Menzies Digital Catalogue by Menzies Art Brands

Australian & International Fine Art & Sculpture 19 NOVEMBER 2020, SYDNEY

32. JEFFREY SMART The Steps, Palma 1965

Australian & International Fine Art & Sculpture

Australian & International Fine Art & Sculpture SYDNEY AUCTION THURSDAY 19 NOVEMBER, 6:30PM MENZIES GALLERY

12 Todman Avenue, Kensington

MELBOURNE EXHIBITION 5 – 8 NOVEMBER, 11AM – 6PM* MENZIES GALLERY, MELBOURNE

1 Darling Street, South Yarra

SYDNEY EXHIBITION 12 – 18 NOVEMBER, 11AM – 6PM* MENZIES GALLERY, SYDNEY

12 Todman Avenue, Kensington *Please see the extended viewing times on our website

menziesartbrands.com COVER 28. TOM ROBERTS North Shore (Study for An Autumn Morning, Milson’s Point, Sydney) 1888 INSIDE COVER (DETAIL) 44. JOHN OLSEN Landscape 1993 INSIDE BACK COVER (DETAIL) 35. GARRY SHEAD The Miracle 2001 BACK COVER 29. FRED WILLIAMS Gum Trees in Landscape III 1969

OUR SPECIALISTS JUSTIN TURNER | HEAD OF ART Justin Turner is a fine art specialist and auctioneer with over fifteen yearsâ&#x20AC;&#x2122; experience and an extensive background in business management, sales and marketing. Justin joined Menzies as Head of Art for Lawson~Menzies in 2013 and was appointed Chief Executive Officer of Menzies Art Brands in 2015. In addition to being responsible for day-to-day business operations, Justin is Menziesâ&#x20AC;&#x2122; senior art specialist in NSW, working with vendors and collectors in relation to the consignment and sale of important works of art.

TIM ABDALLAH | CONSULTING ART SPECIALIST Tim Abdallah is a fine art specialist with more than thirty-five years experience working in auction houses, public museums and commercial art galleries in Australia, England, Germany and Italy. He is a graduate of Monash University School of Fine Art, and has also studied at the University of Melbourne as well as privately in London. He joined Lawsons in 2002 as Head of Art and until 2017 was Head of Art, Menzies Art Brands. At present he is pursuing a consulting practice, writing and lecturing on art, and performing valuations under the terms of the Commonwealth Government Cultural Gifts Program.

CATHERINE BAXENDALE | ASSISTANT ART SPECIALIST Catherine Baxendale holds a Bachelor of Philosophy with the University Medal in Art History from the Australian National University, and a Master of Art Curatorship from the University of Melbourne. Prior to joining Menzies in 2015, she undertook internships at the National Gallery of Australia and Eva Breuer Art Dealer, Sydney. Catherine has contributed exhibition reviews to various publications, including ArtsHub Australia and Quadrant magazine. She was a member of the 2019 Advisory Committee for the Art Gallery of New South Wales Young Members program.

ASTA CAMERON | ASSISTANT ART SPECIALIST Asta Cameron holds a Masters of Art Curatorship from the University of Melbourne, as well as a Bachelor of Arts with a double major in Art History and Media and Communications. Prior to joining Menzies, Asta worked as the Assistant Gallery Manager at the Centre for Contemporary Photography, and interned at the National Gallery of Victoria. Asta began at Menzies as Client Services Coordinator before moving into her current role as Assistant Art Specialist.

25. EUGÃ&#x2C6;NE BOUDIN La Meuse devant Dordrecht (The Meuse near Dordrecht) 1885

27. ARTHUR STREETON The Ballarat Dump, St Gratien 1918

Australian & International Fine Art & Sculpture

MANAGEMENT & CLIENT SERVICES RODNEY MENZIES | OWNER Rod Menzies is Chairman of Menzies International, a Top 500 Australian Company, and co-founder of Menzies Art Brands. Rod has lived in the USA where he completed his MBA. He is a keen art collector in his own right with a particular passion for Russell Drysdale, John Brack, Brett Whiteley and international impressionist and modern paintings.

CORALIE STOW | CHIEF EXECUTIVE OFFICER Coralie Stow’s first career was as an Interior Designer, but after taking a year off to complete a Diploma of Fine and Decorative Arts in London, she joined the Auction industry in 1998. She joined Menzies in 1999 and has managed its business operations since 2002. Coralie has an MBA (Executive) from the Australian Graduate School of Management.

MARTIN FARRAH | MANAGING DIRECTOR, LAWSONS Martin Farrah's background is in financial markets trading where he worked for institutional banks in Australia and the UK. Martin’s lifelong passion for antique furniture and strong understanding of trading places lead him to pursue a career in the auction world. He has completed graduate and post graduate finance related courses and is a member of the Auctioneers and Valuers Association of Australia.

SIMON MACAULAY | TRANSPORT AND DISPLAY COORDINATOR Simon Macaulay has a Bachelor of Visual and Performing Art from the Victorian College of the Arts and a Diploma of Education from the Australian Catholic University. Simon has been a secondary school art teacher in the Bellarine Peninsula since 2007 and returns to the position of Transport and Display Coordinator which he held from 2000-06. Simon has over fifteen years experience as a practising artist as well as working in galleries and the private sector.

CLEMENTINE RETALLACK | CLIENT SERVICES COORDINATOR Clementine holds a Bachelor of Arts from the University of Melbourne with a double major of Art History and Screen and Cultural studies. Clementine has also completed a Christie’s online education course of Art Market Economics as well as partaking in the John Hall Venice Course. Prior to joining Menzies, Clementine volunteered at both Backwoods Gallery and Seventh Gallery in Melbourne as well as participating in a work experience program at Christie’s in London within the Estates, Valuations and Appraisals Department.

SPECIALISTS & AUCTION SERVICES

DIRECTOR Rodney W. Menzies - Owner EXECUTIVE MANAGEMENT COMMITTEE Rodney W. Menzies - Owner Ian Topp - Chief Finance Officer, Menzies Group of Companies

SPECIALISTS FOR THIS AUCTION Justin Turner Head of Art T +61 411 079 256 jturner@menziesartbrands.com Tim Abdallah Consulting Art Specialist T +61 3 9832 8700 timabdallah@menziesartbrands.com Catherine Baxendale Assistant Art Specialist T + 61 2 8344 5404 cbaxendale@menziesartbrands.com Asta Cameron Assistant Art Specialist

SHIPPING Simon Macaulay Transport and Display Coordinator T +61 3 9832 8700 smacaulay@menziesartbrands.com Clementine Retallack Client Services Coordinator T + 61 2 8344 5404 cretallack@menziesartbrands.com CATALOGUES & AUCTION SEATING Clementine Retallack Client Services Coordinator T + 61 2 8344 5404 cretallack@menziesartbrands.com PRICES REALISED For results of previous auctions, please visit the art auctions page on our website: www.menziesartbrands.com/auction/results NOTE Buyers who wish to collect their works from our Melbourne office are reminded to contact us immediately after the auction to ensure works are transported.

T + 61 3 9832 8700 acameron@menziesartbrands.com CONDITION REPORTS Catherine Baxendale Assistant Art Specialist T +61 2 8344 5404 cbaxendale@menziesartbrands.com AUCTIONEER Martin Farrah Managing Director, Lawsons

AUCTION ADMINISTRATION ACCOUNTS Coralie Stow Chief Executive Officer T + 61 3 9832 8700 cstow@menziesartbrands.com ABSENTEE, TELEPHONE AND

–– MELBOURNE OFFICE 1 Darling Street, South Yarra, VIC 3141 T +61 3 9832 8700 F +61 3 9832 8735 artauctions@menziesartbrands.com SYDNEY OFFICE 12 Todman Avenue, Kensington, NSW 2033 T +61 2 8344 5404 F +61 2 8344 5410 art@menziesartbrands.com menziesartbrands.com MENZIES ART BRANDS PTY LTD Trading as Menzies ACN 080 621 236 ABN 39 795 725 149 © Published by Menzies Art Brands Pty Ltd 2020 ISBN: ISBN: 978-0-908180-63-9

INTERNET BIDDING

Catalogue Design: Jacqueline Boyd

Coralie Stow Chief Executive Officer

Photography: Langlois Photography & Gerosa Grafix and High Res Digital.

T + 61 3 9832 8700

Pre-press and printing: Courtney Colour

Australian & International Fine Art & Sculpture

Menzies wishes to acknowledge the following individuals for their contribution towards the production of this catalogue: François Auffret, Murray Bail, Christabel Blackman, Marguerite Brown, Jane Clark, Corinna Cullen, Michael Desmond, Carla Dusevic, Gavin Fry, Martin Gallon, Rod James, Caroline Jones, Imogen Kerr, Lou Klepac, Randi Linnegar, Ken McGregor, Cameron Menzies, Drusilla Modjeska, Kendrah Morgan, Jan Murphy, Bill Nuttall, Ruth Pullin, Caroline Purves, Stephen Rogers, Kathie Sutherland, David Thomas, Ken Wach, Emily Walker, Wendy Whiteley and Lyn Williams

31. WILLIAM ROBINSON The Sacred Rock, Carnarvon 2006

33. BRETT WHITELEY The Sunrise - Japanese: ‘Good Morning!’ 1988

Australian & International Fine Art & Sculpture

CONTENTS

19 November 2020 Auction AUCTION LOTS 1 – 162

12 – 203

INFORMATION FOR BUYERS & SELLERS

204

CONDITIONS OF SALE

207

CATALOGUING PRACTICES & TERMS

208

INDEX

211

Lots 1 – 9, Property from the Estate of a distinguished private collector, Melbourne

1. TOM ROBERTS (1856-1931)

Dandenongs Landscape c1925 oil on panel 17.0 x 34.5 cm PROVENANCE Joseph Brown Gallery, Melbourne Private collection Sotheby’s, Melbourne, 18 November 1996, lot 18 Private collection, Melbourne Estate of the above

Tom Roberts’ paintings of the 1920s reveal his renewed delight in the Australian landscape, having spent the last two decades abroad in England and continental Europe. In March 1923, the artist and his wife Lillie purchased land at South Sassafras (now Kallista) in the Dandenong Ranges, where they built a simple cottage and flower garden. Perched on a ridge, the cottage offered expansive views over rolling tree-covered hills to the coastal plains of Port Phillip Bay.1 Roberts savoured the quietude and natural beauty of this new setting, reporting to a friend, ‘We go on quietly – I’m doing no portraits, but am on, with fresh delight, to landscapes – and here is a very tempting surrounding.’2 This was to be the artist’s retreat from a war-ravaged world: a rural idyll from which he would contemplate his final years. Dandenongs Landscape c1925 shows a view of undulating wooded pastures beneath a luminous blue sky. Painted in spring or late autumn, the grass bears a verdant tinge, contrasted with the dark olive green of eucalypts nestled within the landscape. Roberts has adroitly captured the inherent messiness of these trees, his drily applied impasto lending their foliage a certain depth and softness. In the far distance, bluish ridgelines gently recede into the sky amid a shimmering layer of cloud. There is a brightness and an airiness to this landscape which reflects Roberts’ invigoration at having returned ‘home’. As the artist had written during a brief visit to Melbourne some years earlier, ‘It all came back to me when I sat there with the blue sweep of the Ranges before me, and the sunshine warm and golden’.3 Though relatively neglected during his lifetime, the later works of Tom Roberts proved an abundant source of inspiration to younger generations of Australian landscape painters. The luminous, silvery tones and delicate brushwork of Roberts’ later landscapes may be seen to prefigure the works of Lloyd Rees (1895-1988) and Elioth Gruner (1882-1939) in the late 1920s and 1930s. At the more radically modern end of the scale, Fred Williams (1927-1982) and Arthur Boyd (1920-1999) have also acknowledged the influence of Roberts’ later works, with Boyd declaring, ‘All Australian paintings are in some way a homage to Tom Roberts.’4 12

Australian & International Fine Art & Sculpture

EXHIBITED Winter Exhibition, Joseph Brown Gallery, Melbourne, 24 July - 10 August 1972, cat.16 REFERENCE Topliss, H., Tom Roberts: A Catalogue Raisonné, Oxford University Press, Melbourne, 1985, vol.1, p.211, cat.611 (illus. vol.2, pl.231) $40,000 - $60,000

In Dandenongs Landscape, we see a mature artist taking pleasure in his work for its own sake. As Jessie Traill (1881-1967) observed, Roberts’ landscapes of the 1920s ‘seemed removed from hurry; they had a joy and love in them, gained after years of seeking – our own bush interpreted by one who loved it so.’5 FOOTNOTES 1. Spate, V., Tom Roberts, Lansdowne Press, Melbourne, 1972, p.127 2. Tom Roberts, quoted in Gray, A., Tom Roberts, National Gallery of Australia, Canberra, 2015, p.54 3. Ibid., p.304 4. Arthur Boyd, quoted in Radford, R., ‘The Father of Australian Landscape Painting?’ in Radford, R., Tom Roberts, Art Gallery of South Australia, Adelaide, 1996, p.18 5. Jessie Traill, quoted in Gray, A., p.25

Catherine Baxendale B Phil (Hons), MA (Art Curatorship)

Figure 1 Dandenongs Landscape 1925 oil on board 35.0 x 45.5 cm Sold Deutscher + Hackett, Melbourne, 15 July 2020, lot 15, $355,909 (including buyer’s premium)

Lots 1 â&#x20AC;&#x201C; 9, Property from the Estate of a distinguished private collector, Melbourne

2. WILL ASHTON (1881-1963)

Ketch in Sydney Harbour oil on canvas 47.5 x 65.0 cm signed lower right: WILL ASHTON PROVENANCE Mrs Elizabeth May Russell, Melbourne Estate of the above Menzies, Melbourne, 9 February 2017, lot 5 Private collection, Melbourne Estate of the above $5,000 - $8,000 14

Australian & International Fine Art & Sculpture

Lots 1 – 9, Property from the Estate of a distinguished private collector, Melbourne

3. WILL ASHTON (1881-1963)

Grand Canal, Venice c1919 oil on canvas-board 43.5 x 35.5 cm signed and inscribed lower left: WILL ASHTON VENICE inscribed verso: an incident in the celebrations of the feast of the Sorrow at Venice/ July 19 to 20/ THE RELIGIOUS PROCESSION/ OF PRIESTS/ WHICH PRECEDES THE FESTIVITIES./ CROSSING THE GRAND CANAL/ VENICE/ Held every year from the evening/ of July 19 to dawn of July 20

PROVENANCE Artlovers Gallery, Sydney Private collection, Melbourne Sotheby’s, Sydney, 15 April 2014, lot 325 (as St Marks, Venice) Savill Galleries, Sydney (as St Marks, Venice, label attached verso) Menzies, The Stock-in-Trade of Savill Galleries, Melbourne, 22 September 2016, lot 248 Private collection, Melbourne Estate of the above $4,000 - $6,000

Lots 1 – 9, Property from the Estate of a distinguished private collector, Melbourne

4. WILL ASHTON (1881-1963)

Morning Light, Sospel, France oil on canvas 36.0 x 43.0 cm signed lower left: WILL ASHTON. PROVENANCE Private collection Sotheby’s, Melbourne, 24 November 1998, lot 102 Private collection, Melbourne Estate of the above $4,000 - $6,000 16

Australian & International Fine Art & Sculpture

Lots 1 – 9, Property from the Estate of a distinguished private collector, Melbourne

5. WILL ASHTON (1881-1963)

Barges on the Seine oil on artist’s board 37.0 x 46.0 cm signed lower left: WILL ASHTON PROVENANCE Collection of Mr James Muir Auld, Sydney Thence by descent, private collection Sotheby’s, Melbourne, 24 November 1998, lot 39 Private collection, Melbourne Estate of the above $4,000 - $6,000 17

Lots 1 â&#x20AC;&#x201C; 9, Property from the Estate of a distinguished private collector, Melbourne

6. RUSSELL DRYSDALE (1912-1981)

Study for Mother and Child watercolour, gouache, pen and ink on paper 47.5 x 63.5 cm signed lower centre: Russell Drysdale sketch of textile design on verso PROVENANCE Private collection Deutscher~Menzies, Sydney, 13 March 2007, lot 189 Private collection, Melbourne Estate of the above $10,000 - $15,000 18

Australian & International Fine Art & Sculpture

Lots 1 â&#x20AC;&#x201C; 9, Property from the Estate of a distinguished private collector, Melbourne

7. SIDNEY NOLAN (1917-1992)

Kelly with Gun - Horse in Distance mixed media on paper 51.0 x 61.0 cm signed centre right: Nolan signed lower right: Nolan PROVENANCE Jason & Rhodes Gallery, London, 1996 Savill Galleries, Sydney Menzies,Â The Stock-in-Trade of Savill Galleries, Melbourne, 22 September 2016, lot 222 Private collection, Melbourne Estate of the above $20,000 - $30,000 19

Lots 1 – 9, Property from the Estate of a distinguished private collector, Melbourne

8. ARTHUR BOYD (1920-1999)

Irrigation Lake, Wimmera 1950 oil, tempera and resin on board 21.5 x 34.5 cm signed lower left: Arthur Boyd

PROVENANCE Southern Cross Galleries, Melbourne Private collection, Melbourne Sotheby’s, Sydney, 23 November 2010, lot 22 Private collection, Perth Sotheby’s, Sydney, 8 May 2012, lot 51 Private collection, Melbourne Estate of the above $40,000 - $50,000

A reader of the art reviews in Australian newspapers before World War II would note a familiar theme common to many – the reviewer would wax lyrical on the charm and beauty of the subjects chosen by the artist and then opine as to how faithfully they had been rendered in the painting. The subject was as important as the artist’s interpretation, with little interest in creativity and expression. The war changed many things and a new generation of artists, now in uniform, were being posted to various regional locations of military rather than scenic interest. Sidney Nolan (1917-1992) found himself out on the broad Wimmera plains at Dimboola, Albert Tucker (1914-1999) wintered in Wangaratta while a young Arthur Boyd became a truck driver, working the route from Melbourne to the Headquarters of the Signals Corps at Bendigo. Almost by osmosis they absorbed the elements of the landscape around them and, when peace returned, they were drawn back to the country to find inspiration for their art. Arthur Boyd travelled on from Bendigo to make a working visit to Horsham, the main town in the Wimmera district, almost half way to Adelaide from Melbourne. Just as Nolan had found at Dimboola, it was the very ordinariness of the landscape that held its appeal. The land was flat, ideal for cropping and grazing and, for much of the year, dry and yellow under the summer skies. No charming fern gullies, rippling brooks and weeping willows, just the occasional muddy dam surrounded by dead gums, now home to flocks of cockatoos.

entitled Irrigation Lake, Wimmera 1950, since recognised as one of the gems of the collection. The present work carries the same title and bears some remarkable similarities to the NGV painting. While only a small study compared to the finished painting, it would appear to depict the ‘other half’ of the same irrigation lake – effectively a mirror image of the other. The composition fits almost exactly to the centre of the lake and, almost by design, there are the same number of cockatoos and crows in both paintings. One can imagine the artist making two small plein air sketches, one looking to the left of the lake, the other looking to the right. On returning to the studio he has chosen to make a large finished painting of the left-hand sketch, a painting that in the same year would find its place in the most important gallery in the country. Boyd would revisit the Wimmera time and time again over the next forty years, sometimes as the backdrop for a dramatic encounter, at others as a subject in its own right. Irrigation Lake, Wimmera stands at a seminal moment in the career of one of Australia’s most loved and respected artists. Gavin Fry BA (Hons) MA MPhil

Arthur Boyd painted the Wimmera landscape on many occasions, drawn to the simplicity of the landscape and the life of those who farmed it. The works he made in the Wimmera were a world away, both literally and emotionally, from the tortured biblical scenes occupying his time at home in Melbourne. He studied the scenes carefully, including many small moments of colour and interest – birds flying down to the waterholes, the plants in the paddocks and the cattle grazing in the distance. Invariably there would be a farmer going about his business, trotting by in an old cart or attending to jobs in the field. The compositions would be balanced by the bulk of the distant Grampians, the mountain range to the south of Horsham where he ventured to paint the great rock outcrops and ancient trees.

Figure 1

The Wimmera pictures were exhibited in Sydney in 1950 and made an immediate impression on the public and the galleries alike. Both the Art Gallery of New South Wales and the National Gallery of Victoria acquired works, the latter choosing the landscape

Irrigation Lake, Wimmera 1950 resin and tempera on board 81.5 x 122.0 cm National Gallery of Victoria collection, Melbourne Purchased 1950

Australian & International Fine Art & Sculpture

Lots 1 – 9, Property from the Estate of a distinguished private collector, Melbourne

9. TOM ROBERTS (1856-1931)

Sea c1920s oil on plywood 12.5 x 20.5 cm signed with initials lower left: TR bears date lower left: 89 PROVENANCE Lawsons, Sydney, c1948 Grosvenor Gallery, Sydney, 1950 Mr Ralph Smith, Sydney Thence by descent, private collection, Sydney Private collection, Melbourne Estate of the above 22

Australian & International Fine Art & Sculpture

EXHIBITED (possibly) An Exhibition of Oil Paintings by Tom Roberts, The Fine Art Society’s Gallery, Melbourne, 17 - 29 September 1924, cat.24 (as Blue Pacific, 12 gns) REFERENCE (possibly) ‘Mr. Tom Roberts’s Paintings,’ The Australasian, Melbourne, 20 September 1924, p.46 (as Blue Pacific) Topliss, H., Tom Roberts: A Catalogue Raisonné, Oxford University Press, Melbourne, 1985, vol.1, p.214, cat.628 (illus. vol.2, pl.234) $20,000 - $30,000

Lots 10 – 162, Property of various vendors

10. LLOYD REES (1895-1988)

City Skyline 1955 oil on canvas on board 30.5 x 38.0 cm signed and dated lower right: L REES/ 55 bears inscription verso: CITY SKYLINE L REES

EXHIBITED Spring Exhibition 1979, Joseph Brown Gallery, Melbourne, 17 - 30 October 1979, cat.97 REFERENCE Free, R., Lloyd Rees, Lansdowne Press, Melbourne, 1979, cat.O175 $25,000 - $35,000

PROVENANCE Mr & Mrs Tristan Buesst, Melbourne Joseph Brown Gallery, Melbourne Private collection, Melbourne, c1979 Deutscher~Menzies, Melbourne, 13 September 2006, lot 52 Private collection, Melbourne Estate of the above 23

11. RICK AMOR born 1948

Old Wharf Entrance on the Hudson RiverÂ 1996 watercolour on paper 56.0 x 37.0 cm signed and dated lower left: R. Amor 5/9/96 PROVENANCE Niagara Galleries, Melbourne (label attached verso, stock no.16641) Private collection, Melbourne 24

Australian & International Fine Art & Sculpture

EXHIBITED Rick Amor: Notes from New York, Niagara Galleries, Melbourne, 26 August - 27 September 2014, cat.11 (illus. exhibition catalogue, p.16) $5,000 - $8,000

12. JEFFREY SMART (1921-2013)

First Oil Sketch for Sunday Morning II 1975 oil on canvas 19.0 x 21.0 cm signed lower right: Jeffrey Smart PROVENANCE Australian Galleries, Melbourne, 2001 (label attached verso, stock no.27781) Private collection, Melbourne Estate of the above

REFERENCE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, p.114, cat.650 (illus.) RELATED WORKS Sunday Morning II 1975, oil on canvas, 100.0 x 100.0 cm, private collection; referenced in McDonald, J., Jeffrey Smart Paintings of the ‘70s and ‘80s, Craftsman House, Sydney, 1990, p.178, cat.104 $30,000 - $40,000

13. JASON BENJAMIN born 1971

The Cricketers 2010-11 oil on linen 120.0 x 120.0 cm signed, dated and inscribed verso: “The Cricketers”/ 2010 - 11/ Benjamin PROVENANCE Art Index, Sydney, 2015 Private collection, Melbourne 26

Australian & International Fine Art & Sculpture

EXHIBITED Jason Benjamin: Everyone Is Here, Wagga Wagga Art Gallery, New South Wales, 21 September - 24 November 2013; Griffith Regional Art Gallery, New South Wales, 16 January - 23 February 2014; Western Plains Cultural Centre, New South Wales, 7 March - 30 May 2014; Cowra Regional Art Gallery, New South Wales, 20 June - 27 July 2014; Bathurst Regional Art Gallery, New South Wales, 1 August - 28 September 2014; Hazelhurst Regional Gallery & Arts Centre, Sydney, 11 October - 30 November 2014; Blue Mountains Cultural Centre, New South Wales, 12 December 2014 - 25 January 2015 (illus. exhibition catalogue, p.41) $12,000 - $18,000

14. ALEXANDER McKENZIE born 1971

The Topiarist 2006 oil on linen 122.0 x 122.0 cm signed and dated lower right: A McK 06 signed, dated and inscribed verso: Alexander McKenzie (c) 06/ “the topiarist”,/ oil on linen/ 2006/ McK

PROVENANCE Axia Modern Art, Sydney Private collection, Canberra Alexander McKenzie is represented by Martin Browne Contemporary, Sydney $18,000 - $24,000

15. MICHAEL ZAVROS born 1974

Prince/Zavros 2013 charcoal on paper 119.0 x 85.0 cm (sheet) signed with initials and dated lower right: MZ13

RELATED WORKS Prince/Zavros 8 2012, oil on board, 30.0 x 20.5 cm, Rockhampton Art Gallery collection, Queensland, donated by the artist through the Australian Government’s Cultural Gifts Program, 2012 $18,000 - $26,000

PROVENANCE Starkwhite Gallery, Auckland Private collection, Sydney 28

Australian & International Fine Art & Sculpture

16. LIN ONUS (1948-1996) Yorta Yorta language group

Butterflies, Sherbrooke ForestÂ c1994 synthetic polymer paint on compressed card 49.0 x 37.0 cm signed lower right: Lin Onus

PROVENANCE Gallery Gabrielle Pizzi, Melbourne Private collection, Perth Deutscher + Hackett, Melbourne, 30 April 2014, lot 19 Private collection, Melbourne $20,000 - $30,000

17. GARRY SHEAD born 1942

The Novel KangarooÂ 1995 oil on board 40.0 x 39.0 cm signed lower left: Garry Shead PROVENANCE The artist Private collection, New South Wales $25,000 - $35,000 30

Australian & International Fine Art & Sculpture

18. TIM STORRIER born 1949

The Night Blaze 2009 oil on canvas 61.5 x 122.5 cm signed lower right: Storrier signed, dated and inscribed verso: ‘The Night Blaze’/ Storrier/ 2009 PROVENANCE Metro 5 Gallery, Melbourne, 2009 Private collection, Melbourne $35,000 - $45,000 31

19. ARTHUR BOYD (1920-1999)

Shoalhaven Painting No. 13Â 1989 oil on board 30.5 x 23.0 cm signed lower right: Boyd (Arthur) PROVENANCE Von Bertouch Galleries, New South Wales Private collection, New South Wales Thence by descent, private collection, New South Wales EXHIBITED Von Bertouch Galleries, New South Wales, 29 September - 15 October 1989 (label attached verso) $14,000 - $18,000 32

Australian & International Fine Art & Sculpture

20. JOHN OLSEN born 1928

Sunlight and Avocets on the LakeÂ 1977 watercolour on paper 98.0 x 67.5 cm signed and dated lower left: Olsen/ 77 PROVENANCE Private collection, Sydney Geoff K. Gray, Sydney, 15 June 1982, lot 39 Private collection, Sydney Lawsons, Sydney, 6 September 1983, lot 126 Private collection, Sydney $30,000 - $40,000 33

21. SIDNEY NOLAN (1917-1992)

Central Australia 1981 oil on board 90.5 x 120.5 cm signed lower right: Nolan signed and inscribed verso: Central Australia/ Nolan

PROVENANCE Phillip Bacon Galleries, Brisbane, 1986 BHP Billiton Collection Christie’s, BHP Billiton Collection of Australian Art, Sydney, 27 August 2003, lot 500 Private collection, Sydney Collection of Eva Breuer, Sydney Thence by descent, private collection, Sydney $20,000 - $30,000

Australian & International Fine Art & Sculpture

22. ALBERT NAMATJIRA (1902-1959) Arrernte/Aranda language group

Glen Helen Gorge c1945 watercolour and pencil on paper 39.0 x 28.0 cm signed lower right: ALBERT NAMATJIRA PROVENANCE Private collection, Victoria, acquired c1970 Thence by descent, private collection, Victoria Deutscher~Menzies, Sydney, 10 March 2008,

lot 15 (as Hammersley Gorge c1939) Private collection, Melbourne Menzies, Sydney, 25 March 2010, lot 90 (as Hammersley Gorge c1939) Private collection, Sydney REFERENCE This work is to be included in the forthcoming book on Albert Namatjira by Ken McGregor, due for publication in December 2020. $20,000 - $30,000

23. EUGENE VON GUÉRARD (1811-1901)

Landscape (Sele River near Paestum) 1840 oil on canvas 14.5 x 18.5 cm signed and dated lower left: Guérard. 1840. bears inscription on label attached verso: C. V. Gúérardt [sic]/ Düsseldorf/ 1840/ African Landschaft./ im Besitz: Karl Kunze/ seit 1918 [translation: African Landscape, in the possession of Karl Kunze since 1918] bears inscription on label attached verso: Name des Künstler: E. v. Guérard/ Wohnort: Düsseldorf PROVENANCE Mr Gustav Lübcke, Germany Acquired from the above, Dr Karl Kunze, Germany, 1918 Auktionshaus zeitGenossen, Münster, 24 October 2015, lot 478 Private collection, Germany $16,000 - $25,000 36

Australian & International Fine Art & Sculpture

This gem of a painting by Eugene von Guérard depicts the Sele River near Paestum, an ancient Greek city on the Tyrrhenian coast of southern Italy. The artist visited the area with his father during the summer of 1835, creating several sketches which would inform the present work. While von Guérard’s other paintings of Paestum show its famous Greek ruins – now part of a UNESCO world heritage site – here he has chosen to focus on the city’s picturesque environs. The oxen in the foreground are believed to have been mistaken for African buffalo, hence the erroneous title on the verso of this work. We thank Dr Ruth Pullin for her generous assistance in identifying the true subject of this painting. Catherine Baxendale B Phil (Hons), MA (Art Curatorship)

24. JOHAN-BARTHOLD JONGKIND (1819-1891, Dutch)

Bateaux sur l’Escaut pres d’Anvers (Boats on the Scheldt near Antwerp) 1866 watercolour, gouache and graphite on paper 19.5 x 34.0 cm signed, dated and inscribed lower right: Jongkind Anvers 14 Sept 66 Lebrun, Paris, framer’s label attached verso Thomas Agnew & Sons, London, label fragment attached verso

PROVENANCE Robert Noortman Gallery, London (label attached verso) Private collection, United Kingdom Douwes Fine Art, London, 1987 (label attached verso) Private collection, United Kingdom Thence by descent, private collection, New South Wales The Comité Jongkind, Paris-La Haye has confirmed the authenticity of this work, which is to be included in the catalogue raisonné under preparation (cat.G00948) $10,000 - $15,000 37

25. EUGÈNE BOUDIN (1824-1898, French)

La Meuse devant Dordrecht (The Meuse near Dordrecht) 1885 oil on canvas 40.5 x 54.0 cm signed and dated lower right: E Boudin 85 PROVENANCE Barbizon House, London, c1938 Mrs J.A. Scaramanga, London Thomas Agnew & Sons, London, 1973 (label attached verso, stock no.35372) Private collection, United Kingdom Thence by descent, private collection, New South Wales EXHIBITED Salon, Paris, 1885, cat.328 (as La Meuse devant Dordrecht; Hollande) Paintings by Eugène Boudin, Barbizon House, London, 1938, cat.17 (label attached verso) REFERENCE Catalogue Illustré du Salon, Paris, 1885, no.16, p.XV, cat.328 Schmidt, R., Eugène Boudin, 1824-1898: Catalogue Raisonné de l’Oeuvre Peint, Paris, 1973, vol.II, p.249, cat.1957 (as La Meuse à Dordrecht) $90,000 - $120,000

‘I have said it and I say it again: I owe everything to Boudin.’ Claude Monet

Australian & International Fine Art & Sculpture

Figure 1 La Meuse à Rotterdam 1881 oil on canvas 85.0 x 128.0 cm Musée d’Orsay collection, Paris

Eugène Boudin’s free brushwork, contemporary subject matter and attention to atmospheric effects are evident in this delightful work. He was one of the first French artists to extol the virtues of plein air painting, and he encouraged the eighteen-year-old Claude Monet (1840-1926) to do the same. At the end of his life Monet told his told his biographer Gustave Geffroy: ‘I have said it and I say it again: I owe everything to Boudin.’1 Looking at The Meuse near Dordrecht 1885 today it is not hard to see how Boudin links traditional marine painting (particularly the Dutch school) with the new freedoms of Impressionism. Indeed, Boudin was invited by his young protégé to show in the first Impressionist exhibition of 1874 that ushered in a new generation of artists and a new epoch in art. Boudin was part of a revolution: from the 1840s, the health benefits of sea bathing and the increasing reach of the railroads had brought tourists to the beaches of Normandy. And artists were more than willing to supply the holiday makers with picturesque views, increasing the demand for landscape paintings. Simultaneously, the role of the open air sketch took on greater importance, initially as a study for a ‘finished’ work, but ultimately as an end in itself. Paintings made on the spot were increasingly perceived as more authentic than the contrived and ordered scenes built in the studio. Boudin himself noted that ‘everything painted on the spot always has a strength, a power, a vividness of touch that is not to be found again in the studio’.2 The invention of the collapsible paint tube as well as portable easels 40

Australian & International Fine Art & Sculpture

made it easier to work in the scenic locales made available by rail. Boudin’s paintings of tourists, an unconventional subject at this time gave his work a modern feel and this, coupled with his direct observations, brushy notations of light and sky and development of a light - even blonde - palette, exerted a persuasive influence on younger painters. The son of a harbour pilot, he was essentially self-taught. He lived for a time in Paris copying works in the Louvre where he discovered the naturalistic landscapes and marine paintings of the Dutch school. His busy paintings of Parisian holiday makers - the ‘crinolines on the beach’ - and atmospheric views of the Normandy coast established his reputation. He regularly showed his works at the annual Paris Salon and indeed, The Meuse near Dordrecht was exhibited at the Salon the year it was made. After 1871, Boudin began to explore further north along the Belgian and Dutch coasts. It was his habit to summer at the seaside sketching and painting, then work in his studio in Paris over the colder months. Given his fascination with Dutch painting it is no surprise that he made many visits to the Netherlands to paint its busy ports and cities. He visited Dordrecht on several occasions, painting the streets and hinterland but predominantly recording the views from the Meuse River as it curves around the city. He made at least a dozen paintings there in 1884, many showing the city and the

Figure 2 Dordrecht, la Meuse 1884 oil on canvas 48.5 x 66.5 cm Sold Hampel Kunstauktionen, Munich, 26 September 2018, lot 596, € 285,000 (including buyer’s premium)

spire of the Grote Kerk (the Church of Our Lady) as a backdrop to the bustling docks and shipping, as does this work. Dated 1885, this work may have been the last of this group and finished in the studio in time for the first of May opening of the Salon. Boudin’s practice of painting the same subject from multiple points of view may well have inspired Monet to paint his series on Rouen Cathedral, the Houses of Parliament and other locales. In The Meuse near Dordrecht Boudin has placed himself behind the limpid, open pool where the Oude Maas (the Meuse) meets the Beneden Merwede and Noord Rivers. Depicted with licks of black and red paint, a small steam tug centres the composition, hauling a bigger ship from its berth, leaving the tumble of masts and the spire of the Grote Kerk behind. The windmills of Zwijndrecht (then a tiny village, now a suburb of Rotterdam) can be seen on the right and the spans of the iron railway bridge into Dordrecht hold the low horizon line. As always, the artist devotes nearly two thirds of the painting to the sky, crowning the sunny vista with fluffy altocumulus clouds, suggestive of change. Boudin paints with a persistent vitality and freshness, his midday warmth and fleeting sunshine demonstrating his ability to charge atmospheric effects with an emotional subtext. Camille Corot (1796-1875) praised him as ‘the king of the skies.’3 Here, in this vivid harbour scene, Boudin’s keen eye has captured the lazy smoke trails, bobbing ships and slow moving rowboat against the shimmer of still water to describe a windless noon, a brief moment of tranquillity.

