Centum

Centum Contemporary Art

18.05.2026, 6pm

viewing in melbourne fri 1 5 – sun 17 may 11am – 5pm

2 Oxley Road, Hawthorn, VIC 3122

wiebke brix

head of art

03 8825 5624

wiebke.brix@ leonardjoel.com.au

hannah ryan senior art specialist 03 8825 5666

hannah.ryan@ leonardjoel.com.au

Amanda Hayward (née North)

senior art specialist 03 8825 5644

amanda.north@ leonardjoel.com.au

lot 67

MICHAEL ZAVROS (born 1974)

Black Ice 2006

bronze, ed. 11/18

initialled and editioned at base: MZ 11/18

17 x 7 x 16cm

$4,000-6,000

© Courtesy of the Artist, 2026

A Shared Language

lot 15

BROOK ANDREW (born 1970)

Head (Silver) 2018

acrylic and ink on linen

127 x 186cm

$20,000-25,000

Centum has become a highlight of our calendar, a moment each year where we are able to bring together the breadth, energy and urgency of contemporary practice. It is a sale we approach with enthusiasm, not only because of the calibre of artists represented, but because of what contemporary art allows us to do, to reflect, to question, and to connect.

At a time when the world feels increasingly unsettled, contemporary art offers a space in which complexity can be held and shared. Across this year’s selection, artists engage with questions of identity, belonging and perception, giving form to both personal and collective experiences. These works speak to insecurities and tensions, but equally to resilience, revealing the underlying threads that connect us.

Many of the practices included here operate through a reconfiguration of visual languages, drawing on history, culture and lived experience to create something at once immediate and layered. As seen in works such as our cover lot Camo OA 2024 by Reko Rennie (Lot 14), where visual strategies of pattern and disruption articulate the conditions of First Nations identities in contemporary society, abstraction becomes a powerful vehicle for cultural expression. Similarly, Julie Dowling’s Monarch (Police) 2001 (Lot 21) foregrounds portraiture as a means of asserting presence and agency, transforming the genre into a site of both testimony and empowerment.

Across the sale, there is a shared attentiveness to how histories are constructed, how identities are shaped, and how meaning is continually negotiated. Whether through the conceptual investigations of artists represented in the collection of Richard Frolich (Lot 15 onwards), where works are united by an engagement with perception, memory and the shifting frameworks through which identity is understood. Formed over decades, the collection reflects a considered approach to living with art, one grounded in curiosity, research and long-standing relationships with artists and institutions. The works within it do not adhere to a singular aesthetic but instead form a dialogue.

Or the enduring influence of figures such as Howard Arkley, whose work reimagined the visual language of everyday life. Emerging from the urban environments of Melbourne, Arkley drew on sources as diverse as suburban architecture, popular culture, graffiti and music, developing a distinctive visual language. Primitive Gold 1984 (Lot 9) collapses the boundary between the familiar and the uncanny, transforming the ordinary into something charged with energy and tension. In doing so, Arkley not only captured the rhythms of contemporary life but expanded the possibilities of how it could be represented. His work invites us to look again, and to look more closely.

What emerges in Centum is not a singular narrative, but a constellation of voices. Together, they reflect the diversity of contemporary practice while revealing shared concerns that resonate across cultures and contexts. In this way, contemporary art does more than respond to the world around us, it creates a space in which ideas can meet, where differences can be held in dialogue, and where a sense of common ground can begin to emerge.

It is this capacity, to challenge, to unite and to illuminate, that continues to make contemporary art so vital, and why Centum remains such an important and celebrated moment within our calendar.

wiebke brix head of art

exhibitions

Slow Wave over Half Moon Bay 2018 oil on linen signed, titled and dated verso: ‘Slow wave over Half Moon Bay’/ JMeagher ‘18/ Julian Meagher/ 2018

153 x 122cm

provenance

Private collection, Sydney

$8,000-12,000

oil

canvas in artist’s made frame signed and dated upper right: N.McKenna 96 signed, titled and dated verso

87 x 27.5cm

provenance

5 TROY EMERY (born 1981)

Wild Thing X 2011

polyurethane mannequin, tassel fringing and glue

34 x 52 x 23cm

provenance

Martin Browne Contemporary, Sydney

Private collection, Adelaide

$2,000-4,000

Black Opal 2019

polyurethane, tinsel, adhesive, pins

50 x 60 x 37cm

provenance

Martin Browne Contemporary, Sydney

Private collection, Sydney

$4,000-6,000

Scott Livesey Galleries, Melbourne Private collection, Melbourne exhibitions 602, Scott Livesey Galleries, Melbourne, 17 - 21 August 2016

$1,200-1,800

ALESANDRO LJUBICIC (born 1986)

Rose 2016 oil on linen signed, titled and dated verso: ‘MISTY ROSE’/ Alesandro Ljubicic 16 signed and dated on stretcher bar verso 153 x 153cm

provenance

Private collection, Melbourne

$7,000-10,000

Howard Arkley’s

Primitive Gold 1984

Primitive Gold 1984, a characteristic example of Arkley’s rapidly evolving style during the first half of the 1980s, was first documented in the artist’s “Urban Paintings” exhibition held at the Quentin Gallery in Perth in February-March 1985. It was shown alongside Primitive Silver, also dated 1984, later auctioned by Leonard Joel in November 1994. Both paintings were the latest in a series of sequence of variants of Arkley’s remarkable mural-scale drawing, Primitive, installed at the former Prahran College of Advanced Education in July 1981, its title borrowed from a song recorded months earlier by US punk band The Cramps. 1

Freely sprayed in black air-brushed outline on 20 sheets of paper taped to the wall, Primitive engaged directly with Arkley’s everyday and imaginative life in the inner Melbourne suburbs of Prahran and St Kilda, breaking abruptly with the style of his earlier, often meticulously crafted abstract and patterned works. It also initiated a new phase of figurative compositions, dominated by his wiry, energetic sprayed line-work, addressing edgy themes from suburbia to suicide, and referencing various sources including tattooing, billboards, comic books, and the music and street style of the era.

Some years later, as quoted in Ashley Crawford and Ray Edgar’s monograph Spray (1997), Arkley recalled the creation of Primitive in a single day and night, with the exhibition deadline looming. Allowing for some poetic licence, this account clearly explains several details in the work, a telephone ringing, a knock at the studio door, and so on. Many other motifs, though, were based on the idiosyncratic doodles the artist had sketched in his earlier sketchbooks and visual diaries, tapping his dreams and daydreams in the manner of the “automatic drawing” typical of Surrealism, a key inspiration for Arkley, both in his formative years and later. 2

In 1982, Primitive Gold and Primitive Silver, two large-scale square canvases developed from the 1981 drawing, were shown in Paul Taylor’s influential “Popism” exhibition at the National Gallery of Victoria, adding new details including snatches of text apparently from a letter or conversation.

Primitive Gold 1984 and its silver twin clearly echo the 1982 paintings, on a more modest, domestic scale, with some variations. The present canvas reprises several motifs directly from Primitive, such as the large headless figure at top left here, the small grinning creature with tentacles (lower left), the eccentric creature with its eyes in a box and a floral body (top centre), the small headless man nearby, and the prominent distorted skull and crossbones at centre right, suggesting a fluttering “Jolly Roger” pirate flag (compare the same motif towards the right in the 1981 work). A favourite Arkley image, the skull and crossbones recurred in several paradoxically lively versions in the old Mills & Boon novels he used as sketchbooks around 1984, and, a few years later, the skull morphed into the artist’s trademark “Zappo Head”.

Other details in the present canvas are new to the “Primitive” repertoire, including a stylized female figure on stilts at upper left, and a plant (or is it a dog with multiple teats?) in the lower left corner, a motif clearly related to the cacti and succulents, often ambiguously human or animal in form, at once real and surreal, already beginning to preoccupy the artist by the time Primitive Gold and its twin were exhibited early in 1985. A spiky cactoid form lying on its side in the present canvas, below the pirate flag, also points towards that development, although a number of cacti already appear in Primitive and other late 1970s/early 80s drawings and sketches.

1. For all Arkley works and related details, see the catalogue entries in https://arkleyworks. com. For Primitive, see also Crawford A. & Edgar R., Spray: The Work of Howard Arkley, Craftsman House, 1997, pp.6-9, and my own earlier discussions in Carnival in Suburbia: The Art of Howard Arkley, Cambridge University Press, 2006, pp.165-169, and “Popism, Postpunk and Primitive”, in Anthony Fitzpatrick & Victoria Lynn (ed.), Howard Arkley and Friends, Tarra Warra Museum of Art, 2015, pp.26-28.

2. Gregory, J., Things are never what they seem: Howard Arkley and Surrealism, 18 September 2025, World Art, DOI: 10.1080/21500894.2025. 2556652.

