Centum

CENTUM AUCTION 15 MAY 2023, MELBOURNE —

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AUCTION CATALOGUE VOLUME 16 ISSUE 7 LJ8682 Cover: Lot 4 (detail) GREGORY HODGE (born 1982) Ocean Town 2021 synthetic polymer paint on canvas 200 x 159.5cm $16,000-22,000 Courtesy The Artist and Sullivan+Strumpf Inside Cover: Lot 22 (detail) MICHAEL ZAVROS (born 1974) Abs 2019-2020 oil on canvas 120 x 160cm $40,000-50,000 Courtesy The Artist and Sullivan+Strumpf

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CENTUM AUCTION 15 MAY 2023 AT 6PM, MELBOURNE — VIEWING Viewing in Sydney Friday 5 - Sunday 7 May The Bond, 36-40 Queen Street, Woollahra, NSW 2025 Comber Street Studios, 5 Comber Street, Paddington, NSW 2021 Viewing in Melbourne Friday 12 - Sunday 14 May Monday 15 May, by appointment 333 Malvern Road, South Yarra, VIC 3141

CONTACT

Olivia Fuller

Lucy Foster

Hannah Ryan

Head of Art 03 8825 5624 olivia.fuller@leonardjoel.com.au

Senior Art Specialist 03 8825 5609 lucy.foster@leonardjoel.com.au

Art Specialist, Manager of Speciality Auctions 03 8825 5666 hannah.ryan@leonardjoel.com.au

Please refer to our website for viewing times Lot 8 (detail opposite) © Yvette Coppersmith/Copyright Agency, 2023

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WHAT’S IN A NAME? – Centum was first held in 2020, with a desire to provide an auction devoted exclusively to Australian contemporary art. There was, in our view, a gap in the secondary market for a refined contemporary art auction which was sought after by buyers and sellers, but also needed for a sustainable secondary market for the work of contemporary artists. We wanted a name and a goal and so we set about curating 100 lots annually, honoured through the name Centum. The name remains, the commitment to nurturing a secondary market for contemporary Australian and International art continues but the number of works moves with and reflects the market.

This year’s Centum exhibition and auction returns to both Sydney and Melbourne, and brings together some of our most covetable pieces of contemporary art from Australia and abroad. Works by Michael Zavros, Sam Leach, and Junko Mori have never before been seen by the public having been commissioned directly from the artists before entering private collections. We are thrilled to have examples by Prudence Flint, Gregory Hodge, Troy Emery and Victoria Reichelt, who are rare to see on the secondary market.

It gives me great pleasure to bring together this year’s Centum exhibition and auction, and I look forward to presenting these works through our Sydney and Melbourne galleries as well as online.

— Olivia Fuller | Head of Art

Lot 50 (detail opposite) Courtesy The Artist and Sullivan+Strumpf 3

Lot 26 (detail) 4

ARTIST INDEX – A

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ADAIR, TOM.........................................64 ALBERT, TONY....................................... 6 AMOR, RICK..........................................12 ASPDEN, DAVID...................................31

KELLY, JOHN........................................ 35 KINNANE, AARON...............................15 KNIGHT, JASPER.................................. 56

REICHELT, VICTORIA............................ 1 RENNIE, REKO....................................... 5 ROHAN, MONICA............................... 75

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LAING, ROSEMARY..............................51 LAMB, JOANNA................................... 45 LARWILL, DAVID.................................. 37 LEACH, SAM......................................... 26 LEE, RHYS............................................. 58 LEE, LINDY............................................60 LINDEMAN, MICHAEL........................ 54 LONGHURST, KATHRIN.....................81 LOVETT, DANE..................................... 70

SENBERGS, JAN................................... 34 SETON, ALEX........................................ 55 SILVER, TIM............................................ 17 SKOCZEK, MIRANDA.......................... 69 SMETS, PETER........................................11 SMITH, PETER JAMES.........................48 STARKEY, LAWRENCE........................ 72 SYLVESTER, DARREN.........................50

B BAIRD, JOHN....................................... 36 BECK, ANDREW................................... 27 BIENIEK, NATASHA............................... 3 BINNS, FERGUS...................................44 BOOTH, PETER.................................... 33 BORLAND, POLLY............................... 52 BRETTLE, MERRIC............................... 28

C COELHO, KIRSTEN.............................. 71 COPPERSMITH, YVETTE...................... 8 CULLEN, ADAM....................................61

D DAVIES, GERWYN............................... 53 DAVIES, PAUL....................................... 65 DICKENS, KARLA................................. 25 DRYSDALE, PIPPIN..............................40

E E.L.K........................................................ 63 EMERY, TROY......................................... 2 EVERTON, SAMANTHA....................... 9

F FLINT, PRUDENCE..............................20 FORD, JUAN..........................................21

G GREENWOOD, HOLLY........................14

H HARDING, CHARLIE INGEMAR........ 43 HARRIS, BRENT...................................30 HATTAM, KATHERINE........................ 57 HIRSCHMANN, ROBERT.................... 32 HODGE, GREGORY............................... 4 HUGHES, NATALYA........................ 49, 6

J JEFFREYS, LEILA...................................18

M MACDONALD, TRAVIS........................41 MAESTRI, GUIDO.................................16 MARTI, DANI........................................ 29 MCLUCKIE, ALASDAIR....................... 62 MCGREGOR, LAITH.............................76 MCKENZIE, ALEXANDER................... 79 MCMONAGLE, FIONA........................ 73 MEAGHER, JULIAN.............................46 MERRETT, LARA................................... 59 MILLER, LEWIS.....................................80 MINCHAM, JEFF................................... 78 MOMBASSA, REG................................ 42 MORI, JUNKO...................................... 23 MORRIS, JOANNE................................77

T THOMPSON, CHRISTIAN.................. 24 TWIGG, JULIAN................................... 38

W WELLS, JODIE.......................................10 WYMAN, JEMIMA................................ 47

Z ZAHALKA, ANNE................................. 66 ZAVROS, MICHAEL............................. 22

N NITHIYENDRAN, RAMESH MARIO....7 NOONAN, DAVID............................... 82

O OLSEN, JOHN.......................................13

P PAAUWE, DEBORAH..........................68 PERCEVAL, CELIA................................ 39 PICCININI, PATRICIA........................... 67 PIPERIDES, PHILLIP............................. 74

Q QUICK, MATTHEW..............................19

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© Victoria Reichelt/Copyright Agency, 2023

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VICTORIA REICHELT (born 1979) Tangle 2017 oil on linen signed and dated lower right: REICHELT.17 signed, titled and dated on frame verso 42 x 42cm PROVENANCE: THIS IS NO FANTASY, Melbourne Private collection, Melbourne

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EXHIBITIONS: Precipice, THIS IS NO FANTASY, Melbourne, 1 - 24 June 2017 “The paintings in Precipice follow on from earlier works that considered the growing obsolescence of libraries and archives. For this exhibition Reichelt takes ordinary objects and office stationary, strips them of their context and presents them in a fresh tableaux. These items, which were at one time essential to rational organisation and workplace efficiencies, are facing redundancy as we turn our backs more and more on the analogue, in favour of the digital.” (exhibition statement) $5,000-7,000

© Troy Emery/Copyright Agency, 2023

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TROY EMERY (born 1981) Yellow Footed Blue 2021 polyester, polyurethane, adhesive, screws, pins 54 x 57 x 43cm PROVENANCE: Martin Browne Contemporary, Sydney Private collection, Melbourne

