Fine Art

FINE ART

i

AUCTION CATALOGUE VOLUME 13 ISSUE 12 Front Cover

20 GARRY SHEAD (born 1942) The Arrival (D. H. Lawrence Series) (detail) oil on board 60.5 x 68cm $25,000-35,000 © Garry Shead/Copyright Agency, 2020 Inside Cover 31 MATTHEW JOHNSON (born 1963) Untitled 2011-12 (detail) oil on linen 140 x 150cm $7,000-9,000 © Matthew Johnson/Copyright Agency, 2020

leonardjoel.com.au ii

1

59 (detail) 2

26 (detail)

FINE ART 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 3

46 (detail) 4

A New Perspective: 1950s-1990s The history of Australian art is rife with artists seeking a new approach to the depiction of our iconic landscape. From the Heidelberg School through to the artists of today, the Australian vista has never failed to inspire our artistic legends and we are pleased to present four key landscapes across four decades by some of Australia’s most renowned painters.

1950s: Fred Williams The year 1959 saw the development of The Antipodeans whose ideas were centred around concepts of identity, the human body and the figurative image.

Fred Williams was not invited to join, perhaps considered too abstract by its exponents, and so instead pioneered his own “treescapes”. With Cubist influences, Williams commenced a body of work that would become one of his most pivotal to be exhibited in 1959 at Australian Galleries. Bayswater Landscape 1959 (lot 21) is one of the first major paintings Williams produced for this exhibition. In this particular painting, Williams reduced the landscape to a series of balanced lines and circles in perfect harmony. The composition liberated from the restraints of a single focal point instead takes the eye across all corners of the painting. Fred Williams’ works of the late 1950s forged a path that not only changed the course of his career but also that of Australian painting.

1960s: Arthur Boyd The late 1960s saw Arthur Boyd’s return from abroad, invoking a sentimental approach to the Australian landscape as he revisited Port Phillip Bay. As a young boy he had lived with his grandfather at Rosebud and spent his days by the ocean discovering the wildlife and activities of the local fishermen.

The large stingrays fascinated him, both powerful yet vulnerable in nature. In Evening Shoreline c.1968 (lot 19) the viewer is captivated by the majestic sky and water, the delicate shades of blue and green evoking serenity and stillness.

The small red boat and glimmering yellow forms in the horizon emphasise the vast expanse that would have once fascinated Arthur as a young boy. This small series of coastal works that Arthur produced in the late 1960s drew upon the landscape as memory and the deeper connection we can find within its beautiful complexity.

1970s: Arthur Boyd By the 1970s Arthur Boyd’s connection to the land was deepened further by his own environmental concerns. Now residing in Bundanon, he began his iconic body of work focusing on the Shoalhaven region. Boyd aimed to capture the quickly changing landscape, often visiting the same exact location to document its transient nature. Shoalhaven Bushland 1972 (lot 46) perfectly demonstrates Boyd’s intimate portrayal of the raw beauty and delicacy of the bush. The fleeting brushwork and considered colour palette demonstrate not only his refined skill as a painter but his intimate knowledge of these surrounds.

1980s: Garry Shead By the 1980s Garry Shead had long been engrossed in the writings of D. H. Lawrence but the year 1987 saw him move to Bundeena with his wife Judith where his artistic expression of Lawrence’s text came to fruition. In this series of works, Shead explores many characters, often mirroring Lawrence and his wife Freida with himself and his wife Judith. Although separated by some 70 years, their two experiences with the coastal landscape intertwine and so too the landscape exists as a character in its own right. In The Arrival (lot 20) the landscape descends steeply down towards a glimpse of the deep blue ocean.

The teetering houses and surrounding bush take central focus while the two figures with bags in tow stand nearly off scene. The exact narrative unfolding here is somewhat ambiguous, as is the artist’s intention, yet it is the landscape that remains the common thread between Lawrence, Shead, and anything in between.

We are pleased to present these four works to lead our September Fine Art auction.

Olivia Fuller, Head of Art

5

1

1 ROBERT TAYLOR-GHEE (1869-1951) On The Yarra oil on board signed lower left: R E Taylor Ghee 25 x 20.5cm PROVENANCE: Private collection, Melbourne $1,500-2,500

6

2 JOHN MATHER (1848-1916) A Winter Morning, Healesville 1889 oil on canvas in original John Thallon frame signed and dated lower left: J. MATHER 6.89. signed, titled and dated verso 30 x 42.5cm PROVENANCE: Private collection, Melbourne Thence by descent $1,500-2,500

3

3 W.D. KNOX (1880-1945) Country Shed oil on canvas on board signed lower left: W D KNOX 33 x 43cm

4 W.B. MCINNES (1889-1939) Pastoral Landscape oil on board signed and dated lower right: MCINNES _9 36.5 x 36.5cm

PROVENANCE: Private collection, Melbourne Thence by descent $2,000-4,000

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

7

5

5 ROBERT TAYLOR-GHEE (1869-1951) Feeding the Chickens oil on card signed lower centre: R E Taylor-Ghee 22 x 29.5cm PROVENANCE: Private collection, Melbourne Thence by descent $1,200-1,600

8

6 RUPERT BUNNY (1864-1947) Landscape c.1930 oil on board certified by Daryl Lindsay, then Director, National Gallery of Victoria and Co-Trustee of The Rupert Bunny Estate (label verso) 19 x 22.5cm PROVENANCE: Estate of the Artist Joseph Brown,1975 Deutscher~Menzies, Sydney, 16 June 2004, lot 389 (label verso) Mossgreen Auctions, Melbourne, 3 May 2016, lot 315 (label verso) Bridget McDonnell Gallery, Melbourne (label verso) Private collection, Melbourne

EXHIBITIONS: Spring Exhibition, Joseph Brown Gallery, Melbourne, October 14-30 1975, cat no. 22 LITERATURE: Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonne, Thames and Hudson, 2017, volume 2 cat. no. 0934 $4,500-5,500

6

7 HERBERT ROSE (1890-1937) The Lot River, France, in Winter oil on canvasboard signed lower right: HERBERT ROSE artist’s name and title on The Sedon Galleries label verso 22 x 32cm PROVENANCE: The Sedon Galleries, Melbourne Private collection, Melbourne $2,400-4,000

8 LIONEL LINDSAY (1874-1961) Malaga watercolour and gouache on paper signed and titled lower left: LIONEL LINDSAY MALAGA 38 x 56.5cm PROVENANCE: The Sedon Galleries, Melbourne (label verso) Private collection, Melbourne $2,000-3,000

9

10 Courtesy of the Estate of Dorothy Braund

9 ARTHUR MURCH (1902-1989) Memory of Albury c.1958 oil on masonite signed lower left: MURCH 49.5 x 60cm

10 DOROTHY BRAUND (1926-2013) Mending the Nets 1962-63 oil on masonite signed upper right: BRAUND 29 x 24cm

11 CLIFTON PUGH (1924-1990) (Rockpools in Shoreham) 1964 oil on masonite signed and dated lower right: Clifton / 64 / JAN 60 x 75cm

PROVENANCE: Purchased for the ICI Art Collection by Sir Daryl Lindsay, 1958 The Orica Collection Sotheby’s, Art from the Kerry Stokes Collection, Sydney, 26 August 2002, lot 588 Private collection, Melbourne $2,500-3,500

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

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

10

11 Š Clifton Pugh/Copyright Agency, 2020

12 MIRKA MORA (1928-2018) Friends in the Garden 2003 gouache on paper signed and dated lower right: MIRKA 03 titled and dated verso 26 x 36cm

13 MIRKA MORA (1928-2018) Loving Couple with Blue Dog 1998 gouache on paper signed and dated upper right: MiRKA / 98 titled verso 27 x 19cm

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

PROVENANCE: William Mora Galleries, Melbourne (stamp verso) Private collection, Melbourne $3,000-5,000

11

14 © David Boyd/Copyright Agency, 2020

14 DAVID BOYD (1924-2011) Winged Nude Reaching for Bird 1974 oil on canvas signed lower left: David Boyd dated lower right titled on stretcher bar verso 87.5 x 114.5cm PROVENANCE: South Yarra Gallery, Melbourne 1975 Private collection, Melbourne $16,000-22,000

12

15 DONALD FRIEND (1915-1989) Boats on the River c.1960 oil and gold leaf on masonite signed lower right: DONALD FRIEND 24 x 34cm PROVENANCE: Private collection, Canberra Thence by descent Private collection, Melbourne $14,000-18,000

15 © Donald Friend/Copyright Agency, 2020

16 SALI HERMAN (1898-1993) Humpy 1961 oil on canvas signed and dated lower left: S. Herman 61 62.5 x 88.5cm PROVENANCE: Acquired directly from the artist Private collection, Canberra Thence by descent Private collection, Melbourne

17 RUSSELL DRYSDALE (1912-1981) The Spieler ink and wash on paper signed lower right: Russell Drysdale titled verso 40.5 x 29cm PROVENANCE: David Driden, Clarendon, South Australia Private collection, South Australia $6,000-9,000

18 KENNETH JACK (1924-2006) Keilor Landscape 1953 oil on board signed and dated lower right: KENNETH JACK 53 59 x 90.5cm PROVENANCE: Estate of the Artist $7,500-9,000

OTHER NOTES: In 1959 Sali Herman travelled through Yirrkala, Arnhem Land, Melville Island and Darwin in the company of Dr. Stuart Scougall, a major Aboriginal Art patron of the Art Gallery of New South Wales.

The trip inspired new subjects for Herman including Aboriginal grave-posts. $7,000-9,000

13

ARTHUR BOYD

19 ARTHUR BOYD (1920-1999) Evening Shoreline c.1968 oil on canvas signed lower right: arthur Boyd artist’s name and title inscribed verso Australian Galleries cat. no. AG 1827 inscribed verso 91 x 99.5cm PROVENANCE: Private collection, Melbourne Estate of the above RELATED WORK: Dog on a Beach with a Stingray 1968, oil on canvas, 91.9 x 99.6cm, in the Collection of the National Gallery of Australia $40,000-60,000

Evening Shoreline c.1968 is in many ways a reflection on Arthur Boyd’s own childhood after returning to Australia. When Boyd was a young artist living with his grandfather at Rosebud in Port Phillip Bay he spent many days on the beach observing the marine wildlife and the luminous deep blue ocean. In particular, he was struck by the extraordinary forms of skates (large stingrays) that he saw washed up on the beach.

