A Life in Art and Great Houses. Property from the Private collection of Patricia Tryon Macdonald.

“ A Life in Art and Great Houses”

Property from the Private Collection of Patricia Tryon Macdonald

Auction • Sunday 17 October 2021

Chinese and Asian Arts Experts Ray Tregaskis Victoria Tregaskis Allan Rae Luke Guan

Indigenous Australian Art Expert Shaun Dennison

Arts of the Middle East Expert Dr Susan Scollay

Interior Decorator Auctions Specialist Amanda Swanson

Single-Owner Auctions Specialists Paul Sumner Sandy Bruce

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SINGLE-OWNER COLLECTION AUCTIONS

Artvisory 409 Malvern Road, South Yarra VIC 3141

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“ A Life in Art and Great Houses”

Property from the Private Collection of Patricia Tryon Macdonald

AUCTION

Sunday 17 October 2021, 2.30pm

VIEWING

Thursday 14 October

11am–5pm

Friday 15 October

11am–5pm

Saturday 16 October

11am–5pm

ADDRESS

409 Malvern Road, South Yarra VIC 3141

COLLECTIONS

Monday 18 October

11am–5pm

Tuesday 19 October

11am–5pm

Wednesday 20 October

11am–5pm

ONLINE

View catalogue and bid online at www.artvisory.com.au

ENQUIRIES

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

Amanda Swanson 0414 592 234

Sandy Bruce 03 9826 4039

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Telephone Bidding

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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.

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Please note should you request Artvisory to pack your items for you, no responsibility can be taken by the Company for any damage.

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Great Durnford Manor, Wiltshire, Patricia Tryon’s UK home from 1942 until 1960.

Patricia Tryon Macdonald

Patricia Tryon Macdonald enjoyed an idyllic childhood living between her family’s Queen Anne manor house in Wiltshire and also the ‘Grace and Favour’ apartment in St James’s Palace which came with her Father’s job as Keeper of the Privy Purse and Treasurer to H.M. The Queen. She managed to escape boarding school aged sixteen to spend six months in Paris doing courses at the Sorbonne. She returned to London for the ‘deb’ season in 1960 and was invited to stay in some of the great houses in England, including Blenheim Palace and Chatsworth House. This period fully opened her eyes to the beauty of both paintings and objects.

Born with a travel bug, she soon set off for South America and then on to North America.

Determined to return to the US, but in need of funds, she worked for the famous antique dealer Mallett of London in Bond Street. There her most valuable lessons came from regular visits to the restoration workshop. Having saved enough for a one-way ticket, it was back to the US for 18 months. She returned to work in her uncle’s sporting and natural history gallery in the West End of London.

The Tryon Gallery had a busy schedule of exhibitions, showing artists from all over the world, with a very active publications

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St James's Palace. The Tryon family had a grace and favour apartment here between 1952 and 1971.

program. The highlight of those eight years was being given the opportunity to open a branch of the gallery in Nairobi, Kenya.

That country was a mecca for their wildlife artists and she travelled with some them in Kenya and Uganda. Best of all was when she could lock the door at the end of the day and get to the game park just as all the tourists were leaving and spend time with the animals as they came out to feed.

Right: Belle Isle Castle, Fermanagh, Northern Ireland. Home of Patricia Tryon Macdonald’s grandmother grandmother Coralie Porter Porter (later Lady Burrell) and subsequently inherited

by Lavinia Baird who was Patricia Tryon’s godmother and her mothers first cousin.

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In 1973 Patricia became engaged to Ranald Macdonald, then Managing Director of The Age newspaper. A friend who worked at Christie's suggested she should join the fine art auctioneers when she moved to Melbourne.

She loved the theatrical aspect of auctions and stayed with the company on and off for nearly 20 years. The highpoint was undoubtedly helping to get the now famed Mertz Collection of Australian paintings for sale having achieved the initial contact with

the University of Texas in Austin and then cataloguing the collection in their Museum.

In 1994 she had followed her husband to Boston where he was invited to become a University Professor. Patricia enthusiastically joined the undergraduates in a number of arts subjects. The most enlightening being with Ted Stebbins, legendary Curator of American Paintings at Boston’s Museum of Fine Arts, who took many of his classes in the basement, inspecting works in store.

Elie House, Fifeshire, Scotland. Home of Patricia Tryon Macdonald’s god-mother and her mothers first cousin Lavinia Baird.

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Knepp Castle, East Sussex.

Home of Patricia Tryon Macdonald’s mother, Dreda, Lady Tryon, daughter of Sir Merrik Burrell

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That became the inspiration for her first exhibition Exiles and Emigrants, Epic journeys to Australia in the Victorian Era. A friend introduced her to the then Director of the NGV Gerard Vaughan. Together they persuaded the Birmingham Art Gallery to lend the most iconic work on the subject which had never been loaned before. The exhibition travelled on to the Australian National Museum in Canberra from where she treasures a note written by a visitor

Avoca, South Yarra, Patricia and Ranald Macdonald's home in Melbourne between 1973–1987.

‘This is the best exhibition I have ever seen anywhere’.

Eight years later Patricia co-curated, with Professor Alison Inglis, the monumental For Auld Lang Syne exhibition, celebrating the influence of the Scots on the development of Australia, which opened at the Art Gallery of Ballarat. Together they had travelled all over Australia sourcing works. The publication won catalogue of the year and is used widely as a reference work.

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Patricia Tryon Macdonald

Patricia became a member of the National Gallery of Victoria Women’s Association soon after arriving in 70s Australia. Also, Mary Crean asked her to join the Victorian committee for the Australiana Fund when it was established. She is still involved with both organisations. She has also served on the Board of the Art Foundation of the NGV and is honoured to have been made a Life member of both the Women’s Association and the National Gallery of Victoria.

Her collecting has been sporadic but enthusiastic. She is most fortunate that her mother left her a number of lovely things as did a very generous Godmother. Now she wants a project for her eighties so she is selling these things so she can have the fun of seeking out the work of artists she has long admired but has yet to acquire.

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Patricia Tryon aged 18 photographed by Lord Snowdon (Antony Armstrong-Jones).

