The Estate of Tom Lowenstein OAM by artvisory4

The Estate of Tom Lowenstein OAM

Auction • Tuesday 29 July 2025

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The Estate of Tom Lowenstein OAM

LIVE AUCTION

Tuesday 29 July 2025, 6pm

VIEWING Friday 25 July 11am–5pm

Saturday 26 July 11am–5pm

Sunday 27 July 11am–5pm

Monday 28 July 11am–5pm

COLLECTIONS

Wednesday 30 July 10am–5pm

Thursday 31 July 10am–5pm

Friday 1 August 10am–5pm

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The Private Art Collection of Tom Lowenstein

Emeritus Professor Sasha Grishin AM, FAHA

Australian National University

Tom Lowenstein passed from this world on 30th January 2025. From that moment on, writing about him, his legacy and his art collection changed forever. You have to use the past tense, your words will no longer be read by him for comment and humorous asides and his art collection has stopped growing. The personal art collection that Tom and Sylvia Lowenstein had assembled in the house in which they lived had grown with love, passion and considerable thought over a number of decades. Part of the collection came in the form of gifts from the artists with touching written dedications others through acquisition or exchange. With Tom’s passing and Sylvia moving into Aged Care, the time had arrived to let go of most of the collection to allow other people to own it and to love it.

Tom Lowenstein did not have a promising start as an art collector when he first commenced looking at art for himself in the 1960s. His earliest endeavours included an amateur print that he bought from a neighbour, then a couple of Hong Kong potboilers, acquired from a relative, and culminated in 1969 when he bought six Pro Hart paintings – directly from the artist at his gallery in Broken Hill. Whereas for many an accountant this would mark the zenith of their artistic endeavours, for Tom Lowenstein this was simply a false start. In the 1970s he reinvented himself and in the next four decades became closely enmeshed within the Australian art world. He was friends with most of the prominent Australian artists, their financial advisor, companion and confidant.

Tom Lowenstein married Sylvia Szway in June 1960. It was a marriage that was to last almost sixty-five years, until Tom’s death. It was also a creative partnership. Tom was born with a beautiful mind for numbers, but, as an accountant and very early in the piece, he came

to the profound revelation that he enjoyed the company of artists and art people considerably more than corporate investors, captains of industry or mortgage brokers. Sylvia came from a French Jewish background steeped in high culture. She is a woman of taste and knowledge who would steer her husband away from football games and towards the centre of the art world. With Sylvia at his side, Tom was perfectly set up as an accountant for the top artists and art people of Australia and as an art collector. Long boozy art lunches, spirited art gatherings and meetings with artists, curators and the art mafia became the new order of the day.

The quality that had never left Tom was that of being a good listener and having established a circle of close and reliable friends in the art world whose opinion he respected, he found himself exceptionally well informed as to who the artists themselves felt was making good work and, of the emerging artists, the ones to whom he needed to pay attention. Where he differed from many an art collector reliant on the services of a single well informed individual, Tom had long come to realise that artists would frequently promote their mates and their choices were frequently coloured by a stampede of hobby horses. However, when listening to the opinions of a dozen or more artists and arts insiders, he was in an unusual position of having a ‘consensus opinion’ on who were widely regarded as the leading artists of his day. His art collection frequently reflected the cream of contemporary Australian art, frequently acquired while the artists were still emerging.

Tom’s friend of many years standing was the artist Charles Blackman, who once astutely observed: “Tom, you don’t collect art. You collect artists!” It is true, that as an accountant, Tom and his eldest son,

“Tom, you don’t collect art. You collect artists!”

– Charles Blackman

Evan, now running the business and continuing the art collecting legacy, look after the economic interests of over three thousand artists. A small number of them gained a place in Tom’s private art collection and most of these became his friends – some of them – very close friends. The artworks became treasured possessions with which Tom and Sylvia shared their home.

Garry Shead entered Tom’s life when he was a struggling artist trying to make ends meet. A friendship quickly developed as Shead ascended the art hierarchy and soon was acclaimed as Australia’s leading figurative expressionist painter. In their special shared language, Shead developed a comic character who he called Schlepper – an awkward misfit who found himself in various situations as a modern day Good Soldier Švejk. This auction not only contains Shead’s major painting, Night Watch, but also the series of Schlepper drawings, that Tom intended to publish as a small satirical book.

John Olsen was another artist who became a close friend of the family. Tom set Olsen’s tax affairs on a firm footing and a friendship developed that was to last several decades. This auction contains both major artworks by Olsen, including his, Wattle Pollen Time, August 1978, a painting treasured by Tom and Sylvia, as well as numerous more ephemeral pieces that punctuated their friendship. Olsen with warmth, brilliance and wit celebrated a very special relationship.

Tom’s private art collection is multifaceted and diverse. It is a collection where friendship, passion and obsession meet and it is one that grew and developed over time. It is an autobiographical collection that reflected changes in the life of the collector. Apart

from Olsen, Shead and Blackman, some of the other highlights include work by Guan Wei, Stewart MacFarlane, Peter Booth, Robert Klippel, David Rankin, Akio Makigawa, Paul Partos, Tony Tuckson, John Walker, John Wolseley, Ah Xian, Colin Lanceley, Alun Leach Jones, Mirka Mora and Allan Mitelman. Tom also had a passion for ceramics with some significant pieces by Shigeo Shiga, Stephen Benwell, Joan R Campbell and Col Levy. As a signifier of where this art collector was coming from, there is also a Pro Hart piece included in the auction –one of his earlier acquisitions.

With the passing of Tom Lowenstein (1936-2025) we mark the passing of a remarkable man who kept many an artist economically afloat. He was a man who possessed a great generosity of spirit that is vividly reflected in his personal art collection that will now be dispersed and spread throughout the country.

Tom and Sylvia Lowenstein, circa 1992, at Lucio’s Sydney

Back row left to right: John Firth-Smith, Neil Fraser, Anne Thomson, Colin Lanceley, Margaret Woodward, unknown friend, Ken Johnston, Louis James.

Middle row left to right: Frank Hodgkinson, Brian Seidel, Col Levy, John Coburn, Sandra Leveson, Hilarie Mais, Sylvia Lowenstein, Tom Lowenstein, Victor Rubin.

Front row left to right: left: Helen Sharp, Maria Kuczynska, Tim Storrier, Lucio Galletto, Victoria Blackman, Charles Blackman, David Van Nunen.

"We were dining at Amaretto in East Melbourne, and I had introduced Charles to the owner. After a very enjoyable meal, Charles asked for a plate and a Texta. He drew a beautiful madonna on the plate, which he presented to the owner, who graciously accepted it. About one month later I was again at the restaurant and asked the owner where the Blackman plate was. His reply was 'You know I had to pay one of my blokes overtime to wash the bloody marks off the plate.' When I pointed out he had probably scrubbed a few thousand dollars off the plate, he was quite distraught and asked me to bring Charles back the next time he was in Melbourne. When I told the story to Charles, instead of being offended, he thought it was extremely funny and was quite happy to return to the restaurant and repeat the performance."

– Tom Lowenstein

CHARLES BLACKMAN AUSTRALIA, 1928-2018

Madonna

industrial stoneware with clear glaze, permanent ink marker pen appliqué signed lower centre, Blackman executed in two sittings, at Amaretto Restaurant, East Melbourne

26.3 x 2.5 x 26.3 cm. (10.3 x 0.9 x 10.3 in.)

LITERATURE

Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021, p. 74-75. $500–800

CHARLES BLACKMAN AUSTRALIA, 1928-2018

Still life with Pears and Jug ink on paper signed lower right, Charles Blackman inscribed in ink, lower left 'to Sylvie Lowenstein' dated lower left, 2008

Paper Size: 42 x 29 cm. (16.5 x 11.4 in.),

Frame: 52.5 x 40.5 cm. (20.6 x 15.9 in.)

SELECTED EXHIBITIONS

2006 Alice in Wonderland, National Gallery of Victoria, Melbourne

1993 Schoolgirls and Angels, National Gallery of Victoria, Melbourne

1988 Recent Acquisitions to the Heide Collection, Heide Park and Art Gallery, Victoria

1987 Innocence and Danger: An Artist's View of Childhood, by Robert Rooney, Heide Part and Art Gallery, Victoria

1985 Australian Modernism: The Heide Collection, Heide Park and Art Gallery, Victoria

1975 Paris Drawings, Albert Hall, Arts Council of Australia, ACT Division, Canberra

1963 Australian Painting and Sculpture in Europe Today, Metropolitan New Art Centre, Folkestone, UK

1962 Commonwealth Art Today, Commonwealth Institute Gallery, London

1961 Biennale des Jeunes, Musee d'Art Moderne, Paris

1960 Rubinstein Invitation Exhibition, National Gallery of Victoria, Melbourne (toured all states)

COLLECTIONS

Charles Blackman's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and Queensland Art Gallery. Internationally, Blackman's work is held in the collection of the Contemporary Art Society, London, Musee de l'Art Moderne, Paris and Worcester Museum, USA.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013 Tom Lowenstein, Lovers and Others, Melbourne Books, 2021

REFERENCE

As he (Tom) observed quite recently, it was Charles Blackman who also made me realise that there was more to being an art collector. He said to me: 'Tom, you don't collect art. You collect artists'. (Grishin, Sasha, 2013, pg.14).

I remember always seeing fresh flowers and pot plants at his place: he would draw these intermittently, setting the drawings aside as presents, and inscribing them with personal messages and dedications. (Tom Lowenstein, 2021, p. 75)

$500–1,000

CHARLES BLACKMAN AUSTRALIA, 1928-2018

Girl with cat

Watercolour and ink on paper inscribed in ink 'To Sylvia from Charles' Image: 18.5 x 26.5 cm. (7.2 x 10.4 in.), Frame: 29.5 x 46 cm. (11.6 x 18.1 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013

Tom Lowenstein, Lovers and Others, Melbourne Books, 2021

$500–1,000

CHARLES BLACKMAN AUSTRALIA, 1928-2018

Girl in blue holding a bouquet 1982

watercolour on paper inscribed in ink, 'all out best wishes for a traditional xmas love from Genevieve, Charles and Beatrice - For Tom, Silvia and Family 1982'

Image: 23.5 x 15.5 cm. (9 1/4 x 6.1 in.), Frame: 42.5 x 33 cm. (16.7 x 12.9 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013

Tom Lowenstein, Lovers and Others, Melbourne Books, 2021

$500–1,000

5 STEPHEN BENWELL

AUSTRALIA, 1953-

Anthropomorphic Vase with Free Form Growths

hand-built stoneware, decorated with oxides and stains, matt dolomite glaze

signed and dated on base, S.Benwell 81 inscribed on base: 6.

22 x 12 x 14 cm. (8.6 x 4.7 x 5.5 in.)

SELECTED EXHIBITIONS

Benwell's oeuvre spans five decades. Recent exhibitions include presentations at the Melbourne Art Fair, Sydney Contemporary, LON Gallery, Craft, Queen Victoria Museum and Art Gallery, Deakin University Art Gallery, Artbank, Geelong Gallery, Woollahra Gallery at Redleaf, RMIT Gallery, Heide Modern, Bundanon, Woollongong Art Gallery, National Gallery of Victoria, The Vivian (NZ) and Kunstforum Solothurn (Switzerland).

In 2013, a career survey of the artist's work, Stephen Benwell - Beauty, Anarchy, Desire, A Retrospective, was installed at Heide Museum of Modern Art. Also in 2013, Benwell was selected to exhibit in Melbourne Now, the National Gallery of Victoria's survey of contemporary practice.

COLLECTIONS

Benwell’s work is held in most significant collections in Australia including the National Gallery of Australia, Artbank, Art Gallery of South Australia, Art Gallery of Western Australia, Deakin University, Geelong Art Gallery, HOTA, Melbourne University, National Gallery of Victoria, Parliament House, Powerhouse Museum, QAGOMA, RMIT University, Tasmanian Museum and Art Gallery and the Victoria and Albert Museum in London. (source: Lon Gallery)

LITERATURE

Stephen Benwell: Beauty, Anarchy and Desire. A retrospective, 8 August10 November 2013, Exhibition Catalogue, Heide Museum of Modern Art.

REFERENCE

A related artwork, Vase with handles, from 1981 is held in the Queensland Art Gallery of Modern Art.

REFERENCE

In the catalogue for 1980's 'Recent Ceramics: An exhibition from Australia' Benwell made one of his few artist's statements from that time: "My work is influenced by many styles from primitive to contemporary. I handbill because the technique allows me the freedom to make a variety of shapes. Often a piece will contain a mixture of styles in an attempt to find a new arrangement of forms. The brushwork is used to give the piece depth and to accentuate its charter" Unlike the symmetrical shapes of the sculptural work in earlier shows, the three vases in the 1980 exhibition demonstrated a desire to break down symmetry in both shape and decoration. Onto coil-built, almost classical-waisted vase shapes, Benwell added free form 'growths': organic forms springing from the edges of forms - helped the artist challenge conventional shapes and the 'right' place for decoration. More than any work at this time these vases show Benwell's wish to undermine the notion of ceramics as practical objects, even when they are made and described as vases.... (John McPhee, Ceramic beefcake and other desires: The art of Stephen Benwell, Art and Australia, v. 47, no. 1, 2009, p.46.)

$1,200–1,800

STEPHEN BENWELL AUSTRALIA, 1953Monumental Sculptural vessel hand-built stoneware, with ceramic stains and oxides signed and dated on base: S. Benwell / '92 28 x 41.5 cm diameter. (11.0 x 18 1/2 in.)

EXHIBITED

Possibly, Stephen Benwell: Ceramics, Powell Street Gallery, Melbourne, 28 November - 18 December 1992.

LITERATURE

Stephen Benwell: Beauty, Anarchy and Desire. A retrospective, 8 August10 November 2013, Exhibition Catalogue, Heide Museum of Modern Art.

REFERENCE

A stylistically similar vase, also dated '92 is held by the National Gallery of Victoria, accession number 1996.177.

$3,000–4,000

MARK SCHALLER

AUSTRALIA, 1962-

Untitled

hand thrown earthenware, decorated with hand painted underglazes. signed and dated, "Schaller 16" on base inscribed with possible title on base, unclear 13 x 43 cm diameter. (5.1 x 16.9 in.)

COLLECTIONS

Schaller's work is held in institutional collections in Australia including, the National Gallery of Australia, National Gallery of Victoria and the University of Melbourne art collection.

$1,000–1,500

TONY TUCKSON

EGYPT - AUSTRALIA, 1921-1973

Untitled (c. 1955)

gouache on paper

See National Gallery of Victoria for a closely related example in terms of subject matter, date of execution, paper stock and size period, Untitled (c. 1955), accession 2004.32, gouache, 50.8 x 76.8 cm, from The Joseph Brown Collection.

Paper size: 51 x 76 cm (irreg.) (20.0 x 29.9 in.), Frame: 79 x 103 cm. (31.1 x 40.5 in.)

COLLECTIONS

Tony Tuckson's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria and the Art Gallery of NSW.

LITERATURE

Thomas, D., Legge, G., & Free, R., Tony Tuckson, Craftsman House, Sydney

REFERENCE

Tony Tuckson made a phenomenal number of drawings. From thousands of tiny sketchbook and notepad drawings to a select group several metres long, Tuckson drew every day. This is remarkable because he held the time- consuming positions, from 1950 until his early death in 1973, of curatorial assistant at the Art Gallery of New South Wales then was swiftly promoted to deputy director. In order to avoid conflict of interest, he practised his art privately, exhibited once in a group show between 1957 and 1962 and held his first solo show in 1970. His art was first known in its maturity as abstract and boldly gestural, vibrant with his driven urgency to paint, often with ravishing colour, collage and incised, slashing lines. His earlier styles, such as in this painting, are partly related to his teachers at East Sydney Technical College, where he studied from 1946 to 1949, notably under Grace Crowley and Ralph Balson. Balson’s abstract paintings, with their flattened cubist space and clear subtle colours, reveal his painstaking search to paint the eternal space of the artist’s spirituality.

By the time Tuckson drew (the related artwork, untitled 1955, gouache, NGV Joseph brown collection), he had made a long investigation of Picasso and the artists of the School of Paris, notably Bernard Buffet, Jean

Dubuffet and Amedeo Modigliani, as well as the Swiss artist Paul Klee. Tuckson was an avid reader of art journals and books and encouraged art students to use the latest copies of these in the library of the Art Gallery of New South Wales.

One of his favourite subjects was the family, his own family. He married Margaret Bisset in 1943 and their son Michael was born in 1945. Tuckson made many drawings of the three of them, hieratically arranged and looking out from the painting. He also did a series of paintings and drawings based on a cocktail bar, with Margaret and him sitting either side of a barman shaking a cocktail. There is a suggestion here of figures amid the rhythm of regularly spaced but free-form lines and shapes and

the syncopation of the jazz that Tuckson liked. At left is the profile of a Picasso-esque head or mask while on the right there is a loose column of blue and red outlines suggesting a female form. The bright colours delineating the figures on a light ground also places them in space and against space, which is the subject of the painting and the heart of Tony Tuckson’s art. (Jennifer Phipps, NGV Joseph Brown Collection Essay nd.)

$6,000–9,000

JULIAN MARTIN

AUSTRALIA, 1969Untitled

pastel on paper

signed indistinctly, lower right

label attached verso, reads: Julian Martin, 2017 (untitled) pastel

Paper size 38 x 28 cm. (14.9 x 11.0 in.), Frame: 50 x 39 cm. (19.6 x 15.3 in.)

SELECTED EXHIBITIONS

2023 The National 4: Australian Art Now, Campbelltown Art Center, Campbelltown, NSW

2017 The Museum of Everything, Museum of Old and New Art (MONA), Tasmania

2011 Exhibition #4, Museum of Everything, London

2003 Fair Game, NGV Response Gallery, Melbourne

2000 Histoires de vivre, Musée du Louvre, Paris

1996 Eyes on the Ball, MOMA (Heide), Melbourne

1995 Art des Antipodes, MADMusée, Liège, Belgium

1994 Moët et Chandon Travelling Exhibition, National Gallery of Victoria, Melbourne

COLLECTIONS

Julian Martin's work is held in institutional collections throughout Australia including the National Gallery of Victoria, Deakin University, Melbourne, Monash University Museum of Art, Melbourne and STOARC University of Sydney

$800–1,200

AUSTRALIA, 1969-

Untitled (bottle and coat hanger shapes)

pastel on paper

label on verso from Arts Project Australia - Melbourne Art Fair 2010

Paper size: 76 x 55.5 cm. (29.9 x 21.8 in.),

Frame: 93 x 76.5 cm. (36.6 x 30.1 in.)

$800–1,200 11

JULIAN MARTIN

AUSTRALIA, 1969Rectangles

pastel on paper

Paper size: 69 x 49 cm. (27.1 x 19.2 in.),

Frame: 81 x 61 cm. (31.8 x 24.0 in.)

$600–900

JULIAN MARTIN

JULIAN MARTIN

AUSTRALIA, 1969Untitled

Pastel on paper

Paper size: 35 x 49.5 cm. (13.7 x 19.4 in.),

Frame: 53.5 x 72 cm. (21.0 x 28.3 in.)

