HIGHLIGHTS
FINE ART AUCTION TUESDAY 5 JUNE 2018, MELBOURNE
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AUCTION CATALOGUE VOLUME 11 ISSUE 8
Front Cover Detail 54 JOY HESTER (1920-1960) Girl with Cocky c.1957 oil on paper on board 49 x 62cm $90,000-120,000 © Joy Hester. Licensed by Viscopy Ltd. Australia
Inside Cover Detail 174 PETER POULET (born 1960) Untitled 2002 acrylic on polyester 185 x 235cm $1,200-1,800
leonardjoel.com.au
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3 (Detail) CONSTANCE STOKES (1906-1991) Woman with a Photograph oil on board signed upper left: Constance STOKES 85 x 59cm PROVENANCE: Australian Galleries, Sydney 1981 Private collection, Sydney $9,000-12,000 2
HIGHLIGHTS
FINE ART AUCTION TUESDAY 5 JUNE 2018 AT 6.30PM, MELBOURNE
VIEWING Sydney Highlights Viewing 39 Queen Street, Woollahra 17 - 19 May 10am-4pm
Melbourne Viewing 333 Malvern Road, South Yarra 30 May 9am-8pm 31 May - 4 June 10am-4pm 5 June By Appointment Only
CONTACT
Sophie Ullin
Olivia Fuller
Jane Messenger
National Head of Art 03 8825 5609 | 0407 360 513 sophie.ullin@leonardjoel.com.au
Art Specialist 03 8825 5624 olivia.fuller@leonardjoel.com.au
Art Specialist 02 9362 9045 sydney.art@leonardjoel.com.au
View the entire catalogue at leonardjoel.com.au 3
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Introduction
Celebrating post-War Modernism The 1940s and 50s represent one of the great innovative periods in Australian
The discovery of such a powerful Hester, the only female member of the Angry
art. Defining images of the twentieth-century, including Sidney Nolan’s Ned Kelly
Penguins, is also significant. Acclaimed for her expressionistic, personally
series, Charles Blackman’s Alice in Wonderland series and Arthur Boyd’s Bride
introspective drawings, she was not a prolific artist and such works rarely appear
series, were developed during this time.
on the market. Girl with Cocky is the first time in five years that a painting by Hester has appeared at auction. It is typical of her works from the mid 1950s,
Melbourne reclaimed its avant-garde status from Sydney, stimulated, in part, by
exploring the theme of the Child. She begins working on a larger scale and uses
a new wave of émigré artists and patrons, bringing a European sensibility and
colour to greater and more sustained advantage, as in the pink of the cocky
progressive cultural awareness. In the auction room on 5 June, we will again
within an otherwise monochrome palette. Roger befriended Blackman and
see the coming together of these forces. We celebrate the reunion of works by
Hester, supporting their singular artistic visions, decades before the art market
Blackman, Boyd, Joy Hester, Nolan, Albert Tucker, John Perceval, Josl Bergner
responded with equal enthusiasm and deemed such post-war modernists a
and Danila Vassilief with benefactors Georges and Mirka Mora and Wivine and
discerning investment.
Roger De Stoop. The strong contemporary art illustrated over the coming pages also brings It is necessary to bring attention to The De Stoop Collection, with the two
the past into focus. Tim Storrier, like Tucker, Nolan and Boyd before him, uses
distinguished Blackman’s appearing on the art market for the first time since
allegory to reinvigorate and remythologise the Australian landscape. Tucker’s
Roger De Stoop acquired them in 1954 from the artist. Boy in the Bush evokes
arid and draught ravished interiors, inhabited by carcase-like symbols, are
the solitude, alienation and vulnerability of Blackman’s preceding School Girl
replaced with the ferocity and searing beauty of fire staged within a cinematic
series but in Trumpeter the artist introduces a new tempo. The bold simplification
vista. Embers and burning paper, caught in convection currents, fly skyward as
of form and geometric blocking of space is set into joyful motion by the bright
the log returns to ash. Draught remains. Australia remains.
blue accent. Jane Messenger Art Specialist
103 (Detail opposite) TIM STORRIER (born 1949) Towards the Domestic 2002 acrylic on canvas signed lower right: Storrier signed, dated and titled verso: Towards the Domestic/ Storrier/ 2002 124 x 244cm PROVENANCE: Private collection, Melbourne Deutscher Menzies, Melbourne, 13 September 2006, lot 24 Private collection, Sydney $100,000-140,000
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THE DE STOOP COLLECTION 6
When Wivine and Roger De Stoop moved from Belgium to Australia in 1952 with their five children, some twenty employees and their families (approximately 100 people in total), the intention was to stay for one year, allowing time for Roger to setup his ancestral textile manufacturing company in Melbourne. However, any thoughts of returning soon vanished from Roger’s mind, and they began building the magnificent Middlefield House.
