Centum

16 PATRICIA PICCININI (born 1965) Lightning 2006 (from the Panelworks Type II series) ABS plastic and automative paint (9) signed verso 150 x 150cm (overall) © Courtesy of The Artist and Roslyn Oxley9 Gallery, Sydney

Centum

05.05.20251

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Centum Contemporary Art 05.05.2025, 6pm

VIEWINGS

CONTACTS

viewing in melbourne fri 02 – sun 04 may 2 Oxley Road, Hawthorn, VIC 3122

wiebke brix head of art 03 8825 5624 wiebke.brix@ leonardjoel.com.au

Please refer to our website for viewing times — leonardjoel.com.au

hannah ryan senior art specialist 03 8825 5666 hannah.ryan@ leonardjoel.com.au amanda north senior art specialist 03 8825 5644 amanda.north@ leonardjoel.com.au

lot 11 BRENDAN HUNTLEY (born 1982) Mode of Occurrence (Diamond Sky) 2019 patinated bronze and oil paint initialled lower right: BH 123 x 121 x 10cm $4,000-6,000 © Courtesy of The Artist and Tolarno Galleries, Melbourne

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The World Has New Angles

Centum has become a highlight of our auction calendar, and we are proud to be the only auction house in Australia offering a sale dedicated solely to contemporary art. This unique focus allows us to present carefully selected works from some of the most dynamic and innovative Australian and international artists, making this auction a celebration of the everevolving landscape of contemporary art.

Contemporary art is essential as it expresses the concerns and ideas most relevant to our time. In an era marked by technological advancements, global uncertainties, and evolving social dynamics, artists continue to provide unique perspectives that challenge, provoke, and inspire. They navigate complex themes reminding us of our shared humanity and encouraging us to see the world from new angles.

We are thrilled to showcase works by both emerging and established artists, many of whom are represented by leading galleries in Australia and internationally.

The diversity of the collection spans various media, from digital processes to unconventional materials such as found objects and textiles. This dynamic selection underscores how contemporary artists are increasingly pushing beyond the confines of traditional painting.

One of the highlights of this auction, and our cover lot is Patricia Piccinini’s Lightning 2006 (lot 16). Her work is a dynamic interplay of morphing ideas, exploring the intersection between technology and the natural world. In a time where artificial intelligence, genetic manipulation, and the pervasive influence of media shape our lives, her creations are more relevant than ever.

Also featured is Rick Amor’s The City 6am 1989–1990 (lot 24), a painting that confronts the complexities of human existence. Amor’s work does not shy away from addressing life’s more demanding themes, creating relatable and deeply felt images that linger with the viewer. Like a captivating film, his paintings draw you in, offering a contemplative pause amid the chaos of modern life.

Among the standout international works in this auction is Rumah (Home) 2013 (lot 61) by the Indonesian artist Yudi Sulistyo. Sulistyo’s work is unusual and presents an important commentary on urban poverty. The sculpture features a tower of neglected wooden houses encased within a cylindrical rocket head, symbolizing the harsh reality faced by the urban poor in Indonesia. In this work Sulistyo reflects on how people move to the city in hopes of “rocketing” to a better life, a hope that rarely becomes reality.

Centum is more than just an auction; it is a platform that celebrates the independent spirit of contemporary artists. The primary market plays a vital role in fostering creative exploration and innovation. Through the support of galleries, artists have the freedom to take risks, experiment with new media, and push their practices into uncharted territory.

The secondary market emerges from changing circumstances when collectors need to refine their collections for various reasons. Each artwork carries a unique story, often linked to significant moments in people’s lives, giving auctions a profound role in the ongoing circulation and redistribution of contemporary art.

Together, the primary and secondary markets form a vital symbiosis, ensuring that artworks continue their journeys—bridging personal histories and new beginnings while maintaining the vibrancy of the art ecosystem.

We warmly invite you to explore Centum, whether online or in person at our Hawthorn showrooms. This sale is not just an opportunity to acquire remarkable works; it is a chance to engage with the ideas and visions that contemporary artists bring to our world. wiebke brix head of art

lot 14

NELL (born 1975) And Kunst Loves Me 2018 acrylic on canvas signed, titled and dated on frame verso: nell/ “And KUNST Loves Me”/ 2018 88.5 x 72cm $5,000-7,000 © Nell/Copyright Agency, 2025

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1 © Courtesy The Artist and Lennox St. Gallery

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MATTHEW QUICK (born 1967) Pure Wisdom 2012 oil on linen signed lower right: Quick signed verso 100 x 100cm provenance The Artist Private collection, Melbourne

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other notes “While books themselves may be inert, as the delivery vehicle for ideas, they have inspired some of the fiercest passions in history. If these books are religious tomes, the meaning would differ greatly if each represented different faiths, inextricable linked and referencing the next in a halo-like swirl. If they are books interpreting different versions of the same faith, then the meaning evolves into a rhetorical exploration of Circular Reasoning - in which the argument assumes it’s central point is already proven, and using this in support of itself, goes around in circles. Conversely, these may be books of knowledge,

with each referencing the next, to provide a new understanding based on science, reason and fact.

And if works of fiction, with its passionate and devoted readership, the meaning alters again. But no matter what these texts contain, it is undeniable that with the digitisation of books for distribution via “the cloud”, we are currently undergoing one of the most profound changes in the way information is disseminated and consumed since the printing of the Gutenberg Bible.” (The Artist) $5,000-6,000

2 © Reko Rennie

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REKO RENNIE (born 1974) Black Diamond (Silver) 2013 acrylic and ink on canvas 100 x 100cm provenance BAProjects, Melbourne Private collection, Melbourne exhibitions BAProjects at Sydney Contemporary, Sydney, 19 - 22 September 2013 "Reko Rennie's Black Diamond comprises three hand drawn symbols - the crown, the diamond and the Aboriginal flag - presented as an emblematic statement about the original royalty of Australia." (exhibition statement) $14,000-18,000

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NOEL MCKENNA (born 1956) Mcgrath-Sarwan Spat 2003 ceramic vase signed and dated to reverse: N McKenna 03 23 x 16.5 x 15cm (irregular) provenance Niagara Galleries, Melbourne 2005 The Collection of Sandra and Peter Geyer, Melbourne Menzies, Sydney, 9 August 2018, lot 6 Private collection, Melbourne $3,000-5,000 3 © Noel Mckenna/Copyright Agency 2025

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4 © Noel Mckenna/Copyright Agency 2025 4

NOEL MCKENNA (born 1956) Now This is One Furry Beast 2008 glazed ceramic tile signed and dated lower right: N McKENNA 08 titled on gallery label verso 31 x 31cm provenance Greenaway Art Gallery, Adelaide (label verso) Private collection, New South Wales Menzies, Melbourne, 29 March 2023, lot 125 Private collection, Melbourne exhibitions Noel McKenna: Google Series, Men Smoking Pipes, Autumn, Men Fishing, Cats etc., Greenaway Art Gallery, Adelaide, 27 May - 5 July 2009 related works Noel McKenna, Now This is One Furry Beast 2008, oil on plywood, 49 x 50cm, the collection of the Art Gallery of New South Wales, Sydney $3,000-5,000

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5 © Lewis Miller/Copyright Agency 2025

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LEWIS MILLER (born 1959) Oyster Shells with Lemons 2018-2020 oil on Belgian linen, diptych signed, titled and dated verso: OYSTER SHELLS WITH LEMONS/ LEWIS MILLER 18/20 46 x 110cm (overall) provenance Australian Galleries, Melbourne 2022 (label verso) Private collection, Melbourne $5,000-7,000

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6 © Courtesy The Artist

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JULIAN TWIGG (born 1964) 3 Ships Netley 2019 oil on board initialled, titled and dated verso: JT 19/ 3 Ships/ Netley 2019 60 x 80cm provenance Australian Galleries, Melbourne (label verso) Private collection, Melbourne $4,000-6,000

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7 © Courtesy of The Artist and Phillip Bacon Galleries, Brisbane

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NEIL FRAZER (born 1961) Crooked Mile 2011 synthetic polymer paint on canvas signed, titled and dated verso: ‘CROOKED MILE’ 2011/ Neil Frazer 11.

197.5 x 213cm provenance Martin Browne Contemporary, Sydney (label verso) Private collection, Sydney Menzies, Melbourne, 9 February 2017, lot 62 Private collection, Melbourne exhibitions Neil Frazer: Fracture, Martin Browne Contemporary, Sydney, 20 July - 14 August 2011 $12,000-18,000

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8 © Image Courtesy The Artist and Amez Yavuz, Sydney

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JULIAN MEAGHER (born 1978) Storm over Bithay 2018 oil on linen signed, titled and dated verso: ‘Storm over/ Bithay’/ Julian Meagher/ 2018/ Julian Meagher 152.5 x 122cm provenance Private collection, Sydney $8,000-12,000

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9 © Courtesy of The Artist and This is No Fantasy 9

JUAN FORD (born 1973) Tentative Steps 2008-2009 oil on linen signed, titled and dated verso: Juan Ford/ 2008-09/ “Tentative Steps” 81 x 86.5cm provenance Sullivan+Strumpf, Sydney Private collection, Melbourne Bonhams, Sydney, 22 April 2021, lot 1 Private collection, Melbourne exhibitions Simple Interference, Sullivan+Strumpf, Sydney, 3 - 22 March 2009

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other notes “My practice has consistently been engaged with opening up new possibilities for realism in painting.

I have employed many strategies that argue around the theoretical ‘problems’ of realism in painting. I enjoy exploiting the limited short-comings of the dull, officially sanctioned dialogue between painting and it’s would-be executioner, photography, in order to develop new potential for realism. While my work evolves and varies across time, it characteristically involves an examination of our schismatic relationship to the natural environment.” (The Artist) $12,000-18,000

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JOANNA BRAITHWAITE (New Zealander, born 1962) Time Share 2016 oil on canvas signed, titled and dated verso: ‘Time Share’ 2016 Joanna Braithwaite 190.5 x 190.5cm provenance Martin Browne Contemporary, Sydney 2016 (label verso) Private collection, Sydney

exhibitions Social Animal, Martin Browne Contemporary, Sydney, 1 - 25 September 2016 Joanna Braithwaite - Thinking with Animals, Macquarie University Art Museum, Sydney, 22 November 2024 15 January 2025 (illus., exhibition catalogue) $10,000-20,000

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BRENDAN HUNTLEY (born 1982) Mode of Occurrence (Diamond Sky) 2019 patinated bronze and oil paint initialled lower right: BH 123 x 121 x 10cm provenance Martin Browne Contemporary, Sydney 2019 Private collection, Sydney exhibitions Any Day Now, Martin Browne Contemporary, Sydney, 22 August - 15 September 2019 $4,000-6,000 12

BRENDAN HUNTLEY (born 1982) She Brings the Rain (Cloud) 2019 oil, impasto, charcoal, graphite, gesso on archival paper initialled and dated lower right: B H ‘17 147 x 107cm provenance Martin Browne Contemporary, Sydney 2019 Private collection, Sydney exhibitions Any Day Now, Martin Browne Contemporary, Sydney, 22 August - 15 September 2019 $3,000-5,000

12 © Courtesy of The Artist and Tolarno Galleries, Melbourne

11 © Courtesy of The Artist and Tolarno Galleries, Melbourne

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13 © Damien Hirst/Copyright Agency, 2025

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DAMIEN HIRST (British, born 1965) Pretty Innocent Girl 2016 (from The Currency series) enamel on paper signed, titled, dated and numbered verso: 3637.