I used to watch the fishermen throw their kite-shaped skates up on the shores…skates swim with a pink underside human-like face looking down into the water, and when these tender undersides were exposed on the sand, they seemed to symbolise absolute vulnerability (Arthur Boyd) In Evening Shoreline c.1968 Boyd has captured the stillness and beauty of Port Philip Bay. Upon first glance, the pure simplicity of the work strikes you - the serene waves, soothing blues, and vast expanse of sky and water. Unlike his more figurative works that cover the biblical, mythical and emotional, here the painting appears to be just a literal landscape. However, upon second sight we notice the pure brilliance in Arthur’s execution of paint, the delicate stingray in the foreground, and rendering of the light with such confidence and restraint only a gifted and developed artist such as Boyd could deliver. We, the viewer, are absorbed into the serenity of the landscape, triggering all the senses. Perhaps this painting tells a story of what we see as well as what we don’t see. Boyd invokes a shared memory of the uncomplicated life by the sea as a young child recalling an innocent past.

Olivia Fuller, Head of Art

14

19 © Arthur Boyd/Copyright Agency, 2020

15

GARRY SHEAD

20 GARRY SHEAD (born 1942) The Arrival (D. H. Lawrence Series) oil on board signed lower right: Garry Shead titled verso 60.5 x 68cm PROVENANCE: Kenthurst Galleries, Sydney c.1991 Private collection, Sydney $25,000-35,000

Garry Shead has cemented a considerable reputation as one of Australia’s most prominent figurative artists.

Shead’s career rose to new heights following a period when modern art, particularly that in Sydney, favoured abstraction. During such a time, Shead instead focused on the figurative - in many ways a rebellious act against the establishment. His works are today considered whimsical, with a narrative and uniquely lyrical undertone.

As a young man, Shead discovered the work of D. H. Lawrence yet did not explore his writings within his own oeuvre until later in life. When Shead began painting this series in the early 1990s, he was living in Bundeena near where Lawrence had lived with his wife Frieda in Thirroul in 1922. In this series, Shead explores many characters, often mirroring Lawrence and his wife Freida with himself and his wife Judith. Of the D.H. Lawrence paintings, art historian Sasha Grishin notes: Shead’s [paintings] are a personal, intuitive response to the novel, rather than an attempt to illustrate the narrative. The imagery has much to do with the Lawrences at Thirroul, as with the characters in the novel.

Richard Somers and his wife Harriet, of the novel, in the paintings appear as strange and ambiguous figures, at times taking on the features of Lawrence and Frieda, at others, having more than a passing resemblance to Shead and his wife Judith.

In The Arrival from Shead’s most collectible series, the bushy landscape descends steeply down towards the cliff edge before the sharp drop to the striking deep blue ocean. The coastal houses are perched in perfect order in the centre, whilst the two figures - amalgamations of all these characters including the artist himself stand slightly askew, as though on the verge of exiting the scene with bags in tow.

Olivia Fuller, Head of Art

16

20 © Garry Shead/Copyright Agency, 2020

17

FRED WILLIAMS 21 FRED WILLIAMS (1927-1982) Bayswater Landscape 1959 oil on board signed lower left: Fred Williams 52.5 x 67.5cm PROVENANCE: Acquired directly from the artist Private collection, Victoria The Estate of Kenneth Baulch, Victoria Private collection, Melbourne EXHIBITIONS: Fred Williams, Australian Galleries, Melbourne, 12 - 21 May 1959, cat. no. 19 (label verso) $50,000-70,000

Bayswater Landscape 1959 is one of the first major paintings that Fred Williams created for his solo exhibition at Australian Galleries that same year. This series of early works, referred to by many as ‘Treescapes’, has been widely documented as a significant turning point for Williams in his career and the impact he had on the Australian art scene during the 20th century. Williams dedicated his entire practice to the outdoors and the geographically unique nature of the Australian landscape. Many works by Williams from this period now belong to prominent museum collections, including the National Gallery of Australia, National Gallery of Victoria and the Museum of Modern Art in New York.

Upon returning to Australia in 1956 from studying abroad, Williams set out to challenge his perception of the humble gum tree and reacquaint himself with the now unfamiliar surroundings of the outskirts of Melbourne.

Captivated by Cubist artist Georges Braque and the geometric nature of Cézanne’s landscapes, Williams began a journey of experimentation with these new ideas in tow. This inspired approach saw him strip back his formal foundations and traditional perceptions of Australian landscape painting.

In Bayswater Landscape 1959, Williams’ innovative use of abstract form is seen in his reduction of complex subjects to lines and circles. His boulder-like forms and geometric lines are brought together by dark outlines executed with a sophisticated palette of pale blues, greens, ochres and impasto-like creams, strongly resembling major work Sherbrooke Forrest 1961 (Collection of the Art Gallery of New South Wales).

When in discussion with the Art Gallery of New South Wales in 1976, Williams comments on how odd the Australian landscape seemed to him, ‘It always worried me that there was no focal point in it, so I simply thought, well I’ll paint it and I’ll leave the focal point out’. Bayswater Landscape 1959 similarly leaves the viewer unattached to a focal point, but rather following the sequence of vertical trees in perfect composition across the board.

The year 1959 also saw the development of the influential artist group, The Antipodeans, including Arthur Boyd, Charles Blackman, John Perceval and John Brack whose ideas were centred around concepts of identity, the human body and all shared a commitment to the figurative image. Williams, friends with most of these members, was not invited to join, perhaps being perceived as too experimental or abstract at the time. In spite of this, once receiving notoriety in the galleries, he did eventually receive an invitation – which he declined. Another sign of his individualistic character and willingness to develop artistically without the influence of other styles emerging on the art scene during the early 1960’s in Australia.

Williams effectively challenged not only traditional conventions of Australian landscape painting, but also defied all customary aesthetic principles of painting itself. He singlehandedly re-invented the depiction of the gum tree, dedicating his career to this subject and followed his own non-conformist path to artistic success. This up-ending approach of traditional techniques, is exemplified in the inventive handling of both paint, form and composition in Bayswater Landscape 1959.

Lucy Foster, Art Specialist

18

21 © Estate of Fred Williams/Copyright Agency, 2020

19

25 © Leonard French/Copyright Agency, 2020

22 RICK AMOR (born 1948) Braybrook 1996 gouache on paper signed and dated lower left: Rick Amor 30/3/96 22 x 37cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $3,000-5,000

20

24 24 RUTH EVERARD HADEN (South African, 1904-1992) Eastern Transvaal Landscape oil on canvas signed lower right: Ruth Everard Haden 72 x 90.5cm PROVENANCE: Private collection, Johannesburg, South Africa Private collection, Menton, France (bequeathed from the above) Thence by descent Private collection, Melbourne

OTHER NOTES: Ruth Everard Haden was born into a family of women painters. Ruth’s mother, Bertha Everard, along with her sister Edith King became known as the Everard Group from Mpumalanga (formerly Eastern Transvaal).

In the 1920s, Ruth studied at the Slade School of Art in London under Henry Tonks before moving to Paris to pursue further artistic freedom. During this time she progressed from favouring watercolours, to linocuts, but often returning to oils. This time abroad exposed her to the influences of Cubism and Futurism.

In the late 1920s she returned to South Africa, where she continued to paint and exhibit regularly with the Everard-Group until the 1950s when the group withdrew from the art world combined with Ruth’s failing eye sight ceasing her creative endeavours by 1956. As with many female painters of this era, her work is more recently gathering the recognition it so rightfully deserves. $9,000-12,000

21

28 © David Larwill/Copyright Agency, 2020

25 § LEONARD FRENCH (1928-2017) Corner Terrace 1947 oil on board signed and dated lower left: Leonard French / 47 28 x 20.5cm PROVENANCE: The Estate of Eva Curtis Shapiro Auctioneers, Sydney, 16 April 2020, lot 49 Private collection, Melbourne $4,000-5,000 26 § MICHAEL SHANNON (1927-1993) Abstract c.1960 oil on board signed lower left: Shannon 110 x 83cm PROVENANCE: Leonard Joel, Melbourne, 13 November 2014, lot 189 Private collection, Melbourne $8,000-12,000

22

27 ROGER KEMP (1908-1987) Figure Study enamel on board 54.5 x 85.5cm PROVENANCE: Kozminsky, Melbourne Ballarat Art Gallery, Fundraising Auction Private collection, Melbourne OTHER NOTES: Roger Kemp’s early works reveal the influence of Cezanne that was infiltrating the George Bell School within Melbourne from the 1930s. Kemp took this influence to another level, obsessing with energy, movement and rhythm, and turning the figure into an abstract symbol. The paint surface in these earlier works was inherently rough and dry - a further example of Kemp’s spontaneity and artistic vigour during this period. $4,000-6,000

28 DAVID LARWILL (1956-2011) Untitled (Breakfast Time) 1985 oil on canvas signed, titled and dated verso: David Larwill/ 1985/ “BREAKFAST TIME” 102 x 100.5cm PROVENANCE: Tolarno Galleries, Melbourne (label verso) Lawson~Menzies, Sydney, 23 February 2011, lot 74 Art Index, Sydney 2013 Private collection, Tasmania OTHER NOTES: In 1981 ROAR studios was founded in Melbourne - a group of painters with an urban focus and politically minded. David Larwill, one of the group’s most renowned members, found inspiration in the Angry Penguins, Aboriginal art, and Expressionism.