Roger, gregarious and urbane, instantly connected to the vibrant and progressive cultural scene in Melbourne. Middlefield House became an important place for artists such as John Perceval, Arthur Boyd, Charles Blackman and Joy Hester to connect and exchange ideas with the new wave of European émigrés that included Georges and Mirka Mora. Roger’s friendship and patronage of Blackman was particularly significant, and was reflected in his acquisition of Trumpeter and Boy in the Bush. The purchase of Girl with Cocky, made after Hester’s premature death, was perhaps equally personal.
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52 CHARLES BLACKMAN (born 1928) Trumpeter 1954 enamel paint on board signed lower right: BLACKMAN 75 x 62cm PROVENANCE: Acquired directly from the artist Wivine and Roger De Stoop, Melbourne Thence by descent EXHIBITIONS: Blackman Paintings, Balzac Restaurant, 2-13 November, 1954, cat. no. 20 $60,000-80,000 © Charles Blackman. Licensed by Viscopy Ltd. Australia
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After completing his schoolgirl series in 1954, Charles Blackman turned to solitary figures, loosening his technique as well as his imagination. As in the present paintings these were sometimes of adolescent boys and partly autobiographical. They touch back to his own childhood and youth, including in Trumpeter to his memory of his stepfather Arthur, who played the trumpet. But they were also in line with his reading of mainly modern French literature with the emphasis on adolescent eroticism. As he told ABC interviewer Robert Peach in a joint broadcast with Barbara, “My sort of painting isn’t sparked off directly by visual things, although its point of reference is visual. It’s sparked off by what I feel about something perhaps in a book.” One of the books they both loved in the mid-fifties was The Little Prince by Antoine de Saint-Exupery. The trumpet boy in this magical painting is a bit like the little prince, literally taking off as he inhales the air from his sky blue instrument. It is as though his hands, arms and kicking legs are propelling him forward as he flies through the universe, orbiting across the mysterious darkness outside. His small feet kick off from the ground, reminding one of Blackman’s own smallness and buying his shoes in the boy’s department. In the film Charles Blackman: Dreams and Shadows (1994), the artist speaks of bringing remembered ‘outdoor’ colours into the studio for his ‘inside’ paintings. The sky blue of the trumpet and the warm yellow around the boy in the bush are reminders that both works were done at a time when Blackman was painting en plein air with Arthur Boyd and John Perceval. Outdoor colours were also experienced during his burst of paper paintings which started in 1954-55 when Charles and Barbara rented a cottage in Avonsleigh across the paddock from their painter-poet friends Joy Hester and Gray Smith.
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53 CHARLES BLACKMAN (born 1928) Boy in the Bush 1954 enamel paint on board signed upper left: BLACKMAN 75 x 62cm
In Boy in the Bush, a sense of surprise is generated by the delicate flesh pink of the stubby hands, bare feet and rosy cheek in combination with the pointed triangle and slicing shadow that cuts to the sun-drenched brim of his large hat. In both of these tender paintings, Trumpeter and Boy in the Bush, the singular figure is at once child and man, existing somewhere between dream and reality. Both float on a timeless ground with natural light excluded; the effect being that life seems to come from the action within.
PROVENANCE: Acquired directly from the artist Wivine and Roger De Stoop, Melbourne Thence by descent
‘Shut yourself up with nature’ was the aphorism or shared idea that Blackman borrowed from the French artist Odilon Redon. This idea was realized and even extended, as it happens, through the method of purchase of these two paintings by Roger De Stoop, admirer of Charles Blackman, met through Georges Mora. For when, after seeing and buying Trumpeter at Mora’s Balzac restaurant where the artist was short-order cook, De Stoop then offered also to buy Boy in the Bush, Blackman suggested that rather than De Stoop pay for the second painting the painter might instead give it to him in exchange for a bolt of denim cloth that he needed to curtain the windows of his new coach house loft studio. Those curtains, which were to reduce the outside light in his studio, would surely have contributed to the surreality of Blackman’s famous Alice in Wonderland series on which he was soon to embark.
