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Fine Australian & International Art Featuring property from the Artists’ Estates of Francis Lymburner, Leslie van der Sluys and Arch Cuthbertson Auction • Monday 26 October 2026

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Ethnographic Arts James Parkinson Melissa Parkinson

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Fine Australian & International Art Featuring property from the Artists’ Estates of Francis Lymburner, Leslie van der Sluys and Arch Cuthbertson

LIVE AUCTION

Monday 26 October 2026, 6.00pm

VIEWING

Friday 23 October

11am–5pm

Saturday 24 October

12noon–5pm

Sunday 25 October

12noon–5pm

Monday 26 October

11am–3pm

Tuesday 27 October

10am–5pm

Wednesday 28 October

10am–5pm

Thursday 29 October

10am–5pm

COLLECTIONS

ADDRESS

Artvisory Galleries 310 Toorak Road, South Yarra, Melbourne

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Please make sure you register for online bidding at least 24 hours prior to the Auction to ensure you do not miss your lot and note that you must use Chrome or Firefox as your Internet Browser as Safari is not supported. Please note if you have not bid with Artvisory previously, then Government issued photo identification verifying your name and address will be also be required before you can be approved to bid with Artvisory via the Invaluable.com site, and in certain cases a bidding deposit (20% of the low estimate of each Lot you wish to bid on) may be required before you can bid. Artvisory cannot be held responsible for any errors that occur with internet connectivity during an auction or buyer bidding errors.

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Absentee bids must be received by Artvisory at least 24 hours prior to the Auction commencing and the Company cannot be held responsible for activating any late bids that are received. See our website to download and complete an absentee bidding form and please note if this is your first time bidding with Artvisory, we will require a clear, scanned copy of Government issued photo identification such as a drivers licence or current passport verifying your name and address and in certain cases a deposit may be required before you can bid.

Payment and Collection If you are successful with your bid/s, your invoice will be emailed to you immediately after the Auction finishes. You will pay the hammer price, plus the Buyers Premium of 26% plus GST on each lot, together with any additional charges such as the Invaluable.com online bidding fee, GST on hammer, or the Artist Resale Royalty if applicable. As per our terms and conditions of business, payments must be made in full by three (3) days after the Auction has been completed. We accept Direct Deposit into the Company Trust Account, Eftpos (up to your daily limit) or credit card (Visa/ Mastercard/ Amex) in person. If you wish to pay “over the telephone“ with a credit card you must request a secure payment link by emailing accounts@artvisory.com.au and a secure BPOINT link will be emailed to you. Cash payments must be deposited direct to the Company Trust account via any Commonwealth Bank Branch. Goods will be released subject to the deposit showing as cleared funds in the Company Trust Account.

Personal, Company and Bank cheques are not accepted. All payment options and Company Trust Account details are included on the invoice that is emailed to you after the Auction if you are a successful bidder. All items must be paid for in full and collected within the collection times advertised for each individual Auction. If items are not collected within this time frame then Artvisory reserves the right to charge removal, storage and release fees.

Packing and Delivery Artvisory has a list of recommended carriers specific to each auction that will be sent with your invoice if you are the successful buyer and is happy to help you with this process.

CAPTAIN JAMES HAUGHTON FORREST AUSTRALIAN, 1826-1925

View of Mt Wellington from Bellerive oil on board signed, with monogram, lower right 14.5 x 30.5 cm. (5.71 x 12.00 in.), frame: 29.5 x 45 cm. (11.60 x 17.71 in.) PROVENANCE

Private collection Tasmania by descent to Rev. Alf and Jean Crookes-Hull Thence by descent to private collection Perth COLLECTIONS

Works by Haughton Forrest are held by many Australian institutions, including the National Gallery of Australia, Art Gallery of Western Australia and Art Gallery of NSW $3,000–5,000

CAPTAIN JAMES HAUGHTON FORREST AUSTRALIAN, 1826-1925

View of Mt Wellington from Pulpit Rock New Norfolk oil on board signed with monogram, lower left 14.5 x 30.5 cm. (5.71 x 12.00 in.), frame: 29.5 x 45 cm. (11.60 x 17.71 in.) PROVENANCE

Private collection Tasmania by descent to Rev. Alf and Jean Crookes-Hull Thence by descent to private collection Perth $3,000–5,000

CELIA PERCEVAL AUSTRALIAN, 1949-

Flowering Scrub with Grass Trees, The Grampians oil on board signed, Celia Perceval, lower right 91.5 x 122.5 cm. (36.02 x 48.22 in.), frame: 95 x 125 cm. (37.39 x 49.21 in.) PROVENANCE

Bridget McDonnell Gallery Private Collection Melbourne $8,000–12,000

Celia Perceval has been an artist and intrepid traveller nearly all her life. She is the third child of John Perceval and Mary Boyd. She travelled to England with her parents in 1963 returning to Canberra in 1965 where she painted in the bushland with her father and exhibited paintings at age 16. Celia Perceval married and returned to England a year later. Between 1968-71 she spent time in the small village of Tourrettes-sur-Loup in the South of France, where she made hundreds of drawings of the village people (Some works were later exhibited at the Cremorne Gallery, Sydney). She then moved to a tiny hamlet in northern Italy to continue drawing the people and landscape of the area. Although she spent much time painting in countries such as France, Italy, England, Ireland, Wales and India, she made regular trips back to Australia, as she maintained a deep affection for the bush that shaped her childhood. In 1976-88 she moved to the Welsh hills, with her family, and built a studio in 17th century ruins where she was based while painting and travelling throughout Europe and the UK. Regular exhibitions held since 1972 include Sydney, Melbourne, Perth, Brisbane, Canberra, London, Ireland and Wales. (Source: Bridget McDonnell Gallery).

4 (Detail)

GUY BOYD AUSTRALIAN, 1923-1988

Kneeling Nude, 1984 bronze signed and numbered, Guy Boyd 8, under right arm further signed, Guy Boyd top of base 84 x 44 x 47 cm. (33.07 x 17.32 x 18 1/2 in.) PROVENANCE

Private Collection, Queensland REFERENCE

Edition N 3/9 sold Menzies, Important Australian & International Art featuring Highlights From the ANZ Art Collection, Sydney, 29/11/2023, Lot no. 105 (Sold AUD$41,000 hammer $50,318.00 inc bp) COLLECTIONS

Guy Boyd's works are held in public collections including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of NSW, Museum and Art Gallery of NSW, numerous Regional Galleries and Clarkson University, New York $20,000–30,000

SIR SIDNEY NOLAN AUSTRALIAN, 1917-1992

The Red Handkerchief charcoal and enamel on paper signed with Nolan's 'N', lower right titled on Australian Galleries label, on verso No. 1236 on AG label, on verso further label with title and cat. number 16, on verso 31.5 x 25 cm. (12.40 x 9.83 in.), frame: 72.5 x 54.5 cm. (28.53 x 21.46 in.) We are grateful to Mr Geoffrey Smith for his help in authenticating this work. PROVENANCE

Australian Galleries Tim Storrier, Sydney Private collection, Adelaide COLLECTIONS

Sir Sidney Nolan's works are held in the public collections including the National Gallery of Australia, all State Galleries of Australia, Heidi Museum of Modern Art, Australian War memorial, the Tate and the Royal Opera House. $10,000–15,000

“I’m very interested, in fact, compelled and dedicated to transmitting emotions and I care for very little else. I care for that process so much that I’m prepared to belt the paint across the canvas much faster than it should be belted, I don’t care so long as I can get the emotional communication, I will sacrifice everything to it – and this I’ve done.” Sidney Nolan, quoted in sidneynolantrust.org, online n.d

JOHN COBURN AUSTRALIAN, 1925-2006

Harsh Paper, 1981 collage of sand papers and mixed media on paper signed and dated, Coburn '81, lower right 77 x 57 cm. (30.30 x 22.44 in.), frame: 102 x 80 cm. (40.15 x 31 1/2 in.) PROVENANCE

David Reid Gallery, 1981 Private Collection Perth, acquired by current owner from above in 1981 EXHIBITED

John Coburn, David Reid Gallery, Paddington NSW, September 4–26, 1981 RELATED WORKS

Transfigured Night, 1981, oil on canvas, 234 x 200 cm Sydney Opera House, 1984, oil on canvas 76 x 91 cm Singing the Blues, 1987, oil on canvas, 213 x 183 cm, Mellow Yellow, 1987, oil on canvas, 213 x 183 cm COLLECTIONS

National Gallery of Australia, the Art Gallery of NSW, the Museum of Contemporary Art, Rome’s Vatican Museum, Vienna’s Graphische Sammlung Albertina, as well as state and regional galleries in Australia. $5,000–7,000

Harsh Paper, 1981, was acquired by its first and only owner at an exhibition of John Coburn works at David Reid Gallery. This ingenious mixed media collage of unusual materials combines various sandpapers, card and paint to achieve a confident and measured composition featuring six shapes appearing to levitate against an ultramarine sea. Considered a breakthrough work in it's own right, this work influenced the composition of many other major oil paintings created by Coburn in 1981, 1984 and 1987. Transfigured Night (1981) shares a similar composition of the six formative shapes of Harsh Paper – however it is executed in oil, and was identified by distinguished journalist and author Nadine Amadio as relating to Coburn's deep love of music and subsequent inspiration from Arnold Schoenberg’s composition Transfigured Night – from which she draws parallels between the six shapes of the painting echoing the instrumental sextets of the Schoenberg musical arrangement. It is therefore possible to suggest that Harsh Paper not only informed this larger work, but other major works – including Mellow Yellow (1987) and its companion piece Singing the Blues (1987). "I know a number of jazz musicians and they have always responded to my paintings and said how much they were like jazz. Singing the blues is reminiscent of paintings I was doing four or five years earlier where I used just a few simple shapes on a large surface" John Coburn.1

N. Amadio, John Coburn Paintings, Sydney: Craftsman House, 1998. p. 166

JOHN COBURN AUSTRALIAN, 1925-2006

Flight of Parrots, 1986 oil on canvas on board signed and dated, Coburn 86, lower right 49 x 74.5 cm. (19.28 x 29.32 in.), frame: 72 x 97 cm. (28.35 x 38.18 in.) PROVENANCE

Bonython-Meadmore Gallery, Adelaide Private Collection Adelaide By descent to private collection, Melbourne. EXHIBITED

Bonython-Meadmore Gallery, Adelaide, 1986 LITERATURE

Nadine Amadio, John Coburn Paintings, Sydney Craftsman House, 1988, list of paintings, Flight of Parrots, 1986. RELATED WORKS

Fiery Landscape with Birds and Snake, 1986, oil on canvas, 183 x 244 cm Gulf Country, 1987, oil on canvas, 122 x 168 cm COLLECTIONS

Flight of Parrots is a dynamic painting of intense colour and abstract form. Painted on a prepared canvas board, it exudes a sharp and fresh clarity and permanence of colour as originally intended by the artist when first painted no less than 40 years ago. This painting not only relates to other works from this period, but hints at Coburn's future works and artistic direction. Modest in physical size it nonetheless commands its place and shares key characteristics, including a similar bird abstraction and horizon line – with other important paintings completed soon after – such as the Gulf Country 1987 where Coburn himself commented: “Within the brilliant colours and collection of shapes, I was trying to express the profusion of Nature, particularly in the northern parts of of Australia around the Gulf of Carpentaria, the Northern Territory and Queensland. In these areas there is wildlife, bird life, plants growing in great profusion and abundance, and that's what I wanted to convey in this painting" John Coburn 1987. 1 Flight of Parrots 1986, references Matisse’s use of vibrant colour and balance of form. This was observed and articulated by celebrated author Nadine Amadio in relation to a companion work by Coburn – Fiery Landscape with Birds of Snake, 1986. ‘Exuberant feverish colour, a sense of joyous dancing movement, and extraordinary structural control give the painting, its unique energy. A daring Matisse like sky extends radiant and flame coloured from the horizon where the earth burns orange in the light’ 2

$30,000–40,000

N. Amadio, John Coburn Paintings, Sydney: Craftsman House, 1988 . p. 174

N. Amadio, John Coburn Paintings, Sydney: Craftsman House, 1988 . p. 160

ANNETTE THEA BEZOR AUSTRALIAN, 1950-2020

Mango Tang – 4 oil on canvas signed, titled and dated 2004 to verso 185 x 185 cm. (72.82 x 72.82 in.), frame: 170 x 170 cm. (66.93 x 66.93 in.) PROVENANCE

Harrison Galleries, Paddington, NSW. (AUD$18,500.00) Private Collection, Queensland COLLECTIONS

Anette Bezor works are held in public collections including the Art Gallery of South Australia and the National Gallery of Victoria $5,000–8,000

ALBERT NAMATJIRA AUSTRALIAN, 1902-1959

Fink Gorge Glen Helen (c.1945) watercolour on paper signed 'ALBERT NAMATJIRA', lower right inscribed with title, 'FINK GOERGE GLEN HELEN, to upper left verso of artwork inscribed cat. number, (28), below title, to upper left verso of artwork inscribed '35 gns', above title, to upper left verso of artwork 37.5 x 50.5 cm. (14.75 x 19.87 in.), paper 39.35 x 53.35 cm. (15.49 x 21 in.) PROVENANCE

Anthony Horderns Fine Art, Sydney 1945 Private Collection, Sydney, acquired by the grandparents of the current owner in the 1940's EXHIBITED

‘Exhibition of Watercolours Painted in Central Australia by Albert Namatjira,’ March 1945 at Anthony Horderns’ Fine Art Exhibition Gallery. In 1932, Victorian artists and close friends Rex Battarbee and John Gardner made their first caravan journey along the rugged dirt roads of Central Australia. Captivated by how the shifting desert sunlight transformed the colours of the landscape, they spent weeks painting the spectacular chasms and gorges of the West MacDonnell Ranges. On 24 August 1932, they drove their Ford to the Hermannsburg Mission, (Ntaria) and set up camp in the dry bed of the Finke River. Two years later, in July 1934, the duo returned to the Mission. Upon seeing their newly completed water-colours, the Mission superintendent, Pastor Friedrich Albrecht, suggested that the local Aboriginal community might enjoy seeing the artwork. Embracing his advice, the artists held a dedicated exhibition for the Western Aranda (Arrernte) people by converting the local schoolroom, removing the desks, and hanging their landscapes on the walls. The exhibition was an extraordinary success. Over two days, more than three-hundred Western Aranda people attended. Many came back multiple times, while others sat entranced for hours. Though the community was familiar with biblical illustrations, none had ever seen their own ancestral home depicted in this style. Battarbee, who loved sharing stories of his travels, gladly showed his paintings and photographs to anyone who showed an interest. Seeing the profound impact their art had on the local people brought both Battarbee and Gardner immense satisfaction. Among the visitors was an Indigenous man called Albert, who had grown up at the mission. He spent far more time studying the artwork than anyone else. Having missed the artists' 1932 visit while working as a stockyard builder at Henbury Station, he was completely captivated by this display. Pastor Albrecht noted that after quietly assessing the

paintings, a serious Albert approached him to ask what the artists were paid for their work. When told they could command up to fifteen guineas per painting, Albert confidently remarked: ‘I can do the same.’ Albert was highly artistic and a clever man who could draw exceptionally well. He was already skilled at decorating wooden artifacts using hot fence wire, a process known as pokerwork. Growing up in a black-and-white man’s economy, he understood that if he could create something attractive to the general public, there was a strong possibility he could sell it. Before Battarbee and Gardner departed for Melbourne, Pastor Albrecht introduced them to Albert, explaining his desire to learn water-colour painting and asking if they could supply him with materials. The artists gladly purchased paints, brushes, and paper for him. When Rex Battarbee returned to Hermannsburg two years later, in 1936, Albert was the first to greet him. True to his word, Albert offered his services as a cameleer in exchange for tuition in water-colour techniques. Throughout July and August of 1936, the pair embarked on two separate camel expeditions deep into Western Aranda country, travelling through the West MacDonnell Ranges (Tjoritja), Haasts Bluff (Ikuntji), and the Mangeraka Ranges. During these journeys, Battarbee taught Albert how to mix water-colours and read and write in English. He was instantly astonished and inspired by his pupil’s natural aptitude. A deep bond quickly formed between them, built on mutual respect, care, and friendship. This connection became the backdrop for one of the most significant artistic collaborations in Australian history. While much has been speculated about why Albert chose to adopt a Western painting style, Rex Battarbee perhaps summarized it best when he wrote: ‘If I had been an abstract artist, Albert would have never wanted to paint.’ Crucially, it was Albert who chose Battarbee as his mentor, recognizing him as a kind, humble man and a gifted teacher. Albert soon began venturing into the landscape independently. He frequently travelled from the Hermannsburg Mission along the Finke River to Glen Helen Gorge and beyond, capturing iconic landmarks like the Organ Pipes (Quarritana), Mount Sonder (Rwetyepme), the age-worn rocks of the Glen Helen Valley, and his father’s birthplace, Ormiston Gorge (Kwartatuma). The artistic partnership between Rex Battarbee and Albert was far more than a teacher-student dynamic; it was a bridge between two worlds. Through mutual admiration and a shared love for the Central Australian landscape, they gave rise to the celebrated Hermannsburg School of landscape painting. Albert’s defiant claim that he could ‘do the same’ not only proved true, but permanently altered the landscape of Australian art. Originally known simply as Albert, he later became Namatjira Albert, before finally adopting the name Albert Namatjira for his first solo exhibition at the Fine Art Society Gallery in Melbourne. Albert Namatjira’s masterpiece, Finke Gorge, Glen Helen (c.1945), stands as one of his finest achievements. This work was featured as catalogue

number 28 in his fourth solo exhibition - and his very first in Sydney – held in March 1945 at Anthony Horderns’ Fine Art Exhibition Gallery.

landmark event was by the donation of a silver coin, with all proceeds aiding the Red Cross.

