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13 May 9.00 am – 5.30 pm Thursday 14 May 9.00 am – 5.30 pm Friday 15 May 9.00 am – 5.30 pm

Selected Australian + International Fine Art

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Olive Cotton (1911 – 2003)

Teacup ballet, 1936, printed 1995

silver gelatin photograph

25.0 x 19.0 cm (image)

30.5 x 25.5 cm (sheet)

45.0 x 38.0 cm (frame) edition: 20/97

signed below image: Olive Cotton inscribed with title and numbered verso: Teacup Ballet / 20/97

Starting bid: $8,000

ESTIMATE: $10,000 – 15,000

Provenance

Deutscher Fine Art, Melbourne

Private collection, Melbourne, acquired from the above in 1995

Exhibited (Selected)

Seeing is believing – the art in photography, Art Gallery of New South Wales, Sydney, 13 December 1985 – 19 January 1986, cat. 12 (another example)

Shades of Light: Photography and Australia 1839 – 1988, National Gallery of Australia, Canberra, 20 February – 22 May 1988 (another example)

Olive Cotton: Photographs 1920s – 1990s, Deutscher Fine Art, Melbourne, 19 October – 11 November 1995, cat. 4 (illus. in exhibition catalogue, back cover)

Olive Cotton, Art Gallery of New South Wales, Sydney, 13 May – 2 July 2000; National Library of Australia, Canberra, 12 July – 19 September 2000 (another example)

Soft Shadows and Sharp Lines: Australian photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney,

30 September – 17 November 2002 (another example)

Max and Olive: The photographic life of Olive Cotton and Max Dupain, National Gallery of Australia touring exhibition, Canberra, 18 March 2016 – 10 July 2017 (another example)

Know My Name: Making it Modern, National Gallery of Australia, Canberra, 5 August – 8 October 2023 (another example)

Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 6 August – 9 November 2025, cat. 206 (another example)

Women Photographers 1900 – 1975: A Legacy of Light, National Gallery of Victoria, Melbourne, 28 November 2025 – 3 May 2026 (another example)

Literature (Selected)

McDonald, E. and Capon, E., AGNSW Collections, Art Gallery of New South Wales, Sydney, 1994, p. 39 (illus., another example)

Ennis, H., Olive Cotton: Photographer, National Library of Australia, Canberra, 1995, front cover (illus., another example), p. 25 (illus., another example)

Ennis, H., Olive Cotton, Art Gallery of New South Wales, Sydney, 2000, p. 24 (illus., another example)

Harding, L., Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 2025, cat. 206, pp. 190 (illus., another example), 192, 234 (illus., another example)

Abbott, B., and Solomon-Godeau, A., Women Photographers 1900 – 1975: A Legacy of Light, National Gallery of Victoria, Melbourne, 2025, pp. 24, 25 (illus., another example), 320

Related works

Other examples of this photograph are held in the collections of the National Gallery of Australia, Canberra, the National Gallery of Victoria, Melbourne, the Art Gallery of New South Wales, Sydney, the Art Gallery of South Australia, Adelaide and the Queensland Art Gallery | Gallery of Modern Art, Brisbane

Now

On view Melbourne

Olive Cotton (1911 – 2003)

Glasses, 1937, printed 1995

silver gelatin photograph

28.0 x 20.5 cm (image)

33.0 x 25.5 cm (sheet)

48.0 x 40.0 cm (frame)

edition: 13/94

signed below image: Olive Cotton inscribed with title and numbered verso: Glasses / 13/94

Starting bid: $6,500

ESTIMATE: $8,000 – 12,000

Provenance

Deutscher Fine Art, Melbourne

Private collection, Melbourne, acquired from the above in 1995

Exhibited

Ten Years On, Art Gallery of New South Wales, Sydney, January 1986 (another example)

In a certain light: Clarice Beckett and Olive Cotton, Ivan Dougherty Gallery, Sydney, 8 March – 15 April 1995 (another example)

Olive Cotton: Photographs 1920s – 1990s, Deutscher Fine Art, Melbourne, 19 October – 11 November 1995, cat. 11

Olive Cotton, Art Gallery of New South Wales, Sydney, 13 May – 2 July 2000; National Library of Australia, Canberra, 12 July – 19 September 2000 (another example)

The Enduring Glance: 20th Century Australian Photography from the Corrigan Collection, Bendigo Art Gallery, Victoria, 22 June – 28 July 2002, cat. 4 (another example)

Soft Shadows and Sharp Lines: Australian photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney, 30 September – 17 November 2002 (another example)

Things: photographing the constructed world, National Library of Australia, Canberra, 24 November 2012 – 17 March 2013 (another example)

Sydney Moderns: Art for a New World, Art Gallery of New South Wales, Sydney, 6 July – 7 October 2013 (another example)

Know My Name: Making it Modern, National Gallery of Australia, Canberra, 5 August – 8 October 2023 (another example)

Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 6 August – 9 November 2025, cat. 208 (another example)

Literature (Selected)

Ennis, H., Olive Cotton, Photographer, National Library of Australia, Canberra, 1995, p. 10 (illus., another example)

Ennis, H., Olive Cotton, Art Gallery of New South Wales, Sydney, 2000, cat. 21, pp. 4, 5 (illus., another example), 16, 24 Edwards, D., and Mimmocchi, D. (eds.), Sydney Moderns: Art For a New World, Art Gallery of New South Wales, Sydney, 2013, p. 153 (illus., another example)

Bullock, N., Cole, K., Hart, D., and Pitt, E., (eds), Know My Name, National Gallery of Australia, Canberra, 2020, pp. 84 – 85 Harding, L., Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 2025, cat. 208, pp. 201 (illus., another example), 234 (illus., another example)