EXHIBITIONS: Blackman Paintings, Balzac Restaurant, 2-13 November, 1954, cat. no. 26 $60,000-80,000 © Charles Blackman. Licensed by Viscopy Ltd. Australia
Felicity St John Moore Art Historian and Curator
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54 JOY HESTER (1920-1960) Girl with Cocky c.1957 oil on paper on board unsigned titled and dated on Strines Gallery label (attached verso) handwritten certification of painting by Albert Tucker, 1986 on second label (attached verso) 49 x 62cm PROVENANCE: Strines Gallery, Melbourne, 25 March 1967 (accompanied by original gallery invoice and receipt) Wivine and Roger De Stoop, Melbourne Thence by descent $90,000-120,000 © Joy Hester. Licensed by Viscopy Ltd. Australia
Joy Hester (1920-1960) was the only woman artist in the illustrious Heide Circle who gathered around arts patrons Sunday and John Reed in the 1940s. Hester, whose first husband was Albert Tucker, was Sunday’s closest friend. So trusting was the bond between Hester and Reed that, when Hester was diagnosed with cancer in 1947, she asked Sunday to care for her young son Sweeney. Later the Reeds adopted Sweeney. These narratives are woven together in this striking late work. In 1948, Hester with her partner Gray Smith, moved to rural Victoria. Now in remission from cancer, Hester chose a healthy new life in the country. The couple lived at Hurstbridge, followed by Avonsleigh and Upwey in the Dandenong Ranges. It was a happy and productive period where Hester produced major work, such as the Lovers series, and many poems. She had two children, a boy, Peregrine in 1951 and Fern, a girl, in 1954. Unfortunately in 1956, the cancer returned and this time Hester would not recover. Sunday, concerned that Hester should have ready access to treatment, bought her a house at 18 Clydesdale Street, Box Hill. For the first time, Hester had her own fully equipped studio, and despite her illness, produced powerful new works such as Girl with Cocky. Hester was not tempted to paint the landscape either during her time of country living or afterwards but the impact the bush had on her work was to suggest that personality or identity could represent an essentially Australian experience. Paintings of people holding farm or native animals – such as Girl With Cocky - are linked to her perception of the land through its people who, as Hester wrote to Sunday, ‘know the meaning of the word individual’. (1) Hester, concerned with questions of identity, chose the face as her primary vehicle of expression and the image of the Child – often a young girl – to suggest wide-eyed innocence, vulnerability, imagination and the inner life. The girl observes the bird with fear and wonder. Hester’s work is rarely humorous but the cockatoo with its open beak seems to be squawking in a typically raucous fashion. But perhaps the bird has been tamed and the girl is its captor? Cockatoos were once treated as pets, their wings clipped and the birds taught to mimic human voices and ‘speak’. But this cockatoo is a somewhat threatening creature with its raised crest, its sharp beak and claws which grip the girl’s arm, and the angry red feathers around its blank eye. Hester comments on our relationship with the wild. We are fascinated by it but it can harm us. Beware! Hester urges. Treat nature with respect. In 1966, financed by the Reeds, Sweeney opened Strines Gallery in Melbourne where he exhibited Girl with Cocky. It is likely that Sweeney dated the work with the assistance of the Reeds’ intimate knowledge of Hester’s oeuvre. In 1986, Albert Tucker wrote an authentication note, realising it would secure the work as Hester’s and so increase its value. Thus Hester, the Reeds, Sweeney and Tucker are once more united in a circle of love and support. 1. Joy Hester to Sunday Reed. Undated. (c.1948). Reed Papers, State Library of Victoria.
Dr Janine Burke, Honorary Senior Fellow, Victorian College of the Arts, University of Melbourne.
END OF COLLECTION 13
MODERN CLASSICS 60 CHARLES BLACKMAN (born 1928) i) Schoolgirl on a Street c.1953 ii) Possible Self Portrait watercolour on paper, double-sided signed lower right on front: BLACKMAN signed lower left on verso: BLACKMAN 47 x 52cm PROVENANCE: Tolarno Galleries, Melbourne Sotheby’s, Melbourne, 02 May 2000, lot 46 Artistry Gallery, Melbourne 2002 Private collection, Melbourne $28,000-38,000 © Charles Blackman. Licensed by Viscopy Ltd. Australia
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Throughout Boyd’s NarcissusColonial paintings he repeatedly models animal skeletons and carcasses, sketched from an earlier journey through Central Australia surrounded by skulls, ribs, spinal cords and the hides of animals. Arthur continued with this imagery back in Suffolk by commemorating the stoat, still lissom in death, in several lifesize paintings to be exhibited at Fischer Fine Art in London.
64 ARTHUR BOYD (1920-1999) The Stoat 1990 oil on board signed lower right: Arthur Boyd titled and dated on labels verso 91.5 x 48cm PROVENANCE: Fisher Fine Art, London (cat. no. C14.925, label verso) Private collection, Western Australia EXHIBITIONS: Arthur Boyd and Jamie Boyd: Suffolk Paintings, Ipswich Borough Council Museums and Galleries, 26 January - 10 March 1991 (label verso) LITERATURE: Hoff, U., The Art of Arthur Boyd, Andre Deutsch Limited, London 1986, p. 77, related works illustrated plates 69, 188. $16,000-24,000 Š Arthur Boyd. Licensed by Viscopy Ltd. Australia
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Sleeping Boy 1954 is an exemplary early work by Blackman, highlighting the artist’s predisposition to portray the biographical. With Barbara Blackman further transitioning into blindness, Charles reveals his own subconscious in the painting. The boy’s reclining pose and stillness of sleep are contrasted against the crisp and sharp lines of the figure’s form and dark shadowed background.