LITERATURE: Holcombe, N, Troy Emery, Artist Profile, Sydney, issue 55, 2021, accessed online: “Troy Emery’s practice is imbued with tactility that points to the role of animals and their forced complicity within contemporary life. Emery’s life-size sculptures of animal forms include the usual domesticated subjects of dogs and cats but are also joined by ones that were considered ‘wild’ such as sloths, lions and foxes. The sculptures are often presented in bright colours and assume postures that are unsettlingly familiar, as if they could shift and breathe life at any moment. These forms however are composed of intricately placed layers and layers of textile, not flesh and blood. They remain faceless, a hint to their agency stripped through anthropocentric destruction and possession.” $4,500-6,500

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Courtesy The Artist and THIS IS NO FANTASY, Melbourne

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NATASHA BIENIEK (born 1984) Biopod #2 2018 oil on silver mirror dibond signed, titled and dated verso: NATASHA BIENIEK/ ‘Biopod #2’/ 2018 14 x 9cm PROVENANCE: THIS IS NO FANTASY, Melbourne Private collection, Melbourne EXHIBITIONS: Intimate Monument, THIS IS NO FANTASY, Melbourne, 28 April - 19 May 2018 “Bieniek’s miniature sized oil paintings are painted with meticulous precision. Their diminutive scale and glossy surfaces also reflect on the way we view images today, bringing to mind smart phones and tablet screens.” (THIS IS NO FANTASY) $7,000-10,000

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Courtesy The Artist and Sullivan+Strumpf

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GREGORY HODGE (born 1982) Ocean Town 2021 synthetic polymer paint on canvas signed, titled and dated verso: GREGORY HODGE/ “Ocean Town” 2021 200 x 159.5cm PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne

EXHIBITIONS: Studio, Gregory Hodge, Sullivan+Strumpf, Sydney, 27 May - 3 July 2021 “Gregory Hodge constructs illusionary abstractions from a mélange of source material including painted abstract motifs on drafting film, coloured paper and masking tape, before rendering these collages in paint. Using complex and systematic technical processes such as trompe-l’oeil, cast shadows and manipulating paints’ translucent and opaque qualities, the paintings playfully mimic the physical fragility and provisional nature of the source material. The paintings blur the boundaries between two and three dimensionality and playfully explore the space between image and reality, representation and abstraction.”

(Sullivan+Strumpf) $16,000-22,000

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© Reko Rennie

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REKO RENNIE (born 1974) Yes (Celebrating 40 Years Since the Yes Vote in the 1967 Referendum) 2017 synthetic polymer paint with aerosol on canvas 120.5 x 120cm PROVENANCE: Kronenberg Wright Artists Projects, Sydney 2017 Private collection, Melbourne

EXHIBITIONS: YES, Kronenberg Wright Artists Projects, Sydney, 27 April - 20 May 2017 OTHER NOTES: “In 1967 a Federal referendum was held asking Australians whether two references in the constitution which discriminated against Aboriginal people should be removed. One of the references slated for change stated that ‘in reckoning the numbers of the people of the Commonwealth, or of a State or other part of the Commonwealth, aboriginal (sic) natives should not be counted.’ 90.77% of respondents voted for change – the highest YES vote ever recorded in a Federal referendum. The YES font featured in my work was used in advertising and promotional material prior to the referendum during a period when momentum for political change within Indigenous affairs was growing. Fifty years on from the 1967 referendum, this country and its Government still have a long way to go in recognising and restoring the rights of the traditional owners of this land” (The Artist, 2017) $16,000-18,000

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Courtesy The Artist and Sullivan+Strumpf

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TONY ALBERT AND NATALYA HUGHES (born 1981; born 1977)

OTHER NOTES: “Silent Conversations was initiated during lockdown and represents an abstract dialogue between artists and friends Natalya Hughes and Tony Albert. Through the application of mark making, the canvas boards (posted back and forth multiple times) continue decades of academic dialogue between the two artists.” (excerpt, Artists’ Statement) $1,800-2,800

Silent Conversation (07) 2020 synthetic polymer paint and vintage appropriated Aboriginal fabric on canvasboard artist’s signatures, title and date on label verso 20 x 25cm PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne

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© Ramesh Mario Nithiyendran/Copyright Agency, 2023

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RAMESH MARIO NITHIYENDRAN (born 1988) Terracotta Figure 36 2020 terracotta 27 x 22cm PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne

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OTHER NOTES: “Ramesh Mario Nithiyendran creates rough-edged, vibrant, new-age idols that are at once enticing and disquieting. He experiments with form and scale in the context of figurative sculpture to explore politics of sex, the monument, gender and organised religion. He capitalises upon the symbolism of clay as fundamental corporeal matter. While proceeding from a confident atheist perspective, Nithiyendran draws upon his Hindu and Christian heritage as reference points as well as a large range of sources including the internet, pornography, fashion and art history”. (Sullivan+Strumpf) $2,500-3,500

© Yvette Coppersmith/Copyright Agency, 2023

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YVETTE COPPERSMITH (born 1980) Afterimage No. 9 2021 oil on jute signed, titled and dated verso: Yvette Coppersmith/ Afterimage No 9/ 2021 76 x 61cm

EXHIBITIONS: Sullivan+Strumpf at Melbourne Art Fair, Melbourne, 17-20 February 2022 OTHER NOTES: Yvette Coppersmith’s Afterimage series features matte textured surfaces, created through the use of sand combined with rich pigment that give these paintings the appearance of being woven. Greatly inspired by musical compositions, her paintings explore the sound of colour with her rich colour palette inviting us to appreciate a series of beautiful harmonies. $4,000-6,000

PROVENANCE: Sullivan+Strumpf at Melbourne Art Fair, Melbourne 2022 Private collection, Melbourne

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Courtesy The Artist and Anthea Polson Art, Queensland

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SAMANTHA EVERTON (born 1971) Huai Niao 2018 pigment ink on cotton rag, ed. 6/8 artist’s name, edition, title and date on gallery label verso 83.5 x 115cm PROVENANCE: Anthea Polson Art, Queensland (label verso) Private collection, Queensland

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EXHIBITIONS: Indochine, Arthouse Gallery, Sydney, 25 April – 19 May 2018 (another impression) Indochine, Anthea Polson Art, Queensland, 17 June – 30 June 2018 (another impression) “Indochine depicts a woman navigating the conflicting cultural pressures of the East and the West. Exuding visual luxury and vivid sensuality, the artworks plunge the viewer into a colour-saturated dreamscape.

The series explores the encroachment of Western fashion within Asian cultures and the struggle for authenticity amidst contemporary influences.” (excerpt, exhibition statement) $4,500-5,500

© Jodie Wells/Copyright Agency, 2023

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JODIE WELLS (born 1981) Swift Descent Barn Owl 2021 oil on canvas signed lower left: JODIE WELLS signed titled and dated verso 30.5 x 41cm PROVENANCE: Anthea Polson Art, Queensland (label verso) Private collection, Queensland $1,400-1,800

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© Peter Smets/Copyright Agency, 2023

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PETER SMETS (born 1962) City View 2022 oil on canvas signed lower right: Peter Smets 75 x 90cm PROVENANCE: The Artist Private collection, Queensland $10,000-15,000

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RICK AMOR (born 1948) The Ladder 1999 oil on canvas signed and dated lower right: RICK AMOR ‘97-99 titled and dated verso 100 x 63cm PROVENANCE: Niagara Galleries, Melbourne 1999 Corporate collection, Melbourne $25,000-30,000

© Rick Amor/Copyright Agency, 2023

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JOHN OLSEN (born 1928) Rabbit Warren - Rydal 1997 oil on canvas signed lower right: John Olsen titled and dated on Olsen Gallery label verso 106 x 121cm

Developing over more than 70 years, John Olsen’s career remains one of Australia’s most expansive and successful throughout which he has created an oeuvre with substantial breadth and vitality. Not content with merely being an observer, Olsen has repeatedly travelled across the far reaches of Australia, exploring regions few have had the opportunity to experience themselves. Through his artworks he is able to take us on a journey through these beautiful surroundings, whether it be a vast plain or a majestic body of water.

