fri 14 – sun 16 mar 2 Oxley Road, Hawthorn, VIC 3122
Viewing lot 9 By appointment only George Baldessin's Emblems will be on view at the following location: Meridian Sculpture 8 Spring Street Fitzroy, VIC 3065
Please refer to our website for viewing times — leonardjoel.com.au
CONTACTS
wieB ke Brix
head of art 03 8825 5624 wiebke.brix@ leonardjoel.com.au
amanda north senior art specialist 03 8825 5644 amanda.north@ leonardjoel.com.au lot 11
ROSALIE GASCOIGNE (1917-1999)
Shell 2 1984
sawn and stencilled wood on plywood backing 50 x 35cm
As the first auction of the year, this sale marks the return of energy and excitement to Melbourne. The city comes back to life as collectors, art lovers and specialists emerge from summer’s leisure, ready to engage with a new year of exceptional art auctions in our beautiful Hawthorn gallery.
Curating this auction, I have once again been struck by the passion of our vendors, whose dedication ensures that important works continue their journey and are finding new homes where they will be cherished, preserved, and appreciated. The secondary market plays a crucial role in this ongoing legacy, and it is a privilege to be part of this process.
This auction presents works by some of Australia’s most beloved artists, with highlights spanning across sculpture, painting, and works on paper.
Our cover lot is a striking, monumental sculpture by George Baldessin (1939-1978) a rare opportunity to acquire a major work by one of Australia’s most sought-after artists. Previously exhibited at Como House and Realities Gallery, this piece has been out of the public eye for many years. Bringing it back into the spotlight has been a great pleasure, as Baldessin’s distinctive aesthetic, bold, enigmatic, and timeless, continues to resonate. Also on offer is a charcoal drawing by the artist, marking a rare offering of works by an artist whose untimely passing left behind an undoubtedly influential body of work.
Featured in this auction are two drawings by Brett Whiteley (1939-1992), part of a series of portraits depicting the legendary artist Alberto Giacometti and philosopher Jean-Paul Sartre. Whiteley’s expressive art captures the intensity and introspection of these iconic figures, and the artist’s admiration for both.
Two paintings by Emanuel Phillips Fox (1865-1915) further enrich this sale—one depicting the timeless beauty of Venice, the other a portrait of a young boy, rendered with the artist’s characteristic warmth and sensitivity. These works exemplify Fox’s mastery of light and atmosphere, hallmarks of his practice.
We are also honoured to be offering a number of important paintings by Sidney Nolan (1917-1992) such as the extensively exhibited work From 10,000 feet 1949 shown as part of the Sidney Nolan: Retrospective Exhibition, Paintings from 1937 to 1967 at the Art Gallery of New South Wales. This exhibition travelled extensively to important art galleries in Australia and overseas.
Among the standout pieces is Robert Dickerson’s (1924-2015) Waiting, Mother and Child 1991, an example of his unmistakable style and thematic concerns.
Also featured is Charles Blackman’s (1928-2018) Schoolgirls c.1954, an example of his most sought-after subject matter.
A selection of paintings by James Gleeson (1915-2008) spans multiple periods of his career, offering collectors a chance to acquire works from one of Australia’s foremost surrealists.
This auction also includes a strong representation of contemporary Australian art, along with a considered selection of important First Nations works. Among them is Lin Onus’ (1948-1996) Wax Dogs on Lake Eyre 1989, a striking and deeply symbolic depiction of dingoes in the vast Australian landscape.
As always, writing this introduction is an opportunity to reflect on the exceptional calibre of works we are privileged to present. With so many significant pieces on offer, I encourage you to explore the full collection—whether online or in person at our Hawthorn showrooms.
We look forward to welcoming you to what promises to be an outstanding start to the auction year.
5. George Baldessin, Emblems, 1972, etching, aquatint and colour stencil, 45.9 x 41cm, NGA see https://www.printsandprintmaking. gov.au/works/37379/images/11701/ and George Baldessin, Personage and Emblems, 1972, colour etching and aquatint on two sheets of paper, 101.0 x 101.0 cm, edition of 10, see Robert Lindsay & M.J. Holloway, George Baldessin: Sculpture and Etchings, Melbourne, National Gallery of Victoria, 1983, cat. 81, pp. 92 – 93
6. Suggestion made in Robert Lindsay & M.J. Holloway, George Baldessin: Sculpture and Etchings, Melbourne, National Gallery of Victoria, 1983, p.133, for image see https://www. printsandprintmaking.gov.au/impressions/25795/ images/11663/
7. See https://www.facebook.com/ ArtGalleryofBallarat/photos/a.2504347216482 90/6069670959724608/?type=3&_rdr and see endnote 5
8. Jean-Paul Sartre, Being and Nothingness: An Essay on Phenomenological Ontology, (first published 1943)
9. George Baldessin letter to Daniel Thomas, June 28, 1965, Archives AGNSW cited in Julianna Kolenberg (ed.), George Baldessin Estate: Prints 1963-1978, Melbourne, Australian Galleries, 1997, p.11
When George Baldessin was killed in a single vehicle accident on 9 August 1978, there was a sense of shock and a realisation that Australia had lost one of its most significant sculptors and printmakers. He died at , 1973, are three of Baldessin’s monumental bronze and steel sculptures that are amongst his largest, most ambitious, yet least well-known major sculptures. They were collectively exhibited as Emblems in 1973, in the grounds of Como House, South Yarra, as part of exhibition. It was an impressive exhibition that also included the work of Jock Clutterbuck, Robert Klippel, Ron Robertson-Swann, Inge King, Herbert Flugelman, Reg Parker, Lenton Parr, Karl Duldig, Norma Redpath and Clement Meadmore.1 The art critic for The Bulletin, singled out Baldessin’s work for special praise, observing “the lofty, ambitious art of George Baldessin’s bronze and standing like illusionary spirit figures, half tree, half human, alongside a cypress grove.”2 was acquired by the director of the Realities gallery, Marianne Baillieu. When in 1975 she moved her gallery into a cluster of historic buildings in Jackson Street, Toorak, these Baldessin’s sculptures in bronze and rusted steel were sited at the entrance of her gallery and remained there until has been in a private collection and not widely known to the
Baldessin was a maverick and somewhat enigmatic figure in the Australian art scene. He was born in 1939 at San Biagio di Callalta, Italy, to Italian parents. His mother was already a naturalised Australian and returned to Australia shortly after his birth with the plan that father and son were to follow shortly when the paperwork was completed. The war intervened and George Baldessin was not reunited with his mother for another nine years. In Australia, he was brought up in the Italian migrant enclave in Drummond Street, in suburban Carlton, near the Melbourne General Cemetery, and went to Catholic primary and secondary schools, where he was an outstanding student.
In 1958, Baldessin enrolled at the art school at the Melbourne Technical College, as RMIT was then called, and reinvented his identity claiming to be locally born and one of the local boys. Few knew his true identity that was only revealed to all at his funeral. At art school, he was drawn to sculpture and printmaking and excelled in both and was promoted by his teachers, Lenton Parr and Tate Adams. Baldessin was viewed as a brilliant emerging artist and on graduating in 1961, he went on to further his studies in Europe, first in London, at the Chelsea School of Art, a place that Fred Williams had recommended to him. Subsequently, he studied in Milan (where he had free accommodation with an uncle), at the Brera Academy where he worked under the luminaries Marino Marini and Alik Cavaliere.
When his early etchings and sculptures were exhibited at the Rudy Komon Gallery in Sydney in 1965, the art critic and artist Elwyn Lynn observed, “George Baldessin’s first Sydney exhibition … is an extraordinary event, equalled, among the young, only by the first full view of Brett Whiteley. The risks he takes and enjoys sprint from Melbourne’s imaginative realism and irrational fantasy …”3 Virtually all of the other art critics were equally stunned by Baldessin’s early exhibitions and the artist Jan Senbergs summed up the mood well when he wrote, “anyone who was there at the time realised they were witnessing the emergence of a major talent who was going to make a definite mark on the Australian scene”.4
Baldessin’s art belongs to post-war existentialist figuration that frequently involves radical biomorphic anatomical dislocations. His imagery flows freely between his sculptures and etchings and in some of his major installations he would combine prints with sculptures. The term ‘emblems’ first appears in Baldessin’s etchings in about 1972 and was quickly transferred into the monumental Emblems sculpture the following year. The theme of emblems continues in Baldessin’s art through to his death in 1978. The imagery in the emblems series relates closely to that encountered in his etchings and sculptures from the 1960s and relates to the abstracted, slightly surreal creations that he brought back to Australia after his work with Marini and Cavaliere. In his series of emblems work, this imagery is further abstracted and raised as if on flagpoles as entities around which people can rally.
