From Folk Traditions to Contemporary Art
As winter settles over Melbourne, our June Fine Art Auction offers a welcome opportunity to step into a season rich in art, one that reflects the quiet poetry of this time of year. Fittingly our cover lot is Yellow Cutter (1957) by Anna Mary Robertson ‘Grandma’ Moses, whose joyful depiction of a horse-drawn sleigh gliding through snow-covered countryside captures the essence of winter in all its communal warmth and nostalgic beauty. Painted when Moses was in her late nineties, the work speaks not just to the season but to enduring creativity, spirit, and connection, values that define this auction.
One of the most beloved figures in American art history, Grandma Moses began painting in her seventies and developed an intuitive, unpretentious style that captured the rhythms of rural life. Its appearance here represents an extraordinary opportunity for collectors, as works by Grandma Moses are rarely seen outside the United States.
The June catalogue is particularly distinguished by a strong showing of works by female artists whose practices have helped shape the visual culture of Australia and beyond. These women each offer a unique lens through which to view the world, whether through fantastical storytelling, abstraction, or bioethical inquiry.
Among them is Mirka Mora, whose large-scale painting Metamorphosis (1998) conjures a world of dreamlike figures, serpentine forms, and mystical beings. Created during her later period, the work embodies Mirka’s philosophy of joy, transformation, and the interconnectedness of all living things. With its layered references to Indigenous motifs, European folklore, and personal mythology, Metamorphosis is a visual celebration of change, both artistic and personal, and a testament to Mirka’s lasting influence on Melbourne’s cultural landscape.
Compelling in other ways is Study in Geometry (1982) by Yvonne Audette, a pioneer of Australian abstraction who thoughtfully engages with structure and spatial tension. The work demonstrates Audette’s ability to fuse technical discipline with painterly intuition, reflecting her experiences and the evolution of her distinctive style.
In a very different way Patricia Piccinini’s Stem Cell (2003) adds a conceptual dimension to the auction. A cast sculpture from her Venice Biennale installation Still Life with Stem Cells, the work is tender, ambiguous, and quietly unsettling. Piccinini invites us to consider the relationship between nature and nurture, science and emotion, rendering ethical complexity in a form that feels eerily alive.
Together, these works reflect a range of female artistic practice, from the folk traditions of rural America to the experimental frontiers of contemporary art. And they are joined by many more significant contributions from leading Australian artists, both male and female, modern and contemporary, across painting, sculpture, and works on paper.
On the backdrop of the contemplative tone of the winter season, this auction is a celebration of artistic vision in all its diversity. We warmly invite you to visit the viewings in person in our Hawthorn showrooms or to experience these exceptional works online in the comfort of your home.
wiebke brix head of art
1
signed lower right: R Crooke artist’s name and title on gallery label verso 90 x 74.5cm
provenance
Holdsworth Galleries, Sydney (label verso)
Private collection, Sydney
Thence by descent
$8,000-12,000
provenance
Corporate collection, Melbourne
$10,000-15,000
RAY CROOKE (1922-2015)
Still Life with Lemons oil on canvas
1 © Ray Crooke/Copyright Agency, 2025
2 © David Aspden/Copyright Agency, 2025
2 DAVID ASPDEN (1935-2005) Blue Mountains 1994 oil on canvas signed, titled and dated verso: ASPDEN ‘94/ “BLUE MOUNTAINS”
152 x 122cm
3
signed lower right: Tucker
33 x 50cm
provenance
Private collection, Melbourne
Thence by descent
$15,000-20,000
4
(1908-1987) (Figures and Building) c.1945 oil on board
signed verso: Roger Kemp
60 x 90cm
provenance
Charles Nodrum Gallery, Melbourne
Private collection, Melbourne
$4,000-6,000
ALBERT TUCKER (1914-1999) (Parrot in the Bush) oil on board
ROGER KEMP
3 © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art
4 © Courtesy of the Estate of Roger Kemp
Mirka Mora
Born in France and seeking refuge in Melbourne in 1951 amidst the upheaval of post-war Europe, Mirka Mora (née Zelik, 1928–2018) rapidly became an iconic figure in Australia’s cultural landscape. Her work continues to be revered and celebrated to this day.
Mirka Mora’s contributions to the artistic and cultural fabric of Melbourne are immeasurable. Her distinct visual language—evident in everything from vibrant murals and intricate drawings to her evocative soft sculptures and dolls—was inseparable from her active role in the city’s burgeoning bohemian and café scenes. Alongside her entrepreneurial husband, Georges Mora, Mirka played an undeniable role in shaping the modern creative landscape of Melbourne.
Through her creations, Mirka celebrates the beauty of the unreal, crafting a world where joy and myth coexist in harmony. In Mirka’s realm, all elements have the same value. One might also say, she was an animist, believing that all natural things, including plants, animals, elements of the universe, and even the weather, have a spirit or soul and therefore are connected. Her art was not about hierarchy but about connection—a levelling of forms, meanings, and beings on a shared plane of significance.
The painting, Metamorphosis, is a testimony to the multifaceted aspects of Mirka’s imagery, revealing the extent of her creative expression. Even though she would not be one to analyse her work saying that “it would kill the mystery”, we note the serpents that are somewhat human, symbolising trajectory and “the harmony of all senses”.
One cannot help but notice the array of faces, the use of dots and different motifs. Through her son’s Williams connections with indigenous communities and artists, Mirka came into contact with artists from the Kimberley region and the Northern Territory. This encounter left a clear mark on her work. She began incorporating Mimih spirits and Wandjina-like figures into her compositions, across a variety of media.
The work is ultimately about transformation. In this painting, Metamorphosis, Mirka shows once again her “ouverture d’esprit” (open mind) and her intent to place all the different elements on the same plane. We can see how one aspect morphs into another with the serpents that are half human or the dots that equally remind us of impressionism and dot painting in traditional Aboriginal cultures. This work is about transformation and change leading to Metamorphosis, which was exhibited only once- at William Mora Galleries, in the newly opened Richmond space in 2001.
By 1998, Mirka was well established as an artist, already a much-loved figure and still living in St Kilda. She continued to practise as an artist for 20 more years focusing on her preferred media, painting, before passing away in 2018. To mark her significant contribution to Australia, she was celebrated by a State Memorial Service, being the first female artist in Victoria to receive such an honour. Her artistic vision has left an enduring legacy that continues to resonate across generations. As Carillo Gantner AO observed:
“You could not help but fall in love with Mirka. Everyone who stands before her work feels the sense of joy and of life lived to the max.”
Today, William Mora Galleries represents her estate for the primary market buyers, where visitors still arrive to share memories and stories—testament to an artist whose spirit continues to inspire across generations.
by anna mortley
Bibliography: Beier, Ulli. MIRKA.. Macmillan, 1980. Cotte, Sabine. Mirka Mora: A Life Making Art. Thames & Hudson, 2019.
