Tuesday 7 October 9.00 am – 5.30 pm
8 October 9.00 am – 5.30 pm Thursday 9 October 9.00 am – 5.30 pm Friday 10 October 9.00 am – 5.30 pm
11 October 11.00 am – 4.00 pm Monday 13 October 9.00 am – 5.30 pm
14 October 9.00 am – 5.30 pm
email: info@deutscherandhackett.com telephone: 03 9865 6333 fax: 03 9865 6344
www.deutscherandhackett.com
07.10.2025 – 14.10.2025
Contact art specialists
Contacts
Eliza Burton 03 9865 6333 A
Chris Deutscher
Damian Hackett 0411 350 150 0422 811 034
Fiona Hayward Henry Mulholland 0417 957 590 0424 487 738
Head of Online Sales
Eliza Burton
03 9865 6333
Administration and accounts
Megan Mac Sweeney 03 9865 6333
Bidding enquiries, service and shipping
Clarice Beckett (1887 – 1935) (Figure on beach) oil on pulpboard
22.5 x 18.0 cm
34.5 x 29.5 (frame)
signed by the artist’s sister Hilda Mangan on certificate of authenticity verso
STARTING BID: $14,000
ESTIMATE: $20,000 – 30,000
Provenance
Private collection, Melbourne
Clarice Beckett (1887 – 1935)
Towards evening, c.1924 – 25
oil on board
30.0 x 40.5 cm
40.0 x 50.5 cm (frame) signed lower left: C. Beckett stamped verso: 19
STARTING BID: $14,000
ESTIMATE: $20,000 – 30,000
Provenance
Kew Gallery, Melbourne
Private collection, Melbourne
Exhibited
Blue Chip VI: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 2 – 27 March 2004, cat. 19 (illus. in exhibition catalogue p. 21, as ‘Towards evening (Beaumaris), c.1930’)
On view Melbourne
Bid Now
Cristina Asquith Baker (1869
The park oil on canvas
61.0 x 51.0 cm
78.0 x 67.5 cm (frame)
signed lower right: C Asquith Baker
STARTING BID: $1,400
ESTIMATE: $2,000 – 3,000
Provenance
Private collection, Melbourne
On view Melbourne
Bid Now
– 1960)
Max Meldrum (1875 – 1955)
Pont Rean, 1926
oil on canvas on board
34.0 x 37.0 cm
43.5 x 47.0 cm (frame)
signed lower left: Meldrum signed, dated and inscribed verso: 16 / Max Meldrum / PONT REAN 1926
STARTING BID: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
Kew Gallery, Melbourne (stamped verso) Private collection, Melbourne
Exhibited
Probably: Paintings by Max Meldrum, Athenaeum Gallery, Melbourne, 18 – 19 August 1931, cat. 16 (as ‘The Mill, Pont Rean’)
On view Melbourne
Hans Heysen (1877 – 1968)
Autumn landscape with house, c.1898
watercolour on paper
30.0 x 23.0 cm
51.5 x 44.0 cm (frame)
signed lower left: H. HEYSEN.
STARTING BID: $6,000
ESTIMATE: $8,000 – 12,000
Provenance
Private collection, Melbourne
Thence by descent
Private collection, Melbourne
Robert Camm (1847 – 1933)
She-Oak Bay, Lorne, 1847
oil on canvas
45.5 x 33.0 cm
65.0 x 52.0 cm (frame)
signed lower right: Robert Camm
bears artist’s name, date and title on metal plaque:
SHE-OAK BAY, LORNE / Robert Camm 1847
STARTING BID: $1,400
ESTIMATE: $2,000 – 3,000
Provenance
Private collection, Melbourne
On view Melbourne
Bid Now
John Brack (1920 – 1999)
Study for Mirror and scissors, 1966
pen and ink on paper
34.0 x 46.5 cm
63.0 x 74.0 cm (frame)
signed and dated lower right: John Brack 66
STARTING BID: $9,000
ESTIMATE: $12,000 – 18,000
Provenance
Private collection, Melbourne
Rex Irwin Art Dealer, Sydney (label attached verso)
Private collection, Melbourne
Exhibited
John Brack and Fred Williams, Albert Hall, Canberra, 1 – 13 August 1967, cat. 13
John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 10 December 1987 – 31 January 1988, cat. 163 (label attached verso)
Australian Art: Colonial to Contemporary 1780s–1990s, Deutscher Fine Art, Melbourne, 9 – 31 August 1996, cat. 81 (illus. in exhibition catalogue, p. 62)
Important Works on paper, Rex Irwin Art Dealer, Sydney, April 1997, cat. 7
John Brack and Fred Williams in Adelaide, Art Gallery of South Australia, Adelaide, 6 May – 16 August 1998
Literature
Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, cat. 163, pp. 100 (illus.), 143
Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, vol. II, cat. p117, p. 54 (as ‘Mirror and scissors’)
Related Work
Still Life with Purple Scissors, 1964, oil on canvas, 81.5 x 115.5 cm, private collection, ibid., vol.II, cat. o143, pp. 20, 128 (illus.)