Larwill’s work of the 1980’s was energetic, raw, and obtuse, rejecting the minimalism of the 1970s and conventions of the time. His work in this period specifically draws parallels to that of American artist Jean-Michel Basquiat and the emerging street art aesthetic. $9,000-12,000

30

29 § HOWARD ARKLEY (1951-1999) Untitled (Snake and Horse) 1996 aerosol on panel signed and dated upper right: .HA.96. titled verso 29.5 x 39cm PROVENANCE: The Artist David & Fay Meares, Queensland Menzies, Sydney, 24 September 2014, lot 399 (label verso) Private collection, Melbourne $2,500-3,500

30 MARC DE JONG (Swiss/Australian, born 1970) Snake Eyes 2001 enamel and glass on canvas signed, titled, dated and inscribed verso: CRACK IN THE EARTH/ MAD MAX PNTNG/ ‘SNAKE EYES’/ 2001/ MARCSTA 121.5 x 182.5cm PROVENANCE: Acquired directly from the artist Private collection, Melbourne

31 MATTHEW JOHNSON (born 1963) Untitled 2011-12 oil on linen signed and dated verso: MATTHEW JOHNSON 2011/ 2 140 x 150cm PROVENANCE: Private collection, Melbourne $7,000-9,000

EXHIBITIONS: Marc De Jong, Mad Max Paintings, Spacement Gallery, Melbourne, 2004 $6,000-8,000

23

32 STEWART MACFARLANE (born 1953) Tuesday World 2001 oil on canvas signed, titled and dated verso: STEWART / MACFARLANE / ‘TUESDAY WORLD’ / 2001 152 x 137cm PROVENANCE: Australian Galleries, Melbourne, cat. no. AG 50034 (label verso) Private collection, Melbourne LITERATURE: Jose, N. & Morrell, T., Stewart MacFarlane Paintings, Wei-Ling Gallery, Malaysia 2012, p. 291 (illus.) $5,000-7,000 33 JASON BENJAMIN (born 1971) Kingsley Colts 2010-11 oil on linen signed, titled and dated verso: (Ballad of Kingsley Colts) / “Kingsley Colts” / 2010-11 / Benjamin 122 x 81.5cm PROVENANCE: The Artist Art Index, Sydney 2014 Private collection, Tasmania $8,000-10,000 34 PHILIP MARKHAM (New Zealander, born 1939) Winter Washday 1985 acrylic on board signed and dated lower left: MARKHAM P 85 titled verso 54 x 79.5cm PROVENANCE: Private collection, Melbourne $2,000-4,000 33

35 § MICHAEL PECK (born 1977) New Recruit #5 oil on Belgian linen signed lower right: MPeck 153 x 152cm PROVENANCE: Metro Gallery, Melbourne 2012 Private collection, Melbourne EXHIBITIONS: Michael Peck Preview: Vermilion and Metro 2013, Metro Gallery, Melbourne, 29 October - 10 November 2012 $9,000-12,000

24

34

35

36 JOHN YOUNG (born 1956) Fundamental Painting #1 2005 oil on linen signed, titled, dated and inscribed verso: Fundamental/ Painting #1 John Young/ 2005/ assisted by/ A.Marburg/ M.Simenko/ C.Ahern 155 x 125cm PROVENANCE: Anna Schwartz Gallery, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: John Young: New Paintings, Anna Schwartz Gallery, Melbourne, 15 November - 3 December 2005 $12,000-16,000

37 PETER CHURCHER (born 1964) Last Kick for the Night 1998 oil on panel signed and dated lower left: P. Churcher 98 titled verso 30 x 25.5cm PROVENANCE: Lauraine Diggins Fine Art, Melbourne Private collection, Tasmania $1,000-1,500

38 SUSAN NORRIE (born 1953) Destination Moon (Somewhere) 2008 oil and screen print on canvas signed, titled and dated verso: Susan Norrie/ Destination Moon/ 2008/ Somewhere 132 x 141cm $9,000-12,000 39 DEL KATHRYN BARTON (born 1972) Self With Child Aspect 2000 pencil and acrylic on paper signed, titled and dated right edge: 2000 self with child aspect del kathryn / barton 56 x 76cm (sheet) PROVENANCE: Gift from the artist $4,000-6,000

25

44

40 § JASPER KNIGHT (born 1978) Study for Swanson Dock II 2018 enamel, acrylic, plywood and Alupanel signed, titled and dated verso: JAPSER KNIGHT / ‘STUDY FOR SWANSON / DOCK II’ 2-18 74 x 74cm

41 ILDIKO KOVACS (born 1962) Aotearoa 2005 oil and enamel on plywood signed, titled and dated verso: ILDIKO KOVACS/ “AOTEAROA”/ 2005 152 x 183cm

PROVENANCE: Chalk Horse Gallery, Sydney Private collection, Melbourne

PROVENANCE: Christine Abrahams Gallery, Melbourne (label verso) Private collection, Melbourne $18,000-24,000

EXHIBITIONS: Where We’re Going We Don’t Need Roads, Chalk Horse Gallery, Sydney, 14 June - 7 July 2018 $2,500-3,500

26

42 GEOFFREY DYER (born 1947) D’Entrecasteaux Waterhole I 2013 oil on linen signed lower right: DYER 153.5 x 183.5cm PROVENANCE: The Artist Art Index, Sydney 2013 Private collection, Tasmania $8,000-12,000

43 § JAN SENBERGS (born 1939) Lifeboat 1993 pastel and acrylic on paper signed and dated lower right: J. Senbergs 93 titled, signed and dated verso 33 x 51.5cm

44 JOHN FIRTH-SMITH (born 1943) Chowder Bay 2001 oil on linen signed, titled and dated verso: “Chowder Bay” 2001 / Firth-Smith 46 x 147.5cm

45 CELIA PERCEVAL (born 1949) Cutting the Thistles with Starlings 2015 acrylic on paper laid on board signed, dated, and inscribed lower right: Celia Perceval/ France/ 15 70 x 104cm

PROVENANCE: Lawsons, Sydney, 29 September 2016, lot 586 Private collection, Melbourne $1,800-2,800

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

PROVENANCE: Bridget McDonnell Gallery, Melbourne Private collection, Melbourne $6,000-8,000

27

ARTHUR BOYD

46 ARTHUR BOYD (1920-1999) Shoalhaven Bushland 1972 oil and enamel on board signed lower right: Arthur Boyd 120 x 90cm PROVENANCE: The Artist Thence by descent Collection of Jamie Boyd, London Anthea Polson Art, Queensland Private collection, Melbourne $65,000-85,000

Following a period of artistic success in London, Arthur Boyd settled permanently in Bundanon with his wife Yvonne during the 1970’s. In the later part of his life, Arthur Boyd focused his artistic practice on the local landscape and painting en plein air, further cementing his position as one of Australia’s most renowned artists. The Shoalhaven River would become his key inspiration, with the ensuing works becoming some of the most significant of his entire career.

Shoalhaven Bushland 1972, like many of his paintings during this period, is associated with Boyd’s concern for the deteriorating state of the natural environment. Boyd has been widely praised for his intimate portrayal of the landscape and ability to capture its raw beauty in his paintings. He visited the same location over and over in order to re-create what was evolving in front of him, revealing in the spontaneity of working outdoors.

Boyd’s innate painting ability and determination allowed him to quickly capture nature unfolding directly onto his board. Shoalhaven Bushland 1972 is as complex as it is tranquil. His thickly textured trees are spatially aligned, yet upon closer inspection, the finer paintwork reveals a rhythmic complexity that could only be produced organically in the bush. Boyd’s refined painting skills are exemplified through his confident handling of the brush as he expertly captures the fleeting movements of falling trees, rustling shrubs and glistening rays of sunlight.

Boyd intended to use this series as a reminder that the landscape could deteriorate as quickly as it formed.

Shoalhaven Bushland 1972 has an energising palette of colour including purples, blues and yellows. These tones are brought together in a rhythmic order, settling at the bottom of the work in a lush texture acting as the earths floor. Boyd flawlessly highlights the soaring stature of the trees using creamy highlights to emulate the sun’s rays through the dense coverage.

Encapsulating Boyds lasting concern as an artist in practice, Shoalhaven Bushland 1972 brilliantly portrays a vulnerable landscape that he came to know so intimately. Using his superior painting skills, status as one of Australia’s greatest artists and a genuine appreciation for the Australian landscape, Shoalhaven is immortalised in this painting, preserving one of Australia’s most beautiful locations.

Lucy Foster, Art Specialist

28

46 © Arthur Boyd/Copyright Agency, 2020 29

47 © Sidney Nolan/Copyright Agency, 2020

30

47 SIDNEY NOLAN (1917-1992) Kelly and Horse c.1958 oil and crayon rubbing on paper signed with backwards ‘N’ lower right 49.5 x 61cm

48 ANTHONY VANDERZWEEP (born 1960) Clydesdale 2000 bronze ed. 5/6 artist’s seal, date and edition on base 22 x 24 x 8cm

PROVENANCE: Private collection, Sydney Art Index, Sydney 2013 Private collection, Tasmania $10,000-15,000

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

49 DAVID BOYD (1924-2011) Dancing Children c.1970 oil on canvas signed lower left: David Boyd titled verso 53 x 64cm PROVENANCE: Andrew Ivanyi Galleries, Melbourne 1970 Private collection, Melbourne Thence by descent $10,000-15,000

51

50 RAY CROOKE (1922-2015) Dry Country, North Queensland oil on canvasboard signed lower left: R Crooke titled verso 21.5 x 29cm PROVENANCE: Leonard Joel, Melbourne, 12 June 1974, lot 202 (label verso) Private collection, Melbourne $2,000-4,000

51 D’ARCY DOYLE (1932-2001) The Shearers oil on board signed lower right: d’Arcy. W. Doyle.

75 x 100.5cm PROVENANCE: Private collection, Melbourne $10,000-15,000

52 D’ARCY DOYLE (1932-2001) Stockman oil on canvasboard signed lower right: d’Arcy W. Doyle titled lower left 75.5 x 60.5cm PROVENANCE: Private collection, Melbourne $6,000-8,000

31

53 © Kenneth Jack/Copyright Agency, 2020 53 KENNETH JACK (1924-2006) Machine in Abstract 1963 oil on board signed and dated lower left: KENNETH JACK/ 1963 titled verso 90 x 120cm

55 WILLIAM DOBELL (1899-1970) Seated Native Woman, New Guinea c.1950 oil on panel signed lower right: DOBELL 13 x 29cm

PROVENANCE: Estate of the Artist $9,000-12,000

PROVENANCE: Savill Galleries, Sydney (label verso) Private collection, Melbourne $8,000-12,000