Mirka at Table, 1977, Rankins Lane Melbourne, Courtesy and © Stella Sallman
5
MIRKA MORA (1928-2018)
Metamorphosis 1998 oil on canvas
signed lower left: MiRKA 98
titled and dated verso 91 x 152cm
provenance
William Mora Galleries, Melbourne
The Estate of William Mora, Melbourne
$45,000-55,000
5 © The Estate of Mirka Mora. Courtesy William Mora Galleries
6
§ JOHN COBURN (1925-2006)
Fan Fair 1972
gouache on paper on board
signed and dated lower right: Coburn ‘72
64.5 x 51.5cm
provenance
Private collection, Perth
The Collection of Margaret Feilman OBE, Perth
The Estate of the above
Private collection, Perth 2013
Menzies, Melbourne, 26 June 2022, lot 16
Private collection, Melbourne
$20,000-25,000
6 © John Coburn/Copyright Agency, 2025
7
DOROTHY BRAUND (1926-2013)
Girl Reclining by the Sea oil on board
titled verso 56 x 105cm
provenance
The Estate of Dorothy Braund
$5,000-7,000
8 § MIRKA MORA (1928-2018)
(Faces in the Crowd) 1958 oil on board
signed and dated lower right: Mirka/ 58 90 x 59cm
provenance
Leonard Joel, Melbourne, 21 August 1996, lot 471
Private collection, Melbourne
Leonard Joel, Melbourne, 18 November 1997, lot 801
Private collection, Melbourne
Deutscher~Menzies, Melbourne, 25 April 1999, lot
252
Private collection, Melbourne
Davidson Auctions, Sydney, 26 May 2024, lot 47
Private collection, Sydney
$6,000-8,000
7 © Courtesy of the Estate of Dorothy Braund
8 © The Estate of Mirka Mora. Courtesy William Mora Galleries
9 JOHN PERCEVAL (1923-2000)
Naked in the Woods 1963 oil on board
signed and dated lower left: ‘63/ Perceval signed and titled verso 39 x 64cm
provenance
Sotheby’s, Melbourne, 24 July 1988, lot 328
Private collection, Queensland
$15,000-20,000
10
DAVID BOYD (1924-2011) (Chasing a Butterfly) 1974 oil on board
signed lower left: David Boyd dated lower right
53 x 64cm
provenance
Private collection, Melbourne
Thence by descent
$10,000-15,000
9 © John Perceval/Copyright Agency, 2025
11
DONALD FRIEND (1915-1989)
The Balcony
watercolour, ink and gouache on paper on board
signed and titled lower left: The Balcony./ Donald/ Friend
53.5 x 73.5cm
provenance
Andrew Ivanyi Gallery, Melbourne (label verso)
Private collection, Melbourne
Thence by descent
$6,000-8,000
12
ROBERT DICKERSON (1924-2015)
The Questioners pastel on paper
signed lower right: DICKERSON titled on gallery label verso
74 x 55cm
provenance
Art Galleries Schubert, Queensland (label verso)
Private collection, Queensland
$5,000-6,000
11 © Donald Friend/Copyright Agency, 2025
12 ©Robert Dickerson/Copyright Agency, 2025
HALL (1859-1935) (Pensive Nun) oil on canvas signed upper right: B.Hall
59 x 45cm
provenance
Leonard Joel, Melbourne, 19 August 2002, lot 224 Private collection, Melbourne
$5,000-7,000
and dated verso
59.5 x 49.5cm provenance
The Artist Private collection, Melbourne
Thence by descent
$4,000-6,000
BERNARD
15 © Hans Heysen/Copyright Agency, 2025
15
signed lower left: H.HEYSEN
44.5 x 60cm
provenance
Private collection, Melbourne
Thence by descent
$20,000-30,000
16
Anticipation oil on board
signed lower left: J.A. Turner
titled on frame plaque
30 x 45.5cm
provenance
Private collection, Melbourne
Thence by descent
$8,000-12,000
HANS HEYSEN (1877-1968)
(Scottish Scene) c.1902
oil on canvas
JAMES ALFRED TURNER (1850-1908)
17
ARTHUR BOYD (1920-1999) (Shoalhaven River)
watercolour and gouache on paper signed lower right: Arthur Boyd
27.5 x 22.5cm
provenance
Private collection, Melbourne
Thence by descent
$8,000-12,000
18
NOEL COUNIHAN (1913-1986)
Paris Scene 1969 oil on canvas
signed and dated lower right: Counihan ‘69 79 x 99cm
provenance
The Estate of the Artist
$6,000-8,000
17 © Arthur Boyd/Copyright Agency, 2025
19
HAUGHTON FORREST (1826-1925)
Ben Cruachan oil on board
signed lower left: HForrest artist’s name and title on gallery label verso 29 x 43.5cm
provenance
Christopher Day Gallery, Sydney 1999 (label verso)
Private collection, Melbourne
$8,000-12,000
20 NORMAN LINDSAY (1879-1969)
Siesta
oil on canvas laid on board
signed lower right: NORMAN LINDSAY
artist’s name and title inscribed verso
40.5 x 49.5cm
provenance
Gould Galleries, Melbourne (label verso)
Private collection, Melbourne
Thence by descent
$20,000-30,000
John Olsen
In 2023, Australia lost one of its most iconic artists, John Olsen (born 1928), known for his vibrant and unique works that speak of the energy of nature. His art reflects an immersive engagement with landscape and lifeforms. Particularly relevant to the context of this auction are frogs and monkeys, which appear in his oeuvre as both symbolic figures and vehicles for experimentation.
Olsen’s deep interest in nature is best understood not as a passive observation of the environment but as an embodied celebration of life’s rhythms. This is evident in his fascination with frogs, a motif that he explores through various media in his work. Frogs, for Olsen, were more than amphibians; they were symbols of vitality, transformation and the energies of the Australian bush.
“Perhaps more than any other Australian artist, John Olsen has invested the animal world, in his many drawings, prints, gouaches and watercolours, with a zestful energy and sometimes tender, often humorous insights. Occasionally the images were quite charming and elegant, while in other instances they were as daring and as erratic as some of the creatures themselves. The aim was not perfection but discovery.”1
This tension and movement are taken to new heights in the bronze sculpture Untitled (Leaping Frog) (2004–2005), cast in an edition of 14. The figure, captured mid-leap, is a study of momentum. With limbs stretched and form exaggerated to a lyrical extreme, the frog appears to be dancing or even flying—a surreal expression of Olsen’s joyful, dynamic vision. The sculpture’s elegance lies in its paradox: it is frozen in metal, yet everything about it suggests motion, breath, and an irrepressible zest for life.
“Although in exhibitions in the 1970s there was occasionally an over-abundance of frogs in accordance with Olsen’s obsessive personality, no two frogs were ever the same. He often did a large number of drawings before he was able to reach one that captured the essence of this spirited creature.”2
Equally striking in Olsen’s practice is his depiction of monkeys. Unlike the frog, which often appears as part of a broader landscape, the monkey becomes a more singular, anthropomorphic subject—frequently used by Olsen to explore character, absurdity, and humour.
“In 1978 John Olsen travelled to Africa: to Egypt, Kenya and South Africa. The animal life in this country provided a special fascination for the artist, particularly the giraffes and monkeys, the African equivalents of the emus and frogs. He perceived, in the ambidextrous activities and agility of the monkey, a possibility for exploring a continual movement of reducing and expanding form and line. Olsen’s monkeys often reveal as much wit as well as strange human qualities…”3
This human-animal resonance reaches a peak in Velvet Monkey, Kenya (2013), a late work on paper that fuses Olsen’s expressive line with gestural colour. The monkey is at once contorted and composed, scratching its head with a theatrical twist of the torso, while one-foot balances off-centre. Painted in a loose watercolour technique over charcoal and pastel, the figure is full of tension and energy, its limbs elongated and animated like calligraphic brushstrokes. Here, Olsen’s monkey isn’t simply a primate, it is a performance of eccentricity and spirit, echoing human folly and freedom alike.
What binds these works together, frogs and monkeys, paper and bronze, is Olsen’s enduring capacity to animate his subjects with empathy and humour. His creatures are never lifeless; they are spiritual actors in a living world. That world is often watery, tangled, and full of unexpected creatures leaping, crawling, or chattering through its depths.
