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October Fine Art

Continuing on from our inaugural offering of a Jordy Kerwick painting at auction in Australia in our 2022 June Fine Art auction, we are thrilled to have a further three impressive paintings by Jordy in our October offering (lots 9-11). His still life paintings take the universally domestic and strip the beauty back to a raw aesthetic. Over the last few years his market has risen exponentially, achieving top results around the world at auction and his representative commercial galleries.

In a somewhat different still life approach, Howard Arkley’s Discocacti 1986 (lot 14) presents a hybrid cacti creature. The surface is flattened, tying into the work’s title with ‘diskos’ in Greek meaning a flat round shape. The background in true Arkley fashion is a patterned trellis akin to the flashing lights and dancefloor of a disco. This use of patterning is also seen in Black and White Icon 1995 (lot 13), produced almost a decade later. Arkley continued his ‘pattern-conscious’ style but this time with a more figurative approach. Inspired by an anonymous Byzantine icon, Arkley produces a representation of himself in thick bold outline. Both works involve the appropriation and amalgamation of ideas and images from a vast selection of resources compiled by the artist, in his own distinctive style.

In contrast, legendary Hermannsburg watercolourist, Albert Namatjira, makes little appropriations of his surroundings but rather produces a detailed and exact representation of the landscape as it appears to him. White Gum c.1947 (lot 49) is an exquisite example of the artist’s refined use of the watercolour medium. In the more unusual portrait orientation, the work focused on the towering height and strength of the white gum – standing guard over its surroundings.

Our October Fine Art sale continues to present a dedicated Post War and Contemporary feature (lots 1-48) with further key works by Danila Vassilieff, Sidney Nolan, David Larwill, J. A. Turner and Michael McWilliams on offer.

Olivia Fuller | Head of Art

POST WAR& CONT EMPO RARY

3 JOHN COBURN (1925-2006)

Study for Tapestry

and dated

PROVENANCE:

4 PETER CLARKE (born 1935)

‘PAGE’/ PETER CLARKE/

PROVENANCE:

5 DAVID LARWILL (1956-2011)

At the Dance 1998 gouache on paper signed lower right: David Larwill titled lower left dated lower centre 104 x 107cm (image)

PROVENANCE:

The Artist’s Studio Private collection, Melbourne $7,000-9,000

6 JOHN COBURN (1925-2006)

Study for Tapestry - ‘Spring’ 1970 gouache and pencil on paper signed and dated lower right: Coburn 70 titled lower left 12 x 26cm

PROVENANCE:

Sotheby’s, Melbourne, 16 May 2006, lot 69 Private collection, Melbourne $3,500-4,500

5 © David Larwill/Copyright Agency 2022

7 MICHAEL JOHNSON (born 1938)

Wondabine 2 1987 oil on canvas signed, titled and dated verso: “WONDABINE

michael johnson 1987 213 x 151.5cm

PROVENANCE: Christine Abrahams Gallery, Melbourne Private collection, Melbourne

EXHIBITIONS:

Michael Johnson, Christine Abrahams Gallery, Melbourne, 15 September - 6 October 1994 $25,000-35,000

8 PAUL PARTOS (1943-2002)

Calendar Painting 1987 oil on canvas signed, titled and dated verso: Paul Partos 1987 / Calendar painting Anima Gallery label attached verso

96cm

PROVENANCE:

The Artist’s Studio Private collection, Melbourne $8,000-10,000

Jordy Kerwick

9 JORDY KERWICK (born

KERWICK

Jordy Kerwick

Melbourne born Jordan “Jordy” Kerwick has rapidly gained international attention for his striking and bold approach to colour and pattern, producing highly graphic imagery onto canvas. Interior scenes, still life’s, teeth-baring animals and mythical creatures are paired with patterned rugs, wild wallpaper and even lyrics, creating a unique narrative.

Jordy Kerwick quickly found his calling as an artist after experimenting with painting garden pots in his Melbourne courtyard in 2016. With his first solo show held in Melbourne at Lindberg Galleries, still life’s quickly became his trademark subject. Using sand as a key ingredient to his primer, Kerwick achieves a gritty, thick impasto which serves as the base to his skeletal-like flowers, often bursting out of quirky patterned pots and alongside stacked books and the odd cigarette. His ability to take what appears so universally domestic and innocent and strip the beauty back to a raw aesthetic is what has developed Kerwick’s vast fan base. His more recent works look at predatory animals, specifically tigers, alongside domestic objects to create a vibrant, expressionist and playful composition.

Kerwick’s visual inspirations are vast. Contemporary counterparts such as Andrew Salgado, Adam Lee, Rhys Lee and Wolfgang Vogel have all had a profound impact on Kerwick’s works, using similar colour vibrancy, layered imagery, mark making and use of lyrics, these characteristics can be seen across his practice and credited as a defining characteristic in his oeuvre.  Jordy Kerwick’s paintings are seen in major galleries and auction houses spanning across New York, Berlin, London and now Australia. Kerwick’s rise was cemented on the secondary market when his oil on paper work of a lion attacking a two-headed beast sold for €17,000 at Sotheby’s in London. As a measure of his expanding market, this record only lasted a day, with Phillips auctioning a still life piece Cool Cats 2019 selling for €82,353 before their New York outpost offered Le Tigre achieving a staggering US$220,000. To see a self-taught artist rise with such market vigour in a short period of time is a rare occurrence in today’s market where talent and competition is fierce. Leonard Joel was honoured to be the first Australian auction house to present a work by Jordy Kerwick for major public auction and to present three further unique works as lots 9-11 in this auction.

Lucy Foster | Senior Specialist, Fine Art

11 JORDY KERWICK (born 1982)

Still Life 2017

polymer paint on canvas signed and dated verso: JORDY/ 2017

x

PROVENANCE:

Acquired directly from the artist, 2017 Private collection, Melbourne

12 § PATRICIA PICCININI (born 1965)

Untitled 2016

and gouache on paper signed and dated verso: 2016 / Patricia Piccinini

x 76cm (sheet size)

PROVENANCE:

Gift of the artist, 2016 Private collection, Melbourne

Howard Arkley

Howard Arkley’s subjects broadly extend from suburban houses and freeway overpasses, to cacti plants and portraits. Masks, Zappo heads and various faces are visible in the portraits by Howard Arkley, all with the potential to be viewed as expressions of the artist himself.

By 1990, he was exhibiting his ‘heads’ with Tolarno and his notebooks of this time reveal his scribbles of ideas for further heads – ‘dead head, origami head, wet head, face break down, face with illness, own face’ and many more. Between these written musings and his vast array of collected material, it is evident that this was a series that Arkley saw a large and important body of work eventuating from. All of these portraits were linked to Arkley’s own persona. His 1990 Tolarno exhibition explored different titles, including “Looking for a likeness/My personal ID kit” indicating that Arkley saw himself adopting different disguises or masks. Transformation, transgression and the destabilising of boundaries were all prevalent in his studies of human faces1

In Black and White Icon 1995, the same icon head is utilised here as in other works by Arkley from the mid-1990s. Arkley portrays a prophet-like figure, drawing inspiration from an unknown Byzantine icon, as a reflection of himself. Arkley collected a vast array of material, from a widespread range of sources so it is possible he was appropriating a Byzantine work. Whilst at times we can understand why a particular image captured his interest, on many occasions we are left wondering. It is how Arkley studied, modified, adapted, and assembled these image sources that distinguishes his style.