Emblems, 1973, consists of three physically separate but conceptually intimately interrelated sculptures. Emblem I is of one of Baldessin’s biomorphic female entities that has been cast in bronze and hoisted in the air on a bronze support. Parallels may be drawn with a number of etchings, including The world of tinsel, 1966,6 with their distressed female forms. Emblem II and Emblem III not only engage with a different material, rusted steel, but are also more abstracted with no concession to figurative forms. This juxtapositioning of the figurative with the non-figurative elements was typical of Baldessin’s art at the time and appears in such etchings as Performance, 1971 (one of the artist’s most famous prints), and Emblems, 1972.7 This could be interpreted as a classic existentialist exploration of presence and absence – of being and nothingness – in Jean-Paul Sartre’s classic turn of phrase, “man is the being through whom nothingness comes into the world.”8
Baldessin made few pronouncements concerning how to interpret his art, however, an observation he once made in a letter to a curator may help us to arrive at one possible reading of this sculpture. Baldessin wrote, “I’m interested in the human figure as a vehicle for expression – what am I trying to express? – I think human weakness through the vulnerable figure without extracting its dignity no matter how uncertain … this is why distortion and the element of drama is ever present.” Baldessin’s Emblems, 1973, is a spectacular celebration of the vulnerability of the human figure and its ambiguous existence.
emeritus professor sasha grishin am, faha australian national uniVersity
Emblems 1973
Emblem I, Emblem II, Emblem III
i. cast bronze
ii. rusted steel
iii. rusted steel
480cm height (largest); size variable
provenance
The Artist
The Collection of Marianne Baillieu, Melbourne
Private collection Melbourne
Thence by descent
exhibitions
Realities Sculpture Survey, Como House, South Yarra, 27 October - 27 November, 1973
Exhibited in the entrance garden of Realities Gallery, Melbourne, November 1973 - 1978
literature
Lindsay R. and Holloway J., George Baldessin, National Gallery of Australia, Melbourne, 1983, cat. no. 122, pp. 132, 133 (illus.)
related work
The World of Tinsel 1966, etching and aquatint, 50.2 x 30.5cm, in the collection of the National Gallery of Australia, Melbourne, illustrated in Lindsay R. and Holloway J., George Baldessin, National Gallery of Australia, Melbourne, 1983, cat. no. 36, pp. 58, 61
$100,000-150,000
George Baldessin's Emblems will be on view at the following location: Meridian Sculpture, 8 Spring Street, Fitzroy, VIC 3065 Viewing by appointment only
10
LEONARD FRENCH (1928-2017)
The Warrior 1963 mixed media on paper on board signed, titled and dated on frame verso: “THE WARRIOR.” Leonard French 63
121.5 x 136cm
provenance
Leonard Joel, Melbourne, 13 October 2003, lot 297
Private collection, Melbourne
$6,500-8,000
11
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
Photodeath No. 4 (Georg Baselitz) 1985 oilstick on 6 canvasboards, no’s. 4459–4464 titled and date on label verso 89 x 65cm (overall)
provenance
Gift of the Artist
Private collection, Melbourne
Thence by descent
exhibitions
Imants Tillers: 19301 or as of October, National Art Gallery, Wellington, 25 February - 9 April, 1989
Visual Tension, ACCA, Melbourne, 19 February18 March 1985; Institute of Modern Art, Brisbane, 9 - 27 April 1985
other notes
Imants Tillers is known for his unique approach to painting, using small canvas boards to construct intricate artworks. Since 1981, he has employed these modular panels to explore themes of contemporary culture and identity, layering text and imagery to create complex meaning.
In his Photodeath series, Tillers explores the concept of appropriation, reinterpreting existing artworks to question originality and authorship. Photodeath No. 4 (Georg Baselitz) 1985 is an homage to the German artist Baselitz. Through appropriation Tillers’s work speaks of interconnectedness of images and ideas across time and culture.
This significant early work by the artist is one of ten in the series and the only one including imagery by Georg Baselitz.
Alberto Giacometti ink on paper artist monogram lower right: b/w artist’s name and title on gallery label verso 24 x 13cm
provenance
Australian Galleries, Melbourne (label verso) Private collection, Melbourne
exhibitions
Brett Whiteley: Recent paintings, photographs, ceramics and wood carvings from Byron Bay, Marrakesh, Japan, San Gimignano - Tuscany, Australian Galleries, Melbourne, 1 - 26 March 1990
These compelling ink-on-paper drawings by Brett Whiteley (1939–1992), are part of a series of portraits that pay homage to influential cultural figures. These particular works depict the legendary artist Alberto Giacometti and French philosopher Jean-Paul Sartre, capturing their intensity and introspective nature with Whiteley’s signature linework. The series reflects Whiteley’s deep admiration for visionary minds across disciplines, extending beyond visual art and philosophy to include celebrated writers and musicians such as William Shakespeare, Samuel Beckett and Bob Dylan. Through these portraits, Whiteley not only honours these great thinkers but also explores the intellectual forces hat informed his own artistic journey.
“The decision to paint a series of portraits was an intriguingly formalistic way of summarising, honouring, focusing and announcing figures in art, history, letters, philosophy, and family that had influenced his own thinking, or inspired his emotions…Whiteley now felt that the decline of portraiture, and its near elimination from contemporary art, was an indication of mankind’s own confused, troubled and technology-dominated world. As he phrased it, Portraiture is in trouble because man is.”
(McGrath S., Brett Whiteley, Bay Books,1988, p.113)
Jean Paul Sartre ink on paper artist monogram lower right: b/w artist’s name and title on gallery label verso 13.5 x 13.5cm
provenance
Australian Galleries, Melbourne (label verso) Private collection, Melbourne
exhibitions
Brett Whiteley: Recent paintings, photographs, ceramics and wood carvings from Byron Bay, Marrakesh, Japan, San Gimignano - Tuscany, Australian Galleries, Melbourne, 1 - 26 March 1990
(Possibly) Robert Klippel, Felice Wender Gallery, Minneapolis, Minnesota, America,1962
The Cherelle Hutchinson Collection, Charles Nodrum Gallery, Melbourne, 24 July -13 August 2014
literature
Gleeson, J., Robert Klippel, Bay Books, Sydney, 1983, pp. 235, 236, 237 (illus. pl. 123, 127, 128) (other examples from series)
$3,000-5,000
Roger Kemp
Sequence Fifteen, 1972 was painted several months after Roger Kemp returned from an extended residence in Britain. In stylistic terms this composition has the rhythmic looseness typical of Kemp’s best post-London work, geometry being used in an elated and jaunty manner. Besides leaving behind that sombre rigidity of his 1960s paintings, where works were criss-crossed by a scaffold of heavy black lines, he also employs a new cool palette of purple, mauve and blue with pearl grey and brown sub-units.
Sequence Fifteen shows Roger Kemp using the innovative method of contemporary painting he introduced to Australia: acrylic was applied to a mural-scale sheet of artist’s paper using a sponge roller. Kemp would unfurl and staple wide rolls of the imported paper across his studio wall, before quickly drawing a loose compositional structure in conte crayon. The artist paused to find some agreeable music on his radio ‘a strong melody line was preferred’ then he took up his painting tools and began improvising from the base design, letting the music carry him along. If it would take many hours, the painting was customarily completed in an intense single session which Kemp often likened to perfecting an inspired jazz composition.
The viewer can directly see how this long process of improvisational forming took place. The artist worked steadily as he put a rectangle in, followed by another, Sequence Fifteen being built in systematic steps according to an aesthetic equation in the artist’s mind. Kemp had adopted sponge rollers as a means to avoid resorting to ‘fill’. He never roughs out a shape then colours it in, the roller allowing him to directly apply acrylic as an irreducible rectangle.
The viewer will also see where the artist has edited himself by painting over a section in a different shade, or breaking a large rectangle into smaller blunt units. This causes the distinct layering effect, where loose rectangles sitting one over another, and which animates the composition with a joyous sense of restless activity. There is no mistaking the artist’s elation as he worked.
Kemp was refining here what would be his signature implied symmetry of the mid 1970s: Sequence Fifteen may be wonky, and one side of the composition is not a mirror image of the other, but in a design sense the painting’s right visually stabilises or completes the left. This was in keeping with the geometric abstract tradition he had studied intently in Europe and Britain; ‘Their whole idea is balance,’ the leading American painter Frank Stella had recently pointed out, ‘You do something in one corner and you balance it with something in the other corner.’1 Likewise we notice how Kemp has not laboriously painted his way across Sequence Fifteen from one clear point, but constantly moved about with his roller, always maintaining an overall visual equilibrium. There was a serious intent to his using this improvised manner. Taken together these stylistic features mirrored Kemp’s aim of employing art to take stock of the universe and the changing state of modern society.
dr christopher heathcote
1. Stella, F., quoted in Varnedoe, K., Pictures of Nothing: Abstract Art since Pollock, Princeton University Press, Princeton, 2006, pp. 100-1
16
ROGER KEMP (1908-1987)
Sequence Fifteen 1972
synthetic polymer paint on paper on canvas signed lower right: Roger Kemp titled and signed on unknown label verso 150 x 260cm
provenance
Private collection, Melbourne
Deutscher~Menzies, Melbourne, 3 May 2000, lot 16 Company collection, Melbourne Bonhams & Goodman, Melbourne, 7 August 2007, lot 153
Private collection, Melbourne
exhibitions
Roger Kemp: Cycles and Directions 1935-1975 - Paintings on Paper: Sequences 1968-1975, National Gallery of Victoria, Melbourne, 5 - 30 September 1978; then touring Benalla Art Gallery, Benalla, 9 October5 November 1978
literature
Heathcote, C., Roger Kemp: Cycles and Directions 1935–1975, Monash University, Melbourne, 1978 (illus. unpaginated)
Heathcote, C., Quest for Enlightenment: The Art of Roger Kemp, Macmillan Publishers, Melbourne, 2007, pp. 140-141 (illus.)