PROVENANCE: The Artist Private collection, Melbourne, acquired from the above in 1998

John Olsen has a unique understanding and appreciation of the

LITERATURE: Grishin, S., Accounting for Taste: The Lowensteins Arts Management Collection, Macmillan Art Publishing, Melbourne, 2013, p. 190 (illus.)

ability to portray life and movement within the landscape. In 1990,

$50,000-70,000

and surrounding landscape were of significant influence to Olsen

Australian landscape. His appreciation of the natural world ever changing and growing transcends onto the canvas through his John Olsen and his wife moved to Chapel House Farm at Rydal, near Bathurst in the Central Tablelands of New South Wales. The residence throughout the ensuing years. The town carried a modest population of no more than one hundred, but the landscape afforded Olsen all the luxuries of Australia’s natural beauty. Often painting en plein air, Olsen captured the daily wonder of his new home in Rydal. In this work we see a glimpse of a rabbit at the base, beneath a bird perched on a nearby branch. The colour palette of predominantly deep reds and browns, to capture the rich ochres of the land, are offset with flickers of greens and blues to capture the movement of the inhabiting flora and fauna. During his time at Rydal, Olsen also produced the masterpiece Summer at Rydal 1997 which was a finalist in the Art Gallery of New South Wales’ Wynne Prize as well as a diptych Spring at Rydal earlier in 1992.

For John Olsen, the landscape has always been more than a purely external phenomenon and he approaches his landscape paintings with a poetic sensibility and spiritual understanding of the natural world. In this regard, Olsen’s works are timeless and universal.

OLIVIA FULLER, HEAD OF ART

John Olsen - En plein air 1996 Greg Weight gelatin silver photograph on paper National Portrait Gallery of Australia Gift of Patrick Corrigan AM 2004. Donated through the Australian Government’s Cultural Gifts Program. © Gregory Weight/Copyright Agency, 2023

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© John Olsen/Copyright Agency, 2023

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© Holly Greenwood/Copyright Agency, 2023

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HOLLY GREENWOOD (born 1992) Creek Bed Fire, Broken Hill 2019 oil and oil stick on board 80 x 100cm PROVENANCE: James Makin Gallery, Melbourne Private collection, Sydney EXHIBITIONS: Wake in Fright, James Makin Gallery, Melbourne, 3-19 October 2019, cat. no. 8 $2,800-3,800

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© Aaron Kinnane/Copyright Agency, 2023

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AARON KINNANE (born 1977) Notes From A Lighthouse Keeper 2015 oil on canvas signed, titled and dated verso: NOTES FROM A LIGHTHOUSE KEEPER/ 2015/ AARON KINNANE 175 x 160cm PROVENANCE: Arthouse Gallery, Sydney (stamp verso) Private collection, Melbourne EXHIBITIONS: Winter Passing, Milk Moon Rising, Arthouse Gallery, Sydney, 12 - 28 November 2015 $12,000-16,000

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Courtesy The Artist

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GUIDO MAESTRI (born 1974) Wilcannia 2013 oil on canvas signed, titled and dated verso: Guy Maestri / ‘Wilcannia No. 4’ / 2013 87 x 76.5cm PROVENANCE: Gallery Ecosse, New South Wales Private collection, Melbourne EXHIBITIONS: Guy Maestri, Bank of America Merrill Lynch: Art of Connecting, Sydney, December 2015 - March 2016 (illus. exhibition cover) $3,500-4,500

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Courtesy The Artist and Sullivan+Strumpf

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TIM SILVER (born 1974) Untitled (Heartbeats) JM 2021 copper infused Forton MG, unique inscribed at base: JM 11 x 14 x 19cm PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne EXHIBITIONS: Inbetween Days, Sullivan+Strumpf, Sydney, 25 November - 18 December 2021 $3,500-5,500

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LEILA JEFFREYS (born 1972) ‘Mrs Skyring’ Gang-Gang Cockatoo 2012 photograph on archival fibre based cotton rag, ed. 2/12 signed lower right: LEILA JEFFREYS titled and editioned lower left 112 x 89cm (sheet) PROVENANCE: Tim Olsen Gallery, Sydney Private collection, Melbourne EXHIBITIONS: Biloela, Tim Olsen Gallery, Sydney, 7-25 November 2012 $2,000-3,000

Courtesy The Artist

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MATTHEW QUICK (born 1967) Pure Escapism 2008 oil on Italian linen signed lower left: Quick 100.5 x 100cm PROVENANCE: The Collection of the Perc Tucker Regional Gallery, Townsville Acquired by the current owner at a charity auction at Perc Tucker Regional Gallery, Townsville Private collection, Queensland EXHIBITIONS: Townsville Open Art Award, Winner, 2008

Courtesy The Artist and Lennox St. Gallery, Melbourne

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OTHER NOTES: “Pure Escapism plays with the ideals of the great Australian family holiday and the current trend of Baby Boomer Grey Nomads and evolves it into a ‘playful nightmare.’ That the ‘escapees’ are still tethered is deliberately poignant.” (The Artist) $4,000-6,000

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Mirror 2011 oil on linen artist’s stamp verso titled and dated verso 113 x 100.5cm

Superflower 2011 oil on linen signed, titled and dated verso: Juan Ford/ 2011/ ‘Superflower’ 107.5 x 91.5cm

PRUDENCE FLINT (born 1962)

PROVENANCE: Chapman Gallery, Canberra 2011 Private collection, Melbourne

JUAN FORD (born 1973)

PROVENANCE: Sullivan+Strumpf, Sydney (label verso) Private collection, Melbourne $8,000-10,000

RELATED WORK: Contact Lens 2009, oil on linen, 114 x 102cm, Finalist 2010 Doug Moran National Portrait Prize.

Prudence Flint’s paintings of women focus on the intimate moments that often happen indoors. Whilst Flint initially used herself as a model, many of the women she paints are created from real moments and real individuals she has encountered. Her subjects are intimate, yet never sexualised, with pink-toned skin which parallels notions of femininity but also intimacy. Her paintings can often take up to three months to complete - each one a careful creation full of coded information exploring notions of the feminine self, and self-reflection. $8,000-10,000

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MICHAEL ZAVROS (born 1974) Abs 2019-2020 oil on canvas initialled and dated lower right: MZ20 titled and dated on gallery label verso 120 x 160cm PROVENANCE: Commissioned from the artist through Sullivan+Strumpf, Sydney (label verso) Private collection, Melbourne $40,000-50,000

Michael Zavros’ paintings are painstakingly produced, brushstroke by careful brushstroke, to produce impeccably rendered photo-realist paintings that leave the viewer in awe. Whilst the artist has delved into a variety of mediums, including photography and video work, it is the canvas that he continuously returns to exploring ideas of luxury, commercialisation, and above all, beauty.

