Tuesday 16 September 9.00 am – 5.30 pm
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Monday 22 September 9.00 am – 5.30 pm
Tuesday 23 September 9.00 am – 5.30 pm
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Felicity St John Moore devoted her career to educating the public about how to look at, understand and appreciate the Australian visual arts. After ten years as the Federal Director of the Arts Council of Australia, Felicity flourished as the Assistant Curator of Education and Principal lecturer of Public Programs at the National Gallery of Australia, Canberra, when the gallery first opened to the public in 1982, under the leadership of her mentor, James Mollison. Her lectures were always the product of intense research, original thinking and delivered with great energy, humour and intellectual challenge. Her reputation as an outstanding educator eventually led to her appointment as Head of Education at Christie’s, Australia, and to exclusive invitations from across the globe to speak about Australian art at institutions including the National Gallery London and National Gallery in Washington, and even exotic destinations such as Noumea where she remarkably delivered her lecture in French!
In 1990, the National Gallery of Victoria appointed Felicity as the Guest Curator of Special Exhibitions where she not only contributed to many travelling exhibitions including The Angry Penguins and Realist Painting in Melbourne in the 1940s (1988 – 1990), but was the sole curator of three major exhibitions, each accompanied by a substantial catalogue which she authored: Classical Modernism (1992); Charles Blackman: Schoolgirls and Angels (1993); and Sam Fullbrook (1995).
Later collaborative exhibitions included Charles Blackman: Alice in Wonderland at the National Gallery of Victoria (2006); Danila Vassilieff: A New Art History at Heide Museum of Modern Art (2012) and Vassilieff: Journey to Mildura at the Mildura Arts Centre (2013). Notably, Felicity also dedicated more than forty years of research to
restoring Danila Vassilieff to his rightful place in Australian art history – culminating in her authoritative text on the artist, Vassilieff and his Art (Oxford University Press, 1982) and a second, expanded edition (Macmillan Art Publishing, 2012).
Indeed, as an author, Felicity‘s contribution to the academic study and interpretation of Australian art was extensive. She wrote numerous articles and essays for a range of journals and organisations throughout her career, and alongside her seminal publications on Vassilieff and claim that Sidney Nolan’s iconic Ned Kelly’s series was directly inspired by the émigré artist, she notably secured a place as an Honorary Fellow of Fine Arts at the University of Melbourne.
Felicity’s expert opinion and keen connoisseurship skills were also widely soughtafter from the business community, and she curated the art collections of the National Australia Bank; the ANZ Bank; and Western Mining Corporation. Likewise, major fine art auction houses would routinely defer to Felicity’s expertise (particularly in matters of authenticity), and various private collectors similarly sought Felicity’s advice about their collections and potential acquisitions.
Encapsulating a lifetime’s experience of looking at and contemplating Australian art, the 33 works on offer here derive from Felicity’s personal collection. Imbued with fond memories and reflecting her unique connections with the artists represented, many of the works were notably purchased directly from the artists’ studios and thus, bear impeccable provenance. As a family, we are sad to part with this wonderful collection but sincerely wish the new owners the same happiness and reward that Felicity enjoyed from viewing such artworks in her home every day.