The overall harmony of grey and cerulean blue is divided and animated with deft touches of black and red across the central silver greys of the town and attendant vessels, and finally anchored with broad strokes of green and ochre paint to block in the shallow river bank. A virtuoso demonstration of the artist’s confident, free brushwork, the painting also communicates Boudin’s enjoyment of his craft. It’s not hard, looking at The Meuse near Dordrecht, to feel the warming sun and the touch of breeze, hear the lap of waters and the clink of hawsers and yards, sense the low hum of a city in the distance, and feel satisfaction in the sensation of being there too. A significant international artist, Boudin’s work is held in numerous major galleries and museums around the world as well as state galleries in Australia. FOOTNOTES 1. C laude Monet, quoted in Tinterow, G., ‘The Realist Landscape’, in Tinterow, G. & Loyrette, H., Origins of Impressionism, Metropolitan Museum of Art, New York, 1994, p.61 2. E ugène Boudin, quoted in Hamilton, V., Boudin at Trouville, John Murray Ltd., London, 1992, p.16 3. Jean-Baptiste-Camille Corot, quoted in Sterling, C. & Salinger, M., French Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art, Vol. 3: XIX & XX Centuries, Metropolitan Museum of Art, New York, 1967, p.134

Michael Desmond 41

26. FREDERICK McCUBBIN (1855-1917)

Washing Day, Brighton 1897 oil on board 30.5 x 21.0 cm signed and dated lower right: F McCubbin/ 1897 PROVENANCE The Sedon Galleries, Melbourne (label attached verso) Private collection, Melbourne Thence by descent, private collection, Melbourne Deutscher~Menzies, Sydney, 13 March 2007, lot 38 Private collection, Victoria Menzies, Melbourne, 23 September 2010, lot 48 Private collection, Melbourne EXHIBITED This work has been requested for loan for the forthcoming exhibition Bayside: Portrait of Place, Bayside Gallery, Melbourne, 10 July - 12 September 2021 $35,000 - $45,000

By 1896, Frederick and Annie McCubbin and their growing family had moved to New Street, Brighton, a place popular with many artists at that time. Their neighbours included John Mather (18481916), John Longstaff (1862-1941), Tudor St George Tucker (18621906) and Alexander Colquhoun (1862-1941). For McCubbin, it was close enough to the city for him to travel to his teaching job at the National Gallery School, and, with its many orchards and gardens, offered something of a rural setting. Nearby was the beach with its countless subjects for fine works of art; an excellent example, Brighton Beach 1896 being in the collection of the Mildura Arts Centre. McCubbin’s technique was progressing from the tight, tonal painting, learnt under the tutelage of George Frederick Folingsby (1828-1891), through the realism of Jules BastienLepage (1848-1884), to a broader style in which the use of the square brush was put to good effect, as seen in this painting. The grey, foreground copper for boiling the water for the clothes, speaks of Folingsby’s tonal definitions, whereas the remainder of the painting is sketched in with a breezy spontaneity, which captures so well the atmosphere ideal for a good washing day. The McCubbin children now numbered four - Louis, Alexander, Hugh, and Sydney - so washing day would have been of some importance in the weekly round faced by Mrs McCubbin. 42

Australian & International Fine Art & Sculpture

The McCubbins lived in a weatherboard house with an adjoining orchard, wife Annie being the model for many of these Brighton paintings. They ranged from important pioneer subjects such as On the Wallaby Track 1896 in the Art Gallery of New South Wales, to typical genre subjects, of moments of everyday life, so typical of Impressionist art. Among these latter works are three charming seasonally based paintings - Spring 1896, Autumn Memories 1899 in the Joseph Brown collection, National Gallery of Victoria - both with ‘Mrs Mac’ in the Brighton orchard - and A Winter Evening 1897 - also in the National Gallery of Victoria. McCubbin returned to the subject of the washing day some years later in the oil painting, A Fine Day and a Good Breeze 1907, at one time in a private collection in Hobart. The title could apply equally to the present work. David Thomas

27. ARTHUR STREETON (1867-1943)

The Ballarat Dump, St Gratien 1918 oil on canvas 62.0 x 100.0 cm signed lower right: A STREETON PROVENANCE Gift from the artist to the Naval & Military Club, Melbourne (label attached verso) Deutscher + Hackett, The Naval & Military Club Collection of Fine Art, Melbourne, 21 July 2009, lot 7 Private collection, Melbourne EXHIBITED Exhibition: War and Peace, Royal British Colonial Society of Artists in association with the Society of Australian Artists, Royal Academy of Arts, London, 1918, cat.124 (as Camouflaged Road ‘Dump’, label attached verso) With the Australians on the Somme: Pictures by Lt. Arthur Streeton, Alpine Club Gallery, London, June 1919, cat.23 (as Camouflaged Road and Dump, St. Gratien) Exhibition of Mr. Streeton’s Pictures, Victorian Artists’ Society Galleries, Melbourne, March 1920, cat.41 (as Ballarat Dump) Final Exhibition of Arthur Streeton’s Pictures, Education Department Gallery, Sydney, May 1920, cat.38 (as Ballarat Dump) Exhibition of Paintings by Arthur Streeton, South Australian Society of Fine Arts, Adelaide, July 1921, cat.12 An Exhibition of Paintings and Drawings by Arthur Streeton, The Fine Arts Gallery, Melbourne, July 1926, cat.7

REFERENCE ‘A Genius of the Brush: Mr. Arthur Streeton’s Exhibition,’ The Register, Adelaide, 16 July 1921, p.5 ‘Mr. Streeton’s Pictures,’ The Advertiser, Adelaide, p.13 Streeton, A., The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, no.603 Gray, A., Vaughan, G. & Kindred, E., Arthur Streeton: The Art of War, National Gallery of Australia, Canberra, 2018, pp.25, 51, 52, 53, 61 RELATED WORKS The Ballarat Dump, St Gratien 1918, watercolour on paper, 36.0 x 54.0 cm; sold Deutscher + Hackett, Melbourne, 29 August 2012, lot 67 Corps Reserve Ammunition Dump 1918, watercolour, gouache and pencil on paper, 37.5 x 55.5 cm, Australian War Memorial collection, Canberra $160,000 - $240,000

‘True pictures of Battlefields are very quiet looking things. There’s nothing much to be seen – everybody & thing is hidden & camouflaged – it is only in the illustrated papers one gets a real idea of Battle as it occurs in the mind of the man [who has] never been there.’ Arthur Streeton

Australian & International Fine Art & Sculpture

Figure 2 Corps Reserve Ammunition Dump 1918 watercolour, gouache and pencil on paper 37.5 x 55.5 cm Australian War Memorial collection, Canberra Figure 1 Studio Portrait of the Streeton Family c1918 From Left to Right: Lieutenant Arthur Ernest Streeton, Oliver Streeton and Mrs Mary Streeton Australian War Memorial collection, Canberra

On 14 May 1918, Arthur Streeton arrived in France as an official war artist of the Commonwealth, having previously aided the Allied war effort from London as a member of the Royal Army Medical Corps. After preliminary training in Boulogne, Streeton was assigned to the 2nd Division of the Australian Imperial Force (AIF) based at Saint-Gratien in the Somme Valley of northern France. Somewhat improbably, the division was headquartered in the Chateau Saint-Gratien, a stately eighteenth-century home set within picturesque grounds. Though situated only a few miles from the front, Streeton was struck by the apparent gentility of the scene, observing that in the ‘delightful old garden … the sense of comfort comes almost as a shock – the turn of guns & machines goes on all around.’1 The artist found his fellow troops in good spirits, buoyed by the successful nighttime recapture of Villers-Bretonneux in April 1918.2 In contrast to the trench-bound stalemate of two years earlier, the conflict’s atmosphere had become increasingly volatile, with large swathes of territory changing hands from one week to the next. The task of depicting this sprawling and ever-changing subject would present Streeton with a formidable artistic challenge. Streeton was keenly aware that this was a different kind of war, which would demand new and unorthodox modes of representation.3 In a letter to his friend and patron Baldwin Spencer, Streeton alluded to the pictorial challenges posed by modern warfare: 46

Australian & International Fine Art & Sculpture

True pictures of Battlefields are very quiet looking things. There’s nothing much to be seen – everybody & thing is hidden & camouflaged – it is only in the illustrated papers one gets a real idea of Battle as it occurs in the mind of the man [who has] never been there.4 World War I had served as a potent catalyst for technological innovation, providing its combatants with a new and deadly array of weapons. Tanks, machine guns, aircraft and mustard gas would inflict devastation on an unprecedented scale. Streeton recorded many of these tools of war individually in watercolour, capturing their intricate machinery with remarkable clarity.5 In The Ballarat Dump, St Gratien Streeton shows much of this weaponry in situ, concealed from enemy surveillance in the woods of the Somme Valley. The July 1918 date of the watercolour that formed the basis of this painting – sold at auction in August 2012 – suggests Streeton first conceived of this image in the forests of Glisy, where the artist camped in a dugout after leaving the Chateau Saint-Gratien in June.6 Revealing a vivid patchwork of dappled light and shade, this could almost be a scene in the Luxembourg Gardens were it not for the lethal objects concealed within: among several camouflaged boxes of ammunition are cannisters of poison gas, denoted by small patches of Prussian blue. As a reviewer

Figure 3 The Tunnel, Bellicourt Entrance c1918 oil on canvas 63.5 x 77.0 cm Sold Menzies, Sydney, 23 September 2014, lot 96, $153,409 (including buyer’s premium)

for Adelaide’s Register wrote of The Ballarat Dump, St Gratien when the painting was exhibited in 1921, ‘The sinister menace of war pervades the quasi-peaceful scene.’7 Streeton’s wartime paintings also reveal his aptitude for design: his ability to sift through, refine and rearrange forms within space to achieve a clear and compelling image.8 The Ballarat Dump, St Gratien is a classic example, with its striking use of diagonal perspective. Most unusually, the viewer approaches the composition from the upper left, where the hessian netting broadly zig-zags its way through the forest. As with Streeton’s other wartime oil paintings, the present work was completed in the artist’s London studio from watercolours and sketches created in the field. A second study for The Ballarat Dump, St Gratien – held by the Australian War Memorial – shows a closer perspective of the road and ‘dump’, with loose artillery shells scattered precariously in the foreground.9 Streeton’s paintings of World War I have deservedly been the subject of renewed attention in recent years, culminating in the major exhibition Arthur Streeton: The Art of War at the National Gallery of Australia in 2018. As illustrated by The Ballarat Dump, St Gratien, Streeton approached this most cumbersome of subjects with flair, sensitivity and courage.

FOOTNOTES 1. A rthur Streeton, quoted in Gray, A., ‘Streeton’s War,’ in Gray, A., Vaughan, G. & Kindred, E., Arthur Streeton: The Art of War, National Gallery of Australia, Canberra, 2018, p.23 2. Op cit. Gray, A., ‘Streeton’s War,’ p.24 3. Ibid., p.55 4. Letter from Lieutenant Arthur Streeton to Sir Baldwin Spencer, 1918, quoted in ‘Lieutenant Arthur Ernest Streeton,’ Australian War Memorial, Canberra, accessed 14 October 2020: https://www.awm.gov.au/collection/P10676828 5. A llen, C., ‘Trench-bound illuminations,’ The Weekend Australian, 16 March 2018, accessed 14 October 2020: https://www.theaustralian.com.au/arts/review/arthurstreeton-the-art-of-war-national-gallery-of-australia/news-story/962f8860ab13ee2b 788d281b8066743c 6. Op cit. Gray, A., ‘Streeton’s War,’ p.24 7. ‘A Genius of the Brush: Mr. Arthur Streeton’s Exhibition,’ The Register, Adelaide, 16 July 1921, p.5 8. Op cit. Gray, A., ‘Streeton’s War,’ p.55 9. ‘ Collection: Corps Reserve Ammunition Dump,’ Australian War Memorial, Canberra, accessed 14 October 2020: https://www.awm.gov.au/collection/C167397

Catherine Baxendale B Phil (Hons), MA (Art Curatorship)

28. TOM ROBERTS (1856-1931)

North Shore (Study for An Autumn Morning, Milson’s Point, Sydney) 1888 oil on panel 26.0 x 34.5 cm dated and inscribed lower left: North Shore 24.3.88 PROVENANCE The artist Acquired from the artist, Mme Nancy Elmhurst Goode, Melbourne Christie’s, Sydney, 5 October 1971, lot 328 (as North Shore) Private collection Christie’s, Sydney, 3 October 1972, lot 53 (as Circular Quay) Professor David Malet Armstrong AO, Sydney Thence by descent, private collection, Melbourne EXHIBITED Exhibition and Sale of Paintings by Tom Roberts, Previous to his Leaving Australia, Society of Artists, Sydney, November 1900, cat.21 (as Circular Quay (Study))

REFERENCE Topliss, H., Tom Roberts 1856-1931: A Catalogue Raisonné, Oxford University Press, Melbourne, 1985, vol.1, p.104, cat.103a (illus. vol.2, pl.45) (as Circular Quay) Clark, J. & Whitelaw, B., Golden Summers, National Gallery of Victoria, Melbourne, 1985, p.95 Eagle, M., 'Friendly Rivalry: Paintings of Waterside Sydney, 1888 and 1890,’ in Lane, T. (ed.), Australian Impressionism, National Gallery of Victoria, Melbourne, 2007, pp.106, 303 (note 21) Gray, A., Tom Roberts, National Gallery of Australia, Canberra, 2015, p.161 RELATED WORKS An Autumn Morning, Milson’s Point, Sydney 1888, oil on canvas, 46.0 x 76.5 cm, Art Gallery of New South Wales collection, Sydney, purchased 1983 Circular Quay, Sydney 1888-98, pencil on paper, 22.5 x 28.5 cm (sheet, irreg.), National Gallery of Australia collection, Canberra, purchased 1972 $500,000 - $700,000

‘ ‘‘An Autumn Morning, Milson’s Point, Sydney” is a new departure on the part of the artist and has a dash of originality about it. It portrays the smoke and mist rising from the city in the early morning, flushed with a rosy glow by the newly risen sun…’

Before the construction of the Sydney Harbour Bridge, travellers wishing to make their way across the harbour were obliged to make a lengthy journey inland or else use a ferry. At Milson’s Point, directly across the water from Circular Quay, the ferry provided a regular service which could take passengers as well as horses on a regular half-hourly service. North Shore depicts the view from Milson’s Point south, towards the commercial heart of Sydney and Circular Quay. The scene was painted by Roberts during a brief three-week stay in Sydney in the Autumn of 1888. It was during an earlier visit that Roberts encountered the young painter Charles Conder (1868-1909). Roberts, in his early thirties and Conder, barely nineteen years of age, hit it off straight away and when Roberts returned several weeks later, on 19 March 1888, they reconnected. Roberts lodged with Conder’s uncle and aunt and the two continued their friendship and embarked on an exchange of artistic ideas. Together with Arthur Streeton (18671943), whom Roberts had recently met in Melbourne, Roberts and Conder were laying the foundations of what became the Heidelberg School, or Australian Impressionism. On this trip, Roberts spent his time painting around Sydney Harbour. On 22 March he produced a small two-sided study of 48

Australian & International Fine Art & Sculpture

Manly, and two days later produced the present work, which he inscribed ‘North Shore 24.3.88.’ Roberts at this time, and in comparison with the much younger Conder, was relatively mature as an artist and was able to draw on his formal education with Louis Buvelot (1814-1888) at the National Gallery School as well as his personal experience of the most recent developments in European art gained while visiting Spain, France and England in 1884. He studied the Old Masters, as well as the more recent developments by noted painters such as Whistler (1834-1903) and leading French artists including the Impressionists. In particular, Roberts returned from Europe excited about the then current fashion for painting en plein air, in order to make a more accurate record of the landscape and the spontaneous effects of weather and the time of day. North Shore duly depicts the smoky, windless, Autumn day with air pollution casting a coppery light over the scene. North Shore became a study for the somewhat larger, more finished version, An Autumn Morning, Milson’s Point, Sydney. Now in the collection of the Art Gallery of New South Wales, this work was painted in the following days and exhibited in Melbourne a few weeks later where it was the subject of reviews in The Argus and The Age:

Australian & International Fine Art & Sculpture

Figure 1 An Autumn Morning, Milson’s Point, Sydney 1888 oil on canvas 46.0 x 76.5 cm Art Gallery of New South Wales collection, Sydney Purchased 1983

‘An Autumn Morning, Milson’s Point, Sydney’ is a new departure on the part of the artist and has a dash of originality about it. It portrays the smoke and mist rising from the city in the early morning, flushed with a rosy glow by the newly risen sun, which sheds its strong white light upon the pier and vessels in the foreground, while the surface of the harbour gives back a reflection of the blue sky overhead.1 The two paintings are very closely related, and yet North Shore shows the marks of its plein air pedigree with thinly applied oil and unpainted areas revealing the panel showing through employed by Roberts for the composition. North Shore contains a remarkable amount of detailed visual information as well as conveying at first hand and with extraordinary felicity the scene as it was on the day Roberts stood there. The sense of immediacy is underpinned by a painting Roberts made seven days later. On Easter Sunday and Monday, April 1 and 2, Roberts and Conder went to Coogee where they stood side by side and recorded the same view of the beach from the northern side, facing south. As well as presenting us with a unique opportunity to enjoy the extraordinary levels of skill both artists could call upon, the two paintings offer a chance to compare different interpretations of the subject. Roberts’ Holiday Sketch at Coogee is a demonstration of clarity of observation of finely 52

Australian & International Fine Art & Sculpture

rendered effects of texture, light and visual information. In comparison Conder’s Coogee Bay is disposed to explore the narrative and decorative aspects of the subject. Roberts' work is quite different: dispassionate, almost dutiful and completely serious. In a similar way, his North Shore presents the subject as it is: gritty, businesslike, and purposeful. Conder’s rendering of Circular Quay, Departure of the Orient - Circular Quay focuses on the emotional. Painted within a few days of North Shore, it is a display of virtuoso handling of paint, with the weather, a rainy day contributing to the sombre mood of a crowd assembled to farewell loved ones returning ‘home’. By agreeing to work together, at times looking over each other’s shoulders, both artists were able to measure their progress as painters, to vie in a convivial, agreeable spirit of competition and to gain insights into their own work which in turn gave them the confidence to push further ahead. Roberts understood that in nurturing the relationship with Conder that both artists could accelerate their progress as artists. The excitement that Roberts felt about the possibilities for not only his own art can still be felt today as we read the reportage of the time: …one memorable evening at a wine shop at Mosman, when … [Roberts] initiated his friend in the principles of impressionism. In those days the ferry called every half-

Figure 3 CHARLES H. KERRY (1858-1928) Milson’s Point Ferry Terminal, North Sydney, New South Wales c1890s albumen print National Library of Australia collection, Canberra Figure 2 ARTHUR STREETON (1867-1943) From McMahon’s Point – Fare One Penny 1890 oil on canvas 91.5 x 70.5 cm National Gallery of Australia collection, Canberra Purchased 1972

hour, but Mr Roberts says the time flew so rapidly that they seemed to be arriving every ten minutes, the three hour’s talk appearing to have lasted half an hour.2 Throughout the process, Roberts reveals that what they were attempting could have a lasting effect, and he recognised that he and his friends were making a contribution to the way Australians see themselves. For Roberts, the landscape became a metaphor for Australia. In the absence of an actual history, Roberts, following the example set by the Impressionists, sought to represent his young country by depicting Modern Life and by rendering its unique landscape truthfully.

North Shore was exhibited in Sydney in the year 1900 in an exhibition mounted by Roberts for the purpose of raising funds for his 1903 trip to England. At some point after this it went, either by purchase or as a gift, into the collection of Nancy Elmhurst Goode, a music teacher and good friend of the artist. Roberts’ 1900 portrait of Mme Goode is now in the collection of the National Gallery of Victoria. FOOTNOTES 1. ‘ The Founder of Impressionism in Australia,’ unidentified press clipping, Sydney newspaper, June 1926, Tom Roberts Papers, Mitchell Library, MS 4586; quoted in Eagle, M. ‘Friendly Rivalry: Paintings of Waterside Sydney, 1888 and 1890,’ in Lane, T., Australian Impressionism, National Gallery of Victoria, Melbourne, 2005, p.103 2. The Argus, Melbourne, 30 April 1888, p.11

North Shore belongs to a small group of works produced by Roberts at a critical time in his career. At 32 years of age he was on the threshold of national prominence. A few weeks after painting North Shore he began work on his best known painting, Shearing the Rams, the masterpiece completed in 1890 which brought the ideas he had formulated over the previous years to their fullest resolution.3 North Shore was painted at a time when a small group of young artists, blessed with an abundance of natural skill and an adventurous spirit, came together and with the encouragement of Roberts, the group’s leading member, set about that task of consciously creating art specific to Australia.

3. Gray, A., Tom Roberts, National Gallery of Australia, Canberra, 2015, p.161

Tim Abdallah BA

29. FRED WILLIAMS (1927-1982)

Gum Trees in Landscape III 1969 oil on canvas 63.5 x 43.5 cm signed lower left: Fred Williams. bears inscription on stretcher verso: 470 PROVENANCE Estate of the artist (no.470) Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Queensland EXHIBITED Fred Williams: A Retrospective, Australian National Gallery, Canberra, 7 November 1987 - 31 January 1988; National Gallery of Victoria, Melbourne, 17 February - 3 April 1988; Tasmanian

Gum Trees in Landscape III is a fine example of Fred Williams’ mature work and the diversity of his practice. This gem of a picture forms part of a celebrated group of paintings, prints and drawings that begin with his You Yang pictures in 1963 and continue in the Upwey and Lysterfield landscape-based works from the mid to late 1960s. Williams’ long-held interest in the aesthetic of traditional Asian calligraphy, an early appreciation for the dense colour palette of nineteenth-century French Realist painter Gustave Courbet (1819-1877), and awareness of the uniform surfaces of 1960s international colour-field abstraction combine with his aim to reveal the Australian landscape through paint. The 1960s proved to be a watershed for Fred Williams. In solo and group exhibitions, he continued to build on his reputation as being one of Australia’s most important and innovative painters, and his work was included in all the major international travelling exhibitions of Australian art. In mid-1964, Williams travelled to Europe for seven months with his wife Lyn, under the auspices of the prestigious Helena Rubinstein Travelling Scholarship. Returning to Australia in January 1965, the two resettled on two acres of land in a small house and studio at Upwey in the Dandenong Ranges, outside Melbourne. The paintings that make up the Gum Trees in Landscape series were worked on in 1966 and then again in late 1968.1 They have their genesis in etching subjects, and in paintings, gouaches and drawings produced at Upwey and from painting excursions to nearby Lysterfield. Williams had begun to explore Lysterfield during mid-1965 when he would be driven there to work on the weekends. The surrounding rolling hills contrasting with flat, 54

Australian & International Fine Art & Sculpture

Museum and Art Gallery, Hobart, 18 April - 22 May 1988; Art Gallery of Western Australia, Perth, 13 June - 31 July 1988; Art Gallery of South Australia, Adelaide, 16 August - 30 October 1988; Queensland Art Gallery, Brisbane, 24 November 1988 - 30 January 1989; Museum and Art Galleries of the Northern Territory, Darwin, 29 April - 4 June 1989; Art Gallery of New South Wales, Sydney, 8 August - 24 September 1989, cat.115 Fred Williams - Small Pictures, Rex Irwin Art Dealer, Sydney, 7 May - 15 June 1991, cat.12 REFERENCE Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p.101 (illus.) We gratefully acknowledge the kind assistance of Mrs Lyn Williams AM with cataloguing this work.

$180,000 - $240,000

fenced farmland and patches of dense scrub interspersed amongst open countryside appealed to Williams. The polarities he experienced there touched a chord, though he was also conscious of how this landscape was undergoing a process of change.2 When seeing the Upwey and Lysterfield paintings and gouaches for the first time Williams’ contemporaries were quick to recognise their importance. In Sydney, critics Elwyn Lynn, Wallace Thornton and John Henshaw valued them as exciting, new interpretations of the Australian landscape. Henshaw noted that everything in the show had ‘… greater assurance and intensity than before’.3 Writing in a similar vein, the respected artist and critic James Gleeson focused on Williams’ adroit placement: ‘each spot or squiggle signifying a tree or tree-trunk forms part of a constellation whose pattern seems haphazard, but whose placement is ordained by one of the most refined aesthetic sensibilities of our time.’ Gleeson followed this with higher praise in a 1969 review of an exhibition at Rudy Komon Gallery, Sydney: ‘In these marvellous paintings’, which included a Gum Trees in Landscape painting, ‘Williams proves himself to be the most subtle and penetrating of all our Australian landscape painters.’4 Gum Trees in Landscape III exemplifies the more pared back approach to painting that emerged in Fred Williams’ work over 1966-68. The picture features a muted steel-grey background separated into two luminous bands and an empathic horizon

Figure 1 Landscape ’69 Triptych 1969-70 oil on canvas (3) 198.5 x 274.5 cm (overall) National Gallery of Australia collection, Canberra Gift of Lyn Williams, 1989

line that separates it into 1/3 for the sky and 2/3 for the land. Over this perfectly proportioned composition, Williams introduces his signature vocabulary of abbreviated charcoal lines, punctuated marks and bright colour dabs applied in tints of red, yellow and blue. Tree trunks and foliage are reduced to a musical-like notation, with each element strategically placed to reinforce the position and direction of the other. The result is a beautifully weighted arrangement with a fine-tuned optical tension. Gum Trees in the Landscape IV, commenced around the same time, continues in a similar style. James Mollison commented on the way Williams turned his paintings upside down and placed wires across his outdoor pictures to make sure the individual elements all worked in concert, often based on diagonal lines that established key focal points within each picture.5 These two studio-made pieces were worked from oil studies and gouaches, projecting a greater feeling of openness and a boundless space that continues beyond the frame. This separates them from earlier works around the same subject and brings them closer in spirit to the You Yang paintings of the early 1960s, as well as foretelling the Australian landscape series of 1969-70. The relationship between Fred Williams’ paintings and etchings is also important in this context. Gum Trees in Landscape III has strong formal and technical associations with his 1965-66 etchings including the various states and impressions of Gum Trees in Landscape Lysterfield and Chopped Trees (in the National Gallery of Australia collection). Williams adapts the 56

Australian & International Fine Art & Sculpture

varying plate-tone in these prints to produce an even all-over surface in the painting and to differentiate between ground and sky. The translucency of Gum Trees in Landscape III is achieved by applying and rubbing successive coats of heavily thinned down oil. Williams also experiments with landscape elements as composed splotches of heavily laden paint. This is adapted from etching techniques such as aquatint, and open bite, in which areas of the printing plate are exposed to acid with no resist. In a recent essay, Patrick McCaughey, one of Fred Williams’ oldest and most esteemed supporters, challenged the view that there was a single line in his work that moved from painting to painting, and from one series to the next. He proposed that many of the revered Australian artist’s finest works fell outside this trajectory. In the spirit of curator Deborah Hart’s definition of Williams’ art based on ‘dialogues across series’, we recognise that ‘… Williams, who worked on many canvases, even different series, simultaneously, sought to incorporate disparate elements into a single work’.6 Gum Trees in Landscape III is exemplary of this multifarious approach. It combines his experimental approach to printmaking, the discipline of studio-based painting and subjects related to his gouaches and drawings done in the field. There is a frisson of excitement that we experience when we come face to face with such a work.

Figure 2

Figure 3

Gum Trees in Landscape IV 1969 oil on canvas 122.0 x 91.0 cm Sold Deutscher + Hackett, Sydney, 28 August 2013, lot 38, $420,000 (including buyer’s premium)

Upwey Landscape No. 5 1967 oil on canvas 61.5 x 42.0 cm Sold Deutscher~Menzies, Sydney, 5 December 2007, lot 39, $324,000 (including buyer’s premium)

‘In these marvellous paintings … Williams proves himself to be the most subtle and penetrating of all our Australian landscape painters.’ James Gleeson

FOOTNOTES 1. W illiams, L., in correspondence with the author, 6 September 2020. Williams expressed alarm at the number of trees being felled in the district, recording in his diary entry of 31 July 1967: ‘There is more and more activity in the gully – there is a continual swing of axe and chainsaw – I guess its prettiness cannot last much longer – and this makes me very sad – it is the reason we came to live here.’ Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p.97 2. Henshaw, J., ‘A new look at the bush’, Australian, 15 October 1966 3. Gleeson, J., ‘The Williams Paradox’, Sun, Sydney, 5 November 1969; ‘A new look at land without life’, Sun-Herald, 23 October 1966 4. Mollison, J., A Singular Vision, p.101 5. M cCaughey, P., Gum Trees in Landscape II, 1966 Bonhams, June 2015. See also Deborah Hart, Fred Williams: Infinite Horizons, National Gallery of Australia, Canberra, 2011, pp.90-107

Rodney James BA (Hons); MA 57

30. IAN FAIRWEATHER (1891-1974)

Women and Children 1957 gouache on cardboard 51.0 x 36.0 cm signed with monogram lower left: IF PROVENANCE Macquarie Galleries, Sydney Mr Everest York Seymour, Sydney, until 1966 Private collection Lawson~Menzies, Sydney, 15 April 2003, lot 29 (as The Family 1958)

Ian Fairweather’s Women and Children 1957, a modernist rendering of one of his most familiar subjects, is a fine example of balance between the figurative and the abstract. It was painted at a moment of relative calm in the artist’s fractured and far-from-calm life, five years after the low point of taking off from Darwin on a raft he had made himself – a ‘collage of timber’ Murray Bail calls it – in an attempt to reach Portuguese Timor, or so he later said.1 Found washed up on a remote island after sixteen days at sea, he was ‘rescued’, handed to the British authorities in Indonesia and sent back to his natal England. There he had to work as a labourer to repay the cost of his repatriation before he managed to get back to Australia where he could find the solitude he needed to paint his way back to life – and his art. He went to live on Bribie Island where he made another ‘collage’, of driftwood and bush materials this time, to serve as a shack, where he lived modestly and alone, with his paints and his brushes. He was sixty-two when he landed there at the end of 1953. That new year he listened for the ‘first sound’, as he always did, he wrote to his friend J.S. Ede. ‘It has often had a message, a sign of things to come. This year there was a stillness. A blank.’2 It was in that stillness that he made the transition to the abstraction of his late, great work. In his authoritative study of Fairweather, Murray Bail sees those years on Bribie Island as a time of consolidation as well as experiment, of integration as well as quest. Had he died on that raft, Bail writes, and it is miraculous that he did not, his legacy would have been as an interesting quirk in the history of Australian art, ‘a gifted foreigner’ rather than the magisterial artist – the most admired among fellow artists – who found in Australia a place where he could create ‘art without boundaries’.3 In Women and Children, painted at that time of quest, his retreat from perspective and gesture is complete; in place of an underlying pencilled composition, his drawing becomes painting, with confidence of line creating the blocky, fractured figures; his interest in cubism is evident, and his familiarity with Picasso – whose work he had seen only in reproduction. Painted in gouache, with a background of textured gunmetal grey over a light magenta wash, the figures are brought forward to fill the frame, the lines of dark green paint tethering the pale bodies of the mother as the round curve of children cling to her. The perfectly positioned vertical lines of dark ochre-rust slash through the composition, at once breaking and emphasising the 58

Australian & International Fine Art & Sculpture

Private collection, Melbourne Deutscher~Menzies, Melbourne, 8 September 2004, lot 45 Private collection, Melbourne Estate of the above EXHIBITED Ian Fairweather, Macquarie Galleries, Sydney, 20 November - 2 December 1957, cat.3 Blue Chip VI: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 2 - 27 March 2004, cat.21 (label attached verso) We gratefully acknowledge the kind assistance of Mr Murray Bail with cataloguing this work.