3. Brown, R., Spraying the Suburban Dream: Howard Arkley, Tension vol.18, October 1989, pp.35-39.

4. Engberg, J., & others, Caterpillars and Computers: Keith Haring in Australia, Melbourne: ACCA, 2012, esp.p.41

5. Heathcote, C., Discovering Graffiti, Art Monthly Australia, September 2000, pp.4-7.

Soon afterwards, with key 1986-87 exhibitions at his home gallery of Tolarno in Melbourne, and Roslyn Oxley9 in Sydney, Arkley turned definitively to the suburban imagery for which he is best known now. By the 1990s, his work had developed far beyond his boisterous, “primitive” early 80s style, marked by increasingly nuanced colour and patterning, a more complex view of the modern city also including factories, freeways and suburban interiors, and a series of stylized heads and faces.

One final point may be made, in relation to the often-voiced view that Arkley’s airbrushed line-work is related to graffiti. The artist himself was wary of accepting this idea unreservedly, as he said in a 1989 interview.3 Even so, the dense black linear forms on a dark gold background, in the present work, do bring to mind graffiti on a masonry wall. Arkley knew the style, of course (he photographed early examples of graffiti while visiting New York in 1977), and was later particularly interested in the related works of Keith Haring, whom he met when the young US artist visited Melbourne early in 1984.4 Arkley actually used the term in his inscribed title on the 1983 painting Winds of War Graffiti (originally shown as Billboard), featuring various figures and forms sprayed, graffiti-style, directly over a film poster.

John gregory

John Gregory taught history and theory of art at Monash University before retiring in 2010. He is the author and administrator of Arkley Works, the online catalogue of Howard Arkley’s accepted works.

provenance

Gift of the Artist

Private collection, Melbourne

Primitive Gold 1984

synthetic polymer paint on canvas signed, titled and dated verso: Howard Arkley/ Primitive Gold/ 1984.

artist’s name and title on gallery label verso 105.5 x 105.5cm

Thence by descent

exhibitions Howard Arkley: Urban Paintings, Quentin Gallery, Perth, 7 February - 3 March 1985, cat. no. 6 (label verso)

$50,000-70,000

10

JON CAMPBELL (born 1962)

Howzaat 2004

neon and acrylic glass

artist’s name, title and date on gallery label verso

44 x 60 x 10cm

provenance

The Acacia Collection

Private collection, Melbourne

$6,000-7,000

Two Bands 2000/2025 oil on linen

signed, titled and dated verso: Cattapan 2000/ ‘Two Bands’ 90 x 120cm

provenance

Bellas Gallery, Brisbane

Private collection, Melbourne

Mossgreen Auctions, Melbourne, 19 June 2013, lot 460

Private collection, Melbourne

other notes

From the original time of creation, the artist has since reworked the painting adding embellishments and further dating the artwork to 2025.

$6,000-8,000

Made in India lived in Nepal died in Moone Ponds 2012 varnish on linen

signed, titled and dated verso: Dale Frank 2012/ “Made in India lived in Nepal/ died in Moone Ponds”

200 x 300cm

provenance

Private collection, Melbourne

$40,000-50,000

13 © Nigel Milsom/Copyright Agency, 2026

(born 1975) Judo House Pt. 3 (Bird as Prophet) 2010 oil on canvas 170 x 170 cm

provenance

Yuill Crowley Gallery, Sydney 2010

Private collection, Sydney

exhibitions

Yuill Crowley Gallery, Sydney, 8 July - 7 August 2010

literature Frost, A., Third of a Feather, Sydney Morning Herald, 23 - 29 July 2010, p.14

$5,000-7,000

Reko Rennie

Reko Rennie is a Kamilaroi artist based in Melbourne, whose practice spans painting, installation and public works. Emerging from a background shaped by both urban culture and his Indigenous heritage, Rennie has developed a distinctive visual language that bridges his First Nations identity with contemporary aesthetics. Rennie’s practice is “unapologetically public, asserting Aboriginal presence in spaces where it has historically been marginalised.”¹

Camo OA 2024 shows Rennie’s distinctive visual language, in which bold patterning and saturated colour operate as aesthetic strategy. The composition’s vivid palette, electric blues and teals structured into rhythmic chevrons, is overlaid with irregular black and pink camouflage forms across the surface. The result is a visually arresting field in which pattern and disruption coexist.

Central to Rennie’s practice is the use of camouflage as both motif and metaphor. Rather than concealing, camouflage in his work functions as a strategy of heightened visibility, drawing attention to the conditions under which First Nations identity is alternately obscured and hyper visible. Rennie’s compositions possess “a striking visual immediacy that draws from graffiti, hip hop culture and billboard aesthetics.”²

The underlying geometric field remains significant, introducing rhythm and optical movement across the surface. While not derived from his better-known diamond patterning, the structured zigzag ground establishes a system of order against which the organic camouflage forms appear fluid and disruptive. This interplay reflects “the intersection between traditional identity and contemporary urban experience.”³ The work does not rely on direct quotation of cultural motifs but instead operates through a reconfiguration of visual codes, graphics and abstract shapes iconic to Rennie’s practice.

The camouflage pattern contrasts with the rigid geometry beneath, suggesting movement, intrusion, or transformation. In this way, the work embodies Rennie’s capacity to “challenge fixed perceptions of Aboriginal art by reconfiguring cultural motifs within a contemporary abstract framework.”4 The visual language is not illustrative but operates through tension, contrast, and repetition.

Ultimately, this work demonstrates Rennie’s ability to mobilise contemporary aesthetics in the service of cultural and political expression.

wiebke brix head of art

1. Snoekstra, A., First Nations artist Reko Rennie, The Saturday Paper, October 12 – 18 2024, Edition No. 521 (accessed online 10.04.2026)

2. Ramsay, O., Reko Rennie: Recent works, Right Now, June 21 2012 (accessed online 11.04.2026)

3. Russell-Cook, M., Sacred geometry: The art and life of Reko Rennie, Essay for, REKOSPECTIVE: The Art of Reko Rennie, National Gallery of Victoria, 8 October 2024 (accessed online 11.04.2026) 4. Ibid.

provenance

Private collection, Melbourne

$20,000-30,000

The Collection of Richard Frolich

We are honoured to be including a number of works from the collection of Richard Frolich in this iteration of Centum.

The collection of Richard Frolich is shaped by a combination of intellectual and lived engagement with the arts. Formed over nearly five decades, it reflects not only a sustained commitment to artists and institutions, but also a philosophy of collecting grounded in curiosity, research, and long-standing relationships within the art world. Frolich’s involvement extends beyond acquisition; his contributions to organisations such as the Biennale of Sydney, the Art Gallery of South Australia, and the Melbourne Art Foundation speak to a broader cultural investment, positioning him as both custodian and advocate.

This depth of engagement is evident in the selection of works offered here. Rather than adhering to a singular aesthetic, the collection is unified by an underlying attentiveness to ideas, works that interrogate perception, history, and the shifting frameworks through which we understand identity.

This sensibility finds a compelling expression in two works by Brook Andrew: Ancestral Worship 2010 (lot 16) and Head (silver) 2018 (lot 15). Across his practice, Andrew has consistently challenged historical narratives, drawing on archival material and cultural signifiers to reframe the legacies of colonialism. His work is both rigorous and poetic, inviting reflection while resisting fixed interpretation.

Ancestral Worship, originally commissioned for exhibition at the Gallery of Modern Art, Queensland is based on images sourced from postcards collected over a fifteenyear period, portraits once circulated as instruments of tourism and exotic display. Now recontextualised within the present, these figures are reanimated as “ancestors”1, onto relaxed deck-chairs. Comprising four deck chairs, the work presents a subtle provocation: the viewer is invited to sit alongside these dignified figures from the past, rather than upon them, the choice, ultimately, is ours.

If Ancestral Worship operates as a meditation on collective memory, Head (silver) offers a more introspective counterpart. Emerging from Andrew’s archival research including his engagement with the Smithsonian Institute, the work reflects his ongoing investigation into the construction of knowledge and representation. Its reflective surface implicates the viewer directly, folding observation into participation. Here, Andrew’s strategy of disruption becomes more subtle yet no less potent: histories are not only revealed but internalised, prompting a reconsideration of how narratives are formed, inherited, and perpetuated.2

Considered together, these works articulate two complementary modes within Andrew’s practice one outward-looking and dialogic, the other inward and reflective. Their presence within the Frolich collection underscore both conceptual depth and experiential engagement.

These ideas extend across the broader offering, where Frolich’s eye for thoughtful and resonant practices is further evident. Alongside these works by Brook Andrew, the collection includes works by Lucas Grogan (lot 19), Richard Lewer (lot 32), Euan McLeod (lot 43), Rick Amor (lot 57), Amos Gebhardt (lot 73), Hossein Valamanesh (lot 74), Noel McKenna (lot 95), Noel Skrzypczak (lot 96), Troy Innocent (lot 97), Helen Wright (lot 98), Aldo Iacobelli (lot 99-100), Justine Varga (lot 110), Chantal Faust (lot 103), Vicky Varvaressos (lot 104) and Sophie Kahn (lot 102).

Together, the collection presents not only a series of individual works, but a reflection on what it means to live with art how it shapes perception, preserves histories, and ultimately passes from one custodian to the next.

wiebke brix head of art

1.