63 CHARLES BLACKMAN (born 1928) Sleeping Boy 1954 oil and enamel on board signed and dated lower right: Jan 54 / Charles 62 x 74 cm PROVENANCE: Rudy Komon Gallery, Sydney Charles Nodrum Gallery, Melbourne, 1990 Private collection, Melbourne Deutscher- Menzies, Melbourne, 3 May 2000, lot 51 Company collection, Melbourne Private collection, Melbourne $40,000-60,000 © Charles Blackman. Licensed by Viscopy Ltd. Australia
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‘A characteristic of much of Yosl Bergner’s painting is the suggestion of theatrical space, the volume of a stage: a steep, diminished perspective in which the front plane rises almost to the top edge of the picture. The different objects are arranged on this plane in such a way that what is higher, is in fact further away from the eye of the observer. It is a perspective which has something naïve about it and is reminiscent of the early paintings of the Middle Ages. It is also a pictorial approach which suits Bergner as a designer for the theatre.’ RODI BINETH-PERRY
66 YOSL BERGNER (1920-2017) Jaffa Mask 1979 oil on canvas signed and dated lower left: YOSL BERGNER 79 signed, titled, and dated verso 50 x 61cm PROVENANCE: Tolarno Galleries, Melbourne Private collection, Melbourne $20,000-25,000
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CONTEMPORARY 172 § ILDIKO KOVACS (born 1962) Propel 2012 oil on plywood 180 x 180cm PROVENANCE: Martin Browne Contemporary, Sydney Private collection, Sydney © Ildiko Kovacs is represented by Martin Browne Contemporary, Sydney and Hugo Michell Gallery, Adelaide $28,000-35,000
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95 MARISE MAAS (born 1969) The Gig 1997 oil on canvas diptych initialled and dated lower left: M M ‘97 91 x 130cm (overall) $1,500-2,500
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97 MATTHEW JOHNSON (born 1963) Untitled 2007 oil on linen signed and dated verso: Matthew Johnson / 2007 140 x 180cm $6,500-8,500 Š Matthew Johnson. Licensed by Viscopy Ltd. Australia
93 (Detail opposite) MARK HOWSON (born 1961) Abstract 1999 oil on paper signed and dated lower right: M Howson 99 92 x 63cm $1,000-1,500
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‘I mix [the beeswax] around my colours and apply it with a knife. It has become so much a part of my technique that I don’t know if I could do it another way.’ PHILIP WOLFHAGEN - AUSTRALIAN ART COLLECTOR, ISSUE 8, APRIL - JUNE 1999
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1 NOEL MCKENNA (born 1956) Untitled 1998 painted and glazed ceramic tile diptych signed and dated upper left: N. McKENNA 98 20 x 30cm (overall) PROVENANCE: Darren Knight Gallery, Sydney 1998 Private collection, Melbourne $1,800-2,800 © Noel McKenna. Licensed by Viscopy Ltd. Australia
8 PHILIP WOLFHAGEN (born 1963) Untitled Landscape Study No. 3 1997 oil and beeswax on linen signed, titled and dated on stamp verso 46 x 62cm PROVENANCE: Chapman Gallery, Canberra 1998 Private collection, Melbourne $9,000-12,000 © Philip Wolfhagen. Licensed by Viscopy Ltd. Australia
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151 JOHN YOUNG (born 1956) The Sea Autumn 2008 digital print and oil on linen 190 x 218cm PROVENANCE: Michael Reid Gallery, Sydney Private collection, Sydney $20,000-30,000 © John Young. Licensed by Viscopy Ltd. Australia
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167 MATTHEW QUICK (born 1967) Untitled oil on linen signed lower right: Quick 100 x 100cm PROVENANCE: Delshan Gallery, Melbourne 2008 Private collection, Melbourne $4,000-6,000
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161 GORDON HOOKEY (born 1961) Innovation 2005 oil on canvas 100 x 140cm PROVENANCE: Nellie Castan Gallery, Melbourne (label verso) Private collection, Melbourne $4,500-5,500 © Gordon Hookey. Licensed by Viscopy Ltd. Australia
89 GILLIE & MARC SCHATTNER (born 1961 & 1965) They Were Happy Happy Hippo Riders bronze, ed. 5/30 signed: GILLIE AND MARC 36.5 x 17 x 38cm PROVENANCE: Collection of the Artists $2,800-3,800
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82 JAMES DAVIS (born 1940) Janácek’s Country 2002 oil on canvas artist’s monogram lower right artist’s monogram, title, and date inscribed verso 105 x 91cm $2,000-4,000