RICHARD, TIM AND LISA MOORE
Rick Amor born 1948
Study for The waiter, 1995
oil on linen
24.5 x 20.0 cm
34.5 x 30.0 cm (frame)
dated and inscribed with title verso: NOV / 95 / STUDY / FOR THE / WAITER
Starting bid: $6,000
ESTIMATE: $10,000 – 15,000
Provenance
Niagara Galleries, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 1995
Exhibited
Rick Amor, Niagara Galleries, Melbourne, 4 – 29 June 1996, cat. 15 (illus. in exhibition catalogue)
Rick Amor: Standing in the shadows, McClelland Gallery and Sculpture Park, Victoria, 8 May – 26 June 2005, cat. 56
Literature
Lindsay, R., Standing in the Shadows, McClelland Gallery and Sculpture Park, Victoria, 2005, cat. 56, pp. 68 (illus.), 122
Related Works
The waiter, 1995 – 2000, oil on canvas, 107.0 x 91.0 cm, private collection
The waiter, 1996, oil on canvas, 116.0 x 89.0 cm, private collection, Melbourne, illus. in Catalano, G., The Solitary Watcher: Rick Amor and his Art, Miegunyah Press, 2001, Melbourne, cover, pl. 207
The waiter, 1996, oil on canvas, 147.0 x 196.0 cm, ANZ Banking Group, illus. in Fry, G., Rick Amor, The Beagle Press, Sydney, 2008, p. 71
The waiter, 1997, oil on linen, 130.0 x 100.0 cm, private collection
The waiter, 1997, oil on linen, 162.0 x 130.0 cm, private collection, illus. in Rick Amor: Recent Work (exhibition catalogue), Niagara Galleries, Melbourne, 1997, cat. 5, p. 7
On view Melbourne
Bid Now
Rick Amor born 1948
Study for The painter, 1999 oil on linen
16.0 x 16.0 cm
27.5 x 27.5 cm (frame)
dated and inscribed with title verso: STUDY / FOR / THE / PAINTER / 99
Starting bid: $4,000
ESTIMATE: $5,000 – 7,000
Provenance
Niagara Galleries, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 1999
Exhibited
Rick Amor: 21 Portraits, National Portrait Gallery, Canberra, 28 November 2014 – 1 March 2015
Literature
Engledow, S., Rick Amor: 21 Portraits, National Portrait Gallery, Canberra (illus.), https://www.portrait.gov.au/content/rick-amor-essay [accessed August 2025]
On view Melbourne
Bid Now
Dorothy Braund (1926 – 2013)
Two figures on the beach, 1967
oil on composition board
61.5 x 91.5 cm
66.5 x 96.5 cm (frame) signed and dated lower right: BRAUND ‘67
Starting bid: $4,000
ESTIMATE: $6,000 – 8,000
Provenance
Collection of the artist, Melbourne Eastgate Gallery, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 1994
Exhibited
Dorothy Braund: A Survey, Eastgate Gallery, Melbourne, 29 May – 26 June 1994, cat. 14 (illus. in exhibition catalogue)
On view Melbourne
Sidney Nolan (1917 – 1992)
Landscape, 1962
Ripolin enamel and oil on composition board
122.0 x 122.0 cm
126.0 x 126.0 cm (frame)
signed with initial lower right: N signed centre right: Nolan signed lower left: NOLAN
Starting bid: $30,000
ESTIMATE: $40,000 – 60,000
Provenance
Probably: Marlborough Gallery, London (label attached verso)
Private collection, London
Gould Galleries, Melbourne (label attached verso)
The Estate of Felicity St John Moore, Melbourne, acquired from the above in September 1995
Exhibited
Treasures Revealed: Modern Australian Art, Gould Galleries, Melbourne, 1 – 24 September 1995, cat. 25 (illus. in exhibition catalogue)
On view Melbourne
Seated figure by a creek, 1972 – 73
oil on linen
114.0 x 109.0 cm
119.0 x 114.0 cm (frame)
signed lower right: Arthur Boyd
Starting bid: $24,000
ESTIMATE: $30,000 – 40,000
Provenance
Private collection, Melbourne
Menzies, Sydney, 23 September 2014, lot 105
The Estate of Felicity St John Moore, Melbourne
Exhibited
Arthur Boyd: Recent Paintings, Fischer Fine Art, London, May – June 1973, cat. 20 (illus. in exhibition catalogue)
Literature
McGrath, S., The Artist and The River: Arthur Boyd and the Shoalhaven, Bay Books, Sydney, 1982, p. 96 (illus., as ‘Figure under Cedar, Upper Budgong, 1979’)
Hoff, U., The Art of Arthur Boyd, Andre Deutsch, London, 1986, pl. 126 (illus.)
Related Work
Figure by a creek, 1972 – 73, oil on canvas, 112.2 x 108.5 cm, National Gallery of Australia, Canberra
Seated figure by a creek, 1972 – 73 was inspired by the Boyds’ first momentous visit to the Shoalhaven region following their return to Australia in 1971, after more than a decade spent residing in England. During the blazing summer of 1971– 72, the couple stayed at Bundanon, the property of Sydney art dealer Frank McDonald located on the south coast of New South Wales. Depicting the secluded river valley area of Budgong – only a short fifteen-minute drive away – the present work clearly references Boyd’s artistic predecessors such as Rembrandt, Tintoretto and Manet, and is an important example of the naturalistic tendency in his vast oeuvre. Here Boyd features his own wife Yvonne as the seated figure – portrayed with all the dignity of a classical nude, yet at the same time, remarkably direct and uncompromising in her imperfections. The dialogue between the monumental figure of his naked wife and the primordial, untamed beauty of the Shoalhaven landscape clearly captivated Boyd’s eye and his heart. Over the ensuing decades, the Shoalhaven landscape would become a key impetus and endless source of inspiration for Boyd’s art – with his interpretations, both real and allegorical, today considered central to his artistic legacy.