The 1st Day: The Spirit of God Brooded over the Waters wool tapestry, ed. 3/3
woven signature lower right: Coburn
woven Pinton Manufacture de Tapisseries d’Aubusson monogram lower left signed and titled on label attached verso 234 x 188cm
provenance
Pinton Manufacture de Tapisseries d’Aubusson, France (label verso)
Joseph Brown Gallery, Melbourne 1978
The ANZ Art Collection
Menzies, Sydney, 29 November 2023, lot 9 Private collection, Melbourne
exhibitions
Aubusson Tapestries, Bonython Art Gallery, Sydney, 21 April - 13 May 1970; then touring Australian Galleries, Melbourne, 19 May - 3 June 1970; Bonython Art Gallery, Adelaide, 6 - 25 June 1970 (illus. in exhibition catalogue, another example)
John Coburn, Bonython Art Gallery, Sydney, 25 October - 10 November 1973, cat. no. 1
John Coburn Exhibition, Genesis Galleries, New York, 7 - 31 January 1977
John Coburn: Aubusson Tapestries, Philip Bacon Galleries at St John’s Cathedral, Brisbane, 21 September 1978 (another example)
other notes
This work is the first from John Coburn’s series, The Seven Days of Creation (from The Book of Genesis) 1969-70
related work
An example of the complete series of tapestries (edition 2/3) is held in the collection of the John F. Kennedy Center for the Performing Arts, Washington D.C., gift from the Australian Government 1970
John Coburn, The Seven Days of Creation 1977, screenprints (7) based on the tapestries, edition of 50 $18,000-24,000
“I kind of hope that history may see me as some sort of bridge between cultures…”
lin onus, 1990
Lin Onus (1948-1996) was a groundbreaking Australian artist whose work bridged cultural divides, blending Western artistic traditions with Indigenous perspectives. From Yorta Yorta and Scottish descent, Onus was deeply committed to highlighting Indigenous narratives through visual language, often employing humour, irony, and meticulous craftsmanship to challenge colonial representations of Indigenous identity. His wax dogs, also known as dingoes, stand as a compelling example of this approach—an enigmatic body of work that disrupts expectations and offers a nuanced reflection on cultural displacement, survival, and transformation.
Onus was an artist of remarkable versatility, moving between painting, sculpture, and installation. His ability to integrate Indigenous iconography with European artistic techniques, linking his dual ancestry, resulted in a unique visual lexicon that spoke across cultural boundaries. Throughout his career, he engaged with pressing social issues, including land rights, environmental concerns, and the resilience of Indigenous culture. The wax dog series, produced in the final years of his life, encapsulates these themes, while adding a layer of surrealist wit that is characteristic of his oeuvre.
Lin Onus was a self-taught artist, who forged an exceptional career and held exhibitions across Australia and internationally. Following his premature death in 1996 at the age of forty-seven, a touring retrospective, Urban Dingo: The Art and Life of Lin Onus 1948-1996, opened in 2000 at the Museum of Contemporary Art in Sydney, coinciding with the Sydney Olympics, before touring to Brisbane and Melbourne. This artwork, Wax Dogs on Lake Eyre 1989, was included in the selection of works by Lin Onus, to be part of this significant retrospective exhibition.
Whilst Onus often identified as a landscape artist in his early career, from 1986 following his time in Maningrida, he began to include titles for his artworks using the language of his adoptive family.2 From this moment, his art developed into an amalgamation of photorealist depictions of landscapes, with Indigenous imagery and stories. This was inspired by his time in Maningrida with the Djinang artist, Djiwul ‘Jack’ Wunuwun and other central Arnhem Land artists, which offered Onus the opportunity to learn Aboriginal traditional knowledge and where he was given creation stories that he was permitted to paint.3
Inspired by his journeys north, Onus passed Lake Eyre where he first encountered the dingo; an animal for which he developed an influential kinship that led to the creation of artworks such as, Wax Dogs on Lake Eyre 1989. To Onus, the dingo was not the demeaned dingo of recent colonial history, “…the dingo in the paintings is a survivor, an animal of supreme adaptability: a figure for Aboriginal subjects themselves in their oneness with the land”.4 This view of the dingo as a survivor, led to the adoption of the dingo as the persona for the character X, who engages in adventures with his friend Ray, the stingray; characters that formed an enduring comic myth in Onus’s artworks. These totemic animals perform both moral and political roles as they travel across landscapes.5
In this artwork, Wax Dogs on Lake Eyre 1989, the wax dogs are set against the vast landscape of Lake Eyre, positioned in the foreground, capturing the viewer’s immediate gaze. Onus has politicised the wax dogs by colouring their coats with bands of red, black and yellow – telluric colours reminiscent of the Aboriginal flag and culture.6 A larger, parent figure who is leading the group, is depicted turning their gaze back towards the three following pups. With the parallel drawn between the wax dog or dingo as a survivor, revered for its adaptability to the land and environment, this imagery of kinship gives a sense of hope for the unity and bonds formed when faced with adversity. Onus’s use of tonality in this work, evident in the clouds, the glistening water of the salt lake and the shadows against the bodies of the wax dogs, creates movement and emulates the heat of the sun against the harsh landscape of the salt lake. This further suggests the resilience of the dingo, a symbolic figure to the resilience of the Indigenous culture when faced with issues of representation, dispossession, cultural displacement, and marginality.
Onus left an indelible mark on the Australian art world and his legacy endures today. Wax Dogs on Lake Eyre 1989 stands as a testament to Onus’s ability to weave layered narratives within his imagery. As with much of his work, these pieces operate on multiple levels—formally compelling, conceptually rich, and emotionally resonant. They demand engagement, inviting viewers to reconsider their own positions within Australia’s complex cultural landscape and history.
amanda north senior fine art specialist
1. Lin Onus, artist statement, cited in Neale, M. et al., Urban Dingo: the art and life of Lin Onus 1948- 1996, Craftsman House in association with the Queensland Art Gallery, South Brisbane, 2000, p. 21
2. Neale, M. et al., Urban Dingo: the art and life of Lin Onus 1948- 1996, Craftsman House in association with the Queensland Art Gallery, South Brisbane, 2000, pp. 19-20
3. Ibid.
4. Ashcroft, B., Hybridity and Transformation: The Art of Lin Onus, University of New South Wales, Postcolonial Text, vol. 8, no. 1, 2013, p. 10
5. Neale, M. et al., Urban Dingo: the art and life of Lin Onus 1948- 1996, Craftsman House in association with the Queensland Art Gallery, South Brisbane, 2000, pp. 19-20
6. Ibid.
21
LIN ONUS (1948-1996)
Wax Dogs on Lake Eyre 1989 synthetic polymer paint on canvas signed lower right: Lin Onus titled on gallery label verso 61 x 114cm
exhibitions Lin Onus, Gallery Gabrielle Pizzi, Melbourne, 11 - 28 October 1989, cat. no. 11
Urban Dingo: The Art and Life of Lin Onus 1948-1996, Museum of Contemporary Art, Sydney, 11 August - 30 October 2000; then touring Queensland Art Gallery, Brisbane, 24 November - 4 March 2001; Melbourne Museum, Melbourne, 6 April - 29 July 2001, loan no. 37 (label verso)
literature
Neale, M., Urban Dingo: The Art and Life of Lin Onus 1948-1996, Queensland Art Gallery, Brisbane
signed lower left: E. Phillips Fox artist’s name and title inscribed on unknown label verso
24.5 x 34cm
provenance
Private collection, Melbourne
Thence by descent
$20,000-30,000
26
EMANUEL PHILLIPS FOX (1865-1915)
Portrait of Phillip Moerlin Fox oil on board
signed lower right: E. Phillips Fox
34 x 26cm
provenance
The Artist
Private collection, Melbourne
Thence by descent
Private collection, Melbourne
Emanuel Phillips Fox was one of Australia’s most celebrated Impressionist painters, known for his masterful use of light, colour, and atmosphere. Fox was highly regarded for his portraits, which often captured his subjects with a luminous softness and an impressionistic approach to form. His portraits ranged from intimate family studies to grand society commissions, demonstrating both technical precision and a deep sensitivity to character.
This portrait of his nephew, Phillip Moerlin Fox, painted around 1909, when the boy was about five years old, is a beautiful example of his ability to convey warmth and personality. Born in Victoria in 1904, Phillip Moerlin Fox later became a well-known legal figure, serving as a solicitor, barrister, and lecturer at Melbourne University Law School from 1948 to 1957. He was President of the Law Institute of Victoria from 1955 to 1957 and authored several influential legal texts. Coming from a long lineage of lawyers, Phillip upheld the family tradition, with both his father and son practicing law. In 1933, he married Phyllis Beck, and the portrait, a testament to the family’s artistic and professional legacy, remained a treasured heirloom, passing down through generations, including to his wife, Phyllis Fox.