Related works

Other examples of this photograph are held in the collections of the National Gallery of Australia, Canberra, the National Library of Australia, Canberra, the Art Gallery of New South Wales, Sydney, and the Queensland Art Gallery | Gallery of Modern Art, Brisbane

Olive Cotton (1911 – 2003)

Max after surfing, 1939, printed 1995

silver gelatin photograph

26.0 x 20.0 cm (image)

32.0 x 26.0 cm (sheet)

46.0 x 38.5 cm (frame)

edition: 14/97

signed below image: Olive Cotton inscribed with title and numbered verso: Max After Surfing / 14/97

Starting bid: $4,800

ESTIMATE: $6,000 – 9,000

Provenance

Deutscher Fine Art, Melbourne

Private collection, Melbourne, acquired from the above in 1995

Exhibited

Olive Cotton: Photographs 1920s – 1990s, Deutscher Fine Art, Melbourne, 19 October – 11 November 1995, cat. 18

The Unflinching Gaze: photo media and the male figure, Bathurst Regional Art Gallery, New South Wales, 13 October – 3 December 2017 (another example)

Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 6 August – 9 November 2025, cat. 209 (another example)

Women Photographers 1900 – 1975: A Legacy of Light, National Gallery of Victoria, Melbourne, 28 November 2025 – 3 May 2026 (another example)

Literature

Harding, L., Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 2025, cat. 209, pp. 196 (illus., another example), 234 (illus., another example)

Related works

Other examples of this photograph are held in the collections of the National Gallery of Victoria, Melbourne, the Art Gallery of New South Wales, Sydney, the Art Gallery of South Australia, Adelaide, and the Queensland Art Gallery | Gallery of Modern Art, Brisbane Max after surfing, 1937, silver gelatin print, 38.0 x 30.0 cm, National Gallery of Australia, Canberra

On view Melbourne

Brett Whiteley (1939 – 1992)

(The orange) Fruit dove in Clark Park, 1980

colour screenprint

77.0 x 53.0 cm (image)

105.5 x 75.0 cm (sheet)

111.0 x 80.0 cm (frame)

edition: AP aside from an edition of 30 signed, numbered and inscribed with title below image: A/P ‘Fruit dove in Clark Park’ Brett Whiteley bears artist’s stamp with initials below image

Starting bid: $9,000

ESTIMATE: $12,000 – 18,000

Provenance

Australian Galleries, Melbourne

Private collection, Sydney, acquired from the above c.1981

Exhibited

The Entire Collection of the Graphics of Brett Whiteley: 1961–1981, Australian Galleries, Melbourne, 20 July – 1 August 1981, cat. 55 (another example)

Brett Whiteley: The Complete Graphics: 1961–1982, Art Gallery of Western Australia, Perth, 30 March – 24 April 1983 (another example)

Brett Whiteley: The Graphics: 1961–1992, Deutscher Fine Art, Melbourne, 25 November – 16 December 1995; Greenhill Galleries, Perth, 10 April – 1 May 1996, cat. 58 (another example)

Literature

Mandy, R., Brett Whiteley: The Complete Graphics, 1961–1982, Art Gallery of Western Australia, Perth, 1983, cat. 58, p. 43 (illus., another example)

Brett Whiteley: The Graphics 1961–1992, Deutscher Fine Art, Melbourne, 1995, cat. 58, p. 65 (illus., another example), 113 Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, cat. 104P, vol. 4, p. 35 (illus., another example), vol. 5, p. 119 (illus., another example), vol. 7, p. 828

On view Melbourne

Bid Now

Brett Whiteley (1939 – 1992)

The cat, 1980

offset lithograph

84.5 x 82.0 cm (image)

116.0 x 91.5 cm (sheet)

121.0 x 93.0 (frame)

edition: AP 4 aside from an edition of 100 signed, numbered and inscribed with title below image: A/P 4 ‘the cat’ brett whiteley bears artist’s stamp with initials below image

Starting bid: $24,000

ESTIMATE: $28,000 – 35,000

Provenance

Robin Gibson Gallery, Sydney

Private collection, New South Wales, acquired from the above in 1980s

Exhibited probably Brett Whiteley: Drawings and Gouaches, Philip Bacon Galleries, Brisbane, April – May 1981, cat. 8 (another example)

The Entire Collection of Graphics of Brett Whiteley: 1961–1981, Australian Galleries, Melbourne, 20 July – 1 August 1981, cat. 56 (another example)

Brett Whiteley: The Complete Graphics: 1961–1982, Art Gallery of Western Australia, Perth, 30 March – 24 April 1983 (another example)

Brett Whiteley: The Graphics: 1961–1992, Deutscher Fine Art, Melbourne, 25 November – 16 December 1995; Greenhill Galleries, Perth, 10 April – 1 May 1996, cat. 60 (another example)

Literature

Mandy, R., Brett Whiteley: The Complete Graphics: 1961–1982, Art Gallery of Western Australia, Perth, 1983, cat. 59, p. 42 (illus., another example)

Brett Whiteley: The Graphics: 1961–1992, Deutscher Fine Art, Melbourne, 1995, cat. 60, pp. 67, 113 (illus., another example) Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, cat. 105P, vol. 5, p. 121 (illus., another example), vol. 7, p. 829

On view Melbourne

Brett Whiteley (1939 – 1992)

Vincent (An essay in opposites), 1982

coloured etching, screenprint and collage

211.0 x 91.5 cm (sheet)

222.5 x 103.0 cm (frame)

edition: AP 6 aside from an edition of 30 signed and numbered below image: AP 6 Brett Whiteley bears artist’s stamped monogram upper right

Starting bid: $19,000

ESTIMATE: $20,000 – 30,000

Provenance

Estate of the artist

Private collection, Melbourne Menzies, Melbourne, 19 November 2020, lot 156

Lauraine Diggins Fine Art, Melbourne (label attached verso)