Mirror and scissors, 1966, etching, 33.0 x 45.0 cm, Art Gallery of New South Wales, Sydney
Dorothy Braund (1926 – 2013)
Standing figures, 1979
gouache on paper
40.0 x 49.0 cm
60.5 x 75.0 cm (frame)
signed and dated lower left and lower centre: BRAUND’ 79
STARTING BID: $1,500
ESTIMATE: $2,000 – 3,000
Provenance
Private collection, Melbourne
On view Melbourne
John Kelly born 1965 Head, 1994
oil on linen
20.5 x 25.5 cm
signed and dater lower right: Klly [sic] 94
signed, dated and inscribed with title verso: JOHN KELLY Head ‘94
STARTING BID: $8,000
ESTIMATE: $10,000 – 15,000
Provenance
Linden New Art, Melbourne
Private collection, Melbourne, acquired from the above in 1994
Exhibited
St Kilda Postcard Show, Linden Gallery, Melbourne, 1994
On view Melbourne
Robert Juniper (1929 – 2012)
Morning on the Helena, 1988
mixed media on Belgian linen
182.0 x 182.0 cm
183.5 x 183.5 cm (frame)
signed and dated lower right: Juniper / 88 bears inscription on Helena Graphics label verso: Morning on the Helena / 1988 / by Robert Juniper
STARTING BID: $48,000
ESTIMATE: $60,000 – 80,000
Provenance
Australian Galleries, Melbourne (partial label attached verso) Private collection, Melbourne, acquired from the above in 1993
Exhibited
Images of Australia by Robert Juniper, Australian Galleries, Melbourne, 5 – 26 October 1988, cat. 6
On view Melbourne
Bid Now
The blessing, c.1949
oil on canvas
101.0 x 71.0 cm
123.5 x 93.0 cm (frame)
signed upper left: O’BRIEN
STARTING BID: $24,000
ESTIMATE: $30,000 – 40,000
Provenance
Private collection
Christie’s, Sydney, 24 September 1969, lot 118
Private collection
Christie’s, Melbourne, 14 March 1974, lot 350
Private collection
Christie’s, Melbourne, 11 March 1977, lot 109
Private collection
Sotheby’s, Melbourne, 26 July 1987, lot 463
Private collection, Melbourne
Exhibited
Possibly: Justin O’Brien, Hanover Gallery, London, 19 July – 1 August 1949
On view Melbourne
Bid Now
Charles Blackman (1928 – 2018)
Girl and flowers
oil on canvas on board
50.0 x 73.0 cm
77.5 x 100.5 cm (frame)
signed upper left: BLACKMAN
STARTING BID: $8,500
ESTIMATE: $10,000 – 15,000
Provenance
Private collection
Christie’s, Sydney, 17 August 1999, lot 169 Private collection, Sydney
Sotheby’s, Sydney, 16 August 2017, lot 53 Company collection, Sydney
On view Melbourne
Bid Now
Eric Wilson (1911 – 1946)
The inmate, 1944 oil on board
47.0 x 31.0 cm
61.0 x 44.5 cm (frame)
signed and dated lower left: Eric Wilson / 44
STARTING BID: $10,000
ESTIMATE: $20,000 – 30,000
Provenance
Artarmon Galleries (Artlovers), Sydney (label attached verso)
Sotheby’s, Sydney, 13 October 1983, lot 27 Holmes à Court Collection, Perth Deutscher~Menzies, Melbourne, 20 August 2001, lot 35
The Hicks Family Collection, Melbourne
Related Work
The inmates, 1944, oil on composition board, 50.2 x 38.1 cm, Art Gallery of New South Wales, Sydney Studies of old men, 1942, six pencil drawings on ruled paper, 10.5 x 12.5 cm (each), Art Gallery of New South Wales, Sydney
William Dobell (1899 – 1970)
Mother and child, 1948
oil on composition board
31.0 x 23.0 cm
44.0 x 36.5 cm (frame)
signed lower left: DOBELL
STARTING BID: $6,000
ESTIMATE: $10,000 – 15,000
Provenance
Mr C. Gheysens, Sydney
Niagara Galleries, Melbourne
The Hicks Family Collection, Melbourne
Exhibited
William Dobell Retrospective, Art Gallery of New South Wales, 15 July – 30 August 1964, cat. 34 (label attached verso)
Two girls, New Guinea, 1968
oil on composition board
61.0 x 76.0 cm
73.0 x 88.0 cm (frame)
signed and dated lower right: Olley 68
STARTING BID: $18,000
ESTIMATE: $25,000 – 35,000
Provenance
Johnstone Gallery, Brisbane (label attached verso)
Private collection, Queensland
Private collection, New South Wales, acquired from the above c.1975
Exhibited
Probably: Leaves from a New Guinea sketch book and other paintings by Margaret Olley, The Johnstone Gallery, Brisbane, 14 – 26 October 1968
Possibly: New Guinea Paintings by Margaret Olley, Horticultural Society of Papua New Guinea, at the home of Geoff Elworthy, Port Moresby, 3 June 1970
On view Melbourne
Gathering mushrooms oil on panel
21.0 x 31.5 cm
36.0 x 45.5 cm (frame)
signed lower left: A Fullwood bears inscription verso: Gathering mushrooms / misty morning / A H Fullwood
STARTING BID: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
Private collection, Melbourne
Norman Lindsay (1879 – 1969)
Ballerina
oil on canvas on board
53.0 x 42.0 cm
70.0 x 59.5 cm (frame)
signed upper right: NORMAN LINDSAY
STARTING BID: $22,000
ESTIMATE: $30,000 – 40,000
Provenance
Dominion Art Galleries, Sydney (label attached verso)
Private collection
Christies, Melbourne, 1 August 1995, lot 214A Company collection, Sydney
Exhibited
Norman Lindsay, Dominion Art Galleries, Sydney, 29 September – 10 October 1964, cat 28
Arie Smit (Dutch, 1916 – 2016)
Temple entrance Bali, 1979
oil on canvas
48.0 x 48.0 cm
61.0 x 61.0 cm (frame)
signed and dated lower right: arie Smit / BALI 79
STARTING BID: $5,000
ESTIMATE: $10,000 – 15,000
Provenance