By the time of his 1995 Tolarno exhibition, Howard Arkley was known for his use of bright colour and suburban subject matter. Rather than focusing solely on this as a determinant of commercial success, he revisited his monochromatic approach of the 1970s, acknowledging the importance of black and white throughout his career, but this time in conjunction with figuration rather than abstract mark making. In addition, in Black and White Icon from this exhibition, we now see Arkley’s use of pattern in full flourish. Arkley was particularly ‘pattern-conscious’, often drawing upon the patterning of ornate wrought-iron gates and doorways, fabric designs, clothing, wallpaper, knitting patterns and tiles to recycle and revert their position as non-art. Here he has taken a paper or lace doily pattern, and used his iconic aerosol method to transfer this everyday pattern onto the sheet. It is at first a domestic, suburban and even decorative pattern although this is exactly Arkley’s purpose – to “highlight both the ubiquity and inescapability of the decorative in daily life, and the merging of art and décor. However, more than this, the utter flatness of the pattern, at odds with the perspectival nature of the figurative elements, sets up the potential for slippages between the 2nd and 3rd dimension, abstraction and representation, and the real and the staged”2

The work of Howard Arkley involves the appropriation and amalgamation of ideas and images, from a vast selection of resources compiled by the artist. Black and White Icon 1995 is an important portrait by Arkley, utilising a repeated icon of Byzantine origins as a self-portrait, against one of the artist’s ‘pattern-conscious’ backgrounds. With only a few of the works on paper from this 1995 Tolarno exhibition recorded and identified, this rare work is now finally being showcased to the public once again and available to Arkley collectors.

of Howard Arkley.

by Kalli Rolfe Contemporary

Howard Arkley

In Howard Arkley’s paintings, suburbia, interiors, faces and plants become larger than life, whilst challenging our notions of art and décor. Extending off his experimentations with portraits, such as lot 13, Arkley began to illustrate cacti in the 1980s furthering his shift towards the figurative. Howard Arkley collected a plethora of source material that inspired much of his work. His sketchbooks and diaries from the 1970s, show a wide array of plant and human hybrids (some real, some imaginary) with many originating from William and Sybil Harland’s book Growing Cacti and Succulents in Australia and New Zealand (Kangaroo Press, 1981). This book provided Arkley with endless visual inspiration, but also verbal, with unfamiliar botanical names of great intrigue for the artist. In Arkley’s working notes of the 1980s, he lists these botanical plant names together with terms like “hybradizing; grafting; mutants and propagation” and it is around this time we see stylised cacti apparent in his major works.

Cacti made their first formal appearance in Arkley’s Cacti & Succulents show at Roslyn Oxley9, Sydney, in 1984, soon after followed by his Recent Paintings exhibition at Tolarno, Melbourne, in 1986.

One of three cactus paintings shown in the latter Tolarno exhibition, Discocacti displays the same trellised background seen in the other two examples. Arkley was particularly ‘patternconscious’, with ornate gates and doorways, fabric designs, wallpaper, and tiles a myriad of inspiration for him. Against the formulaic grid of the flat patterned background, the cacti is strange in form with spiky, bulging and unfamiliar shapes. There is a suggestion of teeth with the pointed spikes and arteries and limbs emerge from red shapes. Discocactus comes from the Greek work ‘diskos’ meaning a flat round shape and is the name of a cacti species originating in South America. Arkley’s representation is hardly true to life - large in scale, Discocacti is akin to a formalised portrait study with its own punkish ‘personality’. The sheer scale of the work makes the cacti imposing and unnerving yet the bold bright colours create a hallucinatory impression, with the patterned background displacing us from any familiarity with this hybrid creature. Arkley’s continuing use of the aerosol spray gun not only gives his works their iconic aesthetic but also parallels with commercial art practices in Arkley’s plight to challenge the art and décor relationship.

By the later 1980s, he revisited the subject of cacti again with another two exhibitions at Roslyn Oxley9 and Bellas Gallery occurring. Whilst his suburban imagery soon dominated his practice, his final focus on the cacti and succulents was in his exhibition Casual Works in 1988 showing in both Melbourne and Brisbane. Installation shots from this exhibition show a black and white work on paper, the monochromatic partner to Discocacti later auctioned by Bonhams USA, 4 May 2009, as ‘No To Disco’. The myriad of sources and resulting subject matter in the oeuvre of Howard Arkley makes for an iconic body of work – from head studies to suburban settings and, in this case, stylised cacti. His resulting major cacti works, such as Discocacti, are unmistakably rare, with their significance in his oeuvre strongly valued by key Arkley collectors and institutions.

Olivia Fuller | Head of Art

14

HOWARD ARKLEY (1951-1999)

Discocacti 1986 synthetic polymer paint on canvas signed, dated and inscribed verso: title. Discocati [sic]/ Date. 1986/ size 160 x 120 cm/ Howard Arkley 161 x 120cm

PROVENANCE:

Budget Transport Industries ‘Young Australians’ Collection

Martin Browne Fine Art, Sydney Sotheby’s, Melbourne, 18 June 1995, lot 279 Private collection, Melbourne

EXHIBITIONS:

Howard Arkley, Recent Paintings, Tolarno Galleries, Melbourne, 20 September - 8 October 1986, cat. no. 2

Young Australians: The Best of Young Australians, National Gallery of Victoria, Melbourne, 11 August9 September 1987, toured nationally 1987-1989, cat. no. 14

Howard Arkley, Monash University Gallery, Melbourne, 18 October - 30 November 1991, cat. no. 56

20th Century Australian and New Zealand Painting, Martin Browne Fine Art at Mary Place Gallery, Sydney, 22 August - 28 September 1991, cat. no. 70 Downtown, Heide Museum of Modern Art, Melbourne, 14 March - 14 May 1995

LITERATURE:

Engberg, J., Indigenous, Indelible Arkley, Art and Australia, Autumn 1987, vol.24, no.3, p.386 Lindsay, R. (ed.), Young Australians: The Best of Young Australians (Exhibited by Budget Rent A Car), Powell Street Gallery, Melbourne, 1987, p.14 (illus.)