$10,000-15,000 25
27
WALTER WITHERS (1854-1914)
View of Albury from the Murray River 1892 oil on canvas on board
signed and dated lower left: Walter Withers 1892
30.5 x 48.5cm
provenance
Private collection, Melbourne
exhibitions (Possibly) Catalogue of Paintings by Walter Withers, Athenaeum Art Gallery, Melbourne, 30 April - 11 May 1912
$7,000-9,000
28 NORMAN LINDSAY (1879-1969) (Il Seraglio) 1933
watercolour on paper
signed and dated lower right: Norman Lindsay/ 1933
Arthur Boyd’s Bride in the Valley (c.1970s) is a strikingly emotive work that exemplifies his ability to intertwine landscape, narrative, and psychological depth. A key piece within his renowned Bride series, this painting continues Boyd’s exploration of love, alienation, and cultural dislocation, set against the vast, untamed Australian landscape. His deep engagement with the natural world was a defining aspect of his practice, and his innovative use of copper as a painting surface allowed him to capture the landscape with extraordinary precision and luminosity. The technique heightened the interplay between form, texture, and light, creating an intensified sense of atmosphere and emotional resonance.
In Bride in the Valley, Boyd positions the bride’s collapsed figure within an expansive landscape, her voluminous white veil fanning out as though merging with the terrain itself. The stark contrast between her fragile, pale form and the dynamic, ochre-hued bushland intensifies the painting’s sense of unease. The bride, a recurring symbol in Boyd’s work, appears simultaneously ethereal and vulnerable, caught between beauty and tragedy. Her limp posture suggests exhaustion or despair, yet she remains a hauntingly dominant presence within the composition.
The decision to paint on copper was an unconventional approach in the 1970s, standing in stark contrast to the heavy impasto of Boyd’s earlier Nebuchadnezzar series. The intricate nature of these works demanded immense control, with each piece taking weeks to complete. Boyd described the process as highly technical, involving the thorough cleaning, buffing, and washing of the copper surface before applying a smooth oil base. He then worked with oil paint, mixed with sand oil, a treated linseed oil that prevented movement in the paint and allowed for fine detail. Despite their intimate scale, these works captured the grandeur and diversity of the Shoalhaven landscape with remarkable clarity. The luminous quality of paint on metal created a striking visual effect, enhancing the sharpness of form and the vibrancy of colour. The interplay of light and detail resulted in a heightened sense of realism, reflecting Boyd’s deep engagement with the landscape’s complexities.
Bride in the Valley is a powerful meditation on vulnerability and belonging, capturing Boyd’s deep engagement with themes of love, identity, and the Australian landscape. His copper paintings stand as a testament to his relentless pursuit of technical refinement and emotional depth. This work remains one of the most evocative iterations of the Bride series, embodying Boyd’s ability to weave personal and national narratives into a single, arresting image.
From 10,000 feet 1949 ripolin and enamel on board signed and dated lower right: nolan/ 24-11-49 signed, titled, dated and inscribed verso: 1949/ FROM 10,000 feet/ To Newcastle/ “AERIEL LANDSCAPE”/ nolan/ No 42 91.5 x 121.5cm
provenance
The Estate of the Artist Bonhams, Melbourne, 20 August 2013, lot 44 Private collection, Melbourne
exhibitions
Nolan, Hatton Gallery, Newcastle-upon-Tyne, United Kingdom, 24 March - 6 May 1961; then touring to Sheffield, Leeds, Hull, Bristol, Liverpool, Edinburgh, and Wakefield, United Kingdom, 13 May - 28 November 1961, cat. no. 42 (inscribed verso)
Sidney Nolan: Retrospective Exhibition, Paintings from 1937 to 1967, Art Gallery of New South Wales, Sydney, 13 September - 29 October 1967; then touring to the National Gallery of Victoria, Melbourne, 22 November - 17 December 1967; Western Australian Art Gallery, Perth, 9 January - 4 February 1968, cat. no. 56 (label verso)
Sidney Nolan: Retrospective Exhibition, Arts Centre New Metropole, Folkestone, United Kingdom, 21 February - 18 April 1970 cat. 26 (inscribed verso); then touring to Haworth Art Gallery, Accrington, United Kingdom, 30 May - 21 June 1970; Laing Art Gallery, Newcastle-upon-Tyne, United Kingdom, 4 - 26 July 1970; Feren’s Art Gallery, Kingstonupon-Hull, United Kingdom, 8 - 27 September 1970; University of East Anglia Library, Norwich, United Kingdom, 11 - 31 October 1970, cat. no. 25 (inscribed verso)
Sidney Nolan: Gemalde und Druckgraphik, Kunsthalle,
Darmstadt, Germany, 15 May - 27 June 1971, cat. no. 19
Sidney Nolan: Retrospective Exhibition, The Royal Dublin Society, Dublin, Ireland, 19 June - 5 July 1973, cat. no. 27 (inscribed verso)
literature
Sidney Nolan: Retrospective Exhibition, Paintings from 1937 to 1967, Art Gallery of New South Wales, Sydney, 1967 (illustrated in catalogue, p. 20)
Sidney Nolan: Retrospective Exhibition, The Arts Centre, New Metropole, Folkestone, United Kingdom, 1970 (illustrated in catalogue)
Sidney Nolan: Gemalde und Druckgraphik, Kunsthalle, Darmstadt, Germany, 1971, (illustrated in catalogue, p. 35)
Sidney Nolan: Retrospective Exhibition, The Royal Dublin Society, Dublin, 19 June - 5 July 1973, (illustrated in catalogue, p. 15)
$25,000-35,000
33
HANS HEYSEN (1877-1968)
Balhannah Landscape 1926
watercolour, gouache and pencil on paper
signed and dated lower right: HANS HEYSEN 1926
title inscribed verso
33 x 40cm
provenance
Leonard Joel, Melbourne, 16 August 1994, lot 127
Private collection, Melbourne
Thence by descent
$15,000-20,000
34
NORMAN LINDSAY (1879-1969)
Conquest 1924
watercolour on paper
signed and dated lower centre: Norman Lindsay 1924
35 CLARA SOUTHERN (1860-1940) (Wattle Blossoms, Yarra River) oil on canvas
signed lower right: C Southern 24 x 29.5cm
provenance
Private collection, Melbourne
$10,000-12,000
36 ARTHUR BOYD (1920-1999)
Landscape with Rainbow 1973 oil on canvas
signed lower right: Arthur Boyd 97 x 89cm
provenance
Fischer Fine Art, London c.1973
Spink Auctions, Sydney, 24 March 1982, lot 227
Private collection, Sydney
Sotheby’s, Melbourne, 18 November 1996, lot 191
Private collection, Melbourne
Deutscher~Menzies, Melbourne, 21 September 2005, lot 50 (as ‘After the Storm: Forest Pond and Rainbow’)
Private collection, Sydney
Deutscher~Menzies, Sydney, 12 September 2007, lot 63 (as ‘After the Storm: Forest Pond and Rainbow’)
Private collection, Melbourne
exhibitions
Arthur Boyd: Recent Paintings, Fischer Fine Art, London, May - June 1973, cat. no. 31 (illus. exhibition catalogue)
$50,000-60,000
37 JAMES ALFRED TURNER (1850-1908) (Card Game) 1889 oil on canvas
signed lower left: J.A. Turner/ 1889 21 x 31cm
provenance
Private collection, Melbourne
Thence by descent
$5,000-7,000
The Collection of Jim and Joy Durran Part II
lots 38 – 43
Haughton Forrest remains one of Australia’s most celebrated maritime painters, capturing the dramatic beauty of European and Tasmania coastlines and riverbanks with remarkable precision. Born in England and trained in the European landscape tradition, Forrest brought meticulous attention to atmospheric effects and nautical detail, rendering the sea not merely as a backdrop but as a dynamic force within his compositions. Forrest’s depictions of vessels - ranging from naval ships to fishing boats - demonstrate an intimate knowledge of maritime craftsmanship. His seascapes and riverscapes, exude a timeless quality, capturing the ever-changing moods of the ocean and river with both precision and poetic sensibility.
We are delighted to present further works from the collection of Jim and Joy Durran, following on from the first instalment of this collection in our October Fine Art Auction last year. Jim and Joy Durran’s son shares the story of how his father developed a passion for Haughton Forrest’s paintings. Jim, a keen amateur yachtsman, and long-time member of the Royal Geelong Yacht Club (RGYC) discovered his love for Forrest's artworks during his retirement. While in Hobart with his wife, they came across a Haughton Forrest painting for sale, which Jim felt compelled to purchase. This acquisition sparked an interest in the artist’s paintings, prompting the couple to search for more pieces across the country. During their time in Tasmania, they met several of Forrest’s descendants, including Geoffrey Ayling, who authored a two-volume catalogue of the artist’s works, further establishing their connection to the artist. Over a five-year period, Jim and Joy acquired a collection of twenty-eight Haughton Forrest paintings and we are honoured to be offering key pieces from the collection.
38
HAUGHTON FORREST (1826-1925)
(River Scene, Tasmania) oil on board
signed lower left: H Forrest 29.5 x 45cm
provenance
Private collection, Melbourne
Leonard Joel, Melbourne, 23 September 2012, lot 36
The Collection of Jim and Joy Durran, Geelong
$8,000-12,000
39
HAUGHTON FORREST (1826-1925)
Rothesay Bay Regatta oil on canvas
signed lower left: H. Forrest
73.5 x 117cm
provenance
Private collection, Melbourne
Leonard Joel, Melbourne, 23 September 2012, lot 500
The Collection of Jim and Joy Durran, Geelong
literature
Forrest, H. and Brown, G. D., Haughton Forrest 18261925, Melbourne: Malakoff Fine Art Press, 1982, p.129
Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Vol. 1: Biography and Catalogue of Paintings, theforrestproject.org, Australia, 2016, cat. no. 2.1.037
other notes
We are grateful to David Payne, Curator, Australian Register of Historic Vessels, Australian National Maritime Museum for his assistance in cataloguing this work.