Charles Blackman (1928 – 2018)
Schoolgirls descending a staircase, 1977
polymer wash, charcoal and oil on canvas
211.5 x 170.5 cm
216.5 x 176.5 cm (frame) signed lower left: BLACKMAN
Starting bid: $100,000
ESTIMATE: $150,000 – 200,000
Provenance
Barbara Blackman, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired in 1982
Exhibited
Colette, Rudy Komon Gallery, Sydney, 5 February – 2 March 1977 [additional to catalogue]
Rooms and Gardens, Georges Gallery, Melbourne, 6 – 18 August 1979 [additional to catalogue]
Charles Blackman: Schoolgirls and Angels, National Gallery of Victoria, Melbourne, 18 May – 16 August 1993, then touring to: Art Gallery of New South Wales, Sydney, 23 September – 21 November 1993; City Art Gallery, Brisbane, 7 December 1993 – 27 January 1994; Art Gallery of Western Australia, Perth, 16 February – 4 April 1994 (label attached verso)
Literature
Moore, F. St. J., Charles Blackman: Schoolgirls and Angels, National Gallery of Victoria, Melbourne, 1993, pp. 26, 115 (illus.)
This painting is rare, first in using art as a subject and secondly, in being painted on an easel. The idea was precipitated by a riotous game of charades on art titles (which included the famous Modernist classic, Nude descending a staircase No.2, 1912 by Marcel Duchamp) played between the Blackman and the Moore family in a house with a large circular staircase. Felicity descended the staircase (fully clothed) and Blackman’s imagination took over, with the artist reconstructing Duchamp’s ‘deconstruction’ by replacing the mechanical nude with his infamous uniformed schoolgirl (ie. Felicity). Accelerating down the stairs in a quasimilitary formation, Felicity’s ‘ballet mécanique’ pays homage to the infamous high priest of 20th century art, while at the same time encapsulating the spirit of ‘Femininity’.
Notably, Schoolgirls descending a staircase, 1977 was exhibited at the Rudy Komon Gallery, Sydney and Georges Gallery, Melbourne, and was featured in the widely acclaimed exhibition curated by Felicity at the National Gallery of Victoria, Charles Blackman, Schoolgirls and Angels (1993).
Inge King (1915 – 2016)
Joie de vivre (maquette II), 1989
polychrome steel on granite base
41.0 x 75.0 x 13.5 cm (including base)
signed with initials at base: IK
Starting bid: $20,000
ESTIMATE: $25,000 – 35,000
Provenance
Max Joffe, Melbourne
Leonard Joel, Melbourne, 1 May 2001, lot 60
The Estate of Felicity St John Moore, Melbourne
Exhibited
Inge King: Sculpture, National Gallery of Victoria, Melbourne, 8 October – 16 November 1992, cat. 53
Inge King: Small Sculptures 1943–1994, Bendigo Art Gallery, Victoria, 6 September – 8 October 1995, cat. 32 (as ‘Maquette for Joie de Vivre’)
Literature
Edwards, G., Inge King: Sculpture, National Gallery of Victoria, Melbourne, 1992, p. 39 (illus.)
Trimble, J., Inge King: Sculptor, Craftsman House, Sydney, 1996, p. 204
Grishin, S., The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 335, 372
Related Work
Joie de vivre, 1989 – 90, steel, 525.0 x 275.0 x 49.0 cm, winner of the competition for the ICI Building office foyer, illus. in Trimble, J., Inge King: Sculptor, Craftsman House, Sydney, 1996, p. 96
We are grateful to Jane Eckett for her assistance with this catalogue entry.
On view Melbourne
Inge King (1915 – 2016)
Gemini (maquette I), 1990, cast 1991
bronze
21.0 x 27.5 x 15.0 cm
Starting bid: $12,000
ESTIMATE: $15,000 – 20,000
Provenance
Private collection, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired in 2010
Exhibited
Table Top Sculpture and Drawings, Australian Galleries, Melbourne, 12 August – 14 September 1991, cat. 34
Literature
Trimble, J., Inge King: Sculptor, Craftsman House, Sydney, 1996, p. 204
Grishin, S., The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, pp. 336, 372
Related Work
Gemini, 1991, painted bronze, 109.0 x 90.0 x 115.0 cm, edition of 3, illus., in Grishin, S., The Art of Inge King: Sculptor, Macmillan Art Publishing, Melbourne, 2014, p. 216
We are grateful to Jane Eckett for her assistance with this catalogue entry.