Gregory, J., Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p.172, cat. no. 6.15 (illus. p.171)

Gregory, J., Arkley Works: Howard Arkley Online Catalogue Raisonne, http://arkleyworks.com/ blog/2009/11/18/discocacti-1986/ (illus.) $75,000-95,000

1. Fitzpatrick, A., Lynn V., Howard Arkley and Friends, Tarrawarra Museum of Art, Victoria, 2015, p. 16

14 © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art

19

17

Imants Tillers/Copyright

DAVID LARWILL (1956-2011)

Skills of the Game III 1996 oil on canvas initialled and dated lower right: D.L./ ‘96 signed, titled and dated verso 183 x 152cm

PROVENANCE: Gould Galleries, Melbourne 1996 Private collection, Sydney

OTHER NOTES:

Believed to be one of 3 paintings the artist produced as part of the AFL Centenary. $28,000-38,000

18

LUCY CULLITON (born 1966)

White Horse, Dark 1996 oil on canvas signed and dated verso: CULLITON/ 1996 177 x 145cm

PROVENANCE:

National Art School, Sydney Private collection, Sydney Shapiro Auctioneers, Sydney, 17 May 2018, lot 51 Private collection, Queensland $8,000-10,000

19 IMANTS TILLERS (born 1950)

Thou Majestic: B 2009 synthetic polymer paint and gouache on 25 canvasboards 127 x 178cm

PROVENANCE:

Jan Manton Gallery, Brisbane Private collection, Brisbane

EXHIBITIONS:

Value Added Landscapes: Imants Tillers, Jan Manton Gallery, Brisbane, 27 May - 20 June 2009 $12,000-16,000

20 VINCENT FANTAUZZO (born 1977)

Brandon 2009 mixed media on paper signed and dated lower right: VFantauzzo 09 39.5 x 54cm (image size); 75 x 55cm (sheet size)

PROVENANCE: Private collection, Melbourne

RELATED WORK: Brandon, oil on linen, 123.5 x 200.5cm, Private collection.

Another painting of Brandon by Vincent Fantauzzo was the winner of the 2009 Archibald Prize People’s Choice. $3,000-4,000

21 JAMES ROBERTSON (born 1968)

Rhythm and Momentum 2005 oil on linen signed and dated lower right: James Robertson 05 91.5 x 152cm

PROVENANCE: The Panthechnicon Art Gallery, Victoria Private collection, Melbourne $4,000-5,000

22 SAM LEACH (born 1973)

Albino Tortoise 2008 oil and resin on Japanese ash signed and dated verso: Sam Leach 2008 titled on gallery label verso 30 x 45cm

PROVENANCE:

Nellie Castan Gallery, Melbourne (label verso) Private collection, Queensland $4,000-6,000

23 MICHAEL MCWILLIAMS (born 1940)

Winston Showing Off In America 2005 synthetic polymer paint on board in bespoke artist’s made frame signed lower right: M. McWILLIAMS titled and dated on gallery label verso 74 x 58cm (excluding frame)

PROVENANCE:

Lauraine Diggins Fine Art, Melbourne (label verso) Private collection, Melbourne

OTHER NOTES:

Michael McWilliams is a Tasmanian artist whose works are finely executed, with an animal focus and underlying wit. Having been surrounded by antique furniture since childhood, he now co-owns the family antique shop in Longford, Tasmania. His paintings often include elements of his antique discoveries - in this case the beautiful custom made frame.

In this painting, the cow (Winston) is reminiscent of a historical stock portrait which owners would often commission. Winston has now made his way to America, and has found himself within the well known painting, “American Gothic” 1930, by Grant Wood.

24 © Rick Amor/Copyright Agency 2022

24 RICK AMOR (born 1948)

Study for ‘Royalty’ 2000 oil on linen signed and dated lower left: RICK AMOR ‘00 titled and dated verso 33 x 38cm

PROVENANCE: Niagara Galleries, Melbourne Private collection, Melbourne $9,000-12,000

25 § IMANTS TILLERS (born 1950)

Nature Speaks: EJ 2013 synthetic polymer paint and gouache on 16 canvasboards 101 x 142cm

PROVENANCE: Jan Manton Gallery, Brisbane Private collection, Brisbane

EXHIBITIONS:

Metafisica Australe: Imants Tillers, Jan Manton Gallery, Brisbane, 21 October - 14 November 2015 “Metafisica Australe presents a body of work which attempts to find common ground between contemporary Western Desert painting and the metaphysical paintings of the 20th Century Italian master, Giorgio de Chirico.” (excerpt, exhibition statement) $9,000-14,000

26 RICHARD DUNLOP (born 1960)

Spanish Quarter 2009 oil on linen signed and dated lower right: Dunlop ‘09 signed, titled and dated verso 153 x 152.5cm

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

26 © The Artist

27 JASON BENJAMIN (1971-2021)

As We Open Up The Gates 2002 oil on canvas signed, titled and dated verso: as we open up/ the gates/ Feb ‘02/ Benjamin 122 x 183.5cm

PROVENANCE: Metro 5 Gallery, Melbourne Private collection, Melbourne $12,000-16,000

28

MARTINE EMDUR (born 1967)

Sapphire Study 1999 synthetic polymer paint on board signed and dated lower right: M Emdur 99 25 x 25cm

PROVENANCE:

Art House Gallery, Sydney 1999 Private collection, Melbourne

EXHIBITIONS:

Martine Emdur, Art House Gallery, Sydney, 3 - 20 November 1999, cat. no. 14 $2,000-3,000

29 ANNETTE BEZOR (1950-2020)

Face 2002 synthetic polymer paint on canvas signed and dated verso: Bezor/ July 2002 165 x 164.5cm

PROVENANCE:

Greenaway Gallery, Adelaide Private collection, Melbourne $6,000-8,000

30 ANDREW BROWNE (born 1960)

Untitled 1992 oil on canvas signed and dated verso: ANDREW BROWNE - 1992 92 x 335cm

PROVENANCE:

Deutscher Fine Art, Melbourne Private collection, Melbourne $6,000-8,000

31 MARISA PURCELL (born 1971)

Moments at Once 2012 oil and synthetic polymer paint on linen signed, titled and dated verso: Marisa Purcell 2012 / Moments at once 184 x 173cm

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

EXHIBITIONS:

Marisa Purcell: Halo, Tim Olsen Gallery, Sydney, 17 October - 4 November 2012 $6,000-8,000

32

KATHERINE HATTAM (born 1950)

4 Kitchen Chairs oil and collage on linen signed verso on stretcher bar: K. HATTAM 60 x 160cm

PROVENANCE:

The Artist

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

33 § LISA ROET (born 1967)

Golden Monkey 2021 bronze, 24 carat-gold plated 40 x 15 x 15cm

PROVENANCE:

Private collection, Melbourne $7,000-8,000

34

GARETH SANSOM (born 1939)

Twin Peaks and Santa Too 2006 oil and enamel on canvas signed, titled and dated verso: TWIN PEAKS + SANTA TOO Gareth Sansom 2006 122 x 122cm

PROVENANCE:

Niagara Galleries, Melbourne Private collection, Melbourne

EXHIBITIONS:

Blue Chip XXI: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 4 March - 5 April 2019 $7,000-10,000

35

DAVID LARWILL (1956-2011) House 2000 mixed media on paper signed lower right: David Larwill titled lower left dated lower centre 91 x 50cm (image)

PROVENANCE:

The Artist’s Studio Private collection, Melbourne $4,000-5,000

38

36

DICK WATKINS (born 1967)

Three Figures 1984 oil on canvas signed, titled and dated verso: ‘THREE FIGURES’/ R. WATKINS/ 1984 168 x 122cm

PROVENANCE: 312 Lennox Street, Melbourne Private collection, Melbourne $12,000-16,000

37

PAUL BOSTON (born 1952)

Untitled cat. 14 1989-90 oil on linen 137 x 91.5cm

PROVENANCE:

The Estate of Ray Hughes Private collection, Melbourne

EXHIBITIONS:

Paul Boston, Tony Oliver Gallery, Melbourne 1989 (label verso)