Olsen’s body of work emphasizes his dual commitment to abstraction and figuration, movement and meaning. His frogs and monkeys are not purely subjects. They are metaphors for Olsen’s world view that valued energy, play, and connection. They leap and swing across his surfaces not just as animals, but as emblems of how to be in the world, with alertness, humour, and vitality.
by wiebke brix
1. D. Hart, John Olsen, Craftsman House, 1991, P. 146
130
signed
76
provenance
Metro 5 Gallery, Melbourne
Private collection, Melbourne
$30,000-40,000
30
JOHN OLSEN (1928-2023)
Untitled (Leaping Frog) 2004-2005 bronze, ed. 1/14
signed at base: John Olsen editioned under base: 1/14
54 x 25.5 x 13.5cm
provenance
Corporate collection, Melbourne
$30,000-40,000
JOHN OLSEN (1928-2023)
Velvet Monkey Kenya 2013 watercolour on paper
lower right: John Olsen 013
titled lower left: Velvet Monkey Kenya
x 55cm
29 © John Olsen/Copyright Agency, 2025
30 © John Olsen/Copyright Agency, 2025
31
ARTHUR BOYD (1920-1999)
(White Dog and Figure with Black Hair) pastel on paper
signed lower right: Arthur Boyd artist’s name and title on gallery label verso
47 x 62cm
provenance
Hamet Gallery, London (label verso)
Brummels Gallery, Melbourne
The Collection of Robin Ferry OAM, Melbourne
Thence by descent
$15,000-20,000
32
CHARLES BLACKMAN (1928-2018)
Strange Games 1962
charcoal on paper
signed and dated lower left: Blackman 62
36 x 47.5cm
provenance
The Artist, London
Johnstone Gallery, Brisbane
Strawberry Hill Gallery, Sydney (label concealed verso)
The Collection of Harry Oviss, Melbourne
The Estate of the above
Private collection, Melbourne
exhibitions
Blackman: Paintings, Drawings, Johnstone Gallery, Brisbane, 2 - 18 April 1963, cat. no. 40
$6,000-8,000
31 © Arthur Boyd/Copyright Agency, 2025
32 © Charles Blackman/Copyright Agency, 2025
signed and dated lower left: AMcK 04
signed, titled and dated verso
76 x 76cm
provenance
Axia Modern Art, Melbourne
Private collection, Melbourne
exhibitions
New Paintings, Axia Modern Art, Melbourne, 2005
$5,000-7,000
33
ALEXANDER MCKENZIE (born 1971)
Sandy Beach 2004 oil on canvas
33 Alexander McKenzie is represented by Martin Browne Contemporary, Sydney
34
RONE (born 1980)
Waterlily 2017
mixed media on linen signed, titled and dated verso: ‘Waterlily’/ RONE/ 2017 122 x 101.5cm
provenance
The Artist Private collection, Melbourne Private collection, Victoria
other notes
RONE is known for his large-scale, hauntingly beautiful murals that explore themes of beauty, decay, and impermanence. Central to his practice are ethereal portraits of anonymous women, rendered with striking sensitivity and emotional depth. Often painted onto derelict buildings and abandoned interiors, these female faces become poignant symbols of fading grandeur and lost histories. RONE’s works balance the strength and
fragility of his subjects, inviting reflection on the tension between elegance and ruin. His immersive installations and site-specific projects extend this dialogue, transforming forgotten spaces into contemplative environments steeped in nostalgia and quiet power.
$10,000-15,000
35
PETER SMETS (born 1962)
Excavator
oil on canvas
signed lower right: Peter Smets
75 x 90cm
provenance
The Artist’s studio
Private collection, Queensland
$10,000-15,000
36 § STEPHEN BUSH (born 1958)
Saugleistung 2018 oil and enamel on linen
signed, titled and dated verso (concealed) 95 x 95cm
provenance
Sutton Gallery, Melbourne Private collection, Melbourne
exhibitions
Stephen Bush: Mule Skin, Sutton Gallery, Melbourne, 8 September - 6 October 2018
other notes
“Throughout his decades-long career, Stephen Bush has explored the possibilities and limitations of figurative painting. Known for his depictions of costumed participants and icons of visual culture set within idealised landscapes, Bush utilises the canvas to advance ideas about the dualities that describe
the crises of contemporary existence. Inspired by the antagonism, unease and disunity that underscored 1970’s punk music and the ensuing post-punk movement, Bush uses the canvas as a locus of conflicting forces.
Defiance and conformity, ambition and failure, passivity and resistance, are a few of the themes that surface in Saugleistung. In some artworks, Bush lets the physical materiality of the spilt, dripped and pooled paint direct the content, while in others, his self-determined marks predict the outcome. Set against luminous expanses of paint, defunct agricultural machines, laborers and nobleman appear, as do canines that cavort, pursue, hover and float. Unleashed from the confines of their estates, Bush’s hunting dogs disrupt the static continuity evoked by the presence of the artist’s other silent narrators. At once benign and complex, the works reflect upon the existential turmoil inherent to us all.” (exhibition statement)
$8,000-12,000
36 © Stephen Bush/Copyright Agency, 2025
37
JONNY NIESCHE (born 1972)
Atoms Encode (Sunburst) 2016 voile, acrylic mirror
signed, titled and dated verso: “Atoms encode (sunburst)”/ 2016/ NIESCHE
60.5 x 60.5 x 6cm
provenance
Sarah Cottier Gallery, Sydney
Private collection, Sydney
exhibitions
Sarah Cottier Gallery at Spring 1883 Art Fair, Melbourne, 17 - 21 August 2016
$6,000-8,000
38
ANGELA BRENNAN (born 1960)
Untitled 1998 oil on canvas
signed and dated verso: Angela Brennan 1998
50.5 x 60.5cm
provenance
The Artist
Leonard Joel, Melbourne, 15 September 2016, lot 3009
Private collection, Melbourne
$3,000-5,000
39
PATRICIA PICCININI (born 1965)
Stem Cell 2003
(Replica of Still Life with Stem Cells) plaster, ed. of 10 signed, dated and inscribed at base: Patricia/ Piccinini/ Venice 2003
12 x 24 x 15cm
provenance
Gift of the Artist
Private collection, Melbourne
related work
Still Life with Stem Cells 2003, silicon, polyurethane, clothing, human hair, dimensions variable, exhibited Patricia Piccinini: We are Family, Australian Pavilion, Venice Biennale 2003
$4,000-6,000
40
DAMIEN HIRST (British, born 1965)
New Toys 2016 (from The Currency series) enamel on paper signed, titled, dated and numbered verso: 3939. New toys. 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
41 LOUIS PRATT (born 1972)
Digitised Man 2018 bronze, ed. 9/15
signed and editioned lower left and right: Louis/ 9/15
31 x 10 x 8cm
provenance
Corporate collection, Melbourne
$3,000-4,000
42
YVONNE AUDETTE (born 1930)
Study in Geometry 1982 ink and gouache on paper signed and dated lower right: YAudette/ 82 title inscribed verso 28 x 22.5cm
provenance
The Artist’s studio
Private collection, Melbourne Thence by descent
$3,000-4,000
42 © Yvonne Audette/Copyright Agency, 2025
39 © Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney 41
43
JOHN PEART (born 1945)
Morning 1983-1988
acrylic on canvas
signed, titled and dated verso: “MORNING”/ 19838/ John Peart
170 x 275cm
provenance
Powell Street Gallery, Melbourne (label verso)
Private collection, Melbourne
Thence by descent
$10,000-15,000
44
WILLIAM MACKINNON (born 1978)
Travelling (Jim and I) 2012
(from The Great Indoors series)
acrylic, oil and automotive enamel on lenticular print
signed, titled and dated verso: William Mackinnon/ “The Great Indoors”/ 2012
44 x 61cm
provenance
Utopian Slumps, Melbourne
Private collection, Melbourne
exhibitions
The Great Indoors, Utopian Slumps, Melbourne, 14-28
April 2012
$4,000-6,000
43 © John Peart/Copyright Agency, 2025
45
§ JOHN OLSEN (1928-2023)