The exhibition, titled ‘Exhibition of Watercolours Painted in Central Australia by Albert Namatjira,’ was opened by Professor A. P. Elkin, Professor of Anthropology at Sydney University. The catalogue cover replicated the design Namatjira used for his inaugural Melbourne exhibition, while the text featured extracts borrowed from Charles Mountford’s The Art of Albert Namatjira.

Painted from the south, the composition perfectly captures the Finke River flowing through the gorge, framed by rugged, towering rock faces, with the rolling hills and sweeping peaks of the West MacDonnell Ranges fading beautifully into the distance. Through his vision, the ancient, sacred topography of the Western Aranda country continues to be celebrated globally.

Demand for the artist's work was unprecedented: prices ranged from ten to thirty-five guineas per painting, and all forty-four exhibited watercolours sold out within minutes of the opening. Admission to the

Ken McGregor, 2026 Author 'The Life and Times of Albert Namatjira, Badger Editions, 2021 $50,000–60,000

CRISS CANNING AUSTRALIAN, 1947-

Blue oil on canvas signed 'Criss Canning', lower left titled and dated 'BLUE, 1998', on Ballarat Fine Art Gallery label verso together with retrospective exhibition title: 'Kalianthi, the Art of Criss Canning' on Ballarat Fine Art Gallery label on verso 44.5 x 30.5 cm. (17.51 x 12.00 in.), frame: 63 x 49 cm. (24.80 x 19.28 in.) PROVENANCE

Gould Collection, where acquired by the current owner Private Collection, Melbourne EXHIBITED

1998 Criss Canning: Reflecting on Still Life, Gould Galleries, South Yarra, Melbourne, 29 September - 16 October, cat. no. 4. 2007 Kalianthi: The Art of Criss Canning, Ballarat Fine Art Gallery, 9 February -13 May; Mornington Peninsula Regional Gallery, 4 July - 19 August. 'Kalianthi, in Greek, means 'beautiful flower' LITERATURE

Criss Canning: The Pursuit of Beauty (illustrated, in a full page, plate 59,p. 131, Macmillan Melbourne, 2007) $40,000–60,000

Canning's painting, 'Blue' is a most captivating still-life painting created with the richest and rarest tones and layers of lapis-lazuli that immediately captures your eye and was featured in the heralded 1998 exhibition, 'Reflecting on Still-Life' at Gould Galleries, South Yarra. This work holds true to Canning's well established Japanese aesthetic of personal and culturally informed design, with an elegant Art Nouveau

vase as the centrepiece and it's setting signalling an important and wonderful shift in the artist's work that took place in 1998. 'Following her earlier visit to Japan, oriental enrichment was extended by four weeks in Europe in 1998, especially at Monet's home and glorious gardens at Giverny, and in Edinburgh and Glasgow, where she saw the brilliant works of Charles Rennie Mackintosh. 1 Commenting on the 1998 exhibition of which ‘Blue’ is Cat. No. 4, David Thomas further noted that ‘the subject of still-life is the starting point for an adventurous exploration of forms and colours, the interplay of images of flowers …and delight in geographic forms and bold compositions. Though meditative and contemplative, the paintings are full of inner movement – cool and intellectual, hot and passionate. The distinctive broad, stark white frames enhance the brilliance of her work. 2 One is immediately taken by the superior composition of the artwork and the meticulous and rhythmic application of paint that has formed its creation, and this did not go unnoticed to those who read the 1998 exhibition catalogue essay by Anna Clabburn: “Every one of Canning’s canvases hums with surface tension built through her uncanny sense of geometry and design. Working with rich textures and viscosity of oils, she builds her images with the same meticulous craftsmanship of a weaver or quilt-maker: tracing each objects outline and securing it firmly to the pictorial plane with deft black lines and powerful blocks of pure colour….” 3 Finally, the scale of the work is a complexity in itself – it is a big painting on a modest scale, however it commands its place and draws the viewer in. No surprise then, that it was selected for inclusion in the both the artist's major retrospective at Ballarat Art Gallery and Mornington Peninsula Regional Gallery in 2007. One can only imagine it doing the same then, as it has done since, in the first and only owner’s home since it was originally acquired from Gould Galleries in Melbourne.

D. Thomas, Chris Canning: The Pursuit of Beauty, Melbourne: MacMillan Publishers Asutralia, 2007, p. 76.

D. Thomas, Criss Canning: The Pursuit of Beauty, Melbourne: MacMillan Publishers Australia, 2007, p. 74.

A. Clabburn, Quilting with Daylight, Criss Canning: Reflecting on Still-life, Gould Galleries, Melbourne, 1998, quoted in D. Thomas: Tee Pursuit of Beauty, p. 72, 1998.

11 (detail)

ELIOTH GRUNER NEW ZEALAND-AUSTRALIA, 1882-1939

Playing in the shallows oil on board signed and dated, 'E. GRUNER 1912', lower right 27.5 x 66 cm. (10.83 x 25.98 in.), frame: 37 x 75 cm. (14.57 x 29.53 in.) PROVENANCE

Australian and European Paintings, Graphics and Ceramics, Leonard Joel, Melbourne, 4/4/2000, lot 88 Sold to present owner $60,000–80,000

Elioth Gruner was one of Australia’s favourite landscape artists, an honour that he shared with his long-term friend, Hans Heysen. Gruner was highly regarded as a landscape artist by much of the Sydney art establishment and he was awarded the Wynne Prize on seven occasions, between 1916 and 1937. The only artist to have been more successful with this prize was Heysen, who was awarded the prize on nine occasions. One of Gruner’s most articulate champions was Norman Lindsay, who wrote “The analysis of light by colour is Gruner’s great contribution to the world’s art. When the world knows it, painters from all over the world will come here to study our Gruners.”1 Gruner was born in Gisborne, Poverty Bay, New Zealand, in 1882 and was of mixed Norwegian and Irish parentage. The year after his birth, the family settled in Sydney. There, at about the age of twelve, he commenced classes at Julian Ashton’s school, where he met and became friends with George W Lambert. He was also friends with the Lindsays, Sydney Ure Smith and he painted with Harley Griffiths. When visiting Melbourne in 1915, he was impressed by the tonal theories of Max Meldrum and came under the spell of Corot’s The bent tree at the National Gallery of Victoria.

Elioth Gruner, Taylor’s Bay, 1913, oil on wood panel, 16.5 x 63 cm, The Balnaves Gift, Mosman Art Gallery

Gruner in 1901 started to send his paintings to exhibitions of the Society of Artists in Sydney and by 1907 was attracting critical praise. His early, beautifully atmospheric seascapes attracted particular attention. In a review of his work in the Society of Artists exhibition in 1912, the art critic at the Sydney Morning Herald wrote, "Mr. E. Gruner's coast scenes show many fine qualities. The encircling blue sea at 'The Spit', the atmosphere, and the perspective all contribute to the making of a good picture; and the little scenes at Bondi and at Bronte, with the minute figures on the ocean's verge beyond the wide expanse of sand, suggest the manner of Conder."2 Gruner’s Playing in the Shallows, 1912 is a superb painting that the artist painted at Taylor’s Bay, located between Little Sirius Cove and Chowder Bay. Taylor’s Bay faces south-east and, in the background, we see the jutting wooded promontory of Booraghee (Bradley’s Head). Gruner painted a companion piece, titled Taylor’s Bay, that is in the collection of the Mosman Art Gallery, that presents the identical scene but without the children playing in the shallows.3 These belong to his greatly prized en plein-air paintings that occupy a key position in his oeuvre and that were executed between 1912 and 1914. He employs his signature elongated, horizontal panel format and explores the humid, hazy atmosphere of Sydney summers under the hot midday sun. It is possible that both James McNeill Whistler and Charles Conder were artists that he looked to, while working on this series of paintings. In the Art Gallery of New South Wales catalogue for the Elioth Gruner retrospective exhibition in 1983, the curator Barry Pearce, writing about these beach paintings of 1912-13, observes, “Above all, however, Gruner’s beach panels were a product of his love of and physical involvement with the subject. His first beach paintings coincide with about the time he moved to Bondi from North Sydney. He was shortly to be known as an enthusiastic body-surfer although, with his frail build, not very proficient at it. Jack Lecky’s niece, Gladys, remembered as a schoolgirl spending most weekends of the 1912-13 summer at the beach with Gruner and her uncle, getting sunburnt whilst Gruner painted, with her and Jack

often featured in the composition.”4 The party of children playing in the shallows may relate to Gladys and her friends. Gruner’s Playing in the Shallows, 1912 is executed with broad, quickly placed brushstrokes with unblended colours placed freely in patches and accompanied by pale tonal accents. There is a gorgeous atmospheric treatment of water with stripes of blue, lilac and pale grey and with touches of white. The six figures of children playing in the water appear like blobs of colour with little attempt made to more closely articulate their features. They are absorbed in their activities of playing at low tide on a hot summer’s day. It is essentially a bold, impressionistic application of paint, rather than a more academic approach. Gruner appears to celebrate the heat, water and the spirit of summer. He presents a slice of arcadia that is isolated from the bustling city that exists somewhere in the background but is not referenced in the painting. Taylor’s Bay in 1912 would have only been accessed by boat or by a steep walking track and Gruner rejoices in this sense of an isolated paradise. Although Gruner’s reputation as an artist took off with his Spring frost, 1919 in the collection of the Art Gallery of New South Wales, for which he was awarded the Wynne Prize5, and which was praised as an acute observation of tonal values as he observers the crispness of a winter dawn on the Emu Plains, his early atmospheric seascapes are undergoing

a re-evaluation in the context of Australian beach art. They breathe a freshness, innocence and a hedonistic joy. Playing in the Shallows, 1912 is a rare gem that is in wonderful condition that appears as fresh today as it did over a century ago on that hot summer’s day on the beach. Emeritus Professor Sasha Grishin AM, FAHA Australian National University

Norman Lindsay, Elioth Gruner, Sydney, Shepherd Press, 1947, np

Art review, “Society of Artists. The Best Show For Years”, Sydney Morning Herald, 20 November 1912, p.20

Elioth Gruner, Taylor’s Bay, 1913, oil on wood panel, 16.5 x 63 cm, The Balnaves Gift, Mosman Art Gallery

Barry Pearce, Elioth Gruner 1882-1939, Sydney, Art Gallery of New South Wales, 1983, p.30

Elioth Gruner, Spring frost, 1919, 131.0 x 178.7 cm, oil on canvas, collection: Art Gallery of New South Wales, gift of FG White 1939

JOHN PERCEVAL AUSTRALIAN, 1923-2000

The Fisherman oil on canvas signed Perceval, lower right further signed and titled, Perceval, The Fisherman, on verso 60 x 90 cm. (23.62 x 35.42 in.), frame: 82 x 113 cm. (32.28 x 44.49 in.) PROVENANCE

Gould Galleries Private collection Melbourne RELATED WORKS

Floating Dock and Tugboats, NGV Gannets Diving, 1956, NGV, Winner of the John McCaughey Memorial Prize 1957 Fisherman's Sights, 1956, The Gould Collection Sale 2017, sold Deutscher and Hackett 15/3/2017 for $488,000 (inc. BP). $50,000–70,000

This is a significant work from this later Williamstown series. In part because it shares characteristics of important works from 1956, not only in terms of subject matter and location, but in terms of visual dynamism, depth and tone. Jennifer Phipps refers to the 1956 work, Floating Dock and Tugboat: “The paint is pushed and touched irresistibly onto sparkling surfaces to shape tugs in rocking motion on the waves.... the space stretches in dynamic directions far back into the canvas. 1 To observe this later example of similar subject matter, one is once again drawn into these sparkling surfaces set against an inky night sky. The gannets swirling in the night sky in this work, and the aspect from which it is painted, relates to other key works from 1956, including Gannets Diving in the collection of the National Gallery of Victoria, and Fishermans Sights, from the Gould Collection, sold at Deutscher Hackett 15 March 2017.

Jennifer Phipps, NGV, Joseph Brown Collection, online, n.d.)

DAVID BOYD AUSTRALIAN, 1924-2011

Oranges and Lemons, 1967 oil and sfumato on board signed and dated, 1967, lower left 90 x 120 cm. (35.42 x 47.24 in.) PROVENANCE

Artistry Galleries, Malvern, where acquired as Oranges and Lemons, for $69,000 by current owner 9/7/05 RELATED

Oranges and Lemons, sfumato and oil, illustrated in The Art of David Boyd, Nancy Benko, p. 131 Oranges and Lemons, Islington, illustrated in Sfumato, Paintings and Drawings of DAVID BOYD, Zimmer Gallery, London, 1st edition, May 1967. COLLECTIONS

Works by David Boyd are held by the National Gallery of Australia, and most other National public collections, including The National Gallery of Victoria, AGNSW, AGWA $18,000–25,000

Dickerson, Sidney Nolan, John Perceval, Clifton Pugh, and the academic Bernard Smith. In 1967, the Zimmer Gallery, held an exhibition of, sfumato paintings and drawings of David Boyd (1 June 1967 - 1 July 1967. The closely related work: Oranges and Lemon's Islington, of the same dimensions as our work was illustrated in the accompanying publication. In this publication, James Burr wrote of David Boyd's willingness to not only use his painting to comment on the iniquities and delights of living, but also of the artist being 'fearless in ignoring the current fashionable pre-occupation of relying on sensational effects that only appeal to the eye, and pursuit of his own commitment to draw attention to the human dilemma in a fresh and powerful moving way’. 1 This work followed the artist’s protest paintings that included the 1965 Church and State series, after which Burr notes that 'Boyd's mode of expression has changed with his discovery of drawing with a candle flame which leaves a soft black trace behind, as it is moved across the surface and which led him into far less rigid compositions, where one figure would intermingle into another, occasionally melting or disappearing dark and then emerging again. Burr further noted that the interaction of luminous glazes of pure colour over his initial grisaille underpainting, glow with a subdued radiance. 2 Nancy Benko wrote further of the discovery of sfumato... "While living in Islington, David and Hermia discovered by chance that the candle flame could be used on cards or paper to create images. David Boyd experimented extensively with this new technique which he named sfumato." Boyd's third one-man exhibition in London, which consisted of sfumato paintings, was so unusual that it attracted much interest with several articles appearing in the popular press showing illustrations of Boyd working with his candles on the series. The exhibition received an enormous amount of publicity and critical attention and a monograph it was published in 1967. 3

James Burr, Sfumato, Paintings and Drawings of David Boyd, Zwemmer Gallery 1967, p. 5

James Burr, Sfumato, Paintings and Drawings of David Boyd, Zwemmer Gallery 1967, p. 6

Nancy Benko, The Art of David Boyd, Lidums 1973, p. 222

16 (detail)

The Estate of the late Jeffrey Swift Jeffrey Swift was born at Castlemaine in Victoria, where he went to school and grew up. After completing a masters of science degree at college, Jeffrey started his career at CSIRO at Adelaide working in botany. However, he would later move into the field of biology and he spent most of his working life at the Institute of Medical and Veterinary Science in Adelaide, working right up until the day he retired. His life as a collector started at a very young age, collecting 18th century English porcelain. He befriended and did a lot of business with the then prominent South Australian ceramics dealer George Sinclair and he a built an impressive collection of Worcester, Bow and Lowestoft and other English ceramics in blue and white. Later he spread his horizons to more polychrome ceramics, especially Japanese and Chinese ceramics, which he greatly admired. Jeffrey’s taste and collecting journey was to take another turn with a chance encounter at a time when his apartment was full of English furniture and all the cabinets he owned were overflowing with porcelain. He really had little space left for any more purchases, except for the walls themselves. Jeffrey was a regular client of the prestigious antique dealership of Quigley’s Antiques in Adelaide and on one

occasion when he was there, he spotted a small brightly coloured indigenous Australian artwork in amongst the English 18th century furniture and decorative arts, that Quigley's were known for. It was a very distinctive work from the Balgo Hills region in Western Australia. Jeffrey was so taken by this vibrant painting that he bought it without knowing anything about the field and in doing so, he started a pathway for himself as a collector that became very significant for him. He delved deep into research and studied the field voraciously and he went on to buy works from many of the leading dealers at the time-former Sotheby's Australia indigenous art expert Tim Klinginder, just to name one. Whilst the size of his apartment and his own budget limited his capacity to a degree, he decided to buy smaller works so he could buy more works over time. Jeffrey was a very singular man. His whole life he lived on his own and whilst he had a television for a little while, he saw no interest in it and gave it away early on and spent his private time researching all of the fields of his interest, writing notes on every item he owned and reading the many books he used to acquire covering botany, biology, art, antiques and especially the collector's fields he relished. He was a true collector.

