IMPORTANT AUSTRALIAN AND INTERNATIONAL FINE ART

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Important Australian and International Fine Art + Important Indigenous Art

IMPORTANT FINE ART AUCTION • SYDNEY • 29 AUGUST 2018

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MELBOURNE • VIEWING 105 commercial road, south yarra, victoria, 3141 telephone: 03 9865 6333 • facsimile: 03 9865 6344 info@deutscherandhackett.com

SYDNEY • VIEWING 16 goodhope street, paddington, new south wales, 2021 telephone: 02 9287 0600 • facsimile: 02 9287 0611 info@deutscherandhackett.com

SYDNEY • AUCTION cell block theatre, national art school forbes street, darlinghurst, new south wales, 2010 telephone: 02 9287 0600

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sydney auction

melbourne viewing sydney viewing absentee/telephone bids live online bidding

LOTS 1 – 149 WEDNESDAY 29 AUGUST 2018 7:00pm cell block theatre, national art school, sydney forbes street darlinghurst, new south wales telephone: 02 9287 0600 THURSDAY 16 – SUNDAY 19 AUGUST 2018 105 commercial road south yarra, victoria, 3141 telephone: 03 9865 6333 11:00am – 6:00pm THURSDAY 23 – WEDNESDAY 29 AUGUST 2018 16 goodhope street paddington, new south wales, 2021 telephone: 02 9287 0600 11:00am – 6:00pm email bids to: info@deutscherandhackett.com telephone: 02 9287 0600 fax: 02 9287 0611 telephone bid form – p. 193 absentee bid form – p. 194 www.deutscherandhackett.com/watch-live-auction

www.deutscherandhackett.com • info@deutscherandhackett.com

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specialists CHRIS DEUTSCHER executive director — melbourne Chris is a graduate of Melbourne University and has over 40 years art dealing, auction and valuation experience as Director of Deutscher Fine Art and more recently, as co-founder and Executive Director of Deutscher~Menzies. He has extensively advised private, corporate and museum art collections and been responsible for numerous Australian art publications and landmark exhibitions. He is also an approved valuer under the Cultural Gifts Program.

DAMIAN HACKETT executive director — sydney Damian has over 25 years experience in public and commercial galleries, and the fine art auction market. He completed a BA (Visual Arts) at the University of New England, was Assistant Director of the Gold Coast City Art Gallery, and in 1993 joined Rex Irwin Art Dealer, a leading commercial gallery in Sydney. In 2001 Damian moved into the fine art auction market as Head of Australian and International art for Phillips de Pury and Luxembourg, and from 2002 – 2006 was National Director of Deutscher~Menzies.

HENRY MULHOLLAND senior art specialist Henry Mulholland is a graduate of the National Art School in Sydney, and has had a successful career as an exhibiting artist. Since 2000, Henry has also been a regular art critic on ABC Radio 702. He was artistic advisor to the Sydney Cricket Ground Trust Basil Sellers Sculpture Project, and since 2007 a regular feature of Sculpture by the Sea, leading tours for corporate stakeholders and conducting artist talks in Sydney, Tasmania and New Zealand. Prior to joining Deutscher & Hackett, Henry’s fine art consultancy provided a range of services, with a particular focus on collection management and acquiring artworks for clients on the secondary market.

CRISPIN GUTTERIDGE head of aboriginal art and senior art specialist Crispin holds a Bachelor of Arts (Visual Arts and History) from Monash University. In 1995, he began working for Sotheby’s Australia, where he became the representative for Aboriginal art in Melbourne. In 2006 Crispin joined Joel Fine Art as head of Aboriginal and Contemporary Art and later was appointed head of the Sydney office. He possesses extensive knowledge of Aboriginal art and has over 15 years experience in the Australian fine art auction market.

MARA SISON registrar Mara has a Bachelor of Arts (Humanities) from the University of Asia and the Pacific, Philippines and a Master of Cultural Heritage and Museum Studies from Deakin University. She gained her experience in the private and not-for-profit sectors as a Gallery Manager and Exhibitions Coordinator for MiFA Asian Contemporary Art and Melbourne Fine Art Galleries and as an Administration Officer for Australia China Art Foundation.

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ROGER McILROY head auctioneer Roger was the Chairman, Managing Director and auctioneer for Christie’s Australia and Asia from 1989 to 2006, having joined the firm in London in 1977. He presided over many significant auctions, including Alan Bond’s Dallhold Collection (1992) and The Harold E. Mertz Collection of Australian Art (2000). Since 2006, Roger has built a highly distinguished art consultancy in Australian and International works of art. Roger will continue to independently operate his privately-owned art dealing and consultancy business alongside his role at Deutscher and Hackett.

SCOTT LIVESEY auctioneer Scott Livesey began his career in fine art with Leonard Joel Auctions from 1988 to 1994 before moving to Sotheby’s Australia in 1994, as auctioneer and specialist in Australian Art. Scott founded his eponymous gallery in 2000, which represents both emerging and established contemporary Australian artists, and includes a regular exhibition program of indigenous Art. Along with running his contemporary art gallery, Scott has been an auctioneer for Deutscher and Hackett since 2010.

ALEX CRESWICK head of finance With a Bachelor of Business Accounting at RMIT, Alex has almost 15 years experience within financial management roles. He has spent much of his early years within the corporate sector with companies such as IBM, Macquarie Bank and ANZ. With a strong passion for the arts more recently he was the Financial Controller for Ross Mollison Group, a leading provider of marketing services to the performing arts. Alex is currently completing his CPA.

LUCIE REEVES-SMITH gallery manager – sydney Lucie completed her studies in Belgium, obtaining Masters of Arts in Art History (Modern and Contemporary Art), together with a Bachelors of Art History, Archaeology and Musicology from the Université Catholique de Louvain. Since returning to Australia in 2014, she has gained sound experience in cataloguing, research and arts writing through various roles with the Museum of Contemporary Art Australia, S.H. Ervin Gallery, Casula Powerhouse Arts Centre and with private art advisory firms Tutela Capital and LoveArt International.

MELISSA HELLARD head of marketing and client services Melissa has a Bachelor of Communication (Media) from RMIT University, and a Master of Art Curatorship from The University of Melbourne. Melissa gained experience in the corporate sector assisting companies such as NAB, AFL and Fiat Chrysler Group in a variety of fields including marketing, events and sponsorship. With an enduring passion for the visual arts, Melissa was more recently the Finance and Administration Assistant for Deutscher and Hackett.

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specialists for this auction

ART SPECIALISTS Chris Deutscher 0411 350 150 Damian Hackett 0422 811 034 Henry Mulholland 0424 487 738 Crispin Gutteridge 0411 883 052 AUCTIONEERS Roger McIlroy Scott Livesey ADMINISTRATION AND ACCOUNTS Alex Creswick (Melbourne) 03 9865 6333 Lucie Reeves-Smith (Sydney) 02 9287 0600 ABSENTEE AND TELEPHONE BIDS Lucie Reeves-Smith 02 9287 0600 please complete the absentee bid form (p. 194) or telephone bid form (p. 193) SHIPPING Mara Sison 03 9865 6333 CATALOGUE SUBSCRIPTIONS Claire Kurzmann 03 9865 6333 catalogue $40 at the gallery $45 by mail $55 international (including G.S.T. and postage)

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contents lots 1 — 149

page 14

prospective buyers and sellers guide

page 186

conditions of auction and sale

page 188

catalogue subscription form

page 191

attendee pre-registration form

page 192

telephone bid form

page 193

absentee bid form

page 194

index

page 207

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IMPORTANT NOTICE

CULTURAL HERITAGE PERMITS

Some imagery on bark and early western desert paintings in this catalogue may be deemed unsuitable for viewing by women, children or uninitiated men. We sug gest ar t co - ordinators at Aboriginal communities show this catalogue to community elders for approval before distributing the catalogue for general viewing. Co-ordinators may wish to mask or remove certain images prior to circulation. The English spelling of aboriginal names has evolved over the years. In this catalogue every effort has been made to use the current linguistic form. However original information from certificates has been transcribed as written with the result that there are different spellings of the same name, title, language group and story.

Under the provisions of the Protection of Movable Cultural Heritage Act, 1986, buyers may be required to obtain an export permit for certain categories of items in this sale from the Cultural Property Section: Department of Communications and the Arts GPO Box 2154 Canberra ACT 2601 Email: movable.heritage@arts.gov.au Phone: 1800 819 461 Under the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES), permits are required for the movement of wildlife, wildlife specimens and products made or derived from wildlife.

This includes species on the endangered species list. Buyers may be required to obtain an export permit for certain categories of items offered at auction. Permits must be obtained from: Wildlife Trade Regulation Section Environment Australia GPO Box 787 Canberra ACT 2601 Email: wildlifetrade@environment.gov.au Phone: (02) 6274 1900 Under the provisions of the Wildlife and Protection (Regulation of Exports and Imports) Act, 1982, buyers may be required to obtain an export permit for certain categories of items offered at auction (including plant or animal products derived from an Australian native species such as: ivory, tortoise shell, feathers, etc). Permits must be obtained from the Wildlife Protection Section, Environment Australia-Biodiversity Group at the address above, prior to items being export from Australia.

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Important Australian and International Fine Art + Important Indigenous Art

Lots 1 – 149

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IMPORTANT WORKS FROM THE ESTATE OF ALAN AND NOLA GEDDES, SYDNEY Lots 1 – 15 Alan Geddes was a latecomer to the art world. His early passions were mathematics and business. An outstanding student, he won a scholarship to Shore School in Sydney. In his final year he was dux of the school and then nearly topped the state in the NSW Leaving Certificate exams. During the war years he completed two degrees, served as an air force officer, married Nola and qualified as an actuary.

After working with the MLC insurance company, he moved his young family to Singapore where he became general manager of Great Eastern Life Assurance. In that position he developed an interest in investing, learning when to buy and sell in the volatile rubber and tin share markets.

He was a well-known supporter of Singapore charities, president of both the Singapore Rotary Club and the Singapore Red Cross.

After 14 years Alan returned to Australia to join Mercantile Mutual Life Assurance as general manager and became involved in its funds management activities. He developed a reputation as a successful investor; one business magazine of the time describing him as an Australian ‘funds manager non pareil’.

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Looking for personal investment opportunities led him into the art world. His philosophy was that ’investment is an art, not a science’ and he believed that you had to guess what the majority are going to do. However, he did not guess he would enjoy the art scene as much as he did. After visiting galleries, he started to become interested in paintings for their own sakes and enjoyed making new social contacts.

Alan and Nola liked to meet artists before purchasing their work and often entertained them at home. They met the art dealers Kim Bonython and Rudy Komon and were advised by them in many of their art choices.

The collection was accumulated over the late 1970s and early 1980s and some works were loaned to the Art Gallery of New South Wales for international touring exhibitions. Alan and Nola also opened their home for private tours of their collection. Eventually they ran out of room at home and some works were hung in the boardrooms of companies where Alan was a director. Alan commented that he liked this as unlike other investments he could enjoy his art on a daily basis.

Following his retirement Alan obtained an MA in English literature and was writing a doctoral thesis on the works of Thomas Keneally prior to his death in 1990. Nola enjoyed the collection until her own death earlier this year aged 99.

PETER GEDDES

ALAN AND NOLA GEDDES AT HOME

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

RALPH BALSON 1 (1890 – 1964) CONSTRUCTIVE PAINTING, 1955 oil on composition board 50.5 x 60.5 cm signed and dated lower right: R Balson 55. bears inscription on Gallery A label verso signed by Max Hutchinson: Cat.30 / RALPH BALSON / 1955. estimate :

$100,000 – 150,000

PROVENANCE Gallery A, Sydney (label attached verso) Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Ralph Balson Second Memorial Exhibition, Gallery A, Sydney, 18 July 1968, cat. 30 Australian Paintings 1936 – 1976, A Collection, Ray Hughes Gallery, Brisbane, 29 May – 18 June 1981, cat. 8 (illus. in exhibition catalogue, as ‘Non Objective painting, 1955’)

Propelled by a mysterious quest to illustrate the ‘forces beyond the structure’1 of abstract painting, Ralph Balson’s formalist oeuvre evolved through a series of three separate chapters: ‘constructive paintings’ characterised by a rigorous geometry, then ‘non-objective paintings’ with fractured all-over painterly surfaces, and finally ‘matter paintings’ whose appearance was entirely governed by the inherent physical properties of poured paint. A well-read and intellectual artist, Balson made paintings that were nourished by scientific and philosophical theories on modernity, representation and the universe. A precocious disciple of international Modernist theory, Balson focused on the planar quality of the picture’s surface, producing some of the first purely abstract works in Australia. 2 For Balson, non- objective painting, one that is removed from representational prerequisites, was the new frontier. It was for him, the only mode of visual expression that could adequately express the modern condition and provide a transcendental glimpse into the pure laws of nature inherent in both science and art. Constructive Painting, 1955, is a late example of Balson’s planar formalist works, another example from this year is held in the collection of the National Gallery of Australia. This painting is liminal, poised on the aesthetic frontier between the artist’s constructive logic and the painterly dissolution of his subsequent non-objective series, the first examples of which appeared this same year.

1955 was a watershed year for Balson. Having turned 65, he retired from his house-painting business, devoting his days, for the first time, to either teaching art (at East Sydney Technical College) or creating it himself. Following the first unsuccessful group exhibition of abstract works at David Jones’ Gallery in 1939, Balson and his colleague, Grace Crowley, continued their investigations independently, working alongside each other in the latter’s Mittagong home from 1954. In 1955, having worked for some years in this environment steeped in the most recent theories of international art, Balson wrote to Michel Seuphor, a Belgian artist compiling a book on Abstract art, to express both his filiation with the artist Piet Mondrian but also to express his sentiment that art should elucidate the ‘mystery and rhythm of the spectrum, and that means existence of life itself’. 3 The surface of Constructive Painting features a series of simple squares of almost uniform shape and size, existing independently of each other, not overlapping, but suspended in space. We also see dissolving boundaries of form and fields of colour. Both of these elements featured very rarely in Balson’s constructive paintings, and were key stylistic developments leading towards his tachiste non-objective works. 4 Surprisingly, what links these imprecise squares scattered across the picture plane is a meandering series of brightly coloured lines woven into the composition, breaking the otherwise grid-like composition. The brushstrokes of these lines and of the painterly tonal background contain the trace of the artist’s hand, marking a gestural break in his philosophy of mathematical self-effacement. Balson was now released from the impersonal and serene rigour of his former geometry, and henceforth allowed himself to embrace the ever-changing fluidity of the universe.

1. The artist, in a letter to Michel Seuphor, cited in Adams, B., ‘Metaphors of Scientific Idealism: The theoretical background to the paintings of Ralph Balson’ in Bradley, A. and Smith, T. (eds), Australian Art and Architecture: Essays presented to Bernard Smith, Oxford University Press, Melbourne, 1980, p. 188 2. Anne Dangar, a former colleague permanently residing at Albert Gleizes’ colony at MolySabata, sent Grace Crowley hand written notes of the French artist’s modernist theories.

Balson had access to these letters from the mid-1950s. Furthermore, Robert Klippel brought recent developments in these theories home with him from France in 1951, relating them to both Crowley and Balson. Adams, B., op cit., p. 186 and Thomas, D., ‘Ralph Balson and Gallery A’, Gallery A Sydney 1964 – 1983, Campbelltown Arts Centre, New South Wales, 2009, p. 109 3. The artist, in a letter to Michel Seuphor, cited in Adams, B., op. cit.

4. Thomas, D., ‘Ralph Balson’, Art and Australia, Sydney, vol. 2, no. 4, Autumn 1965, pp. 257 – 258

LUCIE REEVES-SMITH

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

FRED WILLIAMS 2 (1927 – 1982) KALLISTA HILLSIDE, 1965 gouache on paper on composition board 75.0 x 55.0 cm signed lower right: Fred Williams. bears inscription verso: No. 912 estimate :

PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney We are grateful to Lyn Williams for her assistance in cataloguing this work.

$40,000 – 60,000

Kallista Hillside, 1965 is one of the finest gouaches Fred Williams painted. It comes from a period of outstanding creativity, which included such masterpieces as Upwey Landscape I, 1965, in the collection of British Petroleum, London; Upwey Landscape II, 1965, in the National Gallery of Australia, Canberra; and Upwey Landscape V, 1965, now in the Art Gallery of Ballarat, Victoria through the bequest of Blair Ritchie. Hailed as being ‘at his best’ in his solo show at Rudy Komon’s gallery in September 1966, Wallace Thornton in The Sydney Morning Herald presciently observed: ‘There is every chance he will go down in history as Australia’s greatest landscape artist’.1 Consisting of twelve oils and the same number of supporting gouaches, together with some etchings, the exhibition was packed with treasures. They included both oils and gouaches from the Waterpond in Landscape series, Green Cloud and Owl, 1966, one time in the Mertz Collection, USA, and Red Landscape, 1966. Of the latter, Patrick McCaughey commented perceptively: ‘The quality of the gouache for Red Landscape, possibly finer than the oil painting itself, suggests Williams was looking for a painting that would come out at a single shot, not something to be laboured over’. 2 The same can be said of our gouache, Kallista Hillside, the fluidity of the medium again providing for the more immediate and totally harmonious realisation.

Williams often exhibited gouaches with his oil paintings, their importance in his oeuvre continuing to be recognised in later major shows including the National Gallery of Australia’s 2011 retrospective, Fred Williams: Infinite Horizons. In 1971 Williams devoted an entire exhibition to ‘watercolours’. Shown at the Newcastle Art Gallery before touring, the fifty works, selected by the artist from his own collection, covered the years 1957 to 1971.

Kallista is a small town near Upwey where Williams spent time sketching in watercolour in the early sixties 3 and Lyn Williams has identified this gouache, dated October 1965, as Kallista Hillside. It has all the presence of a major work embracing the exploration of pictorial space and the individuality of his vision of the Australian landscape. Ambiguity and no focal point add to its enticement. The absence of horizon and sky gives intensity to the aerial view and interplay between flattened ground and animated, seemingly floating surface details of the bush. There is a marvellous play between close up and distance as dabs, dashes and lines of paint metamorphose into bushes, lichen, or the run of sap into tree trunks, highlighted by touches of white. Add to this the appeal of texture and colour to transform the flat, monochromatic field of reddish brown into a variety of features and hues, brooded over by shadows cast in blue. To the far left suggestions of the outline of a water pond introduce a motif that reappears in the previously mentioned Waterpond in Landscape series of 1966, Waterpond in a Landscape I, 1966 once being in the collection of James Fairfax. Is Kallista Hillside 1965 a harbinger?

1. Gleeson, J., Sun, Sydney, 12 October 1966; Thornton, W., ‘Is this our greatest landscape painter?’, Sydney Morning Herald, Sydney, 12 October 1966, p. 22 2. McCaughey, P., Fred Williams, Murdoch Books, Sydney, 1996, p. 176 3. Mollison, J., A Singular Vision: The Art of Fred Williams, Australian National Gallery, Canberra, 1989, p. 87

DAVID THOMAS

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

CHARLES BLACKMAN 3 born 1928 PLAYGROUND, 1962 oil on hardboard 153.0 x 150.0 cm signed and dated lower left: Blackman 1962 inscribed with title verso: PLAYGROUND estimate :

$100,000 – 150,000

PROVENANCE Bonython Art Gallery, Sydney (label attached verso) Rudy Komon Gallery, Sydney Mercantile Mutual Insurance Co. Ltd, Sydney Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Art from Collections of the Institutional Members of the Art Gallery Society of New South Wales, Blaxland Gallery, Sydney, 17 September – 2 October 1980, cat. 3 Rudy Komon Gallery Retrospective, Artmet, Sydney, 26 April – 21 May 1988, cat. 5 (label attached verso) LITERATURE ‘Formal Affair’, The Sydney Morning Herald, Sydney, 21 September 1980, p. 146

In June 1961, the year before Playground, 1962 was painted, Charles Blackman was included in the ground-breaking exhibition, Recent Australian Painting, at the Whitechapel Gallery, London, curated by Bryan Robertson.1 Of the artist’s submissions, the Observer newspaper’s art critic proclaimed that ‘the most moving – and the discovery of the exhibition – are the three remarkable paintings by Charles Blackman’. 2 High praise indeed for the young Australian from a show that included the likes of Brett Whiteley, Russell Drysdale, Arthur Boyd and Sidney Nolan. Blackman and his family had relocated to London in January of that year, a move which followed a spectacular recent trajectory in his career which included his Alice in Wonderland series (1956 – 57) and participation in The Antipodeans (1959), before culminating in a sell-out exhibition at the Johnstone Gallery, Brisbane, in 1960 and his award of The Helena Rubenstein Travelling Scholarship later that same year.

set up a studio ‘first in a chilly, moss-infected basement … in Highgate where he wore gumboots to keep out the damp, and later (September) in a large flat in Regent’s Park where there was room to both live and work.’ 3 Blackman had already established himself as a keen observer of humanity, particularly children, depicting their emotive lives in paintings full of gesture, veiled appearances and anxiety, underscored by a poetic sensibility. At the core was his unsurpassed graphic skill evident in associated drawings and also clearly visible in the underlying marks in The Playground. Such application was championed by Bryan Robertson who declared that Blackman’s were ‘some of the strongest, most urgent and forceful paintings by a young artist that I have seen in the past ten years’.4 Playground displays many of Blackman’s recognisable motifs such as the pensive expression on the principal girl’s face contrasting with the hidden faces of her companions; and the linkage of legs to convey the sensibility of a childhood dance. Also notable is ‘the immensely important use of hands to make contact. His people reassure one another by touching their hands together’. 5 Blackman utilises a variety of mark making from broad brush to cross-hatched incisions into the paint’s surface which enhances the visual impact and gestural agitation of the final image. Its execution in mostly muted tones also heightens the sudden focus on the small slash of vermillion around the central figure’s eyes. Originally exhibited by Kym Bonython, one of Australia’s most significant gallerists, Playground is a bold yet accessible work from one of Charles Blackman’s most fertile creative periods.

1. Bryan Robertson subsequently orchestrated Blackman’s first London solo exhibition at the Mathieson Gallery in November 1961.

2. Pringle, J.D., Observer, London, 4 June 1961 3. Amadio, N., Charles Blackman: The lost domains, A.H. and A.W. Reed, Sydney, 1980, p. 54 4. Robertson, B., ‘Preface’, Paintings and Drawings: Charles Blackman, Mathieson Gallery, London, November 1961 5. Rosenthal, T.G., Arts Review, London, 4 November 1961

ANDREW GAYNOR

In his decision to move to London, Blackman was following a miniexodus of Australian artists, actors and writers who were already attaining celebrity status in the city. By his own admission, he initially was not keen to make the move fearing that he would lose the ‘authentic’ local flavour which he deemed crucial to his work. Arriving in the bleak winter, the family first moved into the home of Arthur Boyd before finding their own rented accommodation nearby. The following year, Blackman

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

SIDNEY NOLAN 4 (1917 – 1992) THE QUESTIONING (KELLY SERIES), 1954 oil on composition board 60.0 x 80.0 cm signed with initial lower right: N signed, dated and inscribed with title verso: The QUESTIONING / (KELLY SERIES) / NOLAN. / 10/2/54 / N estimate :

$200,000 – 300,000

PROVENANCE Private collection Joseph Brown Gallery, Melbourne Private collection Christie’s, Melbourne, 14 March 1972, lot 78 Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Autumn Exhibition 1970, Joseph Brown Gallery, Melbourne, 2 – 23 March 1970, cat. 25 (illus. in exhibition catalogue) LITERATURE Hughes, R., The Art of Australia, Penguin Books, Melbourne, revised edition, 1970, p. 166 RELATED WORK The Questioning, 1947, enamel on composition board, 90.7 x 121.1 cm, in the collection of the National Gallery of Australia, Canberra, gift of Sunday Reed 1977, illus. in Rosenthal, T.G., Sidney Nolan, Thames and Hudson, London, 2002, p. 77

Sidney Nolan was fascinated by the story of Ned Kelly, the infamous nineteenth-century bushranger, and over the course of his long career it was an enduring theme to which he returned repeatedly. Speaking to Elwyn Lynn about the significance of the subject within his oeuvre, Nolan imagined that it would continue until the end of his life, stating ‘I paint Kelly as part of Australia’s culture and mine … I’d like to think that the day before I died I’d paint a good Ned Kelly painting.’1 The first Kelly series was famously painted on the dining table at Heide, 2 the home of John and Sunday Reed, between March 1946 and July 1947. It emerged after a period of intense research during which Nolan travelled to Glenrowan, the site of the Kelly gang’s last stand, as well as reading everything he could find on the subject, from first-hand accounts to contemporary newspaper coverage and the Royal Commission Report on the pursuit of the outlaws. This was characteristic of Nolan’s approach to any new subject and such was his fascination with Kelly at the time that his friend, the artist Albert Tucker, nicknamed him ‘Ned’. 3 Now on permanent display at the National Gallery of Australia, these paintings were about more than true-crime drama however and, as John Reed so eloquently wrote, captured ‘both the landscape and man in relation to

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the landscape … [depicting a] profound harmony between symbol, legend and visual impact.’4 Nolan embarked on a second major series of Kelly paintings in the mid1950s, by which time he had settled in England. The theme had lost none of its power during the preceding decade and Nolan produced an inspired body of work that showed him as a confident and accomplished artist.

Painted in February 1954, The Questioning (Kelly Series), 1954 describes the same event as the 1947 version – when mounted troopers calling at a homestead during their search for the Kelly gang are directed to ask a figure bathing in a nearby dam – but Nolan has made various subtle changes which shift the emphasis of this painting and imbue it with a quiet intensity. The horizon line has been raised so that it is the landscape of scrubby growth and distant low hills that dominates the composition. The ominous grey sky reflected in the dam establishes the prevailing mood and the country between is described in a restrained palette of earthy colours deftly applied to the board with lively strokes of the brush. The bright yellow Ripolin which draws attention to the bathing figure and the mounted troopers in the earlier version is nowhere to be seen and rather than the human drama being the key focus, it is the relationship between the figures and their environment that emerges as most significant.

While this painting was not included in Nolan’s exhibition at London’s Redfern Gallery in May 1955, the critical response to the second Kelly series was unanimously positive. Institutional recognition soon followed with the purchase of After Glenrowan Siege, 1955 by the Museum of Modern Art, New York, and two years later, the Tate, London, acquired Glenrowan, 1956 – 57 from Nolan’s first large-scale survey exhibition at the Whitechapel Gallery. Paintings from the second series are also represented in numerous important public and private collections in Australia including: Kelly Crossing the Bridge, 1955 (National Gallery of Australia, Canberra), Ned Kelly, 1955 and Kelly, 1956 (Art Gallery of New South Wales, Sydney), Kelly with Horse, 1955 (National Gallery of Victoria, Melbourne) and After Glenrowan Siege no. 2, 1956 (TarraWarra Museum of Art Collection, Victoria).

1. Lynn, E. and Semler, B., Sidney Nolan’s Ned Kelly, Australian National Gallery, Canberra, 1985, p. 11 2. Of the 27 paintings that comprise the first Kelly series, the exception to this is First-class Marksman 1946 (Art Gallery of New South Wales) that was painted at Stonygrad, the Warrandyte home of Danila Vassilieff. See Pearce, op. cit., p. 35. Sunday Reed gifted the paintings made at Heide to the Australian National Gallery, Canberra (now National Gallery of Australia) in 1977.

3. Reeder, W., ‘Nolan at Heide’, Reeder, W. (ed.), The Ned Kelly Paintings: Nolan at Heide 1946-47, exhibition catalogue, Museum of Modern Art at Heide, Melbourne, 1997, p. 11 4. Reed, J., ‘Statement’, Reeder, op. cit., p. 16

KIRSTY GRANT

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

JOHN BRACK 5

(1920 – 1999) NUDE WITH NIGHTGOWN, 1957 oil on canvas 91.5 x 71.0 cm signed and dated lower right: John Brack 57 inscribed with title on frame verso: Nude with nightgown bears inscription verso: 2 estimate :

$500,000 – 700,000

PROVENANCE Australian Galleries, Melbourne (label attached verso) Len Voss Smith, Melbourne The Major Harold De Vahl Rubin Collection, Brisbane (label attached verso) Christie’s, Sydney, 4 October 1972, lot 486 Rudy Komon Gallery, Sydney (label attached verso, stock no. 3278) Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Exhibition by John Brack: Paintings and Drawings of the Nude, Australian Galleries, Melbourne, 12 – 29 November 1957, cat. 8 LITERATURE Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. II, cat. o72, pp. 11, 104 (illus.)

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

JOHN BRACK 5 (1920 – 1999) NUDE WITH NIGHTGOWN, 1957

John Brack was well versed in the history of art and it remained an essential touchstone and source of inspiration throughout his career.

Close study of his oeuvre reveals references to the work of masters of Western art, from Ingres and Seurat to Bernard Buffet, which range from the obscure to the obvious. The most recognisable example of Brack’s artistic borrowings is The Bar, 1954 (National Gallery of Victoria, Melbourne), which appropriates both the subject and composition of Édouard Manet’s famous depiction of A Bar at the Folies-Bergère, 1882 (Courtauld Institute of Art Gallery, London). In Brack’s characteristic way however, the Post-Impressionist Master’s clever visual trick of depicting the scene in front of the barmaid reflected in a mirror is used to describe the subject as he witnessed it in 1950s Melbourne – a drab image of dour-faced workers drinking their fill before the imminent early closing of the pub rather than the gay opulence of 1880s Paris.

pale flesh almost indistinguishable from the background painted walls.

The atmosphere of many of these paintings is one of an uncomfortable tension and Brack’s recognition of the ‘fact that there is absolutely nothing whatsoever erotic in an artist’s model unclothed in a suburban empty room’ 2 is clearly communicated. Setting himself the task of deeroticising the nude and in the process, subverting one of the primary expectations of the genre, Brack presented a challenge to his viewers.

While many commented on the skinny and sexless nature of the model, the critical response was generally positive. Reviewing Brack’s solo exhibition at Australian Galleries in November 1957, Herald critic Alan McCulloch reflected the prevailing attitude, ‘In thus accepting the challenge of the great traditions, Brack risks a lot – but he brings it off. Here, within the limits of his own brand of stylisation … he is on all occasions master of the situation’. 3

Having sold around half of the watercolours from the Racecourse series which he exhibited in November 1956, Brack hired a model with the idea of testing the development of his own work through a return to the discipline of drawing from life. Conscious of the long tradition of the nude in Western art, and surely wondering how he might make a significant contribution to it, Brack also pondered the possibilities of readdressing the genre1 and treating it in a different way. The single response Brack received to his newspaper advertisement was from a middle-aged woman whose appearance was so far removed from the fleshy subjects that typically graced such depictions that he had no choice but to challenge the expectations of the nude in art with the series that ensued.

The National Gallery of Victoria purchased the major work, Nude in an Armchair, 1957 directly from the exhibition and the striking Nude with Two Chairs, 1957 was acquired by the Art Gallery of New South Wales.

Other paintings from the exhibition – all dated 1957 – are held in major public collections, including The Bathroom (National Gallery of Australia, Canberra) and Nude on the Black Bed, 1957, in the Art Gallery of Ballarat. One of nine paintings and sixteen related drawings displayed in the exhibition, Nude with Nightgown was purchased from the Australian Galleries exhibition by Len Voss Smith, a publisher and art consultant, before being sold to the noted Brisbane collector, Major Harold De Vahl Rubin. The painting was later bought from Rudy Komon by Alan Geddes, General Manager and Director of Mercantile Mutual Life in Sydney, and it has remained in his collection and that of his family since that time.

Nude with Nightgown, 1957 is just that, an image of a naked woman sitting on a bed with her pink nightgown draped casually on the blanket folded across its foot. The interior setting is sparse and domestic, presumably a bedroom in Brack’s North Balwyn home where all of the paintings in the series were made. There are no details which might provide an insight into the personality or life of the figure and her thin, angular body is echoed by the linear form of the bed, her

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1. Grishin, S., The Art of John Brack, vol. 1, Oxford University Press, Melbourne, 1990, p. 59 2. Brack, J., interview, Australian Contemporary Art Archive, no. 1, Deakin University Media Production, 1980, transcript, p. 6 3. McCulloch, A., ‘Classical themes’, Herald, Melbourne, 13 November 1957, p. 29

KIRSTY GRANT

JOHN BRACK Nude with two chairs, 1957 oil on canvas 81.3 x 61.0 cm courtesy of Art Gallery of New South Wales, Sydney

JOHN BRACK Nude in an armchair, 1957 oil on canvas 127.6 × 107.4 cm courtesy of National Gallery of Victoria, Melbourne

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

JEFFREY SMART 6 (1921 – 2013) ENTRANCE TO THE AUTOSTRADA, 1966 – 67 oil on canvas 60.5 x 80.5 cm signed lower right: JEFFREY SMART inscribed with title verso: Entrance to the Autostrada inscribed on stretcher bar verso: THE MODEL FOR THE FIGURE (NOT THE FACE) WAS ALAN McELWAIN ! estimate :

$250,000 – 350,000

PROVENANCE South Yarra Gallery, Melbourne Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Jeffrey Smart, Redfern Gallery, London, 7 February – 4 March 1967, cat. 17 Jeffrey Smart Recent Paintings, Macquarie Galleries, Sydney, 31 May – 12 June 1967, cat. 12 Jeffrey Smart, South Yarra Gallery, Melbourne, 21 May 1968, cat. 17 LITERATURE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, cat. 507, p. 110 (incorrect date and size) We are grateful to Stephen Rogers, Archivist for the Estate of Jeffrey Smart, for his assistance in cataloguing this work.