Tree Frog 2012
etching, ed. 8/20
signed, titled, dated and editioned below plate: 8/20
“TREE FROG” John Olsen 012 124 x 99cm (sheet)
provenance
Private collection, Sydney
$7,000-10,000
46
§ ROGER KEMP (1908-1987)
Untitled (Choreography)
synthetic polymer paint on masonite signed lower right: Roger Kemp artist’s name and title on label verso 89 x 121cm
provenance
Corporate collection, Melbourne
Leonard Joel, Melbourne, 21 March 2023, lot 22
other notes
The circle and the square commonly feature in Roger Kemp’s work. Kemp frequently explores the interplay between these two physical and spiritual shapes, with the square traditionally symbolising earth and the circle heaven.. “His glimpses of the ineffable are translated to us in terms of dancing, for his paintings are a choreography of the spirit - but the dancing is never extravagant. It has the formal quality of a saraband. Every movement, every gesture, every brushstroke becomes part of a ritual.”. (James Gleeson, 1967)
$20,000-25,000
47
YVONNE AUDETTE (born 1930)
Untitled 1985 ink and gouache on paper initialled and dated lower right: YV 85 22 x 32cm
provenance
The Artist’s studio
Private collection, Melbourne Thence by descent
$3,000-4,000
48 JOHN BRACK (1920-1999)
Standing Nude 1966 conté on paper
signed and dated lower left: John Brack 66 title inscribed on label verso 66 x 51cm
provenance
Acquired directly from the Artist
Private collection, Melbourne
exhibitions
John Brack/Fred Williams, Albert Hall, Canberra, 1 - 13 August 1967, cat. no. 16
literature
Grishin, S., The Art of John Brack, Oxford University Press, Melbourne, 1990, Vol. 2, p.55, cat. no. 120
$15,000-20,000
46 © Courtesy of the Estate of Roger Kemp
48 © Helen Brack
49
SAM BYRNE (1883-1978)
Broken Hill 1890
no Mercy Shown “Kangaroo Jack” when Fall of Booze and no Money oil on board
signed lower right: Sam Byrne. titled and dated lower left 38 x 46cm
provenance
Private collection, Sydney
Thence by descent
$4,000-6,000
50
RAY CROOKE (1922-2015) (Island Scene) oil on canvasboard
signed lower left: R Crooke
19.5 x 24.5cm
provenance
Private collection, Melbourne
Thence by descent
$6,000-8,000
51
DAVID BOYD (1924-2011) (Children Playing) oil on board
signed lower left: David Boyd 49 x 59.5cm
provenance
Andrew Ivanyi Galleries, Melbourne
Private collection Melbourne
$10,000-15,000
52
SALI HERMAN (1898-1993)
Dawn Central Australia 1982 oil on canvas
signed and dated lower left: S. Herman. 82 title inscribed on frame verso
62 x 75.5cm
provenance
Private collection, Sydney
Lawsons~Menzies, Sydney, 16 August 2012, lot 194
Private collection, Melbourne
$7,000-9,000
50 © Ray Crooke/Copyright Agency, 2025
53
SIDNEY LONG (1871-1955)
Golden Summer 1917
watercolour and gouache on paper signed and dated lower right: Sid Long-/ .1917. artist’s name, title and date inscribed verso 51.5 x 36cm
provenance
Joseph Brown Gallery, Melbourne Private collection, Melbourne
$3,000-5,000
54
BLAMIRE YOUNG (1862-1935) (Embrace)
watercolour on paper signed lower left: BLAMIRE YOUNG 48 x 41.5cm
provenance
Deutscher Fine Art, Melbourne Private collection, Melbourne
$3,000-5,000
55 NORMAN LINDSAY (1879-1969)
Stratagem by which a Woman Enabled her Gallant to Escape, when her Husband, who was Blind of an Eye, thought to Surprise them Together ink on paper initialled upper centre: N.L 23 x 18.5cm
provenance
Anthony Smith Fine Art, Melbourne Private collection, Melbourne
literature
Tales from The Heptameron of Marguerite of Navarre, University Press Melbourne, 1976, p.50 (illus)
$2,000-4,000
56 WILLIAM DOBELL (1899-1970)
London 1932 pencil and chalk on paper signed, titled and dated lower right: London/ 1932/ Dobell 13 x 17cm
provenance
Sotheby’s, Melbourne, 28 April 1998, lot 308 Private collection, Melbourne
Christie’s, Melbourne, 27 April 1999, lot 305 Private collection, Melbourne
$2,000-4,000
57
JOHN LONGSTAFF (1862-1941)
Mountain Stream oil on canvas
artist’s name and title inscribed verso
44.5 x 34cm
provenance
The Sedon Galleries, Melbourne (label verso)
Private collection, Melbourne
Thence by descent
exhibitions
Annual December Exhibition, The Sedon Galleries, Melbourne, December 1942, cat. no. 32
other notes
Accompanied by a certificate of authenticity from Daryl Lindsay, Director of National Gallery of Victoria, 15 December 1942
$3,000-4,000
58
ARTHUR BOYD (1920-1999) (Landscape) 1954
watercolour on paper on board
signed and dated lower right: 1954/ Arthur Boyd
55.5 x 37cm
provenance
Private collection, Melbourne
Thence by descent
$6,000-8,000
58 © Arthur Boyd/Copyright Agency, 2025
59
BOYD (1890-1923)
(River Scene) 1920 oil on canvas
signed and dated lower right: Penleigh Boyd/ 1920
37 x 45.5cm
provenance
Hawthorn Galleries, Melbourne (label verso)
Private collection, Queensland
Thence by descent
$10,000-15,000 59
60
JAMES R. JACKSON (1882-1975) (Sydney Harbour) oil on canvas
signed lower right: James R Jackson
48 x 59cm
provenance
Sedon Galleries, Melbourne (label verso)
Private collection, Melbourne
Thence by descent
$5,000-7,000
PENLEIGH
61
WILL ASHTON (1881-1963)
Golden Glitter 1926
(Sydney Harbour Looking Towards Cockatoo Island) oil on canvasboard
signed lower right: WILL ASHTON artist’s name and title inscribed verso 32 x 42cm
provenance
Private collection, Melbourne Thence by descent
$4,000-6,000
62
ERNEST BUCKMASTER (1897-1968)
The Last of the Sun 1935 oil on canvas signed and dated lower right: E.Buckmaster 1935 titled on unknown label verso 62 x 84cm
provenance
Private collection, Melbourne
$5,000-7,000
63
RUPERT BUNNY (1864-1947)
Brignogan c.1899
oil on canvas
50 x 73.5cm
provenance
Gift of the Artist
The Collection of the Mackinnon Family
Thence by descent
literature
Thomas, D., The Life and Art of Rupert Bunny, A Catalogue Raisonné in Two Volumes, Thames & Hudson, Melbourne, 2017, Vol. II, p. 26, cat. no. O120
other notes
Rupert Bunny enjoyed the patronage of the Mackinnon family following the marriage of his sister Hilda Eleanor Mary (1867-1942) to Donald Mackinnon (1859-1932) in 1891
$10,000-15,000
64 WILL ASHTON (1881-1963)
(The Haystacks) oil on board
signed lower right: WILL ASHTON 27 x 38cm
provenance
Leonard Joel, Melbourne, 6 July 1983, lot 918
Private collection, Melbourne
$4,000-6,000
65
DAVID BOYD (1924-2011)
(Children Playing) 1976 oil on canvas signed lower left: David Boyd dated lower right 39 x 49cm
provenance
Private collection, Melbourne
$8,000-12,000
66
CLIFTON PUGH (1924-1990)
Two Euros 1961 oil on board
signed and dated lower right: Clifton Pugh/ NOV 61 67.5 x 90cm
provenance
Bonython Art Gallery, Adelaide
Private collection, Adelaide Lawson~Menzies, Sydney, 8 August 2013, lot 108
Private collection, Melbourne
exhibitions
Clifton Pugh, Bonython Gallery, Adelaide, 26 May - 8 June 1962
$7,000-10,000
67
HUGH SAWREY (1923-1999)
Packing the Nagss, Mooraberrie Station, Channel Country, West Queensland oil on canvasboard
signed with artist’s thumbprint lower right: SAWREY titled on stretcher bar verso 51 x 61cm
provenance
Australian Art Auctions, Sydney, 22 September 1991, lot 138
Private collection, Sydney
Deutscher~Menzies, Sydney, 6 December 2006, lot 147
Private collection, Melbourne
other notes
© Hugh Sawrey/Copyright Agency, 2025
$8,000-12,000
68
ROBERT DICKERSON (1924-2015)
(Portrait of a Boy) charcoal on paper signed lower right: DICKERSON 55 x 36cm
provenance
(Possibly) Andrew Ivanyi Galleries, Melbourne Private Collection, Melbourne