Private collection, Melbourne

Exhibited

Brett Whiteley: The Complete Graphics 1961–1982, Art Gallery of Western Australia, Perth, 30 March – 24 April 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, 3 November – 7 December 1983, cat. 16 (another example)

Brett Whiteley: The Graphics: 1961–1992, Deutscher Fine Art, Melbourne, 25 November – 16 December 1995; Greenhill Galleries, Perth, 10 April – 1 May 1996, cat. 70 (another example)

On view Melbourne

Bid Now

Literature

Mandy, R., Brett Whiteley: The Complete Graphics, 1961–1982, Art Gallery of Western Australia, Perth, 1983, cat. 70, p. 47 (illus., 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)

Brett Whiteley: The Graphics 1961–1992, Deutscher Fine Art, Melbourne, 1995, cat. 70, pp. 75 (illus., another example), 113 Sutherland, K., Brett Whiteley Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, cat. 120P, vol. 4, p. 212 (illus., another example), vol. 5, p. 143 (illus., another example), vol. 7, p. 833

Bill Henson born 1955

Untitled 29/77, 1990 – 91

from the Paris Opera Project series type C photograph

122.0 x 122.0 cm (image)

156.0 x 158.0 cm (frame)

edition: 4/5

signed, dated, inscribed and numbered below image: IMAGE NUMBER 29/77 PRINT 4/5 ‘I’ ‘PARIS OPERA PROJECT’

1990/91 Bill Henson

Starting bid: $18,000

ESTIMATE: $30,000 – 40,000

Provenance

Tolarno Galleries, Melbourne

Private collection, Melbourne, acquired from the above in 2006

Exhibited

Works from the Paris Opera Project, Roslyn Oxley9 Gallery, Sydney, 25 March – 11 April 1992 (another example)

Literature

Bill Henson, 46th Venice Biennale 1995, Australian Exhibitions Touring Agency, Melbourne, 1995, p. 9 (illus., another example)

Related works

Other examples of this photograph are held in the collections of the National Gallery of Australia, Canberra and the National Gallery of Victoria, Melbourne

Bid Now

On view Melbourne

Petrina Hicks born 1972

Shenae and Jade, 2005

archival pigment print

123.0 x 115.0 cm

136.5 x 129.0 cm (frame)

edition: 6/8

signed on gallery label verso

Starting bid: $20,000

ESTIMATE: $30,000 – 50,000

Provenance

Stills Gallery, Sydney (label attached verso)

Private collection, Singapore, acquired from the above in 2016

Exhibited

Petrina Hicks, Stills Gallery, Sydney, 1 April – 1 May 2005 (illus. back cover of exhibition catalogue, another example)

Pet Project, Australian Centre for Photography, Sydney, 7 December 2006 – 25 February 2007 (illus. cover of exhibition invitation, another example)

Light Sensitive Material: Works from the Verghis Collection, Lismore Regional Gallery, New South Wales, 3 February – 18 March 2012, and touring (another example)

What’s in a face? aspects of portrait photography, Art Gallery of New South Wales, Sydney, 24 September 2011 – 5 February 2012 (another example)

Flight Paths: The Bird in Australian Art, Mornington Peninsula Regional Gallery, Victoria, 2 December 2016 – 12 February 2017 (another example)

Petrina Hicks, Bleached Gothic, National Gallery of Victoria, Melbourne, 27 September 2019 – 15 March 2020, and touring to Australian Embassy, Paris, 24 June – 24 September 2021 (another example)

On view Melbourne

A Nest in the Hills: The Symbiosis of Women and Birds in Contemporary Australian Art, Mudgee Arts Precinct, New South Wales, 12 December 2025 – 15 March 2026 (another example)

Super Nature, Art Gallery of New South Wales, Sydney, 7 February 2026 – February 2027 (another example)

Literature

Photofile, Sydney, Issue 79, Summer 2007 (illus. cover, another example)

Annear, J., ‘Blank Face’, Art & Australia, vol. 46, no. 2, Summer 2008, p. 280

Perram, R., ‘Reflection’, Light Sensitive Material: Works from the Verghis Collection, Bathurst Regional Art Gallery and Museums and Galleries NSW, Bathurst, 2009 (illus. cover, another example)

Peacock, A., ‘Petrina Hicks’, Shenae and Jade (Education Collection Notes: Investigating Key Works of Art in the Gallery), Art Gallery of New South Wales, Sydney, 2011, n.p. (illus., another example)

Warnes, D., (ed.), Under My Skin: Contemporary Australian Photography from the Corrigan Collection, Rockhampton Art Gallery, Queensland, 2013, pp. 14, 32 (illus., another example), 62 Miller, C., ‘Seductive Subversion’, Australian Art Collector, Issue 65, July – September 2013, p. 126 (illus., another example)

Cleary, G., & Tribe, H., ‘Wings of desire, demise and adaptation: birds in Australian art’, The Conversation, 6 December 2016, https:// theconversation.com/wings-of-desire-demise-and-adaptationbirds-in-australian-art-69884 (another example, accessed March 2026)

Petrina Hicks, Bleached Gothic, National Gallery of Victoria, Melbourne, 2019, pp. 24, 25 (illus., another example), 136 (illus. cover, another example)

Whish, B., ‘10 things inspiring artist and photographer Petrina Hicks right now’, Vogue Australia, 9 October 2019, https://www. vogue.com.au/vogue-living/arts/10-things-inspiring-artist-andphotographer-petrina-hicks-right-now/image-gallery/577fbf8b0511 30e7d1b6829cedbcad1d (another example, accessed March 2026)

Fortescue, E., ‘A little bird delivers record price for photographer’, Australian Financial Review, 15 March 2024, https://www.afr.com/ life-and-luxury/arts-and-culture/a-little-bird-delivers-record-pricefor-photographer-20240515-p5jdtj (another example, accessed March 2026)

A Nest in the Hills: The Symbiosis of Women and Birds in Contemporary Australian Art, Mudgee Arts Precinct, New South Wales, 2025, pp. 9, 18, (illus., another example), 60 (illus., another example), 61

Related works

Other examples of this photograph are held in the Art Gallery of New South Wales, Sydney, National Gallery of Victoria, Melbourne and Benalla Art Gallery, Victoria.