The Autostrada and its signage fascinated Jeffrey Smart. From Entrance to the Autostrada, 1966 – 67 and its bookend, End of the Autostrada, 1968 – 69 (private collection) through The Directors, 1977 (Art Gallery of Western Australia, Perth) to Autobahn in the Black Forest II, 1979 – 80 (sold Deutscher and Hackett, 20 April 2011), they are major highlights throughout his oeuvre. Smart wrote: ‘Italy was even more scenic from the autostrada – no hoardings were permitted; the only signs were those needed for the traffic and I found them beautiful, they were so well designed’.1 Smart’s interest in roads and their ways began early with the Australian version The Cahill Expressway, 1962 (National Gallery of Victoria, Melbourne) being among the best. The suited, bald-headed figures in Expressway and Entrance to the Autostrada share a similarity of purpose and stoutness, the model ‘(not the face)’ in this painting identified by Smart as Alan McElwain. 2 In response to being questioned about his use of the human figure in painting, Smart wrote: ‘Very often the vertical black rectangle is a great help to me in a composition – it gives scale and the dark note sets a tone … A bald head makes a lonely volume and gives me a highlight’. 3 In Entrance to the Autostrada it provides a balancing vertical accent, carried as a refrain through the brightly coloured overalls of the workers and elegantly drawn light poles.

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As if to curb the temptation of the suited man becoming a focal point, a red and white painted barrier cuts across the figure as a strong horizontal emphasis, repeated dramatically across the very foreground and further away. A favourite motif, it finds a high point in Autobahn in the Black Forest II, a veritable symphony in red and white stripes of now vertical directional signs. Both pictures are devoid of vehicles and movement.

The appeal of road apparatus is heightened by colour and light, contrasted against the drabness of the background landscape of shrouded greys. The play of light and absence of shade is surreal. Even the narrow edge of the road sign is highlighted, its message hidden from view. The enigma of the whole seems symbolised by the two yellow road cones, one upright the other on its side – of no other purpose?

Of the 1967 exhibition in Sydney at the Macquarie Galleries, in which this painting was included, Wallace Thornton, art critic for The Sydney Morning Herald, wrote: ‘It is his way of achieving the starkness of buildings isolated in space – the sharpness of stripes and street signs – and the bite of forced tones or jumping colour associations that create his power to impress’.4 In his 2005 scholarly study, Barry Pearce tells us of Smart’s awakening ‘to the phenomenon of this new signage’. The construction of a new autostrada between Rome and Florence gave Smart the opportunity to be driven along it a few days before it opened; ‘The privilege of this was not only to be able to travel at 180 kilometres per hour with no-one else in sight, but also see all the newly designed directional markings untrammelled by the clutter of advertisements’. 5 In Entrance to the Autostrada all looks new, sharpened by being seen through the eyes of a gifted artist.

1. Smart, J., Not Quite Straight: A Memoir, William Heinemann, Melbourne, 1996, p. 386 2. Peter Quartermaine identified the New Zealander, Alan McElwain, as ‘the Catholic Herald’s (UK) Rome correspondent at the time the work was painted’. Previously, he had worked in Sydney, Melbourne and Adelaide. Information kindly supplied by Stephen Rogers.

3. Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, p. 57 4. Thornton, W., Sydney Morning Herald, Sydney, 31 May 1967, p. 14 5. Pearce, B., Jeffrey Smart, The Beagle Press, Sydney, 2005, p. 157

DAVID THOMAS

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

JEFFREY SMART 7 (1921 – 2013) THE LIGHTHOUSE, FIUMICINO, 1968 – 69 oil on canvas 81.0 x 65.0 cm signed lower right: JEFFREY SMART inscribed with title verso: THE LIGHTHOUSE / FIUMICINO bears inscription verso: Prop. I.L.F. MACKAY / MONA / BRAIDWOOD / … estimate :

$250,000 – 350,000

PROVENANCE Macquarie Galleries, Sydney Iain (Jock) Mackay, Braidwood, New South Wales Christie’s, Sydney, 3 October 1973, lot 485 Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Jeffrey Smart, Macquarie Galleries, Sydney, 17 – 29 September 1969, cat. 19 (as ‘The Lighthouse’) LITERATURE Quartermaine, P., Jeffrey Smart, Gryphon Books, Melbourne, 1983, cat. 513, p. 110 (as ‘The Lighthouse’) We are grateful to Stephen Rogers, Archivist for the Estate of Jeffrey Smart, for his assistance in cataloguing this work.

Jeffrey Smart’s 1969 solo exhibition at the Macquarie Galleries, Sydney, overflowed with masterly works ranging from End of the Autostrada, 1968 – 69 (private collection), through Approach to the City III, 1968 – 69 (private collection), to our painting, The Lighthouse, Fiumicino, 1968 – 69. Rooftops, 1968 – 69 (National Gallery of Victoria, Melbourne, through the generosity of Dr Joseph Brown) and The Watertower, 1968 (private collection) were among several marked ‘not for sale’. Although The Lighthouse, Fiumicino may not have the same high public profile of its fellows, it is their equal in quality. Moreover, triumphant towers and tall, vertical structures have a particular attraction for Smart. Seen in another Fiumicino subject, Control Tower, 1969 (Art Gallery of South Australia, Adelaide), and two works with even closer relationship to our painting, Alma Mahler Feeding the Birds, 1967 – 68 (Art Gallery of New South Wales, Sydney) and The Watertower, they variously share shaded walls, pink and white banded towers profiled against a clear sky, sea gulls, dwarfed figures and weathered signage. In The Watertower, the Smart scholar, Barry Pearce suggests that the Italian worded sign ‘…forbidding entry to all except authorized workers – maybe a warning against pictorial analysis that only artists were equipped to understand – and a wall of exquisitely nuanced shadow beneath a clear sky straight out of Venetian Renaissance painting, is such a passionate celebration of the miracle of daylight that all aspects of design and detail almost become secondary…’.1 Yet, in The Lighthouse, Fiumicino, the poster, worded ‘UNA NUOVA OPERA DEI FRATELLI FABBRI EDITORI’, tempts trespass into analysis. The news of a new work by the great Italian art publishing house of Fratelli Fabbri Editori is set in an arcadian landscape of curvaceous line, vivid in its contrast with the super-real world of Smart’s imagination in which all is angular and geometric of construction. Rigid lines of straightness rule in emphasis of the rigidity of manmade things – even the horizon and clouds conform with straight lines. Subtly, wheeling seagulls and the poster landscape herald the beauty of the natural world’s flowing line.

The subject is the lighthouse at Fiumicino, near Rome, an octagonal stone tower atop the two-storied keeper’s house. It was once painted in red and white horizontal bands.

Doorless, the old shaded brick wall acts as a barricade, keeping the viewer at arm’s length from the sunny side of mouthwatering colour, a sharpness of light and stillness before the storm creating that mood of heightened expectancy of the classic Smart. Other characteristic touches include one only of the four shuttered windows open and, apart from providing scale, the figures’ ambiguous other role. Drama is in the air. From props to lights and actors, the theatricality of it all is enthralling. From nuances of ideas to bold statements, Smart’s tantalising inclination is invariably to leave interpretation to the viewer generously allowing freedom of conclusion. As fellow-artist James Gleeson wrote of Smart’s Sydney exhibition of 1969: ‘He is a narrative painter, who deliberately refrains from telling a story’. 2 1. Pearce, B., Jeffrey Smart, The Beagle Press, Sydney, 2005, p. 157 2. Gleeson, J., ‘Still life in two styles’, Sydney Morning Herald, Sydney, 21 September 1969, p. 108

DAVID THOMAS

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

IAN FAIRWEATHER 8 (1891 – 1974) SELF-PORTRAIT, c.1950 gouache on paper on board 53.0 x 83.5 cm inscribed with title lower right: ‘Self Portrait’ label attached verso: National Gallery of Australia, Canberra estimate :

$60,000 – 80,000

PROVENANCE Macquarie Galleries, Sydney Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Easter Exhibition, Macquarie Galleries, Sydney, 2 – 14 April 1969, cat. 10 LITERATURE Bail, M., Ian Fairweather, Bay Books, Sydney and London, 1981, cat. 91, fig. 48, pp. 107 (illus.), 238 Eagle, M., ‘The Painter and the Raft’ in Bail, M., et. al., Fairweather, Art & Australia Books in association with Queensland Art Gallery, Brisbane, 1994, pp. 27 (illus.), 29 Bail, M., Fairweather, Murdoch Books, Sydney and London, 2009, p. 94

Ian Fairweather has been described as ‘the least parochial of Australian painters, an artist of exceptional force and originality’ 1 and he is undeniably one of the most singular artists to have worked in Australia during the twentieth century. Although he is claimed as an Australian and spent many years of his life here – famously living in a shack on Bribie Island, where he produced some of his most highly regarded work between 1953 and his death in 1974 – Fairweather was born in Scotland and undertook his formal art education at London’s Slade School of Fine Art. With a restless spirit, he travelled extensively – from London, to Canada, China, Bali, Australia, the Philippines, India and beyond – ‘always the outsider, the nostalgic nomad with a dreamlike memory of distant places and experience’. 2 Following the purchase of Seated Figure, 1948 by the Art Gallery of New South Wales and his first solo exhibition at the Macquarie Galleries, Sydney, both in 1949, Fairweather visited Townsville in far north Queensland for several months before hitch-hiking to Darwin, arriving there in mid-April 1950. Domestic comforts were never a priority and after initially taking up residence in a concrete mixer and an abandoned railway truck, he later moved into the Karu, a boat wreck on Dinah Beach at Frances Bay. Known among the locals as ‘Rear Admiral’, Fairweather lived there for the next two years and, although there was room for his

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paintings to be hung as he worked, water would pour down the walls when it rained forcing him to remove them ‘and sit on them like a hen’. 3 Painted in Darwin, Self-Portrait, c.1950 is one of a small group of related works which ‘read like direct expressions of the artist’s subconscious’4 at the time. Fairweather suffered from feelings of self-pity during these years as well as paranoia about his paintings which were often damaged upon arrival at his Sydney gallery – the result of his working environment and haphazard approach to the use of materials and technique rather than any thing suspicious. The now infamous culmination of his precarious emotional and psychological state in Darwin was the ill-fated raft journey on which he aimed to sail to Timor, but instead, saw him washed up hallucinating and exhausted on the beach at Roti, an island between the Savu and Timor Seas.

Painted on a large sheet of paper, this work employs Fairweather’s fluid and calligraphic line to describe a group of standing figures gathered around another who is seated and playing a piano. This subject appears again in the later work, Palm Sunday, 1951 (Queensland Art Gallery, Brisbane) but in its immediate, edgy treatment, the spaces between the figures filled in with expressively applied fields of black and white gouache, Self-Portrait has more in common with the plainly titled Hell, 1950 (Ian Potter Museum of Art, University of Melbourne), the claustrophobia of which clearly spells out the emotional temperament of its maker. Rather than depicting himself, Fairweather has produced what Murray Bail interprets as an inverse self-portrait in this work, 5 the convivial crowd gathered together in the joyous collective act of making music the opposite of his isolated and increasingly desolate state.

1. Bail, M., Ian Fairweather, Bay Books, Sydney, 1981, p. 220 2. Bail, M., ‘The Nostalgic Nomad’, Hemisphere, Canberra, vol. 27, no. 1, 1982, p. 54 3. See Bail, 1981, op. cit., pp. 94 & 100 4. Eagle, M., ‘The Painter and the Raft’, Bail, M., et. al., Fairweather, Art & Australia Books in association with Queensland Art Gallery, Brisbane, 1994, p. 29 5. Conversation with Chris Deutscher, 24 July 2018

KIRSTY GRANT

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

DANILA VASSILIEFF 9 (1897 – 1958) THEATRE PARTY, 1944 oil on composition board 57.0 x 68.5 cm signed lower left: Vassilieff bears inscription with title verso: “THEATRE PARTY” estimate :

$20,000 – 30,000

PROVENANCE John Reed, Melbourne Blue Boy Art Gallery, Melbourne Alan and Nola Geddes, Sydney, acquired from the above c.1977 Estate of Nola Geddes, Sydney EXHIBITED Possibly: Sixth Annual Exhibition, Contemporary Art Society, Melbourne, 1944, cat. 237 (as ‘And So it is’) Vassilieff, Heide Park and Art Gallery, Victoria, 11 August – 22 September 1985; Australian National Gallery, Canberra, 12 October 1985 – 2 February 1986; Art Gallery of New South Wales, Sydney, 4 March – 2 April 1986, cat. 33 (illus. in exhibition catalogue) The Angry Penguins and Realist Painting in Melbourne in the 1940s, Australian National Gallery, Canberra, and touring: Hayward Gallery, London, 19 May – 14 August 1988, Tate Gallery, Liverpool, 4 October – 27 November 1988, cat. 4 (illus. in exhibition catalogue, labels attached verso) LITERATURE St John Moore, F., Vassilieff and His Art, Oxford University Press, Oxford / Auckland / New York, 1982, cat. P184, pp. 64, 65 (illus.), 152 St John Moore, F., Vassilieff and His Art, second edition, Macmillan, Melbourne, 2012, cat. 251, pp. 76, 201

Theatre Party, 1944, is a passionate painting executed by a passionate man, the Russian-born expatriate Danila Vassilieff. Such was the force of Vassilieff’s personality that his younger colleague Albert Tucker was moved to later write that he ‘was a rich and sombre presence who carried with him the odor of Byzantium and the Circassian Steppes. In his life, he expressed to the full the pathos and loneliness, the violence and tragedy of our human condition’.1 Of Cossack military heritage, Vassilieff had fought in revolutions, swum rivers to escape his pursuers, been jailed, escaped, and then travelled extensively before arriving in Australia (for the second time) in 1935. This time he stayed, first in Sydney, then Queensland before relocating to Melbourne in 1937. En route, he also found time to study art in Rio de Janeiro and hold exhibitions in London.

On arrival in Melbourne, he soon made contact with influential art patrons John and Sunday Reed and in the process, electrified the local art scene.

Reed subsequently opened Vassilieff’s first local exhibition at Riddell’s Gallery in September 1937 and by 1940, younger artists such as Arthur Boyd, Sidney Nolan, Yosl Bergner and John Perceval were ‘literally sitting at his feet. They were attracted by his virility and earthiness, his civility and the physicality of everything’. 2 Of particular fascination to these young artists was Vassilieff’s unequivocal rejection of both academic art and formal abstraction, both of which he rejected as being ‘ghastly good taste’. 3 Instead, his reference points were those artists of a pronounced expressive nature, such as Van Gogh and Soutine, as well as the naïf Marc Chagall, all intermingled with the folkloric influence of his own Russian heritage.

In short, it was an outlook unheard of in Australian art circles and proved an intoxicating mix for his young acolytes. Vassilieff was also very active in the newly formed Contemporary Art Society, contributed to the Max Harris/John Reed journal Angry Penguins, and helped build, then taught at, the progressive communal school ‘Koornong’. Politics too were never far from his thoughts and when Nazi Germany invaded Russia in 1941, he was both outraged and dismayed, pouring his energy into works with titles such as Army invading Farmland, 1941 – 42; Camp Followers, 1942; and A Mother Screaming, 1944.

In Theatre Party, however, another side of Vassilieff is displayed, that of his tempestuous interactions with various female partners. Painted toward the end of one such relationship with Helen MacDonald, the artist has depicted his (suspected) rival sitting in a theatre box, lit from below by the stage lights in a manner reminiscent of Toulouse-Lautrec and Daumier. It is a grotesque apparition but fascinating nonetheless. Vassilieff’s hapless subject is rendered in urgent passages of paint with dandy-esque white gloves, alongside Helen and her ghost-faced companions, all portrayed as if the artist was desperate to get his emotions down in paint before they otherwise consumed him.

Following many years of neglect, the art of Danila Vassilieff is now increasingly and positively re-appraised, not least through the energies of his biographer Felicity St John Moore. In 2015, her son Richard Moore directed the film The Wolf in Australian Art: Life and Art of Danila Vassilieff based on her books.

1. Tucker, A., Memorial Exhibition of Paintings and Sculpture of Danila Vassilieff, Museum of Modern Art in Australia, Melbourne, 1959 2. St John Moore, F., Vassilieff and his Art, Oxford University Press, Melbourne, 1982, p. 59 3. Haese, R., Rebels and Precursors: The revolutionary years of Australian Art, Penguin, Melbourne, 1981, p. 78 ANDREW GAYNOR

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

ARTHUR BOYD 10 (1920 – 1999) ROCK AND LARGE TREE, 1973 oil on canvas 114.0 x 119.0 cm signed lower right: Arthur Boyd bears inscription on frame verso: No. 2 estimate :

$35,000 – 45,000

PROVENANCE Fischer Fine Art, London Tolarno Galleries, Melbourne (label attached verso) Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Arthur Boyd: Recent Paintings, Fischer Fine Art, London, May – June 1973, cat. 22 (illus. in exhibition catalogue, p. 26)

For more than a decade after 1959, Arthur Boyd lived the expatriate life in Europe. Following an invitation from the Australian National University, he returned to Australia for a residency in 1971 during which he undertook the now-famed journey to the Shoalhaven River during a sweltering summer. On his return to England, he found himself inspired by the encounter, particularly of a landscape he subsequently described as being more ‘challenging, fierce, rugged (and) grander’1 than his more familiar Victoria. Working predominantly from his Suffolk studio, Boyd poured his energy into a large suite of paintings which would form the core of his forthcoming exhibition at Fischer Fine Art, London, in 1973.

Here he displayed some 68 large paintings which followed a sequence of inter-related themes, and Rock and Large Tree, 1973, was a key work within the broader narrative.

Boyd was, for the most part, always an expressionist artist in his use of restless paint surfaces and subjects full of drama and incident. His was a visceral approach and it was quite common for him to discard his brushes and attack the paint physically using his bare hands as tools. In spite of such an elemental tactic, Boyd was also someone who understood acutely the various possibilities of his medium ever since his earliest studies with his grandfather Arthur Merric Boyd Snr, and through his close reading of Max Doerner’s The Materials of the Artist and their Use in Painting, first published in 1934. Through his years of expertise,

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Boyd knew just how far to push the surface thus allowing him ‘to dig deep into the subconscious, and have the ability to transpose these imaginary apparitions directly into paint’. 2 Brush, trowel and hands all appear to have been utilised in Rock and Large Tree in which we see an urgent apparition of an artist working desperately at his easel to capture his vision of an – apparently – Antipodean landscape, in spite of the fact that ‘his (Suffolk) studio window opened on to a copse of spruce, larch and other trees’. 3 In associated works from the series, a model is seen resting in this vale, reading whilst dipping her feet in a stream. In others, the book is companioned by a dog or, as here, lies abandoned in wait, suggesting ‘an altogether different frame of mind from the pictures in which the (depicted) artist is assaulting his canvas under an Australian sky’.4 The series culminates with the so-called ‘caged painter’ series, where Boyd presents the artist (a self-portrait?) tortured by his visions, tools, politics and very humanity; and Rock and Large Tree may be understood as one relatively calm mid-point as the artist collects his strength for the final howling visions.

Many of the works from the Fischer Fine Art exhibition are now included in major State collections, particularly the National Gallery of Australia which owns a sequence including: Kneeling Figure with Canvas and Black Can, 1973; Woman injecting a Rabbit, 1973; Figure in Rushes and Small Birds, 1972 – 73; Figure in a Cave with a Smoking Book, 1973; and Suffolk Landscape, Figure and Book, c.1972 – 73, the last two being direct companions to the current work on offer.

1. Hoff, U., The Art of Arthur Boyd, Andre Deutsch, London, 1986, p. 486 2. Arthur Boyd and The Exile of Imagination - Paintings and drawings from the early 1970’s, National Gallery of Australia, Canberra, 1999 3. Hoff, U., op. cit., p. 65 4. Melville, R., ‘A View of Arthur Boyd’, Arthur Boyd: Recent Paintings, Fischer Fine Art Limited, London, 1973, pp. 7 – 8

ANDREW GAYNOR

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

RAY CROOKE 11 (1922 – 2015) FIJI ISLANDERS WITH FLOWERS, c.1970 oil on canvas on composition board 76.0 x 102.0 cm signed lower left: R Crooke estimate :

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$20,000 – 30,000

PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney

IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

SIDNEY NOLAN 12 (1917 – 1992) BURKE AND CAMEL, c.1964 oil on composition board 58.0 x 73.5 cm signed lower right: Nolan estimate :

$20,000 – 30,000

PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

CHARLES BLACKMAN 13 born 1928 BEACH AIR, c.1968 oil on paper on composition board 51.5 x 72.0 cm bears inscription verso: MR GEDDES estimate :

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$15,000 – 20,000

PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney

IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

CHARLES BLACKMAN 14 born 1928 GIRL IN LANDSCAPE, 1966 oil on canvas 165.0 x 68.5 cm signed and dated upper right: CHARLES / BLACKMAN 1966 PROVENANCE Private collection Leonard Joel, Melbourne, 16 November 1972, lot 190 (as ‘Figure Climbing Waterfall’) Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$30,000 – 40,000

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IMPORTANT WORKS FROM THE GEDDES ESTATE, SYDNEY

DANILA VASSILIEFF 15 (1897 – 1958) TRIO (MONKEYS, FRUIT AND FLOWERS), 1935 oil on plywood 41.5 x 47.5 cm signed lower right: Vassilieff bears inscription with title verso: CAT. 8 TRIO / 28 bears inscription on frame verso: 4 / VASS No 28 estimate :

$8,000 – 12,000

PROVENANCE Mrs Helen Klausner (née McDonald), a gift from the artist Joseph Brown Gallery, Melbourne Alan and Nola Geddes, Sydney, acquired from the above in 1973 Estate of Nola Geddes, Sydney EXHIBITED Exhibition of Paintings by Vassilieff, Macquarie Galleries, Sydney, 3 March 1936, cat. 24 (as ‘Trio’) Danila Vassilieff, Joseph Brown Gallery, 28 May – 14 June 1973, cat. 4 (as ‘Still Life – Monkeys, Fruit and Flowers’) Vassilieff, Heide Park and Art Gallery, Victoria, 11 August – 22 September 1985; Australian National Gallery, Canberra, 12 October 1985 – 2 February 1986; Art Gallery of New South Wales, Sydney, 4 March – 2 April 1986, cat. 8 (as ‘Trio’) LITERATURE St John Moore, F., Vassilieff and His Art, Oxford University Press, Oxford / Auckland / New York, 1982, cat. P26, p. 142 St John Moore, F., Vassilieff and His Art, second edition, Macmillan, Melbourne, 2012, cat. 42, pp. 196, 197 (illus.)

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PROPERTY OF VARIOUS VENDORS

FRANK HINDER 16 (1906 – 1992) PAINTING, 1949 tempera on board 44.5 x 60.5 cm signed and dated lower right: F.C. Hinder – 49 signed, dated and inscribed with title verso: “PAINTING – 49” / F.C. HINDER / … estimate :

$25,000 – 35,000

PROVENANCE Von Bertouch Galleries, Newcastle (label attached verso) Private collection, New South Wales EXHIBITED Frank Hinder, Toorak Art Gallery, Melbourne, 20 September – 2 October 1970, cat. 29 Frank and Margel Hinder: Retrospective, Newcastle City Art Gallery, Newcastle, 30 August – 30 September 1973, cat. 24 LITERATURE Thomas, D., Frank and Margel Hinder: Retrospective, Newcastle City Art Gallery, Newcastle, 1973, p. 7

Frank Hinder was amongst a handful of vanguard Sydney artists credited with bringing abstract and kinetic art to Australian shores during the interwar years. Grace Crowley, Rah Fizelle and Ralph Balson, Hinder and his wife, the sculptor Margel, were committed to a Modern redefinition of visual culture, seeking a universal truth contained within the purest of pictorial elements: simple shapes and pure colours. Dedicated internationalists, they had all received formal artistic training overseas, Crowley, Fizelle and Balson in Europe and Hinder in the United States.

Amongst these artists, Hinder was particularly attentive to the scientific and spiritual potential of abstract art, writing in his diary in 1938 – ‘Are we all here for a certain purpose? The scientist to discover and prove, the philosopher to speculate, the artist to make visible and understandable their discoveries’.1 Painting, 1949 belongs to a series of important geometric ‘Constructive abstract’ paintings, all executed in tempera and pencil between 1942 – 53 and featuring a complex imbrication of planes and discs of pure, shimmering colour. 2 Using this simple vocabulary of geometric forms, Hinder attempted to illustrate what he felt was the interconnectedness of all things, viewing the universe as a complex machine, whose parts all moved together in time. As opposed to Crowley and Balson, Hinder’s paintings always retained a link, however fragile, to figuration.

His abstract works of this time were produced in tandem to figurative sketches of animals and urban scenes, stylistic elements of which informed his constructive abstracts.

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While living in New York between 1929 – 30, Frank Hinder had studied at the New York School of Fine and Applied Art, where he learnt of Jay Hambidge’s compositional theory of ‘dynamic symmetry’ based on logarithmic spirals in the natural world and in ancient Greek art. 3 Hinder became enamoured with this idea of a natural set of rules governing the visual world and sought to illustrate it using careful constructions of harmonious colour, balance and proportion. Hinder correlated some of this visual research with music, giving several of his abstract paintings from this period musical titles, for example Red Fugue, 1948. However, Painting is unapologetically formalist in both subject matter and title.

While many of Hinder’s constructive abstracts from this period feature sharp angles and shard-like triangles (prefiguring his later crystalline compositions) Painting is defined by its tight composition of curves, more clearly associated with vortices and the mechanics of motion. Its sinuous and curvilinear forms are translucent and intertwined so as to create a uniquely harmonious and compact composition. In a similar manner to Yellow Abstract, 1948 (in the collection of the National Gallery of Australia, Canberra) and Abstract Painting, 1951 (in the collection of the Art Gallery of New South Wales, Sydney), the dynamic nature of the composition is tethered to the picture plane by an overarching triangular structure. It is through a chromatic contrast between planes of pure colour, and the tertiary colours introduced at each intersection, that Hinder creates a sense of depth. Using Albert Gleizes’ system of rotation and translation, the planes of Painting seem to gently swivel, mapping the relationships between themselves in space under our very eyes.

Even as a purely rational and analytical abstract painting, Painting is warm and inviting. The luminosity of Hinder’s delicate tempera creates a lush and even surface, and the high-key chromatic register expresses cleanly the joy of harmonious design and the artist’s profound excitement and optimism in the possibilities of Modern urban life.

1. Constructive Abstracts 2 1942 – 1953, Frank Hinder online catalogue raisonné [http://www.frankhinder.com.au/artworks.php] 2. Many of these works were exhibited together in the retrospective shows of Newcastle or Sydney, in 1973 and 1980 respectively.

3. Gascoigne, H., ‘Frank Hinder’s ‘futuropolis’’, Sydney Moderns: Art for a New World, Art Gallery of New South Wales, Sydney, 2013, p. 192

LUCIE REEVES-SMITH

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CLARICE BECKETT 17 (1887 – 1935) (SUMMER DAY, BEAUMARIS), c.1933 oil on canvas on board 55.0 x 45.0 cm signed lower left: C. Beckett estimate :

$50,000 – 70,000

PROVENANCE Private collection, Melbourne, a gift from the artist Thence by descent Private collection, Perth EXHIBITED Clarice Beckett: Politically Incorrect, The Ian Potter Museum of Art, The University of Melbourne, Melbourne, 5 February 1999 – 28 March 1999 and touring, cat. 75 (as ‘Summer Day’) Blue Chip XX: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 6 March – 7 April 2018, cat. 28 (label attached verso) (as ‘Summer Day’) LITERATURE Clarice Beckett: Politically Incorrect, The Ian Potter Museum of Art, The University of Melbourne, Melbourne, 1999, cat. 75, p. 76

Writing in the catalogue of the sixth annual exhibition of the Twenty Melbourne Painters in 1924, Clarice Beckett defined her artistic aim as being ‘To give a sincere and truthful representation of a portion of the beauty of Nature, and to show the charm of light and shade, which I try to give forth in correct tones so as to give as nearly as possible an exact illusion of reality’.1 A student of the Melbourne tonal realist painter Max Meldrum, whose theory and teaching of art as a science based on optical analysis upset conservative art circles and presented a direct challenge to the strict academic approach of the National Gallery School, Beckett absorbed his methods but developed a personal style and distinctive range of subject matter that made her work unique within early twentieth century Australian art. As curator Rosalind Hollinrake has noted, ‘She saw in soft focus and there were no edges in her work. She was concerned with achieving an harmonic atmospheric unity … While many paintings were completed in situ, many others were worked upon indoors, taken from colour notations, sketches and memory with later imaginative touches.’ 2

Beckett and her family moved to Beaumaris in 1919, the Melbourne bayside suburb where they had previously spent many summer holidays.

The streets and surrounding coastal landscape of this and other nearby areas including Black Rock, Sandringham and Brighton soon became favourite subjects for her painting. In a vivid expression of her determination to succeed as a professional artist, Beckett responded to her father’s refusal to build a dedicated studio by constructing a small cart to house her painting materials which she wheeled around as she worked, using the lid of her painting box as a mobile easel. 3 Her first solo exhibition was held at the Athenaeum Gallery, Melbourne in 1923 and in another measure of her drive and commitment, Beckett continued to exhibit there annually throughout the next decade before her premature death from pneumonia in 1935. During these years she reportedly painted almost every day, six hours in the morning and another six in the evening when, like so many other female artists, she worked at the kitchen table.

A gift from the artist to a friend which is still housed in its original Thallon frame, (Summer Day, Beaumaris), c.1933 is classic Clarice Beckett. Tall gnarled trees shaped by their coastal environment and a row of bathing boxes – a familiar feature of Melbourne’s bayside beaches that appears frequently in her work – provide the backdrop for a trio of figures walking along the beach. The heat is palpable, glimpses of the pale bleached blue sky appear as part of a scene that has been recorded quickly and viewed through the haze of a hot summer afternoon. Her mature colour sense comes to the fore in this work, the muted tones of the trees enlivened by the subtle play of the pinks, brown and ochres of the bathing boxes and the brilliant flashes of blue and yellow that attract the eye to the movement of the foreground figures. Beckett found a seemingly endless array of inspiration in her immediate surrounds and when asked why she didn’t travel overseas replied, ‘Why would I wish to go somewhere else … I’ve only just got the hang of painting Beaumaris.’4 1. Beckett, C., Twenty Melbourne Painters 6th Annual Exhibition Catalogue, 1924 quoted in Hollinrake, R., Clarice Beckett: Politically Incorrect, exhibition catalogue, The Ian Potter Museum of Art, Melbourne, 1999, p. 19 2. Hollinrake, R., ibid., p. 17 3. op. cit., pp. 14 – 15 4. Mundy, A., quoted in interview with Hollinrake, R., op. cit., p. 24.

KIRSTY GRANT

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ERIC THAKE 18 (1904 – 1982) BASS AND FLINDERS, 1943 gouache on paper 25.0 x 34.0 cm signed and dated lower right: Eric Thake ‘43 signed, dated and inscribed with title verso: BASS AND FLINDERS / Eric Thake 1943 / Painted from objects / found on Flinders Beach estimate :

$20,000 – 30,000

PROVENANCE Mr & Mrs John Bullock, Adelaide Private collection, South Australia Deutscher and Hackett, Melbourne, 29 August 2007, lot 3 Private collection, Sydney EXHIBITED Eric Thake: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 21 May – 4 July 1970, cat. 34 Master landscapes of the Mornington Peninsula: 1800 to the present, Mornington Peninsula Regional Gallery, Victoria, 9 December 2009 – 8 March 2010 (label attached verso) LITERATURE Eric Thake: a retrospective exhibition, National Gallery of Victoria, Melbourne, 1970, cat. 34, p. 7 Thake, E., ‘On getting some Ideas for Pictures’, typewritten notes for a talk at the ‘Medial Art Society Exhibition’, Victorian Artists’ Society Gallery, 12 September 1963, Eric Thake Papers, MS 9826, State Library of Victoria, Melbourne Thomas, D., ‘ERIC THAKE, Bathing Boxes, Flinders, 1930’, Landscapes of the Mornington Peninsula. Commissioned Essays, Mornington Peninsula Regional Gallery, Victoria, 2009, p. 13

Eric Thake is one of the most original artists Melbourne has produced.

A master of the unexpected, witty, whimsical and perceptive with a penetrating eye matched by technical mastery, his work has long been admired by those fortunate enough to discover it. Thake did not seek the limelight, but rightly had discerning collectors in both the public and private spheres. Dr Ursula Hoff of the National Gallery of Victoria and Mr and Mrs John Bullock of Adelaide were among them. Thake’s playful sense of humour was as individual as his art. Combining it with Surrealism gave his work a unique edge, as found in such oil paintings of the 1930s as Mentone and High and Drying, both from 1934, the latter even indulging in a bit of satire at the expense of the fashion for dynamic symmetry and notions of perfect proportion as in the Greek

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classical mean. Hailed as Australia’s first Surrealist, his sources included Giorgio de Chirico and Edward Wadsworth. In 1940 he shared with fellow Surrealist James Gleeson the Contemporary Art Society prize, Thake’s oil painting, Salvation from the Evils of Earthly Existence being gifted to the National Gallery of Victoria along with the Gleeson’s We Inhabit the Corrosive Littoral of Habit.

A master of play with the visual point of view, he exploited the accidental juxtaposition of images and ideas, combining strong abstract design with the enigmatic. It all comes together in Bass and Flinders, 1943.

Surrealism, wit and design combine with his obvious delight in the found objects of shells and other detritus from the beach at Flinders on Western Port Bay, reassembled with a brilliant economy of means.

