Fine Art

FINE ART AUCTION TUESDAY 22 MARCH 2022, MELBOURNE

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AUCTION CATALOGUE VOLUME 15 ISSUE 5 LJ9450 COVER Lot 21 JEFFREY SMART (1921-2013) E.U.R. II 1965 oil on board, 65.5 x 80cm $250,000 – 350,000 © The Estate of Jeffrey Smart

INSIDE COVER Lot 34 (detail) CLARICE BECKETT (1887-1935) Studley Park Footbridge c.1924 oil on board 25.5 x 35cm $50,000 – 70,000

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FINE ART AUCTION TUESDAY 22 MARCH 2022, 6PM MELBOURNE

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

Please refer to our website for viewing details Lot 67 (opposite) © Jasper Knight/Copyright Agency 2022

leonardjoel.com.au

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Fine Art Featuring an Important Jeffrey Smart Painting –

An introduction often serves to gather momentum for an item or collection; perhaps to highlight its rarity, history, and importance. However, there are works that sometimes require no introduction at all. Lot 21 by Jeffrey Smart would be such a painting, cemented as one of the artist’s most striking examples from a highly collectible period. E.U.R. II 1965 marks a defining moment in Smart’s artistic career when his style matured. After arriving in Italy, he was completely inspired by the architectural wonders of Rome. Smart would explore the mesmerising streets of the city, especially those around the suburb of Esposizione Universale Roma (EUR). His first visit to this suburb was transformative for him and would change the course of his ensuing oeuvre, most notably through the use of the church dome. Having been in the same family collection since 1969, this important painting is once again being exhibited to the public.

Opening our March Fine Art auction are selected works originally from the collection of Charles Ruwolt. Ruwolt was a German-born immigrant who became one of Australia’s main producers of industrial and farm machinery. Together with his wife, Emily, they developed a collection of Australian art that mirrored their relationship to the land and its prosperity. Selected international works were acquired, too, developing one of the most significant art collections in the early part of the twentieth century. Eleven of these works, having descended through the Ruwolt family, have now made their way to auction at Leonard Joel, some reappearing after the duly recognised 1966 auction of the Estate.

With women artists still pushing further towards the forefront of the art market, lot 34, Clarice Beckett’s The Bridge to Studley Park Footbridge c.1924 presents one of the artist’s desirable cityscapes. She was more often confined to the home, caring for her parents, so when the opportunity arose for Beckett to paint en plein air in the urban landscape, she did it with gusto. In Studley Park Footbridge c.1924, Beckett chose to depict the Collins footbridge near Yarra Bend. In true tonalist style, the river is enveloped in misty lilacs, blues and blushes beneath a moody grey sky. Beckett gives particular detail to the angular construction of the footbridge, quietly dissecting the work between the urban setting above to the natural setting below.

Whilst there is a significant selection of important Australian artworks in this auction, we also have significant works from Asia, most notably Zeng Fanzhi’s Figure (Mask Series) 1999, lot 77. Zeng Fanzhi grew up in China, during the later years of the Chinese Cultural Revolution. He has continuously sought to infuse western theories with calligraphy and social realism. His Mask Series, in particular, draws upon the social realist paintings from the mid-20th century. The figures are depicted with white face masks, obscuring the true emotions of the subject, and enlarged hands speaking to their shared anxieties. With record prices in the marketplace, Zeng Fanzhi has become one of the highest selling contemporary Chinese artists at auction.

We look forward to seeing you in the viewing, and invite you to enjoy our latest Fine Art auction.