Tim Maguire born 1958

Untitled 99U55, 1999

oil on canvas

180.0 x 220.0 cm

signed, dated and inscribed with title verso: Maguire ‘99 / Untitled 99U55

Starting bid: $30,000

ESTIMATE: $40,000 – 60,000

Provenance

Tolarno Galleries, Melbourne

Private collection, Melbourne, acquired from the above in 1999

On view Melbourne

Bid Now

John Kelly born 1965

Dobell’s cow on trestle, 1995

gouache and watercolour on paper

34.0 x 55.0 cm (image)

50.0 x 70.0 cm (sheet)

58.5 x 78.5 (frame)

signed and dated lower right: Klly [sic] 95 inscribed with title on sheet verso: Dobells Cow on trestle (Painted)

Starting bid: $13,000

ESTIMATE: $15,000 – 20,000

Provenance

The Piccadilly Gallery, London (label attached verso) Private collection, United Kingdom, acquired from the above in 1995

Bid Now

On view Melbourne

Rick Amor born 1948

Ithaca, 2010

oil on canvas

130.0 x 162.0 cm

133.5 x 165.5 cm (frame)

signed and dated lower left: RICK AMOR ‘10 inscribed with title and dated verso: ITHACA / Sept / Oct / Nov / DEC / 10

Starting bid: $32,000

ESTIMATE: $40,000 – 60,000

Provenance

Niagara Galleries, Melbourne (label attached verso) Private collection, Sydney, acquired from the above in 2011

Exhibited

Rick Amor: Paintings, Niagara Galleries, Melbourne, 26 July – 27 August 2011, cat. 3 (label attached verso, illus. in exhibition catalogue)

Bid Now

On view Melbourne

Nicholas Harding (1956 – 2022)

Commuters at Central, 2005

ink on paper

130.0 x 152.0 cm

141.0 x 162.5 cm (frame)

signed lower right: Harding

signed, dated and inscribed with title verso: ‘COMMUTERS AT CENTRAL’ / 2005 / Nicholas Harding

Starting bid: $10,000

ESTIMATE: $14,000 – 18,000

Provenance

Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Sydney, acquired from the above in 2005

Exhibited

Important Works on Paper and Sculpture, Rex Irwin Art Dealer, Sydney, 1 March – 1 April 2005, cat. 36 (label attached verso)

On view Melbourne

Bid Now

Garry Shead born 1942 Dance, c.1992

oil on composition board

59.0 x 42.5 cm

62.5 x 46.0 cm (frame) signed lower left: Garry Shead inscribed with title verso: DANCE

Starting bid: $12,000

ESTIMATE: $15,000 – 20,000

Provenance

Eva Breuer Art Dealer, Sydney Private collection, Sydney, acquired in 1998

On view Melbourne

Yosl Bergner (1920 – 2017)

To a bird, 1982

oil on canvas

85.0 x 127.0 cm

109.0 x 150.0 cm (frame)

signed and dated lower left: Yosl Bergner 82 signed and inscribed with title verso: “TO A BIRD” / Yosl Bergner

Starting bid: $25,000

ESTIMATE: $35,000 – 45,000

Provenance

Henry Krongold, Melbourne

Thence by descent

Private collection, Melbourne

On view Melbourne

Annis Laeubli (c.1912 – 1948)

Mother and child, c.1946 – 47

plaster

165.0 cm height

Starting bid: $12,000

ESTIMATE: $15,000 – 20,000

Provenance

Cerebral Palsy Alliance (formerly known as the Spastic Centre of New South Wales), Sydney

Steers’ Auctions, Sydney

Private collection, Sydney

Scheding Berry Fine Art, Sydney, by 1989

Private collection, Melbourne, acquired in April 1994

Exhibited

Selected Australian Pictures, Scheding Berry Fine Art at Joseph Lebovic Gallery, Sydney, 4 – 18 May 1989, cat. 26 (illus. in exhibition catalogue)

Literature

Badham, H., A Study of Australian Art, Currawong Publishing Company, Sydney, 1949, p. 236 – 237

Scarlett, K., Australian Sculptors, Nelson, Melbourne, 1980, p. 343

McCulloch, A., Encyclopedia of Australian Art, voI. 2, Hutchinson of Australia, Melbourne, 1984, p. 669

Ingram, T., ‘$22,000 tag on a Laeubli sculpture bought for $200’, Australian Financial Review, 4 May 1989

Ingram, T., Dadswell’s Sculpture at Peace in a Cow Paddock’, Australian Financial Review, 20 May 1993

On view Melbourne

Bid Now

Arthur Boyd (1920 – 1999)

Romeo and Juliet, c.1963 – 64

oil on glass

63.0 x 63.0 cm

73.0 x 73.0 cm (frame)

signed lower right: Arthur Boyd

Starting bid: $15,000

ESTIMATE: $18,000 – 24,000

Provenance

Private collection, Perth

Thence by descent

Private collection, Perth

Exhibited

possibly Boyd, Blackman, Daws, The Johnstone Gallery, Brisbane, 31 August – 15 September 1965, cat. 25 (as ‘Romeo and Juliet –The Cup’)