$300–500

MIRKA MORA

AUSTRALIA, 1928-2018

Pour les Amoureux

gouache on paper

signed 'Mirka' and dated '91

titled 'Pour les Amoureux' lower left

Image: 9.5 x 14.5 cm. (3.7 x 5.7 in.), Frame: 30 x 34.5 cm. (11.8 x 13.5 in.)

SELECTED EXHIBITIONS

2010 - Mirka, Heide Gallery, Melbourne

Mirka Mora: Pas de Deux - Drawings and Dolls, Heide MOMA, 27 Oct 2018 - 24 Mar 2019

COLLECTIONS

Mirka Mora's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and the Queensland Art Gallery

$1,200–1,800

MIRKA MORA

AUSTRALIA, 1928-2018

Pas de deux soft sculpture

soft sculpture, linen, stitching, coloured pigments, sculpture with distinct pigments and painting to each side.

signed "MIRKA' and dated '88

30 x 10 x 50 cm. (11.8 x 3.9 x 19.6 in.)

EXHIBITED

Mirka Mora: Pas de Deux - Drawings and Dolls, Heide MOMA, 27 Oct 2018 - 24 Mar 2019

$2,500–3,500

JOHN OLSEN

AUSTRALIA, 1928-2023

Wattle Pollen Time, Aug 1978

gouache, watercolour and oil on paper on board signed 'John Olsen' and dated Aug '78, lower right titled 'Wattle Pollen Time' lower right Image: 109.5 x 97 cm. (43.1 x 38.1 in.), Frame: 127 x 114.5 cm. (50 x 45.0 in.)

SELECTED EXHIBITIONS

2017 John Olsen: The You Beaut Country, Art Gallery of New South Wales, Sydney

2016 John Olsen: The You Beaut Country, National Gallery of Victoria, Melbourne

2005 Pulse, Tarrawarra Museum of Art, Victoria

1992 John Olsen Retrospective, Art Gallery of New South Wales

1992 John Olsen Retrospective, National Gallery of Victoria, Melbourne

1986 John Olsen: Gold, Art Gallery of New South Wales, Sydney

1983 John Olsen: Selected Graphics, Art Gallery of Western Australia, Perth

1983 John Olsen - The Land Beyond Time, Art Gallery of Western Australia, Perth

COLLECTIONS

John Olsen's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and the Queensland Art Gallery.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 177.

REFERENCE

John Olsen is both a towering maverick in the Australian art scene and a key participant in Tom Lowenstein's own life. Tom Lowenstein recently observed: 'if I had to name one artist who was probably most influential on my ways of looking at both life and art, then it would be John Olsen'...In 1961 Olsen commenced his most memorable series of paintings, the You Beaut Country series. These paintings quietly celebrate the larrikinism of Australian vernacular culture, the untidy spread of featureless Australian landscape and the streets of Sydney sprawling

around it's glowing Harbour...A generosity of spirit which characterises the artist also characterises his art, where humour is often combined with a very positive and joyful outlook on life...Tom Lowenstein's close relationship with Olsen has resulted in a rich collection of his art expressed in many mediums which, taken collectively, reads like a diary of a creative collaboration...John Olsen's attitude to the landscape as a meta-physical springboard for creating an art which is both evocative of a sense of place as well as being reflective of an inner state of mind is common to number of other artists. (Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated pp. 176-178.)

REFERENCE

A related artwork is held in the collection of the Art Gallery of NSW, titled, "Nightfall, when wattle stains the doubting heart 1980", oil on canvas, 167 x 167cm.

REFERENCE

In 1971, Olsen moved to Dural NSW from which over the next 9 years, this would be a based for many painting expeditions. "Olsen first visited Lake Eyre (Kati Thanda to its Arabana custodians) in October 1974 and was introduced to the almost inhuman scape and space of the Australian interior – ‘a bowl of endless sky [to] a point of limitless nothing’. This had a cathartic effect on Olsen’s art. Over subsequent decades he made numerous trips to the region.

In 1973 the lake, normally a salt-encrusted wasteland abutting the Simpson Desert, was filling for only the second time since European occupation. Olsen witnessed its transformation into an immense inland sea teeming with birds, fish and insects. Later, as the waters receded, he watched the lake and its life disappear.

The vastness of this life–death cycle, and Olsen’s sense that ‘the full lake is entwined with the destiny of the empty lake’, catalysed a new spirituality in his art. Alive to various Zen and Taoist philosophies since the late 1950s, he saw Lake Eyre as ‘the void’ – a metaphor for the generative forces from which creation springs. These revelations brought a new lyricism to his art, in paintings crafted as part close-up habitat, part aerial view, part visual poetry..... Olsen emerged from his Lake Eyre experiences with a more contemplative line, expansive space and a pictorial lyricism (from, Art Gallery of NSW artist bibliography, n.d).

$55,000–75,000

JOHN OLSEN

AUSTRALIA, 1928-2023

Whats your tax problem ink and pencil on paper signed 'John Olsen' in ink lower right titled 'whats you tax problem' drawn on the back of a degustation menu for 'The Four Chefs Dinner at the Regent Hotel, Sydney'

20.5 x 23.5 cm. (8.0 x 9 1/4 in.),

Frame: 40.5 x 42 cm. (15.9 x 16.5 in.)

$2,000–3,000

16

JOHN OLSEN

AUSTRALIA, 1928-2023

Black faced monkey pencil on paper signed 'John Olsen' and dated '79 in pencil lower right titled 'Black faced monkey' and inscribed 'for Sylvia' upper right Paper size: 27 x 20 cm. (10.6 x 7.8 in.),

Frame: 47 x 36.5 cm. (18 1/2 x 14.3 in.)

$3,000–5,000

REFERENCE

JOHN OLSEN AUSTRALIA, 1928-2023

Lowenstein in Search of the Artist's Missing Statements gouache and pencil on paper signed 'John Olsen' and dated '99 in ink titled 'Lowenstein in search of the artists missing statement' below image Image: 27 x 31 cm. (10.6 x 12.2 in.), Frame: 63.5 x 65 cm. (25 x 25.5 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 11. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021. Illustrated p. 61 and again on dust jacket.

"For many a person, the experience of a money-losing venture is enough to discourage them from pursuing the advocacy of art any further; for Tom Lowenstein it was the beginning of a lifelong addiction...It quickly became apparent to him that he enjoyed much more the company of the artists than the company of business clients and that he could be very useful in looking after artists' financial and taxation matters. The art they made gave him great pleasure and soon became objects of desire in his growing art collection. If there were was an artist who had the greatest impact on him, then that artist was John Olsen. They got to know one another over a five hour lunch in a North Shore restaurant in Sydney where, as further bottles of chardonnay were uncorked, meetings and flights were missed. He recently reflected: 'If I were ever stranded on a desert island and had to select one person as company (other than my wife or a family member), I think it would be John Olsen!'" (Grishin, Sasha. 2013. )

$2,000–3,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

No 707, c.1988

wooden assemblage inscribed with title ‘707’ (upper middle section of sculpture)

145 x 16 x 78 cm. (57.0 x 6.3 x 30.7 in.)

PROVENANCE

Artist to Tom Lowenstein

SELECTED EXHIBITIONS

2002 Robert Klippel, Art Gallery of New South Wales, Sydney, NSW

1995 Robert Klippel: large wood sculptures and collages, Art Gallery of New South Wales

1993 Robert Klippel, National Gallery of Australia, Canberra

1992 Rosemary Madigan and Robert Klippel at Carrick Hill, Carrick Hill, Adelaide

1990 The sculptor's studio: Robert Klippel, Art Gallery of New South Wales, Sydney

1983 Robert Klippel: collage and drawings 1947-1983, Art Gallery of New South Wales, Sydney

1975 Robert Klippel: drawings 1947 – 1975, Art Gallery of New South Wales, Sydney

1961 [Robert Klippel], Little Gallery, Minneapolis Institute of Art, Minneapolis, USA

1949 Klippel: sculpture & dessins, Galerie Nina Dausset, Paris

1948 James Gleeson and Robert Klippel, London Gallery, London

COLLECTIONS

Robert Klippel's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia and the Art Gallery of NSW.

LITERATURE

Deborah Edwards, Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, illus. No. 707 Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013, Illustrated p. 167. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021

REFERENCE

The Sydney-born sculptor, Robert Klippel, has been widely promoted as Australia's greatest sculptor. Disillusioned with the training at the east Sydney Technical school, he received a three year bursary from his father to study art in Europe and settled in London, enrolling at the Slade School of Art. Here he did not find to his liking the formal tuition and, after six months at the Slade, he abandoned the institution and spent the remaining two and a half years in Europe, dividing his time between London and Paris where he entered the circle of André Breton and the French Surrealists...In 1957 he travelled to America, where he stayed for six years, returning to Sydney in 1963 where he settled permanently for the remaining thirty-eight years of his life.

There is a fundamental binary duality which underlines much of his art practice and which reflects his desire to combine energy and functionalism of the machine with the organic fluidity of plants. Klippel, over six decades, created an enormous and distinctive oeuvre – some one-thousand-three-hundred sculptures...which at least since the 1960s bear the unmistakeable hallmark of his peculiar vision, regardless of scale or medium...Klippel embraced a machine-like morphology of sculpture which was not dependant on the human form. He sought to create an artistic language which would give meaning to create an industrial civilisation, one in which there is a certain nobility and heroism that is reflected in his art. (Grishin, Sasha, 2013. p. 118.).

"Robert Klippel was another artist who became a client in 1992 was the sculptor Robert Klippel. He was recommended by John Olsen, and he apologised profusely for the fact that John had told him at least eight or nine years before to come and see me. But Robert delayed this as much as he could, as he did not wish to hurt the feelings of his former accountant...Over the years, we became very good friends, and I enjoyed visiting him in his large rambling home studio. Every nook and cranny were filled with his sculptures, large and small...Sylvia used to accompany me on a number of these trips..." – Tom Lowenstein

$20,000–25,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

No 702, 1987

wooden assemblage inscribed indistinctly with artist initials, title and date ‘RK No.702 1987’ (on the base) 140 x 18 x 78 cm. (55.1 x 7.0 x 30.7 in.)

PROVENANCE

Artist to Tom Lowenstein

EXHIBITED

Robert Klippel – Painted wood sculptures at three locations, Watters Gallery, Roslyn Oxley9 Gallery and Legge Gallery, Sydney, 1990, exh. cat. 21

LITERATURE

Robert Klippel – Painted wood sculptures at three locations, Sydney, 1990, exh. cat. 21, illus. cat. (unpaginated)

Deborah Edwards, Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, illus. No. 702 Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021

$20,000–30,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Collage, 1991

watercolour and collage on paper signed with initials ‘RK’ and dated ’91 in pencil inscribed 'to Tom Lowenstein, much appreciation always for your assistance to Andrew and me, I am truly sorry about mixing up appointments, with very best wishes Bob Klippel 1993' signed 'Robert Klippel' and dated 1993 in ink on verso

Paper size: 13 x 30 cm. (5.1 x 11.8 in.),

Frame: 36 x 52.5 cm. (14.1 x 20.6 in.)

PROVENANCE

Artist to Tom Lowenstein

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$1,500–2,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Collage, 1993

acrylic, paper on paper, mounted on canvas signed and dated 'Robert Klippel – 1993’ in pencil (lower right) and with handwritten details on Watters Gallery label (on the reverse)

Image: 96.5 x 116.5 cm. (37.9 x 45.8 in.)

Frame: 107 x 127 cm. (42.1 x 50 in)

PROVENANCE

Artist to Tom Lowenstein

EXHIBITED

Robert Klippel – Collages, Watters Gallery, Sydney, 19 October-5 November 1994, cat. 7

LITERATURE

Robert Klippel – Collages, Watters Gallery, Sydney, 1994, exh. cat., cat. 7 (unpaginated)

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$18,000–25,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Untitled, 1989

watercolour and ink on paper inscribed '89' in pencil lower right inscribed AKD 124, on framers label on verso

Paper size: 41 x 42.5 cm. (16.1 x 16.7 in.)

Frame: 56.5 x 57.5 cm. (22.2 x 22.6 in.)

PROVENANCE

The Robert Klippel Estate to Tom Lowenstein

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$2,000–3,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Collage, date unknown

Watercolour, ink and collage on paper inscribed, AKD 241 on verso.

Paper size: 26.5 x 35.5 cm. (10.4 x 13.9 in.),

Frame: 42.5 x 51 cm. (16.7 x 20.0 in.)

PROVENANCE

The Robert Klippel Estate to Tom Lowenstein

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$1,200–1,800

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

No 906, 1998

painted wood assemblage inscribed with initials ‘R.K.’ (on base) and inscribed with title and date ‘906 98’ (under base); further with handwritten details of work on Watters Gallery label (under base)

35.5 x 20 x 9.5 cm

PROVENANCE

Artist to Tom Lowenstein

EXHIBITED

Robert Klippel – Fifty New Sculptures, Watters Gallery, Sydney, 11-28 November 1998, cat. 35, illus. catalogue unpaginated

LITERATURE

Robert Klippel – Fifty New Sculptures, Sydney, 1998, exh.cat. 35, illus. cat. unpaginated

Deborah Edwards, Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, illus. No. 906

$2,500–4,000

COLLECTIONS

AKIO MAKIGAWA

JAPAN - AUSTRALIA, 1948-1999

Recollection of Memory XVII

synthetic polymer paint, MDF, oil stick, stainless steel each individually signed, numbered and dated '99 in metallic marker on verso 23 x 12 x 235 cm. (9.0 x 4.7 x 92.5 in.)

SELECTED EXHIBITIONS

Akio Makigawa, Anna Swartz Gallery Melbourne, 1999

Mike Parr, Akio Makigawa: 1998 Lowenstein Sharp Arts 21 Fellowship 1999

Heide Museum of Modern Art, Melbourne, VIC

Akio Makigawa's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria and the Art Gallery of NSW

LITERATURE

Jackie Cooper, Akio Makigawa, Carlier Makigawa, 2013, cat. no. 161, illustrated pp.507 & 562.

REFERENCE

Akio Makigawa was a Japanese artist who came to Australia in 1977 at the age of twenty-nine. He studied in Western Australia where he met his future wife, Carlier, and they became clients of mine in the 1980s. We became very good friends..... We were fortunate to have been invited to Akio's fiftieth birthday. It was a wonderful and at the same time, painful evening, as we all knew we were saying goodbye. Approximately one week later, I received a work by Akio, and had it installed in my office.

I rang to tell him how much I enjoyed having it over my desk, and he enthusiastically told me about the symbolism represented in the work. (Lowenstein, Tom, 2021).

Recollection of Memory (1998-99). Makigawa crystallised his approach to multiple production in 1998 during period as artist-in-residence at the Claremont School of Art. He completed a composite work in twelve parts, each composed of multiple elements of the same size. Recollection of memory consists of Memory ii-xii: 110 square medium density fibreboard panels arranged into eleven wall-mounted lines....The incremental Recollection of Memory is a substantial work. The matte black panels with their raised shapes and white markings resemble oversized dominoes. The previous Mask series 1990 (Makigawa had made just three of a projected series of twenty of thirty) had started him thinking of multiples .In Recollection he used the same material, medium density fibreboard, to build up shapes, carving a gouging the surface. Eat

series of ten squares followed an idea: gateways, colonnades, city locks, flame/bud forms. He manipulated the figure ground, solid the figureground, solid-shadow gestalt and successfully transformed each series of shapes. As well as the progressive mutation of forms, he explored surface, skinned texture.....From looking at archetypal objects over the previous decade and exploring ideas of energy and spirit, in Recollection of Memory Makigawa turned to the city, the profane realm the everyday and ordinary. 'Each strip has an idea. I wanted a grid initially, a city grid. Memories of a city, different ways of seeing it, tight urban spaces. There are a lot of rooftop views and architectural elements….. The viewpoints are all different, some are side-on, others are bird's eye. They are eclectic memories: things from childhood, things from yesterday, personal and archetypal, all mixed together. They don't add up to a specific memory. (Cooper, Jackie, 2013, pp. 502-3).

$10,000–15,000

SALLY SMART

AUSTRALIA, 1969-

Family Tree

synthetic flock on canvas signed in pencil on affixed label titled on label 'family tree', dated 2003 and numbered 15/16 on verso Image: 40.5 x 35.5 cm. (15.9 x 13.9 in.)

EXHIBITED

Examples from this series were exhibited at Shadow Farm, Wollongong City Gallery, Wollongong, New South Wales, Australia 2003

COLLECTIONS

Sally Smart's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery and the Tasmania Museum and Art Gallery. Internationally, Smart's work is held at the British Museum, London, International Collage Center, Pennsylvania and the Museum of New Zealand Te Papa Tongarewa, New Zealand.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 280.

REFERENCE

From the Femmage Frieze series 1999-2003.

$600–900 28 SALLY SMART AUSTRALIA, 1969-

synthetic flock on canvas signed in pencil on affixed label titled on label 'femmage frieze', dated 2003 and numbered 19/25 on verso

35 x 61 cm. (13.7 x 24.0 in.)

$600–900

Femmage Frieze

BEN VAUTIER

ITALY - FRANCE, 1935-2024

Moi

acrylic on board with mirror signed 'Ben' and dated '08 in acrylic dedicated, illustrated, signed and dated on verso 40 x 30 x 22 cm. (15 3/4 x 11.8 x 8.6 in.)

SELECTED EXHIBITIONS

2011 “And after that?” Musée de Louviers, Louviers

2011 Life exhibition posters Moma New York

2010 Retrospective “Strip Tease intégrale” Museum of Contemporary Art, Lyon

2008 “Who is Ben?” Retrospective Vostel Museum, Malpartida

2006 “I'm no good at ceramics” Museum of Pottery, Vallauris

2004 “Sound and Light” Center Pompidou, Paris

2001 “Ist das nicht wichtig” Museum Schwerin, Germany

2001 “I am looking for the truth” MAMAC, Nice

1996 Museum of Solothurn, Switzerland

1995 “Ben, For or Against” MAC Retrospective, Marseille

1995 Beyond Switzerland art museum of Hong Kong

1993 “I am alive I am in Nice” MAMAC, Nice

1993 Museum of Contemporary Art, Brisbane

1989 About Nice, Center Pompidou, Paris (organized by Ben)

1982 "The Wardrobe" Stedelijk Museum, Amsterdam

1981 "Ben Free and Crazy" Museum of Art and Industry, Saint Etienne

1980 Museum of Contemporary Art, Montreal

1977 Guggenheim Museum, New York

1973 "Art = Ben" Stedelijk Museum, Amsterdam

COLLECTIONS

Ben Vautier's work is held in international institutional collections including Center national d'art et de culture Georges-Pompidou Paris, Museum of Modern Art of the City of Paris, Museum of Contemporary Art of Lyon MAC Lyon, Museum of Modern and Contemporary Art of Nice MAMAC, Museum of contemporary art of Marseille, Picasso Museum Antibes, National Customs Museum Bordeaux, Stedelijk Museum

Amsterdam, Staatliches Museum, Schwerin, Museum of Art and History of Geneva, Museum Kunstmuseum Lucerne, Switzerland, Museum of Modern Art Kampa Pragues, Czech Republic, Walker Art Center Museum Minneapolis, USA, Vostell Malpartida Museum Caceres, Spain and the MUDIMA Foundation Milano

$8,000–12,000

JOAN R. CAMPBELL

AUSTRALIA, 1925-1997

Marine Form 1

course hand-built earthenware titled on a seperate exhibition label, Joan Campbell, Western Australia 1925-97, and numbered: 27. Marine Form 1 1996-7 earthenware, sprayed dry matt glaze with fritted stains

33 x 14 x 47 cm. (12.9 x 5.5 x 18 1/2 in.)

