wiebke brix
head of art 03 8825 5624
wiebke.brix@ leonardjoel.com.au
amanda haY ward (née north) senior art specialist 03 8825 5644
amanda.north@ leonardjoel.com.au
Following a highly successful 2025, marked by exciting sales and the successful presentation of several important private collections, we are pleased to begin the year with a strong and considered selection of Australian and international art in our first Fine Art Sale of the year.
Anchoring the sale as the cover lot is Arthur Streeton’s standout example Harvest and Mt. William 1926 (Lot 12), a mature expression of the artist’s Western District vision. Streeton’s Western District works, produced during the 1920s, reflect a renewed engagement with Australian subject matter following his years in England and his service as an official war artist during the First World War.
The significance of this Western District series is underscored by its consistent strength in the secondary market, with closely related works achieving strong auction results in recent years. These outcomes reflect the appeal of Streeton’s late pastoral imagery and its central place within Australian art history, affirming the importance of Harvest and Mt. William as a standout example from a defining phase of his career.
Complementing Streeton’s vision of landscape is a rare late work by Nicholas Chevalier, Tilling Fields before the Storm 1886 (Lot 16). Chevalier occupies a distinctive position in nineteenth-century Australian art history. His ability to convey shifting weather, light and atmosphere is particularly evident here, where darkening clouds press across the sky and the land responds with a palpable sense of movement. Painted late in his career, the work emphasises mood over topographical specificity, revealing Chevalier’s sensitivity to the expressive potential of landscape as an emotional and psychological space.
The sale also features an important Parisian scene by Ethel Carrick Fox (Lot 27), a work whose authorship has been clarified through recent scholarship and renewed critical attention. Previously offered and circulated as a work by Emanuel Phillips Fox, the painting is now understood, on the basis of stylistic analysis and historical context, to be by Ethel Carrick Fox herself. This reassessment reflects the broader re-evaluation of her oeuvre prompted by the recent exhibition at the National Gallery of Australia, Ethel Carrick, and the accompanying publication, which have brought greater clarity to her independent artistic voice and historical significance.
A group of works within the sale by Hans Heysen and Nora Heysen, some drawn from a significant private South Australian collection, offers a compelling dialogue. While Hans Heysen is renowned for his monumental landscapes, Nora Heysen’s practice unfolds at a more intimate scale. Her Still Life-Camellias 1963 (Lot 13) exemplifies her assured handling of colour and form. From the early 1960s onwards, her increasing focus on still life and interior scenes reflects a deepening engagement with memory, routine and the quiet poetry of everyday life.
Turning to the international works in the sale, a notable highlight is Pablo Picasso’s Faune dévoilant une Femme 1936 (Lot 21), an accomplished plate from La Suite Vollard, the celebrated suite of one hundred etchings and drypoints produced between 1930 and 1937 for the Parisian dealer Ambroise Vollard. Regarded as one of the great achievements of twentieth-century printmaking, the suite allowed Picasso the freedom to explore recurring psychological and mythological themes rather than a fixed narrative. In this work, classical imagery central to the suite functions as a vehicle for examining desire, instinct and vulnerability.
The sale also includes a lyrical still life by Mary Fedden, one of Britain’s most beloved modern painters. Celebrated for her bold use of colour and quietly imaginative compositions, Fedden developed a visual language that merges simplicity with subtle surrealism. Still Life with Lilies 1991 (Lot 8) brings everyday domestic objects into a simplified, light-filled setting, replacing traditional still life realism with poetic balance, bold colour and a gently surreal sense of space.
NORA HEYSEN (19112003)
Spring Flowers 1960 oil on canvas
55 x 44cm
$20,000-25,000
previous page
lot 85 detail
ROBIN KUNMANARA KANKAPANKATJA (1930-2012) (Language group: Yankunytjatjara/ Pitjantjatjara)
Untitled 2012
synthetic polymer paint on linen
122.5 x 153cm
$6,000-8,000
As always, the sale includes a considered selection of works by First Nations artists, reflecting the breadth and continuing vitality of Indigenous art practice across Australia. A personal highlight is a late work by Robin Kunmanara Kankapankatja, Untitled 2012 (Lot 85) whose paintings are deeply grounded in cultural knowledge. The Indigenous offering is further strengthened by Kinyu 2006 (Lot 95) by Eubena Nampitjin, a painting that exemplifies the distinctive palette and rhythmic patterning associated with Warlayirti Artists, and The Mystical Man 2020 (Lot 109) by Fabian Brown, a bold contemporary work that draws on ancestral narratives while asserting a confident individual vision.
While it is not possible to address every outstanding work in this sale, we invite readers to explore the catalogue in full and, where possible, to experience the works in the flesh during our three-day viewing at the Hawthorn showrooms. The auction will be held in person and online, allowing collectors both locally and internationally to engage with this compelling sale.
wiebke brix
head of art
signed lower left: Nora
dated lower right titled inscribed on frame verso 55 x
provenance
Private collection, Adelaide
Elder Fine Art, Adelaide, 8 July 2012, lot 4
Private collection, Adelaide
$20,000-25,000
HANS HEYSEN (1877-1968)
Morning Sunshine, Hahndorf c.1934-36 watercolour on paper signed lower right: HANS HEYSEN artist’s name and title on frame plaque 21.5 x 26cm
provenance
Leonard Joel, Melbourne, 12 April 2006, lot 659 (as “Morning Light, Ambleside South Australia c.1934-36”)
Private collection, Melbourne
Thence by descent
$4,000-6,000
3
WILL ASHTON (1881-1963)
View from the River Seine oil on canvas
signed lower right: WILL ASHTON 44.5 x 60cm
provenance
Private collection, Adelaide
Sotheby’s, Sydney, 28 August 2006, lot 88 (as “View from the River Seine”)
Private collection, Melbourne
related work
Will Ashton, Loading the Barge (Paris), oil on canvas, 50.6 x 67.5cm, Smith & Singer, Sydney, 25 November 2025, lot 32, private collection
$8,000-12,000
4
WILLIAM BECKWITH MCINNES (1889-1939) (Hay Wagon) c.1915 oil on canvas
signed lower centre: McINNES 44 x 67.5cm
provenance
Private collection, Melbourne Thence by descent
related work
William Beckwith McInnes, Landscape with Hay Wagon c.1915, oil on canvas, 51 x 61.5cm, Menzies, Sydney, 9 April 202, lot 42
$20,000-30,000
5
FRED WILLIAMS (1927-1982)
Untitled 1967 ceramic plate produced in collaboration with Tom Sanders signed, dated and inscribed on base: ‘67/ Sanders/ Fred Williams 19cm (diameter)
provenance
The Artist Private collection, Melbourne $3,000-5,000
6
FRED WILLIAMS (1927-1982)
Lilydale 1950 gouache on paper signed and dated lower right: Fred Williams. 1950. 44.5 x 59.5cm
provenance
Melbourne Art Exchange, Melbourne Private collection, Melbourne Thence by descent
$15,000-25,000
7
ROBERT DICKERSON (1924-2015)
Two Horses oil on canvas signed lower right: DICKERSON artist’s name and title on gallery label verso 39 x 59cm
provenance
Art Galleries Schubert, Queensland (label verso) Private collection, Melbourne
$20,000-25,000
8
MARY FEDDEN (British, 1915-2012)
(Still Life with Lilies) 1991 oil on canvas
signed and dated lower right: Fedden 1991 59.5 x 49.5cm
provenance
The Artist
Private collection, Melbourne, acquired from the above c.1994
Thence by descent
other notes
Mary Fedden remains one of Britain’s most beloved modern painters, celebrated for her lyrical still life paintings, bold use of colour and visual language with elements of the surreal, that merge whimsy with sophistication. Throughout a career spanning more than seven decades, Fedden carved a distinctive artistic voice, one that is instantly recognisable. Fedden’s still life paintings, which often place everyday objects within landscape scenes, departed from traditional still life conventions. This subject matter combined with her use of vivid colour and a bold, expressive style, proved innovative and ahead of its time.
Though she worked across subject matter, from landscapes to imaginative compositions, it is her still life paintings that have become synonymous with her name. These works draw inspiration from artists she admired, such as Matisse and Braque, yet they remain resolutely individual. Fedden’s compositions, featuring everyday domestic objects, flowers, fruit and patterned textiles, are assembled with a poetic sense of balance. Her palette is bright and serene, conveying a sense of joy to viewers, which has contributed to her lasting popularity. Rather than striving for realism, she created scenes that feel familiar yet are imbued with dreamlike elements, inviting viewers into intimate moments that exist somewhere between observation and imagination.
Born in Bristol in 1915, Fedden studied at the Slade School of Fine Art from 1932 to 1936 under the theatre designer Vladimir Polunin, whose experience with the Ballets Russes left a lasting impression. Fedden went on to paint sets for productions at Sadler’s Wells, and although she did not pursue stage design professionally, its influence is evident in her art. Everyday objects are often arranged prominently in the foreground, set against landscape backdrops, that recall theatrical props on stage.
During World War II, Fedden served in the Land Army and the Woman’s Voluntary Service and was commissioned to produce murals for the war effort. Despite the adversity of this period, Fedden’s artistic career was influenced by these challenges which led her to focus on capturing the pleasures of life which are often taken for granted. Later in her career, Fedden established herself as a prolific painter and teacher at the Royal College of Art from 1958 to 1964. Remarkably, she was the first woman tutor in the Painting School and some of her pupils included David Hockey, Allen Jones and Patrick Caulfield. Fedden’s artistic influence, particularly her bold colour palette, is evident in Hockney’s use of colour.
The artwork ‘(Still Life with Lilies)’ from 1991, beautifully embodies the artist’s hallmark traits. A glass vase holding white lilies and bright yellow flowers sits against a vibrant sky-blue background and is accompanied by a curious bowl of rounded egg or pebble-like objects in the foreground. In the distance, a small, stylised volcano appears through the curtained window. The volcano is a peculiar and unexpected motif that gently nudges the composition into the realm of the surreal. The interplay of simplified shapes, crisp outlines, and bright, luminous colour, showcases Fedden’s mastery of still life arrangement. The artwork’s sense of tranquillity paired with its subtle eccentricities makes
it a particularly compelling example of Fedden’s work during the early 1990s, a period admired for its confidence and refinement.
Mary Fedden’s appeal lies not only in her technical skill but also in the emotional warmth radiating from her canvases. Her art celebrates beauty in the everyday. The flowers on a table, bowls of fruit and cherished objects assembled in the canvas are transformed through her unique visual language into timeless compositions, that remain relevant and interesting.
$15,000-25,000
9
NORMAN LINDSAY (1879-1969)
The Dancer 1918 watercolour on paper laid on board artist’s name, title and date inscribed verso: Norman Lindsay/ 1918/ July. 1918/ The Dancer (concealed)
32.5 x 21.5cm (reveal)
provenance
Private collection, Melbourne
Thence by descent
$6,000-7,000
HANS HEYSEN (1877-1968)
A Lord of the Bush 1913 watercolour on paper in the original John Thallon frame (label verso) signed and dated lower left: HANS HEYSEN 1913 titled on unknown label verso
38.5 x 31cm
provenance
Private collection, Adelaide
$12,000-16,000
JOHN PETER RUSSELL (1858-1930) (Ligurian Hills) 1913 watercolour and pencil on paper signed and dated lower right: Russell 13 26 x 36.5cm
provenance
The Artist
The Collection of Dr. William Maloney, Melbourne, acquired from the above Thence by descent
Private collection, Melbourne Menzies, Sydney, 11 May 2017, lot 1 (as “Ligurian Hills in Snow 1913”)
Private collection, Melbourne
$20,000-30,000
Arthur Streeton occupies a central position in the development of Australian landscape painting as both a founding member of the Heidelberg School and as one of the most eloquent interpreters of the pastoral and agricultural environments that came to define Australian national identity in the early twentieth century. Among the most sustained and ambitious phases of his later career are the works inspired by Victoria’s Western District. It is this location that Streeton found a subject equal to his mature vision: a landscape shaped by human labour, seasonal rhythms and vast geological presence.
Streeton first engaged deeply with the Western District in the 1920s, a period of renewed attention to Australian themes, following his long residence in England and time as a war artist during the First World War. The sweeping plains, volcanic soils and dominant ranges, provided a setting in which Streeton could merge topographical specificity with symbolic resonance. Artworks from this period frequently celebrated the prosperity and promise of rural Australia, while simultaneously acknowledging the endurance of the land. The Western District, with its established pastoral economy and impressive mountain ranges of the Grampians, offered Streeton a landscape encoded with colonial narratives of productivity and improvement. Ian Burn wrote about the renewed interest in this subject matter for artist’s in the postwar period: “…artists returned to the theme of the Australian landscape with a changed idea of its value and meaning…the war had imbued the landscape with a new power and authority...masculine ideals of war were used to promote and validate a particular landscape of peace, an ideal of pastoral wealth and national potential”. 1 These works acted as a means to reinforce a sense of national pride and identity in Australians, following the suffering experienced as a fallout of the First World War.