2.

15

BROOK ANDREW (born 1970)

Head (Silver) 2018

acrylic and ink on linen

signed and dated verso: B Andrew ‘18 artist’s name, title and date on gallery label verso

127 x 186cm

provenance

Rosley Oxley9 Gallery, Sydney 2018 (label verso)

The Collection of Richard Frolich, Adelaide

exhibitions

Brook Andrew, SMASH IT, Roslyn Oxley9 Gallery, Sydney, 8 March - 7 April 2018

“SMASH IT is a reference to the actions of the artist’s ability to interweave, reveal, research and disrupt the regular dominant narratives of our lives with both humour and serious questioning. These alternate narratives are fed to us through smashing together multiple discourses sourced from the Internet, television, newspapers to museums, our education systems and Andrew’s extensive archive collection. The artist has continuously discovered new ways to present alternative narratives often left in the dark, or unpopular due to complex layering of colonial or other drifting discourses.” (excerpt, exhibition text)

$20,000-25,000

16

BROOK ANDREW (born 1970)

Ancestral Worship 2010

deck chairs and mixed media installation (5) sizes variable

provenance

The Artist

Annette Larkin Fine Art, Sydney 2011

The Collection of Richard Frolich, Adelaide

exhibitions

21st Century: Art in the First Decade, Gallery of Modern Art, Brisbane, 18 December 2010 - 26 April 2011

$4,000-6,000

GREGORY HODGE (born 1982)

Untitled I 2022

acrylic on canvas signed, titled and dated verso: GREGORY HODGE/ “Untitled I” 2022

50 x 40cm

provenance

Sullivan+Strumpf, Sydney

Private collection, Queensland

$3,000-5,000

18

GREGORY HODGE (born 1982)

Before Dusk II 2020

acrylic on canvas signed, titled and dated verso: Before Dusk II 2020/

GREGORY HODGE

50 x 40cm

provenance

Sullivan+Strumpf, Sydney

Private collection, Queensland

$3,000-5,000

GROGAN (born 1984)

The Clusterfuck Quilt 2014 cotton, wool, silk, synthetic fabric signed and dated, sewn into fabric lower left in white cotton: “XLG/ 2014”

250 x 240cm

provenance

Hugo Michell Gallery, Adelaide 2015

The Collection of Richard Frolich, Adelaide

exhibitions

Lucas Grogan, Essential Reading, Hugo Michell Gallery, Adelaide, 20 November - 10 December 2014

other notes

“Lucas Grogan is a Newcastle based artist who uses needlepoint, installation, painting and drawing to explore themes of isolation, inclusion and cultural collisions, through an autobiographical lens. His minimal pallet lends itself to patterning, which mirrors Grogan’s process within his studio, obsessively creating. Developing a consistency and dedication in his approach translates to a prolific practice highly recognisable style.” (Hugo Michell Gallery, Adelaide)

$8,000-12,000

20

DEL KATHRYN BARTON (born 1972)

Dawn 2009

synthetic polymer paint, gouache, watercolour, pen and ink on canvas

signed and dated lower left: 2009 del kathryn barton titled lower right: - dawn85.5 x 63.5cm

provenance

Kaliman Gallery, Sydney (label verso)

Private collection, Sydney

Deutscher and Hackett, Sydney, 18 April 2018, lot 50

Private collection, Melbourne

exhibitions

Del Kathryn Barton, The Stars Eat your Body, Kaliman Gallery, Sydney, 27 November - 19 December 2009

literature

Ewington, J, Del Kathryn Barton, Piper Press, Sydney, 2014, p. 67 (illus.)

$25,000-35,000

Julie Dowling

1. Dowling, Julie., About: Julie Dowling, accessed on 14th April 2026: https://www.juliedowling. art/about.

2. Dowling, Julie., Artist statement, Paintings an act of ‘Sovereign empowerment for First Nation people, Curtin University, Perth, 7 December 2022.

3. Perkins, Hetti, One Sun One Moon: Aboriginal Art in Australia, Art Gallery of New South Wales, Sydney, 2007, p.301.

4. Artist Statement from Hoorn, J., Bearing Witness: The Paintings of Julie Dowling, Essay for Julie Dowling: Melbin, SPAN Galleries, Melbourne, 16 September 2004.

The practice of artist Julie Dowling is grounded in portraiture as an act of cultural affirmation and political testimony. A Badimaya First Nation artist and activist from Western Australia, Dowling’s artworks are both intimate and challenging, combining detailed figuration with symbolism drawn from Indigenous iconography, European imagery, Christian icons, and art historical traditions.1 Through this synthesis, Dowling’s paintings are “an act of sovereign empowerment”, reclaiming representation on her own terms for her own identity and for First Nation people.2

Dowling’s artworks often centre on individuals, her portraits include family members and community figures, positioned within meticulously detailed environments. These scenes collapse time and spatial boundaries, merging personal memory with collective histories. Her use of dotting, while resonant with Western Desert painting traditions, is reconfigured as a painterly device that builds atmosphere and spiritual charge, rather than adhering to a particular regional style. In this way, Dowling resists homogenising expectations of First Nation art and artists, asserting diversity and distinctiveness.3

Dowling’s artwork Monarch (Police) 2001, exemplifies these concerns with striking clarity. The work depicts a group of Nyoongah men driving in a car at night and in the background, the bright lights of a police car cast an ominous shadow on the scene. Dowling contextualises her artwork where she states: “This landscape is of the city at night. This is where my relatives are usually picked-up by the police the most….This painting shows what happens to our Nyoongah men. Their cars get checked, pulled over and then they are harassed by the police and when they argue they are put in the lock-up…”4 The carefully rendered faces of the figures emerge from a dense background of dotted markings that radiate outwards in halos of red, white, blue and green. This imagery evokes spiritual icons by suggesting saintly halos, whilst simultaneously, conjuring a more menacing energy that recalls sirens and surveillance.

The stylised police car lights, flashing red and blue which glow with intensity in the background, function as a contemporary “Monarch;” a symbol of authority and control that replaces traditional emblems of sovereignty. Dowling’s emphasis on the highlighted police car light motif, acts as a critique on institutional power structures that govern and often endanger Indigenous lives. The title itself underscores this inversion as “Monarch” implies rulership, yet here it is not embodied by a person but by an instrument of state surveillance. The figures are not passive subjects of this authority as their gazes are direct and composed, meeting the viewer with a quiet insistence. The driver illuminated in white clothing, grips the steering wheel, eyes cast towards the rearview mirror with acute awareness of the incoming police. The grouping of figures in this scene, suggests ideas of kinship and collective experience.

Dowling’s use of tight dotting intensifies the emotional impact of the artwork, the surface shimmers with colours of red, green, blue and white. Red dominates the upper field, blending into darker tones and outlining and enveloping the figures in a charged atmosphere. This red evokes thoughts of danger, violence, and urgency, while the green, blue and white, introduce moments of contrast, preventing the composition from collapsing into darkness. The effect is unsettling, drawing the viewer into contemplation. The detailed foreground introduces another symbolic layer as the car bonnet is filled with references to Yamatji symbols including the Weitch (Emu) the Jardi (Goanna), and human spirits. These forms, outlined with intricate patterning, recall both ancestral figures and forensic traces, their hands are depicted as reaching out, bearing witness to the scene that is about to unfold. They may also reference the land itself, inscribed with stories and histories that persist despite challenges. Positioned beneath the seated figures, these forms suggest a foundation of cultural continuity and collective memory.

As expressed by Dowling, Monarch (Police) 2001 is a response to ongoing issues surrounding policing and Indigenous communities in Australia. Yet, the work resists pure didacticism, instead, it operates through affect and symbolism. The figures are neither victimised nor idealised, they are resolute and undeniably present. The work is a powerful reflection on power, visibility, and resilience. Confronting viewers with the realities of institutional authority, while affirming the enduring presence and dignity of First Nation people. In doing so, Dowling transforms the genre of portraiture into a space of resistance and remembrance.

amanda hayward (née north) senior fine art specialist

21

JULIE DOWLING (born 1969) Monarch (Police) 2001

acrylic, red ochre and plastic beads on canvas signed, titled and inscribed verso: ‘Monarch (Police)/ by Julie Dowling/ Acrylic, Red Ochre and/ Plastic on Canvas/ This painting shows/ what happens to our [Nungar]/ men./ Their cars get checked, pulled over/ and then they are harassed by the police./ and when they argue they are put/ in lock up....../ This painting is for all the fellas/ at [Casuanria] Prison and/ the boys at [Longmore] Detention/ Centre in W.A./ ‘May you find freedom in/ your heart and soul......”