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FOCUS ON WOMEN ARTISTS
35 MARY PERCEVAL (born 1926) Untitled (Horses) glazed ceramic tiles on timber table initialled in centre on tile: M.P 40.5 x 65.5 x 50cm $2,500-4,500
34 (Opposite) CRISS CANNING (born 1947) Welcome c.1984 oil on canvas signed lower right: Criss Canning 76 x 91 cm PROVENANCE: Melbourne Art Exchange, Melbourne 1984 Private collection, Melbourne EXHIBITIONS: Criss Canning, Melbourne Art Exchange, Melbourne, November 1984 (copy of exhibition invite provided with painting illustrated) Kalianthi, The Art of Criss Canning, Ballarat Fine Art Gallery, Ballarat 2007 $10,000-15,000 © Criss Canning. Licensed by Viscopy Ltd. Australia
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As to ‘Welcome’... “ I set up my easel , in what felt like a time warp. Everything in that room had been chosen with great care , so as to reflect the period in the 1800’s when Birregurra was a bustling town, and this pub at its center!” It was originally know as the Native Youth Hotel built in 1860. As to the painting , it was really a privilege to be given permission to stay for a length of time to complete the painting in situ.” CRISS CANNING
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176 ELISABETH CUMMINGS (born 1934) Harbour Lights 2000 oil on canvas diptych signed lower left: Cummings 160 x 200m (overall) PROVENANCE: King Street Gallery, Sydney Private collection, Sydney $16,000-24,000 © Elisabeth Cummings. Licensed by Viscopy Ltd. Australia
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THE AUSTRALIAN LANDSCAPE
10 ALBERT TUCKER (1914-1999) Access Isn’t Easy gouache and watercolour on paper signed lower left: Tucker 50 x 65cm PROVENANCE: Australian Galleries, Melbourne (label verso) Private collection, Sydney $4,000-6,000 © Albert & Barbara Tucker Foundation. Courtesy of Sotheby’s Australia
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11 DAVID BOYD (1924-2011) Following the Leader oil on board signed lower left: David Boyd 76 x 102 cm PROVENANCE: Leonard Joel, Melbourne, 29 November 1996, lot 171 Private collection, Melbourne $15,000-20,000 © David Boyd. Licensed by Viscopy Ltd. Australia
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103 TIM STORRIER (born 1949) Towards the Domestic 2002 acrylic on canvas signed lower right: Storrier signed, dated and titled verso: Towards the Domestic/ Storrier/ 2002 124 x 244cm
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PROVENANCE: Private collection, Melbourne Deutscher Menzies, Melbourne, 13 September 2006, lot 24 Private collection, Sydney $100,000-140,000
...in Tim’s work there is an absolute sole and total reliance on his self – there is no appropriated journey here – this is his and his alone… that is its great authenticity. EDMUND CAPON. AM, OBE
ABORIGINAL
74 MARINA STROCCHI (born 1961) The Northern Territory, 2004 acrylic on linen 122 x 284cm PROVENANCE: Michael Reid Gallery, Sydney 2004 Private collection, Sydney $4,000-6,000
72 (Detail opposite) NANCY ROSS NUNGURRAYI (c.1935-2010) Untitled 2003 acrylic on Belgian linen inscribed verso with Papunya Tula Artists cat. no. NN0307205 PROVENANCE: Papunya Tula Artists, Alice Springs NT Caruana & Reid Fine Art, Sydney 15 September 2004 Private collection, Sydney $20,000-30,000 © Nancy Ross Nungurrayi. Licensed by Viscopy Ltd. Australia
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71 GEORGE WARD TJUNGARRAIYI (born c.1945) Kuninga Dreaming at Kaakuratintja 2003 acrylic on linen inscribed verso with Papunya Tula Artists cat. no. GW0310069 183 x 244cm PROVENANCE: Papunya Tula Artists, Alice Springs NT Caruana and Reid Fine Art, Sydney, 2006 Private collection, Sydney $26,000-36,000 © George Ward Tjungarraiyi. Licensed by Viscopy Ltd. Australia
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76 REGINA PILAWUK WILSON (born 1945) Sun Mat 2008 acrylic on canvas signed verso: Regina Wilson 200 x 200cm PROVENANCE: Durrmu Arts, NT (cat. no. 357) Caruana and Reid Fine Art, Sydney Private collection, Sydney $20,000-30,000 © Regina Pliawuk Wilson. Licensed by Viscopy Ltd. Australia
