17 EUAN MACLEOD (born 1956) Geoff 23 1994 oil on canvas signed, titled and dated verso: ‘GEOFF 23’/ EUAN MACLEOD / 11 / 94 31 x 46cm

18 TIM STORRIER (born 1949) Afternoon 1993 mixed media on paper signed, titled and dated lower right: “afternoon” Storrier / 1993 25 x 33cm

PROVENANCE: Watters Gallery, Sydney (label verso) Private collection, Sydney Deutscher and Hackett, Melbourne, 4 May 2016, lot 133 Private collection, Melbourne

PROVENANCE: Acquired directly from the artist Private collection, Western Australia Shapiro Auctioneers, Sydney, 19 August 2015, lot 95 Private collection, Melbourne

$2,500-3,000

$2,500-3,500

19 JAMES DRINKWATER (born 1983) We Dropped Them Off Via the Only Sun 2016 oil on board signed, titled and dated verso: Drinkwater / 2016 / ‘We dropped them off / via the only sun’ 94 x 75cm PROVENANCE: Nanda Hobbs, Sydney 2017 Private collection, Melbourne EXHIBITIONS: James Drinkwater Rungli Rungliot, Australian High Commission, Singapore, February 2017 (label verso) $4,000-6,000 Viewing in Sydney 15

20 JAMES GLEESON (1915-2008) Man on Lizard oil on board signed lower right: Gleeson titled verso 15 x 12.5cm PROVENANCE: Private collection, Melbourne $1,500-2,500

21 MIRKA MORA (1928-2018) Two Figures 1977 pastel on paper signed and dated lower right: MiRKA 77 62 x 49cm PROVENANCE: Private collection, Melbourne Leonard Joel, Melbourne, 3 September 2019, lot 11 Private collection, Melbourne $7,000-9,000

22 © John Perceval /Copyright Agency 2021

22 JOHN PERCEVAL (1923-2000) The Pharaoh’s Daughter 1990 oil on linen signed and dated lower left: ‘90/ Perceval signed, dated and titled verso 59 x 74.5cm PROVENANCE: Private collection, Melbourne Menzies, Melbourne, 10 August 2017, lot 102 Private collection, Melbourne $12,000-18,000 Viewing in Sydney

ARTHUR BOYD

Growing up between the wars on the eastern outskirts of Melbourne, Arthur Boyd was nurtured from a young age to pursue his life in the arts. Merric and Dorris, Boyd’s parents, were both potters and artists who worked from their Murrumbeena residence, a place that became the cornerstone for Boyd’s artistic development with many of his early landscapes depicting the surrounding property. In 1941 Boyd was conscripted into the military to serve during WWII. His drawing skills allowed him to work in the cartography unit where he met another young cartographer, John Perceval. After becoming friends immediately and working together during the war, Boyd welcomed Perceval into his home, teaching him pottery and sharing their time in the infantry. It was during this time that Boyd’s work shifted in theme, addressing the experiences of war and the painful aftermath it brought to life at home. Boyd went on to produce a series of highly emotional and expressionist works during the period of 1940-45. In The Butterfly Hunter 1969, Arthur Boyd revisits his emotive 1943 work of the same name which currently resides in the National Gallery of Australia, Canberra. Set in an industrialised landscape of suburban South Melbourne, The Butterfly Hunter 1969 portrays a dark and harrowing spirit enveloping the desolate landscape in pursuit of its unsuspecting prey. Boyd does not reveal the specifics of this creature although we can see its vulgarity and menacing nature, its body seemingly born from the smoke invading the air. The butterfly, considered a pure and delicate being, is perhaps moments away from being taken. A dog on the right barks, alerting the viewer to the unheard noise and merciless act unfolding. Of deeper meaning, perhaps, is the second figure emerging from the volcanic-like chimney in the background - arms splayed although with a more human-like form. The figure is seemingly wedged within the chimney, and trapped by the upper edge of the canvas, in some respects considered to be a metaphor for human struggle. This gesturally expressive work is a timeless portrayal of a city living at the mercy of war. While completed decades apart, this 1969 version was produced while the Vietnam war was unfolding. Perhaps the timing compelled the artist to revisit the work, triggering an emotional time in his life where he himself experienced war firsthand. In the 1940’s Boyd had been a central force in the extraordinary cultural adventure becoming what we know as Australian Modernism. While he was a passionate advocator and a founding figure of the renowned art group The Antipodeans, this expressionistic period was integral to the development and process in which helped to establish himself as one of the most important and influential artists of the 20th century. Lucy Foster / Art Specialist

23 ARTHUR BOYD (1920-1999) Butterfly Hunter 1969 oil on canvas signed lower right: Arthur Boyd 157 x 180cm PROVENANCE: The Boyd Family Collection, England Savill Galleries, Sydney (label verso) Christies, Sydney, 26 August 2003, lot 33 Private collection Deutscher~Menzies, Sydney, 16 June 2004, lot 149 (label verso) Private collection, Melbourne EXHIBITIONS: Arthur Boyd, The Spirit of Australia, Savill Galleries, Sydney, 17 October - 16 November 1996, cat. no. 21 LITERATURE: Gunn, G., Arthur Boyd: Seven Persistent Images, Australian National Gallery, Canberra, 1985, p. 34 RELATED WORK: Butterfly Hunter 1942, oil on canvas on board, 75 x 62cm, Collection of the National Gallery of Australia, Canberra $35,000-45,000 Viewing in Sydney

23 © Arthur Boyd /Copyright Agency 2021

24 © Sidney Nolan /Copyright Agency 2021 24 SIDNEY NOLAN (1917-1992) Notes for Oedipus (XI) 1975 enamel on board signed lower right: Nolan dated verso bears XI on backing packer 121.5 x 121.5cm LITERATURE: Sidney Nolan: Notes for Oedipus, Marlborough Fine Art, London, November 1975, cat. no. 11 (illustrated in catalogue, p. 6) $20,000-30,000 Viewing in Sydney

24A © Sidney Nolan /Copyright Agency 2021 24A SIDNEY NOLAN (1917-1992) Untitled (Africa Series) mixed media on paper signed lower right: nolan 50 x 61cm PROVENANCE: BC Fine Art Gallery, Queensland Private collection, Queensland $5,000-6,500

ARTHUR BOYD

In 1936, Arthur’s grandfather Arthur Merrid Boyd Senior, moved from Sandringham to a cottage in Rosebud after the death of his beloved wife Emma Minnie Boyd. A young Arthur Boyd was invited to join him. Over the next three years, Arthur enjoyed the coastal life at Rosebud, free to explore his artistic passions with the encouragement of his grandfather. He painted numerous landscapes and beach scenes, with some portraits. In these 1930s works we can see Arthur’s joy and happiness with his new home and his creative outpouring. Predominantly executed with impasto paint, with a flat-edged brush or palette knife, they display quickfleeting swatches of colour and thick painterly textures. While his colour palette was restrained, subtle and natural, his technique was expressionist and full of energy. It is his coastal scenes, particularly, that permit a feeling of serenity. In Figure on Beach with Jetty, Rosebud 1938, the figure is reflected crisply in the still and pure water, blanketed by the clear calm sky in sweeping strokes revealing only a trace of habitat in the distance. His brushwork becomes fervent as it reaches the shore, capturing the complex textures of the sand and tangled Australian flora. The entire work seems to have been created in a moment of sudden inspiration for Arthur, a scene undisturbed, with the artist possibly even remaining unnoticed himself. These years at Rosebud were amongst Arthur’s happiest, and this pure joy and freedom is evident in the select works he produced in this short but pivotal period. Rosebud provided a calm and uninhibiting environment for Arthur to discover his artistic strengths, and nurture one of Australia’s most important modern artists. Olivia Fuller / Head of Art

