Fine Art

30.06.2026, 6pm

Melbourne

VIEWINGS

highlights

viewing in sydney fri 12 – sun 14 jun 10am – 4pm The Bond, 36-40 Queen Street, Woollahra, NSW 2025

viewing in melbourne fri 26 – sun 28 jun 11am – 5pm 2 Oxley Road, Hawthorn, VIC 3122

CONTACTS

wiebke brix

head of art 03 8825 5624

wiebke.brix@ leonardjoel.com.au

amanda hayward (née north) senior art specialist 03 8825 5644 amanda.north@ leonardjoel.com.au

Stories of Place and People

For our June Fine Art auction, I am proud to present a sale that brings together an exceptional selection of works spanning important periods and styles in Australian art, alongside significant examples of international art. Together these works reveal the richness and diversity of artistic practice and enduring connections to people, and place.

Australian Impressionism forms a strong foundation of this auction, led by our cover lot, Rupert Bunny’s La Cassette 1916 (lot 9). This work offers an intimate and personal portrayal of the artist’s wife, Jeanne Morel. Unlike the formal seated portraits for which she often posed, here Bunny captures a quieter domestic moment, absorbed in the ritual of sorting through jewellery and personal objects. The work moves beyond portraiture into something human and reflective. Beautiful decorative details unfold across the composition, from the patterned rug and chair to the refined treatment of fabric and light. As noted by Dr David Hansen, Bunny had developed a celebrated Parisian reputation for depicting elegant women within richly decorated interiors, yet La Cassette reveals something more personal beneath this sophistication. Equally significant is an extraordinary work by Clarice Beckett, (Mentone Cliffs) c.1932 (lot 8), an unusually large-scale example by an artist whose paintings are so often very intimate in format. Remaining within the same family collection for nearly a century, the work has been unseen publicly for decades and is an exciting rediscovery. Beckett transformed the Australian landscape into something deeply felt rather than simply observed. Here the celebrated cliffs of Mentone become less a topographical record and more an atmospheric experience where light, air and space dissolve into subtle tonal harmonies. As Dr Rosalind Hollinrake writes: “Working as a plein air painter, she sought to express her own creative spiritual response to the fleeting impermanence of material life and the natural world. In those fleeting, transient moments, she saw sheer beauty in all things and expressed that sensation as honestly as paint could achieve.”

Portraiture also features strongly through Tom Roberts’ Little Nell Simpson 1888 (lot 5), a work demonstrating Roberts’ extraordinary ability to capture not simply likeness, but character. Roberts possessed a remarkable sensitivity to his sitters, revealing unexpected maturity and presence within the face of a child. Alongside this portrait, the sale also includes notable landscape works by Roberts which demonstrate his enduring fascination with light and atmosphere, qualities that helped define Australian Impressionism.

Landscape painting remains another important thread throughout the auction through works by Elioth Gruner, whose depictions of the Australian environment continue to rank among the most beloved in Australina art. Gruner’s works possess a remarkable luminosity, capturing changing seasons, shifting weather and the clarity of Australian light. Whether through the rolling hills of The New Crop or the expansive coastal beauty of Nambucca Beach, Gruner transformed ordinary scenes into celebrations of place and atmosphere.

The catalogue also features an important work by Sidney Nolan, Sturt on the River Bank (lot 34) belongs to a pivotal period in Nolan’s career following his departure from Heide and the Ned Kelly series. Part self portrait and part exploration narrative, the work reflects Nolan’s fascination with the Australian landscape as both a physical and psychological journey. Through this work he transformed the figure of the explorer into something universal, capturing ideas of displacement and discovery.

The Indigenous art offering is another important aspect of this auction, highlighted by works from the Sandra Le Brun Holmes collection of Arnhem Land bark paintings (lot 8588). These works emerge from one of the oldest continuing artistic traditions in the world and speak not simply as artworks in a Western sense, but as expressions of ancestral law, memory and identity. As Amanda Holmes writes in her catalogue essay, bark paintings are “pages of a sacred book”, carrying stories and ceremonial knowledge across generations.

This June auction brings together works that span generations, geographies and perspectives, yet what unites them is their ability to capture something enduring.

As always, it is difficult to choose highlights when there are so many. I encourage you to take your time and explore the sale through the catalogue, online, during our Melbourne viewing, or through our travelling highlights exhibition in Sydney. I am delighted to present this collection and look forward to sharing it with you.

wiebke brix head of art

THEA PROCTOR (1879-1966)

The Dancer c.1910 watercolour on paper

signed lower right: Thea Proctor artist’s name and title on unknown label verso 22.5 x 50.5cm (fan shaped)

provenance

Joseph Brown Gallery, Melbourne

Private collection, Melbourne

Deutscher~Menzies, Sydney, 7 December 2005, lot 80

Private collection, Melbourne

$6,000-8,000

Viewing in Sydney

2

ARTHUR STREETON (1867-1943)

Decoration: Emerald Fan watercolour on silk

initialled lower left: AS

25.5 x 51.5cm (fan shaped)

provenance

Deutscher~Menzies, Sydney, 7 December 2005, lot 79

Private collection, Melbourne

exhibitions

Winter Exhibition 1975: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 28 July - 12 August 1975, cat. no. 27 (illus. exhibition catalogue)

$8,000-12,000

Viewing in Sydney

ETHEL CARRICK FOX (1872-1952)

The Twin Peaks gouache on paper

signed lower left: Carrick Fox artist’s name and title on unknown label verso 22.5 x 31cm

provenance

Private collection, London

Christie’s, Melbourne, 28 May 1992, lot 161

Private collection, Melbourne

Mossgreen Auctions, Melbourne, 2 June 2015, lot 118

Private collection, Melbourne

exhibitions

Exhibition of Paintings by the late E.Phillips Fox and Ethel Carrick (Mrs. E. Phillips Fox), Athenaeum Art Gallery, 27 February - 10 March 1934, cat. no. 117 (as ‘The Twin Peaks’) (label verso)

$8,000-12,000

Viewing in Sydney

provenance

$5,000-7,000

Viewing in Sydney

Tom Roberts

When Tom Roberts returned to Australia in 1885 from his studies at the Royal Academy in London, he was brimming with ideas and a passion to reconnect with Melbourne’s artistic milieu. Alongside his desire to depict the true Australian landscape, he brought observations of British and European contemporary portraiture that ranged from much admired subjects set against darkened backgrounds to others wistfully immersed in a tonal symphony.

Roberts’s portrait skills were immediately obvious to colleagues and critics alike and with his refined palette and ability to paint both the lustre of a face and imbue a work with the character of his subject, he set out to create a significant body of work. One of the first portraits he painted was of Minna Simpson (Miss Minna Simpson, 1886, National Gallery of Australia), the niece of his friend and colleague, Lillie Williamson.

While it could be argued that Roberts was utilising his deft skill at portraiture to attract the attention of Lillie (it worked, and they married ten years later) Minna was a fine subject for an artist. Lace bonnet atop a determined face matched only by a hungry cat obediently clutched by Minna, Roberts found within Minna a modern child, the crease in the tablecloth symbolic of a world that was not perfect.1 It is no wonder Roberts returned two years later to paint her older sister, Nell (Eleanor) Simpson.

The portrait of the eight-year-old Nell is a quieter, more reflective portrait. Roberts not only had the advantage of a longer association with the Simpson family but recognised within Nell the authority of the eldest child. Art historian Virginia Spate observed the influence of Whistler in Nell’s portrait, particularly in the mastering of light and the luminosity of the subdued colours.2

For the portrait, Roberts chose a burnished olive background to craft a halo around Nell’s face, the olive tones reflected in the beautifully painted lace collar. Roberts’s backgrounds were not without their purpose and the sacred association of a golden halo may have resulted from discussions of faith during the portrait sittings. Yet it is to the intensity of Nell’s liquid, steady eyes that the gaze of the viewer is drawn. Roberts’s capacity to discern a maturity within the face of this child is captivating, Nell’s directness and commitment to the task of creation of the portrait matching that of her younger sister.

In a review of the 1932 memorial exhibition to honour Roberts’s lifetime of work, Blamire Young describes the portrait of Nell as demonstrating ‘a deep insight into child life.’3 Young discerns Roberts’s delicacy in his painterly approach; Little Nell Simpson along with Eileen (1892, Art Gallery of New South Wales) and Penelope (1919, National Gallery of Victoria) amongst the 100 pictures collected from across Australia and exhibited at the Fine Arts Society in Melbourne. Young notes the freshness of Roberts’s pictures, no matter the age, a characteristic of his work that remains.

Lillie remained close to her nieces throughout her life, Minna travelling in Europe with Lillie in August 1913 while letters were sent to Nell detailing Lillie’s frame making career.4 In 1911 Nell had married the Reverend Canon Jeremiah Bridges, her wedding creating much interest in the press with Bishop Langley of Bendigo presiding. Minna also married into the church, her husband, the Reverend Frank Johnson sadly passing in 1916. Yet Minna studied to become a deaconess and was granted a licence to preach when few women were awarded such rights.

Nell died in 1939, and it is most likely that her portrait was passed to Minna at this time as a symbol of their childhood memories. Nell’s portrait was eventually offered for sale in 1968 through Melbourne’s Joshua McClelland Print Room under the title Sweet Nell and promoted as a companion to Miss Minna Simpson.

dr julie cotter

Dr Julie Cotter is the author of three books, has worked as a lecturer and in public policy roles, written and presented documentaries, is widely published in a range of journals, magazines and catalogues and has been a member of many public art and grant committees. Her book, Tom Roberts and the Art of Portraiture (Thames & Hudson 2015), was shortlisted for the 2016 Prime Minister's Literary Award for nonfiction. Her most recent book is Portia Geach: Portrait of an Activist (Joyce Press 2024). It tells the story of the first Australian woman to be admitted to the Royal Academy of the Arts.

1 . Cotter, J., Tom Roberts and the Art of Portraiture, Port Melbourne, Thames & Hudson, 2015, p 208.

2. Spate, V., Tom Roberts, revised edition, East Melbourne, Lansdowne, 1978, p 113.

3. Young, B., ‘Tom Roberts of Australia: Memorial Art Show,’ Herald, 20 June 1932, p 17.

4. McQueen, H., Tom Roberts, Sydney, Pan MacMillan, 1996, p 546.

5

5

TOM ROBERTS (1856-1931)

Little Nell Simpson 1888 oil on canvas initialled and dated lower left: T.R 88

34.9 x 29.8cm

provenance

The Collection of Mr and Mrs. J. O. Wicking, Melbourne

Thence by descent

Private collection, Melbourne

literature

Spate V., Tom Roberts, Lansdowne Press, 1972, Melbourne, cat. no. 37, p. 108 (illus.)

Topliss, H., Tom Roberts 1856–1931: A Catalogue Raisonné, Oxford University Press, Melbourne, 1985, vol. II, cat. no. 113, pl. 51 (illus.)

exhibitions

Early Australian Paintings, Old Coloured Prints, Fire Marks, Maps and Scrimshaw, Joshua McClelland Print Room, Melbourne, 23 July - 2 August 1968, cat. no. 2 (as ‘Sweet Nell’) (illus.)

OTHER NOTES

We are grateful to Julie Cotter for her assistance with cataloguing this painting.

related work

Tom Roberts, Miss Minna Simpson 1886, oil on canvas, 60.7 x 50.6cm, in the collection of the National Gallery Australia, Canberra $50,000-70,000

Viewing in Sydney

provenance

$12,000-16,000 Viewing in Sydney

A Seated Figure in a Macedon Landscape oil on canvas signed lower left: F.McCubbin 44.5 x 24cm

provenance

Christie’s, Melbourne, 24 November 1999, lot 181 (as ‘A Seated Figure in a Macedon Landscape’) Private collection, Melbourne

Frederick McCubbin’s deep connection to Mount Macedon is evident in the number of artworks he produced in and around the area from the early 1900s until his death in 1917. In 1901, McCubbin purchased a cottage named ‘Fontainebleau’ in the Macedon Ranges, which became a retreat for the artist and his family. The name ‘Fontainebleau’ was influenced by the forest near Paris where the Barbizon School painters had worked and sought inspiration in the mid nineteenth century. This French school of painting was part of the larger European movement towards naturalism in art which led to the establishment of Realism and influenced the young Impressionist artists.