The title refers, of course, to the adventurous navigators George Bass and Matthew Flinders, who, travelling in small boats, discovered Bass Straight, and Western Port where lies present day Flinders Beach. Thake inscribed on the backboard of his gouache, ‘Painted from objects found on Flinders Beach’. His discovery was not quite in the same epic league!

In looking at this work, one is reminded of Thake enthusiast, Elizabeth Summons’ observation that: ‘perceiving and seeing the ambiguities resolve is its own reward’.1 Thake joined the RAAF in 1943, appointed as official war artist to the South West Pacific area, at Noemfoor Island off Western New Guinea and elsewhere. His following gouaches relate to war services as in Kamiri Searchlight, 1945, in the collection of the Newcastle Region Art Gallery, replete with Surreal inversions. From later commissions for the covers of Meanjin to postage stamp designs, his low profiled career received its just due with a retrospective exhibition at the National Gallery of Victoria in 1970, the catalogue cover appropriately illustrated with a double pun – Bird Watching.

1. Summons, E., ‘Eric Thake’, Art and Australia, Sam Ure Smith at The Fine Arts Press Pty Limited, Sydney, vol. 15, no. 1, September 1977, p. 47

DAVID THOMAS

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ALBERT TUCKER 19 (1914 – 1999) SELF PORTRAIT, 1940 oil on plywood 37.5 x 30.5 cm signed and dated lower right: Tucker / Sept 1940 estimate :

$60,000 – 90,000

PROVENANCE Dr Guy Reynolds, Melbourne Thence by descent Mrs B. Newsome (née Mary Reynolds), Melbourne Deutscher~Menzies, Melbourne, 8 September 2004, lot 44 Private collection, Sydney LITERATURE Art in Australia, Third Series, Sydney, March – May 1941, p. 95 (illus.)

Uhl, C., Albert Tucker, Lansdowne Press, Melbourne, 1969, cat. 2.11, pp. 12, 93, (illus.)

Burke. J., Australian Gothic: A Life of Albert Tucker, Knopf, Random House, Sydney, 2002, p. 167 RELATED WORK Self Portrait, 1937, oil on paperboard mounted on composition board, 56.4 x 42.8 cm, in the collection of National Gallery of Australia, Canberra Self Portrait, 1939, oil on board, 51.8 x 42.8 cm, in the collection of Heide Museum of Modern Art, Melbourne Self Portrait, 1945, oil on gauze on cardboard, 75.5 x 60.5 cm, in the collection of National Gallery of Victoria, Melbourne

The incisive vision that Albert Tucker brought to his images of life in Melbourne during wartime was also applied to the portraits of friends and other subjects he produced during these years, as well as a group of striking self portraits. In an interview with fellow artist James Gleeson in 1979 however, Tucker described the challenges of describing one’s own appearance in visual form, saying ‘Yes, it is very hard dealing with one’s own image. I am experiencing this right now. Every now and then I look in the mirror and I realise that I am quite different now to what I was then. I am beginning to feel that testing thing, where I would like to do a … run of self-portraits … One gets trapped in a curious delusional state with one’s own image’.1 Tucker painted two self portraits in 1937 – one now in the collection of the National Gallery of Australia, Canberra and a second, since lost.

Exhibited at the Victorian Artists’ Society autumn exhibition that year, the latter caught the eye of Herald art critic Basil Burdett who described it as

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‘turbulent and romantic’, as well as ‘forceful and waywardly individual’. 2 Tucker’s self portraits at the time were created in his bedroom which doubled as a studio, and painting his face reflected in a mirror, he recalled that he was both a cheap and accessible model. 3 Still in his early twenties and finding his way in the world, as well as establishing his own artistic voice and place within the art world, Tucker expressed a youthful search for self-understanding and identity in his early self portraits. Combined with his innate ability to penetrate the surface of the subject, this resulted in a series of powerful images that as Janine Burke notes, chart Tucker as ‘confrontational, haunted and passionately self-conscious’ in 1937 and just two years later, as exemplified by a selfportrait held by Heide Museum of Modern Art, show him transformed, ‘an accomplished modernist portraitist … confident and handsome.’4 Self portrait, 1940 presents Tucker without the swagger of the earlier Heide work but his confidence, both as an independent man and, more importantly, as an artist, remains strongly evident. While his pose is frontal and direct, his eyes look off to the side – perhaps as a consequence of working from a mirror – and lend the work a gentle, contemplative character which is reinforced by the delicate painterly treatment of its surface. Heavy lidded eyes, curiously shaped ears and a distinctive bent nose record Tucker’s appearance which is familiar to us from other such images and the photographic self-portraits he made after acquiring a second-hand camera in 1940. This painting was originally owned by Dr Guy Reynolds, a psychologist and lay member of the Contemporary Art Society, who along with John Reed had responded to the artist’s entrepreneurial proposal that they pay him a weekly stipend that would allow him to focus on his art. After six months they selected a painting that had essentially been paid for in weekly instalments. Reynolds also bought Urban Landscape, 1938 (private collection) in this way and later Tucker painted both his portrait and that of his daughter Mary. 5 1. Tucker, A., interviewed by Gleeson, J., 2 May 1979, National Gallery of Australia Research Library, https://nga.gov.au/Research/Gleeson/pdf/Tucker.pdf, accessed 18 July 2018, p. 6 2. Burdett, B. quoted in Burke, J., Australian Gothic: A Life of Albert Tucker, Vintage, North Sydney, 2003, p. 43 3. Tucker, op. cit., p. 2 4. Burke, J., op. cit., pp. 43, 116 5. ibid., p. 167. Portrait of Mary Reynolds, 1942 is in a private collection and the portrait of Dr Guy Reynolds is now lost.

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ROY DE MAISTRE 20 (1894 – 1968) STILL LIFE, BOTTLE AND FRUIT, c.1955 oil on canvas 97.0 x 71.0 cm signed lower right: R de Maistre bears inscription on old label verso: STILL LIFE WITH LAMP / oil / R de Maistre / 13 Eccleston Street / London SWI estimate :

$40,000 – 60,000

PROVENANCE Estate of the artist, London Magda Joicey, London Thence by descent Private collection, Melbourne Deutscher and Hackett, Melbourne, 27 August 2008, lot 29 (as ‘Still Life with Bottle and Fruit’) Private collection, Melbourne We are grateful to Heather Johnson for her assistance in cataloguing this work

Roy de Maistre was, above all, a scientific painter who approached his subjects with studious precision and analysis. He would paint numerous preliminary studies of his compositions and once finalised, would then execute a further series of variations. Whilst the studies were the arena in which he allowed for experimentation, the final works are so harmoniously composed that there is never a mark out of place.

Characteristic of this approach is Still Life, Bottle and Fruit, c.1955 which depicts a small corner of de Maistre’s London studio at 13 Eccleston Street, a fantastically arranged and decorated haven described by the artist’s biographer Heather Johnson as being ‘(o)ne of de Maistre’s greatest works of art, and the one most appreciated by friends, relatives, and acquaintances’.1 An early pioneer of modernism in Australia, de Maistre subsequently studied under the tonalist Max Meldrum before expanding his talents into the arenas of interior decoration, furniture design and art direction for photography. Frustrated by the limitations of conservative Sydney, he relocated to London in 1930 and, within months, was exhibiting at the premier avant-garde Beaux Arts Gallery and participated in a threeperson show which included the twenty year old Francis Bacon, who was to become de Maistre’s protégé for the next seven years. In 1937, through the aegis of his close friend and patroness Sydney Courtauld, de Maistre moved into the Eccleston Street studio where he lived until his death. The years prior had seen him investigate a further variety of

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painting strategies but the foundations for his mature style were firmly in place by the late 1930s. This was a form of analytical (as opposed to synthetic) Cubism but one where the ‘depiction of the relationship between objects and space … stems more directly from Cézanne than from Picasso and Braque’. 2 This same aesthetic underpins the richly detailed and coloured Still Life, Bottle and Fruit.

In a manner similar to the Italian Giorgio Morandi, de Maistre was a studio-based artist who never had to look far for subject matter. ‘The result is that he looks with fascinated intensity about the ... studio ... and this scrutiny, searching yet affectionate, has made him a kind of intimiste. Each object of contemplation (has) been combined in lucid, close-knit arrangements expressive of the painter’s relation to his surroundings’. 3 In Still Life, Bottle and Fruit, de Maistre has orchestrated the reflections within the glassware and the polished surface of the table into an absorbing composition full of angles, directional line and, above all, colour.4 Having developed a personal colour-music chart which he kept secured at the top of his box-palette, 5 de Maistre famously claimed he could ‘whistle the tune’ of his paintings; and comparison with one of those charts suggests this painting may have been composed in the keys of E♭ (green-blue) through to G♭ (indigo-violet). Curiously, the painting also exhibits de Maistre’s awareness of other contemporaneous artists in elements such as the striking pineapple and its companion fruits which look like émigrés from a Max Beckmann painting. Rigorous, ordered and above all, highly personalised, Still Life, Bottle and Fruit is an excellent example of the artist’s mature vision.

1. Johnson, H., Roy de Maistre: the English years 1930 – 1968, Craftsman House, Sydney, 1995, p. 48 2. McClean, I., ‘Two Modern Artists’, Art Notes, London, Summer, 1946, quoted in Johnson, H., op cit, p. 138 3. Rothenstein, J., ‘Introduction’, Roy de Maistre: A Retrospective. Exhibition of Paintings from 1917-1960, Whitechapel Art Gallery, London, May 1960, p. 9 4. The unusual double-sphered bottle also appears in Studio Interior (n.d.), reproduced in Johnson, H., op cit., pl. 21.

5. As depicted in Studio – 13 Eccleston Street (after 1937), Collection: Art Gallery of New South Wales.

ANDREW GAYNOR

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IAN FAIRWEATHER 21 (1891 – 1974) CHINA TEA, 1963 synthetic polymer paint and gouache on cardboard 68.5 x 94.0 cm signed and dated lower right: Ian Fairweather / 8/63 inscribed with title lower left: China Tea estimate :

$220,000 – 280,000

PROVENANCE Donated by the artist to the Bribie Island Pensioners’ League raffle, summer 1963 Private collection, Melbourne Lina Bryans, Melbourne Thence by descent Private collection, Melbourne EXHIBITED Fairweather: A Retrospective Exhibition, Queensland Art Gallery, Brisbane, 3 June – 4 July 1965; Art Gallery of New South Wales, Sydney, 21 July – 22 August 1965; National Gallery of Victoria, Melbourne, 9 September – 10 October 1965; National Gallery of South Australia, Adelaide, 26 October – 21 November 1965; Western Australian Art Gallery, Perth, 9 December 1965 – 16 January 1966; Tasmanian Museum and Art Gallery, Hobart, 10 February – 13 March 1966, cat. 88 (label attached verso) LITERATURE Bail, M., Fairweather, Murdoch Books, Sydney, revised edition, 2009, pl. 169, cat. 194, pp. 199, 200 (illus.), 258

After a peripatetic existence that saw him living in England, Canada, China, Bali, Australia, the Philippines and India, Ian Fairweather settled on Bribie Island, off the coast of southern Queensland, in 1953. Here he found a place where he could work consistently and relatively undisturbed, and the last two decades of his life witnessed the production of some of his finest paintings. Living and working in a pair of thatched huts that he had built using materials found in the nearby bush, and painting by the light of a hurricane lamp, his surrounds were primitive, but offered everything that Fairweather needed. While he relished the isolation of Bribie Island and preferred not to engage with the art world in person, Fairweather exhibited regularly at Macquarie Galleries in Sydney, and his work was both seen and admired by curators, critics, collectors and fellow artists alike. The 1960s saw his work acknowledged in significant ways, with paintings being included in the landmark exhibition Recent Australian Painting at the Whitechapel Gallery, London (1961), the São Paulo Biennial (1963), the European

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tour of Australian Painting Today (1964 – 65) and in 1965, a major travelling retrospective of his work – which included the painting on offer here – was mounted by the Queensland Art Gallery.

Fairweather described painting as being ‘something of a tightrope act’ that for him, sat ‘between representation and the other thing – whatever it is’ and, as he explained in an interview with Hazel de Berg in 1965, it was ’difficult to keep one’s balance’.1 At first glance, China Tea, 1963 is more representational than much of Fairweather’s work, depicting the outline of teapots – both tall and round in shape – that appear to move across the surface of the painting as if they are being lifted and poured, almost like stills from a film. We can see in this work a manifestation of the artist’s vision of the surrounding world, ‘not only as a whole, but fragmented, moving, regrouping, the outlines fluid and changing as they [settle] into the picture’. 2 Despite its recognisable subject however, China Tea has all the hallmarks of Fairweather’s unique brand of abstraction, combining a lively tracery of gestural marks that form their own distinctive calligraphy as they mesh and overlap, with a richly layered background made up of broad daubs of vivid blue and green paint.

In the summer of 1963 the Bribie Island Pensioners’ League had asked Fairweather if he would donate a painting to their fundraising raffle and this is the work he chose. 3 In a remarkable coincidence the holder of the winning ticket was a visitor from Melbourne, the RAAF pilot who had flown the plane that searched for Fairweather in 1952 after he left Darwin on his ill-fated attempt to sail to Timor on a rudimentary handbuilt raft.4 China Tea was later acquired by Lina Bryans, a noted modern artist and close friend of Fairweather. Having first bought his work in 1934, Bryans established what was widely regarded as the best single private collection of his art. 5 1. The artist quoted in Bail, M., et. al., Fairweather, Art & Australia Books in association with Queensland Art Gallery, Brisbane, 1994, p. 139 2. The artist quoted in Eagle, M., ‘The Painter and the Raft’, Bail, M., ibid., p. 25 3. Bail, M., Ian Fairweather, Murdoch Books, Sydney, revised edition 2009, p. 199 4. ibid.

5. See Forwood, G., Lina Bryans: Rare Modern 1909-2000, The Miegunyah Press, Melbourne, 2003, pp. 90 – 92

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JOHN BRACK 22 (1920 – 1999) UP IN THE AIR, 1973 (SMALL VERSION) oil on canvas 89.0 x 116.0 cm signed and dated lower left: John Brack 1973 inscribed with title on frame verso: Up in the Air estimate :

$250,000 – 350,000

PROVENANCE Private collection, Melbourne Deutscher and Hackett, Melbourne, 29 November 2007, lot 16 Private collection, Sydney EXHIBITED John Brack, Rudy Komon Art Gallery, Sydney, 10 – 28 November 1973, cat. 13 (as ‘Up in the Air (small version)’) (label attached verso) John Brack: Recent Paintings, Joseph Brown Gallery, Melbourne, 24 February – 11 March 1975, cat. 6 (illus. in exhibition catalogue) John Brack: Selected Paintings 1947 – 1977, RMIT Gallery, Melbourne, 15 March – 1 April 1977 John Brack: Paintings and Drawings 1945 – 1977, Retrospective Exhibition, Australian National University, Melville Hall, Canberra, 21 September – 16 October 1977 (illus. in exhibition catalogue) LITERATURE Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. II, cat. o205, pp. 28, 148 (illus.)

Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, p. 127 RELATED WORK Study for ‘Up in the Air’, 1973, conté, 50.0 x 68.0 cm, in the collection of the University of Western Australia, Perth Up in the Air (large version), 1973, oil on canvas, 114.3 x 146.0 cm, private collection, illus. in Grishin, vol. II, cat. o206, p. 148

In Up in the Air, 1973 John Brack captures his skaters in an eye-catching but risky move.

The painting, however, is much more than mere transcript, abounding with social comment and metaphor. In his earlier skating paintings such as Adagio, 1967 Brack admitted that he had first ‘wanted to make a statement about romantic love...’, but he had been unable to do so, his sensibilities lying in a far different direction.1 Combining the artificial with the theatrical, he worked through the ballroom dancing series and the contortions of the gymnasts before returning to his ice-skaters with different ideas and intentions. In both versions of Up in the Air and Finale, the figures are faceless, losing their individuality and identity as they become increasingly ‘abstract’ forms within the composition. Figures no longer dominate their settings, small on the rink symbolic of life, of ice thick or thin on which we skate and leave our marks. Nevertheless, the choreography of skating appealed to him, as did the movements of the ballroom dancers; but he scrutinised and recorded them with a coolly intellectual mind. Ever with an eye for the artificial and the put up facade, he admitted to being ‘fascinated by the idea of people who turned pleasure, pastime, into work, labour...’ 2 Although he was speaking about ballroom dancing, it could be applied equally to gymnastics and ice-skating, the latter with the added edge of greater risk taking. And herein lies the metaphorical references and satire. The surfaces of the ice rink are slippery and full of hidden dangers, a metaphor of the uncertainties of life and how we handle them. Of Up in the Air and the gymnastic Three Pairs, Robert Lindsay wrote, ‘Here an added social metaphor exists in the concept of balance, with the protagonists maintaining equilibrium within the contorting complexities of life. 3 When Up in the Air was exhibited in Brack’s solo show at Rudy Komon’s, John Henshaw referred to Brack’s return to ‘the gymnasium and the ice palace’, observing that: ‘...Brack’s tubular manikins balance on bars or cavort on skates, grinning exemplars of physical fulfilment, emotional and intellectual under-development. The paint is applied with craftsmanship and the designs carefully worked out in chalk as preparations for painting.

Visual puns, for instance, in the reflected legs of boy and girl ice-skating, have humorous and ironic overtones. The artist’s capacity to use a static mode of composition full of subtlety to suggest oblique comment on the social scene places him in a rare context.’4 1. Hawken, N., ‘The creators’, Herald, Melbourne, 13 May 1967, p. 25, quoted in Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. I, p. 106 2. John Brack on John Brack, lecture, Canberra, 1977, quoted in Grishin, op. cit, p. 106 3. Lindsay, op. cit, p. 19 4. Henshaw, J., ‘Art’, Sun, Sydney, 14 November 1973, quoted in Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987, pp. 127 – 128

DAVID THOMAS

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GODFREY MILLER 23 (1893 – 1964) LANDSCAPE, WORONORA, 1953 – 55 oil on canvas 67.0 x 104.0 cm signed with initials lower right: G.M. estimate :

$40,000 – 60,000

PROVENANCE Darlinghurst Galleries, Sydney (label attached verso) Southern Cross Galleries, Melbourne Private collection, Melbourne EXHIBITED Possibly: Godfrey Miller Memorial Exhibition, Darlinghurst Galleries, Sydney, 16 February – 27 March 1965 Possibly: Southern Cross Galleries, Melbourne, July 1972 Blue Chip XVI: The Collectors’ Exhibition, Niagara Galleries, Melbourne, 4 – 29 March 2014, cat. 14 (illus.)

LITERATURE Henshaw, J., Godfrey Miller, Darlinghurst Galleries, Sydney, 1965, pl. 47 (illus. inverted)

When Godfrey Miller died in 1964 in his run-down cottage in the innerSydney suburb of Paddington, his neighbours considered him a lonely recluse. They were subsequently amazed when notable members of the artworld started descending on the site, securing it from outsiders. For what they suspected, and ultimately found to be true, was that the shabby exterior hid a treasure trove within of paintings, drawings and sculptures by one of Australia’s truly individualistic abstract artists. Miller hated to part with his artworks and indeed, only held his first solo exhibition in 1957 when he was in his mid-sixties in spite of having first trained as an artist in New Zealand before World War One. Landscape, Woronora, 1953 – 55, comes from that hidden hoard and like its companions, was painted over a number of years as the artist ‘set himself to capture a feeling for the essence of things in the flux of changing experiences; to find a pictorial technique capable of celebrating both permanence and change at the same time.1 Miller was a meticulous artist who had a rich understanding of nonWestern spiritual philosophies. In part, this study was triggered by his experience at Gallipoli where he was seriously wounded. Like many veterans, Miller lost faith in Western values for having caused and supported such a human disaster, and thus turned to Eastern cultures for enlightenment and understanding as he resurrected his shattered body. He also returned to his art studies, first in Melbourne at the National Gallery School, then London in the 1930s at the Slade. It was

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during this English episode that Miller became a determined modernist, ‘call(ing) upon the shapes of planar and solid geometry for imagery, and (assigning) symbolic meaning there’. 2 Following a three month Rudolph Steiner course on colour at the Anthroposophical Centre in Switzerland, Miller relocated to Sydney in 1939 and began teaching part-time at East Sydney Technical College in 1948, where his students were soon in awe of the quiet persistence, dignity and knowledge of their teacher.

The Woronora River is located on the southern outskirts of Sydney and it is probable this painting started as a sketch done whilst Miller was staying with his friend, the artist Carl Plate, who had a cottage there. 3 Starting with the drawing of the boat and trees running to the water’s edge, Miller gradually pared the motif back to its essential rhythms, lines and curves, where ‘natural appearances are never entirely eradicated, being held as it were in flight between intricate, interpenetrating grids … allegories of a universe in which form and colour are continuously created and destroyed by energy and light’.4 Miller himself described his finished paintings as depicting a reality ‘made of cadences, rhythms, materials – all that science ignores’. 5 Meditative, layered and richly coloured, Landscape, Woronora, is a fine example of Godfrey Miller’s mature technique, one honed over many decades of study and quiet application. Related paintings from this fertile decade include Blue Unity, 1954 – 55 (National Gallery of Australia, Canberra); Nude and the Moon, 1954 – 59 (Art Gallery of New South Wales, Sydney); and Trees in Quarry, 1952 – 56 (formerly Mertz Collection, University of Texas).

1. Smith, B., Australian Painting 1788 – 1970, Oxford University Press, Melbourne, 1971, pp. 302 – 303 2. Wookey, A., ‘Godfrey Miller and Mathematics’, in Edwards, D., Godfrey Miller, Art Gallery of New South Wales, Sydney, 1996, p. 111 3. See Stewart, M., Margaret Olley: far from a still life, Vintage, Sydney, 2005, p. 163 4. Smith, B., op. cit., p. 303 5. Godfrey Miller aphorism quoted in Henshaw, J., ‘Godfrey Miller’, Godfrey Miller, Charles Nodrum Gallery, Melbourne, September 2004, non-paginated

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LLOYD REES 24 (1895 – 1988) SONG TO CREATION – SKY, 1968 – 69 oil on canvas 78.0 x 96.0 cm signed and dated lower left: L REES / 68-69 estimate :

$160,000 – 200,000

PROVENANCE Private collection, Sydney Thence by descent Private collection, Sydney Deutscher and Hackett, Melbourne, 31 August 2011, lot 5 Private collection, Sydney EXHIBITED Paintings by Lloyd Rees, Von Bertouch Galleries, Newcastle, 4 – 21 October 1968, cat. 26 (before alterations, as ‘The Sun at Werri’) Lloyd Rees Retrospective, Art Gallery of New South Wales, Sydney, 2 October – 2 November 1969, then touring to Queensland Art Gallery, Brisbane, November – December 1969; National Gallery of Victoria, Melbourne, 1 – 28 February 1970; Tasmanian Museum and Art Gallery, Hobart, 17 March –13 April 1970; Art Gallery of South Australia, Adelaide, 1 – 31 May 1970; Art Gallery of Western Australia, Perth, 18 June – 21 July 1970; and Newcastle Regional Gallery, New South Wales, 1 – 31 August 1970, cat. 101 (label attached verso) LITERATURE Free, R., Lloyd Rees Retrospective, Art Gallery of New South Wales, Sydney, 1969, cat. 101, p. 32 (dated as 1969) Free, R., Lloyd Rees, Lansdowne Press, Melbourne, 1972, cat. O268, p. 91 (illus.)

Rees, L. and Free, R., Lloyd Rees An Artist Remembers, Craftsman House, Sydney, 1987, cat. 36, pp. 109 (illus.), 110, 153 RELATED WORK Song to Creation – Land, 1969, oil on canvas, 92.0 x 101.0 cm, private collection, illus. in Free, R., Lloyd Rees, Lansdowne Press, Melbourne, 1972, cat. O266, p. 90 Song to Creation – Sea, 1969, oil on canvas, 81.5 x 96.5 cm, private collection, illus. in Free, R., Lloyd Rees, Lansdowne Press, Melbourne, 1972, cat. O267, p. 91

Three major paintings – Land, Sea and Sky – make up the Song to Creation series painted by Lloyd Rees in the late sixties. Each a striking work in its own right; together they form a group that is resonant with life through their use of colour, light and the engaging feeling of atmosphere.

As a homage to Australia, they in turn focus on the rocky landscape, the restless waters of the sea, and the all encompassing sunlit air as hymns of visual praise. In her monograph on Rees, Renee Free says the series ‘expresses the great feeling for light, which dominates Rees’ work in the years 1967 to 1969. Rees was elated for he felt his work had come to a climax.’1 It was a time of climax both in creative achievement and recognition. To this period belong such masterly paintings as The Timeless Land, 1965 and Australian Façade, 1965 (both in private collections), and another important series of five paintings, Tribute to France, 1969, including Country I (Beziers) in the collection of the Art Gallery of New South Wales, and Cathedral I and II. In October 1969 a definitive retrospective exhibition organized by the Art Gallery of New South Wales opened its near year-long national tour in Sydney; and Ure Smith published Rees’s book, The Small Treasures of a Lifetime.

Rees’s art captured the national imagination. Brett Whiteley in his In Appreciation for the Lloyd Rees Exhibition, described Rees as ‘our first Master.’ 2 And in 1970 Rees was awarded an honorary Doctor of Letters by the University of Sydney, where he taught with distinction.

The Tribute to France and Song to Creation series were the most recent works in the exhibition, the crowning glory of the 101 oil paintings, followed by over fifty drawings of extraordinary draughtsmanship. The increasing influence of J.M.W. Turner in Rees’s work is present in the Creation paintings, especially in the light saturated Sky where objects seem to dissolve in an overall radiant beauty. While the grandeur and majesty of the landscape as a wonder of creation is a central theme in Rees’s oeuvre, it reaches a new level in Sky. There is also that deeply felt harmony between man and nature, renewed and extended in the presence of the foreground figure and the works of the human hand.

A focal point is avoided to give an overall harmony. This is augmented through the broader handling of the paint, all imbued with a sense of wondrous praise in the perception of the sublime.

1. Free, 1972, op. cit., p. 90 2. Whiteley, B., 3 November 1969, quoted in ibid., p. 92

DAVID THOMAS

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BRETT WHITELEY 25 (1939 – 1992) TANGIER POSTCARD, 1967 charcoal, gouache and collage on paper 56.5 x 76.5 cm estimate :

$40,000 – 60,000

PROVENANCE Marlborough New London Gallery, London Private collection, USA EXHIBITED Brett Whiteley, Marlborough New London Gallery, London, 2 – 31 October 1967, cat. 4 (illus. in exhibition catalogue) LITERATURE McGrath, S., Brett Whiteley, Bay Books, Sydney, 1979, p. 79 (illus.)

Sutherland, K., Brett Whiteley: A Sensual Line, 1957 – 67, Macmillan Art Publishing, Melbourne, 2010, p. 213 We are grateful to Kathie Sutherland for her assistance in cataloguing this work.

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BRETT WHITELEY 25 (1939 – 1992) TANGIER POSTCARD, 1967

‘…Everyone’s stoned in Tangier. Very still, very gentle with an occasional really vicious fight. Water cold, sun hot, millions of things to draw and photograph. There’s some mystery still left in Morocco, but the place is dying and they’re too drugged up for the Revolution’.1 With his lively personality, irreverent wit and prodigious artistic talent, it is perhaps not surprising that Brett Whiteley experienced such a meteoric rise to fame during his London expatriation in the 1960s.

Although completely unknown upon his arrival in late 1960, within less than two years the brash Antipodean could boast representation in the Tate (at age 22, making him the youngest artist ever to have work acquired by the institution); the Victoria and Albert Museum; and the British Contemporary Art Collection. By 1964, his work was also held in several other national collections from Wellington to Washington. Basking in the extraordinary success and publicity generated by numerous solo shows at Marlborough Galleries, London, Whiteley soon became acutely attuned to his ‘celebrity’ status as an artist – ‘stepping up his courtship with the notion of charisma’ 2 in a similar vein to contemporaries such as Andy Warhol and David Hockney who elaborately crafted artistic personas to suit their painting styles. As he embraced with increasing fervor the conviction that an artist could provoke social change, towards the end of the decade Whiteley significantly shifted focus from familiar domestic themes to broader, more universal humanitarian concerns – his growing disillusionment with Western society achieving its apotheosis in his monumental magnum opus, The American Dream, 1968 –1969.

Before departing for New York at the end of 1967 to take up a Harkness Fellowship however, Whiteley ventured south with Wendy and Arkie to the French Territory of Tangier for some much-needed respite: ‘…

We smoked a bit of dope, listened to music, slept, looked around. It was a good trip’. 3 Although no major paintings emerged from the two months in Morocco, the sojourn proved an invaluable time of reflection and consolidation – not only offering stimulus for some of Whiteley’s most controversial works, but inspiring the charming series of eighteen gouaches and drawings which he aptly named ‘The Tangier Postcards’.

Widely acclaimed among his smaller works, these casually sketched vignettes capture ‘snapshots’ of Wendy bikini-clad or nude, of their apartment at the Hotel Majestic and its exotic surroundings, as well as glimpses of the mysterious, veiled women of Tangier, and portraits of shady local characters including the hotel innkeeper, a hashish dealer and Whiteley’s new friend, the dope-smoking Achmid. As eloquently

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exemplified by the present postcard featuring Wendy reading the local newspaper in a wicker armchair on the balcony, many of the works exude an overwhelming lyricism, calm and sense of the exotic strongly reminiscent of Whiteley’s artistic mentor Matisse (who notably also visited Tangier in 1912 – 3). Others meanwhile are darker in tone, betraying the artist’s censure of Moroccan society which was expressed more explicitly in his notebook ‘Lying, robbing opportunists, flickering eye ruins, date-dirt-desert peasants … Moroccans … Spices that drill the tongue to the ankles, blinking tears, and all living closer than garlic, before and after, eating bean slop in cupboard cafes, hiding in bags and embalming their women, smoking their brains in and drinking and spitting and pissing mint tea under the sun – white blue white.’4 Indeed, in the end it would seem Morocco had been terrifying for Whiteley; as he wrote on a postcard to his mother, ‘Down grading of my life, my belief in man’s goodness is shrivelling. Care gets harder – God knows I’d be lost without painting.’ 5 Interestingly, when unveiled at Marlborough Galleries in October 1967, ‘The Tangier Postcards’ were juxtaposed alongside two powerful works dramatising Whiteley’s disturbing experience of human poverty and squalor in Calcutta; several nude drawings and paintings including Her, 1967; a couple of self-portraits, and some drawings from his time in Majorca. Almost without exception, critics condemned the exhibition for ‘a lack of cohesiveness’ – yet as the artist’s working drawing for the exhibition layout on the reverse of one of the postcards poignantly reveals, this disjunction was a deliberate ploy by Whiteley to jolt viewers out of their comfort zone, to encourage his audience to circulate between exhibits in order to draw out thematic connections and multiple readings of the issues presented. As encapsulated in typically-cryptic fashion by Whiteley in the aphorism below his layout sketch, ‘… I paint in order to Understand. I exhibit to show I don’t.’ 6 1. Whiteley writing in a postcard to Kay and Colin Lanceley in London, quoted in Wilson, A., Brett Whiteley: Art, Life and The Other Thing, Text Publishing, Melbourne, 2016. Spelling and punctuation errors in Whiteley’s writing have been corrected throughout.

2. Pearce, B., Brett Whiteley: Art and Life, Thames and Hudson with Art Gallery of New South Wales, Sydney, 1995, p. 28 3. Whiteley quoted in McGrath, S., Brett Whiteley, Bay Books, Sydney, 1979, p. 79 4. Whiteley, ibid., p. 80 5. Whiteley quoted in Wilson, op. cit.

6. Whiteley quoted in Sutherland, K., Brett Whiteley: A Sensual Line 1957-67, Macmillan Publishing, Melbourne, 2010, p. 183

VERONICA ANGELATOS

The Tangier Postcards in The Majestic Hotel, Tangier, 1967 courtesy of the Whiteley Estate

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BRETT WHITELEY 26 (1939 – 1992) NUDE AND NECKLACE, 1978 oil and mixed media on canvas on board 80.5 x 106.0 cm signed and dated lower right: brett whiteley 78 artist’s stamp lower right estimate :

$180,000 – 240,000

PROVENANCE Macquarie Galleries, Sydney Savill Galleries, Sydney Christie’s, Sydney, 17 August 1999, lot 174 Art Galleries Schubert, Queensland (label attached verso) Private collection, New South Wales Deutscher~Menzies, Melbourne, 2 September 2003, lot 39 Private collection, Victoria EXHIBITED On long-term loan to Bendigo Art Gallery, Victoria, 2003 – 2018

For Brett Whiteley, a deep appreciation of the sensuality of the human form permeated every aspect of his life and art. Recognised by art critic Bryan Robertson during Whiteley’s early years in London as ‘a level of sexual and sensual sophistication rare in an artist so young’1, indeed this predisposition would ultimately underpin and inspire his entire creative oeuvre. Without doubt however, it is in the myriad of paintings, drawings, sculptures and etchings dedicated to the female nude that Whiteley most thoroughly and adeptly manifests his abiding preoccupation with the sensual and tactile – exploiting the expressive and abstract possibilities of the genre to create some of the most erotic nudes ever conceived by an Australian artist. Clearly, Whiteley also considered the subject ‘predominant really … a very major part of my work’ 2, elaborating thus ‘… If genius is the atheist’s word for God … then the attempt to visualise the great nude would be the highest point of creation, for perfection is impossible, and no distortion can be extreme enough’. 3 Exemplifying this sheer delight in the beauty of the female form, Nude and Necklace, 1978 was executed at the pinnacle of Whiteley’s career, with the artist awarded all three of Australia’s most prestigious art prizes that same year (The Archibald Prize for portraiture; the Wynne Prize for landscape painting; and the Sulman Prize for genre painting) – an achievement yet to be surpassed. 4 Exuding a sense of languid, sensual pleasure that evokes unmistakable parallels with the reclining odalisques of his artistic mentors such as Matisse, the composition also echoes Whiteley’s own earlier ‘Bathroom series’ – his first consolidated depictions of the nude which celebrated his love for

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his new wife and muse, Wendy, and heralded his breakthrough as an accomplished draughtsman of the figure. Now, however, the erotic is made arguably more explicit in the model’s provocative frontality – dominating the picture plane, she is voluptuous, fecund and overtly sexual. With its extraordinary economy of line, gentle tonal modulations and palpable sensuality, the work is a superb example of Whiteley’s lifelong quest to visualise the ‘perfect’ nude; as the artist himself wrote with characteristic irreverence in catalogue notes accompanying an exhibition of comparable nudes in 1981, ‘… most men, and certainly all artists, even if many never get around to actually painting it, carry in their heads the great nude. The Venus, the Bathsheba, the Bather, Diana, even the great centrefold, he carries all his life the idealisation, carries it like some little uncut gem in his mind, waiting there to be given form. Filtering down through civilisation is the urge to show this glimpse of beauty, where invention and skin become one, and the history of art marries the whole history of one’s sex. Mistress, mother, lover, whore, obtainable – unobtainable, it is the wonder of a perfect distortion’. 5 1. Robertson, B., cited in McKenzie, J., ‘Obituary: Brett Whiteley’, ‘Divided Self, Sweeping Line’, The Guardian, 18 June 1992, n.p.