COLLECTIONS

Campbell's work is held in Australian and International institutional collections, including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of Western Australia, Christchurch Art Gallery and the Tennessee Arts Commission USA.

EXHIBITED

Possibly, Crescendo: Joan Campbell's recent work: Lawrence Wilson Art Gallery, the University of Western Australia, Perth 11 April- 29 June 1997.

LITERATURE

Gray, A. (1997). Crescendo: Joan Campbell's recent work. (n/a ed.) Lawrence Wilson Art Gallery.

RELATED WORKS

Related works from 1996/7 include: Bird Form II, (also with blue dry-matte glaze), 85 x 55cm, Museum of Perth, on loan to the Lawrence Wilson Art Gallery, University of Western Australia Shield form IV, 50 x 58cm, Art Gallery of Western Australia Edge of the Sea Bowl XI, Art Gallery of Western Australia

REFERENCE

Born in Geelong Victoria, "Joan Campbell was a seminal figure in Australian and Western Australian ceramics. An early specialist in Raku, she created a substantial body of work, shared her knowledge at conferences and seminars, promoted Australian ceramics through memberships of national and international craft organisations and mentored a generation of potters at her workshop at Bathers Beach in Fremantle." (Design & Art Australia).

Joan Campbell became a world renowned specialist with raku pottery, as indicated by the inclusion of a 1973 pottery egg in the permanent collection of the Tennessee Arts Commission. In the spring of 1971, under the auspices of the International Academy of Ceramics, the Tennessee Arts Commission pledged its support for the promotion and establishment of the U.S. International Ceramic Symposiums. The Symposium’s mission to help develop a worldwide network of support for ceramic art was achieved by bringing together top ceramic artists from around the world for a month-long sharing of ideas and creation

of innovative ceramics. Campbell represented Australia at the Second U.S. International Ceramic Symposium, which consisted of twelve artists from seven different countries, and was hosted in the summer of 1975 at the Arrowmont School of Crafts in Gatlinburg, TN. She spent her time at the Symposium making large textured raku sculptures, as well as some more traditional bowl forms. Campbell’s The Egg, a massive egg form that incorporates subtle mica surface decoration, exemplifies what she is most well-known for: constructing large raku works with subtle textural variations. After the Symposium, Campbell continued to manage her studio, promoting and selling functional wares as well as exhibiting widely. During her career, she mentored over forty aspiring potters that worked in her studio, providing with professional development and the space to create their own work. For her contributions to the arts, in 1977 Campbell was appointed a Member of the Most Excellent Order of the British Empire, and was named one of a Citizen of the Year by the Western Australia government. By the mid-1980s, Campbell shifted her focus to working on large scale public works and installations, using ceramics but also incorporating other materials such as steel, wood, and glass. Her art exists in numerous collections, and can be seen at universities, galleries, and public spaces across Australia. (Aidan Layer, Tennessee Arts Commission).

Joan Campbell was also a gifted public speaker who had a special regard for her fellow artists. She was an inaugural member of the Australia Council's Crafts Board from 1972 to 1974, a Council member from 1973 to 1977, and a member of the Council's Community Arts Board from 1981 to 1984. The Australia Council's General Manager, at the time, Michael Lynch described Joan Campbell, "as an artist, teacher and active political campaigner for the arts in Australia, (whose) influence on craft practice in Australia is inestimable." In 1978 she was awarded an MBE for services to the arts. She received an Emeritus Award from Council's Visual Arts/Craft Fund for her outstanding contribution to the arts. She also won a 1997 Western Australian Citizen of the Year Award for Arts, Culture and Entertainment.

She saw in others their own creative strength and ability and helped them believe in it for themselves. Joan had a special ability to be able to impart and communicate, not only to artists, but also to the corporate and government sectors, the magic of the creative spirit. She enabled people to sense and value that, both in themselves, and within the Australian culture.” (Museum of Perth, bibliography).

REFERENCE

Marine Form 1, was created as part of her final series of work at her famous studio at Bathers beach Fremantle. A bronze sculpture and plaque at the doorway, designed by Catriona Gregg, post Campbell's passing, references a work by Joan Campbell, Shield Form IV, also from this last series of work and from her last exhibition, Crescendo

$1,500–2,000

"I have always lived within the sight and sound of the sea and for most of my life it has played an important part. The sounds of the sea have nurtured me almost more than the sight of the sea. There is a wonderful rhythm on the beach, there is a freshness. My studio on bathers beach looks out onto the sea and I can hear the moods of the sea. I hear different energies being played. I know that when I am gone the sea will still be there in continual motion. The sea humbles me constantly. It is a pacifier, a source of equanimity, at times it can rage and get angry, it has all these moods and many more"

– Joan Campbell 1997

JOAN R. CAMPBELL AUSTRALIA,

1925-1997

Display Platter

slab rolled raku clay formed and reshaped in a shallow mould with applied surface embellishments and sgraffito – tan ongobe highlights

33 x 9 x 48.5 cm. (12.9 x 3.5 x 19.0 in.)

$1,000–1,500

JOAN R. CAMPBELL AUSTRALIA, 1925-1997

Raku Form

earthenware

hand built form with textured surface markings, wrapped and fired in seaweed inscribed, 'Joan Campbell', to base

23 x 15 x 15 cm (irreg.) (9.0 x 5.9 x 5.9 in.)

$500–800

JOAN R. CAMPBELL AUSTRALIA, 1925-1997

The Closed Form

raku clay

press folded raku clay built and rejoined, carved surface markings and raku fired

29 x 19 x 19 cm. (irreg,) (11.4 x 7.4 x 7.4 in.)

REFERENCE

A closely related larger work is in the collection of the Tennessee Arts Commission, titled, The Egg, 1973, 28 x 60 inches.

$600–900

GUAN WEI

CHINA

- AUSTRALIA, 1957-

Up in the Clouds No. 4 bronze

executed in 2012 edition inscribed on base, 1/5 titled 'up in the clouds No.4' on base inscribed 'Bronze sculpture 60 x 36 x 28' on base signed 'Guan Wei' followed by Chinese character and date, 2012 60 x 28 x 36 cm. (23.6 x 11.0 x 14.1 in.)

EXHIBITED

Another example of this sculpture was exhibited at Sydney Contemporary, Arc One Gallery, Melbourne, September 2015.

SELECTED EXHIBITIONS

2020 Guan Wei: A Case Study, Museum of Art & Culture Lake Macquarie

2019 Essence, Energy, Spirit, Australia-China Institute for Arts and Culture, Sydney

2018 Infinite Conversations: Asian-Australian artistic exchange, National Gallery of Australia, Canberra

2016 Guan. Perspective, Scene Sense Art Gallery, Beijing

2012 Negotiating This World Contemporary Australian Art, National Gallery of Victoria

2011 Spellbound, He Xiang Ning Art Museum, OCT Contemporary Art Terminal Shenzhen, China

2006 Other Histories: Guan Wei’s Fable for a Contemporary World, Powerhouse Museum, Sydney

2006 A Distant Land, Contemporary Art Centre of South Australia, Adelaide

2003 Australia – Berlin, Hamburger Bahnhof Museum Berlin 1999 Nesting, or Art of Idleness, Museum of Contemporary Art, Sydney

1991 Guan Wei Solo Exhibition, Photo Space School of Fine Art in the Australian National University, Canberra

1989 Guan Wei Solo Exhibition, French Embassy, Beijing

COLLECTIONS

Guan Wei's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery, Museum of Contemporary Art Sydney and Parliament House Canberra

$5,000–10,000

Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne.

GUAN WEI

CHINA - AUSTRALIA, 1957Wunderkind VII & Wunderkind IX oil on canvas signed 'G.W.' and dated 1993 in oil lower right titled and numbered on verso in English and Hanzi. 75 x 40 cm. (29.5 x 15 3/4 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 94. Tom Lowenstein, Lovers and Others, Melbourne Press, 2021, p. 167,8.

$6,000–10,000

"In the early 1990's Sylvia and I visited the Sherman Galleries in Sydney on our usual Saturday afternoon gallery hopping exercise. Both of us fell in love with and bought a couple of works by Chinese-born artist Guan Wei. Although we knew nothing about the artist at the time, we thought his flattened cartoon-like characters 'quirky'. It was only after living with these paintings for a number of years that Sylvia and I have been able to articulate what, apart from the purely visual and aesthetic appeal, resonated with us so strongly. In a number of his works there a people with eyes but no mouths, or open mouths and no eyes. The penny dropped that these works spoke about the repression of freedom under the communist government. This has resonated deeply with our experiences with the totalitarianism regimes in Europe during the 1940s."

– Tom Lowenstein

Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne.

CHINA - AUSTRALIA, 1957Self Portrait

oil on canvas

signed 'G.W.' and dated '93 in oil lower right

titled: 'Self Portrait' and dated '24.8.1993' on verso

75 x 40 cm. (29.5 x 15 3/4 in.)

$3,000–5,000

CHINA - AUSTRALIA, 1957The Vase

oil on canvas

signed 'Guan Wei' and dated '91 on verso titled on verso

75 x 40 cm. (29.5 x 15 3/4 in.)

$3,000–5,000

GUAN WEI

Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne.

GUAN WEI

Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne.

CHINA - AUSTRALIA, 1957Fan oil on canvas

signed 'G.W.' lower right in oil titled, Fan, dated 1991 and numbered 71 on verso 75 x 40 cm. (29.5 x 15 3/4 in.)

$3,000–5,000

CHINA - AUSTRALIA, 1957Beef Soup Can oil on canvas

signed 'Guan Wei', dated 1990 and titled on verso 75 x 40 cm. (29.5 x 15 3/4 in.)

$3,000–5,000

GUAN WEI

Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne.

GUAN WEI

Guan Wei is represented by Martin Browne Contemporary, Sydney and Arc One Gallery, Melbourne.

COLLECTIONS

PETER BOOTH

AUSTRALIA, 1940Landscape: 1984 pastel on board

inscribed and dated in ink on verso 'Booth....1984' Image: 18 x 30 cm. (7.0 x 11.8 in.), Frame: 34.5 x 46.5 cm. (13.5 x 18.3 in.)

SELECTED EXHIBITIONS

2022-2023 A survey exhibition, Peter Booth, Tarrawarra Museum of Art

2003-2004 A retrospective exhibition, Peter Booth: Human / Nature, National Gallery of Victoria

1984-5 Australian Visions: Solomon R Guggenheim Museum, New York; Art Gallery go NSW

1984 An International Survey of Recent Painting and Sculpture, Museum of Modern Art

1983 From Another Continent: Australia - The Dream and the Real, ARC/Musee d' art Moderne de la Ville, Paris

1982 Eureka! Artists from Australia, Serpentine Gallery, London

1982 Venice Biennale: Per booth and Rosalie Gascoigne, Venice

Peter Booth's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery and the Tasmanian Museum and Art Gallery. Internationally, Booth's work is held in the collection of the Museum of Modern Art, New York, Solomon R. Guggenheim Museum, New York, The Metropolitan Museum of Art, New York and the Centro Cultural-Arte Contemporaneo, Mexico.

REFERENCE

Executed in 1984, similar in palette, style and subject matter to those held in significant Australian and International collections,. Examples including:

1984 pastel drawing, Art Gallery of NSW, 27 x 37.4 cm, accession number 69.1985

1984 pastel drawing, National Gallery of Victoria, 66.4 x 104.4 cm, accession number P17-1985

1984 pastel drawing, Museum of Modern Art, New York, 18.6 x 27.2 cm, object number 257.1987

$2,000–3,000

PETER BOOTH

AUSTRALIA, 1940-

The Crowd, 1978

ink and mixed media on arches paper arches paper monogram embossed lower right. Paper size: 64 x 102 cm. (25.2 x 40.1 in.),

Frame: 87 x 123 cm. (34 1/4 x 48.4 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013 (Illustrated, p. 27).

REFERENCE

Peter Booth, once an abstract painter who exhibited in 'The Field' at the National Gallery of Victoria in 1968, by the 1970s had emerged as a highly acclaimed figurative artist, with his brilliant, boldly expressionist paintings and drawings, which raised curtains onto a apocalyptic world of haunting intensity. Within an international context, Peter Booth was working within a broader revival of figurative expressionism and such movements as the Italian Transavantgarde and German and Austrian Neo-expressionists, who were making their presence felt internationally as well as in the local biennales. In Melbourne, he was one of the first high-profile artists of his generation who spoke against the wholesale conversion to minimalism and conceptual art in favour of figurative paintings and drawing, and important drawings in the collection, including..... The Crowd, 1978, celebrate this return to defiant figuration. (Grishin, Sasha, 2013, p. 24).

$9,000–12,000

PETER BOOTH AUSTRALIA, 1940-

Dream: Men and Fences ink and gouache on paper titled on auction label, 'Peter Booth: Dream: Men and Fences', on verso

Image: 7 x 9 cm. (2.7 x 3.5 in.),

Frame: 22 x 26 cm. (8.6 x 10.2 in.)

$1,000–1,500

JOHN WALKER ENGLAND, 1939untitled, 1991

mixed media on paper signed Walker, and dated, 1991

Paper size: 99 x 97 cm. (38.9 x 38.1 in.),

Frame: 123.5 x 121 cm. (48.6 x 47.6 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013,.

$2,000–4,000

JOHN

WALKER

ENGLAND - AUSTRALIA, 1939untitled oil on canvas

Image: 49.5 x 40 cm. (19.4 x 15 3/4 in.), Frame: 60 x 50.5 cm. (23.6 x 19.8 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013

$3,000–5,000

JOHN WALKER

ENGLAND - AUSTRALIA, 1939Form and Mask

oil on canvas

signed and dated 1986 in oil titled 'form and mask' on verso Canvas 182 x 151.5 cm. (71.6 x 59.6 in.), Frame: 186 x 155.5 cm. (73.2 x 61.2 in.)

SELECTED EXHIBITIONS

1984 An International Survey of Recent Painting and Sculpture, Museum of Modern Art

1983 New Art at the Tate Gallery, The Tate Gallery COLLECTIONS

John Walker's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of NSW. Internationally, Walker's work is held at the The British Museum, London, Dallas Museum of Art, Texas, Imperial War Museum, London, Victoria and Albert Museum, London, Irish Museum of Modern Art, Dublin, The Metropolitan Museum of Art, New York, Museum of Fine Arts, Boston, Solomon R. Guggenheim Museum, New York and the Whitney Museum of American Art, New York

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 127.

REFERENCE

John Walker is an English abstract expressionist artist who from 1979 spent most of a decade working and teaching in Melbourne...During his time in Melbourne a close friendship developed between himself and Tom Lowenstein and a considerable number of his works entered the collection - including the major canvas...Form and Mask, 1986...As an artist he absorbed a wide range of influences from the grand manner of the Western tradition, including the art of the moderns, and drew on contemporary developments as well as Oceanic art. He frequently works on a majestic scale and is a master of the dramatic gesture - one which can be read over a considerable distance. He is also a very experimental artist who engages in canvas collages, word imagery, gestural abstraction, constantly reinventing himself over the course of his long career. (Grishin, Sasha, 2013, p. 111).

$15,000–20,000

FRANK & KATE HODGKINSON

AUSTRALIA, 1919-2001

Dinner Service for Six

stoneware with a transparent glaze, decorated with oxide, stains and overglaze painting six plates and six bowls each signed on base 'Ho', suggesting a collaboration overglaze painting attributed to Frank Hodgkinson thrown by Kate Hodgkinson, artists impressed mark KH, to foot of bowls and plates.

Plates: 2 x 26 cm diameter. (0.7 x 10.2 in.), Bowls: 7.5 x 17.5 cm diameter. (2.9 x 6.9 in.)

SELECTED EXHIBITIONS

1976, 12-26 September: Frank Hodgkinson; Kate Hodgkinson – pottery 3-17 October, David Sumner Galleries, Goodwood South Australia, advertised in Art and Australia, v14, no.1 (1976)

COLLECTIONS

Frank Hodgkinson's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and the Queensland Art Gallery. Internationally, Hodgkinson's work is held in the collection of the National Museum and Art Gallery of Papua New Guinea and the Birmingham City Art Gallery, England.

$800–1,200

JOHN OLSEN

AUSTRALIA, 1928-2023

Kangaroo in Nature Forms Jug earthenware untitled

signed with Initials 'JO' and dated '82, near base John Mair impressed tricuspid symbol, near base hand thrown reduction fired with cobalt and iron oxide decoration, brush painted by John Olsen, hand thrown by Robert Mair 35.5 x 12.3 x 20 cm. (13.9 x 4.8 x 7.8 in.)

REFERENCE

A related example of a 1982 ceramic by John Olsen, with Robert Mair (thrower) is held in the collection of the National Gallery of Victoria, accession no. D26-1982

$4,000–5,500

JOHN OLSEN AUSTRALIA, 1928-2023

Lowenstein reviewing the Mona Lisa pencil and watercolour on paper signed 'John Olsen' and dated '91 in pencil lower right titled 'Lowenstein reviewing the Mona Lisa' and inscribed 'happy birthday Tom' lower right

Image: 33.5 x 27 cm. (13.1 x 10.6 in.), Frame: 50 x 44 cm. (19.6 x 17.3 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 10.

REFERENCE

For many a person, the experience of a money-losing venture is enough to discourage them from pursuing the advocacy of art any further; for Tom Lowenstein it was the beginning of a lifelong addiction...It quickly became apparent to him that he enjoyed much more the company of the artists than the company of business clients and that he could be very useful in looking after artists' financial and taxation matters. The art they made gave him great pleasure and soon became objects of desire in his growing art collection. If there were was an artist who had the greatest impact on him, then that artist was John Olsen. They got to know one another over a five hour lunch in a North Shore restaurant in Sydney where, as further bottles of chardonnay were uncorked, meetings and flights were missed..... He recently reflected: 'If I were ever stranded on a desert island and had to select one person as company (other than my wife or a family member), I think it would be John Olsen!' (Grishin, Sasha, 2013, pg.10)

$2,000–4,000

CHARLES BLACKMAN

AUSTRALIA, 1928-2018

The Embrace

ink on paper signed in ink

Image: 24 x 27.5 cm. (9.4 x 10.8 in.), Frame: 46 x 49 cm. (18.1 x 19.2 in.)