25 ARTHUR BOYD (1920-1999) Figure on Beach with Jetty, Rosebud 1938 oil on canvas signed lower right: Arthur Boyd artist’s name, title and date on gallery label verso 24 x 34cm PROVENANCE: The Estate of Patricia Davies (formerly Mrs Robin Boyd, Melbourne) Savill Galleries, Melbourne (label verso) Private collection, Melbourne RELATED WORK: Jetty at Rosebud 1938, oil on canvasboard, 23.5 x 32cm, Private collection, Melbourne. Pearce, B., Arthur Boyd Retrospective, Art Gallery of New South Wales, Sydney, 1993, p. 38 (illus.) $25,000-35,000 Viewing in Sydney

25 © Arthur Boyd /Copyright Agency 2021

26 HELEN OGILVIE (1902-1993) Stock Station Agent 1963 tempera on board signed and dated lower right: H. OGILVIE ‘63 12.5 x 19cm PROVENANCE: Private collection, Melbourne $1,500-2,500

27 CHARLES BLACKMAN (1928-2018) Housefront 1954 oil on paper laid on board signed, titled and dated lower left: “HOUSEFRONT” BLACKMAN ‘54 90 x 120cm PROVENANCE: Mahoneys Galleries, Melbourne Private collection, Melbourne Mossgreen, Melbourne, The Australian Art Collection of Sandra Powell and Andrew King, 19 March 2014, lot 24 (label verso) Private collection, Melbourne EXHIBITIONS: Contemporary Art Society Exhibition, Melbourne, 6-23 April 1954, cat. no.16 $25,000-35,000 Viewing in Sydney

27 © Charles Blackman /Copyright Agency 2021

28 ROBERT DICKERSON (1924-2015) Portrait pastel on paper laid on board signed lower right: DICKERSON 37.5 x 27.5cm PROVENANCE: Philip Bacon Gallery, Brisbane Private collection, Melbourne $3,000-5,000

29 DONALD FRIEND (1915-1989) Sleeper ink and wash on paper signed and titled lower right: Sleeper/ Donald Friend 50.5 x 69.5cm PROVENANCE: Gould Galleries, Melbourne (label verso) Private collection, Melbourne $6,000-8,000 Viewing in Sydney

29A

29A NORMAN LINDSAY (1879-1969) Untitled watercolour on paper signed lower left: NORMAN/ LINDSAY 28.5 x 23.5cm

30 MAX MIDDLETON (1922-2013) Woman Reclining on the Beach oil on linen signed lower left: Max Middleton 61 x 91.5cm

PROVENANCE: Private collection, Brisbane Thence by descent

PROVENANCE: Five Ways Galleries, Melbourne Private collection, Melbourne

$6,000-8,000 Viewing in Sydney

$4,000-6,000

31 JAMES R. JACKSON (1882-1975) Sydney Harbour oil on canvas laid on board signed lower left: JAMES R JACKSON titled on gallery label verso 44.5 x 54.5cm PROVENANCE: The Seddon Galleries, Melbourne (label verso) Private collection, Melbourne $4,000-6,000 Viewing in Sydney

32 B.E. MINNS (1864-1937) Figures by the Beach watercolour on paper initialled lower right: B.E.M. 26.5 x 37cm

33 JOHN D. BANKS (1883-1945) Beach Scene with Figures 1912 watercolour on paper signed and dated lower right: JOHN BANKS / 12 29.5 x 37.5cm

34 ELLIS ROWAN (1848-1922) Still Life with Mushrooms and Butterflies watercolour on paper signed lower right: Ellis Rowan 51 x 36cm

PROVENANCE: Private collection, Melbourne Thence by descent

PROVENANCE: Private collection, Melbourne

$1,500-2,000

$1,000-2,000

$3,000-4,000 Viewing in Sydney

35 § CHARLES WHEELER (1881-1977) The Old Gum Tree oil on board signed lower left: C. Wheeler 21 x 29cm PROVENANCE: Collection of Sir Walter Baldwin Spencer, Victoria Mrs Aileen Rowan, Victoria Thence by descent, Mr Richard Rowan, Victoria Thence by descent, New South Wales Menzies, Sydney, 28 March 2019, lot 9 Private collection, Melbourne $1,000-1,500

36 ROBERT JOHNSON (1890-1964) West of Blue Mountains, New South Wales oil on canvas signed lower right: Robert Johnson titled verso 55 x 65cm

37 WILL ASHTON (1881-1963) The First Snow, Mount Kosciuszko oil on board signed lower right: WILL ASHTON titled on gallery label verso 36 x 43cm

PROVENANCE: Deutscher and Hackett, Sydney, 29 November 2007, lot 115 (label verso) Private collection, Melbourne

PROVENANCE: Artlovers Gallery, Sydney 1964 (label verso) Private collection, Melbourne

$2,000-4,000

$4,000-6,000 Viewing in Sydney

38 ARTHUR STREETON (1867-1943) Study for Barron Gorge and Sugar Plains, Kuranda, Queensland 1925 pencil on paper signed and dated lower right: Arthur Streeton 1925 27 x 35cm PROVENANCE: Leonard Joel, Melbourne, 21 May 1975, lot 26 Private collection, Melbourne Leonard Joel, Melbourne, 8 May 2011, lot 308 Private collection, Melbourne RELATED WORK: The Barron Gorge and Sugar Plains 1924, oil on canvas, 101.5 x 152.5cm, The Collection of the Art Gallery of Western Australia, Perth. $1,500-2,500

39 EDWARD OFFICER (1871-1921) Bush Sawyer oil on canvas initialled lower left 44 x 54cm PROVENANCE: Leonard Joel, Melbourne, 10 April 1990, lot 626 Private collection, Melbourne $1,200-1,800

41 A.M.E. BALE (1875-1955) Castlemaine Poplars oil on canvas signed lower left: A.M.E. BALE titled verso 35 x 45cm PROVENANCE: Private collection, Victoria Thence by descent $1,200-1,800

40 A.M.E. BALE (1875-1955) Castlemaine Garden Scene oil on canvas signed lower right: A.M.E. BALE 37 x 50cm PROVENANCE: Private collection, Victoria Thence by descent $1,200-1,800

42 W.B. MCINNES (1889-1939) European River Scene oil on canvas signed lower right: McINNES 35.5 x 47cm PROVENANCE: Private collection, Melbourne Thence by descent $2,000-4,000 43 WILL ASHTON (1881-1963) Shore Scene oil on canvasboard signed lower right: WILL ASHTON 40 x 50cm PROVENANCE: Private collection, Melbourne $3,500-5,000 Viewing in Sydney

44 WILLIAM LEE HANKEY (New Zealander, 1869-1952) The Old Town of Concarneau oil on canvas signed lower right: W LEE HANKEY. titled verso 49.5 x 60cm PROVENANCE: Andrew’s Gallery, Canterbury 1963 Private collection, Melbourne Thence by descent $4,000-6,000 Viewing in Sydney 45 GEORGE FREDERICK GREGORY (1815-1890) (Ships in Port Phillip Bay) watercolour and gouache on paper signed lower left: G. F. Gregory 51 x 83cm PROVENANCE: Deutscher Fine Art, Melbourne 1983 Private collection, Melbourne $2,000-4,000