Related work

Romeo and Juliet, 1963, earthenware, lead and wood, 222.6 x 371.4 x 4.2 (variable), National Gallery of Victoria, Melbourne

Bid Now

On view Melbourne

Ray Crooke (1922 – 2015)

Islander women with Frangipani Tree, c.1970s

oil on composition board

51.0 x 61.0 cm

60.0 x 70.0 cm (frame)

signed lower left: R Crooke

Starting bid: $12,000

ESTIMATE: $15,000 – 20,000

Provenance

Private collection, Sydney

Sotheby’s, Melbourne, 28 November 2005, lot 17 (as ‘Islander Woman with Frangipani Tree’)

Private collection, Sydney

Donald Friend (1915 – 1989)

Bald Hill near Maleny, Queensland, 1982

watercolour and ink on paper

48.0 x 65.0 cm

77.0 x 92.0 cm (frame)

signed and inscribed with title lower left: Bald Hill, Near / Maleny Q Donald Friend

Starting bid: $4,000

ESTIMATE: $5,000 – 7,000

Provenance

Philip Bacon Galleries, Brisbane (label attached verso)

Private collection, Sydney, acquired from the above in March 2011

Estate of the above

Exhibited

Donald Friend 1936–1989, Philip Bacon Galleries, Brisbane, 8 February – 5 March 2011 (label attached verso)

On view Melbourne

Bid Now

Clifton Pugh (1924 – 1990)

Cottles Bridge, 1988

oil on canvas

91.0 x 111.0 cm

109.0 x 129.0 cm (frame)

signed and dated lower right: Clifton / 20–1–88

Starting bid: $6,000

ESTIMATE: $7,000 – 9,000

Provenance

Australian Galleries, Melbourne (label attached verso, stock no. 3992)

IAG Insurance Group, Melbourne

Private collection, Melbourne, acquired from the above in 2008

On view Melbourne

Bid Now

Tim Storrier born 1949

The red saddle synthetic polymer paint on board

49.0 x 39.0 cm

79.5 x 68.5 cm (frame) signed and inscribed with title lower right: The Red Saddle / Storrier

Starting bid: $15,000

ESTIMATE: $20,000 – 30,000

Provenance

Australian Galleries, Melbourne (label attached verso, stock no. 7520)

Private collection, Melbourne, acquired from the above

On view Melbourne

John Olsen (1928 – 2023)

Cooper flowing into Lake Eyre, 1975

gouache on paper

55.0 x 76.0 cm

82.0 x 101.0 cm (frame)

signed with initials and dated lower right: JO 75 bears inscription with title verso: JOHN OLSEN COOPER FLOWING INTO LAKE EYRE

Starting bid: $10,000

ESTIMATE: $12,000 – 16,000

Provenance

Barry Stern Galleries, Sydney

Private collection

Bay East Auctions, Sydney, 7 October 2012, lot 21

Private collection, Sydney

Deutscher and Hackett, Melbourne, 21 April 2021, lot 67

Private collection, Adelaide

On view Melbourne

Bid Now

Russell Drysdale (1912 – 1981)

Chinese Harry, c.1959

ink on paper

37.0 x 24.0 cm (sheet)

58.0 x 43.0 cm (frame)

signed lower right: Russell Drysdale inscribed with title lower left: Chinese Harry bears inscription verso: “Chinese Harry” / Russell Drysdale

Starting bid: $4,000

ESTIMATE: $5,000 – 7,000

Provenance

Private collection, Los Angeles, USA Hughes Auctions, California, 29 March 2026, lot 130 Private collection, USA

Literature

Russell Drysdale: A Retrospective Exhibition of Paintings from 1937 to 1960, Art Gallery of New South Wales, Sydney, 1960 (illus., title page)

On view Melbourne

William Dobell (1899 – 1970)

Sketch for Woodcarter, c.1950

oil on composition board

17.0 x 34.5 cm

29.5 x 46.5 cm (frame)

signed lower left: W Dobell

Starting bid: $16,000

ESTIMATE: $18,000 – 25,000

Provenance

Major Harold De Vahl Rubin, Queensland (label attached verso)

The Harold De Vahl Rubin Collection Part II, Christie’s, Sydney, 2 October 1973, lot 81

Private collection, Sydney

Sotheby’s, Melbourne, 18 June 2013, lot 120

Philip Bacon Galleries, Brisbane (label attached verso, as ‘Carting wood’)

Private collection, Sydney

Estate of the above

Exhibited

The Landscape 1804 – 2015, Philip Bacon Galleries, Brisbane, 2 – 27 February 2016, cat. 20 (as ‘Carting wood’)

On view Melbourne

Bid Now

William Dobell (1899 – 1970)

Study for portrait of Joshua Smith, 1943 ink on paper

19.0 x 8.5 cm

43.0 x 34.5 cm (frame)

Starting bid: $4,500

ESTIMATE: $6,000 – 8,000

Provenance

Estate of the late Joshua Smith, Sydney Yve Close, Sydney, a bequest from the above Estate of the above, Sydney

Related works

Portrait of an Artist (Joshua Smith), 1943, oil on canvas, 107.0 x 76.0 cm, private collection (winner, Archibald Prize 1943, Art Gallery of New South Wales, Sydney)

Study for Portrait of an Artist (Joshua Smith), 1943, oil on composition board, 36.0 x 25.5 cm, formerly the collection of Sir Warwick Fairfax and Mary, Lady Fairfax AC OBE, Sydney

Study of Joshua Smith, c.1943, pencil, pen and black ink on paper, 27.9 x 20.3 cm, formerly the collection of Yve Close, Sydney

Untitled [Two studies for portrait of Joshua Smith], 1943, pencil on paper, 32.8 x 24.8 cm, National Gallery of Australia, Canberra Joshua Smith, 1943, silverpoint on paper, 22.4 x 17.3 cm, Art Gallery of New South Wales, Sydney