Private collection, New South Wales, acquired in Bali c.1979
On view Melbourne
Bid Now
Walter Withers (1854 – 1914)
The wood gatherer oil on board
24.0 x 33.5 cm
41.5 x 51.0 cm (frame)
signed lower left: Walter Withers
STARTING BID: $8,000
ESTIMATE: $10,000 – 15,000
Provenance
Private collection
Leonard Joel, Melbourne, 7 July 1982, lot 75
Private collection, Melbourne
On view Melbourne
The gold fossickers
oil on canvas
46.0 x 76.0 cm
66.5 x 96.5 cm (frame)
signed lower left: J. H. Scheltema
STARTING BID: $12,000
ESTIMATE: $15,000 – 20,000
Provenance
Private collection
Leonard Joel, Melbourne, 29 March 1994, lot 68
Private collection, Melbourne
George Reynolds (1854 – 1939)
In search of gold, c.1898
oil on canvas
56.0 x 92.0 cm
82.5 x 119.0 cm (frame)
signed lower right: G. A. Reynolds bears inscription on S.A. Society of Artists label verso: “In search for Gold”
STARTING BID: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
Private collection
Artemis Auctions, Melbourne, 27 April 2009, lot 448
Private collection, Melbourne
Exhibited
South Australian Society of Arts Exhibition, Institute Building, Adelaide, opened 21 July 1898, cat. 102 (label attached verso)
Literature
‘Society of Arts Annual Exhibition’, Evening Journal, Adelaide, 21 July 1898, p. 3
‘South Australian Society of Arts’, The Express and Telegraph, Adelaide, 21 July 1898, p. 2
‘The Society of Arts Exhibition’, Quiz and the Lantern, Adelaide, 28 July 1898, p. 3
On view Melbourne
J.H. Scheltema (1861 – 1941)
Post office
oil on canvas
51.0 x 76.0 cm
63.5 x 89.0 cm (frame)
signed lower left: J.H. Scheltema
STARTING BID: $5,000
ESTIMATE: $6,000 – 9,000
Provenance
Private collection, New South Wales
Menzies, Sydney, 24 September 2014, lot 211
Private collection, Melbourne
On view Melbourne
Hans Heysen (1877 – 1968)
Lubra Springs, Oraparinna, 1950
watercolour on paper
14.0 x 23.0 cm
39.0 x 49.0 cm (frame)
signed and dated lower left: HANS HEYSEN 1950 bears inscription verso: LUBRA SPRINGS / Orraparinna [sic] / Flinders / HANS HEYSEN
STARTING BID: $2,800
ESTIMATE: $4,000 – 6,000
Provenance
Private collection, Melbourne
On view Melbourne
Bid Now
Ernest Buckmaster (1897 – 1968)
Lilydale landscape, 1943
oil on canvas on plywood
53.0 x 81.0 cm
63.0 x 91.0 cm (frame)
signed and dated lower left: E Buckmaster 1943
STARTING BID: $4,000
ESTIMATE: $5,000 – 7,000
Provenance
Private collection, Melbourne
Exhibited
Possibly: Ernest Buckmaster, Athenaeum Gallery, Melbourne, 17 – 28 August 1943
On view Melbourne
Ray Crooke (1922 – 2015)
North East Victoria, c.1959
oil and tempera on composition board
40.0 x 50.0 cm
59.0 x 69.5 (frame)
signed lower left: Ray Crooke bears inscription on Australian Galleries label verso: NORTH EAST, VICTORIA / RAY CROOKE
STARTING BID: $6,500
ESTIMATE: $8,000 – 12,000
Provenance
Australian Galleries, Melbourne (label attached verso)
The Estate of a titled lady, New Zealand Private collection, New South Wales
On view Melbourne
Bid Now
John Perceval (1923 – 2000)
Wheatfield with sickle farmer and scarecrow, c.1990
oil on canvas on board
40.0 x 50.0 cm
66.5 x 76.0 cm (frame)
signed lower left: Perceval
STARTING BID: $7,500
ESTIMATE: $10,000 – 15,000
Provenance
Private collection
Deutscher~Menzies, Sydney, 10 March 2004, lot 279
Bill and Eileen Cammack, Sydney Lawsons, Sydney, 6 July 2014, lot 526 Company collection, Sydney
John Perceval (1923 – 2000)
Charles Blackman at Mallacoota Inlet, 1955
oil and tempera on composition board
60.0 x 60.0 cm
66.0 x 66.0 cm (frame)
signed and dated lower right: 55 / Perceval
signed and inscribed with title on label verso: Mallacoota / Inlet 1954c / Perceval
STARTING BID: $10,000
ESTIMATE: $20,000 – 30,000
Provenance
William Mora Galleries, Melbourne Company collection, Melbourne
Literature
Allen, T., John Perceval, Melbourne University Press, Melbourne, 1992, p. 156
On view Melbourne
Bid Now
The waiting bus, 1986
colour lithograph on paper
60.0 x 73.0 cm (image)
90.0 x 101.0 cm (frame)
edition: 7/80
signed, numbered and inscribed with title below image
STARTING BID: $5,000
ESTIMATE: $6,000 – 8,000
Provenance
Australian Galleries, Melbourne (label attached verso)
Private collection, Melbourne
Exhibited
The Peter Kingsbury Gift, Gippsland Art Gallery, Victoria, 5 March – 29 May 2022 (another example)
Literature
McDonald, J., Jeffrey Smart Paintings of the 70s and 80s, Craftsman House, Sydney, 1990, p.161, cat. 309 (another example)
Related Work
First study for Bus by the Tiber, 1977 – 78, oil on board, 22.5 x 33.0 cm, private collection
Other examples of this print are held in the collections of the National Gallery of Australia, Canberra, the Deakin University Art Collection, Melbourne, and the Gippsland Art Gallery, Victoria
The Moreton Bay fig, 1979
etching and drypoint on ivory wove paper
60.0 x 50.0 cm (plate)
89.5 x 60.0 cm (sheet)
96.0 x 77.0 cm (frame) edition: 58/75
inscribed with title in image lower left: THE MORTON [sic] BAY FIG signed lower right: Brett Whiteley numbered lower left: 58/75