2. Whiteley, B., cited in Don Featherstone’s film Difficult Pleasure: A Portrait of Brett Whiteley, 1989 3. Whiteley, B., ‘Recent Nudes’, exhibition catalogue, Artist’s Studio, Sydney, 1981, n.p.

4. Whiteley won The Archibald Prize with Art, Life and The Other Thing, 1978; The Wynne Prize with Summer at Carcoar, 1978; and The Sulman Prize with Yellow Nude, 1978.

5. Whiteley, B., ibid.

VERONICA ANGELATOS

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ATTRIBUTED TO GEORGE CARTER 27 (1737 – 1794, British) THE DEATH OF CAPTAIN JAMES COOK, c.1781 – 84 oil on metal 56.5 x 74.5 cm (oval shaped) bears inscription verso: This Picture / is to be ALWAYS KEPT

by Order / Lady Daresbury estimate :

$40,000 – 60,000

PROVENANCE Collection of Lord and Lady Daresbury, Walton Hall, Cheshire, United Kingdom Thence by descent Mrs Greenall (daughter-in-law of the above), United Kingdom Marshall Spink, London Tony Cowden, London and Sydney, by 1979 Julian & Miriam Sterling Collection, Melbourne Thence by descent Private collection, Melbourne EXHIBITED Captain Cook’s Voyages, City Museums and Art Gallery, Birmingham, United Kingdom, 23 August – 11 November 1979 (label attached verso) RELATED WORK Death of Captain Cook, 1781, oil on canvas, 151.2 x 213.4 cm, in the collection of the National Library of Australia, Canberra Death of Captain James Cook, 1783, oil on canvas, in the collection of the Bernice Pauahi Bishop Museum, Honolulu The Death of Captain James Cook by the Indians of O, Why, ee, one of the Sandwich Islands, 1779, engraving after George Carter published by George Carter, Sayer and Bennett, London, 1784, in the collections of the National Maritime Museum, Greenwich, London, National Library of Australia, Canberra and the State Library of New South Wales, Sydney.

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ATTRIBUTED TO GEORGE CARTER 27 (1737 – 1794, British) THE DEATH OF CAPTAIN JAMES COOK, c.1781 – 84

in clouds of glory above Kealakekua Bay, accompanied by Britannia and heralded by Fame.1 The image had its origin in the 1785 pantomime Omai: or, A Trip Round the World by John O’Keefe, performed at the Theatre Royal, Covent Garden. In 1789 Covent Garden again saw the opening of the ‘Grand Serious-Pantomimic-Ballet’ The Death of Captain Cook, a version of the French pantomime, La Mort du Captaine Cook, presented in Paris in 1788. Of the latter, Bernard Smith observed: ‘… the conventions of the theatre required that the death of Cook should not be presented with strict adherence to fact but that he should be presented ideally as a tragic hero. On the other hand, the costumes and settings were to be presented as faithfully as possible. Idealized action and realistic staging was combined in the exotic pantomime’. 2 George Carter’s paintings follow suit.

GEORGE CARTER Death of Captain James Cook by the Indians of O, Why, Ee, one of the Sandwich Islands, 1784 engraving 42.5 x 59.37 cm courtesy of State Library of New South Wales, Sydney

Throughout time the death of the hero has inspired great art. In the eighteenth century it reached new heights in Benjamin West’s revolutionary history painting, The Death of General Wolfe, 1770 (National Gallery of Canada, Ottawa). Later, Nelson’s death at Trafalgar in 1805 led to a further wealth of history paintings enshrining the noblest of patriotic sentiments. In between, on 14 February 1779 at Hawaii, fell the death of Captain James Cook, bold navigator of uncharted waters and famed discoverer. His untimely demise and published Discoveries captured the public’s imagination, expressed in grief, fascination and several forms of art, theatre and literature. Francesco Bartolozzi’s engraving, The Apotheosis of Captain Cook after Philippe-Jacques de Loutherbourg, based on a drawing by John Webber (1751 – 1793), captured the mood – Cook, holding a sextant rather than a sword, ascending heavenwards

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Chief among the celebrated painted versions of Cook’s death are those

by John Webber, artist on Cook’s last voyage, Carter and Johann Zoffany (1733 – 1810). None were eyewitnesses, relying on the accounts of others for their visual eulogies of the dead hero. 3 Webber’s oil painting and watercolour are in the State Library of New South Wales, Sydney.

Based on Webber, Francesco Bartolozzi’s and William Byrne’s engraving of 1784 (National Portrait Gallery, Canberra) became one of the most well known images of the event. Portrayed as the man of peace, Cook holds up his hand to stop his marines shooting the islanders. The drama is heightened by the choice of the very moment before Cook is struck down from behind by a dagger. Zoffany carried this ennoblement even further in his oil, The Death of Captain James Cook, 14 February 1779, c.1794, (National Maritime Museum, London). Influenced by West’s painting of General Wolfe, in which the subject is depicted as a Christ-like figure amid other references to the traditional imagery of the ‘Lamentation’, Zoffany further elevated his principal figures by drawing them from ancient classical sources. Cook’s pose was derived from The Dying Gaul, a Roman copy of a lost Hellenistic sculpture (Capitoline Museums, Rome). The native figure bending over Cook is from Myron’s Discobolus (British Museum, London). While the Hawaiian helmet worn by the bending native echoes those of ancient Greece, it added a touch of actuality, being based on the one given to Cook by a Hawaiian chief in 1778.

Other works, which show a more bellicose Cook, do not so much raise the question of what actually happened at Kealakekua Bay in 1779, but offer different moments of the skirmish and images by which to glorify the hero. John Cleveley’s (1747 – 1786) early watercolour of Cook’s death, based on drawings by his brother James, a carpenter on Cook’s ship Resolution during the Third Voyage, shows Cook as a fighter against overwhelming odds.4 George Carter gives Cook a similar role, his musket raised as a club in all three of his oil paintings of Cook’s death – National Library of Australia, Canberra; Bernice Pauahi Bishop Museum, Honolulu; and our work on offer. Settings and actions are the same; variations are in the details. Moved from the flat shores of the bay to a heightened cliff-enclosure amid threatening sky, the artist evokes the drama of a theatre set. Fortress land seeks to conquer open sea, the angle of Cook’s gun repeated in the palm trees and rock profile, increasing the sense of onslaught. Carter’s portraits of the British soldiers and sailors, together with the Hawaiians, are striking. Above all, the confrontation of Cook, bare headed and dressed in white, and the islander chief, crowned and robed in splendour, has a touch of the martyr about it. Cook as the hero in white is present in all three paintings – completely white in the Canberra painting, in the two others white jackets replacing the traditional Navy jacket of blue. The purity of white, like a light shining in darkness, spotlights Cook’s action, emphasised by his central position and slain foe at his feet. Alone he faces the onslaught, marines and soldiers resisting en masse behind.

The Honolulu painting has an unanswered change in the colour of the otherwise identical uniforms of the party firing from the boat – the red for marines in the Honolulu version transformed into blue for naval officers for the other two.

The gifted Carter exhibited at the London Royal Academy and was known for his historical portraits, his dramatic approach owing something to his one time friend, the American artist John Singleton Copley (1738 – 1815). 5 That Carter painted three versions of Cook’s death is not unusual for the time. West made at least five paintings of The Death of Wolfe, each with its own variations, the prints being a further great success. Carter’s 1784 engraving, The Death of Captain James Cook by the Indians of O.Whyee, one of the Sandwich Islands, 1779, based

GEORGE CARTER Death of Captain Cook, 1781 oil on canvas 151.2 x 213.4 cm courtesy of National Library of Australia, Canberra

on the Canberra painting, was likewise very popular. Like West, Webber and Zoffany, Carter’s oil paintings idealise the event, Cook immortalised in the glorious realms of myth. The oval composition of our painting adds to its closer focus, the profiling of figures reminiscent of classical Greek relief sculpture.

1. The Apotheosis of Captain Cook, 1794, engraved by Francesco Bartolozzi after Philippe-Jacques de Loutherbourg, based on a drawing by John Webber.

An impression is in the National Library of Australia, Canberra 2. Smith, B., European Vision and the South Pacific 1768-1850, Oxford University Press, London, 1960, p. 83 3. Williams, G., The Death of Captain Cook: A Hero Made and Unmade, Harvard University Press, Cambridge, Massachusetts, 2008, p. 73 4. One of a set of four watercolours sold by Christie’s, London, on 23 September 2004, lot 35 5. Gall, J., et al, Library of Dreams: Treasures from the National Library, Canberra, 2011, p. 24

DAVID THOMAS

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ALEXANDER SCHRAMM 28 (1814 – 1864, German/Australian) BUSH VISITORS, 1859 oil on canvas 68.5 x 91.5 cm originally signed, dated and inscribed verso: A Schramm / Adelaide / 1859 original frame by David Culley, Adelaide (label attached verso) estimate :

$300,000 – 500,000

PROVENANCE Mr Henry Muirhead, Adelaide, acquired in 1859 Thence by descent Nancy Muirhead, Adelaide Thence by descent Private collection, Adelaide EXHIBITED South Australian Art Union Exhibition, Chamber of the House of Assembly, Adelaide, 5 October – 17 October 1859, cat. 70 On long term loan to The Adelaide Club, Adelaide, 1994 – 2018

LITERATURE Catalogue of Pictures and Other Works of Art Collected for Exhibition in the House of Assembly, South Australian Society of Arts, Adelaide, 4 October 1859, cat. 70 ‘Exhibition of Works of Art’, The South Australian Advertiser, Adelaide, 5 October 1859, p. 2 ‘South Australian Art-Union Exhibition’, The South Australian Register, Adelaide, 5 October 1859, p. 3 (as ‘Blacks at a Cottage Door’) ‘Second Day’, The Adelaide Observer, Adelaide, 8 October 1859, p. 2 (supplement) (as ‘Blacks at a Cottage Door’) ‘South Australian Society of Arts’, The South Australian Register, Adelaide, 18 October 1859, p. 5 (as ‘Blacks at a Cottage Door’) ‘The Society of Arts’, The Adelaide Observer, Adelaide, 22 October 1859, p. 1 ‘Society of Arts’, The South Australian Advertiser, Adelaide, 25 October 1859, p. 2 (as ‘South Australian Homestead’) ‘Schramm’s Picture’, The South Australian Advertiser, Adelaide, 28 October 1859, p. 2 ‘South Australian Society of Arts’, The Adelaide Observer, Adelaide, 29 October 1859, p. 1 (supplement) ‘South Australia’, The Argus, Melbourne, 29 October 1859, p. 5 ‘Schramm’s Picture’, South Australian Weekly Chronicle, Adelaide, 29 October 1859, p. 1 ‘South Australian Society of Arts’, The South Australian Register, Adelaide, 29 October 1859, p. 3 ‘South Australian Society of Arts’, The South Australian Advertiser, Adelaide, 29 October 1859, p. 3 RELATED WORK A scene in South Australia, c.1850, oil on canvas, 41.0 x 47.5 cm, in the collection of the Art Gallery of South Australia, Adelaide A scene in South Australia, c.1854 – 58, lithograph, 24.9 x 35.7 cm, Penman and Galbraith, Adelaide, in the collection of the National Gallery of Victoria, Melbourne

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ALEXANDER SCHRAMM 28 (1814 – 1864, German/Australian) BUSH VISITORS, 1859

Alexander Schramm is recognised as the most accomplished professional artist active in colonial South Australia and the first to be trained in art beyond Britain. He won a series of prizes at the South Australian Society of Arts exhibitions of the 1850s and 1860s, before his untimely death in November 1864, aged just 50 years. In contrast to his colonial contemporaries though, Schramm produced work in markedly different styles and genres, bringing ‘a sophisticated and wide-ranging background of artistic experience to South Australia’.1 Within barely a decade, Schramm produced finely wrought oil portraits of Adelaide gentry, an outstanding religious painting, a range of small chalk and watercolour drawings of Aboriginal people and colonists which are quite casual in style, the largest oil paintings depicting Aboriginal people and their social life to have been produced in Australia, lithographs of colonial scenes, and even a plaster bust of an Adelaide notable. His work could be sharply defined and filled with light and colour or shadowed and blurred in gloom and melancholy. This great range seems grounded in his artistic training and career in Europe as well his extraordinary intellect, which was sharply critical of colonial realities.

If any single painting by Alexander Schramm serves as an entrée to his Australian career it would be Bush Visitors, painted in 1859, a decade after his arrival in South Australia. This large oil painting has been held in the same family since its original purchase in 1859 by the King William Street watch-maker and jeweller, Henry Muirhead. The painting depicts a group of ten Aboriginal men, women and children (in European clothing, apart from one woman wearing a skin cloak), gathered at the door of a settler’s cottage, importuning the woman of the house while other members of the household observe the situation. What might be interpreted as a straight-forward scene of colonial begging or charity is rendered ambiguous by the friendliness and engagement implicit in the encounter, and by Schramm’s facility in entangling his subjects within a single frame of sociality. The painting is one of Schramm’s larger works and remains in its original frame, fashioned in Adelaide by the city’s first professional framemaker David Culley. On its reverse the painting still bears the original 1859 catalogue number, ‘70’.

Schramm entered Bush Visitors, together with several others, in the section devoted to local artists in the wide-ranging ‘South Australian Art Union Exhibition’ which opened on 4 October 1859 in the Chamber of the House of Assembly on North Terrace. While a newspaper report first noted the painting as No.70, Blacks at a Cottage Door, the exhibition

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catalogue printed a few days later retitled it as Bush Visitors. The Advertiser reviewer wrote, equivocally enough: Mr Schramm, an old colonist, has contributed a great number of very spirited oil paintings: in the majority of instances containing groups of aboriginal natives, which have a particularly natural, picturesque, ragged and vagabond appearance. Even the gum trees of Mr Schramm’s pictures wear a scraggy aspect, which is rather an exaggeration than otherwise of the deformities of Australian foliage. Still the pictures have a merit of their own, which any careful observer cannot fail to notice, and the grouping of his natives is both characteristic and successful.2 The exhibition committee initially awarded first prize to James HazellAdamson, however following his controversial elimination on the grounds that he was not resident in South Australia, Schramm received first prize for Bush Visitors.

At the age of 35 Schramm travelled to Australia on the Prinzessin Luise, sailing from Hamburg in March 1849 and arriving at Port Adelaide on 7 August. The passenger list has been described as ‘the single most important group of German intellectuals to come to Adelaide’ and included the botanist and Adelaide Botanic Gardens Director, Richard Schomburgk, musicians and composers Gustav Esselbach and Carl Linger, the naturalist Marianne Kreusler, scientists and politicians, as well as the sculptor Emil Todt. After little more than a year Schramm became a naturalised citizen. His first major oil painting in Australia, Adelaide, a tribe of natives on the banks on the River Torrens, was completed in 1850. Now in the collection of the National Gallery of Australia it was originally sold to the Adelaide businessman, C.S. Penny.

By the mid-1850s it seems that Schramm was able to make a living through his art, and Aboriginal subjects (often in combination with Europeans) comprised at least half of his output. Several of these works were lithographs, which Schramm began producing for a wider market from 1854, using the Adelaide printing firm of Penman and Galbraith. 3 It seems that these lithographs generally preceded paintings in oil, and this was the case for the lithograph A Scene in South Australia (probably produced between 1854 – 1858), on which this work was based. A smaller painting, closer in detail to the lithograph, A Scene in South Australia, is in the collection of the Art Gallery of South Australia.4

ALEXANDER SCHRAMM A scene in South Australia, c.1854 – 1858 lithograph 24.9 x 35.7 cm courtesy of National Gallery Victoria, Melbourne

ALEXANDER SCHRAMM A scene in South Australia, c.1850 oil on canvas 41.0 x 47.5 x 6.5 cm (frame) courtesy of Art Gallery of South Australia, Adelaide

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ALEXANDER SCHRAMM 28 (1814 – 1864, German/Australian) BUSH VISITORS, 1859

Schramm produced two bodies of work depicting Aboriginal people.

The first was characterised by large-scale ambitious paintings that depicted entire encampments comprising up to a hundred figures and the second consisted of simple studies of allegorical encounters between Aboriginal people and Europeans or individual studies of Aboriginal people. Schramm did not attempt any purely ‘ethnographic’ studies in South Australia and instead, his work seems calibrated to the realities of the colonial frontier, assessing and even judging the effects of European contact, even though some of these simpler works strayed close to caricature.

A lithograph of the scene depicted in Bush Visitors was purchased in Adelaide in 1858 by the writer, David Liston, and sent to a friend in England5 with the following inscription which provides fascinating information regarding the scene: Adelaide Oct 10 1858.

Dear Bob I met with the annexed Lithograph, & have sent it to you, the characters are all Portraits, I know them all & can avouch for its correctness. – The Scene is a cottage on the North Park Lands, near the Native Camp, it is Washing Day the Iron Pot, heating the Water out-side — The Group of Natives, just returning to Camp, from a days begging in Adelaide, accompanied by a troop of Dogs — The principal character is “Old King William”. The Woman on his right his Lubra. (i.e. Wife) the others his family — the whole [(] Dogs included [)] is true to life.

“Old King William” is well known in Adelaide & is so named from his resemblance to that Monarch, he came to Town every morning in a clean White Shirt & carried his spear, his hair White & gait stately, his Wife has a load on her head, some of the others at their backs, where one of the Women carries her “Piccanini.” — the children are invariably naked, the Men & Women but scantily clothed, you will notice their Arms & Legs are very thin & deficient of Muscle, their hands & feet seem a grade between the Ourang Outang & a perfect human development,

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in their rambles they are always accompanied by a large troop of hungry looking Dogs — the countenance of the “old King” is a little too severe — in begging he never takes less than a silver Sixpence, if less be offered, it is given to his Lubra or children — I have endeavoured to fold so as not to injure the faces, & perhaps you may take the creases out — We are all well & write in kindest love & regards to you all & to all old friends; Yours truly D. L[iston].

M Robt Hart.; inscribed in pen and brown ink on reverse (vertically) u.r.: You will notice the Women as well as Men smoke.

This annotation shif ts what might other wise be regarded as a hypothetical, even allegorical scene, into the realm of colonial reality.

Despite the reference, the actual site of the image remains difficult to identify although it was probably near the present site of the Adelaide Zoo’s main entrance, adjacent to the parklands. The cottage depicted may well be ‘Park Cottage’, a property owned by the South Australia Company which in 1857, was rented by a G.W.Hawkes. Hawkes had been a book-keeper for the company but by the time Schramm’s lithograph and painting were made he was Secretary of the nearby St Peters Collegiate School. Later secretary of the Art Union of London and South Australia, Hawkes was also a member of the Aborigines Friends Association and it is this, coupled with the friendly attitude shown by the settlers depicted in the painting towards the Aboriginal figures, that points to their identification as Hawkes and his wife.

For some time the identity of ‘King William’ has been a mystery, however during July 1844 an Aboriginal man known by this name was charged with the attempted murder of a shepherd near Clare and sentenced to imprisonment. It was noted at that time that this man, whose Aboriginal name was Tangko Milaitye, spoke good English. 6 Three years later he was released from prison and pardoned so that he might be engaged as a court interpreter – an initiative prompted by an increasing number of court cases involving Aboriginal people from north of Adelaide.7 It appears that he then took up residence in the North Parklands

ALEXANDER SCHRAMM Adelaide, a tribe of natives on the banks of the River Torrens, 1850 oil on canvas 86.7 x 130.2 cm courtesy of National Gallery of Australia, Canberra

encampment, with his extended family, who became familiar figures to Adelaide townspeople, and subjects for Schramm’s pencil. King William also appeared in several of Schramm’s paintings.

Bush Visitors occupies an important place in Australian art history, marking a fundamental shift in the way in which colonists understood their new land, and their place in it, especially in relation to the Aboriginal people whose dislocation and dispossession Alexander Schramm placed at the very centre of his work. For, while certain critics found Schramm’s works confronting, he was awarded prizes year after year and was patronised by several of the most influential families in South Australia. His art played a crucial role in marking the effects and impact of European colonialism in a colony which placed great store on its capacity to moderate those effects. Importantly, the mirror which Schramm held up to the colonial frontier still retains the capacity to reflect, even today.

1. Hylton, J., South Australia Illustrated. Colonial Painting in the Land of Promise, Art Gallery of South Australia, Adelaide, 2012, p. 126 2. ‘Exhibition of Works of Art’, South Australian Advertiser, Adelaide, 5 October 1859, p. 2 3. Schramm’s simple lithograph of Murray River watercraft at Swan Hill was published in James Allen’s Journal of an experimental trip by the ‘Lady Augusta’ on the River Murray. (1853, Platts, Adelaide). Schramm was not on the voyage but completed the lithograph from a sketch. Schramm may have produced lithographs in Adelaide as early as 1850 (Natives of South Australia, for example), printed by the firm Penman and Galbraith.

4. The Art Gallery of South Australia gives the date for the painting A Scene in South Australia as c.1850, however it is possible that it was produced after both the lithograph and the version currently on offer. See Jones, P., ‘Bush Visitors: Alexander Schramm and his colonial encounters’, unpublished manuscript, Adelaide, 2015, pp. 21 – 22 5. The print is in the collection of the National Gallery of Victoria. This letter is also mentioned in Hylton, op. cit., p. 134. See also Jones, P., ‘A Scene in South Australia by Alexander Schramm and Winter encampments by Eugene von Guérard’, Bunbury, A. (ed.), This Wondrous Land. Colonial Art on Paper, exhibition catalogue, National Gallery of Victoria, Melbourne, 2011, pp. 98 – 99 6. Southern Australian, Adelaide, 5 July 1844, p. 3 7. South Australian Register, Adelaide, 17 March 1847, p. 3

PHILIP JONES

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ARTIST UNKNOWN 29 BUST OF WILLIAM JOHN WILLS, c.1865 alabaster 42.0 cm height (including base) inscribed on base: WILLIAM JOHN WILLS estimate :

$20,000 – 30,000

PROVENANCE Private collection, South Australia Private collection, Adelaide, acquired from the above in the 1980s Private collection, Adelaide

HENRY SADD William John Wills, 2nd. In command of the Victorian Expedition, 1860 mezzotint 31.5 x 25.5 cm (image) courtesy of National Portrait Gallery, Canberra

Wills has a rightful claim to being the real hero of the ill-starred event.

Born at Totnes, in Devon, England, Wills studied medicine before coming to Melbourne on 3 January 1853. The study of surveying led him to the Magnetic Observatory under Georg von Neumayer, who, as a member of the Expedition’s Committee, encouraged Wills to join. Appointed surveyor, astronomical and meteorological observer in July 1860, Wills was third in command under Burke.

Not long into the journey, second-in-command George Landells’ conflict with Burke led to his replacement by Wills. Burke, Wills, John King and Charley Gray made the famous dash from Cooper’s Creek to the Gulf of Carpentaria, reaching the mangroves on the Flinders River estuary on 9 February 1861. The disastrous return journey saw the death of Gray before they reached Cooper’s Creek. Abandoned only a few hours earlier by the Depot Party, Wills died there alone about 28 June 1861.

Burke followed, King surviving through the help of local Aborigines. In 1862 their bodies were disinterred and taken to Melbourne, lying in state for two weeks before a State Funeral saw them finally resting in the Melbourne General Cemetery. In 1865, Charles Summers’ (1825 – 1878) bronze Burke and Wills Monument was unveiled in Melbourne.

Never in the history of Australian art has an expedition of inland exploration excited the imagination as did that of Burke and Wills.

The biggest of its kind, the drama of its end with the tragic death of its leaders raised them to the status of national heroes. Known as The Victorian Exploring Expedition to the Gulf of Carpentaria, its very departure from Melbourne on 20 August 1860 was recorded in detail. William Strutt’s watercolour of the event has all the grandeur of a Roman triumphal procession as Burke, mounted on a ‘grey Arab charger’ leads the party of men, horses and exotic camels.1 The pomp continued in Nicholas Chevalier’s large oil, Memorandum of the Start of the Exploring Expedition, 1860, while S.T. Gill’s watercolour provided a more common touch. 2 Ludwig Becker was the expedition’s artist and naturalist, and Henricus van den Houten, Thomas Clark, and George Lacy were among the contemporary artists drawn by the adventure. The fascination continued. In 1907 both John Longstaff and George Lambert created memorable works, with Sidney Nolan’s series belonging to more recent times. 3

Our alabaster bust of Wills was once a pair with Burke. Observant, with a keen sense of the ridiculous, Wills was said to have a ‘clear … complexion, an expressive eye that always outstripped his tongue … golden hair, a thick tawny beard, a smile at once intellectual and sympathising, a light, clean, agile frame’.4 The remarkable fidelity of the mezzotint portrait of Wills by Henry Sadd (1811 – 1893) in the National Portrait Gallery, Canberra comes from it being based on an ambrotype taken by Thomas Hill of Melbourne in 1860. 5 Both confirm the striking likeness of our bust.

William John Wills’ (1834 – 1861) fame rose from his role as second in command of what is generally known as the Burke and Wills expedition, the first to cross the continent of Australia from south to north, namely from Melbourne to the Gulf of Carpentaria. Disciplined, loyal and a steadying influence on the impetuous Robert O’Hara Burke, the modest

4. Quoted in McLaren, I., ‘Wills, William John (1834-1861), Australian Dictionary of Biography, vol. 6, Melbourne University Press, 1976, pp. 410 – 11

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1. William Strutt, The Start of the Burke and Wills Exploring Exhibition from Royal Park, Melbourne, August 20, 1860, 1861, watercolour, Mitchell Library, State Library of New South Wales, Sydney. Strutt quoted in Mackaness, G. (ed.), The Australian Journal of William Strutt, A.R.A., 1850-1862, Halstead Press, Sydney, 1958, 2 volumes, p. 26 2. Nicholas Chevalier, Memorandum of the Start of the Exploring Expedition, 1860, Art Gallery of South Australia, Adelaide, M.J.M. Carter AO Collection. S.T. Gill, Burke Expedition Starting from Royal Park, Melbourne, c.1860 – 61, from a set of ten watercolours on the Burke and Wills expedition in the Dixson Gallery, State Library of New South Wales, Sydney.

3. John Longstaff’s large oil painting, Arrival of Burke, Wills and King at the Deserted Camp at Cooper’s Creek, Sunday Evening, 21st April 1861, is in the collection of the National Gallery of Victoria, Melbourne. George Lambert’s watercolour, Burke and Wills on the Way to Mount Hopeless, is in the Bendigo Art Gallery, Victoria. Sidney Nolan’s numerous paintings include Burke at Cooper’s Creek, 1950, National Gallery of Australia, Canberra.

5. William John Wills, 2nd. In command of the Victorian Expedition, 1860 by Henry Sadd, mezzotint, National Portrait Gallery, Canberra.

DAVID THOMAS

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EUGENE VON GUÉRARD 30 (1811 – 1901) RAVINE NEAR GLENLYON, UPPER LODDON, 1870 oil on academy board 31.0 x 26.5 cm signed with initials and dated lower left: E. v. G / 70 estimate :

$160,000 – 200,000

PROVENANCE Henry Walker, Melbourne, 1872 Private collection, Sydney Menzies, Melbourne, 14 September 2011, lot 30 Private collection, Sydney EXHIBITED The Second Exhibition of the Victorian Academy of Arts, Melbourne, 15 March 1872, cat. 67 Eugene Von Guérard: Artist – Traveller. The Sketchbooks of Eugene Von Guérard, Art Gallery of Ballarat, Victoria, 25 March – 27 May 2018 (label attached verso)

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LITERATURE ‘Exhibition of Paintings’, The Age, Melbourne, 15 March 1872, p. 3 ‘Victorian Academy of Arts: Second Notice’, The Argus, Melbourne, 22 March 1872, p. 7 ‘Victorian Fine Art Exhibition’, Illustrated Australian News for Home Readers, Melbourne, 21 May 1872, p. 118 Bruce, C., Comstock, E. and McDonald, F., Eugene von Guérard, 1811–1901: a German Romantic in the Antipodes, Alister Taylor, Martinborough, 1982, cat. 137, p. 225

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EUGENE VON GUÉRARD 30 (1811 – 1901) RAVINE NEAR GLENLYON, UPPER LODDON, 1870

EUGENE VON GUÉRARD Loddon Falls (From Volume 14: Sketchbook XXXV, No. 17 Australian, 1864-1865) courtesy of Dixon Galleries, State Library of New South Wales, Sydney, cat. DGB16, v. 14, f. 19v.–20r

On the morning of 2 May 1868 Eugene von Guérard, one of Australia’s greatest nineteenth-century landscape painters, and William Stanbridge (1821 – 1894), a squatter and a leading figure in the Daylesford community, visited the picturesque waterfalls on the Upper Loddon near Glenlyon, 110 kilometres northwest of Melbourne. The site, on the traditional land of the Dja Dja Wurrung people, was already becoming known to European audiences: it had appeared in Antoine Fauchery and Richard Daintree’s album of photographs, ‘Sun Pictures of Victoria,’ in 1858; and a few months after von Guérard’s visit it was illustrated in The Australian News for Home Readers where it was described as one of the scenes ‘to be found along Australian mountain streams and along the line of our creeks, that offer to the artist’s pencil little morceaux of nature’s beauties’.1 The three sketchbook studies made on the day of his visit, one of them a highly resolved pencil and ink drawing on which von Guérard used a system of symbols to specify colours, indicate that from the outset he envisaged the Loddon Falls as the subject for a future painting. 2 Von Guérard had spent the previous fortnight as the guest of Stanbridge at his Daylesford property, Wombat (the site of today’s Wombat Park).

His visit was part of a six-week sketching expedition during which von Guérard and his wife and daughter were based at John Ware’s property, Yalla-y-Poora. In 1863 the Daylesford Record had expressed the hope that ‘at some not far distant date, Mons. Gaerrard [sic] … will visit this district and transfer to canvas some of the “beauty spots” in and about Daylesford’. 3 Von Guérard’s visit resulted in four canvases: A View from Mount Franklin towards Mount Kooroocheang and the Pyrenees,

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c.1864, now in the collection of the Queensland Art Gallery, Breakneck Gorge, Hepburn Springs, 1864 and North View from Daylesford, 1864, all acquired by Stanbridge, and the present work.

In 1870, von Guérard returned to the compelling subject of the ravine near Glenlyon. His fascination with waterfalls began in his youth, in Italy, when he sketched the famous falls at Tivoli and Terni; it continued in Australia, with major works such as The Weatherboard Creek Falls, Jamieson’s Valley, NSW, 1862 and Waterfall, Strath Creek, 1862. The impact of the Loddon Falls is heightened by the spectacular walls of perpendicular basalt columns that frame them, and that attest to the volcanic activity that shaped the region. The scientifically accurate depiction of geological phenomena was fundamental to von Guérard’s philosophy of landscape painting and here the gesturing figure in the foreground directs our attention to the imposing columnar wall of basalt – which von Guérard identified in his diary – its joints and fractures clearly articulated and pink-hued in the morning light.4 A similar commitment to accuracy informs his depiction of the tree and plant species native to the site, with the slender manna gums and the compact, dark-foliaged blackwoods readily identifiable.

By 1864, cattle had grazed, for over twenty years, on the grassy slopes of the ravine that for thousands of years previous had been an important source of fresh water, native fish and fauna for the Dja Dja Wurrung people. The Holcombe run, of which the ravine formed part, was established by Laurence Rostron snr, whose son von Guérard had met in Daylesford a few days earlier.5 During the 1850s, gold miners worked the site and a deep shaft still exists midway along the wall of rock. In von Guérard’s painting two small figures simply enjoy the view from the sunny bank in the middle ground – and perhaps the ‘Butterbrod’ (bread and butter) that, as von Guérard recorded, Stanbridge had brought along.

1. The Australian News for Home Readers, Melbourne, 24 September 1864, p. 7 2. Eugene von Guérard, Sketchbook no. XXXV, no. 17 Australia, 1864, ff. 19, 20, 21. Dixson Galleries, State Library of New South Wales, Sydney, DGB16, vol. 14 3. Daylesford Record, Saturday 11 April 1863. Cited in David Marshall, ‘Eugene von Guérard’s Views of the Daylesford Region for Mr William E. Stanbridge,’ The La Trobe Journal, Nos 93-94, 2014, p. 34, note 51, (p. 202) 4. Eugene von Guérard, Sketchbook XXXV, [f. 59] 5. Sketchbook XXXV, f.16; Marshall, 2014, p. 23 – 24.