SELECTED EXHIBITIONS

2006 Alice in Wonderland, National Gallery of Victoria, Melbourne

1993 Schoolgirls and Angels, National Gallery of Victoria, Melbourne

1988 Recent Acquisitions to the Heide Collection, Heide Park and Art Gallery, Victoria

1987 Innocence and Danger: An Artist's View of Childhood, by Robert Rooney, Heide Part and Art Gallery, Victoria

1985 Australian Modernism: The Heide Collection, Heide Part and Art Gallery, Victoria

1975 Paris Drawings, Albert Hall, Arts Council of Australia, ACT Division, Canberra

1963 Australian Painting and Sculpture in Europe Today, Metropolitan New Art Centre, Folkestone, UK

1962 Commonwealth Art Today, Commonwealth Institute Gallery, London

1961 Biennale des Jeunes, Musee d'Art Moderne, Paris

1960 Rubinstein Invitation Exhibition, National Gallery of Victoria, Melbourne (toured all states)

COLLECTIONS

ARTHUR BOYD

AUSTRALIA, 1920-1999

Sacrifice of Isaac ink and wash on paper signed a. Boyd and arthur Boyd lower right inscribed 'mazel tov Tom many more with love', lower left Image: 41 x 40 cm. (16.1 x 15 3/4 in.), Frame: 66 x 56.5 cm. (25.9 x 22.2 in.)

Collections:

Arthur Boyd's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery and the Tasmania Museum and Art Gallery

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 21, and attributed to 1971.

REFERENCE

Sacrifice of Isaac, directly related to other religious themed works from the late 1940s and those revisited in the early 1970's. Examples in Australian collections include: 'Study of Crucifixion', 38 x 44cm, drawing black ink and wash (circa 1946), Art Gallery of NSW Illustration for 'Jonah' series 1973, each approx. 28.2 x 19.8 cm, Art Gallery of NSW.

Arthur Boyd was the most prominent artist who caught the flame of (Danila) Vassilieff's vision..... Pieces in the collection include the marvellously expressing drawing by Arthur Boyd, Sacrifice of Isaac, autographed by the artist 'to Tom with Love'. (Sasha Grishin, 2013, p. 20)

"Arthur Boyd was one of the most loveable and gentle Characters you could ever meet. He had a very generous nature, a heart of gold and could not say no to anybody. His generosity towards his own family, his donations of hundreds of artworks to institutions and public galleries, his gift of the Bundanon Property an its contents to the nation, and his readiness to gift his works to charitable causes is unparalleled in

Australia..... Although I met Arthur and his wife Yvonne at the Australian Galleries exhibition openings, he was a United Kingdom tax resident, and did not need an Australian accountant. However, when he was confronted with some tax queries in the 1990s, Boyd's solicitor advised him to get professional advice, and it was recommended that Arthur should approach a multinational accounting firm. I was told that Arthur said: 'No, I have heard about Tom Lowenstein. He is spoken of very highly by other artists, so I would like to go and see him first.' I received a phone call from his solicitor the late Bill Lasica; 'Tom, Would like you to look after Arthur Boyd?' The only possible response was: Bill, I would be delighted. It proved to be one of the most rewarding relationships. I became friends with Arthur and his wife Yvonne, and they were the most delightful people to deal with." (Tom Lowenstein)

$1,800–2,500

JOHN OLSEN AUSTRALIA, 1928-2023

Arthur Boyd and John Olsen

double intaglio etching on one sheet of cream wove paper signed, dated '78 and numbered 18/25 in pencil titled 'Arthur Boyd' and 'John Olsen' below images

Image each: 31.5 x 25 cm. (12.4 x 9.8 in.),

Frame: 61.5 x 80.5 cm. (24.2 x 31.6 in.)

REFERENCE

The Artist proof this etching is held in the Queensland Art Gallery of Modern Art accession 2:1230.

$3,000–5,000

"Our (Tom and Sylvia's) first art purchase consisted of six paintings by Pro Hart which we bought directly from the artist in 1969. We were holidaying with our kids in Mildura, and Sylvia decided that since it was only about 300 kilometres between Mildura and Broken Hill, it would be fascinating to drive such a short distance to meet Pro Hart, who was gaining prominence at that time....Pro Hart has recently acquired a magnificent organ and had arranged for a music teacher from Carmel College in Perth to give a small performance for a small group of friends. We were invited to join them. The concert was a wonderful experience, even our sons were impressed. At the end of the night, as we were about to leave, Pro Hart reminded us that we had wanted to acquire one or two paintings and asked us whether we still wanted to buy something.

We ended up buying six paintings and for a number of years they were our great topic of conversation....Only one small painting remains in our collection as a reminder of our first 'art buying' trip.... "

– Tom Lowenstein

PRO HART

AUSTRALIA, 1928-2006

Country Race Meeting

oil on board

signed 'Pro Hart' in oil lower right Image: 11.5 x 29.5 cm. (4.5 x 11.6 in.), Frame: 30 x 48 cm. (11.8 x 18.9 in.)

EXHIBITED

Pro Hart Gallery, 1969.

COLLECTIONS

Pro Hart's work is held in institutional collections throughout Australia including the National Gallery of Australia, State Gallery Hobart, Australian War Memorial Canberra, Art Gallery of N.S.W., Sydney Opera House and The Art Gallery of South Australia. Internationally Hart's work is held at the Warsaw National Gallery, Poland.

LITERATURE

Lowenstein, Tom. Lover and Others, Melbourne Books, 2021, p.38.

$2,000–3,000

GUY BOYD

AUSTRALIA, 1923-1988

Australia themed vase

white earthenware clay thrown white earthenware clay brown stained ongobe –painted with stains and sgraffito highlights etched signature to base, Guy Boyd 12 x 8 cm (diameter). (4.7 x 3.1 in.)

SELECTED EXHIBITIONS

1986 Clarkson University, New York

1978 Retrospective: The Australian Embassy, Washington DC

COLLECTIONS

Guy Boyd's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of NSW and the Museum and Art Gallery of the Northern Territory, Darwin. Internationally, Boyd's work is held in the collection of Clarkson University, New York and the Prudential Art Museum, Toronto

LITERATURE

Lowenstein, Tom, Melbourne Books, 2013

REFERENCE

The first member of the Boyd family that I acted for was Arthur's brother, the renowned sculptor Guy Boyd (Tom Lowenstein, Lovers and Others, pp.122).

Guy Boyd is considered to be one of Australia's most significant post-war figurative sculptors. Prior to committing full-time as a sculptor, he was a highly influential figure in the emergence of Australian commercial and studio pottery. During 1944, he was posted to a rehabilitation unit where he taught pottery to injured soldiers. In 1946, he studied sculpture at the East Sydney Technical College and set up a pottery studio. Hermia Boyd and Tom Sanders who were students at East Sydney Technical College. Together with David Boyd, they worked part-time at Guy Boyd's studio and produced functional pottery usually signed 'hermia ware' or 'Martin Boyd'.

This vase, signed Guy Boyd, was most likely created at the time of Martin Boyd Pottery, or shortly after when Guy Boyd returned to Melbourne and established a Melbourne pottery studio in the early 1950s and prior to turning full-time to Sculpture in the mid sixties.

$200–400

LIN ONUS AUSTRALIA, 1948-1996

Grass brush

mixed media and collage on canvas board signed 'Lin Onus' in oil lower left artwork alongside a personal letter from Onus to Tom Lowenstein Image: 20 x 40.5 cm. (7.8 x 15.9 in.), Frame: 21 x 41.5 cm. (8.2 x 16.3 in.)

SELECTED EXHIBITIONS

2022 Lin Onus: The Land Within, SAM (Shepparton Art Museum), Shepparton, Victoria

2009 Lin Onus: Meaning of Life, Maroondah Art Gallery, touring exhibition

1994 Power of the Land, Masterpieces of Aboriginal Art, National Gallery of Victoria.; Yiribana, Art Gallery of New South Wales, Sydney.

1991 Aboriginal Art and Spirituality, High Court, Canberra

1990 Painters Gallery, Sydney

1984 The First National Aboriginal Art Award Exhibition, Museum and Art Gallery of the Northern Territory, Darwin COLLECTIONS

Lin Onus' work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia and the Art Gallery of NSW.

REFERENCE

A letter attached verso, reads: Dear Tom, this is my 'grass brush'. For a long time I have had considerable difficulty when trying to paint grass, after some years of experimentation I finally made this. The stem is from bamboo that was growing through my fence and the bristles are tufts from a whisk broom. This brush works just fine – an effective and satisfying solution to a lingering problem. Regards Lin Onus.

$1,200–1,800

JOHN WOLSELEY

ENGLAND, 1938-

Tidal Almanac: The Warming of the Seas watercolour, gouache, colour pencil and pencil on paper signed, dated and inscribed lower right: Chart of Range of Tides=at21 August 88 / Calculations completed 5.15 / 23 May 1991 /John Wolseley Australian Galleries, Melbourne (label attached verso).

Paper size: 123 x 208 cm. (48.4 x 81.8 in.), Frame: 161.5 x 247 cm. (63.5 x 97.2 in.)

EXHIBITED:

Art Gallery of New South Wales, John Sulman Prize, Finalist, 1991/2

SELECTED EXHIBITIONS

2021 ‘The National 2021: New Australian Art’, Museum of Contemporary Art, Sydney, NSW

2017 ‘Midawarr | Harvest: The Art of Mulkun Wirrpanda and John Wolseley’, National Museum of Australia, Canberra

2015 ‘John Wolseley: Heartlands and Headwaters’, The Ian Potter Centre, National Gallery of Victoria, Melbourne

2015 “RAAKLIJNEN’, Museum voor Schone Kunsten Ghent, Ghent, Belgium

2014 ‘International Print Exhibition, Australia and Japan’, Kyoto Municipal Museum of Art, Kyoto, Japan; Fukuyama Museum of Art, Hiroshima, Japan

2006 ‘A Bird in the Hand: paintings by Tony Clark and John Wolseley’, curated by Robyn McKenzie, La Trobe Visual Arts Centre, Bendigo, VIC and Art Gallery of New South Wales, Sydney

2004 ‘2004: Australian Culture Now’, The Ian Potter Centre, National Gallery of Victoria, Melbourne

2002 ‘Meridian: Focus on Contemporary Australian Art’, Museum of Contemporary Art, Sydney

1996 ‘Patagonia to Tasmania: Origin Movement Species Tracing Southern Continents’, Queen Victoria Museum and Art Gallery, Launceston, Tasmania

1995 ‘The Derwent Collection: Australian Art of the 1980s and 1990s’, Tasmanian Museum and Art Gallery, Hobart

1996 ‘Australian Watercolours’, Art Gallery of New South Wales, Sydney, touring exhibition

1993 ‘1993 million drawings: Being an examination of Australia’s flora and fauna since the Proterozoic Era’, Queen Victoria Museum and Art Gallery, Launceston, Tasmania

1991 ‘Two hundred years of Australian Painting’, Museums of Modern and Western Art, Tokyo and Kyoto, Japan

1988 ‘Nomadism: John Wolseley , Twelve years in Australia’, University of Melbourne, Melbourne

1984 ‘The centre: Works on paper by contemporary Australian artists’, Art Gallery of South Australia, Adelaide

1981 ‘Landscape Art: Two Way Reaction’, Australian National Gallery, Canberra

1973 Artist as Selector, Oxford City Art Gallery, London, UK

COLLECTIONS

John Wolseley's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of Western Australia, Art Gallery of NSW, Museum and National Gallery of the Northern Territory and the Queen Victoria Museum and Art Gallery Tasmania. Internationally, Wolseley's work is held in the collection of the Oxford City Art Gallery, UK, Hereford Museum and Art Gallery, UK, Harrogate Art Gallery, UK, Contemporary Arts Society London, Contemporary Arts Society London and the Museum of Contemporary Art, Skopje, Macedonia

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 206. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021, illustrated p.107.

REFERENCE

Without a doubt, John Wolseley is one of the most fascinating artists that I have had the pleasure to know....His Sense of humour, his idiosyncrasies, his sense of dress, his charm, wit and feeling of mystery that surrounds him make Wolseley one of the most interesting and

enjoyable companions with whom one would wish to spend some time....John also ensured that we had selected the right works for our collection. In 1992, he had entered a work on paper in the Wynne Prize and another in the Trustees Watercolour Prize, both of which were held of the Art Gallery of New South Wales. I preferred the entry in the Wynne Prize and told him that we would be delighted to acquire that work for our collection. John said that I should have another look at the work in the Watercolour Prize, because it was a more significant work, which would enhance our collection. Fortunately, I listened to him and took his advice, and the work , Warming of the Seas, now graces our walls becoming the centrepiece of our collection."

(Lowenstein, Lovers and other, 2021, 107-108).

REFERENCE

John Wolseley, on his arrival in Australia in 1976, like so many European artists before him, was immediately struck by the exotic and uncharted quality of the Australian landscape. A basic formal strategy in much of John Wolseley's Australian work is the production of large-scale composite works, such as his sprawling two-metre-long artwork, The Warming of the Seas, 1991, in this collection. Here a selection of drawings executed in the field are brought together within the studio into a single large-scale piece, frequently glued onto canvas and supplemented with annotations taken from his written journals. In this manner, the work has the appearance of intricate intimacy, where journal-like fragments of paper, specimens and photographs deny the tyranny of the picture frame. It also serves to convey a huge body of disparate information relating to different systems of information, while at the same time it maintains a monumental presence. The work also has a metaphysical existence. In his intricate bricolage technique he builds up a dossier of evidence for man's presence in landscape, treated as a statement concerning our relationship with the planet. Inherent in his philosophy of art is that there is a mystical voice of the landscape, and that nature leaves traces of the past, like the scars from glaciers through which we can catch glimpses of the future. A holistic outlook, where humankind is part of nature, is fundamental to Wolseley's artistic practice - where the wilderness is not the external 'other' with which the sentimental urban dweller engages in moments of existential despair, but it part of the intrinsic internal 'self' of each person". (Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013, p. 180)

$15,000–20,000

LOUISE BOSCACCI

AUSTRALIA,

1960Trio of vases

translucent porcelain each inscribed 'Bascacci', to base two vases, with inlaid black slip. the tallest vase being a rolled and assembled cylindrical vase with carved surface and white satin glaze 12 x 8.5 cm. 23 x 5 cm. 19.5 x 10.5 cm.

COLLECTIONS

Boscacci's work is held in Australian institutional collections, including the National Gallery of Australia.

EXHIBITED

Boscacci is the Head of Ceramics, at the national Art School. "Louise has exhibited extensively, nationally and internationally, with 14 major solo and 52 group and collaborative two-person exhibitions since 1997, including significant curatorial representations in capstone events, from Clay Energy (Clay Gulgong 2010 invited Master Artist) to Clay Dynasty (2021–3, Powerhouse Museum Sydney). She was awarded the prestigious Australia Council London Studio Residency for her practice in contemporary ceramics, and is a recipient of two New Work grants by the Australia Council for large-scale porcelain works conceived as future archives of extinction witness, and new ceramics and sound investigations." (National Art School profile)

REFERENCE

"Louise Boscacci explores clay and ceramics as a material language of flow, chance, touch and possibility. “I make pots and other things,” she writes. “They are all connected.” Her practice also composes interplays of porcelain, light, photography and sound in new objects and assemblages. An alumna of the National Art School, Boscacci has exhibited widely in Australia over the past two decades, been resident in the Australia Council London Studio, and continues to experiment with new ways and works as vital to her ceramic vocabulary. The ‘encounter’, and “‘country’, affective places, living grounds …”, are resonant refrains. Her article for Yarrobil is a piece of intersectional writing: worded forms that play with and move from the making processes of the studio towards a synergy of expression. It is drawn from her recent PhD research: The Trace of an Affective Object Encounter: a picture postcard, its provocations, and processual becomings." (Mansfield Ceramics, from a feature article by Louise Boscacci)

$1,500–2,000

SHIGEO SHIGA

JAPAN - AUSTRALIA, 1928-2011

Fluid Blue Celadon Vase

stoneware

impressed artists marks to foot of base wheel thrown stoneware with a blue celadon glaze with a thick fluid blue celadon vase form 22.5 x 24 cm. (8.8 x 9.4 in.)

COLLECTIONS

Shiga's works are held in institutional collections throughout Australia including, The National Gallery of Australia, National Gallery of Victoria, Art Gallery of NSW, Art Gallery of Western Australia and Geelong Gallery.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013, illustrated, p.255

REFERENCE

Shigeo Shiga, was a great Japanese potter, who in 1966 was invited for the academic year to visit Australia, but liked the place and stayed for thirteen years and in the process has a profound impact on a

whole generation of Australian potters. His glazes and forms, as well as reflection on the tea ceremony and Zen Buddhism, make some of his pots into an enormously rewarding contemplative experience. After he left Australia in 1979 he spent many of the remaining years of his life making pottery in a Zen temple in Machida City, near Tokyo (Grishin, Sasha. 2013, p 188)

$1,000–1,500

SHIGEO SHIGA

JAPAN - AUSTRALIA, 1928-2011

Crawled Blue Celadon Vase

stoneware

impressed artist marks to base thrown stoneware, crawled glaze 8 x 11.5 cm. (3.1 x 4.5 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

$400–600

SHIGEO SHIGA

JAPAN - AUSTRALIA, 1928-2011

Tea Dust Vase

stoneware inscribed with artists marks, to foot of base thrown stoneware, reduction fired with dolomite iron ' tea dust' glaze

22 x 17 cm. (8.6 x 6.6 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

$1,000–1,500

SHIGEO SHIGA

JAPAN - AUSTRALIA, 1928-2011

Together

porcelaneous stoneware

inscribed with artists marks to base hand thrown and carved and textured surface porcelaneous stoneware with iron dolomite glaze

Smallest: 10 x 10.5 cm. (3.9 x 4.1 in.), Largest: 13 x 12 cm. (5.1 x 4.7 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

REFERENCE

AGNSW, Bottle with Celadon Glaze and chattered decoration 1978, accession number 261.1997

$800–1,200

SHIGEO SHIGA (ATTRIBUTED)

JAPAN - AUSTRALIA, 1928-2011

Iron Red Vase

stoneware impressed artist mark to base thrown stoneware, iron red glaze - oxidation fired 22.4 x 9 x 11 cm. (8.8 x 3.5 x 4.3 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

REFERENCE

For related examples, see QAG facetted bottle 1970, Powerhouse collection Object A5634,1969.

$800–1,200

SHIGEO SHIGA (ATTRIBUTED)

JAPAN - AUSTRALIA, 1928-2011

Press folded vase

stoneware

press moulded, wire cut slabs, two pieces, formed and assembled, with hand build neck added. decorated with iron oxide, with a glazed neck label, numbered 287 attached to base 34 x 10 x 31 cm. (13.3 x 3.9 x 12.2 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste:

The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

REFERENCE

This press folded vase, like all Shiga works in the Lowenstein collection were acquired directly from the artist at his studio. For a related example, slab pot, p. 2015.6.

Tasmanian Art Gallery and Museum.

$800–1,200

SHIGEO SHIGA

JAPAN - AUSTRALIA, 1928-2011

Oil Spot Vase

porcelaneous stoneware impressed artist's marks to base thrown porcelaneous stoneware, finely patterned oil spot glaze 18.5 x 17 cm. (7.2 x 6.6 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

$800–1,200

XIAN

CHINA - AUSTRALIA, 1960-

Head 1, Head 2, Head 3 & Head 4 photo-lithographs

each signed 'Ah Xian' and dated 2007 in pencil lower right

each titled lower right

EACH - Image: 35.5 x 27 cm. (13.9 x 10.6 in.),

Frame: 53.5 x 39.5 cm. (21.0 x 15.5 in.)