Streeton’s Land of the Golden Fleece paintings, of which there are three versions, represent one of his most explicit engagements with pastoral symbolism. Executed in the early to mid-1920s, these works depict the Western District as a site of abundance and national wealth, drawing upon the classical association between wool production and prosperity.2 The phrase “golden fleece” itself invokes mythic and economic associations, positioning Australia’s wool industry within a heroic narrative of cultivation and reward. The word “fleece” in the title, is both literal, referring to sheep and wool, and symbolic, referring to a settler economy that imagined itself as heroic and future-facing.
In these paintings set from the perspective of the Southern end of the Grampians looking towards Mount William, Streeton often adopts elevated viewpoints that allow broad vistas of paddocks, flocks, and distant ranges. His palette is dominated by warm ochres and golds, contrasted by the cool blues and violets of the distant mountains and sky. The repeated use of Mount William in Streeton’s Western District paintings, acts as a compositional anchor and a symbolic presence. The mountain’s cool tonalities recede gently, enhancing depth while reinforcing the clarity of the districts light. Its distinctive silhouette, which is low, expansive and fixed, serves as a counterpoint to the changing foregrounds of pasture, harvest and season.3 This imagery suggests a mature reconciliation between land and labour: the permanence of nature coexisting with the cyclical nature of agriculture.
Harvest and Mt. William 1926 (lot 12), exemplifies Streeton’s late Western District vision and draws together many of the thematic and formal concerns evident in his Land of the Golden Fleece paintings. The composition presents a harvested field scattered with hay stooks, their warm and golden tones dominating the foreground. These forms create a rhythmic pattern across the surface of the canvas while reinforcing the sense of abundance and order. Beyond the field, a line of trees, verdant and bare, marks the transition between cultivated land and the distant range. The bare trunks of dead trees introduce a melancholic note, subtly complicating the harvest’s celebration with a reminder of seasonal change and the impact on the environment. Mount William rises along the horizon, in cool blue and violet hues that contrast with the sunlit paddocks below. The sky is expansive and lightly animated with clouds, contributing to the overall sense of clarity and openness. Notably, there are no workers painted among the hay stooks and the absence of these figures does not diminish the sense of labour, rather, the harvested field stands as quiet evidence of human presence and effort.
1 . Burn, I., National Life and Landscapes: Australian Painting 1900 – 1940, Bay Books, Sydney, 1991, pp.79 – 80, quoted in Eagle, M., The Oil Paintings of Arthur Streeton in the National Gallery of Australia, National Gallery of Australia, Canberra, 1994, pp. 186 – 87
2. Galbally, A., Arthur Streeton, Lansdowne Press, Melbourne, 1969, p.72
3. Smith, B., Australian Painting 1788 – 2000, Oxford University Press, Melbourne, 2001
Whilst championing Mount William, like many of Streeton’s Western District paintings, Harvest and Mt. William 1926 (lot 12), differs from Land of the Golden Fleece by replacing the flock of sheep grazing with hay stooks. This substitution is significant through their symbolism of agricultural processes becoming emblematic of national productivity and harmony with the land. Similar motifs appear across his Western District works of the 1920s, where cut fields and stacked hay are presented not as scenes of toil but showing the land at rest between cycles.³ The repetition of these motifs suggests not just documentation, but a sustained meditation on Australia’s pastoral identity during a period of consolidation and confidence. Streeton’s Western District paintings represent a significant chapter in his artistic legacy, illuminating a painter deeply engaged with the idea of Australia as both place and promise. Streeton constructs a vision of the land that is expansive, assured, and resonant with cultural meaning. These paintings stand as eloquent affirmations of the Western District’s role in shaping both the physical and imaginative landscapes of Australia.
amanda haYward (née north) senior fine art specialist
12
ARTHUR STREETON (1867-1943)
Harvest and Mt. William 1926 oil on canvas
signed lower left: Arthur Streeton 50 x 75cm
provenance
The Fine Art Society’s Gallery, Melbourne, acquired from the above March 1927 (partial label verso)
The Collection of Mrs. Albert Miller, Melbourne
Thence by descent
exhibitions
Arthur Streeton: An Exhibition of Oil Paintings, The Fine Art Society’s Gallery, Melbourne, 15 - 26 March 1927, cat. no. 8
literature
Streeton, A., The Arthur Streeton Catalogue, self published, Melbourne, 1935, cat. no. 900, p.136
related works
Arthur Streeton, Land of the Golden Fleece 1926, oil on canvas, 49.8 × 75.4cm, the collection of the National Gallery of Victoria
Arthur Streeton, Mt. William (Land of the Golden Fleece) 1926, oil on canvas, 50.6 x 75.9cm, Sotheby’s, Sydney, 20 November 2018, lot 33
Arthur Streeton, Oat Harvest, oil on canvas, 62.3 x 75.2cm, Sotheby’s, Melbourne, 4 May 2009, lot 3
$200,000-300,000
NORA HEYSEN (1911-2003)
(Still Life - Camellias) 1963 oil on canvas
signed and dated lower right: Nora Heysen/ 63 43 x 53cm
provenance
The Collection of K. B. Leaver, Chaplain, Flinders Medical Centre (label verso)
Private collection, Adelaide
Elder Fine Art, Adelaide, 28 May 2017, lot 25 (as “Still Life – Pink, White and Red Camellias in Rustic Kettle (Flowers from the Artist’s Garden)”)
Private collection, Adelaide
$16,000-20,000
other notes
Time spent in the garden and an interest in flowers shaped Nora Heysen's earliest memories of her idyllic childhood in Hahndorf. The daughter of acclaimed artist Hans Heysen, she began painting at a young age, studying alongside her siblings at the family home and working 'en plein air' to create still life scenes; a subject that remained central throughout her career.
Painted in 1963, '(Still Life - Camellias)' exemplifies Heysen's assured handling of floral composition. A simple metal bucket brimming with camellias is rendered in thick, confident brushstrokes that
emphasise texture and vitality. The warm reds, pinks and whites of the camellias stand out against a cool blue-grey background, while the solid weight of the bucket contrasts with the vibrant, freshly cut flowers.
Although the still life subject sits at the core of Heysen's oeuvre, each work is distinct, ranging from stylised floral arrangements to spontaneous studies of fruit. From this period onwards, she increasingly focused on still life and interior scenes, deepening her engagement with subjects rooted in memory and personal experience.
Thistles c.1980
oil on canvas
69.5 x 39cm
provenance
The Collection of Oliver Streeton, Melbourne
Leonard Joel, Melbourne, 29 March 1995, lot 98
Private collection, New South Wales
$12,000-18,000 15
HAUGHTON FORREST (1826-1925)
River Sunset
oil on board
signed lower left: HForrest
21 x 30cm
provenance
Leonard Joel, Melbourne, 25 August 1993, lot 40
Private collection, Melbourne
$5,000-7,000
Nicholas Chevalier was presumably a fascinating character, fluent in several languages, well-travelled, connected and an extraordinary painter. His painting The Buffalo Ranges, Victoria was the first ever locally produced painting to be acquired by the National Gallery of Victoria (1865). Works by the artist are rare to come to auction and Tilling Fields before the Storm 1886 (also known as Storm Clouds Over the Ruhr Valley) was “Chevalier’s last known original landscape subject” 1 and it is an extraordinary example of his ability to capture atmosphere.
Chevalier was born in St Petersburg, Russia, to Louis Chevalier and his Russian-born wife. His father, originally from Switzerland, had relocated to Russia to manage the estate of Prince Wittgenstein, a key military leader, trusted confidant to the Tsar, and powerful aristocrat. In 1845, the family returned to Switzerland, where Chevalier’s artistic training began.
Over the following years, he studied painting in Lausanne before moving to Munich to train in architecture. During this period, he contributed to architectural plans for King Ludwig I’s palace at Berchtesgaden. In 1851 Chevalier settled in London, where he developed a successful practice in lithography and watercolour. He exhibited at the Royal Academy in 1852 and undertook several highprofile commissions, including book illustrations.
After spending time in Rome refining his skills in watercolour and drawing, Chevalier’s career took an unexpected turn. With his father’s wealth declining, Chevalier was sent to Australia to assist family affairs and join his brother Louis, who was working on the goldfields. Arriving in Melbourne in 1854, Chevalier initially intended his stay to be brief. However, the demand for his artistic talents particularly from the Melbourne Punch encouraged him to stay. The Punch was an influential illustrated periodical in colonial Australia, combining satire, political commentary, social observation and with that forming an essential record of Victorian social life. His decision to settle in Australia was further shaped by his marriage to Caroline Wilkie, herself an artist and the daughter of a close family friend.2
Alongside his artistic practice, Chevalier was actively engaged in Melbourne’s emerging art institutions and was instrumental in the formation of the Victorian Society of Fine Arts. In the mid-1860s Chevalier travelled extensively in New Zealand, producing a substantial body of work that was later shown internationally, including at the Paris Salon. After relocating permanently to London in 1870, Chevalier undertook royal commissions and continued to work across Europe.
Chevalier’s connection to Australia remained significant, most notably through his long service on the London Selection Committee for the Art Gallery of New South Wales. Declining health eventually curtailed his practice, and his final years were spent largely in Madeira.3
Tilling Fields before the Storm 1886, also known as Storm Clouds Over the Ruhr Valley, was painted in London and is thought to have been inspired by a scene on the Isle of Bute in Scotland, a destination frequently visited by the Chevalier family. Through extensive travel in remote parts of Victoria, Chevalier had become familiar with the visual language of approaching storms, a sensibility that clearly informs this work.4 In my opinion, the scene is more reminiscent of the Swiss and German Alps; however, the painting occupies a distinctive place within Chevalier’s practice for its emphasis on shifting atmosphere rather than a clearly defined topographical or narrative subject, and it is therefore not relevant to its impact which of the many countries he travelled to is being depicted here. The painting demonstrates Chevalier’s gift to express mood and movement, darkening clouds press in, while the vegetation in the foreground is moving in the wind.
The painting shows expressive handling of paint. Brushstrokes are largely subordinated to the illusion of natural movement rather than calling attention to themselves, particularly in the sky, where soft, layered passages of paint are built up through subtle tonal modulation. In contrast, the foreground vegetation and earth are rendered with firmer, more descriptive strokes. Here the brushwork becomes slightly more tactile, anchoring the composition. While storms were often used by 19th-century artists as metaphors for social or economic instability, the work may also reflect a more personal reflection, suggesting Chevalier’s increasing confrontation with his own fragility.
wiebke brix head of art
1. Gregg, S., Nicholas Chevalier: Australian Odyssey, Gippsland Art Gallery, Sale, 2011, p.248
2. Tipping, M. J., Chevalier, Nicholas (1828–1902)’, Australian Dictionary of Biography, National Centre of Biography, Australian National University, 1969, accessed online, adb.anu.edu.au/biography/ chevalier-nicholas-3200, 7 February 2026
3. www.artgallery.nsw.gov.au/collection/artists/chevalier-nicholas/
4. Gregg, Nicholas Chevalier: Australian Odyssey, Gippsland Art Gallery, Sale, 2011
16
NICHOLAS CHEVALIER (1828-1902)
Tilling Fields before the Storm 1886 (also known as Storm Clouds Over the Ruhr Valley) oil on canvas
signed and dated lower right: Chevalier 1886. 66 x 88cm
provenance
Schweitzer Galleries, New York (stamp incised verso) Leonard Joel, Melbourne, 25 August 1993, lot 261 (as “Tilling the Field Before the Storm”) Private collection, Melbourne
literature
Gregg, S., Nicholas Chevalier: Australian Odyssey, Gippsland Art Gallery, Victoria, 2011, p. 248
related work
Nicholas Chevalier, Approaching Storm c.1884-6, oil on canvas, 62 x 91cm, Sotheby’s, Sydney, 25 August 2002, lot 245
$50,000-70,000
17
GARRY SHEAD (born 1942)
Portrait of Jacqueline McKenzie 1996 oil on board
signed and dated lower right: Garry Shead 96 artist’s name and title inscribed verso 152 x 121cm
provenance
Shapiro Auctioneers, Sydney, 19 November 2008, lot 43
Private collection, Adelaide
exhibitions
Archibald Prize 1996, Art Gallery of New South Wales, 9 March - 28 April 1996
On loan for the Doug Moran National Portrait Prize Competition, 20 September - 9 October 1996, National Gallery of Victoria, Melbourne (labels verso)
literature
Grishin, S., Garry Shead and The Erotic Muse, Craftsman House, Sydney, 2001, pp. 158 (illus.)