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79 IAN ABDULLA (1947-2011) All Black Baseball Team 2002 acrylic on canvas signed and dated lower right: Ian W. Abdulla 2002 inscribed upper centre: Here we are in our all/ Black team playing baseball/ at night on the Barmera Oval/ in the summer time 91 x 122cm PROVENANCE: Niagara Galleries, Melbourne c.2002 Private collection, Melbourne $3,000-4,000 Š Ian Abdulla. Licensed by Viscopy Ltd. Australia
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67 QUEENIE MCKENZIE (1915-1998) Iraki Country 1997 natural earth pigments on canvas inscribed verso with Warmun Arts Centre cat. no. QM1161 90 x 120cm PROVENANCE: Warmun Arts Centre, Western Australia Chapman Gallery, Canberra Private collection, Melbourne Lawson-Menzies, Aboriginal Art, Sydney May 2006, lot 20 Private collection, Sydney $12,000-18,000
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227 BERNARD TJALKURI (born 1930) Yuu 2008 acrylic on canvas artist’s name and date inscribed verso 94 x 146cm PROVENANCE: Tjungu Palya, SA (accompanied by a certificate of authenticity) Private collection, Sydney $3,000-5,000 © Bernard Tjalkuri. Licensed by Viscopy Ltd. Australia
222 (Opposite) GINGER WIKILYIRI (born c.1932) Wanampi Tjukurpa 2006 acrylic on canvas artist’s name, title and date inscribed verso cat. no. TPGW06372 136 x 97.5cm PROVENANCE: Tjungu Palya, SA (accompanied by a certificate of authenticity) Private collection, Sydney $3,000-4,000 © Ginger Wikilyiri. Licensed by Viscopy Ltd. Australia
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TIMELESS CLASSICS
131 J. M TAMBURINI (Spanish, 1856-1932) Lady in the Garden oil on canvas signed lower left: J. M. Tamburini 68 x 98cm PROVENANCE: Melbourne Fine Art, Melbourne Private collection, Melbourne $3,000-4,000
134 (Detail opposite) JULIAN ROSSI ASHTON (1851-1942) Women Surprised 1911 watercolour signed and dated lower right: JULIAN ASHTON / 1911 44 x 27.5 cm PROVENANCE: Sir W. Baldwin Spencer’s Loan Collection, Art Gallery of New South Wales (label verso) The Fine Arts Society, Sydney (label verso) Private collection, Melbourne $3,000-5,000
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132 VIOLET MCINNES (1892-1971) Still Life 1942 oil on canvasboard signed and dated lower right: VIOLET M MCINNES 1942 47.5 x 60.5 cm PROVENANCE: Sedon Galleries, Melbourne (label verso) Private collection, Melbourne $1,800-2,800
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20 WILL ASHTON (1881-1963) Tending the Flowers oil on board signed lower right: WILL ASHTON 26 x 34.5cm PROVENANCE: Private collection, Melbourne Thence by descent $2,000-4,000
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24 ERNEST BUCKMASTER (1897-1968) Landscape 1932 oil on masonite signed and dated lower right: E. Buckmaster 1932 37.5 x 63cm $2,000-4,000
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17 WILL ASHTON (1881-1963) View Over the Lake 1910 oil on canvasboard signed and dated lower right: Will ASHTON/ 1910 25.5 x 36cm $2,000-4,000
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6 HERMAN PEKEL (born 1956) Yarra Glen 2003 oil on canvas signed lower right: PEKEL 106 x 152cm PROVENANCE: Private collection, Melbourne $4,500-6,500
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32 MAX MIDDLETON (1922-2013) Harrowing oil on composition board signed lower left: Max Middleton 29 x 39.5cm PROVENANCE: Kalorama Galleries, Melbourne (label verso) Private collection, Melbourne $2,500-3,500
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130 A.M.E. BALE (1875-1955) The Sitter c.1902-05 oil on canvas artist’s name inscribed verso 74. 5 x 59.5cm PROVENANCE: Private collection, Melbourne RELATED WORK: Leisure Moments 1902, oil on canvas, 148.3 x 118.2cm, Queensland Art Gallery Permanent Collection $2,000-4,000
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Inspired by Degas, Cosson specialised in depicting subjects from the theatre, ballet, and horse racing all within the world of everyday Parisian life. He was a member of the Society of French Artists and exhibited at the Salon de la National and at the Tuileries, awarded with an honourable mention in 1901 and a third class medal in 1911.