SELECTED EXHIBITIONS

2021 The way we eat, Art Gallery of New South Wales, Sydney, Australia

2020 A drop of Water, Art Gallery of New South Wales, Sydney, Australia

2019 Walking with Gods, Art Gallery of New South Wales, Sydney, Australia

2016 Ah Xian: Naturepgysica. (Coincides with the exhibition of “A worldView: Tim Fairfax Gift”), Queensland Art Gallery / Gallery of Modern Art, Brisbane, Australia

2014 China’s Changing Landscape, Nordic Watercolour Museum, Sweden

2014 Dark Heart, Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide, Australia

2013 New Blue and White, Museum of Fine Arts, Boston, USA

2008 Georg Kolbe Museum, Berlin, Germany

2007 Städtische Museen Heilbronn, Heilbronn, Germany

2006 Prism: Contemporary Australian Art, Bridgestone Museum of Art, Ishibashi Foundation, Tokyo, Japan

2003 Ah Xian: A retrospective exhibition, Queensland Art Gallery, Brisbane, Australia

2002 Ah Xian Meets Jingdezhen, Museum fur Angewandte Kunst (MAK Frankfurt), Germany

2001 China, China: Recent works in porcelain by Ah Xian, Powerhouse Museum, Sydney, Australia

2000 China, China-A series of works in porcelain by Ah Xian, RMIT Gallery, Melbourne, Australia

1996 “3 x 3”- An international touring exhibition, Sydney, Christchurch, Auckland, Berlin, Beijing, Canberra.

1993 Mao Goes Pop: New Art in China Post 1989, Museum of Contemporary Art, Sydney, Australia

1988 Salon du Grand Palais Exhibition, Paris, France

1987 The Second Exhibition of Beijing Youth Artists. National Art Gallery of China, Beijing, China

1986 Ah Xian’s Works – a solo exhibition, Old Observatory, Beijing, China COLLECTIONS

Ah Xian's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, National Portrait Gallery of Australia, Art Gallery of NSW and Queensland Art Gallery. Internationally, Xian's work is held in the collection of the Asia Society Museum, Asia Society New York, National Gallery of Canada and the Kirishima Open-Air Museum, Japan

LITERATURE

Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021, p. 168

REFERENCE

"Ah Xian came one day to our office, with a large folio under his arm. To my amazement and delight, the folios contained a set of four photographic prints of his works, including blue-and-white, cloisonné, imitation-ivory or red lacquer wood pieces. We were so excited about his gift, that we immediately commissioned a second set so that, once framed, both sets could greet visitors in the reception rooms of our Melbourne and Sydney offices. According to Ah Xian (and to the best of my knowledge), these are the only two such sets in existence produced especially for us by the artist". (Lowenstein, Tom, 2021, p. 168).

$4,000–6,000

PAUL PARTOS

AUSTRALIA, 1943-2002

untitled

oil on canvas

signed and dated, 'Paul Partos 86 untitled', on verso Canvas: 177.5 x 152 cm. (69.8 x 59.8 in.), Frame: 179.5 x 154 cm. (70.6 x 60.6 in.)

SELECTED EXHIBITIONS

2012 Less is More: Minimal and Post-minimal Art in Australia’, Heide MOMA, Melbourne

2009 Tackling the Field, Art Gallery of NSW, Sydney

2008 John McCaughey Memorial Exhibition 50 years, NGV, Melbourne

2006 Paul Partos: Final Works 2002, TarraWarra Museum of Art

1995-1968 National Gallery of Australia, Canberra

1989 The Jack Manton Exhibition, Queensland Art Gallery, Brisbane

1986 Surface for Reflection, Part 1, Art Gallery of NSW

1985 The Subject of Painting, Art Gallery of New South Wales, Sydney

1978 The Work and its Context, San Francisco Museum of Modern Art, USA

1976 Minimal Art, NGV, Melbourne

1975 Artist’s Artists, NGV, Melbourne

1973 Ewing Gallery, Melbourne University

1964 Young Minds, Museum of Modern Art, Melbourne

COLLECTIONS

Paul Partos' work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery and Parliament House, Canberra.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 156.

REFERENCE

Paul Partos exhibited in 'The Field' exhibition when he was twentyfive years old, but subsequently moved into minimalism and forms of conceptual art and arguably made some of his finest work late in life.... Although coming from the perspective of what American Critic Clement Greenberg termed 'Post Painterly abstraction'. where frequently the human touch was sprayed out on the work, he later became increasingly concerned with a void in the centre of the picture space around which forms gathered on the periphery. Later he moved into very sensitive , all offer paintings, like those in the collection where breathings of line, tone, space suggest a very private and enigmatic iconography and celebrate ether human presence. (Grishin, 2013, 117.)

$15,000–25,000

PAUL PARTOS

AUSTRALIA, 1943-2002

Calendar

gouache on paper titled on auction label 'Calendar' on verso Deutscher Menzies Sale 11/09/06 lot no. 95

Image: 74.5 x 56 cm. (29.3 x 22.0 in.),

Frame: 103 x 83.5 cm. (40.5 x 32.8 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

$3,000–5,000

GARRY SHEAD

AUSTRALIA, 1942Remembrance

hand thrown terracotta, painted with ongobe slip and decorated with stains and sgraffito inscribed La Paloma Pottery mark, to base hand thrown by Lino Alverez, La Paloma Pottery painted and decorated by Garry Shead untitled 28 x 15 cm. (11.0 x 5.9 in.)

SELECTED EXHIBITIONS

2014 ‘Pop to Popism’, Art Gallery of New South Wales, Sydney

2012 Archibald Prize, Art Gallery of New South Wales, Sydney

2007 ‘The Story of Australian Printmaking; 1801-2005’, National Gallery of Australia, Canberra

2003 ‘Kelly culture’, Reconstructing Ned Kelly, State Library of Victoria, Melbourne

1994 ‘The Lovers’, Heide Museum of Modern Art, Melbourne

1993 ‘D.H. Lawrence Series’, Art Gallery of New South Wales, Sydney

1989 ‘Prints and Australia’, National Gallery of Australia, Canberra

1982 ‘The Sydney Harbour Bridge 1932-1982’, Art Gallery of New South Wales

1974 ‘United States and Australian Funk Art’, Art Gallery of New South Wales, Sydney

1973 ‘Ghost Who Walks’, Newcastle Region Art Gallery, Newcastle, NSW

COLLECTIONS

Garry Shead's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and the Queensland Art Gallery.

$2,500–4,000

GARRY SHEAD

AUSTRALIA, 1942-

The Night Watch

oil on board

signed 'garry shead' and dated 1993, lower right titled 'night watch' and inscribed on verso, 'For Tom and Sylvia. For your work and in appreciation of your great support and friendship.

With love Garry and Judith 29.10.02'

90.5 x 121.5 cm. (35.6 x 47.8 in.), Frame: 94 x 125 cm. (37.0 x 49.2 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 56.

Grishin, S., Garry Shead and the Erotic Muse, Fine Art Publishing, Sydney, 2001, p. 94

REFERENCE

Garry Shead became both a close friend of Tom Lowenstein and is also exceptionally well represented in this collection with a number of significant paintings from the D.H. Lawrence and Artist and His Muse series, as well as through prints, drawings and a ceramic piece. The two first met in 1991, at the time when Gary Shead was embarking on a major series of paintings associated with the writer D.H. Lawrence, and especially the novel Kangaroo, which D.H. Lawrence wrote mostly in Australia. This was the series which for the first time established his reputation as one of Australia's finest lyrical expressionist artists, a reputation which was subsequently enhanced when he was awarded the Archibald Prize in 1993. Gary Shead is an articulate, analytical and well-read artist for whom the relationship between the image and word is a complex one and for whom the best of tenets of the humanist theory of art, first articulated in Horace's Art poetic, ring true for much of his practice......Much of his work taps into a dream-like world which operates on many levels of interpretation, some deeply personal and autobiographic, others more universal, symbolic and evocative.. Many of us find in his art a personal resonance, as in paintings as Night Watch (Grishin, S, 2013, pp. 23-24.)

$60,000–80,000

GARRY SHEAD

AUSTRALIA, 1942-

The Mask

ink and watercolour on paper signed in ink

Paper size: 19 x 14 cm. (7.4 x 5.5 in.), Frame: 28.5 x 24 cm. (11.2 x 9.4 in.)

$600–900

GARRY SHEAD

AUSTRALIA, 1942-

The Model

watercolour and ink on paper signed 'garry shead', lower right inscribed 'Happy birthday to Sylvia much love Garry xxx', lower centre

Paper size: 28 x 19.5 cm. (11.0 x 7.6 in.), Frame: 38 x 29.5 cm. (14.9 x 11.6 in.)

$1,200–1,800

GARRY SHEAD

AUSTRALIA, 1942Naiad

etching on paper

signed and numbered 2/30 in pencil titled 'naiad' below image inscribed 'for Sylvia on your birthday - love Garry and Rose xx' embossed lower right with printers stamp

Image 14.5 x 12 cm. (5.7 x 4.7 in.), Frame: 44.5 x 33 cm. (17.5 x 12.9 in.)

REFERENCE

Naiad, (from Greek naiein, “to flow”), in Greek mythology, one of the nymphs of flowing water—springs, rivers, fountains, lakes. The Naiads, appropriately in their relation to freshwater, were represented as beautiful, lighthearted, and beneficent. Like the other classes of nymphs, they were extremely long-lived, although not immortal. (n.a., Britannica Online Dictionary Database, n.d.)

$300–500

GARRY SHEAD

AUSTRALIA, 194205-01 02

ink and wash on paper

signed 'Garry Shead' and dated "05-01 02" in ink, lower centre titled, beneath signature, (indecipherable)

Image: 27.5 x 45.5 cm. (10.8 x 17.9 in.),

Frame: 53.5 x 70 cm. (21.0 x 27.5 in.)

$2,000–2,500

"Robert Klippel was another artist who became a client in 1992. He was recommended by John Olsen, and he apologised profusely for the fact that John had told him at least eight or nine years before to come and see me. But Robert delayed this as much as he could, as he did not wish to hurt the feelings of his former accountant...Over the years, we became very good friends, and I enjoyed visiting him in his large rambling home studio. Every nook and cranny were filled with his sculptures, large and small...Sylvia used to accompany me on a number of these trips..."

– Tom Lowenstein

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

No 928, 1998

painted wood assemblage inscribed with initials ‘R K.’ (on yellow component) and with title and date ‘928 .98’ and details handwritten on Watters Gallery label (all under base) 53 x 8 x 46 cm. (20.8 x 3.1 x 18.1 in.)

PROVENANCE

Artist to Tom Lowenstein

EXHIBITED

Robert Klippel – Fifty New Sculptures, Watters Gallery, Sydney, 11-28 November 1998, cat. 18, illus. catalogue unpaginated

LITERATURE

Robert Klippel – Fifty New Sculptures, Sydney, 1998, exh. cat. 18, illus. cat. unpaginated

Deborah Edwards, Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, illus. No. 928

$5,000–7,000

ROBERT KLIPPEL AUSTRALIA, 1920-2001

No 951, 1998

painted wood assemblage inscribed with title ‘951’ (under base)

28 x 11 x 21 cm. (11.0 x 4.3 x 8.2 in.)

PROVENANCE

Artist to Tom Lowenstein

$1,800–2,500

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

No 908, 1998

painted wood assemblage

Inscribed with initials ‘R.K.’ (on base) and inscribed with title ‘908’ (under base); further with handwritten details of work on Watters Gallery label (under base)

23.1 x 8 x 45.4 cm. (9.0 x 3.1 x 17.8 in.)

PROVENANCE

Artist to Tom Lowenstein

EXHIBITED

Robert Klippel – Fifty New Sculptures, Watters Gallery, Sydney, 11-28 November 1998, cat. 28

LITERATURE

Robert Klippel – Fifty New Sculptures, Sydney, 1998, exh. cat.28, illus. cat. unpaginated

Deborah Edwards, Robert Klippel: Catalogue Raisonné of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002, illus. No. 908

$2,500–4,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Untitled, 1990

watercolour and ink on paper signed with initials 'R.K.' and dated '90 lower right

Paper size: 35 x 50.5 cm. (13.7 x 19.8 in.),

Frame: 50.5 x 65.5 cm. (19.8 x 25.7 in.)

PROVENANCE

Artist to Tom Lowenstein

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$1,800–2,500

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Untitled, 1989

acrylic, watercolour and oil on paper signed with initials ‘R.K’ and dated ’89 in pencil inscribed on label ‘AKD 0603’ on verso

Paper size: 30 x 41.5 cm. (11.8 x 16.3 in.)

PROVENANCE

The Estate of Robert Klippel to Tom Lowenstein

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$1,800–2,500

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Collage, 1993

watercolour, acrylic and collage on paper signed 'Robert Klippel' and dated 1993 in pencil lower centre inscribed, 94/24/016 on verso and separate label, with price

Paper size: 57.5 x 68.5 cm. (22.6 x 26.9 in.), Frame: 81 x 91.5 cm. (31.8 x 36.0 in.)

PROVENANCE

Artist to Tom Lowenstein

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$2,000–3,000

ROBERT KLIPPEL

AUSTRALIA, 1920-2001

Untitled, 1989

crayon and acrylic on paper inscribed AKD 601, in pencil on verso

Paper size: 27 x 40 cm. (10.6 x 15 3/4 in.)

PROVENANCE

The Estate of Robert Klippel to Tom Lowenstein

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$1,800–2,500

ALUN LEACH-JONES

ENGLAND - AUSTRALIA, 1937-2017

Small Worlds, circa 2010

patinated bronze

signed 'AL - J' and numbered 2/5 on base 23cm high x 17cm wide x 9.5cm base diameter (9.0 x 6.6 in.)

SELECTED EXHIBITIONS

2005 TarraWarra Museum of Art, Six Years abstracted 1967-72.

2000 Pictures for the sky, Museum fur Kunstdrachen, Germany

1997 Australian Drawings from the Gallery's Collection, AGNSW

1995 Everyman: The Inventions of Signs, Geelong Art Gallery

1986 Australian Modern Masters, NGV, Melbourne

1981 National Gallery of Modern Art, Lisbon, Portugal

1977 1st New York International Print Biennial, Bronx Museum of the Arts, New York

1969 10th International Biennial of Modern Art, São Paulo, Brazil

1968 The Field exhibition, National Gallery of Victoria COLLECTIONS

Alun Leach-Jones' work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and the Queensland Art Gallery. Internationally, Jones' work is held at the Museum of Modern Art, New York, The British Museum, London, The Victoria and Albert Museum, London, Auckland City Art Gallery, New Zealand and the National Gallery of Malaysia, Kuala Lumpur.

REFERENCE

Though Australian artist Alun Leach-Jones is known primarily for his paintings, he began to make sculptures more than 20 years ago in 1992. Working in his studio—a converted factory building in North Sydney, near Sydney Harbour—he made three-dimensional works that, at the time, he did not consider showing. They were meant to be as distinct as possible from his paintings, which are recognized in and beyond Australia as accomplished Modernist studies in abstraction. Made from cut and carved wood and then cast in bronze, Leach-Jones’s early sculptural efforts gave him both the dimensional freedom and the intellectual space to work out ideas taken from the high culture of classic Modernism. According to the artist, modernity in art 'is not a closed system; on the contrary, if it is subject to intense questioning, it demonstrates a remarkable elasticity as a theoretical and visual system. (Goodman, Johnathan, Elements of Measure, Classically Inclined: Alun Leach-Jones. Sculpture Magazine, 2015).

$1,000–1,500

ENGLAND - AUSTRALIA, 1937-2017

Instruments for a Solitary Navigator IV synthetic polymer paint on canvas signed and dated '91 in paint verso titled on label and stretcher 'instruments for a solitary navigator IV', verso 137 x 122 cm. (53.9 x 48.0 in.), Frame: 140 x 125 cm. (55.1 x 49.2 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 107.

REFERENCE

Alun Leach-Jones was one of the artists in the Lowenstein collection who participated in 'The Field' exhibition, when the new National Gallery of Victoria opened in 1968. Alun Leach-Jones has become one of the best known and most consistent non-figurative artists working in Australia with refined geometric forms.....A quality of his art is that of arrested movement with complex geometric forms wondrously suspended in space, There is also great lyricism and contemplative quality in his art." (Grishin, Sasha, 2013, p. 112).

$5,000–8,000

ALUN LEACH-JONES

DAVID RANKIN

AUSTRALIA, 1946Bundeena – Bird's Eye Perspective oil on canvas signed and dated '80. lower right Image: 122 x 76.5 cm. (48.0 x 30.1 in.), Frame: 125 x 79.5 cm. (49.2 x 31.3 in.)

COLLECTIONS

David Rankin's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery and Parliament House, Canberra. Internationally, Rankin's work is held at the New York Vista Hotel at the World Trade Center and the Jewish Museum, New York.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013, illustrated p. 199.

REFERENCE

"David Rankin is one of Tom Lowenstein's earliest friend's in the art world. A largely self-taught artist who in 1965, aged nineteen, began working full-time on his art, he has since had a considerable impact. Much of his youth was spent in the semi-agricultural Port-Hacking River area, south of Sydney, and although he is not primarily a landscape painter,"it almost always ends up to be true though that whatever, I want to express, I best express it in a landscape". His art is frequently site-specific, as is the case with the paintings in this collection, including the splendid sprawling vertical slab of landscape Bundeena – A Birds Eye Perspective, 1980.

Since 1989 he has mostly been working in New York, although maintaining close ties with Australia, and the American experience is reflected in a growing sense of order and symmetry which prevails in the more recent work. The other main influence on his work has been his marriage to the poet and novelist Lily Brett and his embracing of Jewish Humanist ideas." (Grishin, 2013, p.178)

$800–1,200

AUSTRALIA, 1946Jerusalem Wall and Shadow

acrylic on canvas signed and dated '90 in acrylic titled 'Jerusalem Wall and Shadow' on verso

167 x 182 cm. (65 3/4 x 71.6 in.)

LITERATURE

Ashton, Dore. David Rankin: The New York Years, Macmillan Art Publishing, Australia 2013. Illustrated p. 129. Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013

$2,000–4,000

DAVID RANKIN

MELINDA HARPER

AUSTRALIA, 1965-

Untitled

oil on canvas

signed and dated 2022 in pastel on verso

76 x 76 cm. (29.9 x 29.9 in.)

SELECTED EXHIBITIONS

2017 CALL OF THE AVANT-GARDE CONSTRUCTIVISM & Australian Art, Heide Museum of Modern Art, Melbourne

2013 Melbourne Now, NGV, Melbourne

2010 The Shilo Project, Ian Potter Gallery, Melbourne

2009 Australian Cubism, Heide Museum of Modern Art, Melbourne

2008 Australia-Contemporary Non-Objective Art, Museum im Kulturspeicher, Wurburg, Germany

2006 Heart and Mind, TarraWarra Museum of Art, Victoria

2003 Untitled: Abstraction, Art Gallery of NSW

2000 The Crystal Chain Gang, Auckland City Gallery, Auckland, NZ

1997 Geometric painting in Australia 1941-1997, University Art Museum

1996 Spirit and Place, Art in Australia, 1861-1996, Museum of Contemporary Art, Sydney

1993 Australian Perspecta, AGNSW

COLLECTIONS

Melinda Harper's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Heide Museum of Modern Art and the Queensland Art Gallery.