On view Melbourne
Oliffe Richmond (1919 – 1977)
Sculpture, 1974
bronze
25.0 x 23.0 x 13.0 cm
signed with initials and dated on base: OR 74
Starting bid: $1,600
ESTIMATE: $2,000 – 3,000
Provenance
Collection of Lex Aitken and Alfredo (Bouret) Gonzalez, Sydney
Charles Nodrum Gallery, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 2014
Exhibited
Abstraction 13, Charles Nodrum Gallery, Melbourne, 18 September – 11 October 2014, cat. 46
On view Melbourne
Bid Now
Sidney Nolan (1917 – 1992)
Ancient mythologies, 1951
oil, enamel and ink on glass
25.0 x 30.5 cm
30.5 x 35.5 cm (frame)
signed with initial and dated lower left: N / 51 signed with initial and dated verso: N / 1951
Starting bid: $4,000
ESTIMATE: $6,000 – 9,000
Provenance
Cynthia Nolan, United Kingdom Crebbin collection, Sydney Private collection, Sydney Lawson~Menzies, Sydney, 28 August 2005, lot 57 (as ‘Classical Subject, c.1954’)
Private collection, Melbourne Deutscher and Hackett, Melbourne, 29 August 2007, lot 124
The Estate of Felicity St John Moore, Melbourne
Danila Vassilieff (1897 – 1958)
Before the storm, 1938
oil on canvas on board
54.0 x 60.0 cm
65.0 x 72.5 cm (frame)
signed lower right: Vassilieff bears inscriptions verso: no. 38 / 24
Starting bid: $18,000
ESTIMATE: $25,000 – 35,000
Provenance
Morley Grainger, Sydney
The Estate of Felicity St John Moore, Melbourne, acquired in 1989
Exhibited
Probably: Danila Vassilieff: 41 paintings, Riddell Gallery, Melbourne, 18 – 29 October 1938
Danila Vassilieff, Joseph Brown Gallery, Melbourne, 28 May – 14 June 1973, cat. 24 (as ‘Before the Storm, East Melbourne’)
Watercolours and Oil Paintings by Danila Vassilieff, Macquarie Galleries, Sydney, 15 – 27 August 1973, cat. 29 (as ‘Before the storm, East Melbourne’)
Literature
St John Moore, F., Vassilieff and His Art, Macmillan, Melbourne, 2012, cat. 150, p. 201
Joy Hester (1920 – 1960)
Danila, c.1945
ink and brush on paper
40.5 x 50.5 cm (sheet)
66.5 x 74.5 cm (frame)
estate stamp lower right: Joy Hester bears inscription verso: John Sinclair
Starting bid: $12,000
ESTIMATE: $15,000 – 20,000
Provenance
Probably: John Sinclair, Melbourne Reed Family Collection, Melbourne Gould Galleries, Melbourne (label attached verso) The Estate of Felicity St John Moore, Melbourne, acquired from the above in 2005
Exhibited
‘Joy Hester’ Works from the Reed Family Collection, Gould Galleries, Melbourne, 27 April – 22 May 2005, cat. 15 (illus. in exhibition catalogue)
Those who made and those who saw: portraits of the Heide circle, Heide Museum of Modern Art, Melbourne, 3 November 2007 – 15 June 2008
Literature
Harding, L., and Short, L., Those who made and those who saw: portraits of the Heide circle, Heide Museum of Modern Art, Melbourne, 2008, p. 43 (illus.)