46 CONRAD MARTENS (1801-1878) Tahiti 1836 watercolour on paper signed and dated lower right: C. Martens 1836 44 x 64cm PROVENANCE: Christies, Sydney, 6 June 1976, lot 288 The Collection of Mr. Kenneth. R. Stewart The Collection of Consolidated Press Holdings, Melbourne (The H. W. B. Chester Memorial Collection) The Collection of Dr. J. L. Raven Sotheby’s, Fine Australian Paintings including the Dr. John L. Raven Collection, Melbourne, 17 April 1989, lot 343 Private collection, Western Australia

EXHIBITIONS: Conrad Martens Centenary Exhibition, S. H. Ervin Museum and Art Gallery, Sydney, 24 May-23 July 1978, cat. no. 10 Conrad Martens - The H. W. B. Chester Memorial Collection, Art Gallery of New South Wales, Sydney, 22 December 1979-10 February 1980, cat. no. 5 (illus.)

RELATED WORK: Conrad Martens, View on the South Side of Moorea 1835, pencil on paper, from Sketchbook I, no. 81, The Collection of Cambridge University Library, Cambridge. $18,000-25,000 Viewing in Sydney

OTHER NOTES: In 1835 Martens began sketching around the islands of Tahiti and Moorea. He was particularly inspired by the unfamiliar landscape with lush flora. It is thought that Martens paid one of the locals to ferry him between the two islands. Many of the sketches he produced on this trip progressed into later watercolours and and oil painting.

47 JOHN SHEARER BOWMAN (1820-1909) Landscape oil on board signed and dated illegibly lower left: MAN / 18_ 17 x 22cm

48 JOHN SHEARER BOWMAN (1820-1909) Landscape oil on board signed illegibly lower right (partially concealed) 36.5 x 52cm

PROVENANCE: The Artist Thence by descent, Robert Hutcheson Bowman (the artist’s son) Thence by descent, Ethel Annie Bowman (the artist’s granddaughter) Thence by descent, Fay Ethel Speer (the artist’s great granddaughter) Thence by descent, Private collection, Melbourne (the artist’s great, great granddaughter)

$2,000-4,000 Viewing in Sydney

$3,000-5,000 Viewing in Sydney

49 JOHN SHEARER BOWMAN (1820-1909) On Maneroo Plains 1889 oil on canvas initialled and dated lower left: MAN / 1889 titled verso 66 x 101.5cm PROVENANCE: The Artist Thence by descent, Robert Hutcheson Bowman (the artist’s son) Thence by descent, Ethel Annie Bowman (the artist’s granddaughter) Thence by descent, Fay Ethel Speer (the artist’s great granddaughter) Thence by descent, Private collection, Melbourne (the artist’s great, great granddaughter) $4,000-6,000 Viewing in Sydney

50 LOUIS BUVELOT (1814-1888) Cottage by the River watercolour on paper signed lower right: L. Buvelot 21 x 28cm PROVENANCE: Private collection, Queensland $1,500-2,500 51 LOUIS BUVELOT (1814-1888) Castle Ruins watercolour on paper signed and dated illegibly at base: L Buvelot 18_ 29 x 17cm PROVENANCE: Private collection, Melbourne Thence by descent $1,500-2,000 52 AFTER BARTOLOME ESTEBAN MURILLO (Spanish, 1617-1682) Ego Dormio Et Cor Meum Vigilat oil on canvas laid on board 63 x 85.5cm PROVENANCE: Leonard Joel, Melbourne, 25 March 2014, lot 107 Private collection, Melbourne $2,000-4,000 53 MARGARET BENOIT (born 1941) The Poplars oil on masonite signed lower right: Benoit titled verso 40.5 x 47cm

53A

PROVENANCE: Private collection, Melbourne Thence by descent $2,800-3,500 53A A.M.E. BALE (1875-1955) Still Life oil on board signed lower left: A.M.E Bale 54 x 44cm PROVENANCE: Private collection, Melbourne $2,000-3,000

54 HELEN OGILVIE (1902-1993) Farmhouse Near Albury 1983 tempera on board signed and dated lower right: H. OGILVIE. 83 titled on artist’s label verso 14 x 20.5cm

55 ROMA HIGGINS (1909-1979) On the Farm oil on board signed lower left: Roma 45 x 60cm

56 MURRAY GRIFFIN (1903-1992) Bull oil on board signed lower right: MURRAY/GRIFFIN 58 x 57.5cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Private collection, Melbourne Thence by descent

PROVENANCE: Private collection, Melbourne

$1,500-2,500

$1,200-1,800

$3,000-5,000 Viewing in Sydney

57 MAX MELDRUM (1875-1955) Still Life 1947 oil on masonite signed and dated lower left: Meldrum 1947 signed verso 39.5 x 31.5cm PROVENANCE: Private collection, Melbourne Thence by descent $3,000-5,000

58 LINA BRYANS (1909-2001) Portrait of Dr. Sam Marshall 1950 oil on canvasboard signed lower right: Lina titled verso titled and dated on unknown label verso 59.5 x 49.5cm PROVENANCE: Private collection, Melbourne Thence by descent

59 LINA BRYANS (1909-2001) Landscape with Lake (Reflections) oil on board signed lower right: Lina 50 x 60cm PROVENANCE: Private collection, Melbourne Thence by descent $4,000-6,000 Viewing in Sydney

$3,000-5,000 Viewing in Sydney

60 LOUIS JAMES (1920-1996) Dawn Landscape 1962 oil on canvas signed and dated lower left: Louis James ‘62 signed, titled and dated verso 100.5 x 75cm

62 STANISLAUS RAPOTEC (1913-1997) Vase of Flowers oil on board signed lower left: Rapotec titled on gallery label verso 135 x 104cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Holdsworth Gallery, Sydney (label verso) Private collection, Melbourne

$2,500-4,500 61 DONALD FRIEND (1915-1989) Figures by the Water mixed media on board signed upper left: DONALD FRIEND 30 x 40cm PROVENANCE: Private collection, New Zealand Thence by descent $10,000-15,000 Viewing in Sydney

$7,000-10,000 Viewing in Sydney 63 LAWRENCE DAWS (born 1927) The Bassoonists’s Burial c.1965 oil on board signed and titled verso: “THE BASSOONIST’S BURIAL” / LAWRENCE M. DAWS 61.5 x 125cm PROVENANCE: Private collection, Melbourne $4,000-6,000 Viewing in Sydney

63A TONY TUCKSON (1921-1973) Untitled synthetic polymer paint on paper, on canvas 76 x 101.5cm (sheet); 83.5 x 109cm (canvas) PROVENANCE: Hugh Jamieson Collection, Sydney Corporate collection, Melbourne Private collection, Melbourne $7,000-10,000