100 x 120cm

provenance

Span Galleries, Melbourne

Private collection, Melbourne

exhibitions

Julie Dowling, Melbin, Span Galleries, Melbourne, 19 June - 1 July 2001

$15,000-25,000

LINDY LEE (born 1954)

From The Birth and Death series 2007 inkjet print and acrylic on Chinese accordion books (3) 40 x 180cm (each)

provenance

Roslyn Oxley9 Gallery, Sydney Private collection, Melbourne

other notes

Lindy Lee's Birth and Death series 2007 extends on ideas first developed in Birth and Death 2003, which compromised approximately 100 concertinaed Chinese accordion books arranged in rows. These folded books, traditionally used for Buddhist texts, carry layered cultural associations within the work. They suggest, on one hand, the accordion instrument, widely promoted by the People's Liberation Army in the 1940s as a form of collective entertainment. On the other, they recall the structure of photo albums or passports, each unfolding sequentially to reveal portraits across time, evoking both personal and collective histories.

In this 2007 iteration, the imagery centres on repeated photographic portraits that have been reproduced and reworked through processes of copying and layering. The faces appear in shifting tonal registers, moving between clarity and near abstraction, as though fading through memory. The repetition of a single visage across panels creates a rhythmic unfolding, reinforcing ideas of identity, transformation, and impermanence.

The dominant red operates as a potent visual signifier, referencing both imperial traditions and the ideological charge of the Cultural Revolution. At the same time, it compresses and unifies the image. Areas of blue and orange interrupt this field, introducing moments of visual and emotional tension. Through repetition, fragmentation, and colour, Lee develops a meditation on cycles of life and death, where the individual image becomes entangled with broader historical and cultural narratives.

$7,000-9,000

23

23

NICOLAS HOLIBER (born 1985)

Head in Motion #1 2022

acrylic paste and oil on canvas

signed, titled and dated verso: 4 Paintings of a Head/ in Motion (#1)/ NH2022

91 x 76.5cm

provenance

Unit London, London 2022

Private collection, Queensland

exhibitions

Nicholas Holiber: Shape-Shifter, Unit Gallery, London, 26 April - 28 May 2022

“In a working process that allows the unconscious mind to steer the origins of each piece, Shape-Shifter demonstrates the artist’s growing reconciliation with the unknown. Holiber relinquishes any tendency to overwork, allowing breathing room for ambiguity and polyvalence. As such, these cubist-like compositions reveal multiple perspectives and viewpoints as meaning itself constantly shifts, encouraging us to return to these paintings over and over to uncover something different each time. For Holiber, ShapeShifter demonstrates the comfort that can come from uncertainty and a profound trust in the artmaking process despite its many elusive and ever-changing forms.” (excerpt, exhibition text)

$5,000-7,000

24

BEN QUILTY (born 1973)

Jude (Baby) 2008

oil and aerosol on linen

signed and titled verso: Ben Quilty ‘Jude’ 160 x 150cm

provenance

GRANTPIRRIE, Sydney (label verso)

Private collection, Sydney

Thence by descent

exhibitions

Smashed: Ben Quilty, GRANTPIRRIE at Melbourne

Art Fair, Melbourne, 30 July - 3 August 2008

One Show, Two Venues, Two Cities, GRANTPIRRIE, Sydney 6 - 30 August 2008

literature

Butler, R., One Show, Two Venues, Two Cities, GRANTPIRRIE, Sydney, June 2008, pp. 8, 24 (illus.)

other notes

In Jude (Baby), Ben Quilty pares everything back to the essentials. The child’s head is cropped tight and set against a bare ground, hovering without context, so that all attention rests on the expression. Built up in thick, urgent strokes, the face sits somewhere between image and object, paint pushed, smeared and dragged until it almost collapses on itself. There is a tenderness here, but it is not sentimental. Caught mid-cry, with small teeth just breaking through, the moment feels immediate and slightly uncomfortable, heightened by the exaggerated scale. Quilty lets the material do the work, using weight and texture to mirror the intensity of the encounter.

Quilty’s rise in the early 2000s was defined by a very different cast of subjects, revved-up Torana’s, stacked hamburgers, and close-up faces of mates after a long night out, painted with the same thick, unrestrained energy. These works quickly cemented his reputation, grounding his practice in a distinctly Australian language while probing the edges of masculinity. The shift the followed the birth of his son Joe introduced a more introspective thread, without loosing the physical immediacy. Jude (Baby) sits within this turn. While not a portrait of his own child, it carries the same heightened awareness of care, responsibility, and the unfamiliar territory of fatherhood, translated through paint that remains as direct and unfiltered as ever.

$40,000-60,000

DIENA GEORGETTI (born 1966)

The In Residence/Utility Room 2008 acrylic on board

artist’s name, title and date on gallery label verso 55.5 x 55.5cm (including frame)

provenance

Nicholas Thompson Gallery, Melbourne (label verso) Private collection, Melbourne

exhibitions

Diena Georgetti: In the Residence, Darren Knight Gallery at Silvershot, Melbourne, 1 - 20 July 2008

Diena Georgetti/Michael Harrison/Ricky Swallow/Saskia Leek, Hamish McKay Gallery, Wellington, 17 September - 11 October 2008

Paint/ing (as one), Australian Experimental Art Foundation, Adelaide, 15 April - 15 May 2010

literature

Diena Georgetti: The Humanity of Abstract Painting 1988-2008, Monash University Museum of Art and Institute of Modern Art, 2008, pp. 73, 77 (illus., cover)

$6,000-8,000

JULIAN TWIGG (born 1964)

Netley Winter 2025

oil on board

signed, titled and dated verso: NETLEY/ WINTER/ Julian Twigg 2025

75.5 x 83cm

provenance

Artists for Kids Culture 31st Art Auction, Melbourne 2025

Private collection, Melbourne

$5,000-7,000

28

MONICA ROHAN (born 1990)

Withdrawn from the Hillside 2022 oil on board

signed and dated verso: mcRohan/ 2022 artist’s name, title and date on gallery label verso 120 x 90cm

provenance

Jan Murphy Gallery, Brisbane (label verso) Private collection, Melbourne

exhibitions

Monica Rohan: Disappearing Act, Jan Murphy Gallery, Brisbane, 25 April - 13 May 2023

“Disappearing Act examines feelings of anxiety and concern toward landscapes under threat. In these paintings, curtains of patterned textiles are drawn back by disembodied hands, creating portals to seemingly idyllic environments beyond. Against the depth of these vistas the fabrics flatten into abstract designs that hinder and distract the eye, drawing attention to the way paintings mediate our experience of the landscape. This tension between the textiles and what they conceal transforms the landscape into an ambiguous, uncanny space that oscillates between anxiety and calm.” (excerpt, Artist statement)

$8,000-10,000

other notes

“In an arch, the keystone is the fulcrum - the singular point where tension transforms into stability. Remove it, and the structure collapses. This principle extends beyond architecture: in nature, a keystone species, though often small or scarce, holds an ecosystem in balance. Its absence reverberates far beyond its size, unravelling the delicate balance it once sustained.

The Keystone interrogates fragility - what happens when the linchpin of a system is compromised, when the vital but invisible is suddenly absent? The balloon, both playful and precarious, becomes a metaphor for tension, a temporary fix straining against inevitable collapse.

I am drawn to these invisible dependencies - the hidden forces that uphold order, the quiet necessities we overlook until they fail. The painting asks: What are the keystones in our own constructs; social, environmental, personal?

And what remains when they give way?” (The Artist)

$7,000-9,000

MARK WHALEN (born 1982)

All Tied Up 2016

acrylic, oil, enamel, and flashe wall relief 94.5 x 57cm (irregular) provenance

Chalk Horse, Sydney

The Collection of Trevor Victor Harvey, Sydney

Private collection, Sydney

Art Leven (formerly Cooee Art), Sydney, 24 June 2021, lot 22

Private collection, Sydney

Private collection, Melbourne

exhibitions

Mark Whalen: Around the Bend, Chalk Horse, Sydney, 11 August - 3 September 2016

$3,000-5,000

Private collection, Melbourne

Christie’s, Melbourne, 22 August 2005, lot 176

Private collection, Melbourne

$5,000-7,000

32

RICHARD LEWER (born 1970)

When the Time Comes 2021

acrylic on linen signed verso: R. Lewer

153 x 153cm

provenance

Suite Gallery, Auckland 2021

The Collection of Richard Frolich, Adelaide

exhibitions

Richard Lewer: You don’t have to Wake up Fighting Every Day, Suite Gallery, Auckland, 10 November4 December 2021

“This latest suite of works is no exception, embodying Lewer’s interest in sites and settings that exist at a juncture or threshold between happenings. What is taking place here? What will happen next? The equivocacy of his paintings obscures any clear answer. Lewer’s veneer of normalcy is coloured by the fantastical; the promise of a reckoning, a confrontation, a disaster or phenomenon shifting beneath the surface of otherwise prosaic scenes. Whichever interpretation the viewer finds themselves entertaining, there is a sense of anticipation embedded in each piece, lending to an air of uncertainty and tension that has become all too familiar in the era of covid-19.” (excerpt, exhibition statement)

$6,000-8,000

34

GUAN WEI (Chinese, born 1957)

Play on the Beach No. 12 2011 acrylic on canvas, triptych signed and dated lower right panel: G.W 2011. each signed, titled and dated verso artist’s name, title and date on gallery label verso 130 x 150cm (overall)

provenance

Martin Browne Contemporary, Sydney (label verso)