other notes
© Robert Dickerson/Copyright Agency, 2025
$3,000-5,000
65 © David Boyd/Copyright Agency, 2025
69
69
THORNTON WALKER (born 1953)
Three Chinese Bowls (with Text) 1996 oil on canvas
signed and dated lower right: TW ‘96 signed, titled and dated verso 122 x 157.5cm
provenance
Christine Abrahams Gallery, Melbourne (label verso) Corporate collection, Melbourne
$6,000-8,000
70
PETER CHURCHER (born 1964)
The End of Another Day 1997 oil on canvas
signed and dated lower left: P. Churcher ‘ 97 artist’s name and title inscribed on gallery label verso 195 x 185cm
provenance
Phillip Bacon Galleries, Queensland (label verso)
Private collection, Melbourne
$4,000-6,000
71
ELISABETH KRUGER (born 1955)
The Grand Gate 1991 oil on panel, diptych
signed, titled and dated verso of left panel: ‘The Grand Gate’/ Elisabeth Kruger 1991 204 x 72cm (each); 204 x 144cm (overall)
provenance
Deutscher Fine Art, Melbourne
Private collection, Melbourne
Deutscher and Hackett, Melbourne, 29 August 2007, lot 109
Private collection, Melbourne
exhibitions
Elizabeth Kruger, Deutscher Fine Art, Melbourne, 1992
$6,000-7,000
72
DAVID RANKIN (born 1946)
Ochre Landscape and Fence 1986
acrylic on canvas
signed and dated upper left: Rankin 86
signed, titled and dated verso
105.5 x 213cm
provenance
Corporate collection, Melbourne
$4,000-6,000
73 © Raylene Walatinna/Copyright Agency, 2025
73
RAYLENE WALATINNA (born c.1980) (Language group: Yankunytjatjara)
Ngayuku Ngura (My Country) 2022 synthetic polymer paint on linen inscribed verso with artist’s name and Iwantja Arts cat. no. 345/22
122 x 152cm
provenance
Iwantja Arts, Alice Springs (accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
other notes
“Raylene’s paintings are informed by her family’s strong connection to country and their history (both their ancestral Yankunyjatjara cultural history and more recent family history) associated with the rugged desert country around Indulkana on the APY lands.”
As stated on the Iwantja Arts certificate of authenticity.
$5,000-6,000
74
MULKUN WIRRPANDA (1947-2021) (Language group: Dhudi-Djapu/Dha-malamirr)
Untitled
natural earth pigments on bark
inscribed verso with artist’s name and BukuLarrnggay Mulka Art Centre cat no. 2368W
77.5 x 39.5cm
provenance
Buku-Larrnggay Mulka, Northern Territory (accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
other notes
“Dhurupitjpi is the homeland residence of the Dhudi or bottom Djapu clan. This painting depicts the large black soil flood plains that are part of this clans land called Yalata. As flood waters recede the natural
freshwater wells of the plain become more evident as roundrels of lush vegetation supported by these springs. Subsequently, small fish, frogs, insects etc etc thrive to be hunted by hundreds of Brolga called Dangultji as they walk from waterhole to waterhole leaving their tracks in the drying mud.
During Ancestral times the Dhuwa moiety creator beings passed through this country with their sacred digging sticks creating these waterholes as they went. Freshwater welled up from these devises. The sacred water goanna, a totem for the Dhudi-Djapu from the waterhole saw the first sun rise with the Dangultji roaming the plains of Yalata.”
As stated on the Buku-Larrnggay Mulka Art Centre certificate of authenticity.
$2,000-3,000
75
MAKINTI NAPANANGKA (1930-2011) (Language group: Pintupi)
Untitled 2001
synthetic polymer paint on linen
inscribed verso with artist’s name and Papunya Tula Artists cat. no. MN0105042
106 x 28cm
provenance
Papunya Tula Artists, Northern Territory (accompanied by the certificate of authenticity)
William Mora Gallery, Melbourne (stamp verso)
Private collection, Melbourne
$4,500-6,000
76
MARGARET BARAGURRA (1939-2020)
(Language group: Yulparija)
Bidyadanga 2006
synthetic polymer paint on canvas
inscribed verso with artist’s name and Short Street Gallery cat. no. #3555
150 x 75cm
provenance
Short Street Gallery, Broome (accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
other notes
“Lajarri is Margaret’s Traditional country which is south east of Bidyadanga where she now lives. As a child she travelled with her parents across the country, they travelled down the yellow road in the middle. This is an important place for Margaret.”
As stated on the Short Street Gallery certificate of authenticity.
$3,500-4,500
77
78
MAWALAN MARIKA (1908-1967) (Language group: Rirratjingu)
77
NYAKUL DAWSON (c.1930-2007) (Language group: Pitjantjatjara)
Muti Kutara 2004
synthetic polymer paint on linen
Irrunytju Arts cat. no. IRRND04019 150 x 120cm
provenance
Irrunytju Arts Centre, Western Australia (accompanied by a copy of the certificate of authenticity)
Private collection, Sydney
Leonard Joel, Melbourne, 31 August 2021, lot 59
Private collection, Melbourne
other notes
“Kapi Pulkana, a big rock hole. This is across from my country.”
As stated on the Irrunytju Arts Centre certificate of authenticity.
$3,000-5,000
Djan'Kawu at Yalangbara c.1961
natural earth pigments on eucalyptus bark 116 x 44cm
provenance
Dorothy Bennett for Australian Aboriginal Art Trust, Darwin (label attached verso)
Private collection, Adelaide
Sotheby’s, Melbourne, 24 June 2002, lot 301
Lauraine Diggins Fine Art, Melbourne (label attached verso, stock no. 220128)
Private collection, Melbourne
Deutscher and Hackett, Melbourne, 14 October 2009, lot 33
Private collection, Melbourne
exhibitions
Annual Collectors' Exhibition 2008, Lauraine Diggins Fine Art, Melbourne, 1 October - 8 November 2008, cat. no. 19
An Individual Perspective: From The Indigenous Collection of Lauraine Diggins, Deakin University Art Gallery, Melbourne, 25 February - 4 April 2009
literature
Diggins, L., (ed.), An Individual Perspective: From The Indigenous Collection of Lauraine Diggins, Deakin University Art Gallery, Melbourne, 2009, p. 12 (illus.)
other notes
"This is one of the dances performed in a sacred ceremony The Djungguan. The Wawilak [sic] Sisters wandered throughout Arnhem Land naming plants, animals and fish, reptiles and places, killing many animals and fish. When they arrived at well of Mirrirmina (rock pythons back) they made a fire and threw the food on to it but immediately everything came to life and ran into the sacred well and thus becoming totemic emblems. Yurlungurr the giant python came out of the well and swallowed the Wawilak Sisters. In a desperate attempt to avoid themselves from being swallowed the sisters had sung and danced all the taboo songs and dances they could think of starting with the crab dance as the crab had been the first to jump from the fire and run sideways down to the well. Yurlungurr took the sisters back through the [subterranean] waters beneath the well
to their own country and regurgitated them onto dry land. They appeared in a dream to two Wongar men and told them that all the people must dance the same dances and sing the same songs as they had before being swallowed and these were to be performed at the time of the circumcision rites. Each sister had had a baby with her at the well and had intended to circumcise them but now they passed on instructions to the men to do this for them. Here two men representing the Wongar mythological figures dance with woomeras and spears around a sacred well. Goannas shown represent one of the totems of the artist handed down to him by his father."