Paul Boston, Survey Exhibition 1980 - 2010, Ray Hughes Gallery, Sydney, and Niagara Galleries, Melbourne, 2011, cat. no. 14 (illustrated in exhibition catalogue, p.19) $5,000-7,000

38

GEORGE JOHNSON (1926-2021)

Untitled 1954 oil on hessian laid on board signed and dated lower right: Johnson. 54 97 x 183cm

PROVENANCE:

Gift of the artist Private collection, Melbourne Thence by descent $4,000-6,000

40 © Karen Aspden/Copyright Agency, 2022

39

ROBERT GRIEVE (1924-2006)

Black, Yellow and Brown Improvisation 1998 mixed media on paper, laid on canvas signed and dated upper left: R GRIEVE/ 98 titled and dated verso 111 x 130cm

PROVENANCE:

The Estate of Robert Grieve Eastgate and Holst, Melbourne 2005 Private collection, Melbourne $3,000-4,000

40

DAVID ASPDEN (1935-2005)

White Painting 1963 oil on masonite signed lower right: Aspden title inscribed verso 122 x 123cm

PROVENANCE: Private collection, Sydney Lawson~Menzies, Sydney, 6 March 2002, lot 82 Private collection, Melbourne $6,000-8,000

41 RICK AMOR (born 1948)

Station 1989-90 oil on canvas signed and dated lower right: Rick Amor’90 titled and dated verso: STATION / NOV - DEC 89 107 x 76cm

PROVENANCE:

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

EXHIBITIONS:

Rick Amor, Niagara Galleries, Melbourne, 19 June - 7 July 1990, cat. no. 1

LITERATURE: Catalano, G., A Harsh View of the City as Fearful Labyrinth, The Age, Melbourne, 27 June 1990, p. 14 $10,000-15,000

42

KEVIN LINCOLN (born 1941)

Untitled, 24/10/2000 oil on linen signed and dated verso: 24/10/2000 / K Lincoln 120 x 173cm

PROVENANCE:

Niagara Galleries, Melbourne Private collection, Melbourne

EXHIBITIONS:

Kevin Lincoln: New Paintings 2001, Niagara Galleries, Melbourne, 31 July - 1 September 2001, cat. no. 20 (illustrated in exhibition catalogue)

“Kevin Lincoln is primarily known for his still life paintings; bowl and bottle shapes that inhabited an increasingly shallower picture space. Using muted colours, these shapes appeared to sit on the same place as the dark backgrounds they were silhouetted against creating an ambiguous friction in the line between two areas of colour. In his recent paintings,

the still life elements have disappeared, yet this same ambiguous line remains between abstract areas of muted colour. The eye absorbs the flat, evenly painted areas of paint, lulled into contemplative meditation, these uneven borders create a mild jolt, like the change of tone in a Gregorian chant.” - Michael Wardell, 2001 (excerpt, exhibition statement)

$10,000-15,000

43 JOHN COBURN (1925-2006)

Study for ‘Black Day’ 2002 gouache and pencil on paper signed and dated lower right: Coburn/ 2002 titled lower centre 36 x 33.5cm

PROVENANCE:

Phillip Caldwell Auctioneers, Melbourne 2006 Private collection, Melbourne $3,500-4,500

46

44

RICK AMOR (born 1948)

Study For ‘In Barri Gòtic’ 1991 oil on linen signed and dated lower left: RICK AMOR ‘91 signed, titled and dated verso 22.5 x 16cm

PROVENANCE:

Niagara Galleries, Melbourne Private collection, Melbourne

EXHIBITIONS:

Rick Amor, Niagara Galleries, Melbourne, 1992, cat. no. 1

OTHER NOTES:

This painting was created following the artist’s residency in Barcelona in 1991. Barri Gòtic is the medieval, or ‘Gothic’, quarter in Barcelona and it is this location that Amor portrays in this oil painting, plus one other, along with a drawing, lithograph and etching in his oeuvre.

$4,000-6,000

45

CLIFTON PUGH (1924-1990)

(Birds In Landscape) 1962 oil on masonite

signed and dated lower right: Clifton / 62 91.5 x 122cm

PROVENANCE:

Private collection, Melbourne Thence by descent $12,000-18,000

46

JAMES GLEESON (1915-2008)

An Active Barrier 2005 oil on linen signed and dated lower left: Gleeson ‘05 signed and titled on stretcher bar verso 76 x 89cm

PROVENANCE:

Watters Gallery, Sydney The Collection of Patricia Reid, Sydney Private collection, Melbourne

EXHIBITIONS:

James Gleeson Elements for a Beginning, Watters Gallery, Sydney, 1 - 26 November 2005, cat. no. 15 $9,000-12,000

47 SIDNEY NOLAN (1917-1992)

Miner II 1972 oil on board signed and dated lower centre: 26 June 72/ Nolan 120 x 120cm

PROVENANCE:

The Collection of Lady Nolan, United Kingdom Corporate collection, Melbourne Menzies, Sydney, 23 June 2011, lot 122

Private collection, Melbourne

EXHIBITIONS:

A Collection of Work 1940 - 1970, Australian Galleries, Melbourne, 27 April – 16 May 1992, cat. no. 5 and touring to Australian Galleries, Sydney, 9 June – 4 July 1992, cat. no. 4 (label verso, stock number 8973)

$20,000-25,000

Sidney Nolan’s works are often associated with mythology and events from Australia’s rich history. Famous series including Gallipoli, Burke and Wills and the famed Ned Kelly works, are all particularly concerned with the outback landscape. His Miner series instead turned to the plight of the labourer, drawing back to Nolan’s own working class roots. In 1972 Nolan travelled over the vast stretches of the dry, mineral-rich lands in the Pilbara region, turning his thoughts towards the experiences of the miners working under extreme conditions and facing risk daily. His Miner series resulted, within which Nolan references his own injuries sustained while on duty, serving at war, losing the two fingertips on his left hand in 1943. The figure’s pose is also somewhat reminiscent of a religious portrait, with the construction and placement of the hand a divine association, adding to Nolan’s profile of the workers and their importance within Australian industry.

Lucy Foster | Senior Specialist, Fine Art

48 SIDNEY NOLAN (1917-1992)

Rider on Horseback ripolin enamel and wax crayon on paper on board signed lower right: Nolan 51 x 74.5cm

PROVENANCE:

Private collection, Melbourne c.1975 $12,000-15,000

47 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency, 2022

Albert Namatjira

Albert Namatjira’s captivating landscape watercolours are amongst the most widely recognised artworks of 20th century Australian art. Albert Namatjira was born and raised at a Lutheran mission in Hermannsburg, 140km west of Alice Springs. It was not until meeting artist Rex Battarbee who taught Namatjira the medium of watercolour in exchange for visits to sacred areas of the lands, that Namatjira began his own prolific body of work. Through his mastery of technique and deep understanding of country, Namatjira’s luminous works soon made him one of Australia’s most accomplished watercolourists.