Across Zavros’ nearly three decades long career, his paintings have continued to demonstrate his devotion to realism. In a society filled with digital and photographic imagery, and the immediacy of these mediums and platforms to deliver a commercialised ideal, Zavros’ meticulous paintings are a luxury within themselves.

“In viewing a painting by Zavros we witness his devotion to his subject. There is evidence of the beauty he feels in his infatuations, as measured in the time, care and technical know-how that he employs in painting his subject so beautifully. In this way, the viewer is not necessarily agreeing to love what the artist loves but, instead, appreciates the beauty felt by the artist, and can share in his emotion without committing to his specific desires”.1 Consistent across many of Zavros’ paintings is the presence of beauty.

Not only in the enviable skill the artist displays with his brush, but also in his subjects. In Abs, the artist highlights our obsession with self image and the pursuit of the ideal body. Here, the ideal form is stripped back to bare bones – literally. Posing like a fashion model, the skeleton lays itself across the canvas, chin lifted with confidence.

The subject remains the sole focus, with the canvas background pure white, untainted by any implications of space or depth. Not one to shy away from a touch of humour, the painting’s title Abs is imagined

by Zavros through 6 pure white flowers, arranged like the ideal 6-pack. The flowers are a direct reference to the beautiful, but the combination of skeleton and bouquet parallel as a classic memento mori reminding us that underneath it all we are still but human.

Michael Zavros remains one of Australia’s most celebrated painters, with works in nearly every institutional collection. His paintings are a series of rhythmically applied layers, each rendered with a sharp focus and attention to detail that allow Zavros’ exploration of beauty to remain ever present.

OLIVIA FULLER, HEAD OF ART 1. Mckay, P., Michael Zavros: Beyond Beauty?, Art Monthly Australia, May 2015, number 279, p.59

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Courtesy The Artist and Sullivan+Strumpf

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JUNKO MORI (Japanese, born 1974) Botany; Lavender Kokedama 2021 wax-coated mild steel and fine silver 999 (665g silver) 35 x 23 x 26cm PROVENANCE: Commissioned from the artist through Adrian Sassoon, London Private collection, Melbourne OTHER NOTES: “My work consists of multiples of individually forged steel or other metals, and the subtle difference of each piece results from hand hammering. No piece is individually planned but becomes fully formed within the making and thinking process. Repeating little accidents, like the mutation of cells, the final accumulation of units emerges within the process of evolution.

The uncontrollable beauty is the core of my concept.”

(The Artist) $14,000-18,000

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Courtesy The Artist and Michael Reid Gallery, Sydney

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OTHER NOTES: Thompson’s work focuses on the exploration of identity, sexuality, gender, race and memory. In his ongoing Flower Wall series’, Thompson conceals himself within a plethora of Australian flora with just a hint of painted limbs and eyes concealed beneath. In 2010 Thompson made history when he became the first Aboriginal Australian to be admitted into the University of Oxford in its 900-year history.

The Wild Places 2021 c-type print on Fuji metallic paper, ed. 3/6 118.5 x 118.5cm

$7,000-9,000

DR. CHRISTIAN THOMPSON AO (born 1978)

PROVENANCE: Michael Reid, Sydney Private collection, Melbourne

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WARRIOR WOMEN

Big-girl underwear big-girl knickers

Turning the washing basket

tough and ready

upside down, inside out

until the time allows

looking for Reg Grundies

then the cheeks will shake

resilient and well made Run, dance, fart and sing No frills

as the nakedness is unleashed

no pastel flowers

on the darkest of nights

nor see-through lace

glowing under moons of glory

no crotchless G-strings Warrior women play again Hardened undergarments

butts blowing in the breeze

big-girls’ undies

gracefully relaxed

protective covers

in empowered freedom

personal security guards (Karla Dickens, 2017) The world needs facing wearing raw pain, old pain shared and naked pain standing up, showing up Being heard and being counted holding courage tight ready to love and be loved to be real, to be hurt, to be brave

© Karla Dickens/Copyright Agency, 2023

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KARLA DICKENS (born 1967) Warrior Woman XI 2017 aluminium underwear, treated taxidermy feral cat, tassels, goggle eyes signed and dated upper right edge: 2017/ KARLA/ DICKENS titled upper left edge 34 x 35 x 18cm (overall) PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne

EXHIBITIONS: Warrior Woman, Andrew Baker Art Dealer at Melbourne Art Fair, Melbourne, 2018 OTHER NOTES: Karla Dickens is a Wiradjuri woman living in regional New South Wales, who explores the experiences of women and First Nations people through her art. Dickens collects an abundance of found objects and materials, often scavenged from dump sites, hard rubbish, her local second-hand marketplaces. Nearly every part of her artist creations are repurposed. The above poetic statement was written by Karla in 2017 when this series was created, and reproduced in the exhibition material for her recent exhibition at Campbelltown Arts Centre running from January through March 2023. $4,000-6,000

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Sam Leach’s paintings are known for their lustrous, oil-slick finish, yet

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SAM LEACH (born 1973) Landscape with Macaw 2019 oil and resin on board, 6 panels signed and dated verso each panel: Sam Leach 2019 149.5 x 99.5cm PROVENANCE: Commissioned from the artist Private collection, Melbourne $35,000-45,000

underneath their sleek surface his paintings often reference history, scientific theories and concepts, particularly those related to biology, ecology, and the natural world.

Leach’s landscapes draw inspiration from the Dutch Golden Age of the 17th century, a period in history known for its economic and cultural prosperity. This era was marked by a fascination with science, technology, and the natural world, which Leach often acknowledges in his paintings through his use of scientific imagery as well as extinct or exotic animals. Beautiful, exotic, and rare, parrots are a mainstay of 17th century Dutch genre paintings typically appearing in domestic or interior scenes. In Landscape with Macaw, Leach depicts the macaw bird in the wild, perched on a branch, wings flared, beaming out towards the mystical landscape beyond while a lion watches over from the left. The overlay of bright circular colours contrast against the subdued landscape, a scientific reference to human interference with the natural environment and the delicate balance of nature and technology.

This amalgamation of ideas relating to past, present and future are further highlighted through Leach’s technique. Blending a traditional method of oil painting with a contemporary layering process with epoxy resin, his paintings can appear almost digital before the eye spots the intricate hand-crafted detail beneath.

“I wanted to create some distance between the art of creating artworks and the viewer, and lengthen that moment the viewer has before connecting with the artist. That has now become a standard part of my practice”.1 In 2010 Sam Leach was the recipient of the Archibald and Wynne prize, being only the third artist to win both in the same year, behind William Dobell and Brett Whiteley. His works have been exhibited extensively around the world, and are included in major institutional collections across Australia.