64 RUT BRYK (Finnish, 1916-1999) Untitled Composition ceramic relief on panel no. 8 signed verso: RUT BRYK numbered verso 70 x 35cm PROVENANCE: Private collection, Melbourne Thence by descent $10,000-15,000 Viewing in Sydney Commencing work as a junior ceramist at the renowned Arabia Factory in Helsinki, Rut Bryk went on to become a major contributor in the development of modern ceramic art in Scandinavia. Focusing on figurative subjects, Bryk’s early plates and bowls often featured mythical creatures, decorative patterns and joyful Scandinavian folk art. In the 1960’s Bryk shifted her practice to focus on architectural pieces, compositions and wall hangings, signaling a new level of artistic maturity. Using prefabricated modular units, she effortlessly combined traditional imagery of her famous folk-art patterns with handmade monochromatic tile reliefs, dedicating her practice to public commissions and integrating her works into her primary influence of architecture. Bryk has works in many public collections, including The Design Museum in Helsinki, Danish Museum of Art and Design in Copenhagen and the National Museum in Stockholm. 65 MICHAEL SHANNON (1927-1993) Industry 1954 oil on canvas signed and dated lower left: Shannon/ 54 51 x 76.5cm PROVENANCE: Shapiro Auctioneers, Sydney, 10 December 2003, lot 11 Private collection, Queensland Private collection, Melbourne $5,000-7,000

64 © Rut Bryk /Copyright Agency 2021

66 © Robert Klippel /Copyright Agency 2021

66 ROBERT KLIPPEL (1920-2001) No. 253b Metal Construction 1971 painted welded steel inscribed on engraved plate on base: David Jones / Awards For / Fashion Excellence / Grand Award / To / Maglia 71cm (height) excluding base PROVENANCE: Commissioned by David Jones and awarded to Maglia Pty. Ltd. as the prize for its second Annual Award for Fashion Excellence in 1971 Private collection, Melbourne Thence by descent LITERATURE: Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 332, 473. Robert Klippel, Catalogue Raisonne, Art Gallery of New South Wales, Sydney, cat. no. 253, illus. (incorrectly dated as 1981) $28,000-35,000 Viewing in Sydney 67 DERICK POBELL (German, born 1960) Untitled (Mobile) balsa wood and steel assemblage 79 x 50cm (irregular)

68 ALUN LEACH-JONES (1937-2017) The Romance of Death 1980 synthetic polymer paint on canvas 228.5 x 185cm PROVENANCE: De-accessioned by Museum of Contemporary Art, Brisbane Sotheby’s Australia, 143 Works from the Museum of Contemporary Art, Brisbane, Melbourne, 21 June 1992, lot 78 Private collection, Melbourne EXHIBITIONS: Alun Leach-Jones: Berliner Arbeiten Bilder, Zeichnungen, Collagen, Papiergussobjekte, Kunstlerhaus Bethanien, Berlin 1981 (illus. p.1 & 3 as ‘Manchu Red’ 1980). LITERATURE: Gray R., Alun Leach-Jones and Baroque Abstraction, Craftsman House, Sydney, 1988, p. 9 [discussing the Romance of Death Series] “Despite the hard-edge style, [there is] something of action painting, and pop art. The former in a surface explosiveness, the latter in the allusions and atmosphere, which recall the Mardi Gras, the night club, the ticker-tape parade: those places of modern Dionysian revel”. $9,000-12,000

PROVENANCE: The artist’s son $2,000-4,000

70 © Dorothy Napangardi /Copyright Agency 2021

69 PETER D. COLE (born 1947) Untitled 1989 pastel on paper signed and dated lower right: Peter D Cole 89 77.5 x 117.5cm PROVENANCE: Private collection, Melbourne $1,000-2,000

70 DOROTHY NAPANGARDI (c.1956-2013) Salt on Mina Mina 2004 synthetic polymer paint on linen inscribed verso with artist’s name and Gallery Gondwana stamp with cat. no. 8487 91 x 91cm

71 MANUPA BUTLER (c.1935-2018) Untitled synthetic polymer paint on linen inscribed verso with artist’s name and Kayili Artists cat. no. 04-220 101.5 x 100cm

PROVENANCE: Gallery Gondwana, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne

PROVENANCE: Kayili Artists, Gibson Desert, Northern Territory Private collection, Melbourne Thence by descent

EXHIBITIONS: Mina Mina and Pirlinyanu, Gallery Gondwana, Sydney, 23 October - 5 December 2004 (accompanied by the exhibition catalogue)

$3,000-5,000

74 § GEORGE HAIRBRUSH TJUNGURRAYI (born c.1947) Tingari Cycle synthetic polymer paint on linen 122 x 183cm PROVENANCE: Muk Muk Aboriginal Fine Art, Alice Springs (accompanied by a certificate of authenticity and original photographs of the artist holding the completed work) Art Index, Sydney 2017 Private collection, Victoria $7,000-9,000 75 LILY KELLY NAPANGARDI (born 1948) Sandhills synthetic polymer paint on linen inscribed verso: M M. 60 120 x 193cm PROVENANCE: Saltbush Gallery, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne $3,000-4,000 76 BARBARA WEIR (born c.1945) Grass Seed Dreaming synthetic polymer paint on linen inscribed verso with artist’s name and Dacou Gallery cat no. DG07870 123 x 91cm

73 © Tommy Watson /Copyright Agency 2021

PROVENANCE: Dacou Gallery, Melbourne Galleries Direct, Sydney Private collection, Sydney 72 RONNIE TJAMPITJINPA (born c.1943) Untitled synthetic polymer paint on linen accompanied by a DVD of the artist painting this work 124 x 299cm PROVENANCE: Galleries Direct, Sydney Private collection, Sydney $10,000-15,000

73 § TOMMY WATSON (c.1935-2017) Untitled 2017 synthetic polymer paint on canvas inscribed verso with Art Index cat. no. TW_96X96_IAG194 accompanied by 13 digital photographs of the artwork in creation 96 x 96cm PROVENANCE: Justin Turner, Sydney Art Index, Sydney Private collection, Victoria $7,000-9,000 Viewing in Sydney

$3,000-4,000

74 © George Hairbrush Tjungurrayi /Copyright Agency 2021

77 FABRIANNE PETERSON NAMPITJINPA (born 1965) Wangunu - Bush Damper synthetic polymer paint on linen inscribed verso with artist’s name, title and Watiyawanu Artists cat. no. 10-09634 and High on Art cat. no. HA17046 95 x 100cm PROVENANCE: Watiyawanu Artists, Northern Territory High On Art Gallery, Melbourne Private collection, Melbourne $3,000-4,000

78 LILY KELLY NAPANGARDI (born 1948) Tali (Sandhaills) 2007 synthetic polymer paint on linen inscribed verso with artist’s name, date and Muk Muk cat. no. A14218 156 x 197cm PROVENANCE: Muk Muk Aboriginal Art, Brisbane Art Equity, Sydney 2008 Private collection, Sydney EXHIBITIONS: Lily Kelly Napangardi and Topsy Peterson Napangardi, Art Equity, Sydney, 28 August - 10 September 2008

79 RUBY TJANGAWA WILLIAMSON (1940-2014) Snakes and Lizards synthetic polymer paint on canvas inscribed verso with artist’s name, title and Minymaku Arts cat. no. 099-04 and High on Art cat. no. HOA0268/RUBW 101 x 73cm PROVENANCE: Minymaku Arts, South Australia (now Tjala Arts) High On Art Gallery, Melbourne Private collection, Melbourne $2,000-3,000

$5,000-8,000

80 CHARLES BLACKMAN (1928-2018) Boy on a Dolphin charcoal with ink on paper on canvas signed and titled upper right: BOY / ON A / DOLPHIN / BLACKMAN 174.5 x 229cm PROVENANCE: Presston Gallery, Sydney 2008 Private collection, Sydney $16,000-20,000