LUCY YUKENBARRI NAPANANGKA BALGO HILLS, 1934-2003

Tjintjulloo Soak, 1996 acrylic on canvas 100 x 50 cm. (39.36 x 19.67 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 253/96 Private Collection, Perth Japingka Gallery, Perth 2019 The Estate of Jeffrey Gordon Swift, Adelaide COLLECTIONS

Art Gallery of Western Australia Art Gallery of NSW $2,000–4,000

TOMMY SKEEN TJAKAMARRA BALGO HILLS, C.1930-2001

Walgalli, 1996 acrylic on canvas 100 x 50 cm. (39.36 x 19.67 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 516/96 Private collection, Queensland Sotheby's, Important Aboriginal Art, Melbourne, 25/07/2005, Lot No. 259 The Estate of Jeffrey Gordon Swift, Adelaide accompanied by a copy of the Warlayirti Artists Certificate of Authenticity EXHIBITED

Mysterious Voyage, Grand Rapids Museum, Michigan, Illinois, USA, February - May 2002 The Art of Balgo, Sunshine Coast University, Queensland, July 2004 COLLECTIONS

Museum of New Zealand $3,000–5,000

WIMMITJI TJAPANGARTI BALGO HILLS, C.1924-2000

Untitled, 1992 acrylic on canvas 91 x 61 cm. (35.82 x 24.01 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 624/92 The Estate of Jeffrey Gordon Swift, Adelaide accompanied by a copy of the Warlayirti Artists Certificate of Authenticity COLLECTIONS

Art Gallery of NSW National Gallery of Victoria $3,000–5,000

MILLIE SKEEN NAMPITJIN BALGO, 1932-97

Untitled, 1992 acrylic on canvas 100 x 75 cm. (39.36 x 29.53 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 343/92 and Cooee-54 The Estate of Mollie Gowing Shapiro Auctioneers, Emporium (Art only), Sydney, 08/06/2011, Lot No. 447 Christopher Hunter Fine Art, 2016 The Estate of Jeffrey Gordon Swift, Adelaide COLLECTIONS

Art Gallery of South Australia National Gallery of Victoria $3,000–5,000

BAI BAI NAPANGARDI BALGO HILLS, C.1936-

Nundilara, 2001 acrylic on linen 75 x 50 cm. (29.53 x 19.67 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 978/01 Private Collection Perth Japingka Gallery, Perth The Estate of Jeffrey Gordon Swift, Adelaide accompanied by a copy of the Warlayirti Artists Certificate of Authenticity COLLECTIONS

Art Gallery of Western Australia Museum and Art Gallery of the Northern territory National Gallery of Victoria $1,000–2,000

TJAPANANGKA TJUMPO BALGO, C.1929-2007

Prillyi, 1996 acrylic on linen 90 x 60 cm. (35.42 x 23.62 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 77/96 Christopher Hunter Fine Art, 2019 The Estate of Jeffrey Gordon Swift, Adelaide accompanied by a copy of the Warlayirti Artists Certificate of Authenticity COLLECTIONS

National Gallery of Australia Art Gallery of New South Wales Art Gallery of Western Australia National Gallery of Victoria $2,000–3,000

"Where this art Centre is now, is where the Luurnpa travelled and made those creeks close by. This is a special place" Tjumpo Tjapanangka (translated from Kukartja)

HELICOPTER TJUNGURRAYI BALGO HILLS, C.1947-

Wirraba, 2001 acrylic on linen inscribed, Warlayirti Artists 48/01, on verso 100 x 50 cm. (39.36 x 19.67 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat. no. 48/01 Boomerang Art Aboriginal Art Gallery, South Australia, cat. no. 2026 The Estate of Jeffrey Gordon Swift, Adelaide accompanied by a copy of the Warlayirti Artists Certificate of Authenticity COLLECTIONS

Art Gallery of NSW Art Gallery of Western Australia $1,000–2,000

JOHNNY MOSQUITO TJAPANGARDI BALGO HILLS, 1920-2004

Kurtal, 1997 acrylic on canvas 75 x 50 cm. (25.536 x 19.67 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 679/97, pg 68 Palya Art, 2566HR The Estate of Jeffrey Gordon Swift, Adelaide COLLECTIONS

National Gallery of Australia National Gallery of Victoria $1,000–2,000

ELIZABETH NYUMI BALGO HILLS, 1947-2019

Untitled, 1998 acrylic on canvas 90 x 60 cm. (35.42 x 23.62 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 605/98 The Estate of Jeffrey Gordon Swift, Adelaide COLLECTIONS

National Gallery of Australia Art Gallery of Western Australia Museum and Art Gallery of Northern Territory National Gallery of Victoria $1,000–2,000

Nyumi commenced painting in 1987 and began to emerge as a leading artist in the late 1990s. Nyumi became the first artist represented by Warlayiri Artists to be selected for the biennale of Sydney. (source: Warlayirti Artists Aboriginal Corporation, 2004)

ELIZABETH NYUMI & SHARON NUNGURRAYI BALGO HILLS

Parwalla, 2003 acrylic on canvas 100 x 50 cm. (39.36 x 19.67 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 11/96 Private Collection, ACT Art Leven (formerly Cooee Art), Indigenous Fine Art Auction, Sydney, 20/06/2023, Lot No. 75 The Estate of Jeffrey Gordon Swift, Adelaide $2,000–4,000

MUNTJA NUNGURRAYI BALGO HILLS, C.1930-1997

Bush Tucker, 1990 acrylic on canvas 100 x 75 cm. (39.36 x 29.53 in.) PROVENANCE

Warlayirti Artists, Balgo Hills, Western Australia, cat no. 519/90 Kimberley Art, Melbourne, cat. no. KA00390 Leonard Joel, Aboriginal Art & Artifacts, Melbourne, 10/10/2013, Lot No. 213 The Estate of Jeffrey Gordon Swift, Adelaide COLLECTIONS

National Gallery of Australia Art Gallery of South Australia $1,000–2,000

FREDDY WEST TJAKAMARRA C.1940-1994

Bush Tucker, 1982 acrylic on linen 122 x 61 cm. (48.03 x 24.01 in.) PROVENANCE

Bought direct from the artist in 1982, Alice Springs, Northern Territory Utopia Art Sydney Christopher Hunter Fine Art, 2021 The Estate of Jeffrey Gordon Swift, Adelaide accompanied by certificate of authenticity from Christopher Hodges, Utopia Art Sydney EXHIBITED

"Old Boards' Utopia Art Sydney 1990 inscribed, Freddy West Tjakamarra 1982, on verso COLLECTIONS

Art Gallery of Western Australia National Gallery of Victoria Art Gallery of South Australia $3,000–4,000

ARTIST UNKNOWN AUSTRALIAN, CIRCA 1960'S

Mokoy figure natural earth pigments on wood 45 cm. (17.71 in.) PROVENANCE

Christopher Hunter Fine Art, 2020 The Estate of Jeffrey Gordon Swift, Adelaide $800–1,200

LULUNA GANALBINGU (ATTRIBUTED) AUSTRALIAN, C.1910- C.1973

Untitled Mokoy Figure, c.1963 earth pigments on wood 42 cm. (16.53 in.) PROVENANCE

Tim Klingender Fine Art, Sydney The Estate of Jeffrey Gordon Swift, Adelaide $800–1,200

An early and large stone carved boomerang 78 cm. (30.71 in.) PROVENANCE

The Estate of Jeffrey Gordon Swift $400–800

A very large early stone carved fighting boomerang, Coopers Creek / Lake Eyre region, late 19th century 118 cm. (46.46 in.) PROVENANCE

Christopher Hunter Fine Art, 2022 The Estate of Jeffrey Gordon Swift, Adelaide $1,000–2,000

A South Australian stone cut boomerang United Aborigines Mission, Oldea, South Australia, circa 1940's Inscribed United Aborigines Mission Oldea South Australia to a plaque on one side and T W Heaslip and Family from Martin to a plaque on the front 70.7 cm. (27.82 in.) PROVENANCE

United Aborigines Mission, Oldea, South Australia, circa 1940's Christopher Hunter Fine Art, 2018 The Estate of Jeffrey Gordon Swift, Adelaide $600–1,000

A Coopers Creek incised fighting boomerang with attached metal plaque dated 1896-1897 88 cm. (34.64 in.) PROVENANCE

Killapannina Lutheran Mission, Dieri people Tim Klingender Fine Art, 2017 The Estate of Jeffrey Gordon Swift, Adelaide $1,000–1,500

An early stone carved incised boomerang, Australian, probably Eyre Basin, 19th century 70 cm. (27.55 in.) PROVENANCE

Eyre Basin Christopher Hunter Fine Art, 2018 The Estate of Jeffrey Gordon Swift, Adelaide $500–1,000

An early stone carved boomerang 53.5 cm. (21.05 in.) PROVENANCE

Christopher Hunter Fine Art, 2023 The Estate of Jeffrey Gordon Swift, Adelaide $500–700

A fine and early painted Wunda shield West Australian, first half of the 20th century 83 cm. (32.67 in.) PROVENANCE

Christopher Hunter Fine Art The Estate of Jeffrey Gordon Swift, Adelaide $1,000–1,500

An early transitional carved hardwood shield, Australian, circa 1950-60 80 cm high, 10.5 cm wide, 8 cm deep PROVENANCE

The Estate of Jeffrey Gordon Swift, Adelaide $1,000–1,500

40 (Detail)

The Estate of Francis Lymburner Born in Brisbane in 1916, Francis Lymburner developed his talent at the Brisbane Technical College. Where in his last year at the College he was awarded the Godfreys Rivers Award for the best final year student.1 In an introduction to the Tasmanian Art Gallery exhibition Francis Lymburner Drawings in 1986, Lou Klepac noted that Lymburner quickly became recognised as one of the very talented young artists working in Sydney who represented the new wave of modernism: Dobell, Drysdale and Donald Friend.2. Danilla Vasilief could easily be added to this list, when you consider Lymburner’s early paintings. He exhibited at Macquarie Galleries in 1944 and 1947. After the 1944 exhibition, Lymburner exhibited at Georges Gallery in Melbourne, opened by Keith Murdoch and the NGV acquired early drawings from this show and in 1950 acquired an oil on canvas painting. Initially, it was Lymburner’s drawings that caught the attention of critics and important patrons, no less so than Warwick Fairfax. In 1946 this was amplified by Sydney Ure Smith publishing a book devoted to Lymburner’s drawings: 50 Drawings by Francis Lymburner. No fewer than three books have been published over the years focussing on his drawings. One of the most significant paintings from the Estate – The Chamber Idyll – is a work on canvas from this early period which was exhibited at Macquarie Galleries in 1947 and which was later included in the artist’s retrospective at the Art Gallery of NSW in 1992. Another

work included in the artist’s retrospective, also from the 1940’s is Circus Pony. Barry Pearce was the co-author of the book that accompanied the retrospective, rand commented ‘Between his arrival in Sydney in 1939 and his departure for England in 1952, Lymburner established himself as one of Australia’s most promising young painters’ 3 The biographical notes included with the retrospective, bring to life a number of small works drawn between 1939 and 1950. Lymburner had lived in rooms at a house on the waterfront at Kirribilli. And from there made numerous and regular visits to Taronga Zoo to draw. An exquisite group of drawings are included in this collection, featuring the Sydney harbour, ferries, beach scenes and of course, some of his celebrated fine-line drawings of zoo animals. He also made some monotypes and drawings using carbon paper, including a notable work of a woman reclining on a bed. Lymburner left for London and lived there between 1952 and 1963. He lived in many locations while there. His sketch books tell the story of his different locations of residence, which included one basement property that he shared with celebrated comedian and actor Barry Humphries in 1960. The collection features works that illustrate when Barry was performing in a production of Oliver, together with many notable actors, including Georgia Brown.

Barry wrote a recollection piece, for the AGNSW publication that accompanied the retrospective. ‘When I was working at the theatre, Francis liked to draw backstage… Francis was in his element, sketching the chorus girls in various stages of concupiscent undress, or reclining in the Green Room like a personage out of La Vie Boheme..’4 At the same time, Lymburner’s many London shows failed to sell well and with critics noting that he was in some respects before his time – noting that if he had appeared in London ten years later, the story may have been very different. Saying this, he was included in the most important 1961 Whitechapel Gallery, London 1961 survey of Australian Art. Returning to Australia in 1964, with a successful showing of London paintings and drawings at South Yarra Gallery in 1963, which received critical acclaim. The legendary art critic Bernard Smith commented ‘There was only two artists who really turned me on during the three years that I was art critic for the Age in the early 1960’s: Jean Bettette and Francis Lymburner ……both in their early life Sydney-based artists. But when they exhibited in Melbourne, they were expatriates, they had achieved their maturity as exiles and moreover exiles painting in the eye of a storm, their late work therefore had a faint odour of tragedy and death about it….. what surprised me in Lynburner's Melbourne show of September 1963 was the mastery of his painting. I'd never thought of him as a major painter, a superb draughtsman yes, but the quality of the painting came as a complete surprise, it was the kind of painting that emerges from a full mastery of drawing, it’s vibrancy reminded me strongly of a painting by Fragonard The education of the virgin that I'd seen years before in the Legion of Honour Museum in San Francisco, though in style it was of course utterly different.” (Bernard Smith, A personal memoir, published in Francis Lymburner, AGNSW Retrospective, 1992.) 5

Hendrik Kolennberg, co-author of the Francis Lymburner Retrospective publication, went even further, to suggest that his later paintings deserve comparison with some of the strongest contemporary work admired here today, ie. Bomberg, Kossoff and Auerbach. There are some excllent works presented here – performers, actors, dancers from his london years, all captured and painted spontaneously – Lymburner had caught them in personal moments of reflection, exhaustion or in the action of falling, as in our incredibly powerful work Sprawling Nude. Since the Lymburner Retrospective of 1992, these works have been retained by the family. This will be the first time that many significant drawings and paintings have been offered for sale, including many that featured in the retrospective and other major exhibitions. Artvisory is grateful to the Lymburner family, including Francis Lymburner’s grandson Leo, for assistance in cataloguing this collection of works from the Estate of Francis Lymburner. Also included is a wonderful early Darling River work by Sam Fullbrook from the artist’s own collection. Francis and Sam, both exhibited at South Yarra Galleries in 1963 and 64, which was when Fullbrook exhibited his famous Darling River series, and so perhaps this was a respectful gift from one artist to another.

Lou Klepac, Francis Lymburner Drawings, Tasmanian Museum and Art Gallery with Beagle Press , 1986. p.9

Lou Klepac, Francis Lymburner Drawings, Tasmanian Museum and Art Gallery with Beagle Press, 1986, p 10

Barry Pearce, Francis Lymburner, AGNSW Retrospective, 1992, p. 9

Barry Humphries, Francis Lymburner, AGNSW Retrospective, 1992, p.17

Bernard Smith, A personal memoir, published in Francis Lymburner, AGNSW Retrospective, 1992.)

Right: Lymburner at Park St Studio, Sydney c.1964

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Kensington Gardens oil on board signed, Lymburner, lower right 64 x 80 cm. (25.19 x 31 1/2 in.), frame: 77.5 x 92 cm. (30.51 x 36.21 in.) PROVENANCE

Estate of Francis Lymburner EXHIBITED

Leveson Gallery, Melbourne, date unknown. RELATED

Seated Man with His Dog, oil on cardboard 25.8 x 35.7 cm. Provenance Margaret Carnegie, illustrated and exhibited Francis Lymburner Art Gallery NSW Retrospective, plate 32, p59. $2,000–4,000 37

FRANCIS LYMBURNER

AUSTRALIAN, 1916-1972

By the Round Pond, Kensington Gardens

Kensington Gardens Afternoon

pencil on paper titled, By the Round Pond, Kensington Gardens 21 x 28 cm. (8.26 x 11.01 in.)

oil on board signed Lymburner, lower right "A glimpse of the Johnstone Gallery" Brisbane Town Hall, label affixed verso 19/10 - 29/11 1992 70 x 85 cm. (27.55 x 33.46 in.), frame: 87 x 101 cm. (34 1/4 x 39.75 in.)

PROVENANCE

Estate of Francis Lymburner $500–800

PROVENANCE

Estate of Francis Lymburner EXHIBITED

'Paintings and Drawings' Johnstone Gallery, Brisbane, 20 March–13 April 1966 A glimpse of the Johnstone Gallery" Brisbane Town Hall, 19/10 – 29/11 1992 RELATED

Seated Man with His Dog, oil on cardboard 25.8 x 35.7 cm. Provenance Margaret Carnegie, illustrated and Exhibited Francis Lymburner Art Gallery NSW Retrospective, plate 32, p59. $2,000–4,000

Photographer Unknown, Francis Lymburner, Sydney.

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

PROVENANCE

Estate of Francis Lymburner EXHIBITED

Sprawling Nude c.1964-66

Leveson Street Gallery, Melbourne 1974(6) Francis Lymburner Retrospective, Art Gallery of NSW

oil on canvas signed, Lymburner, lower right Art Gallery of NSW label for Francis Lymburner Retrospective, on verso 70 x 90 cm. (27.55 x 35.42 in.), frame: 93 x 112 cm. (36.60 x 44.09 in.)

Francis Lymburner, Hendrik Kolenberg and Barry Pearce, Art Gallery of NSW, 1992 - illustrated plate 53, p. 77.