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ERIC PRENTICE ANCHOR THAKE (AUSTRALIAN, 1904-1982) An Opera House in every home linocut signed in pencil and titled and dated 1972 to margin 14.5 x 20.5cm $1,000–1,500

Eric Thake began sending personal linocut Christmas cards to friends in 1941 and continued the tradition for over thirty years until failing eyesight forced him to stop in 1975. The Art Gallery of New South Wales has 39 prints by Thake in their collection, many of which were Christmas cards sent to artist and former AGNSW director Hal Missingham, which he subsequently gifted to the gallery.

Eric Thake was born at Auburn, Victoria.

At the age of 14 he was apprenticed to Patterson Shugg, a firm of process engravers in Melbourne where he experimented with four or five engravings on stereotyping metal plates, reminiscent of the wood engravings of Lionel Lindsay. He worked in commercial art from 1926-70 while simultaneously pursuing his own work, including photography. He studied drawing at the National Gallery School, Melbourne 1922-23, painting and drawing at the George Bell Studio from 1925-28 and was a founding member of the Melbourne Contemporary Group in 1932.

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ERIC PRENTICE ANCHOR THAKE (AUSTRALIAN, 1904-1982) Nuns on the Geelong road linocut signed and titled and dated 1969 in pencil to margin paper size 14.5 x 21cm $1,000–1,500

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ERIC PRENTICE ANCHOR THAKE (AUSTRALIAN, 1904-1982) When in Kalgoorlie, Dial a prayer

ERIC PRENTICE ANCHOR THAKE (AUSTRALIAN, 1904-1982) Epstein Einstein? I can never remember!

linocut signed and dated 1970 and titled in pencil to margin 19 x 14cm

linocut signed titled in pencil to margin 19 x 14cm

$1,000–1,500

$1,000–1,500

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ERIC PRENTICE ANCHOR THAKE (AUSTRALIAN, 1904-1982) She's warm alright

ERIC PRENTICE ANCHOR THAKE (AUSTRALIAN, 1904-1982) Heels and Heeler, Charleville

linocut signed, titled and dated 1966 in pencil to margin 19 x 14cm

linocut signed and titled and dated 1971 in pencil to margin 20 x 14cm

$1,000–1,500

$1,000–1,500

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HAROLD HERBERT (1892-1945) French market scene watercolour signed in pencil lower right 28 x 26cm $1,500–2,500

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Harold Brocklebank Herbert was a painter, illustrator, art teacher, art critic and war correspondent. Early in his career Herbert became known for his extraordinary skill in the manipulation of watercolour washes.

From 1922-23 he travelled and painted in England, France (When this work would have been painted) Spain and Morocco. He became an art critic for the Argus and the Australasian which brought him status and financial reward. From 1926 until his death, Herbert was a member of the Commonwealth Art Advisory Board and also belonged to the Australian Artists' Association, Australian Watercolour Institute, NSW Society of Artists and the Victorian Artists' Society.

A friendship with Lieutenant-General Sir Thomas Blamey resulted in Herbert's appointment as an official war artist in 1941. Through a memorandum to the War Cabinet in early January 1941, Blamey urged for the appointment of two official war artists, indicating: "Palestine is a land of wonderful colour which lends itself particularly to the water-colourist.

May I suggest that you send out Herbert on a six months' engagement of to paint the A.I.F. life as it is at present". Thus Herbert, along with Ivor Hele, was appointed one of the first official war artists of the Second World

Harold Brocklebank Herbert

War. On 5 March 1941, Herbert flew out from Sydney and, at the age of 49, joined the Australian Imperial Forces in the Middle East.

As an official war artist Herbert was given the Press Correspondent number B3/38, and the status and the uniform of an officer without rank. Elevated through his friendship with Blamey and supported with a batman-driver and a truck, Herbert had excellent access across Alliedheld territory. He was in Syria and Lebanon during the 5-week Syrian campaign of June and July 1941. He also travelled through Palestine and Egypt, drawing the vast empty deserts and the Mediterranean coast line, village scenes and military encampments, transport columns and antiaircraft defences.

After completing his 6-month appointment, Herbert returned to Australia at the start of September 1941. As per his contract, the War Memorial Canberra selected 50 works for the National Collection, but also purchased an additional 25. These watercolours and pencil drawings are considered among his most brilliant works, full of light, atmosphere and action. Herbert died in 1945 and that same year, the National Gallery of Victoria held a memorial exhibition of his life's work.

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MARGARET ROSE PRESTON (1875-1963) Flowers in jug c.1929 hand-coloured woodcut signed in pencil to margin 28 x 20.5cm visible paper size 29.5 x 22cm

REFERENCE

Ure Smith, Sydney, and Gellert, Leon, Margaret Preston, Recent Paintings, Art & Australia, Sydney, 1929 (illustrated. Plate 6) Butler, Roger, The Prints of Margaret Preston: A Catalogue Raisonné, National Gallery of Australia, Canberra, 1987, plate142, catalogue no 137 illustrated plate 143. $6,000–9,000

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SYBIL ANDREWS (BRITISH/CANADIAN 1898-1992) Water Jump linocut signed and titled in pencil upper right and numbered 60/60 31 x 21cm PROVENANCE

Acquired by Patricia Tryon Macdonald in Melbourne in 1988. $10,000–15,000

Sybil Andrews was born in 1898 in Bury St Edmunds, a town that she often used as her subject in later life. During World War One she was apprenticed as a welder at an aeroplane factory in Bristol. However, she had been painting since she was a child, and during the war, had studied with John Hassall’s Art Correspondence Course in her spare time.

After the war was over, she moved back to Bury St Edmunds, where she became an art teacher at Portland House School, and met Cyril Power, with whom she relocated to London. They worked together for many years, sharing a studio, as well as an exhibition, in 1933. Andrews registered at Heatherley's School of Fine Art in 1922 and upon graduation in 1925 worked as a secretary at the Grosvenor School of Modern Art where she started to produce linocuts – following the teaching of Claude Flight. He also introduced her to Futurism, a strong influence on Andrews and her peers, manifesting itself in the sheer velocity and dynamism of cheaply produced linocuts that depicted the speed of urban contemporary life. Power and Andrews jointly designed posters for the London Passenger Transport Board from 1929 to 1937, promoting the use of the system under the pseudonym "Andrew-Power". In 1929 she showed at Flight’s First Exhibition of British Linocuts at the Redfern Gallery, an exhibition that was followed by a series of shows at the Redfern and Ward Galleries. From 1929 to 1938, Andrews created a series of linocuts based on the agricultural life of Suffolk and her native Bury St Edmunds.