81 CHARLES BLACKMAN (1928-2018) Stained Glass Butterfly 1984 two-fold screen, oil and mixed media on silk signed upper right: BLACKMAN 171.5 x 171cm PROVENANCE: The Christensen Fund, Queensland Private collection, Queensland LITERATURE: Shapcott, T.,The Art of Charles Blackman, Andre Deustsch Limited, London 1989, cat. no. 196 (illus.) Blackman, C., Alvarez, A., Rainforest, The Macmillan Company of Australia Pty. Ltd., Melbourne 1988, cat. no. 29 (illus.) $30,000-35,000 Viewing in Sydney

In search of a much-needed seachange to focus on his next series of works, Charles Blackman relocated to Buderim, Queensland, in the early 1980s. This laid the foundation for his trips further north to explore the tropical greenlands and exotic nature of the Daintree region where he discovered his fascination of the rainforest. Blackman spent a great deal of time observing nature, dedicating his stay in Cairns to exploring the Atherton Tablelands, Lake Barrine, and the multitude of waterfalls and serene valleys located in between. Situated immediately outside Blackman’s hotel window in Cairns was a small garden filled with native birds and colourful butterflies, providing him with much joy and visual inspiration. After 18 months of painting, he reached a pivotal point in his exploration and shifted his focus to the majestic butterfly. ‘The more I thought about it, the more the butterfly seemed to be a carrier of the message. The butterflies were like the illuminated manuscripts of the great cathedral’.1 This concept became the main focal point for his next body of works - the rainforest as a cathedral. With a strong desire to marry the two images, Blackman often referred to the impact of light and the layers of trees filtering the sun leaving colourful specks across the forest floor, like that of the colourful stainedglass windows inside the cathedral. ‘In my mind I saw the vaulted cathedral and the rainforest cathedral one inside the other, I saw the cathedral fill the forest’.2 With the nostalgia of a childhood fold-over painting, here Stained Glass Butterfly 1984 radiates at the centre of a two-fold panel. The enlarged creature hovers over a burst of vibrant orange silk, contrasted with the thick bite of black outlining its presence. The use of fabric and dramatic black outline carries a Japanese aesthetic, similar to the black and colour contrast of a woodblock print. So too, the vibrant and strong colour palette combined with the black outlining is reminiscent of the lead lined windows within a cathedral’s walls. The concept of the butterfly’s wings opening, reminiscent of the unfolding of the book or manuscript in preparation for a reading, linking the butterfly back as the carrier of the message and a key to the remembrance of the rainforest. Over the course of Blackman’s time studying the butterfly within its natural habitat, he documented an extraordinary range of movements and variations which became a significant body of work. Blackman took to this period with an astonishing burst of inventiveness and artistic maturity, signalling a time in his career and life where he was at peace with himself as much as his surroundings. Lucy Foster / Art Specialist

1. Blackman, C., Alvarez, A., Rainforest, The Macmillan Company of Australia Pty. Ltd., Melbourne 1988, p.8. 2. Ibid

81 © Charles Blackman /Copyright Agency 2021

82 ANTHONY VANDERZWEEP (born 1960) Raven 2020 cast bronze ed. 3/6 artist’s stamp, date and edition inscribed on base: 2020 / 3/6 / AVANDERZWEEP 34 x 29.5 x 29.5cm (including base) PROVENANCE: The Artist Private collection, Melbourne

83 ROBERT DICKERSON (1924-2015) Figure in the Street charcoal on paper signed lower right: DICKERSON 36.5 x 28cm

84 LLOYD REES (1895-1998) Landscape (Possibly Mt. Wellington) c.1980s watercolour, ink and pencil on paper signed lower left: L. REES 34 x 47cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: The Estate of Barbara Brash, Melbourne Private collection, Melbourne

$2,500-3,500

$3,000-4,000

$4,000-6,000

85 WILLIAM BOISSEVAIN (born 1927) Landscape 1978 oil on board signed and dated lower right: W. Boissevain 78 90 x 110cm

86 DAVID BOYD (1924-2011) Child and Cockatoo in Landscape oil on board signed lower left: David Boyd 45 x 50cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Andrew Ivanyi Galleries, Melbourne Private collection, Melbourne

$2,500-4,500

$10,000-15,000

87 PRO HART (1928-2006) The Royal Mail Arriving at the Goldfields 1975 oil on board signed lower right: PRO / HARt titled and dated lower left 60.5 x 76cm PROVENANCE: Private collection, Melbourne $10,000-15,000 Viewing in Sydney

90 © Geoff Dyer /Copyright Agency 2021

88 HERMAN PEKEL (born 1956) Fairfield Boat House 2012 oil on board signed lower right: PEKEL signed, titled and dated verso 118 x 95.5cm

89 CELIA PERCEVAL (born 1949) Flowering Banksias with Red Faced Galahs 2001 oil on canvas signed lower right: Celia Perceval titled and dated verso 95 x 126cm

90 GEOFF DYER (1947-2020) Recherche Bay 4 2008 oil on linen signed lower left: DYER titled and dated verso 152 x 183cm

PROVENANCE: The Artist Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

PROVENANCE: The Artist Art Equity, Sydney 2008 Private collection, Sydney

$3,500-5,000

$6,000-9,000

$10,000-15,000

91 ROBERT DOBLE (born 1961) Untitled 1998 mixed media on paper initialled and dated lower right: RD1998 196 x 197cm PROVENANCE: Nellie Castan Gallery, Melbourne 1998 Private collection, Melbourne EXHIBITIONS: Robert Doble, Nellie Castan Art & Design, Melbourne 1998

92 KENNETH JACK (1924-2006) Creek Crossing 1964 oil on masonite signed and dated lower right: KENNETH JACK / 1964 titled verso 59.5 x 89.5cm PROVENANCE: The Estate of the Artist $3,000-4,000

$4,000-6,000

93 BILL COLEMAN (1922-1993) Two Figures oil on masonite inscribed lower right: W Coleman titled on unknown label verso 66 x 51cm PROVENANCE: Gift from the artist’s family to their neighbour Private collection, Melbourne Thence by descent $2,000-3,000 94 PRO HART (1928-2006) Two Men by the Fire oil on board signed lower right: PRO/HARt 74.5 x 59.5cm PROVENANCE: Private collection, Melbourne $6,000-7,000 95 DAVID BOYD (1924-2011) Children Playing oil on board signed lower left: David Boyd 34 x 39.5cm PROVENANCE: Andrew Ivanyi Galleries, Melbourne Private collection, Melbourne $8,000-10,000

96 PRO HART (1928-2006) Stacking Bales oil on board signed lower right: PRO HARt titled lower left 59.5 x 90cm PROVENANCE: Acquired directly from the artist Private collection, Melbourne $7,000-10,000

99 © David Boyd /Copyright Agency 2021 97 PRO HART (1928-2006) Waterbirds oil on board signed lower right: PRO HARt 59 x 60cm

98 DAVID BOYD (1924-2011) Child and Tree oil on canvas signed lower right: David Boyd 50 x 60cm

PROVENANCE: Private collection, Melbourne

$3,000-5,000

$10,000-15,000

99 DAVID BOYD (1924-2011) Beauty and the Beast Under the Flame Tree oil on board signed lower left: David Boyd titled on unknown label verso 65 x 75cm PROVENANCE: Aarwun Gallery, Canberra (label verso) Private collection, Melbourne $12,000-16,000 Viewing in Sydney