The Collection of Gary Sands, Sydney Shapiro Auctioneers, Sydney, 26 February 2019, lot 32

Private collection, Melbourne

exhibitions

Guan Wei, Play on the Beach, Martin Browne Contemporary, Sydney, 11 October - 6 November 2011

$12,000-16,000

36

provenance

Private collection, Melbourne

$18,000-25,000

37

HOLLY GREENWOOD (born 1992)

Le Marais 2023

oil on black aluminium signed, titled and dated verso: ‘Le Marais’/ 2023/ Holly Greenwood artist’s name, title and date on gallery label verso

70 x 60cm

provenance

James Makin Gallery at Sydney Contemporary, Sydney 2023 (label verso)

Private collection, Queensland

exhibitions

James Makin Gallery at Sydney Contemporary, Sydney, 7 - 10 September 2023

$2,500-3,500

38

JUN CHEN (Chinese, born 1960)

Bush Flowers 2 2023

oil on linen

signed and dated lower left: Jun Chen 23

artist’s name, title and date on gallery label verso

100 x 102cm

provenance

nanda\hobbs, Sydney (label verso)

Private collection, Melbourne

$6,000-8,000

Zilinsky, C., Psychotic Verities, Artink, 2026, pp. 189-190 (illus.) $3,000-5,000

40

MARIE MANSFIELD (born 20th Century)

Letter from Dad 2023

oil on board

signed, titled and dated verso: Letter from Dad/ Marie Mansfield/ 2023.

40 x 40cm

provenance

The Artist Private collection, Melbourne

exhibitions

Marie Mansfield, Moments+Mementos, New England

Regional Art Museum, New South Wales, 12 April - 26 May 2024

$2,000-4,000

41

JAMES DRINKWATER (born 1983)

Old Photos Make Me Cry 2019 oil on linen signed verso: Drinkwater/19 198 x 152.5cm

provenance

nanda\hobbs, Sydney

Private collection, Sydney

exhibitions

James Drinkwater: At Mid-Career, Drill Hall Gallery, Australian National University, Canberra, 24 June20 August 2023

$12,000-18,000

42

JAMES DRINKWATER (born 1983) (Mount Sonder, Northern Territory) pastel, watercolour, ink and gouache on paper signed and dated lower right: 23.8.17/ Drinkwater 76 x 57cm

provenance Private collection, Sydney

$4,000-6,000

43

EUAN MACLEOD (born 1956)

Smoke, Figures, Head 2002 gouache on paper signed, titled and dated on frame verso: SMOKE/ FIGURES/ HEAD/ 8/02/ EUAN MACLEOD artist’s name, title and date on gallery label verso 57.5 x 38cm

provenance

Watters Gallery, Sydney (label verso)

The Collection of Richard Frolich, Adelaide

$3,000-4,000

EUAN MACLEOD (born 1956)

(Bodies Lying in a Boat)

hand painted ceramic

18 x 64.5 x 35cm

provenance

The Artist Private collection, Sydney

related work

Euan Macleod, Bodies Lying in Boat 2010, etching, 15.5 x 21.5cm, private collection

$2,000-4,000

My Great Uncle 2011

acrylic and enamel on linen

initialled lower left and lower right: A C artist’s name, title and date on gallery label verso 213 x 183cm

provenance

Heiser Gallery at Melbourne Art Fair, Melbourne 2012 (label verso)

Private collection, Melbourne

exhibitions

Heiser Gallery at Melbourne Art Fair, Melbourne, 1 - 5 August 2012

$30,000-40,000

46

SAM LEACH (born 1973)

Engineers 2011 oil and resin on wood

45 x 35cm

provenance

Sullivan+Strumpf, Melbourne

Private collection, Melbourne

exhibitions

Sam Leach: The Ecstasy of Infrastructure, TarraWarra Museum of Art, Victoria, 19 November 20114 March 2012

“With its seemingly incongruous title The Ecstasy of Infrastructure, this exhibition draws together a complex and dynamic web of interconnections, traversing a broad array of social, cultural, philosophical and scientific ideas and concerns. In conceiving this exhibition, the artist produced a diagrammatic chart outlining a network of associations which informed the development of a new suite of paintings. With their respective backgrounds in plumbing/housepainting, engineering and economics, Ralph Balson, Edwin Tanner and Leach are all linked, in the outer perimeter of this drawing, by their active involvement in the underlying infrastructure of society. For Leach, Balson and Tanner’s backgrounds in fields other than art seemed to point ‘to a particular way of viewing the world as system and construction’. In the centre of the sketch, the three artists are also drawn together by a shared interest in the relationship between art and science.”

(excerpt, exhibition catalogue)

literature

Sam Leach: The Ecstasy of Infrastructure, TarraWarra Museum of Art, Victoria, 2012 (illus., cover)

$6,000-8,000

provenance

$3,000-5,000

48

ZHONG CHEN (born 1969)

Shaolin Spin Combo 2001

acrylic on canvas

signed and dated verso: zhong chen/ 2001

122 x 122cm

provenance

Span Galleries, Melbourne

Private collection, Melbourne

exhibitions

Shaolin Spin Combo, Gertrude Contemporary Art Spaces, Melbourne, 11 May - 2 June 2001

Redlands Westpac Art Prize, Mosman Art Gallery, Sydney, 2003 (finalist)

$15,000-25,000

STEPHEN BAKER (born 1980)

Heavy Heads 2023

acrylic on linen

initialled and dated verso: SB ‘23

122 x 168cm

provenance

Lindberg Galleries, Melbourne 2023

Private collection, Melbourne

exhibitions

Stephen Baker: Teenage Delinquents ‘Truancy in the Age of Enlightenment’, Lindberg Galleries, Melbourne, 18 August - 9 September 2023

“Teenage Delinquents ‘Truancy in the Age of Enlightenment’ is a collection of new works created over the past six months, however some of the original ideas for the show stem back to 2018 and have lay dormant until now. They follow a group of friends for an evening as they escape the dogmatic law-governed world and revel in those charming moments some of us have as teenagers. Whilst producing this series I pondered my own philosophical position in the world and my somewhat juxtaposed views on spirituality and reason. I consider myself a modern thinker who would look to science and fact for rational judgment. However, I also enjoy the stories told in more spiritually invested lore, filled with enchantment and imagination.

It’s this idea of capturing enchanted moments in real life that has found me moving closer towards the fantastical. Capturing the essence of a ‘real’ moment by constructing a more heightened reality, a blurred line between fact or fiction.” (excerpt, Artist statement)

$3,500-5,500

50

signed, titled and dated verso: ‘The Director’/ ALAN IBELL/ 2018

70 x 53.5cm

provenance

Sanderson Contemporary Art, Auckland

Private collection, Melbourne

exhibitions

Alan Ibell, Problemata, Sanderson Contemporary Art, Auckland, 3 - 22 July 2018

$5,000-7,000

MIRANDA SKOCZEK (born 1977)

Floating Moons 2020 oil and acrylic on linen

signed, titled and dated on stretcher bar verso: ‘Floating Moons’ 2020 Miranda Skoczek artist’s name, title and date on gallery label verso 152.5 x 137.5cm

provenance

Nicholas Thompson Gallery, Melbourne (label verso) Private collection, Melbourne

exhibitions

Miranda Skoczek: Floating Moons and Dizzying Hues, Nicholas Thompson Gallery, Melbourne, 29 July16 August 2020

$5,000-7,000

earthenware and glaze initialled and dated at base: G B/ 22 X 30 x 12.5 x 2.5cm

provenance Sullivan+Strumpf, Sydney Private collection, Melbourne $1,500-2,500

signed, titled and dated verso: longong/ 2012/ Vera Möller

165 x 135cm

provenance

Private collection, Melbourne

$6,000-8,000

provenance

Private collection, Melbourne

exhibitions

Eurovision, Neospace, Melbourne, 2017

$2,500-3,500

55 © Lucy Vader/Copyright Agency, 2026

VADER (born 20th Century)

A Quiet Crisp Infinite Day 2018 oil on canvas initialled and dated lower left: LV/ 18 signed and dated verso 121.5 x 122cm

provenance

Michael Reid Galleries, Sydney 2018 Private collection, Melbourne

exhibitions

Lucy Vader: Sky-Minded, Michael Reid Galleries, Raglan Gallery, New South Wales, 2 June 2018

“Unsurprisingly for someone whose family has farmed for generations, Lucy Vader conveys a landscape that has been both seen and felt. She applies paint in thick, sumptuous layers blurring the boundary between abstraction and representation. Stand close to one of Vader’s works and her brushstrokes draw you into a richly textured world of deep colours – green, yellow, red and blue. Move away from the canvas and wide, grassy paddocks emerge, frequently populated by sheep – golden and camouflaged against parched yellow land, or with bright white fleeces that contrast with rainrestored grass. Vader’s sheep graze, run off or just look inscrutable, contributing a light-heartedness for which she has become known.” (Michael Reid Galleries, Sydney)