In 1938, Andrews and Power gave up their shared studio. During the Second World War Andrews returned to welding, this time in a shipyard, where she met her future husband, Walter Morgan. They married in 1943 and emigrated to Canada in 1947 where they settled in Campbell River - an isolated logging town on Vancouver Island - where her work was well-received. In 1951 Andrews was elected to the Society of Canadian Painters. In 1985 she published her book, 'Artist's Kitchen'. She worked as a teacher and practised as an artist, living in Canada until her death in 1992. Before her death, she donated a large number of her works to the Glenbow Museum in Calgary, as well as making a significant gift to the British Museum of 56 colour linocuts and 10 black and white prints.

Perhaps unusually for a Grosvenor School artist, Andrews produced many linocuts of rural life, most notably pieces such as ‘Michaelmas’ (1935) and ‘Mangolds’ (1956). They stem from the curving lines of movement that were developed in her depictions of city life, but these are farming scenes, picked out in glowing, sharp angles of colour. Their subject matter is almost antithetical to their style—the treatment of line and material that is so tied to the Futurist movement is contradicted by the traditional labour depicted in these prints.

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ARTIST UNKNOWN (BRITISH) Dockyard scene gouache signed and dated 21 lower right 23.5 x 34cm PROVENANCE

Deutscher Menzies 28/8/2002, Lot 451 as artist unknown $1,500–2,000

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CHARLES BLACKMAN (1928-2012) Figures charcoal signed lower left paper 23.5 x 20cm PROVENANCE

Christie's Melbourne, label to verso lot 245 but no sale date. Probably the work titled Gay Girls c.1952 sold Christie's Melbourne, Lot 245 02/12/1991 but not illustrated $1,600–2,400

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JUNE ETHEL STEPHENSON (AUSTRALIAN, 1914-1999) Still life oil on board signed lower left with a newspaper article about the artist attached to verso 47 x 38cm PROVENANCE

Christie's Melbourne 25/08/92 lot 75 ( $1650) $1,500–2,000

Very little is recorded about June Ethel Stephenson, other than her long friendship with fellow female artist Melbourne based Anne Graham with whom she travelled, painted and exhibited. She was known for her print-making and oil paintings. Stephenson studied at the National Gallery and George Bell schools in Melbourne and became part of a wave of female artists that were very overlooked in their day. However George Bell was a supporter of hers and she exhibited at the revered Leveson Gallery in Carlton.

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GEORGE BERNARD DUNCAN (NEW ZEALAND/AUSTRALIAN, 1904-1974) Hillside landscape with cows oil on canvas signed lower right 39 x 49cm $1,500–2,500

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Raoul Dufy circa 1920s

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RAOUL DUFY (FRENCH, 1877-1953) Gamblers Pencil drawing on sepia artist's paper initialled RD lower right 32 x 24cm PROVENANCE

Gifted to Patricia Tryon Macdonald in lieu of fees for help in valuing an Important American art collection circa 1990. $4,000–6,000

Raoul Dufy was a French artist and designer whose paintings and prints portrayed leisure activities and urban landscapes. He created airy washes of light and shade, into which he would draw bold calligraphic brushstrokes. The artist's experimental use of colour was influenced

both by Claude Monet and his Fauvist peer Henri Matisse. Born on June 3, 1877 in Le Havre, France, he enrolled in night classes at the École des Beaux-Arts before studying under Leon Bonnat at the École Nationale Supérieure des Beaux-Arts on a scholarship. Dufy first encountered Fauvism at the Salon des Indépendants in 1905, after which he adapted the style to serve his own artistic purposes. During his life, he travelled both abroad and within France, painting views of the Mediterranean city of Nice, as well as scenes of horse races and regattas. Throughout the 1920’s, Dufy worked in a variety of materials, producing ceramics, tapestry hangings, and large-scale architectural decorations. His commission for the 26th Venice Biennale won him the International Grand Prix for painting in 1952, a year before his death on March 23, 1953 in Forcalquier, France. Today, the artist’s works are held in the collections of the Musée d’Orsay in Paris, the Hermitage Museum in St. Petersburg, The Museum of Modern Art in New York, and the Art Institute of Chicago.

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WILLIAM STRUTT (BRITISH/AUSTRALIA, 1825-1915) Baby's head charcoal drawing inscribed Study for the picture of the Hugenot signed lower left With label to verso: This drawing is by my grand-father Wm. Strutt and has been in my possession since his death. Margaret Strutt Davies. irregular size but height 17cm and width 23cm $1,500–2,500

William Strutt was born in Teignmouth Devon, England, and came from a family of artist’s. William Strutt enjoyed a student life in Paris, France, and England, studying figurative and history painting. In response to a nearbreakdown and problems with his eyes, Strutt decided to visit Australia, arriving 5 July 1850 on the Culloden, where he then married.

In Melbourne, Strutt found employment as an illustrator on the short-lived Illustrated Australian Magazine, published by Thomas Ham, as there was little demand for the figurative and history paintings for which he was trained. Some of his designs did, however, lead to commissions, including a design for a new postage stamp, and an Anti-Transportation League card. Despite the lack of interest for major history paintings in Melbourne, Strutt continued to sketch suitable subjects, including the Black Thursday bushfires which swept over the colony on 6 February 1851. It was from these sketches that Strutt composed one of his most notable paintings some 10 years later, Black Thursday, 6 February. 1851, 1864, which depicted animals and men fleeing from the fire.

In February 1852, Strutt joined the growing tide of men travelling to the gold-fields surrounding Ballarat, Victoria. Despite working in the gold fields for eighteen months he found little success. He returned to Melbourne in mid-1853 and became actively involved in the city's cultural scene, undertaking a number of portrait commissions and joining the Victorian Society of Fine Arts – which in 1856 became the Victorian Artists Society – as a founding member.