RUTH PULLIN

With his unerring instinct for composition, von Guérard found the vantage point from which the directional lines of the major landforms – the upper ridge line and the line of the slope on the left – intersect to create the dynamic diagonals on which Ravine near Glenlyon, Upper Loddon, 1870 is based. The dramatic zig-zag movement continues in the succession of stepped falls taken by the water as it flows over the rocky terrain.

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ARTHUR STREETON 31 (1867 – 1943) A COLOUR STUDY (CHILDREN BATHING ON THE FORESHORE), 1896 watercolour and pencil on paper 19.5 x 93.5 cm signed and dated lower right: ARTHUR STREETON 1896 inscribed with title centre right: A / Colour / Study.

PROVENANCE The Fine Art Society’s Gallery, Melbourne Dame Rita Buxton, Melbourne Thence by descent Private collection, Melbourne EXHIBITED The Fine Art Society’s Gallery, Melbourne (label attached verso) estimate :

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$35,000 – 45,000

Arthur Streeton’s love of the sea and interest in bathers as subject matter began early. In the summer of 1886, Tom Roberts and Fred McCubbin discovered the nineteen year old at Mentone ‘standing out on the wet rocks, painting’.1 His masterly Evening with Bathers, 1888 (National Gallery of Victoria), however, was painted inland at Gardiner’s Creek, Box Hill. 2 The subject lent itself to broad horizontals, as later did the Sydney beaches with their endless possibilities as varied as the 1890s ‘Sunlight Sweet’ and Coogee (both in the Art Gallery of New South Wales), or Manly Beach, 1895 (Bendigo Art Gallery). 3 From Claude Monet in Trouville to Roberts and Charles Conder at Mentone, beach and bathing scenes appealed greatly to the Impressionists. Their paintings, especially those by Streeton, are numbered among the masterpieces of French and Australian art, housed in the best of collections.

Streeton spent much of the summer of 1896 on the Hawkesbury River.

In November he visited Melbourne to present his Sydney Sunshine Exhibition. The mighty painting ‘The Purple Noon’s Transparent Might’, 1896 was chief among the exhibited works, the first Streeton to be acquired by the National Gallery of Victoria that same year.

The Hawkesbury River, 1896 and At Coogee, 1895 (both also in the collection of the National Gallery of Victoria) were similarly prominent.

Critical response was justly generous, the writer for The Sun referring to Streeton’s colour as ‘glowing and transparent’, ‘the ‘open-air feeling’ of his paintings, and describing his sky as ‘a miracle of translucency’.4 While the seemingly unique A Colour Study (Children Bathing on the Foreshore), 1896 has not been identified with any in the exhibition catalogue, each word of the critic’s praise is applicable to our watercolour. By their very nature, watercolours are translucent, and the beguiling eccentricity of its elongated format echoes Streeton’s best of this time. At Coogee, which is also known as The Long Wave, Coogee,

adopts a narrow format that captures ‘perfectly the long rolling surf as it breaks on the shoreline…’.5 In A Colour Study, the very long horizontal format encapsulates the lassitude of summer. An ideal setting for a sybaritic moment, it is redolent with the sensuous feel of warm sun, relaxed and carefree as the summer holidays of childhood.

Surveyor’s Camp, (each in the collection of the Art Gallery of New South Wales), painted the same year as A Colour Study (Children Bathing on the Foreshore). If ‘The Purple Noon’s Transparent Might’ is his most outstanding work of that year, our watercolour shares its sundrenched atmosphere beside the bluest of waters.

Streeton was much occupied with allegorical and ancient tales during the 1890s, his 1896 exhibition included the figure paintings Oblivion, inspired by Tennyson’s Lotus Eaters, and the persuasive Scheherazade.6 Dalliance with indolence had made a striking appearance two years earlier in Dolce Far Niente.7 The figures in A Colour Study have a touch of the mythic, luxuriating in the imagined Australian landscape.

1. Roberts, T., quoted in Croll, R. H., Tom Roberts: Father of Australian Landscape Painting, Roberts & Mullens, Melbourne, 1935, p. 18

Streeton’s mastery of the technique of watercolour was as assured as his handling of oil. Throughout his oeuvre he employed it for the occasions most suited, especially in Venice and for scenes and subjects of World War One. Other highlights include the Blue Mountain Tunnel, 1891, the watercolour version of the oil painting Fire’s On, 1891, and

2. Bequest of Sunday Reed, 1982 3. Gift of Bert Levy, 1900 4. ‘Mr. Arthur Streeton’, Sun, 11 December 1896, p. 14 5. Clark, J. and Whitelaw, B., Golden Summers: Heidelberg and Beyond, exhibition catalogue, National Gallery of Victoria, Melbourne, 1985, p. 158 6. Oblivion, 1895 is in a private collection in Perth and Scheherazade, 1895, is in the National Gallery of Victoria through the generosity of Dr Joseph Brown 7. The whereabouts of Streeton’s Dolce Far Niente (sweetness of doing nothing) is unknown.

It is illustrated in Lane, T., Australian Impressionism, exhibition catalogue, National Gallery of Victoria, Melbourne, 2007, p. 247

DAVID THOMAS

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EMANUEL PHILLIPS FOX 32 (1865 – 1915) LES ANDELYS ON THE SEINE, c.1909 – 11 oil on canvas 37.0 x 44.5 cm signed lower left: E. Phillips Fox estimate :

$25,000 – 35,000

PROVENANCE Joseph Brown Gallery, Melbourne Private collection, Melbourne Deutscher~Menzies, Melbourne, 20 August 2001, lot 95 Private collection Mossgreen Auctions, Melbourne, 4 June 2008, lot 1017 Private collection, Melbourne EXHIBITED Spring Exhibition 1971, Recent Acquisitions, Joseph Brown Gallery, Melbourne, 13 October – 5 November 1971, cat. 28 (illus. in exhibition catalogue as ‘The Cove’) LITERATURE Zubans, R., E. Phillips Fox, His Life and Art, The Miegunyah Press, Melbourne University Press, Melbourne, 1995, cat. 331, p. 225 (as ‘(The Cove)’)

The French landscapes of Emanuel Phillips Fox have a singular Impressionist verve that distinguishes them from all others. Sun-filled views of towns and country-sides bathed in an atmosphere of sophisticated living, they are peopled with architectural treasures of the past set in landscapes seemingly designed to match. Such is Les Andelys on the Seine, c.1909 – 11 where the town of Les Andelys in Normandy lies gently by a bend of the River Seine, the valley and its white cliffs having been formed by the same river over the millennia. To the centre right of the composition stands the thirteenth-century gothic church of SaintSauveur, its elegant spire rising above the surrounding, half-timbered houses of the old town. The elevated, panoramic view chosen by Fox gives added grandeur, enhanced by its proximity to the ruins of the Château Gaillard. Although to the upper left and outside this picture’s focus, the presence of the stronghold built by Richard the Lionheart is a further example of the romance of history giving the landscape an added appeal.

Fox’s response can be readily felt in the mood of the painting, his evocative handling of light, colour and paint translating a moment to be shared with others. This is extended through and confirmed by the several versions he painted about this time. Of three related works, Château Gaillard on the Seine, c.1909 – 11 (Zubans, cat. 335) in Melbourne’s National Gallery of Victoria shows the ancient ruin, half made by man and half by nature. Château Gaillard, France (cat. 336 and dated c.1906 – 11?) is in the University of Queensland Art Museum, Brisbane, and Château Gaillard, Les Andelys on the Seine, c.1909 – 11 (cat. 337) is in the collection of the Art Gallery of Western Australia, Perth.1 While the many excellent views of Les Andelys, intertwined with historical romance, were enough to attract any landscape artist of quality, there was an added enticement. The town was the birthplace of the master painter, Nicolas Poussin (1594 – 1665), founder of the great French Classical tradition.

In her authoritative book on Fox, Ruth Zubans tells us that he and his wife Ethel Carrick visited and painted the Château Gaillard in 1906. 2 Although Zubans gave our painting the descriptive title ‘(The Cove)’, she identified it as one of three related works Fox painted during the years 1909 to 1911. She noted its similarity to Landscape near Rouen (cat. 332), which in turn is like Landscape on the Seine (near Château Gaillard) (cat. 333) – hence the more exact name of Les Andelys on the Seine for this painting. All are approximately the same in size, together forming a striking landscape group, and individually, each a gem in its own right.

1. Zubans, R., E. Phillips Fox, His Life and Art, The Miegunyah Press, Melbourne University Press, Melbourne, 1995, p. 226 2. ibid, p. 138

DAVID THOMAS

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RUPERT BUNNY 33 (1864 – 1947) ODALISQUE, c.1921 monotype on paper on card 24.0 x 34.0 cm signed with artist’s monogram centre left: RCWB estimate :

$9,000 – 12,000

PROVENANCE Galeries Georges Petit, Paris Private collection, Normandy, France Christophe Joron-Derem, Drouot, Paris, 27 June 2018, lot 197 Private collection, Sydney EXHIBITED Probably: Exposition Rupert Bunny: Monotypes, Galeries Georges Petit, Paris, 16 – 31 March 1921, cat. 41 Probably: Exposition de Monotypes par Rupert Bunny, Galeries Georges Petit, Paris, 16 – 30 October 1924, cat. 32

Rupert Bunny’s monotypes of the early 1920s are among his most original works, much admired when first exhibited in Paris. The art critic for Le Temps described them as ‘most pleasing to the eye’, with ‘arabesques of gently rhythmic grace, that highlight the beautiful accents of colour which is always rich and harmonious’.1 Among the numerous scenes Bunny drew from the harem, the bold forms and hot colours of Odalisque, c.1921 show the striking influence of Henri Matisse as well as the passion for things Eastern that had engulfed Paris. Others are closely related to his paintings of mythological decorations of the time, celebrating a lifelong interest in classical mythology. The monotype Le Retour de Perséphone, c.1921 provides a reverse image of the oil painting (previously in the collection of the Bunny connoisseur Dr Ewan Murray-Will) and an oil sketch of the same subject. The tale of Persephone and story of the advent of the seasons, especially spring, appealed greatly to Bunny, seen at its best in his masterpiece in oil, The Rape of Persephone, c.1913 (collection of the National Gallery of Australia, Canberra). Luminous and inventive of design, these two monotypes on offer have particular appeal through their newness to the market, previous French whereabouts being unknown.

1. ‘Art & Curiosité – Les Monotypes de Rupert Bunny’, Le Temps, Paris, 23 March 1921, p. 3

DAVID THOMAS

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RUPERT BUNNY 34 (1864 – 1947) LE RETOUR DE PERSÉPHONE, c.1921 monotype on paper on card 24.0 x 34.0 cm signed with artist’s monogram centre left: RCWB inscribed with title verso: Le Retour de Perséphone estimate :

$8,000 – 12,000

PROVENANCE Galeries Georges Petit, Paris Private collection, Normandy, France Christophe Joron-Derem, Drouot, Paris, 27 June 2018, lot 195 Private collection, Sydney EXHIBITED Exposition Rupert Bunny: Monotypes, Galeries Georges Petit, Paris, 16 – 31 March 1921, cat. 4 Exposition de Monotypes par Rupert Bunny, Galeries Georges Petit, Paris, 16 – 30 October 1924, cat. 4 LITERATURE Thomas, D., The Life and Art of Rupert Bunny: A Catalogue Raisonné, Thames and Hudson, Melbourne, 2017, vol. 1, cat. M56, p. 174

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CRESSIDA CAMPBELL 35 born 1960 WHARFS (WOOLLOOMOOLOO), 1984 hand-painted and incised woodblock 60.5 x 78.0 cm signed and dated lower left: Cressida Campbell 84 estimate :

$40,000 – 60,000

PROVENANCE Mori Gallery, Sydney Private collection Philip Bacon Galleries, Brisbane Private collection, Sydney, acquired from the above in 2008 EXHIBITED Cressida Campbell: Woodblocks, Woodblock Prints and Paintings, Mori Gallery, Sydney, 12 – 30 March 1985, cat. 4 (as ‘Wharfs, 1985’) LITERATURE Crayford, P., (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. W8503, p. 348 (as ‘Wharfs, 1985’)

‘One of the finest, most beautiful, vast and safe bays the sun had ever shone upon’ was what Joseph Conrad wrote of Sydney Harbour in 1906; and indeed, it is this natural beauty, and its intersection with human industry that provides a point of reference for a great deal of Cressida Campbell’s work. Views of Sydney Harbour form such an integral part of her oeuvre, that an entire chapter of her 2008 monograph was dedicated to their reproductions in print and on woodblocks – from Gore Bay, to Parsley Bay, Woolloomooloo and Walsh Bay, across over 30 years of sustained practice.

As it had done for Campbell’s predecessor Margaret Preston, Port Jackson (its tidal rivers, inlets and many bays) provides a constant and ever-changing source of inspiration to the artist, often appearing within her pictures as a ‘placid strip of blue fenced in by buildings and trees’.1 Placing great emphasis on observable reality, Campbell’s views record precious snapshots of Sydney at specific moments in time, although passed through the lens of Campbell’s assiduous design – space, depth and colour all gently manipulated to create a harmonious image. The view of Woolloomooloo’s Finger Wharf and its neighbouring buildings incised into this block of plywood is a beautiful example of this process, created at a time when the historic timber piled wharf had been marked for demolition. 2 Its iconic gridded structure and three parallel gable roofs are still present, with renovated interiors now providing apartments for some of Sydney’s most famous residents.

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Wharfs (Woolloomooloo), 198 4, is one the earliest examples of harbourside views created by Campbell and is unique amongst her work. Not only was it painted in synthetic polymer paint instead of her habitual watercolour, but it is one of the very few woodblocks in Campbell’s oeuvre to exist entirely uniquely, without a related print.

One of the peculiarities of Campbell’s adaptation of Japanese Ukiyo-e practice, and one that marks her as a decidedly contemporary artist in spite of her traditional subject matter, is her insistence on presenting the carved woodblocks with the same reverence as her prints. Wharfs (Woolloomooloo) was amongst the first blocks to be exhibited, in 1985 at her first show with Mori Gallery in Sydney in the company of other early coastal masterpieces such as Benny Gannon’s Bondi View, and Bondi Icebergs, 1984 (both held in private collections).

This work attests to Campbell’s prowess as a (Sydney) landscapist, it displays a quiet self-assuredness, refined detail and a careful, considered composition. Campbell possesses and transmits a rare skill in our age of immediacy and instant gratification – that of mindful attentiveness to the most minute and transitory of everyday details. By tightly cropping the the picture frame (sometimes even with a handsaw) Campbell accentuates the feeling of a snapshot, creating an off-centre composition including titillating allusions to what lies beyond our vision of sight. Campbell’s bold tendency to bisect and obscure her views with man-made structures such as poles and fences, or, more often, silhouetted native trees and bushes, is derived from centuries-old Ukiyo-e practices, which were also adopted by Margaret Preston. Here, the view of the harbour from the eastern edge of Mrs Macquarie’s chair, across the water of Woolloomooloo Bay is partially obstructed by a leafy banksia bush, its leaves rustling in the breeze. Campbell has somehow distilled in the grooves of this woodcut all the warmth, spontaneity, and calm relaxation of a Sydney afternoon.

1. McDonald, J., Cressida Campbell, Destination Sydney, Manly Art Gallery & Museum, Mosman Art Gallery, S.H. Ervin Gallery, Sydney, 2015, p. 108 2. a public outcry and Green Ban saved the wharf from demolition in 1991

LUCIE REEVES-SMITH

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TIM MAGUIRE 36 born 1958 UNTITLED (PURPLE GRAPES), 1998 monotype on three sheets of Arches paper 147.5 x 300.0 cm estimate :

$30,000 – 40,000

PROVENANCE Tolarno Galleries, Melbourne Private collection, Sydney, acquired from the above in 1998 EXHIBITED Sets and Series, Tolarno Galleries, Melbourne, 14 March – 11 April 1998 LITERATURE Murray Cree, L., (ed.), Tim Maguire, Piper Press, Sydney, 2007, p. 117 (illus. in installation view) © courtesy of Tim Maguire. Tim Maguire is represented by Martin Browne Contemporary, Sydney and Tolarno Galleries, Melbourne

‘The goal for a serious painter today is to make work that is simultaneously embedded in the tradition of painting whilst engaging with the contemporary world. This Maguire does’.1 With its sheer beauty, cinematic grandeur and themes of luscious abundance, Untitled (Purple Grapes), 1998 offers a stunning example of the sensuous magnified fruit and floral bloom paintings for which Tim Maguire has become internationally renowned. Though resolutely contemporary in their beguiling surrealism and technical innovation, such works nevertheless draw inspiration from the past and specifically 17th century Flemish still life painting – those opulent depictions of fruit, flowers and game all purposefully arranged to convey powerful moral lessons about the emptiness of worldly possessions, the fleeting nature of beauty and the transience of earthly life. Evoking the Dutch vanitas tradition, Maguire similarly embraces a ‘kind of metaphoric realism’ in his work, seducing the viewer with the illusionism of his surfaces while simultaneously eliciting meaning beyond the exact realism of his subject.

Discussing the motif of the berries which features here (and pervades his oeuvre), Maguire illuminates, ‘… in one bunch you have berries that are spherical and perfect, glistening, shiny and others that are starting to go bad ... With such a botanical subject matter I’m interested in allegorical possibilities arising out of the life cycle, the contrast of perfect beauty with decay, its seductive allure as opposed to something past its sell-by date’. 2

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However, to construe Maguire’s work purely within the Flemish still life tradition would be to ignore his enduring preoccupation with the physical process of painting and in particular, the complex dichotomy between production and reproduction, between the painterly and the photographic. As one commentator suggests, ‘… catching the moment when the magic of the image collapses into the materiality of the brushstroke, the real subject of his paintings is painting itself’. 3 Such would also seem to accord with the artist’s own recollection of his relationship to the source of inspiration; ‘… the further away I got from the original image, the more scope there was for painterliness and asserting the materiality of the process, which was the whole point of the exercise’.4 In the present work, Maguire experiments with the accrual of deftly-painted, chromatically separated layers through the monotype printing technique to create an illusion of texture which – rather than preserve the thoughts and gestures of the artist – remains remarkably detached, even self-effacing. Such ambiguity is heightened further by the extraordinary scale and dramatic cropping of the image in a manner recalling photographic processes – the viburnum berries are both instantly recognisable yet removed from their fleshy actuality to become almost abstractions. With their notions of impending decay, distortion of scale and scattered surface imperfections, Maguire’s sumptuous fruit and floral images such as the present challenge the viewer to delve beyond the mesmerising beauty of his surfaces and glean new perspective on the whole. As the artist himself muses, ‘My paintings, as much as they expose themselves, their process and so on, are rather flat, shiny and a bit repellent. The imagery is unnatural ... the subject might be about nature but they’re not really natural’. 5 1. Godfrey, T., ‘Skin, Light and Beauty’ in Murray Cree, L. (ed.) Tim Maguire, Piper Press, Sydney, 2007, p. 28 2. Maguire, ibid., p. 134 3. ibid., dustjacket 4. Maguire, T., cited in “What is it ‘as it really is’? Tim Maguire in conversation with Jonathan Watkins”, ibid., p. 72 5. Maguire, T., ibid., p. 134

VERONICA ANGELATOS

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GARRY SHEAD 37 born 1942 BUNDEENA ICON, 1990 oil on plywood triptych 104.0 x 157.0 cm (including frame) centre panel signed and dated lower right: Garry Shead 90 centre panel signed and inscribed with title verso: GARRY SHEAD/ ‘BUNDEENA’ / ICON two (2) hinged side panels, comprising six (6) individual image panels each signed with initials lower right: GS estimate :

$40,000 – 60,000 (3)

PROVENANCE Solander Gallery, Canberra Eva Breuer Art Dealer, Sydney (label attached verso) The Estate of Eva Breuer, Sydney Menzies, Sydney, 26 March 2015, lot 68 Private collection, Sydney EXHIBITED Exhibition of New Works by Garry Shead, BMG Fine Art, Adelaide, 18 September – 10 October 1990, cat. 12 Matthew Perceval and Garry Shead: Paintings, Solander Gallery, Canberra, 29 June – 21 July 1991 LITERATURE Barron, S., ‘Emotive, bold response’, The Canberra Times, Canberra, 13 June 1992, p. 39 (illus.)

Two simple nudes, a man and a woman, each standing unabashed within loosely sketched frames, guard the outer panels of this major work Bundeena Icon, 1990. In appropriating the figures of Adam and Eve from the Van Eyck Ghent altarpiece, a masterwork of the Flemish Renaissance, Garry Shead alludes to the allegorical nature of the tableaux full of personal metaphor hidden within. Shead is one of the few contemporary Australian artists to explicitly use familial relationships within his paintings, and here, the central female figure bears a striking physical resemblance to his wife, Judit. Created at a time of hitherto unparalleled peace and harmonious family life, it was in this painting that the artist distilled his personal delight in the landscape and companionship of Judit and their new baby daughter, Lilla. A standout painting in both exhibitions in Adelaide and Canberra, this triptych was described in a newspaper review at the time as a ‘personal affirmation of life’.1 Fully opened, the Bundeena Icon is a lyrical and joyous celebration of coupledom and nurturing of new life. Its panels contain allegories of the Mother and Child, vignettes expressing the couple’s unbridled erotic connection, and landscapes illustrating the bucolic serenity of their immediate natural environment – the town of Bundeena on Sydney’s South Coast. This painting transposes Shead’s intimate and personal mythology on to traditional scenes of Christian iconography, including the Annunciation scene (complete with a whimsical flying cherub) in the upper left. The sentimental and metaphorical quality of Shead’s Icon is reminiscent of the works of French painter Marc Chagall, a connection further emphasised by the soft, warm palette they shared.

The Romantic magical realism of Shead’s narrative double portraits expresses a sense of matrimonial bliss coupled with a profound connection to, and appreciation of, the Australian landscape. The physical fecundity of the couple is reflected in the hazy, lush landscape of the Royal National Park. In the upper right-hand panel, the lovers are so inextricably intertwined that their bodies create two halves of a complete sphere, surrounded by native angophoras and Gymea lilies. Shead repeated the imagery of these side panels in separate works also exhibited at BMG Fine Art and Solander Gallery when this work was first shown, for example Bushfire, Gymea Lily, Currawong and Angophora.

Shead, as a story-teller artist, had been searching for close to a decade for a way to express traditional western myths within an Australian context. As noted by Sasha Grishin, the artist’s faithful observation of the flora and fauna within these Bundeena paintings enabled the creation of his personal Australian iconography, forming the bedrock for the iconic D.H. Lawrence and Royal Suite paintings that would follow. 2 1. Barron, S., ‘Emotive, bold response’, The Canberra Times, 13 June 1992, p. 39 2. Grishin, S., Garry Shead and The Erotic Muse, Craftsman House, Sydney, 2001, p. 89

LUCIE REEVES-SMITH

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KEN WHISSON 38 born 1927 SUBURBAN LIGHT NO. 3, 1995 oil on canvas 110.0 x 119.5 cm signed, dated and inscribed with title verso: Ken Whisson / Perugia 2/1/95 / + 16/4/95 / Title: ‘buildings and smoke ‘ / or: “Suburban Light 3” estimate :

$28,000 – 36,000

PROVENANCE Watters Gallery, Sydney (label attached) Private collection, Sydney EXHIBITED Ken Whisson: An Exhibition of Paintings, Watters Gallery, Sydney, 18 October – 4 November 1995, cat. 6 (illus. in exhibition catalogue)

Ken Whisson has been exhibiting annually in Australia for decades. The consistency of his output over these exhibitions is unmatched and his often-perplexing images are simply unique in Australian art. His 2012 retrospective exhibition at Sydney’s Museum of Contemporary Art and the Heide Museum of Modern Art in Victoria was testament to the high regard in which he is held.

It is possible to view these works as musical scores, or operatic narratives, where the artist uses his brush as a conductor uses a baton. The marks on the surface become a tangible record of emotional interpretation when Whisson replaces the score with his own imaginings. The very moment where the artist’s brush meets the canvas is the point where ideas crystallise, as the artist himself explains: ‘More directly in relation to where art comes from I have a distinct impression when working that the painting takes place at the point where the brush touches the canvas, and I believe that art is a result of a direct line of communication between the act of creation and a level of our being which is neither the conscious nor the famous sub-conscious, but which could be called the intuitive faculty, and which has to function without interference from the conscious thinking process’.1 Indeed, it is Whisson’s highly tuned deftness of touch which is central to his practice and gives his work its distinctive drawn quality. Suburban Light No. 3, 1995, is typical of Whisson’s work from the mid-1990s and was created in his usual manner of reworking the image over numerous painting sessions, often spanning several months.

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The various titles, dates and inscriptions on the reverse of the painting attest to this fluid process as each pictorial development intuitively dictates the next. Perhaps surprisingly, given the time he takes, each work remains a fresh, upbeat investigation into the margins between real recollections and imagined worlds. The resulting pictures are just as likely to be memories of a conversation about a place or event, as much as they may be visual depictions of the same.

Typically, recognisable features of Suburban Light No. 3 are the aeroplanes, trees and abstract organic forms which make up the composition. A black cat makes a cameo appearance on a windowsill.

These are all part of the artist’s personal repertoire of images which combine to create Whisson’s world. Slabs of paint are spread evenly across the surface, appearing as walls or curtains and interrupting passages of paint as they come dangerously close to creating conventional perspective. Perhaps a notable feature of this painting is the restrained palette the artist deploys. Other works exhibited with the current example refer to the Victorian landscape in their titles, therefore we can assume a connection. The muted browns and greys combine to evoke a bright, dry suburban summer.

There is a profound clarity about Whisson’s paintings and apart from early examples where the influence of Danila Vassilieff and Sidney Nolan is evident, they are totally original. The artist used his early influences as a springboard into his imagination, applied his own ideas about painting and never looked back. His works are direct, uncompromising and unmistakably Whisson in every way.

1. The artist cited in Ken Whisson Paintings 1947 – 1999, Niagara Publishing, Melbourne, 1985, p. 143

HENRY MULHOLLAND

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EMILY KAME KNGWARREYE 39 (c.1910 – 1996) YAM AWELYE, 1996 synthetic polymer paint on linen 152.0 x 91.0 cm bears inscription verso: artist’s name, Commissioned by Delmore, and Delmore Gallery cat. 96H015 estimate :

PROVENANCE Commissioned by Delmore Gallery, Alice Springs The Holt Collection, Alice Springs Private collection, Melbourne LITERATURE Isaacs, J., Smith, T., Ryan, J., Holt, D., and Holt, J., Emily Kame Kngwarreye Paintings, Craftsman House, Sydney, 1998, p. 189, pl. 87 (illus.)

$50,000 – 70,000

In the months before she died Emily Kame Kngwarreye was living at Delmore Downs Station with Lily Kngwarreye and her family. Although her output had reduced markedly, the final works painted for Delmore Gallery were a small group of powerful and dynamic monochromatic canvases executed on a black ground. Before beginning each new canvas, Emily would survey the various pots of coloured paints that were stored under the wide veranda of the Delmore homestead, picking out her chosen colour of red, white or blue acrylic and carrying the tin to the primed canvas where she would sit and begin the next work.

Yam Awelye, 1996 is one of those extraordinary late paintings, the single colour – here, a deep cobalt blue – applied to the canvas in sweeping arcs limited only by the reach of Emily’s outstretched arm. This intimate process between artist and canvas was related to the subject of her painting, the meandering rhizomatic roots of the Anooralya yam plant, which are mirrored in Emily’s lines randomly spreading across the canvas, intersecting, overlaying and crossing in a series of gestural strokes. Applied lightly, the paint has a translucent quality, with the arcs of colour washing across the surface.

More than two decades have passed since Emily Kngwarreye died in September 1996, yet her name remains synonymous with the best of Australian Indigenous art. An original, intuitive and often enigmatic artist, her painting career lasted less than a decade, but the critical acclaim for her prodigious output has not diminished and her reputation has been sustained both in Australia and internationally.

CRISPIN GUTTERIDGE

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ROVER THOMAS (JOOLAMA) 40 (c.1926 – 1998) SMALL CREEK NEAR TURKEY CREEK, 1990 natural earth pigments and natural binders on canvas 60.5 x 105.5 cm bears inscription verso: GUARANTEED THE ORIGINAL WORK OF / ROVER THOMAS, 1990 / Mary Macha estimate :

PROVENANCE Commissioned by Mary Macha, Perth Private collection, Melbourne, acquired from the above in 1990 RELATED WORK Canning Stock Route, 1989, ochre and natural binders on canvas, 106.0 x 61.0 cm, in the Holmes à Court Collection, Perth

$30,000 – 50,000

Rover Thomas’s practice of rendering sites, stories and landscapes of the eastern Kimberley in a planar, map-like perspective was a radical innovation and one which created an entirely original mode of depicting the land, redefining the conceptual framework by which Aboriginal art was judged. This form of landscape painting, with the elements of each work referring to sites of ancestral or historical significance, and routes travelled by both the creator beings and the artist himself in his days as a drover on cattle stations in the region, became the basis of the style now recognised as the East Kimberley or Warmun School of Australian art.

Rover Thomas moved to Turkey Creek (Warmun) in early 1975. A government reserve, Warmun had previously been a rations depot and apart from a post office had few other facilities or amenities. Here, Indigenous workers displaced from the cattle stations found a place of refuge and for Rover Thomas, Paddy Tjamatji and other artists, Warmun also provided the background for their creative output, as the place where the Kuirr Kuirr song cycle first emerged and where the ensuing art movement flourished.

Painted in Mary Macha’s studio in Subiaco, Perth, Small Creek Near Turkey Creek, 1990 is characteristic of Rover’s early paintings where layers of traditional pigments affixed with natural resin binders are outlined by a tracery of white dots painted with huntite, a white chalky pigment used in ceremony and rock art. The work shows a planar view of landscape where lines indicate a small meandering creek and road close to Warmun, while at the same time recalling ancestral paths and delineating areas of country.

Rover Thomas was widely recognised as a significant Australian artist by the late 1980s, participating in group exhibitions throughout Australia every year from 1987 until his death in 1998. In 1990 he was awarded the John McCaughey Prize and was one of the first two Aboriginal artists (together with Trevor Nickolls), to represent Australia at the Venice Biennale. In his tribute to Rover Thomas, Kim Akerman noted that, ‘as an artist he took the experiences of a rich and varied life and, drawing on the cosmological and historical references that so vividly underpin the lives of Aboriginal peoples throughout Australia, presented us all with a new and profound view of the land we occupy’.1 1. Akerman, K., ‘Rover Thomas; A Tribute’, ARTLINK, issue 20:1, March 2000, p. 22 – 23

CRISPIN GUTTERIDGE

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EMILY KAME KNGWARREYE 41 (c.1910 – 1996) KAME COLOUR, 1995 synthetic polymer paint on linen 120.0 x 90.0 cm signed verso: emlly bears inscription verso: Delmore Gallery cat. 95G007 estimate :

PROVENANCE Delmore Gallery, Alice Springs Private collection, Perth, acquired from the above in 1997 This work is accompanied by a certificate of authenticity from Delmore Gallery, Alice Springs.

$18,000 – 25,000

Renowned for her colourful and vibrant paintings, Emily Kngwarreye chronicled on canvas the ever-changing desert country of her homeland Alhalkere. Located at the western edge of Utopia this triangular shaped country was where Emily was born and where she lived in the traditional ways of the eastern Anmatyerre, following a way of life that had continued unchanged from long before European presence. Her mark making recorded the seasonal variations, sometime subtle, often dramatic, of the harsh desert environment and the explosion of growth that occurred after rain. Referred to by Emily as the ‘green time’,1 the desert would come to life, wildflowers carpeting the red earth and plants and grasses flourishing, supplying the women with seeds, tubers and fruit.

Kame Colour, 1995 records the cyclical change as desert plants bloom after summer rains. Dots merge, separate and fuse into various configurations creating lines of colour. It is a time of ceremony and of the harvesting of wild fruits and vegetables. As Janet Holt notes, this painting records a time when ‘life erupts and spreads forth’ and the ‘energy that exudes from this composition is undeniably strong with the palette highlighting the colours of the yam flower Kame’, 2 Emily Kngwarreye’s totem. With its cascading layers of red, yellow, pink, white and orange dots, Kame Colour is a celebration of nature at its most potent.

1. Isaacs, J., ‘Amatyerre Woman’ in Isaacs, J., Smith, T., Ryan, J., Holt, D., and Holt, J., Emily Kame Kngwarreye Paintings, Craftsman House, Sydney, 1998, p. 13 2. From the accompanying Delmore Gallery certificate of authenticity

CRISPIN GUTTERIDGE

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BILL WHISKEY TJAPALTJARRI 42 (c.1920 – 2008) ROCKHOLES NEAR THE OLGAS AND COUNTRY, 2006 synthetic polymer paint on linen 200.0 x 150.0 cm bears inscription verso: artist’s name, title, size and Watiyawanu Artists cat. 3-0615 estimate :

PROVENANCE Watiyawanu Artists of Amunturrungu, Mt Liebig Bond Aboriginal Art, Adelaide Private collection, Melbourne

$30,000 – 40,000

Bill Whiskey Tjapaltjarri was born at Pirupa Akla around 1920 and his language group was Pitjantjatjara. As a young man he traveled across country to work as a cook at Haasts Bluff Mission where he met his wife Colleen Nampitjinpa. Later, he moved with his family to the Amanturrungu Outstation near Mount Liebig in the Central Desert.