54 DONALD FRIEND (1915-1989) Jaffna House, Ceylon ink and gouache on paper laid on board signed and titled upper right: Donald Friend/ Ceylon/ Jaffna House 33 x 49cm

56 JAMES GLEESON (1915-2008) Wanderer Tending a Volcanic Planet oil on board signed lower left: Gleeson titled verso 14.5 x 12cm

PROVENANCE: Private collection, Canberra Thence by descent Private collection, Melbourne $5,000-7,000

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

32

57 JAMES GLEESON (1915-2008) The Portal oil on masonite signed lower right: Gleeson titled verso 14.5 x 12cm PROVENANCE: Private collection, Melbourne $1,500-2,500 58 SALI HERMAN (1898-1993) Central Australian Landscape 1969 oil on canvas signed and dated lower left: S. Herman 69 38 x 51cm PROVENANCE: GFL Fine Art, Perth, 30 November 2004, lot 199 Private collection, Melbourne $3,000-5,000

59 KENNETH JACK (1924-2006) Myer Music Bowl 1960 oil on board signed lower left: Kenneth Jack dated lower right 92 x 123cm PROVENANCE: Estate of the Artist EXHIBITIONS: Kenneth Jack: Vintage Melbourne, Melbournestyle Gallery Upstairs, Melbourne, October 15 - 27 2019, cat. no. 18 $9,000-12,000 60 § MAX MELDRUM (1875-1955) Interior with Chair 1935 oil on canvasboard signed lower right: Meldrum signed and dated verso 33.5 x 26cm PROVENANCE: The Collection of John Fowler Davidson Auctions, Sydney, 16 July 2017, lot 127 Private collection, Melbourne OTHER NOTES: This painting is of the interior of the artist’s home at 25 Belmont Avenue, Kew. The chair in focus features in several of the artist’s depictions of his home’s interior.

60

RELATED WORK: Interior 1936, oil on board, 39.8 x 31.8 cm, Sotheby’s, Melbourne, 25 August 2008, lot 138 $2,500-3,500 61 ERNEST BUCKMASTER (1897-1968) Portrait of a Man Known as Mr. Blackman oil on canvas on board signed lower centre: E Buckmaster 50 x 40cm PROVENANCE: Private collection, Melbourne $2,000-3,000 62 CHARLES WHEELER (1880-1977) Country Road oil on canvas signed lower left: C. Wheeler titled on artist’s label verso 44 x 60cm PROVENANCE: Private collection, Melbourne $1,500-2,000

61

33

63

63 WALTER WITHERS (1854-1914) Landscape Box Hill, Victoria c.1890 oil on canvas on board signed lower left: Walter Withers titled on Artarmon Galleries label verso 55 x 65.5cm PROVENANCE: Artarmon Galleries, Sydney 1971 Private collection, Sydney Private collection, Melbourne $22,000-30,000

The period of the Heidelberg School is surprisingly brief yet monumental, beginning in 1885 with Tom Roberts’ arrival to Australia and ending in 1903 with his departure for England. Driven by a desire to liberate themselves from the European ideal, the Heidelberg School painters envisioned a new Australian consciousness free from outworn conventions. They took to the countryside, escaping the artificiality they found in the city and instead seeking a purity and naturalness beyond.

The artists favoured certain landscapes, visiting them regularly for plein-air painting, and thus identifying them as artist’s camps. David Houston’s property at Box Hill was one of the first plein-air artist’s camps in 1885-86.

By 1891 Walter Withers had established his studio on Collins Street, Melbourne. The great financial crisis of that same year brought disaster for Withers with great hardship and a loss of fortune.

While many artists departed, Withers chose to stay in Melbourne. The year 1895 was a turning point for Withers, when the National Gallery of Victoria acquired his Tranquil Winter painting which was sent to Grafton Gallery in London for an exhibition of Australian paintings. The critic R.A.M. Stevenson described it as “the most beautiful canvas in the show. from white-stemmed forest trees, the gently illumined house and the delicate sky, make a delicious harmony of colour, as natural as it is decoratively beautiful”.

Landscape Box Hill, Victoria c.1890s is impressive in scale, the canvas providing Withers opportunity to fully document the vast expanse and solitute of the landscape - the unassuming house in central focus. The dry warmth of the land comes forth from the golden ground, chequered by the shadows of the towering trees beneath which the animals take shady refuge.

Olivia Fuller, Head of Art

34

67

64 WALTER WITHERS (1854-1914) Landscape oil on canvasboard signed lower left: Walter Withers 24 x 34.5cm

67 ROBERT TAYLOR-GHEE (1869-1951) Horse Drawn Cart oil on card signed lower right: R E. Taylor-Ghee 22 x 29.5cm

69 SYDNEY LONG (1871-1955) The Old Mill, Peter Tavy, Devon oil on canvas on board signed lower right: Sydney Long 49 x 75cm

PROVENANCE: Private collection, Melbourne Leonard Joel, Melbourne, 5 September 2017, lot 7 Private collection, Melbourne $5,000-7,000

PROVENANCE: Private collection, Melbourne Thence by descent $1,200-1,600

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

66 ROBERT TAYLOR-GHEE (1869-1951) Rider Crossing the Bridge oil on card signed lower left: R E. Taylor-Ghee 19.5 x 29.5cm PROVENANCE: Private collection, Melbourne Thence by descent $1,200-1,600

68 ERNEST BUCKMASTER (1897-1968) Still Life with Roses oil on canvas signed lower left: E Buckmaster 80 x 57cm PROVENANCE: Private collection, Melbourne $3,000-5,000

35

70 OLD NYM DJIMURRGURR (c.1910-1970s) Narmakkon The Lightning Spirit c.1950s natural earth pigments on bark 50 x 40.5cm (irregular) PROVENANCE: Lawson~Menzies, Melbourne, 14 November 2007, lot 90 Private collection, Melbourne $6,000-8,000 71 MICK KUBAKKU (1925-2008) Yawk Yawk Dreaming 1998 natural earth pigments on paper 105 x 75cm PROVENANCE: Collection of Reg Mason (letter of authenticity attached verso) Private collection, Melbourne $3,000-5,000

72 § OLD MICK WALLANKARRI TJAKAMARRA (c.1914-1996) Untitled 1980 synthetic polymer paint on canvas Papunya Tula cat. no. OM800944 inscribed on canvas edge 122 x 61cm

74 NYURAPAYIA NAMPITJINPA (MRS BENNETT) (1935-2013) Untitled 2003 synthetic polymer paint on canvas artist’s name and Papunya Tula cat. no. NN0304182 inscribed verso 122 x 152cm

PROVENANCE: Papunya Tula Artists Pty Ltd, Alice Springs (accompanied by a certificate of authenticity) Private collection, South Australia Leonard Joel, Melbourne, 22 August 2019, lot 3041 Private collection, Melbourne $2,000-4,000

PROVENANCE: Papunya Tula Artists Pty Ltd, Alice Springs Woolloongabba Art Gallery, Queensland Private collection, Queensland $4,000-6,000 75 § CHARLIE WARD TJAKAMARRA (c.1930-2005) Naru 2002 synthetic polymer paint on canvas artist’s name and Papunya Tula cat no. CWO211023 inscribed verso 122 x 61.5cm

73 WENTJA NAPALTJARRI (born c.1945) Women’s Hair String synthetic polymer paint on linen artist’s name, title, Cooee Art cat no. 1519 and unknown cat. no. 77-076 inscribed verso 152.5 x 61.5cm

PROVENANCE: Papunya Tula Artists Pty. Ltd., Alice Springs (accompanied by a certificate of authenticity) The Collection of William and Lucy Mora Deutscher and Hackett, Melbourne, 21 July 2010, lot 149 Private collection, Melbourne $1,800-2,800

PROVENANCE: Cooee Art, Sydney (accompanied by a certificate of authenticity) Private collection, Melbourne $3,000-4,000

73 © Wentja Napaltjarri/Copyright Agency, 2020 36

70

74 © Nyurapayia Nampitjinpa/Copyright Agency, 2020

76 WALANGKURA REID NAPURRULA (born c.1935) Untitled 2002 synthetic polymer paint on canvas artist’s name and Papunya Tula cat. no. WAG0022 and WR0207106 91 x 91.5cm

77 MINNIE PWERLE (1922-2006) Body Paint Bush Melon 2004 synthetic polymer paint on canvas inscribed verso with Aboriginal Galleries of Australia cat. no. 8003 128 x 105cm

PROVENANCE: Papunya Tula Artists Pty Ltd, Alice Springs (accompanied by a copy of a certificate of authenticity) Woollongabba Art Gallery Private collection, Queensland $1,500-2,500

PROVENANCE: Aboriginal Galleries of Australia, Melbourne (accompanied by a copy of a certificate of authenticity) Little Malop Fine Art Gallery, Geelong (label verso) Private collection, Melbourne $6,000-8,000

37

78 © Freddie Timms/Copyright Agency, 2020

78 FREDDIE TIMMS (c.1944-2014) Thirsty Creek (Bow River) 1997 natural earth pigments on linen signed, titled, dated and inscribed verso: 1.11.97/ N-1267-FT/ “Thirsty Creek”/ (Bow River)/ F TIMMS 91 x 121cm PROVENANCE: Davidson Auctions, Sydney, 15 August 2009, lot 224 Private collection, Melbourne $6,000-8,000

38

79 QUEENIE MCKENZIE (1915-1998) Bungle Bungles 1995 natural ochres on canvas artist’s name and Waringarri Aboriginal Arts cat. no. AP0986, Aboriginal Galleries of Australia cat. no. AGA8087 and unknown cat. no. CMS64411 inscribed verso 51 x 71cm PROVENANCE: Waringarri Aboriginal Arts, Western Australia Hogarth Galleries, Sydney Aboriginal Galleries of Australia, Melbourne (accompanied by a copy of a certificate of authenticity) Private collection, Melbourne $4,000-5,000

80 LILY KARADADA (born c.1937) Wandjina (Rain Spirit) 1998 synthetic polymer paint and natural earth pigments on canvas artist’s name, title and Narrangunny Art Traders cat. no. NAT0481 inscribed verso 40.5 x 100cm PROVENANCE: Narrangunny Art Traders, WA (stamp verso) Niagara Galleries, Melbourne 2000 (label verso) Private collection, Melbourne EXHIBITIONS: Lily Karadada, Niagara Galleries, Melbourne, 4 - 29 July 2000, cat no. 2 $1,000-2,000