150 MARCEL COSSON (French, 1878-1956) i) Cafe Society ii) The Orchestra gouache on paper double sided signed lower left on front: COSSON 46 x 60.5cm PROVENANCE: Shapiro, Sydney, September 2006, lot 527 Private collection, Melbourne $3,000-5,000
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ABSTRACTION 57 LEONARD FRENCH (1928-2017) Still Life with Jug c.1948 oil on board study verso signed upper right: Leonard French 57 x 45cm PROVENANCE: C. H. Fenner c.1948 Private collection, Melbourne $5,000-7,000 © Leonard French. Licensed by Viscopy Ltd. Australia
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2 PERCY WATSON (1919-1995) Abstract Study (Dome and Panel Theme) 1967 watercolour on paper laid on board signed and dated lower right: Percy Watson 67 27 x 27.5cm PROVENANCE: Eastgate and Holst, Melbourne Private collection, Melbourne $1,400-2,000
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94 JOHN PEART (1946-2013) Sounding II 1995 oil and mixed media on canvas triptych each panel signed, titled and dated verso: John Peart / SOUNDING II / 1995 285 x 396cm (overall) PROVENANCE: Commissioned directly from the artist for BHP House, Melbourne $19,000-26,000
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VALUATIONS
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JEWELS AUCTION MONDAY 4 JUNE 2018 AT 6.30PM, SYDNEY
AN EXCEPTIONAL BLACK OPAL AND DIAMOND BROOCH $5,000- 7,000
John D’Agata, National Head of Jewellery john.dagata@leonardjoel.com.au | 03 8825 5605
MELBOURNE
|
SYDNEY
leonardjoel.com.au 61
ARTIST INDEX ABDULLA, IAN 79 AMOR, RICK 38 ASHTON, WILL 17, 20, 143 ASHTON, JULIAN ROSSI 134 ATTRIBUTED TO ETHEL CARRICK FOX 138 AUDETTE, YVONNE 175A, 175B BAKER, JIMMY 223 BAKER, MARINGKA 226 BALE, A.M.E. 130 BALSON, RALPH 45 BENNETT, RUBERY 16, 124 BENOIT, MARGARET 7, 209 BERGNER, YOSL 42, 66 BERNADSKI, GENNADI 202 BLACKMAN, CHARLES 48, 52, 53, 59, 60, 63, 192, 192A BOISSEVAIN, WILLIAM 196 BOOTH, PETER 105, 185, 186, 187, 188, 189 BOYD, ARTHUR 64 BOYD, DAVID 11, 111, 112, 123, 240, 241, 242 BOYD, JAMIE 246 BRIDGEWATER, ROBERT 104 BROMLEY, DAVID 87, 88, 152, 160, 163, 250, 251, 255, 256, 257, 258 BROWNE, ANDREW 177, 179 BUCKMASTER, ERNEST 24 BUSH, STEPHEN 168 BYRNE, SAM 239 CAMPBELL, JON 162 CANNING, CRISS 33, 34 CASTEL, MOSHE 65 CHICK, LORNA 212 CHRISTMANN, GUNTER 254 CHURCHER, PETER 247 COCHRAN, JAMES 263, 264 COLAHAN, COLIN 137 COLEMAN, BILL 204, 205, 206 CONNELLY-NORTHEY, LORRAINE 230 COOK, MYRA 219 COOPER, HENRY 148 COSSON, MARCEL 150 CROOKE, RAY 12 CUMMINGS, ELISABETH 176 DALLWITZ, DAVID 203 DAVIS, JAMES 82 DAWS, LAWRENCE 5 DENT, AILEEN 129 DICKERSON, ROBERT 4, 47, 190 DOBELL, WILLIAM 49, 55, 56 DOBLE, ROBERT 253 DONALD, JULIE 175 DYER, GEOFFREY 14 EARLES, BRUCE 85 EGAN, MELISSA 81 FORD, JUAN 178 FORREST, HAUGHTON 145 FRANCIS, IVOR 84 FRANSELLA, GRAHAM 184 FRENCH, LEONARD 57 FRIEND, DONALD 43, 237 GIBB, JOHN 142 GOLDING, CAROL 220 GRIFFITHS, HARLEY CAMERON 217
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GUMANA, GAWIRRIN 235 HALEY, STEPHEN 180 HART, PRO 13, 109, 110, 115, 116, 120, 121, 122, 243, 244 HAXTON, ELAINE 211 HEADLAM, KRISTIN 158 HERMAN, SALI 216 HESTER, JOY 54 HEYSEN, HANS 25, 26 HIRSCHMANN, ROBERT 96 HOOD, CHERRY 157, 159 HOOKEY, GORDON 161 HOWSON, MARK 93 HUSAIN, MAQBOOL FIDA 199 JACK, KENNETH 128 JAMES, PETER 183 JOHNSON, MATTHEW 97, 169 JOHNSON, ROBERT 218 KARS, GEORGE 44 KEMP, ROGER 197 KIKOINE, MICHEL 210 KILVINGTON, PATRICK 117, 119 KMIT, MICHAEL 249 KNOX, W.D. 27 KOVACS, ILDIKO 171, 172, 172A KRUGER, ELIZABETH 39, 40 LAURENCE, JANET 153 LINDSAY, PERCY 19 LINDSAY, NORMAN 133 LONG, LEONARD 125, 126 LONG, SYDNEY 140 LOOGATHA, NETTA 224, 225, 228, 229 LOUTCHANSKY, JACOB 41 LYNN, ELWYN 181 MAAS, MARISE 95 MACE, JILL DEL 259 MACFARLANE, STEWART 252 MACKENNAL, BERTRAM 147 MACLEOD, EUAN 106 MAIS, HILARIE 99 MAISTRE, ROY DE 58 MAYMURU, BALUKA 231 MBITJANA, BETTY 78 MCCULLOCH, ABBEY 154 MCINNES, VIOLET 22, 132 MCKENNA, NOEL 1 MCKENZIE, QUEENIE 67, 68 MEERE, CHARLES 18 MIDDLETON, MAX 15, 31, 32, 238 MILLER, LEWIS 248 MORA, MIRKA 207 MURCH, ARTHUR 50 NAMATJIRA, ALBERT 127 NAPANANGKA, LORNA 69 NAPANGARDI, DOROTHY 70 NAROZNY, MICHAEL 261 NICHOLLS, MIKE 182 NOLAN, SIDNEY 61, 62, 108 NORRIE, SUSAN 155, 156 NUNGURRAYI, NANCY ROSS 72 OLSEN, JOHN 9 PASSMORE, JOHN 198