Pretty innocent girl. 2016 Damien Hirst artist’s blindstamp, watermark, hologram and microdot verso 21.5 x 30cm provenance Heni Editions, London 2016 Private collection, Sydney $4,000-6,000

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14 © Nell/Copyright Agency, 2025

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NELL (born 1975) And Kunst Loves Me 2018 acrylic on canvas signed, titled and dated on frame verso: nell/ “And KUNST Loves Me”/ 2018 88.5 x 72cm provenance Roslyn Oxley9 Gallery, Sydney 2018 Private collection, Melbourne exhibitions Nell: Bless the Space Between us, Roslyn Oxley9 Gallery, Sydney, 13 December 2018 - 12 January 2019 $5,000-7,000

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15 © Image Courtesy The Artist and Ames Yavuz, Sydney

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ABDUL ABDULLAH (born 1986) Abdul-Hamid Bin Ibrahim Bin Abdullah (Abdul-Hamid Son of Ibrahim Son of Abdullah) 2012 c-type print 120 x 110cm provenance Fehily Contemporary, Melbourne 2012 Private collection, Melbourne exhibitions Fehily Contemporary at Melbourne Art Fair, Melbourne, 1 - 5 August 2012 other notes Another example of this print is in the collection of the National Gallery of Victoria, Melbourne. $4,000-6,000

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Patricia Piccinini Lightning 2006

Patricia Piccinini is undoubtedly one of Australia's most important contemporary artists.

With a career spanning several decades, she has established herself as a leading creative force.

Piccinini's style is distinctive, marked by a dynamic interplay of morphing ideas. Central to her practice is the exploration of intersections between technology and the natural world.

In an age of artificial intelligence, genetic manipulation and the everlasting influence of advertising and media on humanity, her work is relevant more than ever.

Lightning 2006 part of her Panel Works series, which began developing between 1998 and the 2000s, exhibits signature elements that have come to define her career.1 In many ways, it represents a foundational point in her artistic evolution, where the metamorphosis between objects and ideas first begins to take shape.

Through these works, Piccinini critiques the advertising industries, particularly how they foster consumer desire. The seductive surfaces and sleek designs serve as a metaphor for how visual appeal in advertising captures and captivates the viewer, encouraging a desire for the often unattainable or idealized.

"I am fascinated by commercialism, by its thin, fragile, unjustifiable beauty. For me it is the archetype of those things which, although they aren’t good for us, we cannot help but love. I am fascinated by the variety, complexity, beauty and seduction of consumerism." 2 (Artist Statement) The meticulously crafted surfaces, finished with automotive paint, lend Lightning 2006 a refined and polished appearance. The carefully chosen colour palette, particularly the vibrant reds, evoke the allure of luxury vehicles like the iconic Ferrari, yet here, that automotive essence is transformed into an artistic object. This tension between technological allure and critical commentary on consumer culture is central to the series.

Her precision and artistic expression highlights Piccinini's unique approach, making the work both visually striking and conceptually profound. wiebke brix head of art

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Messenger J., PATRICIA PICCININI Once upon a time..., exhibition catalogue, Art Gallery of South Australia, Adelaide, 2011, p. 12 2.

Artist statement, patriciapiccinini.net

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16 © Courtesy of The Artist and Roslyn Oxley9 Gallery, Sydney

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PATRICIA PICCININI (born 1965) Lightning 2006 (from the Panelworks Type II series) ABS plastic and automative paint (9) signed verso 150 x 150cm (overall) provenance Tolarno Galleries, Melbourne Private collection, Victoria Private collection, Melbourne exhibitions Urbane, Five Fifty Art Advisory, Melbourne, 18 August - 2 October 2021, cat. no. 2 $15,000-25,000

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MICHAEL STANIAK (born 1982) Untitled 2014 CDR and resin on canvas signed and dated verso: MICHAEL STANIAK/ 2014 180 x 135cm provenance NKN Gallery, Melbourne 2014 Private collection, Melbourne

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exhibitions Michael Staniak: Data Loss, NKN Gallery, Melbourne, 2 September - 4 October 2014 other notes Michael Staniak is known for his innovative approach to texture and materiality, blurring the boundaries between digital aesthetics and traditional painting. His artworks often resemble digitally rendered surfaces but are, in fact, meticulously crafted using layered pigments, casting compounds, and unconventional painting techniques. By incorporating materials such as acrylic, marble dust, pulverised DVDs and casting plaster, Staniak creates richly textured surfaces that evoke the pixelated quality of digital screens, while remaining deeply tactile. His practice explores the tension between the physical and virtual, responding to the way images are consumed in the digital age. The interplay of light and shadow across his relief-like surfaces further enhances their illusionistic depth, inviting viewers to question whether they are encountering a screenbased image or a painting. $10,000-15,000

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18 © Robert Owen/Copyright Agency 2025

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ROBERT OWEN (born 1937) Spectrum Analysis #12 2004 (from The Text of Light series) synthetic polymer paint on linen signed, titled and dated verso: Spectrum Analysis 12/ From The Series The Text of Light/ Robert Owen 2004 122 x 122cm provenance Arc One Gallery, Melbourne 2009 (label verso) Private collection, Melbourne Menzies, Melbourne, 27 March 2024, lot 22 Private collection, Melbourne $18,000-28,000

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19 © Stephen Bush/Copyright Agency 2025

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STEPHEN BUSH (born 1958) Isidore 2010 oil on canvas signed, titled and dated on stretcher verso: Stephen Bush ‘Isidore’ 2010 183.5 x 182.5cm provenance Sutton Gallery, Melbourne 2010 (gallery stamp verso) Private collection, Sydney Menzies, Melbourne, 20 June 2012, lot 68 Private collection, Melbourne $15,000-20,000

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20 © Courtesy of The Artist & Sophie Gannon Gallery, Melbourne 20

PAUL DAVIES (born 1979) House, Sunset 2015 acrylic on canvas signed, titled and dated verso: “HOUSE, SUNSET”/ PAUL DAVIES 2015/ Paul Davies 152 x 120.5cm provenance Olsen Irwin Gallery, Sydney (label verso) Private collection, Sydney provenance Other Desert Spaces, Olsen Irwin Gallery, Sydney, 7 - 25 October 2015 $10,000-15,000

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21 © Courtesy The Artist

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TOM ADAIR (born 1983) Pool Side Cool 2022 airbrush polymer on canvas signed, titled and dated verso: “POOL SIDE COOL” 2022/ TOM ADAIR 175.5 x 130cm provenance Private collection, Melbourne $10,000-15,000

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JONNY NIESCHE (born 1972) Mutual Vibration (All Together Now) Study 2017 voile, acrylic mirror and wood signed, titled and dated verso: “Mutual Vibration (All together now)/ Study”/ NIESCHE/ 2017 65 x 50 x 6cm

TOM POLO (born 1985) Not Me 2013 oil on board signed, titled and dated verso: tompolo/ 2013/ ‘NOT ME’ 35.5 x 28cm

provenance Zeller van Almsick, Vienna 2017 Private collection, Melbourne Deutscher and Hackett, Melbourne, 24 April 2024, lot 39 Private collection, Melbourne

provenance The Artist Private collection, Sydney $2,000-4,000

exhibitions Splitting Image: Jonny Niesche, Zeller van Almsick, Vienna, 23 June - 29 July 2017 "The combination of mirror and voile painting, which is found in all the works of the exhibition, is different in the Cosmic Plates: in contrast to Mutual Vibration, the mirror is much more reflective and thus "performative". For Niesche it was an anecdote by Bruce Naumann, who talked about the experience of looking at a shop window from a desirable situation - when one looks at an object that one desires, and at some point, one grasps one's own reflection. This dialogue was the starting point for Niesche's interest in capturing an image between the viewer and his own reflection. The fabric 'Voile' is a transparent fabric, a screen, a skin, a membrane. The viewer sees his/her image in the Cosmic Plates: a gravitationally mesmerizing version of herself." (excerpt, exhibition statement) $12,000-16,000

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23 © Tom Polo/Copyright Agency, 2025

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Rick Amor The City 6am 1989-1990

Rick Amor's The City 6am captures an ambiguous scene. The title sets the time of day—early morning—suggesting a transitional period between night and day, often associated with new beginnings or the remnants of the night’s secrets.

The juxtaposition of the two figures—a child and an adult, or a couple—creates a sense of urgency, as if they are fleeing or hurrying towards something. Their movement introduces an element of narrative suspense: are they escaping danger, or simply rushing to catch something important? The ambiguity is enhanced by the presence of the figure on the balcony, watching. This figure's passive observation contrasts with the active motion of the pair, suggesting a sense of surveillance or judgment.

Without knowing the artist's intentions, the interpretation remains open-ended.

However, it is this exact suspense and openness of the scene that make this work intrinsically typical of the artist's oeuvre.

As Amor has noted, “I've always thought that behind the façade of buildings all sorts of mysterious things go on. I suppose it's from my childhood and reading Kafka. I like to suggest that behind prosaic realities something else is lurking.” 1 (Artist Statement) The scene is cinematic making his work uniquely dubious and interesting. Amor is a storyteller through painting. The artist has referenced the influence of Film Noir, which is characterized not only by its distinctive visual aesthetics but also by its thematic complexity.2 The genre explores existential questions, such as the quest for purpose, the ambiguous boundary between right and wrong, and the internal conflicts related to identity and isolation. The unique visual approach of Film Noir is significantly shaped by German Expressionism, an art movement that emerged in the early 20th century. The movement was a reaction against the realism and naturalism that had dominated 19th-century art, expressing emotional experience and inner turmoil. It was also shaped by the social and political upheavals of pre-World War I and the disillusionment that followed the war. We can sense the complexities of Film Noir and ultimately Expressionism in Amor’s work. The parallels are evident, and the influence is fitting.

Rick Amor’s works are meaningful because they possess a timeless quality.

This appeal stems from the depth inherent in his paintings—his ability to weave complex narratives, layered emotions, and subtle tension into his visual storytelling. Amor's unique approach transcends pure representation, inviting viewers to explore the unspoken stories embedded within urban environments.