81 © Goody Barratt/Copyright Agency, 2020

81 GOODY BARRATT (born 1930) Geminyban Caves 2000 natural ochres with binder on linen artist’s name and Jirrawun Aboriginal Art Corporation inscription verso artist’s name, title and date inscribed on stretcher bar verso 122 x 135cm PROVENANCE: Jirrawun Aboriginal Art Corporation, East Kimberley William Mora Galleries, Melbourne (stamped on stretcher bar verso) Private collection, Melbourne $4,000-6,000

39

WORKS FROM THE ESTATE OF LADY NOLAN

86 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency, 2020

82 SIDNEY NOLAN (1917-1992) Flower, Paradise Garden c.1970 mixed media on paper 30 x 24cm

83 SIDNEY NOLAN (1917-1992) Flowers c.1970 mixed media on paper 30 x 24.5cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000

40

84 SIDNEY NOLAN (1917-1992) Bird 1969 mixed media on paper signed lower centre: nolan inscribed verso: 18 June 69 Nolan 30 x 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000

85 SIDNEY NOLAN (1917-1992) Abstract Face c.1955 oil on paper signed lower right: nolan 29.5 x 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9109) $1,000-1,500 86 SIDNEY NOLAN (1917-1992) Head c.1955 oil on paper signed lower left: nolan 29.5 x 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9101) $1,800-2,500 87 SIDNEY NOLAN (1917-1992) Profile c.1955 mixed media on paper signed lower left: nolan.

29.5 x 24.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9111) $1,600-2,200

94 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency, 2020

88 SIDNEY NOLAN (1917-1992) Untitled (Man in Jacket and Tie) c.1955 mixed media on paper signed lower right: nolan 30 x 25cm

89 SIDNEY NOLAN (1917-1992) Man mixed media on paper signed lower right: nolan 30 x 24.5cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9106) $1,500-2,500

EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9103) $1,600-2,600

41

99 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency, 2020

90 SIDNEY NOLAN (1917-1992) Noh, Japan 1957 mixed media on paper titled, dated, and initialled lower left: Noh. / Japan / Feb. 57 / n.

30 x 25cm

91 SIDNEY NOLAN (1917-1992) Noh, Kyoto c.1957 mixed media on paper signed centre right: nolan inscribed verso: NOH, KEYOTO FEB “57” N 29.5 x 23.5cm

92 SIDNEY NOLAN (1917-1992) Lake Hakone, Japan 1957 mixed media on paper signed centre right: nolan titled and dated verso 29 x 24cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

EXHIBITIONS: Australian Galleries, Melbourne (label verso) $1,400-2,000

EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9157) $1,500-2,500

EXHIBITIONS: Australian Galleries, Melbourne (label verso) $1,200-1,800

42

93 SIDNEY NOLAN (1917-1992) Africa 1977 crayon on paper titled, signed, and dated lower right: Africa / nolan / 77 36 x 26.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Rudy Komon Gallery, Sydney (label verso, cat. no. 4478) $1,000-1,500 94 SIDNEY NOLAN (1917-1992) Flowers, Paradise Garden c.1968 mixed media on paper signed lower right: nolan dated verso 29.5 x 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000 95 SIDNEY NOLAN (1917-1992) Gallipoli Landscape 1961 mixed media on paper initialled lower left with backwards ‘N’ dated verso 30.5 x 25.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Australian Galleries, Melbourne (label verso) $2,000-3,000 96 SIDNEY NOLAN (1917-1992) Flowers, Paradise Garden c.1970 mixed media on paper signed lower right: nolan 29 x 24.5cm

97 SIDNEY NOLAN (1917-1992) Schoolgirl c.1950 mixed media on paper signed lower right: nolan 25.5 x 20.5cm

100 SIDNEY NOLAN (1917-1992) Classical Figure 1950 mixed media on paper signed and dated lower left: 1950 / nolan 30.5 x 25cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9088) $2,000-3,000

EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9083 and cat. no. 1950A) $1,500-2,500

98 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet c.1963 mixed media on paper signed centre: nolan 13.5 x 9cm

101 SIDNEY NOLAN (1917-1992) Classical Figures 1950 mixed media on paper signed and dated lower right: nolan / 1950 31 x 26cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9113) $1,000-1,500

EXHIBITIONS: Australian Galleries, Melbourne (label verso, cat. no. 9082) $1,500-2,500

99 SIDNEY NOLAN (1917-1992) Ballet Design, The Display 1963 mixed media on paper signed and dated lower right: nolan / 7.12.63 titled verso 51 x 62cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Ten Years of the Australian Ballet: Costumes and Designs, National Gallery of Victoria, Melbourne, August 25 - October 8 1972 (label verso) Rudy Komon Gallery, Sydney (label verso, cat. no. 5277) $3,000-4,000

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000

END OF COLLECTION 43

105 CELIA PERCEVAL (born 1949) Bringing in the Boat, Kianinny Bay oil on canvas signed lower right: Celia Perceval titled verso 61 x 76cm PROVENANCE: Bridget McDonnell Gallery, Melbourne Private collection, Melbourne $7,000-9,000 106 DOROTHY BRAUND (1926-2013) Bathers gouache on paper 27 x 20cm PROVENANCE: Estate of the Artist Private collection, Melbourne $2,500-3,500 107 HERMAN PEKEL (born 1956) St. Kilda oil on canvas signed lower right: PEKEL 60 x 90cm PROVENANCE: Private collection, Melbourne $3,000-5,000

106 Courtesy of the Estate of Dorothy Braund

102 MATTHEW SIMMONS (born 1976) Coral Green 2003 oil on linen signed and dated lower left: MEW/ 03 121.5 x 91cm PROVENANCE: Artistry Galleries, Melbourne 2004 Private collection, Melbourne EXHIBITIONS: Matthew Simmons: Walking with Trees, Artistry Galleries, Melbourne, 14 February - 4 March 2004, cat. no. 10 (illus.) $4,500-5,500

103 JAN SENBERGS (born 1939) Winter Cliffs 2017 acrylic on canvas signed, titled and dated verso: Winter Cliffs / J. Senbergs /17/ 31 x 30.5cm PROVENANCE: Private collection, Melbourne $2,000-4,000 104 MARK HANHAM (born 1978) Four Trees in Bloom 2009 acrylic and gold leaf on canvas signed lower right: Mark Hanham signed and titled verso 201 x 282cm PROVENANCE: Art Index, Sydney 2013 Private collection, Tasmania $5,000-8,000

44

108

108 GILLIE & MARC SCHATTNER (born 1965 and 1961) Elephant Reaches New Heights bronze, ed. 13/15 artist’s seal and edition inscribed at base accompanied by a certificate of authenticity from the artist’s studio 81 x 30 x 30cm $3,800-4,800 109 § CHARLES BLACKMAN (1928-2018) Unicorn Carousel 1994 ink on paper signed and dated lower right: Blackman 7.6.94 53 x 45cm PROVENANCE: The Charles Blackman Collection, Mossgreen, Melbourne, 6 December 2015, lot 30 Private collection, Melbourne $1,500-2,000 110 LANI MITCHELL (born 1990) Conversations with Nicholas 2014 acrylic and enamels on linen signed, titled and dated verso: “CONVERSATIONS WITH NICHOLAS”/ LANI MITCHELL/ L Mitchell 2014 183 x 167.5cm PROVENANCE: Private collection, Melbourne $3,500-4,500 111 JASON BENJAMIN (born 1971) Lay it Down Tonight 2004 oil on canvas signed, titled and dated verso: lay it down/ tonight/ Jan ‘04/ Benjamin 120 x 120cm PROVENANCE: Private collection, Melbourne $6,000-8,000 112 ANDREW BROWNE (born 1960) Untitled 1998/99 oil on linen signed, titled and dated verso: ANDREW BROWNE / UNTITLED 1998/99 305 x 121cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Andrew Browne: Painting Light, Bendigo Art Gallery, Bendigo 1999

113

OTHER NOTES: The current panel relates to one panel of the commissioned four panel work for the Westin Hotel, Melbourne, completed late 1999.

Andrew Browne is represented by Tolarno Galleries, Melbourne $9,000-12,000 113 LEON ROUBOS (1959-1998) Pedestrian Crossing 1996 enamel on board signed lower right: Leon Roubos titled and dated verso 149 x 118cm PROVENANCE: Flinders Lane Gallery, Melbourne Private collection, Melbourne $2,000-4,000

114 § JULIA RITSON (born 1961) Untitled 2017 oil on canvas signed and dated verso: JULIA RITSON 2017 86.5 x 96.5cm PROVENANCE: Private collection, Melbourne $1,800-2,800 114A KEVIN LINCOLN (born 1941) Three Bowls 1998 oil on linen signed lower left: Lincoln titled, signed and dated verso: ‘THREE BOWLS’ / 30/7/98 / K Lincoln 40.5 x 36cm PROVENANCE: Niagara Galleries, Melbourne, 2000 (label verso) Private collection, Melbourne $1,800-2,800

45

118

115 DEL KATHRYN BARTON (born 1972) The Night That My Spine Exposed Itself: Was Joyous & Wild At Heart 2001 pencil on paper signed, titled and dated upper centre: - the night that my spine exposed itself: was joyous & wild at heart -/ del. k. b 2001 79 x 59cm (sheet) PROVENANCE: Gift from the artist $3,000-5,000 116 DEL KATHRYN BARTON (born 1972) Self Grieving 2001 pencil on paper signed, titled and dated upper right: - self grieving - del kathryn 2001 76 x 59cm (sheet) PROVENANCE: Gift from the artist $3,000-5,000

46

117 ยง CHARLES BLACKMAN (1928-2018) Face 1966 mixed media on paper titled, initialled and dated lower left: Face CB 66 47 x 35.5cm PROVENANCE: The Charles Blackman Fundraising Auction, Mossgreen, Melbourne, 1 April 2014, lot 48 Private collection, Melbourne $3,000-5,000 118 MIRKA MORA (1928-2018) Angel in her Bird Boat 2003 gouache on paper signed and dated lower right: MiRKA 03 titled and dated verso 25.5 x 36cm PROVENANCE: William Mora Galleries, Melbourne (stamp verso) Private collection, Melbourne $5,000-7,000