LITERATURE

$2,000–4,000

Photograph of Francis Lymburner by Max Dupain, c 1946

FRANCIS LYMBURNER 1916-1972

The Chamber Idyll, c.1940-47 oil on canvas titled, 'the chamber idyll', Art Gallery of NSW Francis Lymburner Retrospective label, on verso 38 x 48 cm. (14.96 x 18.89 in.), frame: 54 x 64 cm. (21.26 x 25.19 in.) PROVENANCE

Estate of Francis Lymburner

EXHIBITED

Macquarie Galleries,Sydney, 1947 (Cat. 10) Francis Lymburner Retrospective, Art Gallery of NSW, 1992 LITERATURE

Francis Lymburner, Hendrik Kolenberg and Barry Pearce, Art Gallery of NSW, 1992 - illustrated Cat. no. 14, p. 45. REFERENCE

Paul Haefliger 'Lymburner's paintings have intensity' The Sydney Morning Herald, 15 October 1947. $2,000–3,000

FRANCIS LYMBURNER

AUSTRALIAN, 1916-1972

Soldier Resting, c.1942-44

The Sergeant's visit, c.1942-44

Surgeon and Nurse, c.1942-44

pen and ink and wash on buff paper signed, Francis Lymburner, lower right 10.8 x 24.2 cm. (4 1/4 x 9.52 in.), frame: 30.5 x 43 cm. (12.00 x 16.92 in.)

ink on paper 19 x 21 cm. (7.48 x 8.26 in.)

ink and wash pair of drawings each 20 x 12 cm. (7.87 x 4.71 in.)

PROVENANCE

$500–800

Estate of Francis Lymburner

PROVENANCE

Estate of Francis Lymburner

$500–800

$800–1,200

PROVENANCE

Estate of Francis Lymburner

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

The Anzac c.1965 oil on canvas signed Lymburner, lower right 53.5 x 53.5 cm. (21.05 x 21.05 in.), frame: 70 x 69 cm. (27.55 x 27.17 in.)

PROVENANCE

Estate of Francis Lymburner RELATED

The companion piece to this work The Anzac (1965), oil on hardboard, 81 x 80 cm, is held in the collection of the Tasmanian Art Gallery (acquired 1985). $2,000–4,000

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

beach picnic, c.1939 pen and ink and wash on buff paper signed Lymburner, with Estate blind stamp, lower right 11.5 x 19.5 cm. (4.53 x 7.67 in.), frame: 30.5 x 43.5 cm. (12.00 x 17.12 in.) PROVENANCE

Estate of Francis Lymburner EXHIBITED

Francis Lymburner Drawings, Tasmanian Museum and Art Gallery, 28 August–28 September, 1986 Francis Lymburner Retrospective, Art Gallery of NSW, 1992 LITERATURE

Francis Lyburner, Drawings, Lou Klepac and Hendrik Kolenburg, Tasmanian Museum and Art Gallery & the Beagle Press, Sydney 1986, illustrated plate 1, cat.5 as Beach Picnic Francis Lymburner, Hendrik Kolenburg and Barry Pearce, Art Gallery of NSW, 1992, illustrated, frontispiece. $800–1,200

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

family with deer c.1939 ink and wash on buff paper pen and ink and wash on buff paper from sketchbook illustrated plate 2 12.4 x 20.2 cm. (4.87 x 7.95 in.) PROVENANCE

Estate of Francis Lymburner EXHIBITED

Francis Lymburner Drawings, Tasmanian Museum and Art Gallery, 28 August–28 September, 1986 LITERATURE

Francis Lymburner, Drawings, Lou Klepac and Hendrik Kolenburg, Tasmanian Museum and Art Gallery & the Beagle Press, Sydney 1986, illustrated plate 2, cat.6a as Family with Deer $800–1,200 46

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Bronte distant beach and cliffs, c.1945 oil on board 32.5 x 45 cm. (12.80 x 17.71 in.), frame: 52 x 64 cm. (20.46 x 25.19 in.) PROVENANCE

Estate of Francis Lymburner $1,200–1,800

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Bronte Beach pen on buff paper titled, Bronte beach lower right 19.5 x 25.5 cm. (7.67 x 10.03 in.) $600–900 48

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

The swimmer oil on board signed, Lymburner, lower right inscribed Francis Lymburner, "The Swimmer", on verso inscribed cat. no. 2, on verso 23 x 40.5 cm. (9.06 x 15.93 in.), frame: 40.5 x 58 cm. (15.93 x 22.82 in.) PROVENANCE

Estate of Francis Lymburner $2,000–4,000

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Dancer Resting Nude oil on hardboard signed, Lymburner, lower right 65 x 89 cm. (25.58 x 35.03 in.), frame: 77.5 x 102 cm. (30.51 x 40.15 in.)

PROVENANCE

Estate of Francis Lymburner RELATED WORKS

Dancer Resting c.1964-6, oil on canvas, Art Gallery of NSW Retrospective, Cat. no. 44, illustrated, p.73 Francis Lymburner, 1992. $1,500–2,500

FRANCIS LYMBURNER

AUSTRALIAN, 1916-1972

Harbour Bridge, c.1939-41

Circular Quay, c.1939-41

Bennalong Point, c.1939-41

pen and ink on buff paper signed, Lymburner, with Estate blind stamp, lower right titled, Harbour bridge, on verso 19.5 x 12 cm. (7.67 x 4.71 in.), frame: 43 x 30.5 cm. (16.92 x 12.00 in.)

pen and ink and wash on buff paper signed, Lymburner with Estate blind stamp, lower right titled, Circular Quay, on verso 11.5 x 19 cm. (4.53 x 7.48 in.), frame: 30.5 x 43 cm. (12.00 x 16.92 in.)

pen and ink and wash on buff paper signed, Lymburner with Estate blind stamp, lower right titled, Bennalong Point, lower right 11.5 x 18.5 cm. (4.53 x 7.28 in.), frame: 30.5 x 43 cm. (12.00 x 16.92 in.)

PROVENANCE

Estate of Francis Lymburner

$800–1,200

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Circus Pony, c.1945 oil on canvas signed Lymburner, lower right, Art Gallery of NSW label for Francis Lymburner Retrospective, cat. 14, on verso 49 x 59.5 cm. (19.28 x 23.42 in.), frame: 66.5 x 77 cm. (26.17 x 30.30 in.)

PROVENANCE

Estate of Francis Lymburner EXHIBITED

Old Bakery Gallery, Sydney, 1977 'Francis Lymburner drawings' TMAG 1986 tour to Nolan Gallery ACT, 1987. Francis Lymburner Retrospective, Art Gallery of NSW, 1992 LITERATURE

Francis Lymburner, Hendrik Kolenberg and Barry Pearce, Art Gallery of NSW, 1992 - illustrated Cat. no. 14, p. 45. $1,500–2,500

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Tiger ink and pen on buff paper signed, with Estate blind Stamp, lower left titled, 'Tiger', on verso 25.8 x 20.3 cm. (10.16 x 7.99 in.) PROVENANCE

Estate of Francis Lymburner RELATED WORK

Zebra, post 1939, ink and brush on paper, 20.2 x 25.6, National Gallery of Victoria $500–800

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

kangaroo ink and wash on paper signed and dated, Lymburner 50, lower right 14 x 37 cm. (5.50 x 14.57 in.) PROVENANCE

Estate of Francis Lymburner $600–900 57

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

camel resting, c.1939-41 pen on buff paper signed, Lymburner, with Estate blind stamp, lower left 11.5 x 19.2 cm. (4.53 x 7.55 in.), frame: 31 x 43 cm. (12.19 x 16.92 in.) PROVENANCE

Estate of Francis Lymburner $800–1,200

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Eagle ink and wash on paper signed, Lymburner, lower right 20 x 28 cm. (7.87 x 11.01 in.) PROVENANCE

Estate of Francis Lymburner $600–900

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Bull ink and wash on paper signed, Lymburner, lower right 24 x 32 cm. (9.44 x 12.59 in.) PROVENANCE

Estate of Francis Lymburner $500–800 59

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

back view ink and wash on paper signed, Lymburner, lower right titled: Georgia, lower centre 33 x 24.5 cm. (12.99 x 9.65 in.), frame: 56 x 42 cm. (22.05 x 16.53 in.)

PROVENANCE

Estate of Francis Lymburner REFERENCE

This is a back stage painting of the famous Actress Georgia Brown. Her breakthrough role was Nancy in Oliver. Georgia Brown acted alongside Barry Humphries in this first stage production of Oliver. Francis Lymburner was residing in the basement of Barry Humphries home at the time and drew the actors on stage and in the theatre dressing rooms. $1,000–1,500

FRANCIS LYMBURNER

AUSTRALIAN, 1916-1972

Show Girl

Showgirl c.1965

ink, wash and watercolour on paper signed, Lymburner with Estate blind stamp, lower right titled, Show Girl, on verso 34 x 24 cm. (13.39 x 9.44 in.), frame: 58.5 x 33 cm. (23.03 x 12.99 in.)

brush and ink and yellow watercolour on paper signed, Lymburner, lower left 52 x 40.5 cm. (20.46 x 15.93 in.), frame: 84.5 x 64 cm. (33.27 x 25.19 in.)

$800–1,200

Estate of Francis Lymburner

PROVENANCE

$1,200–1,800

FRANCIS LYMBURNER Australian, 1916-1972 Ballet Africans ink and wash on paper signed, Lymburner, with blind Estate stamp lower right 27.8 x 20 cm. (10.93 x 7.87 in.) PROVENANCE

Estate of Francis Lymburner

$600-900

FRANCIS LYMBURNER

AUSTRALIAN, 1916-1972

FRANCIS LYMBURNER

The Potter

In Repose

nude

ink and wash on paper own board signed, Lymburner, lower right signed 35 x 51 cm. (13.77 x 20.07 in.)

ink and wash on paper 11.8 x 14.8 cm. (4.65 x 5.83 in.), frame: 32.5 x 34.5 cm. (12.80 x 13.58 in.)

ink on paper signed, Lymburner, lower right 53 x 34.5 cm. (20.87 x 13.58 in.), frame: 78 x 57.5 cm. (30.71 x 22.64 in.)

PROVENANCE

Estate of Francis Lymburner

PROVENANCE

$800–1,200

Estate of Francis Lymburner

Estate of Francis Lymburner $800–1,200

PROVENANCE

AUSTRALIAN, 1916-1972

$800–1,200

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Nude ink and wash signed, Lymburner, with Estate blind stamp, lower right 25 x 19.5 cm. (9.83 x 7.67 in.), frame: 59 x 43 cm. (23.23 x 16.92 in.) PROVENANCE

Estate of Francis Lymburner $600–900

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

nude with bangles pencil on paper signed, Lymburner, lower left titled, Nude with Bangles, on verso 28 x 37.5 cm. (11.01 x 14.75 in.), frame: 53 x 60 cm. (20.87 x 23.62 in.) PROVENANCE

Estate of Francis Lymburner $800–1,200

PROVENANCE

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

woman reclining on bed, c.1946 monotype in black and brown titled, woman reclining on bed, on verso 27.5 x 37.5 cm. (10.83 x 14.75 in.), frame: 50 x 65 cm. (19.67 x 25.58 in.)

The Estate of Francis Lymburner LITERATURE

Francis Lymburner, Hendrik Kolenberg and Barry Pearce, Art Gallery of NSW, 1992, illustrated, p. 31 $800–1,200 Illustrated online at www.artvisory.com.au

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

Show Girl pencil and pastel on paper signed, with Estate blind stamp. lower right 35 x 18.5 cm. (13.77 x 7.28 in.), frame: 59.5 x 44 cm. (23.42 x 17.32 in.) PROVENANCE

The Estate of Francis Lymburner $500–800

FRANCIS LYMBURNER AUSTRALIAN, 1916-1972

African drummer pencil on paper signed Lymburner lower right

27 x 20 cm. (10.63 x 7.87 in.), frame: 58 x 40 cm. (22.82 x 15 3/4 in.) PROVENANCE

The Estate of Francis Lymburner $600–900

LLOYD FREDERIC REES AUSTRALIAN, 1895-1988

From my Tiny Flat in Hobart ink, pencil and wash on paper card signed and dated, LR '68, lower right inscribed with letter to Francis Lymburner, on verso signed, Lloyd, on verso 9.5 x 15.5 cm. (3.74 x 6.09 in.) PROVENANCE

Estate of Francis Lymburner REFERENCE

Written on verso of the card in the hand of Lloyd Rees. "With thanks for your remembrance and to wish you a year of good health, good fortune and joy in your work from my wife and myself, Lloyd. The little sketch is of the vista from our tiny flat in Hobart. As for the blot (ink blot on back of card), I don't know how it came, but being a worker with inks you will understand and excuse I'm sure. In any case its abstract qualities are obvious!" $800–1,200 72

SAM FULLBROOK AUSTRALIAN, 1922-2004

Cod & the Darling River c.1963-5 oil on canvas on board signed with initials SF, lower right 27.5 x 34 cm. (10.83 x 13.39 in.), frame: 37.5 x 41 cm. (14.75 x 16.14 in.) PROVENANCE

The Estate of Francis Lymburner RELATED

Sandhills on the Darling (1963), oil on canvas, 76 x 102 cm, Winner Wynne Prize, AGNSW Old Man with Cod, 1963, oil on canvas, 69 x 51 cm, illus. in St John Moore, F., Sam Fullbrook: Racing Colours, National Gallery of Victoria, Melbourne, 1995, cat. 17, p. 31 Woman with Cod, 1963, oil on canvas, 76 x 101 cm.

EXHIBITED

(possibly) South Yarra Galleries, Melbourne, November 1964. REFERENCE

This appealing work was likely created between 1963 and 1964. A most important period for the artist. In 1963, Sam Fullbrook won the AGNSW Wynne Prize with the work, Sandhills on the Darling. He again won (shared) the Wynne Prize in 1964. The time that this Darling River work entered the collection of Francis Lymburner is unknown. Upon returning from London, Francis Lymburner exhibited at South Yarra Gallery in 1963 (opened by Margaret Carnegie) and again in June 1964. Francis and Sam, both exhibited at South Yarra Galleries in 1963 and 64. This was when Fullbrook exhibited his famous Darling River series, and so maybe this is a respectful gift from one artist to another. $3,000–5,000

80 (Detail)

Works from the Estate of Leslie van der Sluys Leslie van der Sluys was born in Melbourne in 1939. His general art training was undertaken part time during the 1960’s at the Royal Melbourne Institute of Technology with, among others Tate Adams and later at the Melbourne State College during the 1970’s. He also gained a BA in art history and classical studies from the University of Melbourne in the early 1980’s. Leslie began making linocuts of flora and fauna subjects at high school, where he was introduced to the genre by Sydney relief printer Florence Higgs. After an informal apprenticeship as a landscape painter in both London and Melbourne with John Perceval, during the 1960’s, he taught art and English in secondary schools while pursuing clean air landscape painting. In the late 70’s he returned to his former interest in linocut and became a full-time printmaker, employing the earlier experience as

a watercolourist in the hand colouring of his single block prints. He chose this process for its greater luminosity, which rendered his colours brighter and richer it also allows more opportunity for the subtle modulation of tone and hue.1 ‘Because of the inevitable variations in inking and pressure, each number in an edition of prints is slightly different. The further application of watercolour enhances this individuality so that each piece becomes, in a more-or-less limited sense, a painting as well as a print, with a distinctly unique identity’ Leslie van der Sluys Van der Sluys worked as a professional artist for more than 30 years. He produced 140 editions of his handcoloured linocut prints, based mostly on Australian flora and fauna, but also with occasional tangential explorations of other subjects.

‘As his oeuvre and reputation developed, it became part of our shared life. After the shock of his relatively brief illness and death in July 2010, I was left with how to deal with his remaining prints. Additionally, given the size and scope of his oeuvre, I felt an implicit responsibility for its documentation’ Christopher Sanders2 A monograph and catalogue of works titled, ‘Leslie van der Sluys – Printmaker’ was released by Christopher Sanders in 2011. The first edition of 500 copies was eagerly acquired by collectors. The sale of key works from the estate, represents a watershed moment and opportunity for collectors to acquire specific works kept by Leslie, treasured and professionally stored by Christopher since their creation. Archivally framed for the first time for this auction, they are in exceptional condition and include the rarest artistic moments – Hors Commerce (Not for sale) artist’s proofs and one of the final prints executed in 2009 – Muriel’s Barn Owl. In addition, the auction includes the unique linoleum printing block, hand-carved by the artist and used to create the wonderful lino-print Muriel’s Barn Owl. Artvisory acknowledges Christopher Sanders assistance with cataloguing these rare works, together with access to photographs of van de Sluys at work. Christopher Sanders is himself a professional artist, whose ceramics are also in the collection of the National Gallery of Australia. We are fortunate that Christopher’s late career change to photography has provided us with access to images of Leslie van der Sluys at work in the studio, a selection of which will be on display during the auction viewing.