$60,000 - $80,000

instability of the maternal figure and the clinging limbs of the children. In it he achieved the balance he wanted, as he put it in a 1963 oral history interview, between ‘representation and the other thing, whatever it is.’4 Women and Children is also a highly subjective painting, the slashing, fracturing lines as much psychological as formal. Fairweather painted and repainted mother and child scenes many times throughout his painting life, a theme that for him held deep personal significance. While his painting and repainting of it can be seen as contributing to the modernist dismantling and remaking of a trope that has been fundamental to European art, for him it was also a lancing of a private, and primal trauma. Ian Fairweather was the youngest of nine children born to a Scottish doctor, a ‘formidable’ Surgeon-General with the British army and a woman from a wealthy family from Jersey in the Channel Islands. Six weeks after his birth, his parents left him in the care of various aunts and returned to India where his father was stationed. The family was not united until his father retired ten years later. It was a precarious, fractured start to life which haunted Fairweather and his painting. In the quiet of Bribie Island, the experience still returned in memory and dream – and at the easel – but by then the reworking of painful experience had become reflective, more analytical than chaotic. This 1957 Women and Children is indeed a fine painting that holds in balance not only the figurative and the abstract, line and colour, but also the meditative and the experimental, the subjective and the analytical. But it is worth remembering that while all this might be so, Fairweather himself was opposed to the notion that any painting should need explanation. For him, its power lies in the visceral response it provokes. FOOTNOTES 1. Bail, M., Ian Fairweather, Murdoch Books, Sydney, 2009 2. L etter from Ian Fairweather to J.S. Ede, 1953, quoted in Fisher, T., The Drawings of Ian Fairweather, National Gallery of Australia, Canberra, 1997 3. Op. cit. Bail, M., Ian Fairweather 4. Interview with Ian Fairweather by Hazel de Berg, 1963, quoted in Fisher, T., The Drawings of Ian Fairweather, National Gallery of Australia, Canberra, 1997

Drusilla Modjeska

31. WILLIAM ROBINSON born 1936

The Sacred Rock, Carnarvon 2006 oil on linen 122.0 x 183.0 cm signed and dated lower right: William Robinson 2006 inscribed verso: THE SACRED ROCK CARNARVON PROVENANCE Australian Galleries, Melbourne (label attached verso, stock no.30250) Private collection, Melbourne Estate of the above

William Robinson’s paintings of central and south east Queensland are unique in the history of Australian art, revealing an approach to the landscape that is at once intimate and allembracing. First emerging in the mid-1980s, Robinson’s imagery of subtropical rainforests signalled a major departure from the two dominant paradigms of Australian landscape painting: the pastoral landscapes of Arthur Streeton (1867-1943) and Elioth Gruner (1882-1939) in the 1920s and 30s; and the desolate outback scenery of Sidney Nolan (1917-1992) and Russell Drysdale (1912-1981) in the 1940s and 50s.1 Nolan and Drysdale’s paintings of central Australia emphasised its bleak monotony and harshness, with the artist assuming the role of visitor to a hostile and alien land.2 In contrast, Robinson’s landscapes celebrate the abundance and vitality of the rainforest: they are borne from a deep familiarity with and attachment to his immediate environment. Robinson’s greatest innovation as an artist has been his abandonment of single-point perspective in favour of what he calls a ‘multi-viewpoint’, allowing the landscape to be glimpsed from multiple vantage points within a single image.3 To stand before one of Robinson’s landscapes is to become immersed within it – to be transformed from an observer to a ‘participant in the landscape.’4 Robinson’s foray into landscape painting came relatively late in his career, when in 1984 the artist and his wife Shirley purchased a rural property at Beechmont, in the Gold Coast hinterland. Robinson began to explore his new surroundings on foot, making regular excursions into the neighbouring Lamington National Park: 60

Australian & International Fine Art & Sculpture

EXHIBITED William Robinson: Paintings and Lithographs 2000-2007, Australian Galleries, Sydney, 2 - 24 October 2007; Australian Galleries, Melbourne, 13 November - 9 December 2007, cat.3 REFERENCE Rainbird, S., William Robinson: Paintings and Lithographs 2000-2007, Australian Galleries, Melbourne, 2007, p.10, cat.3 (illus. pp.11, 21, back cover) $250,000 - $350,000

When we moved to 208 acres [at] Beechmont I would spend weekdays and holidays doing rather thorough walks. I was not purposely gathering the information but just letting the experiences happen. I would go to my studio and unravel the experience.5 Robinson had already begun to experiment with unconventional perspective in his Farmyard series – his wonderfully outlandish paintings of the goats, cows and chickens that inhabited his old farm at Birkdale. But the artist’s encounters with the rainforest at Beechmont would inspire him to experiment still further – to attempt to recreate on canvas what it felt to be fully immersed in this new setting. As Lou Klepac writes: Robinson found that a good way to integrate the landscape into himself was by walking through it. The visitor walks through it once; the resident walks through it repeatedly, each walk revealing a new dimension, tearing away the barriers of preconceived ways of seeing…Robinson’s landscape was all around him. In order to see it, to get to terms with it, and observe it closely, he had to swivel his body, turn his head, make physical contortions. It is this change of physical attitude before a landscape which has produced these highly original paintings.6 In Robinson’s rainforest paintings, seeing becomes a physical act, such that what these works depict is not a view of the landscape but its overall sensation. An inherent part of these images is what we cannot see: the sounds of birdsong and wind through trees; the invigorating scent of the forest floor after rain; the feeling of brushing against the ferns and palms that

Figure 1 Summer Landscape, Numinbah 2001 oil on linen 122.0 x 183.0 cm Sold Deutscher + Hackett, Sydney, 28 August 2013, lot 60, $282,000 (including buyer’s premium)

‘Every brushstroke to me is real: real trees, real ground, everything is felt as if I am walking over it…’ William Robinson

line a forest path. In Robinson’s paintings, the landscape is made tangible. The Sacred Rock, Carnarvon is part of a celebrated group of works inspired by Robinson’s visits to Carnarvon National Park in the central highlands of Queensland. Encompassing some 300,000 hectares, this spectacular wilderness area is renowned for its dramatic sandstone cliffs, remnant rainforest and unique flora and fauna.7 The title of The Sacred Rock, Carnarvon may also allude to the spiritual significance of this landscape for its indigenous custodians – the Bidjara, Garingbal and Ghungalu people – whose ancestral links to the area stretch back over 19,500 years.8 The park’s principal attraction, Carnarvon Gorge, shelters outstanding examples of indigenous rock art thought to be over 3,600 years old.9 Robinson’s Carnarvon paintings show a slightly more orthodox viewpoint when compared with his Beechmont landscapes, which would often show inverted and enclosed perspectives of the forest canopy and sky. To allow for the most remarkable aspects of the Carnavon landscape, Robinson has reintroduced the horizon line, as seen in the magnificent outline of rock in the present work. The bold, wave-like form of this sandstone structure is replicated in the left of the painting, where we encounter a tumbling profusion of rock, gum trees and scrub. In the centre, the slender trunks of lemon-scented gums combine 62

Australian & International Fine Art & Sculpture

with Carnarvon fan palms, cycads, ferns and flowering shrubs. As with Robinson’s earlier works, however, the vanishing point remains absent, and there is little distinction between foreground, middleground and background. The topsy-turvy elements of Robinson’s Beechmont paintings are still evident in the upper right of the present work – with its inverted, overhanging trees and rock – and the lower left corner, where contorted saplings splay out of sandstone boulders in all directions. The Sacred Rock, Carnarvon reveals the evolution of Robinson’s painterly technique from his first landscapes of Beechmont in the 1980s. Robinson’s earlier landscapes often resembled a tapestry, with the composition segmented into patches of forest and sky.10 In the present work this effect is far less pronounced. Robinson’s brushstrokes have become noticeably finer, and his attention to the landscape’s precious detail – the markings on a tree, the leaves on a shrub – has become more acute. Discussing his technique with Janet Hawley, Robinson explained: Every brushstroke to me is real: real trees, real ground, everything is felt as if I am walking over it, nothing is just filling-in an outline … I use small brushes, and mix my colours one brushstroke at a time, so sometimes you can see one brushstroke with several colours on it … I like to

Figure 2 Shaded Pool, Carnarvon 2008 oil on canvas 92.0 x 122.0 cm Rockhampton Art Gallery collection, Queensland

work wet on wet, to go back into the paint when it is wet, rather than scumbling another layer over the top of dry colours. I’m a slow painter, but I’m consistent.11 In The Sacred Rock, Carnarvon, we become aware of a juxtaposition between the eternal underlying structures of the landscape and the ephemeral living forms that inhabit it. Coinciding with an era of heightened awareness of humanity’s impact on the environment, Robinson’s art ‘conveys not only the magic and mystery of the forest but also a sense of its transience.’12 In the Carnarvon Range, the dual force and fragility of nature was brought into stark relief in 2018 when bushfires ravaged the park, causing severe damage to ancient rock art sites.13 On a personal level, Robinson’s life has been marked by the loss of close family members – his father and two daughters – and his landscapes may be interpreted as meditations on the ultimate brevity of life.14 Robinson’s expansive vision of the landscape reflects a certain humility about his place in the world, and an acceptance of life’s unknowability: We are only here for a very short time. I don’t have the theological knowledge or brain power to understand why good or bad things happen, but they both happen … As you get older, you realise the finiteness of yourself in this infinity, the smallness of yourself in this universe, and this affects the way you try to understand your place within it.15

FOOTNOTES 1. K lepac, L. William Robinson: Paintings 1987-2000, The Beagle Press, Sydney, 2001, p.20 2. Ibid. 3. Fern, L., William Robinson, Craftsman House, Sydney, 1995, p.49 4. Op cit. Klepac, L., p.22 5. William Robinson, quoted in Klepac, L., p.22 6. Op cit. Klepac, L., pp.22-23 7. Parks and Forests, Queensland Department of Environment and Science, ‘Carnarvon Gorge, Carnarvon National Park,’ accessed 3 October 2020: https:// parks.des.qld.gov.au/parks/carnarvon-gorge 8. A ustralian Nature Guides, ‘Carnarvon Gorge Human History,’ 2016, accessed 3 October 2020: https://www.carnarvongorge.info/human-history-of-carnarvongorge 9. Ibid. 10. Hawley, J., ‘William Robinson: Portrait of an Artist,’ in Artists in Conversation, The Slattery Media Group, Melbourne, 2012, p.159 11. William Robinson, quoted in Hawley, J., p.160 12. Op cit. Fern, L., p.53 13. Easton, A., ‘Ancient Rock Art at Carnarvon Gorge Destroyed after Walkway Explodes in Bushfire,’ ABC News, 8 January 2020, accessed 3 October 2020: https://www.abc.net.au/news/2020-01-08/ancient-rock-art-lost-after-plasticwalkway-explodes-in-bushfire/11848938 14. Op cit. Hawley, J., p.158 15. William Robinson, quoted in Hawley, J., pp.158-159

Catherine Baxendale B Phil (Hons), MA (Art Curatorship) 63

32. JEFFREY SMART (1921-2013)

The Steps, Palma 1965 oil on canvas 63.5 x 79.0 cm signed and dated indistinctly lower left: JEFFREY SMART 65 inscribed verso: STEPS - PALMA PROVENANCE South Yarra Gallery, Melbourne The Harold E. Mertz Collection, New York The Archer M. Huntington Art Gallery, University of Texas, Austin, 1972 (labels attached verso, as Palma Steps) Christie’s, The Harold E. Mertz Collection of Australian Art, Melbourne, 28 June 2000, lot 14 (as The Steps, Parma) Savill Galleries, Sydney (label attached verso, as The Steps, Parma) Private collection, Sydney Menzies, Sydney, 25 March 2010, lot 52 Private collection, Melbourne Estate of the above

Jeffrey Smart was never a spontaneous and unrestrained artist. Certainly, some of his ideas came unexpectedly like mental snapshots, but the rendering and resolution of these snapshots into pictorial form was always painstaking and meticulous. Smart explains it himself in the following words: I usually work from drawings. Then I take photographs. Then I fiddle around with them, do little sketches, little ideas, little trials. And sometimes they come off. If it looks promising I push it forward into a small oil study. If that promises well I push it forward again, and I embark on the big picture. It’s terribly slow. And I destroy a lot.1 For Smart, there are no dashed off works of bravura or painterly happenstance. He is a studious artist whose compositions are as carefully constructed as they are rendered. They demonstrate how closely Smart studied his subjects and how his compositions were carefully deliberated upon. They were often gridded out and the images were then recreated on canvas, with many subtle changes being made to the placement and scale of the forms and elements in the final painting. The Adelaide-born Smart was only eighteen years old when his work was selected to be shown in that city’s first exhibition of modern art – The Testament of Beauty exhibition of 1939. This seminal exhibition, organied by Mary Packer Harris (1891-1978), one of Smart’s lecturers at the South Australian School of Art in North Terrace in Adelaide, included the paintings of much older artists such as David Dallwitz (1914-2003), Ivor Francis (1906-1993), 64

Australian & International Fine Art & Sculpture

EXHIBITED Jeffrey Smart, South Yarra Gallery, Melbourne, April 1966, cat.7 The Australian Painters 1964-66: Contemporary Australian Painting from the Mertz Collection, Corcoran Gallery of Art, Washington D.C., 1966, cat.136 The Australian Painters: 1950-1966: From the Mertz Collection, The American Federation of Arts, New York, January 1969, cat.45 (label attached verso) Legends and Landscape in Australian Art, Sarah Campbell Blaffer Gallery, Houston, November - December 1986 120 Years of Australian Painting, Savill Galleries, Sydney, 6 - 30 September 2000, cat.1 (as The Steps, Parma; illus. exhibition catalogue, front cover) REFERENCE Quartermaine, P., Jeffrey Smart, Melbourne, 1983, p.109, cat.458 (as The Steps, Parma) Allen, C., Jeffrey Smart: Unpublished Paintings 1940-2007, Australian Galleries, Melbourne, 2008 (illus. p.129) $500,000 - $600,000

Jacqueline Hick (1919-2004) and Douglas Roberts (1919-1976). Mary Harris, a devout Quaker, was an inspirational mentor and her later books, Art, The Torch of Life of 1946 and The Cosmic Rhythm of Art and Literature of 1948, further cemented her under-acknowledged influence upon the younger generation of emerging talents in South Australia. The humanistic content of these two books, and the information on European modern art readily available at Max Harris’s Mary Martin Bookshop from 1942, complemented the new artistic spirit found in The Angry Penguins, the avant-garde journal founded by Max Harris and Donald Kerr in 1940. It was in this intellectually advanced climate in Adelaide that the young Jeffrey Smart polished his painterly skills and sharpened his individualistic vision. The new artistic spirit in the Adelaide of the 1940s turned away from traditional depictions of pastoral landscapes and nationalistic bush romanticism and moved toward urban contexts and the psychological place of self within metropolitan settings. It is this personal landscape of mental associations and the inner self that gives the paintings of Jeffrey Smart their poetic content and their characteristic emotional tensions. No other painter in Australia has captured this evocative content so precisely and opened one’s eyes to the harsh incongruities of industrialisation and the so-called ‘progress’ foisted by some municipalities - even in the wonderful ‘leave-it-as-it-is’ beauty of Palma on the Spanish island of Mallorca. Smart’s paintings are both confronting in their vivid realism and strangely comforting in their recognition of familiar urban

Figure 1

Figure 2

The Steps 1967 oil on canvas 81.0 x 65.0 cm The University of Sydney collection, Sydney

The Stairs, Florence Station II 1983-84 oil on canvas 83.0 x 70.0 cm Sold Menzies, 25 March 2010, lot 46, $552,000 (including buyer’s premium)

‘I find myself moved by man in his new violent environment.

realities. In making the familiar so unfamiliar, Smart stops the viewer short. When one recognises the ubiquitous banality of Smart’s urban realities one is brought to admire and more fully appreciate his characteristically uncluttered and carefully composed ‘silent’ paintings. Smart is a master at painting quiet empty moments. It is the skilful and mysterious blending of these visual attributes that make Smart’s paintings so unique and memorable. Smart himself tacitly confirmed this view when he wrote in 1968: I find myself moved by man in his new violent environment. I want to paint this explicitly and beautifully.2 By ‘violent’, Smart means urban and metropolitan - environments that are far from the unhurried and relaxed comforts of small villages, farms, vineyards and pastoral vistas. Jeffrey Smart’s wonderful painting The Steps, Palma of 1965 is a very significant distillation of all these important artistic aims and aesthetic sentiments. This mature painting, completed at the age of fortyfour, presents the viewer with a juxtaposition of the human and non-human. The painting is made up of a restricted palette of colours with no traces of individualistic brushstrokes and no 66

Australian & International Fine Art & Sculpture

painterly flourishes. In this respect, Smart takes after the early Renaissance artists Piero della Francesca (1420-1492) and Domenico Ghirlandaio (1449-1494), whose techniques and geometric compositions he always held in awe. The painting’s principal images are a large rise of steps that traverse a poster bollard covered with the remnants of old notices. The effect is one of juxtaposition, formed by a contrast between the closely controlled sections of the painting with the almost Abstract Expressionist, vertical sections of the bollard. The effect of the painting is a one of a paused eye blink, where objects and scenes are grasped in an instant. Smart revels in just such a visitational mode of seeing. It affords him emotionless distance and a grasp of the pictorial tableau. The whole painting seems to have arisen from a glanced moment of acute observation. One recognises the scene, since it is so common, and the painting is a tribute to Smart’s ability to distil and concentrate the aesthetic effects of such seemingly banal urban scenes – the ordinary is made to look extraordinary. The uncanny ambience of Smart’s painting The Steps, Palma gives a hint of the source of the enigmatic feeling that pervades this work: that of Giorgio De Chirico (1888-1978), the Italian proto-

Figure 3 The Steps 1967 oil on canvas 76.0 x 80.0 cm Sold Sotheby’s, Sydney, 24 November 2015, lot 22, $597,800 (including buyer’s premium)

I want to paint this explicitly and beautifully.’ Jeffrey Smart

Surrealist artist whose desolate piazzas and long lugubrious shadows are distantly echoed here.

McDonald, J.,,Jeffrey Smart: Paintings of the 70s and 80s, Craftsman House, Sydney, 1990

Both Smart and De Chirico are acknowledged masters at capturing a particularly poignant and poetically nuanced artistic glimpse of the urban environment. These attributes are also found in the Italian Post-War films of Michelangelo Antonioni (1912-2007) and Federico Fellini (1920-1993), where beauty is sought within the constructed confines of metropolitan realities. All of them, De Chirico, Antonioni and Fellini, would respectfully recognise the poetry of Smart’s urban visuality.

Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983

Pearce, B., Jeffrey Smart, The Beagle Press, Sydney, 2005

Thomas, L., 200 Years of Australian Painting, Bay Books, Sydney, 1971

Associate Professor Ken Wach Dip. Art; T.T.T.C.; Fellowship RMIT; MA; PhD Former Principal Research Fellow and Head, School of Creative Arts The University of Melbourne

FOOTNOTES 1. J effrey Smart out-take transcript from the film Smart’s Labyrinth, quoted in Pearce, B., Jeffrey Smart, The Beagle Press, Sydney, 2005, p.18 2. J effrey Smart, quoted in McDonald, J., Jeffrey Smart: Paintings of the 70s and 80s, Craftsman House, Sydney, 1990, p.50

LITERATURE Capon, E., Jeffrey Smart Retrospective, Art Gallery of New South Wales, Sydney, 1999 Gleeson, J., Masterpieces of Australian Painting, Lansdowne Press, Melbourne, 1969 Hughes. R., The Art of Australia, Penguin, United Kingdom, 1970

33. BRETT WHITELEY (1939-1992)

The Sunrise - Japanese: ‘Good Morning!’ 1988 oil and collage on board with electric light 244.0 x 204.5 cm signed and dated lower left: brett whiteley 88 inscribed with calligraphy characters upper left sketch of beach scene on verso PROVENANCE

EXHIBITED Brett Whiteley: Birds, 1988: Recent Paintings, Drawings, Sculpture and One Screen Print, Brett Whiteley Studio, Sydney, 5 - 19 July 1988, cat.16 (as THE SUNRISE/Japanese: ‘GOOD MORNING!’) Twenty Fine Paintings, Scott Livesey Art Dealer, Melbourne, 2001, cat.15 (illus. exhibition catalogue) Gould Modern: Melbourne Exhibition, Gould Galleries, Melbourne, 20 July - 31 August 2002, cat.16 (illus. exhibition catalogue)

The artist Acquired from the artist, Mr Alex Holland, Sydney, 1988 Private collection, Perth Scott Livesey Art Dealer, Melbourne Private collection, Melbourne Private collection, Sydney Deutscher~Menzies, Melbourne, 8 September 2004, lot 23 Company collection, Melbourne Deutscher~Menzies, Sydney, 23 September 2009, lot 36 Property of an investment syndicate, Melbourne Menzies, Melbourne, 20 June 2012, lot 41 Private collection, Melbourne Menzies, Melbourne, 21 September 2016, lot 36 Private collection, Sydney

REFERENCE

Brett Whiteley may be thought of as Australia’s Rudolf Nureyev (1939-1993) of the canvas – the two were born one year apart and died one year apart. The bravura, flair, airy grace and breathtaking suspension of the ballet dancer were, for many, mirrored by the young Whiteley in the seemingly dashed-off, almost brazen insouciance of his paintings.

July 1969 during a blissful five-month stay in a small cottage in the village of Navutulevu, about eighty kilometres from Suva in Fiji. The couple, with their five-year-old daughter Arkie, lived simply and happily and enjoyed their island paradise after the turmoil and bustle of New York. Wendy Whiteley summed the period up well: ‘We really did live in Paradise there. Brett was painting birds, landscapes, frangipanis, some of the Fijians. It was Gauguin and Tahiti: you could sink into it.’1 It was a stay that was abruptly cut short by a much-publicised early morning drug raid by the local police. Whiteley was fined £50 for drug possession and forced to return to Sydney. Despite this unwelcome end to his holiday, the elegant form and rich colour of bird life were to stay in his mind for the next twenty years.

Analogies aside, it is easy now to forget just how astonishing Whiteley really was. Who could forget the audacity of this stripetrousered, tousle-haired wunderkind in the Sixties? Has any twenty-year old artist ever appeared on the front page of The Australian newspaper ever since? Whiteley’s artistic trajectory was astounding. In November 1959, at the age of twenty, he won the Italian Government Travelling Art Scholarship, which was judged by Russell Drysdale (19121981). Whiteley held his first solo exhibition at the age of twentythree at the Matthiesen Gallery in London in 1962. In this context, it is worth noting that Whiteley is the youngest non–British artist to have a work purchased by London’s prestigious Tate Gallery. His painting, Untitled Red Painting of 1960, was purchased for the Tate Gallery from Bryan Robertson’s famous Whitechapel Gallery in London during the groundbreaking group exhibition Recent Australian Painting of June to July of 1961 - Whiteley was just twenty-one years old when he painted the work. After early success, Whiteley’s life was firmly set on an artistic path and he more than proved himself through forty-nine successful solo exhibitions held between 1962 and 1992 – a highly productive average of three exhibitions every two years. Whiteley first came to notice the captivating beauty of birds in 68

Australian & International Fine Art & Sculpture

Lynn, E., Weekend Australian Magazine, 9-10 July 1988, p.13 McGrath, S., Vogue Living, November 1988, p.152 (illus., in studio photograph) Hilton, M. & Blundell, G., Whiteley: An Unauthorised Life, Pan Macmillan Australia, Sydney, 1996, p.217 Pearce, B. et al, Brett Whiteley Studio, Art Gallery of New South Wales, Sydney, 2007, p.260 (illus., in studio photograph) Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, cat.133.88, vol.4, p.426, (illus. p.427), vol.7, p.717 $1,500,000 - $2,000,000

Whiteley’s large and impressive painting, The Sunrise Japanese: ‘Good Morning!’ of 1988 was inspired by the earlier peace and repose of his stay in Fiji. This was at a time when the Crafts Board and the Visual Arts Board of the Australia Council promoted new links with Asia by supporting Australian potters, printmakers, sculptors and painters to visit Japan and acquaint themselves with the art of the East. As a result, Japanese aesthetics and the Japanese Arts and Crafts Movement became prominent in Australia - this is remarkable as, in contrast with today, Australia knew little of Japan and it is worth recalling that, at the time, there was only one Japanese restaurant in Melbourne - the famous Sukiyaki Inn off Little Bourke Street at the back of the Southern Cross building. Books on Japan were very rare and suddenly, in the mid 1970s, international publishers such as Kodansha, Tuttle and Hokkeido Press made scholarly works available through local subsidiaries.

Figure 1 Orange Fiji Fruit Dove c1983 oil on canvas 184.0 x 202.5 cm Sold Deutscher~Menzies, Sydney, 12 September 2007, lot 36, $1,920,000 (including buyer’s premium)

The only place one could feast upon Japanese art proper was at the National Gallery of Australia, Canberra, and the collection of Japanese prints shown by Tate Adams in his marvellous little gallery in Melbourne’s Crossley Street. In Whiteley’s mind, the appeal of the Orient was always associated with peace, respite, refuge and gentility and there is little doubt that he returned to the theme at times of tranquillity in his Lavender Bay studio in Sydney. Therefore, it comes as little surprise that after his separation from his wife Wendy, he should return to the bird series as he has done in The Sunrise - Japanese: ‘Good Morning!’, a painting that was not only a release from the stress of that time, but also a response to his five-week trip to Bali, Kyoto and Tokyo. The painting was exhibited in Whiteley’s 1988 solo Birds exhibition (cat.16) at his studio in Sydney’s Surry Hills and was purchased from the artist in the same year. The Sunrise - Japanese: ‘Good Morning!’ is a refinement of both an earlier and a contemporaneous work; that is Orange Fijian Fruit Dove of 1988 and his Shao (Rain Slanted by Wind) of 1978-79. It has Whiteley’s characteristic sweep, his use of lush blues and the subtle balance of Oriental screen paintings that unfold their beauty like unfurled scrolls. There is something of an Oriental feeling in many of Whiteley’s paintings of birds. It seems most likely that he noticed the lyrical charm of Chinese and Japanese paintings and screens. Whiteley was an observational magpie - he had an acute ‘eye’ in that he so often noticed that which would go unnoticed by others. Chinese 70

Australian & International Fine Art & Sculpture

vases, Japanese prints, screens, calligraphy, kimono fabrics, bas-reliefs on bronzes-all these varied elements widened his visual ‘vocabulary’ and honed his visual literacy. However, it is important to note that Whiteley’s bird series are not ‘interpretations’ or copies of any Oriental themes – he does not ‘Orientalise’. Whiteley’s imagination wandered the Pacific Rim region and he somehow ‘Australianised’ whatever stirred his artistic imagination. It is hard to imagine anyone but an Australian artist painting these sorts of works. For a long time, as Paul Gauguin (1848-1903) well knew, Sydney was considered to be the centre of the Pacific, so it is entirely appropriate that one of Sydney’s most accomplished sons should turn his attention in that direction. Giles Auty, the English commentator who was the art critic for the Australian newspaper from 1995 to 2001, clearly recognised all of this when he wrote the following: While Matisse looked to sources such as Persian miniatures for certain of his formal devices, Whiteley turned more appropriately to the Pacific and Japan. This is another aspect of his art that seems to irritate his detractors, yet he followed a major tradition in art in doing so.2 Whiteley emulated, not imitated. He personalised an Oriental mode of sensing and seeing that heightened sensation and appreciation – these are not angst filled canvasses, they simply ask us to pause and reflect on the beauties of the natural

‘In Whiteley’s bird paintings is embodied his finest feeling; they are to me his best work. I like in the bird shapes that clarity; that classical, haptic shapeliness; that calm - those clear, perfect lines of a Chinese vase. The breasts of his birds swell with the most attractive emotion in his work. It is bold, vulnerable and tender.’ Robert Gray

world around us. These underlying, even hidden, factors are an important part of the lingering appeal of Whiteley’s bird series of paintings. The respected Melbourne art critic Alan McCulloch got it right when he said: As observer and delineator of the waning kingdoms of animal and bird life, Whiteley is a remarkable artist, perhaps, because in these relatively uncontaminated domains he is motivated more by love than despair.3 Robert Gray, the Sydney poet, recognised the exceptional quality of Whiteley’s bird series of paintings and published these words in the journal Art and Australia: In Whiteley’s bird paintings is embodied his finest feeling; they are to me his best work. I like in the bird shapes that clarity; that classical, haptic shapeliness; that calm - those clear, perfect lines of a Chinese vase. The breasts of his birds swell with the most attractive emotion in his work. It is bold, vulnerable and tender.4 Given the nature of the man, it is probably best to let Whiteley have the last word. The sophisticated Austraphile Sandra McGrath, author of the earliest monograph on Whiteley, once asked him if he thought he was a genius. Sounding as droll as Dalí (1904-1989), he replied: ‘Seven times in my life I have felt that maybe I am in possession of genius. These pass’.5 They may well pass, but the work lives on.

Figure 2 The Green Mountain (Fiji) 1969 oil and collage on cardboard 137.0 x 122.0 cm Art Gallery of New South Wales collection, Sydney Gift of Patrick White, 1979

Figure 3 ROBERT WALKER (1922-2007) Brett Whiteley in his Studio, April 1970 black and white negative 2.4 x 3.6 cm Art Gallery of New South Wales collection, Sydney National Art Archive, donated through the Australian Government’s Cultural Gifts Program by Louise Walker, 2008 © Estate of Robert Walker

FOOTNOTES 1. W endy Whiteley ‘Recollections, Wendy Whiteley interviewed by Barry Pearce’ in Pearce, B., Brett Whiteley, Art and Life, Sydney, Thames and Hudson and The Art Gallery of New South Wales, 1995, pp.45-46 2. A uty, G., ‘A Case for Rehabilitation’, The Australian Magazine, Saturday 26-27 August 1995, p.18

Heathcote, C., ‘Whiteley: The Pleasure King of Modern Art’, The Age, Melbourne, Thursday 18 June 1992, p.14 Hughes, R., The Art of Australia, Pelican, Melbourne, 1970 McCulloch, A., ‘Letter from Australia’, Art International, October, 1970 McGrath, S., Brett Whiteley, Bay Books, Sydney, 1979

3. McCulloch, A., ‘Letter from Australia’, Art International, October, 1970, p.69-70

Pearce, B., Brett Whiteley, Art and Life, Thames & Hudson in association with the Art Gallery of New South Wales, Sydney, 1995

4. Gray, R., ‘A Few Takes on Brett Whiteley’ Art and Australia, vol.24, no.2, Summer 1986, p. 222

Smith, B.; Smith, T., Australian Painting 1788-90, Oxford University Press, Melbourne, 1991

5. B rett Whiteley cited in Anderson, P., “Actuality bites”, The Australian Review, 10 November 2009, p.22

Thomas, D., Outlines of Australian Art: The Joseph Brown Collection, Macmillan, Melbourne, 1989

LITERATURE Adams, P., ‘Fame was the Spur’, The Australian, 30 September 1995, p.2 Art Gallery of New South Wales, 9 Shades of Whiteley, touring to Gold Coast Regional Art Gallery, Lismore Regional Gallery, New England Regional Art Museum, Maitland Regional Art Gallery, Bathurst Regional Art Gallery, Mornington Peninsula Regional Gallery, 12 July 2008 - 23 August 2009 Gray, R., ‘A Few Takes on Brett Whiteley’ Art and Australia, vol.24, no.2, Summer 1986 Hawley, J., Encounters with Australian Artists, University of Queensland Press, Brisbane, 1993

Australian & International Fine Art & Sculpture

Associate Professor Ken Wach Dip. Art; T.T.T.C.; Fellowship RMIT; MA; PhD Former Principal Research Fellow and Head, School of Creative Arts The University of Melbourne

THE PRESENT WORK

34. SIDNEY NOLAN (1917-1992)

Kelly I 1979 oil on board 122.0 x 91.5 cm signed lower right: Nolan signed, dated and inscribed verso: Kelly I/ 1979/ Nolan

EXHIBITED Landscapes and ‘Ned Kelly’ Paintings of 1979, Rudy Komon Gallery, Sydney, 1 - 22 March 1980 (label attached verso) $120,000 - $160,000

PROVENANCE Estate of the artist Acquired from the above, private collection, Sydney Deutscher~Menzies, Sydney, 25 March 2009, lot 33 Private collection, London Acquired from the above, private collection, Melbourne

Sidney Nolan’s ongoing fascination with Ned Kelly presents us with a unique opportunity to measure the artist’s progress over the period from 1944, when this engagement began, until the end of his life in 1992. Three main series are recognised: 194647, 1955, and 1964. In addition, individual paintings and smaller groups and studies appeared from time to time, as Nolan measured a new concern against his own artistic yardstick. Each of these groups, ostensibly depictions of the same subject, are quite different. Now, almost thirty years since the artist’s death, the merits of the individual groups stand out in relief and we are able to weigh them against one other and use them, as Nolan himself did, as a barometer to chart his remarkable artistic development: I came back into this picture to see what happened to experience when I put it into the old familiar mould. The image of Kelly became the touchstone of my progression as a painter.1

after his marriage to Mary Perceval. The series also marked the centenary of Ned Kelly’s death in 1880. Whereas Nolan sought to uncover the human side of Kelly in the earlier series, here he is using Kelly as a means to explore the complexity of his own persona. FOOTNOTES 1. N olan, S., The Studio, London, October 1960, quoted in Clark, J., Sidney Nolan: Landscapes and Legends, International Cultural Corporation of Australia Limited, Sydney, 1987, p.120. 2. P earce, B., Sidney Nolan: Retrospective, Art Gallery of New South Wales, Sydney, 2007, p.48, quoting Patrick McCaughey from his Bert & Ned: The Correspondence of Albert Tucker and Sidney Nolan, The Miegunyah Press, Melbourne, 2006

Tim Abdallah BA

In 1944 Nolan was completely unknown, uninhibited and yet confident that his approach, though radical, was correct. The best-known incidents, or myths of Kelly’s life are shown almost in the form of a comic strip narrative. In 1955, Nolan demonstrates a growing interest in the psychology of his subject, and in 1964, he places Kelly in the Landscape, which is possibly the true subject of this series. The present work, one of a group painted in 1979 and exhibited in 1980 at the Rudy Komon Art Gallery, is most closely related to the second series. Here Nolan draws out the iconic qualities of the armoured suit of his now famous protagonist. These are usually half-length portraits, with Kelly isolated and where ‘the figure of the outlaw rises up from the base of the composition with an almost messianic force.’3 Backgrounds are often abstracted and stylised to the point where a landscape is merely suggested. Kelly is shown here as an anguished soul. But the series is rich in complexity, with layers of meaning. Nolan’s Kelly as a victim, is balanced against Kelly as charismatic revolutionary guerrilla leader, as a political animal, as folk hero, as Australian myth. They also show Kelly as an artistic device. In revisiting this concept Nolan acknowledged his own history with this subject. The paintings in this series were produced against a backdrop of some significant events in Nolan’s personal life: a year after the original series had been gifted to the National Gallery of Australia by their owners, John and Sunday Reed; and a year 74

Australian & International Fine Art & Sculpture

Figure 1 MICHEL LAWRENCE born 1948 Sid Nolan with Ned 1987 C type photograph 120.0 x 120.0 cm © Michel Lawrence

35. GARRY SHEAD born 1942

The Miracle 2001 oil on canvas 122.5 x 153.0 cm signed lower right: Garry Shead signed, dated and inscribed verso: Garry Shead - The Miracle - 2001 PROVENANCE The artist Private collection, New South Wales $100,000 - $150,000

Garry Shead brings the divine into our Antipodean everyday. Shead translates religious and cultural legends from the Renaissance onwards into an Australian idiom, breathing new life into old ideas. He paints himself into these compositions, either as a bystander or as the protagonist, exploring the burdens or joys of figures such as D.H. Lawrence, Rembrandt van Rijn (1606-1669), the fictional Australian poet Ern Malley and even, sometimes, Jesus Christ himself.1 This process of assuming the identity of or witnessing situations experienced by creators that Shead deeply admires, or merging stories from Christianity with stories from Australia’s unique cultural past, is a reflexive act of creation. There is a circularity to this creative process that is sincere and pure, and one which shines out of The Miracle. God is the creator. Shead embodies God through his painting and replicates creation to pay homage to its wonder. God is divine inspiration – whether specifically the erotic Muse ‘Erato’ to whom Shead is linked most often, or not.2 In the late 1990s and early 2000s, Shead painted a series of monumental religious paintings that took as their subject central Bible stories from the New Testament, relocating the action to the coastal town of Bundeena, south of Sydney. These glorious light-filled paintings celebrate amongst other things the annunciation of Mary, in The Annunciation 2000, and the baptism of Christ in The Baptism of Christ at Bundeena 1999. The series are closely related: all are set on the beach at Bundeena, several including a sulphur-crested cockatoo representing the Holy Spirit, and feature a cast of figures signifying universality, some enraptured, some in loving couples. The present work The Miracle 2001, happily riffs on the parable of the ‘feeding of the multitude’ wherein Jesus fed 5,000 followers by multiplying five loaves of bread and two fish; and a later miracle, that of St Anthony of Padua preaching to the fishes. 76

Australian & International Fine Art & Sculpture

There is a beguiling simplicity to the present work that belies its technical brilliance and depth of feeling. Trading on the tradition of Baroque religious paintings intending to instruct, delight and move the faithful, and displaying his significant painterly skill as a colourist, Shead deploys the Renaissance triangular compositional device to centre the action. The figures in the forefront of the canvas bear witness to the Jesus persona, standing in crucifix form along the painting’s axis, eyes raised to the heavens. Silvery fish leap joyously about them. These people are graceful in their surrender to the experience. The faces of the women are beatific, recalling traditional images of Mary, mother of God. One man seems enraptured; eyes closed, hands raised tentatively; another seeming to reach out to touch a fish in wonder, to make certain of its reality. Shead is here too, in the bottom left of the canvas, embracing his Muse and watching carefully what is unfolding. The cast of characters in the background seem unaware of the miracle in their midst, and that is fine too, because simply being there, enjoying the day on the beach is enough. Sharing the cooling ocean, warm sand, and hot sun. Religious paintings are ubiquitous, attempted by so many artists because religious themes are universal. What is religion if not an attempt to explain the chaos of our existence through the telling of stories? Setting The Miracle in a recognisably Australian coastal setting brings home this parable about sharing what little we have, even if all we have is just the day itself: Shead reminds us that the divine has always existed in our everyday. FOOTNOTES 1. Grishin, S., Garry Shead and the Erotic Muse, Craftsman House, Sydney 2001, p.174 2. Ibid, p.182

Corinna Cullen MA (Art History and Curatorial Studies)

36. ROBERT DICKERSON (1924-2015)

The Strikers 1978 oil on board 120.5 x 182.0 cm signed lower right: DICKERSON PROVENANCE The artist Gift from the artist to Mrs Jennifer Dickerson, Sydney

REFERENCE Dickerson, J., Robert Dickerson: Against the Tide, Pandanus Press, Brisbane, 1994, p.157 (dated 1980) This painting was featured in a video to accompany the exhibition Robert Dickerson: Against the Tide at Manly Art Gallery & Museum in 2018, produced by Afterglow Film: https://www.youtube.com/watch?v=qbsmVHoBqNM&ab_ channel=NorthernBeaches $60,000 - $80,000

EXHIBITED Robert Dickerson, Holdsworth Galleries, Sydney, 3 September - 5 October 1983, cat.1 Robert Dickerson: Survey 1947-1992, Caulfield Arts Complex in association with Andrew Ivanyi Galleries, Melbourne, 21 April - 4 May 1993 Robert Dickerson: Against the Tide, Manly Art Gallery & Museum, Sydney, 19 October - 2 December 2018

Robert Dickerson developed a visual language and ascetic style that is instantly identifiable, forging a successful career as an artist without any formal art school education. Gifted with an original vision plus a dogged determination to paint, Dickerson became a highly recognised and admired elder of Australian art, continuing to paint and draw into his nineties. While Dickerson’s success was enviable, his was not the traditional trajectory of an artist. Born into Depression-era Sydney, like many children of this period Dickerson did not escape the harsh realities of life. He began working from a young age and by fifteen was boxing, earning five pounds a match and throwing matches for greater payment.1 When he was eighteen he joined the Royal Australian Air Force, and at the conclusion of World War II found himself based on the Indonesian island of Morotai for twelve months waiting to get home. Here he read The Moon and the Sixpence, the novel based on the life of Paul Gauguin (1848-1903) and was inspired to paint and draw the locals.2 The artist’s widow Jennifer Dickerson credits the camouflage coloured paints and tent canvas he painted on as influencing his early palette of muted greens, black and browns.3 Upon returning to Australia, Dickerson continued to paint for the love of it and he eventually connected with a network of artists that included the Boyds and Percevals. He was invited by John Brack (1920-1999) to participate in the famed Antipodean exhibition in 1959 and signed the manifesto written by Bernard Smith that sought to uphold the validity of the representational image amidst the proliferation of abstract painting that had taken hold. Dickerson’s participation in this notorious event in Australian art history, coupled with subsequent representation by prominent art dealer Rudy Komon, helped to cement his career. By the late 1970s when the present work was created, Dickerson was at the height of his creative powers. In The Strikers we see a classic example of the artist’s ability to assemble stage-like compositional elements to frame an aspect of the human condition. Dated 1978, the work was created against a backdrop political tensions between the Malcolm Fraser led government and union power. During that year alone, strikes and walk-outs occurred across different states and multiple industries in Australia including coal mining, wharves, telecommunication, metal trades and meatworks. A painter of human anxieties often 78

Australian & International Fine Art & Sculpture

framed by urban experience, it is easy to see why this topic appealed to Dickerson. Depicted with hands in pockets, shoulders slouched, and suspicious facial expressions, the artist uses body language to convey an image of disgruntled men. Their simple attire and headwear denote working class status, reinforced by the title of the painting. Varied sidelong glances establish a psychologically tense space within the picture plane. Following the direction of each individual’s gaze within the painting, the viewer’s eye zigzags around the canvas. Contemporary artist Nicholas Harding (born 1956) notes the subtlety of the present work’s composition, and the sense of ‘individual consciousness’ it conveys.4 There are multiple figures in the painting which is rare within the artist’s oeuvre, yet Dickerson manages to retain the essential quality of the individual within the depiction of each. Rather than portraying the collective or a group with a unified purpose, we are presented with isolated figures who are brought together in physical space but retain a sense of separateness despite their proximity to each other. Jennifer Dickerson states that ‘Bob painted supposedly lonely people, because he felt that’s how people were. That’s how he felt. So he put himself into the people as well.’5 Like the sharp lines and angles that define his style, Dickerson painted with an often raw, incisive clarity about the experiences of isolation framed by urban life. This unpretentious artist from a working class background chose not to sugar-coat the reality he saw around him, and this quality of veracity keeps his work continuing to engage contemporary viewers. FOOTNOTES 1. W ilson, A., ‘Robert Dickerson: For the Love of Art,’ The Australian, June 28, 2014. Accessed https://www.ashleighwilson.com.au/Robert-Dickerson 2. Ibid. 3. R obert Dickerson: Against the Tide at Manly Art Gallery & Museum, 2018, produced by Afterglow Film: https://www.youtube.com/watch?v=qbsmVHoBqNM&ab_ channel=NorthernBeaches 4. Ibid. 5. Ibid.

