Fine Art

FINE ART AUCTION TUESDAY 16 MARCH 2021, MELBOURNE

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AUCTION CATALOGUE VOLUME 14 ISSUE 2

Cover: Lot 10 TOM ROBERTS (1856-1931) Portrait of a Lady c.1880s oil on canvas signed lower centre: Tom Roberts.

60 x 50cm

Inside Cover: Lot 39 TIM WILSON (New Zealander, 1954-2020) Mt. Tutoko 2004 oil on Belgian linen signed and dated lower right: A H T. Wilson 04 © 44 x 74cm

$60,000–80,000 Viewing in Sydney

$5,000–7,000 Viewing in Sydney

leonardjoel.com.au 2

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89 SIDNEY NOLAN (1917-1992) Landscape c.1962 mixed media on paper signed and inscribed verso: Gazelles/ 1962/ nolan 62 x 50.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $4,000-6,000 © Sidney Nolan /Copyright Agency, 2021

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FINE ART AUCTION TUESDAY 16 MARCH 2021, 6PM MELBOURNE

VIEWING Selected Viewing in Sydney Friday 5 - Sunday 7 March, 10am-4pm The Bond, 36-40 Queen Street, Woollahra, NSW 2025 Viewing in Melbourne: Friday 12 - Sunday 14 March, 10am-4pm Monday 15 March by appointment 333 Malvern Road, South Yarra, VIC 3141

CONTACT

Olivia Fuller

Lucy Foster

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

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

leonardjoel.com.au

31 CHARLES BLACKMAN (1928-2018) Dreamtime (detail) oil on canvas signed lower right: BLACKMAN titled on Art Galleries Schubert label verso 122 x 183cm PROVENANCE: Art Galleries Schubert, Queensland 1998 (label verso) Private collection, Melbourne $60,000-80,000 © Charles Blackman /Copyright Agency 2021 Viewing in Sydney

Finding New Ways to Connect At its most testing, the last 12 months truly taught us all to rethink and reassess our connections, but mostly how we connect. I’ll never forget our March 2020 Fine Art auction in Melbourne, with seats ordered at 1.5m distances across the room. If you’d have mentioned face masks back then I would have thought you were asking me about my beauty regime.

Although it has certainly put us to the test, the last year has revealed new trends, patterns and ways of connecting that have truly transformed the art world. From conducting valuations of priceless paintings via FaceTime, to offering contactless deliveries we now had to think outside the box - the bricks and mortar box that is.

The conversation around art moved further into the digital realm.

So, as we look ahead, here are my top three tips for how to connect with our art auctions in 2021: 1. Browse - take the time to sit down in a quiet moment and look. Encourage yourself to look beyond your usual picks as you might surprise yourself with something unexpected. The best pieces in a collection are often the pleasant surprises. Browsing the catalogues online is the best way to see the entire spread, saving your “favourites” into your Leonard Joel web account along the way.

2. Consider different ways of seeing - so you now have had an initial look, but why not consider a different perspective. Engage with a specialist for a private virtual tour through Facetime or Zoom. It’s a great way of getting a closer look at the entire display and also having a one-on-one consultation with an expert. Not to mention you can see the art through someone else’s eyes (or camera lens) from the comfort of your own home! Alternatively keep an eye on our Instagram stories for insightful spot-talks from our specialists on selected works.

3. Preparing to buy - before bidding in auction it’s a great idea to find out what transaction options are on offer, as well as pick-up and delivery services. In 2021 we are pleased to announce a new partnership with Art Money to assist you in growing your collections. Plus, our new Leonard Joel Home Delivery team can advise on the logistics to make the arrival of your new purchase as easy as possible.

So whether it be a museum-quality Tom Roberts portrait (lot 10), or a Charles Blackman masterwork (lot 31), or perhaps even an impressive Nic Fiddian-Green bronze sculpture (lot 40), I hope you continue to connect with our art and our team in new and exciting ways.

Olivia Fuller / Head of Art

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1 ALBERT HENRY FULLWOOD (1863-1930) Bourke Street, Melbourne 1923 oil on panel initialled and dated lower right: AH/ 23 signed and titled verso 23.5 x 33.5cm

2 GEORGE HYDE POWNALL (1866-1939) Swanston Street 1921 oil on board signed lower right: Geo. Hyde titled and dated verso 22 x 29.5cm

PROVENANCE: Private collection, Melbourne Thence by descent

PROVENANCE: Private collection, Melbourne

$3,000-5,000

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$4,000-6,000

4 © Bessie Gibson/Copyright Agency 2021

3 DORA L. WILSON (1883-1946) Summertime, Collins Street oil on canvas on board signed lower right: DORA L WILSON signed and titled verso 32 x 39.5cm

4 BESSIE GIBSON (1868-1961) Afternoon, Grand Canal oil on panel signed lower right: Bessie Gibson signed and titled verso 18 x 22.5cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

$3,500-4,500

$4,000-6,000 Viewing in Sydney

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5 WILL ASHTON (1881-1963) The Fountain oil on board signed lower right: WILL ASHTON 20 x 25.5cm PROVENANCE: Private collection, Melbourne $1,800-2,800

6 WILL ASHTON (1881-1963) Morning Light, Sydney Harbour oil on canvas on board signed lower left: WILL ASHTON titled verso 28.5 x 37cm PROVENANCE: The Sedon Galleries, Melbourne 1949 Private collection, Melbourne EXHIBITIONS: Exhibition in Oils and Water Colours of Cabinet Sized Pictures, The Sedon Galleries, Melbourne, 21 June - 1 July, 1949, cat. no. 21 $5,000-7,000 Viewing in Sydney

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7 JAMES R. JACKSON (1882-1975) View of Sydney Harbour oil on canvasboard signed lower right: JAMES R. JACKSON 43.5 x 63.5cm PROVENANCE: Private collection, Melbourne $4,000-6,000 Viewing in Sydney

9 © Norman Lindsay /Copyright Agency 2021

8 ERNEST BUCKMASTER (1897-1968) Landscape 1932 oil on canvas signed and dated lower right: E Buckmaster 1932 48 x 53cm

9 NORMAN LINDSAY (1879-1969) (The Minstrel) watercolour on paper signed lower right: NORMAN LINDSAY 39.5 x 35cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Private collection, Melbourne Thence by descent

$3,000-4,000

$20,000-30,000 Viewing in Sydney

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TOM ROBERTS

Tom Roberts is celebrated for his epic paintings – Shearing the Rams, 1890 (National Gallery of Victoria, Melbourne); A Break Away! 1891 (Art Gallery of South Australia, Adelaide); and Bailed Up, 1895 (Art Gallery of New South Wales, Sydney). Their heroic grandeur overshadows his achievements as a gifted landscape painter, once designated ‘father of Australian landscape painting’. 1 Moreover, by the late 19th century Roberts had become Australia’s leading portrait painter. Allied to his enthusiastic promotion of the establishment of a national portrait gallery, during the 1890s he painted a series of panel portraits of prominent male personalities. George Coppin of theatre fame and violinist Johann Kruse were among them. His many portraits of women, such as An Australian Native, 1888 (National Gallery of Australia, Canberra), were greatly admired for their elegance and beauty. When Roberts painted his ‘Big Picture’ of the opening of the first parliament of the Commonwealth of Australia in 1901, it involved nearly three hundred portrait studies. 2 It is therefore not surprising that portraits make up nearly half his oeuvre.

In her catalogue raisonné of Roberts’ work, Helen Topliss lists our painting as ‘Unidentified, Portrait of a Lady’, dating it ‘early-mid 1880s’. She describes it as ‘a dark tonal painting executed with a fine academic brushstroke technique’. 3 Although the identity of the sitter continues to avoid detection, there is a facial likeness to Roberts’ idolised early portrait, ‘A Spanish Beauty’ of c.1883-84 (private collection, London). 4 This can be seen in the lips, nose, cheeks and strong jaw line, supported by the detailed, tonal modelling. Plain, dark backgrounds effectively contrast against well-lit faces.

Even the mantilla in ‘A Spanish Beauty’ is complemented by an abundance of dark hair in Portrait of a Lady. But there is a difference. In her absorbing study of Roberts’ portraits, Julie Cotter notes that ‘A Spanish Beauty’ ‘engages with the subtleties of desire’ and remarks on the ‘soft sensuality’ of her face. 5 Portrait of a Lady is more demure.

Roberts travelled in Spain in the summer into autumn of 1883, marvelling at the works of Velázquez, then much admired by the younger artists. His companions included fellow Australian painter John Russell. Works painted on tour, A Corner in the Alhambra (National Gallery of Australia) and Una Muchacha, (private collection, Melbourne) for example, are inscribed with their locations and dated October 1883. Small for better portability, they are lighter and brighter of palette than the larger ‘A Spanish Beauty’ and Portrait of a Lady. The latter carries the Windsor and Newton, London canvas maker’s mark on the verso. The question arises - were these two portraits painted in Spain, or later in his London studio?