C. Sanders, Leslie van der Sluys Printmaker, Melbourne, 2011.

C. Sanders, Leslie van der Sluys Printmaker, Melbourne, 2011, 7.

Selected Exhibitions Robin Gibson Gallery, Sydney 1987, 1989, 1993, 1996, 1998 Ipswich Art Gallery, Queensland 1989 State Library of Queensland 1989 Australian Galleries, Melbourne 1990 Chapman Gallery, Canberra 1994 Jan Murphy Gallery, Brisbane 2000 Greenhill Galleries, Adelaide 2004

Selected Collections National Gallery of Australia Elton John Collection, UK Parliament House, Canberra Family Court of Australia, Canberra City Hall Art Gallery and Museum, Brisbane Artbank Melbourne University Latrobe University Griffith University

By the mid 1980s, having become widely sought after, Leslie van der Sluys had numerous shows in Sydney with Robin Gibson Gallery, and also in Melbourne with Australian Galleries, Collingwood. The artist developed a pattern of research development and production that served him well for the rest of his working life and he built up an extensive library. It was important to him that flora and fauna subject matter should be accurately represented. He took pains to ensure details were anatomically and botanically correct. Sometimes his references would not suffice and his research would be supplemented by a trip to the zoo, with accompanying photographs. However, whilst Leslie van der Sluys was thorough with the detailing of his subject matter, he never intended that his work should sit alongside Gould prints for example. His prints were stylistically unique interpretations of Australian and New Guinean flora and fauna. The primary objective was to please on the basis of their artistic merit, not in their documentary detailing. Field trips took place from time-to-time, with a major trip to south western Australia during the wildflower season and a trip to Kakadu and Darwin in the early 1990’s. A number of his additions are named after places, such as flowers of Arnhem land. Other themes of a more

exploratory nature were driven by the artists broader interests and during the 1980’s he travelled on numerous occasions to Samoa and New Zealand, the Cook Islands and then all the way up the Pacific to Hawaii. 1 By the late 1990’s into the first half decade of the new century, Leslie van der Sluys cutting became even more virtuosic and refined and his compositions were even stronger. Large works from the end of this decade demonstrate his virtuosic control of all the elements of production and design. None more so, than the two monumental 1998 works to lead this collection in this auction – The Australian Pelican and The Dominic’s Papuan Wreathed Hornbill. These works are followed by key examples from each period of the artist’s life. None more poignant than one of the final prints completed by the artist – Muriels Barn Owl. This is immediately followed by the unique linoleum block for this print, hand-cut by Leslie, the work is both powerful in it’s own right and a clear reminder of the medium in which the artist was a virtuoso creative.

C Sanders, Leslie van der Sluys Printmaker, 2011, page 32

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Australian Pelican, 1998 hand-coloured lino-cut on arches paper signed and dated, Leslie van der Sluys 1998, lower right titled, Australian pelican, lower centre editioned, Artist's Proof (A) H.C. XI -2003, lower left image: 66 x 49 cm. (25.98 x 19.28 in.), sheet: 75 x 58 cm. (29.53 x 22.82 in.), frame: 84.5 x 69.5 cm. (33.27 x 27.35 in.) PROVENANCE

The Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), pp, 20,60 $2,500–4,000

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Magpies and Banksias, 2005 hand-coloured lino-cut on arches paper signed and dated, Leslie sander Sluys 2005, lower right titled, Magpies and Banksia, lower centre edition no. 12/90 Hand coloured April '05, lower left image 31 x 45 cm. (12.19 x 17.71 in.), frame: 57 x 70 cm. (22.44 x 275.58 in.)

PROVENANCE

The Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.59 $1,200–1,800

LESLIE VAN DER SLUYS

AUSTRALIAN, 1939-2010

Fig Parrots, 1994

Dominic's Papuan Wreathed Hornbill, 2008

hand-coloured lino-cut on arches paper signed and dated 'Leslie van der Sluys 1994', lower right editioned and titled, AP (4) HC, 'Fig Parrots', below image image 15.5 x 23.5 cm. (6.09 x 9 1/4 in.), sheet 28 x 38 cm. (11.01 x 14.96 in.), frame: 40 x 48 cm. (15 3/4 x 18.89 in.)

hand-coloured lino-cut on arches paper signed and dated, Leslie van der Sluys 2008, lower right titled, Dominic's Papuan Wreathed Hornbill, lower centre inscribed, Artist's Proof (A), Hand-Coloured June '08, lower left image 66 x 49 cm. (25.98 x 19.28 in.), sheet 75 x 56 cm. (29.53 x 22.05 in.) , frame: 92 x 75 cm. (36.21 x 29.53 in.)

PROVENANCE

Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.56 $1,200–1,800

PROVENANCE

Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.60 $2,000–3,000

The production of these prints combines the use of a mechanical device with a purely manual process. The key block, hand-cut by Leslie van der Sluys from a special linoleum, is created by means of a hand-operated etching press, in black oil-based ink on French Valen Arches handmade rag paper. After an initial proofing, the process is begun with each impression being pulled individually. The process is then stopped for several days and when they are dry enough, the impressions are then individually coloured by hand.

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Muriel's Barn Owl linoleum block unique hand-carved linoleum block signed in image with monogram block: 26 x 19 cm. (10.24 x 7.48 in.), frame: 35 x 27 cm. (13.77 x 10.63 in.) PROVENANCE

Estate of Leslie van der Sluys $1,500–2,500

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Muriel's Barn Owl, 2009 hand-coloured lino-cut on arches paper signed and dated, 'Leslie van der Sluys 2009', lower right editioned and titled, 9/90 HX x1-'09 Muriel's Barn Owl, under image image 27 x 19.5 cm. (10.63 x 7.67 in.), sheet 38 x 28 cm. (14.96 x 11.01 in.), frame: 52 x 43.5 cm. (20.46 x 17.12 in.) PROVENANCE

Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), pp.46, 60. $1,500–2,500

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Australian Sooty Owl, 2003 Hand-Coloured Lino-Cut on arches paper signed, Leslie van der Sluys, 2003 titled, Australian Sooty Owl, lower centre edition: 22/90 HC v-'03 image: 13.5 x 14 cm. (5.30 x 5.50 in.), sheet: 28 x 19 cm. (11.01 x 7.48 in.), frame: 38 x 38 cm. (14.96 x 14.96 in.)

PROVENANCE

The Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.58 $800–1,200

LESLIE VAN DER SLUYS

AUSTRALIAN, 1939-2010

Red Tailed Large Black Cockatoos and Banksia, 1981

Mopoke and Leucoxlyn Gum

hand-coloured lino-cut signed in image with hand-coloured monogram an early artist proof image 43 x 33 cm. (16.92 x 12.99 in.), frame: 69 x 58 cm. (27.17 x 22.82 in.)

Hand-Coloured Lino-Cut on arches paper signed, L van der Sluys, lower right titled, Mopoke, lower centre inscribed, Colouring Proof, lower left image 29 x 26 cm. (11.41 x 10.24 in.), sheet: 38 x 28 cm. (14.96 x 11.01 in.), frame: 62.5 x 59.5 cm. (24.60 x 23.42 in.)

PROVENANCE

The Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.59 $1,200–1,800

PROVENANCE

The Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.53 $1,200–1,800

At the beginning of the 1960’s, Leslie van der Sluys made the pilgrimage to London via southern Europe. He had met the fellow artist John Perceval and his family during the ship voyage and he was invited to live-in, as an assistant to Perceval. A remarkable monoprint of John Perceval provides a stark reminder of a personal moment in Australian art history from this period in London. The exhaustion of a young Perceval is captured in a deeply honest way. After a less than successful start to a Perceval exhibition in London. It was around this time in London that the artist met Arthur Boyd and his family, Barry Humphries and his first wife, Rosalind Hollinrake, Charles Blackman and others….. When a spare room came up at the Barry and Rosalind’s house, Leslie van der Sluys moved in. ‘I had arrived in England in 1959 and after a spell in Notting Hill I was living in a terrace at Parliament Hill Fields, at the bottom of Highgate Hill, but as prosperity smiled more generously upon me I moved into Leonard French's house, when he went back to Australia, soon after my daughter Tessa was born my wife and I decided to go for a holiday as a respite from the bleak English weather to Portugal, in the yet undiscovered region of the Algarve, where in late February the almond trees were already in abandoned bloom. We were to hire a car in Lisbon and needing a driver for the journey, I approached a young friend of the Perceval family, an art student with the rather un-Australian name of Leslie van der Sluys, he was already living as a kind of intern with the Perceval family and I was surprised to find that he had a remarkable knowledge of European art history and real ability as a draughtsman, moreover he was a keen observer of life, with the gift of mimicry and an ear for the colloquial. Leslie proved to be a perfect companion in Portugal, and he remained firm friends with our family from the day it was set off on a Lusitanian journey. Barry Humphries (Barry Humphries, 2011).” 1 European Landscape, 1964 is a rare drawing from this time spent with Boyd, Perceval and Humphries.

The ingenious quality of these early works inevitably changed under the powerful influences of Boyd and Perceval. Leslie van der Sluys drawing increased in confidence and the subject matter moved away from a passion for the charms of the English localities and the countryside towards the deeper more brooding qualities of Boyd’s apocalyptic visions and Perceval’s energetic treatments of landscape. Van der Sluys accompanied the Humphrey’s family on a driving trip to the Algarve in Portugal, described by Rosalind as an ‘extraordinary and wonderful adventure.’ How they packed into a Morris mini is another story, but it cemented a lifelong friendship with both Rosalind and Barry. 2 As time went by, the artist’s work began to change. Van der Sluys’ love of the decorative the linear and the richness of pattern and colour began to emerge. His drawings and etchings were developing a strong linear quality and instead of monumental or allegorical or psychological themes, he began to introduce a simplified and lyrical domestic view. Two particularly small editioned works, both completed in 1979, illustrate this important transition. The allegorical Entombed Prince signals the move towards the lino-cut process, while Spring Flowers and Grasses, provides a wonderful insight into subject and form, that would underpin his artistic future as a full-time lino-cut print maker. The first proofs in the late 1970’s to 1980 were done with a hand roller and ink onto a lino block. Two significant works from this period and important artist’s proofs retained by the estate are the early masterworks, Black Swans and Red-Tailed Black Cockatoos and Banksia. The early prints are distinguished by their broad and vigorous cutting technique and bold pattern like treatment of subject matter.

Barry Humphries, A Reflection, Leslie van der Sluys Printmaker 2011, p. 13

C Sanders, Leslie van der Sluys Printmaker, 2011, page 32

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Spring Flowers and Grasses, 1979 Etching on paper signed and dated, van der Sluys 1979, lower right titled, Spring Flowers and Grasses, lower centre edition no. 4/10, lower left image 26 x 20.5 cm. (10.24 x 8.07 in.), frame: 50 x 44 cm. (19.67 x 17.32 in.) PROVENANCE

The Estate of Leslie van der Sluys $800–1,200

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Flowers of Arnhem Land, 1990 hand-coloured lino-cut on arches paper signed, Leslie van der Sluys 1990, lower right titled: Wildflowers of Arnhem Land edition: 3/25 (black and white), Epreuve d' Artiste, lower left

image 45 x 60 cm. (17.71 x 23.62 in.), sheet 58 x 75 cm. (22.82 x 29.53 in.), frame: 71 x 86 cm. (27.94 x 33.85 in.) PROVENANCE

Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.54 $1,500–2,500

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

The Fall, London 1964 pencil on paper signed and dated lower right, van der Sluys 1964 image 38 x 56 cm. (14.96 x 22.05 in.), frame: 62 x 78 cm. (24.41 x 30.71 in.) PROVENANCE

The Estate of Leslie van der Sluys $1,000–1,500

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

John Perceval, 1963 monoprint on paper signed and dated, van der Sluys '63, lower right image: 18 x 15.5 cm. (7.08 x 6.09 in.), frame: 41.5 x 38 cm. (16.33 x 14.96 in.) PROVENANCE

Estate of Leslie van der Sluys $1,000–1,500 86

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Black Swans, 1980 Hand-Coloured Lino-Cut on paper signed and dated, L van der Sluys, lower right titled, 'Black Swans', lower centre inscribed in pencil A.P, lower left image: 31 x 30 cm. (12.19 x 11.81 in.), frame: 54.5 x 55 cm. (21.46 x 21.64 in.)

PROVENANCE

The Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.49 $1,200–1,800

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Culloden, 1984 Hand-Coloured Lino-Cut on arches paper Artist Proof signed, Leslie van der Sluys 1984 inscribed, proof 2, lower left image: 20 x 19 cm. (7.87 x 7.48 in.), sheet: 38 x 28 cm. (14.96 x 11.01 in.), frame: 44 x 42.5 cm. (17.32 x 16.73 in.) PROVENANCE

The Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.53 $800–1,200

LESLIE VAN DER SLUYS AUSTRALIAN, 1939-2010

Nikea, 2004 hand-coloured lino-cut on arches paper signed and dated, Leslie van der Sluys 2004, lower right titled: Nikea, lower centre inscribed, Artist Proof, lower left (Artist Proof for an edition of 5) image 16 x 20 cm. (6.29 x 7.87 in.), sheet 28 x 38 cm. (11.01 x 14.96 in.), frame: 40 x 43.5 cm. (15 3/4 x 17.12 in.) PROVENANCE

Estate of Leslie van der Sluys LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.59 $800–1,200

LESLIE VAN DER SLUYS

AUSTRALIAN, 1939-2010

Entombed Prince, 1980

Great Barrier Reef: Barramundi Cod, 1987

Hand-Coloured Lino-Cut on paper signed, L van der Sluys, lower right titled, Entombed Prince, lower centre editioned: 1/8, lower left. image 29 x 23 cm. (11.41 x 9.06 in.), sheet: 44 x 40 cm. (17.32 x 15 3/4 in.), frame: 53 x 47 cm. (20.87 x 18 1/2 in.)

Hand-Coloured Lino-Cut on arches paper signed and dated, Leslie van der Sluys, 1987 titled, Great Barrier Reef: Barramundi Cod, lower centre edition: 6/90 H-C II-88 image: 29 x 41 cm. (11.41 x 16.14 in.), sheet: 38 x 54 cm. (14.96 x 21.26 in.), frame: 54.5 x 67 cm. (21.46 x 26.37 in.)

PROVENANCE

The Estate of Leslie van der Sluys

LITERATURE

Leslie van der Sluys - Printmaker, Christopher Sanders 2011, illustrated (another example), p.53

$1,000–1,500

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Works from the Estate of Arch Cuthbertson The art of Arch Cuthbertson (1924-2001) is the lifelong journey of a painter who was inspired by the evolving modernist influence of art in Australia. Cuthbertson’s early paintings are cubist explorations, abstract in origin, moving through the years with influence from expressionist art, and finally from that of texture painting. Cuthbertson was a much loved and respected educator in the arts, remarkable for his generosity, dedication to his art, and inexhaustible creative spirit. The artist held at least thirty solo exhibitions from 1961 to 2018: in Melbourne, Geelong, Adelaide and Sydney. These included six solo exhibitions with Barry Stern in Sydney and three solo exhibitions with Eastgate & Holst Gallery in Melbourne (1992, 1996, 2000, 2007 & 2018). He also participated in numerous group exhibitions including Survey 8, Four Geelong Artists, at Geelong Regional Gallery in 1987, and again in 1991 for the Scotchman’s Hill Prize.

Cuthbertson had a very strong connection to the region of Geelong, as a local artist and as a well-respected educator, as a senior lecturer of art and design at Deakin University. Many of his works are inspired by the landscapes of the Geelong region including Anakie, The You Yangs, Torquay, Dog Rocks and William Buckley. One of his best-known works was a large mural for the Commonwealth Bank in Ballarat. Artvisory is grateful for the assistance provided by Arch Cuthbertson Junior in the cataloguing of four significant works by his father and for sharing insights into his fathers’ generosity of spirit towards his family, students and his creative friendship's with other young Australian artists, especially Leonard French and Roger Kemp who became life-long friends.

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It is in respect to the importance of this friendship, which affected both the artist’s career and life, that the estate is offering a fine work by Roger Kemp in enamel paint on composition board – an untitled 'Flight in Space' related work, that was treasured by the artist since its creation by his friend Roger Kemp circa 1960-65. An introduction from Arch Cuthbertson Junior. ‘Arch (my father) was a highly motivated and passionate artist, he was also a respected educator in the arts. He would be creating art in his studio at every opportunity, often working into the late hours of the night. His workspace was always in a state of chaos, juggling multiple artworks in the process of being finished. This space had that distinctive strong aroma of oil paint and homemade sun thickened linseed oil. He would often experiment with grinding his own paint pigments from various sources. As a child I would spend much time with my father in this interesting and calming space where I would be encouraged to create my own artwork with much praise from my father’.

Collections Archibald Cuthbertson's work is represented at the National Gallery of Australia, National Gallery of Victoria, New Parliament House, Art Gallery of South Australia, Rotarua Art Gallery New Zealand, La Trobe University, Deakin University, University of New York and various regional galleries such as Geelong, Ballarat, Bendigo, Swan Hill and Hamilton.