On view Melbourne
Untitled 23, 1996 – 97
from the ‘X, O’ series oil on canvas
178.0 x 145.0 cm
signed, dated and inscribed with title verso: Untitled 23 1996 – 7 / (From the X, O Series) / Paul Partos
Starting bid: $12,000
ESTIMATE: $15,000 – 20,000
Provenance
Christine Abrahams Gallery, Melbourne (label attached verso) The Estate of Felicity St John Moore, Melbourne, acquired from the above in 1997
Exhibited
Paul Partos, Christine Abrahams Gallery, Melbourne, 8 September – 2 October 1997
On view Melbourne
Bid Now
Lesley Dumbrell born 1941
Abstract, 1979
pastel on paper
65.5 x 50.5 (image)
87.0 x 69.0 cm (frame) signed lower right L. Dumbrell dated lower left: 3.10.79
Starting bid: $600
ESTIMATE: $1,000 – 1,500
Provenance
The Estate of Felicity St John Moore, Melbourne Exhibited
Works on Paper 2004, Charles Nodrum Gallery, Melbourne, 18 October – 11 December 2004, cat. 53
On view Melbourne
Bid Now
Lesley Dumbrell born 1941
Abstract, 1979
pastel on paper
50.0 x 50.5 cm (image)
69.5 x 72.5 cm (frame)
signed and dated lower right: L. Dumbrell 79 dated lower left: 4.3.79
bears inscription verso: 287Y27 / DUMBRELL
Starting bid: $600
ESTIMATE: $1,000 – 1,500
Provenance
The Estate of Felicity St John Moore, Melbourne
On view Melbourne
Bid Now
Identity quilt #8, 1990
from the ‘Mad House History Painting’ series oil on felt
172.5 x 58.5 cm
190.0 x 76.5 cm (frame)
signed verso: SALLY SMART / #8
bears inscription on label verso: S. SMART / MAD HOUSE HISTORY PAINTING
Starting bid: $4,000
ESTIMATE: $6,000 – 9,000
Provenance
Luba Bilu Gallery, Melbourne
The Western Mining Corporation, Australia
WMC Collection of Australian Contemporary Art, Sotheby’s, Melbourne, 15 March 2004, lot 83
The Estate of Felicity St John Moore, Melbourne
Exhibited
The Printed Curtain, Luba Bilu Gallery, Melbourne, 21 April – 11 May 1990 (illus. in exhibition catalogue, back cover)
On view Melbourne
Katherine Hattam born 1950
Return of the repressed II
mixed media on paper
158.5 x 120.5 cm
165.0 x 127.0 cm (frame)
signed lower right: K. HATTAM
Starting bid: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
The Estate of Felicity St John Moore, acquired directly from a private exhibition
Exhibited
Perfect Day: Angela Brennan, Katharine Hattam, Bendigo Art Gallery, Victoria, 7 August – 5 September 1999
Literature
Modjeska, D., ‘Personal Space,’ The Australian Review of Books, August 1999
Cunningham, S., Innocent works: Katherine Hattam, Bendigo Art Gallery, Victoria, 2007
Christmann (1936 – 2013)
With cup overrun, 1989 – 91 oil on linen
167.5 x 137.0 cm
signed with initials and dated lower right: GC ‘89 signed, dated and inscribed with title verso: G. S. Christmann 1990/91 “WITH CUP” / ‘WITH CUP OVERRUN’
Starting bid: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
Niagara Galleries, Melbourne
Private collection, Melbourne
Deutscher~Menzies, Sydney, 2 March 2002, lot 161
The Estate of Felicity St John Moore, Melbourne
Exhibited
Gunter Christmann, Roslyn Oxley9 Gallery, Sydney, 22 August – 8 September 1990, cat. 8 (partial label attached verso, as ‘With Cup’)
Gunter Christmann, Niagara Galleries, Melbourne, 16 October – 2 November 1991, cat. 3 (illus. in exhibition catalogue)
On view Melbourne
Brent Harris New Zealand, born 1956
Station II: He takes the cross, 1989
from ‘The Stations’ series oil on linen
198.0 x 91.0 cm
signed, dated and inscribed with title verso: STATION II 1989 / B Harris 89
Starting bid: $6,000
ESTIMATE: $10,000 – 15,000
Provenance
Michael Wardell Gallery, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired in 1990
Exhibited
The Stations, Michael Wardell Gallery, Melbourne, 26 August –17 September 1989, cat. 2
Literature
Dodge, A., ‘Brent Harris: The Stations’, Tension, Melbourne, no. 18, 1989, pp. 8 – 9