STARTING BID: $8,000
ESTIMATE: $10,000 – 15,000
Provenance
Edna and Awdry Julius (Wendy Whiteley’s aunt and uncle), Sydney
Thence by descent
Private collection, Brisbane
Exhibited
The Entire Collection of the Graphics of Brett Whiteley: 1961 – 1981, Australian Galleries, Melbourne, 20 July – 9 August 1981, cat. 49 (another example)
Affinities: Brett Whiteley & Lloyd Rees, The Brett Whiteley Studio, Sydney, 10 February – 8 July 2001 (another example) Bohemian Harbour, Museums of History NSW, Sydney, 15 September – 25 November 2018 (another example)
Literature
Mandy, R., Brett Whiteley: Graphics 1961 – 1982, Art Gallery of Western Australia, Perth, 1983, cat. 51, p. 39 (illus., another example)
Brett Whiteley: The Graphics 1961 – 1992, Deutscher Fine Art, Melbourne, 1992, pl. 54, pp. 61 (illus., another example), 113 Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, cat. 95P, vol. 5, p. 105 (illus., another example), vol. 7, p. 826
Related Work
Another example from this edition is held in the collection of the Art Gallery of New South Wales, Sydney
Sidney Nolan (1917 – 1992)
Prometheus unbound, 1967
mixed media on paper on composition board
51.0 x 75.5 cm
75.0 x 100.0 cm (frame)
signed lower right: Nolan
STARTING BID: $6,500
ESTIMATE: $9,000 – 12,000
Provenance
Private collection
Thence by descent
Private collection, Melbourne Deutscher and Hackett, Melbourne, 17 May 2022, lot 31
Private collection, Queensland
On view Melbourne
Bid Now
William Robinson (1936 – 2025)
Blue pools, 2000
colour lithograph on paper
61.5 x 79.5 cm
88.5 x 105.5 cm (frame)
edition: 98/100
signed, dated, numbered and inscribed with title below image
STARTING BID: $2,400
ESTIMATE: $3,000 – 4,000
Provenance
Australian Galleries, Melbourne Private collection, Melbourne
Related Work
The blue pools, Springbook to Beechmont, 2000, oil on linen, 203.0 x 259.0 cm, private collection, illus. in MacAulay, D. and MacAulay, B. (et al.), William Robinson, The Transfigured Landscape, Queensland University of Technology, Brisbane and Piper Press, 2011, p. 194
Another example from this edition is held in the collection of the National Gallery of Australia, Canberra
On view Melbourne
Bid Now
Peter Booth born 1940
Drawing (man by the sea), 1999
Conté crayon and casein on paper
27.5 x 54.0 cm
52.5 x 78.0 cm (frame)
signed and dated verso: BOOTH 99
STARTING BID: $3,400
ESTIMATE: $4,000 – 6,000
Provenance
Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Melbourne
Exhibited
Peter Booth Recent Work, Rex Irwin Art Dealer, Sydney, 15 June – 10 July 1999, cat. 20 (label attached verso, illus. in exhibition catalogue)
On view Melbourne
Bid Now
Peter Booth born 1940
Flying man, 1981
watercolour, gouache and ink on paper
63.5 x 98.0 cm
98.5 x 132.0 cm (frame)
STARTING BID: $6,000
ESTIMATE: $8,000 – 12,000
Provenance
Private collection
Menzies, Melbourne [private sale]
Private collection, Queensland
On view Melbourne
Bid Now
Moira in mirror, 1940
silver gelatin photograph
49.0 x 39.0 cm
63.0 x 52.5 cm (frame)
signed and dated in image lower right: Max Dupain ‘40 inscribed with title below image lower left: Moira in mirror
STARTING BID: $1,600
ESTIMATE: $2,000 – 3,000
Provenance
Christine Abrahams Gallery, Melbourne
Private collection, Melbourne, acquired from the above in 1990
Related Work
Other examples of this photograph are held in the collections of the Art Gallery of South Australia, Adelaide and the Art Gallery of New South Wales, Sydney
Olive Cotton (1911 – 2003)
Teacup ballet, 1936, printed 1999
silver gelatin photograph
25.0 x 18.0 cm (image)
30.5 x 25.0 cm (sheet)
51.5 x 41.0 cm (frame)
edition: 5/90
signed on authenticity stamp verso by the artist’s daughter
Sally McInerney
bears inscription of title, date and edition number in stamp verso
STARTING BID: $6,000
ESTIMATE: $10,000 – 15,000
Provenance
Byron Mapp Gallery, Sydney (label attached verso)
Private collection, Melbourne
Selected Exhibitions
Seeing is believing – the art in photography, Art Gallery of New South Wales, Sydney, 13 December 1985 – 19 January 1986, cat. 12 (another example)
Shades of Light: Photography and Australia 1839–1988, National Gallery of Australia, Canberra, 20 February – 22 May 1988 (another example)
Olive Cotton, Art Gallery of New South Wales, Sydney, 13 May – 2 July 2000; National Library of Australia, Canberra, 12 July – 19 September 2000 (another example)
Soft Shadows and Sharp Lines: Australian photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney, 30 September – 17 November 2002 (another example)
Great Collections, Campbelltown Arts Centre, New South Wales, 12 December 2008 – 18 January 2009; Tweed Regional Gallery
On view Melbourne
Bid Now
& Margaret Olley Art Centre, New South Wales, 6 February –15 March 2009 (another example)
Max and Olive: The photographic life of Olive Cotton and Max Dupain, National Gallery of Australia touring exhibition, Canberra, 18 March 2016 – 10 July 2017 (another example)