White Gum c.1947 is a prime example of Namatjira’s ability to express his relationship with his country through the delicate medium of watercolour. Revealing his deep understanding of shadow and depth, Namatjira depicts the gum tree at close view as an iconic symbol of the Australian bush. The work is in portrait orientation, somewhat rarer for Namatjira, emphasising the gum’s towering height. Powerfully withstanding the harsh conditions of the outback, the gum’s brilliant white bark starkly contrasts against the burnt red and ochres of the landscape. While frequently including iconic natural imagery in his compositions to highlight the vitality and strength of the Australian bush, Namatjira’s works are also embedded with deeply spiritual stories of the land which have been passed down to him through his ancestors. Regardless of the few viewers that truly understood the deeper meaning and connection to country that was imbued within his works, his watercolours were highly prized, giving the public glimpses of our nation that few had ever seen in the flesh.

Namatjira captured aspects of the local scenery which differed from the English and European landscape, creating an image of the Australian countryside dominating the vision of artists for several generations to come. The Hermannsburg School, as they are commonly known by, consists of a number of revered artists all painting in the western manner using watercolours. With Albert Namatjira Senior considered the leader of the group, his watercolours have become a symbol of Australian art leaving a legacy still celebrated to this day.

At the time his watercolours were seen as symbols of Australian life and land, and today, Namatjira is still widely acknowledged as a pioneer of these iconic national representations of the landscape. His status as one of the country’s most celebrated watercolourists was marked in 2017 with a retrospective exhibition at the National Gallery of Australia, Canberra, with numerous works in other state institutional collections.

Lucy Foster | Senior Specialist, Fine Art

49 ALBERT NAMATJIRA (1902-1959)

White Gum c.1947 watercolour with pencil outlines signed lower right: ALBERT NAMATJIRA 48.5 x 31cm

PROVENANCE:

Acquired directly from Rex Battarbee Private collection, Victoria Private collection, Melbourne (acquired from the above c.1980s)

LITERATURE: This artwork will be featuring in the digital catalogue raisonne on the artist being compiled by Ken McGregor $30,000-40,000

51

52 JAMES ALFRED TURNER (1850-1908)

Bad Luck 1904 oil on canvas signed and dated lower left: J.A. TURNER / 1904 titled verso 28.5 x 59cm

PROVENANCE: Leonard Joel, Melbourne, 8 August 2000, lot 238 Private collection, Melbourne $9,000-12,000

53 WALTER WITHERS (1854-1914)

Grazing Sheep oil on canvas laid on board signed lower right: Walter Withers 23 x 33cm

PROVENANCE: Private collection, South Australia $7,000-9,000

54

54

J.H. SCHELTEMA (1861-1941)

Pastoral Scene oil on canvas signed lower right: J.H. Scheltema 51.5 x 74.5cm

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

55

W. B. MCINNES (1889-1939)

Team at Rest 1917 oil on canvas in original John Thallon frame (label verso) signed and dated lower left: W. B. McINNES / 17 62.5 x 77.5cm

PROVENANCE: Leonard Joel, Melbourne, 21 May 1975, lot 391 The Estate of Graham Joel, Melbourne Thence by descent $6,000-7,000

56

J.H. SCHELTEMA (1861-1941)

Cattle by a Waterhole oil on canvas in original John Thallon frame (label verso) signed lower right: J. H. SCHELTEMA 60 x 103cm

PROVENANCE: Private collection, Melbourne $7,000-10,000

57 ROBERT JOHNSON (1890-1964)

Barrenjoey Light oil on canvasboard signed lower left: Robert Johnson 36 x 44cm

PROVENANCE: Sotheby’s, Sydney, 15 August 2000, lot 179 Private collection, Tasmania $3,000-5,000

58

WILL ASHTON (1881-1963)

Sydney Harbour oil on canvasboard signed lower left: Will. ASHTON. title inscribed on unknown label verso 26 x 37cm

PROVENANCE: Sotheby’s, Sydney, 15 August 2000, lot 178 Private collection, Tasmania $5,000-7,000

59

JAMES R. JACKSON (1882-1975)

Evening Light from Observatory Hill, Sydney Harbour oil on canvas on board signed lower left: JAMES R JACKSON 34 x 40cm

PROVENANCE:

The Sedon Art Gallery, Melbourne 1962 Private collection, South Australia $3,000-5,000

60 ROBERT TAYLOR-GHEE (1869-1951)

The Yarra 1917 oil on board signed and dated lower right: R E Taylor Ghee / 17 29.5 x 45.5cm

PROVENANCE: Sotheby’s, Melbourne, 27 March 1988, lot 74 Private collection, Melbourne $4,000-6,000

61

61

§ WILL ASHTON (1881-1963)

Paris oil on canvas signed and titled lower right: WILL ASHTON/ PARIS 60 x 45cm

PROVENANCE:

Private collection, Sydney Theodore Bruce, Sydney, 13 February 2022, lot 4597

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

62

WILL ASHTON (1881-1963)

Hotel Du Midi oil on canvasboard signed lower right: WILL ASHTON 44 x 35.5cm

PROVENANCE:

Private collection, Adelaide Sotheby’s, Melbourne, 21 November 2006, lot 189 Private collection, Melbourne Leonard Joel, Melbourne, 24 June 2012, lot 17 Private collection, Melbourne $4,000-6,000

66

63 WILLIAM DARGIE (1912-2003)

The Valley of the Great Wall oil on canvas signed lower left: Dargie titled on unknown label 50 x 65cm

PROVENANCE: (Possibly) J. Leger & Son, London The National Australia Bank Art Collection Leonard Joel, Important Works from the National Australia Bank Art Collection, Melbourne, 23 February 2022, lot 61 Private collection, Melbourne $4,000-5,000

64 ROLAND WAKELIN (1887-1971)

Near Upper Hutt, New Zealand 1950 oil on canvas on board title inscribed verso 40.5 x 53cm

PROVENANCE: Macquarie Galleries, Sydney (label verso) Private collection, Melbourne Thence by descent

EXHIBITIONS:

Roland Wakelin Memorial Exhibition, Macquarie Galleries, Sydney, 29 March - 17 April 1972 $5,000-7,000

65 DANILA VASSILIEFF (1897-1958)

Fitzroy Street Scene c.1938 oil on plywood panel signed lower left: Vassilieff 45 x 54.5cm

PROVENANCE:

Private collection, Melbourne c.1950s Thence by descent $22,000-28,000

65

During the 1930s a stronger awareness of modern art developments began to emerge in Australia. Danila Vassilieff was well acquainted with figurative expressionism and other modernist trends, absorbing them naturally throughout his extensive travels. While many artists of this period made Australians conscious of our great country towns, Danila Vassilieff was one of the first to look for human scenes in more metropolitan areas.

Returning to Australia in 1935 after years abroad, Vassilieff settled briefly in Fitzroy, Melbourne. Regularly painting the everyday life on the impoverished streets of this inner-city suburb, he recorded children playing in the streets, dogs running down a cobbled laneway and ladies chatting on a street corner. With the application of a subdued palette, from the pale blue sky to the golden tones of the workers’ cottage bricks, Vassilieff invites the viewer to look down the street towards what is seemingly the Fitzroy Town Hall peering over the roofs in the distance, viewed from Moor Street. The architectural detail of the buildings and cottages owes something to Vassilieff’s skills as a draftsman and engineer, while his delicate handling of the brush and deep tonal understanding reveal a talented hand with a strong understanding of the social realism of the day.