Howard Arkley (1951 – 1999)

Neocummgii, 1984

also known as Stapelia-Peduncle

synthetic polymer paint on paper

55.0 x 76.0 cm (sheet)

82.0 x 107.0 cm (frame)

signed and dated lower left: Howard Arkley 85 [sic] signed and dated verso: Howard Arkley / 1985 [sic] signed, dated and inscribed on label verso: Howard Arkley / 1986 [sic] / Stapelia-peduncle

Starting bid: $18,000

ESTIMATE: $22,000 – 25,000

Provenance

Tolarno Galleries, Melbourne (label attached verso)

Sotheby’s, Melbourne, 2 May 2000, lot 105 (as ‘Stapelia-Peduncle, 1986’)

Private collection, Queensland

Leonard Joel, Melbourne, 6 September 2016, lot 198 (as ‘The Stapelia Peduncle, 1986’)

Private collection, Melbourne Menzies, Sydney, 29 November 2023, lot 89 (as ‘StapeliaPeduncle, 1985’)

Private collection, Queensland

Exhibited

Howard Arkley: Cacti and Succulents, Roslyn Oxley9, Sydney, 10 – 26 May 1984, cat. 4

Literature

Crawford, A. and Edgar, R., Spray: The Work of Howard Arkley, Craftsman House, Sydney, 1997, p. 72

Howard Arkley Online Catalogue Raisonné: https://www. arkleyworks.com/blog/2009/11/19/neocummgii-1984-wp/ (accessed April 2025)

On view Melbourne

Ron Robertson-Swann born 1941

Magnetic North, 1976

painted steel

25.0 x 115.0 x 59.0 cm

Starting bid: $8,000

ESTIMATE: $10,000 – 15,000

Provenance

Gallery A, Sydney

William Burge, Sydney

The W.R. Burge Collection of Australian and International Pictures and Sculpture, Christie’s, Sydney, 6 March 2006, lot 50 Private collection, Sydney

Exhibited

Ron Robertson-Swann, Gallery A, Sydney, 17 July – 7 August 1976, cat. 13

Ron Robertson-Swann: Form as Narrative, Orange Festival of Arts, New South Wales, 23 – 31 March 1985, cat. 15

Literature

Ron Robertson-Swann, https://www.ronrobertson-swann.com/sculptures1970s (accessed April 2026)

Bid Now On view Melbourne

Robert Klippel (1920 – 2001)

No. 465, 1983

bronze

30.5 cm height

edition: 75/100

signed with initials, dated and numbered at base: RK 83. 75/100 bears inscription with edition number on label on base: 75

Starting bid: $2,200

ESTIMATE: $2,500 – 3,500

Provenance

Private collection, Sydney, acquired directly from the artist, c.1983 Deutscher and Hackett, Melbourne, 21 April 2021, lot 66 Private collection, Adelaide

Literature

Edwards, D., Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, no. 465 (illus.)

On view Melbourne

Ken Whisson (1927 – 2022)

Girl with auburn hair, 1961

oil on composition board

53.0 x 44.0 cm

60.5 x 51.5 cm (frame)

signed and dated lower left: WHISSON 1961 signed and inscribed with title on artist’s partial label verso: KEN WHISSON / GIRL WIT [sic] / AUBURN HAIR inscribed on frame verso: NUDE

Starting bid: $8,000

ESTIMATE: $12,000 – 18,000

Provenance

Ray Hughes, Sydney, acquired directly from the artist c.1970

Private collection, Sydney, acquired from the above c.1998

On view Melbourne

Bid Now

Ken Whisson (1927 – 2022)

Damp earth, 1989 oil on canvas

60.0 x 91.0 cm

63.5 x 94.5 cm (frame) signed, dated and inscribed with title verso: Ken Whisson / “Damp Earth” / 2/8/1989

Starting bid: $16,000

ESTIMATE: $18,000 – 25,000

Provenance

Niagara Galleries, Melbourne (label attached verso) Private collection, Sydney, acquired in June 1997 Estate of the above

On view Melbourne

Sam Fullbrook (1922 – 2004)

Buderim flowerscape, 1974

oil on canvas board

50.5 x 40.5 cm

72.5 x 62.0 cm (frame)

signed with initials lower right: SF

Starting bid: $14,000

ESTIMATE: $16,000 – 20,000

Provenance

Skinner Galleries, Perth

Private collection, Perth, acquired from the above Sotheby’s, Sydney, 25 August 2015, lot 42 Philip Bacon Galleries, Brisbane (label attached verso)

Private collection, Sydney, acquired from the above in January 2016

Estate of the above

Exhibited

The Landscape 1804 – 2015, Philip Bacon Galleries, Brisbane, 2 –27 February 2016, cat. 29

On view Melbourne

Bid Now

Noel McKenna born 1956

Clear day, 2002

oil and enamel on plywood

38.5 x 79.5 cm (including artist’s handmade frame) signed and dated lower left: N.McKENNA 02 signed, dated and inscribed with title verso: “Clear Day” 2002 / N McKenna

Starting bid: $4,800

ESTIMATE: $7,000 – 9,000

Provenance

Niagara Galleries, Melbourne

Private collection, Sydney, acquired from the above in 2002

On view Melbourne

Bid Now

Peter Booth born 1940

Untitled (Landscape), 1989 pastel on paper

75.0 x 105.0 cm

105.0 x 134.0 cm (frame)

inscribed and dated on frame verso: FOR CAROLYN / LOVE Peter / 1989

Starting bid: $4,000

ESTIMATE: $5,000 – 7,000

Provenance

Private collection, Melbourne, a gift from the artist

Peter Booth born 1940

Untitled (Figures in landscape), 1990

gouache and ink on paper

60.0 x 91.0 cm (sight)