Call of the Avant-Garde: Constructivism and Australian Art, Heide Museum of Modern Art, Melbourne, 5 July – 8 October 2017 (another example)
Know My Name: Making it Modern, National Gallery of Australia, Canberra, 5 August – 8 October 2023 (another example)
Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 6 August – 9 November 2025, cat. 206 (another example)
Selected Literature
Hall, B. and Mather, J., ‘Olive Cotton,’ Australian Women Photographers 1840–1960, Greenhouse Publications, Melbourne, 1986, p. 84 (illus., another example)
Ennis, H., Olive Cotton: Photographer, National Library of Australia, Canberra, 1995, front cover (illus., another example), p. 25 (illus., another example)
Ennis, H., Olive Cotton, Art Gallery of New South Wales, Sydney, 2000, p. 24 (illus., another example)
McPhee, J., Great Collections, Museum & Galleries NSW, Sydney, 2008, p. 100 (illus., another example)
Edwards, D., and Mimmocchi, D. (eds.), Sydney Moderns: Art For a New World, Art Gallery of New South Wales, Sydney, 2013, pp. 152 (illus., another example), 184, 293, 311
Ennis, H., Olive Cotton: A Life in Photography, Harper Collins, Sydney, 2019, p. 98 (illus., another example), 99 – 102, 177, 395, 414, 415, 423, 453
Harding, L., Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 2025, pp. 190 (illus., another example), 192, 234 (illus., another example)
Related Work
Other examples of this photograph are held in the collections of the National Gallery of Australia, Canberra, the National Gallery of Victoria, Melbourne, the Art Gallery of New South Wales, Sydney, the Art Gallery of South Australia, Adelaide and the Queensland Art Gallery | Gallery of Modern Art, Brisbane
Max Dupain (1911 – 1992)
Little nude, 1938
silver gelatin photograph
48.0 x 35.5 cm
61.5 x 51.0 cm (frame)
signed and dated in image lower right: Max Dupain ‘38 inscribed with title below image lower left: Little nude
STARTING BID: $2,400
ESTIMATE: $3,000 – 4,000
Provenance
Christine Abrahams Gallery, Melbourne
Private collection, Melbourne, acquired from the above in 1991
Selected Exhibitions
Max Dupain Retrospective 1930–1980, Art Gallery of New South Wales, Sydney, 29 August – 28 September 1980, cat. 35 (another example, as ‘Nude’)
Seeing is believing – the art in photography, Art Gallery of New South Wales, Sydney, 13 December 1985 – 19 January 1986, cat. 14 (another example, as ‘Nude’)
Soft Shadows and Sharp Lines: Australian photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney, 30 September – 17 November 2002 (another example, as ‘Nude’)
The photograph and Australia, Art Gallery of New South Wales, Sydney, 21 March – 8 June 2015; Queensland Art Gallery | Gallery of Modern Art, Brisbane, 4 July – 11 October 2015 (another example, as ‘Nude’)
Public Image, Private Lives: Family, Friends and Self in Photography, Art Gallery of South Australia, Adelaide, 5 February –18 September 2016 (another example, as ‘Nude’)
On view Melbourne
Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 6 August – 9 November 2025, cat. 179 (another example)
Literature
Dupain, M., Max Dupain’s Australia, Viking, Victoria, 1986, p. 108 (illus., another example)
Dupain, M., Max Dupain, Print Room Press, Sydney, 1991, pl. 69 (illus., another example)
McFarlane, R., Black + White – The Masters, Art Gallery of New South Wales, Sydney, 1999, p. 205 (illus., another example)
White, J., Dupain’s Australians, Chapter and Verse, Sydney, 2003, p. 51 (illus., another example)
Annear, J., The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, p. 271 (illus., another example)
Robb, L., Versus Rodin: Bodies across space and time, Art Gallery of South Australia, Adelaide, 2017
Harding, L., Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 2025, p. 230 (illus., another example)
Related Work
Other examples of this photograph are held in the collections of the Art Gallery of New South Wales, Sydney and the Queensland Art Gallery | Gallery of Modern Art, Brisbane
Max Dupain (1911 – 1992)
Jean with wire mesh, 1938
silver gelatin photograph
48.5 x 34.5 cm
61.5 x 51.0 cm (frame)
signed and dated in image lower right: Max Dupain '38 inscribed with title below image lower left: Jean with wire mesh
STARTING BID: $4,800
ESTIMATE: $6,000 – 8,000
Provenance
Christine Abrahams Gallery, Melbourne
Private collection, Melbourne, acquired from the above in 1991
Exhibited
The Enduring Glance: 20th Century Australian Photography from the Corrigan Collection, Bendigo Art Gallery, Victoria, 22 June – 28 July 2002, cat. 22 (another example)
Soft Shadows and Sharp Lines: Australian photography from Cazneaux to Dupain, Art Gallery of New South Wales, Sydney, 30 September – 17 November 2002 (another example, illus. in exhibition catalogue, p. 140)
Max Dupain’s Australians, State Library of New South Wales, Sydney, 15 July 2003 – 1 February 2004 (another example)
Soul of a City: Modernism and Sydney Photography 1930 to 1950, Delmar Gallery, Sydney, 17 May – 15 June 2014 (another example)