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10 TOM ROBERTS (1856-1931) Portrait of a Lady c.1880s oil on canvas signed lower centre: Tom Roberts.

60 x 50cm PROVENANCE: Private collection, Melbourne Colonna: 2 St. Ninian’s Road Brighton, Leonard Joel, Melbourne, 26 September 1960, lot 141 (as ‘Portrait’, 35 gns) Private collection, Melbourne Thence by descent LITERATURE: Topliss, H., Tom Roberts 1856-1931: A Catalogue Raisonne, Oxford University Press, Melbourne, vol.1, cat. no. 55, (illus. vol. 2, pl. 17) $60,000-80,000 Viewing in Sydney

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“Pensive, a touch wistful, no lines of age disrupt her beauty. Subtly, demure looks entice and intimacy is enhanced through the harmony of forms. Acutely and sensitively observed, Portrait of a Lady shows Roberts’ singular talent for painting women, especially those of exquisite charm.”

DAVID THOMAS

TOM ROBERTS (1856-1931) A Spanish Beauty Private collection

When ‘A Spanish Beauty’ was shown in the Australian Impressionism exhibition at the National Gallery of Victoria in 2007, another question was raised: ‘Was this the work of an English lady in fancy dress?’ asked Humphrey McQueen, adding: ‘The social columns were replete with accounts of costume balls when the leaders of society revelled in Spanishness’. 6 Spanish inspired, located, or otherwise, perhaps ‘A Spanish Beauty’ and Portrait of a Lady might best be described as ‘tronies’, derived from the Dutch 17th century for ‘face’ and frequently found in Rembrandt’s work. They differ from portraits in that the sitters are anonymous, often exotically dressed in imagined costume, exaggerated or meditative of expression, idealisation of face particular to beauty, age, or piety.

Is Portrait of a Lady a mirrored likeness or an ideal? Pensive, a touch wistful, no lines of age disrupt her beauty. Subtly, demure looks entice and intimacy is enhanced through the harmony of forms.

Acutely and sensitively observed, Portrait of a Lady shows Roberts’ singular talent for painting women, especially those of exquisite charm.

Accustomed as we are to portraits rectangular and filling entire canvases, the oval has been engaged by some of the greatest masters. A Bust of a Young Woman, 1633, in Amsterdam’s Rijksmuseum, is among Rembrandt’s finest. And Ingres’ Madame Philibert Rivière, 1806, in the Musée du Louvre, Paris, has been described as ‘one of the most splendid images in French portraiture’. 7 While our oval portrait is not unique in Roberts’ art, it is rare. 8 David Thomas

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— 1. Croll, R. H., Tom Roberts: Father of Australian Landscape Painting, Robertson and Mullens, Melbourne, 1935 2. Opening of the First Parliament of the Commonwealth of Australia by H.R.H. The Duke of Cornwall and York, May 9, 1901, 1901-03, oil on canvas, 304.5 x 509.2 cm, Royal Collection Trust on permanent loan to Parliament House, Canberra 3. Topliss, op. cit., vol. 1, p. 91, cat. 55 4. Ibid, p. 85, cat. 26 5. Cotter, Julie, Tom Roberts & The Art of Portraiture, Thames & Hudson, Melbourne, 2015, p. 200 6. McQueen, H., ‘A Golden Age: Tom Roberts and the Arts of Spain’, in Lane, T., Australian Impressionism, National Gallery of Victoria, Melbourne, 2007, p. 22 7. Tinterow, G., and Conisbee, P (eds.), Portraits by Ingres: Image of an Epoch, The Metropolitan Museum of New York, 1999, p.62 8. See the oval portrait, Mrs W.A.B. Greaves, 1899, oil on canvas, 77.5 x 60.4 cm, in the Art Gallery of New South Wales, acc. no. 6372

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11 RUPERT BUNNY (1864-1947) Still Life oil on canvas artist’s monogram lower right 37.5 x 45.5cm

12 NORMAN LINDSAY (1879-1969) Reclining Nude charcoal on paper signed lower right: NORMAN LINDSAY 32.5 x 38cm

13 DORA L. WILSON (1883-1946) Nude pastel on paper signed upper right: - DORA L. WILSON 49 x 33.5cm

PROVENANCE: Private collection, Melbourne Deutscher and Hackett, Sydney, 30 November 2016, lot 85 Private collection, Melbourne

PROVENANCE: Davidson Auctions, Sydney, 3 September 2017, lot 7 Private collection, Melbourne

PROVENANCE: Private collection, Melbourne $4,000-6,000

$5,000-7,000

$12,000-16,000 Viewing in Sydney

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14 © Hans Heysen /Copyright Agency 2021

14 HANS HEYSEN (1877-1968) Red Gums of the Far North 1930 watercolour on paper signed and dated lower left: HANS HEYSEN 1930 32.5 x 39.5cm PROVENANCE: Dr J. P. Rasmussen OAM Thence by descent Private collection, New South Wales EXHIBITIONS: S.H. Ervin Gallery, Sydney, 1991 RELATED WORKS: “Red Gums of the Far North” 1931, watercolour on paper, 47.6 x 63.4cm, in the Collection of the Art Gallery of New South Wales, Sydney. This work was the winner of the 1931 Wynne Prize, and was later featured on the Australian $2 stamp in 1974. $18,000-22,000 Viewing in Sydney

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15 RAY CROOKE (1922-2015) Hotel Sorrento 1960 oil on board signed lower left: R Crooke signature and date incised lower right: Ray Crooke/ 1960 titled verso 24.5 x 34cm PROVENANCE: C. V. Jones, Ballarat, c.1970s Private collection, Melbourne $2,500-3,500

16 DOROTHY BRAUND (1926-2013) Bathers Series I watercolour and gouache on paper (3) trio of works unsigned 11 x 18cm (each) PROVENANCE: The Artist Private collection, Melbourne $2,000-3,000

17 © Arthur Boyd /Copyright Agency 2021

17 ARTHUR BOYD (1920-1999) Shoalhaven Landscape, Pulpit Rock oil on canvas signed lower right: Arthur Boyd 29 x 22cm PROVENANCE: Art Galleries Schubert, Queensland 1997 Private collection, Sydney $18,000-22,000 Viewing in Sydney

18 MICHAEL SHANNON (1927-1993) Untitled Landscape 1976 oil on canvas signed and dated lower left: Shannon 76 inscribed on stretcher bar verso: “For Andy Michael Shannon 27/3/79” 29.5 x 39.5cm PROVENANCE: Private collection, Melbourne

19 PRO HART (1928-2006) Football Game oil on board signed lower right: PRO/ HARt 40 x 60.5cm PROVENANCE: Private collection, Melbourne Thence by descent $8,000-12,000

$1,500-2,000

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22 © Charles Blackman /Copyright Agency 2021

20 RAY CROOKE (1922-2015) The Friends oil on canvasboard signed lower left: R. Crooke artist’s name and title on gallery label verso 20 x 24cm PROVENANCE: Holdsworth Galleries, Sydney (label verso) Shapiro Auctioneers, Sydney, 29 August 2017, lot 119 Private collection, Melbourne $3,000-5,000 Viewing in Sydney

21 DAVID BOYD (1924-2011) Europa’s Daughter Diving from the Tree of Fire Into a Blue Rose Bush with Animals in Flight 2003 oil on canvas signed lower left: David Boyd dated lower right signed, dated and titled verso 83.5 x 91cm PROVENANCE: Wagner Art Gallery, Sydney (label verso) Private collection, Sydney Davidson Auctions, Sydney, 4 November 2018, lot 26 Private collection, Melbourne $10,000-15,000 Viewing in Sydney

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22 CHARLES BLACKMAN (1928-2018) Cats ink and gouache on paper signed lower left: BLACKMAN 28 x 38cm PROVENANCE: Lawsons, Sydney, 24 August 2017, lot 555 Private collection, Melbourne $4,000-6,000

23 © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art

23 ALBERT TUCKER (1914-1999) Ibis in Flight 1968 oil on composition board signed and dated lower left: Tucker 68 titled on unknown label verso 90 x 120.5cm PROVENANCE: Sotheby’s, Fine Australian Paintings including the Dr. John L. Raven Collection, Melbourne, 17 April 1989, lot 453 Private collection, Brisbane Deutscher~Menzies, Melbourne, 21 August 2001, lot 61 Private collection, New South Wales Private collection, Melbourne

After 13 years abroad, Albert Tucker was keen to reacquaint himself with the Australian landscape returning in 1960. Rather than focusing on gumtrees, Tucker discovered a newfound interest in the animals he saw on a trip to the Healesville Sanctuary.