Strutt's interest in depicting the notable events of the colony was piqued by the events surrounding the Victorian Exploring Expedition led by Burke and Wills 1860–61. He made several studies of their preparations at Royal Park, Melbourne and followed the expedition to its first camp at Essendon, Victoria. Strutt also collected first-hand accounts from the rescue party and from John King the expedition's sole survivor, upon his return.

Strutt left the colony of Victoria in 1862. A highly religious man, he dreaded bringing up his children in what he perceived to be a godless society. Returning to England where he completed two major works based on Australian sketches, Black Thursday, 6 February 1851 and Bushrangers, Victoria, Australia, 1852. He continued to draw on his Australian sketches to produce major oil paintings, including The Burial of Burke. William Strutt died in Wadhurst, Sussex, England on 3 January 1915.

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KLAES NICOLAES MOLENAER (DUTCH, 1630-1676) Skating scene oil on oak panel inscribed to verso in black ink and dated March 1652 12.5 x 17cm $2,000–3,000

Nicolaes (Klaes) Molenaer was born in Haarlem Holland and was one of a group now called the Dutch Golden Age landscape painters. His subject matter was usually winter landscapes such as this small work and he was greatly influenced by the famous contemporary painters Jacob van Ruisdale and Hendrick Averkamp, whose subject matter mirrored his own.

Favouring the winter landscape, Molenaer illustrated frozen canals, ice skaters, barren trees, and snow-covered buildings. He would often highlight one or two figures in red, a device which lifts the works from their winter monotony, such as in this painting, with the man pushing children in a sledge in the foreground.

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GEORGE HYDE POWNALL (BRITISH/AUSTRALIAN, CIRCA 1876-1932) Hyde Park Corner from Rotten Row oil on board signed lower right 14.5 x 22.5cm $2,000–3,000

George Hyde Pownall was born in 1876 in Raddcliffe-on-Trent in Nottinghamshire. Not much is known about his life but we do know that he married Mary-Blanche Pownall, with whom he had two daughters and they lived until 1912 at Cambridge gardens, Kensington, a very affluent area of London close to Notting Hill.

Around 1914, he left Great Britain to emigrate to Australia, first to Sydney and then after 1924 to Melbourne, where he took up residence in the prestigious suburb of St Kilda. He died there on January the 24th 1932.

Pownall’s subject matter for which he became well known, was London street scenes, usually depicted at night with a blaze of street lights and painted in an impressionistic manner. He focused on the bustling areas of central London, such as Piccadilly Circus, Westminster Bridge, Tower Bridge and St. Paul’s Cathedral, showing London at a time when cars with horses and with motors still co-habited, when electricity had not yet pervaded the streets, and where gas street lights illuminated the city.

Pownall had a mastery of painting diffused light and capturing the vibrancy of the city of London at that time.

Rotten Row was established by William III at the end of the 17th century.

Having moved court to Kensington Palace, William wanted a safer way to travel to St. James's Palace. He created the broad avenue through Hyde Park, lit with 300 oil lamps in 1690– the first artificially lit highway in Britain. The lighting was a precaution against highwaymen, who lurked in Hyde Park at the time. The track was called Route du Roi, French for King's Road, which was eventually corrupted into "Rotten Row" In the 18th century, Rotten Row became a popular meeting place for upper-class Londoners. Particularly on weekend evenings and at midday, people dressed in their finest clothes to ride along the row and be seen. The adjacent South Carriage Drive was used by society people in carriages for the same purpose. In 1876, it was reconstructed as a horseride, with a brick base covered by sand.

The sand-covered avenue of Rotten Row is maintained as a bridleway and forms part of Hyde Park's South Ride. It is convenient for the Household Cavalry, stabled nearby at Hyde Park Barracks in Knightsbridge, to exercise their horses. Members of the public may also ride, although few people have stables close enough to make use of it. Commercial stables nearby, the Hyde Park Stables and 'Ross Nye Stables, offer horse hire and riding lessons to the public.

A virtually identical work was sold by Bonham’s New York with another work by the artist: European Paintings, 1 November 2012 Lot 139

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CAMILLE PISSARRO (FRENCH/DANISH, 1830-1903) La Roche-Guyon c.1859 watercolour and charcoal initialled, titled and dated 1859 lower right visible paper size 46 x 29cm $18,000–25,000 PROVENANCE

Tolarno Galleries, Melbourne, August 1983. Label to verso.

REFERENCE

Pissarro, Tolarno Galleries, 98 River Street, South Yarra.

July 1983 illus cat. 4, illustrated page 17.

Camille Pissarro, circa 1900

Christopher Lloyd, the Oxford scholar and noted expert on Pissarro, refers to this work and another in his preface for the catalogue where he says: Many drawings of this period (1850s) were made in Ile de France at places like La Roche-Guyon, a small hamlet on the Seine between Rouen and Paris (page) no 15 and 17 (this work), where Cezanne, Renoir and Monet also worked at different times.

The National Gallery of Victoria acquired a work from this exhibition: "Le Marche a la volaille, Gisors' cat. no 9 illustrated page 27.

La Roche-Guyon is a small commune about 58k’s north of Paris in the Val-d’Oise region of Ile-de-France. Its history surrounds the famous Chateau de La Roche-Guyon which was built in the 12th century. The tiny village was popular with many of the French impressionists.

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FREDERICK GOODALL (BRITISH, 1822-1904) The Sailors Farewell oil on board signed and dated 1848 lower right and inscribed with title to verso old paper labels to verso 17 x 24cm $4,000–6,000

Frederick Goodall was a much celebrated English artist who exhibited an extraordinary 170 paintings over his lifetime at the Royal Academy.

He made a fortune from selling his paintings, so much so that he was able to acquire 110 acres of land in Harrow, London, from the Marquis of Abercorn and then build a grand Tudor style home Grims-Dyke, which later was the home of W.S. Gilbert of Gilbert and Sullivan fame. It is now a gracious hotel. Goodall welcomed many important guests to his home during his lifetime including the Prince of Wales (later Edward VII) After a visit to the Middle east in 1858 Goodall’s work pivoted to concentrate largely on Orientalist paintings, often of romanticised Egyptian subject matter, but his earlier works such as this stunning little painting, often focused on genre subjects and the struggles of everyday people and ordinary life.