Awards 1964 F E Richardson Prize, Geelong Art Gallery 1965 Currabubula Art Prize 1966 Minnie Crouch Prize, Ballarat Art Gallery 1968 Bendigo Prize (purchase award), Bendigo Invitation Exhibition 1988 Watercolour Australia Prize, Swan Hill Gallery of Contemporary Art

ARCH CUTHBERTSON AUSTRALIAN

Computation (untitled c.1970) oil on canvas image 121.5 x 121.5 cm. (47.82 x 47.82 in.), frame: 124 x 124 cm. (48.82 x 48.82 in.) PROVENANCE

The Estate of Arch Cuthbertson $3,000–5,000

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ARCH CUTHBERTSON AUSTRALIAN, 1924-2000

Harlequin Flying oil on canvas signed Cuthbertson, , lower right titled, Harlequin Flying, on verso image 137 x 121.5 cm. (53.93 x 47.82 in.), frame: 142 x 126 cm. (55.90 x 49.60 in.) PROVENANCE

The Estate of Arch Cuthbertson $3,000–5,000

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ARCH CUTHBERTSON AUSTRALIAN, 1924-2000

Assisi Man With Birds oil on board signed, Cuthbertson, lower right titled, Man with Birds, on verso image 66 x 83.5 cm. (25.98 x 32.86 in.), frame: 85 x 102.5 cm. (33.46 x 40.35 in.) PROVENANCE

The Estate of Arch Cuthbertson $1,500–2,500

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ARCH CUTHBERTSON AUSTRALIAN, 1924-2000

Migration no. 8 oil on paper signed and dated, Arch Cuthbertson '83, on verso image 111 x 130 cm. (43.70 x 51.17 in.), frame: 120 x 139 cm. (47.24 x 54.71 in.) PROVENANCE

The Estate of Arch Cuthbertson $2,500–3,500

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ROGER KEMP AUSTRALIAN, 1908-1987

Flight in Space (untitled: c.1960-65) enamel on masonite board signed Roger Kemp, lower right housed in original artist made period frame image 81.5 x 100 cm. (32.09 x 39.36 in.), frame: 83 x 101.5 cm. (32.67 x 39.96 in.) PROVENANCE

The Estate of Arch Cuthbertson RELATED WORKS

Flight in Space 1 (c. 1960- c. 1965, enamal paint on composition board, 136 x 183cm, National Gallery of Victoria Organised Forms, 1961, enamel paint on composition board, 137 x 183cm, Winner of the John McCaughey Prize, 1962 Flight in Space II, (c. 1960-1965), enamel paint on composition board, 137 x 152cm, Art Gallery of NSW Revolving Forms, (c, 1960-1965, enamel paint on composition board, 135 x 150cm, Art gallery of NSW SELECT EXHIBITIONS

Roger Kemp, Visionary Modernist, The Ian Potter Centre: NGV Australia 22 Aug 2019 - 15 Mar 2020 COLLECTIONS

Roger Kemp's work is held in Australian and International Collections, including the National Art gallery of Australia, all State Galleries of Australia, Australian War memorial, Heidi Museum of Art and the British Museum, London. $6,000–9,000

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Other vendors

LISA ROET AUSTRALIAN, 1967-

24k Gold Monkey bronze and 24K gold plated 42 x 12 x 15 cm. (16.53 x 4.71 x 5.91 in.) PROVENANCE

Lisa Roet Private Collection, Melbourne RELATED WORKS

Golden Monkey, 2006-2018, Inflatable lightweight metallic material, 12 m x 6 m x 4m, Melbourne, Beijing and Edinburgh COLLECTIONS

Lisa Roet's work is held in numerous public collections including the National Gallery of Australia $4,000–6,000

SUSAN NORRIE AUSTRALIAN, 1953-

Be Seeing You By Chance oil on canvas signed and dated, Susan Norrie 2007, on verso titled, Be Seeing You by Chance, on verso 140.5 x 132 cm PROVENANCE

Private Collection, Melbourne $15,000–20,000

In 2007 Norrie represented Australia at the 52nd Venice Biennale. Norrie studied as a painter at the National Art School, Sydney (1972–73) and the National Gallery School, Melbourne (1974–76). In 1980 the Art Gallery of New South Wales included her in a group exhibition. In 1983 they bought one of her paintings; and the following year she was included in the 'Australian Visions: 1984 Exxon International Exhibition' at the Solomon R. Guggenheim Museum, New York.

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DAVID BOYD AUSTRALIAN, 1924-2011

Church and State, c.1965 oil on canvas on board signed lower left, David Boyd 75 x 55 cm. (29.53 x 21.64 in.) PROVENANCE

Artistry Galleries, Malvern where acquired by current owner 10/11/05, for $27,000 RELATED

Church and State, 1965, 152 x 122 cm, illustrated in The Art of David Boyd, Nancy Benko, Hyde park Press, 1973, p. 129. COLLECTIONS

Works by David Boyd are held by the National Gallery of Australia, and most other National public collections, including The National Gallery of Victoria, AGNSW, AGWA $5,000–9,000

David Boyd was born in Australia in 1924, and he was a member of the Contemporary Art Society of Australia by the age of 18. The first exhibition of David Boyd's abstract paintings was held at Rowden White Library in the University of Melbourne in the early 40s. In 1959, David Boyd, together with brother Arthur, was a signatory to the Antipodean manifesto and participated in the subsequent exhibition titled the Antipodeans. This was a landmark exhibition and a statement by the participating artists against the move to abstractionism. As well as the two Boyd brothers, other members included John Brack, Robert Dickerson, Sidney Nolan, John Perceval, Clifton Pugh, and the academic Bernard Smith. This example of a Church and State series painting, is a finely rendered work that initially entices the viewer by way of it's beauty—until you become aware of the more powerful narrative that runs through the painting, with two faces representing church and state presented as one. Other closely related works from The Church and State series were first exhibited at Zwemmer gallery in London in July 1965.

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BENJAMIN WILLIAMS LEADER BRITISH, 1831-1923

Evening's Last Glow, Bournemouth oil on canvas signed, BW LEADER, lower left titled 'Evening's last glow, Bournemouth, on verso inscribed, 'July 1900 Copyright', on verso together with purchase receipt 7500 GDP, 1960 and Christie's valuation, dated, 1989 image 60 x 105 cm. (23.62 x 41.34 in.), frame: 77 x 123 cm. (30.30 x 48.42 in.) PROVENANCE

Davey's, London End, Beaconsfield Mrs Boyer-Guzetta, Dorset, acquired 12/5/60 for 7500 GDP Thence by decent to Private Collection Perth RELATED WORKS

Evening Glow, 1895, 128 x 214cm, London Royal Academy 1895, Christie's London, 22/3/2017, sold for GDP 27,500 Evening's Last Gleam, 1899, 30 x 46cm, Manchester Art Gallery COLLECTIONS

Leaders paintings are held in Australian and International collections, including the National Gallery of Victoria, Tate Gallery, London, Victoria and Albert Museum, London, Royal Academy of Arts, London. $8,000–12,000

Christie's London, described the location of our work as being of Bournemouth Cliffs, a particularly rare subject for the artist, and in 1989 their auction estimate was in the region of 5000 pounds "or considerably more given the subject". Titled, 'Evening's Last Glow', on verso, it relates to a particularly important period of the artist's work, depicting the glow of evening light. Leader's success during this period, resulted in many authorised etchings being made from paintings. A Surrey Pine Wood etching was published in 1893 (British Museum Collection) and 'Evening Light', was published in 1903 (V&A Museum Collection). Leader received a gold medal for his 1882 painting In the evening it shall be Light, exhibited in 1889 at the Exposition Universelle in Paris. He was decorated as a Knight of the Legion of Honour in France and became a full member of the Royal Academy in London. In 1914 King George V and Queen Mary of England acquired a major work by Leader titled: On the Llugwy, Bettws-y-Coed for the Royal Collection.

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DAVID BOYD AUSTRALIAN, 1924-2011

Reconciliation - An Australian Odyssey 'Publisher's Special Deluxe Edition' Etchings bound in Ostrich leather each etching, signed David Boyd, below image Volume 1 and 2 together in Boxed set - from edition of 5 special boxed sets. Volume 1. x 23 hand-coloured etchings Volume 2. x 23 burnt umber signed etchings sheet 55 x 38 cm. (21.64 x 14.96 in.) PROVENANCE

Artistry Galleries, Malvern where acquired by the current owner on 5/6/08 for $38,000 This is the Publisher's Special Edition 'printers copy' that was limited to 5 special sets of "Reconciliation.... An Australian Odyssey. Presented as two volumes within a purposemade clam shell box. Volume One is bound in Black Ostrich skin and contains twentythree signed etchings printed in Burnt Umber. Volume Two is bound in white Ostrich skin and contains twenty-three signed hand coloured etchings. $6,000–8,000

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JOSHUA YELDHAM AUSTRALIAN, 1970-

Pearl of the Overflow Ink, gouache and charcoal sennelier on archival fine art paper signed and titled, Pearl of the Overflow/ Birds Nest Diaries No 1 Yeldham, on verso From the Birds Nest Diaries Series, 2004 A celebrated series of mixed-media photomontages by the Artist Edition No 1/12 145 x 96 cm. (57.09 x 37.79 in.), frame: 178 x 126 cm. (70.07 x 49.60 in.) PROVENANCE

Arthouse Gallery Sydney Private Melbourne Collection COLLECTIONS

Joshua Yeldham's work is held in public collections, including the National Gallery of Victoria, Mosman Art Gallery, NSW, Manly Art Gallery and Museum. $7,000–10,000

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BARRY HUMPHRIES AUSTRALIAN, 1934-2023

BIG synthetic polymer paint on composition board letter of authenticity, on verso catalogue number 100, on verso Sotheby's label, on verso 39 x 49.5 cm. (15.34 x 19.48 in.), frame: 52 x 62 cm. (20.46 x 24.41 in.) PROVENANCE

Collection of Dominic Ryan, Sotheby's, 24/11/2003 Private Collection, Melbourne RELATED

The National Gallery of Australia held an exhibition "Big: Barry Humphries: Dad Artist", which showed related artworks. $5,000–8,000

This work stems from the groundbreaking creativity of Barry Humphries that first emerged while he was at Melbourne University, with two spectacular Dada exhibitions he organised in 1951 and in 1952. "They consist really of an anarchic attack on certain aspects of modern art which were becoming domesticate... I was disappointed in Melbourne University, because in a way, although people didn't wear uniforms, they did. Barry Humphries in an Audio recording 1981. Collection of the National Portrait Gallery.

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REG MOMBASSA AUSTRALIAN, 1951-

army haircuts viewed from behind earth-mover Hume Highway Jugiong mixed media on paper signed, Reg M., lower right (under each work) titled, army haircuts viewed from Behind titled, earth-mover Hume highway Jugiong cat. no. 33, on verso 25 x 18 cm. (9.83 x 7.08 in.), frame: 46 x 37 cm. (18.10 x 14.57 in.) PROVENANCE

The Artist Watters Gallery c. 1985-88 Private Collection, Perth, acquired from Watters Gallery EXHIBITED

Watters Gallery NSW n.d COLLECTIONS

Reg Mombassa's work is held in public collections including the National Gallery of Australia, National Portrait Gallery, Art gallery of NSW, Powerhouse Museum, Melbourne Museum, National Art School, Macquarie University Gallery. International public collections include the British Museum, London. $3,000–5,000

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WILLIAM BOISSEVAIN AUSTRALIAN, 1927-1923

Northern Australia oil on board signed, W Boissevain '75, lower left 90 x 120 cm. (35.42 x 47.24 in.), frame: 94.5 x 124.5 cm. (37.20 x 49.02 in.)

PROVENANCE

An Estate Collection Melbourne COLLECTIONS

Represented: William Boissevain's work is held in the collections of public institutions including: the Art Gallery of Western Australia, National Portrait Gallery, National Gallery of Australia and Tasmanian Museum and Art Gallery. $2,500–3,500

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MAC BETTS AUSTRALIAN, 1932-2010

Upstream oil on canvas signed and dated, Mac Betts '88, lower right titled, Upstream, on verso 84 x 101 cm. (33.07 x 39.75 in.), frame: 88 x 105 cm. (34.64 x 41.34 in.) PROVENANCE

Private Collection Perth SELECT EXHIBITIONS

The artist exhibited related works at his solo Australian ‘artist-in-focus’ exhibition at Art Gallery of Western Australia (17 October 1988 6 December 1988)

COLLECTIONS

Art Gallery of Western Australia National Gallery of Australia National Gallery of Victoria $4,000–6,000

Mac Betts (1932-2010) was born in London and lived and worked in Nigeria, Morocco, Spain, Italy, and France before he migrated to Western Australia in 1970. Mac Betts was a part of the small group of Perth Hills artists that, during the 70's and 80's, dominated the Western Australian art scene. Among them were George Haynes, Robert Juniper, Douglas Chambers, and Guy Grey-Smith. He was a lyrical abstractionist with an exceptional ability to capture the essence of light on the West Australian landscape. The vastness and light of the north-west was his continued influence. (source: Collections WA, online, n.d)

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CLIFTON PUGH AUSTRALIAN, 1924-1990

Two Euros, 1961 oil on board signed and dated, Clifton Nov '61, lower right 67.5 x 90 cm. (26.57 x 35.42 in.), frame: 76.5 x 99.5 cm. (30.12 x 39.17 in.) PROVENANCE

Bonython Art Gallery, Adelaide. Private collection, Adelaide. Private collection, Melbourne. EXHIBITED

Clifton Pugh, Bonython Gallery, Adelaide, 26 May - 8 June 1962 COLLECTIONS

Clifton Pugh's work is held in the collections of public institutions, including the National Gallery of Australia, The Art Gallery of NSW, Art Gallery of Western Australia, the National Gallery of Victoria, and the National Portrait Gallery. $6,000–9,000

In the 1950s Pugh first came to notice with depictions of indigenous flora and fauna in an interpretive, figurative style. His bush scenes struck a dramatic contrast, particularly with those of the Heidelberg School, for their denial of the sentimental in favour of harsh realism. His landscapes were innovative for their employment of a relatively loose brushstroke and layering of paint that imitated the disordered character of the Australian bush. A typical work is ‘Meeting of the Apostle Birds’ (1958), in which birds of the Cottles Bridge area, north-east of Melbourne, where he spent his adult life, are arranged in an artificial pattern over the detritus of the bush floor. In ‘A Feral Cat’ (1957) the introduced animal dominates the composition, emphasising its threat to native fauna. Pugh held his first major one-man show in March 1957 at the Victorian Artists’ Society. He became a vocal member of the Antipodeans, a group established in 1959 to defend figurative art. Other members were his artist friends, John Brack, Bob Dickerson, Arthur Boyd, David Boyd, Charles Blackman, John Perceval, and the art historian, Bernard Smith. Their exhibition at the VAS in August 1959 inspired several later reconstructions of the original show. Pugh received leading coverage in British newspapers in an exhibition of prominent Australian artists at the Whitechapel Gallery in London in 1961. (Australian Dictionary of Biography, Volume 18, 2012) In our work the Two Euros (wallaroos) presents a beautiful scene of young Euros in their dry Australian landscape that evokes an empathy for the survival of our treasured inland inhabitants.

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JOHN WALLER AUSTRALIAN, BORN 1954

Grampians (Dunkeld) 2008 oil and graphite on linen signed and dated, J Waller 2008, on verso 160 cm high, 130 cm wide PROVENANCE

Mossgreen Gallery, Melbourne Private Collection, Melbourne $4,000–6,000

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DAVID BOYD AUSTRALIAN, 1924-2011

Children Playing, 1973 oil on canvas signed and dated, David Boyd 1973, lower left 36.5 x 45 cm. (14.36 x 17.71 in.), frame: 56.5 x 65 cm. (22.23 x 25.58 in.) PROVENANCE

Private Collection, Sydney, EXHIBITED

A View of Brisbane Collections, Queensland Art Gallery, 1979 RELATED WORKS

Sunday, 1973, oil on canvas, 74 x 92cm, illustrated, p. 185 Nancy Benko, The Art of David Boyd, Lidums 1973. COLLECTIONS

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Works by David Boyd are held by the National Gallery of Australia, and most other National public collections, including The National Gallery of Victoria, AGNSW, AGWA $4,000–6,000

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LILY KELLY NAPANGARDI WALPIRI/LURITJA, 1948-

Untitled synthetic polymer paint on linen Watiyawanu Artists, Mt Liebig, cat. no. 77-553 122 x 120 cm. (48.03 x 47.24 in.) PROVENANCE

Private collection, Melbourne Deutscher and Hackett, Important Aboriginal and Oceanic Art, Melbourne, 24/03/2010, Lot no. 190 COLLECTIONS

Lily Kelly Napangardi’s works are held in public collections including, The Art Gallery of NSW and the Art Gallery of South Australia RELATED WORKS

SandHills, 2002, 180 x 180cm, Art Gallery of New South Wales $3,500–5,500

Born at Ikuntji/Haasts Bluff in 1948, Lilly has Country in the Ikuntji area. She is also associated with the Women's Dreaming at Kunajarrayi. She came to the newly established settlement at Papunya in the early 1960s as a young girl and remained in the settlement for many years before moving to Watiyawanu/Mount Leibig, where she now resides with her husband, Norman Kelly, also a painter. They have three children and five grandchildren. A Luritja speaker, she painted for Papunya Tula Artists since the mid- 1980s and her work is included in the Araluen Trust's collection of western desert paintings. In 1986 she won the Northern Territory Art Award. (source: Australian Art Department, Art Gallery of New South Wales, 2003, online AGNSW.) 110

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PRO HART AUSTRALIAN, 1928-2006

Waterbirds oil on board signed, Pro Hart, lower right Gould Galleries label, on verso 29 x 29.5 cm. (11.41 x 11.60 in.), frame: 49 x 49.5 cm. (19.28 x 19.48 in.) PROVENANCE

Gould Galleries Private Collection Melbourne COLLECTIONS

Pro Hart's work is held in the Australian collections of public institutions including, the National Gallery of Australia, Art Gallery of NSW, Art Gallery of South Australia, and the National Gallery of Australia $3,000–4,000

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PRO HART AUSTRALIAN, 1928-2006

Bush landscape oil on board signed, Pro Hart, lower left inscribed, '60', on verso 22.8 x 30.5 cm. (8.98 x 12.00 in.) PROVENANCE

An Estate Collection Melbourne COLLECTIONS

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DORRIT BLACK AUSTRALIAN, 1891-1951

Poplars watercolour and pencil on paper signed, Dorrit Black, lower right 40.8 x 47 cm. (16.05 x 18 1/2 in.), frame: 67 x 72 cm. (26.37 x 28.35 in.) PROVENANCE

Christie's, Sydney, 17 August 1999, lot 255 Private Collection Sydney Deutscher Menzies, 24/09/2008, lot 87 Private Collection, Melbourne COLLECTIONS