$1,500–2,500

PETER D. COLE

AUSTRALIA, 1947Untitled

bronze, patinated brass, wood and enamel paint

48.5 x 10 x 89 cm. (19.0 x 3.9 x 35.0 in.)

SELECTED EXHIBITIONS

2003 ‘National Sculpture Prize and Exhibition’, National Gallery of Australia, Canberra

2003 ‘This was the future: Australian Sculpture of the 1950s, 60s, 70s + Today’, Heide Museum of Modern Art, Melbourne 1995 Carpenter Centre for the Visual Arts, Harvard University, Massachusetts, USA

COLLECTIONS

Peter D. Cole's works are held in Australian and International institutional collections including the National Gallery of Australia, Heide Museum of Modern Art and the Auckland Art Gallery

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013.

REFERENCE

Peter D Cole was born and trained in South Australia, before moving to Melbourne in 1970. He then settled in Kyneton and has spent much of his life living in a rural setting....Living in the country and surrounded by forms of great natural beauty, he quite often creates works about urban realities, both in Australia and in Japan, with a considered mixture of signs and symbols which invariably engage beholders and seduce them into participating in the work.

Commenting on another sculpture....', Cole observed that "the newness, the calmness, the difference and the ease.... you find yourself feeling comfortable there.... This mix of tradition and the most recent makes its own particular type of aesthetic - I don't experience here in rural Victoria. In a strange sort of way what inspires me in the landscape is what inspires me in urban Japan, the references to the natural, the seasons, the rituals" (Grishin, 2013, p.258.)

$4,000–6,000

COL LEVY

AUSTRALIA, 1933-

White Porcelain Bowl, with 'sang de boeuf' glaze

white porcelain

hand-thrown bowl, double glazed and double fired, copper reduction with carbon 'sang de boeuf' glaze incised C/L (monogram), to base, David Jones label to base - CL328, circa 1980-85 11 x 38 x 38 cm. (4.3 x 14.9 x 14.9 in.)

COLLECTIONS

Levy's works are held in institutional collections, including National Gallery of Australia, Art Gallery of New South Wales, Art Gallery of South Australia, Art Gallery of Western Australia, National Gallery of Victoria, and Newcastle City Art Gallery, NSW

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Publishing, 2013,

REFERENCE

Col Levy was born in Sydney in 1933. He studied industrial arts at Sydney Teachers College and ceramics at East Sydney Technical College. In 1957 he spent a year workshop training with Ivan McMeekin at Sturt Pottery, Mittagong, NSW. In 1964 he established a pottery workshop at Mt Bowen near Windsor, NSW, and worked there while lecturing at East Sydney Technical College part-time. In 1974 he was a member of the Education and Training Committee of the Crafts Board of the Australia Council and in that year studied in Japan under Yu Fujuwara at Bizen for six weeks. He became a full-time potter in 1978 and from 1979-80 was a member of the Crafts Board of the Australia Council.

$2,000–3,000

COL LEVY AUSTRALIA, 1933Oil Spot Bowl

hand-thrown fine white stoneware with oil spot glaze textured oil spot glaze black ground with purple brown crystalline inclusions floating on the surface. artist mark not evident.

6.5 x 13 x 13 cm. (2.5 x 5.1 x 5.1 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Publishing, 2013.

$400–600

COL LEVY AUSTRALIA, 1933Ovoid Form Vase

hand thrown porcelain incised C/L (mark), to base ovoid form small central opening, textured oil spot glaze black ground with purple brown crystalline inclusions floating on the surface.

40 x 26 x 26 cm. (15 3/4 x 10.2 x 10.2 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Publishing, 2013, (illustrated, p. 253).

$1,800–2,500

COL LEVY

AUSTRALIA, 1933-

Bizen Lidden Jar, circa 1977

stoneware with bizen style glaze incised C/L artist mark, to base, 10 x 17 x 17 cm. (3.9 x 6.6 x 6.6 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Publishing, 2013.

REFERENCE

For similar examples, the National gallery of Australia holds a collection of Colin Levy's bizen style glazed works, acquired by the Crafts Board of the Australia Council 197801982, and donated to the National Gallery of Australia in 1982.

$200–400

90

COL LEVY

AUSTRALIA, 1933Bizen Test Bowls

stoneware incised artist mark C/L

25 'test bowls', thrown off the hump, bizen fired, various finishes, each with artists incised mark. largest, 4.5 x 6 x 6 cm. (1.7 x 2.3 x 2.3 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Publishing, 2013,

$600–900

91 COL LEVY

AUSTRALIA, 1933-

Abstraction Vase (circa late 1950s)

earthenware

earthenware with ochre based ongobe, decorated with black stain thrown, cut and reassembled

29 x 9.5 x 3 cm. (11.4 x 3.7 x 1.1 in.)

$300–500

TOBI KAHN AMERICA, 1952ATAM-ITAH

oil on canvas stretched over board signed and dated '90 titled 'ATAM-ITAH' on verso Image: 28.5 x 31 cm. (11.2 x 12.2 in.)

SELECTED EXHIBITIONS

Memory and Inheritance Paintings and Ceremonial Objects by Tobi Kahn, the Museum at Eldridge Street, New York, NY, 2024

Elemental: A Decade of Paintings by Tobi Kahn – PAC-MoCA, Patchogue

Arts Council Museum of Contemporary Art, Long Island, NY, 2022

Seven Works In the Permanent Collection, The Phillips Collection, Washington, DC, 2022

Anointed Time, The Butler Institute of American Art, Youngstown, OH, 2017

COLLECTIONS

Tobi Kahn's work is held in institutional collections globally including the Solomon R. Guggenheim Museum, New York, the Houston Museum of Fine Arts, TX; The Phillips Collection, DC; Albright-Knox Art Gallery, Buffalo, NY; Minneapolis Institute of Art, MN; Yale University Art Gallery, CT; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; and The Jewish Museum, NYC.

$1,000–1,500

TOBI KAHN AMERICA, 1952Evening Light oil on paper

Paper size: 38.5 x 55.5 cm. (15.1 x 21.8 in.),

Frame: 65 x 83 cm. (25.5 x 32.6 in.)

$600–900

TOBI KAHN AMERICA, 1952Study for "Izu Kani" 1996

mixed media on hand made paper titled on label 'study for "Izu Kani" 1996' on verso

Paper Size: 20.5 x 25 cm. (8.0 x 9.8 in.), Frame: 46 x 50 cm. (18.1 x 19.6 in.)

$300–500

95 DEREK SMITH

ENGLAND - AUSTRALIA, 1931-2019

Balance form

stoneware signed, 'Derek Smith', to base hand built stoneware, sgrafitto markings with satin stoneware glaze and oxide decoration 15 x 6 x 28 cm. (5.9 x 2.3 x 11.0 in.)

COLLECTIONS

Smith's work is held in institutional collections, including The National Gallery of Australia, National gallery of Victoria, Art Gallery of Western Australia, Art Gallery of NSW and the Geelong Gallery.

REFERENCE

Smith has won numerous awards for his work, including the Royal Australian Institute of Architects Robin Boyd Award for ceramics in 1992.

$400–600

JEFF MINCHAM

AUSTRALIA, 1950-

Sculptural Vessel

raku iron manganese glaze, thrown central form with slab additions and surface embellishments incised signature to base, 'Mincham'. dated '85 31 x 20.5 x 30.5 cm. (12.2 x 8.0 x 12.0 in.)

COLLECTIONS

Mincham's works are held in institutional collections including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of Western Australia, Gallery of Western Australia and Geelong Gallery.

REFERENCE

For similar style and period examples include: Vase, 44.7 x 38.8 x 33.5 cm, 1985, National Gallery of Victoria, accession 2003.642

Sculptural vessel, 31 x 19 x 29 cm, 1986, Queensland Art Gallery of Modern Art, accession 2021.430

$800–1,200

AVITAL SHEFFER

ISRAEL - AUSTRALIA, 1954Sharkiyah II, 2008

earthenware painted with engope decorated with oxide and stain signed A Sheffer, inside removable 'head' of the form 84 x 24 x 56 cm. (33.0 x 9.4 x 22.0 in.)

COLLECTIONS

Sheffer's work is held in institutions, including The National Gallery of Australia, Powerhouse Museum, Jewish Museum of Australia, and regional galleries throughout Australia. Internationally, institutions collections include, Museo de Cantor, Spain and Atelier d' Art, France.

LITERATURE

Craft Arts International, issue no. 72, 2008 –New works by Avital Sheffer by Pollyanna Sutton.

REFERENCE

Sheffer’s ceramics draw on her genetic heritage as a Jewish woman born in Tel Aviv, Israel. Her family was part of the diaspora of more than two millennia, and, in their return to Israel, Sheffer suggested, they were “old wares in a familiar place. In our flesh we remembered the Canaanite, the Greek, the Roman. The earth was a constant reminder - our story enmeshed with those of others.” Like the country she left, where ancient shards of glass, ceramic and marble are layered into the soil, Sheffer wears her history of archaeology and languages within her and this sense of its sources resonates in her creative work. (Louise Martin-Chew. A Present Past / A Continuous Present, Recent Ceramics by Avital Sheffer, Ceramic Review UK issue no. 342, 2010).

$2,000–4,000

COLIN LANCELEY

AUSTRALIA, 1938-2015

The Walls of Bombo (south coast)

oil and polychrome wood on canvas signed 'Lanceley' and dated 2003, on verso signed again "Colin Lanceley 2003 / 2008-2010, on verso titled 'THE WALLS OF BOMBO' on verso Australian Galleries label attached on verso 150 x 180 cm. (59.0 x 70.8 in.)

SELECTED EXHIBITIONS

2022 ‘Earthly Delights’, National Art School, Sydney

2014 ‘Pop to Popism’, Art Gallery of New South Wales, Sydney

1992 ‘200 Years of Australian Painting’, National Museum of Western Art, Tokyo

1988 ‘Australian Tapestries’, National Gallery of Victoria, Melbourne

1987 ‘Colin Lanceley - A Survey Exhibition 1961-1987’, curated by William Wright, Art Gallery of New South Wales, Sydney

1985 ‘The Drawn Image’, Penrith Regional Art gallery, New England Regional Art Museum, Armidale, NSW

1983 ‘Australian Perspecta’, Art Gallery of New South Wales, Sydney

1982 The Carnegie International, Pittsburgh, USA

1980 ‘Europa Prijs 1980’, Ostend, Musee de Verviers, Belgium, Germany

1976 ‘Colin Lanceley Complete Prints’, Tate Gallery, London, England

1962 ‘Imitation Realists’, Museum of Modern Art, Melbourne COLLECTIONS

Colin Lanceley's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and the Queensland Art Gallery. Internationally, Lanceley's work is held at the Baltimore Museum, Maryland, Centre National d'Art Contemporain, Paris, Contemporary Art Society, London, Museum of Fine Arts Houston, Texas, Tate Gallery, London, The National Gallery, Washington, The Solomon R. Guggenheim Museum, New York and the Victoria and Albert Museum, London.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 222.

REFERENCE

Colin Lanceley would be surprised to find himself described as a landscape artist, yet in much of his art the landscape element is dominant even if it is a very special type of landscape - as much a landscape of the mind as it is a physical landscape...In 1964 Lanceley was awarded the Helena Rubinstein Travelling Scholarship and the following year he left with his family for Europe. After staying briefly with the Australian art critic Robert Hughes in Tuscany, he settled in London where he experienced a fairytale-like rise to stardom. By 1966 he was exhibiting with one of London's most prestigious galleries, Marlborough Fine Art, and was making prints with the legendary master printer Chris Prater. His work in Britain was unlike the work of other Australian expatriates in London, who deliberately nurtured an Antipodean identity with inverted parrots, images of vast expanses of the red interior and emblems from the continent down-under. Lanceley, through painting and carving, explored an ambiguous space which seemed to hover in front of the picture plane, a space first hinted at in those fabulous relief constructions by artists such as Picasso and Tatlin in the second decade of the 20th century. It was when Colin Lanceley was at the peak of his European success, having received widespread recognition and having been acquired by some of the most important public collections, that he decided in 1981 to return to Australia. (Grishin, Sasha, 2013, p. 183.)

$15,000–20,000

COLIN LANCELEY

AUSTRALIA, 1938-2015

The End of the Pier

watercolour, pastel, pen and ink on paper signed 'Lanceley' and dated '76. lower right titled, The end of the Pier, lower left.

Paper size: 70.5 x 104.5 cm. (27.7 x 41.1 in.), Frame: 84 x 116.5 cm. (33.0 x 45.8 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 224. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

$1,500–2,000

100

COLIN LANCELEY AUSTRALIA,

1938-2015

The Country Butcher

crayon and ink on paper signed 'Lanceley' and dated '77. lower right titled 'the country butcher', lower left Paper size: 71 x 105 cm. (27.9 x 41.3 in.), Frame: 76 x 109.5 cm. (29.9 x 43.1 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 224. Lowenstein, Tom, Lovers and Others, Melbourne Books, 2021.

REFERENCE

"Sylvia and I became acquainted with Colin Lanceley and his wife Kay on our trip to London in 1978. Although we had met Colin at an opening of his exhibition at Realities Gallery in Melbourne, it was not till this visit that our friendship developed...We were already fans of Colin's work, as we had bought a Lanceley lithograph at auction some years earlier. Whilst he was showing us around his London studio in 1978, we became even greater fans and added another beautiful work on paper, The Country Butcher, to our collection". – Tom Lowenstein

$1,800–2,500

COLIN LANCELEY

AUSTRALIA, 1938-2015

Brushing up the band oil on board signed 'Lanceley' and dated 1996 in pencil, lower right titled 'Brushing up the band' upper right Image: 40.5 x 20 cm. (15.9 x 7.8 in.), Frame: 41.5 x 21.5 cm. (16.3 x 8.4 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 220.

$800–1,200

CHRISTOPHER SANDERS

AUSTRALIAN, 1952Twig Jar

white stoneware, iron and copper stained alkaline glazes

signed, 'C Sanders' and dated, 1999, on base thrown in two pieces 21 x 12.5 cm. (8.2 x 4.9 in.)

COLLECTIONS

Christoper Sander's work is held in Australian Institutional collections, including The National Gallery of Australia, National Gallery of Victoria and Art Gallery of Western Australia and Geelong Gallery.

$500–700

103

GARRY SHEAD

AUSTRALIA, 1942-

The Wave etching and aquatint on paper

signed 'Garry Shead' and numbered 25/50 in pencil, below image titled 'the wave' in pencil, below image

Image: 24.5 x 32 cm. (9.6 x 12.6 in.), Frame: 48 x 55 cm. (18.9 x 21.6 in.)

$500–800

104

GARRY SHEAD

AUSTRALIA, 1942-

The Awakening etching and aquatint on paper signed 'Garry Shead' and numbered 8/30 in pencil, below image titled 'the awakening' in pencil, below image

Image: 24.5 x 32 cm. (9.6 x 12.6 in.), Frame: 43.5 x 50.5 cm. (17.1 x 19.8 in.)

$500–800

105

GARRY SHEAD

AUSTRALIA, 1942Artist and Model

etching and aquatint on paper signed 'Garry Shead', dated and numbered 18/25 in pencil

inscribed 'for Sylvia and Tom love Garry, Judith and Lilla' below image embossed lower right with printers stamp printed ca. 1992-1994

Image: 17 x 22 cm. (6.6 x 8.6 in.), Frame: 54 x 57.5 cm. (21.2 x 22.6 in.)

COLLECTIONS

'Artist and model', state proof, is held in the collection of the National Gallery Of Australia NGA.

$500–800

106

GARRY SHEAD

AUSTRALIA, 1942-

The Left-handed painter lithograph on paper signed and numbered 62/100 in pencil titled 'the left-handed painter' below image inscribed 'for dear Sylvia and Tom with many thanks for your warmth and friendshiplove Garry and Judith' embossed with printers stamp lower right on image printed 2001

Image: 36 x 47.5 cm. (14.1 x 18.7 in.),

Frame: 66 x 75 cm. (25.9 x 29.5 in.)

$300–500

107

GARRY SHEAD

AUSTRALIA, 1942-

Series of small drawings 'Schlepper Series' ink on paper signed in ink titled throughout Paper sizes: smallest 21 x 6 cm. (8.2 x 2.3 in.)

largest 10 x 38 cm (3.9 x 15 in.),

Frame: 42 x 46 cm. (16.5 x 18.1 in.)

$500–700

"Garry Shead and his late wife, Judith, had been among our closest friends in the art world, and were usually the first on our list whom we called when we arrived in Sydney. The first time we met, in 1991, was when Judith came to our office. She had heard about us and wanted to know if we would be prepared to become their accountants. I told Judith that we would be happy to".

– Tom Lowenstein

108

GARRY SHEAD

AUSTRALIA, 1942-

The accountant and his muse ink on paper signed 'Garry Shead', lower right titled 'the accountant and his muse' upper middle drawn ca. 2000

Paper size: 14 x 9 cm. (5.5 x 3.5 in.), Frame: 30 x 24 cm. (11.8 x 9.4 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 288.

$400–600

MICHAEL SNAPE AUSTRALIA, 1951Drift

stainless steel

titled and inscribed to stone base, "Drift 1/5 MS04"

edition 1/5

Australian Galleries label attached to base, AG No 101659

54 x 10 x 36 cm. (21.2 x 3.9 x 14.1 in.)

SELECTED EXHIBITIONS

1995 University of Technology Courtyard, Sydney

1991 1985 Perspecta, Art Gallery of NSW

1987 Third Australian Sculpture Triennial, National Gallery of Victoria

1984 Second Australian Sculpture Triennial, National Gallery of Victoria

1980 Wollongong City Gallery

COLLECTIONS

Snape's work is held in institutional collections including, the Art gallery of NSW, the Powerhouse Museum NSW, McClelland Gallery and Sculpture Park, Victoria and regional galleries throughout Australia.

$1,200–1,800

110

ISTVÁN HORKAY

HUNGARY, 1945-

Untitled

digital print on photo paper

Image 60 x 70.5 cm. (23.6 x 27.7 in.)