Surrounded by dense bushland, towering gums trees and dappled sunlight, the region provided McCubbin with a new sense of tranquillity and inspiration, shifting his palette towards more atmospheric and impressionistic tones. The Macedon Ranges became an importance place to the McCubbin family and a source of great inspiration to Frederick. McCubbin’s daughter, Kathleen, wrote that her father’s: ‘greatest love was the bushland at Mt Macedon. The mystique of the Australian bushland intrigued him: the sunlight glinting through the tall timbers, the secret colours in the abundant undergrowth, the call of the birds, and the whispering breeze’. (1)

At Mount Macedon, McCubbin moved away from the narrative compositions of his early career and embraced a more introspective and expressive response to the landscape. The later works are characterised by loose brushwork, a softened palette, and a poetic evocation of the Australian bush. Macedon offered McCubbin not only a physical escape from the city but also a profound emotional and spiritual connection to nature; a space where he could reflect, observe, and create. Paintings from this period, often depicting the surrounding forests, ferns, and mountain air, mark a distinct chapter in McCubbin’s oeuvre and underscore his enduring legacy as a founding figure of Australian Impressionism.

(1) Mangan, K., Daisy Chains, War, The Jazz, Hutchison, Melbourne, 1984, p. 70

$40,000-60,000

Viewing in Sydney

Clarice Beckett

The first owner of this rare Clarice Beckett painting, (Mentone Cliffs) c.1932, was Benjamin Ratcliff (1868-1956). Until now it has remained within his family, unseen by the public for 94 years. An astute businessman with a chain of grocery stores across Melbourne suburbs, by 1916 Ratcliff had become Max Meldrum‘s major patron, financing the book ‘Max Meldrum: His Art and Views’, edited by Colin Colahan and published by Alexander McCubbin in 1919.

Clarice Beckett met Benjamin Ratcliff in Meldrum’s studio in 1917, where she took her first professional lessons in oil painting. On the completion of the requisite three year drawing class under Frederick McCubbin at the National Gallery school, she then declined the coveted offer of a fourth year study in oil painting with the director Bernard Hall, after hearing Meldrum’s inspirational lecture on how to paint using his newly created tonal methodology. For Beckett, joining Meldrum was a daring decision, since he was already creating significant controversy in Melbourne’s traditional art scene due to his argumentative nature and his unshakable belief in his own theories.

Ratcliff was to become her first significant patron, having purchased a small, evocative, seminal work ‘Grey Day’ c.1919, and by 1932 had amassed 25 more of her works. Her peer, Colin Colahan, who had returned to Melbourne after some years of living in Paris, wrote, “... we found ourselves invited to a ‘musical’ evening at Ratcliff’s... Complete astonishment!!! All the Meldrum’s were gone and the house now full of Clarice Becketts...” 1

William Rowe was another major patron who eventually owned 35 Beckett paintings: two male patrons was remarkable given the rampant misogyny of the time. Her yearly professional exhibitions held from 1923 to 1933 often received disparaging reviews from critics, themselves artists, who claimed women were second class painters to males. Yet she also had her admirers who recognised her work was unique.

Working as a plein air painter, she sought to express her own creative spiritual response to the fleeting impermanence of material life and the natural world. In those fleeting, transient moments, she saw sheer beauty in all things and expressed that sensation as honestly as paint could achieve. In doing so she created a new way of depicting the Australian landscape that at the time defied description. In 1931, writer, Mervyn Skipper, recognised her work as genuinely unique and ahead of its time:

“Clarice Beckett... has become the most original painter in Australia by means which seems absurdly simple - at least on paper. She has merely abandoned conventions which earlier artists brought from Europe, and from which their successors have not quite emancipated themselves’.... Out of that innocence, apparently comes the uniqueness of her patterns and the unexpectedness of her color harmonies... the strength, firmness and singing quality of her work grow more apparent the longer you look at it. It is only sincere art that can give this reaction. Artificiality never leaves an enduring impression, however sensational the first impact.” 2

Her subject matter was of Melbourne city, country Victoria and the Bayside suburbs, capturing the atmospheric liminal effects of dusk and dawn, sunrise and sunset, fog and rain, in all seasons. However, Beaumaris and Beckett are synonymous. Some of her most treasured painting haunts were along the tops of the perilously high cliffs that formed the fretted coastline of tiny secret inlets and beaches around Beaumaris Bay.

Beckett’s painting (Mentone Cliffs) is a classic example of her deep understanding and connection to this beloved location. Here the famed chalk cliffs depicted in Tom Robert’s Slumbering Sea (Mentone) 1887 (NGV) are now painted by Beckett 45 years later, not as picturesque but rather as a felt experience. The cool, high-keyed light and the atmospheric sense of airy space and freedom captured by the speed of her brushstroke is at the heartbeat of the work. Looking down and across a wide expanse of luminous, calm sea, three small boats circle close to Keefer’s boat hire, with its white roofed shed and the faint markings of the extended Beaumaris Sea Baths. The breeze filling the sails of the tiny yacht is a small but brilliant accent that ultimately brings the composition to a harmonious whole.

“Though I had biked, hiked and motored along Beach Road around Beaumaris Bay a hundred or more times...I did not fully recognise the beauty of the place till I looked in at...Beckett’s exhibition of oil paintings... [She] has caught cliff and water in all moods of light and weather and season, revealing that there is not one Beaumaris Bay, but a score.” 3

dr rosalind hollinrake

1. A letter from Colin Colahan to Rosalind Hollinrake, 2 August 1976.

2. Skipper, M., 'The Palette', The Bulletin, 29 October 1931, p. 33.

3. ‘In Town and Out,’ Herald, Melbourne, 19 October 1932, p.8.

Rosalind Hollinrake is an Australian art historian, curator and the foremost authority on Clarice Beckett, whose decades of research and advocacy were instrumental in establishing Beckett’s place within Australian art history. Since the 1970s, Hollinrake has rescued, documented and curated Beckett’s works extensively, playing a pivotal role in the recognition of one of Australia’s most important modernist painters.

8

8

CLARICE BECKETT (1887-1935) (Mentone Cliffs) c.1932

oil on board

signed lower left: C. Beckett

44.5 x 54cm

provenance

The Collection of Benjamin Dunbar Ratcliff

Thence by descent

The Collection of Howard Dunbar Ratcliff

Thence by descent

The Collection of Pauline Cecilia Parkinson (1928-2025)

Thence by descent

Private collection, Melbourne

exhibitions: (possibly) Twenty Melbourne Painters, Fourteenth Annual Exhibition, 1932, cat. no. 15 (as ‘Mentone Cliffs’) 12 guineas

other notes: We are grateful to Rosalind Hollinrake for her assistance with cataloguing this painting.

related works:

Clarice Beckett, Beaumaris Seascape c.1925, oil on board, 50 x 49cm, in the collection of the National Gallery Victoria, Melbourne (McCaughey P., Strange Country: Why Australian Art Matters, The Miegunyah Press, 2014, p. 137 (illus.))

Clarice Beckett, Smoke Haze Beaumaris 1926, oil on board, 49 x 53cm, private collection (Hollinrake R., Clarice Beckett: The Artist and her Circle, Macmillan Publishing, 1979, cat. no. 20, p. 54 (illus.))

Clarice Beckett, Beaumaris Seascape c.1931, oil on canvas on board, 50 x 54cm, private collection (Hollinrake R., Clarice Beckett: The Artist and her Circle, Macmillan Publishing, 1979, cat. no. 21, p. 55 (illus.))

$80,000-100,000 Viewing in Sydney

Nicholas Chevalier

Rupert Bunny

Among Australia’s most internationally celebrated expatriate artists, Rupert Charles Wulsten Bunny occupied a unique position within art history. While many of his contemporaries sought to capture the changing light and atmosphere of the Australian landscape, Bunny instead established himself within the cosmopolitan world of Paris, becoming one of the few Australian artists to achieve substantial recognition within the French Salon system. His work combined academic refinement with modern sensibilities, producing paintings that are both elegant and psychologically nuanced.

Painted in 1916, La Cassette presents Jeanne Héloïse Morel, Bunny’s wife and muse, in a scene of unusual intimacy. Jeanne Morel, whom Bunny met as a fellow art student and later married in March 1902, became a recurring presence in his work from around 1895 onwards. Captivated by her beauty, Bunny portrayed her repeatedly in portraits that range from informal day dress to elegant evening attire, her expressions shifting between dreamy introspection and quiet mystery.1

Bunny’s close friend and fellow Australian artist John Longstaff who also lived and worked in Paris recalled: “I remember ... the very night they met, and how he fell in love with her at first sight. She was a regular Dresden China girl with a deliciously tip titled nose.”2

Their meeting appears to have been transformative for both his life, and his art. Jeanne would subsequently become a constant presence throughout Bunny’s paintings, appearing in some of his most celebrated compositions. More than simply a model, she became inseparable from his artistic identity.

In La Cassette rather than depicting her as a formal sitter or idealised beauty, Bunny captures her in a private domestic moment, quietly absorbed in the ritual of sorting jewellery and treasured personal possessions. Jeanne sits with her gaze lowered, detached from the viewer and seemingly unaware of observation. The composition therefore moves beyond portraiture and enters a more reflective territory, conveying an atmosphere of stillness and contemplation.

Many of Bunny’s earlier depictions of Jeanne present her as an idealised figure, aligning with the artist’s fascination with beauty and the decorative aesthetics of the Belle Époque. Works such as The Sonata portray women as dreamlike embodiments of leisure and grace. Yet La Cassette reveals something quieter and more personal. The theatricality and artifice often associated with Salon painting gives way to an intimate domestic setting in which Jeanne appears simply herself.

The decorative sophistication for which Bunny became renowned nevertheless remains evident throughout the work. Pattern and texture unfold across the surface through the richly woven rug, the upholstered chair, the delicate treatment of white fabric and the subtle play of light. As art historian David Hansen has observed, Bunny developed an acclaimed Parisian reputation for depicting elegant women within richly appointed interiors. In La Cassette, however, that refinement is balanced by emotional warmth and humanity. Decorative beauty serves not as spectacle, but as a framework for intimacy.3

At its heart, La Cassette may be understood as an affectionate portrait of companionship. Rather than presenting Jeanne as an object of admiration alone, Bunny records a quiet moment of everyday life shared between husband and wife. The work reveals a tenderness beneath the polish of his Parisian style and reminds us that some of the most enduring portraits are not those concerned with status or appearance, but those shaped by affection and love.

wiebke brix head of art

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2.

3.

9 RUPERT BUNNY (1864-1947)

La Cassette (The Casket) 1916 oil on canvas

signed lower left: Rupert C. W. Bunny

73.5 x 60.5cm

provenance

The Collection of Dr Robin Sharwood, Melbourne

Joseph Brown Gallery, Melbourne

Private collection, Sydney

Deutscher~Menzies, Melbourne, 25 April 1999, lot 123

Private Collection, Perth

Sotheby’s, Melbourne, 20 November 2012, lot 31

Private collection, Adelaide

exhibitions

Rupert C.W. Bunny, Galeries Georges Petit, Paris, 16 - 31 March 1917, cat. no. 42

Exhibition of Paintings by Rupert C.W. Bunny, The Fine Art Society’s Gallery, Melbourne, 15 - 27 November 1922, cat. no. 23

An Exhibition of Oil Paintings by Rupert C.W. Bunny, Anthony Hordern & Sons, Sydney, 2 - 31 May 1923, 50 gns

literature

Thomas, D., Rupert Bunny 1864-1947, Lansdowne Press, Melbourne, 1970, cat. no. O173

$200,000-300,000

Viewing in Sydney

Nicholas Chevalier

1. Clark, D., Elioth Gruner: The Texture of Light, Canberra Museum and Gallery, Canberra, 2014, pp. 1-2.

2. National Portrait Gallery, Norman Lindsay: In their own words, accessed on 24th April 2026: www.portrait.gov.au/words/norman-lindsay

3. Art Gallery of NSW, Elioth Gruner, accessed on 24th April 2026: www.artgallery.nsw.gov. au/collection/artists/gruner-elioth/

4. Clark, D., Elioth Gruner: The Texture of Light, Canberra Museum and Gallery, Canberra, 2014, p. 8.

Among the most celebrated Australian landscape painters of the early twentieth century, Elioth Gruner developed a visual language distinguished by its atmospheric subtlety, compositional harmony, and his skilful ability to capture the effects of light. Gruner’s work is often associated with the influence of Australian Impressionism and the Heidelberg School, however, his later works reveal a more complex engagement with modernist ideas about structure, colour, and spatial design. In particular, his paintings in the 1930s demonstrate a refined synthesis of natural observation and visual organisation, positioning him as a key artist of the Australian landscape during the interwar period.