The subject matter of emigrants leaving Britain was popular at this time. In 1852 some 369,000 emigrants left Britain to seek their fortune overseas. This subject matter was popularised by many famous artists of the day in their art and in some cases by their action such as with the sculptor Thomas Woolner, who famously came to the Australian goldfields in 1852. The famous pre-Raphaelite artist Ford Madox Brown created the iconic tondo – The Last of England in 1855 which depicts Woolner and his family leaving England for Melbourne in 1852.

Patricia Tryon Macdonald was guest curator for the important and much celebrated exhibition ‘Exiles and Emigrants’ held at the National Gallery of Victoria and at the National Museum Canberra in 2006 where the Ford Madox Brown was the cover work for the exhibition catalogue.

Frederick Goodall as a young man

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Basilius Besler was an apothecary and botanist in Germany. His famous "Hortus Eystettensis" botanical book has given him a notable place within history not only because it was an early attempt to classifying plants, it was the grandest of its time. The engraved prints are significantly larger than any publication made prior and were crafted in an elegant and aesthetic manner, rich with detail.

BASILIUS BESLER (1561-1629) Tulips hand-coloured copper engraving from Hortus Eystettensis, Quartus Ordo Collectarum Plantarum Vernalium, 50 x 44cm $1,000–1,500

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BASILIUS BESLER (1561-1629) Water Lillies hand coloured copper engraving from Hortus Eystettensis, Quartus Ordo Collectarum Plantarum Vernalium 50 x 44cm $1,000–1,500

"Hortus Eystettensis" beautifully illustrates the gardens of prince-bishop Johann Konrad von Gemmingen, which were located near Eichstatt, Bavaria. Many of the flowers are depicted in full form, including their root systems. They are accompanied with Latin titles, and occasionally a Latin description to help differentiate them from other flowers in the same family. In total, the book contains 374 plates, illustrating 667 species from Europe, Asia and the Americas.

The book was originally published in 1613 and was reprinted for several decades afterward. There was a luxury edition printed in 1613 that was handcoloured, but most editions were left black and white and were coloured later.

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BERNARD HESLING (BRITISH/AUSTRALIAN, 1905-1987) circular enamel plate signed 28cm diameter $500–800

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JOHN PERCEVAL (AUSTRALIAN, 1923-2000) A rare sgrafittio decorated stoneware set for four dated 1957 comprising cups and saucers, large pot and cover, sugar bowl and cream jug, decorated with stylised animals and birds. pot 21.5cm tall $2,000–3,000

In 1944, after being discharged from the army, the painter John Perceval (1923-2000), his new brother-in-law Arthur Boyd and the philosopher Peter Herbst purchased Hatton Beck's Neerim Pottery at Murrumbeena, and set up the Arthur Merric Boyd Pottery, where they made domestic earthenware items to support their other interests. The pottery's production line was incised 'AMB' with some pieces thrown by Boyd and decorated by Perceval incised 'Boyd' and 'Perceval'. Perceval signed his own work with a painted 'Perceval' or 'P'. From 1947-53, the Percevals lived in a studio at the bottom of the garden of the Boyd family property, "Open Country".

In 1954, Perceval moved his family to Canterbury. From 1957 to 1962, he made the series of angel figures for which he is most wellknown as a ceramic artist, using a combination of wheel thrown and sculptural techniques.

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SUSAN CRAWFORD (SCOTTISH, BORN 1941) British sepia drawing of a Lippizaner horse

GEORGE FREDERICK HENRY BELL (AUSTRALIAN, 1878-1966) Seated lady c.1904

inscribed to verso with a personal inscription from the artist 12.5 x 10cm

ink drawing signed lower left 30 x 22.5cm

$500–800

Susan Crawford was born in Scotland in 1941 and was brought up on a farm in East Lothian where her parents bred and trained racehorses. She studied classical drawing for two years at Studio Simi in Florence. Her professional career has thrived as an equestrian artist.

And she has painted a number of famous racehorses including 22 Derby winners. Her first joint exhibition was with the Tryon Gallery in 1969, where she sold all her pictures on the opening night.

Her Portrait Commissions include: HM The Queen, HRH The Prince of Wales, HM Queen Elizabeth The Queen Mother, HRH The Princess Margaret , HRH The Princess Royal, HH The Sultan of Brunei and HM Sultan Qaboos of Oman.

PROVENANCE

George Bell Eastgate Gallery, Melbourne 1993 cat no.51 $300–500

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SUSAN CRAWFORD (SCOTTISH, BORN 1941) Spanish Riding School Vienna sepia ink drawing signed and titled lower left and right 45.5 x 40cm $800–1,200

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VAUGHAN MURRAY GRIFFIN (1903-1992) Magpies colour linocut no 2 of an edition of 17 signed, titled, numbered and dated 35 in pencil to margin 28 x 36cm $800–1,200

No 8 of this edition is in the National Gallery of Victoria's print collection. Deutscher and Hackett sold a related Magpies work from the Ken and Joan Plomley collection 28/8/2019 lot 130.

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RAOUL MILLAIS (BRITISH, 1901-1999) Matador pastel signed in pencil lower right and personal inscription from the artist to verso 33.5 x 22cm PROVENANCE

A wedding gift from the artist $400–600

Raoul Millais was grandson of Sir John Everett Millais, who founded, along with William Holman Hunt and Dante Gabriel Rossetti, the PreRaphaelite movement.

Sent to Winchester during the First World War, Millais showed more enthusiasm for drawing and for illicit shooting and fishing expeditions than for the academic side of the school curriculum. The absence of answers to his final science examination was accounted for by his absence from nearly all the science lessons, and his logical explanation – that his poaching expeditions had been carried out in order to supplement the inadequate wartime rations – failed, unsurprisingly, to please his housemaster. He was referred to the Headmaster, who described him as "unquestionably the worst man I have ever had under my jurisdiction in this college".

On leaving Winchester, Millais attended the Byam Shaw Art School where the students were made "to draw nothing but busts and casts".

Finding these subjects of little interest, he took himself as often as possible to London Zoo, where he spent hours sketching the big cats. He was accepted for the Royal Academy Schools in 1921 on the strength of a collection of his animal drawings rather than by means of the usual entrance exam of figure drawing and other conventional subjects. Among his fellow students were Lawrence Irving, John Skeaping and the Zinkeisen sisters.