119 DAVID BOYD (1924-2011) Tumbling in the Golden Wattle Tree at Murrumbeena oil on board signed lower left: David Boyd titled verso 37 x 29cm PROVENANCE: Greenaway Gallery, Melbourne (label verso) Private collection, Melbourne $6,500-8,500 120 DAVID BOYD (1924-2011) Face in the Flame Tree with Naked Angel and Blue Angel and a Bird oil on board signed lower left: David Boyd titled verso 31.5 x 37cm PROVENANCE: Greenaway Gallery, Melbourne (label verso) Private collection, Melbourne $7,000-9,000

121

121 LUDMILLA MEILERTS (1908-1998) Autumn Flowers 1976 oil on masonite signed and dated lower left: L. Meilerts / 76 title inscribed on artist’s label verso title on plaque verso 74.5 x 59.5cm PROVENANCE: Collection of Mr. and Mrs. A T Cocks Private collection, Melbourne $3,000-5,000 122 PRO HART (1928-2006) Floral oil on board signed lower right: PRO HARt titled on Steve James Fine Art Gallery label verso 45 x 30cm PROVENANCE: Steve James Fine Art Gallery, Melbourne Private collection, Victoria $3,000-4,000

123 ROBERT DICKERSON (1924-2015) The Model oil on canvasboard signed lower right: DICKERSON titled verso 69.5 x 49.5cm PROVENANCE: Private collection, Melbourne $7,000-9,000 124 PRO HART (1928-2006) Birks, Adelaide 1983 oil on canvasboard signed lower right: PRO HARt dated lower left titled verso 59.5 x 38cm

125 HUGH SAWREY (1923-1999) Voo Doo Man of Hagen oil on canvas signed lower right with thumbprint: SAWREY signed and titled verso: Voo-Doo/ “MAN OF HAGEN”/ HUGH SAWREY 49 x 59.5cm $2,500-4,500 126 PRO HART (1928-2006) Shearing Shed 1975 oil on masonite signed and dated lower right: PRO / HARt 75 titled lower left 42.5 x 55cm PROVENANCE: Private collection, Melbourne $4,500-5,500

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

47

127

48

127 D’ARCY DOYLE (1932-2001) Station Hand oil on board signed lower right: d’Arcy W. Doyle titled lower left 50 x 40cm $4,000-6,000

129 D’ARCY DOYLE (1932-2001) Tree Study oil on board signed lower right: d’Arcy. W. Doyle. titled verso 31.5 x 39cm $3,500-5,000

128 CELIA PERCEVAL (born 1949) (The Bridge) 1984 oil on canvas signed and dated lower left: 84 Celia Perceval 107.5 x 118.5cm

130 BILL COLEMAN (1922-1993) Reclining Nude oil on canvas on board signed lower right: Bill Coleman 44.5 x 60cm

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

PROVENANCE: Private collection, Melbourne $2,000-4,000

133 131 DOROTHY BRAUND (1926-2013) Boys on the Pier 1959 watercolour and gouache on paper signed and dated lower left: BRAUND 59 46.5 x 34cm

133 ADRIAN FEINT (1894-1971) Still Life with Strawberries 1961 oil on canvas signed lower right: ‘Adrian Feint’ / - 1961 40.5 x 50cm

PROVENANCE: Eastgate Gallery, Melbourne 2000 Private collection, Melbourne $3,000-5,000

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

132 ROY DE MAISTRE (1894-1968) The Studio Interior c.1952 ink and watercolour on paper signed lower right: R. de Maistre 21 x 15cm PROVENANCE: Private collection, UK Private collection, Melbourne $4,500-5,500

134 DONALD FRIEND (1915-1989) A Farm in Hampshire pastel and ink on paper signed, titled and possibly dated lower right: a farm in Hampshire / Donald Friend _ 30 x 48cm PROVENANCE: Private collection, Victoria $3,000-5,000

49

136

135 JOHN SKINNER PROUT (British, 1806-1876) Fisherman and Boat watercolour on paper signed lower left: S. Prout 15.5 x 27.5cm PROVENANCE: Private collection, Victoria $1,200-1,800 136 HENRY GRITTEN (c.1818-1873) Ancient City of Namur c. 1867 oil on canvas laid on board signed indistinctly lower right: HENRY GRIT_ titled and dated on plaque lower centre titled on label verso 57 x 84.5cm $10,000-15,000

137 GEORGE ALFRED JOHN WEBB (British/Australian, 1861-1949) Resting by the Falls (Wangaratta Creek) oil on canvas signed lower right: Geo AJ Webb 50 x 75.5cm

139 § HAROLD SEPTIMUS POWER (1878-1951) Portrait of Ralph Wilson III 1947 oil on canvas in original John Thallon frame signed and dated lower left: H. S. POWER/ 1947 126 x 101cm

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

PROVENANCE: The Collection of Ralph Wilson Leonard Joel, Melbourne, 4 September 2018, lot 72 Private collection, Melbourne $4,000-6,000

138 NORMAN LINDSAY (1879-1969) Australia (Seamen’s Union) ink on paper signed lower centre: NORMAN LINDSAY titled on unknown label verso 47.5 x 33cm PROVENANCE: Private collection, Melbourne $2,000-4,000

50

140 § HAROLD SEPTIMUS POWER (1878-1951) Portrait of Dorothy Wilson oil on canvas signed lower left: H. S. Power 76 x 62.5cm PROVENANCE: Leonard Joel, Melbourne, 4 September 2018, lot 71 Private collection, Melbourne $1,500-2,500

141 JUSTIN O’BRIEN (1917-1996) Still Life with Green Pot 1937 oil on canvas on board signed and dated upper right: Justin O’Brien / 1937 67 x 50cm PROVENANCE: Collection of Joseph and Margaret O’Brien Private collection, Melbourne $3,500-4,500 142 TOM GARRETT (1879-1952) (Figures by the Lake) monotype and watercolour on paper signed lower right: TOM GARRETT 37.5 x 47.5cm $1,400-1,800

141

135 51

147 143 § MAX MELDRUM (1875-1955) Still Life 1936 oil on board signed and dated lower right: Meldrum 1936 46 x 43cm PROVENANCE: Gift from the artist, 1926 Sotheby’s, Melbourne, 26 November 1990, lot 13 McKenzies Auctioneers, Perth, 1 December 2009, lot 58 Leonard Joel, Melbourne, 18 April 2010, lot 226 (label verso) Private collection, Melbourne Leonard Joel, Melbourne, 4 June 2019, lot 9 Private collection, Melbourne $3,500-5,500

144 § HAROLD SEPTIMUS POWER (1878-1951) The Lone Gum oil on canvas laid on panel signed lower right: H. S. Power titled on exhibition label verso 44 x 36cm

145 WILLIAM ROWELL (1898-1946) On the Country Track oil on canvas signed lower left: William Rowell titled on label verso 65 x 85cm

PROVENANCE: Davidson Auctions, Sydney, 11 September 2016, lot 59 Private collection, Melbourne $1,500-2,000

PROVENANCE: Leonard Joel, Melbourne, 13 September 2012, lot 3082 Private collection, Melbourne $1,200-1,800 146 DENNIS RAMSAY (1925-2009) Asparagus 1983 oil on masonite signed and dated lower right: DENNIS RAMSAY / MCMLXXXIII 19.5 x 24.5cm PROVENANCE: Private collection, Melbourne $1,000-1,500

52

146 147 MAX MIDDLETON (1922-2013) Still Life, Calendula in Orange oil on canvasboard signed lower left: Max Middleton 45 x 50cm PROVENANCE: Estate of the Artist $1,600-2,600 148 MAX MIDDLETON (1922-2013) Golden Light, Sorrento oil on canvas signed lower left: Max Middleton titled verso 39.5 x 49.5cm PROVENANCE: Estate of the Artist $3,000-5,000

149 KENNETH MACQUEEN (1897-1960) Edge of the Reef 1935 watercolour on paper signed and dated lower right: KENNETH MACQUEEN/ 1935 titled on label verso 31 x 40cm PROVENANCE: S. A. Parker, Sydney (label verso) Private collection, New South Wales $3,000-5,000 150 CLEM MILLWARD (born 1929) Summer 1962-63 oil on board signed lower right: MILLWARD signed, titled and dated verso 90 x 120cm

PROVENANCE: Gift of the artist The collection of the Jewish Holocaust Centre (the following painting is being auctioned to raise funds for the above) ARTIST’S STATEMENT: “These images are the result of when I was a teenager seeing concentration camp newsreels at the old Wynward Newsreel Theatre, Sydney, in 1945-46. Secondly they arise from having lived in Bucharest for 4 years from 1951-55, where at the art institute I was befriended not only by Romanians who had terrible stories to recount - but also

by Jewish Romanians and Hungarians, who had somehow survived the horrors of the Fascist Iron Guards.”