Dorrit Black's work is held in institutional collections, including the National Gallery of Australia, State and Regional Galleries, Victoria and Albert Museum, London. $7,000–12,000

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DAVID DAVIES 1864-1939

A Dieppe Street Scene oil on board signed D.Davies, lower right 22.5 x 31.5 cm. (8.85 x 12.40 in.), frame: 41 x 50 cm. (16.14 x 19.67 in.) SELECT EXHIBITION

Plymouth Art Gallery, UK, 1932 Golden Summers: Heidelberg and Beyond, NGV and touring State Gallery 1985-86 The Great Australian Art Exhibition, 1988-89 COLLECTIONS

David Davies' works are held in Australian public galleries, including the National Gallery of Australia, all State and many regional Galleries. $3,000–5,000 114

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CHARLES CONDER AUSTRALIAN, 1868-1909

At the Theatre Gouache on paper titled on label, At the Theatre, on verso label with catalogue number 14 and statement of provenance, attached on verso 11.8 x 9 cm. (4.65 x 3.54 in.), frame: 46.5 x 35 cm. (18.30 x 13.77 in.) PROVENANCE

Edward Gordon Craig, London (theatre designer and woodcut artist) thence by descent until 1985 Private Collection

As per the label on verso, E Gordon Craig was a theatre designer and artist. He designed and produced The Page publication from 1898-1901. Conder contributed illustrations to The Page in 1899. Both Charles Conder and Edward Gordon were also original founding members of The Society of 12, established in London in 1904 to promote design, drawing and the graphic arts. COLLECTIONS

Charles Condor's work are held in all major Australian Collections, including the National Gallery of Australia and all State Galleries. International collections include the Tate London, the British Museum London, the MET, New York. $5,000–7,000

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SYDNEY LONG AUSTRALIAN, 1871-1955

Spirit of the Plains aquatint and drypoint, printed in teal ink with plate-tone, from one copper plate numbered 35/50 17.5 x 35 cm. (6.88 x 13.77 in.), frame: 39 x 54 cm. (15.34 x 21.26 in.) PROVENANCE

Private Collection New Zealand LITERATURE

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D Thomas, Outlines of Australian Art-The Joseph Brown Collection, Melbourne, 1989, 3rd edition, ref. 125, p. 63, illus. pl. 125 (another example) COLLECTIONS

Sydney Long's work is held in public institutions including the National Gallery of Australia and numerous State and Regional Galleries. International collections include the Museum of New Zealand. The Spirit of the Plains, etching was the most popular Sydney Long Etching, based on his 1897 painting, The Spirit of the Plains. "The Spirit of the Plains was first exhibited in the 1897' Society of Artist's Spring exhibition' It was the first major work in Long's decorative style, and the purists. (Joanna Mendelssohn, Art Gallery of Australia, online. 2012) $3,000–5,000

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THOMAS PEERLESS AUSTRALIAN, 1858-1896

Blue Mountains NSW (two views) oil on board pair of landscapes each signed with artist initials, lower right each 33.5 x 58 cm. (13.18 x 22.82 in.), frame: 51 x 77 cm. (20.07 x 30.30 in.) PROVENANCE

An Estate Collection Melbourne $1,000–2,000

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Thomas Peerless was born in Brighton, England in 1958 and emigrated to Australia, arriving in Sydney about 1880. In the 1880s he made two trips to New Zealand. Most of his Australian works feature New South Wales and Tasmanian scenes. In 1895, three of his paintings were selected for inclusion in the opening of the Queensland National Art Gallery (source: AASD biography)

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SIR HANS HEYSEN AUSTRALIAN, 1877-1968

Venice watercolour on paper signed, H. Heysen, lower right 14.5 x 11 cm. (5.71 x 4.33 in.), frame: 32.5 x 39 cm. (12.80 x 15.34 in.) PROVENANCE

Private Collection, Sydney Artvisory appreciate the assistance provided by the Curator of the Heysen Collection at the Cedars, Allan Campbell in authenticating this is an original work by Hans Heysen, painted in Venice. $2,000–3,000

In 1902 Hans Heysen undertook a study tour of Italy for a period lasting exactly 12 months. Prior to this spent three intense years in France completing studies at three Parisian art schools, the École des Beaux Arts, Académie Julian and Académie Colarossi (18991901). At this age of his early to mid-twenties Hans was already displaying a prodigious talent for both drawing and painting. He chose not to enrol in the Italian art schools but rather began a period of intense self-education with particular concentration of the cities of Venice, Florence and Rome. This was to start with an eightweek period in Venice, a precinct which as an artist immediately captivated him with its unique beauty. Hans’ hunger for Venice had developed during his visits to the great French and English galleries and the admiration for the colour and light of the old Venetians. He was particularly drawn to the paintings of JMW Turner and that artist’s famous capture of the Venetian atmospheric light. In correspondence back to his family in Adelaide, Hans conveyed his enchantment of Venice: “Venice is a dream. It is too beautiful – all and more than I ever imagined. A photograph gives little idea of how lovely it really is… Sometimes it looks as if the whole city hovers between water and air. And how unusual – no wagons, no horses, everything done by boat on water. I have a very good room – ten pence a day – with a lovely view over a beautiful part of Venice.” Hans sketched and painted with unflagging diligence, along the canals, in the squares, on landings and bridges, capturing the essence of Venice. In particular, he produced a series of jewel-like watercolours identifying the iconic gondolas and prominent Venetian buildings such as St Mark’s and St Maria della Salute basilicas. As an artist who worked over eight mediums, Hans’ watercolour technique in particular is quite exceptional. This is achieved through his extraordinary strength of observation, accurate draughtsmanship and colour application of seemingly effortless brush movement to create an achievement of beautiful spontaneity. Allan Campbell Curator of the Heysen Collection The Cedars, Hahndorf, South Australia

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DEBORAH HALPERN AUSTRALIAN 1957-

‘Flowers and foliage with a sculptural form behind’ (untitled) painted and glazed tiles on cement sheet, twenty-nine tiles 52 x 115 cm. (20.46 x 45.28 in.), frame: 54 x 116.5 cm. (21.26 x 45.86 in.) PROVENANCE

Private Collection, Melbourne COLLECTIONS

Deborah Halpern's works are held by public institutions, including the National Gallery of Victoria, Queensland Art Gallery, Art Gallery of Western Australia, Heidi Museum of Modern Art, Melbourne, numerous regional galleries and a major work at The Point Leo Sculpture Park on the Mornington Peninsula. International collections include the Osaka Sculpture Park, Japan and the Arch Arts Centre, Archie Prefecture Japan. $3,000–5,000

END OF SALE

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Artist Index

Artist Unknown 26

Halpern, Deborah 119

Peerless, Thomas 117

Hart, Pro 111, 112

Perceval, Celia 3

Heysen, Sir Hans 118

Perceval, John 12

Humphries, Barry 103

Pugh, Clifton 107

Black, Dorrit 113

Boissevain, William 105

Kemp, Roger 96

Rees, Lloyd Frederic 72

B Betts, Mac 106 Bezor, Annette Thea 8

Boyd, David 13, 99, 101, 109 Boyd, Guy 4

Roet, Lisa 97

Leader, Benjamin Williams 100

Long, Sydney 116

Sluys, Leslie van der 74–91

Canning, Criss 10

Lymburner, Francis 36–71

Coburn, John 6, 7 Conder, Charles 115 Cuthbertson, Arch 92–95 D Davies, David 114

Tjakamarra, Freddy West 25

Mombassa, Reg 104

Tjakamarra, Tommy Skeen 15

N Namatjira, Albert 9 Nampitjin, Millie Skeen 17

Tjapangardi, Johnny Mosquito 21 Tjapangarti, Wimmitji 16 Tjumpo, Tjapanangka 19 Tjungurrayi, Helicopter 20

Napanangka, Lucy Yukenbarri 14

Forrest, Captain James Haughton 1, 2

Napangardi, Bai Bai 18

Fullbrook, Sam 73

Napangardi, Lily Kelly 110

Waller, John 108

G Ganalbingu (Attributed), Luluna 27 Gruner, Elioth 11

Nolan, Sir Sidney 5 Norrie, Susan 98 Nungurrayi, Muntja 24 Nungurrayi, Sharon 23 Nyumi, Elizabeth 22, 23

Y Yeldham, Joshua 102

132

101

109

110

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PRIVATE SALE

Peter Schipperheyn We are pleased to announce the most significant sale in our twenty-year gallery history: Peter Schipperheyn’s monumental bronze Zarathustra, which stands over four metres tall and is edition two of three. Originally commissioned by Dame Elisabeth Murdoch AC OBE for the McClelland Sculpture Park, Langwarrin, where edition one remains in the collection, this celebrated sculpture was cast at the Fonderia Massimo Del Chiaro in Pietrasanta, Italy. The foundry, renowned for its work for Fernando Botero and innumerable other sculptors of international standing, produced this second edition, which Artvisory Gallery has sold to an important private collection in Australia.

Enquiries Paul Sumner | 0412 337 827 paul@artvisory.com.au

“The art and vision [of Peter Schipperheyn] is wholly inspired by the great figurative traditions in Western art: his delicate drawings reflect an extraordinary sensitivity for the human figure, whilst his majestic sculptures are expressions of the grandeur and vision that aspire to the greatest European traditions. He is currently unique in Australia; no other living Australian artist has so totally dedicated himself to seeking a truly contemporary expression of Western arts most inspired tradition.” Edmond Capon AM OBE (1940–2019) This written in 1989. Director of the Art Gallery of New South Wales 1978–2011

We are so grateful to Paul and the Artvisory team for so expertly and thoughtfully managing the sale of our mother's collection. Of course everyone going through this is immensely sad and also somewhat overwhelmed, and Paul managed with such calm and care to lead us through the whole process. In our mother's case it was also complicated by much of her Estate being managed legally from the UK, and half the family being based overseas, so juggling time zones and different sets of lawyers added to the chaos. Paul at all times worked immensely hard, always on hand for advice and encouragement. His knowledge of the market was second to none—honest about the best parts of the collection, and also those pieces less popular these days, and suggested the appropriate approach for both. The catalogue made us all very emotional; Paul, Amanda and their team did a fabulous job honouring the family history of the collection and showed off our grandparent's and mother's pieces to perfection. We were thrilled with the final results, and as importantly, felt Artvisory had really done our family proud. Thank you all. Mrs Georgie Stewart, London, July 2026 The Estate of the Late Dauvergne Morgan (Part of Rare + Beautiful, June 2026)

We are proud of our previous Single Owner Collection Vendor Testimonials and encourage you to read them on our website www.artvisory. com.au where you can also access our corporate video that will help you visualise the process of a Single Owner Auction.

SINGLE OWNER AUCTION SPECIALISTS —

Let us tell your story

—

Artvisory is the specialist auction house for Single Owner Collection Auctions and Historic House contents auctions in Australia offering market-leading expertise and experience in this niche area.

linked. We understand the emotions involved in planning the possible sale of a collection and we provide a gracious, respectful and financially responsible strategy to vendors and families contemplating a sale.

Selling a collection is about telling the story of the collector and their family and the pieces that have been collected and cherished over time, with the house itself often intrinsically

If you are looking to sell a collection then please contact us in confidence for a complimentary and no obligation consultation, where we will explain the Single Owner auction concept in

detail and why vendors will always benefit from selling a house-collection or lifetime collection as a stand-alone auction with Artvisory. 310 Toorak Rd South Yarra 3141 VIC 03 9826 4039 | www.artvisory.com.au

Rare + Beautiful Auction • Monday 16 November 2026 Viewing Saturday 14 & Sunday 15 November, 12noon–5pm Enquiries Paul Sumner 0412 337 827 paul@artvisory.com.au

www.artvisory.com.au

ENTRIES INVITED

Fine Australian & International Art

SIR HANS HEYSEN (AUSTRALIAN, 1877-1968) Morning Mist. Artvisory Multi-vendor Art Auction Melbourne March 2026. Sold for $151,200 inc. bp.

Auction • 2027 Paul Sumner 0412 337 827 paul@artvisory.com.au Michael O’Meara 0418 505 519 michael@artvisory.com.au

www.artvisory.com.au

KK Partners Group Proud Trust Accountants to Artvisory Since 2018. KK Partners Group, Chartered accountants are based in Brighton Victoria and have set up and independently managed the vendor trust accounts for Artvisory vendors, since the day the company was established. Buyer payments are collected in this trust account and reconciled to auction results when an auction is complete. Payments owed to vendors are processed by KK Partners Group, after which any monies owed to Artvisory as per the Auction Agent Agreements are paid. Together KK Partners Group and Artvisory ensure auction clients funds are collected, reconciled and processed responsibly and with accountability.

KK Partners Group Principal Greg Avdoulos 03 8534 5500 greg@kkpartners.com.au

Historic House Contents Auctions Single Owner auction specialists Paul Sumner 0412 337 827 paul@artvisory.com.au

Amanda Swanson 0414 592 234 amanda@artvisory.com.au

www.artvisory.com.au

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Absentee Bid Form 310 Toorak Road South Yarra VIC 3141 +61 3 9826 4039 www.artvisory.com.au

In order to register to bid with Artvisory, please complete this form, scan and email to accounts@artvisory.com.au Auction Title: Name (please print clearly): Email Address (for invoicing & correspondence): Telephone (mobile):

Telephone (home/work):

Invoice address (PO Box not accepted): City

State

Post Code

Country

Please tick here if you do not want to receive special invitations and online auction catalogues by email. We value your privacy and will not disclose your details to any third party. You may request that your details are removed from our database at any time. If you have not previously purchased with Artvisory, please scan your photo ID (either a drivers licence or passport) and email to accounts@artvisory.com.au Lot Number (in order)

Catalogue Description

Cover Bid Not including buyer’s premium or GST (where applicable)

(please print clearly)

A$ A$ A$ A$ A$ A$ A$ A$ A$ A$ A$

I authorise Artvisory to register bids on a per lot basis up to the maximum price I have indicated for each lot. I will not hold Artvisory responsible for any errors that occur. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 26% plus GST of the final hammer price plus any GST payable on the hammer price, as indicated in the catalogue. GST will be charged on the buyer’s premium. If the lot is denoted by the † symbol, GST will be charged the whole amount (hammer price + GST). If the Resale Royalty Scheme is applicable 5% will be charged on the hammer price only. The Resale Royalty Scheme is denoted by the § symbol in the catalogue. Your invoice will be emailed to the supplied email address immediately after the auction has finished and will contain all details pertaining to payment and collection.

I have read and accepted Artvisory’s terms and conditions as printed in the catalogue and online at www.artvisory.com.au. Bids will not be processed unless this form is signed. Signature

Date

Bidder Number (Office Use Only)

141

Telephone Bid Form 310 Toorak Road South Yarra VIC 3141 +61 3 9826 4039 www.artvisory.com.au

Telephone (home/work):

Invoice address (PO Box not accepted): City

State

Post Code

Country

Catalogue Description

Cover Bid Not including buyer’s premium or GST (where applicable)

(please print clearly)

A$ A$ A$ A$ A$ A$ A$ A$ A$ A$ A$ Telephone bids must be received by Artvisory no later than 24 hours prior to the commencement of the Auction. Once received, your bid will be confirmed by email. I authorise Artvisory to register bids on a per lot basis up to the maximum price I have indicated for each lot. I will not hold Artvisory responsible for any errors that occur. I understand that if my bid is successful, the purchase price will be the sum of my final bid plus the buyer’s premium of 26% plus GST of the final hammer price plus any GST payable on the hammer price, as indicated in the catalogue. GST will be charged on the buyer’s premium. If the lot is denoted by the † symbol, GST will be charged the whole amount (hammer price + GST). If the Resale Royalty Scheme is applicable 5% will be charged on the hammer price only. The Resale Royalty Scheme is denoted by the § symbol in the catalogue. Your invoice will be emailed to the supplied email address immediately after the auction has finished and will contain all details pertaining to payment and collection.

I have read and accepted Artvisory’s terms and conditions as printed in the catalogue and online at www.artvisory.com.au. Bids will not be processed unless this form is signed. Signature

Date

Bidder Number (Office Use Only)

142

Terms and Conditions of Sale The terms and conditions of sale listed here contain the policies of Artvisory Pty Ltd. They are the terms on which Artvisory Pty Ltd and the Seller contract with the Buyer. They may be amended by a printed Saleroom Notice or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms and conditions.

The property is otherwise sold “AS IS” and a condition report can be requested at any time prior to the sale. b)

1. Background to the Terms used in these Conditions The conditions that are listed below contain terms that are used regularly and may need explanation. They are as follows: “the Buyer” means the person with the highest bid accepted by the Auctioneer “the Lot” means any item depicted within the sale for auction and in particular the item or items described against any lot number in the catalogue. “the Hammer price” means the amount of the highest bid accepted by the auctioneer in relation to a lot

Images are measured height by width (sight size). Illustrations are provided only as a guide and should not be relied upon as a true representation of colour or condition. Images are not shown at a standard scale. Mention is rarely made of frames (which may be provided as supplementary images on the website) which do not form part of the lot as described in the printed catalogue.