The work is accompanied by hand signed copy of this publication.
other notes
In 1996 Garry Shead’s portrait of actress Jacqui McKenzie was short listed for the Archibald prize marking a high point in Shead’s career. The work was unusual within Shead’s practice. He typically portrayed friends he had known for many years, often literary figures with whom he shared close intellectual and creative ties. McKenzie, by contrast, entered his orbit through performance. Shead had seen her on stage as Ophelia and later as Saint Joan, and was struck by her emotional intensity and expressive range. That theatrical power animates the portrait, underscoring his responsiveness to her presence as a performer rather than as a long-standing personal associate.
$15,000-20,000
18
HENRI-EDMOND CROSS (French, 1856-1910)
The Bay of Saint-Tropez oil on panel artist’s monogram stamp lower left (concealed) 14 x 23.5cm
provenance
Galerie des Chevau-Légers, Estampes et Tableaux Modernes, Versailles, June 9 1974, lot 349 Georges Blache, Auctioneer, Versailles, 30 November 1980, lot 47
The Collection of Dr. Christine Rothauser, South Australia
other notes
The artist’s monogram stamp referred to in the 1980 Georges Blache catalogue is presumably that recorded by Frits Lugt (Les Marques de Collections de Dessins & d’Estampes, Supplément (1956)), as L.1305a
$50,000-70,000
19
twice lower
provenance
Private collection, Adelaide
$8,000-12,000
signed and dated lower right: HANS HEYSEN.01. 41
provenance
Private collection, Melbourne
Thence by descent
$15,000-20,000
Executed in 1936, Faune dévoilant une Femme is an accomplished example from La Suite Vollard, the celebrated suite of one hundred etchings and drypoints produced by Pablo Picasso (1881-1973) between 1930 and 1937. Commissioned by the Parisian dealer Ambroise Vollard, the series was developed gradually over several years, allowing Picasso considerable freedom to explore recurring subjects rather than a fixed narrative. The resulting body of work is unified by mood and motif and is widely regarded as one of the most significant achievements of twentieth century printmaking.
Mythological imagery plays a central role throughout La Suite Vollard. Picasso repeatedly returned to classical figures such as fauns, satyrs, and most prominently, the Minotaur, using them as expressive devices through which to examine desire, instinct, and vulnerability. In Faune dévoilant une Femme, the Minotaur operates within this established symbolic framework, shaping the scene as a psychological encounter rather than a literal mythological narrative, characteristic of Picasso’s approach during this period.
The composition centres on an intimate moment. The Minotaur draws back a veil to disclose the female figure, establishing a quiet but charged dynamic, structured around looking and exposure. The space is compressed and inward, with little detail to distract from the interaction between the two figures. Light is carefully controlled, with the woman’s body emerging from shadow through subtle tonal variation, lending the figure both presence and stillness. The mood is restrained and contemplative, underscoring the interior tension of the scene.
The emphasis on looking, desire, and embodiment is tightly bound to Picasso’s personal relationships during the period in which La Suite Vollard was produced. By the mid-1930s, his marriage to the ballet dancer, Olga Khokhlova had deteriorated, while his relationship with his lover and model Marie-Thérèse Walter increasingly shaped both his private life and imagery. Marie-Thérèse’s distinctive physical presence, her softness, fullness, and curvilinear form recur throughout the suite and inform Picasso’s treatment of the female body with heightened sensuality and sculptural weight. At the time this etching was produced, Marie-Thérèse had given birth to their daughter, Maya, an event often understood as marking a subtle shift in the emotional dynamics of Picasso’s relationships. While the suite resists literal autobiographical interpretation, lived experience is absorbed into symbolic form, lending the imagery its lyricism and ambiguity.
Faune dévoilant une Femme exemplifies Picasso’s mastery of etching. Line is deployed with restraint and precision, contributing to the work’s compositional clarity. The balance between the Minotaur’s animated presence and the woman’s composed stillness creates a measured tension that animates the scene without overwhelming it. This discipline is a hallmark of the finest plates within La Suite Vollard, where technical control underpins expressive authority.
La Suite Vollard stands as a testament to Picasso’s sustained engagement with printmaking and to Vollard’s role as a facilitator of artistic innovation. Faune dévoilant une Femme encapsulates many of the suite’s defining points, including mythology as a framework for modern experience, light as an instrument of revelation and the complex relationship between observer and observed. Poised between antiquity and modernity, intimacy and symbolism, the work offers a distilled expression of Picasso’s artistic and psychological preoccupations at a critical moment in his career.
hannah rYan
senior art specialist, manager of specialtY auctions
21
PABLO PICASSO (Spanish/French, 1881-1973)
Faune dévoilant une femme, from La Suite Vollard 1936 etching with aquatint on Montval laid paper, from the edition of 50 with wide margins (there were also 260 with smaller margins)
published by A. Vollard, Paris 1939
signed in pencil lower right: Picasso
31.4 x 41.6cm (plate)
provenance
Park West Gallery, America
Private collection, New South Wales
literature
Bloch 230; Baer 609
$65,000-75,000
(LE CORBUSIER) (Swiss-French, 1887-1965)
(A Man Leading a Horse) oil on plywood panel signed and dated centre left: L-C / 42 / 43
32 x 22.5cm
provenance
Georges Blache, Auctioneer, Versailles, 30 November 1980, lot 55
The Collection of Dr Christine Rothauser, South Australia
$20,000-30,000
23
JOHN OLSEN (1928-2023)
Pelican and Frog 1980
watercolour and ink on paper
signed and dated lower right: John Olsen 80 89 x 63cm
provenance
Leonard Joel, Melbourne, 7 July 1982, lot 93 Private collection, Melbourne
$14,000-18,000
24
ROBERT DICKERSON (1924-2015) Girl in Chemise oil on canvas
signed lower right: DICKERSON
title inscribed verso
59.5 x 59.5cm
provenance
Philip Bacon Galleries, Brisbane
Private collection, Melbourne
Thence by descent
$20,000-30,000
25
JOHN BRACK (1920-1999)
Nude on Black Chair 1985 watercolour, pastel and crayon on paper signed and dated lower left: John Brack/ 1985 artist’s name and title on gallery label verso 74 x 50.5cm
provenance
Rex Irwin Art Dealer, Sydney (label verso) Private collection, Adelaide
exhibitions (Possibly) Works on Paper, Rex Irwin Art Dealer, Sydney, 23 March - 8 April 1993
literature
Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1992, vol. II, p.297
related work
John Brack, Nude with Purple Rug 1985, watercolour, pastel and crayon on paper, 75 x 80.5cm, Deutscher and Hackett, Sydney, 30 August 2017, lot 26
$20,000-30,000
26
GARRY SHEAD (born 1942)
D.H. Lawrence and Frieda 1990 oil on board signed and dated lower right: Shead 90 artist’s name, title and date on gallery label verso 22 x 29.5cm
provenance
The Collection of Eva Breuer, Sydney (stamp verso) Thence by descent Private collection, Sydney
$14,000-18,000
27
JOHN OLSEN (1928-2023)
Landscape with Lake Rydal 2001
watercolour, pastel and synthetic polymer paint on paper
signed, dated and titled lower left: John Olsen/ Landscape/ with Lake-Rydal/ 2001 84 x 95cm
provenance
The Artist
Private collection, Melbourne
Thence by descent
literature
D. Hart, John Olsen, Craftsman House, 1991, P. 137 (Related work)
other notes
John Olsen's Landscape with Lake Rydal 2001 is an exceptional example of his body of works devoted to the sensory experiences and metaphysical presence of the Australian landscape. Executed in watercolour and mixed media, the work radiates with Olsen's signature interplay of expressive line, colour, and the visceral rhythms of nature. Across his seventy-plus year career, Olsen generated a visual language that uniquely captured the Australian landscape.
In Landscape with Lake-Rydal, the vast ochres and golds evoke the wide-open plains surrounding Rydal in rural New South Wales, while the painterly
arabesques and flecks of pigment suggest a landscape in flux, rippling with life and inscribed with memory. Reminiscent of Olsen's famous aerial landscapes of Lake Eyre the viewer is invited not merely to see, but to feel the terrain. His landscapes have often been read as environments to wander through rather than vistas to admire.
related work
John Olsen, Landscape with Blackboys, Broome 1999, watercolour on paper, 79 x 90cm, Deutscher and Hackett, Melbourne, 3 May 2023, lot 37 $50,000-70,000
28
HANS HEYSEN (1877-1968)
The Arkaba Range 1929 watercolour on paper signed and dated lower right: Hans Heysen./ 1929. title inscribed verso 28 x 40cm
provenance
Leonard Joel, Melbourne, 20 August 1991, lot 272 Private collection, Melbourne
$10,000-15,000
29
ALISON REHFISCH (1900-1975)
Flowers with Ranunculus c.1950 oil on canvas signed lower right: Rehfisch
artist’s name, title and date on gallery label verso 49.5 x 39.5cm
provenance
Eva Breuer Art Dealer, Sydney (label verso) Private collection, Darwin Private collection, Melbourne
$6,000-8,000
30
RUPERT BUNNY (1864-1947)
Portrait of Mme B c.1903 oil on canvas
signed lower left: Rupert C W Bunny. partial unknown label on stretcher bar verso (illeg.)
79.5 x 63.5cm
provenance
The F. Behan Collection, Melbourne
Joel Fine Art, Melbourne, 30 October 2007, lot 35A Private collection, Western Australia
exhibitions
Exposition de Monsieur Rupert C.W Bunny, Galerie Silberberg, Paris, 6 - 26 May 1903, cat. no. 5
Salon d’Automne, Paris, 31 October - 6 December 1903, cat. no. 102
Exposition Rupert Bunny, Henry Graves and Co Ltd, Paris, 3 - 18 March 1905, cat. no. 2 (as “La Femme à l’Écharpe Bleue”)
literature
Studio, London, vol. XXIX, August 1903, p. 218
Bouyer, R., Expositions et Concours - Rupert Bunny, Le Bulletin de l’Art Ancien et Moderne, Paris, no. 251, 11 March 1905, p. 77
Gérard-Austin, A., The Greatest Voyage: Australian Painters in the Paris Salons, 1885-1939, doctoral thesis, Universite Paris 1 - Pantheon-Sorbonne, March 2014, vol. 2, pp. 16, 79, 123 (illus.)
Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonné in Two Volumes, Thames & Hudson, Melbourne, 2017, vol. 1, p. 117 (illus.), vol. 2, p. 33, cat. no. O199
$70,000-90,000
31
RUPERT BUNNY (1864-1947)
(Portrait) c.1936
oil on canvas on board signed with monogram lower right 43 x 31.5cm
provenance
Gift of the Artist
The Collection of George Weiss
Thence by descent
other notes
This portrait was gifted by the artist to George Weiss; thence by descent to his daughter, Margaret Phillips (née Weiss). Painted c.1936 in the artist’s studio above a shop owned by the family on the corner of Toorak Road and Darling Street, South Yarra. Believed to be one of two portraits executed at the same sitting, the companion work reportedly depicting a variation in facial expression and thought to have been sold by the artist, possibly to a buyer in Western Australia. The present work has remained in the family’s possession since its creation and has never been offered for sale or publicly exhibited.
$10,000-15,000
32
AGNES GOODSIR (1864-1939)
Notre Dame, Paris oil on canvas laid on board
artist’s name and title inscribed on unknown labels verso 23 x 30.5cm
provenance
Private collection, Victoria
Thence by descent
$4,000-8,000
1 . Jenna Price “Australia's top 12 bestselling women artists – and their biggest sales” Sydney Morning Herald 13 November 2020 Australia's top 12 bestselling women artists – and their biggest sales viewed February 2026
2. Commentaries on Carrick’s life during World War One may be found in Deborah Hart “Ethel Carrick’s life and art” pp 90-94, Juliette Peers “Friend, Mentor, Inspiration: Carrick’s impact on Australian Women” pp226-237
in Deborah Hart ed. Ethel Carrick Canberra: National Gallery of Australia. Juliette Peers
Ethel Stephens in Sheila Foundation Into the Light donations 2021 Into the Light: Donor Circle Acquisitions: 2021 – Sheila Foundation
3. Quoted in Catherine Speck “Sorrow and service: Carrick Across the two world wars” in Hart ed p 219
Ethel Carrick Fox holds the record for a historic woman artist from settler/European culture in the Australian art auction market, only surpassed by the incomparable Emily Kame Kngwarreye (who has achieved the highest price of any Australian woman artist at auction). Since the expansion of the Australian secondary art market from the 1970s and the slow but steady growth of interest in women artists across the same five decades, individual works by Carrick have consistently attracted attention, yet it was not until 2024-2025 when the NGA presented a transformative career-spanning survey curated by Deborah Hart that the full complexity, richness and coherency of Carrick’s diverse oeuvre could be understood. Works were assembled from a multitude of public and private collections across the country and the impact of her long career, and her wide travels became evident.