Painting almost exclusively indoors while he was abroad, it came to many as a surprise when Tucker dedicated an entire body of work and much time to the creatures he observed outdoors and became so fond of. With a strong focus on bird wildlife, Tucker found these paintings therapeutic and incredibly satisfying to produce. While relishing in this release, his main focus was on the conceptual, figurative and symbolic nature of the bird in his work, particularly in the form of the

Ibis and Brolga. Captivated by their solidarity and elegance, he sought to highlight the allegorical nature of the birds and their strength within the natural setting of the animal kingdom.

Lucy Foster Fine Art Specialist $35,000-45,000 Viewing in Sydney

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24 SIDNEY NOLAN (1917-1992) Kelly Head crayon rubbing and mixed media on paper signed lower right: Nolan 29 x 24.5cm PROVENANCE: GFL Fine Art, Perth, 30 May 2017, lot 20 (label verso) Private collection, Melbourne $7,000-9,000 Viewing in Sydney 25 JOHN PEART (1945-2013) The Farm 1970 mixed media with collage on canvas initialled and dated lower right: JP/ 70 169.5 x 254cm PROVENANCE: Watters Gallery, Sydney Private collection, Brisbane $12,000-16,000 Viewing in Sydney 26 DOROTHY BRAUND (1926-2013) Bathers 2001 watercolour and gouache on paper signed and dated lower right: BRAUND ‘01 18 x 43.5cm PROVENANCE: The Artist Private collection, Melbourne $2,000-3,000 27 JOHN OLSEN (born 1928) Untitled 1967 mixed media on paper signed, dated and inscribed lower right: for Gwen & Paul John Olsen/ 1967 37 x 49cm PROVENANCE: Gift of the artist, 1967 Paul and Gwen Frolich, Sydney Thence by descent Private collection, Sydney Deutscher and Hackett, Sydney, 13 September 2016, lot 113 GFL Fine Art, Perth, 30 May 2017, lot 46 Private collection, Melbourne $7,000-9,000 Viewing in Sydney

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28 COLIN LANCELEY (1938-2015) All The Kings Men 1973 ink, pencil, and gouache on paper signed and dated lower right: Lanceley 73 titled lower left 111 x 112cm PROVENANCE: Private collection, Brisbane $3,500-5,500 Viewing in Sydney 29 MIRKA MORA (1928-2018) Untitled 1973 mixed media on paper signed and dated lower right: mirka 73 55 x 75cm PROVENANCE: Realities Gallery, Melbourne (label verso) Menzies, Melbourne, 14 September 2014, lot 45 Private collection, Melbourne Leonard Joel, Melbourne, 20 July 2017, lot 3059 Private collection, Melbourne EXHIBITIONS: Mirka Mora, Erotic Drawings and Figures, Realities Gallery, Melbourne, 2-18 May, 1974 $2,000-4,000 30 GUY BOYD (1923-1988) African Dancer with Crown c.1966 bronze ed. 6/12 signed on leg: Guy Boyd editioned on Savill Galleries invoice 50cm (height) PROVENANCE: Savill Galleries, Melbourne 1999 Private collection, Melbourne $6,000-9,000

25 © John Peart/Copyright Agency 2021

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CHARLES BLACKMAN

Charles Blackman remains one of Australia’s most significant modern artists. His work explores subjects from schoolgirls and angels, to Alice in Wonderland and Orpheus, and white cats and bunny rabbits with an inherently lyrical perspective.

Blackman continues to enchant and intrigue us. His art is more concerned with intuition than with observation, with what is felt rather than with what is seen1. It is this emotional intent that cuts through the wit of the unconscious, beneath what Freud referred to as the stage where the “dreamwork” begins. Through the process of dreaming, Charles was able to dissect and highlight raw emotion - however pleasurable or difficult it might be.

In Dreamtime we see Charles’ powerful ability to render a sense of light with dark. The use of black can traditionally bring forward a sense of anxiety and nervousness, however, here it also highlights the notion that this is an alternative reality, a dream, where the darkness leaves the mind open to possibility. As with many of Charles’ paintings, we seek to interpret a deeper psychological meaning in the work.

At the fore is the natural world with all its delights - a sea of lush flowers connecting the four corners of this painting. The foliage moves across the canvas in a peaceful rhythm, with a scattering of blue flowers, both reminiscent of the magical world of Wonderland but also instilling the work with a sense of peace. At the centre is our subject - the dreaming figure. She rests atop a pillow of leaves, crowning her face with eyes peacefully closed. A hand comes forth from the darkness to reaffirm her presence. Although she is surrounded by the lush foliage, she is not dominated by its growth but rather at one with it. She appears to coagulate out of the blackened background, like a spirit, although we are left wondering if at any moment she could become engulfed. This is one of Charles’ greatest skills as a painter - being able to impart a sense of calm yet subtle unease at the same time.

Olivia Fuller / Head of Art

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31 CHARLES BLACKMAN (1928-2018) Dreamtime oil on canvas signed lower right: BLACKMAN titled on Art Galleries Schubert label verso 122 x 183cm PROVENANCE: Art Galleries Schubert, Queensland 1998 (label verso) Private collection, Melbourne $60,000-80,000 Viewing in Sydney

— 1. Alvarez, A., Rainforest: Charles Blackman, Macmillan, Melbourne, 1988, p. 2

31 © Charles Blackman /Copyright Agency 2021

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32 JAMES GLEESON (1915-2008) Psychoscape oil on board signed lower right: Gleeson 10 x 7.5cm

33 JAMES GLEESON (1915-2008) Psychoscape II oil on board signed lower right: Gleeson 10 x 7.5cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Private collection, Melbourne

$1,500-2,000

$1,500-2,000

34 BRIAN DAHLBERG (New Zealander, born 1944) Three Was a Crowd oil on canvas on board signed lower right: BRIAN DAHLBERG signed and titled verso 69 x 119cm PROVENANCE: Private collection, Tasmania $2,500-3,500

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35 § CHRISTOPHER BEAUMONT (born 1961) Still Life With Brown Paper Parcel 2001 oil on canvas signed, dated and titled verso: C. BEAUMONT/ 2001/ “Still life with brown paper parcel” 102 x 91cm

36 JOHN KELLY (born 1965) Homage to Sisyphus 1987 oil on canvas signed and dated lower right: Kelly 87 artist’s name, title and date inscribed verso: JOHN KELLY/ HOMAGE TO/ SISYPHUS/ Sept 87 167.5 x 137cm

PROVENANCE: HOTA Gallery, Gold Coast Leonard Joel, Melbourne, 2 June 2020, lot 35 Private collection, Melbourne

PROVENANCE: Private collection, London

$2,500-3,500

EXHIBITIONS: Moet and Chandon Art Prize (label verso)

37 TIM WILSON (New Zealander, 1954-2020) Manapouri 2004 oil on Belgian linen signed and dated lower right: - A H T. Wilson 04 © certificate of authenticity from the artist attached verso signed, titled and dated on label verso 60 x 120.5cm PROVENANCE: Private collection, Melbourne $18,000-24,000 Viewing in Sydney

$14,000-18,000 Viewing in Sydney 21

38 PETER LINDSAY (born 1952) Day’s End 1996 oil on canvas signed and dated lower left: Peter Lindsay 96 titled verso 150 x 170cm PROVENANCE: Valeria Cohen Fine Arts, Sydney Private collection, Sydney $8,000-10,000 39 TIM WILSON (New Zealander, 1954-2020) Mt. Tutoko 2004 oil on Belgian linen signed and dated lower right: A H T. Wilson 04 © 44 x 74cm PROVENANCE: Private collection, Melbourne $5,000-7,000 Viewing in Sydney 40 NIC FIDDIAN-GREEN (British, born 1963) Trojan Fragment II bronze, ed. 9/12 27 x 35cm (irregular, not including base) PROVENANCE: Sladmore Contemporary, London Private collection, Melbourne $20,000-25,000 Viewing in Sydney

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41 © Édouard Cortés /Copyright Agency 2021

41 ÉDOUARD CORTÈS (French, 1882-1969) L’Opera, Paris oil on canvas signed lower right: EDOUARD CORTÈS. 44 x 51cm PROVENANCE: Walker Galleries, UK Private collection, Melbourne $18,000-24,000 Viewing in Sydney

42 AMÉDÉE JULIEN MARCEL-CLÉMENT (French, 1873-?)

Au Couturier, la Place Vendôme 1906 oil on canvas signed and dated lower right: Marcel/Clement 1906 signed on stretcher bar verso 59.5 x 99cm PROVENANCE: Walker Galleries, UK Private collection, Melbourne

43 HERMANUS KOEKKOEK JUNIOR (Dutch, 1836-1909) Coastal Scene oil on canvas on board signed lower left: H. Koekkoek Jr 33 x 50cm PROVENANCE: Private collection, Melbourne $1,800-2,800

$9,000-12,000 Viewing in Sydney

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44 TOM ROBERTS (1856-1931) Boats on the Thames Near Putney c.1905 oil on wood panel inscribed verso: Boats on the Thames near Putney/ circa 1905/ by Tom Roberts/ N. J. Roberts/ 2.5.70.