HANNAH RYAN, ART SPECIALIST 1. Kale, N., Sam Leach, New Realms of Perception 2015, Vault Australasian Art & Culture Magazine, September 2015, https://www.vaultmagazine.com/ISS11/leach.php

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Courtesy The Artist and Sullivan+Strumpf

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ANDREW BECK (born 1987) Untitled 2018 silver gelatin print, amber acrylic sheet with conservation glass in artist’s frame 93 x 74cm PROVENANCE: Bowerbank Ninow at the Melbourne Art Fair, 2018 Private collection, Melbourne $4,000-6,000

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Courtesy The Artist and Blockprojects Gallery, Melbourne

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MERRIC BRETTLE (born 1967) Phosphene 3 2018 auto paint on MDF 92 x 73cm

EXHIBITIONS: Merric Brettle: Hypnagogic Blink, Blockprojects Gallery, Melbourne, 23 July - 17 August 2019 “In Hypnagogic Blink Merric explores the relationship between handpainted and digitally-created mark-making. In order to do this, he employs various visual art computer programs, spray paint and a variety of material and conceptual digital image-making techniques.” (excerpt, exhibition statement) $2,000-3,000

PROVENANCE: Blockprojects Gallery, Melbourne 2020 Private collection, Melbourne

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© Dani Marti/Copyright Agency, 2023

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DANI MARTI (born 1963) How to Dress a Saint #2 2002 nylon rope signed, titled and dated on frame verso: - How to dress a Saint #2 - / DM ‘02 60 x 62 x 11cm PROVENANCE: ARC ONE Gallery, Melbourne Private collection, Melbourne

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LITERATURE: Hynes, V., Dani Marti: The Semiology of Weaving, Art & Australia, issue #40, pp. 411-417 “I love painting, but I like the sensuality of the rope, the touch.

Sometimes the ropes are so beautiful that they carry many messages already; they almost speak for themselves. I am really inspired by industrial materials. I like the colour and the form of artificial fibres”.

(The Artist, p. 412) $3,000-5,000

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BRENT HARRIS (born 1956) Mint 1990 oil on linen signed and dated verso: BHARRIS / BHarris 90 / ‘MINT’ 152 x 152cm

EXHIBITIONS: The Black Show, Geelong Art Gallery, Victoria (toured to Warrnambool Regional Gallery, Victoria; Waverley City Gallery, Victoria; Mildura Regional Gallery, Victoria; Latrobe Regional Gallery, Victoria; Orange Regional Gallery, New South Wales; Wollongong City Galleries, New South Wales; Nolan Gallery, Canberra), July 1993 - December 1994, cat. no. 11 Brent Harris, Martin Browne Fine Art, Sydney, 26 September - 15 October 1995, cat. no. 95 $7,000-9,000

PROVENANCE: Martin Browne Fine Art, Sydney 1995 Christie’s, Sydney, 26 August 2001, lot 64 Wesfarmers Art Collection, Perth Leonard Joel, Melbourne, 16 September 2013, lot 47 Corporate collection, Melbourne

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© David Aspden/Copyright Agency, 2023

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DAVID ASPDEN (1935-2005) Balmain 1985 synthetic polymer paint on paper monogrammed lower right 109 x 78cm PROVENANCE: Corporate collection, Melbourne Private collection, Melbourne, acquired from the above $3,500-5,500

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Courtesy The Artist and King Street Gallery, Sydney

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ROBERT HIRSCHMANN (born 1968) Lookout oil and pigment on linen signed, titled and dated verso: R.H./ “Lookout”, ‘00 71.5 x 71.5cm PROVENANCE: King Street Gallery, Sydney 2000 Private collection, Melbourne $1,500-2,000

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© Peter Booth/Copyright Agency, 2023

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PETER BOOTH (born 1940) Landscape with Four Figures and Red Sun mixed media on paper artist’s name and title inscribed verso 11.5 x 22.5cm PROVENANCE: The Artist’s Studio Private collection, Queensland $2,000-3,000

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© Jan Senbergs/Copyright Agency, 2023

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JAN SENBERGS (born 1939) Enclosure (Williamstown) 1981 oil on canvas signed and dated lower right: J.Senbergs ‘81.

75.5 x 91cm PROVENANCE: Realities Gallery, Melbourne 1992 Private collection, Melbourne $6,000-9,000

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© John Kelly/Copyright Agency, 2023

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JOHN KELLY (born 1965) Farrow and Ball 2001 oil on canvas signed and dated lower right: Klly 01 titled on gallery label verso 22 x 27cm PROVENANCE: Art Galleries Schubert, Queensland (label verso) Niagara Galleries, Melbourne 2002 (stamp verso) Anthea Polson Art, Queensland (label verso) $12,000-16,000

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JOHN BAIRD (born 1954) Blue Jug 2021 oil on board signed, dated and titled verso: JOHN BAIRD/APRIL 2021/BLUE JUG 120 x 90cm PROVENANCE: The Artist Private collection, Melbourne $5,000-7,000

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© David Larwill/Copyright Agency, 2023

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DAVID LARWILL (1956-2011) Dog 2008 oil on board initialled and dated lower right: D.L/ ‘08 signed, titled and dated with dedication verso 26 x 36cm PROVENANCE: Gift of the artist Private collection, Melbourne $4,000-5,000

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Courtesy The Artist

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JULIAN TWIGG (born 1964) Sunset, Netley 2013 oil on board signed, dated and titled verso: JT 2013/ Sunrise, Netley 2013 59.5 x 59.5cm PROVENANCE: Australian Galleries, Melbourne Private collection, Melbourne EXHIBITIONS: Shipping Views - Julian Twigg, Australian Galleries, Melbourne, 11 22 February 2014 $3,000-4,000

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© Celia Perceval/Copyright Agency, 2023

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CELIA PERCEVAL (born 1949) Broken Bridge with Cedar Tree in the Flowering Bush oil on canvas signed lower right: Celia Perceval titled verso 76 x 96.5cm PROVENANCE: Bridget McDonnell Gallery, Melbourne Private collection, Melbourne $9,000-10,000

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© Pippin Drysdale/Copyright Agency, 2023

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PIPPIN DRYSDALE (born 1943) Breakaway Series I 2020 porcelain signed, dated and inscribed at base: PIPPIN/ DRYSDALE/ B K A/ 2020 38 x 22.5cm

OTHER NOTES: Pippin Drysdale creates vivid and delicate masterpieces reflecting the vibrant landscapes of outback Australia. Often standing on a base no larger than the size of a 20-cent piece. Her process is labour-intensive and extremely technical, involving linear incisions through fine layers of glaze each added once the previous layer is completely dried. These delicate patterns cannot be achieved by spraying, with only small areas being able to be worked on at a time, taking days to create a single vessel. $9,000-12,000

PROVENANCE: Acquired directly from the artist Private collection, Melbourne

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Courtesy The Artist and Niagara Galleries

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TRAVIS MACDONALD (born 1990) Torana 2014 oil on card 32 x 41.5cm PROVENANCE: c3 Contemporary Art Space, Melbourne Private collection, Melbourne EXHIBITIONS: Faux Museum, c3 Contemporary Art Space, Melbourne, 28 November – 14 December 2014 $2,500-4,500

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Courtesy The Artist

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REG MOMBASSA (born 1951) Frank Watters on the Ridge of Cassilis 2004 charcoal, pastel, and coloured pencil on paper signed and dated lower right: Reg Mombassa ‘04 titled lower left 68 x 49cm (irregular) PROVENANCE: Gift of the artist The Collection of Frank Watters, Sydney Shapiro Auctioneers, Paintings Sculpture Drawings From The Collection of Frank Watters, Sydney, 20 March 2019, lot 3 Private collection, Melbourne $5,000-6,000

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CHARLIE INGEMAR HARDING (born 1992) Portrait of a Punter 2 & 3 2021 Pair of works oil on board (2) 24 x 20cm; 25 x 20.5cm PROVENANCE: THIS IS NO FANTASY, Melbourne Private collection, Melbourne EXHIBITIONS: Amongst The Heat Of The Races, Beside The Trampling Camels, THIS IS NO FANTASY, Melbourne, 27 January - 12 February 2022 $1,800-2,800