Summer: “The time of mature growth, the fullness of life, of yellow exuberance and buoyancy. A limpid blue, half a bloodied, hung figure, the creative hands contorted, violates the landscape” $1,500-2,500

53

152

151 CLEM MILLWARD (born 1929) Autumn 1962-64 oil on board signed lower left: MILLWARD signed, titled and dated verso 120 x 90cm

152 CLEM MILLWARD (born 1929) Abattoir (Winter) 1962-64 oil on board signed, titled and dated verso: “ABATTOIR” / CLEM MILLWARD / 1962-64 120.5 x 90.5cm

153 CLEM MILLWARD (born 1929) Spring 1962-64 oil on board signed lower right: MILLWARD signed, titled and dated verso 121 x 89.5cm

PROVENANCE: Gift of the artist The collection of the Jewish Holocaust Centre (the following painting is being auctioned to raise funds for the above)

PROVENANCE: Gift of the artist The collection of the Jewish Holocaust Centre (the following painting is being auctioned to raise funds for the above) $2,000-3,000

PROVENANCE: Gift of the artist The collection of the Jewish Holocaust Centre (the following painting is being auctioned to raise funds for the above)

Autumn: ‘The time of ripe fruit, of harvesting the benefits of labour, of falling leaves, of the casting of seed - an inverted human figure, castrated, swaying in the wind.’ $2,000-3,000

54

Spring:”The time of new growth, upthrusting optimism, luminous landscape, of vigorous dancing, high kicking and leaping - parts of dismembered human figure played - the Nazis made lampshades of human skins” $1,500-2,500

157

154 YURI GONCHARENKO (Ukranian, born 1964) Leningrad 1986 oil on canvasboard signed and dated lower left: Goncharenko 86 22 x 34cm PROVENANCE: Private collection, Melbourne $1,500-2,500 155 VIC O’CONNOR (1918-2010) Untitled oil on board signed lower left: V O’CONNOR 28 x 38cm

156 § LAURENCE HOPE (born 1928) Perceval in Paris (The Delinquent) oil on canvas signed lower right: L. HOPE titled on gallery label verso 74 x 59cm PROVENANCE: Kym Bonython, Adelaide Cromwell Auctions, Sydney, 8 July 2003, lot 32 Private collection, NSW Lawson-Menzies, Sydney, 8 August 2013, lot 248 (label verso) Private collection, Melbourne $3,500-4,500

157 ANNE HALL (born 1945) Two Hatted Figures 1967 oil on canvas initialled and dated lower left: A. H / 67 124 x 123.5cm PROVENANCE: Private collection, Melbourne $2,000-2,500

PROVENANCE: Private collection, Melbourne $1,000-1,500 55

160 DOROTHY BRAUND (1926-2013) Sunbathers 1985 watercolour and gouache on paper signed and dated lower right: BRAUND ‘85 36 x 49cm PROVENANCE: Eastgate Gallery, Melbourne 2002 Private collection, Melbourne $3,000-5,000 161 CLIFTON PUGH (1924-1990) Landscape watercolour and gouache on paper signed lower right: Clifton 56 x 70cm PROVENANCE: Private collection, Melbourne $1,500-2,000 161A § GUY MAESTRI (born 1974) Bush Rock and Wombat 2005 oil on board signed, titled, and dated verso: GUY MAESTRI/ BUSH ROCK & WOMBAT/ 2005 170 x 120cm PROVENANCE: With Tim Olsen Gallery, Sydney $8,000-10,000 162 GEORGE HAIRBRUSH TJUNGURRAYI (born c.1947) Mamultjulkunya 2005 synthetic polymer paint on linen inscribed verso with artist’s name and Muk Muk Aboriginal Art 2005 122 x 183cm

162 © George Hairbrush Tjungurrayi/Copyright Agency, 2020

158 CLIVE MURRAY-WHITE (born 1946) Gocup Head V 2004 Gocup marble 27cm (height, including base) PROVENANCE: Charles Nodrum Gallery, Melbourne 2004 Private collection, Melbourne $1,500-2,500

56

159 BILL COLEMAN (1922-1993) Reclining Nude oil on canvas on board signed lower left: Bill Coleman 45 x 60cm PROVENANCE: Private collection, Melbourne $2,000-4,000

PROVENANCE: Commissioned by Muk Muk Aboriginal Art, Northern Territory Art Index, Sydney 2014 Private collection, Tasmania $5,000-7,000

165 © Maggie Watson Napangardi/Copyright Agency, 2020

163 RONNIE TJAMPITJINPA (born c.1943) Bushfire Dreaming synthetic polymer paint on linen artist’s name, title and cat. no. A4229 inscribed verso 122 x 181cm PROVENANCE: Muk Muk Aboriginal Art, Northern Territory Art Index, Sydney 2013 Private collection, Tasmania $5,000-7,000

164 EMILY KAME KNGWARREYE (c. 1910-1996) Body Paint Design 1996 ochres on canvas inscribed verso with artist’s name, title, and Utopia Art cat. no. EKK9623 96.5 x 85cm

165 MAGGIE WATSON NAPANGARDI (1921-2004) Untitled 1989 synthetic polymer paint on linen artist’s name and Warlukurlangu Artists cat no. 393/89 inscribed verso 92 x 91.5cm

PROVENANCE: Utopia Art, Northern Territory (accompanied by a certificate of authenticity and a photo of the artist in creation) Leonard Joel, Melbourne, 21 June 2009, lot 94 Private collection, Melbourne

PROVENANCE: Warlukurlangu Artists, Northern Territory Private collection, Melbourne $6,000-9,000

OTHER NOTES: Natural earth ochres are used by the people of Utopia to decorate their bodies when a corroboree is performed. Part of this design also shows the (white) application of Down or feathers, which is part of the decoration. $3,500-4,500

57

166 JUDY WATSON NAPANGARDI (c.1925-2016) Mina Mina 2008 synthetic polymer paint on linen 133 x 198.5cm PROVENANCE: Acquired from the artist by Justin Turner cat. no. JWN134198 Art Index, Sydney 2013 Private collection, Tasmania $6,000-8,000 167 PULPURRU DAVIES (born 1943) Yalara synthetic polymer paint on canvas artist’s name and Kayili Artists cat no. 07-093 inscribed verso 101.5 x 51cm PROVENANCE: Kayili Artists, WA (accompanied by a certificate of authenticity) William Mora Galleries, Melbourne (stamp verso) $1,500-2,500 168 PEGGY JONES (born 1951) Bird and Bush Potato 2004 synthetic polymer paint on linen inscribed verso with artist’s name and Alcaston Gallery cat. no. AK10740 and JUL04PNJ2917 (stamp verso) 60 x 90cm PROVENANCE: Alcaston Gallery, Melbourne (accompanied by a copy of a certificate of authenticity) Private collection, Queensland $1,000-1,500 169 GABRIELLA POSSUM NUNGARRAYI (born 1967) My Grandmother’s Country 2020 synthetic polymer paint on Belgian canvas artist’s name and cat. no 18598 inscribed verso 122 x 92.5cm 166 © Judy Watson Napangardi/Copyright Agency, 2020

PROVENANCE: Adam Knight Fine Art, Victoria (accompanied by a certificate of authenticity) $3,500-5,000 170 RICHARD MAUROVIC (born 1963) Castello Sforzesco, Milan Italy 2008 oil on linen signed lower right: RICHARD MAUROVIC titled and dated on stretcher bar verso 59 x 89cm PROVENANCE: Masterpiece Fine Art Gallery, Hobart Private collection, Melbourne $2,500-3,500

58

168 © Peggy Napangardi Jones/Copyright Agency, 2020

171 NICOLE ALLEN (born 1967) In the Box 2014 cast aluminium ed. 1/10 artist’s name, date, and edition inscribed at base: NICOLE ALLEN 2014 1/10 115 x 18 x 11.5cm

172 NICOLE ALLEN (born 1967) Squared Away 2014 cast aluminium ed. 1/10 artist’s name, date, and edition inscribed at base: NICOLE ALLEN 2014 1/10 146 x 24.5 x 12cm

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

PROVENANCE: Private collection, Melbourne $3,000-4,000

173 KEIZO USHIO (Japanese, born 1951) Oushi Zokei Honoo Flame Japanese blue granite and acrylic 47 x 48 x 24cm PROVENANCE: Sculpture International, NSW, 2009 Private collection, Melbourne $3,000-5,000

59

179

174 § JANIE PETYARRE MORGAN (born c.1967) Atwakeye (Bush Orange) 2019 synthetic polymer paint on Belgian linen artist’s name and cat. no. 18472 inscribed verso 153 x 94.5cm

175 MICHELLE POSSUM NUNGURRAYI (born 1967) Grandmother’s Country 2019 synthetic polymer paint on Belgian canvas artist’s name and cat. no. 18207 inscribed verso 186 x 94cm

PROVENANCE: Adam Knight Fine Art, Victoria (accompanied by a certificate of authenticity) $1,500-2,500

PROVENANCE: Adam Knight Fine Art, Victoria (accompanied by a certificate of authenticity) $3,500-5,000

60

176 § ALKAWARI DAWSON (c.1930-2010) Untitled 2003 synthetic polymer paint on canvas artist’s name, date and Irrunytju Art Centre cat no. IRRAD03093 inscribed verso 179 x 160cm PROVENANCE: Menzies, Melbourne, 24 June 2010, lot 89 Private collection, Melbourne Leonard Joel, Melbourne, 16 September 2014, lot 184 Private collection, Melbourne $3,500-4,500

177 TOSPY PETERSON NAPANGARDI (born 1931) Tali (Sandhills) 2008 synthetic polymer paint on canvas artist’s name and Mitchell Fine Art cat. no. A15537 on label on stretcher bar verso 240 x 140cm PROVENANCE: Mitchell Fine Art, Brisbane (accompanied by a certificate of authenticity) Private collection, Sydney $2,000-4,000 178 BRUCE EARLES (born 1953) Watch Your Step 2001 oil on canvas signed and dated lower right: Bruce Earles ‘01 titled verso 122.5 x 152cm PROVENANCE: Goya Galleries, Melbourne (label verso) Private collection, Melbourne $3,000-5,000 179 DAVID BROMLEY (born 1960) Boy with Dalmation oil on canvas signed lower left: BROMLEY 180.5 x 150cm PROVENANCE: Private collection, Melbourne $5,500-7,500 180 ANNA PRICE PITJARA (born 1960) Yam Dreaming synthetic polymer paint on canvas artist’s name and cat. no. 18019 inscribed verso 200 x 139cm PROVENANCE: Adam Knight Fine Art, Victoria (accompanied by a certificate of authenticity) $2,000-4,000 181 § ADAM CULLEN (1965-2012) Turon River Carp 2007 oil and acrylic on canvas signed, titled and dated verso: ADAM CULLEN 07/ ‘TURON RIVER CARP’ 38.5 x 76.5cm

180 © Anna Price Petyarr/Copyright Agency, 2020

PROVENANCE: Lawsons, Sydney, 30 May 2013, lot 540 Private collection, Melbourne $2,000-3,000

61

184

182 ยง JASPER KNIGHT (born 1978) Piaggio Study 2012 oil on board initialled and dated lower right: JK 2012 titled lower centre 100 x 75cm

183 ยง CHARLES BLACKMAN (1928-2018) Unicorn and Guitar Player 1994 ink on paper signed and inscribed lower right: FOR EVA. CHARLES BLACKMAN 53 x 45cm