In 1925 Millais and his first wife, the Canadian Clare Macdonnel, settled near Malmesbury in Wiltshire and he set himself up as a painter of equestrian portraits. The next 14 years were spent travelling throughout Britain and Ireland, painting and hunting.

In 1936 he held a one-man show of 50 pictures in London. All the pictures sold and he had enough commissions to last him several years. His hunting career, however, ended in 1939 following a bad fall in which he broke a bone in his neck, cracked a shoulder and dislocated his spine.

Despite these injuries Millais managed, on the outbreak of the Second World War, to bluff his way into the Army without a medical. He obtained a commission in the Scots Guards.

Although prevented from riding, Millais continued to ski, shoot and stalk after the war. He was a fine game shot but stalking was his real love and for 15 consecutive years he and his second wife, Kay, a close friend of Clare, Duchess of Sutherland, stayed with the Sutherlands at the spectacular property Dunrobin Castle Raoul and Kay Millais also spent part of each year in Spain where they had bought a derelict property in 1958 near the Andalusian coast and this inspired his Spanish works, such as the present bull-fighter work.

Tall and distinguished in appearance, Raoul Millais was a man of great courtesy and charm. The subjects which he painted reflected those which he loved and included hunting, racing, bullfighting, stalking, shooting, fishing and skiing. He held surprisingly few exhibitions, his last being in 1982, at the Tryon Gallery in London, and was a long-time friend of Patricia Tryon Macdonald and her family.

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PETER LE CAVE (BRITISH, 1769-1822) Farmer with horses and pigs in a farmyard watercolour signed and titled in pencil to verso image 19 x 15cm $600–1,000

Petrus La Cave, called Peter Le Cave, was baptised at Amsterdam, Netherlands on 24 March 1769. A painter of rustic figures and landscapes, who was probably a member of a family of French artists working in Holland. He was in England from at least 1789 until 1812 and painted many views of Berkshire, Norfolk, Suffolk, Worcestershire, Devonshire and the area around Leeds. He was a friend of Julius Ceasar Ibbetson (1759-1817) and an assistant to George Charles Morland (1763-1804). He is recorded as living at 72 Oxford Street, London in 1801, when exhibiting two works at the Royal Academy, entitled 'A Mill near Totnes, Devonshire' and 'Chudleigh Crags, Devonshire'.

La Cave occasionally painted in oils, but the great bulk of his work were in watercolour or more rarely in pencil, often revealing the influence of Dutch seventeenth century masters. Dawson Turner, banker of Great Yarmouth, had a large collection of La Cave's drawings, and at the sale of Turner's library one of the items in the catalogue records 'La Cave.

Very little is known of this artist, who excelled in depicting animals. In 1811 La Cave was in extreme poverty and housed in Wilton Gaol in Somerset for a felony, declaring that several of his works were varnished over by Morland, and sold by that artist as his own. It is said that he was found dead in old barn near Swillington, Leeds, where he had taken refuge for the night in 1812, but he also said to have been working in England in 1816.

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ABRAHAM SOLOMON, ARTIST (1823–1862) William Henry Simmons, engraver (1811–1882) Ernest Gambart, London, publisher, 4th April 1857

Second Class the Departure (framed) mixed method engraving 54 x 70cm Note the advertisements for the goldfields on the back wall of the carriage.

"Thus part we rich in sorrow parting poor” EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $500–700

The original painting Second Class is in the Yale Centre for British Art, Paul Mellon Collection. New Haven USA 30

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ABRAHAM SOLOMON (BRITISH, 1823-1862) William Henry Simmons, engraver (1811–1882) Ernest Gambart, London, publisher, 4th April 1857

First Class the Return (unframed) mixed method engraving 54 x 70cm EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $600–800

The original painting First Class is in The National Gallery of Canada.

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THEOPHILUS MURCOTT, ARTIST (1854–1880) Samuel Calvert, engraver (1828–1913) Illustrated Australian News, publisher

The Last Glimpse of Home, 1878 engraving on paper approx. 23.5 x 33.5cm EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $200–400

Calvert was a prolific painter and wood engraver who was published in nearly all the Melbourne illustrated papers and periodicals of the day.

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JOHN LEECH (BRITISH, 1817–1864) unknown engraver

Here and There or, Emigration, A Remedy, 1848 London Punch, publisher engraving on paper 18 x 22.5cm EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $200–400

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UNKNOWN ENGRAVER An Address by the Emigrations Agent, Arrival of Emigrants at Sydney Clearing the Ship October 9th, 1880 33.5 x 23.5cm EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $200–300

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ROBERT BARNES, ARTIST (1840–1895) Outward bound to Australia on an Orient Liner – a cock fighting match, 1891 Unknown engraver The Graphic, publisher engraving on paper 39 x 27cm EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $200–300

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ARTHUR BOYD HOUGHTON, ARTIST (1836–1875) Unknown engraver

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Passengers embarking at Liverpool Every Saturday; An Illustrated Journal of Choice Reading, publisher engraving on paper visible paper size 23 x 30cm EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $200–300

Houghton was described as “a journalist of the everyday, a master of the domestic and a dark and disturbing poet”. His work appeared in illustrated magazines but he preferred to be recognised as a painter.

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UNKNOWN ARTIST AND ENGRAVER Illustrated London News, publisher

The Embarkation of Emigrants, 1850 engraving on paper 15.5 x 25.5cm EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald.

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CHARLES NETTLETON PHOTOGRAPHER (1826–1902)

$200–300

Unknown engraver The Graphic, publisher

Note the small size of the vessel and the crowded state of London’s Waterloo Dock

Hobson’s Bay Railway Pier 1880 Melbourne Illustrated hand coloured engraving 16.5 x 23cm

EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $300–500

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AFTER CHARLES YEARMAN Burning of the Barque India off Greenock, the rescuing of the French Whaler Roland which took survivors to Rio de Janeiro lithograph 31 x 46cm PROVENANCE

Grosvenor Prints, Covent Garden, London 2002 EXHIBITED

'The Last of England’ at the Art Gallery of Ballarat, June- August 2016, co-curated by Patricia Tryon Macdonald. $100–200

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AFTER CARL KAHLER (AUSTRIAN/AUSTRALIA, 1874-1906) The Betting Ring at Flemington 1887 lithograph, numbered 298/1000 38 x 60cm $200–400

Note the original painting of this image is in possession of Victoria Racing Club, first published in 1889. This edition printed in 1970.