Artwork courtesy The Artist and THIS IS NO FANTASY, Melbourne

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Courtesy The Artist

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FERGUS BINNS (born 1980) Untitled 2002 oil on board signed and dated verso, partially concealed: F. BINNS/ 200_ 61 x 91cm PROVENANCE: Niagara Galleries, Melbourne 2003 Private collection, Melbourne EXHIBITIONS: Unsigned Artists, Niagara Galleries, Melbourne, 14 January -1 February 2003, cat. no. 8 $2,000-3,000

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JOANNA LAMB (born 1972) Glass House 2021 synthetic polymer paint on superfine polyester signed and dated verso: Joanna Lamb 2021 122 x 91cm PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne EXHIBITIONS: One Long Moment, Sullivan+Strumpf, Sydney, 18 November - 23 December 2021 $5,000-7,000

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JULIAN MEAGHER (born 1978) The Ridge 2019 oil on linen signed, titled and dated verso: ‘The Ridge’ JMeagher ‘19/ Julian Meagher/ 2019 183 x 152.5cm PROVENANCE: Olsen Gallery at Sydney Contemporary, Sydney 2019 Private collection, Melbourne EXHIBITIONS: Julian Meagher: The Space Into Bicheno, Olsen Gallery at Sydney Contemporary, Sydney, 12-15 September 2019 $10,000-12,000

45 (detail opposite) Courtesy The Artist and Sullivan+Strumpf 52

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Courtesy The Artist and Sullivan+Strumpf

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JEMIMA WYMAN (born 1977) Plume 2 2021 hand cut digital photos, collage artist’s name, title and date on gallery label verso 139.5 x 140.5cm (reveal) PROVENANCE: Sullivan+Strumpf, Sydney 2021 (label verso) Private collection, Melbourne

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EXHIBITIONS: Fume, Sullivan+Strumpf, Sydney, 9 September - 2 October 2021 OTHER NOTES: Jemima Wyman’s artworks feature collaged images of smoke from fires and flares from protests around the world. Wyman accumulates hundreds of images documenting global activism; printing, cutting and trimming these to form her layered creations. The images are arranged to create a new form, a complex plume of smoke. $4,500-6,500

Courtesy The Artist and Sullivan+Strumpf

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PETER JAMES SMITH (born 1954) Falls on the Mackenzie River 2019 oil on linen signed and titled lower left: Falls/On the/Mackenzie/River/Peter James Smith signed, titled and dated verso 91.5 x 122cm PROVENANCE: The Artist Private collection, Melbourne $6,000-8,000

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NATALYA HUGHES (born 1977) Woman IV (Blue) 2020 synthetic polymer paint on board signed, titled and dated verso: Woman IV (Blue)/ Natalya Hughes/ 2020 50 x 40cm PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne RELATED WORK: Woman IV 2020, cyanotype print, edition of 3 + 1AP, 76 x 56cm “Time and time again in modernist painting you see women’s bodies used for the purposes of formal experimentation. For me, Willem de Kooning’s Woman series is an exemplar. I understand de Kooning’s contribution to painting – his dynamic figure/ground relationships, his handling of paint, and his ways of seeing. But I am not content to dismiss the unnamed women, who are the ‘vehicle’ for this, as the least important part of his visual language. De Kooning’s women are menacing. Their foreboding, castrating, looming grotesqueness is primary in his painterly experiments. I have been repainting them to understand them and bring them into my own visual language, sympathetic to their status in the history of painting.” (The Artist, 2018) $1,800-2,800 Courtesy The Artist and Sullivan+Strumpf

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Silver Lockheed 2017 lightjet print, ed. AP 1/2 signed on label verso titled, dated and editioned on label verso 178.5 x 118.5cm

Weather #3 2006 c-type photograph, ed. 2/6 signed, titled, dated and editioned verso: Rosemary Laing/ weather #3/ 2/6 2006 59 x 101cm (image); 83 x 124.5cm (sheet)

PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne

PROVENANCE: Tolarno Galleries, Melbourne 2007 Private collection, Melbourne

OTHER NOTES: “Watching Die Hard 2 (1990) there are a number of scenes involving a plane flying into clouded darkness. I researched how that scene was done - a large model in a studio, and smoke machines. The real plane used was a Lockheed L-1011. Now decommissioned, it is used in film and TV as the plane to crash. The same was used in the TV series Lost. This plane felt like a ‘death machine’.

I purchased a model from eBay, and shot it as a simple, silvery ghost that bursts through a field of dry-ice clouds, just as the model did in Die Hard 2, towards darkness.” (The Artist)

EXHIBITIONS: Rosemary Laing: Weathering, Heide Museum of Modern Art, Melbourne, 20 February – 31 May 2015 (another impression)

DARREN SYLVESTER (born 1974)

ROSEMARY LAING (born 1959)

$7,000-10,000

$10,000-15,000 50 (detail opposite) Courtesy The Artist and Sullivan+Strumpf 56

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Courtesy The Artist and Sullivan+Strumpf

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POLLY BORLAND (born 1959) Untitled (pink, green, orange) 2018 lenticular digital print on rice paper mounted on Lexan and wood 51 x 76cm (sheet); 57.5 x 83cm (perspex casing) PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne OTHER NOTES: Polly Borland is one of Australia’s most respected contemporary photographers, with a celebrated ability to render the female body in surreal and intriguing ways. Her use of lenticular images offer a venetianblind-like ability to look at the work from different angles. In this work, she has taken several photographs of actress, Gwendoline Christie, and utilised the lenticular perspective to provide contrasting perspectives of the nude. $15,000-18,000 58

Courtesy The Artist and Michael Reid Gallery, Sydney

© Michael Lindeman/Copyright Agency, 2023

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Mirror 2021 archival inkjet print, ed. 2/5 90 x 130cm

Regression Painting (Colourful Lashings...) 2022 synthetic polymer paint on mirror signed and dated verso: MLindeman 2022 titled on frame verso 41.5 x 72.5cm

GERWYN DAVIES (born 1985)

PROVENANCE: Jan Murphy Gallery, Brisbane (label verso) Private collection, Melbourne EXHIBITIONS: Strange Magic, Jan Murphy Gallery, Brisbane, 24 February - 19 March 2022

MICHAEL LINDEMAN (born 1973)

PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne $1,800-2,800

OTHER NOTES: “Strange Magic was prompted by an interest in the gaudy world of stage magic, its elaborate displays of smoke and mirrors, spectacular tricks of the eye and confounding sleights of hand. Where the camera is conventionally claimed to possess a unique capacity for exposing and revealing something of the subject to its viewer, in Strange Magic, I perform acts of photographic disappearance. In Strange Magic, I conjure a set of vivid and varnished self-representations, strings concealed, I vanish before the camera’s eye into a hall of smoke and mirrors.”