Marguerite Brown MA (Art Curatorship)

37. BEN QUILTY born 1973

Air Commodore John Oddie, After Afghanistan, No. 2 2012 oil on linen 170.0 x 150.0 cm signed, dated and inscribed verso: Air Commodore John Oddie Ben Quilty ‘After Afghanistan’ PROVENANCE The artist Acquired from the artist, private collection, Sydney

REFERENCE Webster. L., After Afghanistan, Australian War Memorial, Canberra, 2012, p.20 (illus. p.21) RELATED WORKS Air Commodore John Oddie, After Afghanistan, No.1 2012, oil on linen, 140.0 x 140.0 cm, Australian War Memorial collection, Canberra, acquired under the Official War Art Scheme, 2012 Air Commodore John Oddie, After Afghanistan, No.3 2012, oil on linen, 190.0 x 140.0 cm, collection of the artist $40,000 - $60,000

EXHIBITED Ben Quilty: After Afghanistan, Australian War Memorial, Canberra, 12 December 2014 - 17 June 2015; Museum and Art Gallery of the Northern Territory, Darwin, 4 July - 4 October 2015; Perc Tucker Regional Gallery, Queensland, 16 October - 29 November 2015; Castlemaine Art Gallery and Historical Museum, Victoria, 16 January - 16 April 2016 (label attached verso)

The Australian War Memorial has a proud tradition of commissioning artists to examine and depict the Australian experience of war – Arthur Streeton (1873-1930) and George Lambert (1873-1930) were both official war artists during the First World War; Nora Heysen (1911-2003) and William Dargie (19122003) during the Second World War and more recently, Rick Amor (born 1948) and Shaun Gladwell (born 1972), among others. The Official War Art Scheme contributes to our understanding of the Australian experience of war and, as Brendan Nelson, former Director of the Australian War Memorial explains, ‘gives vital expression to commemoration’.1 Historically, the work produced by artists during wartime typically depicts heroic battlefield scenes, servicemen and servicewomen bravely performing their wartime duties and portraits of military leaders sitting proudly in uniform. The body of work produced by Ben Quilty during his commission as official war artist in Afghanistan in 2011 deviated from the traditional depictions of war and its associated detritus. In this instance, the artist chose to depict its psychological and emotional impact on the individuals he came to know during his deployment. Upon accepting his residency with the Australian Defence Force, Quilty felt it was not his job to air his own views on war or report on the struggle of the Afghan people but to listen to and share the wartime experiences of Australian service personnel. ‘It was not just about my experience of Afghanistan but the experience through the eyes of these people of their extreme eight months in one of the wildest places I’ve ever been.’2 Rather than observe at a safe distance, Quilty engaged closely with the men and women serving in Afghanistan, exploring and investigating their lived experiences of war. The intensity of the environment and the weight of responsibility often stifled any opportunity for ADF personnel to share the emotional load that is carried by those on the frontline. During his deployment, Quilty spent many hours talking to the Australian servicemen and 80

Australian & International Fine Art & Sculpture

servicewomen, these conversations revealed the courage and humility beneath their military exteriors. The present work is a portrait of Air Commodore John Oddie, who served as the deputy Commander of Air Forces in the Middle East between February and October 2011. Following Oddie’s return to Australia, Quilty invited him to a portrait sitting at his studio. Oddie found the process to be confronting, an unpacking of the emotional burden he had carried for years. ‘Either through a lack of insight or through an unwillingness…I wasn’t always admitting the truth to myself about my life. Ben really took that out and put it on a table in front of me like a three course dinner…’.3 The portrait is a reflection of the man behind the rank, coming to terms with the impact of war on his life. Through his characteristic heavily-worked paint surface, the artist provides an insight into the immense burden carried by ADF personnel returning from conflict. Quilty completed three portraits of Oddie, who remarked once the works were finished, ‘you’ve painted me exactly how I feel’.4 The present work is representative of Quilty’s mature oeuvre and reveals a deep understanding of the complex psychological effects endured by returned veterans. Through these portraits, Quilty has provided the servicemen and servicewomen’s families, colleagues and the nation a legacy of enduring importance – the gift of insight. FOOTNOTES 1. W ebster, L., Ben Quilty: After Afghanistan (exhibition catalogue), Australian War Memorial, Canberra, 2014, p.5 2. B en Quilty interviewed on Australian Story, ‘War Paint’, Australian Broadcasting Corporation, 3 September 2012, transcript, accessed 30 September 2020: https:// www.abc.net.au/austory/war-paint/9170236 3. Ibid. 4. Ibid.

Caroline Jones MArtAdmin

38. DEL KATHRYN BARTON born 1972

Untitled Girl 2005 synthetic polymer paint, gouache, watercolour and ink on polyester canvas 120.0 x 86.0 cm signed and dated lower left: del kathryn barton 2005 signed, dated and inscribed verso: “untitled girl”/ 2005/ acrylic, gouache, watercolour + pen on polyester canvas/ c/o Karen Woodbury Gallery PROVENANCE Karen Woodbury Gallery, Melbourne, 2005 (label attached verso) Private collection, Melbourne EXHIBITED Del Kathryn Barton: Thank You for Loving Me, Karen Woodbury Gallery, Melbourne, 7 September - 1 October 2005 REFERENCE Ewington, J., Del Kathryn Barton, Piper Press, Sydney, 2014, p.4 (illus. p.13) $55,000 - $75,000

Untitled Girl 2005 dates from a critical phase of Del Kathryn Barton’s career, when her creative practice and unparalleled style was consolidated, laying the groundwork for the muchcoveted, large-scale paintings that would follow. Although Untitled Girl is a painting, the foundation of the work centres itself around drawing, an innate aspect of Barton’s practice. Barton’s interest in drawing has grown from a very private place: when experiencing episodes of anxiety and sensory disorders as a child, Barton drew as a way to calm herself down, bringing herself back to the present and re-inhabiting her body.1 After graduating from the College of Fine Arts at the University of New South Wales in 1993, she was appointed Lecturer in Drawing, further solidifying the foundational cues that are realised in the present work. Julie Ewington suggests that Barton’s connection to drawing can be described with reference to Philip Rawson’s seminal 1969 text Drawing: ‘A kinesthetic practice of attraction, extraction, protraction – drawing is born from an outward gesture linking inner impulses and thoughts to the other through the touching of a surface with repeated graphic marks and lines.’2 The female form and spirit have always proved to be a keen focus of Barton’s work, and with the birth of her second child in 2004, just a year preceding the inception of Untitled Girl, Barton continued to explore various aspects of female identity. While Barton’s paintings often place female sexuality front and centre, we see a more subtle and demure interpretation of femininity in the present work. There is a stillness and silence existing 82

Australian & International Fine Art & Sculpture

within Untitled Girl, where Barton’s emotions are implied rather than explicitly detected, culminating in self-contained poise.3 Barton’s paintings often draw upon the relationship between women and the natural world, as shown by the three jewelcoloured birds which perch on the hand, shoulder and head of the figure in the present work. Birds form an enduring motif of Barton’s oeuvre, charting the metamorphosis of women throughout life. Celebrating a wide variety of media within her work, Barton allows them to breathe upon the canvas, encouraging each of their qualities to be explored. The soft washes of pastel pink watercolour seeping across the woman’s cheekbones are juxtaposed against the harsh black gouache used to convey her headscarf. Using a variety of media within the one work not only shows Barton’s versatility as an artist, but may also pay tribute to the many paths and inner journeys she has experienced as an artist and woman in the 21st century. FOOTNOTES 1. T effer, N., Know my Name: Del Kathryn Barton, National Gallery of Victoria, Melbourne https://nga.gov.au/knowmyname/artists.cfm?artistirn=33785#work_2 2. E wington, J., Del Kathryn Barton, Piper Press, Sydney, 2014, p.131; De Zegher, C., A Century Under the Sign of Line: Drawing and its Extension (1910-2010), MOMA, New York; Rawson, R., Drawing (2 editions), University of Philadelphia Press, United States, 1987, p.131 3. Ewington, J., Del Kathryn Barton, Piper Press, Sydney, 2014, p.63

Clementine Retallack, BA

Â© Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

39. JEFFREY SMART (1921-2013)

The Billboards II 1969-70 oil on canvas 60.0 x 80.0 cm signed lower left: JEFFREY SMART inscribed verso: THE BILLBOARDS II PROVENANCE The artist Acquired from the artist, Mr Keith Looby, Sydney Rex Irwin Art Dealer, Sydney, c1984 Private collection, Sydney Thence by descent, private collection, Sydney

REFERENCE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, pp.63, 64, 112, cat.574 McDonald, J., Jeffrey Smart Paintings of the ‘70s and ‘80s, Craftsman House, Sydney, 1990, p.156, cat.7 Pearce, B., Jeffrey Smart, The Beagle Press, Sydney, 2005, p.268 (illus. p.100) RELATED WORKS The Billboards 1965, oil on canvas, 40.0 x 70.0 cm, private collection; referenced in Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, p.109, cat.435 $250,000 - $350,000

EXHIBITED Recent Paintings by Jeffrey Smart, Leicester Galleries, London, 4 - 27 June 1970, cat.27 Jeffrey Smart, South Yarra Gallery, Melbourne, 17 - 30 November 1970, cat.23

1969, and Jeffrey Smart is at the height of his powers as an artist and fully in possession of a style of painting that is both instantly recognisable and the perfect vehicle for his highly individualistic Weltanschauung. The city and its geometries, both ancient and modern, grand and banal are the laboratory for his work and the site where he exercises the ideas that come about from his own experience and through his investigation and exploration of art. Having lived and worked outside Australia since 1963, and having attained a degree of financial security, Smart allowed himself to give serious thought to making a permanent home in Italy. By 1971 he had completed the purchase of an old farmhouse, ‘Posticcia Nuova’ not far from Arezzo, in the heart of the Tuscan countryside, about one and a quarter hour’s drive south of Florence. The choice of Arezzo would have come as no surprise to Smart’s acquaintances as it is a name that is forever associated with the great Italian Renaissance painter, Piero della Francesca (c.1415-1492). Piero was a native of Borgo Santo Sepolcro, a short half-hour’s drive from Smart’s new home and his The Legend of the True Cross - an elaborate fresco cycle - could be viewed in the church of San Francesco in Arezzo itself. A further hour’s drive west was Urbino, the seat of Piero’s greatest patron, Duke Federico da Montefeltro where Smart could see Piero’s The Flagellation of Christ, a painting rated by Kenneth Clark as one of the 10 best paintings in the world, and the best small painting in the world. Throughout Smart’s long career we find direct references to well-known works by Piero and a basic familiarity with Piero’s work is useful to anyone who takes an interest in his work. Smart almost completely adopted the philosophy behind the famous 84

Australian & International Fine Art & Sculpture

Flagellation, in particular where the ostensible subject of the painting is pushed into the background by three enigmatic and exotically dressed figures to the right. This might be the most controversial figure group in the entire history of art, but it performs much of the work of generating the intellectual mass and intrigue that this painting possesses. From Arezzo Smart drew inspiration and direct references from the Renaissance masters a short distance from his home as well as further afield. Smart had for some time been in the habit of travelling. In 196869, for example, as he worked on The Billboards II he visited Sicily in April, Munich in July and then Bayreuth for the Wagner festival. He also found the time to exhibit in Rome, his first Italian solo show at Galleria 88. In January he was in London, then New York, and in September in Sydney for a show at Macquarie Galleries. In October he was in Greece and he spent Christmas in Austria. Wherever he travelled, Smart visited exhibitions, concerts and museums, but it was often on the way to these places, at stations, airports, and on the Autobahns of Europe that he found the subjects of his paintings. On returning to his studio he would unpack a bag of ideas and motifs and get to work combining his deep study of European art with the flash of inspiration from a truck stop, a group of workmen, or a curious bridge. Smart also engages in a dialogue with contemporary art, and his own paintings often contain wry commentary on its latest developments. Having undergone a crisis of confidence about the direction of his own art earlier in his career, Smart now, as a mature, seasoned and well credentialled practitioner, cultivated

Figure 1 Approach to a City III 1968 oil on canvas 66.0 x 81.0 cm Sold Sotheby’s, Sydney, 20 November 2019, lot 24, $793,000 (including buyer’s premium)

a reactionary disposition vis à vis the avant garde which did not preclude his exploiting parts of it for his own use. Smart himself doubtlessly relished the irony that his inverted homages to contemporary art would become one of the consistent drivers of his own innovation. Typically he was happy to raid the larder of some of the more outre things he had seen with the result that, for example, a truck with a tarpaulin could become his very own Christo (1935-2020) ‘wrapped monument’. Smart got into the habit of putting his ideas to the test in way that recalls his countrymen Arthur Boyd (1920-1999), John Perceval (1923-2000) and especially Sidney Nolan (1917-1992), each of whom accumulated an inventory of visual motifs that could be deployed at will alone, in combination or as a touchstone. In The Billboards II we see a painting which divides into several sections: the lower road; a central band of buildings, which in contrast to the larger section below it contains numerous changes in texture, colour and detail; and then the top section of sky, in contrast to the geometries of the road, is organic and amorphous. We enter the picture rather like a driver in a car. While the road arrows draw the viewer into the composition in a fairly definitive manner, the crest of the road implies a further movement to the 86

Australian & International Fine Art & Sculpture

left at the point where we encounter the apartment buildings, and yet this movement is arrested by the three faces on the advertising hoarding placed at exactly the spot where the leftward momentum threatens to misdirect the viewer out of the painting. The diminutive figures to the right support this effort, and they are in turn balanced by a couple of traffic lights to the left. An especially neat and very characteristic touch is the road line-marking to the left which through a trick of optics contradicts the curvature of the road to become a completely straight perspectival line that metamorphosizes and terminates in the traffic signal. Smart delighted in this sort of device: unobtrusive and yet capable of leveraging the entire weight of the composition with just a discrete little gadget. With the gay band of brutalist apartments proceeding along the horizon providing offbeat colour, the whole composition is kept under control by the sky, which keeps a lid on it all. Essentially the painting achieves its dynamic from the restless movement about it caused by the arrows and rhythms and expanses and details and textures and light and shade. By inserting finely worked elements, such as the filigree railing and the figures moving in a direction opposite to the driver, Smart can make

Figure 2 Waiting for the Train 1969-70 synthetic polymer paint on canvas 59.0 x 89.0 cm National Gallery of Australia collection, Canberra Gift of Alcoa World Alumina Australia, 2005

‘No discussion of colour values or perspective can fully explain the power of the picture, though its impact as an image of both the strange beauty and the final falsity of the billboard face is only possible because of the composition’s tightly controlled formal qualities.’ Peter Quartermaine

adjustments to the composition rather like a clockmaker uses counterweights to balance a movement. The billboards featuring the triple repetition of faces are typically for Smart a combination of ‘main subject’ and red herring. In the zig zag of the compositional pinball machine he has constructed, the three faces perform a blocking function. They refer the viewer back to himself and they achieve this by the direction of their gaze, and by simply being odd. They exist by dint of the artist’s authority only, and represent within a fairly conventional composition a significant variation of texture and detail, whose effect moderated by the simple act of repetition. The Billboards II contains no clues as to its purpose. For Smart a painting was a puzzle that needed to be firstly set and then solved. The tools he used to perform his acrobatics were his usual deadpan style, a strict geometric framework, and an idea, or theme to express it while asking a viewer to engage with the work by joining the quest. The resulting paintings, highly sophisticated, multi-dimensional designs, with rigorous application of principals (the golden section), art-historical references as well as commentary on contemporary art were

dressed in irony. The principal strand of which is that paintings of such complication should be dressed in such banal sheep’s clothing. It’s widely known that Smart did not like to discuss his work. He was often asked and remained silent, knowing that the subtleties and arcane references would not stand up to being articulated by any means as well as by the paintings themselves. And so a viewer is let loose to formulate an interpretation, with the curious result that it might or might not correspond to the one formulated by Smart. This dynamic is surely part of Smart’s intention and should be kept in mind whenever we look at his work. The flair which characterises his very best paintings is prodigiously on display in The Billboards II and the work is a significant contributor to Smart’s reputation as one of Australia’s best-loved artists. Tim Abdallah BA

40. CHARLES BLACKMAN (1928-2018)

Schoolgirls 1953 tempera and enamel on board 62.5 x 75.0 cm signed and dated lower left: 13 MAY 53 Blackman PROVENANCE Private collection, Sydney P.L. Pickles & Co., Sydney, 11 June 1979, lot 99A Private collection, Sydney $80,000 - $120,000

In the first decades of the twentieth century, up until the time of the Second World War, images involving children were few and far between in Australian art. A beach scene might have a small knot of figures in the distance, or a cityscape could include a small figure for scale, but rarely recognisable in age or gender. There were of course formal portraits of children, like Hugh Ramsay’s (1877-1906) superb portrait of Miss Nellie Patterson, now at home in the National Gallery in Canberra. But that was a form strictly for the prosperous and well connected, like little Nellie, namesake and niece of our grand diva Dame Nellie Melba. Things would change with the arrival in Melbourne of the eccentric Cossack Danila Vassilieff (1897-1958), who loved the lively and anarchic world of the young, especially the street kids who spent much of their time playing on the narrow pavements of Collingwood and Fitzroy. For Vassilieff, the children were not just a casual ornament in the wider scene, but the focus of his work, front and centre. Playing games, riding their trikes and billy carts and generally having fun, they brought a new life and vigour to the Melbourne art scene. Those younger artists who were drawn to this inspiring artistic mentor followed his lead and set about depicting the life of the back streets, before then strictly out of bounds to artists seeking sales in the comfortable suburbs beyond the inner ring of decaying Victorian squalor. Arthur Boyd (1920-1999), John Perceval (1923-2000), Sidney Nolan (1917-1992) and Joy Hester (1920-1960) all introduced youth and play into their work. Some imbued it with the darkness of war and depression, while others found liberation in the charm and innocence of children, the most notable being Perceval with his series of ceramic angels. Charles Blackman was one who was drawn to urban subject matter, finding inspiration on the urban streets he called home. Once settled in Melbourne with his new wife Barbara, Blackman set out to produce a body of work that would lift him from talented youngster to serious artist. He began with a simple subject, the uniformed schoolgirls he saw walking to and from the dour brick 88

Australian & International Fine Art & Sculpture

walls of the local schools. He had experienced loneliness and uncertainty as a child and felt for the young girls, anonymous and furtive beneath the broad brims of their regulation hats. He knew that school was a complex and, at times, ominous place, where class, tribe, gender and ethnicity were all markers to be negotiated and endured. The first of the series saw his figures as simplified and insubstantial beneath their defining headgear – thin black stockinged legs and shapeless grey uniforms creating long and menacing shadows in the afternoon light. There was none of the open engagement of the Vassilieff children or the bubbly vivacity of Perceval’s angelic characters. We have no idea of their young lives and thoughts – and are they beautiful, plain, happy or sad? We must project our own experiences and memories on these faceless children, and that of course is their appeal – they will be who and what we want them to be, coloured by our own lives and imaginations. With the initial public acceptance of the first series of schoolgirls, Blackman pushed the idea further, bringing them out from under their hats into the light of the street and the playground. And, as we already suspected and the present work shows, they were not always a happy bunch, with worried faces and questioning eyes, suspicious and wary of the new post-war world. The medium seems appropriate to the subject of this enigmatic work – the thick tempera of the background, vigorously applied with a palette knife, is a foil to the sweeping brushstrokes of the young girl’s hair. Such detail was new to the artist, who in the earlier works shaded all facial features beneath the broad sweep of the regulation hat. More broadly painted than the earlier schoolgirls, this raw and distinctive image has been closeted away for more than four decades and comes to light at a time when the artist’s works are receiving new interest, and appreciation, in the marketplace. Gavin Fry BA (Hons) MA MPhil

41. JEFFREY SMART (1921-2013)

Study for The Discussion 1969 oil on paper on board 34.5 x 68.5 cm signed lower left: JEFFREY SMART PROVENANCE Macquarie Galleries, Sydney Private collection, Sydney Deutscher~Menzies, Sydney, 23 September 2009, lot 31 Private collection, Melbourne Estate of the above

The subject of Jeffrey Smart’s Study for The Discussion is typically ambiguous: a discussion may be a dispute, argument, conversation or conference. The painting can be several things too: is it a figure group, a contemporary landscape, or a commentary on contemporary art? Is it humorous or serious, or could it be both? We know from his own statements that Smart’s paintings often have their genesis in banal landscapes or incidents, often perceived out of peripheral vision whilst travelling. His paintings also often reveal clues to where he has been, through references and influences that indicate recent artistic experience. A favourite artist of the moment might find himself recycled in Smart’s next painting, or become a regular motif. The torn and weathered posters and hoardings which begin to occur in his work in the early 1960s, for example (and which still occur as a motif in his work in 2008), recall the French and Italian artists such as Mimmo Rotella (1918-2006) and Jacques Villeglé (born 1926) who pioneered décollage in the late 1950s. Smart’s relationship to contemporary art is an unusual one. It often contains a note of cynicism. The striped wall, which is the main feature of the present painting might be a reference to the American Color Field painter Gene Davis (1920-1985) or Bridget Riley (born 1931), the British Op Art painter and designer who came to prominence in the late 1960s. In 1968, the year before the present work was painted, Riley was the British representative at the Venice Biennale. It is tempting to see the woman, who is the central figure of the group, as Bridget Riley herself. Smart’s later portraits, in particular of Clive James (1939-2019), and Margaret Olley (19232011), where the sitter inhabits an ironic environment at odds with his or her public persona, develop this concept more fully. Riley (if it is her) has managed to engage the interest of one or two of the men who surround her, while two further figures, one of whom leans against the wall that is the painting itself are more passively involved. Another figure who has either ostentatiously 90

Australian & International Fine Art & Sculpture

EXHIBITED Macquarie Galleries, Sydney, 17 - 29 September 1969, cat.12 REFERENCE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, p.111, cat.533 Allen, C., Jeffrey Smart: Unpublished Paintings 1940-2007, Australian Galleries, Melbourne, 2008 (illus. p.153) $110,000 - $150,000

or rudely turned his back on her, is not buying her argument. He may alternatively be seen as the only one in the group to be at least looking at the work itself. The various attitudes of the participants in the discussion are mirrored in the curved posts which recede on the left, each facing in a different direction. The division of opinion in the group is underlined by the diagonal shadow, which bisects the figures. The discussion takes place in a bleak and sterile landscape with the sea in the distance and an overcast sky. Smart is a student of the old and modern masters, so such an interpretation is far from far fetched. He occupies a unique position, as a contemporary painter, because he works with traditional methods operating on a parallel course with the diversity of contemporary art. By 1969, Jeffrey Smart was able to enjoy his status as a professional artist. He could rely on his art for his income, could travel widely (in 1969 he was in London, New York, Greece and Austria), and was exhibiting regularly in Europe (in 1968 in Rome, in 1970, London) and Australia (exhibitions at South Yarra Gallery in 1968, Macquarie Galleries, Sydney, in 1969). By October 1970 he was sufficiently established to put a deposit on ‘Posticcia Nuova’, a farmhouse not far from Arezzo in Tuscany. This was to become his home and remained so until his death in 2013. The present painting was therefore produced at an interesting stage in Smart’s career. His success provided him with the confidence to explore the art world through his work, and indulge in a public discussion with the leading artists of his own time. Tim Abdallah BA

42. DEL KATHRYN BARTON born 1972

At What Cost 2018 synthetic polymer paint and spray paint on linen 240.0 x 180.0 cm signed, dated and inscribed centre right: 2018/ del/ kathryn/ barton/ at what/ cost ... PROVENANCE Albertz Benda, New York, 2018 (label attached verso) Private collection, Sydney EXHIBITED Del Kathryn Barton, Albertz Benda at UNTITLED Miami Beach, United States of America, 5 - 9 December 2018 $250,000 - $300,000

‘I have always found paradox and contradiction to hold a lot of truth and comfort for me.’ Del Kathryn Barton1 The award-winning artist Del Kathryn Barton is now such a force in contemporary Australian art that she could almost create her own weather. By foregrounding women’s bodies, the complexity of their desires, and the emotional labour that is demanded of women (labour that is often overlooked as trivial or commonplace), Barton has successfully delineated a place for herself in Australian art history. What makes Barton’s work superlative is her skill as a draughtswoman, the authenticity of her unusual vision and her commitment to it. The one woman in ten living artists who currently command the highest prices in the Australian art market, 2 Barton’s CV is a roll call of aspiring artists’ dreams. Her career has included: more than twenty solo exhibitions (both national and international) culminating in a survey exhibition at the National Gallery of Victoria over the summer of 2017-18; two Archibald Prize winning portraits in 2008 and 2013, the first of which announced her as a bright fresh voice in Australian contemporary life; successful cross disciplinary forays into filmmaking and fashion, working with luminaries such as Australian actress Cate Blanchett and Australian fashion house Romance was Born; and finally, the acquisition of her works for the National Gallery and major state and regional galleries through Australia. Barton’s first Archibald Prize-winning portrait can be read as a 92

Australian & International Fine Art & Sculpture

manifesto of her practice, 3 and a key to her later works. You Are What Is Most Beautiful About Me, A Self-portrait with Kell and Arella depicts the artist with her son and daughter. Julie Ewington, author of a comprehensive survey of Barton’s work puts it like this: ...Barton’s portrait made a very particular claim: it announced the arrival of an artistic personality who insisted on the recognition of the breadth of her life, not only as an artist who must hereinafter be respected – which is the distinction that the Archibald Prize confers in Sydney’s broad cultural life – but as a mother whose children are manifestly central to her life, and as a woman resolutely affiliated with a style of visual abundance usually associated with women’s amateur domestic handicrafts.4 This auspicious entry into national consciousness is worth considering when viewing the present work, created 10 years later. Barton has always drawn on the experience of being a woman in our world: her output can be mapped onto milestones of learning to inhabit a woman’s body; of awakening sexuality; of becoming a mother; and the frustrations arising from the expectations placed on women. It is not a stretch to read into At What Cost the inevitable toll taken by the act of child-bearing and rearing, and the chafing constraints of even a loving and supportive domestic partnership. At What Cost was exhibited at the Miami Art Fair UNTITLED 2018, as a part of the artist’s solo booth for New York based gallery Albertz Benda. The installation shows the present work

Â© Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

Figure 1 To Look at Your Hands 2012 synthetic polymer paint, gouache, watercolour and ink on polyester canvas 200.0 x 180.0 cm Private collection © Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

facing off against another large portrait work titled The Fever is Here. These are supported by a series of smaller portraits of ‘child beasts’ set against a wall of eyes like a ‘surrealist cubby house’, to use the artist’s own description. 5 The larger works read as parental companions to the smaller paintings, emphasising maternal themes. Notably, these works were joined on display by a sculpture, Up In This 2012, an erect penis embraced by a large red back spider, upon which is perched a tiny monopoly style house; as well as a screening of RED, Barton’s exploration of female sexuality starring Cate Blanchett as the avatar of a female red-back spider who consumes her mate after sex. Barton has said ‘RED is a roar. It’s like, WOMAN is fucking fierce, we’re fucking fierce and we’re fucking awesome. Our power is hard to both define and contain!’ 6 Contributing to this complex conversation of domestic power struggles At What Cost provides a gentler meditation. A draughtswoman by nature, Barton’s elaborately detailed and sumptuous paintings are created on the basis of her linework; painstakingly layered with decorative motifs, dotting, and washes of colour, all coexisting with permutations of the natural world immaculately rendered. Examples of her style can be seen in the related works illustrated here: To Look At Your Hands 2012, and Openly Song 2014 sold at auction with Menzies in February 2020. The present work contains all the hallmarks of Barton’s successful large-scale works: expressive drawing, exquisite detailing and rich colour. A superhuman being accompanied by her animal 94

Australian & International Fine Art & Sculpture

familiar. Allow the eye to rest on any one portion of the canvas and it will find a world within a world. Stylistically Barton’s work builds on the heritage left by Symbolist Gustav Klimt (1862-1918), and that of Klimt’s protégé, early Expressionist Egon Schiele (1890-1918), both acknowledged influences.7 At What Cost uses a recognisably Klimt-like composition; the subject a flat perspectival plane, the background dense and alive with detail. Traces of Schiele’s attenuated fingers and androgynous facial features can be found in the figure. It is however, the inspiration of Louise Bourgeois (1911-2010) and Kiki Smith (b 1954), women artists ‘pursuing idiosyncratic and personal visions’8 that sing out from Barton’s paintings - demonstrated, to use Barton’s words, ‘by the heightened, idealised she-beasts that I give birth to in my work’.9 The lady monster of At What Cost is literally boxed in by the picture frame; almost, but not quite pressing against the sides. Where previous heroines have dominated and floated in their compositions, the figure in the present work is crouched, folded in on herself, her head tilted at an awkward angle in order to fit. She appears to be at once still and in motion, her many eyes and hands indicating a multiplicity of action and observation. Unusually, the subject’s breasts are covered by two large autumn leaves, very like lungs, as if she were reduced or

‘I have always found paradox and contradiction to hold a lot of truth and comfort for me.’ Del Kathryn Barton

Figure 2 Openly Song 2014 synthetic polymer paint on linen 244.0 x 183.0 cm Sold Menzies, Melbourne, 27 February 2020, lot 33, $282,273 (including buyer’s premium) © Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

confined to simply breathing. Breasts are obvious signifiers of sexual pleasure and maternal utility. This is particularly so in Barton’s work, with many of Barton’s figures sporting multiple breasts.10 The lack here seems indicative of a general recession from those roles. She is also cuffed and collared at the neck and ankles, a restriction that bears traces of commedia dell’arte costuming, adding a clown-like aspect to this buttoning down of sensuality. This costuming is prefaced in To Look At Your Hands 2012, the performative elements in this painting emphasised by the trapeze-like umbilical cord upon which the subject swings. At What Cost is distinctly autumnal, with jewel tones of russet, orange, hazel and emerald green employed across the canvas. Autumn is associated with ideas of cooling and shedding, of ageing, and of change itself, concepts that are easily extrapolated to melancholic or tempestuous emotions. Barton uses colour knowingly in all her works, believing that it can carry ‘life affirming significance’.11 Ultimately, Barton’s painting refuses to fully disclose its meaning, handing responsibility for interpretation over to the viewer. This is where Barton’s genius resides, to stuff her work full of meaning and beauty, but allow open discussion and criticism to flourish. Ambivalence is real. People do love their families and rage against them. Desire, fulfilment and stability are not always complementary. Barton allows the contradictions, complexities and desires of womanhood to be voiced, without judgement, to

push us forward into a world where all selves and versions of selves might co-exist. FOOTNOTES 1. D el Kathryn Barton quoted in Wallis, P., and Frew, P., The Highway is a Disco, National Gallery of Victoria, Melbourne, 2017, p.96 2. B oland, M., Del Kathryn Barton most sought after Australian female artist ABC News, June 18, 2018, accessed 16 September 2020, https://www.abc.net.au/ news/2018-06-16/del-kathryn-barton-most-sought-after-australian-femaleartist/9875182 3. Del Kathryn Barton quoted in Ewington, J., Del Kathryn Barton, Dawes Point, Piper Press, 2014, p.87 4. Ewington, J., Del Kathryn Barton, Dawes Point, Piper Press, 2014, p.85 5. D el Kathryn Barton quoted in Press Release, Albertz Benda, Untitled Miami Beach, Del Kathryn Barton, December 5-9 2018, South Beach Miami, accessed 10 September 2020, < http://www.albertzbenda.com/art-fairs/past/untitled-miamibeach_2/3> 6. D el Kathryn Barton quoted in Wallis, P., and Frew, P., The Highway is a Disco, National Gallery of Victoria, Melbourne, 2017, p.91 7. Ewington, J., Del Kathryn Barton, 2014, pp.138 8. Ibid. p. 139 9. D el Kathryn Barton quoted in Wallis, P., and Frew, P., The Highway is a Disco, National Gallery of Victoria, Melbourne, 2017, p.96 10. Wallis, P., and Frew, P., The Highway is a Disco, National Gallery of Victoria, Melbourne, 2017, p.3 11. Ewington, J., Del Kathryn Barton, 2014, p.37