Lucy Foster , Senior Specialist,

Art

66 DANILA VASSILIEFF (1897-1958)

Camp Followers 1942 oil on board artist’s name, title and date inscribed on gallery label verso 44.5 x 60cm

PROVENANCE:

The Estate of the Late Elizabeth Vassilieff, New South Wales Macquarie Galleries, Sydney (label verso) Leonard Joel, Sydney, 25 July 2010, lot 11 Eastgate and Holst, Melbourne

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

69

67

GRAHAME KING (1915-2008)

Standing Figures 1968 oil on board 76.5 x 61.5cm

PROVENANCE: Eastgate and Holst, Melbourne Private collection, Melbourne $3,000-3,500

68 SALI HERMAN (1898-1993)

The End of the Road 1964 oil on canvas signed and dated lower right: S. Herman, 64 44.5 x 65cm

PROVENANCE:

Private collection, Melbourne Deutscher~Menzies, Sydney, 24 September 2008, lot 129 Private collection, Melbourne $6,000-8,000

69 MARKEY ROBINSON (Irish, 1918-1999)

Figures in Landscape oil on board signed lower right: Markey 40 x 59cm

PROVENANCE: Private collection, Ireland Private collection, Queensland Thence by descent $3,000-4,000

70

MIRKA MORA (1928-2018)

Adam and Eve c.1976 pastel and charcoal on paper estate stamp lower right

x 55.5cm

PROVENANCE:

The Estate of Mirka Mora $10,000-15,000

71 MIRKA MORA (1928-2018)

Angel Remembering 1965 oil and gouache on paper signed and dated lower left: Mirka 65

x 50cm

PROVENANCE:

Estate of Mirka Mora $14,000-18,000

72 MIRKA MORA (1928-2018)

Lovers 1981 pastel on paper signed and dated lower right: MiRKA 81

x 56cm

PROVENANCE: The Estate of Mirka Mora

EXHIBITIONS:

From the Home of Mirka Mora, Heide Museum of Modern Art, Melbourne, 17 May - 9 November 2014 $12,000-16,000

73

ABDULRAHIM APABHAI ALMELKAR (Indian, 19201982)

Kisan 1956 Indian ink and gouache on card signed and dated lower centre: A. A. ALMELKAR 1956 title inscribed on backing card 39 x 31.5cm

PROVENANCE: Private collection, Victoria $1,500-2,500

73

74

DULLAH (Indonesian, 1919-1996)

Balinese Dancer oil on canvasboard signed lower left: Dullah 121.5 x 76cm

PROVENANCE:

The Artist, Kuching, Malaysia c.1969 Private collection, Queensland Thence by descent $10,000-15,000

75

75

HUANG GANG (Chinese, born 1961)

Reincarnation mixed media on board 105 x 105cm

PROVENANCE: J. Gallery, Hong Kong 2001 (accompanied by a certificate of authenticity) Private collection, Melbourne

OTHER NOTES:

Contemporary design techniques are incorporated into Huang Gang’s works. Romantic and individualistic Chinese caoshu calligraphy is mixed with Qing dynasty square characters, reflecting his belief in living a peaceful, yet creative life. $9,000-12,000

76

LAWRENCE DAWS (born 1927)

Omen Bird 1968 oil on board

signed lower right: DAWS titled and dated on artist’s label verso 52.5 x 53cm

PROVENANCE:

Private collection, Australian Capital Territory Private collection, Melbourne $3,000-5,000

77

SIDNEY NOLAN (1917-1992)

Africa Series 1963 oil and pastel on paper initialled lower right signed and dated verso: 1963/nolan 62 x 51cm

PROVENANCE:

Acquired directly from the artist by WH Krome George, Pennsylvannia

Concept Art Gallery, Pittsburgh, Estate Sale of WH Krome George 13 May, 2006, lot 163 (listed as Ibex in the Wilderness) Private collection, Oxford

The Collection of Dr Damian Smith, Melbourne (Inaugural Archivist, Sidney Nolan Estate, 2018) $6,000-7,000

81

78 DAVID BOYD (1924-2011)

Spanish Symbols 1965 oil on canvas on board signed and dated lower right: David Boyd 65 signed and titled verso 24.5 x 28cm

PROVENANCE:

Southern Cross Galleries, Melbourne Private collection, New South Wales Artistry Galleries, Melbourne Private collection, Melbourne $5,000-7,000

79

RAY CROOKE (1922-2015)

Fijian Scene oil on canvasboard signed lower right: R Crooke 39 x 49cm

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

80

JOHN COBURN (1925-2006)

Study for ‘Western Desert Dreaming’ c.1987 gouache on paper signed lower right: Coburn titled lower centre 20 x 34cm

PROVENANCE: Deutscher~Menzies, Sydney, 6 December 2006, lot 189 Private collection, Melbourne

EXHIBITIONS:

John Coburn, Macquarie Galleries, Sydney, 23 June - 11 July 1987, cat. no. 14 (label verso) $3,500-4,500

81 PRO HART (1928-2006)

Study for Polo Players c.1965 oil on board signed lower right: PRO / HARt titled verso 90 x 90cm

PROVENANCE: Gallery A, Melbourne 1965 Private collection, Melbourne $9,000-12,000

82 DAVID BOYD (1924-2011)

Under a Summer Sky oil on canvas signed lower left: David Boyd 48.5 x 58cm

PROVENANCE:

Tiffany Jones Fine Art Gallery, Queensland (stamp verso) Private collection, Melbourne $12,000-16,000

83

DAVID BOYD (1924-2011)

Europa in the Forest Glade oil on canvas signed lower left: David Boyd 49 x 44cm

PROVENANCE:

Tiffany Jones Fine Art Gallery, Queensland Private collection, Melbourne $9,000-12,000

84 SIDNEY NOLAN (1917-1992)

Rite of Spring 1967 mixed media on paper signed and titled lower left: Rite of Spring / Nolan titled and dated on artist’s label verso 51 x 63cm

PROVENANCE:

The Estate of the Artist (label verso) Bridget McDonnell Gallery, Melbourne (label verso) Private collection, Melbourne $5,500-7,500

85

HUGH SAWREY (1923-1999)

The Six In Hand (Cobb & Co. Series) oil on board signed lower right with thumbprint: SAWREY signed and titled verso 75 x 100cm

PROVENANCE: Private collection, Melbourne Thence by descent $10,000-15,000

86

HUGH SAWREY (1923-1999)

Figures at Springvale Station, West Queensland oil on canvas signed lower right with thumbprint: SAWREY 55.5 x 70.5cm

PROVENANCE: Acquired directly from the artist Private collection, Melbourne $6,500-8,500

84 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency, 2021

85

87

DHUKAL WIRRPANDA (born c.1957)

Yalata

natural earth pigments on bark 47 x 32cm

PROVENANCE:

Buku-Larrnggay Mulka, Northern Territory (accompanied by a certificate of authenticity) Private collection, Melbourne $2,000-4,000

88

BILL WHISKEY TJAPALTJARRI (c.1920-2008)

Rockhole

synthetic polymer paint on canvas inscribed verso with artist’s name, Watiyawanu Artists stamp and cat. no. 10-06912 72.5 x 35.5cm

PROVENANCE:

Watiyawanu Artists of Amunturrngu Aboriginal Corporation, Alice Springs (accompanied by a certificate of authenticity)