100 PRO HART (1928-2006) Landscape with Stumps oil on masonite signed lower right: PRO HARt titled lower left 49 x 55cm PROVENANCE: Private collection, Victoria $4,000-6,000 101 LEONARD LONG (1911-2013) Murray Depths Talmalmo (NSW Side) 1978 oil on canvasboard signed and dated lower right: LEONARD LONG 1978 titled verso 49.5 x 60cm PROVENANCE: Private collection, Melbourne $1,500-2,500 101A ALAN D. BAKER (1914-1987) Still Life oil on masonite signed lower right: ALAN D. BAKER. 37 x 44.5cm PROVENANCE: Greythorn Galleries, Melbourne (label verso) Private collection, Melbourne $1,800-2,800 102 MAX MIDDLETON (1922-2013) Hazel on Still Water 2002 oil on linen signed lower right: Max Middleton titled and dated on stretcher bar verso 76 x 51cm PROVENANCE: Five Ways Galleries, Melbourne 2003 Private collection, Melbourne $3,000-3,500 103 PHILLIP PIPERIDES (born 1956) Standing Dancer bronze ed. 5/20 signed and editioned at base: Piperides 5/20 70cm (height, including granite base) PROVENANCE: Private collection, New South Wales 103

$5,000-7,000

104 © David Warren /Copyright Agency 2021

104 DAVID WARREN (born 1945) Standing Nude 2005 oil on canvas signed and dated lower left: DAVID WARREN 05 55 x 40cm PROVENANCE: Charles Nodrum Gallery, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: David Warren, Charles Nodrum Gallery, Melbourne, 21 July - 13 August, 2005, cat. no. 9 $1,200-1,800

105 © David Warren /Copyright Agency 2021

105 DAVID WARREN (born 1945) Standing Female Nude (Alexa) 2005 oil on canvas signed and dated lower right: DAVID WARREN 01-05 56 x 41cm PROVENANCE: Charles Nodrum Gallery, Melbourne Private collection, Melbourne

106 ANNETTE BEZOR (1950-2020) Friends 1977 oil on canvas 164.5 x 164cm PROVENANCE: Greenaway Art Gallery, Adelaide (label verso) Private collection, Melbourne $3,000-5,000

EXHIBITIONS: David Warren, Charles Nodrum Gallery, Melbourne, 21 July - 13 August 2005, cat. no. 4 $1,200-1,800

107 © Robert Hannaford /Copyright Agency 2021

107 ROBERT HANNAFORD (born 1944) Morning Light in Shearing Shead 2008 oil on canvas signed lower right: HANNAFORD 102 x 169.5cm PROVENANCE: Art Equity, Sydney Private collection, Sydney $10,000-15,000 Viewing in Sydney 108 § LAURA MATTHEWS (born 1964) The Boatman 2011 oil on linen initialled lower left signed, titled and dated verso: Laura Matthews 2011/ “The Boatman” 148 x 188cm PROVENANCE: Private collection, Sydney $3,500-5,000 109 MIKE GREEN (born 1941) Already the Death Song 1998 watercolour on paper signed and dated lower right: Mike Green ‘98 titled and dated on gallery label verso 75 x 101cm PROVENANCE: Lauraine Diggins Fine Art, Melbourne (label verso) Private collection, Melbourne $1,200-2,000 110 JOHN MILDER (born 1951) Long Gaze of Memory 2004 bronze ed. 1/7 signed, editioned and dated at base: JM 1/7 ‘04 85 x 35 x 16cm PROVENANCE: The Artist Private collection, Melbourne $5,000-8,000

111 REG MOMBASSA (born 1951) Smoking Monster, Young 2001 oil on paper signed lower right: Reg MB initialled lower left: C. O’D titled and dated on gallery label verso 20 x 28cm (irregular) PROVENANCE: Watters Gallery, Sydney (label verso) Private collection, Melbourne $3,000-5,000 Viewing in Sydney 112 DAVIDA ALLEN (born 1951) It’s Nice Feeling Sexy No. 2 1989 oil on canvas, in artist’s frame signed, titled and dated verso: Jan. 1989 / “it’s nice feeling sexy / no. 2”/ Davida Allen. 130.5 x 130.5cm PROVENANCE: Art Galleries Schubert, Queensland Private collection, Melbourne $4,000-6,000 113 DAVIDA ALLEN (born 1951) Priest 1981 oil on canvas signed, titled and dated verso: Davida Allen/ PRIEST 1981 170 x 220cm PROVENANCE: Private collection, Melbourne $6,000-9,000 114 ANTHONY BENNETT (born 1966) Study for David Hockney Drinking Tea No. 3 2007 mixed media and resin on canvas signed, titled and dated upper right: ‘study for david hockney/ drinking tea no. 3 © ANt 2007 131 x 130cm PROVENANCE: Art Galleries Schubert, Queensland (label verso) Private collection, Melbourne $2,000-4,000

116

115 § RICHARD LARTER (1929-2014) Julie 208 2003 synthetic polymer paint on canvas initialled, titled and dated lower left: JULIE-208 / R.L. NOV 2003 signed, titled and dated verso 70 x 50.5cm PROVENANCE: Watters Gallery, Sydney Private collection, Brisbane Deutscher and Hackett, Melbourne, 29 August 2012, lot 112 (label verso) Private collection, Melbourne $2,000-4,000 116 ANNETTE BEZOR (1950-2020) Framed 1990 synthetic polymer paint and oil on decorative fabric artist’s name, title and date on gallery label verso 280 x 123cm PROVENANCE: Lula Bilu Gallery, Melbourne 1993 (label verso) Private collection, Melbourne EXHIBITIONS: The Nude 1992 - Sara Weis Award, Heide Park and Art Gallery, Melbourne 1992, cat. no. 2 (first prize) $4,000-6,000 117 DAVID BROMLEY (born 1960) Bird Watching bronze, edition of 12 inscribed at base: David Bromley 150cm (height) $12,000-18,000 118 MARY WATERS (Irish, born 1957) Garcia, Giovanni’s Brother (I Have a Brother, he is the Happy One) 2014 oil on linen signed and titled verso: (I have a brother, he is the happy one) / Garcia / Mary ALACOQUE Waters 180 x 180cm PROVENANCE: Galerie Pièce Unique, Paris 2015 Private collection, Melbourne $9,000-12,000 Viewing in Sydney

118 © Mary Waters /Copyright Agency 2021

119 PETER JAMES SMITH (born 1954) Aurora Australis i.) From the Deck of The Resolution 2005 ii.) Illuminated by Darkness 2005 oil on linen (2) each signed, dated and titled verso 76.5 x 61cm each PROVENANCE: Gallery 101, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Illuminated by Darkness, Edmiston Duke Gallery, Auckland, 7 June - 2 July 2005 (accompanied by an exhibition catalogue) Southern Landscape, Milford Galleries, Dunedin, 4 June - 23 June 2005 Illuminated by Darkness, Gallery 101, Melbourne, 20 September - 9 October 2005

120 SARAH TOMASETTI (born 1968) Breath VI 2008 From the Penumbra Series - Wilsons Promontory oil on linen signed, titled and dated verso: BREATH VI / SE Tomasetti / 2008 / (PENUMBRA SERIES- / WILSONS PROMONTORY) 100cm (tondo) PROVENANCE: Christine Abrahams Gallery, Melbourne (label verso) Private collection, Melbourne $2,000-3,000