Born in New Zealand in 1882 and raised in Sydney from an early age, Gruner studied under Julian Ashton at the Sydney Art School.1 From the beginning of his career, Gruner displayed a remarkable ability to capture changing atmospheric conditions, especially the effects of sunlight in rural and coastal environments. Art critics frequently praised the luminosity of his paintings, in fact, artist and writer Norman Lindsay famously remarked that Gruner painted “the purest light” in Australian art.2 Gruner went on to win the prestigious Wynne Prize seven times, the first being in 1916 for Morning Light 1916 which is in the collection of the Art Gallery of New South Wales.3 The seven paintings which won the Wynne Prize are now shared between the Art Gallery of New South Wales which has five and the remaining two are in the collection of the National Gallery of Australia, Canberra.

Although Gruner’s earlier paintings align closely with the en plein air naturalism of the Heidelberg school, his artistic direction evolved following his travels to Europe between 1923 and 1925. During this period, he encountered the work of Post-Impressionist artists Paul Cézanne and Paul Gauguin, whose emphasis on structural composition and simplified form influenced his later approach to landscape painting.4 It was by the 1930s that Gruner’s artworks reveal a heightened awareness of compositional balance. Rolling hills, farm paddocks, shorelines, and tree groves are thoughtfully arranged, and his colour palette becomes increasingly restrained and tonal.

This mature style is especially evident in one of Gruner’s coastal paintings, Nambucca Beach 1933. The work presents a secluded bay, viewed from an elevated perspective, where the curve of sand guides the viewer’s eye toward the calm expanse of the ocean. The composition is notable for its remarkable equilibrium. The sea and sky occupy nearly half the canvas, creating an atmosphere of openness and tranquillity, while the surrounding cliff establishes a stabilising counterweight to the ocean. The painting demonstrates Gruner’s exceptional ability to evoke atmosphere through tonal variation rather than dramatic contrast. Soft blues and aquamarines dissolve into white sea foam along the shoreline, while the sandy beach is rendered in warm creams and earthy colours that harmonise with the sunlit cliff. Unlike many of the period’s depictions of the Australian coast that emphasised ruggedness and drama, Gruner instead presents the landscape as serene, contemplative, and deeply ordered.

A similarly reflective mood characterises his work titled The New Crop 1932, though the setting shifts from coastline to farmland. In this painting, Gruner depicts rolling agricultural paddocks, bordered by dense treelined hills and a pale blue luminous sky. The composition is structured through horizontal bands of cultivated earth, pasture, and tree groves, producing spatial depth and visual stability and elevating the rural landscape into a lyrical arrangement of colour and form. The ploughed foreground field becomes an expansive sweep of muted browns and greens animated by visible brushwork that evokes the texture of freshly turned soil. Fence posts rhythmically mark the lower edge of the composition, guiding the viewer’s eye toward the darker, dense tree grove. The contrast between open farmland and dense bushland creates a subtle dialogue between cultivation and untamed nature which is often a recurring theme within Australian landscape painting of this era.

Elioth Gruner’s landscapes of the 1930s exemplify the defining characteristics of his late style, including an emphasis on compositional clarity, tonal restraint, and an unparalleled understanding of Australian light. His landscapes evoke a quieter form of national identity that is grounded in contemplation, balance, and intimate familiarity. Through his Impressionist atmosphere and modernist structure, Gruner produced some of the most enduring and poignant visions of the Australian landscape in twentieth-century art.

amanda hayward (née north) senior fine art specialist

10

ELIOTH GRUNER (1882-1939)

Nambucca Beach 1933 oil on canvas on board in original Frederick Holdsworth frame (label verso) signed and dated lower right: Gruner 1933 inscribed verso: a nambucca beach / owner Saul Symonds / less 100 sale

36.5 x 43cm

provenance

The Collection of Mr and Mrs Saul Symonds, Sydney Thence by descent, Jean Campbell, Canberra 1940–78

Private collection, Sydney

Private collection, Perth

exhibitions (probably loaned) Exhibition of the Works of Elioth Gruner, National Art Gallery of New South Wales, Sydney, 21 December 1933 – 21 February 1934, cat. no. 22

$50,000-70,000

Viewing in Sydney

11

ELIOTH GRUNER (1882-1939)

The New Crop 1932 oil on canvas on board signed and dated lower right: Gruner 1932 signed and titled verso 36.5 x 44.5cm

provenance

The Collection of Mr and Mrs Saul Symonds, Sydney Thence by descent, Mrs Naomi Hoenig, London

Private collection, Sydney

Sotheby’s, Melbourne, 20 April 2010, lot 39

Private collection, Perth

exhibitions

Society of Artists’ Annual Exhibition, Education Department’s Art Gallery, Sydney, 2 - 30 September 1932, cat. no. 109

Exhibition of the Works of Elioth Gruner, National Art Gallery of New South Wales, Sydney, 21 December 1933 – 21 February 1934, cat. no. 19

The Centenary Art Exhibition, Commonwealth Bank Chambers, Melbourne, 1934, cat. no. 178 Commonwealth of Australia, Paris International Exposition, 1937, (as ‘The New Crop’ )(label and stamp verso) Elioth Gruner 1883-1939, Art Gallery of New South Wales, Sydney 13 July - 4 September 1983, cat. no. 63, (as ‘The Young Crop’) (label verso)

literature

Smith, U., Elioth Gruner’s Oil Paintings. Art in Australia, Sydney, 3rd Series, no. 50, June 1933, p. 23 (illus.)

Pearce, B., Elioth Gruner 1883-1939, Art Gallery of New South Wales, Sydney, 13 July - 4 September 1983, p. 27 (illus.)

$30,000-40,000

Viewing in Sydney

12

WILLIAM DUNN KNOX (1880-1945)

View from Abbot’s Lookout c.1925

oil on canvas in original John Thallon frame (label verso)

signed lower right: W.D.Knox

62.5 x 93cm

provenance

Joseph Brown Gallery, Melbourne

Private collection, Melbourne

ExHibiTiONS

Autumn Exhibition, Joseph Brown Gallery, Melbourne, 5 - 20 April 1979, cat. no. 90

$10,000-15,000

Viewing in Sydney

Village Street Scene, South of France oil on canvas signed with monogram lower left: RB 49.5 x 59cm

provenance

Deutscher~Menzies, Melbourne, 4 June 2003, lot 80 (unsold)

Private collection, Melbourne

$30,000-40,000 Viewing in Sydney

14

ARTHUR STREETON (1867-1943)

Yorkshire Farm House 1911 oil on canvas

signed lower right: A.Streeton titled and dated lower left: Yorkshire/ 1911 title inscribed on unknown labels verso 49.5 x 75cm

provenance

The Collection of Oliver Streeton (inscribed on unknown label verso)

The Collection of Horace Newman, Sydney Thence by descent

The Estate of Ella Kate Newman, Melbourne

Thence by descent

The Estate of Dr Neville Newman, Hobart Thence by descent

Private collection, Canberra

exhibitions (possibly) Mr Streeton’s Pictures, Victorian Artists’ Society Gallery, Melbourne, June 1914, cat. no. 112 (possibly) reword exhibition:

Arthur Streeton’s Exhibition of Paintings, Athenaeum Galley, Melbourne, 24 August - 4 September 1937, cat. no. 11

literature (possibly) Streeton, A., The Arthur Streeton Catalogue, self published, Melbourne, 1935, cat. no. 445 (as ‘Yorkshire Farm House’)

related work

Arthur Streeton, Yorkshire Farm Yard 1910, oil on canvas, 49.5 x 60cm, Private collection

Streeton visited Yorkshire to paint in the early autumn of 1910. ‘Its fine country up here, fine wild heights with the stone light grey cropping out’, he wrote to Tom Roberts from Malham near Leeds in September, ‘The weather much improved’. (1) He included pen and ink sketches in this letter to Roberts - one looking down on a farm house in the Yorkshire Dales and another of the rock face of Malham Cove. Streeton later completed a number of oil paintings of Yorkshire subjects which were well received both in Europe and back in Australia. There has been some confusion over the years between Yorkshire Farmhouse and the slightly smaller Yorkshire Farmyard. In his 1935 catalogue, Streeton lists the larger farmhouse as belonging to his son Oliver and the smaller work as in the collection of a Miss Michaelis.

(1) See Galbally, A. and Gray, A. (eds)., Letters from Smike, Letters of Arthur Streeton, Oxford University Press, Melbourne, 1989, p.119.

$60,000-80,000

Viewing in Sydney

15

HANS HEYSEN (1877-1968)

On the Seine, Paris 1901 oil on canvas laid on board signed, titled and dated lower right: PARIS/ HANS HEYSEN, 1901

22.5 x 32.5cm

provenance

The Collection of Richard Boland, South Australia

Leonard Joel, Melbourne, 3 May 2016, lot 129

Private collection, Melbourne

exhibitions

On loan to the Art Gallery of South Australia (label verso)

$10,000-15,000

HANS HEYSEN (1877-1968)

The Red Gum 1921 watercolour on paper

signed and dated lower left: HANS HEYSEN 1921

title inscribed verso

31 x 38.5cm

provenance

Private collection, Melbourne

Thence by descent

$12,000-16,000

provenance

$12,000-15,000

initialled lower right: TR. title inscribed on unknown label verso 24 x 29cm

provenance

Private collection, Melbourne

Private collection, Perth

$25,000-30,000 Viewing in Sydney

19

TOM ROBERTS (1856-1931)

Copse in Winter c.1910 oil on canvas on wood panel signed lower right: Tom Roberts. title inscribed on gallery label verso 35 x 45cm

provenance

The Collection of Walter Taylor, Sydney

The Collection of Dr George Elliot, Sydney

The Collection of John Brackenreg, Sydney

The Collection of D. R. Sheumack, Sydney

Sotheby’s Australia, Melbourne 25 – 26 August 1997, lot 194

Philip Bacon Galleries, Brisbane (label verso) Private collection, Perth (acquired from the above)

exhibitions

Santiago, 1910, cat. no. 346 (label verso)

Anthony Hordern’s Fine Art Gallery, Sydney, August 1920, cat. no. 41 (label verso) North Shore Festival of Arts, Historic Exhibition of Colonial & Sirius Cove Painters, Artlovers’ Gallery, Sydney, 1963, cat. no. 4

The D.R. Sheumack Collection of Australian Paintings, S.H. Ervin Museum and Art Gallery, Sydney, 17 May – 12 June 1983, cat. no. 91 Tom Roberts, National Gallery of Australia, Canberra, December 2015 – March 2016

literature

Topliss, H., Tom Roberts 1856-1931: A Catalogue Raisonne, Oxford University Press, Melbourne, 1985, cat. no. 410, p. 180

$60,000-80,000

Viewing in Sydney

20

ROBERT RICHMOND CAMPBELL (1902-1972)

French Landscape c.1930 oil on board

signed lower right: Robert Campbell titled and dated on label verso

45.5 x 56cm

provenance

The Estate of the Artist

Private collection, acquired from the above Arthur Spartalis Art Dealer, Perth

Private collection, Perth

exhibitions

Robert Campbell Retrospective, McClelland Regional Gallery, Langwarrin, Victoria, 24 February - 18 April 1985, cat. no. 14 (label verso)

$3,000-5,000

21

HANS HEYSEN (1877-1968) (Horses and Haystacks) 1920 watercolour on paper

signed and dated lower right: HANS HEYSEN 1920 33 x 47cm

provenance

Private collection, Perth

$15,000-20,000

22

LLOYD REES (1895-1998)

The River Derwent from the Heights of Sandy Bay, Tasmania c.1967 oil on canvas on composition board 37 x 68cm

provenance

The Collection of Erna Mendelson, Melbourne

Thence by descent

Noel Stott Fine Art, Melbourne 1996

The Collection of Frank and Janet South, Victoria

exhibitions

The Roaring Twenties as the Fiery Forties, Noel Stott Fine Art Gallery, Melbourne, November - December 1996, cat. no. 4

literature

Smith, U., The Small Treasures of a Lifetime: Lloyd Rees, Some early memories of Australian Art and Artists, Sydney, 1969, p. 98 (illus.)

other notes

Lloyd Rees capacity for reinvention is particularly evident in the final decades of his practice, when his work shifted towards an increased emphasis on light, atmosphere and tonal subtlety.