Whiskey was also known as a respected healer (Ngnagkari).

In 2004 he began to paint utilising the studio facilities of the local Watiyawanu Artist collective where significant inspirational women artists such as Wentja Morgan Napaltjarri were already working. Skillfully represented by Watiyawanu Artists, his work was included in six group exhibitions in 2006 and his first solo exhibition was held in Coffs Harbour the following year.

This large and bold work is distinguished by its relatively early date in Whiskey’s short painting career between 2004 and 2008. With its intense, even pungent colours, dramatic tonal shifts and vibrantlyrendered textures, it contains all the key iconic elements of the later, often large-scale paintings – always with the same name – that would follow in the next two years. Notice, for example, how carefully orchestrated superimposed layers of colour dotting, often strongly contrasting, simultaneously constrain and open swathes of the painting’s surface. The optical effect is to release and dissolve any fixity of form.

Energetically and playfully manipulating pictorial kineticism in this way, Whiskey manifests the inherent vitality of country.

Belonging to Whiskey’s earliest exhibition period, this painting is typical of his subject matter and depicts the rock holes near Pirupa Akla, country located near the Olgas to the west of Uluru. The white areas represent the shimmering quartz country associated with his white cockatoo, crow and eagle ancestral story which involves an epic creation battle between the birds. The rock holes were formed where the battling birds tumbled and crashed to the ground and the shards of white stone depicted here represent the cockatoo’s feathers.

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BEN QUILTY 43 born 1973 SKULL RORSCHACH #2, 2008 oil on linen diptych 45.0 x 71.0 cm (overall) estimate :

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$15,000 – 20,000 (2)

PROVENANCE Jan Murphy, Brisbane (label attached verso) Private collection Annette Larkin Fine Art, Sydney Private collection, Queensland EXHIBITED More Work From The Man Cave, Jan Murphy Gallery, Brisbane, 25 October – 15 November 2008 Winter 2012, Annette Larkin Fine Art, Sydney, 1 June – 30 August 2012, cat. 4

DEL KATHRYN BARTON 44 born 1972 TO FEEL ON PINK, 2016 bronze, concrete 171.0 cm height estimate :

$25,000 – 35,000

PROVENANCE Roslyn Oxley9 Gallery, Sydney Private collection, Sydney EXHIBITED Del Kathryn Barton: angel dribble, Roslyn Oxley9 Gallery, Sydney, 11 August – 10 September 2016, cat. 13

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PHILIP WOLFHAGEN 45 born 1963 A SHORT JOURNEY NO. 2, 2010 oil and beeswax on linen 46.0 x 49.5 cm signed with initial, dated and inscribed with title lower right: “a short journey no.2” W 2010 signed, dated and inscribed with title on stretcher verso: PHILIP WOLFHAGEN – “a short journey no2.” 2010 estimate :

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$8,000 – 12,000

PROVENANCE Karen Woodbury Gallery, Melbourne (label attached verso) Private collection, Sydney EXHIBITED Philip Wolfhagen: A Painter’s Landscape, Karen Woodbury Gallery, Melbourne, 22 September – 16 October 2010

PHILIP WOLFHAGEN 46

born 1963 LITTLE WORLD NO. 9, 2015 oil and beeswax on canvas 96.0 x 103.0 cm signed with artist’s monogram, dated and inscribed with title lower right: W APRIL / 2015 / Little World / no. 9 signed, dated and inscribed with title verso: PHILIP WOLFHAGEN / “Little World no. 9” 2015 / … estimate :

$18,000 – 24,000

PROVENANCE Karen Woodbury Gallery, Melbourne (label attached verso) Private collection, Melbourne EXHIBITED Philip Wolfhagen: Other Worlds, Karen Woodbury Gallery, Melbourne, 1 July – 1 August 2015

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AIDA TOMESCU 47 born 1955 UNTITLED, 1995 oil on paper 120.0 x 80.0 cm PROVENANCE Coventry Gallery, Sydney Private collection, Sydney, acquired from the above in 1996 estimate :

$5,000 – 7,000

AIDA TOMESCU 48 born 1955 BLUE, 1995 oil on paper on canvas 120.5 x 80.0 cm signed, dated and inscribed with title verso: AIDA TOMESCU ‘BLUE’ 1995 PROVENANCE Coventry Gallery, Sydney (stamped verso) Private collection, Sydney, acquired from the above in 1996 estimate :

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$5,000 – 7,000

AIDA TOMESCU 49 born 1955 ALBA 2, 2002 oil on canvas 104.0 x 75.5 cm signed, dated, and inscribed with title verso: (2) / “Alba 2” / 2002 / … / Aida Tomescu estimate :

$10,000 – 15,000

PROVENANCE Martin Browne Fine Art, Sydney The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in May 2002 EXHIBITED Aida Tomescu: New Paintings, Martin Browne Fine Art, Sydney, 1 – 26 May 2002 (label attached verso)

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FRED WILLIAMS 50 (1927 – 1982) SYDNEY HARBOUR WITH FERRY, 1973 gouache on paper 14.0 x 77.0 cm signed lower right: Fred Williams estimate :

$18,000 – 24,000

JEFFREY SMART 51 (1921 – 2013) STUDY FOR ‘NEW YORK (VIEW FROM THE ARTISTS’ WINDOW)’, 2004 pen and watercolour on paper 19.5 x 12.5 cm signed lower right: Jeffrey Smart PROVENANCE Philip Bacon Galleries, Brisbane (label attached verso) Private collection, Brisbane, acquired from the above in 2005 EXHIBITED Jeffrey Smart, Philip Bacon Galleries, Brisbane, 30 August – 1 October 2005, cat. 30 (illus. in exhibition catalogue) We are grateful to Stephen Rogers, Archivist for the Estate of Jeffrey Smart, for his assistance in cataloguing this work. estimate :

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$7,000 – 9,000

PROVENANCE Rudy Komon Gallery, Sydney Private collection, Melbourne Deutscher and Hackett, Melbourne, 29 April 2009, lot 15 Private collection, Sydney

BRETT WHITELEY 52 (1939 – 1992) THE MOST BEAUTIFUL MOUNTAIN, 1969 pen, ink and wash on paper 56.5 x 51.5 cm signed and inscribed lower left: (Brett W. (money)) / + the most beautiful mountain / on the globe earth green / slithering wet / impenetrable / like truth!

LITERATURE Pearce, B., et al., Brett Whiteley, Art & Life, 1939 - 1992, Art Gallery of New South Wales, Sydney, 1995, cat. 23, pp. 33 (illus.), 224 estimate :

$25,000 – 35,000

PROVENANCE Rudy Komon Gallery, Sydney Private collection, Canberra, acquired from the above in 1978 Savill Galleries, Sydney (label attached verso) Patricia Valsinger, Sydney Thence by descent Private collection, Melbourne EXHIBITED Contemporary Australian Drawing, Art Gallery of Western Australia, Perth, then touring to Brisbane and Sydney, 1978, cat. 93 (illus.)

Brett Whiteley: Art & Life, Art Gallery of New South Wales, Sydney, 16 September – 19 November 1995, touring exhibition to Darwin, Perth, Adelaide, Melbourne and Hobart, until 17 November 1996, fig. 23, pp. 33, 224 (illus.)

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IAN FAIRWEATHER 53 (1891 – 1974) LANDSCAPE, c.1955 gouache on paper on board 33.0 x 43.0 cm estimate :

$30,000 – 40,000

PROVENANCE Macquarie Galleries, Sydney Bunny Williams, Queensland Helen and David Burke, Sydney, a wedding gift from the above The Estate of the late David Burke OAM, Sydney EXHIBITED Show of Eights, Macquarie Galleries, Sydney, 13 – 25 February 1957, cat. 17 RELATED WORK Landscape, c.1955, gouache on cardboard, 34.0 x 49.0 cm, private collection, Melbourne, illus. in Bail, M., Fairweather, Murdoch Books, Sydney and London, 2009, pl. 103, p. 124 The Hill, 1955, gouache on cardboard, 32.2 x 55.5 cm, private collection, Sydney, illus. in Bail, M., Fairweather, Murdoch Books, Sydney and London, 2009, pl. 104, p. 125

In 1953, after suffering through many years of peripeteias and indignities, Ian Fairweather made his way back to Bribie Island, off the Queensland coast, where he had stayed for over seven months in 1945. It was here, for the first time since the outbreak of the Second World War, that the artist was able to make himself a home, albeit one that could only be described as desolate and isolated. However, this removed existence enabled Fairweather to devote himself entirely to his practice, fed by sketches he had brought with him to the island along with a head filled with vivid memories of his adventures. He was a painter’s painter, and quietly devoted to his cathartic creative process: ‘I paint for myself, and have no sense of mission, nor do I feel any compulsion to communicate, though naturally I am pleased when it seems I have done so’.1 Drawing from memories over twenty years old, this striking abstract landscape probably depicts a riverside view of the city of Huchow (modern spelling Huzhou), in the Yangtze River delta, north of Hangzhou and east of Shanghai. Seeing as Fairweather had the habit of expediting his paintings to Macquarie Galleries devoid of notes, and hence leaving the choice of title entirely up to its directors, this painting carried the

rather non-descript title of ‘Landscape’ when it featured in the annual Show of Eights in February 1957. In its complex composite and nonliteral form, it could well have been inspired by Huchow, or indeed even its neighbouring cities, Soochow and Foochow, or possibly a summary of all three. These neighbouring cities were all preferred subjects for Fairweather’s paintings both for works executed in China and long afterwards.

Using a visual vocabulary and syntax that had been brought to maturity in isolation, Fairweather’s paintings of the 1950s move towards a complex linear calligraphic abstraction. Landscape, 1955, is amongst Fairweather’s most expressive, gestural and immediate visual recollections – the successive layers of wash, inky swathes and strong lines boldly placed with stiff brushstrokes all converge to show a shifting scene of a riverbank bordered by teetering constructions.

The psi-shaped vertical structures dotted strategically throughout this landscape could be a number of real or imagined objects – supports for banners, telegraph poles. Tangled and haphazard, this painterly representation of an early twentieth century Chinese landscape is evocative and reveals Fairweather’s nostalgia, propelling him to clutch at fleeting and approximate visual recollections.

As the pale body of water anchors the centre of the composition, it is bordered by loosely drawn symbolic landmarks, from the arched bridge, curious vertical structures, the schematic boats, ramparts and roofs, all jostling for attention and switching smoothly from background to foreground. Informed by distant impressions of Chinese calligraphy, Aboriginal rock art and European Post-Impressionism, Fairweather’s drawings and paintings of the 1950s retain a tenuous connection to figurative representation, unfolding and accumulating in fused layers over the support’s surface like a stream of consciousness. Perhaps this stream of consciousness was what inspired the late Robert Hughes to characterise Fairweather’s style of painting as a kind of personal reflection: ‘disciplined, relaxed poise that is born of self-knowledge […] the act of painting becomes a way of meditation’. 2 1. The artist quoted in Abbott-Smith, N., Ian Fairweather: Profile of a painter, University of Queensland Press, Brisbane, 1978, p. xi 2. Hughes, R., The Art of Australia, revised edition, Penguin Books, Victoria, 1970, p. 290

LUCIE REEVES-SMITH

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CHARLES BLACKMAN 54 born 1928 THE POET’S TREE, 1987 oil on paper on board 72.5 x 47.5 cm signed lower right: BLACKMAN bears inscription with title verso: A5124 / “The Poet’s Tree” estimate :

116

$18,000 – 25,000

PROVENANCE Wagner Gallery, Sydney (label attached verso) Private collection Christie’s, Melbourne, 27 November 2001, lot 70 Private collection, Hong Kong

JAMES GLEESON 55 (1915 – 2008) QUASI-RECOLLECTIONS OF A VENETIAN WINTER, 1995 oil on canvas 133.0 x 178.5 cm signed and dated lower left: Gleeson. 95 signed and inscribed with title on stretcher bar verso: “QUASI-RECOLLECTIONS OF A VENETIAN WINTER” / James Gleeson estimate :

$25,000 – 35,000

PROVENANCE Watters Gallery, Sydney (label attached verso) Private collection, Sydney EXHIBITED James Gleeson paintings: an exhibition in celebration of James Gleeson’s 80th birthday, Watters Gallery, Sydney, 8 – 25 November 1995, cat. 1

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ROBERT DICKERSON 56 (1924 – 2015) THREE GIRLS READING, c.1960s oil on composition board 60.5 x 76.0 cm signed lower right: DICKERSON estimate :

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$18,000 – 24,000

PROVENANCE Von Bertouch Galleries, Newcastle Private collection, New South Wales Thence by descent Private collection, New South Wales

CLIFTON PUGH 57 (1924 – 1990) EMU, c.1960 oil on composition board 121.5 x 91.0 cm signed lower right: Clifton bears inscription with title verso: “EMU” / CLIFTON PUGH / COTTLES BRIDGE / VICTORIA estimate :

$20,000 – 25,000

PROVENANCE Air Liquide Australia Pty Ltd, Melbourne Bonhams & Goodman, Melbourne, 23 April 2007, lot 639 Private collection, Melbourne

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SYDNEY BALL 58 (1933 – 2017) SAMARRA TURN, 1968 (FROM ‘PERSIAN’ SERIES) synthetic polymer paint on canvas 91.0 x 76.0 cm signed, dated and inscribed with title on stretcher bar verso: SYDNEY BALL ’68 “SAMARRA TURN” / … bears inscription with title verso: No. 1720 A558 SAMARRA TURN estimate :

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$10,000 – 15,000

PROVENANCE Barry Stern Galleries, Sydney Private collection, Melbourne, acquired from the above on 17 May 1972 Sotheby’s Australia, Sydney, 24 November 2015, lot 42 Private collection, Sydney

JOHN COBURN 59 (1925 – 2006) ABUNDANT LAND, 1985 oil on canvas 91.0 x 137.0 cm signed and dated lower right: Coburn / ‘85 signed, dated and inscribed with title verso: John Coburn / Abundant Land (oil) 1985 estimate :

$25,000 – 35,000

PROVENANCE Private collection, acquired directly from the artist Menzies, Sydney, 22 March 2012, lot 139 Private collection, Sydney LITERATURE Amadio, N., John Coburn Paintings, Craftsman House, Sydney, 1988, p. 204

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PROVENANCE Martin Browne Fine Art, Sydney (label attached verso) Private collection, Melbourne Deutscher and Hackett, Melbourne, 20 April 2011, lot 107 Private collection, Sydney

HOWARD TAYLOR 60 (1918 – 2001) TREE FORMS, 1959 oil and gouache on composition board 57.5 x 40.0 cm signed and dated lower right: H. TAYLOR 59 estimate :

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$15,000 – 20,000

EXHIBITED Paintings and Sculpture by Howard Taylor, ‘Aldersyde’, Bickley, Western Australia, 17 June 1967 20th Century Australian and New Zealand painting, Martin Browne Fine Art, Sydney, 9 November 1993, cat. 15 (illus. in exhibition catalogue) Abstraction 7, Charles Nodrum Gallery, Melbourne, 30 October – 22 November 2008, cat. 7 (label attached verso)

HENRY MOORE 61 (1898 – 1986, British) THREE FIGURES IN A ROOM, 1979 charcoal, conté, gouache and offset wash on paper 22.0 x 29.0 cm signed and dated lower right: Moore / 79 estimate :

$20,000 – 30,000

PROVENANCE James Kirkman, London Rex Irwin Art Dealer, Sydney Private collection, Sydney, acquired from the above in 1982 EXHIBITED Henry Moore Bronzes, drawings and prints, Rex Irwin Art Dealer, Sydney, in association with James Kirkman Ltd. London, 28 September – 23 October 1982, drawings cat. 1

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JOHN BRACK 62 (1920 – 1999) THE VAULTING HORSE, 1977 lithograph 68.5 x 50.0 cm edition: 13/25 signed, dated, inscribed with title and numbered below image PROVENANCE Estate of the artist, Melbourne Private collection, Melbourne LITERATURE Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, vol. II, cat. pr.26, p. 77 (illus., another example) estimate :

$6,000 – 9,000

JOHN BRACK 63 (1920 – 1999) STUDY FOR PORTRAIT OF LYN WILLIAMS, 1976 pencil on paper 35.5 x 26.5 cm signed, dated, and inscribed with title below image PROVENANCE Private collection, Queensland Thence by descent Private collection, Queensland RELATED WORK Portrait of Lyn Williams, 1976, oil on linen, 129.6 x 96.8 cm, in the collection of Rockhampton Art Gallery, Queensland estimate :

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$10,000 – 15,000

ALBERT TUCKER 64 (1914 – 1999) PORTRAIT, 1947 oil on canvas 47.0 x 38.0 cm signed and dated upper right: Tucker / 1947 estimate :

$18,000 – 25,000

PROVENANCE Jean W. Schanze, Kansas, USA Private collection, USA Deutscher and Hackett, Melbourne, 4 May 2016, lot 75 Private collection, Sydney

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MAX DUPAIN 65 (1911 – 1992) SUNBAKER, 1937 silver gelatin photograph 37.0 x 40.0 cm signed and dated in image lower right: – Max Dupain ‘37 – estimate :

$30,000 – 40,000

PROVENANCE Private collection Sydney, a gift from the artist Private collection, Sydney LITERATURE Newton, G., Max Dupain: Photographs 1928 – 80, The David Ell Press, Sydney, 1980, p. 64 (illus. another example) Max Dupain’s Australia, Viking Press, Sydney, 1986, p. 104 (illus., another example) Ennis, H., Max Dupain: Photographs, National Gallery of Australia, Canberra, 1991, p. 18 White, J., Smee, S. and Cawood, M., Dupain’s Beaches, Chapter and Verse, Sydney, 2000, p. 69 (illus. another example) Annear, J., The Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, pp. 40, 50, 104 (illus., another example), 294

There are only a handful of artworks that have been as influential on the creation of a national psyche as Max Dupain’s photograph, Sunbaker, 1937. Its enduring power derives from the incorporation of twin social mythologies prevalent during the inter-war period: that of the ‘old sunburnt country’ and physical health as a symbol for the strength and potential of Modernity. Sunbaker would come to represent in a single recognisable image the new outdoor Australian way of life: the simplicity of composition, dramatic contrast of light, and purity of context coincided to create a powerful and iconic image. Judy Annear, Curator of Photography at the Art Gallery of New South Wales, Sydney attributed this to Dupain’s ability to ‘adroitly harness a moment in time that came to symbolise the ambitions of a nation’.1 The story of how this modest snapshot from within one of Dupain’s holiday albums, compiled following a trip to the south coast of New South Wales in 1937 with his friends Harold Salvage and Chris Vandyke, would become the subject of such massive exposure in the latter half of the 20th century is a tale of coincidence. This version of Sunbaker, identical in size and format to those in most of Australia’s state and national collections, is the second version of two pictures that Dupain took at the same time in 1937. The artist chose to publish the other, Sunbaker II, 1937, in a monograph of his work in 1948, and sometime after this, its negative was lost. 2 It wasn’t until 1975, thanks to the combined

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marketing power of a retrospective exhibition of Dupain’s photographs and a later survey of Australian photography, that the image was presented to wide national audiences. The Max Dupain: Retrospective at the Australian Centre for Photography, Sydney in 1975 used Sunbaker as a promotional image and four years later, it was illustrated on the back cover of the catalogue for Australian photographers: the Philip Morris Collection. The images in Australian photographers were personally selected by James Mollison, founding director of the National Gallery of Australia, Canberra. 3 In formal terms, the composition of Sunbaker marked a departure from the artist’s earlier surrealist studio montages, which often featured fulllength female nudes. Creating a visual correlation between the geometric solidity of a pyramid and the physical strength of a young man, Dupain’s photograph sits in a neat nexus between modernist formalism and an idealistic focus on physical wellbeing in the interwar years. This young man, with his bronzed skin and muscles glistening with salt, sand, sweat and seawater would come to embody the ideal antipodean (ironically, he was an Englishman who had recently emigrated to Australia). The subject does not call out to the viewer, encouraging them to emigrate to the idealised southern land of sunshine and good health, as he would have in contemporary advertisements. Instead, we as viewers, intrude on his intimacy and respite, the reduced form of his recumbent body jutting out into the foreground of the photograph, almost transcending the barrier of the picture plane. The austere simplicity and lack of spatial context of Dupain’s composition creates a timeless and universal space where man is at one with the land, resting on the horizon’s edge.

1. Annear, J., Photography: The Art Gallery of New South Wales Collection, Art Gallery of New South Wales, Sydney, 2007, pp. 142 – 149 2. Newton, G., ‘The Sunbaker’ in White, J., Dupain’s Beaches, Chapter & Verse, Sydney, 2000, p. 68 3. Annear, J., Photograph and Australia, Art Gallery of New South Wales, Sydney, 2015, p. 46

LUCIE REEVES-SMITH

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ARTHUR STREETON 66 (1867 – 1943) ANEMONES IN AN ORIENTAL VASE, 1929 oil on canvas 40.0 x 40.0 cm signed and dated lower left: A Streeton / 1929 estimate :

128

$20,000 – 30,000

PROVENANCE Private collection Davidson Auctions, Sydney, 3 September 2017, lot 11 (as ‘Ranunculi in Chinese Vase’) Private collection, Sydney

JESSIE TRAILL 67 (1881 – 1967) COLLINS STREET, MELBOURNE, 1936 oil on canvas 48.0 x 59.0 cm signed and dated lower left: JCA Traill 1936 estimate :

$20,000 – 30,000

PROVENANCE Joseph Brown Gallery, Melbourne Private collection, Melbourne EXHIBITED Spring Exhibition 1979, Joseph Brown Gallery, Melbourne, 17 – 30 October 1979, cat. 80 (illus., as ‘Paris End of Collins Street, Melbourne, 1926’)

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TOM ROBERTS 68 (1856 – 1931) DORSET LANDSCAPE, c.1910 – 12 oil on canvas on board 23.0 x 46.0 cm signed with initials lower right: T.R estimate :

130

$15,000 – 20,000

PROVENANCE Private collection, Victoria (prior to 1950) Thence by descent Private collection, Victoria Leonard Joel, Melbourne, 29 August 2010, lot 94 (as ‘Sussex Landscape’) Private collection, Sydney

HANS HEYSEN 69 (1877 – 1968) CATTLE GRAZING UNDER THE LEANING GUM, HAHNDORF SA, 1925 watercolour on paper 32.0 x 39.5 cm signed and dated lower left: HANS HEYSEN 1925 estimate :

$14,000 – 18,000

PROVENANCE Christopher Day Gallery, Sydney (label attached verso) Private collection, Sydney, acquired from the above c.1993

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ALBERT NAMATJIRA 70 (1902 – 1959) CENTRAL AUSTRALIAN LANDSCAPE, c.1937 watercolour and pencil on paper on card 19.5 x 29.0 cm signed lower right: ALBERT bears inscription verso: Early Albert Namatjira / Sold by him to B.M. at / Hermannsburg mission on his visit in … 1937/38 estimate :

132

$8,000 – 12,000

PROVENANCE Private collection, Adelaide, acquired during a visit to Hermannsburg in 1937/1938 Thence by descent Private collection, Melbourne RELATED WORK Central Mount Wedge from MacDonnell Ranges, c.1937, watercolour over pencil on paper, 26.3 x 19.4 cm, in the collection of the National Gallery of Victoria, Melbourne

ALBERT NAMATJIRA 71 (1902 – 1959) MOUNT CONWAY, MACDONNELL RANGES, CENTRAL AUSTRALIA, 1950s watercolour on paper 28.0 x 39.5 cm signed lower right: ALBERT NAMATJIRA bears inscription with title verso: Mt. Conway / Macdonnell Ranges / Central Australia estimate :

$18,000 – 25,000

PROVENANCE Private collection, New South Wales, acquired in the mid-1950s Thence by descent Private collection, Scotland

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ROLAND WAKELIN 72 (1887 – 1971) THE FRUIT SELLER (MARTIN PLACE) oil on composition board 60.0 x 73.0 cm signed lower right: R’ Wakelin bears inscription with title verso: The Fruitseller [sic] (Martin Place) estimate :

134

$10,000 – 15,000

PROVENANCE Private collection Leonard Joel, Melbourne, 11 May 1977, lot 52 (as ‘The Fruit Vendor’) Private collection, Melbourne Deutscher and Hackett, Melbourne, 29 August 2007, lot 59 Private collection, Melbourne

SALI HERMAN 73 (1898 – 1993) WANGI SCENE, 1948 oil on canvas 54.0 x 73.5 cm signed and dated lower right: S. Herman. 48 estimate :

$12,000 – 16,000

PROVENANCE Private collection, Melbourne, a gift from the artist to his sister c.1952 Thence by descent Private collection, Melbourne

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GRACE COSSINGTON SMITH 74 (1892 – 1984) ROSEVILLE WATER, c.1945 oil on board 30.5 x 25.5 cm signed lower left: G. Cossington Smith signed and inscribed with title on artist’s label verso: Roseville Water / Grace Cossington Smith estimate :

136

$12,000 – 18,000

PROVENANCE Macquarie Galleries, Sydney (label attached verso) Private collection Thence by descent Private collection, Perth McKenzies Auctioneers, Perth, 12 June 2018, lot 72 Private collection, Sydney

ERIC WILSON 75 (1911 – 1946) NUDES, c.1938 (VERSO: BURNING OFF, WANTABADGERY LANDSCAPE, c.1943) oil on canvas 75.5 x 62.5 cm estimate :

$10,000 – 15,000

PROVENANCE Joseph Brown Gallery, Melbourne Private collection Leonard Joel, Sydney, 23 November 2014, lot 318 Private collection EXHIBITED Autumn Exhibition 1973: Recent Acquisitions, Joseph Brown Gallery, Melbourne, 26 March – 11 April 1973, cat. 30 (as ‘Burning off, Wantabadgery Landscape’)

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SIDNEY NOLAN 76 (1917 – 1992) ELEPHANTS IN THE BUSH, 1963 wax crayon and fabric dye on paper on board 63.0 x 49.5 cm signed and dated lower right: Nolan / 1963 PROVENANCE Private collection, Melbourne estimate :

$8,000 – 12,000

SIDNEY NOLAN 77 (1917 – 1992) MINING TOWN, 1952 ink and enamel on glass 25.0 x 30.0 cm signed with initial and dated lower right: N 52 PROVENANCE Private collection Davidson Auctions, Sydney, 3 April 2016, lot 59 Private collection, Melbourne estimate :

138

$4,000 – 6,000

SAM FULLBROOK 78 (1922 – 2004) FIGURE AND GALAH, c.1985 oil on canvas 60.0 x 55.5 cm signed with initials lower right: S.F. estimate :

$12,000 – 16,000

PROVENANCE Australian Galleries, Melbourne Private collection, Melbourne EXHIBITED Sam Fullbrook, Australian Galleries, Melbourne, 5 – 19 August 1985, cat. 8 (illus. on exhibition catalogue front cover)

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JOHN OLSEN 79 born 1928 RYDAL I, 1991 watercolour, gouache and pastel on paper 56.5 x 61.5 cm signed and inscribed with title lower right: Rydal I / John Olsen PROVENANCE The Collection of Colin and Elizabeth Laverty, Sydney, acquired directly from the artist in June 1991 estimate :

$10,000 – 15,000

JOHN OLSEN 80 born 1928 DARLING RIVER LANDSCAPE, 1979 ink on paper 75.0 x 55.5 cm signed and dated lower right: John Olsen / 79 PROVENANCE Philip Bacon Galleries, Brisbane Private collection, Brisbane estimate :

140

$6,000 – 8,000

CRESSIDA CAMPBELL 81 born 1960 CACTI GARDEN, 1985 colour woodblock print 69.0 x 56.0 cm edition: AP aside from an edition of 3 signed, dated, numbered and inscribed with title below image PROVENANCE Private collection, a gift from the artist Davidson Auctions, Sydney, 3 September 2017, lot 18 Private collection, Sydney estimate :

$15,000 – 20,000

EXHIBITED Cressida Campbell: Woodblocks, Woodblock Prints and Paintings, Mori Gallery, Sydney, 12 – 30 March 1985, cat. 35 Australian Perspecta 1985, Art Gallery of New South Wales, Sydney, 22 October – 31 December 1985 (another example) Review: works by women from the permanent collection of the Art Gallery of New South Wales, Art Gallery of New South Wales, Sydney, 8 March – 4 June 1995 (another example) Australian prints from the Gallery’s collection (1998 –1999), Art Gallery of New South Wales, Sydney, 6 November 1998 – 7 February 1999 (another example) Cressida Campbell, from the Gallery’s collection, Art Gallery of New South Wales, Sydney, September 2017 (another example)

LITERATURE Bond, A., Australian Perspecta ‘85, Art Gallery of New South Wales, Sydney, 1985, p. 87 Kolenberg, H., and Ryan, A., Australian Prints from the Gallery’s Collection, Art Gallery of New South Wales, Sydney, 1998, p. 125 (illus., another example) Crayford, P., (ed.) The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, cat. P8511, p. 341 (as ‘Cactii, 1985’)

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PROVENANCE Short Street Gallery, Broome Private collection, Sydney

JAN BILLYCAN (DJAN NAMUNDIE) 82 (c.1930 – 2016) KIRRIWIRRI, 2008 synthetic polymer paint on linen diptych 106.0 x 121.0 cm (overall) bears inscription verso: artist’s name, date, medium, size and Short Street Gallery cat. 25806 estimate :

142

$7,000 – 9,000 (2)

This work is accompanied by a certificate of authenticity from Short Street Gallery that states: ‘Jan says “this is the birth place of my father’s clan. Our clan is also named Kirriwirri and we call each individual members of this clan Kirriwirri. There is a big warla (mud flat) at this place. This is what the painting is about”.

Kirriwirri is in the Great Sandy Desert close to and west of Well 33 on the Canning Stock Route. It is the birth place of Jan and her family. This work shows tali (sand dunes) and jila (living water).’

JAN BILLYCAN (DJAN NAMUNDIE) 83 (c.1930 – 2016) ALL THE JILA, 2005 synthetic polymer paint on canvas 140.0 x 99.0 cm bears inscription verso: artist’s name, date, title, medium, size and Short Street Gallery cat. 3288 PROVENANCE Short Street Gallery, Broome William Mora Galleries, Melbourne (stamped verso) Private collection, New South Wales estimate :

$7,000 – 9,000

EXHIBITED Culture Warriors: National Indigenous Art Triennial, National Gallery of Australia, Canberra, 13 October 2007 – 10 February 2008 LITERATURE Croft, B.L., Culture Warriors: National Indigenous Art Triennial, National Gallery of Australia, Canberra, 2007, pp. 69 (illus.), 190 (dated as ‘2004’)

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JANANGOO BUTCHER CHEREL 84 (c.1920 – 2009) SHIELD, 2005 synthetic polymer paint on Arches paper 75.0 x 105.0 cm bears inscription verso: artist’s name and Mangkaja Arts cat. WP 785/05 estimate :

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$4,000 – 6,000

PROVENANCE Mangkaja Arts, Fitzroy Crossing Aboriginal and Pacific Art, Sydney Private collection, Sydney, acquired from the above in 2007 This work is accompanied by a certificate of authenticity from Mangkaja Arts that states: ‘This is another Ngarrangkarni (Dreamtime) Story. A kangaroo travelled through here, he went right up to Maanjoowa, through manarra. It went right through and kept going to the desert. It didn’t come back. The wind came up as it went, a willy willy. The wind made these marks on the water.’

MIRDIDINGKINGATHI JUWARNDA 85 SALLY GABORI (c.1924 – 2015) DIBIRDIBI COUNTRY, 2009 synthetic polymer paint on linen 151.0 x 100.5 cm bears inscription verso: artist’s name, title, medium and Morning Island Arts and Crafts cat. 4624-L-SG-0809 estimate :

$8,000 – 12,000

PROVENANCE Mornington Island Arts and Crafts, Queensland (stamped verso) Private collection, Sydney This work is accompanied by a certificate of authenticity from Mornington Island Arts and Crafts that states: ‘This is the big saltpan that covers part of my husband’s country on Bentinck Island.’