Rick Amor is unafraid to address the more complex concerns and demands of humanity. He acknowledges the complexities of life, his works are relatable—like a good movie, they make you feel something and transport you away from the banality of daily life. wiebke brix head of art

1.

Catalano G., The Solitary Watcher: Rick Amor and his art, Miegunyah Press, Melbourne, 2001, p. 149 2.

Lindsay R., Rick Amor: Standing in the shadows, McClelland Gallery and Sculpture Park, Victoria, 2005, p. 11

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24 © Rick Amor/Copyright Agency 2025

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RICK AMOR (born 1948) The City 6am 1989-1990 oil on canvas signed and dated lower with: RICK AMOR ‘90 titled and dated verso: The City 6am DEC 89 129.5 x 162.5cm provenance Niagara Galleries, Melbourne (label verso) Private collection, Melbourne Deutscher~Menzies, Melbourne, 2 September 2003, lot 23 Private collection, Sydney Deutscher and Hackett, Melbourne, 9 May 2007, lot 22 Private collection, Melbourne

exhibitions Niagara Galleries at Australian Contemporary Art Fair 2, Melbourne, 21 - 24 June 1990, cat. no. 10 The City and Beyond, La Trobe University Gallery, Melbourne, July 1990, then touring east coast regional galleries, cat. no. 2 (label verso) literature Catalano, R., The Challenge of Depicting Life as it Really is, exhibition review, The Age, Melbourne, 1 August 1990 $80,000-90,000

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26 © Brent Harris 2025

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ROSSLYND PIGGOTT (born 1956) Tender/Untender, Trace/Untrace - Mirror 2004 oil, palladium, pearls, buttons and nylon thread on linen signed, titled and dated verso (concealed): “Tender/ untender, trace/untrace - mirror”/ Rosslynd Piggott 40.5 x 30.5cm provenance Gift of the Artist 2004 Private collection, Melbourne $5,000-7,000

BRENT HARRIS (born 1956) Freud’s Dream 2009 oil on linen signed, titled and dated verso: Brent Harris/ ‘Freud’s Dream’ 2009/ B Harris 89 x 66cm provenance Martin Browne Fine Art, Sydney 2010 (label verso) Private collection, New South Wales Menzies, Melbourne, 27 February 2020, lot 124 Private collection, Melbourne $5,000-7,000 25 © Rosslynd Piggott/Copyright Agency, 2025

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KARLA MARCHESI (born 1984) Viewpoint 2015 oil on composite board panels signed, titled and dated verso: Viewpoint/ 2015/ K Marchesi 74.5 x 70cm

28 © Courtesy of The Artist and Nicholas Thompson Gallery, Melbourne

provenance Heiser Gallery, Brisbane (label verso) Private collection, Melbourne exhibitions Karla Marchesi: Vivarium, Heiser Gallery, Brisbane, 29 September - 24 October 2015 $2,000-4,000 28

RHYS LEE (born 1975) Untitled Figures 2006 synthetic polymer paint and enamel on canvas signed and dated verso: Rhys Lee/ 2006 titled on gallery label verso 183 x 152cm provenance Olsen Gallery, Sydney (label verso) Private collection, Victoria $5,000-7,000

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29 © Courtesy of The Artist and Martin Brown Contemporary, Sydney

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ALEXANDER MCKENZIE (born 1971) The Flagpoles 2010 oil on linen initialled and dated lower right: AMcK 10 signed, titled and dated verso: alexander mckenzie/ ‘the Flagpoles’/ 2010 91.5 x 121.5cm provenance Axia Modern Art, Melbourne Private collection, Melbourne Thence by descent Menzies, Melbourne, 26 June 2024, lot 4 Private collection, Melbourne exhibitions Alexander McKenzie: River, Axia Modern Art, Melbourne, 9 - 12 October 2010 (illus., exhibition catalogue) other notes Alexander McKenzie is represented by Martin Browne Contemporary, Sydney $15,000-25,000

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MARIE MANSFIELD (born 20th Century) Return to Sender 2024 oil on board signed and titled verso: Return to SEndER./ Marie Mansfield 40 x 40cm provenance Private collection, Melbourne exhibitions Marie Mansfield, Moments _ Mementos, New England Regional Art Museum, New South Wales, 12 April 26 May 2024 $2,000-4,000 31

JOHN KELLY (born 1965) Study for Big Head 2009 oil on linen artist's name, title and date on gallery label verso 30 x 59.5cm provenance Niagara Galleries, Melbourne (label verso) Private collection, Melbourne Menzies, Sydney, 29 November 2023, lot 94 Private collection, Melbourne exhibitions Blue Chip XXII, Niagara Galleries, Melbourne, 31 March - 2 May 2020, cat. no. 25 $8,000-12,000

30 © Courtesy The Artist

31 © John Kelly/Copyright Agency 2025

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32 © Cressida Campbell/Copyright Agency 2025

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CRESSIDA CAMPBELL (born 1960) Graveyard, Penang 1990 woodblock, unique signed and dated lower right: Cressida Campbell ‘90 titled lower centre 52.5 x 52.5cm

exhibitions Cressida Campbell: Woodblock Prints and Woodblocks 1990-1991, Rex Irwin Art Dealer, Sydney, 9 April 4 May 1991, cat. no. 8

provenance Rex Irwin Art Dealer, Sydney 1991 (label verso) Private collection, Sydney Menzies, Melbourne, 29 June 2022, lot 10 Private collection, Melbourne

literature Crayford, P. (ed.), The Woodblock Painting of Cressida Campbell, Public Pictures, Sydney, 2008, p. 343, cat. no. P9005 $20,000-30,000

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LINDE IVIMEY (born 1965) Bride and Dowry 2012 steel armature, acrylic resin, cast and natural sheep, fish and chicken bones, woven vertebrae, dyed cotton, agates and sapphires 81 x 32 x 36cm provenance Martin Brown Contemporary, Sydney Private collection, Melbourne exhibitions Set in Bone, Martin Browne Contemporary, Sydney, 28 June - 22 July 2012 other notes Linde Ivimey takes a sculptural approach in her artistic practice, crafting hauntingly intricate figures from organic and found materials, including animal bones from birds, sheep and fish, skin, hair and fabric. Ivimey keeps the raw materials that she uses to create her works in neatly organised boxes and categorised on shelves, grouping the different types of animal bones, teeth, eggshells, fabrics and gemstones.

These materials are highly personal to the artist and deeply connected to her life, as she uses bones from meals she has cooked and from animals she has raised, waxed hair and teeth she has been gifted.

Ivimey’s sculptures are technically complex and highly detailed and she employs a variety of skills to form the pieces such as welding, cooking, weaving, wood carving and sewing. Whilst her work can be viewed as macabre and confronting, her sculptures carry a deep sense of narrative, often evoking themes of memory, mortality, and spirituality. $8,000-12,000

33 © Linde Ivimey/Copyright Agency, 2025

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Del Kathryn Barton Dawn 2019

Undeniably one of the most critically acclaimed, eagerly sought-after figures in Australian contemporary art, Del Kathryn Barton holds the rare distinction of being one of the only two women to have twice won the prestigious Archibald Prize for portraiture at the Art Gallery of New South Wales, cementing her influence in the field.

Her paintings are instantly recognisable for their luminous surfaces, teeming with obsessive mark-making, delicate linework, and feverishly intricate patterns. Within this visual landscape Barton constructs figures the hover between earthly and ethereal realms, their exaggerated eyes and finely etched features imbued with a hypnotic, otherworldly presence.

Created a year after her first Archibald Prize accolade in 2008 for You Are What Is Most Beautiful About Me, Dawn stands out within Barton’s oeuvre for its depiction of a male subject – an anomaly in a body of work that predominantly centres on the female figure. While she has produced equally striking portraits of men, including her 2013 Archibald winning depiction of Hugo Weaving, male subjects are not often seen in her practice, however, still hold the same euphoric constructs.

Exhibited in The Stars Eat Your Body at Kaliman Gallery in 2009, Dawn retains the artist’s characteristic approach to detail, with an elaborate interplay of linework, and rich jewel-like palette. This exhibition displayed a series of twelve portraits, each tightly cropped to present the head and shoulders, a compositional approach that has since become a recurring theme in Barton’s practice. Whilst these figures lack the wings or multiple limbs often seen in her work, their otherworldly presence lingers in their swirling galaxy-like eyes and delicate, elfin features. The contours in Dawn are mirrored in those of his neighbours, with a sculptured nose and softly pouted blushed lips that resonate harmoniously with the surrounding portraits in the suite.

Barton’s success has contributed to the ongoing shift in the gendered landscape of Australian contemporary art, positioning her as a pioneering force in a field historically dominated my male artists. The demand for her works, both in the primary and secondary market, reflects not only their technical brilliance but also their ability to captivate audiences, making her one of the most compelling voices in contemporary art. hannah ryan senior art specialist

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34 © Courtesy of The Artist and Roslyn Oxley9 Gallery, Sydney

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DEL KATHRYN BARTON (born 1972) Dawn 2009 synthetic polymer paint, gouache, watercolour, pen and ink on canvas signed, titled and dated lower right: -dawn- del kathryn barton 2009 85.5 x 63.5cm provenance Kaliman Gallery, Sydney 2009 (label verso) Private collection, Victoria exhibitions Del Kathryn Barton, The Stars Eat your Body, Kaliman Gallery, Sydney, 27 November – 19 December 2009 $25,000-35,000

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35 © Lindy Lee/Copyright Agency 2025

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36 © Courtesy The Artist

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LINDY LEE (born 1954) Radiance of the Veil 2023 Chinese ink, fire and rain on paper signed and dated verso: Lindy/ Lee/ 2023 200 x 140 cm

moment when all matter was created. The Law of Conservation of Energy states that matter cannot be created nor destroyed, merely transformed, and so it is that all life on earth contains that primordial spark of creation.

provenance Sullivan+Strumpf, Sydney 2023 Private collection, Melbourne

When I work with elemental materials, I am embracing the very fabric and matter of existence.

The materials I use - wood, metal, fire, water, etc.

- open intimate pathways to the real and actual; to the actuality of experience as opposed to the thought-worlds and projections we have about that experience. This is what is meant by the ancient tree.

The tree is older than the forest in which it stands because it is born of deep cosmic time - time that is beyond mere chronology, but rather, evocative of the unfolding of the eternal present, which contains no beginning and no end, and therefore is timeless.”