20 x 12.5cm PROVENANCE: Private collection, Melbourne Thence by descent $6,000-8,000 Viewing in Sydney 45 ARTHUR STREETON (1867-1943) Yarra Water pencil on paper initialled and titled lower left: Yarra Water as 24.5 x 33cm PROVENANCE: Private collection, Melbourne Leonard Joel, Melbourne, 5 September 2017, lot 193 Private collection, Melbourne $1,500-2,500 46 TOM ROBERTS (1856-1931) Tasmanian Landscape c.1926 oil on board unsigned authentication attached verso signed by R. C. Croll 14 x 23cm PROVENANCE: The Artist’s Estate W.G. Buckle, Sydney Leonard Joel, Melbourne, c.1968 Private collection, Adelaide Deutscher-Menzies, Sydney, 13 June 2007, lot 62 Private collection, Melbourne Menzies, Melbourne, 10 August 2017, lot 69 Private collection, Melbourne EXHIBITIONS: Adelaide Festival of Arts, John Martin and Co, Adelaide, 1974, cat. no. 99 (label verso) LITERATURE: Topliss, H, Tom Roberts 1856-1931: A Catalogue Raisonne, Oxford University Press, Melbourne, vol.1, cat. no. 617 (illus. vol. 2, pl. 232) 44

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$18,000-24,000 Viewing in Sydney

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47 S.T. GILL (1819-1890) Litigants of Sydney: A Case to Stand Over watercolour on paper initialled lower left: S.T.G. titled lower right 32.5 x 24.5cm PROVENANCE: Private collection, Melbourne Thence by descent

48 J.W. CURTIS (c.1839-1901) Bushfire Scene 1894 oil on board signed and dated lower left: J.W. CURTIS/ 94 45 x 72cm

49 JAMES ALFRED TURNER (1850-1908) Drovers oil on canvas signed lower left: J. A. Turner 24 x 39.5cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Private collection, Melbourne Thence by descent

$5,000-7,000

$4,000-6,000

$5,000-8,000 Viewing in Sydney

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50 CHARLES ROLANDO (1844-1893) Landscape oil on canvas signed lower left: C Rolando 60 x 99cm

51 JAMES ALFRED TURNER (1850-1908) Hunting Scene oil on board signed lower left: J. A. Turner 14.5 x 29.5cm

52 RUBERY BENNETT (1893-1987) (Figures Along a Curved Road) oil on canvas signed lower right: RUBERY BENNETT 37 x 44cm

PROVENANCE: Private collection, Melbourne Thence by descent

PROVENANCE: Private collection, Victoria

PROVENANCE: Private collection, Melbourne

$4,500-6,500

$2,500-3,500

$5,000-7,000

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53 SOPHIE STEFFANONI (1873-1906) Country Cottage 1898 oil on canvas signed and dated lower left: Sophie Steffanoni/ 1898 25 x 45cm PROVENANCE: Private collection, Melbourne Thence by descent $2,000-4,000

54 ERNEST BUCKMASTER (1897-1968) (Across the Bridge) oil on canvas signed lower centre: EBuckmaster 57 x 85cm

55 HANS HEYSEN (1877-1968) Gum Trees watercolour on paper signed lower right: HANS HEYSEN 32 x 23.5cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: Lawsons, Sydney, 24 August 2017, lot 557 Private collection, Melbourne

$3,000-5,000

$5,000-7,000 Viewing in Sydney

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57 © Norman Lindsay /Copyright Agency 2021

56 NORMAN LINDSAY (1879-1969) Study For An Oil Portrait (Nude) c.1940 pencil on paper unsigned certificate of authenticity from The Bloomfield Galleries attached verso, signed by Lin Bloomfield 71 x 52cm

57 NORMAN LINDSAY (1879-1969) Spirit of the Lamp watercolour on paper signed lower right: NORMAN/ LINDSAY titled on Bloomfield Galleries certificate of authenticity label verso 27 x 23cm

58 NORMAN LINDSAY (1879-1969) Woman with Red Flower oil on canvas on board signed upper right: NORMAN/ LINDSAY partially inscribed verso: Jack/ Would you/ when you 15 x 12.5cm

PROVENANCE: The Bloomfield Galleries, Sydney Private collection Lawsons, Sydney, 21 July 1992, lot 77 (as ‘Reclining Nude’) Private collection, Sydney Davidson Auctions, Sydney, 3 September 2017, lot 8 Private collection, Melbourne

PROVENANCE: The Bloomfield Galleries, Sydney Private collection, Melbourne

PROVENANCE: McKenzies Auctioneers, Perth, 18 July 2017, lot 16 Private collection, Melbourne

$6,000-8,000 Viewing in Sydney

$5,000-7,000 Viewing in Sydney

LITERATURE: Bloomfield, L., Norman Lindsay: Impulse to Draw, Bay Books, Sydney, 1984, p. 105 (illus.) $4,000-6,000 28

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59 BARBARA TRIBE (1913-2000) Lovers II 1936-37 bronze, edition of 12 inscribed at lower edge: BARBARA TRIBE 39 x 28 x 35.5cm (including base)

60 BARBARA TRIBE (1913-2000) Spirit of the Sea 1933 bronze ed. 1/12 signed and editioned at base: Barbara Tribe / 1/12 44 x 47 x 28cm (including base)

PROVENANCE: Neville Keating Pictures, London Private collection, Sydney

PROVENANCE: Barbara Tribe Studio (label at base) Neville Keating Pictures, London Private collection, Sydney

OTHER NOTES: Another edition of this sculpture is in the permanent collection of the National Gallery of Australia, Canberra $16,000-20,000 Viewing in Sydney

$15,000-19,000 Viewing in Sydney

61 NORMAN LINDSAY (1879-1969) Springtime at Springwood c.1929 pencil on paper unsigned certificate of authenticity from The Bloomfield Galleries attached verso, signed by Lin Bloomfield 44.5 x 45cm PROVENANCE: The Bloomfield Galleries, Sydney Private collection, Melbourne Shapiro Auctioneers, Sydney, 29 August 2017, lot 124 Private collection, Melbourne $2,500-3,500

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62

62 CHARLES CONDER (1868-1909) Ladies Playing Croquet oil on canvas signed lower right: CONDER 90 x 70cm PROVENANCE: Private collection, Melbourne Thence by descent After establishing himself as a key founding member of the Heidelberg School of Australian Impressionism, Conder returned to France familiarising himself with the Bohemian café scene in Montmartre and Montparnasse. Befriending artists such as Toulouse -Lautrec and Edouard

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Dujardin, he embraced their new-aged approach to their practice. Moving through a period of adjustment, Conder attuned his palette to the more subtle colour base of the European light and greener scenery, moving away from the harsher qualities of the Australian landscape.

Ladies Playing Croquet was most likely painted during one of Conder’s brief stays in England, which became more frequent in 1894. Set in a luscious manicured garden of well-dressed women, this work exemplifies the stylised romanticism in line with the aesthetic period. Framing the work is an elongated arching tree, revealing specks of light from the background indicative of Conder’s Japanese influences. This is also evident in the

figures’ dresses, similar to that of the paintings on silk he championed during this period.

This work exemplifies Conder’s ability to combine a multitude of disciplines and influences seamlessly - from the colours of the Romantics, to the stylised setting of the aesthetic movement, and Japonisme (inspired by Whistler). By the turn of the century, Conder’s work reached a new refined subtlety and beauty which he had endeavoured to achieve throughout his career.

Lucy Foster Art Specialist $20,000-25,000 Viewing in Sydney

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63 JAMES R. JACKSON (1882-1975) Harbour Scene, Sydney oil on canvas signed lower right: JAMES R. JACKSON 50 x 60cm PROVENANCE: Private collection, Melbourne c.1970s Thence by descent Private collection, Melbourne $4,000-6,000 Viewing in Sydney 64 ERNEST BUCKMASTER (1897-1968) Goulburn River oil on canvas on board signed lower left: E Buckmaster titled verso 69 x 84.5cm PROVENANCE: Private collection, Melbourne $4,000-5,000

65 NORMAN LINDSAY (1879-1969) Nude and Pirate 1929 watercolour on paper signed and dated lower left: NORMAN LINDSAY/ 1929 27 x 17cm (irreg.)