“It’s a bonnie bay at morning, and bonnier at noon, But bonniest when the sun draps and red comes up the moon. When the mist creeps o’er the Cumbraes and Arran peaks are gray, And the great black hills, like sleeping kings, sit grand roun”
Rothesay Bay From ‘Rothesay Bay’, a Traditional Scottish Song in Rothesay Bay Regatta. Haughton Forrest, a renowned painter of seascapes and sailing vessels, creates a dynamic scene of festivities in the choppy seas of the bay.
$25,000-35,000
40
HAUGHTON FORREST (1826-1925) (Pilot Boat to the Rescue - Goodwin Sands) oil on board initialled lower left: H F 30 x 45.5cm
provenance
Private collection, Tasmania Gowans Auction, Tasmania, 26 November 2011, lot 90
The Collection of Jim and Joy Durran, Geelong
literature
Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Vol. 1: Biography and Catalogue of Paintings, theforrestproject.org, Australia, 2016, cat. no. 2.2.022
$8,000-12,000
41
HAUGHTON FORREST (1826-1925) (Coastal Scene, Shipwreck on Beach) oil on canvas
signed lower left: HForrest.
44.5 x 75cm
provenance
Private collection, Melbourne
Mossgreen, Melbourne, 19 February 2013, lot 660
The Collection of Jim and Joy Durran, Geelong
$8,000-12,000
42
HAUGHTON FORREST (1826-1925) River Derwent, England oil on board
signed lower left: H Forrest title inscribed verso
29.5 x 45cm
provenance
Private collection, Melbourne
Leonard Joel, Melbourne, 23 September 2012, lot 40
The Collection of Jim and Joy Durran, Geelong
$8,000-12,000
43
HAUGHTON FORREST (1826-1925) (Seascape) oil on board
signed lower left: H Forrest
22.5 x 30cm
provenance
Private collection, New South Wales Menzies, Sydney, 23 September 2014, lot 207
signature and edition incised at base: FREIDIN/ 4/9
103 x 29.5 x 29.5cm (including base)
provenance
The Artist’s Studio Private collection Melbourne
$8,000-12,000
47
JAMES GLEESON (1915-2008)
Hercules in the Stymphalion Swamp 1967 oil on linen
signed and dated lower right: J Gleeson 67 title inscribed on label verso
75 x 55cm
provenance
South Yarra Gallery, Melbourne (label verso) Private collection, Melbourne
$10,000-15,000 47
Robert Dickerson: Mother and Child
Robert Dickerson (1924–2015) was a distinctive figurative painter, known for his moving depictions of solitary figures and quiet urban scenes. Emerging as a self-taught artist in the mid 30s he was driven by the gratification that painting gave him. "I am not a commercial artist and have never painted for a market and never will." 1
Dickerson’s practice was shaped by his working-class background and personal experiences, which instilled a sense of realism and introspection in his work. His paintings from the 1990s continued to explore themes of isolation, resilience, and the emotional weight of human existence.
Waiting, Mother and Child 1991, exhibited at Phillip Bacon Gallery in 2007, is an iconic example of his style and thematic concerns. The painting portrays an emotional scene, potentially set during or in the aftermath of wartime. The mother, seated with her child limp across her lap, speaks of despair and anguish. Her open mouth appears to be mid-scream or cry, capturing a moment of raw grief or helplessness. The child, lifeless in appearance, reinforces the emotional weight of the artwork.
The background of ruined buildings evokes a sense of destruction and abandonment. The stark, angular structures emphasize the desolation, while the muted blues and greens contribute to the overall mood of the painting. Although the subject matter is unsettling, the artist has captivated beauty through his use of colour. The composition's simplicity draws the viewer's focus to the emotional connection between the figures and their surroundings.
Dickerson’s ability to convey deep emotion with minimal detail allows the viewer to engage with the psychological depth of the scene.
Throughout his career, Dickerson often depicted individuals in states of contemplation or solitude. This was evident in his paintings of the 1990s, where his compositions became more refined, focusing on the tension between presence and absence.
Dickerson’s artistic language was shaped by his early experiences. Having served as a pilot in World War II, he witnessed firsthand the impact of conflict and displacement. These experiences informed his later representations of the human condition, particularly his sensitivity to themes of separation and survival. The 1990s saw him return to these themes with renewed focus, creating works that captured the quiet resilience of his subjects.
Dickerson’s minimalist use of colour and form heightens the emotional weight of his paintings. In Waiting, Mother and Child, the subdued background isolates the figures, reinforcing their emotional state. The use of shadow and light creates a stark contrast that adds to the overall mood of quiet tension. His figures often appear alone a testament to his ongoing exploration of the complexities of human relationships.
By the 1990s, Dickerson had firmly established himself as one of Australia’s most respected figurative painters. His work during this period retained its characteristic introspection, with a greater refinement in composition and thematic depth. Waiting, Mother and Child shows his ability to distil deep human emotions into simple yet profoundly moving imagery, capturing the essence of loss and love
wieBke Brix head of art
ROBERT DICKERSON (1924-2015)
Waiting, Mother and Child 1991
acrylic on canvas
signed lower right: DICKERSON titled on gallery label verso
120 x 150cm
provenance
The Artist
Philip Bacon Galleries, Queensland (label verso)
Private collection, New South Wales
Thence by descent
exhibitions
Robert Dickerson, Philip Bacon Galleries, Brisbane, 3-28 July 2007, cat. no. 9
Saturday Night 2009 oil on board signed and dated lower centre: BRAUND/ ‘09 title inscribed verso 90.5 x 59.5cm
provenance
The Estate of Dorothy Braund
$4,000-5,000
50
IDA RENTOUL OUTHWAITE (1888-1960)
The Water Baby’s Cradle ink and wash on card, double-sided signed lower left: Ida. Rentoul Outhwaite. title inscribed upper left 22 x 33cm
provenance
Leonard Joel, Melbourne, 23 May 1979, lot 1062
Private collection, Melbourne
Thence by descent
other notes
Ida Rentoul Outhwaite was a pioneering Australian illustrator known for her enchanting depictions of fairies, mythical creatures, and whimsical bush landscapes. Drawing inspiration from European folklore and the unique flora and fauna of Australia, her work is distinguished by delicate linework, luminous watercolours, and an ethereal sense of fantasy.
Outhwaite first gained recognition illustrating children’s books written by her sister, Annie R. Rentoul. Her breakthrough came with Elves and Fairies (1916), a volume that highlighted her mastery of both pen and ink and watercolour. Throughout her career, she collaborated with several authors, including her husband, Grenbry Outhwaite, producing works such as The Enchanted Forest (1921) and The Little Green Road to Fairyland (1922).
Her illustrations, often featuring elegant fairies, mischievous sprites, and anthropomorphised animals, reflect the influence of Art Nouveau while maintaining a distinctly Australian sensibility. Outhwaite’s ability to capture the imagination of children and adults alike cemented her legacy as one of Australia’s most celebrated illustrators.
On the verso of this artwork The Water Baby’s Cradle, there is a secondary study in ink that appears to be a book cover illustration for Barwon Ballads and School Verses (1912), a collection of poems by James Lister Cuthbertson. While there is no evidence to suggest that Outhwaite contributed to any illustrations for the final published book, perhaps this study was one of the proposed illustrations that never made it to print.
plaster cast from etching plate artist’s signature incised verso: Fred. R. Williams
37 x 29.5cm
provenance
Gift of the Artist
Private collection, Melbourne
related work
Fred Williams, Forest of Gum Trees, 1965-1966, etching, flat biting, black ink on Arches paper, 6/35, 34.9 x 27.6cm (platemark); 46.6 x 37.7cm (sheet), in the collection of The Art Gallery of New South Wales
Fred Williams is celebrated for his transformative approach to the Australian landscape, particularly through his innovative use of printmaking techniques. While best known for his painterly interpretations of the Australia bush, Williams also explored unconventional methods, including the use of etched plates to create plaster casts.
Williams’ etching practice was deeply experimental. By incising into copper plates with fine, rhythmic marks, he developed a visual language that captured the rugged textures and spatial complexities of the Australian terrain. Beyond traditional printmaking, he repurposed these etched plates as matrices for plaster reliefs, transferring the incised imagery into three-dimensional form. This process reversed the typical intaglio method, emphasising the tactile quality of his etched lines as raised impressions in plaster.
This method is exemplified in Landscape with Green Cloud and Owl (in the collection of the National Gallery of Australia, Canberra) and in this work, Forest of Gum Trees. In this piece, Williams pressed an inked etching plate for the print Forest of Gum Trees onto a plaster surface, transferring the image and resulting in a unique plaster cast.