(Artist’s Statement) $10,000-15,000

exhibitions A tree more ancient than the forest it stands in, Sullivan+Strumpf, Sydney, 4 May - 3 June 2023 “It is by virtue of an infinite expanse of interconnections that we have come to be here at this point in time. Our lives are intricately and inextricably connected to all other lifeforms on this planet - be they animate or inanimate, tangible or intangible. Our genesis can be traced back to the very beginnings of cosmos: to that spectacular

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PETA O’BRIEN (POB) (born 20th Century) (Quiet) mixed media on fabric initials embroidered lower right: POB 31 x 35cm provenance Private collection, Melbourne $3,000-4,000

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Rosalie Gascoigne Amber 1992

“My pieces can be looked at in different ways. I try to provide a starting point from which people can let their imaginations wander — what they discover will be the product of their own experience as much as mine. My aim is to be both allusive and elusive.”1- Rosalie Gascoigne Rosalie Gascoigne (1917-1999) redefined contemporary assemblage with her innovative use of alternative materials, transforming discarded objects into poetic visual compositions. Drawing inspiration from the Australian landscape, Gascoigne repurposed weathered road signs and timber, corrugated iron, and linoleum, imbuing her works with a raw, yet lyrical sensibility. Gascoigne’s signature aesthetic of fragmented text, sun-bleached hues, and rhythmic arrangements, evokes the beauty and desolation of the natural world.

Through elevating the everyday into art, she challenges traditional notions of medium and material, cementing her legacy as a pioneering force in Australian contemporary art.

Gascoigne was born in New Zealand in 1917 and moved from Auckland to Canberra in 1943, not long before the outbreak of the second World War. Canberra became a source of great inspiration and it both infused and informed her art over the years to come. Found objects were at the heart of the artist’s works; materials such as road signs, sheets of tin, soft drink crates and any discarded materials, were seen as materials of beauty and function to Gascoigne. The artist would spend days searching through local tips and junkyards, foraging for weathered materials she could repurpose for her art. Gascoigne remarked on her process of selecting materials: “I discovered the country dump, which I had been rather prissy about before I started to use anything that looked good to me; you had to have a very selective eye.”2 From the collected found objects, Gascoigne progressed from working with larger boards, to splitting or sawing the planks of old road signs into strips or small squares and then to assembling panels of these pieces together and gluing them to backing boards, a method evident in this work Amber 1992. The process of her creating, incorporates a dynamic sense of movement, further suggested in her lack of sketches and preplanning – Gascoigne fluidly moved through the artistic process as she prepared and assembled the parts, to create the three-dimensional structures – movement that was an essential part of her act of making.

It was during a visit to one of her local tips that Gascoigne came across the first retroreflective road sign; a material that became synonymous with the artist and one that is present in the artwork Amber. The title of this work, Amber, alludes to the amber traffic signal and the faintly visible words ‘SLOW’ that are across the middle of the central, circular plywood sign, introduces a subtle play on words and symbolism, reinforcing the meaning and function of the road sign within the composition. The choice of title plays a crucial role in the meaning of Gascoigne’s works and she never named a piece until it was complete, allowing time to contemplate with the artwork. This thoughtful process creates a deep connection between the work and its name and invites viewers to engage actively, encouraging personal reflection and imagination.

Gascoigne’s artistic practice is rooted in a spiritual connection, using suggestion, metaphor, and association to convey her ideas. Her art is motivated by the formal and evocative power of its material form.3 Exhibited at Pinacotheca Gallery in Melbourne in 1993, Amber with its sun-bleached assemblage of weathered pieces of yellow, black and retroreflective road signs, feels just as contemporary to viewers today, thirty-two years after its debut.

Gascoigne’s artworks capture the essence and sensory experience of the landscape, specifically, the Canberra and Monaro region, which serves as a foundation for her art. While deeply embedded in this environment, her compositions transcend their origins, resonating with broader impressions of the Australian landscape. amanda north senior fine art specialist

1 Rosalie Gascoigne: An alternative form of art making, Queensland Art Gallery of Modern Art; https://www.qagoma.qld.gov.au/stories/rosalie-gascoigne-an-alternative-form-of-art-making 2 Rosalie Gascoigne, cited in Macdonald, V., Rosalie Gascoigne, Regaro, Sydney, p. 28 3 Edwards, D., Rosalie Gascoigne: Material as Landscape, Art Gallery of New South Wales, Sydney, p. 11

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37 © Rosalie Gascoigne/Copyright Agency 2025 37

ROSALIE GASCOIGNE (1917-1999) Amber 1992 metal reflective road sign and sawn retroreflective road signs on plywood backing signed, titled and dated verso: AMBER/ Rosalie Gascoigne/ 1992 62 x 54.5cm provenance Pinacotheca Gallery, Melbourne Private collection, Melbourne Deutscher~Menzies, Sydney, 10 December 1998, lot 26 Private collection, Melbourne Menzies, Sydney, 24 March 2011, lot 47 Company collection, Melbourne Menzies, Sydney, 26 March 2015, lot 50 Private collection, Melbourne exhibitions Rosalie Gascoigne, Pinacotheca Gallery, Melbourne, 5 - 22 May 1993, cat. no. 8 literature Gascoigne, M., Rosalie Gascoigne: A Catalogue Raisonné, Australian National University Press, Canberra, 2019, p. 253, cat. no. 424 (illus.) $30,000-50,000

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CLAIRE HEALY AND SEAN CORDEIRO (born 1971); (born 1974) Takadanobaba 2005 lambada print, ed. 5/10 147 x 127cm provenance Gallery Barry Keldoulis, Sydney 2008 Private collection, Melbourne other notes “Takadanobaba is the display of the entire contents of the cramped Australia Council’s artist residency in Tokyo. This mass is the result of successive individuals caught up within the initial excitement of a hyper consumer society. The build-up is perhaps due to their short-term habitating cycle of residence within the space. These material dispossessions are stacked in some kind of order, attempting to create space within confinement.

The stack is constricted within the dimensions of the room. The room is also constricted within the dimensions of the tatami matting- as seen in the foreground of the picture. This articulation of dispossessions confined by space and time mirrors the desire to create a distinct personal identity within the multitudes of the metropolis.

The question of whether these left behind items are of practical use for future residents remains. A sword made of wood, a guitar left unstrung, things that do not make it to souvenir status become the detritus of a shifting space. These objects create a barrier or wall of sorts. Through the acquisition of these objects were the owners brought closer to the society that they found themselves in? The work questions the link between the possession of materials and personal identity.” (Artists’ statement) $5,000-7,000

39 © Courtesy The Artist

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JAMES DRINKWATER (born 1983) Hugo Drawing with Fire into the Night Sky 2016 oil on board signed, titled and dated upside down verso: Drinkwater/ 2016/ 'Hugo, Drawing with Fire/ in the Night sky' 94 x 75cm provenance Nanda\Hobbs, Sydney Private collection, Melbourne exhibitions James Drinkwater: Rungli Rungliot, Australian High Commission, Singapore, 6 - 28 February 2017 other notes “Rungli Rungliot” translates as “thus far and no further” from the Sauria Paharia people of West

Bengal. It is the name given to a Tasmanian Highland hut nestled in a sapling forest in the land of a thousand lakes. Sixty years ago, the original owners found their Eden. It was a place to be at peace with the world—they needed to search no more.

The surrounding landscape can be described as tough. It is a rugged beauty, weather-beaten by southerly Antarctic winds and blistering summer days since the last ice age.

In July 2016, artist James Drinkwater travelled to this place. He immersed himself in the trees next to the lake where he documented and created paintings and drawings night and day. These works became the source material for the major studio paintings in Drinkwater’s Rungli Rungliot exhibition at the Australian High Commission in Singapore in February 2017." (Nanda\Hobbs, Sydney) $6,000-10,000

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40 © Courtesy The Artist

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41 © Courtesy The Artist and STATION, Australia

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ANDREW BROWNE (born 1960) Periphery #2 (Veil) 2010 oil on linen signed, titled and dated verso: A . BROWNE 2010/ ‘PERIPHERY #2’/ (THE VEIL) 198 x 147.5cm provenance Tolarno Galleries, Melbourne Private collection, Victoria Leonard Joel, Melbourne, 9 May 2022, lot 76 Private collection, Melbourne exhibitions Andrew Browne: From The Periphery, McClelland Gallery and Sculpture Park, Victoria, 2010 (commissioned project for McClelland Gallery and Sculpture Park) “Andrew Browne was invited to survey the newly acquired land adjoining McClelland Gallery, with a view to both map and respond to the eight hectares of apparently ‘degraded’ landscape at the periphery of the existing sculpture park.

The result is an installation of a closely related group of paintings and photographic works that focus on details extracted from that area.”

(Alan R. Dodge, exhibition catalogue essay) $10,000-15,000

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JAKE WALKER (born 1971) Untitled Abstract 2011-2014 oil on canvas signed and dated verso: Jake Walker/ 2011-14 30.5 x 23cm provenance The Artist Private collection, Melbourne 2015 $1,000-2,000

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42 © Holly Greenwood/Copyright Agency 2025

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HOLLY GREENWOOD (born 1992) Morning at the Alamo Motel 2019 oil on board 85 x 120cm provenance James Makin Gallery, Melbourne Private collection, Melbourne exhibitions The Time Between, Olsen Gallery, Sydney, 13 November - 7 December 2019 $4,000-6,000

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NICHOLAS HARDING (born 1956) Robert 1992 oil on canvas signed, titled and dated verso: Robert/ 1992/ Nicholas Harding 45.5 x 41.5cm provenance Rex Irwin Art Dealer, Sydney (label verso) Olsen Gallery, Sydney (label verso) Private collection, Melbourne exhibitions Nicholas Harding, Rex Irwin Art Dealer, Sydney, 1992 cat. no. 8 (label verso) $4,000-6,000

43 © Nicholas Harding/Copyright Agency, 2025

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NICHOLAS HARDING (born 1956) Beach Life (Swim Ring and Magazine) 2006 oil on linen signed, titled and dated verso: Beach life/ (swim ring and/ magazine)/ 2006/ Nicholas Harding 56 x 51cm provenance Rex Irwin Art Dealer, Sydney (label verso) Private collection, Sydney Sotheby's, Sydney, 26 August 2014, lot 65 Private collection, Melbourne exhibitions Nicholas Harding: Paintings and Drawings, Rex Irwin Art Dealer, Sydney, 21 November - 16 December 2006, cat. no. 17 $12,000-18,000 44 © Nicholas Harding/Copyright Agency 2025

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45 © Aaron Kinnane/Copyright Agency, 2025

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AARON KINNANE (born 1977) The Cool, Cool River II 2022 oil on canvas signed, titled and dated verso: THE COOL, COOL RIVER II/ 2022/ Aaron Kinnane 159.5 x 210cm provenance Nanda\Hobbs, Sydney Private collection, Sydney $8,000-10,000

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46 © Euan Macleod/Copyright Agency, 2025