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AFTER CARL KAHLER (AUSTRIAN/AUSTRALIA, 1874-1906) Derby Day at Flemington 1886 lithograph, numbered 629/1000 38 x 60cm $200–400

Note the original painting of this image is in possession of Victoria Racing Club, first published in 1889. This edition printed in 1970.

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AFTER CARL KAHLER (AUSTRIAN/AUSTRALIA, 1874-1906) The Lawn at Flemington on Melbourne Cup Day 1887 lithograph, numbered 969/1000 38 x 60cm $200–400

Note the original painting of this image is in possession of Victoria Racing Club, first published in 1889. This edition printed in 1970.

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43 A George III style fine crewel work armchair by Coralie Lloyd, the chair circa 1900, the crewel work circa 1910 126cm high, 61cm wide, 75cm deep PROVENANCE

The Estate of Dreda, Lady Tryon $2,000–4,000

Patricia Tryon Macdonald says that her grandmother was named after her Aunt Coralie Lloyd, who like so many women of her generation, missed out on a husband, due to wars and she spent her long life stitching. "My mother said she looked like the woman with the lyre"

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44 A George IV fine crewel-work mahogany carver chair, English, circa 1825, the crewel work circa 1910

by Coralie Lloyd 83cm high, 53cm wide $800–1,200

45 A fine painted dummy board in the form of a young woman with a King Charles spaniel, 18th century 96cm high, 53cm wide PROVENANCE

The Estate of Lavinia Baird $2,000–3,000

The dummy board, which made its first appearance in the early Seventeenth Century, may have served any number of practical purposes – if its purpose was even practical at all. There is suggestion that they may have been merely humorous, perhaps meant to aid in the playing of jokes. Still, the predominant theory persists that these flat life-sized silhouettes, executed in the trompe l'oeil style of painting and given bevelled edges to make them seem more lifelike, were employed by great houses as deterrents to intrusion and thievery. It's not a terribly farfetched proposal; in Georgian England, for instance, wealthy homeowners would often depart on sojourns to the continent to undertake a Grand Tour, or perhaps vacate their property for a stay at a medicinal spa. The placing of dummy boards within their home may have served as a safeguard against an attempted breaking and entering in their absence. It seems a bit comical to our modern sensibilities, but from a distance, such figures may very well have successfully thwarted thieveries.

46 A George III style gilt mahogany torchere stand, English, 19th century 140cm high, 48cm wide PROVENANCE

The Estate of Dreda Lady Tryon $500–800

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A central Asian Turkoman rug,Tekke tribe, late nineteenth century with three rows of five guls on a madder red ground 128 x 115cm

A pair of North-West Persian saddle-bags,with original fastenings and finishes, Shahsavan Confederation of tribes, late-nineteenth century 126 x 25cm

PROVENANCE

$500–1,000

The Estate of Dreda Lady Tryon $400–600

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A Southern Persian flat-woven rug, Fars Province, Luri tribe, twentieth century 290 x 132cm

A Central Asian Turkoman rug, Tekke tribe, late nineteenth century with three rows of six guls on a madder red ground 126 x 106cm

$500–700

PROVENANCE

The Estate of Dreda Lady Tryon $400–600

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51 A large pair of Chinese blue and white crackle glazed vases, Qing dynasty, circa 1900 36cm high PROVENANCE

The Estate of Dreda Lady Tryon $300–500

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52 A George III brass-bound mahogany oval wine cooler, English, circa 1770 61cm wide, 43cm deep, 60cm high PROVENANCE

The Estate of Dreda Lady Tryon $1,500–2,000

53 A Moorcroft pottery Pansy pattern twinhandled vase, by William Moorcroft and James Macintyre, English, circa 1910-12 17.5cm high $400–600 52

Illustrated online at artvisory.com.au

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54 A finely worked silver-gilt Chinoiserie decorated sewing set

by Dreyfous and Co Paris, London, New York, French 19th century comprising needlecase, scissors, and tailors awl and a matched thimble, in gilt Chinoiserie decorated leather case case 14.5cm wide, 9.5cm deep $400–600

55 A fine quality brass carriage clock, in original travel case,

by Lemaille and Gay, English/French 19th century striking on a gong stamped GL and Patent Surety Roller 13cm high PROVENANCE

The Estate of Dreda Lady Tryon $400–600

The story behind Gay Lemaille and Co and their Patent Surety Roller stamped on carriage clocks was published in Antiquarian horology, June 2017 2019 (pages 239-47). Moritz describes how the Patent Surety Roller (a mechanism which prevents the strike star wheel from accidentally jumping out-of-sync whilst the clock is being transported) was invented

by Moritz Immisch for which he received a brevet in 1979. The patent was subsequently secured by Messrs Gay, Lamaille and Company of Paris and London. One of the firm's founders, Emile Gay(e), was recorded as working at 20 Red Lion Square, London in 1861 before going into partnership with a clockmaker named Vicarino and setting up operations at 5 rue Beranger, Paris.

In around 1877-78 George Lamaille aged 33 replaced Vicarino forming a partnership called Gay, Lamaille and Company who through their strong connections with London supplied many of the leading English retailers such as Dent, Frodsham and Lund & Blockley during the latter years of the 19th century.

Lamaille was initially based in France and we know he travelled a lot to Australia and displayed clocks, bronzes and other items at the Sydney, Melbourne and Perth Exhibitions of 1880/1, and set up branches of the company in both Sydney and Melbourne (as importers of French goods, including bronzes, crystal and clocks) before returning to France around 1884. The Australian businesses seemed to fail shortly after Lamaille left, and they stopped advertising in 1888. Georges Lamaille also appears to have exhibited at the World's Columbian Exhibition in Chicago in 1893, at which time he was aged 49 according to immigration records.

The firm of E Gay Lamaille remained in business until their partnership ceased around 1905.