PROVENANCE: McKenzies Auctioneers, Perth, 18 July 2017, lot 50 Private collection, Melbourne $5,000-7,000 66 ERNEST BUCKMASTER (1897-1968) Coastal View oil on canvas signed lower right: EBuckmaster 64 x 91cm PROVENANCE: Private collection, Melbourne $3,000-5,000

67 WILLIAM DOBELL (1899-1970) Pension Bruges, Belgium c.1930s oil on panel unsigned certificate of authenticity attached verso, signed by James Gleeson 23.5 x 31cm PROVENANCE: Christie’s, Melbourne, 21 August 1988, lot 438 Private collection, Melbourne Sotheby’s, Melbourne, 18 November 1996, lot 16 (as ‘Pension’) The Alan & Margaret Hickinbotham Collection, Mossgreen Auctions, Adelaide, 25 June 2017, lot 2 Private collection, Melbourne $9,000-12,000 Viewing in Sydney 68 KENNETH JACK (1924-2006) Keilor Landscape 1953 oil on board signed and dated lower right: KENNETH JACK 53 59 x 90.5cm PROVENANCE: Estate of the Artist $7,500-9,000

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69 © David Boyd /Copyright Agency 2021

69 DAVID BOYD (1924-2011) Under the White Gum oil on board signed lower left: David Boyd title inscribed verso 23.5 x 38cm

70 PRO HART (1928-2006) Miners’ Houses 1974 oil on board signed and dated lower left: PRO HARt 74 titled verso 65 x 65cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: GFL Fine Art, Perth, 30 May 2017, lot 11 (label verso) Private collection, Melbourne

$7,000-9,000

$6,000-8,000

71 RUSSELL DRYSDALE (1912-1981) Landscape mixed media on paper signed lower centre: Russell Drysdale 26.5 x 20cm PROVENANCE: Christie’s, Brisbane, The Johnstone Collection, 5 June 1994, lot 10 Private collection The Alan & Margaret Hickinbotham Collection, Mossgreen Auctions, Adelaide, 25 June 2017, lot 28 Private collection, Melbourne $6,000-8,000 Viewing in Sydney

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73 © Robert Dickerson /Copyright Agency 2021

72 RUSSELL DRYSDALE (1912-1981) Head of a Young Man ink on paper signed lower right: Russell Drysdale 22 x 18cm PROVENANCE: Lawson~Menzies, Sydney, 7 May 2006, lot 183 Private collection, Melbourne $2,000-4,000

73 ROBERT DICKERSON (1924-2015) Break Time pastel and charcoal on paper signed lower right: DICKERSON title inscribed verso 55 x 75cm PROVENANCE: GFL Fine Art, Perth, 30 May 2017, lot 94 (label verso) Private collection, Melbourne

74 CHARLES BLACKMAN (1928-2018) Portrait of a Woman charcoal on paper signed lower left: BLACKMAN 59 x 42cm PROVENANCE: GFL Fine Art, Perth, 30 May 2017, lot 41 (label verso) Private collection, Melbourne $4,000-6,000

$5,000-7,000

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79 © Kemp Estate

75 § ARTHUR BOYD (1920-1999) Nebuchadnezzar ink on paper signed lower right: Arthur Boyd 50 x 63cm

77 MIRKA MORA (1928-2018) Untitled Figure 1967 pastel on paper signed and dated lower right: MiRKA 67 75.5 x 55.5cm

PROVENANCE: Holdsworth Galleries, Sydney Private collection, Sydney Shapiro Auctioneers, Sydney, 8 June 2011, lot 467 Private collection, Melbourne

PROVENANCE: Tolarno Galleries, Melbourne c.1967 Private collection, Melbourne Leonard Joel, Melbourne, 5 September 2017, lot 169 Private collection, Melbourne

$3,000-5,000

$5,000-7,000 76 DOROTHY BRAUND (1926-2013) Sunbathing 1983 watercolour and gouache on paper signed and dated lower right: BRAUND/ ‘83 18 x 43.5cm PROVENANCE: The Artist Private collection, Melbourne $2,000-3,000

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78 ALAN WARREN (1919-1991) Reclining Figure 1967 oil on masonite signed and dated lower right: alan / warren / 67 titled and dated verso 84 x 118cm

79 ROGER KEMP (1908-1987) Untitled mixed media on paper unsigned accompanied by a certificate of authenticity from the Roger Kemp Estate 37 x 66cm PROVENANCE: Eastgate & Holst, Melbourne 2006 Private collection, Melbourne EXHIBITIONS: Roger Kemp, Eastgate & Holst, Melbourne, 8 March - 22 April 2006 $2,000-4,000

PROVENANCE: Private collection, New South Wales

79A DAVID RANKIN (born 1946) Lake by the Coast 1984 oil on canvas signed, titled and dated verso: Lake by the Coast/ Rankin 84 125 x 150cm

$2,000-4,000

$3,000-5,000

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80 LEE AGUINALDO (Filipino, 1933-2007) Painting in Green No. 2 1963 mixed media on canvas laid on board signed, titled and dated verso: “PAINTING IN GREEN NO. 2”/ JULY 3, 1963/ LEE AGUINALDO 81 x 79cm PROVENANCE: Acquired from the artist, Manila 1963 The Collection of Ron Taft, Melbourne OTHER NOTES: Lee Aguinaldo was considered a pioneer of Phillipine modernism. Born into a military family, he spent his early years in America where he was captivated by the art of Jackson Pollock, Mark Rothko, Ad Reinhart and later, Robert Rauschenberg. The American modernists greatly influenced his art practice and conceptual thinking - ideas that revolutionised the Filipino art scene. $15,000-25,000 Viewing in Sydney

81 § JOSEPH STANISLAUS OSTOJA-KOTKOWSKI (1922-1994) Suspended 1965 oil and collage on board signed and titled verso: SUSPENDED/ J. S. OSTOJA-KOTKOWSKI 152.5 x 116.5cm PROVENANCE: Harold E Mertz Collection of Australian Art, Christie’s, Melbourne, 28 June 2000, lot 77 Private collection, Melbourne Shapiro Auctioneers, Sydney, 19 September 2006, lot 222 Barry Sherman Galleries, Melbourne 2007 Private collection, Melbourne Leonard Joel, Melbourne, 19 March 2019, lot 34 Private collection, Melbourne

81A ROBERT JACKS (born 1943) Blue Harlequin 1997 oil on linen signed, titled and dated verso: Jacks/ Blue/ Harlequin ‘97 182.5 x 153cm PROVENANCE: Private collection, Melbourne $7,000-9,000 Viewing in Sydney

EXHIBITIONS: The Australian Painters 1964-66; Contemporary Australian Painting from The Mertz Collection, Corcoran Gallery of Art, Washington, 10 March - 16 April, 1967, cat. no. 64 LITERATURE: Luck, R.K., The Australian Painters 1964-66; Contemporary Australian Painting from The Mertz Collection, Griffin Press, Adelaide, 1966 $5,500-6,500

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WORKS FROM THE ESTATE OF LADY NOLAN Lots 82 – 146

82 © Sidney Nolan /Copyright Agency, 2021

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82 SIDNEY NOLAN (1917-1992) Central Australian Landscape c.1972 mixed media on paper signed centre right: nolan 51 x 75cm

84 SIDNEY NOLAN (1917-1992) Burke and Camel c.1964 mixed media on paper signed lower left: nolan 63 x 51.5cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$3,000-5,000 Viewing in Sydney

$4,000-6,000

83 SIDNEY NOLAN (1917-1992) Central Australian Landscape c.1968 mixed media on paper signed lower right: nolan inscribed verso: LANDSCAPE 1969 50 x 74cm

85 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4526 103 x 70cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$3,000-5,000

$1,000-1,500

88 © Sidney Nolan /Copyright Agency, 2021

86 SIDNEY NOLAN (1917-1992) Face, Hand, and Flowers c.1977 mixed media on paper signed lower right: nolan Rudy Komon Gallery label verso cat. no. 4323 96 x 69cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500

87 SIDNEY NOLAN (1917-1992) Beckett Theatre 2 1978 oil pastel on paper signed lower right: nolan inscribed left hand side: “Lady of Succour / Full Moon” inscribed right hand side: “work, family, third / fatherland...” titled upper centre Rudy Komon Gallery label verso cat. no. 4525 70 x 103cm

88 SIDNEY NOLAN (1917-1992) Man and Bird 1972 mixed media on paper signed centre right: Nolan Marlborough Galerie, Zurich label verso 50 x 74cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

EXHIBITIONS: Sidney Nolan, Fuji Television Gallery, Tokyo, 10-28 April, 1973, cat. no. 10 (label verso)

$1,000-1,500

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$5,000-8,000 Viewing in Sydney

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95 © Sidney Nolan /Copyright Agency, 2021

89 SIDNEY NOLAN (1917-1992) Landscape c.1962 mixed media on paper signed and inscribed verso: Gazelles/ 1962/ nolan 62 x 50.5cm

91 SIDNEY NOLAN (1917-1992) Untitled (Bird and Branch) c.1982 mixed media on paper signed lower left: nolan 74.5 x 59.5cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$4,000-6,000