Corinna Cullen MA (Art History and Curatorial Studies) 95

43. TIM STORRIER born 1949

Evening Blaze synthetic polymer paint on linen 106.5 x 198.0 cm signed lower right: Storrier. signed and inscribed verso: ‘Evening Blaze’/ Storrier PROVENANCE Private collection, Sydney Menzies, Sydney, 13 September 2012, lot 44 Private collection, Sydney $80,000 - $100,000

Throughout his extraordinary career, Tim Storrier’s most memorable and distinctive motif has unquestionably been that of fire. Fire’s strength as a symbol is drawn in part from its ability to hold dual, if not contradictory, meanings. As we have seen during the horrific bushfires of last Summer, fire may be an all-powerful force of destruction and devastation, while also presenting the possibility of subsequent regeneration and renewal. Storrier travelled widely during the first half of his career – to France, Italy, England, China, the United States, Turkey, and Egypt, and also made numerous trips to central Australia. As Storrier noted at this time, ‘I’ve found that traveling teaches you what is important about yourself – what it is that differentiates you from everyone else.’1 It was as a result of these trips that fire first emerged in Storrier’s oeuvre in his celebrated Point to Point series of the 1980s. The Point to Point images enabled Storrier ‘to explore both the space of the subject and the physical space of the surface of the canvas… with fire and emptiness providing a correlation with his emotional state. Here, desolation, passion and anger were one.’2 The series evolved from a preliminary concept to an experimental outback installation of a burning rope tethered between two poles; it was photographed and documented, and subsequently became a complete body of work. After further synthesis of ideas and reworking, it provided a fertile source of imagery and became the basis for Storrier’s most important series of works to date. In Evening Blaze, the horizontally burning rope of the Point to Point series has evolved and made way for a magnificent burning log, raging and smouldering, complete with leaping flames and glowing embers. It would be easy to assume that Evening Blaze is a simple landscape or campfire scene, however as art 96

Australian & International Fine Art & Sculpture

critic Ashley Crawford argues, such a description ‘belies the more complex psychological content at play in his work… [for at] heart, Storrier’s paintings are far more landscapes of the imagination than the rendering of reality.’3 Storrier juxtaposes the fire – which is, by nature, transient - with a boundless evening sky. In doing so, Storrier has infused the work with a hint of romanticism; a sense that our time on earth is fleeting when compared with the enduring magnificence of the stars above. Widely regarded as one of Australia’s most important living artists, Storrier’s list of credits is extensive. At the tender age of nineteen, Storrier became the youngest ever recipient of the Sulman Prize for genre painting. In 1994, he was appointed a member of the Order of Australia for services to contemporary Australian art, and in 2012, Storrier won the Archibald Prize with his self-portrait, The Histrionic Wayfarer (after Bosch). In addition to all of Australia’s major public galleries, Storrier’s works may be found in the Metropolitan Museum of Art, New York, and numerous private and corporate collections in Japan, Europe and the United States. FOOTNOTES 1. ‘Opinions are Free’, The Australian Magazine, 16 September 2006 2. H art, D., ‘The Australian Context: Real and Imagined’, Tim Storrier: Burning Gifts, Australian Galleries, Sydney, 1989, reproduced on www.storrier.com/essays 3. A shley Crawford in McGregor, K., William Creek and Beyond, Craftsman House, Sydney, p.283

Marina Brennan BA (Hons)

44. JOHN OLSEN born 1928

Landscape 1993 oil on board 92.0 x 122.0 cm signed lower right: John Olsen PROVENANCE Metro 5 Gallery, Melbourne, 2003 Private collection, Melbourne EXHIBITED John Olsen, Metro 5 Gallery, Melbourne, 30 April - 18 May 2003 REFERENCE McGregor, K., John Olsen: Drawing - The Human Touch, Macmillan Art Publishing, Melbourne, 2014, p.290 (illus.) $60,000 - $80,000

Over the last sixty years, John Olsen’s art has become synonymous with the unruly beauty of the Australian landscape. Embracing both figuration and abstraction, Olsen’s highly lyrical paintings are instantly recognisable, merging land, sky and water into a vivid sensation borne from a very personal perspective of the world. As Deborah Hart writes, ‘Olsen has confronted and helped redefine our basic conception of landscape… providing a psychological encounter with place, not only as seen but as experienced, resulting in a fresh, exhilarating vision.’1 In 1969, Olsen moved from Sydney to Clifton Pugh’s (1924-1990) communal property Dunmoochin, north-east of Melbourne, a regular meeting ground for artists of the time. It is here that Olsen met and worked alongside Albert Tucker (1914-1999), John Perceval (1923-2000) and Arthur Boyd (1920-1999), but it would be Fred Williams (1927-1982) who would arguably prove his biggest artistic influence. Like Olsen, Williams devised his own unique perspective of the Australian landscape. Though created several decades after Olsen’s time at Dunmoochin, the influence of Williams is immediately apparent in Olsen’s Landscape 1993. Williams’ visual signature – an overtly high horizon line scattered with straggly vegetation – is clearly echoed in this painting. In his catalogue essay for the major survey exhibition John Olsen: The You Beaut Country in 2016, curator David Hurlston drew upon the deep connections between the two artists: ‘To view Fred Williams’ work is to understand Australia as the driest continent on the planet; to look at the paintings of Olsen is to register the sense of the flowing life forces of the Australian condition.’2 98

Australian & International Fine Art & Sculpture

Somewhat unusually for Olsen, Landscape adopts a largely horizontal perspective of its subject while still containing the most compelling aspects of the artist’s enduring style. Olsen’s innate sensibility for the colours of the Australian landscape is on full display here. The undulating hills are coloured a salmon pink, an aspect Katherine Olsen grew fond of and commented on as a defining feature of the Rydal landscape surrounding their property Chapel House Farm.3 Capturing nature in constant flux, a cracked drying dam sits in the foreground, its puddling water reflecting the intense blue of the sky. In the centre, a well-worn dirt track snakes its way through sporadic vegetation, running parallel to the horizon line. In emulation of Williams, Olsen’s horizon line is set high within the composition, the picture plane tilted towards the viewer. The crest of the hill is densely bursting with scrub, made up of loose, sinuous brushstrokes. In Landscape, as in several of Olsen’s major works from the 1990s, we see his capacity to integrate more clearly defined imagery without losing his essential imaginative drive.4 FOOTNOTES 1. Hart, D., John Olsen, Craftsman House, Sydney, 2000, p.207 2. H urlston, D. & Edwards, D., John Olsen: The You Beaut Country, National Gallery of Victoria, Melbourne, 2016, p.34 3. Op cit., Hart, D., p.210 4. Ibid.

Clementine Retallack, BA

45. PETER BOOTH born 1940

Winter Landscape with Burning City 2001 oil on canvas 76.0 x 142.0 cm signed and dated verso: Peter Booth 2001 PROVENANCE Rex Irwin Art Dealer, Sydney, 2003 The Gandel Collection, Melbourne Christie’s, Sydney, 23 August 2004, lot 15 Private collection, Melbourne EXHIBITED Peter Booth, Rex Irwin Art Dealer, Sydney, 24 June - 19 July 2003, cat.7 $55,000 - $75,000

Peter Booth is one of Australia’s most prominent and exciting artists of the late twentieth century. When the National Gallery of Victoria exhibited the retrospective Peter Booth: Human/Nature in 2003, the then deputy director, Frances Lindsay, stated that Booth had achieved ‘a central position along with artists such as Sidney Nolan (1917-1992) and Fred Williams (1927-1982), who have changed our understanding of the world and our place in it.’1 Known for his intense figurative and surrealist scenes riddled with mysterious narratives and esoteric symbolism, his apocalyptic snow paintings are his most renowned, and Winter Landscape with Burning City 2001 is a prime example.

in the snowy foreground, easily mistaken as another rock at first glance. These winter landscapes mark a turning point in Booth’s oeuvre, moving away from the disturbing, monstrous figures of his 1980s works. Booth compares this shift with the journey in the epic poems Paradise Lost 1667 and Paradise Regained 1671 by 17th-century English poet John Milton (1608–1674). More specifically, the winter landscape series was inspired by Shakespeare’s Macbeth, in which the titular character’s moral and political corruption represent unnatural violations of the natural order – akin to the struggle seen here between nature’s harsh winter and man’s industrialisation of the land.

Booth was born in 1940 in Sheffield, known as the steel production centre of the world, in England’s industrial north. Booth’s father worked in the steel mills that dominated the city’s skyline, and clearly persist in Booth’s mind some fifty years later. These childhood memories of the flames from the steel mill furnaces illuminating the dark night sky form a theatrical backdrop for the littered industrial landscape we see here. In his catalogue essay, curator Jason Smith notes that, ‘Sheffield is one of the primary sources for Booth’s depiction of winter landscapes.’2 Smith goes on to explain that while these winter landscapes may seem apocalyptic and somewhat sinister, for Booth ‘the winter landscape is one of serenity and the promise of renewal. It reminds us of the resilience of nature and is a metaphor for human endurance against the physical and psychological trails of life.’3

In another nod to the famous playwright, and to literary narrative on the whole, Winter Landscape with Burning City resembles an empty stage set for a dramatic performance that is either about to begin or has just ended. The lack of figures, a point of difference to his previous figurative works, infuses the painting with a profound sense of mystery and anticipation. Perhaps what we are really anticipating is the sweet relief of spring to soften this harsh scene, verifying the resilience of nature and the endurance of mankind, as noted by Smith earlier. Or as Booth put it himself, ‘I am very pessimistic about the plight of beings… One thing I am not pessimistic about is the ability of nature to heal itself.’4

Evidently Booth draws inspiration from his memories and observations of the world around him, in conjunction with the complex realm of his internal imagination. While memory plays a major role in shaping his work, so does his deep interest in literature, represented in the present work by the large book lying 100

Australian & International Fine Art & Sculpture

FOOTNOTES 1. ‘View from the Booth’, The Age, Melbourne, 29 November 2003 2. S mith, J., Peter Booth: Human / Nature, National Gallery of Victoria, Melbourne, 2003, p.14 3. Ibid, pp.14-15 4. ‘View from the Booth’, The Age, Melbourne, 29 November 2003

Asta Cameron BA, MA (Art Curatorship)

101

46. GARRY SHEAD born 1942

Royal Visit 1997 oil on canvas on board 48.5 x 57.5 cm signed lower right: Garry Shead PROVENANCE The artist Private collection, New South Wales $40,000 - $60,000

‘I have always looked forward to my first visit to this country, but now there is the added satisfaction for me that I am able to meet my Australian people as their Queen … I am proud indeed to be at the head of a nation that has achieved so much. Standing at last on Australian soil, on this spot that is the birthplace of the nation, I want to tell you all how happy I am to be amongst you, and how much I look forward to my journey through Australia.’ HM Queen Elizabeth II, Farm Cove, Sydney Harbour, 3 February 1954

‘I remember seeing her and feeling the eye contact as she passed. I also remember dreaming about her … There was something unearthly and untouchable in her beauty, a sort of “Noli Me Tangere”, so that even a prime minister could not touch her elbow. She passed like an incarnate spirit.’ Garry Shead, quoted in Grishin, S., Garry Shead and the Erotic Muse, Craftsman House, Sydney, 2001, p.143

102

Australian & International Fine Art & Sculpture

‘Shead’s ‘‘Royal Suite’’, with a subtle perversity, subverts the whole notion of royal imagery. He peels away the taboos to reveal the sensuous vulnerable flesh, and … expose this sovereign as a desirable, yet slightly tragic being. They are wonderfully evocative, lyrical and sensuous paintings…’ Sasha Grishin, Garry Shead and the Erotic Muse, Craftsman House, Sydney, 2001, p.143

103

47. SIDNEY NOLAN (1917-1992)

Figure in Flight 1942 oil on hessian on board 43.0 x 51.0 cm signed and dated lower right: NOLAN/ 1942 PROVENANCE Private collection, London Christie’s, Melbourne, 3 May 2004, lot 152 (as Dancing Figure) Private collection, Melbourne Deutscher~Menzies, Melbourne, 13 September 2006, lot 45 Private collection, Melbourne Estate of the above $30,000 - $40,000

One can imagine Sir Sidney Nolan, late in his career, reflecting with a wry smile and a sense of wonder as to how he had achieved the career and recognition sought by so many, but achieved by so few. The most famous, decorated and esteemed Australian artist of the century, comfortably ensconced in his beautiful Elizabethan manor house, The Rodd, on the Welsh border, would have seemed an unlikely candidate for fame and fortune. The tram driver’s son, who was to be awarded the highest of all Imperial Honours, the Order of Merit, was a cocky, contrary and mercurial young man who became an artist almost in spite of his careless indifference to his own best interests. Nolan had dipped in and out of a number of art schools without leaving much of a mark, learning more from his work in a commercial art studio and wide reading in the public library, than from any teachers of note. He came of age in the Depression years of the late 1930s and managed to befriend an engaging group of intellectuals, as well as Melbourne’s patrons of modernism, John and Sunday Reed, who encouraged him to pursue the life of the artist. The early war years were disruptive to society as a whole, and for Nolan they brought estrangement and separation from his new wife and child as he was drawn into the vortex of the Reeds and their home. 1942 became a pivotal year for Australia, with the war that had been raging on the far side of the globe suddenly erupting at home with the Japanese raids on Darwin, Sydney and Newcastle. Nolan was drafted into the Militia Forces, then restricted to home front duties, and was posted to the remote Wimmera town of Dimboola, where he was part of the detail guarding stockpiles of food assembled in case of a Japanese invasion. While from an artistic and intellectual perspective Dimboola might have been in the middle of nowhere, for a young and inquisitive artist it produced a whole new range of challenging subject matter, which he lost no time exploring. Working with enamel paints on cheap scraps of hardboard, Nolan produced dozens 104

Australian & International Fine Art & Sculpture

of landscapes and figure studies, letting his imagination run wild while engaging in the mind-numbing duty of guarding sheds of canned baked beans. Back in Melbourne he had been making a range of small imaginative works on found materials, including slate and glass, all humorous, quirky and totally unsaleable. With the support of the Reeds he had been able to let his imagination flow, exploring a hundred different ideas, which eventually led to his creation of the Ned Kelly paintings four years later. His small abstracts and fleeting figure studies owed their inspiration to the European modernists he’d seen in the exotic, and expensive, magazines he’d read in the Reeds’ library and Gino Nibbi’s Leonardo Bookstore in the city. He was never one to linger over the form and drafting of a work, dashing off half a dozen at a sitting, so unlike his friend Albert Tucker (1914-1999), who laboured long and hard over every tortured composition. Nolan was becoming ever more engrossed by the simple and significant form, epitomised by his Boy and the Moon, the stark ‘ball on stick’ that so enraged conservative visitors to the Contemporary Art Society exhibition of 1940. His Figure in Flight is barely more complex than the ‘Moon boy’, a female figure rising from the ground, flapping arms representing by an extra pair of limbs, as the smiling face surprises the anguished head at her side. As a surrealist motif it might be seen to presage the tortured female figures of Albert Tucker’s Images of Modern Evil, created over the following three years. A simply sketched landscape might easily be Dimboola, or indeed any place of the imagination; the colour subtle but intense, with the paint dry-brushed across the hessian support. In itself the work is a brief and fleeting moment, one small image that would contribute to the vast avalanche that would become the life’s work of Australia’s most productive and original artist. Gavin Fry BA (Hons) MA MPhil

105

48. ARTHUR BOYD (1920-1999)

Bride in a Wimmera Landscape c1967 oil and tempera on board 90.0 x 120.5 cm signed lower right: Arthur Boyd PROVENANCE Barry Stern Gallery, Sydney, 1968 Private collection, Sydney Sotheby’s, Sydney, 7 May 2007, lot 102 Private collection, Sydney Estate of the above $70,000 - $90,000

In this painting, Arthur Boyd introduces one of his most potent archetypes into the still, sparse expanse of a Wimmera landscape.

pivotal to the inception of the Brides which portray a complex romantic relationship between an Aboriginal man and a white woman.

Boyd began painting the Wimmera district in western Victoria some two decades earlier, first visiting in the summer of 194849. Known for its wheatfields and vast plains, the Wimmera had attracted the attention of artists before him such as Russell Drysdale (1912-1981) and Boyd’s friend and contemporary, Sidney Nolan (1917-1992). Boyd brought to it his own unique sensibility, finding a landscape that combined the ‘matter-of-fact and poetical.’1 For Boyd, the Wimmera’s parched open spaces and sun-bleached fields dotted with farming equipment evoked a quintessentially Australian rural experience, while its infinite horizons and seemingly endless space stirred the artist’s creative imagination.

Boyd responded to the unjust treatment of Aboriginal people via an allegory that could be universally understood – one of unattainable love. In many ways he uses love to humanise his Aboriginal protagonists, at a time when ignorance and dehumanisation prevailed. As a whole these paintings are dreamlike, and deeply irrational. While they resonate with meaning they do not form a clear story and tend to defy straightforward interpretation. The inclusion of the lightly painted bride in the lower right of the present work continues this sense of narrative ambiguity.

When Boyd’s Wimmera landscapes were exhibited in 1950 in Sydney they received instant acclaim, and both the Art Gallery of New South Wales and National Gallery of Victoria acquired works for their collections.2 Over the next few years Boyd continued to travel through the Wimmera district, garnering inspiration for work which he would continue to create decades later. Though he was based in the UK for the majority of the 1960s, he would intermittently return to the Australian landscape in his art, where it would often act as a stage for mythical themes. In the present work Boyd introduces the motif of the Bride, which he developed a decade earlier in his seminal series of paintings Love, Marriage and Death of a Half-caste, now simply known as the Brides series. More than forty paintings form this body of work, which were made over several years from 1958 onwards, and exhibited in both Australia and London. The series is now regarded as Boyd’s most profound allegorical work, and the Brides are undisputedly amongst the most important artworks created by an Australian artist in the twentieth century. The Brides are widely understood as a discourse on the politics of racial division in Australia.3 Though commenced in the late 1950s, the seed for the series was sown in 1953 when Boyd made a trip to Central Australia, and saw the abject poverty and degradation of human rights that Aboriginal people were suffering as a result of child removal policies, and the violently racist mentality of the era.4 The profound assault that this had on the artist’s sensitivity is widely discussed in the scholarship on Boyd, and is regarded as 106

Australian & International Fine Art & Sculpture

In Bride in a Wimmera Landscape the profile of the bride’s face is softly delineated, while her body has become a simplified area of paler coloured earth against which the white pearls of her necklace stand out. She appears to be embracing another figure, depicted in warmer hues with a limb just discernible. Whether this figure is animal or human is difficult to establish, but the curling black tendrils that emanate from it bear similarities to those of the ramox motif of a black ram with curled horns that Boyd frequently used to represent lust and sexuality. A more direct representation of ramox can be seen in the black shape near the centre of the picture plane. Painted in a soft muted palette with egg tempera and oil on board, the psychological anxiety of Boyd’s Brides of the late 1950s has been replaced by a gentler mood in the present work. Dissolving into the landscape itself, here the Bride achieves the union that evaded her in the earlier series as she rests on the warm dry earth of the Wimmera, entangled with another. In this serene work as in others, Boyd abandons logic to invoke a mythic dimension to the land and its inhabitants that reaches beyond pure representation. FOOTNOTES 1. Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p.64 2. P earce, B., Arthur Boyd: Retrospective, exh. cat, Art Gallery of New South Wales, Beagle Press, Sydney, 1993, p.184 3. Morgan, K., ‘Boyd’s Brides: A Modern Allegory,’ in Arthur Boyd: Brides, Heide Museum of Modern Art, Victoria, p.8 4. Hoff, U., The Art of Arthur Boyd, Andre Deutsch, London, 1986, p.49

Marguerite Brown MA (Art Curatorship)

107

49. SIDNEY NOLAN (1917-1992)

Arthur Boyd at Fitzroy Falls 1988 oil on canvas 152.0 x 121.5 cm signed, dated and inscribed lower right: nolan/ 16.11.88/ ARTHUR BOYD/ AT FITZROY FALLS PROVENANCE Private collection, London Private collection, Sydney Private collection, Melbourne Deutscher + Hackett, Sydney, 28 April 2010, lot 55 Private collection, Sydney

Arguably the two greatest Australian painters of the second half of the twentieth century are united in this work by Sidney Nolan, in which he depicts fellow artist and lifelong friend Arthur Boyd (1920-1999). Arthur Boyd at Fitzroy Falls was selected as a finalist for the Archibald Prize of 1988. As Australia’s most famous and soughtafter art prize, the Archibald is no stranger to controversy. Following Nolan’s submission of the present work to the prize, a dispute arose over the validity of its inclusion. Another entrant complained that it contravened the award rules as Nolan had not resided in Australia for the twelve months prior to submitting the work. It was subsequently hung in the exhibition of finalists’ works, but not judged. This was the only time Nolan entered the Archibald Prize and given the iconic status of painter and subject, the Trustees of the Art Gallery of New South Wales were no doubt disappointed about this particular painting’s exclusion from eligibility to win the award.

EXHIBITED Archibald Prize (Finalist), Art Gallery of New South Wales, Sydney, 17 December 1988 - 29 January 1989 REFERENCE Pearce, B., Sidney Nolan, Art Gallery of New South Wales, Sydney, 2007, p.253 Ross, P., Let’s Face It: The History of the Archibald Prize, Art Gallery of New South Wales, Sydney, 2001, p.92 $50,000 - $70,000

He wrote, ‘I find the desire to paint the landscape involves a wish to hear more of the stories that take place in the landscape … which persist in the memory.’2 Some of Nolan’s most widely recognised paintings give visual form to such stories, namely his iconic Kelly series. Created some forty years after Nolan’s Wimmera series, the present work reveals the visual toughness that Nolan had brought to his landscape painting by the 1980s. All sense of the picturesque has evaporated, and he takes a characteristically high vantage point looking down on the country to convey its epic proportions. The sheer drop of Fitzroy Falls appears as a white vertical against the rust and purple hued cliff-face. While much of the landscape is painted with an amplified naturalistic colour palette, Boyd is depicted with lilac toned skin and maroon eyes set underneath a crop of striking white hair. Such expressive treatment of the figure calls to mind the Fauvists and their radical use of colour.

Chromatically vibrant and stylistically expressive, Nolan depicts Boyd set against the backdrop of Fitzroy Falls. This location is not far from the Boyd’s much-loved property Bundanon on the Shoalhaven River in south east New South Wales. Boyd first visited the Shoalhaven, and specifically Bundanon in 1971 and was immediately captivated by the landscape. He began painting the Shoalhaven River and surrounds, which spurred significant stylistic developments in his work. Arthur and his wife Yvonne Boyd purchased Bundanon in 1979, further cementing their commitment to the area and creating a legacy that continues to live on through their subsequent bequest of Bundanon to the Australian people. Boyd’s work based on this region, including Fitzroy Falls, became synonymous with his late period and seared his vision of this particular part of Australia’s wilderness into the national consciousness.

Nolan often drew upon narratives in his art, yet he sought to avoid the overly literal. The same could be said about this rare foray into portraiture. Rather than focusing on capturing a traditional likeness, the figure of Boyd is treated with the same broad strokes and chromatic intensity as the landscape from which it emerges.

Landscape was also an integral part of Nolan’s diverse oeuvre. His first sustained creative engagement with the Australian landscape occurred when he was stationed in Victoria’s Wimmera region during World War II. Enjoying the solitude, he moved away from his fixation with international modern art, and instead focused his attention on the terrain that surrounded him.1

FOOTNOTES

108

Australian & International Fine Art & Sculpture

In the present work Nolan continues to use the landscape as a way to frame a story or memory, depicting Boyd immersed in a location he loved, and likely one shared with Nolan during one of his visits to Bundanon. More so than for many artists, the particular landscape of this region became part of Boyd’s identity, and his lasting legacy. This profound relationship between artist and place is stirringly captured in this vibrant painting.

1. C lark, J., Sidney Nolan, Landscapes and Legends, National Gallery of Victoria, International Cultural Corporation of Australia Limited, New South Wales, 1987, p.42 2. S idney Nolan, quoted in ‘The “Kelly” paintings by Sidney Nolan’, The Australian Artist, vol.1, July 1948, p.20

Marguerite Brown MA (Art Curatorship)

109

50. BRUCE ARMSTRONG born 1957

Bunjil 2003 painted bronze and wood 235.0 x 37.0 x 29.0 cm from an edition of 9 bronzes with unique wooden plinths stamped with Perrin Sculpture foundry mark lower right PROVENANCE Private collection, Melbourne Menzies, Sydney, 23 September 2014, lot 60 Company collection, Melbourne Menzies, Melbourne, 9 February 2017, lot 49 Private collection, Melbourne Estate of the above RELATED WORKS Bunjil, Maquette, c1996, painted wood, 219.0 x 52.0 x 41.0 cm, collection of the artist, Melbourne; exhibited in Bruce Armstrong: An Anthology of Strange Creatures, Ian Potter Centre, National Gallery of Victoria, Melbourne, 26 August 2016 - 29 January 2017 Bunjil 2002, painted aluminium and wood, 25.0 m height, unique, commissioned by the Melbourne Docklands Authority, located at the intersection of Flinders Street and Wurundjeri Way, Melbourne Eagle 2002, painted wood, 5.0 m height, unique, Pt. Leo Estate collection, Victoria $60,000 - $80,000

Bruce Armstrong is one of Australia’s most celebrated contemporary sculptors: his large-scale public works of art dominate Melbourne’s cityscape. Armstrong’s best-known work would undoubtedly be Bunjil, the seven-storey high, 25-tonne eagle that towers over the Docklands precinct. This much-loved Melbourne landmark was inspired by Bunjil, the eaglehawk regarded as the spirit creator of the Kulin nations which include the Wurundjeri people. The giant bird stands high above the streetscape, protecting the land it created. Bunjil the eagle is a creator deity and ancestral being. After creating the rivers, mountains, plants, animals and laws for people to live by, Bunjil gathered his wives and sons and asked Crow, who controlled the winds, to open his bags and let out some wind. Crow opened a bag where he kept his whirlwinds, releasing a cyclone so fierce that trees were uprooted from their foundations. Bunjil asked Crow for an even stronger wind, and Crow complied. The ferocity of this whirlwind was so strong that Bunjil and his family were blown upwards into the sky. Bunjil became the star, Altair, and his two wives became stars on either side. The present work, Bunjil, created in 2003, stands at an impressive 2.2 metres high and is crafted from bronze and timber. Armstrong’s monumental animal figures carved from natural timbers appeal on many sensory levels - sight, touch and smell. Bunjil 2003 possesses the high standard of craftsmanship that is present in the best examples of Armstrong’s large wooden works. Through the medium of sculpture, the artist engages the viewer in a dialogue about mythology, the spiritual forces of nature and the relationship of sculpture to internal and external environments. Caroline Jones BA, MArtAdmin 110

Australian & International Fine Art & Sculpture

Figure 1 Bunjil 2002 painted aluminium and wood 25.0 m height unique Commissioned by the Melbourne Docklands Authority, currently located at the intersection of Flinders Street and Wurundjeri Way, Melbourne

111

51. JOHN COBURN (1925-2006)

Perfumed Garden 1976 synthetic polymer paint on canvas 97.0 x 195.0 cm signed lower right: Coburn signed and inscribed verso: PERFUMED GARDEN/ JOHN COBURN/ SYDNEY PROVENANCE Australian Galleries, Melbourne Private collection, Melbourne Menzies, Sydney, 13 September 2012, lot 47 Private collection, Sydney EXHIBITED John Coburn: Recent Paintings, Prints and Tapestries, Australian Galleries, Melbourne, 8 - 22 June 1976, cat.7 REFERENCE Amadio, N., John Coburn: Paintings, Craftsman House, Sydney, 1988, p.199 $50,000 - $70,000

John Coburn was 51 when he painted Perfumed Garden in 1976. Coburn was enjoying professional success and was, according to a critic at the time, at the height of his powers as a painter.1 Perfumed Garden was exhibited at Australian Galleries in June of that year and is among his finest works of this period.

a darker platform, or stage, the elements also gain a sense of enclosure, or of an arena where the elements are able to interact or to perform rituals.2 Coburn emphasises that the garden is deliberately aesthetic. It is an enclosed space filled with beauty which appeals to all the senses.

Coburn’s style was confirmed at an early age. Night Birds, painted at the beginning of his career in 1955, contains the same essential elements as Perfumed Garden. Both paintings combine sensitive formal qualities with a degree of spirituality. Subtle use of colour and rhythmic compositions, which are typical for this artist, derive from a restricted yet consistent vocabulary of animated forms. Over the majority of his working life, Coburn’s work remained true to its origins. With small refinements and changes in technique, Coburn sought to refresh his style while he gently tested its limits.

In Perfumed Garden, where the activities of God and man interact and where nature and art meet, Coburn aimed for and sought to represent spiritual grace. That such elevated notions are intended as the real subject of these paintings is clear. That these notions are neither high flown nor esoteric is consistent with all of Coburn’s art. His work is honest and sensible and his message is unambiguous.

This progress, which can be seen as his work evolves through the 1960s, 70s and 80s, was driven by Coburn in a purposeful and yet organic manner. Innovations are introduced, assimilated and consolidated in a way that confirms him as a thoughtful and determined painter. The relationship between Coburn and abstraction provides a backbeat to his life’s work: at times his work is quite literal, while at other times it retains only the faintest vestige of the recognisable world. Coburn’s painted garden contains plants jostling in space with ideographs of birdlike forms and the wafts of scented flowers. Pools, puddles, rocks, shafts of light and shadow, birdsong and breezes are conveyed by the simplest of shapes. Coburn strives for, and makes a virtue of, economy. These elements, painted more or less figuratively or implied, co-exist in their verdant environment in perfect balance. By setting the composition on 112

Australian & International Fine Art & Sculpture

Our understanding of Coburn is further informed by the professionalism of his approach and his work ethic. Perfumed Garden was produced at a time when the artist was busy and productive. The twelve-month period from February 1976 to January 1977 included solo shows at The Festival of Perth and the Queensland Festival, a major exhibition at the Australian Galleries in Melbourne, and an exhibition of tapestries, gouaches and screen-prints in New York. In 1977 he showed at the Orangerie at Versailles. Many paintings from this period were acquired by public collections, where they are presented as the best exemplars of the artist and his age. FOOTNOTES 1. Makin, J., ‘Coburn Show the Best of 4’, The Sun, 9 June 1976 2. Amadio, N., John Coburn – Paintings, Craftsman House, Sydney, 1988, p.92

Tim Abdallah BA

113

52. MICHAEL JOHNSON born 1938

Celtic Spell 2005 oil on canvas 243.5 x 214.0 cm inscribed on stretcher verso: TITLE: “CELTIC SPELL” PROVENANCE Christine Abrahams Gallery (label attached verso) Private collection, Sydney Menzies, Melbourne, 24 July 2014, lot 109 Private collection, Sydney $40,000 - $50,000

A contemporary of Brett Whiteley (1939-1992), Sidney Nolan (19171992) and John Olsen (born 1928), Michael Johnson occupies a vital position within the history of abstract painting in Australia. Born in Sydney, Johnson attended the Julian Ashton Art School followed by The National Art School during the late 1950s, often embarking on painting trips around rural New South Wales with Brett Whiteley, allowing a lifelong friendship to flourish. Like many of his contemporaries, Johnson later travelled to Europe in the early 1960s, settling at Brian Wall (born 1931) and Anthony Caro’s (1924-2013) studio and residing there for seven years. He managed to hold steadfast in his practice throughout the progressive changes and shifts to figurative and semi-abstract movements during this time, instead solidifying his love for colour, form and space to produce highly distilled abstract works that created the foundation for his work today. Although moving through various forms of abstraction throughout his career, Johnson remained inherently fascinated by the exploration of colour and the visual experience of art rather than a literal encounter. During the early 1980s he moved from geometric vertical forms to horizontal zones that embellished the canvas with a deep painterly quality. It is this painterly quality where the viewer becomes acutely aware of the medium working as more than just paint on a canvas but a tactile entity in its own right, with Johnson famously stating, ‘if the canvas rots, the paint will just stand up like a sheet.’1 It was throughout this time and on to the turn of the century that he established his ‘geometric rhythm’ that provides a duality of structure, yet vivid chaos, to his work. Realised at the pinnacle of Johnson’s career, Celtic Spell is a stunning illustration of an artist who has remained unwavering in his practice throughout his career, richly adding to the Australian 114

Australian & International Fine Art & Sculpture

art scene since the late 1950s. Celtic Spell provides a definitive example of Johnson’s metaphysical arrangement of colour. The use of colour specific zones dominates the composition providing a brilliant display of explosive vibrancy, yet an inherent understanding of controlled energy. Systematically dividing the canvas into four distinct zones pays homage to Johnson’s lifelong infatuation with nature and how the elements of different environments intertwine significantly with one another. Water, air and earth are presented in a highly textural, voracious manner - yet a sense of manicured precision is captured, moving away from merely a celebration of surface colour and implying an archeology of feeling, an unfathomable sense of the metaphysical.2 As Johnson explained, ‘I want the impact to engage the senses, play with time and spatial awareness. My paintings are not an object capturing scenery; it is a sensory experience on its own terms.’3 Johnson’s work truly captures his intent; it is raw and intuitive, humbly portraying his unwavering relationship with Australia’s natural habitat through explosive colour-play and an unparalleled visual experience. FOOTNOTES 1. ‘ I still have more painting to do,’ Sydney Morning Herald, Sydney, 24 March 2007, p.11 2. Pearce, B., Michael Johnson, Beagle Press, Sydney, 2004, p.76 3. Bond, A. & Lynn, V., Michael Johnson: Paintings 1968 – 1988, Art Gallery of New South Wales, Sydney, 1989, pp. 3-6

Clementine Retallack BA

115

53. IMANTS TILLERS born 1950

Sanctuary I 2003

EXHIBITED Imants Tillers, Sherman Galleries, Sydney, 24 April - 7 May 2003 $30,000 - $40,000

synthetic polymer paint and gouache on canvas board (54) 225.0 x 210.0 cm (overall) each panel numbered sequentially in stencil verso: 072932 – 072985 PROVENANCE Sherman Galleries, Sydney, 2003 (stamped verso) Private collection, Melbourne

In 1997, Imants Tillers made the impulsive, ‘not completely conscious and considered choice’ to move with his family from Sydney to Cooma, a small town in south-eastern New South Wales.1 This fundamental shift from the urban to regional offered rich new topography to probe the artist’s recurring interests in locality and identity, and reinforced his appreciation for indigenous art so essentially bound to landscape. ‘Since we moved to this (some would say) godforsaken, bleak, arid, treeless landscape called the Monaro,’ Tillers has written, ‘an awareness of landscape has become inescapable to me. Every journey, on foot or by bus, car or aeroplane, entails contact with the austere local vistas of a landscape tempered by heat, frost, drought and decomposing granite.’2 Drawing on these experiences traversing Monaro’s vast grasslands, like artist Rosalie Gascoigne (1917-1999) who similarly lived and worked in the region, Tillers too has turned to depict the environment not in literal representation of natural features, but as evocations in text and other layered visual elements.3 Presenting a postmodern approach to nature as essentially mediated and constructed, mapping bears manifold meaning as both subject and methodology. Just as philosopher Jean Baudrillard proposed the map today precedes the territory, Tillers posits a parallel of our mediated experience of nature with that of Australian encounters with art, noting that reproductions of artworks have long preceded direct experiences whilst distance from art-world centres has relegated local output to the periphery.4 Trading on these conditions, Tillers harnesses modes of mapping as a gambit to restore representations of nature in art with the texture of experience. In Sanctuary I, the consolidation of 54 canvas boards creates at once the familiar folded creases of a well-worn map, and in its flattened field evokes the boundless sun-bleached land itself that Gascoigne once described as ‘all air, all light, all space, all understatement.’5 In dialogue with her own assemblages, Tillers has utilised both readymade canvas board but as well ‘the readymade poetry’ of both Anglicised and Indigenous names of localities and geographical features in the vicinity.6 Across the patchwork grid of weathered dusty gold, stencilled words are swept and strewn across the labelled tableland as though carried by the wind, leaving text truncated in a palimpsest of rural road signs and prose alike. Crucial to Tillers’ idiosyncratic practice is an intellectual and philosophical acuity that informs his appropriation and reference to a pantheon of artists and ideas. Gathering disparate threads to converge with unexpected resonance, Tillers invites audiences to engage with multiple and inclusive subjectivities.7 116