$3,000-5,000

121 DARREN WARDLE (born 1969) Network 2001 oil on canvas signed, titled, and dated verso: Darren Wardle 2001 / ‘NETWORK’ 51 x 61cm PROVENANCE: Nellie Castan Gallery, Melbourne 2001 Private collection, Melbourne $4,000-6,000 122 DEL KATHRYN BARTON (born 1972) Angels 2001 pencil and pastel on paper signed, titled and dated lower centre: - angels - / del kathryn barton/ 2001 76 x 57cm PROVENANCE: Ray Hughes Gallery, Sydney Private collection, Melbourne $4,500-5,500 Viewing in Sydney 123 DAVID LAITY (born 1958) Venus 2001 oil on hessian on board signed lower right: Laity signed, titled and dated verso: Venus/ 2001/ David Laity 150.5 x 214cm PROVENANCE: Anthony Smith Fine Art, Melbourne (label verso) Private collection, Melbourne $12,000-16,000

122 Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

124 § MARK WHALEN (born 1982) Cube 2011 synthetic polymer paint, ink, gouache and resin on board signed, titled and dated verso: Mark Whalen / ‘CUBE’ 2011 29 x 22cm PROVENANCE: Black Arts Projects, Melbourne 2011 Private collection, Melbourne $1,000-1,500

123 © David Laity /Copyright Agency 2021

125 § MICHAEL STANIAK (born 1982) Untitled 2011 mixed media on timber signed and dated verso: MICHAEL STANIAK / 2011 122 x 84cm

126 § MATTHEW JOHNSON (born 1963) Untitled 2017 oil on linen signed and dated verso: Matthew Johnson 2017 61 x 61cm

PROVENANCE: Paradise Hills Gallery, Melbourne Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

$2,000-2,500

127 STAN DE TELIGA (1924-1998) Quiet on the Kydra 1973 synthetic polymer paint on canvas signed and dated lower right: deTeliga ‘73. signed, titled and dated on stretcher bar verso titled and dated on artist’s label verso 164.5 x 132cm PROVENANCE: The Estate of the Artist Private collection, Sydney Private collection, Melbourne $6,000-8,000 Viewing in Sydney

129

128 JAMES COCHRAN (born 1973) St. Kilda Street Girl #1 2009 synthetic polymer paint on linen signed, titled and dated verso: James Cochran/ “St Kilda Street Girl”/ 2009 134 x 92cm PROVENANCE: Jackman Gallery, Melbourne Private collection, Melbourne $2,000-3,000

129 JOHN FIRTH-SMITH (born 1943) Check Chicks 1965 oil on canvas signed, dated and titled verso 116 x 106cm

130 DOROTHY BRAUND (1926-2013) Figures on the Beach watercolour and gouache on paper 20 x 28cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Estate of the Artist Private collection, Melbourne

$6,000-8,000

$2,500-3,500

131 CHARLES BLACKMAN (1928-2018) Untitled 1965 ink on paper signed and dated upper right: Blackman 1965 37 x 51cm PROVENANCE: Private collection, Melbourne Thence by descent $1,200-1,800 132 CHARLES BLACKMAN (1928-2018) Portrait of a Young Girl with a Bow in Her Hair 1967 charcoal on paper signed and dated upper right: Blackman 67 titled on gallery label verso 49 x 36.5cm PROVENANCE: Lauraine Diggins Fine Art, Melbourne 1994 (label verso) Private collection, Melbourne EXHIBITIONS: A Line Around a Dream: Charles Blackman, Lauraine Diggins Fine Art, Melbourne, 23 March - 27 April 1994, cat. no. 40 $6,000-8,000 Viewing in Sydney 133 DONALD FRIEND (1915-1989) Boys ink on paper signed upper left: Donald 40 x 31cm PROVENANCE: Private collection, Melbourne $2,500-3,500 134 ANTHONY VANDERZWEEP (born 1960) Race Horse 2000 cast bronze sculpture ed. 3/6 artist’s stamp, date and edition inscribed at base: 2000 / 3/6 / AVANDERZWEEP 29.5cm (height, including base)

132 © Charles Blackman /Copyright Agency 2021

PROVENANCE: The Artist Private collection, Melbourne $1,500-2,500

136

135 DAVID RANKIN (born 1946) Landscape in Red 1990 oil on linen, diptych signed, titled and dated verso: Landscape in Red/ Rankin 90 60 x 90.5cm (overall) PROVENANCE: Adrian Slinger Galleries, Queensland Private collection, Queensland $1,500-2,000 136 DAVID BROMLEY (born 1960) Lazy Days 2001 oil on canvas signed lower right: BROMLEY titled on label verso 122 x 152.5cm PROVENANCE: Deutscher~Menzies, Sydney, 8 December 2004, lot 113 (label verso) Private collection, Melbourne $5,000-6,000

137 GILLIE & MARC SCHATTNER (born 1965 & 1961) The Elephant Reached New Heights with a Little Help bronze, with blue and green patina ed. 4/15 signed and editioned at base: GILLIE AND MARC 4/15 accompanied by a certificate of authenticity from the artists 81 x 30 x 30cm PROVENANCE: The Artists Private collection, Sydney $3,800-4,800

138 GEORGE RAFTOPOULOS (born 1972) Asthenia 2003 oil on canvas, triptych signed lower right: George signed, titled and dated verso 90 x 130cm (overall) PROVENANCE: Australian Art Resources, Sydney 2003 Private collection, Melbourne $4,000-6,000 139 TANYA HODDINOTT (born 1966) Simpatico 2001 oil on canvas signed, titled and dated verso: Simpatico / THoddinott / 2001 153 x 122cm PROVENANCE: Metro 5 Gallery, Melbourne Private collection, Melbourne $2,000-4,000

140 GILLIE & MARC SCHATTNER (born 1965 & 1961) It Was a Windy Day in Paris bronze ed. 2/30 signed and editioned at base: GILLIE AND MARC 2/30 accompanied by a certificate of authenticity from the artists 65 x 51 x 28cm

141 § BRUCE EARLES (born 1953) City Park 2020 oil on canvas signed and dated lower right: Bruce Earles 20 signed, titled and dated verso 120 x 240cm PROVENANCE: Private collection, Melbourne $5,500-6,500

PROVENANCE: The Artists Private collection, Sydney

142 JASPER KNIGHT (born 1978) National Stadium Line 2008 synthetic polymer paint and enamel on masonite and perspex signed, titled and dated verso: JASPER KNIGHT / “NATIONAL STADIUM LINE” 2008 / Jasper 120 x 120cm PROVENANCE: Peter Walker Fine Art, Adelaide Private collection, Sydney $4,000-5,000

$3,800-4,800

143 MARK HANHAM (born 1978) Paris Storm acrylic and silver leaf on canvas signed lower left: Mark Hanham 112 x 190cm PROVENANCE: Private collection, Melbourne $5,000-7,000

140

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ARTIST INDEX ALLEN, DAVIDA........................................... 112, 113