On view Melbourne
Brent Harris New Zealand, born 1956
Lux, 1988
etching and aquatint on paper
48.5 x 20.5 cm (image)
78.5 x 57.0 cm (frame)
edition: 8/20
signed, dated and numbered below image
Starting bid: $800
ESTIMATE: $1,000 – 2,000
Provenance
Michael Wardell Gallery, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 1989
Exhibited
Brent Harris: Prints 1988 – 2000, Tolarno Galleries, Melbourne, 1 – 21 December 2000, cat. 2 (another example)
Brent Harris, National Gallery of Victoria, Melbourne, 10 March – 12 August 2012 (another example)
Related Works
Lux I, 1988, oil on linen, 188.0 x 84.0 cm, private collection
Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne and the National Gallery of Australia, Canberra
Andrew Browne born 1960
Untitled I and II, 1990
oil on linen
30.0 x 137.0 cm (each)
30.0 x 274.0 cm (overall)
i. bears inscription on label verso: III/1 / A. BROWNE / UNTITLED
ii. bears inscription on label verso: III/2 / A. BROWNE / UNTITLED
Starting bid: $4,000
ESTIMATE: $6,000 – 8,000 (2)
Provenance
Michael Wardell Gallery, Melbourne
The Western Mining Corporation, Australia
WMC Collection of Australian Contemporary Art, Sotheby’s, Melbourne, 15 March 2004, lot 177
The Estate of Felicity St John Moore, Melbourne
Exhibited
Andrew Browne, Michael Wardell Gallery, Melbourne, 16 June – 7 July 1990
Literature
Catalano, G., ‘Art Review’, The Age, Melbourne, 27 June 1990
On view Melbourne
Bid Now
Stephen McCarthy born 1945
Self-portrait, 1996
synthetic polymer paint on linen
91.5 x 30.5 cm
Starting bid: $1,000
ESTIMATE: $1,500 – 2,500
Provenance
Michael Wardell Gallery, Melbourne (label attached verso) Western Mining Corporation, Melbourne, acquired from the above in 1996
WMC Collection of Australian Contemporary Art, Sotheby’s, 15 March 2004, lot 220
The Estate of Felicity St John Moore, Melbourne
Exhibited
Stephen McCarthy: Paintings and Constructions, Michael Wardell Gallery, Melbourne, 24 October – 16 November 1996, cat. 38
On view Melbourne
Bid Now
Brent Harris New Zealand, born 1956 Study for Untitled Veronica, 1988 oil on linen
30.5 x 83.5 cm
signed, dated and inscribed verso: B Harris / 88 / STUDY
Starting bid: $800
ESTIMATE: $1,000 – 1,500
Provenance
The Estate of Felicity St John Moore, Melbourne, acquired in 1993
Related Work
Untitled Veronica, oil on linen, 107.0 x 289.0 cm, illus. in Moët & Chandon Touring Exhibition (exhibition catalogue), The Foundation, Sydney, 1989
On view Melbourne
Bid Now
Brent Harris New Zealand, born 1956
He takes the cross, 1989 from ‘The Stations’ series aquatint on paper
30.0 x 14.0 cm (image)
56.0 x 37.0 cm (sheet)
65.5 x 46.0 cm (frame)
edition: artist proof aside from an edition of 14 signed, dated and numbered below image
Starting bid: $600
ESTIMATE: $800 – 1,200
Provenance
The Estate of Felicity St John Moore, Melbourne, a gift from the artist
Exhibited
The Stations, Michael Wardell Gallery, Melbourne, 26 August – 17 September 1989 (another example)
Brent Harris: The Face, Art Gallery of New South Wales, Sydney, 22 April – 13 June 2004, cat. 1 (another example, illus. in exhibition catalogue)
Brent Harris, National Gallery of Victoria, Melbourne, 10 March – 12 August 2012 (another example)
Brent Harris: The Other Side, Auckland Art Gallery Toi o Tāmaki, New Zealand, 6 May – 17 September 2023 (another example)
Brent Harris: Surrender & Catch, Art Gallery of South Australia, Adelaide, 6 July – 20 October 2023; TarraWarra Museum of Art, Victoria, 2 December 2023 – 11 March 2024 (another example)
On view Melbourne
Bid Now
Literature
Grant, K., and Leahy, C., On paper: Australian prints and drawings in the National Gallery of Victoria, National Gallery of Victoria, Melbourne, 2003, p. 90 (illus., another example)