87.0 x 117.0 cm (frame)

signed, dated and inscribed verso: BOOTH 1990 / FOR CAROLYN / LOVE PETER

Starting bid: $4,000

ESTIMATE: $5,000 – 7,000

Provenance

Private collection, Melbourne, a gift from the artist

Bid Now

On view Melbourne

John Brack (1920 – 1999)

John Brack Nudes: Fifteen Original Lithographs, 1981 – 82 book of lithographs in linen-covered box

46.5 x 33.5 cm edition: 67/200

signed and editioned in back pages: 67 / John Brack Lyre Bird Press, Melbourne, 1982

Starting bid: $2,000

ESTIMATE: $3,000 – 5,000

Provenance

Private collection, Melbourne, a gift from the artist c.1995 Exhibited

John Brack Drawings and Lithographs, Realities Gallery, Melbourne, 30 November – 18 December 1982 (another example)

Rudy Komon Art Gallery, Sydney, opened 3 December 1982 (another example)

Literature

Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. 2, cat. p31 – p45, p. 77 – 78

Miller, R., ‘Nude: Theme and Variations’, Herald, Melbourne, 2 December 1982

Holloway, M., ‘Critics Choice’, The Age, Melbourne, 11 December 1982

Prerauer, M., ‘Model victims of an alien and despised environment’, Weekend Australian, Sydney, 2 April 1983, p. 10

Lindsay, R., John Brack Retrospective exhibition, National Gallery of Victoria, Melbourne, 1987, p. 134

Related works

Other editions of this book are held in the collection of the National Gallery of Australia, Canberra, National Gallery of Victoria, Melbourne, National Library of Australia, Canberra, State Library of Victoria, Melbourne, State Library of New South Wales, Sydney, State Library of Queensland, Brisbane, University of Melbourne, Melbourne, RMIT University, Melbourne and Monash University, Melbourne

Cressida Campbell born 1960

The Woodblock Painting of Cressida Campbell, 2008

deluxe edition hardcover book in a solander box edition: 33/99

signed, numbered and inscribed on title page: LIMITED EDITION 33/99 Cressida Campbell Public Pictures Pty. Ltd., Sydney, 2008

Starting bid: $800

ESTIMATE: $1,000 – 1,500

Provenance

Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 2008

Bid Now

On view Melbourne

Heather B Swann born 1961

Come over, 2011 ink on paper

69.0 x 99.0 cm

99.0 x 120.5 cm (frame)

signed with initials and dated lower right: HBS / 2011 inscribed with title centre left: COME OVER

Starting bid: $1,800

ESTIMATE: $3,000 – 5,000

Provenance

Private collection, Melbourne, a gift from the artist

Bid Now

On view Melbourne

Frank Auerbach (British, 1931 – 2024)

Jake, 1990

from Seven Portraits, 1989 – 90 etching on Somerset wove paper

18.0 x 14.5 cm (image)

26.0 x 21.5 (sheet)

52.0 x 47.5 cm (frame)

edition: 22/50

signed, dated, inscribed with title and numbered below image

Starting bid: $6,500

ESTIMATE: $7,500 – 9,500

Provenance

Published by Marlborough Graphics Ltd., London Rex Irwin Art Dealer, Sydney (label attached verso)

Private collection, Sydney, acquired from the above in 2007

Exhibited

Frank Auerbach – The Complete Etchings 1954–1990 and recent studies for paintings, Marlborough Graphics, London, 21 September – 20 October 1990 (illus. on catalogue cover, another example)

The things we do..., Rex Irwin Art Dealer, Sydney, 24 April – 19 May 2007, cat. 2 (label attached verso)

Literature

Auerbach, F. & Podro, M., Frank Auerbach: the complete etchings, 1954–1990, Marlborough Graphics, London, 1990, cat. 21

Related works

Other examples of this print are held in numerous major public collections including Tate, London

On view Melbourne

David Hockney British, born 1937 Tree, 1968

colour lithograph

65.0 x 50.0 cm

86.0 x 70.0 cm (frame)

edition: AP aside from the edition of 95 editioned lower left: Artist’s proof signed and dated lower right: David Hockney ‘68

Starting bid: $4,200

ESTIMATE: $6,000 – 8,000

Provenance

Published by Petersburg Press, London Rex Irwin Esq., Sydney Queen Street Fine Art, Sydney (donated by the above for fundraising auction)

Private collection, Sydney, acquired from the above

Exhibited

David Hockney: Paintings, prints and drawings 1960 – 1970, Whitechapel Art Gallery, London, 2 April – 3 May 1970, and touring, cat. P.28 (another example)

David Hockney Prints: 1954–1977, (organised by Scottish Arts Council and Petersburg Press), Midland Group Gallery, Nottingham, UK, 20 January – 24 February 1979, cat. 61 (another example)

David Hockney: 1954–1995, A Print Retrospective, Museum of Contemporary Art, Tokyo, 9 October – 15 December 1996, cat. 61 (another example)

Wang Jia Qi fundraising auction (Sydney Children’s Hospital), Rex Irwin Art Dealer, Sydney, 24 March 2001

Literature

David Hockney: Paintings, prints and drawings 1960 – 1970, Whitechapel Art Gallery, London, 1970, cat. P.28, p. 85 (illus., another example)

Related works

Other examples of this print are held in the Victoria and Albert Museum, London (as ‘Coloured tree’), Government Art Collection, United Kingdom and Madison Museum of Contemporary Art, Wisconsin

Bid Now

On view Melbourne

Gunter Christmann (1936 – 2013)