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

89

BILL WHISKEY TJAPALTJARRI (c.1920-2008)

Rockhole II

synthetic polymer paint on canvasboard inscribed verso with Watiyawanu Artists cat. no. 77-430 25 x 50cm

PROVENANCE:

Watiyawanu Artists of Amunturrngu Aboriginal Corporation, Alice Springs (accompanied by a certificate of authenticity)

Private collection, Brisbane $3,000-4,000

Sawrey/Copyright

Hen Dreaming

polymer

Australis,

collection,

92 NORMAN LINDSAY (1879-1969)

Portrait of a Woman with a Fan oil on canvas on board signed upper right: NORMAN LINDSAY 29.5 x 24.5cm

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

93 ATTRIBUTED TO JULIAN ROSSI ASHTON (1851-1942)

Portrait (likely of Alice Muskett) c.1890s oil on cedar panel inscribed verso: J. Ashton/ Portrait Alice Muskett 35 x 13cm

PROVENANCE:

Private collection Sotheby’s, Fine Australian and International Paintings, Melbourne, 2 May 2000, lot 210 (illus., p.132)

Private collection, Melbourne Thence by descent $5,000-8,000

96

94 GIROLAMO NERLI (Italian, 1860-1926)

Portrait of a Woman oil on canvas laid on board signed lower left: G. Nerli 39.5 x 30cm

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

95

JOHN LONGSTAFF (1862-1941)

Portrait (believed to be of Jessica Harcourt) oil on canvas laid on board initialled lower left: J.L. 42 x 37cm

PROVENANCE: Private collection, Victoria Thence by descent $6,000-7,000

96

ROBERT SPEAR DUNNING (American, 1829-1905)

Still Life with Cherries 1882 oil on canvas signed and dated verso: RSDunning / 1882 Tilden Thurber Co. label verso, no. 3432 24 x 34.5cm

PROVENANCE: Private collection Private collection, Melbourne (bequeathed from the above) $5,000-7,000

98

97 J. W. CURTIS (1839-1901)

Landscape with Bullock 1890 watercolour on paper signed and dated lower left: J. W. Curtis 90 41 x 66.5cm

PROVENANCE:

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

98 JOHN BARR CLARKE HOYTE (1835-1913)

The Bay of Islands, New Zealand watercolour on paper initialled lower right: J. C. H. 36 x 68cm

PROVENANCE:

Private collection, Melbourne Thence by descent

RELATED WORK:

The Bay of Islands, watercolour, 33 x 76cm,

The Collection of the Christchurch Art Gallery, Christchurch $8,000-12,000

99

ALOIS ARNEGGER (Austrian, 1879-1963)

Aiguille Noire de Peuterey oil on canvas signed lower left: A. Arnegger titled verso 60 x 90cm

PROVENANCE:

Cooling Galleries, London (label verso) Private collection, Melbourne Thence by descent $3,000-5,000

100

D’ARCY DOYLE (1932-2001)

The Man From Snowy River III oil on board signed lower right: d’Arcy W. Doyle 49 x 101cm

PROVENANCE: Acquired directly from the artist Private collection, Melbourne

OTHER NOTES:

Accompanied by an artist’s proof print of this painting by the artist $10,000-15,000

101

HUGH SAWREY (1923-1999)

The Artist’s Boys, Alexandria Downs, Northern Territory oil on board signed lower right with thumbprint: SAWREY signed and titled verso 39 x 28cm

PROVENANCE:

Acquired directly from the artist Private collection, Melbourne $3,000-4,000

JOHN LENNOX (1941-1996)

The Bush Man oil on canvas signed lower right: JOHN LENNOX 140 x 97cm

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

103 HUGH SAWREY (1923-1999)

The Quamby Horse-Tailer, Gulf Country, Queensland oil on board signed lower right: SAWREY signed and titled verso 39.5 x 29cm

PROVENANCE: Acquired directly from the artist Private collection, Melbourne $3,000-4,000

104 HUGH SAWREY (1923-1999)

The Rope Race oil on canvas signed lower right with thumbprint: SAWREY titled verso 59 x 49cm

PROVENANCE: Galloway Galleries & Fine Arts Centre, Queensland (stamp verso)

Private collection, Queensland $6,500-8,500

105 PRO HART (1928-2006)

Study with Sand 1971 oil on board signed and dated lower right: PRO / HARt / 1971 titled lower left 43 x 58cm

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

110

109

§ MIRKA MORA (1928-2018)

Off to a Party 2011 watercolour on paper signed and dated lower right: MiRKA / 2011 title and date inscribed verso 50 x 66cm

PROVENANCE:

William Mora Galleries, Melbourne (stamp verso) Private collection, Melbourne $8,000-12,000

110 MIRKA MORA (1928-2018)

A Mother’s Love c.1976 charcoal and pastel on paper estate stamp lower right 55.5 x 38cm

PROVENANCE:

The Estate of Mirka Mora $9,000-12,000

Stag

PROVENANCE:

PROVENANCE:

119

118

JOHN MCLEAN (New Zealander, born 1944)

Farmer and His Wife Visit the Fishers 2005 synthetic polymer paint on canvas initialled and dated lower right: JM / 5 05 signed and titled on stretcher bar verso 120.5 x 120cm

PROVENANCE:

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

119

ZHONG CHEN (born 1969)

Quiet Sitting #2 1996 oil on canvas

signed and dated verso: ZHONG.C / 96 title inscribed on unknown label verso 122 x 171cm

PROVENANCE:

Central School of Art, Adelaide 1999 Private collection, Melbourne $6,000-8,000

120

JOHN BAIRD (born 1954)

Pinot 2004 oil on board signed, titled and dated verso: PinoT/ JOHN R. BAIRD/ APRIL 04 122 x 95cm $4,000-6,000

121

MARISE MAAS (born 1969)

Showtime 2006 oil on canvas signed and dated lower left: marisemaas ‘06 titled verso 200 x 150cm

PROVENANCE:

Flinders Lane Gallery, Melbourne Private collection, Melbourne $5,000-7,000

122

PETER JAMES SMITH (born 1954)

Captain James Cook Observes the Transit of Venus, Matavi Bay, Tahiti, 3 June 1769, 1998 mixed media on board, diptych signed and dated lower left: Peter James Smith 1998 signed, titled and dated verso 183 x 183cm (overall)

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

Marise Maas/Copyright

122

123

§ MATTHEW JOHNSON (born 1963)

Marine Plateau 2017 oil on linen signed, titled and dated verso: Marine Plateau 2017/ Matthew Johnson 92 x 86.5cm

PROVENANCE: Private collection, Melbourne $3,500-4,500

124

Elephant Up High bronze, ed. 1/15 artist’s seal and edition inscribed at base: GILLIE AND MARC 1/15 81 x 30 x 30cm

PROVENANCE:

The Artists Private collection, Sydney $3,800-4,800

125

§ CHARLES BLACKMAN (1928-2018)

Cat and Bowl charcoal on canvas signed upper right: BlacKMaN 75 x 101cm

PROVENANCE:

Charleston’s Fine Art Auctions, Melbourne, 14 November 2010 Private collection, Melbourne $6,000-8,000

GILLIE & MARC SCHATTNER (born 1965 & 1961)

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CONDITIONS OF BUSINESS / SUMMARY

Special Conditions of Sale – Jewellery

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

Authenticity Certificates

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

GST

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

For further information contact: Marie McCarthy accounts@leonardjoel.com.au

Admission

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

Commission (Absentee) Bids

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

Telephone Bidding

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

Bidder Registration

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

Buyer’s Premium

There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST.