$3,500-4,500

90 SIDNEY NOLAN (1917-1992) Bird and Prey c.1982 mixed media on paper signed lower right: nolan 75.5 x 51.5cm

92 SIDNEY NOLAN (1917-1992) Theatre 2 Beckett c.1978 oil pastel on paper signed lower right: nolan titled upper left inscribed right hand side: Philomel Rudy Komon Gallery label verso cat. no. 4529 70 x 103cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,500-3,500

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500

93 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 78 Rudy Komon Gallery label verso cat. no. 4536 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-1,500 94 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4524 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500

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95 SIDNEY NOLAN (1917-1992) Lovers Screwed On To Murder Their Shame 1966 oil on canvas initialled lower right with backwards N signed and dated verso titled on Waddington Galleries labels verso 122 x 153cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan, Ouevres d’un grand peintre Australien, Australian Embassy, Paris 16 June - 28 July, 1978, cat. no. 48 $20,000-30,000 Viewing in Sydney 96 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet no. 71 (Lest the wise world should look into your moan and mock you with me after I am gone) c.1963 mixed media on paper signed lower left and lower right: nolan Macquarie Galleries label verso 62 x 51cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $3,000-5,000 Viewing in Sydney 97 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet No. 127 (Fairing the foul with art’s false borrowed face) 1963 mixed media on paper signed and dated lower left: nolan/ 16 oct 63 Macquarie Galleries label verso 62 x 51cm

96 © Sidney Nolan /Copyright Agency, 2021

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,200-1,800

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100 © Sidney Nolan /Copyright Agency, 2021

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98 SIDNEY NOLAN (1917-1992) Calligraphic Drawing c.1957 ink on paper unsigned Australian Gallery Directors Council label verso 29.5 x 24cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan Works on Paper Retrospective, Art Gallery of New South Wales, Sydney, 1980-81, cat. no. 108 (touring exhibition) LITERATURE: Buckley, J., Sidney Nolan Works on Paper Retrospective, Australian Gallery Directors Council, Canberra, 1980, cat. no. 108 $1,000-1,500 99 SIDNEY NOLAN (1917-1992) Noh Theatre, Japan c.1957 mixed media on paper signed lower right: nolan Australian Galleries label verso cat. no. 9160 30 x 24.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $4,000-6,000 100 SIDNEY NOLAN (1917-1992) Climbing Monkey spray enamel and enamel on canvas signed lower right: nolan 151 x 120.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $9,000-12,000 Viewing in Sydney

101 SIDNEY NOLAN (1917-1992) Beckett 1978 mixed media on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4536 70.5 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-1,500 102 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated mid right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4543 70 x 102cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500 103 SIDNEY NOLAN (1917-1992) Beckett 1977 oil pastel on paper signed, titled and dated lower left: Beckett/ nolan/ 6 Dec 77 Rudy Komon Gallery label verso cat. no. 4527 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500 104 SIDNEY NOLAN (1917-1992) Prometheus c.1968 mixed media on paper laid on masonite signed lower right: nolan titled verso 51 x 75cm

105 SIDNEY NOLAN (1917-1992) Coastline 1957 PVA on board signed, titled and dated verso: Coastline/ nolan 14-5-57 120 x 150cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan, Whitechapel Art Gallery, London, June-July 1957, cat. no. 107 LITERATURE: Sidney Nolan: Catalogue of an Exhibition of Paintings From 1947-1957 held at the Whitechapel Art Gallery, London, cat. no. 107, p.25 $9,000-12,000 106 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4534 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500 107 SIDNEY NOLAN (1917-1992) Theatre 1 A+B Beckett c.1978 oil pastel on paper signed lower right: nolan titled upper left Rudy Komon Gallery label verso cat. no. 4530 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-1,500

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $4,000-6,000

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110 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet No. 141 (Only my plague thus far I count my gain that she that make me sin awards me pain) 1963 mixed media on paper initialled lower left: N signed lower centre left: nolan signed, dated and titled verso Macquarie Galleries label verso 62 x 51cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000 111 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed and dated lower right: nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4328 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500 112 SIDNEY NOLAN (1917-1992) Central Australian Landscape c.1972 mixed media on paper signed lower right: nolan Marlborough Galerie, Zurich label verso 50 x 74cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

109 © Sidney Nolan /Copyright Agency, 2021

EXHIBITIONS: Sidney Nolan, Fuji Television Gallery, Tokyo, 10-28 April 1973, cat. no. 1 (illus.) (label verso) $3,000-5,000 108 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4544 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500

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109 SIDNEY NOLAN (1917-1992) Man In Hat c.1955 mixed media on paper signed lower centre: nolan Australian Galleries label verso cat. no. 9110 30 x 24.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $3,000-5,000 Viewing in Sydney

113 SIDNEY NOLAN (1917-1992) Theatre 1 A+B Beckett 1977 oil pastel on paper signed and dated lower right: nolan/ Nov 1977 titled upper left Rudy Komon Gallery label verso cat. no. 4535 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-1,500

116 © Sidney Nolan /Copyright Agency, 2021 114 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4532 70 x 103cm

115 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, dated and titled lower left: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4537 71 x 103cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$1,000-1,500

$1,500-2,500

116 SIDNEY NOLAN (1917-1992) Bird and Landscape c.1982 spray enamel and enamel on canvas unsigned 153 x 121.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $9,000-12,000

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119 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4541 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-1,000 120 SIDNEY NOLAN (1917-1992) Bird 1982 mixed media and enamel spray on paper signed lower right: nolan 75 x 60cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000 121 SIDNEY NOLAN (1917-1992) Sonnet III c.1963 mixed media paper signed lower right: nolan Australian Galleries label verso cat. no. 9046 62 x 49.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK 121 © Sidney Nolan /Copyright Agency, 2021

117 SIDNEY NOLAN (1917-1992) Horse 1987 spray enamel and enamel on canvas signed and dated on stretcher verso: n 1987 153.5 x 122cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $9,000-12,000

$4,000-6,000

118 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4531 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500

122 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet No. 31 (Thou art the grave where buried love doth live hung the trophies of my lovers gone) 1963 mixed media on paper signed and dated lower left: nolan/ 14.12.63 titled on label verso 50 x 62.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan; Shakespeare Sonnets, Macquarie Galleries, Sydney, 27 September - 14 October 1967 (label verso) $3,000-4,000

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122 © Sidney Nolan /Copyright Agency, 2021

123 SIDNEY NOLAN (1917-1992) Shakespeare Sonnet no.146 (So shalt thou feed on death, that feeds on men, and death once dead, there’s no more dying then) c.1963 mixed media on paper unsigned Marlborough Fine Art label verso 62 x 49.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

124 SIDNEY NOLAN (1917-1992) Theatre 2 Beckett c.1978 oil pastel on paper signed lower right: nolan titled upper left Rudy Komon Gallery label verso cat. no. 4545 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

125 SIDNEY NOLAN (1917-1992) Beckett 1978 mixed media on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 70 x 102.5cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500

$1,000-1,500

EXHIBITIONS: Sidney Nolan: paintings, drawings and theatre design, Grosvenor Museum, Chester, England, 22 July - 18 September, 1983, cat. no. 37 (label verso) $3,000-4,000 45

128 SIDNEY NOLAN (1917-1992) Hand and Jug of Flowers 1977 mixed media on paper signed and dated lower right: nolan/ March 77 inscribed verso: FLOWERS AND HAND 103 x 72cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500 129 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4538 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,500-2,500 130 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed and dated lower right: nolan/ 1978 71.5 x 102cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000 127 © Sidney Nolan /Copyright Agency, 2021

126 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4546 70 x 103cm

127 SIDNEY NOLAN (1917-1992) Ballet Design (The Display) 1963 mixed media on paper signed and dated lower left: nolan/ 7-12-63 signed and dated verso Rudy Komon Gallery label verso cat. no. 5276 61 x 48cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$1,500-2,500

EXHIBITIONS: The Australian Ballet, National Gallery of Victoria, Melbourne, 25 August - 8 October, 1972 (label verso) $4,000-6,000

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131 SIDNEY NOLAN (1917-1992) Study for Snake c.1972 mixed media on paper signed lower right: Nolan Marlborough Gallery label verso 30 x 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000

135 © Sidney Nolan /Copyright Agency, 2021 132 SIDNEY NOLAN (1917-1992) Study for Snake c.1972 mixed media on paper Marlborough Gallery label verso 30 x 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,000-3,000

134 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4533 70 x 103cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

133 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4523 71 x 103cm

$1,500-2,500

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$1,500-2,500

$3,000-5,000

135 SIDNEY NOLAN (1917-1992) Central Australian Landscape c.1972 mixed media on paper signed lower right: nolan 51 x 74.5cm

136 SIDNEY NOLAN (1917-1992) Foot and Bird 1977 mixed media on paper signed, titled and dated lower right: nolan/ 77/ Foot and Bird 102 x 71cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-1,500 137 SIDNEY NOLAN (1917-1992) Bird 1982 mixed media on paper signed lower right: nolan 75 x 60cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $2,500-3,500