Australian & International Fine Art & Sculpture

Here we encounter several of Tillers’ key influences; a fragment from Japanese-American artist Shusaka Arakawa’s book The Mechanism of Meaning 1979 (‘the distance out of which who repeatedly hypostatised speaks’); a segment of Emily Kame Kngwarreye’s (1910-1996) masterpiece Anwerlarr Anganenty (Big Yam Dreaming) 1995, and French poet Stephane Mallarmé whose phrase ‘a throw of the dice will never abolish chance’ borders this work and several others in Tillers’ ‘Nature Speaks’ series. Another citation of Mallarmé’s - ‘Everything in the world exists to end up in a book’ - provides the metaphoric backbone of the artist’s ongoing ‘Book of Power’.8 Since 1981, Tillers has organised the entirety of his painted canvas board panels into a sequential system numbered from one to infinity, describing his quixotic project as ‘an all-encompassing ‘book’, ‘inventory’, ‘compendium’, ‘neural network’ or maybe even, to use Arakawa’s term, a crude ‘model of being.’9 Each panel thus simultaneously speaks to each work’s gestalt but as well to Tillers’ overall oeuvre. Whether culminating in modular compositions or resting deconstructed in unmounted stacks, these works arrest in their enigmatic and engaging coalescence of history, culture, and place, Tillers remaining one of Australia’s most compelling contemporary artists. FOOTNOTES 1. 2 001 Facsimile from Imants Tillers to Graham Coulter-Smith, quoted in CoulterSmith, G., The Postmodern Art of Imants Tillers: Appropriation en Abyss, 1971-2001, Southampton Institute and Paul Holberton Publishing, Southampton and London: 2002, p.186 2. Tillers, I., ‘When locality prevails’, Heat¸ no.8, Giramondo, Sydney, 2004, p.114 3. Ibid. 4. Tillers, I., ‘In Perpetual Mourning’, Art + Text/ZG, (joint issue), New York, July 1984, p.15, quoted in Curnow, W., Imants Tillers and ‘The Book of Power’, Craftsman House, Sydney, 1997, p.74 5. R osalie Gascoigne interview with Peter Ross, ABC, 1990, quoted in Edwards, D., ‘Rosalie Gascoigne’, MCA Collection Handbook, https://www.mca.com.au/artistsworks/artists/rosalie-gascoigne/ 6. Tillers, I., ‘When Locality Prevails’, p.114 7. Newman, M., ‘The artist as translator’, quoted in Imants Tillers: Works 1978–1988, exhibition catalogue, The Institute of Contemporary Arts, London, 1988, n.p., quoted in Hart, D, ‘Bringing the periphery centre stage’, Imants Tillers: One World Many Visions, National Gallery of Australia, Canberra, 2006, p.36 8. C oulter-Smith, G., The Postmodern Art of Imants Tillers: Appropriation en Abyss, 1971-2001, p.199 9. T illers, I., ‘Metafiscia Australe’, Art + Australia, Issue One (53.2), 2017, https://www. artandaustralia.com/online/metafisica-australe

Carla Dusevic BA (Hons)

117

54. ROBERT DICKERSON (1924-2015)

Early Morning, Randwick 1994 oil and synthetic polymer paint on canvas 152.0 x 152.0 cm signed lower right: DICKERSON PROVENANCE Holdsworth Galleries, Sydney (label attached verso) Art Galleries Schubert, Queensland (label attached verso) Private collection, Melbourne Deutscher~Menzies, Melbourne, 4 June 2003, lot 91 Private collection, Melbourne Deutscher~Menzies, Sydney, 5 December 2007, lot 42 Private collection, Sydney EXHIBITED Robert Dickerson, Holdsworth Galleries, Sydney, 18 March - 5 April 1995 $50,000 - $70,000

Alongside art, Robert Dickerson’s enduring passion was undoubtedly horse racing. The two go hand in hand throughout his oeuvre, with horses, jockeys and punters among his most sought after subjects. Remarkably, his career as a full-time artist owes its inception to a wager on a horse: in 1957 he won an Australian Women’s Weekly competition to decorate a Kelvinator fridge and used the £100 prize money to place a bet on a horse race. With the winnings he was able to purchase decent art supplies and become a fully-fledged artist.1 Dickerson’s early life was one of hardship. Born in Depressionera Sydney, his mother charged him board from age thirteen, causing him to leave school the following year to work in a hinge factory in Annandale. At sixteen he turned to amateur boxing to make a living, recalling those days as desperate and painful.2 Around this time he developed an abiding interest in punting, using the surplus from his boxing winnings to bet on the races at Warwick Farm and Randwick, where the present work is set. During the World War II, Dickerson served in the Royal Australian Air Force in Darwin and South East Asia, making drawings in his downtime as he had done as a child, of warships and aircraft. In 1959 Dickerson rose to fame as the only Sydney-based founding member of the Antipodeans, a group of highly regarded figurative artists standing against the rising popularity of abstraction. Dickerson participated in Bernard Smith’s renowned Antipodeans exhibition held in Melbourne in August 1959 alongside Arthur Boyd (1920-1999), Charles Blackman (19282018), Clifton Pugh (1924-1990), John Perceval (1923-2000), David Boyd (1924-2011), and John Brack (1920-1999). Early Morning, Randwick is an emblematic example of Dickerson’s favourite subject matter. Painted in 1994 when the artist was seventy years of age, it is an ode to the countless early mornings he would have spent at the racetrack, watching trainers and jockeys discuss the day’s races, and scrutinising horses in the mounting yard before placing his bets. The red sun rises over 118

Australian & International Fine Art & Sculpture

the track’s green grass, with the colours juxtaposing to create a pleasing balance in composition. Rather typically of Dickerson, the figures seem to float in the green pigment surrounding them, with the horizon being the only point of context to anchor the landscape. Later in life Dickerson left Sydney suburbia behind, moving to a property in Nowra, New South Wales, with his wife and business manager, Jennifer Dickerson. Here he bred racehorses at his training facility, and continued to paint full time in his studio. His passion for breeding and racing horses was recognised when he was appointed artist-in-residence at Moonee Valley Racing Club for the 2001–2002 season. In 2013 he was awarded an Order of Australia for ‘distinguished service to the visual arts as a figurative painter’ and for his support of a range of charities.3 Dickerson continued to paint until his death of cancer in 2015, with Brisbane gallerist, Philip Bacon, holding the final exhibition of the artist’s life in 2014, stating that, ‘there would not be a private collection in Australia that does not have a Dickerson.’4 FOOTNOTES 1. R obert Dickerson, Art Gallery of New South Wales, accessed 14 October 2020: www.artgallery.nsw.gov.au/collection/artists/dickerson-robert/ 2. D ickerson, J., Robert Dickerson: Against the Tide, Brisbane, Pandanus Press, 1994, p.26 3. The Queen’s Birthday 2013 Honours List, The Governor General of the Commonwealth of Australia, 10 June 2013, accessed 14 October 2020: www.gg.gov.au/queens-birthday-2013-honours-list 4. Philip Bacon, quoted by Winestock, G., ‘Artist Robert Dickerson dies at 91’, The Australian Financial Review, 18 October 2015

Asta Cameron BA, MA (Art Curatorship)

119

55. HUGH SAWREY (1919-1999)

The Binde-Bango Shed in Full Swing, South of Mitchell, Western Queensland oil on canvas 150.0 x 201.0 cm signed lower right: SAWREY signed and inscribed verso: HUGH SAWREY/ “THE “BINDEBANGO” SHED IN FULL SWING”/ SOUTH OF MITCHELL. WESTERN QUEENSLAND.

REFERENCE Hooper, J., The Art of Hugh Sawrey, John Hooper, Queensland, 1981, p.64 (illus. p.65, as Full Swing at Binde-Bango) RELATED WORK The Four Deuces. the Poker Game, Kogan Creek Hotel, Qld, oil on canvas, 137.0 x 152.0 cm; sold Elder Fine Art, Adelaide, 24 May 2015, lot 37, $167,900 (including buyer’s premium) $50,000 - $60,000

PROVENANCE Private collection, Queensland Menzies, Sydney, 25 March 2010, lot 91 Private collection, Victoria

Born in rural Queensland in 1919, Hugh Sawrey was the son of a shearers’ cook and teamster, who died when Sawrey was just three years of age. At fifteen, he left school to support his widowed mother during the Great Depression, working as a drover and shearer throughout Queensland, the Northern Territory, and Western Australia. World War II began five years later, and a twenty year old Sawrey set off to serve in the Australian Army and later the Royal Australian Air Force until the war’s end. With his service pay he bought a mob of cattle and returned to working on the land he cherished. With no formal artistic training, Sawrey uncovered his talent by sketching with campfire charcoal on scraps of paper while droving cattle. It was not until the 1960s that he embarked on a career as an artist, further honing his skills by attending Jon Molvig’s (1923-1970) drawing classes. Sawrey began to paint murals for country pubs in exchange for accommodation and food. Inspired by the bush poems of Banjo Paterson (1864-1941), some of his most famous murals include The Geebung Polo Club and Mulga Bill’s Bicycle, commissioned by the Royal Hotel in Brisbane, where he had his first studio. The Banjo Paterson poem that springs to mind when viewing the present work is undoubtedly Shearing at Castlereagh. While 120

Australian & International Fine Art & Sculpture

Sawrey’s painting depicts the Binde-Bango shearing shed in Western Queensland, not that of Castlereagh in New South Wales, it illustrates that same hardy Australian spirit captured in Paterson’s rhymes: They trim away the ragged locks, and rip the cutter goes, And leaves a track of snowy fleece from brisket to the nose; It’s lovely how they peel it off with never stop nor stay, They’re racing for the ringer’s place this year at Castlereagh.1 While countless Australian artists have painted our vast country, very few have captured the people and stories of outback Australia with such affection and insight. This is perhaps because Sawrey was not an outsider, voyeuristically recording bush scenes, as many artists were. Instead, he lived the life he painted, continuing to shear until he was 46 years of age. In the present work, he could easily be one of the figures gathering wool or taking a smoko in the background. Sawrey completed a number of smaller paintings depicting the Binde-Bango shed, with The Binde-Bango Shed in Full Swing, South of Mitchell, Western Queensland being the jewel in the crown. This almighty canvas has only appeared on the market once before, and at that time became the third most valuable

Hugh Sawrey artwork to have ever sold at auction. A master of storytelling, Sawrey deftly captures the atmosphere of the hot, bustling shed, with viewers almost able to hear the bleating sheep and smell the unmistakable mix of dust, dung and lanolin. This important painting documents one of the most iconic industries that shaped post-colonial Australia. The blade shears of Tom Robert’s (1856-1931) legendary Shearing the Rams 1890 were largely replaced by mechanical shears by the turn of the century, followed by experiments with robotic shearing beginning in the 1970s.2 Sawrey lamented this loss of traditional agricultural skills stating of stockman culture: In the forties in the Channel Country it was mainly horse work. It was open country and we mustered from one waterhole to the next. The men and women took pride in what they were doing and took pride in their gear, the belts and buckles, the stirrups, bridles and saddles. Today, it’s motorcycles and four-wheel drives, a real mechanical age. It’s a shame.3 It was with this view that Sawrey opened the Australian Stockman’s Hall of Fame at Longreach in Western Queensland, to pay tribute to the unsung heroes of remote Australia. Alongside RM Williams, Sawrey auctioned some of his paintings

to generate funding for the construction of the building, which was officially opened by Queen Elizabeth II on 29 April 1988. The following year Sawrey was awarded an Order of the British Empire, and in 1999 an Order of Australia for ‘his service to the preservation of Australia’s rural heritage.’4 Outback Australia shaped Sawrey’s life from the moment of his birth, and in return he left his mark on the outback by preserving its obscurities in his idiosyncratic painting style and the Stockman’s Hall of Fame. This masterpiece is certainly one of his most significant contributions, as a true pioneer of the Australian outback. FOOTNOTES 1. Paterson, B., The Banjo’s Best Loved Poems, Weldon Publishing, Sydney, 1985, p.36 2. S tate Library of New South Wales, Australian Agricultural and Rural Life: Sheep Shearing, accessed 5 October 2020: www.sl.nsw.gov.au/stories/australianagricultural-and-rural-life/sheep-shearing 3. Sunday Mail, Brisbane, 2 February 1997 4. Cooke, G., ‘Hugh Sawrey: Biography,’ Design & Art Australia Online, 1999 (updated 2009), accessed 6 October 2020: https://www.daao.org.au/bio/hugh-sawrey/ biography/

Asta Cameron BA, MA (Art Curatorship) 121

56. DAVID LARWILL (1956-2011)

About Envy 2004 synthetic polymer paint on linen 122.0 x 106.5 cm signed with initials and dated in centre: D.L./ ‘04 signed, dated and inscribed verso: “about envy”/ David Larwill/ 2004 122

Australian & International Fine Art & Sculpture

PROVENANCE Jan Murphy Gallery, Brisbane Private collection, Sydney EXHIBITED David Larwill: New Works, Jan Murphy Gallery, Brisbane, 6 - 21 August 2004 $16,000 - $24,000

57. ADAM CULLEN (1965-2012)

Why We AreÂ 2003 synthetic polymer paint on canvas 213.0 x 244.0 cm PROVENANCE Yuill/Crowley Gallery, Sydney (label attached verso) Private collection, Melbourne $28,000 - $36,000 123

58. DAVID KEELING born 1951

$20 2005 oil on linen 121.5 x 92.0 cm signed, dated and inscribed verso: D. Keeling 05/ $20 PROVENANCE Niagara Galleries, Melbourne, 2005 (label attached verso) Private collection, Melbourne EXHIBITED 10°, Niagara Galleries, Melbourne, 2 - 27 August 2005, cat.5 $9,000 - $12,000 124

Australian & International Fine Art & Sculpture

59. STEPHEN BUSH born 1958

Row Cropper 1986 oil on linen 109.0 x 166.0 cm signed and dated verso: Stephen Bush 17/2/86 - 3/3/86 label attached verso with artist’s name, title, date, medium and dimensions PROVENANCE Powell Street Gallery, Melbourne Private collection, Melbourne EXHIBITED Plow, Powell Street Gallery, Melbourne, 1987 $9,000 - $12,000 125

60. SUSAN NORRIE born 1953

Even Titian Started that WayÂ 2003 oil and lacquer on canvas 150.0 x 180.0 cm signed and dated verso: Susan Norrie/ 2003 PROVENANCE Mori Gallery, Sydney, 2004 Private collection, Sydney $14,000 - $18,000 126

Australian & International Fine Art & Sculpture

61. EUAN MACLEOD born 1956

Steps 1999 oil on polyester canvas 180.5 x 137.5 cm signed, dated and inscribed verso: EUAN MACLEOD/ 14/5/99 -/ 7/99/ ‘STEPS.’/ 99L8 PROVENANCE Watters Gallery, Sydney (label attached verso) Private collection, Sydney EXHIBITED Euan Macleod, Watters Gallery, Sydney, 28 July - 14 August 1999, cat.6 $16,000 - $24,000 127

62. JOHN KELLY born 1965

Fragment 2000 oil on canvas 30.0 x 77.0 cm (irreg.) signed and dated lower right: KLLY 2k PROVENANCE Niagara Galleries, Melbourne Private collection, Melbourne Menzies, Melbourne, 25 June 2015, lot 75 Private collection, Melbourne EXHIBITED John Kelly: More Fucking Cows!, Niagara Galleries, Melbourne, 31 October - 25 November 2000, cat.16 (illus. exhibition catalogue) $12,000 - $16,000

63. JOHN KELLY born 1965

Aerial View and Half a Zebra 1998 oil on canvas 40.5 x 40.5 cm PROVENANCE Niagara Galleries, Melbourne Private collection, Sydney Deutscher + Hackett, Melbourne, 6 May 2015, lot 103 Private collection, Melbourne EXHIBITED John Kelly: Heads and Tales - First Past the PostModern, Niagara Galleries, Melbourne, 17 November - 12 December 1998, cat.22 $8,000 - $12,000 128

Australian & International Fine Art & Sculpture

64. ROBERT ROONEY (1937-2017)

Jeu de Cartes: The JokerÂ 2004 synthetic polymer paint on canvas 128.0 x 182.5 cm signed, dated and inscribed verso: ROBERT ROONEY/ BALLETOMANIA:/ JEU DE CARTES: THE JOKER/ (PORTRAIT OF JEAN BABILEE) . AUG ./ 2004/ ACRYLIC ON CANVAS/ 128 x 182 cm PROVENANCE Tolarno Galleries, Melbourne, 2005 Private collection, Melbourne EXHIBITED Balletomania, Tolarno Galleries, Melbourne, September 2005 $15,000 - $20,000 129

65. GUAN WEI born 1957

Looking for Enemies #4 2004 synthetic polymer paint on canvas (diptych) 140.0 x 120.0 cm (overall) panel (ii) signed with initials lower right: GW each panel signed, dated and inscribed verso: 'Looking for Enemies' No.4/ Guan Wei 2004/ Acrylic on canvas PROVENANCE Sherman Galleries, Sydney, 2004 Private collection, Melbourne 130

Australian & International Fine Art & Sculpture

REFERENCE Dysart, D., Hanru, H. & King, N., Guan Wei, Craftsman House, Sydney, 2006, p.84 Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne $15,000 - $20,000

66. NOEL McKENNA born 1956

Big Things Australia 2004 enamel and synthetic polymer paint on canvas 152.0 x 183.0 cm signed and inscribed verso: Noel McKenna/ Big Things Australia signed and dated on stretcher verso: N McKenna ‘04

EXHIBITED Noel McKenna - Australia II including the Queensland Room, Darren Knight Gallery, Sydney, 31 August - 2 October 2004, cat.7 Noel McKenna: Landscape - Mapped, Queensland Art Gallery & Gallery of Modern Art, Brisbane, 18 November 2017 - 2 April 2018 $22,000 - $28,000

PROVENANCE Darren Knight Gallery, Sydney, 2004 (label attached verso) Private collection, Melbourne 131

67. ANNE ZAHALKA born 1957

Cole Classic II - The Second Wave (from the series Leisureland) 2000 C type photograph 115.0 x 145.0 cm edition: 5/12 signed label of authenticity attached verso PROVENANCE Roslyn Oxley9 Gallery, Sydney, 2003 (label attached verso) Private collection, Melbourne EXHIBITED Leisureland, Roslyn Oxley9 Gallery, Sydney, 3 - 20 May 2000 (another example) $7,500 - $9,500

68. ANNE ZAHALKA born 1957

Bridge Climb (from the series Leisureland) 2000 C type photograph 115.0 x 145.0 cm edition: 3/12 signed label of authenticity attached verso PROVENANCE Roslyn Oxley9 Gallery, Sydney, 2003 (label attached verso) Private collection, Melbourne EXHIBITED Leisureland, Roslyn Oxley9 Gallery, Sydney, 3 - 20 May 2000 (another example) $5,500 - $7,500

132

Australian & International Fine Art & Sculpture

69. MICHAEL RILEY (1960-2004)

Untitled (Left Wing from the series Cloud) 2000 chromogenic pigment print 104.5 x 150.0 cm edition of 5 PROVENANCE Gallery Gabrielle Pizzi, Melbourne, 2006 (label attached verso) Private collection, Melbourne

EXHIBITED Sights Unseen, National Gallery of Australia, Canberra, 14 July - 22 October 2006; Monash Gallery of Art, Melbourne, 16 November 2006 - 25 February 2007; Dubbo Regional Gallery & Moree Plains Gallery, New South Wales, 12 May - 8 July 2007 & 19 May - 15 July respectively; Museum of Brisbane, Brisbane, 27 July - 19 November 2007; Art Gallery of New South Wales, Sydney, 22 February - 27 April 2008 $8,000 - $10,000

DUE TO COPYRIGHT RESTRICTIONS, THIS WORK CANNOT BE DISPLAYED. A HIGH RESOLUTION IMAGE IS AVAILABLE UPON REQUEST.

70. ROSEMARY LAING born 1959

Groundspeed (Red Piazza #2) 2001 C type photograph 110.0 x 205.0 cm edition of 15 PROVENANCE Gitte Weise Gallery, Sydney, 2003 Private collection, Melbourne

EXHIBITED Rosemary Laing: Groundspeed, Gitte Weise Gallery, Sydney, 29 August - 22 September 2001, cat.5 (another example) Rosemary Laing: A Survey, Brisbane City Gallery, Brisbane, 23 January - 23 March 2003 (another example) REFERENCE Soloman-Godeau, A., Rosemary Laing, Piper Press, Sydney, by arrangement with Prestel Verlag, Munich, 2012, p.101 (illus., another example) $14,000 - $18,000 133

71. DAVID MOORE (1927-2003)

Migrants Arriving in Sydney 1966 silver gelatin photograph 68.0 x 98.0 cm signed within image: David Moore This is the only larger format example of this photograph known to bear the artist's original signature PROVENANCE Estate of the artist Josef Lebovic Gallery, Sydney (label attached verso) Deutscher~Menzies, Melbourne, 21 September 2005, lot 168 Private collection, Melbourne Menzies, Melbourne, 21 September 2016, lot 78 Private collection, Melbourne EXHIBITED David Moore Retrospective 1940-1976, Australian Centre for Photography, Sydney, 8 June - 3 July 1976 (another example) David Moore: 50 Years of Photographs, Art Gallery of New South Wales, Sydney, 9 November - 11 December 1988 (another example) David Moore: A Survey, Christine Abrahams Gallery, Melbourne, 28 April - 17 May 1990 (another example) 134

Australian & International Fine Art & Sculpture

Sydney Harbour: David Moore: 50 Years of Photography, State Library of New South Wales, Sydney, 20 October 1993 27 February 1994 (illus. exhibition catalogue, p.129, another example) David Moore 1927-2003: Photographs from the Collection, Art Gallery of New South Wales, Sydney, 15 February - 16 March 2003 (another example) Australian Postwar Photodocumentary, Art Gallery of New South Wales, Sydney, 12 June - 8 August 2004 (another example) Great Collections, Art Gallery of Ballarat, Ballarat, 24 July 2009 30 August 2009 (another example) The Photograph and Australia, Art Gallery of New South Wales, Sydney, 21 March 2015 - 8 June 2015; Queensland Art Gallery, Brisbane, 4 July - 11 October 2015 (another example) REFERENCE Byron, S., David Moore: Australian Photographer, Chapter & Verse, Sydney, 1988, vol.I, p.123 (illus., another example) Newton, G., Shades of Light - Photography and Australia 1839-1988, Australian National Gallery, Canberra, 1988, p.129 (illus., another example) Annear, J., The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, p.105 (illus., another example) $14,000 - $18,000

72. MAX DUPAIN (1911-1992)

The Sunbaker 1937 silver gelatin photograph 37.0 x 40.0 cm signed and dated within image: Max Dupain '37 printed c1972 PROVENANCE The artist Acquired from the artist, private collection, Sydney Deutscher + Hackett, Melbourne, 29 April 2009, lot 206 Private collection, Melbourne

REFERENCE Newton, G., Max Dupain: Photographs 1928-80, The David Ell Press, Sydney, 1980, p.64 (illus., another example) Max Dupain’s Australia, Viking Press, Sydney, 1986, p.104 (illus., another example) Ennis, H., Max Dupain: Photographs, National Gallery of Australia, Canberra, 1991, p.18 White, J., Smee, S. & Cawood, M., Dupain’s Beaches, Chapter and Verse, Sydney, 2000, p.69 (illus., another example) Annear, J., The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, pp.40, 50, 294 (illus. p.104, another example) $30,000 - $50,000 135

73. JOHN COBURN (1925-2006)

Night Desert 1971 gouache on paper 56.0 x 77.0 cm signed lower right: Coburn signed, dated and inscribed verso: “Night Desert”/ John Coburn/ Paris 1971 PROVENANCE Dorothy Lewis Irrevocable Trust, United States of America, 2013 Doyle, New York, 6 June 2018, lot 32 Private collection, Melbourne $6,000 - $9,000 136

Australian & International Fine Art & Sculpture

74. MIRKA MORA (1928-2018)

Welcoming the Blue MoonÂ 2014 oil on canvas 60.0 x 60.0 cm signed and dated upper right: MIRKA/ 2014 dated and inscribed on stretcher verso: WELCOMING THE BLUE MOON 2014 60 x 60 cm O/C PROVENANCE William Mora Galleries, Melbourne (stamped verso) Private collection, Melbourne $7,000 - $10,000 137

75. MICHAEL ZAVROS born 1974

BalenciagaÂ 2009 charcoal on paper 79.5 x 115.0 cm signed with initials and dated lower right: MZ09 PROVENANCE The artist Acquired from the artist, private collection, Sydney $12,000 - $16,000 138

Australian & International Fine Art & Sculpture

76. TIM STORRIER born 1949

Surveyor’s Saddle III 1981 watercolour on paper 100.5 x 119.0 cm signed, dated and inscribed lower right: Surveyor’s Saddle III 1981/ Storrier PROVENANCE

EXHIBITED Tim Storrier, Australian Galleries, Melbourne, 1981, cat.11 (label attached verso) REFERENCE Capon, E., Tim Storrier: Moments - In Response to Memories and Ideas of Mortality, Macmillan Art Publishing, Melbourne, 2009, p.305 (illus.) $20,000 - $30,000

Australian Galleries, Melbourne, 1981 Private collection GFL Fine Art, Perth, 12 November 2002, lot 52 Private collection, Perth GFL Fine Art, Perth, 28 November 2006, lot 59 Private collection, Melbourne Menzies, Sydney, 27 June 2013, lot 82 Private collection, Sydney 139

77. JOHN OLSEN born 1928

Giraffes and Balloon 2010 watercolour and pastel on paper 100.0 x 75.0 cm signed, dated and inscribed lower right: ‘Girrafes [sic]/ & Balloon’/ John Olsen/ 010 PROVENANCE Metro 5 Gallery, Melbourne (label attached verso) Private collection, Melbourne REFERENCE McGregor, K., John Olsen: Drawing - The Human Touch, Macmillan Art Publishing, Melbourne, 2014, p.344 (illus. p.217) $30,000 - $40,000 140

Australian & International Fine Art & Sculpture

78. FRED WILLIAMS (1927-1982)

MittagongÂ 1958 gouache on paper 59.5 x 77.0 cm signed lower right: Fred Williams PROVENANCE Rudy Komon Gallery, Sydney Private collection, Sydney, 1992 Private collection, Melbourne Private collection, Queensland Menzies, Melbourne, 23 September 2010, lot 22 Private collection, Sydney Menzies, Melbourne, 9 February 2017, lot 72 Private collection, Melbourne EXHIBITED Important Works on Paper and Sculpture, Olsen Irwin, 5 - 23 August 2015, Sydney, stock no.14665 (label attached verso) $35,000 - $45,000 141

79. LLOYD REES (1895-1988)

The Valley c1932 oil on canvas on board 29.5 x 34.5 cm signed indistinctly lower left: REES bears inscription verso: The Valley/ by Lloyd Rees/ Parramatta/ 20 guineas/ CA SHEPHERD/ 18 CARRARA Rd/ VAUCLUSE PROVENANCE Mr Charles Shepherd, Sydney Acquired from the above, Mr Colin Montague Orr, Sydney Thence by descent, Dr Kevin B. Orr, Sydney Estate of the above 142

Australian & International Fine Art & Sculpture

EXHIBITED Lloyd Rees Loan Exhibition, National Art Gallery of New South Wales, Sydney, 1 - 30 August 1942, cat.8 (label attached verso) REFERENCE Free, R., Lloyd Rees, Lansdowne Press, Melbourne, 1979, cat.O42 $9,000 - $12,000

80. ARTHUR STREETON (1867-1943)

Ruins, Peronne 1918 watercolour on paper 37.0 x 52.0 cm signed and inscribed lower right: A STREETON/ PERONNE. bears inscription verso: Mr J[illeg.] Kent/ 337A Balaclava Rd/ Caulfield/ Phone VL 2210 fragment of framer’s label from Chas. H. West, 117 Finchley Road, London attached verso PROVENANCE Mr J. Kent, Melbourne Private collection, Melbourne, acquired c1960s Thence by descent, private collection, Melbourne REFERENCE (possibly) Streeton, A., The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, cat.590 or cat.601 RELATED WORKS Ruins, Peronne 1918, watercolour on paper, 36.5 x 53.0 cm, Art Gallery of New South Wales collection, Sydney Peronne, Oct. 1918 1918, watercolour on paper, 53.5 x 35.5 cm, Art Gallery of South Australia collection, Adelaide $12,000 - $18,000

81. ARTHUR STREETON (1867-1943)

Morning Mist on the Thames 1904 watercolour on paper 37.0 x 54.0 cm signed and dated lower left: a. Streeton/ 1904 bears inscription verso: FRAMED BY/ DAVID HEYSEN./ KALANGADOO SA PROVENANCE Private collection, Victoria, acquired c1970s Thence by descent, private collection, Victoria $12,000 - $18,000 143

82. HANS HEYSEN (1877-1968)

Autumn Afternoon, Mount Lofty Ranges 1950 watercolour on paper 30.5 x 39.5 cm signed and dated lower left: HANS HEYSEN 1950 bears inscription verso: No 611 Autumn Afternoon/ Mt Lofty Ranges/ Hans Heysen PROVENANCE Christopher Day Gallery, Sydney, 1994 Private collection, Sydney $10,000 - $15,000

83. PENLEIGH BOYD (1890-1923)

Gums on the River 1918 watercolour on board 38.5 x 51.5 cm signed and dated lower left: Penleigh Boyd/ 18 PROVENANCE Company collection, Melbourne Deutscher~Menzies, Melbourne, 21 September 2005, lot 306 Private collection, Melbourne $4,000 - $6,000 144

Australian & International Fine Art & Sculpture

84. BESSIE DAVIDSON (1879-1965)

Still Life with Books and CandlestickÂ 1959 oil on board 70.0 x 60.0 cm signed and dated lower right: Bessie Davidson 1959 PROVENANCE Private collection, South Australia Private collection, Adelaide Menzies, Melbourne, 24 July 2014, lot 54 Private collection, Sydney $35,000 - $45,000 145

85. RUPERT BUNNY (1864-1947)

Study for On the Seaweed II (Study for Sur le Tapis de Varech) c1913 oil on board 30.5 x 30.5 cm fragment of statement of authenticity signed by Daryl Lindsay attached verso PROVENANCE Leonard Joel, Melbourne, 30 May 1957, lot 2392 Collection of Mr George Mitchell, Melbourne Estate of the above Deutscher~Menzies, Sydney, 13 June 2007, lot 152 (as Festival Scene) Private collection, Melbourne Estate of the above REFERENCE Eagle, M., The Art of Rupert Bunny, Australian National Gallery, Canberra, 1991, pp.102-107 Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonné, Thames & Hudson, Melbourne, 2017, vol.2, p.51, cat.O385 RELATED WORKS On the Seaweed (Sur le Tapis de Varech) c1924, oil on canvas, 215.0 x 215.0 cm, present whereabouts unknown; referenced in Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonné, Thames & Hudson, Melbourne, 2017, vol.2, p.70, cat.O629 Study for On the Seaweed III c1913, oil on cardboard, 28.0 x 30.0 cm (image), National Gallery of Australia collection, Canberra; referenced in Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonné, Thames & Hudson, Melbourne, 2017, vol.2, p.51, cat.O386 Study for On the Seaweed IV c1913, oil on cardboard, 36.5 x 30.5 cm (image), National Gallery of Australia collection, Canberra; referenced in Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonné, Thames & Hudson, Melbourne, 2017, vol.2, p.51, cat.O387 $12,000 - $18,000

86. CHARLES ROLANDO (1844-1893)

Haystacks oil on canvas 60.0 x 103.0 cm signed lower left: C. Rolando PROVENANCE Leonard Joel, Melbourne, 5 November 1980, lot 834 (as Children by the Haystacks) Private collection, Melbourne Lawson~Menzies, Sydney, 13 September 2007, lot 272 Private collection, Sydney Gift from the above, private collection, Sydney $4,000 - $6,000 146

Australian & International Fine Art & Sculpture

87. JANET CUMBRAE-STEWART (1883-1960)

Nude with Blue and White Headscarf 1924 pastel on paper 35.0 x 28.0 cm signed and dated lower left: Cumbrae Stewart/ 24 PROVENANCE Private collection, United Kingdom Bonhams, Sydney, 22 August 2011, lot 76 Private collection, Canberra $4,000 - $6,000

88. JANET CUMBRAE-STEWART (1883-1960)

Blue Drape 1919 pastel on paper 53.5 x 36.0 cm signed and dated lower right: Cumbrae Stewart/ 19 PROVENANCE Barry Stern Gallery, Sydney, 1972 Private collection, Melbourne Menzies, Sydney, 26 March 2015, lot 244 Private collection, Canberra $6,000 - $8,000

147

89. WILLIAM DOBELL (1899-1970)

The Gossip 1970 oil on board 15.5 x 25.0 cm signed lower right: DOBELL PROVENANCE Christie’s, Melbourne, 6 May 2003, lot 118A Private collection, South Australia Elder Fine Art, Adelaide, 19 September 2004, lot 61 Private collection Deutscher~Menzies, Melbourne 21 November 2005, lot 135 Private collection, New South Wales Deutscher~Menzies, Melbourne, 13 March 2007, lot 114 Private collection, Sydney REFERENCE Pearce, B. & Kolenberg, H., William Dobell: The Painter’s Progress, Art Gallery of New South Wales, Sydney, 1997, p.128 RELATED WORKS The Gossip 1970, oil on composition board, 91.0 x 91.0 cm, private collection $28,000 - $35,000 148

Australian & International Fine Art & Sculpture

90. ALBERT NAMATJIRA (1902-1959) Arrernte/Aranda language group

Looking Towards Mt GilesÂ c1955 watercolour on paper 25.0 x 34.5 cm signed lower right: ALBERT NAMATJIRA PROVENANCE Private collection, acquired c1955 Leonard Joel, Melbourne, 12 April 2006, lot 677 Private collection, Victoria REFERENCE This work is to be included in the forthcoming book on Albert Namatjira by Ken McGregor, due for publication in December 2020. $25,000 - $35,000 149

91. EMILY KAME KNGWARREYE (c1910-1996) Anmatyerre language group

Alhalkere - My Country 1990 synthetic polymer paint on linen 82.0 x 61.0 cm PROVENANCE The artist Acquired from the artist, Utopia Station, Northern Territory, 1990 Sotheby’s, Melbourne, 28 June 1999, lot 278 Private collection, United Kingdom $14,000 - $18,000 150

Australian & International Fine Art & Sculpture

92. EMILY KAME KNGWARREYE (c1910-1996) Anmatyerre language group

Wildflower DreamingÂ 1995 synthetic polymer paint on linen 120.0 x 92.0 cm signed verso: Emily bears inscription verso: Wild Flower/ DREAMING/ FW5318 accompanied by a certificate of authenticity from Fireworks Gallery, Brisbane PROVENANCE Mbantua Gallery, Northern Territory, 1995 Private collection, Brisbane Fireworks Gallery, Brisbane, 2001 (label attached verso, stock no.5318) Private collection, Brisbane $10,000 - $15,000 151

93. ROVER THOMAS (JULAMA)

accompanied by a certificate of authenticity from Waringarri Aboriginal Arts, Western Australia