PATERSON, JOHN FORD PEART, JOHN PEKEL, HERMAN PERCEVAL, CELIA PERCEVAL, JOHN PERCEVAL, MARY PETYARRE, KATHLEEN PICASSO, PABLO PORT KEATS ARTIST POULET, PETER POWER, HAROLD SEPTIMUS PRATT, LOUIS PROUD, GEOFFREY PUGH, CLIFTON PWERLE, MINNIE PYKE, GUELDA QUICK, MATTHEW REDFORD, SCOTT ROCK, CHARLIE ROLANDO, CHARLES ROONEY, ROBERT ROSE, MARCUS SAWREY, HUGH SCHALLER, MARK SCHATTNER, GILLIE & MARC SCHELTEMA, J.H. SENANAYAKE, SENAKA SENBERGS, JAN SERVAES, ALBERT SHEAD, GARY SHERINGHAM, GEORGE SHERMAN, ALBERT STOKES, CONSTANCE STORRIER, TIM STREETON, ARTHUR STROCCHI, MARINA STUART, GUY TAMBURINI, J. M TAYLOR, LAURIE TERRY, FREDERICK CASEMERO TJALKURI, BERNARD TJUNGARRAIYI, GEORGE WARD TUCKER, ALBERT VASSILIEFF, DANILA VICKERY, JOHN WAKELIN, ROLAND WALLIS, AMBER WALSH, PETER WANAMBI, WUKUN WATSON, PERCY WATSON, NYANKULYA WEIR, BARBARA WEST, EDGAR WHISSON, KEN WHITELEY, BRETT WIKILYIRI, GINGER WILSON, REGINA PILAWUK WILSON, DORA L. WOLFHAGEN, PHILIP WOLF-TASKER, ALLAN YOUNG, JOHN ZIKOS, CONSTANZE
21 94 6, 236 36 112A, 191 35 73 149 233 174 23 262 83, 245 37 77 201 167 165, 166 234 29 91, 92 260 113, 114, 118 164 89, 90 28 200 80 51 46 135 136 3 101, 102, 103 30 74 194 131 213 146 227 71 10 208 100 214 173 195 232 2 221 75 141 193 107 222 76 139 8 86 151, 170 98
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: Bank West 62 Elizabeth Street Melbourne, VIC 3000 Australia BSB: 303-111 Account no: 1304963 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.
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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 24% 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 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 Collection and Storage: All lots must be collected by 4pm on Thursday 7th June 2018. All uncollected items will be removed to third party storage at the purchaser’s expense.
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Sale Rooms MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 SYDNEY 39 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 MANAGING DIRECTOR & NATIONAL HEAD OF COLLECTIONS John Albrecht BA LLB MBA
Leonard Joel Specialists
COLLECTABLES Nora Merralls, Manager & Specialist Administrator Dominic Kavanagh MFA, Specialist LUXURY Bethany McGougan, BA Hons, MSc, Manager, Jewellery & Luxury MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Modern Design
Thursdays at Leonard Joel FURNITURE Tanith Harley, Manager William Broadhurst, Assistant Toby Lennox-Hilton, Assistant COLLECTABLES Maxine Winning, Manager Moi Rogers, Assistant
ART Sophie Ullin BA Hons, National Head of Art Olivia Fuller BArtTh, Specialist Jane Messenger, Specialist, Sydney Lucy Foster EMA, Specialist Phoebe Ellis, Specialist Daizi Zheng, Administrator
VALUATIONS Caroline Tickner, BA Hons, F.G.A.A., Head of Valuations
ABORIGINAL ART Sophie Ullin BA Hons, National Head of Art
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DECORATIVE ARTS Chiara Curcio BA, Head of Decorative Arts, Melbourne Robert Williams, Head of Decorative Arts, Sydney Dominic Kavanagh MFA, Assistant Trevor Fleming, BA (Asian Studies), M.Mgmt (Arts), Specialist, Japanese Art Carl Wantrup, Specialist, Asian Art JEWELLERY John D’Agata F.G.A.A., National Head of Jewellery Elizabeth Stannard, BMus (Hons) GG AJP (GIA), Senior Specialist Bethany McGougan, BA Hons, MSc, Manager, Jewellery & Luxury Maria Fayyaz-Toussi, Specialist, Sydney Karen Tidball F.G.A.A., Assistant Kerry Dobson, Administrator Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant
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OPERATIONS & LOGISTICS Anthony Riepsamen, Manager COMMUNICATIONS & MARKETING Claire Mazzone, Manager Nicole Kenning, Marketing Consultant PHOTOGRAPHY Adam Obradovic, Senior Photographer Joseph Hammond, Photographer DESIGN Maria Rossi, Finished Artist e-mail all lower case firstname.surname@leonardjoel.com.au
IN ASSOCIATION WITH
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PRINTS
AUCTION WEDNESDAY 13 JUNE AT 6.30PM, MELBOURNE
For valuation and auction enquiries contact Lucy Foster, Art Specialist | 03 8825 5630 | lucy.foster@leonardjoel.com.au ยง JEFFREY SMART (1921-2013) The Last Train 1989, 48.5 x 49.5cm. EST: $4,000 - 6,000
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