$3,000-5,000

and title inscribed on frame verso

40.5 x 50.5cm

provenance

Rogue Pop Up Gallery, Sydney Private collection, Sydney

$15,000-20,000

provenance

The Collection of Richard Frolich, Adelaide

$3,000-5,000

$5,000-7,000

60 PAUL BOSTON (born 1952)

Just This 1996 oil on linen

signed, titled and dated verso: JUST THIS/ PAUL BOSTON/ 1996

162.5 x 193cm

provenance

Niagara Galleries, Melbourne 1996

The Collection of Richard Frolich, Adelaide

$8,000-12,000

c-type print, ed. 2/5

artist’s name, title and date on gallery label verso

98 x 98cm

provenance

Chalk Horse Gallery, Sydney (label verso) Private collection, Sydney

other notes

Another example of this print is held in the collection of Artbank, Melbourne and Sydney

$5,000-7,000

62 © Destiny Deacon/Copyright Agency, 2026

62

DESTINY DEACON (1957-2024)

Adoption 1993/2000

Lambda print from Polaroid original, ed. 3/15 signed, titled, dated and editioned below image: Adoption 3/15 Destiny 1994/2000

artist’s name, title, date and edition on gallery label verso

100 x 100cm

provenance

Roslyn Oxley9 Gallery, Sydney (label verso)

The Collection of Nellie and Ron Castan, Melbourne

other notes

Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne; and Museum of Contemporary Art, Sydney.

“In this image Destiny Deacon has placed a collection of plastic, black toy babies into paper cupcake shells. Titled Adoption, this work directly references Australia’s shameful history of government-sanctioned Aboriginal child removal. In addition, Adoption also pokes fun at the deeply offensive misnomer of the nineteenth century that Aboriginal mothers were both infanticidal, as well as cannibals of their newborns. Deacon describes how she came to collect dolls, saying ‘in the beginning I wanted to rescue them, because otherwise they’d end up in a white home or something, somewhere no one would appreciate them’.” (Roslyn Oxley9 Gallery, Sydney)

$5,000-7,000

63

Untitled #74 1985-86

archival inkjet pigment print, ed. 3/20

signed, titled, dated and editioned below image: IMAGE #74 EDITION #3/20 ‘UNTITLED 1985-86’

Bill Henson

106 x 88cm (image)

provenance

The Collection of Nellie and Ron Castan, Melbourne

$15,000-20,000

64

ATONG ATEM (born 1994)

Paanda 2015

(from The Studio Series)

lford smooth pearl print, ed. 10/10 83 x 59cm

provenance

MARS Gallery, Melbourne

Private collection, Melbourne

other notes

Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne; Monash University Museum of Art, Melbourne; and Museum of Australian Photography, Melbourne.

“Atem’s work explores the inherent intimacy of portraiture and photography as well as the role photographers take as story tellers, interrogating photography as a framework for looking at the world and positioning people in it. She takes framing into a fantastical direction with the small portals over the subjects’ faces, inviting the viewer to look at them through a surreal and constructed lens.” (MARS Gallery, Melbourne)

$7,500-9,500

signed, titled and dated verso: ryan/ 2023/ The King 138 x 112cm

provenance

Private collection, Sydney

exhibitions

2023 Mosman Art Prize, Mosman Art Gallery, Sydney, 23 September - 29 October 2023 (finalist)

$8,000-12,000

66

acrylic on board

artist’s name and title inscribed verso: MICHAEL

90 x 90cm

provenance

Artereal Gallery, Sydney

Private collection, Melbourne

exhibitions

Michael Staniak, Square of Heros, Artereal Gallery, Sydney, 6 - 30 June 2012

$5,000-7,000

67 MICHAEL ZAVROS (born 1974)

Black Ice 2006 bronze, ed. 11/18 initialled and editioned at base: MZ 11/18

17 x 7 x 16cm

provenance

Philip Bacon Galleries, Brisbane Private collection, Sydney

$4,000-6,000

68 DARREN WARDLE (born 1969)

Adaptation 2007 oil and acrylic on canvas signed, titled and dated verso: Darren Wardle 2007/ ‘ADAPTATION’ 122 x 152.5cm

provenance

Sullivan+Strumpf, Sydney (label verso) Private collection, Melbourne

exhibitions Places, Luxe Gallery, New York, 2007

$9,000-12,000

69

artist’s name, title and date on gallery label verso

51 x 45.5cm

provenance

Murray White Room, Melbourne 2006 (label verso)

Private collection, Melbourne

$3,000-4,000

signed, titled and dated verso: SHEEP WASH 2022/ APR/ PG ‘22

artist’s name, title and date on gallery label verso

150 x 120cm

provenance

nanda\hobbs, Sydney (label verso)

Private collection, Sydney

$6,000-8,000

signed, titled, dated and inscribed verso: OWL/ Sydney/ 2003/ bleach on drill/ david noonan 40 x 30cm

provenance

Uplands Gallery, Melbourne 2004

Private collection, Melbourne

exhibitions

David Noonan: Paintings, Uplands Gallery, Melbourne, 2 March - 3 April 2004

$3,000-5,000

DAVID KEELING (born 1951) Soft Walk, Friendly Beaches 2007 oil on linen signed and dated lower right: D. Keeling 07 signed and dated verso artist’s name, title and date on unknown label verso 153 x 122cm

provenance Bett Gallery, Hobart Corporate collection, Hobart

$10,000-15,000

73 AMOS GEBHARDT (born 1976)

Zenith 2019

inkjet print, ed. 1/5

157 x 120.5cm

provenance

Tolarno Galleries at Sydney Contemporary Art Fair, Sydney 2019

The Collection of Richard Frolich, Adelaide

exhibitions

Tolarno Galleries at Sydney Contemporary Art Fair, Sydney, 12 - 15 September 2019

$4,000-6,000

74 HOSSEIN VALAMANESH (Iranian/Australian, 1949-2002)

Nesting 2005

digital print on watercolour paper, ed. A.P

107.5 x 129cm

provenance

GRANTPIRRIE, Sydney 2009

The Collection of Richard Frolich, Adelaide

exhibitions

Revealed: Inside Private Collections of South Australia, Samstag Museum of Art, Adelaide, 22 June - 22 July 2012 (label verso)

literature

Knights, M., and North, I., Hossein Valamanesh: Out of Nothingness, Wakefield Press, South Australia, 2011, pp. 4-5 (illus., another example)

$4,000-6,000

75

MCLEAN EDWARDS (born 1972)

Portrait 2019

gouache on cotton

inscribed lower right: 47

signed and dated verso: Mclean/ Edwards/ 2019

artist’s name, title and date on gallery label verso

40.5 x 30.5cm

provenance

Nicholas Thompson Gallery, Melbourne (label verso)

Private collection, Melbourne

$3,000-5,000

76

MCLEAN EDWARDS (born 1972)

The Day, the Night 2019

gouache on cotton

inscribed lower right: 47

signed, dated and inscribed verso: Mclean/ London/ 2019

artist’s name, title and date on gallery label verso

40 x 30cm

provenance

Nicholas Thompson Gallery, Melbourne (label verso)

Private collection, Queensland

$3,000-5,000

77

MELINDA HARPER (born 1965)

Untitled 1992 oil on canvas

signed and dated on stretcher bar verso: Melinda Harper 92

61 x 45.5cm

provenance

Anna Schwartz Gallery, Melbourne Private collection, Melbourne

$1,500-2,500

78

MELINDA HARPER (born 1965)

Untitled 1993 oil on canvas

signed and dated on stretcher bar verso: MELINDA HARPER 93

61 x 51cm

provenance

Anna Schwartz Gallery, Melbourne Private collection, Melbourne

$1,500-2,500

79

MELINDA HARPER (born 1965)

Untitled 1993 oil on canvas

signed and dated on stretcher bar verso: MELINDA HARPER 93

61 x 51cm

provenance

Anna Schwartz Gallery, Melbourne Private collection, Melbourne

$1,500-2,500

DAVID WALLAGE (born 1969)

Reasoned Explorations No. 6 2012-2013

acrylic on canvas on board signed, titled and dated verso: Reasoned Explorations - No. 6/ Wallage 2012/13

75 x 75cm

provenance

Blocksproject Gallery, Melbourne

Private collection, Melbourne

$2,000-4,000

81

JOANNE MORRIS (born 20th Century)

Quiet Awakening 2026 charcoal on cotton rag signed lower right: Joanne Morris 100 x 66cm

provenance

The Artist Private collection, Melbourne

$2,000-4,000

82

MARINA STROCCHI (born 1961)

Red Sun 2005

acrylic on linen

signed, titled and dated verso: Marina Strocchi/ 2005/ “Red Sun” artist’s name, title and date on gallery label verso 122 x 138cm

provenance

Nellie Castan Gallery, Melbourne (label verso)

The Collection of Nellie and Ron Castan, Melbourne

$4,000-6,000

83

NICHOLAS BLOWERS (born 1972)