In the light of this new understanding of Carrick’s life and work, the singular importance of her c 1918-1919 view of the Place de la Concorde is now revealed. The picture unites Carrick’s personal history of loss and bereavement following the relatively sudden death of her husband in 1915, which came as a shock to friends and family with the larger story of the hardships and privations of civilian life in wartorn France. After organising a major memorial exhibition of her husband’s work in Melbourne, Carrick left Australia. Firstly, she spent some time in Britain with a sister who would later lose two sons on the Western Front. At this date Carrick deeply mourned her husband and began her lifelong campaign to promote his art.
Then Carrick moved to Paris, vastly changed from the gracious city of fashion and culture she had left in 1913. Streets and parks of Paris and observing the leisured and wealthy had featured strongly in her pre-war subject matter. Now Parisians faced chronic shortages of fuel and food, coldness and hunger. Carrick replaced her flower garden with potatoes, peas and beans as essential supplies. She undertook volunteer welfare work and fundraised to provide for women and children, who were displaced and bereaved. Comfort and support of Allied prisoners of war also engaged her energies. Through friends in Australia in both Sydney and Melbourne, including Mrs Herbert Brookes and Ethel Stephens, she sent requests back to Australia for help, goods and funds, for various urgent charities organised out of France. She provided works for Violet Teague’s war time fundraising exhibitions in Melbourne and promoted the Allied cause in Australian newspapers, a living witness to the sufferings of the French people.
In early 1917 Carrick wrote to Ivy Brookes stating that she had not painted since returning Paris, possibly the combination of personal and public griefs was overwhelming. Yet certainly by 1919 she was again producing work. The war’s end was marked by a scene of the statue of Strasbourg bedecked with the French tricolour, celebrating the return of the city to French governance. A light and sun-filled scene of the Place de La Concorde is assumed to represent the upswing of joy and hope at the end of the war. These remarkable scenes of Paris after the armistice are held in private collections and less known to the public than her prewar images.
Amongst these Parisian street scenes, some images with a more sombre gloomy and claustrophobic light, often a slightly yellow smoke-stained fog, would appear to date from before the war’s end. A street scene with autumn leaves and a solitary French soldier, immediately recognisable in his horizon blue uniform, suggests September October in either 1917 or 1918 before the war’s end. The sober, even melancholy, mood suggests immersion in a war that in 1917 still remained in a stalemate. Likewise, this view of the Place de la Concorde, whilst directly linked to this series of Parisian views, does not suggest the celebration of peace and newly restored territories, but a city under the privations of active defence mobilisation with the range of artillery parked in what in peacetime was a grand plaza in the heart of the city. At least one figure in uniform is clearly recognisable.
This work demonstrates Carrick’s love of painting public spaces and public life though broad and rapid brushstrokes. Her brief and economical style equally offers details of form and colour which also capture specific mood and action within the given scene. Carrick is rightly famed for her buoyant, lively scenes of parks and markets, of people relaxed and at play. In presenting a vastly different moment of Parisian life, Carrick shows a depth and empathy, as well as a sense of the historical moment that is unfamiliar. This sense of intentionally recording a historic moment also appears in her writings on her experience in Paris during the war.
Whilst this work has traded previously as a scene of Paris by her husband from c 1890, the profiles of the vehicles and the massed artillery indicate that the painting dates from after Fox’s last recorded residence in Paris in 1913. The palette and handling tie in perfectly with the remarkable series of wartime and postwar scenes of Paris produced by Carrick.
dr Juliette peers
Dr Juliette Peers is a leading scholar of Australian women artists, with extensive research and publications spanning the period from the 1880s to the 1960s. She taught design history at RMIT University from 1994 to 2019 and has curated projects with public galleries across Australia, Europe, Britain and North America, including roles at the National Gallery of Victoria and McClelland Gallery. An associate curator at Gippsland Art Gallery, she serves on the editorial advisory board of Artlink magazine and has an ongoing collaboration with the Sheila Foundation. Her recent publications include essays for Lesley Dumbrell: Thrum (AGNSW, 2024), Ethel Carrick (NGA, 2024–25), Turner and Australia (Gippsland Art Gallery, 2025), and Keeping Things Together: 50 Years of the Women’s Art Register (2025).
ETHEL CARRICK FOX (1872-1952)
(Place de la Concorde, Paris) c.1918-1919 oil on panel signed twice indecipherably lower right 26 x 33.5cm
provenance
The Collection of John A. Hogan, Melbourne (label verso)
Christie’s, Melbourne, 22 August 2000, lot 94 (as “Emanuel Phillips Fox, Place De La Concorde”) Private collection, Western Australia
exhibitions Spring Exhibition, Kozminsky Galleries, Melbourne, 2000, cat. no. 12 (label verso)
related work
Ethel Carrick Fox, Place de la Concorde c.1918-19, oil on canvas on masonite, private collection and illustrated in Hart, Dr D., (eds), Ethel Carrick 1872-1952, National Gallery Australia, 2024, cat. no. 49, p. 92 (illus.)
Ethel Carrick Fox, The Statue of Strasbourg, Place de la Concorde, Paris 1918, oil on wood panel, private collection and illustrated in Hart, Dr D., (eds), Ethel Carrick 1872-1952, National Gallery Australia, 2024, cat. no. 125, p. 217 (illus.)
$30,000-40,000
35
HANS HEYSEN (1877-1968)
34
RUPERT BUNNY (1864-1947)
Brignogan c.1899
oil on canvas
50 x 73.5cm
provenance
Gift of the Artist
The Collection of the Mackinnon Family
Thence by descent
literature
Thomas, D., The Life and Art of Rupert Bunny, A Catalogue Raisonné in Two Volumes, Thames & Hudson, Melbourne, 2017, vol. II, p. 26, cat. no. O120
other notes
Rupert Bunny enjoyed the patronage of the Mackinnon family following the marriage of his sister Hilda Eleanor Mary (1867-1942) to Donald Mackinnon (1859-1932) in 1891
$8,000-12,000
French Landscape 1901 oil on canvas
signed and dated lower left: Hans Heysen/ 1901 64 x 90cm
provenance
Private collection, Melbourne
Leonard Joel, Melbourne, 31 March 1982, lot 866
Private collection, Melbourne
$25,000-35,000
36
JAMES R. JACKSON (1882-1975)
Autumn, Sydney Harbour From Neutral Bay oil on board
signed lower left: JAMES R JACKSON
title inscribed on gallery label verso
44 x 59.5cm
provenance
Copperfield Gallery, Mosman (label verso)
Private collection, Melbourne
$4,000-6,000
Running the Gauntlet - Charleville to Roma Run, Western Queensland (from the Cobb & Co series) oil on canvas signed with thumbprint lower right: SAWREY titled verso 117.5 x 148cm
provenance
Private collection, Adelaide $28,000-38,000
38
CLIFTON PUGH (1924-1990)
Rites of Spring 1977 oil on board
signed and dated lower right: Clifton/ 77 titled lower center: RITES OF SPRING 182 x 136cm
provenance
Australian Galleries, Melbourne, acquired 1983 Private collection, Melbourne Thence by descent
literature
Morrison, S., After Fire: A Biography of Clifton Pugh, Hardie Grant Books, Melbourne, 2009, page 379 (illus.) (Related work)
Allen, T., Clifton Pugh: Patterns of a Lifetime, Hutchinson, Melbourne, 1982, page 85 (illus.) (Related work)
related work
Clifton Pugh, The Muse and Ourselves 1956, oil on canvas, in the collection of the John Curtin School of Medical Research Australian National University, South Australia
Clifton Pugh, Rites of Spring 1971, colour etching, edition unknown, 50 × 32cm, in the Dunmoochin Art Collection, La Trobe University, Melbourne
other notes
Rites of Spring is a major painting within Clifton Pugh’s output, notable for the scale and quality of its execution. The composition is structured around an enclosing, egg-like form, a recurring theme in Pugh’s work, which creates a contained yet highly charged pictorial space. The intertwined figures of the bull and cow form a dense, interlocking structure of line and colour, giving the work both physical weight and emotional intensity.
Pugh’s handling of surface is particularly striking. Layered textures, earthy tonalities and assertive contour lines produce a tactile quality that reinforces the work’s connection to landscape and to lived personal experience. The painting reflects his ongoing engagement with themes of vitality, conflict and generative force in nature, approached with a distinctly Australian sensibility.
A 1971 colour etching of the same title, which predates the painting, appears to have served as an important study. The print establishes the core compositional structure and thematic direction later realised on a more expansive and painterly scale. The enclosing oval form also connects this work to earlier composition The Muse and Ourselves 1956 a depiction of Pugh’s wife and children, demonstrating Pugh’s sustained exploration of intimacy, tension and the powerful forces that shape both personal and natural worlds.
$20,000-30,000
39
HUGH SAWREY (1923-1999)
Running the Station Horses, Western Queensland oil on canvas
signed with thumbprint lower right: SAWREY title inscribed on frame plaque and verso
81.5 x 120cm
provenance
Private collection, Adelaide
$15,000-20,000
40
RAY CROOKE (1922-2015)
(View from the Window) oil on board
signed lower left: R Crooke
45 x 60.5cm
provenance
Private collection, Sydney
Menzies, Melbourne, 23 March 2016, lot 102
Private collection, Queensland
$8,000-12,000
41
MICHAEL JOHNSON (born 1938)
Rondo 1992-1993 oil on canvas signed, titled and dated on stretcher bar verso: “RONDO” Michael Johnson 1992-3 213.5 x 151.5cm
provenance
Sherman Galleries, Sydney Private collection, Sydney $25,000-35,000
42 JOHN COBURN (1925-2006)
Untitled gouache on paper signed lower right: Coburn 26 x 32cm (reveal)
provenance
Private collection, Queensland
$4,000-5,000
43
TIM STORRIER (born 1949)
Zam Zung
synthetic polymer paint on canvas artist’s stamp lower center: Tim Storrier inscribed verso with artist’s name and title
152.5 x 122cm
provenance
Holdsworth Galleries, Sydney
Private collection, New South Wales
Sotheby’s, Sydney, 21 March 2005, lot 180
Private collection, Adelaide
exhibitions (Possibly) Group Show, Holdsworth Galleries, Sydney, 1969
$12,000-18,000
44
SAM LEACH (born 1973)
Target Prepping oil and resin on wood 35 x 27cm
provenance
Sullivan+Strumpf, Melbourne, acquired 2012
Private collection, Melbourne
$5,000-7,000
45
PETER NEILSON (born 1944)
Tell Them ‘No’, Not Anymore 2004
oil on linen
signed and dated lower right: NEILSON/ 2004 artist’s name, title and date on gallery label verso 75 x 150cm
provenance
Australian Galleries, Melbourne (label verso) Private collection, Queensland
$6,000-8,000
46
MILTON RESNICK (American, 1917-2004)
Roswell #13 1971 oil on canvas
signed, titled and dated verso: M. Resnick/ ROSWELL *13/ 1971
203.5 x 172cm
provenance
The Estate of Max Hutchinson, Melbourne Thence by descent
exhibitions
The Cherelle Hutchinson Collection, Charles Nodrum Gallery, Melbourne, 24 July -13 August 2014, cat. no.4
other notes
Milton Resnick completed a residency in Roswell, New Mexico in 1971 and held an exhibition of works at the Roswell Museum and Art Centre, from which Roswell #8 was purchased for the collection. He exhibited in two group exhibitions at Gallery A in Sydney; ‘4 Artists from New York’, in August 1973 and ‘6 from New York’ in September 1973
$30,000-40,000
47
DAVID KEELING (born 1951)
Study for Cunning Fox 1999 pastel on paper
signed and dated lower right: D.Keeling ‘99. artist’s name, title and date on gallery label verso 74 x 94cm
provenance
Niagara Galleries, Melbourne (label verso), acquired in 2003
Private collection, Victoria
$4,000-6,000
48
PAUL BOSTON (born 1952)
Coming and Going 1986 pastel on paper
signed, titled and dated verso (concealed) 108 x 75cm (sheet)
provenance
Niagara Galleries, Melbourne (stamp verso), acquired 1996
The Collection of Richard Frolich, Adelaide
$2,000-2,500
49
HOWARD ARKLEY (1951-1999)
(Red & Yellow Flower Panel) 1998
synthetic polymer paint on canvas
signed and dated verso: Howard Arkley. 98. 41 x 41cm
provenance
The Artist’s Estate
Kalli Rolfe Contemporary, Melbourne
Private collection, Melbourne
Deutscher and Hackett, Melbourne, 27 August 2008, lot 83 (set of three)
Private collection, Melbourne
Art Index, Sydney
Private collection, Queensland
literature
Gregory, J., Carnival in Suburbia, The Art of Howard Arkley, Cambridge University Press, Melbourne, 2006, p. 78 (illus. related works)
$6,000-8,000
50
RHYS LEE (born 1975)
Untitled 2007
enamel and acrylic on canvas
signed and dated verso: Rhys Lee 2007
152.5 x 122cm
provenance
Leonard Joel, Melbourne, 25 March 2012, lot 192
Private collection, Melbourne
$5,000-7,000
51 VERA MÖLLER (born 1955)
Thesaura 2012 oil on linen
signed, titled and dated verso: thesaura/ 2012/ Vera Möller
137 x 107cm
provenance
Private collection, Melbourne
$4,000-6,000
52 § EUAN MACLEOD (born 1956)
Grey Boxer 2013 oil on board signed, titled and dated verso: GREY BOXER/ EUAN MACLEOD/ 2013
51 x 38cm
provenance
Niagara Galleries, Melbourne (label verso) Private collection, Queensland
exhibitions Euan Macleod, Colossus, Niagara Galleries, Melbourne, 2013, cat. no. 15
$4,000-6,000
53
HAROLD SEPTIMUS POWER (1878-1951)
(Draught Horses at Rest)
watercolour on paper
signed lower right: H.S Power
41 x 55cm
provenance
Private collection, Adelaide
$4,000-5,000
54
MAX MIDDLETON (1922-2013) (Mountain Landscape) oil on canvas
signed lower left: MAX MIDDLETON 97 x 141cm
provenance
Private collection, Adelaide
$5,000-7,000
55 JAN HENDRIK SCHELTEMA (1861-1941)
(Cattle by the River Bank)
oil on canvas
signed lower left: J.H. Scheltema
40.5 x 55cm
provenance
Private collection, Melbourne
$5,000-7,000
56 CATHLEEN ELIZABETH EDKINS (1922-2008) (Draught Horses)
oil on canvas
signed lower left: C.E. Edkins
95 x 131cm
provenance
Private collection, Adelaide
other notes
Beginning her studies underneath Harold Septimus Power, Cathleen Edkins is often described as one of Australia’s most outstanding realist painters for her interpretation of cattle and draught horses. Edkins practiced the plein air technique, sometimes using multiple locations for her paintings. Once she had decided on a particular scene, she would travel the region and paint from different scenic components that were best suited.