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MAKINTI NAPANANGKA 86 (c.1930 – 2011) LUPULNGA, 2001 synthetic polymer paint on linen 122.0 x 91.0 cm bears inscription verso: artist’s name, size and Papunya Tula Artists cat. MN0107090 estimate :

146

$7,000 – 10,000

PROVENANCE Painted at Kintore, for Papunya Tula Artists, Alice Springs The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in August 2001 Bonhams, The Laverty Collection, Sydney, 24 March 2013, lot 215 Private collection EXHIBITED Paintings from Remote Communities: Indigenous Australian Art from the Laverty Collection, Sydney, Govett Brewster Art Gallery, New Plymouth, New Zealand, 15 December 2007 – 24 February 2008; Newcastle Region Art Gallery, Newcastle, 5 July – 31 August 2008

EUBENA NAMPITJIN 87 (c.1921 – 2013) WIDJI ROCKHOLE, 1995 synthetic polymer paint on linen 119.5 x 80.0 cm bears inscription verso: artist’s name, size and Warlayirti artists cat. 689/95 estimate :

$4,000 – 6,000

PROVENANCE Warlayirti Artists, Balgo Hills, Western Australia The Collection of Colin and Elizabeth Laverty, Sydney, acquired from the above in September 2003

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SAM LEACH 88 born 1973 PROJECTION, 2009 oil and resin on wood 45.0 x 30.0 cm signed and dated verso: Sam Leach / 2009 PROVENANCE Sullivan + Strumpf Fine Art, Sydney (label attached verso) Private collection, Sydney EXHIBITED Sam Leach: The Next Billion Years, Sullivan + Strumpf Fine Art, Sydney, 30 July – 23 August 2009 estimate :

$6,500 – 9,000

SAM LEACH 89 born 1973 MARGIN PARTRIDGE, 2007 oil and resin on wood 35.5 x 25.5 cm signed, dated, and inscribed with title verso: MARGIN PARTRIDGE / Sam Leach 07 PROVENANCE Nellie Castan Gallery, Melbourne (label attached verso) Private collection, Melbourne EXHIBITED Sam Leach: The Spoils, Nellie Castan Gallery, Melbourne, 2 – 24 June 2007 estimate :

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$4,000 – 6,000

TIM STORRIER 90 born 1949 THE SEASON II, 1995 – 96 synthetic polymer paint on board 16.0 x 50.0 cm signed lower right: Storrier inscribed with date and title on artist’s label verso: THE SEASON II / … / 1995 – 6 estimate :

$6,000 – 8,000

PROVENANCE Sherman Galleries, Sydney Private collection, Sydney, acquired from the above in 1996 EXHIBITED TIM STORRIER Embers, Sherman Galleries Goodhope, Sydney, 15 August – 7 September 1996, cat. 22

JONATHAN DELAFIELD COOK 91 born 1965 FAN TAIL III, 2006 charcoal on paper 60.0 x 62.5 cm signed and dated lower right: Delafield Cook ’06 PROVENANCE Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Sydney, acquired from the above in 2006 EXHIBITED William Delafield Cook and Jonathan Delafield Cook, Rex Irwin Art Dealer, Sydney, 26 September – 21 October 2006, cat. 14 estimate :

$4,000 – 6,000

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DANIEL BOYD 92 born 1982 YO HO HO, 2007 synthetic polymer paint on canvas 66.0 x 66.0 cm signed and dated verso: DANIEL BOYD / 2007 estimate :

150

$6,000 – 9,000

PROVENANCE Mori Gallery, Sydney Private collection, Sydney LITERATURE Boyd, D., The Law of Closure, Perimeter Books, Melbourne, 2015, p. 201 (illus.)

DAVID NOONAN 93 born 1969 UNTITLED, 2010 screen printed jute and linen collage on board 71.0 x 52.0 cm edition: 1/3 signed, dated, numbered and inscribed verso: 1/3 each of the edition is different David Noonan / 2010 estimate :

$7,000 – 10,000

PROVENANCE Roslyn Oxley9 Gallery, Sydney (label attached verso) Private collection, Sydney EXHIBITED David Noonan, Roslyn Oxley9 Gallery, Sydney, 10 March – 2 April 2011

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PETER BOOTH 94 born 1940 DRAWING (FIGURE IN WATER), 1996 charcoal and casein on paper 31.0 x 47.0 cm PROVENANCE Rex Irwin Art Dealer, Sydney (label attached verso) Private collection, Sydney, acquired from the above in 1998 EXHIBITED Peter Booth Recent Work, Rex Irwin Art Dealer, Sydney, 18 August – 12 September 1998, cat. 15 estimate :

$1,500 – 2,500

JAMES GLEESON 95 (1915 – 2008) THE GATHERING AT IOLCUS: BUTES AND PHALERUS oil on composition board 20.0 x 15.5 cm signed lower left: Gleeson bears inscription with title on label verso: THE GATHERING A IOLCUS (sic) / BUTES + PHALERUS / NS. JAMES GLEESON PROVENANCE Art Galleries Schubert, Queensland Private collection, Sydney, acquired from the above c.1982 estimate :

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$3,000 – 5,000

DEL KATHRYN BARTON 96 born 1972 MY INHABITABLE BODY, 2002 – 05 synthetic polymer paint, gouache, watercolour, ink, cotton thread and silk on paper 82.0 x 64.0 cm signed with initials, dated, and inscribed with title upper left: - my inhabitable body – d.k.b. 2002 – 2005 PROVENANCE Karen Woodbury Gallery, Melbourne Private collection, Melbourne EXHIBITED Del Kathryn Barton: thank you for loving me, Karen Woodbury Gallery, Melbourne, 7 September – 1 October 2005 estimate :

$6,000 – 8,000

WILLIAM ROBINSON 97 born 1936 FARMYARD, c.1984 pencil on paper 39.0 x 58.5 cm signed lower right: William Robinson PROVENANCE Ray Hughes Gallery, Sydney Private collection, Sydney, acquired from the above in 1994 estimate :

$3,500 – 5,500

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SONIA DELAUNAY 98 (1885 – 1979, French) ABSTRACTION AUX CERCLES, c.1960s gouache and charcoal on paper 35.0 x 26.5 cm signed lower right: S Delaunay PROVENANCE The Waddington Galleries, London (label attached verso) Charles Kearley, United Kingdom Private collection, Perth McKenzies Auctioneers, Perth, 12 June 2018, lot 119 Private collection, Sydney estimate :

$6,000 – 9,000

YVONNE AUDETTE 99 born 1930 LIGHT GREY, 1963 gouache and watercolour on paper 31.0 x 21.0 cm signed with initials and dated lower right: YA 63 PROVENANCE Holdsworth Galleries, Sydney Shapiro, Sydney, 5 December 2006, lot 46 Private collection, Sydney EXHIBITED Possibly: Yvonne Audette, Holdsworth Galleries, Sydney, 10 – 28 November 1970 estimate :

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$3,000 – 4,000

PABLO PICASSO 100 (1881 – 1973, Spanish) PORTRAIT OF D. H. KAHNWEILER III, 1957 lithograph on wove paper 65.5 x 50.5 cm edition: A/P aside from an edition of 50 dated in the plate: 3.6.57 signed lower left in blue: Picasso PROVENANCE Christie’s, Melbourne, 3 May 2004, lot 365 Private collection, Sydney LITERATURE Bolliger, H., and Leonhard, K., Picasso Graphic Works, vol. 2, 1955– 1965, Thames and Hudson, London, 1967, cat. 10, n.p. (illus., another example), 129 Bloch, G., Pablo Picasso: Catalogue of the Printed Graphic Work 1904-1967, Editions Kornfeld et Klipstein, Berne, 1968, cat. 836 Mourlot, F., Picasso Lithographe, Editions du Livre, Paris, 1970, cat. 297, p. 235 (illus., another example) estimate :

$8,000 – 12,000

PABLO PICASSO 101 (1881 – 1973) YAN BARBU, 1963 incised and hand-painted terracotta earthenware 26.5 cm height edition: 179/300 incised, stamped and numbered on base: ‘EDITION PICASSO / MADOURA PLEIN FEU / EDITION PICASSO / 179/300 / MADOURA PROVENANCE Century Ceramics, Sydney Private collection, Sydney LITERATURE Ramié, A., Picasso: Catalogue of the Edited Ceramic Works 1941 – 1971, Galerie Madoura, Vallauris, France, 1988, cat. 513 estimate :

$4,500 – 6,500

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PADDY NYUNKUNY BEDFORD 102 (c.1922 – 2007) JIRLJIN (RED POCKET), 2000 ochres and pigments with acrylic binder on Belgian linen 122.0 x 135.0 cm signed with initials verso: PB bears inscription verso: To: Chapman Gallery, Jirrawun Arts cat. PB 3 2000.77 estimate :

$30,000 –40,000

PROVENANCE Jirrawun Arts, Kununurra Chapman Gallery, Canberra Private collection, Sydney LITERATURE Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 148 (illus.)

This work is accompanied by a certificate of authenticity from Jirrawun Arts, Kununurra

The paintings of Paddy Bedford mostly refer to existing places in the landscape of the country he grew up in which were integral to his everyday life. Roads and rivers are recurring motifs in his work and other amorphous features evoke the vertical escarpments, rounded hills and large rocks of the Kimberley. At the same time, the subject matter of his paintings is drawn from two primary and very different sources of knowledge and experience: historical events and the more mundane stories about daily life on cattle stations in the Kimberley intersecting with a profound and lyrical knowledge of the land and its creation stories.

This painting shows a place, called Jirljin in Gija and Red Pocket in English, which is adjacent to the Springvale-Landsdown Road, between Ida Mere Yard and Janterrji, south east of Bedford Downs Station. Here there is a pocket of ‘red’ earth surrounded by hills in an area that is typically characterised by black soil plains running all the way to the base of the Durack Ranges at the edge of the East Kimberley plateau. It is part of Bedford’s uncle’s country and there are a lot of small caves in the area that were traditional Gija camping places. In the neighbouring hills the country is called Langanban, a dreaming place for a round fungus known as langany.1 Jirljin (Red Pocket), 2000 depicts two big hills separated by a narrow gap through which people passed either on foot when walking though country or on horses when mustering cattle. The artist used to ride through this country when, as a young man, he worked as stockman. The ochre palette highlights Bedford’s link to the more familiar style of the earlier east Kimberley painters Rover Thomas and Paddy Tjamatji, but the large dominant forms along with the interplay between positive and negative space signal the original vision of an artist who created his own representations of country, a harbinger of what was to come.

The importance of painting for Paddy Bedford was multi-layered – in addition to passing on knowledge about his country, it’s features, and the sacred narratives connected to it, 2 painting was an expression of country and cultural memory. Bedford’s art was also a claim to identity and consequently his paintings are an assertion of an intimate connection to the land itself. As Michael Dolk argues, his painting suggests a physical and tactile relation to land, ‘To behold painting is to hold country and to remain beholden to its ancestral tradition’. 3 1. Information from accompanying Jirrawun Arts certificate of authenticity 2. Petijean, G., ‘Crossing Frontiers: Paddy Bedford in Europe’, AAMU, Museum of Contemporary Aboriginal Art, Utrecht, 2009 3. Dolk, M., ‘Are we Strangers in this Place’, in Storer, R., Paddy Bedford, Museum of Contemporary Art, Sydney, 2006, p. 20

CRISPIN GUTTERIDGE

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157

FREDDIE TIMMS 103 (c.1946 – 2017) SPRING HEAD CREEK – TEXAS COUNTRY, 2003 natural earth pigments and synthetic binder on linen 122.0 x 135.0 cm bears inscription verso: artist’s name, title, and Jirrawun Arts cat. FT 9 2003-182 estimate :

158

$8,000 – 12,000

PROVENANCE Jirrawun Arts, Kununurra Gould Galleries, Melbourne (label attached verso) Private collection, Sydney EXHIBITED Freddie Timms, Gould Galleries, Sydney, 15 October – 9 November 2003, cat. 19

RAMMEY RAMSEY 104 born c.1935 WARLAWOON COUNTRY, 2008 ochres and pigments with acrylic binder on Belgian linen 120.0 x 120.0 cm signed with initials verso: RR bears inscription verso: artist’s name, title and Jirrawun Arts cat. RR 2008 09 236 estimate :

$7,000 – 9,000

PROVENANCE Jirrawun Arts, Kununurra Raft Artspace, Darwin Private collection, Melbourne, acquired from the above in June 2010

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YVONNE ATKINSON 105 (1918 – 1999) THE FAMILY, 1936 oil on canvas 39.0 x 44.5 cm signed and dated lower right: Yvonne Atkinson / 1936 estimate :

160

$4,000 – 6,000

PROVENANCE Private collection, Melbourne Private collection, Melbourne, acquired from the above in 2007

PETER PURVES SMITH 106 (1912 – 1949) BOTANIC GARDENS, c.1949 watercolour and ink on paper 40.0 x 49.0 cm PROVENANCE Lady Maisie Drysdale, New South Wales Private collection, Sydney estimate :

$8,000 – 12,000

EXHIBITED Peter Purves Smith, Drill Hall Gallery, Australian National University, Canberra, 8 March – 15 April 2001, cat. 59 RELATED WORK Botanic Gardens, watercolour and ink on paper, 50.7 x 59.7 cm, illus. in Homage to Peter Purves-Smith, exhibition catalogue, Joseph Brown Gallery, Melbourne, 1976

161

MARGARET PRESTON 107 (1875 – 1963) HARBOUR FORESHORE, 1925 woodcut 24.5 x 18.5 cm edition: 7/50 signed with initials in image lower left: PM signed, dated, numbered and inscribed with title below image PROVENANCE Rudy Komon Gallery, Sydney Private collection, Sydney, acquired from the above c.1983 EXHIBITED Margaret Preston and Thea Proctor, The Grosvenor Galleries, Sydney, 18 November – 2 December 1925, cat. 43 (another example) Exhibition of Woodcuts by Margaret Preston, Dunster Galleries, Adelaide, September 1926, cat. 50 (another example) LITERATURE Butler, R., The Prints of Margaret Preston: A Catalogue Raisonné, National Gallery of Australia, Canberra, 2005, cat. 79, pp. 102 – 103 (illus., another example) estimate :

$12,000 – 16,000

ERICH BUCHHOLZ 108 (1891 – 1972, German) AIRBORNE BOWS (SCHWEBENDE BOGEN), 1920 woodcut 24.5 x 20.5 cm edition: 6/unknown signed, dated and numbered below image PROVENANCE Private collection, New South Wales Thence by descent Private collection, New South Wales RELATED WORK Another example of this print is held in the collection of the Art Gallery of New South Wales, Sydney estimate :

162

$2,000 – 4,000

AMALIE COLQUHOUN 109 (1894 – 1974) LORNE BEACH oil on canvas on board 36.0 x 41.0 cm signed lower left: Amalie Colquhoun PROVENANCE Private collection, Melbourne Deutscher and Hackett, Melbourne, 25 November 2009, lot 124 Private collection, Melbourne estimate :

$4,000 – 6,000

MAX MELDRUM 110 (1875 – 1955) LE PONT ROYAL, PARIS, c.1929 oil on board 32.0 x 40.0 cm signed upper right: Meldrum PROVENANCE Athenaeum Gallery, Melbourne Private collection, New South Wales EXHIBITED Paintings by Max Meldrum, Athenaeum Gallery, Melbourne, 18 – 29 August 1931, cat. 11 We are grateful to Peter Perry for his assistance in cataloguing this work. estimate :

$3,000 – 5,000

163

LEONARD FRENCH 111 (1928 – 2017) FOOTSCRAY BRICKWORKS, 1951 oil on canvas 50.0 x 62.5 cm signed and dated upper left: French / 51 PROVENANCE Victor Greenhalgh, Melbourne, acquired directly from the artist Thence by descent Private collection, Canberra estimate :

$3,500 – 5,000

LEONARD FRENCH 112 (1928 – 2017) MUSICIANS, 1947 (VERSO: CANAL SCENE) oil and tempera on composition board 60.5 x 40.0 cm signed and dated upper right: FRENCH 47 PROVENANCE Victor Greenhalgh, Melbourne, acquired directly from the artist Thence by descent Private collection, Canberra LITERATURE French, L. and Buckley, V., Leonard French: The Campion Paintings, Grayflower Publications, Melbourne, 1962, p. 98 estimate :

164

$3,500 – 5,000

DOROTHY BRAUND 113 (1926 – 2013) FOUR FOOTBALLERS, 1967 oil on composition board 61.0 x 91.5 cm signed and dated lower left: BRAUND 67 inscribed with date and title verso: No 16 / “FOUR FOOTBALLERS” / LEVESON GALL NOV: 67 estimate :

$5,000 – 7,000

PROVENANCE Leveson Street Gallery, Melbourne Private collection, Melbourne EXHIBITED Dorothy Braund: Shapes of Figures, Leveson Street Gallery, Melbourne, 24 November – 7 December 1967, cat. 16

165

JOHN PETER RUSSELL 114 (1858 – 1930) BOIS DE BOULOGNE, PARIS, 1905 watercolour and pastel and pencil on paper 24.0 x 33.0 cm signed, dated and inscribed with title lower left: BOIS DE B. P. JANUARY. 1905 – JOHN RUSSELL PROVENANCE Private collection, Paris Private collection, Sydney estimate :

$6,000 – 8,000

RUPERT BUNNY 115 (1864 – 1947) SPRING LANDSCAPE, SOUTH OF FRANCE oil on board 19.5 x 22.5 cm certificate of authenticity label signed

by Sir Daryl Lindsay, attached verso bears inscription verso: … / Reserved / Dr Ewan Murray Will PROVENANCE Dr Ewan Murray-Will, Sydney Christie’s, Melbourne, 1 March 1973, lot 47 (as ‘Provencal Farm’) Private collection, Melbourne estimate :

$3,000 – 5,000

RUPERT BUNNY 116 (1864 – 1947) LANDSCAPE, SOUTH OF FRANCE oil on board 19.5 x 22.5 cm certificate of authenticity label signed

by Sir Daryl Lindsay, attached verso PROVENANCE Private collection Christie’s, Melbourne, 1 March 1973, lot 46 (as ‘Garden’) Private collection, Melbourne estimate :

166

$3,000 – 5,000

RUPERT BUNNY 117 (1864 – 1947) RURAL SCENE WITH HAYSTACK (FRANCE), c.1922 oil on canvas 42.5 x 59.0 cm signed with monogram lower left: RCWB bears inscription verso: Rupert Bunny Landscape PROVENANCE Estate of the artist, Melbourne Mr Eric Bunny, Albany, Western Australia Thence by descent Private collection, Western Australia Deutscher and Hackett, Melbourne, 30 April 2014, lot 142 Private collection, Adelaide LITERATURE Thomas, D., Rupert Bunny: 1864-1947, Lansdowne Press, Melbourne, 1970, cat. O497 (as ‘Rural Scene (France)’) estimate :

$10,000 – 15,000

RUPERT BUNNY 118 (1864 – 1947) THE SIREN I, c.1894 conté and monochrome wash with white highlights on card 29.5 x 19.5 cm (image) signed with artist’s monogram on image lower right: RCWB inscribed with title centre left: THE SIREN PROVENANCE Estate of the artist Thence by descent Private collection, Western Australia Deutscher and Hackett, Melbourne, 26 August 2009, lot 134 Private collection, Melbourne estimate :

$4,000 – 6,000

167

IDA RENTOUL OUTHWAITE 119 (1888 – 1960) FAIRY AND WATER BABY watercolour and pen and ink on cardboard 45.0 x 33.0 cm signed with initials lower left: IRO PROVENANCE Private collection, Sydney Thence by descent Private collection, Sydney estimate :

$8,000 – 12,000

MABEL HOOKEY 120 (1871 – 1953) NEAR ROKEBY HOUSE oil on canvas 30.0 x 54.0 cm signed on stretcher verso: M Hookey inscribed on stretcher verso: MABEL HOOKEY / TASMANIA PROVENANCE Private collection, Melbourne Born in Clarence near Hobart in 1871, Mabel Hookey was the first female journalist in Tasmania, active artist and accomplished photographer. She studied painting with A.H. Fullwood when he visited Tasmania in 1897 and 1899, his strong influence showing in this work. estimate :

168

$4,000 – 6,000

SYDNEY LONG 121 (1871 – 1955) CREEPING SHADOWS, c.1895 oil on wood panel 10.5 x 28.0 cm signed lower left: Syd Long bears inscription with title on old label verso: No 7 / Creeping Shadows / Syd Long estimate :

$14,000 – 18,000

PROVENANCE Private collection, Melbourne Sotheby’s, Melbourne, 19 September 2005, lot 15 Private collection, Melbourne Deutscher and Hackett, Sydney, 17 November 2010, lot 57 Private collection, Sydney EXHIBITED Possibly: Plein-air Studies by Six Artists, J. R. Lawson, Sydney, June 1895

SYDNEY LONG 122 (1871 – 1955) THE SLAB HUT, 1937 oil on academy board 30.0 x 58.0 cm signed and dated lower right: Sydney Long / 1937 PROVENANCE Private collection, Melbourne Deutscher~Menzies, Sydney, 16 March 2005, lot 327 Private collection, Melbourne Joel Fine Art, Melbourne, 14 August 2007, lot 51 Private collection, Melbourne Leonard Joel, Melbourne, 29 August 2010, lot 87 Private collection, Sydney estimate :

$7,000 – 9,000

169

ATTRIBUTED TO 123 ANTONIO DATTILO-RUBBO (1870 – 1955) IL GIORNALE ITALIANO (THE ITALIAN JOURNAL), c.1932 – 33 oil on canvas 51.0 x 33.5 cm PROVENANCE Private collection, Melbourne estimate :

$6,000 – 8,000

Il Giornale Italiano (The Italian Journal) commenced publication in Sydney in 1931 and was published weekly from March 1932 to January 1940, gaining an Australia-wide circulation of 8,000. At the time Fascist clubs existed across Australia and it has been suggested that influence and financial support for Italian language newspapers in other countries was provided by the Fascist regime in Italy. With stringent quotas imposed on immigration from Italy to the United States in the 1920s, the number of Italians in Australia trebled during these years, reaching 38,000 by the beginning of World War Two. Because of Italy’s alliance with Germany, almost five thousand Italian males were arrested as ‘enemy aliens’ and interned in camps across Australia.

170

In 1932 Dattilo-Rubbo (born Naples 1870, arrived Sydney 1897) was made Cavaliere, Knight of the Order of the Crown of Italy by Prime Minister Benito Mussolini, raising local concern over his loyalty and leading to a brief internment by the Australian Government in 1940. The situation was made worse when the artist donated one of his works to an Italian club alongside a monetary contribution.

The attribution of this painting to Dattilo-Rubbo is likely considering strong stylistic and compositional similarities to other works and the artist’s connection to the Italian community. The date of c.1932 – 33 is based on the six page format of Il Giornale Italiano which appeared in those years.

GEORGE LAWRENCE 124 (1901 – 1981) RESERVOIR STREET, 1941 oil on canvas on board 37.0 x 45.0 cm signed and dated lower right: G. LAWRENCE / 41 inscribed on label verso: “RESERVOIR ST” / George F. Lawrence / 41 Cliff Rd / Northwood estimate :

$8,000 – 12,000

PROVENANCE Private collection Christie’s, Sydney, 14 November 1988, lot 200 Savill Galleries, Sydney (label attached verso) Private collection, Sydney EXHIBITED Five Decades of Australian Painting 1930 – 1980, Savill Galleries, Sydney, 5 May – 5 June 1989, cat. 12 (illus. in exhibition catalogue)

171

JULIAN ROSSI ASHTON 125 (1851 – 1942) SHIPPING ON THE YARRA EARLY MORNING, c.1880 watercolour on paper 35.5 x 54.0 cm signed lower right: J.R. ASHTON. estimate :

$4,000 – 6,000

HAUGHTON FORREST 126 (1826 – 1925) HAULING IN NET IN ROUGH SEAS oil on academy board 30.5 x 47.0 cm signed lower left: HForrest PROVENANCE Private collection, Melbourne estimate :

172

$3,000 – 5,000

PROVENANCE Private collection, Melbourne EXHIBITED Probably: Tenth Exhibition of the Victorian Academy of Arts, Melbourne, April 1880, cat. 117

HAUGHTON FORREST 127 (1826 – 1925) TO THE RESCUE oil on canvas 68.5 x 114.5 cm signed lower left: HForrest estimate :

$10,000 – 15,000

PROVENANCE Private collection, Melbourne

CHARLES BRYANT 128 (1883 – 1937) CAMOUFLAGED HOSPITAL SHIP, LE HAVRE, FRANCE, 1918 oil on canvas on board 29.5 x 39.5 cm signed lower left: CHARLES / BRYANT PROVENANCE Private collection, Melbourne estimate :

$3,000 – 5,000

173

WORKS FROM THE GEDDES ESTATE, SYDNEY

MICHAEL KMIT 129 (1910 – 1981) STUDY OF A WOMAN, 1964 oil on canvas on composition board 97.0 x 71.0 cm signed and dated upper right: Kmit / 64 estimate :

174

$3,000 – 5,000

PROVENANCE Private collection Christie’s, Melbourne, 1 March 1973, lot 288 (as ‘Woman’) Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney

WORKS FROM THE GEDDES ESTATE, SYDNEY

JON MOLVIG 130 (1923 – 1970) GIRL WITH HOOP, 1957 oil on paper on composition board 45.0 x 37.5 cm signed and dated lower right: Molvig 57 PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney LITERATURE Churcher, B., Molvig: The Lost Antipodean, Allen Lane, Penguin Books, Victoria, 1984, cat. 182, p. 134 estimate :

$3,000 – 5,000

JON MOLVIG 131 (1923 – 1970) ADAM AND EVE, 1962 ink and wax resist on paper on composition board 72.0 x 101.0 cm signed and dated lower right: Molvig 62 bears inscription with title on frame verso: MOLVIG: ADAM & EVE PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$6,000 – 8,000

175

WORKS FROM THE GEDDES ESTATE, SYDNEY

RAY CROOKE 132 (1922 – 2015) WESTERN AUSTRALIAN LANDSCAPE, c.1969 oil on canvas on composition board 23.0 x 30.5 cm signed lower right: R Crooke bears inscription verso: No 47 / R Crooke / Landscape / W.A. PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$2,000 – 3,000

LAWRENCE DAWS 133 born 1927 RUNNING FIGURES, c.1974 oil on canvas on composition board 91.5 x 106.5 cm bears inscription verso: C1589 LAWRENCE DAWS PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

176

$2,500 – 5,000

WORKS FROM THE GEDDES ESTATE, SYDNEY

DONALD FRIEND 134 (1915 – 1989) TROJAN ARCHERS, c.1962 beaten sheet aluminium on marble base 32.0 cm height (including base) signed and inscribed with title on base: Donald Friend / “TROJAN ARCHERS” / No. 7337 / Ex. Coll / Lynne / DRYSDALE PROVENANCE Lynne Clarke (née Drysdale), Sydney Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$4,000 – 6,000

DONALD FRIEND 135 (1915 – 1989) DOUBLE BAY, c.1970 gouache on paper on board 49.5 x 37.0 cm signed and inscribed with title upper right: Double Bay / Donald Friend PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$2,000 – 3,000

177

WORKS FROM THE GEDDES ESTATE, SYDNEY

JOHN PERCEVAL 136 (1923 – 2000) STUDY OF TWINS, c.1949 pencil on paper 33.0 x 46.0 cm signed lower left: Perceval bears inscription verso: 33 PROVENANCE Bonython-Meadmore Gallery, Sydney (label attached verso) Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney EXHIBITED Summer Exhibition, Bonython-Meadmore Gallery, Sydney, 8 – 21 December 1988, cat. 33 estimate :

$800 – 1,200

CHARLES BLACKMAN 137 born 1928 BARBARA, c.1967 coloured chalk on paper 46.0 x 35.0 cm signed lower right: Charles Blackman PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

178

$1,000 – 1,500

WORKS FROM THE GEDDES ESTATE, SYDNEY

FRED WILLIAMS 138 (1927 – 1982) TREES, c.1960 watercolour on paper on board 38.0 x 50.0 cm signed lower left: Fred Williams bears inscription with title verso: No. 3085 ‘TREES’ / C.245 bears inscription on label verso: A/195 PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$4,000 – 6,000

KEVIN CONNOR 139 born 1932 VIEW FROM MOSMAN TO THE CITY, 1973 oil on canvas 122.0 x 137.0 cm signed and dated lower right: ‘73 / Connor PROVENANCE Bonython-Meadmore, Sydney (label attached verso) Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$3,000 – 5,000

179

WORKS FROM THE GEDDES ESTATE, SYDNEY

KEVIN CONNOR 140 born 1932 HAYMARKET, 1973 pastel on paper 74.0 x 92.5 cm signed and dated lower right: Connor ’73 signed, dated, and inscribed with title verso: Haymarket 1973 / (Dawn) EARLY MORNING – CENTRAL / Kevin Connor PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$2,000 – 3,000

KEVIN CONNOR 141 born 1932 INTERIOR WITH FIGURES, 1972 oil on board 45.0 x 30.0 cm signed and dated lower right: Connor / 72 PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

180

$1,000 – 1,500

WORKS FROM THE GEDDES ESTATE, SYDNEY

FRANCIS LYMBURNER 142 (1916 – 1972) THE STUMBLE, C.1958 oil on composition board 64.0 x 76.5 cm signed lower right: Lymburner bears inscription verso: 5 PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$3,000 – 5,000

BRIAN DUNLOP 143 (1938 – 2009) RECLINING NUDE watercolour and pencil on paper 30.5 x 55.0 cm signed lower right: Dunlop PROVENANCE Alan and Nola Geddes, Sydney Estate of Nola Geddes, Sydney estimate :

$800 – 1,200

181

PROPERTY OF VARIOUS VENDORS

A BROAD SHIELD 144 NEW SOUTH WALES, late 19th century incised and carved wood with traditional designs 74.0 cm length estimate :

182

$10,000 – 15,000

PROVENANCE Private collection United Kingdom Bonhams, Edinburgh, 2 November 2016, lot 459 Private collection, New South Wales

A HOOKED BOOMERANG 145 QUEENSLAND-NEW SOUTH WALES BORDER, early 20th century carved hardwood filled with natural earth pigment 65.0 cm length estimate :

$6,000 – 8,000

PROVENANCE Acquired by John McCabe, a school teacher in Atherton, North Queensland in the 1920s Private collection, Queensland, acquired from the above in the 1950s Private collection, Queensland RELATED WORK For other examples see Jones, P., Boomerang: Behind an Australian Icon, Wakefield Press, South Australia, 1996, pp. 64, 93

183

A BICORNIAL BASKET 146

A GULMARI SHIELD 147 SOUTH WEST QUEENSLAND, 19th century carved fig wood with geometric designs filled with natural earth pigments 43.0 cm length

PROVENANCE Acquired by John McCabe, a school teacher in Atherton, North Queensland in the 1920s Private collection, Queensland, acquired from the above in the 1950s Private collection, Queensland

PROVENANCE Private collection, USA, acquired in the 1940s Thence by descent Private collection, USA Private collection, New South Wales

estimate :

184

CARDWELL/CAIRNS, QUEENSLAND, late 19th century – early 20th century natural earth pigments on woven lawyer cane 40.0 cm height

$5,000 – 7,000

estimate :

$2,000 – 3,000

R TIMBERY 148 TRANSITIONAL SHIELD LA PEROUSE, NEW SOUTH WALES, 20th century flame engraved hard wood with pigment 57.0 cm length bears inscription verso: ABORIGINAL / MADE / R. TIMBERY PROVENANCE Private collection, Victoria, acquired in Sydney in 1970s – 80s Private collection, Melbourne estimate :

PAIR OF THROWING CLUBS 149 QUEENSLAND and WESTERN AUSTRALIA, 19th century carved and incised hard wood 70.0 and 72.0 cm length PROVENANCE Private collection, Victoria, acquired in the Mt Gambier region in the late 19th century Thence by descent Private collection, Melbourne estimate :

$3,000 – 4,000 (2)

$3,000 – 5,000

end of sale 185

1. PRIOR TO AUCTION CATALOGUE SUBSCRIPTIONS Catalogues can be obtained at Deutscher and Hackett offices or by subscription (see the Catalogue Subscription Form at the back of this catalogue or online for more information).

PRE-SALE ESTIMATES The price range estimated against each lot reflects the opinion of our art specialists as to the hammer price expected for the lot at auction and is informed by realised prices for comparable works as well as the particularities of each lot including condition, quality, provenance and rarity. While presale estimates are intended as a guide for prospective buyers, lots can be sold outside of these ranges. Pre-sale estimates include GST (if any) on a lot but do not include the buyer’s premium or other charges where applicable.

prospective buyers and sellers guide ALL PARTIES ARE STRONGLY URGED TO READ THE CONDITIONS OF AUCTION AND SALE INCLUDED IN THIS CATALOGUE

RESERVES The reserve is the minimum price including GST (if any) that the vendor will accept for a lot and below which the lot will not normally be sold.

PRE-AUCTION VIEWINGS In both Sydney and Melbourne pre-auction viewings are scheduled for several days in advance of each auction. Deutscher and Hackett specialists are available to give obligation free advice at viewings or by appointment and prospective buyers are strongly encouraged to thoroughly examine and request condition reports for potential purchases. Pre-auction viewings are open to the public and are free to attend.

SYMBOL KEY ▲ Unless ownership is clearly stated in the provenance, this symbol is used where a lot is offered which Deutscher and Hackett owns in whole or in part. In these instances, Deutscher and Hackett has a direct financial interest in the property or means that Deutscher and Hackett has guaranteed a minimum price. ● Used to indicate lots for sale without a reserve.

EXPLANATION OF CATALOGUING PRACTICE AND TERMS All information published in Deutscher and Hackett catalogues represent statements of opinion and should not be relied upon as fact. All dimensions are listed in centimetres, height before width and are approximate. All prices are in Australian dollars.

ARTIST’S NAMES All reference to artists make use of common and not full names in accordance with the standards outlined in the National Gallery of Australia reference publication Australian Art: Artist’s working names authority list. For instance, John Brack rather than Cecil John Brack; Roy de Maistre rather than Leroy Leveson Laurent De Maistre; Rosalie Gascoigne rather than Rosalie Norah Gascoigne.

Terms used in this catalogue have the meanings ascribed to them below: a. NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by the artist. b. Attributed to NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, probably a work by the artist, in whole or in part. c. Circle of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work showing the influence and style of the artist and of the artist’s period. d. Studio/Workshop of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work possibly executed under the supervision of the artist. e. School of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work by a follower or student of the artist. f. Manner of NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a work created in the style, but not necessarily in the period, of the artist. g. After NICHOLAS CHEVALIER: in the opinion of Deutscher and Hackett, a copy of a work by the artist. h. “signed” / “dated” in the opinion of Deutscher and Hackett, the work has been signed/dated by the artist. i. “bears signature” / “bears date” in the opinion of Deutscher and Hackett, the work has possibly been signed/dated by someone other than the artist.

186

PROVENANCE Where appropriate, Deutscher and Hackett will include the known provenance, or history of ownership of lots. Non disclosure may indicate that prior owners are unknown or that the seller wishes to maintain confidentiality.

2. THE AUCTION Auctions are open to the public and are free to attend. Deutscher and Hackett may exclude any person at any time in its discretion.