LAITY, DAVID........................................................ 123

ASHTON, WILL................................................ 37, 43

LAMB, JOANNA.................................................... 16

BAKER, ALAN D................................................101A

LARTER, RICHARD.............................................. 115

BALE, A.M.E.............................................40, 41, 53A

LARWILL, DAVID.................................................... 15

BANKS, JOHN D................................................... 33

LEACH-JONES, ALUN.......................................... 68

BARTON, DEL KATHRYN.................................... 122

LINDSAY, NORMAN............................................29A

BENNETT, ANTHONY......................................... 114

LONG, LEONARD............................................... 101

BENOIT, MARGARET............................................ 53

MACLEOD, EUAN................................................. 17

BEZOR, ANNETTE....................................... 106, 116

MARTENS, CONRAD............................................ 46

BLACKMAN, CHARLES............. 27, 80, 81, 131, 132

MATTHEWS, LAURA.......................................... 108

BOISSEVAIN, WILLIAM......................................... 85

MCINNES, W.B...................................................... 42

BOWMAN, JOHN SHEARER.................... 47, 48, 49

MEADMORE, CLEMENT...................................... 11

BOYD, ARTHUR............................................... 23, 25

MELDRUM, MAX................................................... 57

BOYD, DAVID...................................... 86, 95, 98, 99

MIDDLETON, MAX....................................... 30, 102

BRAUND, DOROTHY................................ 2, 10, 130

MILDER, JOHN.................................................... 110

BROMLEY, DAVID........................................ 117, 136

MINNS, B.E............................................................ 32

BRYANS, LINA.................................................. 58, 59

MOMBASSA, REG............................................... 111

BRYK, RUT.............................................................. 64

MORA, MIRKA............................................... 6, 8, 21

BUTLER, MANUPA................................................. 71

MURILLO, AFTER BARTOLOME ESTEBAN........ 52

BUVELOT, LOUIS............................................. 50, 51

NAMPITJINPA, FABRIANNE PETERSON............ 77

COBURN, JOHN..................................................... 7

NAPANGARDI, DOROTHY................................... 70

COCHRAN, JAMES............................................. 128

NAPANGARDI, LILY KELLY.............................. 75, 78

COLE, PETER D..................................................... 69

NOLAN, SIDNEY...........................................24, 24A

COLEMAN, BILL.................................................... 93

OFFICER, EDWARD.............................................. 39

CROOKE, RAY.......................................................... 4

OGILVIE, HELEN.............................................. 26, 54

DAWS, LAWRENCE............................................... 63

PEKEL, HERMAN................................................... 88

DE TELIGA, STAN................................................ 127

PERCEVAL, CELIA.............................................. 1, 89

DICKERSON, ROBERT.................................... 28, 83

PERCEVAL, JOHN................................................. 22

DOBLE, ROBERT................................................... 91

PIPERIDES, PHILLIP............................................. 103

DRINKWATER, JAMES.......................................... 19

POBELL, DERICK................................................... 67

DYER, GEOFF........................................................ 90

RAFTOPOULOS, GEORGE................................. 138

EARLES, BRUCE.................................................. 141

RANKIN, DAVID................................................... 135

FIRTH-SMITH, JOHN.......................................... 129

RAPOTEC, STANISLAUS....................................... 62

FRIEND, DONALD.................................. 29, 61, 133

REES, LLOYD......................................................... 84

GITTOES, GEORGE.............................................. 14

ROWAN, ELLIS....................................................... 34

GLEESON, JAMES................................................ 20

SCHATTNER, GILLIE & MARC.................... 137, 140

GRAHAM, ANNE MARIE........................................ 5

SENBERGS, JAN................................................... 13

GREEN, MIKE....................................................... 109

SHANNON, MICHAEL.......................................... 65

GREGORY, GEORGE FREDERICK........................ 45

SMITH, PETER JAMES........................................ 119

GRIFFIN, MURRAY................................................. 56

STANIAK, MICHAEL............................................ 125

HANHAM, MARK................................................. 143

STORRIER, TIM...................................................... 18

HANKEY, WILLIAM LEE......................................... 44

STREETON, ARTHUR............................................ 38

HANNAFORD, ROBERT..................................... 107

TJAMPITJINPA, RONNIE...................................... 72

HART, PRO................................... 87, 94, 96, 97, 100

TJUNGURRAYI, GEORGE HAIRBRUSH............... 74

HATTAM, HAL.......................................................... 3

TOMASETTI, SARAH........................................... 120

HIGGINS, ROMA................................................... 55

TUCKSON, TONY................................................63A

HODDINOTT, TANYA......................................... 139

VANDERZWEEP, ANTHONY........................ 82, 134

JACK, KENNETH................................................... 92

WARDLE, DARREN.............................................. 121

JACKS, ROBERT...................................................... 9

WARREN, DAVID......................................... 104, 105

JACKSON, JAMES R............................................. 31

WATERS, MARY................................................... 118

JAMES, LOUIS....................................................... 60

WATSON, TOMMY................................................ 73

JOHNSON, ROBERT............................................. 36

WEIR, BARBARA.................................................... 76

JOHNSON, MATTHEW...................................... 126

WHALEN, MARK.................................................. 124

KING, INGE............................................................ 12

WHEELER, CHARLES............................................ 35

KLIPPEL, ROBERT.................................................. 66

WILLIAMSON, RUBY TJANGAWA....................... 79

KNIGHT, JASPER................................................. 142

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

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

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.

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.

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

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,

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

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

CONTACT A LEONARD JOEL SPECIALIST Sale Rooms — MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 BRISBANE Telephone: 0412 997 080 email: info@leonardjoel.com.au leonardjoel.com.au MANAGING DIRECTOR & HEAD OF COLLECTIONS John Albrecht BA LLB MBA

Leonard Joel Specialists — FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Summer Masters BDes Hons, Administrator INDIGENOUS ART Olivia Fuller BArtTh, Head of Department DECORATIVE ARTS Chiara Curcio BA, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art SYDNEY Marcella Fox, Manager Ronan Sulich, Senior Advisor, Sydney Madeleine Norton, Decorative Arts and Fine Art Specialist, Sydney IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney Louisa Hirst, Assistant FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Hannah Sass, Jewellery Manager Indigo Keane, Assistant Isabella Macciolli, Administrator Henrietta Maiyah, Consultant

LUXURY John D’Agata F.G.A.A., Head of Department Indigo Keane, Assistant PRINTS Hannah Ryan, Art Salon Manager

The Auction Salon — Anthony Riepsamen, Manager FURNITURE Nick Bastiras, Manager David Price, Assistant Angus McGougan, Assistant Ari Walpole, Assistant JEWELLERY Hannah Sass, Jewellery Manager Indigo Keane, Assistant ART SALON Hannah Ryan, Manager Tessa Pietsch, Assistant OBJECTS & COLLECTABLES Rebecca Stormont , Manager Natasha Berlizova, Assistant

— VALUATIONS Caroline Tickner BA Hons, F.G.A.A., Head of Department Troy McKenzie, Queensland Representative Specialist ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager Andrea Del Campo, Accountant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Lucy Lewis, Client Services Liaison Richard Grieve, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager MARKETING & COMMUNICATIONS Blanka Nemeth, Head of Department Keryn Gilchrist, Database Administrator PHOTOGRAPHY Adam Obradovic Henry Murphy BA GRAPHIC DESIGN Maria Rossi

MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department 65

Lot 5 (detail) ANNE MARIE GRAHAM (born 1925) Oranges at an Open Window 1974 oil on canvas signed and dated lower right: Anne Graham ‘74 91.5 x 61cm $1,200-1,600 © Anne Marie Graham /Copyright Agency 2021

MELBOURNE 68

SYDNEY

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