(Inscribed on label verso)
$15,000-20,000
79
GALUMA MAYMURU (1951-2018) (Language group: Manggalili)
Hunting Miyapunu
natural earth pigments on bark
inscribed verso with artist's name and BukuLarrnggay Mulka Art Centre cat no. 1585Q
49.5 x 122cm
provenance
Buku-Larrnggay Mulka, Northern Territory (accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
other notes
"Hunting is still very much a life style for the Yolnu living on their homelands. For those at Djarrakpi the hunting for turtle provides a robust source of food. During the right season when the winds have died, calm waters prevail and the turtle surfacing to breathe can be easily spotted from great distances by the trained eyes of the hunter. The chase is then on often taking the hunting party far off the coast.
As were their ancestors, the present day hunters took homage and direction from the Wawpini, the great cumulo clouds that rose on the horizons. These clouds also connected the clans estates on land to those over sea country, connected by the sacred string and harpoon from the first hunters. On looking back from out to sea the hunters will see the same cloud formations over their country at Djarrakpi.
This painting depicts the sacred Wawpini either end of the bark, one out to the furthest extent of Mangalili country, the other over Djarrakpi."
As stated on the Buku-Larrnggay Mulka Art Centre certificate of authenticity.
$1,500-2,500
80
DINNY NOLAN TJAMPITJINPA (born c.1944)
(Language group: Anmatyerr)
Fire Dreaming at Warlukurlandgu
synthetic polymer paint on canvas
inscribed verso with artist’s initials and Papunya Tula Artist’s cat. no. DN880416
136 x 213cm
provenance
Papunya Tula Artists, Western Australia
(accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
$5,000-7,000
81
JAN SENBERGS (born 1939)
Untitled 1981 oil on canvas
signed and dated lower right: J. Senbergs. ‘81
50 x 61cm
provenance
The Artist
Private collection, Melbourne
Thence by descent
$2,000-3,000
82
BERN EMMERICHS (born 1961)
The Over Bored Way Siders 2011
painted ceramic (fired)
signed, titled and dated upper left: ‘TheOverBoredWaySiders’ Bern Emmerichs 2011
30.5 x 89cm
provenance
Scott Livesey Galleries, Melbourne
Private collection, Melbourne
exhibitions
Blood, Sweat and Fears, Scott Livesey Galleries, Melbourne, 26 October - 19 November 2011
$2,000-3,000
81 © Jan Senbergs/Copyright Agency, 2025
82 © Bern Emmerichs/Copyright Agency, 2025
83
§ PETER BOOTH (born 1940)
Untitled 1984 pastel on paper
artist’s name and date inscribed verso 26.5 x 37.5cm
provenance
Robert Steele Gallery, Adelaide
Private collection, Adelaide
Deutscher and Hackett, Melbourne, 6 May 2015, lot 109
Private collection, Melbourne
$3,000-4,000
84
TREVOR NICKOLLS (born 1949)
Untitled synthetic polymer paint on canvas
76 x 56cm
provenance
Realities Gallery, Melbourne
Private collection, Melbourne
Thence by descent
$4,000-5,000
83 © Peter Booth/Copyright Agency, 2025
84 © Trevor Nickolls/Copyright Agency, 2025
85 © Jasper Knight/Copyright Agency, 2025
85
§ JASPER KNIGHT (born 1978)
The Wild Mouse Focus Group 2012 acrylic, enamel, plywood and perspex on board signed, titled and dated verso: JASPER KNIGHT/ “THE WILD/ MOUSE FOCUS GROUP”/ 2012
120 x 120cm
provenance
The Artist
Private collection, Sydney
$5,000-6,000
86
EUAN MACLEOD (born 1956)
Submerged (Self Portrait 2) 2002 oil on canvas
signed, titled and dated verso: SUBMERGED/ SELF PORTRAIT 2/ EUAN MACLEAOD/ 27/6/02
65 x 50.5cm
provenance
Niagara Galleries, Melbourne
Mossgreen, Melbourne, 30 July 2012, lot 107
Private collection, Melbourne
$3,500-4,500
87
NIGEL MILSOM (born 1975) (Judo House) 2009 oil on canvas initialled and dated verso: JH9
115 x 115cm
provenance
The Artist 2010
Private collection, Sydney
$4,000-6,000
88
LOUIS PRATT (born 1972)
Shadow Dancer 2018 bronze, ed. 9/9
signed and editioned at base: Louis 9/9
68.5 x 32 x 31cm
provenance
Corporate collection, Melbourne
$10,000-12,000
89
MATTHEW JOHNSON (born 1963)
A Marine View 2009-2010
oil on linen
signed, titled and dated verso: “A MARINE VIEW” / Matthew Johnson 2009/10
100 x 200cm
provenance
Private collection, Melbourne
$6,000-8,000
90
DAMIEN HIRST (British, born 1965)
He Always Looked at me, Made me Watch 2016 (from The Currency series) enamel on paper signed, titled, dated and numbered verso: 4865. He always looked at me, made me watch. 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
91
ROBERT JACKS (born 1943) Spanish Suite No. 9 1996
painted timber assemblage
91 x 40 x 32cm (irregular)
provenance
Corporate collection, Melbourne
$3,000-4,000
92
VINCENT PIRRUCCIO (born 1946) Milano 1973
stainless steel and chrome signed, titled and dated verso: Vincent Pirruccio/ Milano 1973
82 x 61 x 18cm
provenance
Private collection, Melbourne
Thence by descent
$2,000-4,000
93
ADAM HILL (BLACK DOUGLAS) (born 1970)
Foetal Attraction 2008
synthetic polymer paint on canvas initialled lower right: AH
signed, titled, dated and inscribed verso: ‘Foetal attraction’/ (Painted for Arc One ‘Summer Show’ 2008)/ Adam Hill/ 01 12 08
artist’s name, title and date on gallery label verso
45 x 50cm
provenance
Arc One Gallery, Melbourne (label verso)
Private collection, Melbourne
Thence by descent
exhibitions
Summer Show, Arc One, Melbourne, 2008
$2,000-4,000
94
ROSALIE GASCOIGNE (1917-1999)
Shell 2 1984
sawn and stencilled wood on plywood backing signed, titled and dated verso: SHELL 2/ 1984/ ROSALIE GASCOIGNE
50 x 35cm
provenance
Pinacotheca Gallery, Melbourne 1984
Private collection, Melbourne
Thence by descent
exhibitions
Rosalie Gascoigne, Pinacotheca Gallery, Melbourne, 3 - 20 October 1984
$12,000-18,000
93 © Adam Hill (Black Douglas)/Copyright Agency, 2025
95
KEVIN MORTENSEN (1939-2023)
The Larger Bone Fish 2003
lacquered wood and copper
signed and dated at base: K.MORTENSEN 2003
24 x 68 x 72cm
provenance
The Estate of the Kevin Mortensen
exhibitions
Kevin Mortensen, Like a Dog with a Bone, Australian Galleries, Melbourne, 18 November - 17 December 2003, cat. no. 7
$4,000-6,000
96
MAN RAY (American, 1890-1976)
Herma 1975
pewter on wooden base, ed. 151/550 signed and editioned lower centre
27.5 x 11 x 9cm; 37.5cm (height, including base)
provenance
Artcurial Kunstgalerie, Munich Private collection, Melbourne
other notes
Accompanied by the Artcurial Kunstgalerie certificate of authenticity
$2,000-4,000
97
DAVID BROMLEY (born 1960)
Winter Butterflies acrylic on canvas
signed lower right: BROMLEY 132 x 225cm
provenance
Bromley & Co., Melbourne Private collection, Melbourne
$6,000-8,000
98
ELIZABETH PULIE (born 1968)
One Hundred and Sixty-Two (Tall Work) 1992 oil on canvas
signed, titled and dated verso: “162 (TALL WORK)”/ 1996/ E.Pulie
212 x 65cm
provenance
Sutton Gallery, Melbourne
Corporate collection, Melbourne
exhibitions
Elizabeth Pulie, Tall Work, Sutton Gallery, Melbourne, 13 April - 8 May 1996
$4,000-6,000
99
ELIZABETH PULIE (born 1968)
One Hundred and Sixty-Three (Tall Work) 1996 oil on canvas