Interior Bush Debris II 2009 oil on canvas initialled lower right: NB signed, titled and dated verso: ‘Interior Bush Debris II’/ Nicholas Blowers/ Jan 2009. 75.5 x 75.5cm

provenance

Private collection, Sydney

$4,000-6,000

84

ROSE FARRELL AND GEORGE PARKIN (1949-2015); (1949-2012)

A Thousand Golden Remedies 2000 c-type photographs (8), ed. 1/10 each signed, titled, dated and editioned on artist’s label verso 50 x 29.5cm (image, each)

provenance

Australian Centre of Photography, Sydney (label verso)

Private collection, Melbourne

exhibitions

Photographica Australis, Australian Centre for Photography touring exhibition, Sydney; National Gallery of Thailand, Bangkok; Singapore Art Museum, Singapore; Taipei Fine Arts Museum, Taipei; Shilpakala Academy, Dhaka, 2003 - 2004 (label verso)

other notes

Comprising:

Acupuncture Cow

Acupuncture Foot

Anatomical Horse

Anatomical Pig

Acupuncture Horse

Anatomical Dog

Medicinal Ginseng Root

Medicinal Seahorse

Working together since the late 1980s, Rose Farrell and George Parkin have developed a highly considered photographic practice built around staged scenes. Their works often draw on art history and the visual language of science and medicine, bringing together figures, props and constructed settings with a quiet precision. There is a tension in their images between something composed and controlled, and something slightly offbeat, where systems of knowledge feel both familiar and uncertain.

A Thousand Golden Remedies 2000 is one of their more focused series, made up of eight photographs that look at ideas of healing and the body. Using imagery drawn from acupuncture, anatomy and traditional remedies, the works read almost like a set of specimens or illustrations. Animals, objects and fragments are presented with a kind of clarity that feels scientific at first, but on closer look becomes more ambiguous, gently questioning how these systems of care are understood and trusted.

$8,000-12,000

85 TOM GERRARD (born 1977)

Part 2 2021

synthetic polymer paint on board

signed, titled and dated verso: GERRARD/ 2021/ PART 2.

55 x 60cm

provenance

Private collection, Melbourne

$2,000-4,000

86

STORMIE MILLS (born 1969)

The Scribbled Whispers 2017 acrylic on canvas

signed lower right: Stormie Mills signed, titled and dated verso

102 x 102cm

provenance

Metro Gallery, Melbourne 2018

Private collection, Melbourne

exhibitions

Stormie Mills: Life Traps and Other Things, Metro Gallery, Melbourne, 5 February - 3 March 2018

$5,000-7,000

87 KATHERINE HATTAM (born 1950)

Family Chair’s 2007 oil and enamel on linen artist’s name and title on gallery label verso 51 x 101cm

provenance

The Artist

Art Galleries Schubert, Queensland (label verso) Private collection, Melbourne

$4,000-6,000

88

ALDO IACOBELLI (Italian/Australian, born 1950)

New Thinking is Rare 1995 oil on canvas

signed and dated verso: A. IACOBELLI 95 titled on stretcher bar verso 210 x 75cm

provenance

Greenaway Art Gallery, Adelaide 1995

The Collection of Richard Frolich, Adelaide

$4,500-6,500

89 GILES ALEXANDER (born 1975)

Monara Fossil 2016

Old English White 2016 oil and resin (2)

(i) signed, titled and dated verso: GILES ALEXANDER/ ‘MONARA FOSSIL’/ 2016 (ii) signed, titled and dated verso: GILES ALEXANDER/ OLD ENGLISH [sic]/ 2016 (i) 24 x 30cm; (ii) 30 x 24cm

provenance

nanda\hobbs, Sydney 2016

Private collection, Melbourne

exhibitions

Giles Alexander, Fossil, nanda\hobbs, Sydney, 12 - 28 May 2016

$4,000-6,000

90

MARC DE JONG (born 1970)

Background Road (Study) 1997 oil on board

initialed, titled, dated and inscribed verso: BACKGROUND/ ROAD/ LST 97/ .MDJ. (STDY) 28 x 60.5cm

provenance

Private collection, Melbourne

$2,000-4,000

91

FIONA LOWRY (born 1974)

Ned Kelly I 2023

acrylic on canvas

signed, titled and dated verso: FIONA LOWRY

Fiona Lowry 2023 (NED. 1)

artist’s name, title and date on gallery label verso 152 x 122cm

provenance

Private collection, Sydney

exhibitions

Fiona Lowry 2023, Niagara Galleries, Melbourne, 18 October - 11 November 2023, cat. no. 10

$5,000-7,000

92

DAVID CAUTLEY FAIRBAIRN (1949-2020)

Untitled 2016

acrylic, gouache and ink on paper

signed and dated lower right: David Fairbairn ‘16 55 x 77cm

provenance

nanda\hobbs, Sydney (label verso)

Private collection, Sydney

$2,000-4,000

93 © Courtesy The Artist, 2026

93

FERGUS BINNS (born 1980)

Kids Starting a Bush Fire 2004 oil on board

signed and dated lower right: F. BINNS 04 artist’s name, title and date on exhibition label verso 122.5 x 91.5cm

provenance

Private collection, Melbourne

exhibitions

Home, Lismore Regional Gallery, New South Wales, 21 November 2008 - 17 January 2009 (label verso)

$2,000-3,000

95

NOEL MCKENNA (born 1956)

Fe-Line 2010

glazed ceramic dinner plates (8), ed. 11/20

all held within the original presentation timber box each signed and editioned verso: 11/20/ N. McKENNA

accompanied by a signed and editioned certificate of authenticity

27.5cm (tondo, each), 84 x 34 x 31cm (box)

provenance

Melbourne Art Foundation, Melbourne

The Collection of Richard Frolich, Adelaide

$2,500-4,500

96

NOËL SKRZYPCZAK (Canadian/Australian, born 1974)

Waiting through Lives and Past-Lives 2006

acrylic on canvas, diptych

signed, titled and dated verso of each panel:

Noël Skrzypczak/ “Waiting through lives and past-lives” 2006

71 x 113cm (overall)

provenance

GRANTPIRRIE, Sydney 2006

The Collection of Richard Frolich, Adelaide

exhibitions

Noël Skrzypczak: Dark, Shiny, Neon Parc, Melbourne, 5 - 29 September 2006

$3,000-4,000

94

BEN MAZEY (born 1980)

Quartz Petrified Flower Panel 4 2024 glazed raku stoneware initialled and dated verso: BM ‘24

44 x 30 x 12cm

provenance

C. Gallery, Melbourne

Private collection, Melbourne

$1,000-2,000

97

TROY INNOCENT (born 1971)

Cloud 2005

c-type print, ed. 3/5

120 x 120cm

provenance

Tolarno Galleries, Melbourne 2005

The Collection of Richard Frolich, Adelaide

$1,500-2,500

98 HELEN WRIGHT (born 1956)

Les Beaux Jours 1995

pastel on paper

title inscribed verso artist’s name and title on unknown label verso 115 x 76cm

provenance

Niagara Galleries, Melbourne 1995 (label verso)

The Collection of Richard Frolich, Adelaide

exhibitions

Shapeshifting: The Art of Helen Wright, The Queen Victoria Museum and Art Gallery, Launceston, 23 August 2025 - 1 February 2026

literature

Wright H., Shapeshifting, Outside the Box/ Earth Arts Rights, Tasmania, 2026

$2,000-3,000

99 © Aldo Iacobelli/Copyright Agency, 2026

100 © Aldo Iacobelli/Copyright Agency, 2026

99

ALDO IACOBELLI (Italian/Australian, born 1950)

Drawing 39 1994

charcoal on paper

signed lower right: A. IACOBELLI

titled and dated lower left: drawing 39, July 1994

75.5 x 56cm (sheet)

provenance

The Artist

The Collection of Richard Frolich, Adelaide

$1,000-2,000

100

ALDO IACOBELLI (Italian/Australian, born 1950)

Drawing 35 1994

charcoal on paper

signed lower right: A. IACOBELLI

titled and dated lower left: drawing 35, may 1994

76 x 56cm

provenance

The Artist

The Collection of Richard Frolich, Adelaide

$1,000-2,000

101

SARAH DRINAN (born 1994)

A Portrait of Frank 2021 oil on canvas

initialled and dated lower right: SD 21

60 x 54cm

provenance

The Artist

Private collection, Melbourne

$700-900

102

SOPHIE KAHN (born 1980)

Workstation II

inkjet pigment print on aluminium

90 x 120cm

provenance

The Artist

The Collection of Richard Frolich, Adelaide

$2,000-3,000

The Children 2007

c-type photograph, mounted on aluminium, ed. 1/6

87 x 120cm

provenance

Centre for Contemporary Photography at Melbourne

Art Fair, Melbourne 2007

The Collection of Richard Frolich, Adelaide

exhibitions

Centre for Contemporary Photography at Melbourne

Art Fair, Melbourne 2007

$1,000-2,000

104

VICKI VARVARESSOS (born 1949)