EXHIBITED

Ballarat International Photo Biennale, 2011

SELECTED EXHIBITIONS

2011 Ballarat International Foto biennale

2002 Gallery of Art Eastern Washington University

2001 Hungarian Embassy

1993 World Trade Center

REFERENCE

István Horkay (born December 25, 1945 in Budapest) is a Hungarian artist. After graduating from the School of Fine Arts in Budapest in 1964, Horkay was invited to attend the Academy of Fine Arts in Cracow, Poland, one of

the Major Art and Cultural Centers of Eastern Europe, where he received his Master of Fine Arts. He continued his Studies at the Royal Academy of Art in Copenhagen, Denmark. (1968) and did additional Post graduate work at the Academy of Fine Arts in Budapest. (1971) Horkay studied under the Internationally known Artist and Theater Director Tadeusz Kantor as well as Professors M. Wejman, J. Nowosielski, and Palle Nielsen, Danmark. He received Diplomas in Graphic Arts, Painting, and Film Animation. He is member of the Alliance Graphique International (AGI) Horkay's art is epitomic in the double meaning of the word: a fragment, an incised part of something already in existence, and - just because of this incision - is an injury to the finished surface, to the tangle of writing or a finished picture. This relies on the experience that man, handing himself down through signs, simulates a kind of sensewholeness. In these series this textual sense-wholeness appears to be ever different as different colours enter the surface at different sites. It is the same and not the same at the same time. "Once the signs are scars, then the wounds will tell tales of some non-alleviated history" (D. Kamper - Zur Soziologie der Imagination Hanser V. 1986. p.148).

$500–1,000

MARIA KUCZYNSKA

POLAND - AUSTRALIA, 1948Standing Figure

smoked black sculpture on stone base rolled slabs of low temperature clay –moulded, cut and assembled, and saw dust fired 72 x 20 x 23 cm (irreg). (28.3 x 7.8 x 9.0 in.)

SELECTED EXHIBITIONS

2002 Bourdelle Price, Bourdelle Museum, Paris

2001 Museum of Ceramics, The Westerwald, Germany

2001 World Ceramic Expo, South Korea

2000 Museum of Ceramics, Boleslawiec, Poland

1997 Kordegrada, National Gallery of Contemporary Art, Warsaw, Poland

1996 I.A.C. Exhibition, Saga Prefectual Art Museum, Saga, Japan

1992 Chicago Art International Forms, Chicago, USA

1982-83 Australian Touring Exhibition, (National)

1981 Carmen International Dionyse, Museum of Art and Culture, Ghent, Belgium

1980 Delle Pallazo Espositioni, Faenza, Italy

1979 Tendancies and Personnalities, National Gallery Zacheta, Warsaw, Poland

COLLECTIONS

Maria Kuczynska's work is held in institutional collections throughout Australia including the National Gallery of Victoria and the Art Gallery of Western Australia. Internationally, Kuczynska's work is held in the International Museum of Ceramics, Italy, Museum of Art and Culture, Belgium, National Museum, Poland, Stuttgart National Museum, Germany, Saga Prefectural Art Museum, Japan and the Museum ARIANE, Switzerland.

REFERENCE

Related works in institutional collections include:

- Standing Figure, 44 x 17 x 15.5cm. Christchurch Art gallery Collection

- Young Torso, Powerhouse museum Collection

- Samurai (1986), is held in the collection of the National Gallery of Victoria.

An internationally recognised artist, she excelled in sculpting human torsos with a distinctive aesthetic drawing on classical antiquity but oscillating between abstraction and figuration. Working mostly in bronze and ceramic, Kuczynska was the recipient of several Australian commissions for public sculptures including a monumental sculptural group for the portal of the Australian Family Court in Sydney in 1993. Her ceramic work represented the city of Sydney at the Olympic Park in Athens in 1994. Kuczynska wrote: 'My intention is to make viewers share my emotions and participate in the process of my creation.' Curator and author Robert Bell AM noted that 'her art deals with emotions, heroic visions of the human form drifting from history into the present, and past us into the future … [and reminds] us of the timelessness of the human condition.'. (Eva Czernis-Ryl, Curator, 2024, Powerhouse article about 'Young Torso' in the Powerhouse Collection).

A member of the International Academy of Ceramics in Geneva, Kuczynska exhibited widely. Her numerous awards include gold medal (1978) and Grand Prix Premio Faenza (2016), Italy.

$3,000–5,000

ALLAN MITELMAN

POLAND - AUSTRALIA, 1946-2025

Untitled, 2001

acrylic on paper signed AM 01, lower right label on verso from Ray Hughes Gallery Cat #21, 2001. Price $5000

Paper size: 31 x 22.5 cm. (12.2 x 8.8 in.), Frame: 48 x 39 cm. (18.9 x 15.3 in.)

SELECTED EXHIBITIONS

1998 Museum of Contemporary Art, Sydney

1998 Art Gallery of New South Wales, Sydney

1995 Museum of Modern Art at Heide, Melbourne

1995 University Art Museum, La Trobe University, Melbourne

1993 Art Gallery of New South Wales, Sydney

1993 The University of Melbourne Museum of Art

1992 Queensland Art Gallery, Brisbane

1991 University of South Australia, Adelaide

1990 National Gallery of Victoria, Melbourne

1989 Australian National Gallery, Canberra

1988 Australian National Gallery, Canberra

1987 National Gallery of Victoria, Melbourne

1986 Art Gallery of NSW, Sydney

1986 Museum of Modern Art, Rijeka, Yugoslavia

1981 National Gallery of Victoria, Melbourne

1979 National Gallery of Victoria, Melbourne

1978 Art Gallery of NSW, Sydney

1977 Western Australia Art Gallery, Perth

1971 Auckland City Art Gallery, New Zealand

COLLECTIONS

Allan Mitelman's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery and the Queen Victoria Museum and Art Gallery, Launceston. Internationally, Mitelman's work is held in the collection of the Auckland City Art Gallery, New Zealand, Christchurch City Art Gallery, New Zealand and the Museum of Modern Art New York, USA.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts management Collection, Macmillan Arts Press, 2013.

REFERENCE

Allan Mitelman is not an artist whose work it is easy to characterise. His imagery is frequently non-figurative, the surfaces of his paintings are dense and, at first appearance, impenetrable. Gradually, as the viewer becomes immersed in the work, an awareness grows of a great subtlety and richness. There is a strange and haunting beauty in his work, unusual and enigmatic, but of a lasting quality...Over a number of years a close friendship developed between him and Tom and Sylvia Lowenstein and fortunately an excellent selection of his untitled paintings and drawings dated between 1975 and 2000 entered the collection. Although parallels may be drawn with the work of artists as different as Paul Klee, Antonio

Tàpies, Cy Twombly, Mark Tobey and Milton Resnick, Mitelman's language remains peculiarly his own. The surface, frequently worked over by endless soft tonal lines and traces of colour, seems to obscure and eat away any recognisable image which once may have existed in the initial stages. There are hints of shapes buried beneath the organic breathing veils of marks of sensuous refinement, and these are suggested through nuances in surface textures and accented graffiti-like shapes...While Allan Mitelman could be described as a gentle lyrical abstractionist working essentially within a minimalist aesthetic, there is also a toughness to his work, which seems to be conveyed with a deceptive ease. There is also a meticulousness in his working method, an attention to detail which borders on the obsessive...His work is non-figurative and it is largely untitled, yet it is not a minimalism which finds its origins in a cerebral activity, it is not an illustration of a theoretical formula...It is a work which first engages the senses, rather than the intellect. The genius of Allan Mitelman in part lies in the ability to make a very powerful artistic statement without revealing the artist's hand. It is a rare gift of creating a rich fabric of ambiguity, potent with meaning, but always ineffable.

(Grishin, Sasha, 2013, p. 265).

$800–1,200

113

ALLAN MITELMAN

POLAND - AUSTRALIA, 1946-2025

Untitled

crayon on paper signed 'A.M.'

executed 2000

Paper size: 57 x 77 cm. (22.4 x 30.3 in.), Frame: 79.5 x 96 cm. (31.3 x 37.8 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts management Collection, Macmillan Arts Press, 2013. Illustrated pp. 264-5.

$1,200–1,800

MICHAEL JOHNSON AUSTRALIA, 1938-

Figure 17 (1979)

gouache and crayon on paper signed and dated '79 in pencil and crayon titled in 2019 exhibition catalogue, Figure 17, 1979

Paper size: 33 x 23.5 cm. (12.9 x 9 1/4 in.),

Frame: 42.5 x 33.5 cm. (16.7 x 13.1 in.)

EXHIBITED

'Michael Johnson: Dance of Line', Annette Larkin Fine Art, Sydney,

SELECTED EXHIBITIONS

2004 Abstracting the Collection, Heide Museum of Modern Art, Melbourne

2002 20 Years of Canberra, National Gallery of Australia, Canberra

1999 Hong Kong Arts Centre, Hong Kong, Singapore Art

1995 Art, Museum of Contemporary Art, Sydney Asia & Oceania

1993 Tapestries, Victoria and Albert Museum, London

1987 Field to Figuration 1960–86, National Gallery of Victoria, Melbourne

1986 University Gallery, University of Melbourne, Melbourne

1984 Recent Australian Painting, Art Gallery of South Australia, Adelaide

1982 The National Australia Bank Collection, National Gallery of Victoria, Melbourne

1967 Institute of Modern Art, Brisbane

COLLECTIONS

Michael Johnson's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW and Queensland Art Gallery. Internationally, Johnson's work is held in the collection of Chase Manhattan New York, Waikato Museum of Art and History New Zealand and the Croydon Education Committee London.

REFERENCE

"Some abstract artists begin in the landscape, but the origins of my work were in drawing the human body. I began drawing dancers at a small dance school in Rowe Street, Sydney and continued to be involved with Modern Dance in New York in the early seventies.

In dance the body forms a line that expands and follows a continual movement. In painting, the body is engaged in using its own momentum to create both line and form. My connection to Leonardo da Vinci’s Vetruvian Man is both conceptual and physical in that a painting is executed within the limits of your own arm span. How you move and as far as you can reach influences the touch and gesture of paint on canvas. In drawing, that expression is more condensed and perhaps the energy of that work is more concentrated like a coiled spring.

I believe that the body forms the basis of all visual expression. What the human body inspires is often invisible yet it dominates the mathematics of both art and architecture. In 1979 I began a series of small anatomical studies inspired by sketches I had made alongside my students in a life drawing class. In this series I relaxed into the process of carving line into form. Without the model before me, I reached inside my own geometric

imagination and worked continuously on organic shapes and the dynamic interaction between dark and light, concrete mass and the void. My method of painting gouache in transparent veils over crayon created imagery that was powerfully sculptural and full of layered energy. I was inspired by the dignity, diversity and inherent secrecy of the body. Movement is an expression of both the way we inhabit physical space but also how we defy the gravity and fragility of our own bodies. These were not works describing an individual identity but rather universal forms. They were not defining specific body parts either but seeking out the dynamic whole. In these works, as in the greater project of my painting, line and colour are interlocked in a dance, both defining and contrasting their integral roles." Michael Johnson, (quoted in Exhibition essay by Michael Johnson 2019 in relation to the Dance of Line, Gallery 1, Annette Larkin Fine Art).

$800–1,200

115

MICHAEL JOHNSON AUSTRALIA, 1938-

Figure 2 (1979)

gouache and crayon on paper signed and dated '79 in pencil and crayon titled in 2019 exhibition catalogue, Figure 2, 1979

Paper size: 33 x 23.5 cm. (12.9 x 9 1/4 in.),

Frame: 42 x 33 cm. (16.5 x 12.9 in.)

LITERATURE

Exhibition essay by Michael Johnson (2019), in relation to, Dance of Line, Gallery 1, Annette Larkin Fine Art.

$800–1,200

116

DANILA VASSILIEFF

RUSSIA - AUSTRALIA, 1897-1958

Family at the Zoo, 1957 gouache on paper signed 'Vassilieff' and dated '57 in pencil top left Image: 28.5 x 38 cm. (11.2 x 14.9 in.), Frame: 50.5 x 60.5 cm. (19.8 x 23.8 in.)

COLLECTIONS

Danila Vassilieff's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia and the Art Gallery of NSW.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 15.

REFERENCE

Tom Lowenstein also developed a fascination with the work of the Russian artist Daniel Vassilieff, who settled in Australia in 1935 and remained predominately in Victoria until his death in 1958, Vassilieff has been the subject of a major reassessment in 2012, with a major exhibition and publication where it is apparent he was the critically significant artist for the emergence of artists including Sidney Nolan, Arthur Boyd, Joy Hester, John Perceval, Albert Tucker and Ken Whisson. Prior to this, his art rarely entered the mainstream discourse on Australian art and he remained the migrant outsider. Vassilieff's driving passion, vibrant colours and demotic subject matter had a profound impact on the emergence of Australian modernism. (Grishin, Sasha, 2013, 20).

$1,200–1,800

117

DANILA VASSILIEFF

RUSSIA - AUSTRALIA, 1897-1958

Sunday and Sweeney Reed

watercolour and gouache on paper titled, Sunday and Sweeney Reed, on auction labels attached verso 36.5 x 42 cm. (14.3 x 16.5 in.),

Frame: 60 x 64.5 cm. (23.6 x 25.3 in.)

$1,200–1,800

118

DANILA VASSILIEFF

RUSSIA - AUSTRALIA, 1897-1958

Murray River Landscape

gouache on paper titled on label 'Murray River landscape' on verso Image: 29.5 x 39.5 cm. (11.6 x 15.5 in.), Frame: 56.5 x 64.5 cm. (22.2 x 25.3 in.)

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 15.

$1,200–1,800

119

JAROSLAV HERBST

CZECHIA, 1887-1971

Untitled oil on canvas signed 'J. Herbst' and signed '36 in oil upper left Image: 38 x 48 cm. (14.9 x 18.9 in.), Frame: 50 x 59.5 cm. (19.6 x 23.4 in.)

LITERATURE

Horová, Andela. New Encyclopedia of Czech Fine Arts, Academia Prague, 2006.

REFERENCE

Jaroslav Herbst is known for his conception of painting in the spirit of expressionism based on strong contrasts of light and colour and a spatial concept derived from cubism. His work, first presented publicly in a solo exhibition at the Dra Feigl Gallery in Prague in 1934, drew unexpected critical acclaim and a favourable response. Herbst's next exhibition was organized by Feigl in 1937, after which the painter again fell into obscurity. From the 1920s to the 1940s, he painted mainly landscapes and still lifes. With his relaxed style, colour scheme, and impasto oil paints, he came close to his models (e.g. Oskar Kokoschka) and contemporaries (e.g. Jan Bauch). He stopped painting on the eve of World War II and never returned to his work. (Horová, Andela. New Encyclopedia of Czech Fine Arts, Academia Prague, 2006).

$1,500–2,500

120

ARTIST UNKNOWN (GROOTE EYLANDT)

AUSTRALIA

Star Ceremony with Figures (untitled)

natural earth pigments on bark

Groote Eylandt

circa 1970s

Image: 47 x 110 cm. (18 1/2 x 43.3 in.)

$1,500–2,500

121

CLINTON NAIN

AUSTRALIA, 1971-

Mother and Child oil on canvas

signed Clinton Nain, and dated 2004-05 on stretcher

Image: 122 x 91.5 cm. (48.0 x 36.0 in.)

SELECTED EXHIBITIONS

2022 Queer, National Gallery of Victoria

2021 Big Weather, National Gallery of Victoria, Melbourne

2018 Colony: Frontier Wars, National Gallery of Victoria, Melbourne

2016 Sovereignty, Australian Centre for Contemporary Art, Melbourne

2016 The China Dream Exhibition, Beijing Museum of Visual Art, Beijing, China

2014 Art Now, National Gallery of Victoria, Melbourne

2007 Power and Beauty, Heide Museum of Modern Art, Melbourne

2004 Our Place: Indigenous Australia Now, Benaki Museum, Athens, Greece

2004 Fundraising Event, Museum of Contemporary Art, Sydney

2000 The Art of Place, Old Parliament House, Canberra

2000 The Bleach is Blak, Flinders University Art Museum, Adelaide

1998 Ilan Pasin (This is Our Way): Torres Strait Art, The Ian Potter Museum of Art, Melbourne

1997 I Had a Dream: Australian Art in the 1960s, National Gallery of Victoria, Melbourne

1993 National Aboriginal and Torres Strait Islander Exhibition, World Trade Centre, New York

COLLECTIONS

Clinton Nain's work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of NSW, NSW War Memorial, Sydney and the Queensland Art Gallery

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 141.

REFERENCE

Clinton Nain is an Indigenous artist and activist who was born in Melbourne in 1971 and, as a painter, performer, dancer and storyteller comments from a post -colonial perspective on the brutality of European settlement in Australia and its impact on the Indigenous peoples...Mother and Child,...Thematically focussing on the family; social structures and the land, they are painted in a bold, gestural manner where the emblematic mark is allowed to have creative dominance. Although forceful in imagery and unambiguous in their message, the works speak on a visual level and through their content. (Grishin, Sasha, 2013, p. 112).

$2,000–3,000

STEWART MACFARLANE

AUSTRALIA, 1953House on Pennsilvania oil on board

signed 'Stewart MacFarlane' and dated 25/03/19 lower middle signed, titled 'House on Pennsilvania', ‘Roswell N.M. ‘ and dated 2019 on verso

51 x 41 cm. (20.0 x 16.1 in.)

SELECTED EXHIBITIONS

2013 Heartland, Art Gallery of South Australia, Adelaide

2012 Ordinary Beauty, Adelaide Central School of Art Gallery

2008 Strange Land, Roswell Museum and Art Center, New Mexico, USA

2004 To Look Within, National Portrait Gallery, Canberra & University Art Museum, Brisbane

2004 Back to the Future, Monash Museum of Art, Victoria

2000 Body Image, Brisbane City Gallery, Brisbane

1988 Door of Memories, The Roswell Museum and Art Centre, Roswell, New Mexico, U.S.A.; Nine Months in New Mexico, 70 Arden Street, North Melbourne

1988 A New Generation, Australian National Gallery, Canberra

1984 Expatriates, Contemporary Art Society, Adelaide

COLLECTIONS

Stewart MacFarlane's work is held in institutional collections throughout Australia including the National Gallery of Australia, Art Gallery of Western Australia and the Queensland Art Gallery.

$1,200–1,800

123

STEWART MACFARLANE

AUSTRALIA, 1953Port Pirie oil on board

signed 'Stewart MacFarlane' and dated 2021 in oil lower right

signed titled 'Port Pirie Salvage' on verso, and dated 2021 on verso

40.5 x 51 cm. (16.1 x 20.0 in.)

$1,200–1,800

124

STEWART MACFARLANE

AUSTRALIA, 1953The Captains House (The Abandoned house) oil on board

signed 'Stewart MacFarlane' and dated 2020 lower left

signed, titled 'The Captains House (The Abandoned house), study for "The Low Road" and dated 2020 on verso

40.5 x 51 cm. (15.9 x 20.0 in.)

$1,200–1,800

125

HOSHI JOICHI

JAPAN, 1913-1979

Spring Moon (Tree of Life)

woodblock print with silver ground signed and dated in pencil, lower right sealed in red, within image executed circa 1976

Image: 12 x 18.5 cm. (4.7 x 7.2 in.), Frame: 29 x 38 cm. (11.4 x 14.9 in.)

COLLECTIONS

Hoshi Joichi's work is held in institutional collections globally including the National Museum of Modern Art, Tokyo, Museum of Modern Art, New York, Art Institute of Chicago and the Cincinnati Art Museum.