Versus Rodin: Bodies across Space and Time, Art Gallery of South Australia, Adelaide, 4 March – 16 July 2017 (another example)
Robert Wilson: Moving Portraits, Art Gallery of South Australia, Adelaide, 9 July – 3 October 2022 (another example)
Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 6 August – 9 November 2025, cat. 142 (another example)
On view Melbourne
Bid Now
Literature
The Home: an Australian Quarterly, Art in Australia, Sydney, vol. 17, no. 2, 1 February 1936, p. 57 (illus., another example, as ‘Photographic Study’)
Dupain, M., Max Dupain, Print Room Press, Sydney, 1991, pl. 79 (illus., another example)
McFarlane, R., Black + White – The Masters, Art Gallery of New South Wales, Sydney, 1999, p. 200 (illus., another example)
White, J., Dupain’s Australians, Chapter and Verse, Sydney, 2003, p. 57 (illus., another example)
Max Dupain’s Australians, State Library of New South Wales, Sydney, 2003, front cover (illus., another example)
Annear, J., Photography: Art Gallery of New South Wales Collection, Art Gallery of New South Wales, Sydney, 2007, pp. 136, 140 (illus., another example)
Devenport, R., et al., AGSA 500, Art Gallery of South Australia, Adelaide, 2024 (another example)
Harding, L., Man Ray and Max Dupain, Heide Museum of Modern Art, Melbourne, 2025, pp. 33, 35 (illus., another example), 227 (illus., another example)
Related Work
Jean with wire mesh (eyes open), c.1935, gelatin silver photograph, 50.8 x 40.6 cm, National Gallery of Australia, Canberra
Other examples of this photograph are held in the collections of the National Gallery of Australia, Canberra, the Art Gallery of New South Wales, Sydney, the Queensland Art Gallery | Gallery of Modern Art, Brisbane and the Art Gallery of South Australia, Adelaide
Lewis Morley (1925 – 2013)
Christine Keeler, 1963
contact sheet, printed 1999
silver gelatin photograph
42.5 x 50.0 cm
56.5 x 71.0 cm (frame) edition: 9/10
signed, dated, numbered and inscribed with title lower left: CHRISTINE KEELER ‘63 / 9/10 L Morley / 99 embossed studio mark lower left
STARTING BID: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
Byron Mapp Gallery, Sydney
Private collection, Melbourne
Exhibited
Lewis Morley, Art Gallery of New South Wales, Sydney, 6 July – 10 September 2006 (another example)
Hold still: the photographic performance, Art Gallery of New South Wales, Sydney, 12 May – 29 July 2018 (another example)
Literature
Annear, J., Lewis Morley, Art Gallery of New South Wales, Sydney, 2006 (another example)
Related Work
Other examples of this photograph are held in the collections of the Yale Center for British Art, Connecticut, the Getty Museum, Los Angeles, the National Portrait Gallery, London, the Victoria and Albert Museum, London, and the Art Gallery of New South Wales, Sydney
Ricky Maynard born 1953
Wik Elder, Gladys, 2000
from the ‘Returning to Places that Name Us’ series
silver gelatin photograph
95.0 x 120.0 cm
107.0 x 135.0 cm (frame)
edition: 14/15
STARTING BID: $3,400
ESTIMATE: $4,000 – 6,000
Provenance
Stills Gallery, Sydney (label attached verso)
Private collection, Melbourne, acquired from the above in July 2009
Selected Exhibitions
Ricky Maynard – Returning to Places that Name Us, Stills Gallery, Sydney, 25 July – 25 August 2001
Ricky Maynard: Portrait of a Distant Land, Musée du quai Branly, Paris, 30 October 2007 – 11 January 2008; and touring internationally (another example)
Half light: portraits from Black Australia, Art Gallery of New South Wales, Sydney, 21 November 2008 – 22 February 2009 (another example)
‘My Country’: I Still Call Australia Home: Contemporary Art from Black Australia, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 1 June – 7 October 2013 (another example)
Past Legacy: Present Tense, The Ian Potter Centre: NGV Australia, Melbourne, 1 September 2017 – 28 January 2018 (another example)
Longing for Home, Art Gallery of New South Wales, Sydney, 6 March – 22 August 2021 (another example)
‘Snap Blak’, Queensland Art Gallery | Gallery of Modern Art, Brisbane, 30 August 2025 – 16 September 2026 (another example)
The Stars We Do Not See, National Gallery of Art, Washington, 18 October 2025 – 1 March 2026; and touring internationally (another example)
Literature
MacFarlane, R., ‘Images that stay in the memory’, Sydney Morning Herald, Sydney, 8 August 2001, p. 16
Fink, H., et al., Tradition today: Indigenous art in Australia, Art Gallery of New South Wales, Sydney, 2004, p. 88 (illus., another example)
Ogden, J., Portraits from a Land Without People, Cyclops Press, Sydney, 2008, front cover (illus., another example)
Perkins H. and Jones J., Half light: Portraits from Black Australia, Art Gallery of New South Wales, Sydney, 2008, p. 95 (illus., another example)
Perkins, H., Art + soul: a journey into the world of Aboriginal art, The Miegunyah Press, Melbourne, 2010, pp. 34 (illus., another example), 35, 278
Related Work