$14,000-18,000
58
MIRKA MORA (1928-2018)
57
MIRKA MORA (1928-2018)
Untitled 1970 oil on canvas
signed and dated left edge: MiRKA/ 70
75 x 59.5cm
provenance
Private collection, Melbourne
Thence by descent
$15,000-25,000
Teddy Bear Series 1989 gouache on paper signed and dated right edge: MiRKA. 89. artist’s name, title and date inscribed verso
39.5 x 29.5cm (reveal)
provenance
William Mora Galleries, Melbourne (stamp verso)
The Collection of Nellie and Ron Castan, Melbourne
Private collection, Melbourne
$3,000-5,000
59
JUDY CASSAB (1920-2015)
St. Paul’s Cathedral, Paris 1991 oil on linen
signed and dated lower right: Cassab 91
title inscribed verso 127 x 98cm
provenance
Private collection, Melbourne
$3,000-5,000
60
DORA L. WILSON (1883-1946)
Scots’ Church, Melbourne oil on canvas laid on board
signed lower right: -DORA L WILSON44 x 44cm
provenance
Leonard Joel, Melbourne, 23 May 1979, lot 312
Private collection, Melbourne
other notes
Scots’ Church is a historic church located in Melbourne. It is a Reformed Protestant church and the first Presbyterian church built in the Port Phillip District.
$4,000-6,000
61
ELLIS ROWAN (1848-1922)
(Still Life, Blossom)
watercolour and gouache on paper
signed lower left: Ellis Rowan
52 x 72.5cm (reveal)
provenance
Private collection, Melbourne
$4,000-6,000
62
FLORENCE JANE HAYWARD (1859-1949)
(Farm Cottage) oil on canvas on board
signed lower right: F. Hayward
14 x 38cm
provenance
Private collection, Melbourne
Thence by descent
$3,000-4,000
63
ERNEST BUCKMASTER (1897-1968)
Landscape oil on canvasboard
signed lower left: EBuckmaster
82 x 113cm
provenance
Private collection, Melbourne
$5,000-7,000
64
ROBERT JOHNSON (1890-1964)
Above Pittwater oil on canvas
signed lower left: Robert Johnson
55 x 65cm
provenance
Leonard Joel, Melbourne, 3 June 1991
Private collection, Melbourne
$3,000-5,000
65
DAVID LARWILL (1956-2011)
Picnic 1992
gouache on paper
signed, titled and dated below image: “Picnic” 1992
David Larwill.
45 x 68cm
provenance
Private collection, Melbourne
$4,000-6,000
66 JOHN OLSEN (1928-2023) (Wetlands and Birds) c.1970
watercolour, pastel and gouache on paper
38.5 x 44.5cm
provenance
Private collection, Sydney
Lawsons, Sydney, 16 May 2024, lot 515
Private collection, Melbourne
$4,000-6,000
67
TIM STORRIER (born 1949)
Sunset Evening Line
synthetic polymer paint and rope on board signed and titled lower right: Sunset (evening line)/ Storrier
40 x 50cm
provenance
Sotheby’s, Melbourne, 26 November 2002, lot 32
Private collection, Melbourne
$20,000-25,000
68
§ RICK AMOR (born 1948)
Study for Morning in the Outlying Districts 2003 charcoal on paper
signed and dated lower left: R. AMOR 3/1/03
54 x 60.5cm
provenance
Liverpool Street Gallery, Sydney (label verso)
Niagara Galleries, Melbourne (label verso)
Private collection, Sydney
Menzies, Sydney, 27 June 2013, lot 6
Private collection, Queensland
exhibitions
Rick Amor, Liverpool Street Gallery, Sydney, 9 July - 4 August 2005
$4,000-6,000
69
CLIFTON PUGH (1924-1990)
(Birds in Flight) 1980 oil on canvas
signed and dated lower right: Clifton/ 26-8-80
62 x 90cm
provenance
Private collection, Melbourne
Thence by descent
$8,000-12,000
provenance
Corporate collection, Melbourne
$5,000-7,000
71
DAVID LARWILL (1956-2011) Higa - Hut 1992 gouache on paper signed, titled and dated below image: “Higa - Hut” 1992 David Larwill. 44 x 68cm
provenance
Private collection, Melbourne
$4,000-6,000
72
JORDY KERWICK (born 1982)
Stay off the Googs 2018 synthetic polymer paint on canvas signed, titled and dated verso: STAY OFF THE GOOGS/ JORDY/ 2018
60 x 50cm
provenance
The Artist
Private collection, Melbourne
$8,000-12,000
73
JOHN PERCEVAL (1923-2000)
(Portrait of a Man)
oil on canvas laid on board signed lower right: Perceval
67 x 56cm
provenance
Private collection, Melbourne
$8,000-10,000
74
NOEL COUNIHAN (1913-1986)
Chantal from the Rue Quincampoix bronze
71 x 30 x 18cm
provenance
Private collection, Melbourne
Thence by descent
literature
McKenzie, J., Biography Noel Counihan, Kangaroo Press, 1986, p.30
related work
Noel Counihan, Chantal from the Rue Quincampoix 1975, terracotta, 70 x 33 x 21cm, private collection
In 1969 Noel Counihan worked in an artist’s complex in Paris. Not far from where he was living there were streets where sex workers were a common sight. Counihan’s view of sex workers he saw in Paris is described by Janet McKenzie in her biography of Noel Counihan as a “sympathetic” one, expressing a “deep respect for women and a compassion for the situations in which they are often placed in a male dominated society”. This bronze sculpture is a cast from a 1975 terracotta sculpture ‘Chantal from the Rue Quincampoix’. Counihan wrote that Chantal was “a working woman and the world had to take her as such”. In the work, Noel depicted Chantal as cooing in a Siren-like call for customers.
$7,000-10,000
75
NOEL COUNIHAN (1913-1986)
Mother with Children 1965 oil on board signed and dated lower left: Counihan ‘65 title inscribed verso 91 x 56cm
provenance
Avant Galleries, Melbourne
Private collection, Melbourne
Thence by descent
$5,000-7,000
76 JOHN PERCEVAL (1923-2000)
(Portrait of a Woman) felt tip pen on paper signed lower center: Perceval 67 x 41cm
provenance
(Possibly) Deutscher~Menzies, Sydney, 16 March 2005, lot 362 (as “Portrait of a Woman (Mary)”)
Private collection, Melbourne
$3,000-5,000
77
JOHN OLSEN (1928-2023)
Brolga Displaying 1973
watercolour and gouache on paper signed, titled and dated lower right: Brolga Displaying. John/ Olsen 73 36.5 x 59cm
provenance
Fellia Melas Gallery, Sydney Private collection, Sydney Private collection, Melbourne
$7,000-9,000
78
CHARLES BLACKMAN (1928-2018) (Schoolgirls) c.1950s charcoal on paper signed indecipherably lower right 51 x 59.5cm
provenance
The Collection of John Sim
The Estate of Maurine T. Edwards Davidson Auctions, Sydney, 21 July 2019, lot 8
Private collection, Adelaide
$6,000-8,000
79
ROBERT DICKERSON (1924-2015)
The Sophisticate pastel on paper
signed lower right: DICKERSON artist’s name, title and date on gallery label verso 37 x 28cm
provenance
Art Galleries Schubert, Queensland (label verso)
Private collection, Melbourne
$4,000-5,000
80 CHARLES BLACKMAN (1928-2018)
Angel 1957
charcoal on paper
initialled and dated lower right: CB. 57
titled on unknown label verso
23.5 x 20cm
provenance
Private collection, Melbourne
$4,000-6,000
81
RAMMEY RAMSEY (1935-2021)
(Language group: Gija)
Thalayiwan Country 2004
natural earth pigments on canvas
inscribed verso with artist’s name and Jirrawun Arts cat. no. RR 6-2004-29
150.5 x 180cm
provenance
Jirrawun Arts, Western Australia
William Mora Galleries, Melbourne (stamp verso)
Private collection, Melbourne
exhibitions
Rammey Ramsey - Deeper than Paint on Canvas, William Mora Galleries, Melbourne, 18 August11 September 2004
$10,000-15,000
82
RUSTY PETERS (c.1935-2020)
(Language group: Gija)
The Crocodile in Barrn Country 2003
ochres on linen
inscribed verso with artist’s name, title and Jirrawun Arts cat. no. RP62003-80
123 x 135cm
provenance
Jirrawun Arts, Western Australia
Grantpirrie Gallery, Sydney, acquired 2003
The Collection of Richard Frolich, Adelaide
$5,000-7,000
83
GARWIRRIN GUMANA (1935–2016)
(Language group: Yolngu)
Garraparra 2002
natural pigments on hollowed log
226 x 18 x 18cm; 226 x 40 x 40cm (including stand)
provenance
Raft Artspace, Darwin, acquired 2002
The Collection of Richard Frolich, Adelaide
$3,000-5,000
84 (detail previous page)
ELIZABETH NYUMI (1947-2019)
(Language group: Pintupi)
Parwalla 1998
synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 320/98
120 x 81cm
provenance
Warlayirti Artists, Balgo, Western Australia (accompanied by the certificate of authenticity) Palya Art, Northern Territory, acquired 1998 Private collection, Melbourne
other notes
“This painting depicts people living in a country rich in bush food. It is a record of different types of bush food and a traditional lifestyle connected with Elizabeth’s country. Circular figures containing U shapes depict people at camp sites. Linear shapes bounded by U shapes at each end depict Wanna (digging sticks) used in collecting food. Areas of complex dotting refer to different types of bush food, while a * shaped figure depicts Minyilli, a bush tomato which grows well in sand dune country.”
As stated on the Warlayirti Artists certificate of authenticity
$6,000-9,000
85
ROBIN KUNMANARA KANKAPANKATJA (1930-2012) (Language group: Yankunytjatjara/ Pitjantjatjara)
Untitled 2012
synthetic polymer paint on linen
inscribed verso with artist’s name and Kaltjiti Arts
cat. no. RKA 8237
122.5 x 153cm
provenance
Kaltjiti Arts, South Australia
Paul Johnstone Gallery, Darwin
The Collection of Richard Frolich, Adelaide
$6,000-8,000
86
BERYL JIMMY (1970-2022)
(Language group: Pitjantjatjara)
Nyangatja Watarru 2019 synthetic polymer on linen inscribed verso with artist’s name and Tjungy Palya cat. no. 19-238
168 x 200cm
provenance
Tjungy Palya, South Australia (accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
$3,000-5,000
87
TOMMY CARROLL (born 1956)
(Language group: Gija)
Gurlabal 2010 natural earth pigments on canvas
inscribed verso with artist’s name and Warmun Art Centre cat. no. WAC 164/10
120.5 x 180cm
provenance
Warmun Art Centre, Western Australia (accompanied by the certificate of authenticity) Private collection, Melbourne
other notes
“Tommy has painted his father’s country around Doon Doon in Western Australia. This place is about ninety kilometres north of Warmun and was traditionally owned by Tommy’s family. Tommy has depicted here a place on this country where the water snake - Gurlabal - entered the earth in the Ngarrangkarni [Dreaming]. The strong sinuous forms in the centre of the canvas are the hills surrounding two caves where the snake emerged from and returned to the ground.”