(Artist’s exhibition statement, 2022) $2,000-3,000

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Courtesy The Artist and Sullivan+Strumpf

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ALEX SETON (born 1977) Target Hardener 2019 Wombeyan marble, melted polystyrene and pigment 41 x 18 x 18cm PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne EXHIBITIONS: Annual Summer Group Show, Sullivan+Strumpf, Sydney, 31 January - 8 February 2020 $12,000-18,000 60

© Jasper Knight/Copyright Agency, 2023

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JASPER KNIGHT (born 1978) The Great Scenic Railway 2017 enamel, gloss acrylic and gesso on linen titled, signed and dated verso: JASPER KNIGHT / ‘The Great Scenic Railway’ 2017 / Jasper Knight 152 x 137cm PROVENANCE: The Artist Private collection, Sydney $7,000-9,000

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© Katherine Hattam/Copyright Agency, 2023

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KATHERINE HATTAM (born 1950) In My Father’s House 2004 oil on canvas signed lower right: K.HATTAM. signed and titled verso 61 x 61cm PROVENANCE: The Artist Private collection, Melbourne $3,000-5,000

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Courtesy The Artist and Nicholas Thompson Gallery, Melbourne

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RHYS LEE (born 1975) Untitled 2003 synthetic polymer paint on canvas signed and dated verso: Rhys Lee 2003 184 x 152cm PROVENANCE: Helen Gory Galerie, Melbourne Private collection, Melbourne $5,000-6,000

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Courtesy The Artist

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LARA MERRETT (born 1971) Silver Lining 2005 synthetic polymer paint and ink on canvas signed, titled and dated verso: ‘Silver Lining’ 2005/ LARA MERRETT/ LMerrett 112 x 100cm PROVENANCE: Karen Woodbury Gallery, Melbourne (label verso) Private collection, Melbourne $2,000-3,000

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© Lindy Lee/Copyright Agency, 2023

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LINDY LEE (born 1954) Resurrecting the Light 1988 oil on canvas signed verso: Lindy Lee / 1988 titled on gallery label verso 191 x 159cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney 1988 Private collection, Melbourne EXHIBITIONS: The Cocktail Party, Roslyn Oxley9 Gallery, Sydney, 30 November – 17 December 1988 $6,000-8,000

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© Adam Cullen/Copyright Agency, 2023

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ADAM CULLEN (1965-2012) IRA (Clown on Cross) 2008 synthetic polymer paint and enamel on canvas initialled lower left and lower right signed and dated verso 183 x 151.5cm PROVENANCE: Smith and Hall, Sydney 2009 (accompanied by a certificate of authenticity) Private collection, Melbourne $20,000-25,000

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© Alasdair McLuckie, Courtesy of Murray White Room, Melbourne

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ALASDAIR MCLUCKIE (born 1984) Untitled (Jungle Painting 10) 2016 ballpoint pen, synthetic polymer paint and binder’s board collage, mounted on painted wood frame artist’s name, title and date on gallery label verso 91 x 62cm PROVENANCE: Murray White Room, Melbourne (label verso) Private collection, Melbourne EXHIBITIONS: Jungle Paintings, Murray White Room, Melbourne, 27 May - 2 July 2016 $1,800-2,800

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© Luke Cornish/Copyright Agency, 2023

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LUKE CORNISH (E.L.K) (born 1979) Jesus H. Chimp 2015 acrylic and aerosol stencil on board signed and titled verso: “JESUS H. CHIMP”/ E.L.K (partially concealed) 48 x 33cm PROVENANCE: Acquired directly from the artist Private collection, Melbourne $2,000-3,000

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Courtesy The Artist

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TOM ADAIR (born 1983) Glitched 2018 acrylic and silkscreen on dibond, in artist’s oak frame, ed. 2/2 signed, titled and dated verso: “GLITCHED”/ Tom Adair 2018 80 x 80cm PROVENANCE: The Artist Private collection, Melbourne $3,000-4,000

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Courtesy The Artist

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PAUL DAVIES (born 1979) Forest House 2015 vinyl acrylic copolymer on canvas signed, titled and dated verso: “FOREST HOUSE”/ PAUL DAVIES 2015 121 x 152cm PROVENANCE: Olsen Irwin Gallery, Sydney (label verso) Private collection, Sydney EXHIBITIONS: Other Desert Spaces, Olsen Irwin Gallery, Sydney, 7 - 25 October 2015 $10,000-15,000

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© Anne Zahalka/Copyright Agency, 2023

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ANNE ZAHALKA (born 1957) Enchanted Forest, Fox Studio 2003 c-type photograph, ed. 3/12 editioned verso (concealed) 115 x 145cm PROVENANCE: Dominik Mersch Gallery, Sydney 2019 Private collection, Sydney EXHIBITIONS: Wonderland, ARC ONE Gallery, Melbourne, 31 January – 25 February 2006 (another impression) $6,000-8,000

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Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney

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PATRICIA PICCININI (born 1965) Shore 2002 digital c-type photograph, ed. 1/30 signed and dated lower right: Patricia Piccinini 2002 editioned lower left 102.5 x 184cm PROVENANCE: Roslyn Oxley9 Gallery, Sydney Private collection, Victoria

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EXHIBITIONS: Precautionary Tales, Patricia Piccinini, Tolarno Galleries, Melbourne, 6 30 September 2003 (another impression) Precautionary Tales, Patricia Piccinini, Roslyn Oxley9 Gallery, Sydney, 11 September - 11 October 2003 (another impression) $5,000-8,000

© Deborah Paauwe/Copyright Agency, 2023

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DEBORAH PAAUWE (born 1972) Midnight Autograph 2002 c-type photograph, edition of 5 119 x 119cm PROVENANCE: Greenaway Art Gallery, Adelaide (label verso) Private collection, Melbourne $2,000-3,000

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Courtesy The Artist

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MIRANDA SKOCZEK (born 1977) Deconstructed Quilt 2015 oil on canvas signed, titled and dated on stretcher bar verso: Miranda Skoczek Deconstructed Quilt #2 2015 137.5 x 152.5cm PROVENANCE: The Artist’s Studio Private collection, Melbourne $4,500-6,500

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Courtesy The Artist

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DANE LOVETT (born 1984) Borrowed Goods 2010 synthetic polymer paint on canvas signed, titled and dated verso: DANE LOVETT/ BORROWED GOODS/ 2010 153 x 101.5cm PROVENANCE: Chalk Horse Gallery, Sydney (label verso) Private collection, Melbourne $3,000-4,000

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© Kirsten Coelho/Copyright Agency, 2023

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KIRSTEN COELHO (born 1966) Lave 2021 5 pieces porcelain, matt white and pale grey glaze, iron oxide with saturated iron glaze bowl initialled at base (4) sizes vary; 27cm (height, tallest vase) PROVENANCE: Sullivan+Strumpf, Sydney Private collection, Melbourne $4,500-6,500

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LAWRENCE STARKEY (born 1959) Making the Grade oil on canvas signed lower left: LAWRENCE STARKEY signed and titled verso 90 x 165cm PROVENANCE: Anthea Polson Art, Queensland (label verso) Private collection, Queensland $4,500-6,500

Courtesy The Artist 77

Courtesy The Artist and Sophie Gannon Gallery, Melbourne

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EXHIBITIONS: Smoke and Mirrors, Sophie Gannon Gallery, Melbourne, 21 September – 9 October 2021

Maybe This Time 2021 watercolour, ink and gouache on paper artist’s name, title and date on gallery label verso 147 x 114.5cm

OTHER NOTES: This work continues the artist’s ongoing exploration of female identity and celebrity culture. “Exploiting the translucent qualities of watercolour as a medium, McMonagle reveals a melancholy and a nostalgia in her large-scale portraits of solitary female figures.