(c1926-1998) Kukatja/ Wangkajunga language group

Waringarri Aboriginal Arts, Western Australia (stock no.AP3707) Private collection Lawson~Menzies, Sydney, 6 March 2002, lot 530 (as Untitled) Private collection, United Kingdom

Texas natural earth pigments and synthetic binder on canvas 63.0 x 48.0 cm signed verso: ROVER THOMAS bears inscription verso: AP3707/ “ROVER THOMAS”/ WARINGARRI/ ABORIGINAL ARTS 152

Australian & International Fine Art & Sculpture

PROVENANCE

$18,000 - $24,000

94. KATHLEEN PETYARRE (c1938-2018) Anmatyerre language group

My Country - Bush Seeds 1999 synthetic polymer paint on linen 122.0 x 122.0 cm bears inscription verso: KATHLEEN PETYARRE/ GAKP0299167/ TVU 22 accompanied by a certificate of authenticity from Gallerie Australis, Adelaide PROVENANCE Gallerie Australis, Adelaide (stock no. GAKP0197073) Songlines Gallery, Amsterdam Private collection, The Netherlands Lawson~Menzies, Sydney, 14 November 2007, lot 12 Company collection, Melbourne $12,000 - $16,000

95. KATHLEEN PETYARRE (c1938-2018) Anmatyerre language group

Thorny Devil Lizard Dreaming 1997 synthetic polymer paint on linen 152.0 x 152.0 cm bears inscription verso: KATHLEEN PETYARRE/ GAKP0197073/ TVU 23 accompanied by a certificate of authenticity from Gallerie Australis, Adelaide PROVENANCE Gallerie Australis, Adelaide (stock no. GAKP0197073) Songlines Gallery, Amsterdam Private collection, The Netherlands Lawson~Menzies, Sydney, 14 November 2007, lot 57 Private collection, Melbourne Lawson~Menzies, Sydney, 16 December 2009, lot 167 Company collection, Melbourne $12,000 - $16,000

153

96. EMILY KAME KNGWARREYE (c1910-1996) Anmatyerre language group

Wild Potato 1995 synthetic polymer paint on canvas 120.0 x 91.0 cm bears inscription verso: SS11977/ Emily Kngwarre/ ‘Wild Potato’/ 120 x 91 154

Australian & International Fine Art & Sculpture

accompanied by a certificate of authenticity from DACOU Aboriginal Art, South Australia PROVENANCE DACOU Aboriginal Art, South Australia (stock no.SS11977) Private collection, Adelaide Menzies, Sydney, 10 December 2015, lot 94 Private collection, New South Wales $10,000 - $15,000

97. EMILY KAME KNGWARREYE (c1910-1996) Anmatyerre language group

Yam DreamingÂ 1995 synthetic polymer paint on canvas 93.0 x 62.5 cm bears inscription verso: DACOU EK 498

PROVENANCE DACOU Aboriginal Art, South Australia (stock no.EK 498) Flinders Lane Gallery, Melbourne, 1997 Private collection, Melbourne Shapiro, Sydney, 3 December 2002, lot 200 Private collection Lawson~Menzies, Sydney, 25 May 2004, lot 25 Private collection, Melbourne Estate of the above $8,000 - $12,000 155

98. ROBERT KLIPPEL (1920-2001)

No. 239 1968 © Andrew Klippel. Courtesy of The Robert Klippel Estate, represented by Annette Larkin Fine Art, Sydney and Galerie Gmurzynska, Zurich/Copyright Agency, 2020

unique bronze cast, assembled sections welded with bronze 72.5 cm height PROVENANCE Bonython Gallery, Sydney, c1968 Collection of Richard and Joan Crebbin, Sydney Deutscher~Menzies, Melbourne, 13 September 2006, lot 6 (as Rk 239 1968) Private collection, Melbourne Estate of the above EXHIBITED Robert Klippel: Sculptures, Bonython Gallery, Sydney, 26 February - 13 March 1968 REFERENCE Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp.301, 302, 472 (illus. p.303, pl.220) Edwards, D., Robert Klippel: Catalogue Raisonné of Sculpture, CDROM, Art Gallery of New South Wales, Sydney, 2002, cat.239 (illus.) $14,000 - $18,000

99. INGE KING (1915-2016)

Constellation 1999 patinated bronze 21.5 cm height unique signed with initials to base: iK PROVENANCE Australian Galleries, Melbourne, 2000 Private collection, Melbourne Estate of the above EXHIBITED Inge King Sculpture, Australian Galleries, Melbourne, 23 May - 17 June 2000, cat.24 $6,000 - $9,000 156

Australian & International Fine Art & Sculpture

100. JOHN COBURN (1925-2006)

Heraldic LandscapeÂ 1970 wool tapestry 150.0 x 220.0 cm edition: 1/3 signed lower right: Coburn numbered verso woven by the Pinton Tapisserie dâ&#x20AC;&#x2122;Aubusson, France (monogram lower left, label attached verso) PROVENANCE Privately commissioned by Australian Galleries, Melbourne, 1970 Private collection, Melbourne Thence by descent, private collection, Melbourne $15,000 - $20,000 157

101. ARTHUR BOYD (1920-1999)

Gathering Shells oil on board 14.5 x 21.0 cm signed lower right: Arthur Boyd PROVENANCE The artist Professor David Malet Armstrong AO, Sydney Thence by descent, private collection, Melbourne $12,000 - $16,000 158

Australian & International Fine Art & Sculpture

102. SAM FULLBROOK (1922-2004)

Girl and Galah c1985 oil on canvas 66.0 x 61.0 cm signed with initials lower right: SF bears inscription verso: SAM FULLBROOK “GIRL AND GALAH” PROVENANCE The artist Private collection, Melbourne $25,000 - $35,000 159

103. ARTHUR BOYD (1920-1999)

Red Figure in LandscapeÂ c1985 oil on canvas 150.0 x 120.0 cm signed lower right: Arthur Boyd PROVENANCE The artist Private collection, United Kingdom $22,000 - $28,000 160

Australian & International Fine Art & Sculpture

104. ELISABETH CUMMINGS born 1934

On the Beach c1975 oil on canvas 70.0 x 95.0 cm signed lower right: Cummings signed and inscribed verso: Title: “On the Beach”,/ Elisabeth Cummings PROVENANCE The artist Acquired from the artist, private collection, Sydney Estate of the above Private collection, New South Wales $8,000 - $12,000

105. JOE FURLONGER born 1952

Family Portrait 1992 oil on canvas 185.0 x 200.0 cm signed with initials and dated lower right: JF 92 PROVENANCE Collection of Henry Gillespie, Melbourne Sotheby’s, Melbourne, 28 November 1995, lot 627 Private collection, Melbourne EXHIBITED Ray Hughes Gallery, Sydney, 1992 $5,000 - $8,000 161

106. PETER BOOTH born 1940

Untitled (Crowd) 1996 pastel on paper 38.0 x 79.0 cm signed and dated verso: BOOTH/ 1996 PROVENANCE Private collection, Melbourne Menzies, Melbourne, 23 September 2010, lot 2 Private collection, Melbourne $9,000 - $12,000

107. TONY TUCKSON (1921-1973)

Untitled (Portrait of a Seated Woman) c1955 oil on canvas on board 50.0 x 37.0 cm PROVENANCE Private collection, Sydney Martin Browne Fine Art, Sydney, 1989 Private collection, Melbourne Acquired from the above, private collection, Melbourne Deutscher~Menzies, Sydney, 5 December 2007, lot 75 Private collection, Melbourne EXHIBITED Tony Tuckson Paintings 1952? - 1956?, Watters Gallery, Sydney, 2 - 19 June 1976, cat.20 Watters Gallery, Sydney, June - July 1982, cat.10 Tony Tuckson 1921-1973: Retrospective Exhibition, Pinacotheca, Melbourne, 13 - 30 October 1982, cat.9 REFERENCE Tuckson, M. & Watters Gallery, Tony Tuckson, 1921-1973, Watters Gallery, Sydney, 1982, cat.9 $9,000 - $12,000 162

Australian & International Fine Art & Sculpture

108. JAMES GLEESON (1915-2008)

Irregular Behaviour of a Setting Sun 1996 oil on canvas 131.5 x 176.5 cm signed and dated lower left: Gleeson ‘96 signed and inscribed verso: “IRREGULAR BEHAVIOUR OF A SETTING SUN”/ James Gleeson PROVENANCE The artist Gift from the artist to Eva Breuer, Sydney Thence by descent, private collection, Sydney

EXHIBITED James Gleeson: Recent Painting, Pinacotheca, Melbourne, 6 - 30 November 1996, cat.16 (illus. exhibition catalogue) Gleeson: Paintings and Works on Paper 1930s - 1990s, Eva Breuer Art Dealer, Sydney, 4 - 28 May 2003 (label attached verso, illus. exhibition catalogue, p.41) RELATED WORKS Study for Irregular Behaviour of a Setting Sun 1995, charcoal and collage on paper, 37.5 x 51.0 cm (sheet), Art Gallery of New South Wales collection, Sydney $25,000 - $35,000

163

109. LOUISE HEARMAN born 1963

Untitled #576 1997 oil on masonite 69.0 x 53.5 cm signed, dated and inscribed verso: 576/ Hearman 97 PROVENANCE Robert Lindsay Gallery, Melbourne, 1997 Private collection, Melbourne EXHIBITED Louise Hearman, Robert Lindsay Gallery, Melbourne, July 1997 $5,000 - $7,000

110. DAVID KEELING born 1951

Meredith’s Bird 1992 oil on board 33.0 x 34.0 cm signed and dated lower left: D Keeling 92 signed, dated and inscribed verso: $1200/ ‘Meredith’s Bird’/ D Keeling/ 1992 PROVENANCE Niagara Galleries, Melbourne (label attached verso) Private collection, Melbourne EXHIBITED David Keeling: Nothing but Blue Skies, Niagara Galleries, Melbourne, 25 November - 12 December 1992, cat.25 $2,000 - $3,000 164

Australian & International Fine Art & Sculpture

111. RICK AMOR born 1948

SeawallÂ 2009 oil on canvas 41.5 x 26.0 cm PROVENANCE Niagara Galleries, Melbourne (label attached verso, stock no.12748) Private collection, Sydney $12,000 - $16,000 165

112. RICHARD BELL born 1953 Gamilaroi language group

Citiscape 2000 synthetic polymer paint on linen (diptych) 130.5 x 120.0 cm (overall) each panel signed and inscribed verso: Richard Bell/ ‘Citiscape’/ Diptych/ FW5970 166

Australian & International Fine Art & Sculpture

PROVENANCE Fireworks Gallery, Brisbane, 2003 Private collection, Melbourne $8,000 - $12,000

113. ADAM CULLEN (1965-2012)

Comedic Relief II c2010 synthetic polymer paint on canvas 200.0 x 260.0 cm signed verso: A C/ KULLEN PROVENANCE The artist Acquired from the artist, private collection, Sydney Private collection, Melbourne

EXHIBITED Adam Cullen: Art is Pain Relief, Flinders Street Gallery, Sydney, 4 - 20 July 2019, cat.12 RELATED WORKS Comedic Relief 2000, synthetic polymer paint on canvas, 152.0 x 213.0 cm, Art Gallery of New South Wales collection, Sydney $20,000 - $30,000

167

114. TRACEY MOFFATT born 1960

Invocations #11 2000 © Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

photo silkscreen 80.5 cm diameter edition: 30/60 numbered, titled, signed and dated below image PROVENANCE Roslyn Oxley9 Gallery, Sydney (label attached verso) Private collection, Melbourne $7,000 - $9,000

115. TONY LLOYD born 1970

Western Sky 2005 oil on canvas 91.0 x 152.5 cm signed and dated verso: Tony Lloyd 2005 PROVENANCE Michael Carr Art Dealer, Sydney, 2005 Private collection, Melbourne $3,000 - $4,000 168

Australian & International Fine Art & Sculpture

116. JAN NELSON born 1955

Walking in Tall Grass (Charlotte #2) 2004 oil on linen 92.0 x 69.0 cm signed, dated and inscribed verso: Walking in Tall Grass (Charlotte #2) 2004/ oil on linen/ Jan Nelson PROVENANCE Anna Schwartz Gallery, Melbourne, 2004 Private collection, Melbourne EXHIBITED (possibly) Jan Nelson and Liza May Post, Museum of Contemporary Art, Sydney, 27 August - 14 November 2004 $9,000 - $12,000 169

117. TIM JOHNSON born 1947

Shakyamuni 2003 synthetic polymer paint on linen 122.5 x 152.0 cm label attached verso with artist’s name, title, date and medium PROVENANCE Mori Gallery, Sydney, 2003 Private collection, Melbourne $6,000 - $9,000

118. GUAN WEI born 1957

Trepidation Continent No. 1 2003 mixed media on paper map 65.0 x 76.5 cm signed, dated and inscribed verso: ‘Trepidation Continent’ NO. 1/ Drawing on the map/ 98 x 87.5 cm/ Guan Wei 2003 PROVENANCE Sherman Galleries, Sydney, 2005 (stamped verso) Private collection, Melbourne Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne $4,000 - $6,000 170

Australian & International Fine Art & Sculpture

119. GUNTER CHRISTMANN

PROVENANCE

(1936-2013)

Liverpool Street Gallery, Sydney (label attached verso) Private collection, Melbourne

T.O. OzkarÂ 2003

EXHIBITED

synthetic polymer paint on canvas 167.5 x 137.0 cm signed and dated lower right: CHRISTMANN 03 inscribed lower right: TRAVEL OZKAR

Gunther Christmann: T.O. Transporter, Liverpool Street Gallery, Sydney in association with Niagara Galleries, Melbourne, 27 November - 21 December 2003 $12,000 - $16,000 171

120. JOHN YOUNG born 1956

Red, Blue II (also known as Red, Blue Summer) 2003 digital scan and oil on linen 200.5 x 152.0 cm signed, dated and inscribed verso: Red, Blue II Young/ 2003/ assisted by/ A.Marburg/ C.AHERN/ Yvette Coppersmith. PROVENANCE Anna Schwartz Gallery, Melbourne, 2003 (label attached verso) Private collection, Melbourne 172

Australian & International Fine Art & Sculpture

EXHIBITED John Young: Reversals, Anna Schwartz Gallery, Melbourne, 6 - 29 November 2003 REFERENCE Barnes, C., John Young, Craftsman House, Melbourne, 2005, p.190, pl.99 (illus., as Red, Blue Summer), pp.243, 248 $12,000 - $15,000

121. SCOTT REDFORD born 1962

Surf Painting - Black PalmsÂ 2005 fibreglass and resin over painted foam 150.0 x 152.0 cm inscribed verso: Stranger PROVENANCE Criterion Gallery, Hobart, 2005 Private collection, Melbourne $8,000 - $12,000 173

122. ZHONG CHEN born 1969

Peking Opera IÂ 2003 oil and synthetic polymer paint on canvas 137.0 x 170.0 cm signed and dated verso: Zhong Chen 2003 PROVENANCE Eva Breuer Art Dealer, Sydney, 2003 Private collection, Melbourne $9,000 - $12,000 174

Australian & International Fine Art & Sculpture

123. KATE BEYNON born 1970

The Door GodÂ 2002 synthetic polymer paint and spray paint on canvas 152.0 x 121.5 cm signed with monogram lower right PROVENANCE Sutton Gallery, Melbourne (label attached verso) Private collection, Melbourne $5,500 - $7,500 175

124. GUAN WEI born 1957

Secret Histories #5 2005 synthetic polymer paint on canvas (triptych) 131.0 x 151.0 cm (overall) panel (iii) signed with initials and dated lower right: GW 05 signed, dated and inscribed verso: Secret Histories #5/ Acrylic on canvas/ GUAN WEI 2005 PROVENANCE Arc One Gallery, Melbourne, 2005 (label attached verso) Private collection, Melbourne REFERENCE Dysart, D., Hanru, H. & King, N., Guan Wei, Craftsman House, Sydney, 2006, pp.57, 60, 64 Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne $20,000 - $26,000 176

Australian & International Fine Art & Sculpture

125. NOEL McKENNA born 1956

Sleeping Man 2000 painted and glazed ceramic jug 20.0 cm height signed and dated centre front edge: N McKENNA 2000 PROVENANCE Darren Knight Gallery, Sydney, 2006 Private collection, Melbourne $1,500 - $2,000

126. NOEL McKENNA born 1956

Beetle Jug 2000 painted and glazed ceramic jug 26.5 cm height signed and dated under handle: N McKENNA 00 PROVENANCE Darren Knight Gallery, Sydney, 2006 Private collection, Melbourne $1,500 - $2,000 177

127. LUKE CORNISH (E.L.K.) born 1979

Al-Hamidiyah 2 2017 sublimation print and aerosol on brushed aluminum 101.5 x 140.0 cm signed with initials, dated and inscribed verso: “AL-HAMIDIYAH”/ Souq/ ELK’ 17/ LC PROVENANCE The artist Private collection, Sydney EXHIBITED Road to Domascus, Nanda\Hobbs Contemporary, Sydney, 2 - 17 February 2017 Luke Cornish: Zero to the Left, Metro Gallery, Melbourne, 3 July - 5 August 2017 No Place like Home, Tuggeranong Arts Centre, Canberra, 2 March - 29 April 2018 $6,000 - $9,000 178

Australian & International Fine Art & Sculpture

128. DAVID NOONAN born 1969

Moon-Age DaydreamÂ 2003 fabric painting 59.5 x 49.0 cm PROVENANCE Uplands Gallery, Melbourne, 2004 Private collection, Melbourne EXHIBITED Before and Now, Roslyn Oxley9 Gallery, Sydney, 11 September - 11 October 2003 $8,000 - $10,000 179

129. NOEL McKENNA born 1956

Big Merino, Goulburn, NSW, Clear Day 2003 pencil, ink and watercolour on paper 38.5 x 38.5 cm signed and dated lower left: N McKenna 03 PROVENANCE Niagara Galleries, Melbourne, 2003 (label attached verso) Private collection, Melbourne EXHIBITED Noel McKenna: Australia, Niagara Galleries, Melbourne, 25 November - 19 December 2003, cat.23 $1,800 - $2,600

130. NOEL McKENNA born 1956

Big Trout, Adaminaby, NSW 2003 pencil, ink and watercolour on paper 38.5 x 38.5 cm signed and dated lower left: N McKenna 03 PROVENANCE Niagara Galleries, Melbourne, 2003 (label attached verso) Private collection, Melbourne EXHIBITED Noel McKenna: Australia, Niagara Galleries, Melbourne, 25 November - 19 December 2003, cat.20 $1,500 - $2,000

131. NOEL McKENNA born 1956

Big Pineapple, Gympie, QLD 2003 pencil, ink and watercolour on paper 38.5 x 38.5 cm signed and dated lower left: N McKenna 03 PROVENANCE Niagara Galleries, Melbourne, 2003 (label attached verso) Private collection, Melbourne EXHIBITED Noel McKenna: Australia, Niagara Galleries, Melbourne, 25 November - 19 December 2003, cat.22 $1,800 - $2,600 180

Australian & International Fine Art & Sculpture

132. EUAN HENG born 1945

FaceÂ 2000 oil on linen 91.0 x 86.0 cm signed, dated and inscribed verso: Euan Heng 00/ Face PROVENANCE Australian Galleries, Melbourne, 2003 (label attached verso) Private collection, Melbourne EXHIBITED Euan Heng: Abracadabra - Paintings and Watercolours 20002001, Australian Galleries, Melbourne and Sydney, 2001 $4,000 - $6,000 181

133. JOY HESTER (1920-1960)

Untitled (Child and Doll) c1948 ink and wash on paper 27.0 x 25.0 cm bears inscription verso: JOY HESTER artist’s estate stamp upper left PROVENANCE Collection of Mr Edward Coughlin, New York Private collection, Melbourne $7,000 - $10,000 182

Australian & International Fine Art & Sculpture

134. DONALD FRIEND (1915-1989)

Native VillageÂ c1950 oil on card 17.5 x 20.5 cm PROVENANCE Collection of Tom and Elsie Gleghorn, Adelaide Small & Whitfield Auctions, Adelaide, 11 April 2016, lot 56 Private collection, Sydney $6,000 - $8,000 183

135. JOHN PERCEVAL (1923-2000)

Moses in the Lily Pond 1988 oil on canvas 76.0 x 122.0 cm signed lower right: Perceval PROVENANCE Gould Galleries, Melbourne (label attached verso, stock no.11616) Company collection, Melbourne Lawson~Menzies, Sydney, 13 September 2007, lot 242 Private collection, Sydney Sotheby’s, Sydney, 19 July 2016, lot 117 Private collection, Sydney $12,000 - $18,000

136. LIN ONUS (1948-1996) Yorta Yorta language group

Red Rocks II c1978 synthetic polymer paint on board 40.5 X 50.5 cm signed lower left: Lin Onus bears inscription verso: ‘RED ROCKS II’ PROVENANCE (probably) Holdsworth Galleries, Sydney Collection of Ken Tribe & Joan Brown, Sydney Thence by descent, private collection, Sydney $6,000 - $8,000 184

Australian & International Fine Art & Sculpture

137. GARRY SHEAD born 1942

Untitled 1975 oil on canvas 121.0 x 182.5 cm signed and dated lower right: Shead 75 PROVENANCE Watters Gallery, Sydney 1976 Private collection, Sydney Deutscher~Menzies, Sydney, 5 December 2007, lot 74 Private collection, Melbourne This work was inspired by the following painting by John William Waterhouse (1849-1917, British): Hylas and the Nymphs 1896, oil on canvas, 98.5 x 163.5 cm, Manchester Art Gallery collection, United Kingdom, purchased 1896 $12,000 - $16,000 185

138. CLIFTON PUGH (1924-1990)

CarcassÂ 1958 watercolour and gouache on paper 30.0 x 45.0 cm signed and dated lower right: Clifton/ 25-1-58 PROVENANCE The artist Professor David Malet Armstrong AO, Sydney Thence by descent, private collection, Melbourne $2,000 - $3,000

139.

This lot has been withdrawn 186

Australian & International Fine Art & Sculpture

140. FRED CRESS (1938-2009)

Soul Friend 1988 synthetic polymer paint on canvas 182.5 x 212.5 cm signed, dated and inscribed verso: (c) Cress ‘88/ CRESS/ “SOUL FRIEND” 1988./ 183 x 213 cms/ Acrylics/cotton canvas PROVENANCE Company collection, Western Australia Deutscher~Menzies, Melbourne, 8 September 2004, lot 255 Private collection, Melbourne REFERENCE Fry, G., Fred Cress: Paintings 1965-2000, The Beagle Press, Sydney, 2000, p.75 (illus.) $5,000 - $8,000 187

141. HUGH SAWREY (1919-1999)

Bill Crummy, the Boundary Rider, Western Queensland oil on canvas 50.5 x 60.5 cm signed lower right: SAWREY signed and inscribed verso: “BILL CRUMMY THE BOUNDARY RIDER”/ W. QLD/ HUGH SAWREY PROVENANCE Private collection Deutscher + Hackett, Melbourne, 27 August 2008, lot 197 Private collection, Melbourne $8,000 - $12,000 188

Australian & International Fine Art & Sculpture

142. DAVID BOYD (1924-2011)

Family GroupÂ 1980 oil on linen 30.5 x 46.0 cm signed lower left: David Boyd dated lower right: 1980 PROVENANCE Australian Art Auctions, Sydney, 20 October 1980, lot 68 Private collection, Sydney $6,000 - $8,000

143. DAVID BOYD (1924-2011)

Preparing for the Picnic oil on board 40.0 x 45.0 cm signed lower left: David Boyd PROVENANCE Geoff K. Gray, Sydney, 19 October 1982 Private collection, Sydney $6,000 - $9,000

189

144. RAY CROOKE (1922-2015)

Chillagoe oil on canvas on board 61.0 x 91.5 cm signed lower left: R Crooke inscribed verso: CHILAGOE [sic] PROVENANCE Christie’s, Melbourne, 9 May 1989, lot 518 Private collection Lethbridge Gallery, Brisbane Private collection, Brisbane $6,000 - $9,000

145. HUGH SAWREY (1919-1999)

The Musterers oil on canvas 71.0 x 91.5 cm signed lower right: SAWREY signed and inscribed verso: “THE MUSTERERS”/ OLD “CORK” STATION/ N.W. QLD./ HUGH SAWREY PROVENANCE Australian Art Auctions, Sydney, 20 October 1980, lot 163 Private collection, Sydney $9,000 - $12,000 190

Australian & International Fine Art & Sculpture

146. DAVID BOYD (1924-2011)

The Bush of Gold oil on board 50.0 x 60.0 cm signed lower left: David Boyd inscribed verso: “The Bush of Gold” PROVENANCE Evan Mackley Fine Art, Melbourne, 2003 Private collection, Melbourne $10,000 - $15,000 191

147. MARK HANHAM born 1978

Misty Thames synthetic polymer paint on linen 204.0 x 270.0 cm signed lower right: Mark Hanham inscribed verso: Misty Themes [sic]/ MH0030 PROVENANCE Private collection, Sydney Lawson~Menzies, Sydney, 23 September 2009, lot 139 Private collection, Melbourne $16,000 - $24,000 192

Australian & International Fine Art & Sculpture

148. JASPER KNIGHT born 1978

View from Milsons Point 2014 enamel and synthetic polymer paint on linen 153.0 x 183.0 cm signed, dated and inscribed on backing verso: JASPER KNIGHT/ ‘VIEW FROM/ MILSONS POINT/ 2014’/ JK signed, dated and inscribed on stretcher verso: JK14 JASPER KNIGHT ‘VIEW FROM MILSONS POINT’ 2014 PROVENANCE The artist Private collection, Sydney $8,000 - $10,000 193

149. NOEL McKENNA born 1956

Man Fishing 2000 painted and glazed ceramic plate 26.5 cm diameter signed and dated centre left: N McKENNA 00 PROVENANCE Darren Knight Gallery, Sydney, 2006 Private collection, Melbourne $1,000 - $1,500

150. NOEL McKENNA born 1956

Story - Journeys of a Man 1992 painted and glazed ceramic plate 24.5 cm diameter signed and dated lower centre: N McKENNA 92 PROVENANCE Darren Knight Gallery, Sydney, 2006 Private collection, Melbourne $1,000 - $1,500

151. NOEL McKENNA born 1956

Mountains with Snow 1994 painted and glazed ceramic plate 29.0 cm diameter signed and dated lower centre: N McKENNA 94 PROVENANCE Darren Knight Gallery, Sydney, 2006 Private collection, Melbourne $800 - $1,200 194

Australian & International Fine Art & Sculpture

152. LENTON PARR (1924-2003)

SkyrosÂ 2001 powder coated steel on wooden base 91.0 cm height (including base) unique PROVENANCE Christine Abrahams Gallery, Melbourne, 2005 Private collection, Melbourne $6,500 - $8,500 195

153. PABLO PICASSO (1881-1973, Spanish)

Déménagement, ou Charrette Révolutionnaire (from Séries 347) 1968 etching and aquatint on Rives paper 28.1 x 38.8 cm edition: 36/50 numbered and signed below image dated within image published by Galerie L. Leiris, Paris, 1969 PROVENANCE Waddington Graphics, London (label attached verso) Stuart Gerstman Gallery, Melbourne (label attached verso) Private collection, Melbourne Estate of the above 196

Australian & International Fine Art & Sculpture

EXHIBITED Picasso in the Collections of the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 4 June - 28 August 1991 (as Untitled, labels attached verso) REFERENCE Bloch, no.1677, pl.197 Baer, no.1693 $8,000 - $12,000

154. FRANCIS BACON (1909-1992, British)

Figure at a Washbasin (from Requiem pour la Fin des Temps) 1977-78 etching and aquatint on Arches paper 46.5 x 36.0 cm edition: EA 4/20 numbered and signed below image published by Georges Visat, Paris, 1978 PROVENANCE Private collection, Sydney Acquired from the above, private collection, Sydney

REFERENCE Tacou, A., Francis Bacon: Estampes, Editions Berville Paris, 2008, cat.35 Sabatier, B., Francis Bacon: Catalogue Raisonné de l’Oeuvre Graphique de Francis Bacon, JSC Gallery, Paris, 2012, cat.3 Orozco, M., The Complete Prints of Francis Bacon: Catalogue Raisonné, Miguel Orozco, 2020, pp.34, 35, 55, 242, 243, 392, cat.56 (illus. pp.242-243, other examples) RELATED WORKS Figure at a Washbasin 1976, oil on canvas, 198 x 147.5 cm; Caracas Museum of Contemporary Art collection, Venezuela $16,000 - $20,000

197

155. BRETT WHITELEY (1939-1992)

Self Portrait, One of a Dozen Glimpses (from Another Way of Looking at Vincent Van Gogh 1888-1889) 1983 etching and aquatint 26.5 x 20.5 cm edition: Artist’s Proof (edition of 100) numbered and signed below image accompanied by a signed copy of: Capon, E., Another Way of Looking at Vincent Van Gogh 1888 - 1889 by Brett Whiteley 1968-1983, Richard Griffin Press, Melbourne, 1983, no.87/500 198

Australian & International Fine Art & Sculpture

PROVENANCE Private collection, Melbourne REFERENCE Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.65, cat.81 (illus., another example) Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.114, cat.72 (illus. p.75, another example) Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.144, cat.121P (illus., another example), vol.7, p.833 $3,000 - $4,000

156. BRETT WHITELEY (1939-1992)

Vincent (An Essay in Opposites) 1982 coloured etching, screenprint and collage 211.0 x 91.5 cm (sheet) edition: Artist’s Proof V (edition of 30) signed and numbered below image artist’s studio stamp upper right PROVENANCE Estate of the artist Private collection, Melbourne EXHIBITED Brett Whiteley: The Complete Graphics 1961 - 1982, Art Gallery of Western Australia, Perth, 1983 (another example) Another Way Looking at Vincent Van Gogh 1888-1889 by Brett Whiteley 1968-1983, Art Gallery of New South Wales, Sydney, 4 July - 24 August 1983 (another example) Brett Whiteley: Review of Prints 1976-1983, Chapman Gallery, Canberra, 1983, cat.16 (another example) REFERENCE Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.47, cat.70 (illus., another example) Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.113, cat.70 (illus. p.75, another example) Capon, E., Another Way of Looking at Vincent Van Gogh 1888 - 1889 by Brett Whiteley 1968-1983, Richard Griffin Press, Melbourne, 1983, p.29 (illus., another example) Sutherland, K.,Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.4, p.212, cat.120P (illus., another example), vol.5, p.143 (illus., another example), vol.7, p.833 $18,000 - $24,000 199

157. BRETT WHITELEY (1939-1992)

Lindfield Gardens 1978 colour screenprint with offset lithography 92.0 x 116.0 cm (sheet) edition: Artist’s Proof (edition of 80) numbered and signed below image artist’s studio stamp lower left PROVENANCE Private collection, Sydney Deutscher~Menzies, Sydney, 13 September 2006, lot 150 Private collection, Melbourne

EXHIBITED The Entire Collection of the Graphics of Brett Whiteley: 1961-1981, Australian Galleries, Melbourne, 1981, cat.45 (another example) REFERENCE Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.31, cat.46 (illus., another example) Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.112, cat.48 (illus. p.56, another example) Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.101, cat.92P (illus., another example), vol.7, p.825 $6,000 - $9,000

200

Australian & International Fine Art & Sculpture

158. BRETT WHITELEY (1939-1992)

Garden in Rome 1982 coloured etching, aquatint and collage 211.0 x 91.5 cm (sheet) edition: 21/30 signed and numbered below image artist’s studio stamp upper right PROVENANCE Private collection, Melbourne EXHIBITED Brett Whiteley: The Complete Graphics 1961-1982, Art Gallery of Western Australia, Perth, 1983 (another example) Brett Whiteley Review of Prints 1976-1983, Chapman Gallery, Canberra, 1983, cat.18 (another example) REFERENCE Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.48, cat.69 (illus., another example) Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.113, cat.71 (illus. p.75, another example) Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.140, cat.119P, (illus., another example) vol.7, p.833 $12,000 - $16,000 201

159. BRETT WHITELEY (1939-1992)

Woman Under the Shower 1976 etching 40.0 x 48.5 cm edition: 75/100 numbered and signed below image PROVENANCE Art Gallery of New South Wales Society, Sydney Private collection, Sydney EXHIBITED Everyday Life: Prints, Drawings and Watercolours from the Collections of Australian and European Art, Art Gallery of New South Wales, Sydney, 1 October - 27 November 1994 and touring regionally, cat.88 (another example) REFERENCE McGrath, S., Brett Whiteley, Bay Books, Sydney, 1979, p.40 (illus., another example) Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.28, cat.23 (illus., another example) Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.111, cat.24 (illus. p.34, another example) Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.59, cat.65P, (illus., another example) vol.7, p.819 $6,000 - $8,000

160. BRETT WHITELEY (1939-1992)

Tony at 50 (Portrait of Tony White) 1992 etching 14.5 x 10.0 cm edition: Artist’s Proof 2/8 (edition of 50) numbered and signed below image PROVENANCE Private collection, Sydney Private collection, Melbourne REFERENCE Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.115, cat.111 (illus. p.99, another example) Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.203, cat.167P (illus., another example), vol.7, p.844: ‘Tony White, a Sydney based designer of jewellery, commissioned this work to celebrate his fiftieth birthday in 1992.’ $2,000 - $4,000 202

Australian & International Fine Art & Sculpture

161. BRETT WHITELEY (1939-1992)

Monstera Deliciosa 1978 etching 50.5 x 70.5 cm edition: 8/40 numbered and signed below image PROVENANCE South Yarra Fine Art, 1995 Mr Maurice Kilby, Melbourne Estate of the above EXHIBITED The Entire Collection of the Graphics of Brett Whiteley: 1961-1981, Australian Galleries, Melbourne, 1981, cat.47 (as Monsteria Deliciosa, another example) Brett Whiteley 1939 - 1995, South Yarra Fine Art, Melbourne, 1995, cat.21 REFERENCE Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.33, cat.48 (illus., another example) Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.112, cat.49 (illus. p.57, another example) Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.98, cat.91P (illus., another example), vol.7, p.825 $4,000 - $6,000

162. BRETT WHITELEY (1939-1992)

Hullo (Cockatoo) 1980 etching 24.5 x 20.0 cm edition: Artist’s Proof (edition of 80) numbered and signed below image PROVENANCE Private collection, Melbourne REFERENCE Mandy, R., Brett Whiteley: The Complete Graphics, 1961-1982, Art Gallery of Western Australia, Perth, 1983, p.40, cat.56 (illus., as Cockatoo, another example) Brett Whiteley: The Graphics 1961-1992, Deutscher Fine Art, Melbourne, 1995, p.113, cat.56 (illus. p.63, another example) Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, vol.5, p.107, cat.106P (illus., another example), vol.7, p.829 $3,000 - $5,000 203

INFORMATION FOR BUYERS AND SELLERS THE BUYER Menzies welcomes you to our Melbourne and Sydney viewings and associated auction events. Our specialist and client service staff will be pleased to assist you with any enquiries relating to the viewing as well as buying or selling at the auction.

USING THIS CATALOGUE ESTIMATED PRICES

Catalogue entries include descriptive information for every lot, as well as a price range, which reflects the opinion of our specialists as to the price expected for the lot at auction. These are based upon prices recently paid at auction for comparable works and take into account condition, rarity, quality and provenance.

The Principal of Menzies, for some works, provide a guaranteed minimum price to the vendor of the property. Some of the works in this catalogue may be the subject of such a guarantee. If buyers have an interest in a particular lot and want to know more about its ownership or guarantee status, they should speak to a representative of Menzies, who will be pleased to assist. BUYER’S PREMIUM

Buyers are reminded that the purchase price will be the sum of the final bid price plus the buyer’s premium, which is 25% (GST inclusive) of the hammer price.