signed, titled and dated verso: “163 (TALL WORK)”/ 1996/ E.Pulie
212 x 65cm
provenance
Sutton Gallery, Melbourne
Corporate collection, Melbourne
exhibitions
Elizabeth Pulie, Tall Work, Sutton Gallery, Melbourne, 13 April - 8 May 1996
$4,000-6,000
100
KRISTIN HEADLAM (born 1953)
A Gardener at Midnight - Day 1996 wool tapestry
woven signature lower left: K.Headlam
woven date lower right
woven by Victorian Tapestry Workshop, Melbourne (label verso)
470.5 x 273.5cm
provenance
Victorian Tapestry Workshop, Melbourne (label verso)
Corporate collection, Melbourne
$6,000-9,000
Viewing by appointment only
100 © Kristin Headlam/Copyright Agency, 2025
DICKERSON (1924-2015)
The Shearer pastel on paper
signed lower right: DICKERSON artist's name and title inscribed verso
74.5 x 55cm
provenance
Private collection, Sydney
Lawsons-Menzies, Sydney, 8 August, 2013, lot 213
Private collection, Melbourne
$5,000-7,000
CLIFTON PUGH (1924-1990)
(Beginning of Winter) 1977 oil on board
signed and dated lower right: Clifton June/ 77 43 x 68.5cm
provenance
Realities Gallery, Melbourne, Private Collection, Melbourne
The Estate of Brian M Davis Gifted to Brian M Davis Charitable Foundation, Melbourne
$4,000-6,000
ROBERT
103
SHAY DOCKING (1928-2000)
Storm Approaching 1964 oil, tempera and PVA on board
signed lower right: SHAY DOCKING titled and dated verso
91.5 x 122.5cm
provenance
Private collection, Tasmania
Leonard Joel, Melbourne, 22 March 2022, lot 32
Private collection, Melbourne
$4,500-5,500
ROBERTO MÁRQUEZ (Mexican, born 1959)
The Dream of Saint Kilda 2006 oil on canvas
signed and dated lower right: Márquez 06
91.5 x 121.5cm
provenance
Alcaston Gallery, Melbourne
Private Collection, Melbourne
exhibitions
Convergence, Alcaston Gallery, Melbourne, 2006
$8,000-12,000
103
104
105 § ADAM CULLEN (1965-2012)
Ned Kelly and Sergeant Steele’s Horse 2010 ink on archival paper
initialled and dated lower right: Ac’10
66 x 102cm (sheet)
provenance
Art Equity, Sydney 2015
Private collection, South Australia
Leonard Joel, Melbourne, 24 October 2023, lot 6
$5,000-6,000
106
LI JIN (Chinese, born 1958)
Untitled (Bar Girl)
watercolour on paper
signed with Chinese characters upper centre artist’s stamps upper right
32 x 42cm (irregular)
provenance
Ray Hughes Gallery, Sydney Private collection, Melbourne
exhibitions
Li Jin, Ray Hughes Gallery, Sydney, 2001
$4,500-6,000
105 © Adam Cullen/Copyright Agency, 2025
107
LI JIN (Chinese, born 1958)
Untitled (Woman with Mountains) watercolour on paper
signed with Chinese characters upper centre artist’s stamp upper left
39 x 44.5cm
provenance
Ray Hughes Gallery, Sydney Private collection, Victoria
exhibitions
Li Jin, Ray Hughes Gallery, Sydney, 2001
$5,000-7,000
108
§ REG MOMBASSA (born 1951)
Superman with Vampire Bite mixed media on paper
signed lower right: Reg M titled lower centre 24 x 19cm
provenance
Private collection, Sydney Lawsons, Sydney, 16 November 2023, lot 524
$3,000-5,000
107
109
ARTHUR BOYD (1920-1999) (Brickworks, Oakleigh) pencil on paper artist’s name, title and date on gallery label verso
37 x 54.5cm
provenance
Lauraine Diggins Fine Art, Melbourne (label verso) Private collection, Melbourne
$2,000-4,000
110
ARTHUR BOYD (1920-1999) (Portraits) ink and wash paper, double-sided artist’s name, title and date on gallery label verso 34 x 26cm (each)
provenance
Lauraine Diggins Fine Art, Melbourne (label verso) Private collection, Melbourne
$1,500-2,500
109 © Arthur Boyd/Copyright Agency, 2025
111
PRO HART (1928-2006)
The Well Sinkers 1977 oil on board
signed and dated lower right: PRO HART 77
titled lower left
44.5 x 59.5cm
provenance
Private collection, Sydney
Thence by descent
$4,000-6,000
bronze artist’s stamp on base
24 x 12 x 12cm
provenance
Private collection, Melbourne
Thence by descent
$2,000-4,000
111
112
PAUL JOHN BEADLE (British, 1917-1993)
Untitled
113
ARTHUR BOYD (1920-1999)
(Lamentation over the Dead Christ)
Study for Lamentation over the Dead Christ 1945 ink and wash on paper artist’s name, title and date on gallery label verso 36 x 49cm
provenance
Lauraine Diggins Fine Art, Melbourne (label verso) Private collection, Melbourne $2,000-4,000
114
CLIFTON PUGH (1924-1990)
Orpheus 1962 oil on board signed and dated lower right: Clifton/ JUNE ‘62 signed and titled verso 136 x 90cm
provenance
Private collection, Queensland $8,000-12,000
115
GEOFFREY DYER (born 1947)
(River Landscape)
oil on canvas
164 x 259cm
provenance
Corporate collection, Melbourne
$8,000-10,000
116
SAM FULLBROOK (1922-2004)
West Kensington, Melbourne in Wintertime 1947 oil on linen
signed lower right: S. Fullbrook
signed, titled and dated verso
35 x 42.5cm
provenance
Sotheby’s, Melbourne, 24 July 1988, lot 329
Private collection, Queensland
$3,000-5,000
115 © Geoffrey Dyer/Copyright Agency, 2025
117
ANNE MARIE GRAHAM (born 1925)
The Secret, St Paul de Vence 1994 oil on canvas
signed and dated lower right: Anne Graham’94 artist’s name and title inscribed on stretcher bar verso 48 x 38cm
provenance
The Artist
Private collection, Melbourne
$2,500-3,500
118
ANNE MARIE GRAHAM (born 1925)
Tall House, St Paul de Vence 1995 oil on canvas
signed and dated lower left: Anne Graham’95 artist’s name, title and date inscribed on stretcher bar verso 48 x 38cm
provenance
The Artist
Private collection, Melbourne
$2,500-3,500
117 © Anne Marie Graham/Copyright Agency, 2025
118 © Anne Marie Graham/Copyright Agency, 2025
HENRI DE TOULOUSE-LAUTREC (French, 1864–1901)
Divan Japonais 1892-1893
lithograph
signed in plate lower right 77.5 x 60cm (image); 80 x 62cm (sheet)
provenance
Private Estate, Australia
Private collection, Melbourne
exhibitions
Toulouse-Lautrec from The Metropolitan Museum of Art, Denver Art Museum, Denver, 5 April - 4 July 1999 (another example)
The Armory Show at 100: Modernism and Revolution, New York Historical Society, New York, 11 October 201323 February 2014 (another example)
Selections from the Department of Drawings and Prints: Materials and Techniques, The Metropolitan Museum of Art, New York, 29 April - 26 July 2021 (another example)
literature
Delteil, L., Le Peintre Graveur Illustré (XIX et XX Siècles), Chez l’Auteur, Paris,1907, p. 420, cat. no. 341 (illus., another example)
Adriani, G., Toulouse-Lautrec: The Entire Graphic Work, DuMont Buchverlag, Cologne, 1976, p. 55, cat. no. 8 (illus., another example)
Wittrock, W., Toulouse-Lautrec, The Complete Prints, Sotheby’s Publications, London, 1985, vol. II, pp. 776, 777, cat. no. P11 (illus., another example)
other notes
Divan Japonais was one of the many café-concerts in late nineteenth-century Paris frequented by ToulouseLautrec. His lithograph advertising the nightspot features two of his favourite Montmartre stars, Yvette Guilbert and Jane Avril. Here, Avril is a spectator, not a performer, as she sits in the foreground with Édouard Dujardin, a dandyish writer and nightclub habitué. In the upper left corner, on stage, is the headless body of Guilbert, recognisable by her trademark long black gloves and gaunt physique.