REGISTRATION Bidders must register to bid prior to the commencement of an auction. Deutscher and Hackett may impose other obligations on the registration of bidders in its discretion.

CONDUCT OF AUCTION Lots are offered for sale on a consecutive basis. Deutscher and Hackett will determine the conduct of the auction in its absolute discretion, including the regulation of bidding. Consecutive or responsive bids may be placed by the auctioneer on behalf of the vendor up to the reserve.

ABSENTEE OR COMMISSION BIDS AND TELEPHONE BIDS As a courtesy service, Deutscher and Hackett will make reasonable efforts to place bids for prospective buyers in absentia provided written or verbal instructions (as indicated on absentee bid forms included at the back of this catalogue or online) are received 24 hours prior to auction. Where successful, lots will be purchased at the lowest possible bid and in the event of identical absentee bids, the bid received earliest will take precedence. Deutscher and Hackett accepts no responsibility for errors and omissions in relation to this courtesy service and reserves the right to record telephone bids.

RESERVE Unless indicated otherwise, all lots are subject to a confidential reserve price determined by the vendor. Deutscher and Hackett or the auctioneer may place any number of bids on behalf of the vendor below the reserve price and is not obliged to identify that the bids are being placed on behalf of the vendor.

BIDDING INCREMENTS Bidding usually opens below the listed pre-sale estimate and proceeds in the following increments (the auctioneer may vary the bidding increments at his or her discretion): $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 SUCCESSFUL BIDS The fall of the auctioneer’s hammer indicates the final bid and the buyer assumes full responsibility for the lot from this time.

UNSOLD LOTS Where a lot is unsold, the auctioneer will announce that the lot is “bought in”, “passed”, “withdrawn” or “returned to owner”.

3. AFTER THE AUCTION PAYMENTS Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer. If payment is made by credit card the price will increase by any merchant fees payable

by Deutscher and Hackett (1.15% (including GST) for Visa and Mastercard and 1.65% (including GST) for American Express). In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Cleared funds will be held in an interest bearing trust account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to retain any interest earned during this period. Payment by the vendor of any charge to Deutscher and Hackett is to be made within fourteen days of invoice.

PURCHASE PRICE AND BUYER’S PREMIUM The purchase price will be the sum of the final bid price (including any GST) plus a buyer’s premium set at 22% (plus GST) of the final bid price. Buyers may be liable for other charges reasonably incurred once ownership has passed.

GOODS AND SERVICES TAX Buyers are required to pay a 10% G.S.T which sum is: a. included in the final bid prices where buying from a GST registered vendor; and b. included in any additional fees charged by Deutscher and Hackett; and c. added to the buyer’s premium.

Where GST applies to some lots the final bid price will be inclusive of the applicable GST. A list of those lots is set out in the catalogue on page 206.

If a buyer is classified as a “non-resident” for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

COLLECTION Lots paid for in full may be collected from Deutscher and Hackett premises the day after the auction occurs but lots paid for by cheque may not be collected until all funds have cleared. Proof of identification is required upon collection and lots not collected within seven days of the sale may incur costs associated with external storage and freight.

LOSS OR DAMAGE Risk in the lot, including risk of loss or damage, will pass to the buyer on either the date payment is due, whether or not it has been made, or on collection by the buyer, whichever is earlier. The buyer is therefore encouraged to make arrangements to ensure comprehensive cover is maintained from the payment due date.

TRANSPORT AND SHIPPING Deutscher and Hackett directly offers services including storage, hanging and display, appraisals and valuations, collection management and research and in all instances will endeavour to coordinate or advise upon shipping and handling, insurance, transport, framing and conservation at the request and expense of the client. Deutscher and Hackett does not accept liability for the acts or omissions of contracted third parties.

EXPORT Prospective bidders are advised to enquire about export licences — including endangered species licences and cultural heritage permits, where relevant — prior to bidding at auction. Telephone the Cultural Property and Gifts Section, Museums Section, Ministry for the Arts, on 1800 819 461 for further information. The delay or denial of such a licence will not be grounds for a rescission of sale.

COPYRIGHT The copyright in the images and illustrations contained in this catalogue may be owned by third parties and used under licence by Deutscher and Hackett. As between Deutscher and Hackett and the buyer, Deutscher and Hackett retains all rights in the images and illustrations. Deutscher and Hackett retains copyright in the text contained in this catalogue. The buyer must not reproduce or otherwise use the images, illustrations or text without prior written consent.

187

The terms and conditions of business set forth below are subject to amendment by verbal or written notice prior to and during the auction and sale. They constitute the entire contractual agreement with the buyer in respect to any lot offered at auction.

By bidding at auction in any manner compliant with bidding procedures, the buyer and all bidders agree to be bound by these terms and conditions and the terms of the prospective buyers and sellers guide contained in this catalogue, as amended. To the extent that an agent acts on behalf of the buyer, liability for obligations arising from these conditions of business will pass to the buyer. Multiple buyers are jointly and severally liable for obligations arising from this agreement.

DEFINITIONS 1.

conditions of auction and sale ALL PARTIES ARE STRONGLY URGED TO READ THE CONDITIONS OF AUCTION AND SALE INCLUDED IN THIS CATALOGUE

Definition of terms: a. The ‘buyer’ refers to the party with the highest accepted bid for any lot at auction and/or such party’s principal where bidding as agent. b. The ‘vendor’ refers to the party consigning property for sale and/or such party’s principal where acting as agent. c. ‘Deutscher and Hackett’ refers to Deutscher and Hackett Pty Ltd ACN 123 119 022, its subsidiaries, officers, employees and agents. d. The ‘hammer price’ refers to the final bid price (including any GST) accepted by the auctioneer, or in the case of a post-auction sale, the agreed sale price (including any GST). e. The ‘buyer’s premium’ refers to the 22% charge (plus GST) payable by the buyer calculated as a percentage of the hammer price. f. ‘GST’ refers to the goods and services tax imposed by the A New Tax System (Goods and Services) Act 1999 as amended. g. The ‘lot’ refers to the item(s) described against any lot number in the catalogue. h. The ‘reserve’ refers to the minimum price (including any GST) the consignor will accept for a lot.

PRELIMINARY CONDITIONS AND DISCLAIMER 2. Agency: Deutscher and Hackett acts as agent for the vendor and the contract of sale for the lot will be between the buyer and the vendor.

3.

Property is sold ‘as is’: To the extent permitted by law: a. no guarantees, warranties or representations are made (express or implied) by Deutscher and Hackett or the vendor in relation to the nature and condition of any lot; and b. Deutscher and Hackett disclaims liability for any misrepresentations, errors or omissions, whether verbal or in writing, in the catalogue or any supplemental material.

All factual information provided by the vendor is merely passed on by Deutscher and Hackett from the vendor or other source. Deutscher and Hackett has made no attempt to verify this information. All additional statements of opinion represent the specialist opinions of Deutscher and Hackett employees and should not be relied upon as statements of fact.

4. Responsibility to inspect: Responsibility remains with the buyer to satisfy its, his or her self by inspection and evaluation prior to purchase as to the nature and condition of any property.

CONDITIONS AT AUCTION 5. Registration: Bidders must register to bid and obtain a bidder’s paddle prior to the commencement of the auction. Registration requires that bidders provide proof of identity and Deutscher and Hackett may impose other obligations on the registration of bidders in its discretion.

6. Auctioneer’s discretion: Deutscher and Hackett reserves the right to absolute discretion over the conduct of the auction including the regulation of bidding and its increments. This discretion extends to the challenge or rejection of any bid, the right to withdraw any lot and the right to determine the successful bidder or reoffer a lot in the event of a dispute. The prospective buyers and sellers guide details an indicative process for the conduct of auctions. All parties are strongly urged to read the prospective buyers and sellers guide included in this catalogue.

188

7. Bidding: Deutscher and Hackett may sell each lot to the highest bidder at auction provided the reserve price has been met or where the net amount accounted to the vendor is at least equivalent to the net amount that would have been achieved for a sale at the reserve price. The fall of the auctioneer’s hammer marks the acceptance of the highest bid and the conclusion of a contract for sale between the vendor and the buyer. Unless otherwise agreed in writing with Deutscher and Hackett, the individual physically present at the auction who signals the bid accepts personal liability to pay the purchase price, including the buyer’s premium and all additional fees, taxes and charges.

GOODS AND SERVICES TAX 8. Amounts inclusive of GST: Unless otherwise specified, all amounts specified in this section as payable by the buyer, or otherwise used to calculate payment to Deutscher and Hackett, are inclusive of any GST component. Deutscher and Hackett will provide buyers with a tax invoice that meets the requirements of the Australian Taxation Office.

9. Application of GST to buyers: Buyers are required to pay a 10% GST which sum is: a. included in the final bid prices where buying from a GST registered vendor (a list of lots consigned by GST Registered Entities is set out on page 206 of the catalogue); and b. included in any additional fees charged by Deutscher and Hackett; and c. added to the buyer’s premium.

If a buyer is classified as a “non-resident” for the purpose of GST, the buyer may be able to recover GST paid on the final purchase price if certain conditions are met.

POST-SALE CONDITONS 10. Post auction private sale: Should the lot fail to sell at auction, Deutscher and Hackett is authorised to sell the lot privately for a period of seven days in which event this agreement shall apply to the relevant buyer to the full extent of its provisions.

11. Payment: The buyer will not acquire title until payment has cleared in full. Interest at a rate of 17.5% p.a. will be charged over outstanding accounts where no extension of terms has been granted. Interest will be payable from the payment due date. With respect to each lot purchased, the buyer agrees to make the following payments within seven days from the date of sale: a. The hammer price. b. In exchange for ser vices rendered by Deutscher and Hacket t, a buyer’s premium calculated at 22% (plus GST) of the hammer price. c. Post sale packing, handling, shipping and storage where applicable. d. If payment is made via Visa, Mastercard or American Express, any merchant fees payable by Deutscher and Hackett on the transaction as indicated in the prospective buyers and sellers guide.

Payment must be made within seven days of the date of sale in Australian dollars by cash, cheque, direct deposit, approved credit cards or electronic funds transfer using the form and/or trust account details provided at the back of this catalogue. In certain circumstances, extension of payment may be granted at the discretion of Deutscher and Hackett. Once funds have cleared, the proceeds of the sale less the buyer’s Premium, GST and any commission or costs charged as agreed will be remitted to the vendor within thirty-five days of the date of sale provided payment has been received in full. Funds will be held in an interest bearing account by Deutscher and Hackett until remitted to the vendor. Deutscher and Hackett will be entitled to any interest earned during this period. Application for a cultural heritage export licence or any other licence in no way affects the buyer’s obligation to make payment or collection within the periods specified in sections 10 and 13a.

12. Risk and Title: Risk in the lot, including risk of loss or damage, will pass to the buyer on the earlier of: a. the date payment is due, whether or not it has been made; and b. collection by the buyer.

The buyer assumes risk for the property in all respects from this date and neither Deutscher and Hackett nor the vendor will be liable for loss or damage occurring after the payment due date. The buyer is encouraged to make arrangements to ensure comprehensive cover is maintained from this date. Title in the lot does not pass to the buyer, even if the lot is released to the buyer, until the buyer has paid all sums owing to Deutscher and Hackett. If a buyer makes a claim against Deutscher and Hackett for damage or loss after sale, the buyer’s premium and the final bid price shall be payable notwithstanding.

13. Freight: a. The buyer may only remove a lot from the Deutscher and Hackett premises once payment has been cleared in full and must be removed no later than seven days after the date of sale. Should items not be removed by this time, storage and insurance costs may be charged to the buyer. If a lot has not been collected within 30 days after the date of sale and alternative arrangements have not been with Deutscher and Hackett, the lot may be re-sold by Deutscher and Hackett without reserve at the next auction and Deutscher and Hackett may set off any amounts owed for storage and insurance costs and its standard commission before remitting the proceeds to the buyer. b. Buyers are required to make their own arrangements for packing, handling, shipping and transit insurance for their property. Deutscher and Hackett does not accept responsibility or liability for the acts or omissions of any third party, such as a shipping agent, whether or not such a party has been recommended or suggested by Deutscher and Hackett.

14. Limited Warranty of Authorship: If a buyer is able to establish that a lot is a forgery in accordance with these conditions for sale within five years of the date of sale, the buyer shall be entitled to rescind the sale and obtain a refund of the hammer price from the vendor. The buyer must return the lot in the state in which it was sold within fourteen days of notifying Deutscher and Hackett of the forgery allegations.

For a lot to be established as a forgery, the following conditions must be satisfied: a. the buyer must supply two independent expert testimonies attesting to the forgery. Deutscher and Hackett is entitled to request further expert evidence where it deems the evidence provided to be unsatisfactory; b. there must be no conflict of opinion among accepted experts in the field; and c. the forgery must be able to be proven through means that at the time of publication of the catalogue were commonly employed and that will not damage or otherwise put the lot in jeopardy.

The limited warranty and the right to rescind the sale is not assignable and the buyer must have retained title to the lot without disposing of any interest in it up until the buyer notifies Deutscher and Hackett of the forgery allegations. The buyer acknowledges that it has no rights directly against Deutscher and Hackett if a lot is established to be a forgery.

15. Termination, Breach and Legalities: a. Deutscher and Hackett breach: To the extent permitted by law, the sole and maximum remedy to a buyer for breach of warranty is a refund of original purchase price, including buyer’s premium. In such an event the sale contract shall be rescinded and all costs associated with returning the property (in the state in which it was sold) to the premises of Deutscher and Hackett are to be borne by the buyer. Deutscher and Hackett is not liable for any indirect or consequential loss or damage for any matter arising directly or indirectly as a result of the sale. b. Buyer breach: Deutscher and Hackett may, in addition to other remedies available by law, exercise one or more of the following rights or remedies for breach: i.

Cancel the sale and retain any payment or property in Deutscher and Hackett custody as collateral or liquidated damages. ii. Charge the buyer interest at the rate of 2% above the rate fixed under section 2 of the Penalty Interest Rates Act 1984 (Vic). iii. Resell the property without reserve at the next auction or privately on five days notice. Any disparity between sale and resale prices, including associated costs such as, but not limited to, legal, storage and sale expenses, will be to the account of the defaulting buyer. iv. Apply any part payment received from the buyer in respect of any lots at its discretion. v. Retain any of the buyer’s property held by Deutscher and Hackett until the buyer has satisfied its obligations to Deutscher and Hackett. vi. Take any other action Deutscher and Hackett deems necessary or appropriate. vii. Refuse to permit the buyer to participate in future auctions. viii. Provide the vendor with the buyer’s details to permit the vendor to take action against the buyer to recover the money.

16. Governing 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.

17. Severability: In the event that any provisions of this agreement should be found unenforceable in a court of law, that part shall be discounted and the remaining conditions shall continue in full force and effect to the extent permitted by law.

189

COOL CLIMATE ART IN A BOTTLE. With its dramatic, cool climate, the breathtaking Tasmanian landscape is an artist’s dream and a sparkling winemaker’s paradise. This is Méthode Tasmanoise.

kwp!JAN10153

CATALOGUE SUBSCRIPTION FORM ❑ ❑ ❑ ❑

Fine Art (Single issue) $45* Aboriginal Art single issue (Single issue) $45* Annual Fine Art Auctions (3 issues) $120* Annual Fine Art & Aboriginal Art Auctions (4 issues) $160*

❑ Tax invoice required

* Price includes G.S.T. postage and handling. Additional $10 per catalogue for international orders

SALE CODE: GEDDES SALE NO.: 055 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART SYDNEY AUCTION 29 AUGUST, 7:00 PM LOTS 1 — 149 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 16 GOODHOPE STREET PADDINGTON NSW 2021

tel: 02 9287 0600 fax: 02 9287 0611

(Mr/Mrs/Ms/Miss) Name (please print)

Business name

Address

City

Telephone/Home

State

Business/Mobile

Post Code

Fax

Email

Subscription Payment by:

❑ Visa ❑ AMEX ❑ Mastercard

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info@deutscherandhackett.com

191

ATTENDEE PRE-REGISTRATION FORM SALE CODE: GEDDES SALE NO.: 055 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART

(Mr/Mrs/Ms/Miss) Name (please print)

Business name

Address

City

Telephone/Mobile

State

Email

Post Code

SYDNEY AUCTION 29 AUGUST, 7:00 PM LOTS 1 — 149 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 16 GOODHOPE STREET PADDINGTON NSW 2021

tel: 02 9287 0600 fax: 02 9287 0611 info@deutscherandhackett.com we must receive buyer pre-registration forms at least 24 hours prior to the auction

192

TELEPHONE BID FORM SALE CODE: GEDDES SALE NO.: 055 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART SYDNEY AUCTION 29 AUGUST, 7:00 PM LOTS 1 — 149 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

(Mr/Mrs/Ms/Miss) Name (please print)

Billing address (PO Box insufficient)

Address

City

State

Post Code

1.

2.

Telephone numbers for auction date in order of preference

Facsimile

Email

Signature (required)

please email, post or fax this completed form to:

LOT NO.

Date

ARTIST/TITLE

COVER BID*

1.

DEUTSCHER AND HACKETT 16 GOODHOPE STREET PADDINGTON NSW 2021

2.

tel: 02 9287 0600 fax: 02 9287 0611

4.

info@deutscherandhackett.com

5.

we must receive buyer pre-registration forms at least 24 hours prior to the auction

6.

3.

7.

8.

9.

10. *Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars INTERNAL USE ONLY RECEIVED BY

DATE

TIME

Please refer to the Guidelines for Potential Purchasers and Buyer’s Conditions in this catalogue for information regarding sales.

By completing this form, I authorise DEUTSCHER AND HACKETT to contact me by telephone on the contact number(s) nominated. I understand it is my responsibility to enquire whether any Sale-Room Notices relate to any lot on which I intend to bid. I also understand that should my bid(s) be successful, a buyer’s premium of 22% (plus GST), as described in the Guide to Potential Purchasers and Buyer’s Conditions printed in this catalogue, will be added to the final hammer price.

I accept that DEUTSCHER AND HACKETT provides this complimentary service as a courtesy to its clients, that there are inherent risks to telephone bidding, and I will not hold DEUTSCHER AND HACKETT responsible for any error.

193

ABSENTEE BID FORM SALE CODE: GEDDES SALE NO.: 055 IMPORTANT AUSTRALIAN + INTERNATIONAL FINE ART

(Mr/Mrs/Ms/Miss) Name (please print)

Billing address (PO Box insufficient)

Address

City

State

Telephone

Facsimile

Business/Mobile

Email

Signature (required)

LOT NO.

Post Code

SYDNEY AUCTION 29 AUGUST, 7:00 PM LOTS 1 — 149 CELL BLOCK THEATRE NATIONAL ART SCHOOL, SYDNEY FORBES STREET DARLINGHURST NSW 2010

Date

ARTIST/TITLE

MAXIMUM BID*

1.

2.

3.

please email, post or fax this completed form to: DEUTSCHER AND HACKETT 16 GOODHOPE STREET PADDINGTON NSW 2021

4.

tel: 02 9287 0600 fax: 02 9287 0611

5.

info@deutscherandhackett.com

6.

we must receive buyer pre-registration forms at least 24 hours prior to the auction

7.

8.

9.

10. *Not including buyer’s premium or GST (where applicable). Bids are made in Australian dollars

INTERNAL USE ONLY

Absentee bids must be received a minimum of twenty-four hours prior to auction. All absentee bids received will be confirmed by phone or fax. In the event that confirmation is not received, please resubmit or contact our office.

RECEIVED BY

Please refer to the Guidelines for Potential Purchasers and Buyer’s Conditions in this catalogue for information regarding sales. By completing this form, absentee bidders request and authorise DEUTSCHER AND HACKETT to place the following bids acting as agent on their behalf up to and including the maximum bid specified. Lots will be bought at the lowest possible bid authorised by a bidder in absentia.

DATE

Should the bid be successful, the buyer will be obliged to pay the final bid price plus buyer’s premium of 22% (plus GST) of the final bid price. DEUTSCHER AND HACKETT provides this complimentary service as a courtesy to clients and does not accept liability for errors and omissions in the execution of absentee bids.

194

TIME

COLONY FRONTIER WARS

UNTIL 30 SEP THE IAN POTTER CENTRE: NGV AUSTRALIA NGV.MELBOURNE

MAJOR PARTNER

MEDIA PARTNER

Michael Cook Court 2014 (detail) no. 7 from the Majority Rule series 2014. National Gallery of Victoria, Melbourne. Yvonne Pettengell Bequest, 2014 © Courtesy of the artist

CONSIGNING NOW important fine art + indigenous art

AUCTION • NOVEMBER 2018 • MELBOURNE for appraisals please contact melbourne • 03 9865 6333 sydney • 02 9287 0600 info@deutscherandhackett.com www.deutscherandhackett.com

SIDNEY NOLAN’S NED KELLY SERIES 11 AUG – 12 NOV 2018

AUGUST – DECEMBER

SPACED 3: NORTH

BY SOUTHEAST 18 AUG – 7 JAN 2019

Sidney Nolan’s Ned Kelly series

spaced 3: north by southeast

Exhibition Sponsor

WA Now – Biomess – The Tissue Culture & Art Project (Oron Catts/ Ionat Zurr) This exhibition is a collaborative project between SymbioticA, Western Australian Museum and the Art Gallery of WA.

National Collecting Institutions Touring & Outreach Program

This project has been assisted by the Australian Government’s Visions of Australia program and by the National Collecting Institutions Touring and Outreach Program.

The National Gallery of Australia is an Australian Government Agency.

Annual Sponsors – Principal Partner 303 MullenLowe, Singapore Airlines, Alex Hotel, Kennedy, Juniper Estate, Gage Roads Brewing Co.

FREE | artgallery.wa.gov.au Clockwise from top: Sidney Nolan Ned Kelly 1946 (detail) from the Ned Kelly series 1946 – 1947. Enamel paint on composition board, 90.8 x 121.5 cm. Gift of Sunday Reed 1977. National Gallery of Australia collection.

Oron Catts & Ionat Zurr Seastar Comet – Biomess 2018 (detail). The Tissue Culture & Art Project. Collection, Western Australian Museum. Dan McCabe Birch trees by the river 2017 (detail). Courtesy of the artist.

BIOMESS – THE TISSUE CULTURE & ART PROJECT (ORON CATTS / IONAT ZURR) 8 SEP – 3 DEC 2018

PRINCIPAL PARTNER

STATE OF THE UNION

STATE OF THE UNION STATE OF THE UNION

This project is supported by the Victorian Government through Creative Victoria, the City of Melbourne Arts Grants Program, the Australian Council of Trade Unions and the National Tertiary Education Union.

Richard Lewer, What is a Scab?

A Traitor... 2011, oil on canvas.

Courtesy of the artist and Hugo Michell Gallery, Adelaide

This project is supported by the Victorian Government through Creative Victoria, the City of Melbourne Arts Grants Program.

This project is supported by the Victorian Government through Creative Victoria, the City of Melbourne Arts Grants Program, the Australian Council of Trade Unions and the National Tertiary Education Union.

Richard Lewer, What is a Scab?

A Traitor... 2011, oil on canvas.

Courtesy of the artist and Hugo Michell Gallery, Adelaide

Richard Lewer, What is a Scab?

A Traitor... 2011, oil on canvas.

Courtesy of the artist and Hugo Michell Gallery, Adelaide

BALDESSIN/WHITELEY: PARALLEL VISIONS 31 AUG 18 – 28 JAN 19 THE IAN POTTER CENTRE: NGV AUSTRALIA BOOK NOW AT NGV.MELBOURNE

(above) Greg Weight Brett Whiteley – portrait 2 1975 (detail) National Portrait Gallery, Canberra Gift of Patrick Corrigan AM 2004 Donated through the Australian Government’s Cultural Gifts Program © Greg Weight (below) George Baldessin c. 1974 (detail) Photo © Merrilyn Partos

PRINCIPAL PARTNER

MAJOR PARTNER

MEDIA PARTNERS

COPYRIGHT CREDITS Lot 2 Lot 3 Lot 4 Lot 5 Lot 6 Lot 7 Lot 8 Lot 10 Lot 11 Lot 12 Lot 13 Lot 14 Lot 19 Lot 21 Lot 22 Lot 24 Lot 25 Lot 26 Lot 35 Lot 36

Lot 37 Lot 38 Lot 39 Lot 40 Lot 41 Lot 42 Lot 43 Lot 44

© Estate of Fred Williams/Copyright Agency, 2018 © Charles Blackman/Copyright Agency, 2018 © The Nolan Trust / Bridgeman Images © courtesy of Helen Brack © courtesy of The Estate of Jeffrey Smart © courtesy of The Estate of Jeffrey Smart © The Estate of Ian Fairweather/ Copyright Agency, 2018 © Arthur Boyd/Copyright Agency, 2018 © Ray Crooke/Copyright Agency, 2018 © The Nolan Trust / Bridgeman Images © Charles Blackman/Copyright Agency, 2018 © Charles Blackman/Copyright Agency, 2018 © The Albert & Barbara Tucker Foundation.

Courtesy of Sotheby’s Australia. © The Estate of Ian Fairweather/ Copyright Agency, 2018 © courtesy of Helen Brack © Lloyd Rees/Copyright Agency, 2018 © courtesy of Wendy Whiteley © courtesy of Wendy Whiteley © Cressida Campbell/Copyright Agency, 2018 © courtesy of Tim Maguire. Tim Maguire is represented by Martin Browne Contemporary, Sydney and Tolarno Galleries, Melbourne © Garry Shead © Ken Whisson © Emily K Kngwarreye/Copyright Agency, 2018 © Rover Thomas/Copyright Agency, 2018 © Emily K Kngwarreye/Copyright Agency, 2018 © Bill Whiskey Tjapaltjarri/Copyright Agency, 2018 © Ben Quilty © Del Kathryn Barton

LOTS CONSIGNED BY GST REGISTERED ENTITIES Lot 58 Lot 65 Lot 66 Lot 74 Lot 75 Lot 78 Lot 81 Lot 98 Lot 144 Lot 147

Sydney Ball Max Dupain Arthur Streeton Grace Cossington Smith Eric Wilson Sam Fullbrook Cressida Campbell Sonia Delaunay A Broad Shield A Gulmari Shield

RESALE ROYALTY Some lots consigned for this sale may be subject to the Resale Royalty Right for Visual Artists Act 2009 (Cth). Any payments due under the obligations of the Act will be paid by the vendor.

ACKNOWLEDGEMENTS Photography: Graham Baring Design: Sevenpoint Design © Published by Deutscher and Hackett Pty Ltd 2018 978-0-9953817-9-7

206

Lot 45 Lot 46 Lot 47 Lot 48 Lot 49 Lot 50 Lot 51 Lot 52 Lot 53 Lot 54 Lot 55 Lot 56 Lot 58 Lot 59 Lot 61 Lot 62 Lot 63 Lot 64 Lot 65 Lot 67 Lot 69 Lot 70 Lot 71 Lot 73 Lot 76 Lot 77 Lot 79 Lot 80 Lot 81

© Philip Wolfhagen/Copyright Agency, 2018 © Philip Wolfhagen/Copyright Agency, 2018 © Aida Tomescu/Copyright Agency, 2018 © Aida Tomescu/Copyright Agency, 2018 © Aida Tomescu/Copyright Agency, 2018 © Estate of Fred Williams/Copyright Agency, 2018 © courtesy of The Estate of Jeffrey Smart © courtesy of Wendy Whiteley © The Estate of Ian Fairweather/ Copyright Agency, 2018 © Charles Blackman/Copyright Agency, 2018 © Gleeson/O’Keefe Foundation © Jennifer Dickerson/Licensed Copyright Agency, 2018 © courtesy of the Estate of the late Sydney Ball © John Coburn/Copyright Agency, 2018 © reproduced by permission of The Henry Moore Foundation © courtesy of Helen Brack © courtesy of Helen Brack © The Albert & Barbara Tucker Foundation.

Courtesy of Sotheby’s Australia. © Max Dupain/Copyright Agency, 2018 © Jessie Traill/Copyright Agency, 2018 © Hans Heysen/Copyright Agency, 2018 © Namatjira Legacy Trust/Copyright Agency, 2018 © Namatjira Legacy Trust/Copyright Agency, 2018 © Sali Herman/Copyright Agency, 2018 © The Nolan Trust / Bridgeman Images © The Nolan Trust / Bridgeman Images © John Olsen/Copyright Agency, 2018 © John Olsen/Copyright Agency, 2018 © Cressida Campbell/Copyright Agency, 2018

Lot 82 Lot 83 Lot 84 Lot 85 Lot 86 Lot 87 Lot 90 Lot 94 Lot 95 Lot 96 Lot 99 Lot 100 Lot 101 Lot 102 Lot 103 Lot 104 Lot 107 Lot 108 Lot 111 Lot 112 Lot 124 Lot 129 Lot 132 Lot 134 Lot 135 Lot 136 Lot 137 Lot 138 Lot 143

© Jan Billycan/Copyright Agency, 2018 © Jan Billycan/Copyright Agency, 2018 © Butcher C Janangoo/Copyright Agency, 2018 © Mirdidingkingathi Juwarnda Sally Gabori/Copyright Agency, 2018 © Makinti Napanangka/Copyright Agency, 2018 © Eubena Nampitjin/Copyright Agency, 2018. © courtesy of the artist © Peter Booth/Copyright Agency, 2018 © Gleeson/O’Keefe Foundation © Del Kathryn Barton © Yvonne Audette/Copyright Agency, 2018 © The Estate of Pablo Picasso/ Copyright Agency, 2018 © The Estate of Pablo Picasso/ Copyright Agency, 2018 © courtesy of The Estate of Paddy Bedford © Freddie Timms/Copyright Agency, 2018 © Rammey Ramsey/Copyright Agency, 2018 © Margaret Preston/Copyright Agency, 2018 © Erich Buchholz Estate © Leonard French/Copyright Agency, 2018 © Leonard French/Copyright Agency, 2018 © George Lawrence/Copyright Agency, 2018 © Michael Kmit/Copyright Agency, 2018 © Ray Crooke/Copyright Agency, 2018 © Donald Friend/Copyright Agency, 2018 © Donald Friend/Copyright Agency, 2018 © John de Burgh Perceval/Copyright Agency, 2018 © Charles Blackman/Copyright Agency, 2018 © Estate of Fred Williams/Copyright Agency, 2018 © Brian Dunlop/Copyright Agency, 2018

index A ARTIST UNKNOWN ASHTON, J. R. ATKINSON, Y. AUDETTE, Y. B BALL, S. BALSON, R. BARTON, D.K. BECKETT, C. BEDFORD, PADDY NYUNKUNY BILLYCAN (DJAN NAMUNDIE), JAN BLACKMAN, C. BOOTH, P. BOYD, A. BOYD, D. BRACK, J. BRAUND, D. BRYANT, C. BUCHHOLZ, E. BUNNY, R. C CAMPBELL, C. CARTER, ATTRIBUTED TO G. CHEREL, JANANGOO BUTCHER COBURN, J. COLQUHOUN, A. CONNOR, K. CROOKE, R. D DAWS, L. DE MAISTRE, R. DELAFIELD COOK, J. DELAUNAY, S. DICKERSON, R. DUNLOP, B. DUPAIN, M. F FAIRWEATHER, I. FORREST, H. FOX, E.P. FRENCH, L. FRIEND, D. FULLBROOK, S.

29, 144 – 147, 149 125 105 99

58 1 44, 96 17 102 82, 83 3, 13, 14, 54, 137 94 10 92 5, 22, 62, 63 113 128 108 33, 34, 115 – 118

35, 81 27 84 59 109 139 – 141 11, 132

133 20 91 98 56 143 65

8, 21, 53 126, 127 32 111, 112 134, 135 78

G GABORI, MIRDIDINGKINGATHI JUWARNDA SALLY GLEESON, J. H HERMAN, S. HEYSEN, H. HINDER, F. HOOKEY, M. K KMIT, M. KNGWARREYE, EMILY KAME KNGWARREYE, EMILY KAME

85

55, 95

73 69 16 120

129 39 41

L LAWRENCE, G. LEACH, S. LONG, S. LYMBURNER, F.

124 88, 89 121, 122 142

M MAGUIRE, T. MELDRUM, M. MILLER, G. MOLVIG, J. MOORE, H.

36 110 23 130, 131 61

N NAMATJIRA, ALBERT NAMPITJIN, EUBENA NAPANANGKA, MAKINTI NOLAN, S. NOONAN, D. O OLSEN, J. OUTHWAITE, I.R. P PERCEVAL, J. PICASSO, P. PRESTON, M. PUGH, C. Q QUILTY, B.

70, 71 87 86 4, 12, 76, 77 93

79, 80 119

R RAMSEY, RAMMEY REES, L. ROBERTS, T. ROBINSON, W. RUBBO, ATTRIBUTED TO D. RUSSELL, J.P. S SCHRAMM, A. SHEAD, G. SMART, J. SMITH, G.C. SMITH, P.P. STORRIER, T. STREETON, A. T TAYLOR, H. THAKE, E. THOMAS (JOOLAMA), ROVER TIMBERY, R. TIMMS, FREDDIE TJAPALTJARRI, BILL WHISKEY TOMESCU, A. TRAILL, J. TUCKER, A. V VASSILIEFF, D. VON GUÉRARD, E. W WAKELIN, R. WHISSON, K. WHITELEY, B. WILLIAMS, F. WILSON, E. WOLFHAGEN, P.

104 24 68 97 123 114

28 37 6, 7, 51 74 106 90 31, 66

60 18 40 148 103 42 47 – 49 67 19, 64

9, 15 30

72 38 25, 26, 52 2, 50, 138 75 45, 46

136 100, 101 107 57

43

207

208