As stated on the Warmun Art certificate of authenticity
$6,000-8,000
88
NINGURA NAPURRULA GIBSON
(born c.1938-2013) (Language group: Pintupi)
Wirrulnga 2006
synthetic polymer paint on linen
120 x 180cm
provenance
Muk Muk Fine Art, Northern Territory (accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
$5,500-6,500
89
ALEC BAKER (born 1932)
(Language group: Yankunytajtjara)
Ngura - Country 2021
synthetic polymer paint on linen inscribed verso with artist’s name and Iwantja Arts cat. no. 796-21
122 x 198cm
provenance
Iwantja Arts, South Australia (accompanied by the certificate of authenticity)
Private collection, Melbourne
other notes
“I paint all the rocky hills and paint the Tjukurpa (ancestral story) of the woman near the rock holes, the women living nearby. I like to paint everything that makes that place. All the emu tracks coming and going across the country, That emu track is the story of that place. It is an important place, one of their sacred places.
I was born at Shirley Well on Officer Creek. My Father was working there. His English name was Moorilyanna George, given because Moorilyanna was his country. My father was very well known in the old days, He worked at all the Old stations - Moorilyanna, Ernabella, Shirley Well, Amaruna and right through to Oodnatta. My mother was born at Kunamata and yes, this area here, right around Indulknana was my father’s place. My father gave me this place to look after, I’ve got that responsibility now.
We know the country, know where all rock holes to look after and to live by. They are important places with water that keep us alive.”
As stated on the Iwantja Arts certificate of authenticity
$6,000-8,000
90
MITJILI NAPURRULA AND LONG TOM TJAPANANGKA (c.1945-2019); (c.1930-2006)
(Language group: Pintupi)
Untitled synthetic polymer paint and natural earth pigment on linen
inscribed verso with artists’ names and Ikuntji Artists cat. no. IK94MNLT185
140 x 153cm
provenance
Ikuntji Artists, Haasts Bluff, Northern Territory
The Collection of Nellie and Ron Castan, Melbourne Private collection, Melbourne
$5,000-7,000
91
LILY KARADADA (born c.1937)
(Language group: Woonambal)
Ngamarrga (Bark container)
natural earth pigments on stringybark, bush string, natural binder
artist’s name and cat. no. EAB 00/0012 inscribed on label attached
20 x 60 x 30cm
provenance
The Artist Framed Gallery, Darwin Private collection, Melbourne
$800-1,200
92
PEDRO WONAEAMIRRI (born 1974)
(Language group: Tiwi)
Pwoja Pukaumani Body Paint Design 2004 natural pigments on canvas artist’s name and Jilamara Arts and Crafts cat. no. 550-04
90 x 70cm
provenance
Jilamara Arts and Crafts, Melville Island, Northern Territory (stamp verso)
Private collection, Melbourne
other notes
“Traditional Tiwi Culture placed special significance on the Puykumani (funeral) ceremony. Mourners are decorated using natural ochres as a disguise themselves from the spirit of the deceased and song and dance is performed to honour the dead. Pwoja (bodypaint) is the source of many contemporary Tiwi designs and performance of the pukumani as ritual helps to reinvigorate the imagery.”
As stated of the Jilmara Arts and Crafts certificate of authenticity
$2,000-4,000
93
LONG JACK PHILLIPUS TJAKAMARRA (c.1932-2020) (Language group: Ngaliya/Walpiri ) Water Dreaming
synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. LJ0311261
91 x 91cm
provenance
Papunya Tula Artist, Alice Springs Birrung Gallery, Sydney
Deutscher and Hackett, Melbourne, 18 May 2011, lot 230
Private collection, Adelaide
$4,000-6,000
94
YIMULA MUNUNGURR (born 1974) (Language group: Yolng)
Djapu Larrakitj
ochre, fixative on hollowed wood
148 x 16 x 16cm; 148 x 40 x 40cm (including stand)
provenance
Raft Artspace, Darwin, acquired 2007
The Collection of Richard Frolich, Adelaide
$2,000-3,000
95
EUBENA NAMPITJIN (born c.1925-2013)
(Language group: Wangkajunga)
Kinyu 2006
synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 209/06
120 x 90cm
provenance
Warlayirti Artists, Balgo, Western Australia Bond Aboriginal Art, Adelaide Private collection, Adelaide
Leonard Joel, Melbourne, 25 October 2012, lot 56
Private collection, Adelaide
other notes
“This painting depicts designs associated with Kirritjinna, a rockhole site north of Jupiter Well in Western Australia. In mythological times a large group of Tingari Men camped at this site before travelling through Naru and Kiwirrkura to Wilkinkarra (Lake Mackay). The lines represent the sandhills in the area through which they travelled. During their travels the senior men were instructing the younger ones in the group. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari Cycle are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”
As stated on the Papunya Tula certificate of authenticity
$7,000-9,000
96
MARY NAPANGATI (born c.1955)
(Language group: Warlpiri/Pintupi)
Tjutalpi
synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. MN1910098
122 x 122cm
provenance
Papunya Tula Artists, Northern Territory (accompanied by the certificate of authenticity) Private collection, Victoria
$3,000-5,000
97
MARIE MUDGEDELL (c.1935-2002)
Purkitji 2004
synthetic polymer paint on glass
inscribed verso with artist’s name and Warlayirti Artists cat. no. 636/04
42 x 33cm
provenance
Warlayirti Artists, Balgo, Western Australia (accompanied by the certificate of authenticity)
Private collection, Melbourne
other notes
“Marie has depicted some country north of Balgo and near Purkitji (Sturt Creek). This glass piece tells the story of people collecting kirrang (bush honey) from the hollows of tree trunks. Once a suitable tree is found the trunk is chopped open to allow the honey to pour out.”
As stated on the Warlayirti Artists certificate of authenticity
$2,000-4,000
98
FRED TJAKAMARRA (1926-2006)
(Language group: Kukatja)
Lappi Lappi 2004
synthetic polymer paint on canvas inscribed verso with artist’s name and Warlayirti Aboriginal Artists Corporation cat. no. 345/04
120 x 80cm
provenance
Warlayirti Aboriginal Artists Corporation, Western Australia (accompanied by the certificate of authenticity)
Private collection, Melbourne
other notes
“Fred has painted some of his country which is south of Balgo, in the Great Sandy Desert. The country depicted here is known as Lappi Lappi and features a series of tjurrnu (soakwaters), between some of these tjurrnu are warran (claypans). The country is shown during the peak of the wet season with the rivers in full flood.”
As stated on the Warlayirti Artists certificate of authenticity
$3,000-5,000
99
MINNIE PWERLE (1922-2006)
(Language group: Alyawarre/Anmatyerre)
Alweye Atnwengerrp 2001
synthetic polymer paint on linen inscribed verso with Dacou Gallery cat. no. DG04443 and Flinders Lane Gallery cat. no. FG02053.MP
122.5 x 90.5cm
provenance
Dacou Gallery, South Australia
Flinders Lane Gallery, Melbourne (accompanied by the certificate of authenticity) Private collection, Melbourne
other notes
“Awelye - Atnwengerrp is depicted by a series of lines painted in varying widths and colours. These patterns represent the lines painted on the top half of women’s bodies during ceremonies in Minnie’s country of Atnwengerrp.
Minnie’s Dreamings consist of elements of ‘Bush Melon’ and ‘Bush Melon seed’. ‘Bush Melon’ is depicted using a linear design of curves, circles and breast designs in different colours creating a very loose and bold design while ‘Bush Melon Seed’ is big and small patches of colour strewn across the canvas.
Both of these Dreamings tell the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the Bush Melon is now very hard to find. Minnie and the other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it into pieces and skewer them onto a piece of wood and dry them to be eaten in the coming months when bush tucker was scarce.
These artistic symbols carry potent spiritual meanings. The physical creation of these dreamings is an important part of the continuation of an ancient and rich cultural heritage.”
As stated on the Flinders Lane Gallery certificate of authenticity
$4,000-6,000
100
NED GRANT (born 1941)
(Language group: Pitjantjatjara)
Papatatjara 2023
synthetic polymer paint on linen
inscribed verso with artist’s name and Spinifex Arts
Project cat. no. 23-349
137 x 199cm
provenance
Spinifex Arts Project, Western Australia (accompanied by the certificate of authenticity) Private collection, Melbourne
other notes
“Ned Grant follows the wata (tree roots) underground as they search for life-affirming water sources. He sees them intertwined in the fabric of the significant sites he paints, depicting them as metamorphic beings from creation or as life-saving water catchments in times of drought. This linking with flora permeates all of Ned’s work as he identifies with the spiritual connection the trees have always possessed across the lands and through eons. Here he brings the significant site of Papatatjara into view with nearby Pikakara and Milpiltjara. This country holds the Maku Tjuta Tjukurpa (Witchetty Grub Creation Line), followed as the Maku traverse these sites. These creation beings shape the landscape as they move through it, leaving behind not only the physical environment but the moral framework on which spiritual life can form. This mapped environment and the movement of the first beings is ritually performed with song as part of the oral transference of culture.”
As stated on the Spinifex Arts Project certificate of authenticity
$6,000-8,000
101
JULIE ROBINSON NANGALA (born 1974)
(Language group: Warlpiri)
Pirlinyanu 2008
synthetic polymer paint on linen
inscribed verso with artist’s name and Gallery Gondwana cat. no. 13303JR
168 x 244cm
provenance
Gallery Gondwana, Alice Springs (accompanied by the certificate of authenticity)
Private collection, Melbourne
other notes
“Julie depicts her Ngapa Jukurrpa (Water Dreaming), which is associated with her father’s traditional country of Pirlinyanu, a rocky outcrop in the Tanami Desert, west of Yuendum and towards the WA border.
This rocky country with its significant waterholes and plentiful bush tucker is one of many significant locations for the Water Dreaming because if you know which rocks to move you always have access to fresh water in the deep natural occurring wells of Pirlinyanu. Without this knowledge one could imagine there was no water in this desert landscape. Ownership of country is passed down from the father (patrilineal) and ritual knowledge is passed on from auntie to niece (father’s sisters). In this case it is those of the Nampijinpa and Nangala sub-section groups.
Using an aerial perspective along with a more recently established and distinctive monochromatic palette, Julie’s current paintings have become works of extraordinary optical brilliance as she alternates the size of dots throughout her work as well as building up specific shapes or reference points often by repeated overdotting.”
As stated on the Gallery Gondwana certificate of authenticity
$6,000-8,000
102
JOHNNY YUNGUT TJUPURRULA (c.1930-2016)
(Language group: Pintupi)
Tjangimanta 2010
synthetic polymer paint on linen
inscribed verso with artist’s name and Papunya Tula Artists cat. no. JY1008075
153 x 122cm
provenance
Papunya Tula Artists, South Australia (accompanied by a copy of the certificate of authenticity)
The Le Pley Collection, Western Australia
Private collection, Melbourne
other notes
“This painting depicts designs associated with the soakage water site of Tjangimanta, north-east of the Kiwirrkura Community. In ancestral times a large group of Tingari Men visited this site during their travels east to the rockhole site of Tarkul slightly north of Winparku (Mt Webb). The men later continued their travels north to Wilkinkarra (Lake Mackay). Since events associated with the Tingari Cycle are of a secret nature no further detail was given.
Generally, the Tingari are a group of ancestral beings of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari men were usually followed by Tingari women and were accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These ancestral stories from part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”
As stated on a copy of the Papunya Tula certificate of authenticity
$8,000-12,000
103
CARBIENE MCDONALD TJANGALA (born 1961) (Language group: Luritja/Pintupi)
Four Dreamings 2021
synthetic polymer paint on linen
inscribed verso with artist’s name and Papunya Tjupi Arts cat. no. 60-21
152 x 122cm
provenance
Papunya Tjupi Arts, Northern Territory (accompanied by the certificate of authenticity) Private collection, Melbourne
other notes
“In this work Carbiene depicts four dreaming stories which he inherited from his father. These tjukurrpa are associated with a series of waterholes running between Docker River and Kata Tjuta. Specifically, it includes four important sites: Petermann Ranges, Docker River, Kalaya Murrpu (Blood’s Range) and Mulyayti near Kata Tjuta.