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138 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4528 69 x 102cm

141 SIDNEY NOLAN (1917-1992) Six Studies for Snake c.1972 mixed media on paper (6) unsigned inscribed verso: Nolan/ 1972 Rudy Komon Gallery label verso cat. no. 4289 29.5 x 24.5cm (each)

144 SIDNEY NOLAN (1917-1992) Beckett 1978 crayon on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4552 70.5 x 103cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$1,500-2,500

$6,000-9,000

$1,000-1,500

139 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4542 70 x 103cm

142 SIDNEY NOLAN (1917-1992) Six Studies for Snake c.1972 mixed media on paper (6) signed in bottom right work, lower right: Nolan inscribed verso: Nolan/ 1972 Rudy Komon Gallery label verso cat. no. 4289 29.5 x 24.5cm (each)

145 SIDNEY NOLAN (1917-1992) Classical Sculpture and Crucifixion 1978 oil pastel on paper signed and dated lower right: nolan/ 30 Jan 78 Rudy Komon Gallery label verso cat. no. 4479 70 x 103cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$3,000-4,000

$6,000-9,000 Viewing in Sydney

140 SIDNEY NOLAN (1917-1992) Six Studies for Snake c.1972 mixed media on paper (6) signed in bottom right work, lower right: Nolan inscribed verso: Nolan/ 1972 Rudy Komon Gallery label verso cat. no. 4289 29.5 x 24.5cm (each)

143 SIDNEY NOLAN (1917-1992) Beckett 1978 oil pastel on paper signed, titled and dated lower right: Beckett/ nolan/ 1978 Rudy Komon Gallery label verso cat. no. 4540 103 x 70cm

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK

$6,000-9,000

$1,000-1,500

PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK $1,000-1,500 146 SIDNEY NOLAN (1917-1992) Woman c.1959 crayon on paper unsigned Australian Gallery Directors Council label verso 30 x 25cm PROVENANCE: Sir Sidney Nolan By inheritance to his widow, Lady Nolan The Estate of Lady Nolan, UK EXHIBITIONS: Sidney Nolan Works on Paper Retrospective, Art Gallery of New South Wales, Sydney, 1980-81, cat. no. 114. (touring exhibition) LITERATURE: Buckley, J., Sidney Nolan Works on Paper Retrospective, Australian Gallery Directors Council, Canberra, 1980, cat. no. 114 $1,200-1,800

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142 © Sidney Nolan /Copyright Agency, 2021

END OF COLLECTION 49

147 § ADNATE (born 1984) Untitled 2012 synthetic polymer paint and aerosol on canvas signed and dated verso: Matt Adnate 2012 120 x 100cm PROVENANCE: Commissioned from the artist, 2012 Corporate collection, Melbourne Private collection, Melbourne $3,500-5,500 148 § ADNATE (born 1984) Untitled 2012 acrylic, aerosol and mixed media on board on MDF 123 x 64 x 7.5cm PROVENANCE: RTIST Gallery, Melbourne, 2012 Private collection, Melbourne EXHIBITIONS: Lost Culture, RTIST Gallery, Melbourne, 2012 $4,000-6,000 149 § MATTHEW JOHNSON (born 1963) Liminal Transition IV 2020 oil on canvas signed, titled and dated verso: “LIMINAL TRANSITION IV” ‘20/ Matthew Johnson 81 x 80.5cm PROVENANCE: Private collection, Melbourne $2,500-3,000

148

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150 © Jasper Knight /Copyright Agency 2021

150 § JASPER KNIGHT (born 1978) Yellow and Blue Jetty 2006 enamel, masonite and perspex on board signed, titled and dated verso: JASPER KNIGHT/ YELLOW & BLUE JETTY 2006 151.5 x 150cm PROVENANCE: Leonard Joel, Melbourne, 24 October 2010, lot 196 Private collection, Melbourne LITERATURE: McGregor, K., Jasper Knight, Macmillan, Melbourne, 2007, plate 20, p. 46 (illus.) $5,000-8,000

151 DION HORSTMANS (New Zealander, born 1967) Untitled folded steel and acrylic paint 125 x 245 x 215cm PROVENANCE: Commissioned from the artist Corporate collection, Melbourne OTHER NOTES: This work is located in offsite storage in Melbourne with viewing by appointment only. Please contact the Art Department for more information. $10,000-15,000

152 MARC DE JONG (Swiss/Australian, born 1970) Snake Eyes 2001 enamel and glass on canvas signed, titled, dated and inscribed verso: CRACK IN THE EARTH/ MAD MAX PNTNG/ ‘SNAKE EYES’/ 2001/ MARCSTA 121.5 x 182.5cm PROVENANCE: Acquired directly from the artist Private collection, Melbourne EXHIBITIONS: Marc De Jong, Mad Max Paintings, Spacement Gallery, Melbourne, 2004 $4,800-6,000

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153 DEL KATHRYN BARTON (born 1972) Self Grieving 2001 pencil on paper signed, titled and dated upper right: - self grieving - del kathryn 2001 76 x 59cm (sheet) PROVENANCE: Gift from the artist Private collection, Sydney $2,200-3,500 154 ANDREW BROWNE (born 1960) Untitled 1998/99 oil on linen signed, titled and dated verso: ANDREW BROWNE/ UNTITLED 1998/99 305 x 121cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Andrew Browne: Painting Light, Bendigo Art Gallery, Bendigo, 1999 OTHER NOTES: The current panel relates to one panel of the commissioned four panel work for the Westin Hotel, Melbourne, completed late 1999.

Andrew Browne is represented by Tolarno Galleries, Melbourne $4,600-6,000 155 § EDUARDO SANTOS (Brazilian/Australian, born 1974) Memories of Colours IX 2018 oil, acrylic and natural pigment on board signed, titled and dated verso: MEMories OF COLOURS IX/ (2018)/ Eduardo Santos 120 x 89cm PROVENANCE: Blockprojects at Spring 1883, Windsor Hotel, Melbourne, 2018 Private collection, Melbourne $2,000-3,000

156 © Courtesy of the Estate of Dorothy Braund

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156 DOROTHY BRAUND (1926-2013) Bathers Series II watercolour and gouache on paper (3) trio of works unsigned 11 x 18cm (each) PROVENANCE: The Artist Private collection, Melbourne $2,000-3,000 157 DOROTHY BRAUND (1926-2013) Bathers Series III watercolour and gouache on paper (3) trio of works unsigned 11 x 18cm (each) PROVENANCE: The Artist Private collection, Melbourne $2,000-3,000 158 GILLIE & MARC SCHATTNER (born 1960 & 1961) The Rhino Just Wanted a Coffee and Pear bronze with gold and green patina, ed. 2/25 signed and editioned at base: GILLIE AND MARC 2/25 accompanied by a certificate of authenticity from Gillie and Marc Studio 33 x 28 x 17cm PROVENANCE: The Artists Private collection, Sydney $2,500-3,000

157 © Courtesy of the Estate of Dorothy Braund

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159 JEFFREY MAKIN (born 1943) Breen Terrace 1984 oil on canvas signed lower right: Makin titled on unknown exhibition label verso 182.5 x 152cm PROVENANCE: Private collection, Melbourne $4,000-6,000 160 JUDY CASSAB (1920-2015) Bending Figures 1985 oil on canvas signed and dated lower right: Cassab 85 titled verso 106 x 132cm PROVENANCE: Private collection, Melbourne $3,000-5,000 161 ALAN LOWNDES (1921-1978) Dustbins c.1960s oil on canvas signed lower right: Alan Lowndes signed and titled verso 74 x 66.5cm PROVENANCE: Private collection, UK Thence by descent Private collection, Melbourne $4,000-6,000 162 ALAN WARREN (1919-1991) Seated Figure 1966 oil on masonite signed and dated lower right: alan/ warren 66 inscribed verso: SEALED [sic] FIGURE 107 x 76.5cm 162 PROVENANCE: Leonard Joel, Melbourne, 16 April 1991, lot 144 Private collection, New South Wales $2,000-4,000

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164 © Kenneth Jack /Copyright Agency 2021

163 DONALD FRIEND (1915-1989) Venice 1952 gouache and ink on paper signed, titled and dated lower right: Donald Friend Venice ‘52 30 x 47cm PROVENANCE: Private collection, Melbourne

164A PRO HART (1928-2006) Family in the Landscape oil on masonite signed lower left: PRO/HARt 22 x 29cm PROVENANCE: Private collection, Melbourne $2,500-3,000

$2,500-3,500 164 KENNETH JACK (1924-2006) (The Old Corner Store) 1967 oil and mixed media on board signed and dated lower right: KENNETH JACK/ 1967 90 x 120cm

165 RUSSELL DRYSDALE (1912-1981) The Spieler ink and wash on paper signed lower right: Russell Drysdale titled verso 40.5 x 29cm