Edgar, R., ‘His childhood was crushed in an instant, but art offered a way back’, Sydney Morning Herald, Sydney, 27 November 2023 (illus., another example)
Related Works
Other examples of this print are held in the collections of the National Gallery of Victoria, Melbourne, the Art Gallery of New South Wales, Sydney and Christchurch Art Gallery Te Puna o Waiwhetū, New Zealand
Paul Selwood born 1946
The ineluctable modality of the dense, 2004 steel
16.0x29.5x13.0cm
signedwithinitialsanddatedonbase:PS/04
Starting bid: $2,000
ESTIMATE: $3,000 – 5,000
Provenance
WattersGallery,Sydney
TheEstateofFelicityStJohnMoore,Melbourne,acquiredin2004
Exhibited
WattersGalleryatMelbourneArtFair,RoyalExhibitionBuilding, Melbourne,29September–3October2004
On view Melbourne
Bid Now
Loic Le Groumellec French, born 1957
Megalithe, 1987
oil and lacquer on canvas
65.0 x 54.0 cm
signed with initials lower left: LLG dated upper left: 87
signed, dated and inscribed with title verso: JANVIER 87 / “Megalithe.” / le groumellec
Starting bid: $4,000
ESTIMATE: $6,000 – 8,000
Provenance
Michael Wardell Gallery, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 1989
Exhibited
Loic Le Groumellec, Megaliths, Michael Wardell Gallery, Melbourne, 4 – 26 March 1989; Milburn + Arté, Sydney, 3 – 29 April 1989, cat. 2 (label attached verso, illus. on exhibition invitation cover)
On view Melbourne
Bid Now
Kerryn Forster born 1959
Wheel of time, 2007
poplar, wheel and steel
71.5 x 52.0 x 31.0 cm
Starting bid: $1,200
ESTIMATE: $2,000 – 3,000
Provenance
Anita Traverso Gallery, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 2007
Exhibited
Found and Fabricated, Anita Traverso Gallery, Melbourne, 10 October – 3 November 2007
On view Melbourne
Bid Now
Danila Vassilieff (1897 – 1958)
Portrait of wife (Helen McDonald), c.1942
oil on board
37.5 x 34.0 cm
53.5 x 49.5 cm (frame)
signed lower left: Vassilieff
Starting bid: $5,000
ESTIMATE: $6,000 – 8,000
Provenance
Estate of Danila Vassilieff, Melbourne
Niagara Galleries, Melbourne
Ruth Prowse, Canberra
Thence by descent
Private collection, Melbourne
The Estate of Felicity St John Moore, Melbourne
Exhibited
Ruth Prowse: Thirty years of Collecting, Drill Hall Gallery, Canberra, 1 April – 16 May 2004
Literature
Sever, N., Boon, D. and Oates, T., Ruth Prowse: Thirty years of Collecting, Australian National Gallery, Canberra, 2004, p. 35
On view Melbourne
Bid Now
Vicki Varvaressos born 1949
Woman sitting, 1991
oil on composition board
137.0 x 122.0 cm
143.0 x 129.0 cm (frame)
signed with initials and dated lower right: V.V. 91 signed, dated and inscribed with title verso: “Woman Sitting” / V. VARVARESSOS 1991
Starting bid: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
Niagara Galleries, Melbourne Private collection, Melbourne, acquired from the above in 1992 Christie’s, Melbourne, 3 April 2001, lot 107
The Estate of Felicity St John Moore, Melbourne
Exhibited
Vicki Varvaressos Paintings – figurative and non-figurative, Niagara Galleries, Melbourne, 18 March – 4 April 1992, cat. 3
On view Melbourne
Bid Now
Vicki Varvaressos born 1949
Melting moments, 1979
oil on canvas
93.5 x 215.5 cm
signed with initials and dated lower right: V. V. 79
signed, dated and inscribed with title verso: V. VARVARESSOS / 79 / “Melting / Moments”
Starting bid: $3,000
ESTIMATE: $4,000 – 6,000
Provenance
Watters Gallery, Sydney
Margaret Morgan, Melbourne, acquired from the above in 1988
Christie’s, Sydney, 23 August 2004, lot 315
The Estate of Felicity St John Moore, Melbourne
On view Melbourne
Sam Fullbrook (1922 – 2004)
Fish growing, c.1995
Conté crayon on paper
23.5 x 32.0 cm
65.0 x 72.0 cm (frame)
signed with initials lower right: SF inscribed on frame verso: Love / for / Felicity / S. F.