Williams’ experimentation with plaster casts from etching plates allowed him to explore the interplay between two-dimensional and three-dimensional forms, adding depth and texture to his representations of the Australian landscape and blurring the boundaries between printmaking, painting, and relief sculpture.
Charles Blackman’s first major series, Schoolgirls, created between 1952 and 1955, remains one of the most compelling and reminiscent bodies of work in Australian modernism. These paintings, along with numerous related drawings and prints, are widely regarded as some of the most significant artistic expressions of the immediate post-war period.
At the time, Blackman lived in Hawthorn, an inner-eastern suburb of Melbourne, having recently moved to the city with his new wife, Barbara. The Schoolgirls series, which began in 1952, was initially inspired by his immediate surroundings – his daily commute to and from his studio, where he frequently encountered uniformed schoolchildren navigating the suburban streets. It was this everyday sight that became the catalyst for this defining body of work.
More than a mere observation of contemporary life, the Schoolgirls series was deeply personal, resonating with Blackman’s own sense of vulnerability. The recent murder of Betty Shanks, a university friend of Barbara’s, in Brisbane in 1952, as well as the notorious murder of a schoolgirl near Melbourne’s Eastern markets some thirty years earlier, had a profound psychological impact on him, influencing the melancholic and unsettling tone of the series.
Blackman’s Schoolgirl paintings are characterised by dramatic contrasts of light and dark, elongated figures, and deep shadows, all of which contribute to an atmosphere of psychological tension. His ability to seamlessly intertwine the external environment with his inner emotional landscape is compelling, resulting in a body of work that continues to resonate with audiences as powerfully today as it did seventyfour years ago.
Schoolgirls c.1954 is a quintessential example from his renowned series. Three schoolgirls stand in the foreground, their elongated forms and subdued expressions suggesting an unspoken understanding between them. The uniformed presence contrasts sharply with the lone schoolgirl in the background, walking in the shadows with a small dog in tow. This juxtaposition heightens the painting’s sense of isolation, as the girls appear bound within their own secluded world, their gazes neither meeting nor engaging with their surroundings. Blackman’s use of a muted blue palette dominates the composition, instilling a quiet tension, while the warm ochres of the girls’ uniform create a delicate contrast that draws the viewer’s attention to their faces.
The Schoolgirls series conveys an emotional complexity that extends beyond a simple depiction of childhood. While these works capture moments of innocence, they also evoke an underlying unease. Blackman creates a world where his subjects, though physically present, seem emotionally distant, hovering between the security of childhood and the unknowns of adolescence. His paintings evoke a sense of both nostalgia and foreboding, allowing the viewer to interpret their layered meanings through personal reflection.
This body of work remains a timeless exploration of innocence and experience, belonging and isolation. By drawing on personal memory and contemporary life, Blackman created artworks that resonate with the universal themes of childhood and the richness of human experience. These paintings offer a glimpse into a both personal and collective past, reminding us of the haunting beauty that can be found in the everyday.
hannah ryan senior art specialist
1. Bellamy, L., A Life in Full Colour, The Age, Melbourne, 3 May 2004
52
CHARLES BLACKMAN (1928-2018)
Schoolgirls c.1954
tempera on composition board signed upper right: CBLACKMAN
57 x 78cm
provenance
Private collection, Melbourne
Sotheby’s, Melbourne, 11 April 2006, lot 13 (as 'Three Girls')
Private collection, Melbourne
Deutscher~Menzies, Sydney, 18 March 2008, lot 26
Private collection, Sydney
Private collection, Melbourne (aquired from the above)
exhibitions
Charles Blackman, Mossgreen Gallery, Melbourne, 25 March - 17 April 2010
powder coated steel on marble base 152cm (height, including base)
provenance
Corporate collection, Melbourne
$6,000-8,000
60 LEONARD FRENCH (1928-2017) Turtle (The Campion Series) c.1960s enamel on paper laid on board 137 x 121cm
provenance
Private collection, Melbourne
$5,000-7,000
61
MICHAEL SHANNON (1927-1993)
Person 1957 oil on board
signed and dated lower left: Shannon 57 signed, titled, dated and inscribed verso: “PERSON”/ 57/ For Christopher, Happy Birthday, Easter/ Michael Shannon
91.5 x 61cm
provenance
Gift of the Artist
Charles Nodrum Gallery, Melbourne 2012
Private collection, Melbourne
Thence by descent
$7,000-9,000
62
CHARLES BLACKMAN (1928-2018) (White Flower in Cup) oil on board
signed lower centre: CHARLES BLACKMAN titled on gallery label verso 40 x 47cm
provenance
Lauraine Diggins Fine Art, Melbourne (label verso)
The Trial 1990 oil on linen signed and dated lower right: Gleeson 90 signed, titled and dated verso 158.5 x 238.5cm
provenance
The Artist Charles Nodrum Gallery, Melbourne Private collection, Melbourne
$40,000-50,000
66
SIDNEY NOLAN (1917-1992)
Central Australian Landscape 1953 oil on composition board signed and dated lower right: nolan 53 73 x 89.5cm
provenance
Lauraine Diggins Fine Art, Melbourne Menzies, Melbourne, 20 June 2012, lot 83 Private collection, Melbourne
exhibitions (Possibly) Sidney Nolan, The Johnstone Gallery, Brisbane, September 1953
Nolan: Myths, Landscapes and Portraits 1942–1964, Lauraine Diggins Fine Art, Melbourne, 11 - 26 June 1987, cat. no. 11
$40,000-60,000
67 ASHER BILU (born 1936)
Untitled mixed media on board
122 x 152.5cm
provenance
Realities Gallery, Melbourne Private collection, Melbourne Thence by descent
$3,000-5,000
68 JOHN OLSEN (1928-2023) Dog and Honeyeater 1979 watercolour and gouache on paper signed, titled and dated lower right: Dog and Honeyeater/ John Olsen 79 75 x 56cm
provenance
Shapiro Auctioneers, Sydney, 27 November 2005, lot 205 Private collection, Melbourne
inscribed verso with artist’s name and Papunya Tula Artists cat. no. WN981122
91 x 46cm
provenance
Papunya Tula Artists, Alice Springs (accompanied by the certificate of authenticity)
Kozminsky Gallery, Melbourne
Private collection, Melbourne
other notes
“The painting depicts designs associated with the travels of a group of women from the rockhole site of Watanuma, north-west of the Kintore Community. The women passed through the rockhole site of Umari and continued east to Pinari, north-west of Kintore. The ‘U’ shapes represent the women and the oblong shapes are the digging sticks. During their travels they gathered the small black seed known as mungilypa or samphire from the small fleshy subshrub Tecticornia verrucosa. This seed is ground into a paste which is cooked in the coals to form a type of unleavened bread.”
As stated on the Papunya Tula Artists certificate of authenticity
$2,000-4,000
86
WARLIMPIRRNGA TJAPALTJARRI (born c.1958)
(Language group: Pintupi)
Untitled 2000
synthetic polymer paint on canvas
inscribed verso with artist’s name and Papunya Tula Artists cat. no. WT20000369
91 x 61cm
provenance
The Artist
Papunya Tula Artists, Alice Springs (accompanied by the certificate of authenticity) Kozminsky Gallery, Melbourne Private collection, Melbourne
other notes
“This painting depicts designs associated with the rockhole site of Tjuntulpul, south-east of the Kiwirrkura Community. In mythological times a large group of Tingari Men, accompanied by women and children, camped at this site before continuing their travels to Lake Mackay.
Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by the Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”
As stated on the Papunya Tula Artists certificate of authenticity
synthetic polymer paint on canvas inscribed verso with artist’s name and Warlukurlangu Artists cat. no. 66/95
78.5 x 185cm
provenance
Warlukurlangu Artists at Yuendumu, Northern Territory (accompanied by the certificate of authenticity)
Private collection, Melbourne
other notes
“This Dreaming story belongs to Jampijinpa/Jangala men and Namijinpa/Nangala women and depicts the ceremony associated with the inItiation of young men.
The concentric circles, shown in the centre of the canvas depict the sites, all of which are water soakages and include Larrakilpardi, Yillirripardi, Jalirridi, Kalkardinlapa, Mungumanu, Marnakardinlapa, Munhumanu, Marnakarangingu, Watiyawarnukurlangu, Yarmilipardu, Kalkardingapa. The long pink wavering lines represent the Dreaming path of the Watiyawarnu.
The young initiates sit behind the trees, observing and learning as the older men dance throughout the ceremonies. The Watiyawarnu seed is valued for its’ nutritional and medicinal purposes. It is collected, ground into course flour then mixed with water and eaten as a paste. Unlike damper, the paste is not cooked.”
As stated on the Warlukurlangu Artists certificate of authenticity
During the final evening of the ceremony, dancers decorate themselves with kapok down, or today, cotton wool and conduct much of the final segments of the ceremony in the secrecy of a restricted men’s camp. The complete ceremony may stretch over a period of two weeks, but on the last night the bones of the deceased, which have been kept in a bark container or today wrapped in cloth and kept in a suitcase are taken out, are painted with red ochre and placed inside the hollow log. This ceremony may take place many years after the person has died.
At first light on the final morning of the Lorrkon ceremony, the men appear, coming out of their secret bush camp carrying the pole towards the women’s camp. The two groups call to each other using distinct ceremonial calls. The women have prepared a hole for the pole to be placed into and when it is stood upright, women in particular kinship relationships to the deceased dance around the pole in a jumping/shuffling motion. The Lorrkon is then often covered with a tarpaulin and left slowly to decay.”