The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

Property subject to the Artist Resale Royalty

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

Damage

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

Title

Leonard Joel guarantees good title to all lots.

Warranties and Condition Reports

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

Estimates

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

Payment

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

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

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

Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street, Melbourne VIC 3000 Australia BSB: 033–364 Account no: 942956

Collection of Lots

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

Removal and Storage

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

Removal Charges

Each lot: $55

Storage Charges

Each lot: $33 per day

Protection of Movable Cultural Heritage Act 1986 (PMCH Act)

Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property,

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

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

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

Exporting Significant Australian Cultural Heritage

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

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

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

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

E: movable.heritage@environment.gov.au

CITES Regulations

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

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

The Director

International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787

CANBERRA ACT 2601

Leonard Home Delivery

Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases.

For any enquiries about this service please contact delivery@leonardjoel.com.au

For alternative recommended carriers please refer to our website.

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Marie McCarthy

Leonard Joel Specialists

FINE ART

Olivia Fuller BArtTh, Head of Department

Lucy Foster EMA, Senior Specialist, Fine Art Hannah Ryan, Specialist Isabella Wadley, Administrator and Registrar

INDIGENOUS ART

Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Senior Specialist

DECORATIVE ARTS

David Parsons, Head of Department Dominic Kavanagh MFA, Specialist

Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Chiara Curcio BA, Head of Department (On Maternity Leave)

SYDNEY

Ronan Sulich, Senior Advisor Madeleine Norton BFA, BComm, MLitt, Associate Head of Decorative Arts & Art Marcella Fox, Manager

IMPORTANT JEWELS

Hamish Sharma, Head of Department, Sydney Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist

FINE JEWELS & TIMEPIECES

Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Hannah Sass, Jewellery Manager Indigo Keane, Assistant Isabella Macciolli, Administrator Henrietta Maiyah, Consultant

MODERN DESIGN

Anna Grassham BA Contemporary Arts, Head of Department Paul Nicol, Modern Design Assistant

LUXURY

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The Auction Salon

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FURNITURE

David Price, Manager

Angus McGougan, Assistant Ryan Brown, Assistant

April Chandler, Assistant

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Hannah Sass F.G.A.A, Jewellery Manager Indigo Keane, Assistant

ART SALON

Amanda North, Manager

Noelle Martin, Assistant

OBJECTS & COLLECTABLES

Rebecca Stormont, Manager

Natasha Berlizova, Assistant

VALUATIONS

David Parsons, Head of Department

Troy McKenzie, Queensland Representative Specialist

Anthony Hurl, South Australia Representative Specialist

John Brans, Western Australia Representative Specialist

ACCOUNTS

Yue Zhang, Finance Manager

Michelle Draper, Account Manager

Andrea Del Campo, Accountant

CLIENT SERVICES

Kim Clarke, Client Services Manager

Amelia Lewis, Client Services Liaison

Richard Grieve, Client Services Liaison

OPERATIONS & LOGISTICS

Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant

MARKETING & COMMUNICATIONS

Blanka Nemeth, Marketing Manager

Alice Wheeler, Database & Marketing Coordinator

PHOTOGRAPHY

Adam Obradovic

Paolo Cappelli

GRAPHIC DESIGN

Maria Rossi

ARTIST INDEX

A

ALMELKAR, ABDULRAHIM APABHAI 73 AMOR, RICK 24, 41, 44 ARKLEY, HOWARD 13, 14 ARNEGGER, ALOIS 99

ASHTON, ATTRIBUTED TO JULIAN ROSSI 93 ASHTON, WILL 58, 61, 62 ASPDEN, DAVID 40

B

BAIRD, JOHN 114, 120 BENJAMIN, JASON 27 BEZOR, ANNETTE 29 BLACKMAN, CHARLES 125 BOSTON, PAUL 37 BOYD, DAVID 78, 82, 83, 108 BRAUND, DOROTHY 112 BROWNE, ANDREW 30

C

CHEN, ZHONG 119 CLARKE, PETER 4 COBURN, JOHN 3, 6, 43, 80 CROOKE, RAY 79 CULLITON, LUCY 18 CURTIS, J. W. 97

D

DARGIE, WILLIAM 63 DAWS, LAWRENCE 76 DOYLE, D’ARCY 100 DULLAH 74

DUNLOP, RICHARD 26 DUNNING, ROBERT SPEAR 96

E

EMDUR, MARTINE 28

F

FANTAUZZO, VINCENT 20

G

GANG, HUANG 75 GLEESON, JAMES 46 GRIEVE, ROBERT 39

H

HARPER, MELINDA 15 HART, PRO 81, 105 HATTAM, KATHERINE 32 HERMAN, SALI 68 HOYTE, JOHN BARR CLARKE 98

J

JACKSON, JAMES R. 59 JOHNSON, GEORGE 38 JOHNSON, MATTHEW 123 JOHNSON, MICHAEL 7 JOHNSON,ROBERT 57

K

KEMARRE, ABIE LOY 90 KERWICK, JORDY 9, 10, 11 KING, GRAHAME 67 KNIGHT, JASPER 16

L

LARWILL, DAVID 5, 17, 35 LEACH, SAM 22 LENNOX, JOHN 102 LINCOLN, KEVIN 42 LINDSAY, NORMAN 91, 92 LONGHURST, KATHRIN 117 LONGSTAFF, JOHN 95 M

MAAS, MARISE 121 MCINNES, W. B. 55 MCLEAN, JOHN 118 MCWILLIAMS, MICHAEL 23 MIDDLETON, MAX 107 MO, XUE 115, 116 MORA, MIRKA 70, 71, 72, 109, 110

N

NAMATJIRA, ALBERT 49 NERLI, GIROLAMO 94 NOLAN, SIDNEY 47, 48, 77, 84

P

PARTOS, PAUL 8 PICCININI, PATRICIA 12 PUGH, CLIFTON 45 PURCELL, MARISA 31

R

ROBERTSON, JAMES 21 ROBINSON, MARKEY 69 ROET, LISA 33 RYAN, PAUL 2

S

SANSOM, GARETH 34 SAWREY, HUGH 85, 86, 101, 103, 104, 106 SCHATTNER, GILLIE & MARC 124 SCHELTEMA. J.H. 54 SCHELTEMA, J.H. 56 SMITH, PETER JAMES 122

T

TAYLOR-GHEE, ROBERT 60 TILLERS, IMANTS 19, 25 TINGIMA, WINGU 111 TJAPALTJARRI, BILL WHISKEY 88, 89 TURNER, JAMES ALFRED 50, 51, 52 TWIGG, JULIAN 1

V

VANDERZWEEP, ANTHONY 113 VASSILIEFF, DANILA 65, 66

W

WAKELIN, ROLAND 64 WATKINS, DICK 36 WIRRPANDA, DHUKAL 87 WITHERS, WALTER 53