184 DAVID BROMLEY (born 1960) Musical Instruments oil and gold leaf on canvas diptych signed lower left: BROMLEY 120 x 300.5cm

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

PROVENANCE: The Charles Blackman Collection, Mossgreen, Melbourne, 6 December 2015, lot 31 Private collection, Melbourne $1,500-2,000

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

62

185 § ADAM CULLEN (1965-2012) Frank Moorehouse acrylic on board inscribed lower right: FRANK 59 x 41.5cm PROVENANCE: Independent Auction Group, 25 March 2012 Private collection, Perth Mossgreen Auctions, 30 August 2016, lot 315 Private collection, Melbourne RELATED WORKS: Portrait of Frank Moorhouse AM, Exhibited, Archibald Prize 1998 $2,000-2,500

186 DENISE GREEN (born 1946) Union 1987 oil stick on canvas artist’s name, title and date inscribed verso: DENISE GREEN / ‘UNION’ / 1987 121 x 121cm

187 § JASPER KNIGHT (born 1978) New Gunwick Winding (Study) 2012 mixed media on card signed and dated lower right: Jasper Knight 2012 titled lower centre 100.5 x 100.5cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Leonard Joel, Melbourne, 9 December 2012, lot 241 Private collection, Melbourne $2,500-3,000

EXHIBITIONS: Blue Chip XXI: The Collector’s Exhibition - 2019, Niagara Galleries, Melbourne, 5 March - 6 April 2019, cat. no. 5 (label verso) $3,000-5,000

63

/ Auctions / Fine Jewels & Timepieces Monday 7 September 2020 — ENQUIRIES (03) 8825 5618 jewels@leonardjoel.com.au

ABOVE: A DIAMOND BROOCH $12,000 – 16,000

64

LEFT: A SOLITAIRE DIAMOND RING

$25,000 – 35,000

bespoke MoVes

Art / Antiques / Modern / sculpture / objects of Vertu / no MAtter whAt you need to MoVe, bespoke MoVes will tAilor A solution to your needs & budget, whether it’s A new conteMporAry instAllAtion or An old MAsterpiece we’re here to help / installation packing & crating restoration

unpacking & home setup Valuation courier service

import & export interstate & local

Contact Sasha Voss Tiltins:

www.bespokeMoVes.coM.Au E / sasha@bespokemoves.com.au

P / 0417 119 040

Moving, logistics & project ManageMent

65

ARTIST INDEX ALLEN, NICOLE

171, 172

HART, PRO

AMOR, RICK

22

HERMAN, SALI

ARKLEY, HOWARD

29

HOPE, LAURENCE

BARRATT, GOODY

81

JACK, KENNETH

BARTON, DEL KATHRYN BENJAMIN, JASON BERGNER, YOSL BLACKMAN, CHARLES BOYD, ARTHUR BOYD, DAVID BRAUND, DOROTHY BROMLEY, DAVID BROWNE, ANDREW BUCKMASTER, ERNEST BUNNY, RUPERT CHURCHER, PETER COLEMAN, BILL CROOKE, RAY CULLEN, ADAM

39, 115, 116 33, 111 23 109, 117, 183 19, 46 14, 49, 119, 120 10, 106, 131, 160

35

KARADADA, LILY

80

PERCEVAL, CELIA

KEMP, ROGER

27

PETYARRE MORGAN, JANIE

174

PITJARA, ANNA PRICE

180

POSSUM NUNGARRAYI, GABRIELLA

169

KNGWARREYE, EMILY KAME

40, 182, 187

KNOX, W.D.

3

POWER, HAROLD SEPTIMUS

139, 140, 144

KOVACS, ILDIKO

41

PROUT, JOHN SKINNER

112

KUBAKKU, MICK

71

PUGH, CLIFTON

61, 68

LARWILL, DAVID

28

PWERLE, MINNIE

77

RAMSAY, DENNIS

146

RITSON, JULIA

114

6

LINCOLN, KEVIN

114A

37

LINDSAY, LIONEL

8

130, 159 50 181, 185

LINDSAY, NORMAN LONG, SYDNEY MACFARLANE, STEWART

132

MATHER, JOHN

DICKERSON, ROBERT

123

MAUROVIC, RICHARD

70

MCINNES, W.B.

DOBELL, WILLIAM

55

MCKENZIE, QUEENIE

51, 52, 127, 129

MEILERTS, LUDMILLA

17

MELDRUM, MAX

42

MIDDLETON, MAX

178

MILLWARD, CLEM

24 133

FIRTH-SMITH, JOHN

44

MURCH, ARTHUR

FRENCH, LEONARD

25

MURRAY-WHITE, CLIVE

15, 54, 134 142 56, 57

ROSE, HERBERT

7

ROUBOS, LEON

113

32

ROWELL, WILLIAM

145

SAWREY, HUGH

125

34 2 170 4 79 121 60, 143 147, 148 150, 151, 152, 153 110

MORA, MIRKA

11, 161

69

161A

MITCHELL, LANI

135

138

149

MARKHAM, PHILIP

DJIMURRGURR, OLD NYM

12, 13, 118 9 158

SCHATTNER, GILLIE & MARC

108

SENBERGS, JAN

43, 103

SHANNON, MICHAEL

26

SHEAD, GARRY

20

SIMMONS, MATTHEW TAYLOR-GHEE, ROBERT

102 1, 5, 66, 67

TIMMS, FREDDIE

78

TJAKAMARRA, OLD MICK WALLANKARRI

72

TJAKAMARRA, CHARLIE WARD

75

TJAMPITJINPA, RONNIE

163

TJUNGURRAYI, GEORGE HAIRBRUSH

162

USHIO, KEIZO

173

VANDERZWEEP, ANTHONY WEBB, GEORGE ALFRED JOHN

48 137

NAMPITJINPA, NYURAPAYIA (MRS BENNETT)

74

WHEELER, CHARLES

62

NAPALTJARRI, WENTJA

73

WILLIAMS, FRED

21

NAPANGARDI, MAGGIE WATSON

165

WITHERS, WALTER

GONCHARENKO, YURI

154

NAPANGARDI, JUDY WATSON

166

YOUNG, JOHN

GREEN, DENISE

186

NAPANGARDI, TOPSY PETERSON

177

GRITTEN, HENRY

136

NAPURRULA, WALANGKURA REID

76

HALL, ANNE

157

NOLAN, SIDNEY

HANHAM, MARK

104

88, 89, 90, 91, 92, 93, 94, 95, 96, 97, 98, 99, 100, 101

66

45, 105, 128

179, 184

DE MAISTRE, ROY

GLEESON, JAMES

164

KNIGHT, JASPER

MAESTRI, GUY

GARRETT, TOM

155

107

30

FRIEND, DONALD

141

O’CONNOR, VIC

PEKEL, HERMAN

176

FEINT, ADRIAN

O’BRIEN, JUSTIN

PECK, MICHAEL

DE JONG, MARC

EVERARD HADEN, RUTH

156 18, 53, 59 31

DAWSON, ALKAWARI

EARLES, BRUCE

38 175

168

MACQUEEN, KENNETH

DYER, GEOFFREY

NORRIE, SUSAN NUNGURRAYI, MICHELLE POSSUM

JONES, PEGGY

167

DRYSDALE, RUSSELL

16, 58

JOHNSON, MATTHEW

DAVIES, PULPURRU

DOYLE, D’ARCY

122, 124, 126

47, 82, 83, 84, 85, 86, 87,

63, 64 36

CONDITIONS OF BUSINESS - SUMMARY To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

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.

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 accountant@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.

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.

(1.65% administration fee applies for Visa and Mastercard, 3.15% for American Express and Diners is not accepted.)

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.

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.

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

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.

Storage Charges Each lot

$33 per day

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.

Protection of Movable Cultural Heritage Act 1986 (PMCH Act).

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

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: http://www.environment.gov.au/heritage/movable/index.html 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: http://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, phone 02 6274 1810 or email 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 Recommended carrier for this auction Bespoke Moves Sasha Tiltins 0417 119 040 sasha@bespokemoves.com.au International Art Services 03-9329 6262 Melbourne to Canberra, Sydney, Brisbane, Gold Coast, and Sunshine Coast (and stops in between).

TRANSART- Specialist Art Transporters Local Melbourne Please contact Matt or Ben Foster for a competitive quote.

P: 0417 103 494 E: info@transartaustralia.com W: www.transartaustralia.com

67

Sale Rooms

The Thursday Auction

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

Anthony Riepsamen, Manager

SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 email: info@leonardjoel.com.au leonardjoel.com.au

FURNITURE Nick Bastiras, Manager David Price, Assistant Angus McGougan, Assistant JEWELLERY Maria Walker F.G.A.A., Manager ART SALON Hannah Ryan, Manager Ella Perrottet BFA, Assistant OBJECTS & COLLECTABLES Rebecca Stormont , Assistant

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 Hamish Clark, Head of Sydney Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney FINE JEWELS & TIMEPIECES Julie Foster F.G.A.A., Dip. Dt., Head of Department Bethany McGougan F.G.A.A., BA Hons, MSc, Senior Jewellery Specialist Maria Walker F.G.A.A., Manager Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant Alex Turnidge, Administrator MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department LUXURY John D’Agata F.G.A.A., Head of Department PRINTS Hannah Ryan, Art Salon Manager Ella Perrottet BFA, Assistant

68

VALUATIONS Caroline Tickner BA Hons, F.G.A.A., Head of Department

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 Madeleine Norton, Auction Administrator and Client Services Liaison, Sydney OPERATIONS & LOGISTICS Anthony Riepsamen, Manager MARKETING & COMMUNICATIONS Blanka Nemeth, Head of Department Nicole Kenning, Consultant Keryn Gilchrist, Database Administrator PHOTOGRAPHY Adam Obradovic Henry Murphy GRAPHIC DESIGN Maria Rossi

32 STEWART MACFARLANE (born 1953) Tuesday World 2001 oil on canvas 152 x 137cm $5,000-7,000 © Stewart MacFarlane/Copyright Agency, 2020

69

MELBOURNE 70

|

SYDNEY

leonardjoel.com.au