Small square, 1971

synthetic polymer paint on canvas on plywood

69.5 x 70.5 cm

71.5 x 73.0 cm (frame)

signed, dated and inscribed with title verso: G.S. Christmann 71 / SMALL SQUARE

Starting bid: $6,000

ESTIMATE: $8,000 – 10,000

Provenance

Garry Anderson Gallery, Sydney Private collection, New South Wales, acquired from the above in 1990

Exhibited

probably Gunter Christmann, Chandler Coventry, Sydney, 7 – 25 November 1972, cat. 8

On view Melbourne

Bid Now

Haughton Forrest (1826 – 1925)

Mooring off Patras, Gulf of Patrai, Adriatic (Greece), c.1900

oil on canvas

66.0 x 111.0 cm

90.0 x 135.5 cm (frame)

signed lower left: Forrest bears inscription verso: MOORING OFF / PATRAS / GULF OF PATRAI / ADRIATIC / (GREECE)

Starting bid: $15,000

ESTIMATE: $20,000 – 30,000

Provenance

Private collection, Hobart, acquired 13 May 1973

Bid Now

On view Melbourne

Edmund Blair Leighton (British, 1852 – 1922)

The letter, 1921

oil on canvas

51.0 x 36.0 cm

59.5 x 44.5 cm (frame)

signed with initials and dated lower left: E.B.L. 1921

Starting bid: $12,000

ESTIMATE: $15,000 – 20,000

Provenance

Joseph Brown Gallery, Melbourne (as ‘The Letter Writer’)

Private collection, Victoria, acquired from the above in October 1988

Deutscher and Hackett, Sydney, 4 May 2022, lot 82

Private collection, Adelaide

On view Melbourne

Bid Now

Daryl Lindsay (1890 – 1976)

Soldiers in a trench, France, 1916

watercolour on paper

35.5 x 45.5 cm (sheet)

53.0 x 62.5 cm (frame)

signed and dated lower right: DARYL LINDSAY / 16

Starting bid: $1,500

ESTIMATE: $2,000 – 3,000

Provenance

Private collection, Melbourne

Thence by descent

Private collection, Melbourne

Bid Now

On view Melbourne

Elioth Gruner (1882 – 1939)

A Devon lane, 1924

oil on board

34.5 x 25.5 cm

43.0 x 34.0 cm (frame)

signed and dated lower right: E. GRUNER 1924

Starting bid: $12,000

ESTIMATE: $15,000 – 20,000

Provenance

The artist (ledger no. 271, as ‘Devon lane’)

Gayfield Shaw, Sydney with Australian Fine Arts Gallery, Sydney in March 1925 Macquarie Galleries, Sydney

Private collection

Christie’s, Melbourne, 21 August 1996, lot 337 (as ‘A Country Lane’)

Private collection, Melbourne

In a letter from Rubery Bennett of the Australian Fine Arts Gallery, Sydney to Gayfield Shaw on 3 March 1925, Bennett notes that this work was among the Gruners he had received from Shaw ‘this day’. Gruner lists the work in his ledger and notes that it was later sold through the Macquarie Galleries, Sydney.

We are grateful to Steven Miller for his assistance with this catalogue entry.

Hans Heysen (1877 – 1968)

Cottage, Hahndorf, c.1890

oil on canvas board

24.0 x 34.0 cm

40.0 x 50.0 cm (frame)

signed lower left: H. HEYSEN

Starting bid: $3,800

ESTIMATE: $4,500 – 6,500

Provenance

Private collection, Adelaide

Elder Fine Art, Adelaide, 18 November 2018, lot 29 (as ‘Settlers’ homestead with poplars and old post and rail fence, Hahndorf’)

Private collection, Sydney

Exhibited

possibly Exhibition of Painting by Hans Heysen, Guild Hall, Melbourne, 8 – 22 August 1908, cat. 59

On view Melbourne

Rhys Williams (1894 – 1976)

Blue waters, Middle Harbour, c.1955

oil on canvas

51.0 x 61.0 cm

73.0 x 83.0 cm (frame)

signed lower right: Rhys Williams

Starting bid: $2,000

ESTIMATE: $4,000 – 6,000

Provenance

Private collection

Davidson Auctions, Sydney, 22 May 2022, lot 119 (as ‘[The Spit Bridge] Blue Waters, Middle Harbour’)

Christopher Day Gallery, Sydney

Private collection, Sydney

On view Melbourne

Bid Now

Charles Conder (1868 – 1909)

Interior with women by sea oil on canvas

71.0 x 91.0 cm

85.0 x 105.0 cm (frame)

Starting bid: $14,000

ESTIMATE: $20,000 – 30,000

Provenance

The Redfern Galleries, London

Sir Rex Nan Kivell, London (bears inscription on label verso)

Private collection, New South Wales, by 1998 Deutscher and Hackett, Sydney, 4 May 2022, lot 70

Private collection, Adelaide

Bid Now

On view Melbourne

Alfred Sharpe (New Zealand/Australian, 1836 – 1912)

Native bush landscape, 1904

watercolour on paper

30.0 x 45.0 cm

43.0 x 57.5 (frame)

bears inscription lower right: Alf Sharp [sic] / 1904

Starting bid: $3,000

ESTIMATE: $5,000 – 7,000

Provenance

James Hooke, Dungog, NSW, until 1912

Thence by descent

James Theodore “Theo” Morpeth Hooke, Dungog, NSW, until 1965

Thence by descent

James Calvert Hooke, Dungog, NSW, until 1979

Thence by descent

Lucy Scott, Dungog, NSW

Thence by descent

Private collection, NSW

Information about online auction

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Phone: +61 (0)3 9865 6333

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PADDINGTON NSW 2021

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Copyright Credits

Lots consigned by GST registered entities

Designed and photography Danny Kneebone

Lot 15 Annis Laeubli

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