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EUAN MACLEOD (born 1956) Study Land Fall 2011 oil on canvas signed, titled and dated verso: STUDY/ LAND FALL/ EUAN MACLEOD/ 2011 38 x 51cm provenance Niagara Galleries, Melbourne Private collection, Melbourne exhibitions Euan Macleod: Onwards and Upwards, Niagara Galleries, Melbourne, 2011 $3,000-5,000

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47 © Euan Macleod/Copyright Agency, 2025

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IMANTS TILLERS (born 1950) Angel 1997 synthetic polymer paint and gouache on 6 canvasboards each panel numbered sequentially with stencil verso: 052120 - 052125 25 x 35.5cm (panel, each); 75.5 x 71cm (overall) provenance Gift of the Artist 1997 Private collection, Melbourne Thence by descent $7,000-9,000

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48 © David Noonan/Copyright Agency 2025

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DAVID NOONAN (born 1969) Moon-Age Daydream 2003 fabric painting 59.5 x 49cm provenance Uplands Gallery, Melbourne 2004 Private collection, Melbourne Menzies, Sydney, 19 November 2020, lot 128 Private collection, Melbourne exhibitions Before and Now, Roslyn Oxley9 Gallery, Sydney, 11 September - 11 October 2003 $6,000-8,000

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49 © Courtesy The Artist and Roslyn Oxley9 Gallery, Sydney 49

DALE FRANK (born 1959) Transient Ischemic Attack Painting London 3 (TIAPL3): Sheep get static cling when they rub together: Why are not safety pins as safe as they say? Hollow Log 2005 varnish on linen signed and dated verso: Dale Frank/ 2005 titled on gallery label verso 200 x 200cm provenance Anna Schwartz Gallery, Melbourne 2010 (label verso) Private collection, Melbourne Menzies, Melbourne, 27 March 2024, lot 46 Private collection, Melbourne $35,000-45,000

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CHRISTOPHER LANGTON (born 1954) Give it to Me (I Can Take It) 2003 digital print on inflatable PVC 121cm (diameter) provenance Tolarno Galleries, Melbourne 2003 Private collection, Melbourne exhibitions PrOn, Tolarno Galleries, Melbourne, 2003 other note "Christopher Langton's inflatable sculptures and paintings demand attention. Smooth as sin, sharp as glare and shiny as a supermodel's pout, they seduce and titillate…another inflated disc, throbbing with a different sort of passion. It's a larger than life closeup of a blow-up doll, lips parted, titled Give it to Me (I Can Take It). No explanation needed…"To me this is . . . the pornography of the art world; it's like cheap sex," the artist says…"It's all surface and, according to people, there's no depth, there's no meaning to it. You look at it once and then you forget it in five seconds, so I'm playing with those ideas." (Coslovich G., Inflatable Object of Desire, The Age, 19 July 2003 $1,500-2,500

50 © Christopher Langton

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GERWYN DAVIES (born 1985) Grand 2022 archival inkjet print, ed. A/P artist’s name, title and date on gallery label verso 123 x 91cm provenance Jan Murphy Gallery, Queensland 2022 Private collection, Sydney exhibitions Gerwyn Davies, Pleasure, Jan Murphy Gallery with The Calile Hotel, Brisbane, 16 September 4 October 2022 Employing elaborate costumes made by the artist himself, Sydney-based photographer Gerwyn Davies’ art explores identity and the fictitious possibilities of digital images. In early 2022, Gerwyn was invited to check-in at The Calile Hotel as their artist in residence, utilising the distinct architecture as the inspiration for his new body of work‚ Pleasure.

“Over five decadent days, a cast of costumed characters – variously shiny, spiky, slippery and sleek – spilled themselves into each corner of the Calile, uncovering its every recess and helping themselves to suites, rooftops, car parks and gyms. In their wake, a stubborn trail of glitter left scattered throughout the hotels hallways and lifts suggested these were the kind of visitors that would be hard to get rid of. And while as alien as these guests might first appear, there is also a sense that they already belonged to the hotel.

In the suite of twelve photographic works, the iconic architectural forms of the Calile enfold these vivid figures, welcoming, shaping and securing them in place. Likewise, the costumed bodies respond, their strong graphic forms mimicking, reaching out for and nestling into the built environment that surrounds them. Within these works of Pleasure, like polished postcards from paradise, the vibrant creatures are languid, sprawled and stretched. They show no signs of check-out times and instead, embody the sense of sun-drunk resplendence that being cocooned inside the hotel arouses.” (Artist’s statement) $1,500-2,500

51 © Courtesy The Artist and Jan Murphy Gallery

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52 © Angela Brennan/Copyright Agency 2025

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ANGELA BRENNAN (born 1960) The Past is the Present 2012 oil on linen signed, titled and dated verso: Angela Brennan/ ‘The past is the present’/ 2012 146 x 137cm provenance The Artist Private collection, Melbourne exhibitions Angela Brennan, Stop Humming Glenn Gould, Niagara Galleries, Melbourne, 28 August - 29 September 2012, cat. no. 7 $6,500-8,000

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BEN QUILTY (born 1973) Jm, Humanist, Chairwoman and Rockstar... Keeper of Clarkey 2016 oil on linen titled and dated verso: 2016 ‘Jm, humanist, chairwoman and Rockstar... keeper of Clarkey’ 130 x 120cm provenance Donated by the artist to Art of Music fundraising auction, Art Gallery of New South Wales, Sydney, 17 June 2016 Private collection, Sydney Menzies, Sydney, 29 November 2023, lot 73 Private collection, Melbourne $35,000-50,000 54

ALESANDRO LJUBICIC (born 1986) Tiffany Through the Branches III 2016 oil on linen on dibond signed and numbered verso: 17./ Alesandro Ljubicic 180 x 151cm provenance Michael Reid Galleries, Sydney Private collection, Sydney $7,000-10,000 55

WILLIAM ROBINSON (born 1936) (Self Portrait with Horse) hand glazed earthenware signed below lip: William Robinson. stamped at base by ceramicist: Errol Barnes 46.5cm (diameter)

53 © Ben Quilty

provenance Ray Hughes Gallery, Sydney 1988 Private collection, Sydney Menzies, Melbourne, 15 December 2010, lot 18 Private collection, Melbourne Lawson~Menzies, Sydney, 13 February 2013, lot 63 Private collection, Melbourne exhibitions Artists Make Ceramics, Ray Hughes Gallery, Sydney, November 1988 $10,000-14,000

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CJ HENDRY (born 1988) 8 of Clubs 2014 ink on paper signed lower right: CJHendry accompanied by a medallion of authenticity from the artist (cat. no. 203880276) 45 x 45cm provenance The Cool Hunter, Sydney 2014 Private collection, Melbourne Menzies, Melbourne, 26 June 2024, lot 7 Private collection, Melbourne $9,000-12,000

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JORNA NEWBERRY (1959-2025) (Language group: Pitjantjatjara) Ngintaka - Perentie 2022 acrylic on linen 180 x 244cm provenance Metro Gallery, Armadale Private collection, Melbourne $15,000-25,000

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58 © Carolanne Ken/Copyright Agency 2025

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CAROLANNE KEN (born 1971) (Language group: Pitjantjatjara/Yankunytjatjara) Minyma Makuli Tjukurpa 2019 synthetic polymer paint on canvas inscribed verso with artist’s name and Kaltjiti Arts cat. no. 19-270 183 x 200.5cm provenance Kaltjiti Arts, South Australia (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne other notes “This is the cave of Minyma Makuli (also known as Minyma Malilu) - minyma nymupu - she was cripped and had to crawl on her hands and kneews across the ground. She dug out this cave with the piti (wooden bowl), to be her big wiltja (shelter). She camped here with her kungkawara kutjara, two daughters, young women. One evening the girls returned from hunting

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with kuku pulka (large game), she wondered how they got it, and where it had come from? Two men had given it to the girls! Her girls left her alone for a long time and didn’t help her, poor thing, poor old weak woman, so she decided to follow them. She crawled after them, wanatjara anu, using a walking stick, following their tracks northwest back to the hills. When she reached their camp the men hit and killed her. They had called the girls in marriage and took them away. This is Carolanne’s grandmother’s country. The underground cave at Kanypi is a permanent water supply. Carolanne is from Fregon on the APY Lands. Precise, fine brushwork are characteristics of her work. Carolanne is a keen story teller and combining a traditional style with a contemporary edge to her work.”

As stated on a copy of the Kaltjiti Arts Certificate of Authenticity $3,000-5,000

59 © Image Courtesy of Michael Reid Sydney + Berlin.

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DR. CHRISTIAN THOMPSON AO (born 1978) Untitled (Pink Kangaroo Paw) 2007 c-type print on Fuji metallic paper, ed. 6/10 artist's name, title, date and edition on gallery label verso 99 x 99cm provenance Chalk Horse, Sydney (label verso) Private collection, Sydney exhibitions Australian Graffiti, Chalk Horse, Sydney, 12 June 6 July 2008 $6,000-8,000

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The Mainland Collection Lot 60, 61, 65, 66, 67, 75, 76, 110

Included in this sale are works from The Mainland Collection, a remarkable assembly of contemporary art that represents the diverse and dynamic artistic practices of the Asia Pacific region. Established with a forward-thinking vision, the collection challenges the traditional notion of Australia as an isolated island, instead positioning it within the broader geopolitical context of the Asia Pacific. This approach marked a significant departure from earlier collecting practices, as it embraced a more inclusive and regionally interconnected perspective.

Historically, Australian art collections have often focused primarily on works produced within the country, reflecting an inward-looking mentality that viewed Australia as culturally distinct and separate from its neighbouring countries. The Mainland Collection, however, recognized the essential cultural and political reality that Australia is not just an isolated continent but an integral part of the Asia Pacific region. This acknowledgment of Australia's interconnectedness was a progressive move that placed the collection ahead of its time.

The group behind The Mainland Collection understood the importance of including works by artists from other countries within the Asia Pacific, recognising that artistic dialogues do not adhere to national boundaries. By collecting works from across the region, they created a collection that reflects the complexity and diversity of contemporary art practices shaped by shared histories, cross-cultural influences, and ongoing exchanges between artists and communities.

One of the defining characteristics of the collection is its commitment to exploring the region's intricate socio-political realities. The collection highlights how artists from different countries address common themes such as migration, displacement, cultural identity, and globalisation. This emphasis on transnational perspectives allows the collection to serve as a platform for understanding how the region’s artists interpret and respond to their own environments while also engaging in broader global conversations.

By acknowledging the significance of artists from neighbouring countries, the collection celebrates the Asia Pacific as a vibrant, culturally diverse, and interconnected space. In doing so, it offers an invaluable resource for understanding contemporary art within the complexities of the region, challenging reductive notions of identity and place.