‘The River Derwent from the Heights of Sandy Bay, Tasmania’ c.1967 belongs to this important transitional moment. Rees first visited Hobart in 1967, following his son Alan’s appointment at the University of Tasmania, and the city quickly became a recurring subject.(1) The softer, more diffused light of Tasmania presented a marked contrast to the brilliance of Sydney Harbour, prompting a more restrained and atmospheric approach.

Viewed from an elevated position in Sandy Bay, the composition is structured through Rees’ enduring commitment to drawing. The undulating road leads through a quiet suburban landscape of houses and vegetation, guiding the eye towards the distant expanse of the Derwent River, rendered in muted grey-blue tones. While the scene retains a clear sense of place, the artist’s focus lies less in description than in evoking the prevailing mood.

(1) Free, R. and Rees, L., Lloyd Rees: An Artist Remembers, Craftsman House, Sydney, 1987, p. 95

$25,000-35,000

23

JULIAN ROSSI ASHTON (1851-1942)

Old Fort Macquarie 1900 oil on board

signed and dated lower right: JULIAN ASHTON/ 1900 titled lower left

20 x 40cm

provenance

The Collection of William T. Hughes

Christie’s, Melbourne, 13 March 1975, lot 397 Private collection, acquired from the above Christie’s, Melbourne, 28 May 1992, lot 100 Private collection, acquired from the above Private collection, Perth

exhibitions

Commonwealth Exhibition for the Society of Artists, Sydney, 1901, cat. no. 11

Julian Ashton 1851-1942, S. H. Ervin Museum and Art Gallery, Sydney, 14 November 1981 - 31 January 1982, cat. no. 58

literature

Graphic Art Co., Gems of Old Sydney, Sydney, c.1901, p. 2 (illus.)

Ashton, J.R., Now Still Came Evening On, Angus & Robertson, Sydney, 1941, p. 48

Dysart, D., Julian Ashton 1851-1942, Exhibition Catalogue, S. H. Ervin Gallery, Sydney, 1982, pp. 16-17 (illus.)

$15,000-20,00

Viewing in Sydney

24

JULIAN ROSSI ASHTON (1851-1942) (Portrait of a Young Woman) oil on board

signed lower left: J. R. ASHTON

49.5 x 39cm

provenance

Private collection, Perth

$8,000-12,000

25

WILL ASHTON (1881-1963)

(Figure in the Landscape) c.1928 oil on canvas

signed lower right: WILL ASHTON 1928 (illegible)

71 x 90.5cm

provenance

Arthur Spartalis Art Dealer, Perth

Private collection, Perth

$6,000-8,000

Viewing in Sydney

26 DAVID BOYD (1924-2011)

Angel of Spring oil on canvas

signed lower left: David Boyd titled on stretcher verso

40 x 40.5cm

provenance

Private collection, Melbourne

$6,000-8,000

27

ROLAND WAKELIN (1887-1971)

Portrait of his Daughter oil on board

signed lower right: R Wakelin title inscribed verso 77.5 x 52cm

provenance

Private collection, Melbourne

$4,000-6,000

28

SIR WILLIAM DOBELL (1889-1970)

The Boy George c.1928 oil on canvas

signed lower left: W Dobell signed and titled verso: Dobell/The boy George 68 x 52cm

provenance

Private collection

William S. Ellenden, Sydney, 6 August 1975, lot 63

Private collection, Sydney

The Estate of Pro Hart, Broken Hill, New South Wales

Deutscher and Hackett, 100 Important Australian Paintings, Melbourne, 16 April 2008, lot 30

Private collection, Perth

$40,000-60,000

29

JOHN CONSTABLE (1776-1837)

Study of Two Trees in a Landscape pencil on paper

inscribed verso: by John Constable RA 23 x 14cm

provenance

The Collection of John and Pat McDouall c.1935 Elizabeth Griffiths, Queensland c.1988 (bequeathed by the above)

other notes

We are grateful to Susan Owens for reconfirming Graham Reynold’s 2009 attribution to John Constable, based on photographs.

The measurements of the sheet suggest that the present work may be from the sketchbook with the pages measuring 14 x 23.5cm which the artist used in 1834.

$10,000-15,000

30

JOHN CONSTABLE (1776-1837)

Study of a Mature Tree in a Landscape pencil on paper

inscribed verso: by Constable RA 23 x 14cm

provenance

The Collection of John and Pat McDouall c.1935 Elizabeth Griffiths, Queensland c.1988 (bequeathed by the above)

other notes

We are grateful to Susan Owens for reconfirming Graham Reynold’s 2009 attribution to John Constable, based on photographs.

The measurements of the sheet suggest that the present work may be from the sketchbook with the pages measuring 14 x 23.5cm which the artist used in 1834.

$10,000-15,000

provenance

Private collection, Perth

$20,000-30,000 Viewing in Sydney

32

signed lower right: A Boyd titled on gallery label verso

59 x 87cm

provenance

Private collection, Sydney

Sotheby’s, Melbourne, 19 August 1996, lot 257

Private collection, Sydney

Savill Galleries, Sydney, acquired from the above (label verso)

Private collection, Perth

$45,000-65,000

Viewing in Sydney

33

ARTHUR BOYD (1920-1999)

The Money Changers 1950-52

glazed ceramic tile mounted on board signed lower centre: Arthur Boyd

40.5 x 42.5cm

provenance

The Collection of Geoffrey Dutton, London, acquired directly from the artist c.1960

The Collection of Ninette Dutton (née Trott), New South Wales

Private collection, New South Wales, acquired from the above prior to 2007

Deutscher and Hackett, Melbourne, 21 April 2021, lot 29

Private collection, Melbourne

exhibitions

Ceramic Paintings by Arthur Boyd, Peter Bray Galleries, Melbourne, 26 August – 4 September, 1952, cat. no. 12

literature

Philipp, F., Arthur Boyd, Thames and Hudson, London, 1967, p. 250, cat. no. 37

Dutton, G., Out in the Open: An Autobiography, University of Queensland, 1994, p. 215

related works

Arthur Boyd, Driving out the Money Changers 1950, glazed ceramic tile, the collection of the National Gallery of Australia, Canberra

Arthur Boyd, The Whale Putting Jonah in its Mouth 1950, glazed ceramic tile, the collection of the National Gallery of Victoria, Melbourne

Arthur Boyd, The Tribute Money c.1949, glazed ceramic tile, in the collection of the Australian Catholic University

$20,000-30,000

SIDNEY NOLAN (1917-1992)

Sturt on the River Bank 1948 ripolin enamel on composition board initialled and dated lower right: 15-4-48. /N. 90 x 59.5cm

provenance

Lauraine Diggins Fine Art, Melbourne (label verso)

The Collection of Lord Alistair McAlpine of West Green, November 1986 (inscribed verso)

Art Gallery of New South Wales, Sydney, gift from the above in 1995 (label verso)

Sotheby’s, Sydney, 26 November 2007, lot 28 Private collection, Western Australia

literature

Morse, J., The Short–Sighted Explorer, Link, April 1999, pp. 16 - 17

‘Nolan works fetch more than $700k’, Abc News, 26 November 2007, (illus.); https://www.abc.net.au/ news/2007-11-26/nolan-works-fetch-more-than700k/969332 (accessed April 2026)

other notes

Sturt on the River Bank 1948 can be understood as both a portrait of the explorer Charles Sturt and a symbolic self portrait of Sidney Nolan himself. Painted shortly after Nolan’s departure from Heide, the work reflects a moment of personal transition and reinvention. Nolan later recalled that the figure was based on himself, positioning the artist within a larger narrative of exploration and discovery.

The figure stands monumentally within the composition, towering over the landscape and dwarfing the surrounding elements. Small trees, distant buildings and tiny figures are reduced in scale against the immense sweep of land and river. The river itself functions almost as a dividing line between worlds, representing a point of crossing into unfamiliar territory. Rather than depicting exploration as historical fact, Nolan transforms it into a psychological and mythic journey.

This identification with explorers was a recurring feature of Nolan’s practice. Following the Ned Kelly series of 1946 to 1947, he increasingly aligned artistic creation with acts of discovery and movement across the landscape. Like Charles Sturt searching for an inland sea, Nolan was pursuing new subjects and territories through painting. In Sturt on the River Bank, the explorer becomes inseparable from the artist himself, a solitary figure moving across the vast Australian landscape in search of possibility.

$150,000-250,000

Viewing in Sydney

35

ROBERT DICKERSON (born 1924)

Red Dress, South Coast

synthetic polymer paint on canvas signed lower right: DICKERSON titled on gallery label verso 83.5 x 62cm

provenance

Deutscher~Menzies, Sydney, 5 March 2002, lot 29

Kensington Gallery, Adelaide

Private collection, Adelaide

Menzies, Melbourne, 24 August 2015, lot 119

Private collection, Sydney

Menzies, Melbourne, 27 June 2019, lot 72

Private collection, Melbourne

exhibitions

Robert Dickerson, Kensington Gallery, Adelaide, 15 September - 13 October 2002

$14,000-18,000

36

JOHN COBURN (1925-2006)

Study for Desert Ceremony gouache and pastel on paper signed lower right: Coburn titled lower centre

28 x 38cm (sheet)

provenance

Deutscher~Menzies, Melbourne, 3 May 2000, lot 178

Private collection, Melbourne

$3,000-5,000

37

LLOYD REES (1895-1998)

Italian Hills 1966

ink and wash on paper

signed and dated lower right: L REES 66 artist’s name, title and date on gallery label verso

33.5 x 44cm

provenance

Chrisite’s, Melbourne, 3 May 1988, lot 282 (as ‘Italian Landscape’)

Australian Galleries, Melbourne (label verso)

Private collection, Melbourne

$4,000-5,000

38

NICHOLAS CHEVALIER (1828-1902)

Dusk, Baden in Aargau, Switzerland 1889 watercolour on paper

signed and dated lower right: N.Chevalier. 1889. titled on gallery label verso

28 x 40.5cm

provenance

Bridget McDonnell Gallery, Melbourne (label verso)

Private collection, Melbourne

$3,000-5,000

39

ELIOTH GRUNER (1882-1939) (Sheep in Landscape) 1919 oil on canvas

signed lower right: E. GRUNER/ 1919

39 x 44.5cm

provenance

Arthur Spartalis Art Dealer, Perth Private collection, Perth

$25,000-35,000

40 HANS HEYSEN (1877-1968) (A Summer’s Day) c.1912 oil on board

signed lower left: HANS HEYSEN

45.5 x 56cm

provenance

Private Collection, Perth

Thence by descent

related work

Hans Heysen, A Summer’s Day 1912, watercolour over pencil, 54.6 x 73.6cm, in the collection of the National Gallery of Victoria, Melbourne

$15,000-20,000

The Collection of Jim and Joy Durran

41

HAUGHTON FORREST (1826-1925)

The Wreck at Gulf Rock oil on board signed lower left: HForrest titled on frame plaque 46 x 61.5cm

provenance

Tullochs Auction, Launceston, 19 February 2014, lot 1001

The Collection of Jim and Joy Durran, Geelong Thence by descent

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no. HF2.2.101, (illus.)

$14,000-18,000

42

HAUGHTON FORREST (1826-1925)

Sailing Vessel Running Free Towards Harbour oil on board signed lower left: HForrest 11.5 x 19.5cm

provenance

Private collection, Tasmania

The Collection of Jim and Joy Durran, Geelong Thence by descent

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no. HF2.3.018, p. 246 (illus.)

$4,000-5,000

43

HAUGHTON FORREST (1826-1925)

Fishing Boats off the Eddystone Lighthouse (also known as Around the Lighthouse) oil on board

initialled lower left: HF

30 x 45cm

provenance

Christopher Day Gallery, Sydney (as ‘Around the Lighthouse’) (label verso)

The Collection of Jim and Joy Durran, Geelong

Thence by descent

exhibitions

Christopher Day Gallery, Spring Exhibition, Sydney, 2006 (label verso)

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no.

HF2.3.014, p. 243 (illus.)

$8,000-12,000

44

HAUGHTON FORREST (1826-1925) Ships in Storm oil on board

initialled lower left: HF 17.5 x 29.5cm

provenance

Gowans Auctions, Tasmania, 24 November 2012, lot 133a

The Collection of Jim and Joy Durran, Geelong

Thence by descent

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no.