Starting bid: $800
ESTIMATE: $1,000 – 1,500
Provenance
The Estate of Felicity St John Moore, Melbourne, a gift from the artist in 1995
On view Melbourne
Bid Now
Mike Parr born 1945
Self-portrait, 1994
lithograph
76.0 x 57.0 cm
107.5 x 86.0 cm (frame)
edition: artist proof
signed and dated lower right: Mike Parr ‘94 numbered lower left: AP
Starting bid: $800
ESTIMATE: $1,000 – 2,000
Provenance
Viridian Press, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above
Mike Parr born 1945
Untitled self-portrait #7, 1989
from the ‘12 Untitled self portraits (set 1)’ series
drypoint etching on paper
106.0 x 78.0 cm
131.0 x 101.5 cm (frame) edition: 6/8
signed and dated lower right: Mike Parr / 1989 numbered and inscribed lower left: 6/8 #7
Starting bid: $1,200
ESTIMATE: $1,500 – 2,500
Provenance
City Gallery, Melbourne
The Estate of Felicity St John Moore, Melbourne, acquired from the above in 1989
Exhibited
Mike Parr, Roslyn Oxley9, Sydney, 27 June – 15 July 1989 (another example)
Drawings from the Self Portrait Project, 1983 – 1990, City Gallery, Melbourne, October 1989
I think of drypoint in terms of braille and excavation: Prints by Mike Parr, National Gallery of Australia, Canberra, 31 March – 29 April 1990, cat. 12 (another example, illus. in exhibition catalogue)
Australian prints from the Gallery’s collection, Art Gallery of New South Wales, Sydney, 6 November 1998 – 7 February 1999 (another example)
Contemporary Australian prints from the collection, Art Gallery of New South Wales, Sydney, 3 April – 6 June 2004, cat. 39 (another example)
The Naked Face: Self-portraits, The Ian Potter Centre: NGV Australia, Melbourne, 3 December 2010 – 27 February 2011 (another example)
Related Work
Other editions of this print are held in the collections of the National Gallery of Victoria, Melbourne, the National Gallery of Australia, Canberra and the Art Gallery of New South Wales, Sydney
On view Melbourne
Bid Now
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Melbourne Gallery
105 Commercial Road, South Yarra VIC
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Bidding opens Tuesday 16 September
Bidding closes Tuesday 23 September from 7.00 pm
Tuesday 16 September 9.00 am – 5.30 pm
Wednesday 17 September 9.00 am – 5.30 pm
Thursday 18 September 9.00 am – 5.30 pm
Friday 19 September 9.00 am – 5.30 pm
Saturday 20 September 11.00 am – 4.00 pm
Monday 22 September 9.00 am – 5.30 pm
Tuesday 23 September 9.00 am – 5.30 pm
Tuesday 7 – Tuesday 14 October closing from 7.00pm
Lot 1 © Rick Amor/Copyright Agency 2025
Lot 2 © Rick Amor/Copyright Agency 2025
Lot 3 © The Estate of Dorothy Braund
Lot 4 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency 2025
Lot 5 © Arthur Boyd/Copyright Agency 2025
Lot 6 © Charles Blackman/Copyright Agency 2025
Lot 7 © Inge King/Copyright Agency, 2025
Lot 8 © Inge King/Copyright Agency, 2025
Lot 9 © Oliffe Richmond Estate
Lot 10 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency 2025
Lot 11 © Danila Vassilieff Estate, Heide Museum of Art, 2025
Lot 12 © Joy Hester/Copyright Agency 2025
Lot 13 © Paul Partos/Copyright Agency 2025
Lot 14 © Lesley Dumbrell/Copyright Agency, 2025
Lot 15 © Lesley Dumbrell/Copyright Agency, 2025
Lot 16 © Sally Smart/Copyright Agency 2025
Lot 17 © Katherine Hattam/Copyright Agency 2025
Lot 18 © Courtesy the Estate of Gunter Christmann, 2025
Lot 19 © Brent Harris 2025
Lot 20 © Brent Harris 2025
Lot 21 © courtesy of the artist, Andrew Browne is represented by Tolarno Galleries Melbourne
Lot 22 © the artist
Lot 23 © Brent Harris 2025
Lot 24 © Brent Harris 2025
Lot 25 © Paul Selwood
Lot 26 © Loic Le Groumellec
Lot 27 © Kerryn Forster
Lot 28 © Danila Vassilieff Estate, Heide Museum of Art, 2025
Lot 29 © Vicki Varvaressos
Lot 30 © Vicki Varvaressos
Lot 32 © Mike Parr
Lot 33 © Mike Parr
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