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56 A pair of late George III Sheffield-plate twin branch candelabrum, English, circa 1800 47cm high PROVENANCE

The Estate of Dreda Lady Tryon $200–400 56

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A collection of six silver-gilt condiments, maker Stuart Devlin, London 1970 comprising two circular salts, two cylindrical salts and two cylindrical peppers 6cm diameter, 7cm and 8cm high PROVENANCE

A pair of George III silver-plated Corinthian column candlesticks, English, early 19th century both crested with a griffin which is the Baird family crest.

31cm high

The Estate of Lavinia Baird

PROVENANCE

$800–1,200

The Estate of Dreda Lady Tryon $400–600

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59 A fine quality suite of sterling silver Kings pattern cutlery, Robert Gray and Sons, Glasgow 1834 comprising 21 tablespoons, 10 medium soup ladles, 6 small ladles, 24 dessert spoons, 2 large fish or cake slices, 2 large soup ladles, 2 large gravy spoons, 2 medium gravy spoons, 2 pairs of sugar tongs, 6 mustard spoons, 2 fish knives, 19 teaspoons, 10 egg spoons, 24 dessert forks, 36 table forks.

All crested with a griffin's head which is the Baird family crest.

PROVENANCE

The Estate of Dreda Lady Tryon $2,000–3,000

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60 A rare pair of Longton Hall soft paste porcelain gravy boats, English, circa 1755 22cm long, 12.5cm high $500–800

61 A pair of unusual Nove? floral painted covered bowls porcelain, Italian, 18th century Red star mark 10cm high, 10.5cm wide PROVENANCE

The Estate of Lavinia Baird $300–500

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62 A large and wonderful Wemyss pottery cabbage-rose decorated pig, Scottish, circa 1900 approx 44cm long and 28.5cm high PROVENANCE

The Estate of Lavinia Baird $3,000–5,000

Wemyss ware was a line of pottery first produced in 1882 by Czech decorator Karel Nekola and Fife pottery-owner Robert Heron. The pottery took its name from the Wemyss family titled incumbents of Wemyss Castle on the east coast of Fife, who were early and enthusiastic patrons. After being desirable in its own day, the pottery subsequently has become extremely popular with collectors. Most sought after are the pigs and the large ones in particular, such as this endearing sow with her long eyelashes and soft pink snout,ears and trotters.

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63 A rare pair of Vienna porcelain chocolate pots and covers, Austrian, circa 1800 Beehive mark 17 & 15cm tall PROVENANCE

The Estate of Dreda Lady Tryon $600–1,000

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64 A pair of Satsuma pottery and gilt mandarin ducks, Japanese, early 20th century 12/13cm tall PROVENANCE

The Estate of Dreda, Lady Tryon $200–300

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A collection of Wemyss pottery, Scottish, circa 1900 comprising a cabbage-rose decorated dog bowl Drink Puppy Drink, diameter 21cm, a cabbage-rose decorated bowl 28cm diameter, a blackberry decorated jam jar and cover, 12cm high and a bee pattern decorated square honey-pot and matched cover, 14cm wide PROVENANCE

The Estate of Lavinia Baird $500–800

Two of these pieces bear Thomas Goode and Sons retailers marks, who initially retailed Wemyss wares through their Mayfair Galleries.

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66 A good quality blue ground cloisonné vase, Japanese, Meiji period (1868-1912) 24.5cm tall $200–400

67 A pair of glass decanters in the form of dogs, possibly English, circa 19th century 25cm wide, 18cm high $300–500

These glass dogs were often mounted in silver or silver-plate with a cork stopper in the mouth and a collar with a chain attaching to the stopper. A number were made by the prestigious English firm of Elkington and Co. although the origins of the blown glass vessels themselves is not known, as to whether they were made in England or in Continental Europe.

68 A pair of green glazed cabbage leaf faience plates, Continental, circa 1920 25cm long $120–180 Illustrated online at artvisory.com.au

END OF SALE 66

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55

Telephone Bid Form 409 Malvern 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):

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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 24% 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.

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56

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.

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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.)

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.

c)

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

4. At the Sale

The contract for the sale of the property is therefore made between the Seller and the Buyer.

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.

b)

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 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.

The property is otherwise sold “AS IS”

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.

d)

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, 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.

e)

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.

f)

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. You must advise Artvisory of the lots in question and you will be assumed to be a buyer at the minimum price of 75% of estimate (ie. reserve) for all such lots. 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$). All bids, “hammer price”, “reserves”, “Buyers Premium” and other expressions of value are understood by all parties to be in Australian Dollars (AU$) unless otherwise specified.

a)

c)

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

5. After the Sale a)

Buyers Premium In addition to the hammer price, the buyer agrees to pay to Artvisory the buyer's premium. The buyer’s premium is 24% of the hammer price plus GST. (Goods and Services Tax) where applicable.

b)

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.

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)

J)

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.

Payment can be made by direct transfer, cash (not exceeding $5,000AUD, if wishing to pay more than $5,000AUD then this must be deposited directly into the company trust account and bank receipt supplied) and Eftpos (please check your daily limit).

Payments can also be made by credit card in person with a 1.3% (inc GST) merchant fee for Visa and Mastercard and 2% (inc GST) for American Express.

Credit card payments where the card-holder is not present, can not be accepted unless a scanned image of the card and signature is supplied (that corresponds with the supplied signature on the bidding or registration forms). Personal cheques are only accepted with prior arrangement and funds must be cleared before goods will be released. Bank cheques are subject to three days clearance.

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.

The buyer is responsible for any bank fees and charges applicable for the transfer of funds into Artvisory’s company trust account. c)

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

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

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.

d)

e)

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, 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 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. f)

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)

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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g)

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

v)

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

Overseas buyers and buyers non-resident in Australia will not be charged GST on both hammer price and premiums under the following conditions:

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.

1.

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

2.

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.

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

14. Resale Royalty Scheme

8. Severability

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:

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, which will be available as soon as possible after the sale. Results will include buyer’s premium. These results will be posted at www.artvisory.com.au.

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.

•

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 COLLECTION AUCTIONS

409 Malvern Road South Yarra Victoria 3141 +61 3 9826 4039 | www.artivsory.com.au