PROVENANCE: Private collection, Melbourne

PROVENANCE: David Driden, Clarendon, South Australia Private collection, South Australia

$8,000-12,000

$5,000-7,000

165A CLIFTON PUGH (1924-1990) The Olgas and Ayers Rock 1983 gouache on paper signed and dated lower right: Clifton/ 8. 11. 83 titled lower left 54.5 x 73.5cm PROVENANCE: Leonard Joel, Melbourne, 13 November 1990, lot 207 Private collection, Melbourne $2,000-2,500 166 LAWRENCE DAWS (born 1927) Clare Landscape 1988 mixed media on paper signed lower right: DAWS signed and dated on label verso 84 x 99cm PROVENANCE: BMG Fine Art (label verso) Private collection, Melbourne $2,200-2,800

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167 © Robert Dickerson /Copyright Agency 2021

167 ROBERT DICKERSON (1924-2015) Two Faces pastel on paper signed lower right: DICKERSON 56 x 78cm

169 ROBERT DICKERSON (1924-2015) Figure in the Street pastel on paper signed lower right: DICKERSON 28 x 37.5cm

PROVENANCE: Theodore Bruce Auctions, Sydney, 16 July 2017, lot 8 Private collection, Melbourne

PROVENANCE: Private collection, Adelaide Leonard Joel, Melbourne, 6 June 2017, lot 11 Private collection, Melbourne

$5,000-7,000

$3,500-5,000

168 DAVID BOYD (1924-2011) Face in the Flame Tree with Naked Angel and Blue Angel and a Bird oil on board signed lower left: David Boyd titled verso 31.5 x 37cm

170 YOSL BERGNER (1920-2017) Wild Flowers oil on canvas signed in Hebrew lower right signed and titled verso 40 x 30cm

PROVENANCE: Greenaway Gallery, Melbourne (label verso) Private collection, Melbourne $5,000-6,500

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PROVENANCE: Private collection, Melbourne $2,500-3,500

171 CHARLES BLACKMAN (1928-2018) Girl with Fan 1994 ceramic and oil on board signed upper right: BLACKMAN titled and dated on gallery label verso 74 x 50.5cm PROVENANCE: Wagner Art Gallery, Hong Kong (label verso) Private collection, Melbourne EXHIBITIONS: Blackman Exhibition, Wagner Art Gallery, Hong Kong, 1995, cat. no. 17 $5,000-7,000

172 GILLIE & MARC SCHATTNER (born 1960 & 1961) They Stood Tall to Photograph it All bronze ed. 5/30 signed and editioned at base: GILLIE AND MARC 5/30 accompanied by a certificate of authenticity from Gillie and Marc Studio 54 x 24 x 12cm PROVENANCE: The Artists Private collection, Sydney $1,800-2,800 173 § MARK RODDA (born 1973) Skull Pass 2010 oil on wood panel signed, titled and dated verso: Mark Rodda/ ‘Skull Pass’/ 2010 43.5 x 120cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: The Inaugural NotFair, Blockprojects, 5 - 8 August, 2010 $3,000-3,500 174 § BRUCE EARLES (born 1953) Waterway Action 2020 oil on canvas signed and dated lower right: Bruce Earles ‘20 signed, titled and dated lower right 122.5 x 150cm PROVENANCE: The Artist Private collection, Melbourne $3,500-4,500 175 MARCEL COUSINS (born 1972) Bunny Rabbit Girl Frolicking in the Forest 2004 enamel on canvas signed, titled and dated verso: “BUNNY RABBIT GIRL FROLICKING IN/ THE FOREST”/ MARCEL COUSINS/ 2004 80.5 x 130.5cm PROVENANCE: Private collection, Melbourne $2,000-4,000

172

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A THREE STONE DIAMOND RING IN PLATINUM $70,000-80,000

FINE JEWELS & TIMEPIECES MELBOURNE AUCTION Monday 15 March 2021, 6pm

Viewing in Sydney: Friday 5 - Sunday 7 March, 10am–4pm Viewing in Melbourne: Friday 12 – Sunday 14 March, 10am–4pm

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NOTES

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NOTES

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NOTES

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ARTIST INDEX ADNATE....................................................... 147, 148

JACK, KENNETH........................................... 68, 164

AGUINALDO, LEE................................................. 80

JACKS, ROBERT..................................................81A

ASHTON, WILL.................................................... 5, 6

JACKSON, JAMES R......................................... 7, 63

BARTON, DEL KATHRYN.................................... 153

JOHNSON, MATTHEW...................................... 149

BEAUMONT, CHRISTOPHER............................... 35

KELLY, JOHN.......................................................... 36

BENNETT, RUBERY............................................... 52

KEMP, ROGER........................................................ 79

BERGNER, YOSL................................................. 170

KNIGHT, JASPER................................................. 150

BLACKMAN, CHARLES..................... 22, 31, 74, 171

KOEKKOEK JUNIOR, HERMANUS...................... 43

BOYD, ARTHUR............................................... 17, 75

LANCELEY, COLIN................................................ 28

BOYD, DAVID.......................................... 21, 69, 168

LINDSAY, NORMAN............ 9, 12, 56, 57, 58, 61, 65

BOYD, GUY............................................................ 30

LINDSAY, PETER.................................................... 38

BRAUND, DOROTHY................ 16, 26, 76, 156, 157

LOWNDES, ALAN............................................... 161

BROWNE, ANDREW........................................... 154

MAKIN, JEFFREY................................................. 159

BUCKMASTER, ERNEST....................... 8, 54, 64, 66

MARCEL-CLÉMENT, AMÉDÉE JULIEN............... 42

BUNNY, RUPERT.................................................... 11

MORA, MIRKA................................................. 29, 77

CASSAB, JUDY.................................................... 160

NOLAN, SIDNEY......................................24, 82-146

CONDER, CHARLES............................................. 62

OLSEN, JOHN....................................................... 27

CORTÈS, ÉDOUARD............................................. 41

OSTOJA-KOTKOWSKI, JOSEPH STANISLAUS.. 81

COUSINS, MARCEL............................................ 175

PEART, JOHN........................................................ 25

CROOKE, RAY.................................................. 15, 20

POWNALL, GEORGE HYDE................................... 2

CURTIS, J.W........................................................... 48

PUGH, CLIFTON................................................165A

DAHLBERG, BRIAN............................................... 34

RANKIN, DAVID...................................................79A

DAWS, LAWRENCE............................................. 166

ROBERTS, TOM......................................... 10, 44, 46

DE JONG, MARC................................................ 152

RODDA, MARK.................................................... 173

DICKERSON, ROBERT.......................... 73, 167, 169

ROLANDO, CHARLES........................................... 50

DOBELL, WILLIAM................................................ 67

SANTOS, EDUARDO.......................................... 155

DRYSDALE, RUSSELL.............................. 71, 72, 165

SCHATTNER, GILLIE & MARC.................... 158, 172

EARLES, BRUCE................................................... 174

SHANNON, MICHAEL.......................................... 18

FIDDIAN-GREEN, NIC.......................................... 40

STEFFANONI, SOPHIE......................................... 53

FRIEND, DONALD.............................................. 163

STREETON, ARTHUR............................................ 45

FULLWOOD, ALBERT HENRY................................ 1

TRIBE, BARBARA............................................. 59, 60

GIBSON, BESSIE..................................................... 4

TUCKER, ALBERT.................................................. 23

GILL, S.T.................................................................. 47

TURNER, JAMES ALFRED.............................. 49, 51

GLEESON, JAMES.......................................... 32, 33

WARREN, ALAN............................................ 78, 162

HART, PRO.............................................19, 70, 164A

WILSON, DORA L.............................................. 3, 13

HEYSEN, HANS............................................... 14, 55

WILSON, TIM................................................... 37, 39

HORSTMANS, DION........................................... 151

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— To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

CONDITIONS OF BUSINESS / SUMMARY Special Conditions of Sale – Jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability.

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Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.

and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

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

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

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CONTACT A LEONARD JOEL SPECIALIST Sale Rooms — MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 314 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 email: info@leonardjoel.com.au leonardjoel.com.au MANAGING DIRECTOR & HEAD OF COLLECTIONS John Albrecht BA LLB MBA

Leonard Joel Specialists — FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Summer Masters BDes Hons, Administrator INDIGENOUS ART Olivia Fuller BArtTh, Head of Department DECORATIVE ARTS Chiara Curcio BA, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney Louisa Hirst, Assistant FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Maria Walker F.G.A.A., Manager Indigo Keane, Assistant Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department

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LOT 36 JOHN KELLY (born 1965) Homage to Sisyphus 1987 oil on canvas signed and dated lower right: Kelly 87 artist’s name, title and date inscribed verso: JOHN KELLY/ HOMAGE TO/ SISYPHUS/ Sept 87 167.5 x 137cm $14,000-18,000 © John Kelly /Copyright Agency 2021 Viewing in Sydney

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SYDNEY

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