This forward-thinking, open-minded collecting approach has led to a collection of remarkable artworks, carefully selected to represent the region’s artistic diversity. In the spirit of the collection these works can be discovered throughout the sale marking unique opportunities to own important artworks that resonate with the evolving narrative of contemporary art in the Asian Pacific region. wiebke head of art

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MIT JAI INN (Thai, born 1960) Untitled (Scroll) 2014 oil on canvas, two-sided 86.5 x 565cm provenance SA SA BASSAC, Cambodia 2014 The Mainland Collection, Melbourne exhibitions Postpositive: Freaky You Are Always, SA SA BASSAC, Cambodia, 2014 $10,000-15,000 60

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YUDI SULISTYO (Indonesian, born 1972) Rumah (Home) 2013 paper, pvc tubes, acrylic, wooden boxes, recycled materials, paint 180 x 105 x 105cm provenance One East Asia, Singapore 2013 The Mainland Collection, Melbourne exhibitions Squaring the Circle, One East Asia, London, 30 October - 16 November 2013 “Yudi Sulistyo’s most recent sculpture Rumah (Home) is hard-edged and bullish. While is a departure from his usual oeuvre of replicating war machinery and

military equipment using the unlikeliest of materials - cardboard and recyclables - he maintains his characteristic exactitude in producing hyper-realistic objects. The difference Is in the subject matter, which has changes to ‘dilapidated wooden houses’ of both the indigenous poor and the immigrants who eke out of a living big city. The centrepiece of the sculpture is a miniature model of wooden houses hazardously stacked to form an eight-storey tower. This ominous building is encased within a cylindrical rocket head ready to be launched.

In Yudi’s explanatory notes, he writes of people moving into the cities in the search for ‘jobs that

would hopefully ‘rocket’ them to a better life’, yet the reality on the ground is stark: even finding shelter in a ‘simple and poorly built’ houses is considered to be a great comfort. The gulf between the rich and poor in Indonesia is startling: makeshift home shelters are found side by side with luxurious modern bungalows.

The sculptor takes the economically deprived and socially disenfranchised and equips them with a rocket in the hope of launching them out of their poverty, away from their societal displacement.” (exhibition statement) $7,000-9,000

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62 © John Olsen/Copyright Agency, 2025

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JOHN OLSEN (1928-2023) Lake Alexandrina 1975 watercolour on paper signed and dated lower right: John/ Olsen/ 75 titled on unknown label verso: Lake Alexandrina 59 x 84cm provenance The Artist Private collection, Sydney c.1978 $10,000-15,000

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LAWRENCE DAWS (born 1927) The 1913 Mining Disaster II oil on canvas signed lower right: DAWS 177 x 177.5cm

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provenance Mr and Mrs K. R. Glasson, Sydney Thence by decent Christie’s, Melbourne, 22 August 2005, lot 22 Private collection, Sydney Leonard Joel, Melbourne, 26 June 2021, lot 23 Private collection, Melbourne literature Weston, N., Lawrence Daws, Reed Publications, Sydney 1982, p. 94 (illus.)

“Returning to Australia early in 1970, the need to connect with the Australian landscape was strong, and a geologist friend, Ken Glasson, with whom Daws had earlier worked in the field, arranged for him to spend a month on survey work in Western Australia at a remote area some 130 kilometers south of Kalgoorlie on a nickel prospect” (excerpt, p. 95) $12,000-16,000 64

LUKE SCIBERRAS (born 1975) Entrails of the Day 2006 oil on board initialled and dated lower right: LS ‘06 signed, titled and dated verso: Entrails of the day/ Luke Sciberras/ ‘06 91.5 x 91.5cm provenance Port Jackson Press, Melbourne (label verso) Private collection, Sydney $3,000-5,000 64

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65 © Shaun Gladwell. Image courtesy of the Artist & PALAS

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SHAUN GLADWELL (born 1972) Double Field/Viewfinder (Tarin Kowt) 2009-2010 dual channel synchronised high definition video, ed. 2/4 16:9 stereo sound, colour, 18 minutes and 40 seconds accompanied by a signed, titled, dated and editioned certificate of authenticity provenance Anna Schwartz Gallery, Sydney 2011 The Mainland Collection, Melbourne exhibitions Shaun Gladwell: Stereo Sequences, Australian Centre for the Moving Image, Melbourne, 1 June - 14 August 2011 (another example) Shaun Gladwell: Perpetual 360° Sessions, SCHUNCK*, Heerlen, 3 September - 27 November 2011 (another example) Collection+: Shaun Gladwell, University of New South Wales Galleries, Sydney, 6 March - 25 April 2015 (another example)

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other notes Another example of this video is in the collection of the Art Gallery of New South Wales, Sydney.

“Shaun Gladwell is one of Australia’s foremost contemporary artists, whose work investigates the physical body engaged in sub-cultural performances within various urban environments. Double Field/ Viewfinder (Tarin Kowt) 2009-2010 was produced during the artist’s tenure as an Australian official war artist in Afghanistan (the town of Tarin Kowt being home to the NATO-ISAF base in southern Afghanistan). Gladwell was the first to use the medium of video/video installation in the history of the scheme, the moving image lending itself to explorations in the role of technology, particularly media coverage, communication and surveillance, in contemporary warfare.

In October 2009 Gladwell was drafted into the Australian Defence Force for three weeks where he participated in military operations and gathered footage for future works. A synchronised dual-channel High Definition video, televised on two screens facing one another, presents two soldiers stood in the Afghan desert. These two figures, rendered in real time, are caught in a standoff as they simultaneously circle, imitate and ‘shoot’ one another with their hand-held cameras.

These scenes are far removed from the skateboarding and break dancing which the artist is renowned for, however the work retains those situational elements of body, movement and landscape which address the nature of occupation and conflict.” (Art Gallery of New South Wales, Sydney) $8,000-12,000

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TIFFANY CHUNG (American, born 1969) Nagasaki 2010 embroidery, beads, metal grommets and buttons on canvas 111 x 84.5cm provenance Tyler Rollins Fine Art, New York 2012 The Mainland Collection, Melbourne exhibitions Tiffany Chung: Scratching the Walls of Memory, Tyler Rollins Fine Art, New York, 4 November 2010 8 January 2011 (illus., exhibition catalogue) 2013 California-Pacific Triennial, Orange County Museum of Art, California, 30 June – 17 November 2013 (illus., exhibition catalogue, p. 200) $15,000-20,000

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JAKKAI SIRIBTUR (Thai, born 1969) Come to Me 2011 sequins, machine stitching on saffron robe signed and dated verso: Jakkai 2011 210 x 215cm provenance Tyler Rollins Fine Art, New York 2013 The Mainland Collection, Melbourne

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other notes "Jakkai Siributr is one of Southeast Asia’s leading contemporary artists working primarily in the textile medium. His fascination with textiles and embroidery began as a child in Bangkok, and he went on to study textile design in college and graduate school in the United States before returning to Thailand. He is noted for producing meticulously handmade tapestry and installation works that make powerful statements about religious, social, and political issues in contemporary Thailand. A main preoccupation of his art is the interaction of Buddhism and materialism in modern life, and the everyday popular culture of Thailand." (Tyler Rollins Fine Art, New York) $15,000-25,000

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ATONG ATEM (born 1994) Adut and Bigoa 2015 Ilford smooth pearl print, ed. 10/10 84 x 59cm provenance MARS Gallery, Melbourne Private collection, Melbourne exhibitions Unseen Photo Fair, Amsterdam, 23 - 25 September 2016 (another example) National Gallery of Victoria Triennial, National Gallery of Victoria, Melbourne, 19 December 2020 - 18 April 2021 (another example) “Atong Atem uses photography and video to explore migrant stories and post-colonial practices in the African diaspora. She has an ongoing interest in photography and portraiture as a vehicle to express culture and identity. The photographs featured in NGV Triennial are from an early series of portraits created by the artist. These works not only explore the various experiences and identity of Atem and her friends but also draw on the history of studio photography in Africa, most notably the practice of renowned photographers Malick Sidibé and Seydou Keïta, who were active in Mali in the 1960s.

Atem’s photographs are all staged studio portraits.

In each of the images her subjects are photographed against brilliantly coloured backdrops, and her sets are further decorated with intricately patterned fabric, furniture and abundant bunches of flowers, resulting in a riot of colour and pattern.” (exhibition statement, National Gallery of Victoria, Melbourne) $10,000-15,000

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70 © Courtesy The Artist and STATION, Melbourne 69

TIM STORRIER (born 1949) Splotcher (Maquette) 2022 bronze, ed. 7/30 initialled and editioned at base: S T./ 7/30 38.5 x 29 x 13.5cm provenance Private collection, Melbourne Menzies Art Brands, Melbourne 2024 Private collection, Melbourne $8,000-12,000 70

JON CATTAPAN (born 1956) Red Channel 2005 oil on canvas signed, titled and dated verso: JON CATTAPAN/ “Red Channel”/ Jon Cattapan 2005 140 x 140cm provenance Private collection, Melbourne $10,000-15,000 69 © Tim Storrier/Copyright Agency 2025

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JASON BENJAMIN (1971-2021) She’s Counting the Days 2003 oil on canvas signed, titled and dated verso: she’s counting/ the days/ May 03/ Benjamin 122 x 122cm provenance Metro 5 Gallery, Melbourne Private Collection, Melbourne $8,000-12,000

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LESLIE RICE (born 1976) A Transubstantial Meal 2008 acrylic on black velvet signed, titled and dated verso: Leslie Rice/ “A Transubstantial Meal”/ 2008/ Leslie Rice.

29.5 x 39cm provenance The Artist Private collection, Sydney $2,000-4,000

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73 © Courtesy The Artist

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JOANNE MORRIS (born 1974) Ethereal Bloom charcoal on Arches paper signed lower right: Joanne Morris 76 x 57cm provenance Private collection, Melbourne $2,000-4,000 74

AKIO MAKIGAWA (1948-1999) Untitled 1986 oil on paper (8) each signed and dated lower right: akio makigawa ‘86 21 x 14.5cm (each), 46 x 69cm (sheet, reveal) provenance Private collection, Perth Thence by descent $4,000-6,000 74 © Akio Makigawa/Copyright Agency, 2025

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THE PROPELLOR GROUP MATT LUCERO (American, born 1976); TUAN ANDREW NGUYEN (Vietnamese, born 1976); PHUNAM THUC HA (Vietnamese, born 1974) Polini 2012 graphite on paper 104 x 128cm provenance Gallery Quynh, Ho Chi Mihn City 2013 The Mainland Collection, Melbourne exhibitions Static Friction, Gallery Quynh, Ho Chi Minh City, 5 - 21 April 2012

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other notes Formed in 2006 by Phunam Thuc Ha, Matt Lucero, and Tuan Andrew Nguyen, The Propeller Group is a Ho Chi Minh City and Los Angeles-based collective.