REGISTRATION

If you are planning to bid at auction you will need to register with us. Please register at the viewing or arrive 20 or 30 minutes before the sale to complete bidder registration and to receive a bidding number to identify you if you are a successful bidder. If you are a new client, or if you have not made a recent purchase with Menzies, you may be asked to supply a credit reference and photo identification (driver's licence/ passport) when you register. To avoid any delay in the release of your purchases, you may wish to pre-arrange cheque or credit approval. If so, please contact Coralie Stow at Menzies on (03) 9832 8700. Pre-registration will also save you time on the day of sale.

BEFORE THE AUCTION

THE AUCTION Auctions are open to the public, free of charge.

Estimates are prepared well in advance of the sale and are subject to revision; they do not include the buyer’s premium. Estimates are inclusive of any G.S.T. which is applicable.

Pre-sale viewings for all of our auctions are open to the public and may be attended at no charge. All property to be auctioned is usually on view for several days prior to the sale. You are encouraged to examine lots thoroughly and to request condition reports (see below). Menzies specialists are available to give advice at all viewings or by appointment.

Although the sale is conducted in Australian dollars, the pre-sale estimates are occasionally also printed in foreign currencies. The rates of exchange are the rates at the time of production of this catalogue and therefore, should be treated as a guide only.

Prospective bidders should make themselves familiar with any saleroom notices that may be applicable and also consult our website www.menziesartbrands.com for the most up to date cataloguing of the property in this catalogue.

RESERVES

CONDITION REPORTS

The reserve is the minimum price the vendor is willing to accept and below which a lot will not be sold. This amount is confidential and will not exceed the low pre-sale estimate.

If you would like additional information on a particular lot or are unable to attend the viewing, Menzies are pleased to provide on request a general report on the condition of the property described in our catalogue. Please submit your request no later than 48 hours prior to the auction. We remind prospective buyers that the report is a statement of opinion and should not be relied upon as a statement of definitive fact. The Conditions of Sale, exclude warranties and representations with respect to the condition of a lot sold at Auction other than those expressly set out therein. Prospective buyers should inspect each lot to satisfy themselves as to condition and are encouraged to consult a professional restorer or conservator for a more detailed analysis if so required.

G.S.T. In the event that the vendor is registered for Goods and Services Tax (G.S.T.), the invoice to the buyer will provide a separate entry for G.S.T. which is included in the hammer price.

All Menzies charges for services referred to in this catalogue are inclusive of G.S.T. A list of works which will be sold with G.S.T. included in the hammer amount is available to intending bidders on request.

CONDITIONS OF SALE If you wish to bid in a sale, we encourage you to read the Conditions of Sale which appear in this catalogue. The Conditions of Sale outline the terms governing the purchase of property sold at auction. Menzies will sell property to be auctioned on a G.S.T. inclusive basis. The buyer’s premium will also be inclusive of G.S.T. See condition 6 of the Conditions of Sale. MENZIES INTEREST IN PROPERTY CONSIGNED FOR SALE

Menzies generally offers property consigned by others for sale at public auction. The Principal of Menzies and Menzies itself also sell property at our auctions and some of the works in this catalogue may be owned wholly or in part by Menzies or the Principal of Menzies.

204

PROVENANCE

Menzies may list in the catalogue entry matters such as the history of ownership and other relevant information with respect to scholarship or that assists in distinguishing the work of art. Menzies are not able to carry out detailed enquiries with respect to provenance on each lot. Bidders are responsible to make their own enquiries and investigations on provenance before bidding on any lot or otherwise making an offer to purchase. The identity of the Seller or previous owners may not be disclosed for a variety of reasons. For example, such information may be excluded at the Seller’s request or because the identity of prior owners is unknown.

Australian & International Fine Art & Sculpture

BIDDING

Property is auctioned in consecutive numerical order. The lot being offered is usually shown at the front of the saleroom or is illustrated on a slide screen. The auctioneer will accept bids from those present in the saleroom or absentee bidders participating by telephone, live internet bidding or by written bid left with Menzies in advance of the auction. The auctioneer may also execute bids on behalf of the vendor to protect the reserve, either by placing consecutive bids up to the amount of the reserve or by entering bids in response to saleroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the vendor at or above the reserve. Bidding increments are inclusive of any G.S.T. which is applicable. BIDDING INCREMENTS

Bidding generally opens below the estimate and advances in the following increments: $500

– $1,000

$1,000

– $2,000

$2,000 – $5,000

by $50 by $100 by $200/$500/$800

$5,000 – $10,000 by $500 $10,000 – $20,000 by $1,000 $20,000 – $30,000 by $2,000 $30,000 – $50,000 by $2,000/$5,000/$8,000 $50,000 – $100,000 by $5,000 $100,000 – $200,000 by $10,000 $200,000 – $300,000 by $20,000 $300,000 – $500,000 by $20,000/$50,000 and $80,000 $500,000 up – Auctioneers Discretion

Occasionally the auctioneer may vary the increments during the course of the auction at his or her discretion.

ABSENTEE OR COMMISSION BIDS

If you cannot attend the auction, you may bid in other ways. The most common is the absentee bid. Absentee bids are written instructions from you directing Menzies to bid for you on one or more lots up to a maximum amount you specify for each lot. Menzies staff will execute your absentee bid at the lowest possible price taking into account the reserve price and other bids. There is no charge for this service. If identical bids are left by two or more parties, the first bid received by Menzies will take preference. The auctioneer may execute bids for absentee bidders directly from the rostrum, clearly identifying these as absentee or commission bids. Absentee bid forms are available at the back of this catalogue and may also be obtained from Menzies offices. It is the bidder’s responsibility to establish if they were successful with their bids.Absentee bids submitted on ‘No Reserve’ lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre-sale estimate or the amount of the bid if it is less than 50% of the low pre-sale estimate. TELEPHONE BIDS

Menzies will also execute your bids if you cannot come to the auction and wish to participate by telephone. Resources are limited and this service is offered on a first-come, first served basis. Menzies’ staff will execute telephone bids from designated areas in the saleroom. This service is at the telephone bidder’s risk and is also free of charge. It is the bidder’s responsibility to establish if they were successful with their bids. INTERNET BIDS

Online bidding during this auction will be available via the third-party platform www.invaluable.com. If you are intending to bid online you will need to create an account in advance and register to bid at our sale on the Invaluable website. Please note that Invaluable charges a live bidding fee of 5% of the hammer price. Menzies stands by to assist but accepts no responsibility for errors or technical issues encountered when using Invaluable.com. A live video stream and hammer results for the auction may be accessed via Invaluable.com free of charge. SUCCESSFUL BIDS

The fall of the auctioneer’s hammer indicates the final bid. Menzies will record the bidder number of the buyer. If your bid is successful, you will be notified immediately after the sale by mailed invoice. Menzies advise all Buyers to arrange for their own ‘all risks’ insurance to cover their purchased goods effective from date for payment to protect their interests as Menzies do not provide insurance cover for Buyers. See condition 8 of the Conditions of Sale. UNSOLD LOTS If a lot does not reach the reserve, it is bought-in.

In other words, it remains unsold and

www.arts.gov.au/contact-us

is returned to the consignor usually after a week in case there are any post sale offers. When the auctioneer hammers down a lot that fails to sell, he/she will not announce a bidder’s number.

Menzies recommends that Buyers make appropriate enquiries of the relevant authorities. Buyers will be bound to complete a purchase notwithstanding the inability to obtain any relevant license.

AFTER THE AUCTION

COLLECTION

PAYMENT

Buyers can pay and collect property the following day from Menzies rooms after 12pm noon, provided payment is made by bank cheque, cash or telegraphic transfer. If payment is made by personal cheque property will not be released until funds have been cleared. Due to space constraints Menzies require that purchases are collected within seven days after payment and unsold property be collected within fourteen days after auction. If the goods remain after seven days Menzies reserve the right to cause the property to be stored at the expense of the owner.

Under normal circumstances you are expected to pay for your purchases within 7 (seven) working days after the sale and to remove the property you have bought that day. Payment can be made by bank cheque, cash, or telegraphic transfer. Arrangements can be made for credit card payment which will incur a surcharge. If payment is made by personal cheque property will not be released until funds have been cleared. Payment by telegraphic transfer should be made to: Menzies Art Brands Vendor Trust A/C ANZ Banking Group Ltd. 353 Elizabeth St, Melbourne, Victoria 3000 BSB No. 013 040 Account No. 8369 13715 Please include your account code as a reference

EXTENDED PAYMENTS

With the consent of the vendor, Menzies may offer extended credit terms to prospective buyers whose credit worthiness has been verified. For further information, please contact Coralie Stow on (03) 9832 8700. SHIPPING

After payment has been made in full, Menzies may, as a service to buyers, arrange to have the property packed, insured and shipped at your request and expense. We recommend that you request an estimate for any large items or property of high value requiring specialised professional packers. Menzies will not accommodate a buyer’s request to roll canvases sold on stretchers or remove works from frames or mounts. EXPORT LICENSING REGULATIONS The export of any item sold at Auction from Australia or its import into another country may require both export or import licenses. It is the buyer’s responsibility to inform themselves with respect to those licenses and where necessary, to obtain the appropriate licenses. Those licenses may be required under the Protection of Movable Cultural Heritage Act 1986 and the Protection of Movable Cultural Heritage Regulations 2018.

The Protection of Movable Cultural Heritage Act 1986 prescribes objects of Cultural Heritage significance that require either an export certificate or a permit. There may also be other legislation that restricts or prohibits the export of a lot outside a State or Territory or the Commonwealth of Australia. Prescribed objects are disclosed in the National Cultural Heritage Control list. Enquiries should be made to: Department of Communications and the Arts GPO Box 2154, Canberra ACT 2601T: 1800 254 649

SALES RESULTS

Price lists and are available on request. Prices realised are also published on our website: www.menziesartbrands.com

THE SELLER AUCTION ESTIMATES

If you are considering selling your property, Menzies will provide a free initial estimate of its auction value. Every Wednesday 2pm-5pm, our specialists are available and we offer the opportunity for sellers to bring their paintings to our Melbourne and Sydney offices for obligation– free appraisals. Alternatively send a clear photograph of each item ensuring you include the dimensions, artist’s signature, medium, physical condition and any other relevant information. Visits can also be made by our specialists. These are usually at no cost but a fee may be charged which is based on the scope and diversity of the collection. These fees will be rebated if you consign your property for sale at Menzies. WITHDRAWAL OF PROPERTY

Without any prior notice to the Vendor, Menzies reserves the right to withdraw from sale the property or to have the property listed at any auction. AFTER SALE NOTIFICATION

Within a few days after the sale, you will receive an after-sale advice listing the final bid price, or, in the event that the property failed to sell, notification that it was bought-in to be returned to you. You will be sent payment for your sold property approximately 35 (thirty five) days after the sale, provided payment has been received by us. RESALE ROYALTIES

Prospective Purchasers’ attention is drawn to the The Resale Royalty Right for Visual Artists Act 2009 (the Act) which came in to effect on the 8th June, 2010. Under the Act, artists

205

and their beneficiaries are entitled to a 5% royalty on the resale price for certain resales of their work. The government has engaged Copyright Agency Limited (CAL) to collect and distribute artists’ resale royalties, and there is information about resales on their website: www.resaleroyalty.org.au. Menzies are obliged to provide information to CAL on all commercial resales for $1,000 or more, whether or not a royalty is payable on the resale.

MENZIES PRIVACY POLICY At Menzies Art Brands Pty Ltd ACN 080 621 236 (“Menzies Art Brands”) we are committed to protecting your personal information and keeping your art transactions confidential. This policy describes how Menzies Art Brands handles the personal information we collect. UPDATES TO THIS POLICY

We may review and update this policy from time to time to take account of new laws, technology, changes to our operations and the changing business environment. Updates will be published on our website. MENZIES ART BRANDS COLLECTION, USE AND DISCLOSURE PRACTICES

Menzies Art Brands collects, holds, uses and discloses personal information for our business functions and activities. HOW AND WHY MENZIES ART BRANDS COLLECTS PERSONAL INFORMATION

The main way Menzies Art Brands collects your information is when you give it to us. You give us your personal information when you deal with Menzies Art Brands in any of the following ways: seek an art appraisal or valuation register for an auction bid on an auction item purchase art or valuation services from us store art with us register for or attend one of our events where photographs or videos may be taken sign up for/obtain a catalogue, publication or newsletter access or publish information on one of our social media pages visit or use our website and or complete a form on our website contract with, or provide goods or services to, Menzies Art Brands consign art to us for sale contact us by telephone, email, fax or through social media (see more below) have a conversation with one of our representatives make a complaint to Menzies Art Brands otherwise interact with Menzies Art Brands We may also collect personal information indirectly from third parties including for recruitment purposes. We do not buy or sell personal information.

206

SOCIAL NETWORKING

We use social networking services such as Facebook, Twitter, Instagram, YouTube or LinkedIn. If you communicate with us using these services we and the social network provider and its partners may collect your personal information. We do not control and are not responsible for the privacy practices of these services and you should review their privacy policies. WHAT PERSONAL INFORMATION DOES MENZIES ART BRANDS COLLECT AND HOLD?

The information we collect may include your contact details (e.g. name, address, phone numbers, email address, postcodes), basic demographics (e.g. age, gender, occupation), Bank account details, credit card details for processing phone orders. We may take and keep photographs, audio or video footage of auctions but only with participants’ consent. We will not collect sensitive information from you unless you voluntarily provide it to us. We will not keep this if it is not needed. If the information is provided for recruitment purposes, we might collect more detailed information about you that is relevant for assessing your suitability for a position with us such as your educational qualifications or employment history. FOR WHAT PURPOSES DOES MENZIES ART BRANDS USE OR DISCLOSE PERSONAL INFORMATION?

We will only use or disclose personal information provided for the purposes for which it was collected unless you have consented to us using or disclosing it, or you would reasonably expect us to use or disclose it for a different but related purpose, or as otherwise permitted by law. We may add your contact details, including email address, to our mailing list for direct marketing purposes. If we contact you for this purpose an opt-out statement and facility will be available. If you do not provide Menzies Art Brands with the information required, we may not be able to provide the service you seek or respond or interact with you or, in the case of recruitment, to consider your application. WITH WHOM DO WE SHARE INFORMATION?

We may share your personal information with our contractors, suppliers, IT and other service providers, insurers, venues where we conduct events and business partners, recruiters, referees or others as you would reasonably expect for the above purposes. OUR WEBSITE PRACTICES: COOKIES AND OTHER TECHNOLOGIES

Following common website practices, Menzies Art Brands uses “cookies” and other technologies to collect non-personal data that enables us to better understand and improve the usability, performance and effectiveness of Menzies Art Brands’s website and for reporting purposes. Cookies are unique text files sent to your browser and stored on your computer. We do not store any

Australian & International Fine Art & Sculpture

personally identifiable information with these cookies. Use of these third party cookies by our tracking utility company or service providers is not governed by this Privacy Policy. We do not have access or control over these cookies. If you do not want Menzies Art Brands to send cookies to your browser, you can set your browser options to reject cookies or notify you when a website tries to put a cookie in your browser software. Rejecting cookies may affect your ability to use some of our website services. Additionally, Menzies Art Brands gathers general information about visits to our website and stores this information in log files. This information is stored in anonymous profiles and is not associated with a user’s account. This information includes the number of total visits to our website, and which browser is used to view our website (including the version number). No personal Information is contained in this data. Our current partners help us to track our website usage. No personally identifiable information is collected. Menzies Art Brands uses this information to understand traffic and downloads on our website, enabling us to improve the site, provide the best online experience possible and improve our ability to serve our customers. LINKS TO OTHER WEBSITES

Our website may include links to other websites that are operated by third parties. We are not responsible for the content or operation of those websites or for any products, services or information contained in them or offered by them. You should review the privacy policy and terms and conditions of use of those websites when you visit them. HOW DO WE STORE AND SECURE INFORMATION?

We take reasonable steps to protect all information which we hold from misuse, interference and loss, and from unauthorised access, modification or disclosure. However, as the transmission of data over the internet is not totally secure, we cannot guarantee the security of your data during transmission. All personal information held electronically is kept on secure servers and protected by firewall security systems. We may also hold some personal information in hard copy such as recordings of auctions, consents, invoices and business cards. This information is subject to restricted access. ANONYMITY

If it is lawful and practicable we will give individuals the option of not identifying themselves, or using a pseudonym when you contact us. For example, if you are making a telephone enquiry we may not need to collect your personal information. However, this may not always be possible. ACCESSING YOUR PERSONAL INFORMATION, OTHER ENQUIRIES OR COMPLAINTS

If you wish to access the personal information

we hold about you or you think that your personal information is inaccurate and needs correction, please contact us at the address below. We will take reasonable steps to keep your personal information accurate, complete and up-to-date. If you have a complaint concerning your privacy please also contact us. Any complaint will be investigated by our Privacy Officer and responded to in a timely manner. CONTACT DETAILS

All privacy-related enquiries or complaints should be directed to: The Privacy Officer Menzies Art Brands 1 Darling Street South Yarra, VIC 3141 E: artauctions@menziesartbrands.com (please mark emails ATTN: The Privacy Officer)

CONDITIONS OF SALE These conditions of sale constitute the entire agreement with the Buyer with respect to any lots listed for sale in the catalogue. Amendment to the catalogue descriptions may be made verbally during the course of auction or by appropriate posted notices. By bidding at auction, you shall be bound by the conditions set out below. The auction is conducted in Australian dollars.

4. PROPERTY SOLD AS IS

Subject to any express warranty set out in these conditions of sale, all property is sold without any express or implied warranty or representation with respect to provenance or condition. No written or oral statement made at any time, shall constitute such warranty or representation. Each lot is sold ‘as is’, according to these conditions of sale. Menzies is not able to and does not carry out exhaustive enquiries with respect to the accuracy or completeness of the provenance of a lot. No entitlement to copyright in the lot can be assumed and there may be a reservation of copyright by the original Artist or other prior owners. Bidders acknowledge these facts and accept responsibility for making their own investigations and inspections with respect to any lot in which they may be interested before the auction. 5. PURCHASE PRICE DEFINED

The purchase price payable by the Purchaser shall be the hammer price plus the buyer’s premium together with any Goods and Services Tax. The buyer’s premium is 25% (GST inclusive) of the hammer price. Payment of the purchase price as defined above is due in Australian Dollars.

1. CONTROL OF AUCTION

6. G.S.T.

Menzies will have absolute discretion to determine the successful bidder should a dispute arise between the bidders and this includes the power to reject any bid, to cancel the sale or to re-offer the property in dispute.

‘G.S.T.’ means the goods and services tax imposed by the A New Tax System (Goods and Services Tax) Act 1999 (Com) (as amended).

2. LOTS SUBJECT TO RESERVE

All lots may be subject to a reserve price which Menzies shall act to maintain by bidding through the Auctioneer. The Auctioneer may place a bid on behalf of the Vendor and continue to bid until the reserve is reached. The reserve price is strictly confidential between Menzies and the Vendor. With respect to lots that are offered without reserve, unless there are already competing bids, the auctioneer, at his or her discretion, will generally open the bidding at 50% of the low pre-sale estimate for that lot. In the absence of a bid at that level, the auctioneer will proceed backwards at his or her discretion until a bid is recognised, and then continue up from that amount. 3. ABSENTEE OR COMMISSION BIDS

Menzies may accept any bid in the absence of the bidder by facsimile, internet, email or telephone however with respect to all such bids, Menzies accepts no responsibility to errors or omissions in connection with their execution. Absentee bids submitted on ‘No Reserve’ lots will, in the absence of a higher bid, be executed at approximately 50% of the low pre sale estimate or the amount of the bid if it is less than 50% of the low pre-sale estimate.

i. Menzies

will sell the Property to be auctioned on a G.S.T. inclusive basis. The hammer price will therefore be inclusive of any G.S.T. payable. Menzies will invoice the Purchaser for the hammer price, inclusive of any applicable G.S.T. plus the buyer’s premium, inclusive of G.S.T. Menzies will account to the Vendor for any applicable G.S.T. inclusive in the hammer price actually recovered from the Purchaser. The Vendor will be responsible to pay the G.S.T to the Australian Tax Office.

ii. The Purchaser must carefully assess whether

input tax credits for any G.S.T. paid will be available. We recommend you contact your accountant or lawyer on this question. iii. Menzies will make available a list of works

which will be sold inclusive of G.S.T. in the hammer amount to intending bidders on request. iv. M enzies will provide the Purchaser with a

valid ‘tax invoice’ if G.S.T. is assessable on the sale. v. Any overseas buyer eligible for exemption

from G.S.T. must produce satisfactory proof to Menzies that the property has or will leave the country as an export within 60 days of its purchase. 7. R ESALE ROYALTY RIGHT FOR VISUAL ARTISTS

As from the 9th June, 2010, The Resale Royalty Right for Visual Artists Act 2009 (Cwth) (‘the

Act‘) will apply to the commercial resale of Artwork. Menzies will rely on information supplied by the Seller and Copyright Agency Limited (‘CAL‘) to determine whether Resale Royalty Rights (‘Artists' Resale Royalty‘) are applicable. Buyers and Sellers must inform themselves of the provisions of the Act and take professional advice if necessary on its application to a sale and purchase governed by the Conditions of Sale which appear in this catalogue. Where the lot is considered to be subject to the provisions of the Act, the Seller will be notified by Menzies and / or CAL, and then be responsible to pay the Artists' Resale Royalty as defined. 8. INSURANCE i. Menzies maintains their own insurance

against their personal liability for some risks arising from insurable perils including fire, theft following forcible entry and water damage. The value of the Goods covered by Menzies policy is restricted to the gross amount realised at Auction, or in the case of Goods unsold at Auction, withdrawn or otherwise held prior to a sale, Menzies estimated auction realisation price – the ‘reserve price’. ii. Menzies own insurance will subsist until

payment is made by the Buyer or, in the case of unsold Lots, until the expiry seven (7) days after notice from Menzies sent by prepaid mail, email or facsimile to the Vendor’s last known address, email account or facsimile number requiring the Vendor to collect the same. iii. A purchased Lot shall be at the Buyer’s risk

in all respects from date payment is due to Vendor whether or not payment has been made and neither Menzies nor the Vendor shall thereafter be liable for any loss or damage of any kind, whether caused by negligence or otherwise, notwithstanding that any Lot is in or under Menzies custody or control at the time of the occurrence of the loss or damage. iv. Menzies advise all Buyers to arrange for

their own ‘all risks’ insurance to cover their purchased goods effective from date for payment to protect their interests as Menzies can not warrant that the Vendor has insured its interests in the goods and that Menzies cover will extend to all risks. v. Menzies does not accept responsibility

for goods damaged by insect infestation or by changes in atmospheric conditions and Menzies shall not be liable for such damage nor for any other damage to glass or to picture frames. If the Lot is damaged or destroyed after sale and Menzies insurance company pays compensation which is then paid to or on behalf of a Buyer, the Buyer’s premium shall still be payable by the Buyer in addition to the final bid price calculated in accordance with the Published Rates. 9. PENALTY INTEREST

If the Buyer fails to pay for the property within 30 days, and extended payment terms have not been granted, penalty interest shall run on the amount of monies outstanding from the

207

date due for payment until the date payment is made at the rate prescribed by the Penalty Interest Rates Act (Vic) plus two percentum. In the event of the Buyer being in default of his/ her obligation to pay and the overdue account is then referred to a debt collection agency, and/or law firm for collection the commission payable calculated on the basis of the debt being paid in full and legal costs incurred either directly or by collection agency on an indemnity basis shall be added to the amount outstanding and form part of the debt. 10. COLLECTION OF PROPERTY SOLD

The Purchaser may only remove the goods from the Auction Room of Menzies once the property has been paid for in full. All lots sold must be removed from the premises of Menzies no later than 30 (thirty) days from the date of sale. If the goods have not been removed by this deadline the goods may be transferred to a public warehouse or stored privately and all storage freight and other associated costs shall be to the Purchaser’s account. 11. HANDLING AND PACKAGING

Buyers should make own arrangements for shipping of goods including transit insurance. Menzies will assist Buyers to identify Carriers who will undertake to handle goods at the Buyers direction. If Menzies introduce Buyer to Packers or Shippers no recommendation is to be implied. 12. REMEDIES OF MENZIES

If the buyer is in breach of any of the conditions of sale then Menzies may choose to take the following action: i. Cancel the sale, retaining as liquidated

damages any payment made by the buyer. ii. Re-sell the property without any minimum price at the next auction of Menzies or privately on 5 (five) days notice to the Buyer. iii. T ake any other action Menzies may deem necessary. The remedies set out above are in addition to any other remedies Menzies may have either at common law or equity and any deficiency that may exist between the purchase price and the price paid upon re-sale shall be to the account of the defaulting buyer including all costs and expenses, warehousing and expenses of both sales and Solicitor’s costs on a Solicitor/Client basis. In the event a defaulting buyer has made a part payment Menzies reserves the right to apply such payment to any such lots at its sole discretion. Any defaulting buyer will also be deemed to have granted us a security interest in any property that is in the custody of Menzies.

14. CHOICE OF LAW

18. AFTER AUCTION SALES

By bidding at an auction whether present, in person or by agent or by absentee bid, the buyer shall be deemed to have consented to the exclusive jurisdiction of the Courts of the State in which the Auction is conducted.

Any post auction sale of lots offered at auction shall incorporate these Conditions as if sold in the auction.

15. REFUND IN CASE OF FORGERY

ARTIST’S NAMES

In the event of proven forgery Menzies will refund to the buyer the purchase price of the lot. This refund will only occur provided the following conditions are met:

Menzies use the National Gallery of Australia’s publication, Australian Art: Artist’s working names authority list and are using the common names of the artists rather than their full names.

i. The buyer must produce evidence from two independent experts who both agree that the lot is a forgery. Menzies reserves the right to request further expert evidence if, in its sole discretion, it is not satisfied with the findings of either expert.

For example: Tom Roberts rather than Thomas William Roberts; Rupert Bunny rather than Rupert Charles Wulsten Bunny; John Brack rather than Cecil John Brack. In the case of Aboriginal works of art, the artist’s full name including skin group is used. Terms used in this catalogue have the meanings ascribed to them below. Please note that all statements in this catalogue as to Authorship are made subject to provisions of the Conditions of Sale and neither Menzies or the Vendor assume any liability or responsibility for the authenticity or authorship of any lot in this catalogue.

ii. The buyer must provide written notification to Menzies within 4 (four) years of the auction date of the forgery allegations. iii. The buyer must return to Menzies the allegedly unauthentic lot within 14 (fourteen) days of notifying Menzies of any lack of authenticity. No refund will occur if there is any conflict of opinion among accepted experts in the field or if it can be demonstrated that the lot is a forgery only by means of scientific process that could damage or otherwise jeopardise the condition of the lot and which scientific techniques were not commonly employed until after the publication of the catalogue.

1. RUSSELL DRYSDALE

This guarantee is for the benefit of the buyer only and cannot be assigned. Such buyer must have remained the owner of the property without disposing of any interest in it to any third party up until the time the alleged forgery was discovered

I n Menzies’ qualified opinion a work of the period of the artist and closely related to his style and showing his influence.

16. EXPORT LICENCE

Any application for an export license by the buyer pursuant to any of the following: 1. T he Movable Cultural Heritage Act (1986); & 2. T he Protection of Movable Cultural Heritage

Regulations 2018. Any other legislation or regulations that may prohibit the movement of or export of a lot from State to State or Territory and/or out of the Commonwealth of Australia; shall not affect the obligations of the buyer to make payment to Menzies within the time stipulated by these conditions. Unless there is an express written agreement by Menzies to make an application for an export license on his or her behalf, then all disbursements and out of pocket expenses that relate to such an application shall be to the buyer’s account.

13. BUYER’S REMEDIES

17. PRIVACY OF INFORMATION

The buyer acknowledges that Menzies under no circumstances shall be responsible for any indirect or consequential loss or damage including loss of profits for any acts or omissions that have occurred before, during or after the course of an auction. The buyer acknowledges that its damages shall be limited to the original purchase price paid for the lot.

Menzies ensures client confidentiality and use of personal information in accordance with its

208

CATALOGUING PRACTICE & TERMS

Privacy of Information Policy as stated in this catalogue. Clients when registering to bid or choosing to attend public events held by Menzies agree to the collection, use and security of personal information in accordance with the policy.

Australian & International Fine Art & Sculpture

In Menzies’ qualified opinion a work by the artist. 2. ATTRIBUTED TO RUSSELL DRYSDALE

In Menzies’ qualified opinion a work which may be in whole or part the work of the artist. 3. CIRCLE OF RUSSELL DRYSDALE

4. S TUDIO OF/WORKSHOP OF RUSSELL DRYSDALE

In Menzies’ qualified opinion a work possibly executed under the supervision of the artist. 5. SCHOOL OF RUSSELL DRYSDALE

In Menzies’ qualified opinion a work by a pupil or follower of the artist. 6. MANNER OF RUSSELL DRYSDALE

In Menzies’ qualified opinion a work in the style of the artist possibly of a later period. 7. A FTER RUSSELL DRYSDALE

In Menzies’ qualified opinion a copy of the work of the artist. 8. ‘SIGNED’

The work has a signature which in Menzies’ qualified opinion is the signature of the artist. 9. ‘BEARS SIGNATURE’ T he work has a signature which in Menzies’

qualified opinion might possibly be the signature of the artist although there is an element of doubt. 10. ‘DATED’

The work is so dated and in Menzies’ qualified opinion was executed about that date. 11. ‘BEARS DATE’

The work is so dated and in Menzies’ qualified opinion may possibly have been executed about that date although there is an element of doubt.

209

90 © Namatjira Legacy Trust/Copyright Agency, 2020 91 © Emily Kame Kngwarreye/Copyright Agency, 2020 92 © Emily Kame Kngwarreye/Copyright Agency, 2020 93 © Rover Thomas (Julama)/Copyright Agency, 2020 94 © Kathleen Petyarre/Copyright Agency, 2020 95 © Kathleen Petyarre/Copyright Agency, 2020 96 © Emily Kame Kngwarreye/Copyright Agency, 2020

65 © Guan Wei courtesy of Martin Browne Contemporary, Sydney 66 © Noel McKenna/Copyright Agency, 2020 67 © Anne Zahalka/Copyright Agency, 2020 68 © Anne Zahalka/Copyright Agency, 2020 69 © Michael Riley/Copyright Agency, 2020 70 © Image courtesy of Rosemary Laing and Tolarno Galleries, Melbourne 71 © The Estate of David Moore. Image courtesy of Lisa, Michael, Matthew and Joshua Moore 72 © Max Dupain/Copyright Agency, 2020

149 © Noel McKenna/Copyright Agency, 2020 150 © Noel McKenna/Copyright Agency, 2020 151 © Noel McKenna/Copyright Agency, 2020 153 © Succession Picasso/Copyright Agency, 2020 154 © The Estate of Francis Bacon. All rights reserved. DACS/Copyright Agency, 2020 155 © courtesy of Wendy Whiteley 156 © courtesy of Wendy Whiteley

210

Australian & International Fine Art & Sculpture

INDEX ARTIST .......................................................... LOT NUMBERS

KNGWARREYE, EMILY KAME...........................91, 92, 96, 97

AMOR, RICK.................................................................11, 111

KNIGHT, JASPER...............................................................148

ARMSTRONG, BRUCE.........................................................50

LAING, ROSEMARY.............................................................70

ASHTON, WILL..........................................................2, 3, 4, 5

LARWILL, DAVID.................................................................56

BACON, FRANCIS.............................................................154

LLOYD, TONY.................................................................... 115

BARTON, DEL KATHRYN..............................................38, 42

MACLEOD, EUAN................................................................61

BELL, RICHARD................................................................. 112

MCCUBBIN, FREDERICK.....................................................26

BENJAMIN, JASON.............................................................13

MCKENNA, NOEL.66, 125, 126, 129, 130, 131, 149, 150, 151

BEYNON, KATE.................................................................123

MCKENZIE, ALEXANDER...................................................14

BLACKMAN, CHARLES.......................................................40

MOFFATT, TRACEY........................................................... 114

BOOTH, PETER............................................................45, 106

MOORE, DAVID...................................................................71

BOUDIN, EUGÈNE..............................................................25 BOYD, ARTHUR......................................... 8, 19, 48, 101, 103 BOYD, DAVID.................................................... 142, 143, 146 BOYD, PENLEIGH................................................................83 BUNNY, RUPERT..................................................................85 BUSH, STEPHEN..................................................................59 CHEN, ZHONG..................................................................122 CHRISTMANN, GUNTER................................................... 119 COBURN, JOHN.................................................... 51, 73, 100 CORNISH (E.L.K.), LUKE....................................................127 CRESS, FRED.....................................................................140 CROOKE, RAY...................................................................144 CULLEN, ADAM........................................................... 57, 113 CUMBRAE-STEWART, JANET....................................... 87, 88 CUMMINGS, ELISABETH..................................................104 DAVIDSON, BESSIE.............................................................84 DICKERSON, ROBERT...................................................36, 54 DOBELL, WILLIAM..............................................................89 DRYSDALE, RUSSELL.............................................................6 DUPAIN, MAX......................................................................72 FAIRWEATHER, IAN............................................................30 FRIEND, DONALD.............................................................134 FULLBROOK, SAM............................................................102 FURLONGER, JOE.............................................................105

MORA, MIRKA.....................................................................74 NAMATJIRA, ALBERT....................................................22, 90 NELSON, JAN.................................................................... 116 NOLAN, SIDNEY............................................7, 21, 34, 47, 49 NOONAN, DAVID.............................................................128 NORRIE, SUSAN..................................................................60 OLSEN, JOHN........................................................ 20, 44, 77 ONUS, LIN...................................................................16, 136 PARR, LENTON..................................................................152 PERCEVAL, JOHN.............................................................135 PETYARRE, KATHLEEN.................................................94, 95 PICASSO, PABLO...............................................................153 PUGH, CLIFTON................................................................138 QUILTY, BEN........................................................................37 REDFORD, SCOTT.............................................................121 REES, LLOYD.................................................................10, 79 RILEY, MICHAEL..................................................................69 ROBERTS, TOM........................................................... 1, 9, 28 ROBINSON, WILLIAM.........................................................31 ROLANDO, CHARLES.........................................................86 ROONEY, ROBERT..............................................................64 SAWREY, HUGH................................................... 55, 141, 145 SHEAD, GARRY............................................... 17, 35, 46, 137

GLEESON, JAMES.............................................................108

SMART, JEFFREY............................................... 12, 32, 39, 41

HANHAM, MARK............................................................... 147

STORRIER, TIM........................................................18, 43, 76

HEARMAN, LOUISE...........................................................109

STREETON, ARTHUR.............................................. 27, 80, 81

HENG, EUAN.....................................................................132

THOMAS, ROVER (JULAMA)..............................................93

HESTER, JOY.....................................................................133

TILLERS, IMANTS................................................................53

HEYSEN, HANS...................................................................82

TUCKSON, TONY..............................................................107

JOHNSON, MICHAEL.........................................................52

VON GUÉRARD, EUGENE...................................................23

JOHNSON, TIM................................................................. 117

WEI, GUAN.......................................................... 65, 118, 124

JONGKIND, JOHAN-BARTHOLD......................................24

WHITELEY, BRETT.33, 155, 156, 157, 158, 159, 160, 161, 162

KEELING, DAVID......................................................... 58, 110

WILLIAMS, FRED...........................................................29, 78

KELLY, JOHN.................................................................62, 63

YOUNG, JOHN..................................................................120

KING, INGE..........................................................................99

ZAHALKA, ANNE.......................................................... 67, 68

KLIPPEL, ROBERT................................................................98

ZAVROS, MICHAEL.......................................................15, 75

211

MELBOURNE GALLERY

SYDNEY GALLERY

1 Darling Street South Yarra VIC 3141 Australia T +61 3 9832 8700 E artauctions@menziesartbrands.com

12 Todman Avenue Kensington NSW 2033 Australia T +61 2 8344 5404 E art@menziesartbrands.com

menziesartbrands.com