HF2.2.090, p. 243 (illus.)

$4,500-5,500

45

HANS HEYSEN (1877-1968)

Ambleside, South Australia 1927

watercolour on paper

signed and dated lower left: HANS HEYSEN.1927. title inscribed verso 32 x 39cm

provenance

Private collection, Melbourne

Thence by descent

$12,000-18,000

46

J.H. SCHELTEMA (1861-1941) (Cattle by the River) oil on board

signed lower left: J.H.Scheltema

39.5 x 65cm

provenance

Private collection, Melbourne

$5,000-7,000

47

HAUGHTON FORREST (1826-1925)

Fishing Lake Peddar, Tasmania oil on academy board

signed lower right: HForrest titled on gallery label verso

14.5 x 29cm

provenance

Boronia Art Gallery, Sydney (label verso)

Arthur Spartalis Art Dealer, Perth

Private collection, Perth

$4,000-6,000

48

HAUGHTON FORREST (1826-1925) (Maritime Scene) oil on board

signed lower left: HForrest

25 x 50cm

provenance

Private collection, England

Private collection, Melbourne

Thence by descent

$8,000-10,000

49

FRED WILLIAMS (1927-1982)

Landscape 1960 watercolour on paper signed and dated lower right: Fred Williams 60. titled on gallery label verso 26 x 27.5cm

provenance

Australian Galleries, Melbourne (label verso) Private collection, Melbourne

$10,000-15,000

50

WILLIAM ROBINSON (1936-2025)

Setting the Table c.1974 pastel on paper signed lower centre: William Robinson 38 x 46cm

provenance

Niagara Galleries, Melbourne 2004

Private collection, Melbourne

$4,000-6,000

51

JOHN PERCEVAL (1923-2000)

The Owl and the Pussycat, Charlie Chaplin, and Other Stories 1951

twelve glazed hand-painted ceramic tiles mounted on board

signed and dated lower right: John Perceval/ 1591[sic.]

46 x 61cm

provenance

Christie’s, Sydney, 1 October 1974, lot 496

Private collection, Melbourne

Deutscher and Hackett, Melbourne, 9 May 2007, lot 126

Private collection, Melbourne

$15,000-20,000

52

CLIFTON PUGH (1924-1990) (Feral Cat) 1976 oil on board

signed and dated lower right: Clifton/ 76 55 x 74.5cm

provenance

Private collection, Sydney

$10,000-15,000

© John Perceval/Copyright Agency, 2026

53

MARGARET OLLEY (1923-2011)

Malacca Malay

watercolour and gouache on paper signed lower right: Margaret Olley titled lower left

25.5 x 40cm

provenance

Galloway Galleries, Queensland

Private collection, Queensland

$2,000-4,000

54

MIRKA MORA (1928-2018)

I Love You Said the Bird c.1985 gouache on paper signed lower left: mirka. artist’s name, title and date inscribed verso

27 x 18.5cm

provenance

William Mora Galleries, Melbourne (stamp verso)

Private collection, Melbourne

$4,500-5,500

55

ELISABETH BRAINOS (French, born 1949)

Ma Plus Belle Histoire d’Amour 2022 bronze and crystals on metal signed at base: EBrainos 82 x 19.5 x 19cm

provenance

The Artist

Galerie Eleni, Antibes, France Private collection, Sydney

$6,000-8,000

56

IDA RENTOUL OUTHWAITE (1888-1960)

A Strayed Moonbeam ink and gouache on card preliminary sketch verso titled lower left (concealed): “A Strayed Moonbeam.” 24 x 30.5cm

provenance

Gift of the Artist

Private collection, Melbourne

Thence by descent

$5,000-7,000

57

SYDNEY BALL (1933-2017)

Infinex Luminex 20 (large installation) 2009 acrylic on board (20) signed, titled, dated and numbered verso 23 x 25cm (each)

provenance

Sullivan+Strumpf, Sydney Corporate collection, Sydney

$20,000-30,000

58

SYDNEY BALL (1933-2017)

Chromix Lumina 5 2015 automotive enamel on aluminium, ed. 2/3 incised verso with artist’s name, title and edition: SYDNEY BALL/ CHROMIX LUMINA 4/ SB 2/3 UAP

92 x 131 x 4cm (irregular)

provenance

Sullivan+Strumpf, Sydney Corporate collection, Sydney

$6,000-8,000

59

SYDNEY BALL (1933-2017)

Chromix Lumina 4 2015

automotive enamel on aluminium, ed. 2/3 incised verso with artist’s name, title and edition:

SYDNEY BALL/ CHROMIX LUMINA 4/ SB 2/3 UAP

88 x 104 x 4cm (irregular)

provenance

Sullivan+Strumpf, Sydney

Corporate collection, Sydney

$6,000-8,000

60

GONKAR GYATSO (Tibetan, born 1961)

On First Sunshine 2012 stickers, paper collage and pencil on resin cast sculpture inscribed and dated at base: 8/2012

40 x 46 x 31cm

provenance

Conceptio Unlimited Limited, Hong Kong

Private collection, Melbourne, acquired from the above 19 August 2014

other notes

Gonkar Gyatso’s sculpture On First Sunshine 2012 is a striking meditation on identity, spirituality and cultural transformation in the contemporary world. Known for combining traditional Tibetan Buddhist imagery with the visual language of global consumer culture, Gyatso creates artworks that are both playful and deeply reflective. In this sculpture, a crosslegged human form is entirely covered with a dense collage of stickers, logos, cartoons, and decorative motifs, producing a surface that feels simultaneously exuberant and overwhelming.

The figure’s compressed posture suggests introspection or vulnerability, while the riot of imagery evokes the constant bombardment of modern media and commercial symbolism. Gyatso, who was born in Tibet and later lived in India and the United Kingdom, often explores the tensions between Eastern spiritual traditions and Western popular culture. On First Sunshine captures this dialogue vividly, presenting the body as a site where memory, migration, belief, and global visual culture converge.

$60,000-90,000

61

FENG BIN (Chinese, born 1962)

Dancing in Red Shadows (Study) 2008 acrylic on silk on linen, quadriptych signed, titled, dated and numbered verso: FENG BIN/ 2008-28 [sic]/ Dancing in Red Shadows (Study)

100 x 120cm (each); 100 x 480cm (overall)

provenance

Conceptio Unlimited Limited, Hong Kong Private collection, Melbourne, acquired from the above 24 January 2014

“Early in his career, Feng produced a series of paintings that took Tibetan buildings and cultural referents found in Sichuan as its thematic nucleus. Against the staunch immobility of the looming architecture, the artist inserted apparition like figures that appear, through their blurred, painterly silhouettes, to be in rapid movement. The problem of the “body in motion” persists throughout his career and it is a relentless investigation that eventually delivered him to his current “Dance” series, one that conflates the artist’s dexterity in wielding ink with the properties of modern media.

Venturing into the world of canvases, acrylics, and watercolours, Feng conjures up a reverie punctuated by nameless dancers who waltz in and out of vision. The washes of pigment are so seamlessly layered together that a luminosity emerges amid a composition teetering between representation and abstraction. The cool anonymity of the depicted scenes clash with their visual warmth, a paradox not unlike the prevalent phenomenon of social dancing, where strangers meet in a mutual thirst for physical intimacy and perhaps something more.

Amounting to an oblique commentary on contemporary urban China, Feng’s “Dance” series, propels forward the legacy of Chinese painting in subtly innovative directions. ‘Dancing in Red Shadows’ dramatically expanded Feng Bin’s “Dance” series. It comes in four parts, is a work of acrylic on silk and represents the series at its finest. In the painting, Feng Bin conjures up a reverie punctuated by nameless dancers who waltz in and out of vision. The cool anonymity of the depicted clashes with the visual warmth of the colours, a paradox not unlike the prevalent phenomenon of social dancing in contemporary urban China, where strangers meet in a mutual thirst for physical intimacy and perhaps something more.” (excerpt, Conceptio Art Gallery) $40,000-60,000

The Beginning of Things 1991 painted hand-carved redgum initialled, titled and dated verso: ‘THE BEGINNING OF THINGS’/ BA 1991

88 x 70 x 3.5 (irregular)

provenance

John Buckley Gallery, Melbourne Private collection, Melbourne

$4,000-6,000

64

ALUN LEACH-JONES (1937-2017)

Untitled c.1970s

acrylic on canvas (4)

74 x 74cm (overall)

provenance

Llewellyn Galleries, Adelaide 1973 (label verso)

Private collection, Adelaide

$6,000-9,000

65

CHRISTIAN DE VIETRI (born 1981)

Vogue Nuclear Medicine Market Strategies for Windows

South Central 2005

photographic lightbox

190 x 60 x 12cm

provenance

Goddard de Fiddes Gallery, Perth, 2005 (label verso)

Private collection, Melbourne, acquired directly from the Artist

exhibitions

Windows, Goddard de Fiddes

other notes

The artwork was originally created and exhibited as a group of 13 photographic lightboxes.

related work

Christian De Vietri, Lightbox #4 (Commercial Asphyxia Lib Arts non-Fishing Tribe) 2005, photographic lightbox, 190 x 60 x 12cm, Murdoch University Art Collection, Perth

Christian De Vietri, Lightbox #8 (Africa (Continent) 1978 Vegetarian Accounting) 2005, photographic lightbox, 190 x 60 x 12cm, The Kerry Stokes Collection, Perth Christian De Vietri, Lightbox #9 (Chemicals, Biohazards, burns, slips, falls, barnacle) 2005, photographic lightbox, 190 x 60 x 12cm, The Kerry Stokes Collection, Perth

$5,000-7,000

“I would rather have Ten minutes of wonderful, than a lifetime of nothing special”

66

ALESANDRO LJUBICIC (born 1986)

A Life Lived 2022 mixed media on linen

signed and dated verso: Alesandro Ljubicic ‘22 titled inscribed on unknown label verso 180 x 170cm

provenance

Scott Livesey Galleries, Melbourne 2022 (stamp verso)

Private collection, Sydney

exhibitions

Giardino Dipinto, Scott Livesey Galleries, Melbourne, 13 - 27 August 2022

These paintings symbolise romance & love, where the flowers and the colour symbolise a statement of having a strong affection and love.

Flowers around us were once important symbols of our deepest emotions, and people’s affections. Even today, flowers are there to express our emotions, and to send an important message out to the world. Sometimes, this message is clear but other times we have to look deeper into the symbolic meaning of a flower to understand this message. For myself, this subject represents a positive view of life. When looking at my work, the paintings represent various emotions of joy, gratitude, pride and love. (excerpt, exhibition statement)

$12,000-16,000

67

TIM MAGUIRE (born 1958)

97u13 1997

oil on canvas

titled, signed, and dated verso: Untitled 97U13/ Maguire ‘97 (concealed)

80 x 80cm

provenance

Andreas Binder Gallery, Munich

Private collection, Miami, Florida

Bruce Kodner Galleries, Lake Worth, Florida

Private collection, Melbourne

$6,000-8,000

68

TIM MAGUIRE (born 1958)

Untitled 1987

mixed media on paper (4)

signed and dated lower right (3): Maguire ‘87 signed and dated lower left (1): Maguire ‘87

31.5 x 62cm (largest; dimensions vary)

provenance

Leonard Joel, Melbourne, 28 November 2017, lot 218

Private collection, Melbourne

$5,000-7,000

69 JULIAN MEAGHER (born 1978)

Bicheno #7 2019 oil on linen

signed, titled and dated verso: ‘Bicheno #7’/ JulianMeagher ‘ 19/ Julian Mengher/ 2019 51 x 41cm

provenance

Olsen Gallery, Sydney (label verso) Private collection, Melbourne

$2,000-4,000

70 JOANNA LAMB (born 1972)

Airport Lounge 2014

synthetic polymer paint on canvas signed, titled and dated verso: Joanna Lamb 2014/ Airport Lounge 124 x 150cm

provenance

Sullivan+Strumpf, Sydney Corporate collection, Sydney

$6,000-8,000

71

JUAN DAVILA (born 1946)

Juanito Laguna 1992

oil on canvas

signed and dated lower right: Roy [sic] Davila 92 signed, titled and dated verso: JUANITO LAGUNA/ JUAN DAVILA/ 1992

39.5 x 32cm

provenance

Kalli Rolfe Contemporary Art, Melbourne Private collection, Melbourne

$6,000-8,000

72

GEORGE RAFTOPOULOS (born 1972)