LITERATURE

Smith, Lawrence, 'Modern Japanese Prints 1912-1989: Woodblocks and Stencils', BMP, London, 1994, p. 24 and nos 122-4. Hoshi, Joichi, '"Ki". Mokuhanga zen sakuhin-shu', Kato Gallery, Tokyo, 1988. Petit, Gaston, '44 Modern Japanese Print Artists', I, Kodansha International, Tokyo, 1973, pp. 128-9.

Smith, Lawrence, 'The Japanese Print Since 1900: Old Dreams and New Visions', BMP, London, 1983, nos 95 and 96. Smith, Lawrence, Harris, Victor, and Clark, Timothy, 'Japanese Art: Masterpieces in the British Museum', BMP, London, 1990, no. 247.

REFERENCE

Print artist. Hoshi was born in Niigata Prefecture in the north of Honshu. He went with his family to Taiwan (then part of the Japanese empire) and graduated from a teachers' college there in 1932. In 1946 he was repatriated and began to take up printmaking as a result of working in a printing-shop, starting with silk screen, in which technique he won a prize at the Japanese Print Association as early as 1949, becoming a member in 1952. He turned to woodblock, studying at the course at Musashino University of Arts and graduating in 1956. From 1959 he began to exhibit at the Tokyo International Print Biennale with abstract works related to the dominant 'Sosaku Hanga' style of the time. He also taught calligraphy during this period. From 1967 he began to exhibit in the West, and from 1964 his subjects gradually changed to stars and constellations done in a heavily Expressionistic style, exploring in an ever more individual manner the possibilities of woodblock. His 'Constellation' series (1964-7) eventually reached forty-two prints. In the late 1960s he discovered his final and definitive theme of trees, reverting to a detailed naturalism of dazzling technical complexity, allied to the use of gold and silver and brilliant colours. The tree prints finally amounted to 163 sheets, nearly half of his entire graphic output. In 1977 he went on a sketching tour to Mongolia, which literally widened the horizons of his prints. Since his death his reputation has risen rapidly both in Japan and the West. (British Museum).

$400–600

TAKANORI OGUISS (OGISU)

JAPAN, 1901-1986

Bar Tabac

lithograph on paper signed in pencil inscribed 'épreuve d'artiste' below image Image: 50.5 x 56.5 cm. (19.8 x 22.2 in.), Frame: 75.5 x 81 cm. (29.7 x 31.8 in.)

LITERATURE

Lowenstein, Tom, Melbourne Publications, 2015, pp. 152-156.

REFERENCE

"We bought from him one of his recent prints, Bar Tabac, and afterwards, we looked through Parisian bouquinistes in search of books on the artist... More than forty years later, the painting, the lithograph, the books, and the signed photograph remain in our collection". – Tom Lowenstein

"Oguiss moved to Paris in 1927 after attending the Academy of Arts of Tokyo and became a student of Foujita. By 1933, he had rapidly become a part of the Parisian artistic circle and began working in one of the ateliers of the “Montmartre aux artistes”. His paintings primarily depict old picturesque districts and suburbs of Paris as well as still-lifes and landscapes. During his eight years in Japan, he attained recognition in his native country and participated in exhibitions as he had done in France. Oguiss coupled his artwork with his writings, creating the “Nouvelles de Paris” and a dedication to the art of lithography in 1971. Retrospectives on his life and work began as early as 1955 and a museum in his hometown of Inazawa was opened three years before his death. (n.a. Takanori Oguiss, Mourlot Digital Archive, n.d.)

$1,200–1,800

127

JEREMY KIBEL

AUSTRALIA, 1972-

Oliablo

collage and mixed media on board signed 'Jeremy Kibel' and dated '02 in ink titled 'Oliablo' on verso Image: 84 x 62.5 cm. (33.0 x 24.6 in.), Frame: 88.5 x 68 cm. (34.8 x 26.7 in.)

REFERENCE

Born in Melbourne in 1972, Kibel had his practical training in New York from 1992 to 1993, coming back to Australia in 1994 to work as a studio assistant for Robert Jacks and Jenny Watson. In 2006, he founded Blockprojects gallery in Melbourne where he supports emerging artists and in 2009 launched Blockeditions. He has been exhibiting since 2000 in both solo and group shows in Sydney and Melbourne. He has been a finalist in the Wynne Prize (2006), the ABN AMRO Emerging Art Award (2004, 2005) the Robert Jacks Drawing Prize (2002–05), and the Archibald Prize in 2011. (source: Art Gallery of NSW, 2012).

$1,200–1,800

128

MARION BORGELT

AUSTRALIA, 1954-

Cryptologist's Memoir: No. 24

book, beeswax, oil, pigment , wood, ribbon and perspex signed: 'Marion Borgelt '06' on verso titled: 'CRYPTOLOGISTS'S MEMOIR: No. 24'

BOOK, BEES WAX, OIL, PIGMENT, WOOD, RIBBON, PERSPEX, on verso

32.5 x 9.6 x 46.5 cm. (12.8 x 3.7 x 18.3 in.)

SELECTED EXHIBITIONS

20 year Survey Exhibition, Newcastle Art Gallery, Memory and Symbol, 2016

COLLECTIONS

Borgelt's work is held by institutional collections in Australia and internationally, including: The National Gallery of Australia, Art Gallery of NSW, National Gallery of Victoria, Art Gallery of Western Australia, Art Gallery of South Australia, Museum of Contemporary Art, Auckland Art Gallery and Geelong Gallery.

LITERATURE

Michael Wardell, Recycled Library: Altered Books, Artspace Mackay, 2009 Accounting for Taste, The Lowenstein Arts Management Collection, Sasha Grishin, Macmillan Arts Press, 2013, pp. 111-2.

REFERENCE

Marion Borgelt’s Cryptologist’s Memoir series, 2004-07, was inspired by a newspaper article about the death of Yang Huanyi in September 2004 at the age of 98. She was the last living person fluent in Nushu, a secret women’s written language in China that was over a thousand years old. It was believed to have been invented by one of the Emperor’s concubines in the Hunan Province of Southern China and passed down from mother to daughter in the form of poetry and feminine advice often disguised as patterning in embroidery. During a time when women were not permitted to be educated, and unable to read or write their own thoughts and feelings, they communicated with each other through messages written on embroidered gifts......Choosing a broad selection of books, Borgelt has carved into the pages and into the recessed areas, sculpted in beeswax two letters/symbols, one turned 180 degrees from the other, and painted in oil using her characteristic limited pallet of black, white and red. She

comments that this series “is about hidden language, a language literally hidden inside books and also hidden in terms of its signs and symbols being indecipherable. Do these symbols belong to an arcane language or are they in code form needing to be deciphered? Whatever the case Cryptologist’s Memoir hints at the challenge faced by archaeologists and cryptologists in understanding our current society in hundreds of years time from now. (Michael Wardell, Recycled Library: Altered Books, Artspace Mackay, 2009).

Patterning and seriality are important strategies in her art-making, as is the creation of immaculate surfaces..... she also has the gist for what could be called the 'dramatic theatrical gesture', whereby the beholder can be mesmerised and seduced by the surface, while being gradually admitted into a world full of heightened spiritual tensions.

(Grishin, Sasha, 2013, p.112)

$800–1,200

HILARIE MAIS

ENGLAND, 1952-

Red Maze II

oil on wood

signed 'Hilarie Mais' and dated 2009 in marker on verso titled 'Red Maze II' on verso Image: 152 x 152 cm. (59.8 x 59.8 in.)

SELECTED EXHIBITIONS

2021 KNOW MY NAME: Australian Women Artists 1900 to Now National Gallery of Australia, Canberra

2018 Hilarie Mais: TarraWarra Museum of Art, Victoria

2017 Hilarie Mais: Museum of Contemporary Art, Sydney

2017 Australian Art in the 90’s National Gallery Victoria, Melbourne

2014 Forcefields, Art Gallery of New South Wales, Sydney

2007 Cross Currents: Focus on Australian Contemporary Art, Museum of Contemporary Art, Sydney

2006 New to the modern: Heide twenty-five years on, Heide Museum of Modern Art, Melbourne

2003 Untitled: Abstraction, Art Gallery of New South Wales, Sydney

2002 Good Vibrations: The Legacy of Op Art in Australia, Heide Museum of Modern Art, Melbourne

2000 Monochromes, The University of Queensland Art Museum, Brisbane

1996 Kaohsiung Museum of Fine Arts, Taiwan

1995 Review: works by women from the permanent collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney

1990 Contemporary Art Centre of South Australia, Adelaide

1989 ICI Contemporary Art Collection, Australian Centre for Contemporary Art

1986 Recent Acquisitions of Contemporary Australian Art, National Gallery of Australia, Canberra

COLLECTIONS

Hilarie Mais' work is held in institutional collections throughout Australia including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Queensland Art Gallery and the Heide Museum of Modern Art, Melbourne. Internationally, Mais' work is held in the collection of the Liszt Foundation, New York and the Auckland City Art Gallery Toi o Tamaki, Auckland, New Zealand.

LITERATURE

Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 159.

REFERENCE

The grid form appeared in her art in 1986 and has remained a conceptual preoccupation ever since. It is central to her one-and-a-half-metre square wooden sculpture Red Maze" (and Red Maze II, 2009), "2008, in this collection. While for many artists the grid became a rather sterile formalist strategy, like a two finger exercise on the piano, for Mais it was a liberation and a form of art in which she could communicate through pure feeling, on a sensory level, rather than relying on a narrative prop. Notions of access and denial, entrances, the maze, veils and barriers all play a role as she creates very beautiful, elegant and sensual objects which evoke an immediate emotive response from the beholder. (Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013, p. 117).

$3,000–5,000

130

WENDY SHARPE

AUSTRALIA, 1960-

Silent Movie Kiss - Annette Killermann

hand coloured etching

signed 'Sharpe', dated '2000 and numbered 5/20 in pencil below image titled 'silent movie kiss - Anette Killermann' below image

Image: 20 x 25 cm. (7.8 x 9.8 in.), Frame: 48 x 50.5 cm. (18.9 x 19.8 in.)

SELECTED EXHIBITIONS

2022 'A Dance to the Music of Time' Lake Macquarie Museum of Art and Culture, NSW

2021 'Where is the little Street?' Sydney Jewish Museum, NSW

2020 'PANDEMIC!' The State Library of NSW, Sydney

2020 ‘Eye to Eye’ National Portrait Gallery, Canberra, ACT

2012 ‘Wendy Sharpe’s Antarctica’, Australian National Maritime Museum, Darling Harbour Sydney, NSW

2008 ‘Drawn Encounters’, Wimbledon College of Art, London, UK

2001 ‘Art on Steel’, Museum of Contemporary Art, Sydney; Wollongong City Gallery, NSW

2000 ‘New Beginnings-East Timor’, Australian War Memorial, Canberra, ACT

COLLECTIONS

Wendy Sharpe's work is held in institutional collections throughout Australia including the Art Gallery of NSW, ANZAC Memorial Sydney, Arts Centre Melbourne, National Portrait Gallery ACT and the State Library of NSW. Internationally, Sharpe's work can be seen in Paris at the Australian Embassy.

$300–500

131

GEORGE BALDESSIN

ITALY - AUSTRALIA, 1939-1978

Stars and sawdust III

intaglio etching and aquatint, printed from one plate signed G. Baldessin and dated '63, lower right numbered 1/10, lower left titled on label verso: 'stars and sawdust III'

Image: 16.5 x 25.5 cm. (6 1/2 x 10.0 in.),

Frame: 44.5 x 52.5 cm. (17.5 x 20.6 in.)

EXHIBITED

Possibly, George Baldessin's first solo exhibition at the Argus Gallery, Melbourne, in 1964, which included 9 large sculptures, 6 drawings, 19 etchings and 5 small bronzes.

COLLECTIONS

Stars and Sawdust III, artists proof, is held in the collection of the National Gallery of Australia NGA 75.291. Baldessin's work is held in institutional collections throughout Australia and New Zealand, including the National Gallery of Australia, National Gallery of Victoria, Art Gallery of South Australia, Art Gallery of Western Australia, Art Gallery of NSW, Museum of New Zealand, Aukland Art Gallery and Christchurch Art Gallery. Internationally, Baldessin's work is held in the collection of the Museum of Modern Art, New York.

LITERATURE

Edquist, Harriet. George Baldessin: Paradox and Persuasion. Australian Galleries, 2009. Another example of this etching, illustrated p. 72. Grishin, Sasha. Accounting for Taste: The Lowenstein Arts Management Collection, Macmillan Arts Press, Melbourne, 2013. Illustrated p. 56.

REFERENCE

Stars and sawdust III. 1963 is based on a scene in Ingmar Bergman's 1953 film Sawdust and Tinsel where, in a dream-like flashback, a woman is surprised by her husband, a circus clown, bathing naked with some soldiers. In Baldessin's version we are introduced for the first time to the woman, in a striped costume, head tossed back waving spiky hair, who will inhabit his work from this time onwards. Behind her, sitting on some stairs. are the soldiers. her husband approaches from the right. What differentiates this work from Bergman's film and prevents it from being simply illustrative is the inclusion in the middle distance of an unexplained and incongruous, top-hatted figure in a frock coat who looks towards the soldiers. This figure disrupts the narrative logic of the scene. Bergman's scene, by interposing an interlocutor between us and the drama. We view the narrative at a remove. The etching produces a strange, ambiguous space which cuts across the film's narrative of pain and betrayal.

(Edquist, 2009, p.73)

$1,200–1,800

Artist Index

Baldessin, George 131

Benwell, Stephen 5, 6

Blackman, Charles 1, 2, 3, 4, 49

Booth, Peter 40, 41, 42

Borgelt, Marion 128

Boscacci, Louise 56

Boyd, Arthur 50

Boyd, Guy 53

Campbell, Joan R. 30, 31, 32, 33

Cole, Peter D. 85

Harper, Melinda 84

Hart, Pro 52

Herbst, Jaroslav 119

Hodgkinson, Frank & Kate 46

Horkay, István 110

Johnson, Michael 114, 115

Joichi, Hoshi 125

K Kahn, Tobi 92, 93, 94

Kibel, Jeremy 127

Klippel, Robert 19, 20, 21, 22, 23, 24, 25, 73, 74, 75, 76, 77, 78, 79

Kuczynska, Maria 111

Lanceley, Colin 98, 99, 100, 101

Leach-Jones, Alun 80, 81

Levy, Col 86, 87, 88, 89, 90, 91

MacFarlane, Stewart 122, 123, 124

Mais, Hilarie 129

Makigawa, Akio 26

Martin, Julian 9, 10, 11, 12

Mincham, Jeff 96

Mitelman, Allan 112, 113

Mora, Mirka 13, 14 N

Nain, Clinton 121

Oguiss, Takanori (Ogisu) 126

Olsen, John 15, 16, 17, 18, 47, 48, 51

Onus, Lin 54

Partos, Paul 65, 66

Sanders, Christopher 102

Schaller, Mark 7

Sharpe, Wendy 130

Shead, Garry 67, 68, 69, 70, 71, 72, 103,

104, 105, 106, 107, 108

Sheffer, Avital 97

Shiga, Shigeo 57, 58, 59, 60, 62

Shiga, Shigeo (Attributed) 61, 63

Smart, Sally 27, 28

Smith, Derek 95

Snape, Michael 109 T

Tuckson, Tony 8

Unknown, Artist 120

Rankin, David 82, 83 S

Vassilieff, Danila 116, 117, 118

Vautier, Ben 29 W

Walker, John 43, 44, 45

Wei, Guan 34, 35, 36, 37, 38, 39

Wolseley, John 55

Xian, Ah 64

Indigenous Arts of the Southern Hemisphere

Featuring Art and Works-of-Art created by the Indigenous peoples of Australia and New Zealand, Oceania and the Southern Hemisphere.

Auction • Melbourne and Auckland, November 2025

We are living through a period of unprecedented change and as part of this seismic shift, we are witnessing a significant re-calibration in how the world views indigenous arts. Not just in our region, but globally. Until now, most collections of threedimensional artefacts from our region, Oceania and New Zealand in particular, have been sold in the Western markets of New York, London, or Paris, without a showcase for their sale in our region.

In response to our changing world and sensing an exciting opportunity, Artvisory is proud to announce: The Indigenous Arts of The Southern Hemisphere that will expand traditional borders of interest, to encompass the arts that define the Southern Hemisphere.

The truly unique art forms of our indigenous peoples define our regional history over millennia, from threedimensional artefacts to contemporary artworks. We will proudly show three-dimensional artefacts alongside contemporary artworks by the more famous names of New Zealand and Australian

Indigenous artists from the 20th century, embracing a relationship of ancient indigenous art forms with their contemporary iterations.

To lead this exciting Trans-Tasman concept, we are delighted to welcome highly regarded New Zealand specialists; James and Melissa Parkinson, who will join up with Australian Indigenous art veteran specialist Shaun Dennison and the Artvisory team.

This auction will be held in two parts in Melbourne, Australia and Auckland, New Zealand and will feature the finest indigenous arts from all of the cultures of the Southern-Hemisphere.

If you would like to be part of this ground-breaking auction, please make an appointment to meet any of our specialists.

James Parkinson: james@artvisory.com.au

Melissa Parkinson: melissa@artvisory.com.au

Shaun Dennison: shaun@artvisory.com.au

*Māori items in the NZ sale are subject to the Protected Objects Act and can only be purchased by registered collectors.

EMILY KAM KNGWARRAY (C. 1910-1996)

Yam Flowers

Synthetic polymer paint on linen

151 x 121cm

The Robert Burke Collection

The Collection of Bruce Kerr and Janet Matthews

The Collection of the late Judith and Bruce Terry

The entire Stock in trade of John Dunn Antiques

The Contents of Rosemont, Property of Lady Burrell

Single Owner Auction Specialists

310 Toorak Road

South Yarra 3141 Victoria www.artvisory.com.au

03 9826 4039

JOHN PERCEVAL AUSTRALIAN (1923-2000)

Sunflowers (After Vincent Van Gogh) oil on canvas

signed lower left

100 x 80cm

Provenance: Gould Galleries, Melbourne

Auction • 18 & 19 August 2025

Viewing

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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.

Same quality collections.

Only smaller.

We all know collections sell much better marketed on their own as single-owner auctions. But until now, there has been an economic reality, that has not allowed that to happen. Now using the latest technology and based out of our state-of-the-art business location in Melbourne, For-Auction allows for smaller quality collections (valued as low as $50,000100,000) to be sold as single-owner auctions, without having to mix in with other people’s property. This means a better marketed and faster sales process for you as the vendor.

To discuss your single-owner auction please contact us now: Enquiries

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

www.forauction.com.au

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 printed Saleroom Notices or oral announcements made before and during the sale. By bidding at auction you agree to be bound by these terms.

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.

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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.

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

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

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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”

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I) 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.

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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.

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

$200

$500

5. After the Sale

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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 GST. (Goods and Services Tax) where applicable.

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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.

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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) Packing, Handling and shipping

$1,000–$2,000

$2,000–$5,000

$5,000–$10,000

$1,000 $10,000–$20,000

$2,000 $20,000–$50,000

$5,000

$10,000

$20,000

$50,000

$50,000–$100,000

$100,000–$200,000

$200,000–$500,000

$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.

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.

e) 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.

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) 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.

ii) 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.

iii) 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, 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.

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

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.

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.