Facescape (Pink Loop) 1995

oil on masonite

initialled and dated lower right: V.V.95 signed, titled and dated verso

120.5 x 120.5cm

provenance

Niagara Galleries, Melbourne

The Collection of Richard Frolich, Adelaide

$3,000-5,000

105

SONG LING (born 1961)

When We Were Young 24 2008 acrylic on canvas

signed and dated verso: Song Ling 2008 122 x 102cm

provenance

Niagara Galleries, Melbourne 2008

Private collection, Melbourne

exhibitions

Song Ling: When We Were Young, Niagara Galleries, Melbourne, 15 January - 2 February 2008

$3,500-4,500

106

SONG LING (born 1961)

When We Were Young 23 2008 acrylic on canvas signed and dated verso: Song Ling 2008 122 x 102cm

provenance

Niagara Galleries, Melbourne 2008 Private collection, Melbourne

exhibitions

Song Ling: When We Were Young, Niagara Galleries, Melbourne, 15 January - 2 February 2008

$3,500-4,500

107

RICKY SWALLOW (born 1974)

Game Boy (Concept Model) 2001 pigmented cast resin, ed. 3/5 signed, dated and editioned verso: R Swallow/ 3/5 2001 15 x 10 x 3cm

provenance

Darren Knight Gallery, Sydney 2001 Private collection, Melbourne

other notes

Ricky Swallow rose to prominence in the late 1990s for his sculptural recreations of objects from his childhood. Early works, from a BMX bike to a cassette player, set the tone for a practice that continues to revisit familiar forms, including the hand-held Game Boy, through a lens of memory and value.

$2,000-4,000

108

RICKY SWALLOW (born 1974)

Stacking Cup/Tapered (Bone) 2011 patinated bronze, ed. 1/3 10.5 x 12 x 11.5cm

provenance

Modern Art London at Art Basel, Switzerland 2011 Private collection, Sydney

exhibitions

Modern Art London at Art Basel, Switzerland, 14 - 19 June 2011

literature

Swallow, R., 500 words, Artforum, February 2011

$2,000-4,000

109

JASPER KNIGHT (born 1978)

Higher Learning 1854 2014

acrylic, enamel, plywood, perspex and metal sign on board

signed, titled and dated verso: JASPER/ KNIGHT/ 2014/ ‘HIGHER 1854’/ LEARNING/ 2014

JasperKnight 120 x 150cm

provenance

Private collection, Melbourne

$5,000-7,000

110

JUSTINE VARGA (born 1984)

Ripe 2016

c-type print, ed. 3/5 113 x 81.5cm

provenance

Hugo Michell Gallery, Adelaide 2016

The Collection of Richard Frolich, Adelaide

exhibitions

Justine Varga: Memoire, Hugo Mitchell Gallery, Adelaide, 8 September - 8 October 2016

$1,000-2,000

A Alexander, Giles 89

Amor, Rick 57,58

Andrew, Brook 15,16

Arkley, Howard 9

Atem, Atong 64

B Baker, Stephen 49

Barkley, Glenn 52

Barton, Del Kathryn 20

Bieniek, Natasha 1

Binns, Fergus 93

Blowers, Nicholas 83

Boston, Paul 60

C Campbell, Jon 10

Cattapan, Jon 11

Chen, Jun 38

Chen, Zhong 48

Clark, Tony 31

Cullen, Adam 45

D Davies, Paul 35

Deacon, Destiny 62

Dowling, Julie 21

Drinkwater, James 41,42

Drinan, Sarah 101

E Edwards, Mclean 75,76

Emery, Troy 5,6

F

Fairbairn, David Cautley 92 Faust, Chantal 103

Frank, Dale 12

G Gardiner, Peter 70

Gebhardt, Amos 73

Georgetti, Diena 25

Gerrard, Tom 85

Greenwood, Holly 37

Grogan, Lucas 19

H

Harper, Melinda 77,78,79

Hattam, Katherine 87

Heeran, Judith Van 69

Henson, Bill 63

Hodge, Gregory 17,18

Holiber, Nicolas 23

I

Iacobelli, Aldo 88,99,100

Ibell, Alan 50

Innocent, Troy 97

J Jones, Laura 3

Jong, Marc De 90

K

Kahn, Sophie 102

Keeling, David 72

Knight, Jasper 109

Kovacs, Ildiko 36

L

Leach, Sam 46

Lee, Lindy 22

Lewer, Richard 32

Ling, Song 105,106

Ljubicic, Alesandro 7,8

Lowry, Fiona 91

M

Macleod, Euan 43,44

Mansfield, Marie 40

Mazey, Ben 94

Meagher, Julian 2

Mckenna, Noel 4,95

Mills, Stormie 86

Milsom, Nigel 13

Mombassa, Reg 56

Möller, Vera 53

Morris, Joanne 81

Muir, Michael 27

N

Nudelman, Adam 33

Noonan, David 71

P Parkin, Rose Farrell And George 84

Q Quick, Matthew 29

Quilty, Ben 24

R

Rennie, Reko 14

Rohan, Monica 28

Ryan, Paul 65

S Sharpe, Wendy 47

Skoczek, Miranda 51

Skrzypczak, Noël 96

Staniak, Michael 66

Strocchi, Marina 82

Swallow, Ricky 107,108

T Taylor, Ross 54

Thompson, Dr Christian AO 61

Twigg, Julian 26

V Vader, Lucy 55

Valamanesh, Hossein 74

Varvaressos, Vicki 104

Varga, Justine 110

W

Wallage, David 80

Wardle, Darren 68

Wei, Guan 34

Whalen, Mark 30

Williams, Justin Lee 59

Wright, Helen 98

Z

Zavros, Michael 67

Zilinsky, Caroline 39

julius von bismarck

Australian Centre for Contemporary Art

Conditions of Business / Summary

special conditions of sale – Jewellery

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

authenticity certificates

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

gst

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

For further information contact: Ety Liong accounts@leonardjoel.com.au

admission

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

commission (absentee) bids

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

telephone bidding

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

bidder registration

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

buyer’s premium

There will be a buyer’s premium added to all purchases.The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

property subJect to the artist resale royalty

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

damage

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

title

Leonard Joel guarantees good title to all lots.

warranties and condition reports

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

estimates

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

payment

In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 22 of the Buyer’s Conditions of Sale.

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

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

Credit card fees may apply.

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account name: Leonard Joel Pty Ltd

address: Westpac Banking Corporation

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VIC 3000 Australia

bsb: 033–364

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collection of lots

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

removal and storage

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

removal charges

Each lot: $55

storage charges

Each lot: $33 per day

protection of movable cultural heritage act 1986 (pmch act)

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

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

exporting significant australian cultural heritage

The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au

cites regulations

It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/tradeuse/cites/index.html or may be requested from:

The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities

GPO Box 787

CANBERRA ACT 2601

leonard home delivery

Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@ leonardjoel.com.au

recommended carriers

For recommended carriers please refer to our website.

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Our Specialists

m anaging d irector & head of important collections

John Albrecht, BA LLB MBA

sydney

Madeleine Mackenzie BFA, BComm, MLitt, Head of Decorative Arts & Art

Ella Nail, Office Manager & Administrator

Ronan Sulich, Senior Adviser

fine art

Wiebke Brix, Head of Art

Amanda Hayward (née North), Senior Art Specialist

Hannah Ryan, Senior Art Specialist, Manager of Specialty Auctions

Daisy Giuffrida, Administrator and Registrar

decorative arts

Chiara Curcio BA, Head of Department

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Natasha Berlizova, Administrator

asian art

Luke Guan MLitt, Head of Department

Kyle Walker, Administrator and Coordinator

Zoe Cenche , Curator & Senior Specialist

C.C. Chen , Chinese Painting Consultant

fine J ewels & timepieces

Annie Soust, Head of Department, Melbourne

Lauren Boustridge BSc, AJP, GG (GIA), Head of Department, Sydney

Patricia Kontos F.G.A.A., Senior Timepieces & Jewellery Specialist

Piper Jiang, Jewellery & Luxury Administrator

Hui Chong, Jewellery Administrator, Sydney

Bethany McGougan, Senior Auctioneer and Jewellery Consultant

John D'Agata, Senior Jewellery Consultant

Henrietta Maiyah, Consultant

modern design

Rebecca Stormont, Senior Modern Design Specialist

luxury

Julia Gueller, Specialist

prints

Hannah Ryan, Senior Art Specialist

furniture

Alex Sargeant, Manager

Inigo Fleming, Assistant

Shawn Mitchell , Interiors Consultant

J ewellery

Anna Akacich, Manager

Zoe Tsamis, Assistant

art salon

Millie Lewis, Manager

Patrick Curtis, Assistant

ob J ects & collectables

Kieran Grogan Carpenter, Manager

Charlotte Dippie, Assistant

valuations

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Troy McKenzie, Head of Private Collections, Queensland

Anthony Hurl, Representative Specialist, South Australia

John Brans, Representative Specialist, Western Australia

accounts

Ety Liong, Finance Manager

Michelle Draper, Accounts Manager

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client services

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operations & logistics

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photography

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

graphic design

Maria Rossi

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