Ikon 22 2008

acrylic on canvas signed, titled and dated verso: ‘Ikon 22’/ George Raftopoulos/ 2008

180 x 120cm

provenance

Flinders Lane Gallery, Melbourne 2010 (label verso) Private collection, Melbourne

exhibitions

George Raftopoulos: The New York Suite, Flinders Lane Gallery, Melbourne, 13 April - 1 May 2010

$5,000-7,000

73

BILL HENSON (born 1955)

Untitled from ‘Kindertotenlieder’ 1976-2016

archival mineral pigment print, ed. A/P

44 x 36.5cm

provenance

Deutscher Fine Art, Melbourne (label verso) Private collection, Melbourne

exhibitions

Bill Henson: Photographs from Two Decades, Deutscher Fine Art, Melbourne, October - November 1993, cat. no. 41 (label verso)

$8,000-9,500

74

ANNE MARIE GRAHAM (born 1925)

Pineapple Fields 1978

oil on canvas

signed and dated lower left: Anne Graham 1978

163 x 244cm (irregular)

provenance

The Collection of Christopher Skase, Melbourne

Private collection, Queensland, acquired from the above

$5,000-7,000

75 © Rick Amor/Copyright Agency, 2026

76 © Courtesy of the Artist, 2026

75

RICK AMOR (born 1948)

Astor Place, Subway 1996

gouache on paper

signed and dated lower right: Rick Amor 24/10/96

title inscribed on frame verso

37 x 33cm

provenance

Tony Palmer Fine Art, Sydney

Private collection, Sydney

Deutscher and Hackett, Sydney, 1 September 2010, lot 148

Private collection, Sydney Mossgreen Auctions, Melbourne, 18 October 2015, lot 14

Private collection, Melbourne Mossgreen Auctions, Melbourne, 30 August 2016, lot 112

Private collection, Melbourne

$4,000-6,000

76 BILL HENSON (born 1955)

Untitled 1974

archival mineral pigment print, ed. A/P

27 x 19.5cm

provenance

Deutscher Fine Art, Melbourne 1989

Private collection, Melbourne

$5,000-7,000

77 ROBERT GRIEVE (1924-2006)

Grampians Landscape 1964 oil on canvas on board

signed and dated lower left: R. Grieve 64 artist’s name and title inscribed verso

68.5 x 115.5cm

provenance

The Collection of Harold E. Mertz

Christie’s, Melbourne, 28 June 2000, lot 107

Private collection, Melbourne

exhibitions

Adelaide Festival of Arts 1966, The Mertz Collection of Contemporary Australian Painting, National Gallery of South Australia, Adelaide, cat. no. 41 (label verso)

Contemporary Australian Painting from the Mertz Collection, Corcoran Gallery of Art, Washington, cat. no. 89

The Arch M. Huntington Art Gallery, The University of Texas at Austin, item no. 1982.83, gift of the Mertz Art Fund, 1972 (label verso)

$6,000-8,000

78

MELINDA HARPER (born 1965)

Untitled Yellow, Green & Blue 2011 oil on canvas

signed and dated verso: Melinda Harper 2011. artist’s name, title and date on gallery label verso 152 x 183cm

provenance

Tim Olsen Gallery, Sydney 2013 (label verso) Private collection, Melbourne

$7,000-9,000

79 MATTHEW JOHNSON (born 1963)

Marine Ebb 2015 oil on linen

signed, titled and dated verso: “MARINE EBB”/ Matthew Johnson 2015 120 x 240cm

provenance

Olsen Irwin Gallery, Sydney (label verso) Corporate collection, Sydney

$6,000-8,000

80 DEAN BOWEN (born 1956)

Long Term Parking 2007 oil on canvas

signed lower right: Dean Bowen artist’s name, title and date verso 152 x 182cm

provenance The Artist Corporate collection, Melbourne

$6,000-9,000

81

GEORGE TJUNGURRAYI (born c.1947) (Language group: Pintupi) Tingari Cycle 1999 synthetic polymer paint on linen inscribed verso with artist’s name and cat. no. GT99113 and 4167 121 x 61cm

provenance

Gallery Gondwana, Alice Springs (accompanied by the certificate of authenticity) Private collection, Melbourne

other notes

“George uses a highly personalised and strictly minimal style to represent aspects of the sacred Tingari Cycle, an epic journey of Ancestral beings from the Jukurrpa (Creation Era).

This painting depicts the claypan site of Karimalunya, north of Kiwirrkura. This is George’s father’s country. There is a water soakage at the site which was used by a man of the Tjapaltjarri subsection while travelling in the area.

The events associated with the Tingari Cycle are of a secret and sacred nature so no further details were given. Generally, the Tingari are a specific group of Jukurrpa ancestors who travelled vast stretches of the country, performing rituals which created the particular land formations of the various sites. The Tingari men were accompanied by novices and usually followed by the Tingari Women. Their travels and adventures are enshrined in song cycles, which today are important aspects of the investiture teachings of the post initiatory youths, as well as providing explanations for contemporary customs.”

As stated on the Gallery Gondwana Fine Art certificate of authenticity

$4,000-6,000

YUMPULULU TJUNGURRAYI (c.1930-1998)

(Language group: Pintupi)

Untitled 1996

synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. YT961188 (concealed)

46 x 90cm

provenance

Papunya Tula Artists, Alice Springs (accompanied by the certificate of authenticity)

Private collection, Western Australia

other notes

“This painting depicts the travels of the Tingari Men to the hill site of Tjukatunya, south-west of the Kiwirrkura Community. In mythological times a large group of Tingari Men gathered at this site to perform ceremonies. 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 form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Pupunya Tula Artists certificate of authenticity

$4,000-6,000

83

LORNA JIN-GUBARRANGUNYJA (born 1952)

(Language group: Burarra-Martay)

Fish Trap 2006 natural fibres

148 x 28 x 28cm (irregular)

provenance

Maningrida Arts & Culture, Northern Territory, cat. no. 4511-06

Palya Art, Darwin, cat. no. PALYA-1990 Private collection, Melbourne

$1,000-1,500

84

BELINDA GUNYDJULMA (born 1946)

(Language group: Mandhalpuy)

Fish Trap 2009

pandanus natural fibres

60 x 45 x 45cm (irregular)

provenance

Bula’bula Arts, Northern Territory, cat. no. wea 873 (accompanied by the certificate of authenticity) Private collection, Melbourne

$500-700

Across the Painted Law: The Bark Masters of Arnhem Land and the Legacy of Sandra Le Brun

Holmes

In the story of Australian art, few chapters are as profound or as misunderstood as the ceremonial bark paintings of Arnhem Land and the Tiwi Islands. These works, created by senior men of high degree, are not simply artworks in the Western sense. They are expressions of ancestral law, cosmology, and identity: visual chapters in a religious system carried in memory, ceremony, and design for thousands of years.

For decades, one of the clearest windows into this world came through the work of Sandra Le Brun Holmes, whose deep friendships with elders and ceremonial leaders shaped her life’s work. Her books and films about master bark artist and leader, Yirawala and Tiwi ceremonial art remain touchstones for understanding the cultural depth behind these works, but her legacy extends far beyond.

Beginning in the 1950s, Sandra and her husband, filmmaker Cecil Holmes, travelled to remote communities at a time when many Aboriginal people were living under restrictive mission or government control. These were the early years of assimilation, a period marked by profound cultural upheaval. Yet within these constraints, Sandra became a trusted intermediary, helping elders articulate their wishes, protect their ceremonial designs, and navigate the legal and social systems of the non-Indigenous world.

She served as sound recordist and cultural liaison on some of the earliest ethnographic films made in Arnhem Land and the Tiwi Islands. These films, created in close collaboration with senior men, documented ceremonies, songs, and public ceremonial designs appropriate for recording. Her role was not observational; it was relational. She listened, translated, explained, and ensured that the elders’ intentions were honoured.

The communities recognised this. They gave her a name from their mythology — the name of an ancient warrior heroine — a gesture that speaks more eloquently than any academic accolade.

During the years she lived in Darwin, Sandra created what became known as her teaching museum, the first of its kind in the Northern Territory. She transformed our family home into a place where Aboriginal people could share their knowledge, document their stories, and see their cultural heritage treated with respect and seriousness. Schoolchildren visited regularly, as did travellers, researchers, and visitors from around the world. For many Indigenous families, the museum became a source of pride: a place where their art, ceremonies, and histories were honoured at a time when such recognition was rare. It was a living space of cultural exchange, learning, and continuity.

The men Sandra worked with, Yirawala M.B.E. and many others, were not “artists” in the Western sense. They were lawmen, healers, ceremony leaders, and custodians of inherited knowledge. Their authority to paint came from initiation, lineage, and responsibility. Each design was tied to a specific clan estate, a specific story, a specific ancestral being.

Sandra often said that because Aboriginal cultures had no written language, every form of expression — painting, song, dance, story — was part of a single sacred system. She shared what the elders told her: that each painting was “a page of a sacred book.” And she said that when an elder died without someone to inherit their knowledge, “it was like a library burning.”

This understanding shaped her life’s work. She saw bark painting not as decoration, but as a vessel of law and memory, a visual theology.

Today, bark painting continues to thrive in many communities, with contemporary artists extending the tradition through both classical techniques and innovative approaches. Their work demonstrates the vitality and adaptability of this ancient art form. Yet the paintings in this collection speak to an earlier era, a time when bark painting was inseparable from ceremonial authority and inherited cultural responsibilities. They offer a direct connection to the foundations from which today’s artists continue to draw strength.

Sandra dedicated her life to ensuring that this knowledge would not be lost. Through her books, films, and relationships, she preserved a body of cultural memory that might otherwise have vanished. She also assembled the only two complete ceremonial collections ever preserved in Australia: the Holmes–Tiwi Collection in the Museum and Art Gallery of the Northern Territory, documenting the full Pukamani cycle of the Tiwi people, and the Yirawala Collection of the Maraian series, now held by the National Gallery of Australia. Created over many years in close collaboration with senior ceremonial leaders, these collections stand as monumental contributions to the preservation of Aboriginal ceremonial art.

The bark paintings offered here belong to that same world — a world of law, story, and ancestral presence. Their significance lies not in comparison with any other form of Indigenous art, but in the cultural truth they embody. My hope is that they continue to be seen, understood, and honoured for what they truly are: enduring expressions of one of the oldest continuous artistic traditions on earth.

amanda holmes

85

YAMBUL (Active mid-20th century) (Language group: Liyagalawumirr)

Djalambu Hollow Log Ceremony and Sacred Palm 1969 natural earth pigments on eucalyptus bark artist’s name and title on label affixed verso 105 x 40cm

provenance

The Artist

The Collection of Sandra Le Brun Holmes Thence by descent

other notes

“The sacred palm is growing in the increase well. In the well is Wititj the python and Minala the long neck turtle. The big water goanna swims through the water lilies near the hollow log coffin which is in the well of fresh water.

The young diver duck Braila — near the eggs — is a symbol of life. The increase of the natural species.

After the mortuary ceremony life goes on. The Djalambu ceremony ensures that the new ghost will find the right path to the eternal Dreaming in the home country.” (story on label affixed verso)

$6,000-8,000

86

JIMMY MATHAMAN (Active mid-20th century) (Language group: Yolngu)

Mardayin Brolgas and Fish 1966

natural earth pigments on eucalyptus bark inscribed verso with artist’s name 101 x 45cm

provenance

The Artist

The Collection of Sandra Le Brun Holmes

Thence by descent

other notes

Jimmy Mathaman was a Yolngu bark painter from Elcho Island, active during the 1960s. His work is securely documented through field records and photographs made by Sandra Le Brun Holmes, who collected his paintings directly during her visits to Elcho Island. His paintings reflect the shared visual language of Elcho Island artists of his generation, many of whom painted together and influenced one another’s palettes and ceremonial subjects.

$7,000-10,000

87

JACK JAMINMARULA (Active mid-20th century) (Language group: Burarra)

Djalambu Hollow Log Ritual 1975 natural earth pigments on eucalyptus bark artist’s name and title on label affixed verso 170 x 80cm

provenance

The Artist

The Collection of Sandra Le Brun Holmes

Thence by descent

other notes

“In the Dreaming time the hollow log floated along a seaway path. Catfish, tuna and barramundi swam around it and through it. The log floated ashore near a place called Gamarguyanr. The log was found, named and used by Djalambu, a totemic being. (Name varies according to language.)