The group reflects not only the association of their diverse backgrounds from fine art to filmmaking but also their different cultures, influences and heritage. $5,000-6,000

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THE PROPELLOR GROUP MATT LUCERO (American, born 1976); TUAN ANDREW NGUYEN (Vietnamese, born 1976); PHUNAM THUC HA (Vietnamese, born 1974) Collision: Combustion 2012 vinyl sticker decals on aluminium panel, polyurethane varnish 100 x 178cm provenance Gallery Quynh, Ho Chi Mihn City 2013 The Mainland Collection, Melbourne exhibitions Static Friction, Gallery Quynh, Ho Chi Minh City, 5 - 21 April 2012 $6,000-7,000

75

77

78

FIONA FOLEY (born 1964) Wild Times Call 1 2001 c-type photograph, ed. 8/10 102 x 84cm (image, reveal)

FIONA FOLEY (born 1964) Wild Times Call 3 2001 c-type photograph, ed. 8/10 84 x 102cm (image, reveal)

provenance Niagara Galleries, Melbourne Private collection, Melbourne

provenance Niagara Galleries, Melbourne Private collection, Melbourne

exhibitions River of Corn, Contemporary Art Museum, University of South Florida, Tampa, America, 12 - 27 January 2001 (another example) Wild Times Call, Niagara Galleries, Melbourne, 2001 Fiona Foley: Wild Times Call, Roslyn Oxley9 Gallery, Sydney, 13 March - 6 April 2022 (another example) $2,000-4,000

exhibitions River of Corn, Contemporary Art Museum, University of South Florida, Tampa, America, 12 - 27 January 2001 (another example) Wild Times Call, Niagara Galleries, Melbourne, 2001 Fiona Foley: Wild Times Call, Roslyn Oxley9 Gallery, Sydney, 13 March - 6 April 2022 (another example) $2,000-4,000 79

77 © Fiona Foley/Copyright Agency, 2025

FIONA FOLEY (born 1964) Wild Times Call 4 2001 c-type photograph, ed. 8/10 84 x 102cm (image, reveal) provenance Niagara Galleries, Melbourne Private collection, Melbourne exhibitions River of Corn, Contemporary Art Museum, University of South Florida, Tampa, America, 12 - 27 January 2001 (another example) Wild Times Call, Niagara Galleries, Melbourne, 2001 Fiona Foley: Wild Times Call, Roslyn Oxley9 Gallery, Sydney, 13 March - 6 April 2022 (another example) $2,000-4,000

78 © Fiona Foley/Copyright Agency, 2025

79 © Fiona Foley/Copyright Agency, 2025

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other notes "The photographs were first exhibited in 2001 at the University of South Florida Contemporary Art Museum in the USA. In the catalogue from the Florida exhibition, Djon Mundine describes how, for white colonialists, photography became "a vehicle for recording new and exotic lands and informing the 'unexotic' Europe of the strange landscape, flora, fauna, and people. In the case of the postcard print fashion from around 1900; to entice tourists to cruise to [exotic] places ... Ultimately and blatantly however, photography became another tool of colonialism, to label, control, dehumanise and disempower their subjects who could only reply in defiant gaze at the lens controlled by someone else."

Foley's photographs comment on the history of the photography of indigenous peoples from colonised lands. "For Indigenous people the camera's central role has been in transforming but really stereotyping, our cultures." In more recent times, "Indigenous people have moved behind the camera, firstly replacing the documenter, then creatively reinterpreting their photographic history." (excerpt, Roslyn Oxley9 Gallery exhibition statement)

80 © The Artist

80

BILL HENSON (born 1955) Untitled 1998/99 1998-1999 c-type photograph, ed. 4/5 signed, titled and dated lower right: ‘Untitled 1998/99’ Bill Henson numbered and editioned lower left: CL SS 366 N1A 4/5 100 x 152cm provenance Tolarno Galleries, Melbourne 2000 Private collection, Melbourne Menzies, Melbourne, 29 March 2023, lot 124 Private collection, Melbourne exhibitions Bill Henson, Roslyn Oxley9 Gallery, Sydney, 8 March - 1 April 2000, cat. no. 11 (another example) Bill Henson, Tolarno Galleries, Melbourne, August 2000 literature Jaeggi, M. & Keller, W. (eds.), Bill Henson: Lux et Nox, Scalo, Zurich, 2002, p. 25 (illus., another example) $25,000-35,000

77

81 © Ken Whisson/Copyright Agency, 2025

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KEN WHISSON (born 1927) Summer’s Day 2002 ink on paper artist’s name, title, date and inscriptions verso: KEN WHISSON/ AMSTERDAM 6/5/2002/ PERUGIA/ & 13/8/2002/ TITLE: “A SUMMER’S DAY” 38 x 50cm provenance Niagara Galleries, Melbourne (label verso) Private collection, Tasmania Private collection, Sydney $2,000-3,000

78

82

PETER BOOTH (born 1940) New York 1984 ink on paper, triptych (i) signed, titled, dated and numbered verso: BOOTH 84./ N.Y.C/ 1347 (ii) signed, titled, dated and numbered verso: BOOTH 84./ N.Y.C/ 1348 (iii) signed, titled, dated and numbered verso: BOOTH/ NEW YORK 1984/ 1399 15 x 19.5cm (each) provenance CDS Gallery, New York Private collection, Melbourne Leonard Joel, Melbourne, 20 March 2018, lot 24 Private collection, Melbourne exhibitions The Australians, Three Generations of Drawings, CDS Gallery, New York, 24 September - 20 October 1984 $3,000-5,000

82 © Peter Booth/Copyright Agency, 2025

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83

83

DAVID KEELING (born 1951) Second Love Song 2003 oil on canvas signed, titled and dated verso: D. Keeling/ 2003/ ‘Second Love Song’ 91 x 121.5cm provenance Niagara Galleries, Melbourne (label verso) Private collection, Melbourne exhibitions David Keeling: Second Love Song, Niagara Galleries, Melbourne, 28 October - 22 November 2003, cat. no. 15 $8,000-12,000

80

84 © Courtesy The Artist

84

PETER WEGNER (born 1953) Study for Velvet Couch 2021 oil on board signed, titled and dated verso: Peter Wegner/ 2021/ Study for Velvet Couch 2021.

46.5 x 67cm provenance Australian Galleries, Melbourne (label verso) Private collection, Melbourne exhibitions Paintings in the Studio - Peter Wegner, Australian Galleries, Melbourne, 11 May - 30 May 2021 $4,000-6,000

81

85 © Kate Shaw/Copyright Agency 2025

85

KATE SHAW (born 1969) Untitled 2019 acrylic and resin on board signed and dated verso: Kate Shaw 2019.

60 x 180cm provenance The Artist Private collection, Sydney $4,000-6,000 86

GEMMA SMITH (born 1978) Boulder #7 2010 acrylic 35 x 52 x 49cm (irregular) provenance Milani Gallery, Brisbane 2011 Private collection, Melbourne other notes "Gemma Smith’s work takes the form of both painting and sculpture. Through her explorations of colour theory, pictorial depth and sculptural form, Smith has developed a body of abstract work that both playfully and seriously investigates the shifting pictorial plane." (Milani Gallery, Brisbane) $2,000-4,000

82

86 © Courtesy The Artist and Sullivan+Strumpf.

87 © Courtesy The Artist

87

LAWRENCE STARKEY (born 1959) Morning White Arab Mare oil on canvas signed lower right: LAWRENCE STARKEY 79.5 x 81cm provenance Anthea Polson Art, Queensland (label verso) Private collection, Melbourne $3,000-5,000 88

MARIAN TUBBS (born 1983) Air 2014 digital print on self adhesive vinyl on acrylic, unique 135 x 97cm provenance Donated by the artist to Firstdraft Auction, Sydney, 1 July 2016, lot 82 Private collection, Melbourne $2,000 - 4,000 88 © Courtesy the artist and STATION, Melbourne and Sydney

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89

89

TONEE MESSIAH (born 1983) The Nothing Man and the Every Guy 2016 oil on canvas signed and dated verso: T messiah 2016 76 x 84cm provenance Gallery 9, Sydney Private collection, Melbourne exhibitions Tonee Messiah: Over Considered, Gallery 9, Sydney, 17 February - 5 March 2016 $2,000-3,000 90

DAVID LARWILL (1956-2011) Head V 1999 oil on linen initialled and dated centre right: D.L/ ‘99. signed, titled and dated verso: Head V/ David Larwill/ 1999 122.5 x 91.5cm provenance Gift of the Artist Private collection, Melbourne c. 2003 Menzies, Melbourne, 26 June 2024, lot 3 exhibitions David Larwill, Greenhill Galleries, Perth, 6 - 27 October 1999 (illus., exhibition catalogue) $16,000-26,000 90 © David Larwill/Copyright Agency 2025

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91

ADAM CULLEN (1965-2012) Perdition 1 (Ned Kelly) 2011 synthetic polymer paint on canvas initialled lower left and right: A C signed, titled and dated verso (concealed) 66 x 66cm provenance The Estate of Adam Cullen Private collection, Melbourne Five Fifty Art Advisory, Melbourne Private collection, Melbourne exhibitions Exotic Miasma: The Art of Adam Cullen, Five Fifty Art Advisory, Melbourne, 10 February - 10 March 2021, cat. no. 1 $5,000-7,000 92

JASPER KNIGHT (born 1978) Sand Ridge Bridge 1888 2016 enamel, masonite, perspex and metal sign on board signed, titled and dated verso: JASPER KNIGHT/ Jasper Knight 2016/ ‘SAND RIDGE/ BRIDGE 1888’/ 2016 150 x 140cm provenance Private collection, Sydney $6,000-8,000

91 © Adam Cullen/Copyright Agency, 2025

92 © Jasper Knight/Copyright Agency 2025

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93

DENISE GREEN (born 1946) Illusionistic 1997 oil on canvas signed, titled and dated verso: Denise Green/ Illusionistic/ 1997 157 x 111cm provenance The Artist Private collection, Sydney $4,000-6,000

93 © Denise Green/Copyright Agency 2025

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94

JENNY WATSON (born 1951) Self Portrait 2007 oil and mixed media on cotton, with accompanying oil and velvet ribbon on canvas plaque signed, dated and inscribed on plaque verso: 2007/ Jenny Watson/ text/ panel/ for/ self/ portrait 185 x 80cm; 40 x 18cm provenance Private collection, Melbourne Mossgreen Auctions, Sydney, 28 May 2017, lot 26 Private collection, Melbourne $5,000-7,000 94 © Courtesy of The Artist and Roslyn Oxley9 Gallery, Sydney