“the Buyers Premium” means the charge payable by the Buyer to the auction house as a percentage of the hammer price. “the Reserve” means the lowest amount at which Artvisory has agreed with the Seller that the lot can be sold. “Forgery” means an item constituting an imitation originally conceived and executed as a whole, with a fraudulent intention to deceive as to authorship, origin, age, period, culture or source, where the correct description as to such matters is not reflected by the description in the catalogue. Accordingly no lot shall be capable of being a forgery by reason of any damage or restoration work of any kind (Including re-painting). “the insured value” means the amount that Artvisory in its absolute discretion from time to time shall consider the value for which a lot should be covered for insurance (whether or not insurance is arranged by Artvisory.)

4. At the Sale a)

Refusal of Admission Artvisory reserves the right at our complete discretion to refuse admission to the auction premises or participation in any auction and to reject any bid.

Registration before Bidding Any prospective new buyer must complete and sign a registration form and provide photo-identification before bidding. Artvisory may request bank, trade or other financial references to substantiate this registration.

3. Before the Sale a)

Examination of Property Prospective Buyers are strongly advised to examine in person any property in which they are interested before the Auction takes place. Neither Artvisory nor the Seller provides any guarantee in relation to the nature of the property apart from the Limited warranty in the paragraph below.

Buyers Responsibility All property is sold “as is” without representation or warranty of any kind by Artvisory or the Seller. Buyers are responsible for satisfying themselves concerning the condition of the property and the matters referred to in the catalogue by requesting a condition report No lot to be rejected if, subsequent to the sale, it has been immersed in liquid or treated by any other process unless the Auctioneer’s permission to subject the lot to such immersion or treatment has first been obtained in writing.

2. Artvisory Auctions as Agent The contract for the sale of the property is therefore made between the Seller and the Buyer.

Bidding as a Principal When making a bid, a bidder is accepting personal liability to pay the purchase price including the buyers premium and all applicable taxes, plus all other applicable charges, unless it has been explicitly agreed in writing with Artvisory before the commencement of the sale that the bidder is acting as agent on behalf of an identified third party acceptable to Artvisory and that Artvisory will only look to the principal for payment.

International Registrations All International clients not known to Artvisory will be required to scan through an accredited form of photo identification and pay a deposit at our discretion in cleared funds into Artvisory’s account at least 24 hours before the commencement of the auction. Bids will not be accepted without this deposit. Artvisory also reserves the right to request any additional forms of identification prior to registering an overseas bid. This deposit can be made using a credit card via a secure BPOINT link, however the balance of any purchase price in excess of $5,000 can not be charged to this card without prior arrangement. This deposit is redeemable against any auction purchase.

Absentee bids Artvisory will use reasonable efforts to execute written bids delivered to us AT LEAST 24 Hours before the sale for the convenience of those clients who are unable to attend the auction in person. If we receive identical written bids on a particular lot, and at the auction these are the highest bids on that lot, then the lot will be sold to the person whose written bid was received and accepted first. Execution of written bids is a free service undertaken subject to other commitments at the time of the sale and we do not accept liability for failing to execute a written bid or for errors or omissions which may arise. It is the bidder’s responsibility to check with Artvisory after the auction if they were successful. Unlimited or “Buy” bids will not be accepted.

Telephone bids Priority will be given to overseas and interstate bidders. Please refer to the catalogue for the Telephone Bids form. Arrangements for this service must be confirmed AT LEAST 24 HOURS PRIOR to the auction commencing. Artvisory accepts no responsibility whatsoever for any errors or failure to execute bids. In telephone bidding the buyer agrees to be bound by all terms and conditions listed here and accepts that Artvisory cannot be held responsible for any miscommunications in the process. The success of telephone bidding cannot be guaranteed due to circumstances that are unforeseen. Buyers should be aware of the risk and accept the consequences should contact be unsuccessful at the time of Auction. Artvisory will advise Telephone Bidders who have registered at least 24 hours before the auction of any relevant changes to descriptions, withdrawals or any other sale room notices.

Foreign buyers should note that all transactions are in Australian dollars so there may be a small exchange rate risk. The costs associated with acquiring a good certificate will be carried by the purchaser. If the item turns out to be forged or otherwise incorrectly described, all reasonable costs will be borne by the vendor.

All values expressed in Artvisory Pty Ltd catalogues (in any format) are in Australian Dollars (AU$) unless otherwise specified. All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in Australian Dollars (AU$) unless otherwise specified.

Except as otherwise stated Artvisory Pty Ltd acts as agent for the Seller.

Catalogue and other Descriptions All statements by Artvisory in the catalogue entry for the property or in the condition report, or made orally or in writing elsewhere, are statements of opinion and are not to be relied upon as statements of fact. Such statements do not constitute a representation, warranty or assumption of liability by Artvisory of any kind. References in the catalogue entry to the condition report to damage or restoration are for guidance only and should be evaluated by personal inspection by the bidder or a knowledgeable representative. The absence of such a reference does not imply that an item is free from defects or restoration, nor does a reference to particular defects imply the absence of any others. Estimates of the selling price should not be relied on as a statement that this is the price at which the item will sell or it’s value for any other purpose. Neither Artvisory nor The Seller is responsible for any errors or omissions in the catalogue or any supplemental material.

G) Online and Timed Online Bidding Artvisory offers an online bidding service via Invaluable.com. When bidding online the buyer

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agrees to be bound by all terms and conditions listed here by Artvisory and agrees to pay any fees charged in regard to any purchases made via Invaluable.com. Artvisory accepts no responsibility for any errors, failure to execute bids or any other miscommunications regarding this process. It is the online bidder’s responsibility to ensure the accuracy of the relevant information regarding bids, lot numbers and contact details and to make sure the Internet Browser used for bidding is either Chrome or Firefox not Safari as this browser does not support the Invaluable.com platform. We recommend registering or logging at least 24 hours in advance prior to bidding in the sale to make sure there are no issues with customer log in.

5. After the Sale a)

H) Reserves Unless otherwise indicated, all lots are offered subject to a reserve, which is the confidential minimum price below which the Lot will not be sold. The reserve will not exceed the low estimate printed in the catalogue. The auctioneer may open the bidding on any Lot below the reserve by placing a bid on behalf of the Seller. The auctioneer may continue to bid on behalf of seller up to the amount of the reserve, either by placing consecutive bids or by placing bids in response to other bidders. I)

K) Indicative Bidding steps, etc. Artvisory reserves the right to refuse any bid, withdraw any lot from sale, to place a reserve on any lot and to advance the bidding according to the following, at the auctioneers discretion: Increment Amount

Dollar Range

$20

$0–$500

$50

$500–$1,000

$100

$1,000–$2,000

$200

$2,000–$5,000

$500

$5,000–$10,000

$1,000

$10,000–$20,000

$2,000

$20,000–$50,000

$5,000

$50,000–$100,000

$10,000

$100,000–$200,000

$20,000

$200,000–$500,000

$50,000

$500,000–$1,000,000

Buyers Premium In addition to the hammer price, the buyer agrees to pay to Artvisory the buyer's premium. The buyer’s premium is 26% of the hammer price plus 10% GST. (Goods and Services Tax) where applicable. Payment and passing of title The buyer must pay to the company trust account managed by KK Partners Pty Ltd Chartered Accountants the full amount due (comprising the hammer price, buyer's premium and any applicable taxes and GST) not later than 3 days after the auction date. The buyer will not acquire title for the lot until Artvisory receives full payment in cleared funds, and no goods under any circumstances will be released without confirmation of cleared funds received. This applies even if the buyer wishes to send items interstate or overseas.

Remedies for non-payment If the Buyer fails to make full payment immediately, Artvisory is entitled to exercise one or more of the following rights or remedies (in addition to asserting any other rights or remedies available under the law) i)

to charge interest at such a rate as we shall reasonably decide

ii)

to hold the defaulting Buyer liable for the total amount due and to commence legal proceedings for it’s recovery along with interest, legal fees and costs to the fullest extent permitted under applicable law

iii)

to cancel the sale

iv) to resell the property publicly or privately on such terms as we see fit v)

Payment can be made by direct transfer or Eftpos/ credit card in person.

Auctioneers Discretion The Auctioneer has the right at his absolute and sole discretion to refuse any bid, to advance the bidding in such a manner as he may decide, to withdraw or divide any lot, to combine any two or more lots and, in the case or error or dispute and whether during or after the sale, to determine the successful bidder, to continue the bidding, to cancel the sale or to re-offer and resell the item in dispute. If any dispute arises after the sale, then Artvisory’s sale record is conclusive. Successful bid and passing of risk Subject to the auctioneer’s discretion, the highest bidder accepted by the auctioneer will be the buyer and the striking of his hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the Seller and the Buyer. Risk and responsibility for the lot (including frames or glass where relevant) passes immediately to the Buyer.

to rescind a sale nor to refund any interest or other expenses incurred by the Buyer where payment is made by the Buyer in circumstances where an export licence is not granted.

Absentee bids must follow these increments and any bids that don’t follow the steps will be rounded up to the nearest acceptable bid.

Credit card payments where the card-holder is not present can be made by requesting a secure BPOINT link to be emailed by Artvisory Accounts. Cash in person is not accepted, however this may be deposited directly into the company trust account and bank receipt supplied) Personal, Company and Bank cheques are not accepted. The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Artvisory’s company trust account. c)

Collection of Purchases & Insurance Artvisory is entitled to retain items sold until all amounts due to us have been received in full in good cleared funds. Subject to this, the Buyer shall collect purchased lots within 3 days from the date of the sale unless otherwise agreed in writing between Artvisory and the Buyer. At the fall of the hammer, insurance is the responsibility of the purchaser.

Packing, Handling and shipping Artvisory will be able to suggest local, national and international carriers and takes no responsibility whatsoever for the actions of any recommended third party carrier. Artvisory can pack and handle goods purchased at the auction by agreement, however will take no responsibility for damage, and a charge may be made for this service. All packing, shipping, insurance, postage & associated charges will be borne by the purchaser. Cultural heritage Export Licences Unless otherwise agreed by us in writing, the fact that the buyer wishes to apply for an export licence does not affect his or her obligation to make full payment immediately, nor our right to charge interest or storage charges on late payment. It is the Buyer’s responsibility to check Australia’s Protection of Moveable Cultural Heritage Act 1986 before purchase. If the Buyer requests Artvisory to apply for an export licence then we shall be entitled to charge a fee for this service. We shall not be obliged

to pay the Seller an amount up to the net proceeds payable in respect of the amount bid by the defaulting Buyer. In these circumstances the defaulting Buyer can have no claim upon Artvisory in the event that the item(s) are sold for an amount greater than the original invoiced amount.

vi) to set off against any amounts which Artvisory may owe the Buyer in any other transactions, the outstanding amount remaining unpaid by the Buyer. vii) where several amounts are owed by the Buyer to us, in respect of different transactions, to apply any amount paid to discharge any amount owed in respect of any particular transaction, whether or not the Buyer so directs. viii) to reject at any future auction any bids made by or on behalf of the Buyer or to obtain a deposit from the Buyer prior to accepting any bids. ix) to exercise all the rights and remedies of a person holding security over any property in our possession owned by the Buyer whether by way of pledge, security interest or in any other way, to the fullest extent permitted by the law of the place where such property is located. The Buyer will be deemed to have been granted such security to us and we may retain such property as collateral security for such Buyer’s obligations to us. x)

to take such other action as Artvisory deem necessary or appropriate If we do sell the property under paragraph (iv), then the defaulting Buyer shall be liable for payment of any deficiency between the total amount originally due to us and the price obtained upon reselling as well as for all costs, expenses, damages, legal fees and commissions and premiums of whatever kinds associated with both sales or otherwise arising from the default. If we pay any amount to the Seller under paragraph (v) the Buyer acknowledges that Artvisory shall have all of the rights of the Seller, however arising, to pursue the Buyer for such amount.

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Failure to collect purchases Where purchases are not collected within 3 days from the sale date, whether or not payment has been made, we shall be permitted to remove the property to a warehouse at the buyer’s expense, and only release the items after payment in full has been made of removal, storage handling, insurance and any other costs incurred, together with payment of all other amounts due to us.

6. Extent of Artvisory Liability Artvisory agrees to refund the purchase price in the circumstances of the Limited Warranty set out in paragraph 7 below. Apart from that, neither the Seller nor we, nor any of our employees or agents are responsible for the correctness of any statement of whatever kind concerning any lot, whether written or oral, nor for any other errors or omissions in description or for any faults or defects in any lots. Except as stated in paragraph 7 below, neither the Seller ourselves, our officers, agents or employees give any representation warranty or guarantee or assume any liability of any kind in respect of any lot with regard to merchantability, fitness for a particular purpose, description, size, quality, condition, attribution, authenticity, rarity, importance, medium, provenance, exhibition history, literature or historical relevance. Except as required by local law any warranty of any kind is excluded by this paragraph.

7. Limited Warranty Subject to the terms and conditions of this paragraph, the Seller warrants for the period of thirty days from the date of the sale that any property described in this catalogue (noting such description may be amended by any saleroom notice or announcement) which is stated without qualification to be the work of a named author or authorship is authentic and not a forgery. The term “Author” or “authorship” refers to the creator of the property or to the period, culture, source, or origin as the case may be, with which the creation of such property is identified in the catalogue. The warranty is subject to the following: i)

ii)

iii)

it does not apply where a) the catalogue description or saleroom notice corresponded to the generally accepted opinion of scholars and experts at the date of the sale or fairly indicated that there was a conflict of opinions, or b) correct identification of a lot can be demonstrated only by means of a scientific process not generally accepted for use until after publication of the catalogue or a process which at the date of the publication of the catalogue was unreasonably expensive or impractical or likely to have caused damage to the property. the benefits of the warranty are not assignable and shall apply only to the original buyer of the lot as shown on the invoice originally issued by Artvisory when the lot was sold at Auction. the Original Buyer must have remained the owner of the lot without disposing of any interest in it to any third party

iv) The Buyer’s sole and exclusive remedy against the Seller in place of any other remedy which might be available, is the cancellation of the sale and the refund of the original purchase price paid for the lot less the buyers premium which is non refundable. Neither the Seller nor Artvisory will be liable for

any special, incidental nor consequential damages including, without limitation, loss of profits not for interest. v)

The Buyer must give written notice of claim to us within thirty days of the date of the Auction. The Seller shall have the right, to require the Buyer to obtain two written opinions by recognised experts in the field, mutually acceptable to the Buyer and Artvisory to decide whether or not to cancel the sale under warranty.

vi) the Buyer must return the lot to Seller in the same condition that it was purchased.

8. Severability If any part of these Conditions of Sale is found by any court to be invalid, illegal or unenforceable, that part shall be discounted and the rest of the Conditions shall continue to be valid to the fullest extent permitted by law.

9. Copyright The copyright of all images, illustrations and written material produced by Artvisory relating to a lot including the contents of this catalogue, is and shall remain the property at all times of Artvisory and shall not be used by the Buyer, nor by anyone else without our prior written consent. Artvisory and the Seller make no representation or warranty that the Buyer of a property will acquire any copyright or other reproduction rights in it.

10. Law and Jurisdiction These terms and conditions and any matters concerned with the foregoing fall within the exclusive jurisdiction of the courts of the state in which the auction is held.

11. Pre-Sale Estimates Artvisory publishes with each catalogue our opinion as to the estimated price range for each lot. These estimates are approximate prices only and are not intended to be definitive. They are prepared well in advance of the sale and may be subject to revision. Interested parties should contact Artvisory prior to auction for updated pre-sale estimates and starting prices.

12. Sale results Artvisory will provide auction results as published on the website www.artvisory.com.au via Invaluable.com after the sale.

13. Goods and Service Tax In accordance with A New Tax System (Goods and Services Tax) Act 1999 Artvisory Auctions will collect on behalf of the Australian tax office (ATO) a Goods and Service Tax (GST) of 10% on all applicable transactions. GST is applicable on the hammer price in the case where the seller is selling property that is owned by an entity registered for GST. GST is also applicable on the hammer price in the case where the seller is not an Australian resident. These lots are denoted by a dagger symbol † placed next to the estimate. GST is also applicable on the buyer’s premium. Overseas buyers and buyers non-resident in Australia

will not be charged GST on both hammer price and premiums under the following conditions: 1.

The items are exported through a Artvisory approved freight company including Australia Post

The items are exported within 60 days of the date of the sale

The invoice supplied by Artvisory for purchases will be regarded as a Tax invoice for GST purposes.

14. Resale Royalty Scheme Under the legal obligations of the Resale Royalty Scheme for Visual Artists Act 2009, sellers must provide the following information to comply with the act: •

was the artwork acquired after 8 June 2010?

•

is the sale/reserve price (including GST) $1,000 or more?

•

is the artist from Australia or a country listed in the Regulations to the Act?

•

is the artist alive, or deceased less than 70 years?

The seller: i)

acknowledges that he or she understands his or her legal obligations under the Resale Royalty for Visual Artists Act 2009 (the Act);

ii)

undertakes to comply with all requirements of the Act, including by providing its agent, the company, with accurate information sufficient for compliance with sections 28 and 29 of the Act;

iii)

undertakes to indemnify the company for any loss incurred by the company as a result of the vendor’s failure to comply with any of the vendor’s legal obligations under the Act; and

iv) acknowledges that if he or she fails to comply with any of his or her legal obligations under the Act, the company may provide the vendor’s name and contact details to Copyright Agency Limited (CAL). Lots subject to payment of the Resale Royalty Scheme will be denoted by the §. The Australian Resale Royalty is a flat rate of 5% on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyers premium plus any applicable GST.

SINGLE OWNER AUCTION SPECIALISTS

310 Toorak Road South Yarra Victoria 3141 +61 3 9826 4039 | www.artvisory.com.au