McMonagle’s portraits depict the vulnerability and strength of her subjects, and examine the portrayal of women in popular culture.” (exhibition statement)

FIONA MCMONAGLE (born 1977)

PROVENANCE: Sophie Gannon Gallery, Melbourne Private collection, Melbourne

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$5,000-7,000

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PHILLIP PIPERIDES (born 1956) Sleeping Nude 2 bronze, ed. 1/25 signed and editioned on side: PIPERIDES 1/25 55cm (length) PROVENANCE: Private collection, Queensland $3,500-4,500

Courtesy The Artist

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MONICA ROHAN (born 1990) Locked 2017 oil on board signed verso: M C Rohan titled and dated on gallery label verso 61 x 40cm PROVENANCE: Jan Murphy Gallery, Brisbane (label verso) Private collection, Melbourne EXHIBITIONS: Monica Rohan: Look Down at the Ground, Jan Murphy Gallery, Brisbane, 18 July – 12 August 2017 $2,500-4,000

Courtesy The Artist

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LAITH MCGREGOR (born 1977) My Kind of Blue (Blue) 2009 Ballpoint on paper 185 x 150cm PROVENANCE: Helen Gory Galerie, Melbourne Private collection, Melbourne EXHIBITIONS: So It Goes, Helen Gory Galerie, Melbourne, 6-23 May 2009 $5,000-8,000 76 (detail opposite) © Laith McGregor/Copyright Agency, 2023 80

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Courtesy The Artist

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JOANNE MORRIS (born 1974) Dancing Feather 2021 charcoal on Arches paper initialled lower right 75.5 x 57.5cm PROVENANCE: The Artist Private collection, Melbourne $3,000-5,000

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JEFF MINCHAM (born 1950) Wind Gathered II 2016 high walled bowl, mid-fired multi glazed ceramic signed and dated on base: Mincham/ 2016 33 x 28cm PROVENANCE: Sabbia Gallery, Sydney Private collection, Melbourne OTHER NOTES: Jeff Mincham’s works are bold and expressive interpretations of the South Australian landscape. While he mainly works with hand-built earthenware, his works bear a strong Japanese influence. Using a range of unusual techniques and processes, Mincham’s works are multi-fired with layers of glaze and other surface treatments, resulting in a unique interpretation of the ancient Japanese technique, Raku. $1,800-2,800 Courtesy The Artist and Sabbia Gallery, Sydney

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ALEXANDER MCKENZIE (born 1971) Elevated Walkway 2017 oil on board initialled and dated lower right: aM’K/ 17 initialled, titled and dated verso 15 x 19cm PROVENANCE: Private collection, Melbourne $2,000-2,500

Alexander McKenzie is represented by Martin Browne Contemporary, Sydney

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80 © Lewis Miller/Copyright Agency, 2023

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KATHRIN LONGHURST (born 1971) Molotov Girl oil on canvas signed lower left: K Longhurst signed and titled verso 122 x 91cm PROVENANCE: The Artist’s Studio Private collection, Melbourne OTHER NOTES: “Kathrin Longhurst’s visual language collides with the starting point of her own journey, as a child of the cold-war era, who has been to both sides of the iron-curtain. The contrast between war-propaganda imagery and glamorous promises of the other side of the wall, have been the inspirations of her early works. Longhurst reconsidered war propaganda aesthetics with ‘flying’ female warriors, in place of fearsome male figures of power. Her early works aim to bend the visual paradigm of men and women at war, imposed by the patriarchal power structures of the past.” (excerpt, Artist’s statement) $5,000-7,000

81 Courtesy The Artist

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LEWIS MILLER (born 1959) Garfish V 2017 oil on Belgian linen signed and dated lower right: 17/ LEWIS MILLER titled lower left: GAR V signed, titled and dated verso 30 x 60.5cm PROVENANCE: Australian Galleries, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: Lewis Miller, Australian Galleries, Sydney, 9 April - 5 May 2019 $2,000-2,500

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DAVID NOONAN (born 1969) Untitled: Pool 1993 Trio of works oil on canvas (3) signed and dated on stretcher bar verso (2): David Noonan ‘untitled: POOL’ 1993 51 x 61cm (each) PROVENANCE: Karyn Lovegrove Gallery, Melbourne Private collection, Melbourne EXHIBITIONS: POOL, Karyn Lovegrove Gallery, Melbourne, 1993 OTHER NOTES: The Pool Series by David Noonan was inspired by the Penguin Pool designed by Lubetkin.

“Designed by Berthold Lubetkin and the Tecton Group, and completed in 1934, The Penguin Pool at London Zoo is an icon of British modernist architecture. The Penguin Pool complex comprises a long elliptical pool with a deep glass fronted diving tank and nesting boxes around the perimeter. The design was based on ‘behaviourism’; this was a popular philosophy of psychology in the 1930s that claimed that all animal behaviours were a result of external environments. The design sought to both mimic the penguin’s natural habitat and provide a stimulating environment while also creating a theatrical stage on which they would display themselves to visitors.” (Victoria & Albert Museum) $3,000-3,500

82 © David Noonan/Copyright Agency, 2023 85

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Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense.

Removal Charges Each lot: $55 Storage Charges Each lot: $33 per day Protection of Movable Cultural Heritage Act 1986 (PMCH Act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of

nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act. Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia.

The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’.

More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale.

Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Leonard Home Delivery Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au Recommended Carriers

For recommended carriers please refer to our website.

Partners:

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CONTACT A LEONARD JOEL SPECIALIST Sale Rooms —

Leonard Joel Specialists —

The Auction Salon —

MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Senior Specialist, Fine Art Hannah Ryan, Specialist James Stanton, Administrator and Registrar

FURNITURE Angus McGougan, Manager April Chandler, Assistant

SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 BRISBANE OFFICE 201 Latrobe Terrace, Paddington QLD 4064 Telephone: 0412 997 080 ADELAIDE OFFICE 429 Pulteney Street, Adelaide SA 5000 Telephone: 0419 838 841 PERTH OFFICE Telephone: 0412 385 555 email: info@leonardjoel.com.au leonardjoel.com.au CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht BA LLB MBA CHIEF EXECUTIVE OFFICER Marie McCarthy

INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Senior Specialist DECORATIVE ARTS Chiara Curcio BA, Head of Department David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Natasha Berlizova, Administrator SYDNEY Ronan Sulich, Senior Advisor Madeleine Norton BFA, BComm, MLitt, Associate Head of Decorative Arts & Art IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Indigo Keane, Jewellery & Luxury Manager Isabella Macciolli, Jewellery & Luxury Assistant Leila Bakhache, Administrator Henrietta Maiyah, Consultant MODERN DESIGN Rebecca Stormont, Specialist Paul Nicol, Modern Design Assistant Anna Grassham BA Contemporary Arts, Consultant LUXURY John D’Agata F.G.A.A., Head of Department PRINTS Hannah Ryan, Art Specialist

JEWELLERY Indigo Keane, Manager Isabella Macciolli, Assistant ART SALON Amanda North, Manager Noelle Martin, Assistant OBJECTS & COLLECTABLES Dominic Kavanagh MFA, Manager Kyle Walker, Assistant

— VALUATIONS David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist John Brans, Western Australia Representative Specialist ACCOUNTS Yue Zhang, Finance Manager Michelle Draper, Account Manager Karishma Sareen, Accounts Assistant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Richard Grieve, Client Services Liaison Lucy Lewis, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant MARKETING & COMMUNICATIONS Blanka Nemeth, Marketing Manager Alice Wheeler, Database & Marketing Coordinator PHOTOGRAPHY Paolo Cappelli, Senior Photographer & Videographer Adam Obradovic, Photographer & Videographer GRAPHIC DESIGN Christel Reid Maria Rossi

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Lot 21 (detail) JUAN FORD (born 1973) Superflower 2011 oil on linen 107.5 x 91.5cm $8,000-10,000 Courtesy The Artist 91

leonardjoel.com.au 92