As a young man, Carbiene returned to these places and retraced the footsteps of his father. These memories stay with him vividly today.”
As stated on the Papunya Tjupi Arts certificate of authenticity
$5,000-7,000
104
BAI BAI NAPANGARTI (born 1939) (Language group: Warlpiri)
Untitled 2003
synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 583/03
120 x 80cm
provenance
Warlayirti Artists, Western Australia
Private collection, New South Wales Lawson~Menzies, Sydney, 14 November 2007, lot 243 Private collection, Adelaide
$3,000-5,000
105
ROBIN MARRWURDUWURDU (LAMILAMI)
NGANJMIRRA (1951-1991)
(Language group: Kunwinjku)
Dancing Brolgas with Mimi Spirits 1984 natural ochre and pigments on bark
116 x 68cm
provenance
Created in the Oenpelli region, Northern Territory (label verso)
Corroboree/Kate Flynn: Australian Aboriginal Art & Artifacts, New York
Private collection, Perth, acquired from the above 1987
Private collection, Sydney
Thence by descent
$2,000-4,000
106
LORNA KANTILLA (born 1977)
Untitled 2008 natural earth pigments on linen inscribed verso with artist’s name and Ngaruwanajirri
Inc cat. no. 411-28
112.4 x 60.5cm
provenance
The Artist Ngaruwanajirri Inc, Northern Territory
Aboriginal and Pacific Arts, Sydney, acquired 2008
Private collection, Perth, acquired 2008
Private collection, Sydney
Thencey by descent
$3,000-5,000
107
KANYA TJAPANGATI (born c.1950)
(Language group: Pintupi)
Untitled 2002
synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. KT0202056
153 x 90cm
provenance
Papunya Tula Artists, Alice Springs (accompanied by the certificate of authenticity)
A.P. Bond Art Gallery Collection, Adelaide
Leonard Joel, Melbourne, 25 October 2012, lot 154
Private collection, Adelaide
other notes
“This painting depicts designs associated with Kirritjinna, a rockhole site north of Jupiter Well in Western Australia. In mythological times a large group of Tingari Men camped at this site before travelling through Naru and Kiwiikura to Wilkinkarra (Lake Mackay). The lines represent the sandhills in the area through which they travelled. During their travels the senior men were instructing the younger ones in the group. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies from part of the teachings to the initial youths today as well as providing explanations for contemporary customs.”
As stated on the Papunya Tula certificate of authenticity
$3,000-5,000
108
KAAPA MBITJANA TJAMPITJINPA (c.1926-1989) (Language group: Anmatyerre/ Warlpiri/ Arrernte) Wayipi (Witchetty Grub) 1973
synthetic polymer paint on composition board artist’s name and Aboriginal Arts and Crafts cat. no. K730916 on label verso
43 x 57.5cm
provenance
Aboriginal Arts and Crafts, Northern Territory (label verso)
Private collection, Melbourne
Thence by descent
$8,000-10,000
109
FABIAN BROWN (born 1968)
(Language group: Warlpiri/ Warumungu)
The Mystical Man 2020
synthetic polymer paint on composition board signed and titled verso: fabian Brown/ The mystical man
Nyinkjka Nyunyu Art and Culture Centre cat. no. 197-20
109 x 109
provenance
Nyinkjka Nyunyu Art and Culture Centre, Northern Territory (accompanied by the certificate of authenticity)
Private collection, Melbourne
other notes
“The Tennant Creek Men’s art program started in 2016 as an Art therapy/outreach program set up by Anyinginyi Health Aboriginal Corp. The group, a mix of fringe dwellers and cultural leaders have continued to work together and often collaboratively, forming a unique and cutting edge artists collective named ‘The Brio’. Their work pushes conventions, drawing on imagery and traditions from the Wirnkarra (Dreaming), the Old Testament and mythic iconography from around the world. Their action paintings and performance represent the enthusiasm and dedication of the collective as they continue to develop a cathartic visual language fuelled by the complexities of life in Tennant Creek.
Fabian was born in Alice Springs, grew up in Ali Curing and has both Warumungu and Walpiri family connections. Fabian began sketching when he was about 10 years old inspired by his elder brother who was also a talented painter. Fabian is very passionate about his art and draws on various imagery, and influences from his life and travels. Educated in Ali Curang and Adelaide, Fabian has travelled to various Australian cities and towns but holds his country and culture very dear. He is the leader of the Tennant Creek men’s painters and his work references both traditional and modern narratives and international iconography while exploring new mediums. He is a great mentor to younger artists, collaborates with other members of the Tennant Creek Brio and his works communicates across generations.”
As stated on the Nyinkka Nyunyu certificate of authenticity
$4,000-6,000
110
IMANTS TILLERS (born 1950)
Angel 1997
synthetic polymer paint and gouache on 6 canvasboards
each panel numbered sequentially with stencil verso: 052120 - 052125
25 x 35.5cm (panel, each); 75.5 x 71cm (overall)
provenance
Gift of the Artist, acquired 1997
Private collection, Melbourne
Thence by descent
$5,000-7,000
111
ROBERT JACKS (born 1943)
Pamplona 2001 oil on canvas
signed, titled and dated verso: Jacks/ p a m p l o n a/ 2001
152.5 x 122cm
provenance
Private collection, Melbourne
other notes
© Robert Jakcs/Copyright Agency, 2026
$6,000-8,000
112
DAMIEN HIRST (British, born 1965)
It’s a Pretty Girl in a Dirty Hotel 2016 (from The Currency series) enamel on paper signed, titled, dated and numbered verso: 423. It’s a pretty girl in a dirty hotel. 2016 Damien Hirst artist’s blindstamp, watermark, hologram and microdot verso
21.5 x 30cm
provenance
Heni Editions, London, acquired 2016
Private collection, Sydney
$4,000-6,000
113
JASPER KNIGHT (born 1978)
East Coast Crane 2012 oil on linen
signed, titled and dated verso: JASPER/ KNIGHT/ 2012/ ‘EAST/ COAST/ CRANE’ 153 x 137.5cm
provenance
Private collection, Melbourne
$5,000-7,000
114
LEONARD FRENCH (1928-2017)
Pyramids enamel on hessian covered board signed lower left: French 91 x 88cm
provenance
The Artist
Private collection, Melbourne
$7,000-10,000
115
MATTHEW JOHNSON (born 1963)
Verte oil on canvas
signed and titled verso: Matthew Johnson/ VERTE 76 x 76cm
provenance
Private collection, Melbourne
$3,000-5,000
116
MELINDA HARPER (born 1965)
Untitled 2016 oil on canvas
signed and dated verso: Melinda Harper 2016 121.5 x 167.5cm
provenance
Private collection, Melbourne
$8,000-10,000
117
GIOVANNI BOLDINI (Italian, 1842-1931)
(Portrait of a Woman Wearing a Black Dress) oil on canvas
signed upper left: Boldini
33.5 x 25.5cm
provenance
Jacques Martin and Olivier Desbenoit, Auctioneers, Tableaux Modernes, Versailles, 25 June 1985, lot 40
The Collection of Dr. Christine Rothauser, South Australia
$6,000-9,000
118
ÉMILE DECKERS (Belgian, 1885-1968)
Femme d’Alger 1927 oil on canvas
signed, dated and inscribed lower left: EDeckers/ 1927/ alger
58.5 x 83cm
provenance
Bonhams, London, 17 March 1994, lot 31
Waterhouse & Dodd, London
Private collection, Melbourne
$4,000-6,000
119
ARTHUR STREETON (1867-1943)
Concert Poster
watercolour and pencil on paper
signed lower left: Corporal Streeton inscribed lower right: TO DAYS/ CONCERTS/ FRIDAY. 20 OCT/ 4.30/ IN NEW RECREATION ROOM/ CHAIR + STRETCHER CASES/ MISS WOGAN AND 3/ ORIGINAL MEMBERS OF/ THE FOLLIES/ IN OLD RECREATION ROOM/ FOR WALKING CASES/ MISS LEILA PETHERICK
32 x 26cm
provenance
Leonard Joel, Melbourne, 3 November 1976, lot 779
Private collection, Melbourne
$5,000-7,000
120 ATTRIBUTED TO EDWARD STOTT
(British, 1859-1918)
(Mother and Child in Interior) oil on canvas
45 x 53.5cm
provenance
Private collection, Adelaide
$3,000-5,000
119
121
CLIFTON PUGH (1924-1990)
The Town of Tibooburra, Dust Storm Coming oil on board
signed lower right: Clifton
title inscribed verso
105.5 x 76.5cm
provenance
Realities Gallery, Melbourne
Private collection, Melbourne
Thence by descent
$7,000-9,000
122
DONALD FRIEND (1915-1989)
Rain Bird Totem watercolour, pen, ink and wash on paper signed and inscribed lower right: working drawing for small garden/fountain in cut copper plating/ ‘Rain-Bird Totem’/ Donald Friend
49.5 x 68.5cm
provenance
Private collection, Melbourne
$3,000-5,000
123
CHARLES BLACKMAN (1928-2018)
Cover Design for Frank Hardy’s Book ‘But the Dead are Many’ gouache on paper
signed upper right: CHARLES BLACKMAN 24 x 19cm
provenance
Melbourne Art Exchange, Melbourne Private collection, Melbourne
other notes
Accompanied by a copy of Frank Hardy’s book ‘But the Dead are Many’
$4,000-6,000
124
PRO HART (1928-2006)
The Death of Cook 1968 oil on board
signed lower right: PRO/ HART titled and dated lower left 51 x 75cm
provenance
Leonard Joel, Melbourne, 20 April 1993, lot 60 Private collection, Melbourne
Leonard Joel, Melbourne, 25 October 2009, lot 201 Private collection, Melbourne
$8,000-12,000
126
SAMUEL THOMAS GILL (1818-1880)
Dignity and Impudence watercolour with heightened bodycolour on paper initialled and titled lower left: S.T.G/ “Dignity & Impudence” 24 x 34.5cm
provenance
Christie’s, Melbourne, 26 August 1996, lot 29 Private collection, Queensland
$5,000-7,000
127
SAMUEL THOMAS GILL (1818-1880)
Diffidence watercolour on paper initialled lower left: S.T.G. titled lower right 17 x 22.5cm
provenance
Masterpiece Galleries, Hobart, acquired 1993 Private collection, Melbourne
$4,000-6,000
128 HENRY BURN (1807-1884)
Dight’s Falls from Richmond Bridge 1869 watercolour and gouache on paper signed and dated lower left: H Burn/ 1869. 26 x 34.5cm
provenance
Sotheby’s, Melbourne, 24 November 1997, lot 91 Private collection, Queensland
$12,000-18,000
129
SAMUEL THOMAS GILL (1818-1880)
View of Melbourne watercolour with heightened bodycolour on paper initialled lower left: S.T.G
artist’s name and title inscribed on unknown label verso
18.5 x 37.5cm (reveal)
provenance
Sotheby’s, Melbourne, 23 August 1993, lot 99
Private collection, Queensland
other notes
This is an early view of Melbourne after an engraving by John Carmichael published in Sydney in 1839. The view depicts Flinders Street Queen, Elizabeth and Swanston Streets from the south side of the Yarra. In the foreground on the right are surveyors’ tents.