The log was used for a coffin. The bones are placed in the hollow log and it is set in a symbolic sacred well. Various totems are painted on the log, such as the diver duck Gurdupurra (Barala), Minala the catfish, Jinumburr the tuna, and the barramundi.

Panel 1: Baru the crocodile swimming with tuna, catfish and barramundi. Panel 2: Octopus and fish along their Dreaming path. Panel 3: Hollow logs with bones near the sacred well (black dot). Panel 4: Barala (Gurdupurra), the diver duck totem, rising from the well.

Through the sacred ritual interment of the bones the spirit of the dead will return to where it was first incarnated. The ceremony bestows life after death and ensures the increase of all natural species. The seaway song cycle is a story of life and immortality. The holes in the log are so that the spirit can look out.” (story on label affixed verso)

$6,000-8,000

88

JIMMY MAMUKEN (Active mid-20th century) (Language group: Birrkili)

Barracuda (Sea-Way Song Cycle) 1980 natural earth pigments on eucalyptus bark artist’s name and title on label affixed verso 146 x 70cm

provenance

The Artist

The Collection of Sandra Le Brun Holmes

Thence by descent

other notes

“The painting shows two barracuda following their Dreaming path in the creation time. The fish are singing as they travel along the channels near the sacred increase site, where two rocks stand near two sandbars. Springwater bubbles out from the sandbars anf flows into the sea (two cylindrical shapes with circles in the centre). The rocks are painted in the centre of the painting top and bottom. Hermit crab tracks are shown on the rocks. The border of the painting is made up of sea urchins named Mijala or Nyangbal. This painting design and story belongs to the Gunbitji people and its part of the sea-way song cycle round the coast of Elcho Island.” (story on label affixed verso)

$6,000-8,000

89

MALALUBA GUMANA (1952-2020)

(Language group: Dhalwangu)

Larrakitj

natural pigments on hollowed log

185.5 x 18 x 18cm

provenance

Buku-Larrnggay Mulka Centre, Yirrkala

The Collection of Nellie and Ron Castan, Melbourne

$8,000-12,000

90 LILY KELLY NAPANGARDI (born 1948)

(Language group: Luritja)

Sandhills 2003

acrylic on belgian linen

300 x 116cm

provenance

Watiyawanu Artists, Alice Springs, cat. no. NJM03/0037

Neil Murphy Gallery, Sydney

Private collection, Melbourne

$6,000-9,000

91

GORDON WATT (born 1939)

Leg Markings 5 2005

acrylic on canvas

inscribed verso with title, artist’s name and Mornignton Island Arts cat. no. 4/2/0/GW/0805

121.5 x 137cm

provenance

Mornington Island Arts & Crafts Centre, Woollongabba Art Gallery, Brisbane, 2005

Private collection, Brisbane

exhibitions

Mornington Island Arts & Crafts Centre, Woollongabba Art Gallery, Brisbane, 2005

literature

Evans, N., The Heart of Everything: The Art and Artists of Mornington and Bentinck Island, Woomera Aboriginal Corporation Mornington Arts & Craft, McCulloch & McCulloch Australian Art Books, pp. 65-67 (illus.), (back cover illus.)

$2,000-4,000

92

LILY KARADADA (born c.1927)

(Language group: Woonambal)

Untitled 1997

natural earth pigments on bark

inscribed verso with artist’s name and cat. no. AK413 and BF140

77 x 57cm

provenance

Gallery Gondwana, Alice Springs, cat. no. 2392 (accompanied by the certificate of authenticity)

Private collection, Melbourne

$3,000-4,000

93

JANET DREAMER (1959-2021)

(Language group: Jaru)

Sturt Creek 2019

synthetic polymer paint on canvas inscribed verso with artist’s name and Yarliyil Art Centre cat. no. 480-19 (partially concealed)

68.5 x 45cm

provenance

Yarliyil Art Centre, Halls Creek

Short St. Gallery, Broome (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne

other notes

“This picture depicts two turkeys dancing happily after finding big mob off mungari (food). One kangaroo watches as a bush woman gets her spear and boomerang ready to catch the turkeys. Turkeys and Kangaroos live around Sturt Creek because of water in the creek.”

As stated on the Short St. Gallery certificate of authenticity

$1,500-2,000

94

LYDIA BALBAL (born c.1958)

(Language group: Yulparija)

Winpa 2022

acrylic on canvas

inscribed verso with artist’s name, date and Short St. Gallery cat. no. 841398

70 x 100cm

provenance

Short St. Gallery, Broome (accompanied by the certificate of authenticity)

Private collection, Melbourne

other notes

“Wirnpa is jila (living water) located near the Percival Lakes in the Great Sandy Desert in WA. It is an important gathering of the Yulparija and neighbouring groups. they would gather for rain making ceremonies.

Lydia walked all around this country with her family until the early 1970’s when severe drought caused her people to walk out. They left their traditional country and headed to Le Grange Mission, now Bidyadanga community on the coast south of Broome.”

As stated on the Short St. Gallery Artists certificate of authenticity

$3,000-5,000

95

(Language group: Walmajarri)

Junmu 2004

synthetic polymer paint on canvas

inscribed verso with artist’s name and Mangkaja Arts cat. no. PC313-04

120 x 90cm

provenance

Mangkaja Arts, Fitzroy Crossing

Short St. Gallery, Broome (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne

$4,000-5,000

96

WILLIE GUDUPI (1916-1996)

(Language group: Alawa)

Untitled 1995

synthetic polymer paint on canvas inscribed verso with Palya Art cat. no. 0695 115 x 94cm

provenance

Palya Art, Darwin

Private collection, Melbourne

other notes

“Willie/Moima Gudupi’s work focused on initiation and mortuary ceremonies. The divisions in Gudupi’s paintings isolate parts of the story and also indicate the boundaries of clan estates. The images include ancestors in human and animal form, weapons, tools and a plethora of flora.”

As stated by the Palya Art Centre.

$3,500-4,500

97

ARTIST UNKNOWN

A Pair of Fish Traps 2008 natural fibres (2)

126 x 48 x 48cm (irregular, largest)

provenance

Maningrida Arts & Culture, Northern Territory

Private collection, Melbourne

$500-600

98

MARY DHAPALANY (born 1950) (Language group: Mandhalpuy)

Fish Trap 2009

pandanus natural fibres

68 x 44 x 44cm (irregular)

provenance

Bula’bula Arts, Northern Territory, cat. no. wea 869 (accompanied by the certificate of authenticity)

Private collection, Melbourne

$500-700

99

NELLIE STEWART (born c.1930-2012) (Language group: Pitjantjatjara)

Minyma Kutjara Tjukurpa 2009

synthetic polymer paint on canvas inscribed verso with artist’s name, date and Tjungu Palya cat. no. TPNS09137

114 x 200.5cm

provenance

Tjungu Palya Arts, Nyapari, South Australia Marshall Arts, Adelaide (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne

other notes

“This is Irrunytju. Minyma Kutjara Tjukurpa (the creation story of two sisters). The women were travelling through this country stopping at rockholes along the way. They had special Inma (ceremonial singing and dancing). Ngayuku nguntytju ngura (this is my mother’s country) When the little sister was very small, she was blown away by a big wind far to the south, to another country, where people spoke another language and had different Inma (ceremonies). Many years later the big sister heard where her sister was and went to bring her back home. They travelled together for many days. The little sister was frightened and crying. “I don’t want to go back? she wailed. The elder sister taught her ceremonial language as they travelled through the desert. Close to Irrunytju the sisters made hair belts for Inma (ceremonial song and dance). From there the big sister threw her digging stick and made Wana Wani.’”

As stated on the Tjungu Palya Arts certificate of authenticity

$4,000-6,000

100

JUDY NAPANGARDI WATSON (c.1925-2016)

(Language group: Warlpiri)

Karntakurlangu Jukurrpa (Women’s Dreaming) synthetic polymer paint on linen inscribed verso with artist’s name and Gallery Gondwana cat. no. 4297/4282 91 x 91cm

provenance

Purchased from and painted at Gallery Gondwana, Alice Springs with the knowledge and support of Warlukurlangu Arts, Yuendumu (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne

other notes

“This significant painting depicts a major women’s ceremonial site known as Mina Mina, located near Lake Mackay in the Tanami Desert, north of Yuendumu in the Northern Territory. During the Jukurrpa (Dreaming) Ancestral women of the Napangardi and Napanangka sub-section groups (aunt / niece relationship, in which knowledge is passed from one to the other) gathered to collect ceremonial digging sticks (karlungu) that had emerged from the ground. They then proceeded east, performing rituals of song and dance, to the place known as Jankinyi. A large belt of trees (Casuarina Decaisneana) now stand where these sacred digging sticks once were.

Mina Mina is an area dominated by two large clay pans, which Judy has represented here by the sets of wavy lines running along the edge of the painting. The straighter lines joined by roundels depicts sandhills, which are also part of the geographical formations found at Mina Mina. The wavy lines through the centre symbolise the snake vine that is spun into rope for ceremony and to carry their wooden carry bowls (coolamons). The Napangardi and Napanangka women carrying their digging sticks are represented by the U-shapes and the small, straight lines while around them are fresh water soakage holes as well as wooden bowls used for carrying, called coolamons, both depicted by the roundels.”

As stated on the Gallery Gondwana certificate of authenticity

$4,000-6,000

101

MAUREEN BAKER (born 1962)

(Language group: Ngaanyatjarra)

Ngayuku Mamku Ngura 2012 synthetic polymer paint on canvas inscribed verso with artist’s name, date and Tjungu Palya cat. no. 12190 121 x 199.5cm

provenance

Tjungu Palya Arts, Nyapari, South Australia Outstation Gallery, Darwin (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne

other notes

“’This is my father’s country near Tjukurla and Kulkurdaare. There are many stories and many people have travelled across this country in the old times. There are waterholes and lakes and underground creeks and travelling tracks. It is an important place.?”

As stated on the Tjungu Palya Arts certificate of authenticity

$3,000-5,000

102

DANILA VASSILIEFF (1897-1958) (Abstract) c.1950

lilydale marble 11 x 21 x 29cm

provenance

Private collection, France

Thence by descent

$4,000-6,000

103

DANILA VASSILIEFF (1897-1958)

Woronora 1937 oil on canvas

signed lower right: Vassilieff artist’s name, title and date inscribed verso 55 x 59cm

provenance

The Collection of Janet Nield, Sydney Private collection, Sydney Christie’s, Melbourne, 18 April 1994, lot 260 Private collection, Melbourne

literature

St. John Moore, Felicity., Vassilieff and his Art, Oxford Press, 1982, p. 49 (label verso)

$10,000-15,000

104

RICK AMOR (born 1948)

Untitled 1995

watercolour on paper

signed and dated lower left: Rick Amor 10/5/95

28.5 x 38.5cm

provenance

Niagara Galleries, Melbourne (label verso)

Private collection, Melbourne

$5,000-7,000

105

CLIFTON PUGH (1924-1990)

Bush Bridge 1987 oil on canvas

signed and dated lower right: Clifton/ 3-6-87 titled verso 90 x 110cm

provenance

Leonard Joel, Melbourne, 8 May 2011, lot 290

Private collection, Melbourne

Leonard Joel, Melbourne, 1 December 2020, lot 75

Private collection, Melbourne

$7,000-9,000

106

ROBERT HANNAFORD (born 1944)

Untitled 1970 oil on board

signed lower right: F Hannaford ‘70

59.5 x 59.5cm

provenance

Private collection, Adelaide

$4,000-6,000

107 © Rick Amor/Copyright Agency, 2026

107

RICK AMOR (born 1948)

Webb Dock with Marking 1997

watercolour on paper

signed and dated lower left: Rick Amor 19/9/97

title inscribed on frame verso

37 x 55.5cm

provenance

Tony Palmer Art Dealer, Sydney

Private collection, Sydney

Deutscher and Hackett, Melbourne, 29 April 2009, lot 156

Private collection, Melbourne

$4,000-6,000

108

BRIAN DUNLOP (1938-2009)

Stravinsky Concerto Aria #2 gouache on paper signed lower right: Dunlop titled on gallery label verso 47.5 x 64cm

provenance

Eva Breuer, Sydney (label verso)

Private collection, Perth

$2,000-4,000

109

ARTHUR BOYD (1920-1999)