As stated on a copy of the Maningrida Arts & Culture certificate of authenticity
FREDDY WEST TJAKAMARRA (c.1935-1994)
(Language group: Pintupi)
Tingarri at Kampangutjananya 1978
synthetic polymer paint on linen inscribed verso with Papunya Tula Artists cat. no. FW781104
Papunya Tula Artists, Alice Springs, Northern Territory (accompanied by a copy of the certificate
Aboriginal Arts Board, Australia Council, Sydney The Kelton Collection, America, acquired from the
Past and Present Art of the Australian Aborigines, from The Kelton Foundation Collection, Pacific Asia Museum, Pasadena, California, 24 September 1980 - 4 January 1981
Dreamtime: Art of the Australian Aborigine, Pt. 1 Land and Tradition, California State University, Northridge, California, 12 September - 14 October 1988 Abstract Reality: Australian Dreamtime Art, Modern Museum of Art, Santa Ana, California, 17 January -
The Evolving Dreamtime: Contemporary Art by Indigenous , Pacific Asia Museum, Pasadena, California, 3 August 1994 - 22 January 1995
“The Mythological travels of a group of Tingari Men to the lake site Kampangutjanganynga far, far to the west of Alice Springs are celebrated in this depiction. The Tingari is a mytho-ritual complex or series of traditions of deep religious significance. They are widely distributed through the Western Desert and are basically secret-sacred. For this reason, details relating to Tingari myths, songs and rituals may not be publicly revealed. In this particular episode, the Tingari had come from the north east and had camped at Kampangutjanganya in order to hold ceremonies of instruction for the post initiate novices or Maliki with whom they were travelling. Here they met a lone old boomerangs used as rhythm instruments.
man. While camped at this site they prepared seed cakes for the Maliki. These seed cakes were prepared from the ground flour of the wild grasses of the area. A bushfire suddenly emerged and the Tingari Men were forced to cut short their stay and flee to the south west. All the sets of concentric circles indicate specific sites in the vicinity of Kampangutjanganya, such as the place where the Tingari met the old man, the camps where the Maliki were held during their instruction and the place where the seed cake was made. The interconnecting sinuous lines indicate the paths of the Tingari between these various sites. The areas enclosed by the main configuration (with the exception of one) indicates the water on the lakes surface. The area (marked on the diagram) represents the stone on which the seeds were ground into flour for the damper. The black dots that surround the composition indicate Tjiparinypa, the grass from which the seeds were collected.”
As stated on a copy of the Papunya Tula Artists certificate of authenticity
$12,000-18,000
92 GINGER WIKILYIRI (born c.1932)
(Language group: Pitjantjatjar)
Piltati 2008
synthetic polymer paint on linen inscribed verso with artist’s name and Tjungu Palya Art Centre cat. no. TPGW08351
159 x 197cm
provenance
The Artist, painted at Nyapari, South Australia Tjungu Palya Art Centre, South Australia (accompanied by a copy of the certificate of authenticity)
Vivien Anderson Gallery, Melbourne Private collection, Perth
exhibitions
Tjukurpa Pulkatjara: The Power of the Law, South Australian Museum, Adelaide, 3 March 2010
literature
Tregenza, E., (ed.), Tjukurpa Pulkatjara: The Power of the Law, A Benchmark Selection of Works from the Artists from the Anangu Pitjantjatjara Yankunytjara Lands and the Ngaanyatjarra Lands, Adelaide 2010, pp. 38-39
other notes
“Wati kutjara Piltatinya nyinanyi (two men were sitting at piltati). Kunga kutjarra (two women) were travelling from a long way. When those women got to Piltati they said “ngura wiru” (good place, good camp). Those women saw they apu (rocky outcrop) and saw the red walka (painting) inside kulpi (cave). They looked around some more and saw kapi kurungka unyanyutjara ngaripai (water lying in a creekbed with green algae on it) and decided they would stay at Piltati, ngura wiru (good place).”
As stated on a copy of the Tjungupalya certificate of authenticity
synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 372/08
180 x 120cm
provenance
The Artist, painted at Balgo, Western Australia Warlayirti Artists, Western Australia (accompanied by a copy of the certificate of authenticity)
Suzanne O’Connell Gallery, Brisbane
The Le Pley Collection, Western Australia Private collection, Melbourne
other notes
“This is a particularly dynamic work by Nora which reflects an intense memory of a particular landscape near her traditional country near Well 33 in the Great Sandy Desert. This is her fathers country in the middle stretches of the Canning Stock Route. The variation in shapes and colours shows country rich in bushfoods such as bush onion, pura (bush tomato) and kantijilyi (bush raisin).”
As stated on a copy of the Warlayirti Artists certificate of authenticity
$5,000-7,000
94
§ WINIFRED NANALA (born 1966)
(Language group: Kukatja)
Wilkinkarra 2023
synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 159-23
152 X 100cm
provenance
Warlayirti Artists, Western Australia (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne
other notes
“Winifred Nanala has painted some of her father’s traditional country, which is centred around the vast salt lake known as Wilkinkarra, or Lake Mackay. Her father was a senior custodian for Wilkinkarra. Wilkinkarra is situated far to the south of Balgo in the Great Sandy Desert and is at the centre of many important stories. This painting depicts Wilkinkarra surrounded by the tali, or sand dunes which dominate the landscape of the area.”
As stated on the Warlayirti Artists certificate of authenticity
synthetic polymer paint on linen inscribed verso with artist’s name and Tjungu Palya cat. no. 19-106
117 x 200cm
provenance
Tjungu Palya, South Australia (accpompanied by a copy of the certificate of authenticity) Desertmob, Alice Springs Private collection, Melbourne
other notes
“Ngayuku mitaku ngrangka (this is the country I have inherited from my husband) a wonderful place called Cave Hill. Cave Hill is an important site for the Seven Sisters dreaming story. When you come here you can see in the rock formations the story of seven sisters as they ran from Wati Nyiru (the cheeky man). The sisters hid in the darkness of the big cave and the oldest sister used her wana (digging stick) to make a hole to escape through the back of the cave, you can still see the scratching marks she made. Cave Hill ta tjukurla tjuta ngaranyi. There is a lot of water here too, many rock holes and connecting creeks and water courses. The abundance of water, food and tjurkupa makes Cave Hill a precious place. My husband Billynya and I travelled on a camel from the mission in Ernabella to this magical home.”
As stated on a copy of the Tjungu Palya certificate of authenticity
natural earth pigments and synthetic binder on hollow log
105 x 23 x 26cm
provenance
The similarity between this painting by Laradjbi, and some of her husband’s paintings is a reflection of this process of transmission.”
As stated on a copy of the Maningrida Arts & Culture certificate of authenticity
$1,200-1,800
98
IVAN SHEPHERD (born 1944)
Wati Kutjarra 2008
synthetic polymer paint on linen
inscribed verso with artist’s name and Warakurna Artists cat. no. 332-08
211 x 101cm
provenance
The Artist, assisted by his wife Dorcas Bennett and daughters Maisie and Delilah Shepherd, painted at Ngaanyatjarra-Giles, Western Australia
Warakurna Artists, Western Australia (accompanied by a copy of the certificate of authenticity)
Marshall Arts, Adelaide
Private collection, Perth
other notes
“Ivan Shepherd was born near Lapaku between the Rawlinson Ranges and Lake Christopher in the Ngaanyatjarra Lands, Western Australia. He is a senior man and lives in Warakurna with his family. This painting is about the Wati Kutjarra (two men).
The Wati Kutjarra were travelling around. They were looking at Warakurna from on top of the hill but didn’t camp there. They then travelled all the way to Lake Christopher, a very big salt lake. We took the Native Title people to Lake Christopher. The two men they decided to stop at Lake Christopher. They left a firestick in the middle of the salt lake near a soak. There is an ochre tree not far from the soak.
Assisted by his wife Dorcas Bennett and daughters Maisie and Delilah Shepherd.”
As stated on a copy of the Warakurna Artists certificate of authenticity
$7,000-10,000
99
DICK NGULEI-NGULEI MURRUMURI (1920-1988) (Language group: Kunwinjku/ Dangbon)
Crocodile (Kinga)
natural earth pigments on bark
inscribed with artist’s name, title and location on Oenpelli label verso
synthetic polymer paint on linen inscribed verso with artist’s name and Spinifex Arts Project cat. no. 21-249
137 x 110cm
provenance
The Artist, painted at Tjuntjuntjara, Western Australia
Spinifex Arts Project, Western Australia (accompanied by a copy of the certificate of authenticity)
Private collection, Melbourne
other notes
“Fred Grant knows the boundless sandhills, the endless skies and extensive forests of Spinifex Country. He’s walked the rich cultural fabric that embraces his land wherever he looks and he has intimate knowledge of the life sustaining water sources that are its foundation of survival in an arid environment. Fred paints with the passive authority of someone that knows they belong to intimacy of a landscape with a powerful devotion at its heart. Here he depicts the site of Tuwan, situated in the heart of Spinifex Country.