$8,000-10,000
120
SIDNEY NOLAN (1917-1992)
Leda and Swan 1960 mixed media on paper signed, titled, dated and numbered verso: No 128/ Leda + Swan/ Dec 1960/ Nolan 30 x 25cm
provenance
Private collection, Melbourne
Thence by descent
$2,000-4,000
121
JEFFREY MAKIN (born 1943)
Landscape oil on linen
signed lower right: Makin
144.5 x 224.5cm
provenance
Corporate collection, Melbourne
$10,000-15,000
122
WILLIAM BOISSEVAIN (born 1927) (At the Beach) oil on canvas
signed lower right: W.Boissevain
10.5 x 54.5cm
provenance
Private collection, Melbourne
$4,000-6,000
123
DAVID BOYD (1924-2011)
(Children Under the Wattle Tree)
oil on canvas
signed lower left: David Boyd
40 x 60cm
provenance
Lawsons, Sydney, 18 March 1981, lot 45
Private collection, Melbourne
$10,000-15,000
124
WILLIAM DOBELL (1899-1970)
Goroka Mudmen, New Guinea c.1955
signed lower right: DOBELL
title inscribed verso
14.5 x 20cm
provenance
Private collection, Sydney
$6,000-8,000
125
YOSL BERGNER (1920-2017)
Flying a Kite
bronze, ed. 2/9
signed and editioned at base: Yosl Bergner 2/9 18 x 20 x 60cm
provenance
The Artist (accompanied by a leather bound certificate of authenticity)
Private collection, Melbourne
$7,000-9,000
126
DAVID LAITY (born 1958)
Yvette 1994 oil on board signed lower right: Laity signed, titled and dated verso 120 x 90cm
provenance
Jackson Gallery, Victora
Private collection, Melbourne
$4,000-6,000
126 © David Laity/Copyright Agency, 2025
125 © Yosl Bergner/Copyright Agency, 2025
By the Lagoon oil on canvas on board
signed lower left: R Crooke artist’s name and title on gallery label verso 38.5 x 31.5cm
provenance
Greenhill Galleries, Adelaide (label verso) Private collection, Brisbane
Menzies, Melbourne, 11 December 2014, lot 256 Private collection, Melbourne
$6,000-8,000
128
BILL COLEMAN (1922-1993) (Seated Nude) oil on canvas laid on board
signed lower right: Bill Coleman 60 x 45cm
provenance
Private collection, Melbourne
$3,000-5,000
127 © Ray Crooke/Copyright Agency, 2025
127 RAY CROOKE (1922-2015)
provenance
The Estate of Murray Griffin, Melbourne
$6,000-8,000
34.5 x 26cm
provenance
Lauraine Diggins Fine Art, Melbourne (label verso) Private collection, Melbourne
$1,500-2,500
MURRAY GRIFFIN (1903-1992) (Two Figures) oil on board
signed lower right: MURRAY/ GRIFFIN
89 x 76.5cm
130
ARTHUR BOYD (1920-1999) (Woman Peeling Potatoes) ink paper artist’s name, title and date on gallery label verso
131
HUGH SAWREY (1923-1999)
Counting Out The Shornies, Queensland oil on board
signed with artist’s thumbprint lower right: SAWREY titled verso
29 x 34cm
provenance
Private collection, Melbourne
$4,000-6,000
132
ARTHUR BOYD (1920-1999) (Head Study with Glasses) ink and wash on paper artist’s name, title and date on gallery label verso 37 x 27.5cm
provenance
Lauraine Diggins Fine Art, Melbourne (label verso)
Private collection, Melbourne
$1,500-2,500
131 © Hugh Sawrey/Copyright Agency, 2025
133
CLIFTON PUGH (1924-1990)
Summer Landscape 1977 oil on board
signed and dated lower left: Clifton ‘77. titled verso 91 x 135.5cm
provenance
Christie’s, Melbourne, 11 April 1990, lot 132
Private collection, Melbourne
Christie’s, Melbourne, 25 November 1997, lot 46
Private collection, Melbourne
Leonard Joel, Melbourne, 15 November 2000, lot 229
Private collection, Melbourne
$6,000-9,000
134
HUGH SAWREY (1923-1999)
The Mustering - Camp Cook oil on board
signed with artist’s thumbprint lower right: SAWREY signed and titled verso 74 x 98cm
provenance
Private collection, Queensland
$10,000-15,000
135
DAVID BOYD (1924-2011) (Angel) oil on canvas
signed lower left: David Boyd 44 x 39.5cm
provenance
Andrew Ivanyi Galleries, Melbourne
Private collection Melbourne
Thence by descent
$8,000-10,000
136 D'ARCY DOYLE (1932-2001) (Street Games)
oil on canvas on composition board signed lower right d'Arcy.W.Doyle
58.5 x 89cm
provenance
Private collection, Sydney
Deutscher~Menzies, Sydney, 13 March 2007, lot 155
Private collection, Melbourne
Menzies, Melbourne, 23 March 2016, lot 121
Private collection, Melbourne
$8,000-12,000
137 BILL COLEMAN (1922-1993) (The Wrestlers) oil on board
signed lower right: Bill Coleman
52.5 x 42cm
provenance
Charles Nodrum Gallery, Melbourne
Private collection, Melbourne
$4,000-6,000
138
PRO HART (1928-2006) (Blade Shearers) oil on board
signed lower right: PRO/ HART
60 x 121cm
PROVENANCE:
Private collection, Western Australia
Private collection, Melbourne
$6,000-8,000
135 © David Boyd/Copyright Agency, 2025