$6,000-8,000
130
JOHN BARR CLARKE HOYTE
(New Zealander, 1835-1913)
Milford Sound watercolour on paper signed lower right: J.C Hoyte 52 x 95cm
provenance
International Art Centre, Auckland, 7 November 2002, lot 95
Private collection, Melbourne Thence by descent
$12,000-18,000
131
HUGH SAWREY (1923-1999)
The Haymakers, North East Victoria oil on linen signed with thumbprint lower right: Sawrey titled verso 51 x 61cm
provenance
Private collection, Sydney
Private collection, Queensland
$5,000-8,000
132
CLARA SOUTHERN (1860-1940)
The Glade oil on canvas
signed lower right: C. Southern
29.5. x 22cm
provenance
Leonard Joel, Melbourne, 12 April 2006, lot 521
Private collection, Melbourne
$5,000-7,000
133
RAY CROOKE (1922-2015) (Village Huts) oil on canvasboard
signed lower left: R Crooke
31 x 39cm
provenance
GFL Fine Art, Perth, 25 May 2021, lot 102
Private collection, Melbourne
$6,000-8,000
134
DAVID BOYD (1924-2011)
The Reflections 1976 oil on canvas
signed lower left: David Boyd dated lower right
title inscribed on stretcher bar verso
40 x 49.5cm
provenance
Private collection, Queensland
$8,000-12,000
135
RAY CROOKE (1922-2015)
(Landscape with Creek) oil on canvasboard signed lower left: R Crooke 59 x 74cm
provenance
Private collection, Queensland $3,000-5,000
136
SAMUEL THOMAS GILL (1818-1880)
The Drunkard watercolour on paper initialled lower left: S.T.G 24 x 16cm
provenance
Sotheby’s, Melbourne, 19 August 1996, lot 404 Private collection, Queensland $4,000-6,000
137
HUGH SAWREY (1923-1999)
Five Hundred Miles Beyond, West Queensland oil on canvas signed lower right: SAWREY signed and titled verso: Hugh Sawrey/ “Five hundred miles/ beyond” / W.Qld 49 x 58.5cm
provenance
Private collection, Queensland
$6,000-8,000
138
PETER SMETS (born 1962)
Dreamtime Beach oil on canvas signed lower right: Peter Smets 90 x 140cm
provenance
Vallard House Art Gallery, Queensland, acquired 2004
Private collection, Queensland
$7,000-10,000
139 WALTER WITHERS (1854-1914)
The Pier, Williamstown watercolour on paper
signed lower right: Walter Withers 20 x 31cm
provenance
Leonard Joel, Melbourne, 20 April 1993, lot 6
(as “The Pier, Queenscliff”)
Private collection, Melbourne
Masterpiece Galleries, Hobart, acquired 1994
Private collection, Melbourne
$2,000-4,000
140
CLIFTON PUGH (1924-1990)
Orpheus 1962 oil on board
signed and dated lower right: Clifton/ JUNE ‘62
signed and titled verso 136 x 90cm
provenance
Private collection, Queensland
$5,000-7,000
141
provenance
Private collection, Melbourne
$4,000-6,000
37.5
provenance
Private collection, Melbourne
Thence by descent
$3,000-5,000
143
SIDNEY NOLAN (1917-1992)
Central Australia 1968
mixed media on paper
signed, titled and dated verso: Central Australia/ 25 Jan 68/ Nolan
47 x 71cm
provenance
Private collection, Melbourne
$4,000-6,000
144
HUGH SAWREY (1923-1999)
The Long-Shafter oil on canvas
signed lower right: SAWREY
signed and titled verso
49 x 59cm
provenance
Private collection, Queensland
$6,000-8,000
145
CONRAD MARTENS (1801-1878)
Penrith Road 1835
watercolour and gouache on paper
signed lower right: C. Martens
titled and dated lower left: Penrith Road/ Dec 26/35
13 x 21cm
provenance
Leonard Joel, Melbourne, 31 March 1982, lot 788
Private collection, Melbourne
Leonard Joel, Melbourne, 20 August 1991, lot 47
(as “Boxing Day, Penrith Road, N.S.W”)
Private collection, Melbourne
$2,000-4,000
146
JOHN MATHER (1848-1916)
(Cottage on the Hill) 1882
oil on canvas in the original John Thallon frame (label verso) signed and dated lower center: J.Mather./ 1882
35 x 52.5cm
provenance
Masterpiece Galleries, Hobart, acquired 1993
Private collection, Melbourne
$4,000-6,000
147
SYDNEY LONG (1871-1955)
The Old Mill oil on canvas laid on board signed lower left: Sydney Long title inscribed on frame verso
44.5 x 59.5cm
provenance
Lennox Gallery, Sydney (label verso) Rudi Komon Art Gallery, Sydney (label verso) Private collection, Melbourne
$4,000-6,000
148
CONRAD MARTENS (1801-1878)
Canterbury House Sydney (View from the Gatehouse) c.1860
watercolour, pencil and gouache on paper
20.5 x 29.5cm
provenance
The Collection of Arthur and Sarah Jeffreys, Sydney Thence by descent
Christie’s, Melbourne, 29 April 1997, lot 47 Private collection, Sydney
related work
Conrad Martens, View of The House at Canterbury 1860, watercolour and pencil with bodycolour and gum arabic, 45.7 x 65.7cm, in the collection of the State Library of New South Wales, Sydney and illustrated in Ellis, E., Conrad Martens: Life and Art, State Library of New South Press, Sydney, 1994, p.180
$7,000-9,000
149
SAMUEL THOMAS GILL (1818-1880) (Interior Scene)
watercolour and gouache on paper initialled lower center: S.T.G
23.5 x 34cm
provenance
The Artist
Private collection, Melbourne
Thence by descent
$8,000-12,000
150 RAY CROOKE (1922-2015) Chillagoe Landscape oil on board signed lower right: R. Crooke. artist’s name and title inscribed on gallery label verso
75 x 98cm
provenance
BC Fine Art Gallery, Queensland (label verso)
Private collection, Melbourne
$4,000-6,000
151
CLIFTON PUGH (1924-1990)
The Christ of Atontonilco 1965
acrylic on masonite
signed and dated lower right: Clifton/ Oct'/ 65
title inscribed verso 90 x 120cm
provenance
Private collection, Melbourne
$5,000-7,000
152
AINSLIE ROBERTS (1911-1993)
Tirlta and The Flowers of Blood 1964 oil on board
signed and dated lower right: Ainslie Roberts -/ 1964
titled lower right: Tirlta and The Flowers of Blood 66 x 89.5cm
provenance
Private collection, Adelaide
Thence by descent
$3,000-5,000
153
LOUIS BUVELOT (1814-1888)
Sandridge, Port Melbourne 1876
watercolour on paper
signed and dated lower right: L. Buvelot/ 1876
title inscribed on unknown label verso
21.5 x 28cm
provenance
The Farrow Collection, Melbourne
Leonard Joel, Melbourne, 27 November 1991, lot 26
Private collection, Melbourne
$4,000-6,000
154
HUGH SAWREY (1923-1999)
‘Big Paddy’ Shoes Up oil on canvas
signed with thumbprint lower right: SAWREY title inscribed on stretcher bar verso: “”BIG PADDY” SHOES UP”/ N.T
28.5 x 34cm
provenance
Private collection, Queensland
$3,000-5,000
155
KENNETH JACK (1924-2006)
Thundery Day, Quorn, South Australia 1987 mixed media on paper signed and dated lower right: KENNETH JACK 1987 title inscribed verso 72 x 106cm
provenance
Private collection, Adelaide
$2,500-3,500
156
ATTRIBUTED TO GEORGE BAXTER (British, 1804-1867)
News from Home 1852 oil on canvas
artist’s name and date inscribed on stretcher verso: G. Baxter 1852
inscribed to plaque on frame: Australia./ News From Home./ H. S. Melville./ The Original Of The Baxter Print.
accompanied by a statement of authenticity from a descendant of the Baxter family (attached verso) 62.5 x 80cm
provenance
Mr George Baxter, London
Thence by descent
Private collection, United Kingdom
Private collection, Melbourne
related work
Harden Sidney Melville (1824-1894), The Squatter’s Hut: News from Home 1850-1851, oil on canvas, 88.0 x 102.5cm, in the collection of the National Gallery of Australia, Canberra
George Baxter, Australia. News from Home 1853, Baxter print, 12.5 x 16.5cm, in the collection of the Victoria & Albert Museum, London
Accompanied by the two colour engravings by George Baxter, Australia: News From Home and News From Australia. These evocative scenes reflect Victorian themes of emigration and communication between Britain and the Australian colonies.
$7,000-9,000
A
Amor, Rick 68
Arkley, Howard 49
Ashton, Will 3
B
Baker, Alec 89
Baxter, George 156
Blackman, Charles 78, 80, 123
Boldini, Giovanni 117
Boston, Paul 48
Boyd, David 134
Brack, John 25
Brown, Fabian 109
Buckmaster, Ernest 63, 125
Bunny, Rupert 30, 31, 34
Burn, Henry 128
Buvelot, Louis 153
C
Carrick Fox, Ethel 33
Carroll, Tommy 87
Cassab, Judy 59
Chevalier, Nicholas 16
Coburn, John 42
Cole, Peter 70
Counihan, Noel 74, 75
Crooke, Ray 40, 133, 135, 150
Cross, Henri-Edmond 18
D
Deckers, Émile 118
Dickerson, Robert 7, 24, 79, 141, 142
Durden, James 19
E
Edkins, Cathleen Elizabeth 56
F
Fedden, Mary 8
Forrest, Haughton 15
French, Leonard 114
Friend, Donald 122
G
Gibson, Ningura Napurrula 88
Gill, Samuel Thomas 126, 127, 129, 136, 149
Goodsir, Agnes 32
Grant, Ned 100
Gumana, Garwirrin 83
H
Harper, Melinda 116
Hart, Pro 124
Hayward, Florence Jane 62
Heysen, Hans 2, 10, 20, 28, 25
Heysen, Nora 1, 13
Hirst, Damien 112
Hoyte, John Barr Clarke 130
J
Jack, Kenneth 155
Jacks, Robert 111
Jackson, James 36
Jeanneret, Charles-Édouard 22
Jimmy, Beryl 86
Johnson, Michael 41
Johnson, Robert 64
Johnson, Matthew 115
K
Kankapankatja, Robin Kunmanara 85
Kantilla, Lorna 106
Karadada, Lily 91
Keeling, David 47
Kerwick, Jordy 72
Knight, Jasper 113
L
Larwill, David 65, 71
Leach, Sam 44
Lee, Rhys 50
Lindsay, Norman 9
Long, Sydney 147
M
Macleod, Euan 52
Martens, Conrad 145, 148
Mather, John 146
Mcinnes, William Beckwith 4
Middleton, Max 54
Möller, Vera 51
Mora, Mirka 57, 58
Mudgedell, Marie 97
Munungurr, Yimula 94
N
Nampitjin, Eubena 95
Nangala, Julie Robinson 101
Napangarti, Bai Bai 104
Napangati, Mary 96
Napurrula, Mitjili & Tjapanangka, Long Tom 90
Neilson, Peter 45
Nganjmirra, Robin Marrwurduwurdu (Lamilami) 105
Nolan, Sidney 143
Nyumi, Elizabeth 84
O
Olsen, John 23, 27, 66, 77
P
Perceval, John 73, 76
Peters, Rusty 82
Picasso, Pablo 21
Power, Harold Septimus 53
Pugh, Clifton 38, 69, 121, 140, 151
Pwerle, Minnie 99
R
Ramsey, Rammey 81
Rehfisch, Alison 29
Resnick, Milton 46
Roberts, Ainslie 152
Rowan, Ellis 61
Russell, John Peter 11
S
Sawrey, Hugh 37, 39, 131, 137, 144, 154
Scheltema, Jan Hendrik 55
Shead, Garry 17, 26
Smets, Peter 138
Southern, Clara 132
Storrier, Tim 43, 67
Stott, Edward 120
Streeton, Arthur 12, 14, 119
T
Tillers, Imants 110
Tjakamarra, Long Jack Phillipus 93
Tjakamarra, Fred 98
Tjampitjinpa, Kaapa Mbitjana 108
Tjangala, Carbiene Mcdonald 103
Tjapangati, Kanya 107
Tjupurrula, Johnny Yungut 102
W
Williams, Fred 5, 6
Wilson, Dora 60
Withers, Walter 139
Wonaeamirri, Pedro 92
acca Australian Centre for Contemporary Art
111 Sturt Street Southbank VIC 3006 Melbourne, Australia
acca.melbourne
acca Australian Centre for Contemporary Art
111 Sturt Street Southbank VIC 3006 Melbourne, Australia
acca.melbourne
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
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admission
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commission (absentee) bids
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bidder registration
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buYer’s premium
There will be a buyer’s premium added to all purchases.The buyer’s premium will be calculated at the rate of 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
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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.
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collection of lots
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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
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recommended carriers
For recommended carriers please refer to our website.
m anaging d irector & head of important collections
John Albrecht, BA LLB MBA
sY dne Y
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
Kyle Walker, Administrator and Coordinator
asian art
Luke Guan MLitt, Head of Department
Kyle Walker, Administrator and Coordinator
fine J ewels & timepieces
Lauren Boustridge BSc, AJP, GG (GIA), Head of Department, Sydney
Annie Soust, Head of Department, Melbourne
Patricia Kontos F.G.A.A., Senior Timepieces & Jewellery Specialist
Bethany McGougan, Senior Auctioneer and Jewellery Consultant
John D'Agata, Senior Jewellery Consultant
Henrietta Maiyah, Consultant
Piper Jiang, Jewellery & Luxury Administrator
modern design
Rebecca Stormont, Specialist
luxurY
Julia Gueller, Specialist
prints
Hannah Ryan, Senior Art Specialist
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Angus McGougan, Assistant
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Inigo Fleming, Assistant
Shawn Mitchell , Interiors Consultant
J ewellerY
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Patrick Curtis, Assistant
ob J ects & collectables
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valuations
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Troy McKenzie, Head of Private Collections, Queensland
Anthony Hurl, Representative Specialist, South Australia
John Brans, Representative Specialist, Western Australia
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photograph Y
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graphic design
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sY dne Y
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