Other examples of this photograph are held in the collections of the National Gallery of Art, Washington, the Phillips Collection, Washington, The Kluge-Ruhe Aboriginal Art Collection, Charlottesville, the National Gallery of Australia, Canberra, the National Gallery of Victoria, Melbourne, the Art Gallery of New South Wales, Sydney, Queensland Art Gallery | Gallery of Modern Art, Brisbane, Art Gallery of South Australia, Adelaide, Museum of Contemporary Art, Sydney and Museum of Australian Photography, Melbourne
Bill Henson born 1955
Untitled sequence 1977/78, 1977 – 78
from the ‘Untitled sequence 1977/78’ series
silver gelatin photograph
30.0 x 26.5 cm
54.0 x 49.5 cm (frame)
signed, dated and inscribed with title verso
STARTING BID: $2,000
ESTIMATE: $2,500 – 3,500
Provenance
Private collection, Melbourne
Exhibited
Bill Henson: Photographs 1974 – 1984, Deutscher Gertrude Street, Melbourne, 14 June – 7 July 1989 (another example)
Bill Henson, Art Gallery of New South Wales, Sydney, 8 January – 3 April 2005, then touring to the National Gallery of Victoria, Melbourne, 23 April – 10 July 2005 (another example)
Literature
Malouf D. and Schjeldahl S., Bill Henson: Photographs 1974 – 1984, Deutscher Gertrude Street, Melbourne, 1989, cat. 11 (illus., another example)
Henson, B. and Annear, J., Mnemosyne, Scalo, Zurich, in association with the Art Gallery of New South Wales, Sydney, 2005, p. 45 (illus., another example)
Related Work
Other examples of this photograph are held in the collections of the National Gallery of Australia, Canberra and the National Gallery of Victoria, Melbourne
Bill Henson born 1955
Untitled sequence (No. 2), 1978
silver gelatin photograph
29.0 x 30.5 cm
54.0 x 55.5 cm (frame) edition of 15
signed and dated verso
STARTING BID: $800
ESTIMATE: $1,000 – 2,000
Provenance
Private collection, Melbourne
Exhibited
Bill Henson: Photographs 1974 – 1984, Deutscher Gertrude Street, Melbourne, 14 June – 7 July 1989
Literature
Malouf D. and Schjeldahl S., Bill Henson: Photographs 1974 – 1984, Deutscher Gertrude Street, Melbourne, 1989, cat. 14 (illus.)
Rose Wylie British, born 1934
Profile, 1990
oil on paper
29.0 x 29.0 cm
50.5 x 50.5 cm (frame) bears inscription on backing verso: 42 bears inscriptions on Discerning Eye, Mall Galleries London 1990 label attached verso: PROFILE / ROSE WYLIE
STARTING BID: $4,000
ESTIMATE: $5,000 – 8,000
Provenance
Private collection, UK, acquired directly from the artist c.1992
Rose Wylie is represented by David Zwirner Galleries. There will be a major survey exhibition of Rose Wylie’s work at the Royal Academy London, 28 February – 19 April 2026.
Andy Warhol (American, 1928 – 1987)
Committee 2000, 1982
screenprint on Lenox Museum Board
75.5 x 50.5 cm
103.0 x 78.0 cm (frame)
edition: 568/2000 and 200 artist proofs signed and numbered lower right: 568/2000 Andy Warhol printed by Rupert Jasen Smith, New York with blindstamp lower left
STARTING BID: $8,000
ESTIMATE: $10,000 – 15,000
Provenance
Martin Lawrence Galleries, Hawaii (label attached verso) Private collection, Melbourne, acquired from the above in 2006
Literature
Feldman, F., and Schellmann, J., Andy Warhol Prints: A Catalogue Raisonné 1962 – 1987, Ronald Feldman Fine Arts, New York, third edition, 1997, cat. II.289, p. 124 (illus., another example)
On view Melbourne
Bid Now
Joan Miró (Spanish, 1893 – 1983)
Oiseau migrateur (Migratory bird): plate 3, 1970
colour lithograph on paper
64.0 x 49.5 cm
93.0 x 77.5 cm (frame)
edition: 5/75
signed lower right: Miro numbered lower left: 5/75
STARTING BID: $6,000
ESTIMATE: $8,000 – 10,000
Provenance
Private collection, New South Wales
Literature
Mourlot, F., Joan Miró: Lithographs, 1969–1972, Maeght Éditeur, Paris, 1981, vol. IV, cat. 653 (illus., another example)
Joan Miró (Spanish, 1893 – 1983)
Le lézard aux plumes d’or (The lizard with golden feathers), 1971
colour lithograph on paper
34.5 x 98.5 cm
57.0 x 98.0 cm (frame)
edition: 74/100
signed lower right: Miro numbered lower left: 74/100
STARTING BID: $6,000
ESTIMATE: $8,000 – 10,000
Provenance
Private collection, New South Wales
Literature
Mourlot, F., Joan Miró: Lithographs, 1969–1972, Maeght Éditeur, Paris, 1981, vol. IV, cat. 828 (illus., another example)
Cramer, P., Joan Miró. The Illustrated Books: Catalogue Raisonné, Patrick Cramer, Geneva, 1989, cat. 148 (illus., another example)
Related Work
Le lézard aux plumes d’or (The lizard with golden feathers), 1971, illustrated book with forty lithographs, 35.5 x 50.0 cm (each page), collection of Museum of Modern Art, New York
D+H ONLINE auctions are internet–only auctions that run for a set duration of time and are available for absentee bidding only.
Lot closing times are staggered by 1 minute. A unique feature in timed auctions is extended bidding. Our bidding platform does not allow sniping. If a bid is placed within the last 5 minutes of a lot’s scheduled end time, we extend the sale of that lot by 5 minutes from the last bid. This way other bidders have a chance to place a bid. Extended bidding continues until 2 hours after the last lot’s scheduled end time.