Tjaltunya holds the powerful Wati Kutjara Tjukurpa (Two Men Creation Line). This is a far reaching narrative that follows two brothers: a black nosed monitor lizard and a sand goanna - as they journey through Spinifex Country. These are creation beings who shaped the landscape as they moved through it leaving the guiding story etched in monolithic physical reminders of their power and presence.”
As stated on a copy of the Spinifex Arts certificate of authenticity
inscribed verso with artist’s name and Warakurna Artists cat. no. 414-11
101.5 x 122cm
provenance
The Artist, painted at Ngaanyatjarra-Giles, Western Australia
Warakurna Artists, Western Australia (accompanied by a copy of the certificate of authenticity)
Merenda Group, Western Australia
The Le Pley Collection, Western Australia
other notes
“This painting depicts Tjaparti’s father’s place near Warnarn. Kungkarrangkalpa Tjukurrpa (seven sisters dreaming) are travelling through beautiful tall (sandhills) country, camping at rockholes and collecting mirrka and kuka. They killed a tiwill and cooked and ate it. They then went to Kalalu and then went crawling along the creek and ended up in Wanarn.”
As stated on a copy of the Warakurna Artists certificate of authenticity
$4,000-6,000
102
KAAPA TJAMPITJINPA AND BILLY STOCKMAN TJAPALTJARRI (1920-1989); (1927-2015)
(Language group: Anmatyerr)
Kangaroo Dreaming 1974
synthetic polymer paint on composition board
inscribed with artists’ name, title and date on Aboriginal Arts & Crafts label verso
94 x 55cm
provenance
The Artists, painted at Papunya, Alice Springs
Papunya Tula Artists, Northern Territory
Aboriginal Arts & Crafts Pty Ltd, Canberra (label verso)
Nyapari Tjukurpa 2019 synthetic polymer paint on linen inscribed verso with artist’s name and Tjungu Palya cat. no.19-030 151 x 99cm
provenance
Tjungu Palya, South Australia (accpompanied by a copy of the certificate of authenticity) Private collection, Melbourne
other notes
“Kuka mamu; there’s an animal crouching down there in Nyapari. Two men making (tjara) shields. They go to hunt that kuka by spearing him. Share with family and then we go down to Watarry way. Family sitting down the bottom rock hole (Iwarawara). There’s plenty of water there.”
As stated on a copy of the Tjungu Payla certificate of authenticity
$3,000-5,000
104
WANGKATJUNGKA COLLABORATIVE
Kirriwirri and Kurlyayi - Desert Country 2006-2007 acrylic on linen inscribed verso with Japingka Gallery cat. no. WJ1918 210 x 173cm
provenance
Japingka Gallery, Western Australia (accompanied by the certificate of authenticity) Private collection, Melbourne
other notes
“This painting was created at Wangkatjungka Community in June 2007. Eleven artists of the community worked on the canvas, painting aspects of their ancestral country in the Great Sandy Desert.
The artists are Nada Rawlins, Rosie Goodjie, Biddee Baadjo, Nora Tjookootja, Elsie Thomas, George Tuckerbox, Janie Lee, Jill Jack, Pennyy K Lyons, Jean Tighe and Jean Cox”
As stated on the Japingka Gallery certificate of authenticity
$8,000-14,000
105
CHARLES BLACKMAN (1928-2018)
(Girl in Red Dress)
oil on canvas, diptych
signed lower right: BLACKMAN
91 x 119cm (each); 181 x 119cm (overall)
provenance
Private collection, Sydney
Christie’s, Sydney, 17 August 1998, lot 1143
Private collection, Melbourne
Thence by descent
$25,000-35,000
106
LEONARD FRENCH (1928-2017)
Study for the Animal Painter 1982 oil and enamel on board
signed lower right: French artist’s name, date and title on gallery label verso 45 x 39.5cm
provenance
Australian Galleries, Melbourne (label verso)
Eva Breuer Art Dealer, Sydney 1999
The Collection of Dina Kamsler, Queensland
Thence by descent
exhibitions
Leonard French, Australian Galleries, Melbourne, November 1982, cat. no. 24
signed and dated lower right: Clifton/ OCT. ‘65 123 x 91cm
provenance
A Melbourne Educational Institution, (possibly acquired through donation)
Private collection, Melbourne
$4,000-6,000
on board signed lower left: ERIC SMITH titled verso 94 x 58.5cm
provenance
A Melbourne Educational Institution, (possibly acquired through donation)
Private collection, Melbourne
$4,000-6,000
107
CLIFTON PUGH (1924-1990)
108
ERIC JOHN SMITH (1919-2017)
Pieta oil
109
TREVOR NICKOLLS (1949 - 2012)
Contemporary Traditional 1978 synthetic polymer paint on linen signed, titled and dated and verso: ‘Contemporary Traditional’/ Trevor Nickolls 1978 165 x 60cm
provenance
Realities Gallery, Melbourne
Private collection, Melbourne
Thence by descent
exhibitions
Other Side Art: Trevor Nickolls, A Survey of Paintings and Drawings 1972-2007, The Potter Museum of Art, The University of Melbourne, Melbourne, 13 May – 2 Aug 2009
other notes
“Other Side Art was the first museum survey of the work of senior South Australian artist, Trevor Nickolls. Nickolls has been described as ‘the father of urban Aboriginal art’ and stands as a seminal figure whose career has spanned an unprecedented era of Aboriginal cultural expression since colonisation. Over more than thirty years, Nickolls has developed a unique repertoire of visual symbols to depict the impact of Western culture on Aboriginal traditional life. His art informs many of the critical intellectual and aesthetic positions that are vital to questions of identity and Aboriginality in Australia. The exhibition brought together more than fifty paintings and drawings from around Australia, aiming to recognise Nickolls’s pioneering role in a generation of Aboriginal artists’ struggle to forge a new position within the mainstream of Australian art and culture at a vital juncture in the nation’s history. Largely based on a chronological sequence of paintings with the addition of selected works on paper, groups of works were arranged to explore the various facets of the artist’s interests: the interplay between human psychology and the polemical and political, the cityscape and
unmodified landscape, and the harmony/disharmony between the spiritual and the material.”
(Curator Michael O’Ferrall, The Potter Museum of Art, Parkville)
“The top half of this painting shows a traditional scene with male and female trees. Their gender is shown through genitalia added by Nickolls. The central figure is reflected in contemporary cityscape. Nickolls is fond of the idea of his work being considered as ‘contemporary – traditional’. Machinetime to Dreamtime and this work are prime examples of that idea.”
(excerpt from University of South Australia)
$5,000-7,000
110
JORDY KERWICK (born 1982)
Still Life 2018 mixed media on canvas signed and dated verso: JORDY/ 2018
Looking North to Lake Amadeus 1986 oil on canvas, diptych signed and dated upper left: Basil Hadley 86 signed, titled and dated verso 81 x 91cm (each); 81 x 182 (overall)
provenance
Davidson Auctions, Sydney, 20 August 2023, lot 275 Private collection, Melbourne
$4,000-6,000
118
§ MATTHEW JOHNSON (born 1963)
Light Fall III 2015 oil on linen
signed, titled and dated verso: “LIGHT FALL III”/ Matthew Johnson 2015 119.5 x 101cm
provenance
Private collection, Perth
$5,000-6,000
119
DAVID LAITY (born 1958)
Shy Girl at Play 1995 oil on board signed lower right: Laity titled and dated verso 115 x 124.5cm
provenance
Jackson Gallery, Victora Private collection, Melbourne
$4,500-5,500
120
KEVIN MORTENSEN (1939-2023)
Aah pyt 2015 bronze, ed.1/5
initials incised lower right: KM 46 x 18 x 24cm
provenance
The Artist Australian Galleries, Melbourne The Estate of Kevin Mortensen
Elizabeth Pulie, Tall Work, Sutton Gallery, Melbourne, 13 April - 8 May 1996
other notes
“Elizabeth Pulie has been exhibiting her work since 1989. Art as decoration and commodity became her focus for 15 years with Decorative Painting Project. From the turn of the century, Pulie’s focus shifted to Relational Practice where she also published and distributed the magazine ‘Lives of the Artists’ and established the artist’s group ‘Sydney Ladies’ Artist’s Club’. Pulie’s theoretical research, writing and presentations extend the idea of ‘the end of art’ to contemporary art discourse and practice. Her work encompasses material forms such as painting, weaving, political banners, collage and embroidery.”
(Museum of Contemporary Art Australia, Sydney)
$4,000-6,000
128
ELIZABETH PULIE (born 1968)
One Hundred and Fifty-Six (Tall Work) 1996 oil on canvas signed, titled and dated verso: “156 (TALL WORK)”/ E. Pulie/ 1996 213 x 65.5cm
Port Douglas, Still Life 1986 watercolour on paper signed, titled and dated upper right: Port Douglas Still Life -/ Donald Friend/ 85. artist’s name and title on gallery label verso
55 x 76cm
provenance
Australian Galleries, Melbourne (label verso)
Private collection, Melbourne
$3,000-5,000
130
ARTHUR BOYD (1920-1999) (Williamstown Docks) c.1947-9 ink and wash on paper
artist’s name, title and date on gallery label verso
36.5 x 54.5cm
provenance
Lauraine Diggins Fine Art, Melbourne (label verso)
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