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95

RICHARD LEWER (born 1970) The Emperor 2012 oil on epoxy coated steel signed verso: R. LeWeR titled lower left: THE EMPEROR 30 x 22 x 4cm provenance Gertrude Contemporary, Melbourne Private collection, Melbourne exhibitions Richard Lewer: The Tarot Card Series, Gertrude Contemporary, Melbourne, 2012 “In creating the series, Richard Lewer referred to a number of historical precedents including the 15th Century Visconti-Sforza deck, one of the earliest surviving examples of tarot imagery. Here, Lewer found common ground between narratives that have been central to his oeuvre and in imagery that for centuries has been used to reveal the self and divine the future.” (excerpt, exhibition statement) $1,500-2,500 96

95

JUSTIN WILLIAMS (born 1984) Crowd 2019 oil on canvas initialled and dated lower right: J.W. 19 signed and dated verso: Justin Williams/ 19 144.5 x 124cm provenance Private collection, Sydney $5,000-8,000

96 © Justin Williams/Copyright Agency, 2025

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97

LOTTIE CONSALVO (born 1985) In Great Force 2022 acrylic on board signed, titled and dated verso: In great Force/ 2022/ Lottie Consalvo 200 x 120cm

97

provenance Private collection, Melbourne $8,000-12,000

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98 © Mclean Edwards/Copyright Agency, 2025

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MCLEAN EDWARDS (born 1972) Whitewash 2014 oil on canvas signed, titled and dated verso: Mclean/ Edwards/ 2014/ ‘Whitewash’ 152 x 122cm provenance Piermarq* Gallery, Sydney (label verso) Private collection, Sydney $10,000-15,000

90

100 © Luke Cornish (E.L.K)/Copyright Agency, 2025

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SAM DEAL (born 1978) Absolute: Relative Pressure I 2013 cast iron, steel, mixed media 105 x 72 x 19.5cm provenance The Artist Australian Galleries, Melbourne Private collection, Melbourne Menzies, Melbourne, 24 September 2014, lot 316 Private collection, Melbourne $2,500-4,500 100

LUKE CORNISH (E.L.K) (born 1979) War is Over 2016 synthetic polymer paint on board signed, titled and dated verso: ‘WAR IS OVER’ 2016/ Luke Cornish/ ELK 79 x 109cm provenance The Artist Private collection, Sydney $3,000-5,000 99

91

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101

ANNALISA FERRARIS (born 20th Century) Desert House, Palm Springs CA 2017 oil on board signed, titled and dated verso: “Desert House, PALM/ SPRINGS”/ CA/ ‘17/ AF/ A. FERRARIS 90 x 120.5cm provenance China Heights, Sydney (label verso) Private collection, Sydney $3,000-5,000 102

OLIVER WATTS (born 1976) (Pie) paper collage 48.5 x 48.5cm provenance Chalk Horse, Sydney Private collection, Sydney $2,000-4,000 102 © Oliver Watts/Copyright Agency, 2025

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103 © Tim McMonagle/Copyright Agency, 2025

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TIM MCMONAGLE (born 1971) Golden Statue 2018-2019 oil on linen signed and dated verso: Tim McMonagle/ 2018/ 2019 137 x 138cm provenance Edwina Corlette, Queensland Private collection, Melbourne exhibitions Tim McMonagle: Wonderful Things, Edwina Corlette, Queensland, 17 May – 5 June 2019 $4,000-6,000 104

REG MOMBASSA (born 1951) No. 27 (Case No. 2) 1977 oil board signed, titled and dated verso: No 27/ (Case No 2/ Reg Mombassa/ 1977 25.5 x 18.5cm provenance Private collection, Melbourne $3,000-4,000 104 © Courtesy The Artist

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106

107

105 © Matthew Johnson/Copyright Agency 2025

REBECCA BAUMANN (born 1983) Colour Clock (Variation IV) 2019 flip-clock, laser cut paper and battery, ed. 9/10 9 x 36 x 12cm provenance Moore Contemporary, Perth Private collection, Melbourne other notes Through the interplay of light, colour, and the unpredictability of random movement, Rebecca Baumann seeks to elicit a response, activating viewers’ emotions in fleeting and unexpected ways. Working across a range of media, including installation, kinetic sculpture, and performance, Baumann has created both immersive, room-filling environments and compelling wall-based artworks that captivate and intrigue.

105

MATTHEW JOHNSON (born 1963) Constellate VII 2021 oil on linen signed, titled and dated verso: “CONSTELLATE VII”/ 2021/ Matthew Johnson 122 x 102cm provenance Private collection, Adelaide $5,000-6,000

94

106

SANDRA SELIG (born 1972) Universes Part 3 2011 spider silk, enamel and fixative on paper 41 x 28.5cm provenance Milani Gallery, Brisbane 2012 Private collection, Melbourne $1,000-2,000

Colour Clock (Variation IV) is a kinetic sculpture constructed from a battery-powered alarm clock. The artist has replaced the numbered panels representing hours and minutes with coloured cards, which spontaneously flip into new configurations. Baumann explores the emotional associations of colour, reflecting on the creation of this series, “Everything is always about that perfect moment, but really life is just a series of many moments,” emphasising the breadth of emotions experienced within a single day. $1,500-2,500

108 © Melinda Harper/Copyright Agency, 2025

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MELINDA HARPER (born 1965) Untitled 2010 oil on canvas signed and dated verso: Melinda Harper 2010 122 x 183cm provenance Private collection, New South Wales Private collection, Melbourne $8,000-10,000 107 © Rebecca Bauman/Copyright Agency, 2025

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109 © Aida Tomescu/Copyright Agency, 2025

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AIDA TOMESCU (born 1955) Untitled 1987 mixed media and collage on paper on canvas initialled lower right: ACT 128.5 x 150.5cm provenance Gift of the Artist Private collection, Melbourne $6,000-8,000

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MAP OFFICE LAURENT GUTIERREZ (Moroccan, born 1960); VALÉRIE PORTEFAIX (French, born 1969) Disputed: Bei Xiaodao (China), Kita-kojima (Japan), Bei Xiaodao (Taiwan) mixed media, dartboard and booklet, ed. 1/3 60 x 60 x 14cm provenance Christie’s, Hong Kong, 15 March 2015, lot 114 The Mainland Collection, Melbourne exhibitions Mapping Asia, Asia Art Archive, Hong Kong, 24 April - 30 October 2014 $7,000-9,000 111

JULIA CICCARONE (born 1967) Globe (Terra Australis) mixed media and found objects 30 x 37 x 29cm provenance Niagara Galleries, Melbourne Private collection, Melbourne exhibitions Blue Chip XXIII - The Collectors’ Exhibition, Niagara Galleries, Melbourne, 24 March - 17 April 2021, cat. no. 63 (illus., exhibition catalogue) $1,500-2,500 111

97

112

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NICOLE SLATER (born 1984) The Real Deal 2021 synthetic polymer paint on linen 121.5 x 180cm provenance The Artist Private collection, Melbourne Thence by descent literature Nicole Slater, The Stables Collection, Knight Fine Art, Victoria, 2020/2021, pp. 6-7 (illus., exhibition catalogue) $10,000-12,000

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113 © James Robertson/Copyright Agency 2025

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JAMES ROBERTSON (born 1968) Should Have Seen it Coming 2008 oil on canvas signed and dated lower right: James Robertson 08 signed, titled and dated verso: “SHOULD HAVE/ SEEN IT COMING”/ James Robertson 08 153 x 203cm provenance Private collection, Melbourne $7,000-9,000

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Artist Index

A

I

Q

Abdullah, Abdul 15 Adair, Tom 21 Atem, Atong 68

Ivimey, Linde 33

Quick, Matthew 1 Quilty, Ben 53

J

Johnson, Matthew 105 B

Barton, Kathryn Del 34 Baumann, Rebecca 107 Benjamin, Jason 71 Booth, Peter 82 Braithwaite, Joanna 10 Brennan, Angela 52 Browne, Andrew 40 Bush, Stephen 19

K

Keeling, David 83 Kelly, John 31 Ken, Carolanne 57 Kerwick, Jordy 24 Kinnane, Aaron 45 Knight, Jasper 92

Campbell, Cressida 32 Cattapan, Jon 70 Chung, Tiffany 66 Ciccarone, Julia 111 Claire Healy and Sean Cordeiro 38 Consalvo, Lottie 97 Cornish, Luke 100 Cullen, Adam 91 D

Davies, Gerwyn 51 Davies, Paul, 20 Daws, Lawrence 63 Deal, Sam 99 Drinkwater, James 39 E

Edwards, Mclean 98 F

Ferraris, Annalisa 101 Foley, Fiona 77, 78, 79 Ford, Juan 9 Frank, Dale 49 Frazer, Neil 7 G

Gascoigne, Rosalie 37 Gladwell, Shaun 65 Green, Denise 93 Greenwood, Holly 42

100

S

Langton, Christopher 50 Larwill, David 90 Lee, Lindy 35 Lee, Rhys 28 Lewer, Richard 95 Ljubicic, Alesandro 54 M

T

Macleod, Euan 46 Makigawa, Akio 74 Mansfield, Marie 30 Map Office 110 Marchesi, Karla 27 Mckenna, Noel 3, 4 McKenzie, Alexander 29 McMonagle, Tim 103 Meagher, Julian 8 Messiah, Tonee 89 Miller, Lewis 5 Mit, Jai Inn 60 Mombassa, Reg 104 Morris, Joanne 73

Thompson AO, Dr Christian 59 Tillers, Imants 47 Tomescu, Aida 109 Tubbs, Marian 88 Twigg, Julian 6

N

Nell 14 Newberry, Jorna 58 Niesche, Jonny 22 Noonan, David 48 O

O’Brien, Peta 36 Olsen, John 62 Owen, Robert 18

H

Harding, Nicholas 43, 44 Harper, Melinda 108 Harris, Brent 26 Hendry, CJ 56 Henson, Bill, 80 Hirst, Damien 13 Huntley, Brendan 11, 12

Rennie, Reko, 2 Rice, Leslie 72 Robertson, James 113 Robinson, William 55

Sciberras, Luke 64 Selig, Sandra 106 Shaw, Kate 85 Siribtur, Jakkai 67 Slater, Nicole 112 Smith, Gemma 86 Staniak, Michael 17 Starkey, Lawrence 87 Storrier, Tim 69 Sulistyo, Yudi 61

L C

R

P

Piccinini, Patricia 16 Piggott, Rosslynd 25 Polo, Tom 23 Propellor Group 75, 76

W

Walker, Jake 41 Watson, Jenny 94 Watts, Oliver 102 Wegner, Peter 84 Whisson, Ken 81 Williams, Justin 96

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AUCTION CATALOGUE 104 18 ISSUE 8 LJ8780 VOLUME