Works are available for viewing in either our Melbourne or Sydney galleries. Please check the artwork description under each lot for locations, or contact us prior to your visit to avoid disappointment. Gallery opening hours on weekdays are 9:00am to 5:30pm and by appointment only on weekends. If you wish to arrange a time to view an artwork offered in our online auction, please contact: info@ deutscherandhackett.com
Condition Reports and high–resolution images are available upon request.
If you are a successful online bidder, an invoice will be sent to you via email within a day of the auction. Payment is due within 7 days of closing date of the auction and the buyer will not acquire title until payment has cleared in full. Payment must be made to Deutscher and Hackett in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer.
The ‘buyer’s premium’ refers to the 25% charge (inc. GST) payable by the buyer, calculated as a percentage of the hammer price.
Please note there is no additional bidding fee for online auctions. D+H ONLINE auctions are now conducted with Buyer’s Premium Parity, meaning successful bidders will pay the same BP as those at D+H live auctions.
Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property, however Deutscher and Hackett would be pleased to assist by liaising with third party shipping and handling providers. Artworks are stored at either our Melbourne Gallery in South Yarra, VIC or at our Sydney Gallery in Paddington, NSW.
Shipping between Melbourne and Sydney galleries. Deutscher and Hackett offers complementary shipping for buyers between the Melbourne and Sydney galleries.
Melbourne Gallery
105 Commercial Road
SOUTH YARRA VIC 3141
Phone: +61 (0)3 9865 6333
Fax: +61 (0)3 9865 6344
Email: info@deutscherandhackett.com
Sydney Gallery
36 Gosbell Street
PADDINGTON NSW 2021
Phone: +61 (0)2 9287 0600
Fax: +61 (0)2 9287 0611
Email: info@deutscherandhackett.com
Select the online auction you wish to participate in.
When there is an auction open for bidding, click the “REGISTER TO BID” button at the top of the sale page.
If you do not have a D+H ONLINE account you will be prompted to create one by entering your name, email address and a password. You will also be asked to enter credit card details (Note: this card will not be charged for your purchase, but is used to confirm your identity).
Agree to the Terms and Conditions, then click REGISTER.
You can place an absentee bid by entering your Maximum Bid – the highest hammer price you would be willing to pay for the item.
(If you are the successful bidder, a buyers premium of 25% (inclusive of GST) is added to your bid amount as your total invoice amount.)
Review and confirm by clicking PLACE BID. From there, if others bid against you, our bidding platform will place incremental bids on your behalf to ensure you remain the highest bidder up to your maximum bid, or until you are outbid.
Note: Only you can see your Maximum Bid amount, if it is higher than the Current Bid.
If you are outbid, an “OUTBID” alert will appear on the screen and you will receive an email.
You will always have at least 5 minutes, after you have been outbid, to increase your bid before the auction closes.
from to increment
$500 $1,000 by $50
$1,000 $2,000 by $100
$2,000 $3,000 by $200
$3,000 $5,000 by $200 / $500 / $800
$5,000 $10,000 by $500
$10,000 $20,000 by $1,000
$20,000 $30,000 by $2,000
$30,000 $50,000 by $2,000 / $5,000 / $8,000
$50,000 $100,000 by $5,000
$100,000 $200,000 by $10,000
$200,000 $300,000 by $20,000
$300,000 $500,000 by $20,000 / $50,000 / $80,000
$500,000 $1,000,000 by $50,000
$1,000,000+ by $100,000
Melbourne Gallery 105 Commercial Road, South Yarra VIC
Phone: +61 (0)3 9865 6333
Email: info@deutscherandhackett.com
Bidding opens Tuesday 7 October
Bidding closes Tuesday 14 October from 7.00 pm
Lot 5 © Hans Heysen/Copyright Agency 2025
Lot 7 © courtesy of Helen Brack Clara Brack
Lot 8 © The Estate of Dorothy Braund
Lot 9 © John David Kelly/Copyright Agency 2025
Lot 10 © Juniper Family/Copyright Agency 2025
Lot 12 © Charles Blackman/Copyright Agency 2025
Lot 14 © Courtesy Sir William Dobell Art Foundation / Copyright Agency, 2025
Lot 15 © Margaret Olley Trust and The Olley Project
Lot 17 © H.C. & A. Glad
Lot 22 © Hans Heysen/Copyright Agency 2025
Lot 25 © Ray Crooke/Copyright Agency 2025
Lot 26 © John de Burgh Perceval/Copyright Agency 2025
Lot 27 © John de Burgh Perceval/Copyright Agency 2025
Lot 28 © courtesy of The Estate of Jeffrey Smart 2025
Lot 29 © Wendy Whiteley/Copyright Agency, 2025
Lot 30 © The Sidney Nolan Trust. All rights reserved, DACS/ Copyright Agency 2025
Lot 31 © William Robinson
Lot 32 © Peter Booth/Copyright Agency 2025
Lot 33 © Peter Booth/Copyright Agency 2025
Lot 38 © Lewis Morley/National Media Museum/Science & Society Picture Library
Lot 39 © Ricky Maynard/Copyright Agency 2025
Lot 40 © Bill Henson, 2025
Lot 41 © Bill Henson, 2025
Lot 43 © Andy Warhol Foundation for the Visual Arts, Inc. ARS/ Copyright Agency, 2025
Lot 44 © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris
Lot 45 © Successió Miró / Artists Rights Society (ARS), New York / ADAGP, Paris
Lot 12 Charles Blackman
Lot 13 Eric Wilson
Lot 17 Norman Lindsay
Lot 26 John Perceval
Lot 27 John Perceval
Designed and photography Danny Kneebone
© Published by Deutscher and Hackett Pty. Ltd. 2025