(White Dog and Figure with Black Hair) pastel on paper

signed lower right: Arthur Boyd artist’s name and title on gallery label verso 47 x 62cm

provenance

Hamet Gallery, London (label verso)

Brummels Gallery, Melbourne

The Collection of Robin Ferry OAM, Melbourne

Thence by descent

$12,000-18,000

110

JOHN PERCEVAL (1923-2000)

Figures in Hay Cart 1956

twelve glazed hand-painted ceramic tiles mounted on board

signed and dated lower centre: John Perceval/ 1956 61 x 61cm

provenance

Ivanyi Galleries, Melbourne

The Collection of Mrs Rae Rothfield, Melbourne, acquired from the above c.1968

Sotheby’s, The Rae Rothfield Collection, Melbourne, 23 October 2019, lot 47

Private collection, Melbourne

$12,000-16,000

111

DAVID BOYD (1924-2011) (Spanish Series) 1966 oil on canvas

signed and dated lower right: David Boyd 66 35 x 46cm

provenance

Lawsons, Sydney, 23 April 2015, lot 596

Private collection, Melbourne

$7,000-9,000

112

DAVID BOYD (1924-2011) Children and Angel in the Bush 1971 oil on canvas

signed and dated lower left: David Boyd 1971 titled on label verso

64 x 52.5cm

provenance

Private collection, Melbourne

Sotheby’s, Sydney, 26 November 2007, lot 93

Private collection, Melbourne

$8,000-12,000

113

NORMAN LINDSAY (1879-1969)

(The Ebb Tide) 1918 watercolour on paper signed and dated lower right: NORMAN LINDSAY/ 1918

34.5 x 26.5cm

provenance

Arthur Spartalis Art Dealer, Perth Private collection, Perth

$8,000-12,000

114

W.B. MCINNES (1889-1939) Harbour Scene oil on board signed lower elft: W.B McINNES 21 x 29cm

provenance

Arthur Spartalis Art Dealer, Perth Private collection, Perth

$4,000-6,000

115

WALTER FOLLEN BISHOP (1856-1936)

The Mill Pond at Abinger, Surrey watercolour on paper signed lower right: W. Follen Bishop titled on frame 74 x 126cm

provenance

Private collection, Adelaide

Private collection, Victoria

$8,000-12,000

116

HANS HEYSEN (1877-1968)

(Cattle at the Waterhole) 1916 charcoal and wash on paper signed lower left: HANS HEYSEN dated lower right: March 10.1916

22.5 x 33.5cm

provenance

Arthur Spartalis Art Dealer, Perth

Private collection, Perth

$2,000-4,000

117

HANS HEYSEN (1877-1968)

Arkaba Hills watercolour on paper signed lower right: HANS HEYSEN titled on label verso

34.5 x 50cm

provenance

The Collection of the Rural and Industries Bank of Western Australia (label verso)

Arthur Spartalis Art Dealer, Perth Private collection, Perth

$12,000-16,000

118

SIR RUSSELL DRYSDALE (1912-1981) (Jack Thompson) ink on paper signed lower left: Russell Drysdale titled inscribed on unknown label verso 28.5 x 25cm

provenance

Arthur Spartalis Art Dealer, Perth Private collection, Perth

$2,000-4,000

119

RUBERY BENNETT (1893-1987)

(Finke River, Alice Springs) oil on canvas

signed lower right: RUBERY BENNETT 36.5 x 44.5cm

provenance

Arthur Spartalis Art Dealer, Perth

Private collection, Perth

$3,000-5,000

120

ERNEST BUCKMASTER (1897-1968)

Morning Calm, Eildon, Victoria oil on canvas

signed lower left: EBuckmaster titled inscribed on stretcher bar verso 76 x 104cm

provenance

The Artist

Private collection, Sydney, acquired through commission c.1940-50

Thence by descent

$5,000-7,000

121

provenance

Leonard Joel, Melbourne, 18 November 1997, lot 66

Private collection, Melbourne

$4,000-6,000

122

signed lower right:

38 x 28cm

provenance

Private collection, Melbourne

$3,000-5,000

123

signed

56 x 75.5cm

provenance

Philip Bacon Gallery, Queensland

Private collection, Queensland

$5,000-7,000

124

pastel

signed lower right: DICKERSON

37 x 28cm

provenance

Private collection, Melbourne

$3,000-5,000

125

ROMERO BRITTO (Brazilian, born 1963)

Globe Generation - Australia 2015 oil pen and acrylic on canvas signed lower left: Romerobritto signed and titled verso accompanied by a Romero Britto certificate of authenticity 101 x 76cm

provenance

Collins & Kent International Fine Art, Melbourne

Private collection, Melbourne

$4,000-6,000

126

DAVID BOYD (1924-2011)

Untitled 1974 oil on canvas signed lower left: David Boyd dated lower right

53.5 x 64.5cm

provenance

Private collection, Melbourne

$8,000-12,000

127

PRO HART (1928-2006)

British Mine oil on canvas signed lower right: Pro/ Hart title inscribed verso

43.5 x 44cm

provenance

Private collection, Melbourne

$6,000-8,000

128

PRO HART (1928-2006)

Early Mine Study oil on canvas

signed lower right: Pro/ Hart

45.5 x 45.5cm

provenance

Private collection, Melbourne

$6,000-8,000

129

PRO HART (1928-2006)

Miner’s Back Yard 1966 oil on board

signed and dated lower right: 66 PRO/ HART 54 x 58.5cm

provenance

Leonard Joel, Fine Art, Melbourne, 22 March 2016, lot 27

Private collection, Melbourne

$5,000-7,000

Artist Index

A

Amor, Rick 75, 104, 107

Armstrong, Bruce 63

Ashton, Julian Rossi 23, 24

Ashton, Will 25

B Baker, Maureen 101

Balbal, Lydia 94

Ball Sydney, 57, 58, 59

Beckett, Clarice 8

Bennett, Rubery 119

Bin, Feng 61

Bishop, Walter Follen 115

Bowen, Dean 80

Boyd, Arthur 32, 33, 109

Boyd, David 26, 111, 112, 126

Boyd, Penleigh 31

Brainos, Elizabeth 55

Britto, Romeo 125

Buckmaster, Ernest 120

Bunny, Rupert 6, 9, 13

c Campbell, Robert Richmond 20

Chevalier, Nicholas 38

Chuguna, Jukuna Mona 95

Coburn, John 36

Constable, John 29, 30

D

Davila, Juan 71

Dhapalany, Mary 98

Dickerson, Robert 35, 121, 122, 123, 124

Dobell, William 28

Dreamer, Janet 93

Drysdale, Russell 118

Dunlop, Brian 108

F Forrest, Haughton 41, 42, 43, 44, 47, 48

Fox, Ethel Carrick 3

G Graham, Anne Marie 74

Grieve, Robert 77

Gruner, Elioth 10, 11, 39

Gudupi, Willie 96

Gumana, Malaluba 89

Gunydjulma, Belinda 84

Gyatso, Gonkar 60

H

Hannaford, Robert 106

Harper, Melinda 78

Hart, Pro 127, 128, 129

Heng, Euan 62

Henson, Bill 73, 76

Heysen, Hans 15, 16, 21, 40, 45, 116, 117

J

Jaminmarula, Jack 87

Jin-Gubarrangunyja, Lorna 83

Johnson, Matthew 79

K

Karadada, Lily 92

Knox, William Dunn 12

L Lamb, Joanna 70

Leach-Jones, Alun 64

Lindsay, Norman 113

Ljubicic, Alesandro 66

Long, Sidney 17

M

Maguire, Tim 67, 68

Mamuken, Jimmy 88

Mathaman, Jimmy 86

McCubbin, Frederick 7

McInnes, W.B. 114

Meagher, Julian 69

Mora, Mirka 54

N

Napangardi, Lily Kelly 90

Nolan, Sidney 34

o

Olley, Margaret 53

Outhwaite, Ida Rentoul 56

P

Perceval, John 51, 110

Proctor, Thea 1

Pugh, Clifton 52, 105

R

Raftopoulos, George 72

Rees, Lloyd 22, 37

Roberts, Tom 5, 18, 19

Robinson, William 50

S Scheltema, J.H. 46

Stewart, Nellie 99

Streeton, Arthur 2, 14

T

Tjungurrayi, George 81

Tjungurrayi, Yumpululu 82

U

Unknown, Artist 97

V

Vassilieff, Danila 102, 103

Vietri, Christian De 65

W

Wakelin, Roland 27

Watson, Judy Napangardi 100

Watt, Gordon 91

Williams, Fred 49

Wilson, Dora L. 4

Y Yambul 85

Conditions of Business / Summary

special conditions of sale – jewellery

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

authenticity certificates

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

gst

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

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

admission

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

commission (absentee) bids

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

telephone bidding

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

bidder registration

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

buyer’s premium

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

property subject to the artist resale royalty

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

damage

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

title

Leonard Joel guarantees good title to all lots.

warranties and condition reports

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

estimates

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

payment

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

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

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

Credit card fees may apply.

Bank telegraph transfers should be directed to:

account name: Leonard Joel Pty Ltd

address: Westpac Banking Corporation

150 Collins Street, Melbourne

VIC 3000 Australia

bsb: 033–364 account no: 942956

collection of lots

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

removal and storage

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

removal charges

Each lot: $55

storage charges

Each lot: $33 per day

protection of movable cultural heritage act 1986 (pmch act)

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

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

exporting significant australian cultural heritage

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

cites regulations

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

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

GPO Box 787

CANBERRA ACT 2601

leonard home delivery

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

recommended carriers

For recommended carriers please refer to our website.

This document has been produced to international environmental management standard ISO14001 by Ellikon Fine Printers, a certified green printing company.

Our Specialists

m anaging d irector & head of important collections

John Albrecht, BA LLB MBA

sydney

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

Ella Nail, Office Manager & Administrator

Ronan Sulich, Senior Adviser

fine art

Wiebke Brix, Head of Art

Amanda Hayward (née North), Senior Art Specialist

Hannah Ryan, Senior Art Specialist, Manager of Specialty Auctions

Daisy Giuffrida, Administrator and Registrar

decorative arts

Chiara Curcio BA, Head of Department

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

Natasha Berlizova, Administrator

asian art

Luke Guan MLitt, Head of Department

Kyle Walker, Administrator and Coordinator

Zoe Cenche, Curator & Senior Specialist

C.C. Chen, Chinese Painting Consultant

fine jewels & timepieces

Annie Soust, FGAA GAA, Head of Department, Melbourne

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

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

Piper Jiang, Jewellery & Luxury Administrator

Hui Chong, Jewellery Administrator, Sydney

Bethany McGougan, Senior Auctioneer and Jewellery Consultant

John D'Agata, Senior Jewellery Consultant

Henrietta Maiyah, Consultant

modern design

Rebecca Stormont, Senior Modern Design Specialist

luxury

Annie Soust, FGAA GAA, Head of Department, Melbourne

prints

Hannah Ryan, Senior Art Specialist

furniture

Alex Sargeant, Manager

Inigo Fleming, Assistant

Shawn Mitchell , Interiors Consultant

jewellery

Anna Akacich, Manager

Zoe Tsamis, Jewellery Assistant

art salon

Millie Lewis, Manager

Patrick Curtis, Assistant

objects & collectables

Kieran Grogan Carpenter, Manager

Charlotte Dippie, Assistant

valuations

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

Troy McKenzie, Head of Private Collections, Queensland

Anthony Hurl, Representative Specialist, South Australia

John Brans, Representative Specialist, Western Australia

accounts

Ety Liong, Finance Manager

Michelle Draper, Accounts Manager

Ninad Chouhan , Finance & Accounts Assistant

client services

Kim Clarke, Saleroom & Office Manager

Amelia Lewis, Client Services Liaison

Richard Grieve, Client Services Liaison

operations & logistics

David Price, Operations, Delivery & Logistics Manager

marketing & communications

Blanka Nemeth, Senior Marketing, Media, & Communications Manager

Lucy Lewis, Marketing & Database Coordinator

photography

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

Jon Bader, Photographer & Videographer, Sydney

graphic design

Maria Rossi

melbourne

2 Oxley Road, Hawthorn, VIC 3122 (03) 9826 4333

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025 (02) 9362 9045

brisbane 54 Vernon Terrace, Teneriffe, QLD 4005 0412 997 080

adelaide 429 Pulteney Street, Adelaide SA 5000 0419 838 841

perth 0412 385 555

info@leonardjoel.com.au leonardjoel.com.au