— Olivia Fuller | Head of Art

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The Charles and Emily Ruwolt Collection LOTS 1–11 “There died in Melbourne yesterday a big Australian– big in physique, in outlook, and reputation. He was Mr Charles Ruwolt.” So ran the Melbourne Herald obituary for Charles Ruwolt (1873-1946), a German-born immigrant who in the space of one generation built one of the nation’s main producers of industrial and farm machinery. Described as a ‘tall and earnest man’, Ruwolt embraced a strong work ethic and innovative management style. Charles Ruwolt Pty Ltd was publicly listed in 1920 and by “1938 it was one of the largest engineering companies in Australia, occupying 20 acres (8 ha) and employing 600-700 workers.” 2 Charles Ruwolt and his wife of 48 years, Emily, née Loch, developed a range of outside interests that included owning racehorses, reading, and the development of a large New South Wales pastoral holding. At Yarramundi, and from their city home in Malvern Road, Toorak, the Ruwolts indulged in one other significant pastime – building an extensive collection of Australian art. This was a passion that, over time, would also become an astute investment. Aside from owning a number of Streetons, the Ruwolt’s tended to select paintings that mirrored their own life and work and understanding of Australia’s national prosperity and character tied to manufacturing and industrial progress as well as “riding on the sheep’s back”. 3 The catalyst to form a quality art collection quite likely came from well-known Australian anthropologist, museum director and art collector, Sir Walter Baldwin Spencer. Charles Ruwolt attended the famous Spencer art collection auction held at Melbourne’s high-end-of-town Fine Art Society Gallery in 1919. This momentous event featured many of the artists who were to become integral to Ruwolt’s collection. The purchase of Arthur Streeton’s Coogee 1890 from the auction, a foundational example of Australian Impressionism, led to the acquisition in the 1920s and 30s of many more artworks by Streeton, as well as other fine works by Fred McCubbin, Hans Heysen, Elioth Gruner, and their contemporaries.4 The posthumous Charles Ruwolt Collection exhibition and auction held in 1966 was also promoted as a landmark occasion. Catalogue notes describe the artworks as the “most important to have been offered for many years” with the unique offering of 14 Streeton paintings presented as “… the most impressive that has been offered since the Baldwin Spencer Collection in 1919.”5 The auction was subsequently heralded by Leonard Joel as one of the “moments in time that defined us.”6 In the current offerings, scenes of Australian pastoral life (W. B. McInnes), famous European and English bridges and buildings (Will Ashton’s Paris and Sydney Long’s Houses of Parliament), and beach excursions (Robert Johnson and B. E. Minns) stand out. The American, Audley Dean Nichols (1875-1941) became famous for his hazy images of the wild west tamed. His Arizona 1927 is representative of the ‘Purple Mountain School’, an American equivalent to the Australian pastoral idyll.

Hans Heysen (1877-1968) was a personal favourite of Charles Ruwolt. Heysen’s signature images of majestic river gums, sheep, cattle and drovers bathed in an intense light are a highlight of 20th century depictions of the Australian bush and landscape. Ruwolt and Heysen were both child immigrants of German heritage who settled in South Australia in 1877 and 1883 respectively. Ruwolt acquired one of Heysen’s masterpieces from the Society Gallery, Melbourne, in 1926. Entitled The South Coast 1926, this large and panoramic view of Victor Harbor was priced at a handsome 250 guineas, the most expensive artwork in the show.7 Charles and Emily Ruwolt were equally attracted to Heysen’s watercolours, a medium Heysen made uniquely his own. Drover and Cattle 1917 and The River 1920 show the full range of Heysen’s expressive power and his affiliation with the Australian pastoral tradition in art. In the former, a rural worker ambles down a bush track instinctively and protectively guiding a small mob of cattle – the grand old red gum is a signpost, providing a note of timelessness, while subtle natural light envelops the scene in life-affirming pink and golden hues.

The River, in contrast, focuses on a small nook, a bend in the river surrounded by the majesty of the riverside gums. Probably referred to as Sheep at Billabong in the 1966 catalogue (but included in a loan exhibition as The River), it is equal in quality to a slightly larger watercolour entitled The River, Autumn Morning 1920 that sold for $46,000 AUD in 2018.8 The mauve modality of The River contrasts with the latter’s bluish and more heavily laden atmosphere. It is an essay in the tranquillity and productivity of nature and our place in it.

Of the works currently on offer, nearly all, including the two Heysens, maintain a strong tie with the 1966 Leonard Joel auction, having either passed down through direct descent or been bought by family members.

They represent a rare opportunity to partake in the fruits of one Australian family’s passions and endeavour.

Rodney James

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A 1937 Lionel Lindsay bookplate etching featuring Charles Ruwolt — 1. Man dies who made big name in industry, The Herald, 5 November 1946, p. 8.

2. G. Hayes, Charles Ernest Ruwolt, Australian Dictionary of Biography, Melbourne University Press, vol. 11, 1988, or online https://adb.anu.edu.au/biography/ruwolt-charlesernest-8309 3. In this respect, an intriguing 1937 Lionel Lindsay bookplate etching, Charles Ruwolt is situated against noted engineering feats and the latest in technology, a giant eucalypt and fertile pasture replete with horses, cows and sheep. In Lindsay’s (and presumably Ruwolt’s) eyes each element ¬ ¬– the Australian pastoral tradition and a new tide of manufacturing – could and did harmoniously co-exist, a central, if contradictory, tenet of the day.

4. By the time of their posthumous auction sale, the Ruwolt’s had acquired no less than 14 oil paintings by Streeton and seven by W. B. McInnes, four watercolours by Blamire Young, nine etchings by the Lindsays and five major Heysen watercolours.

5. The Charles Ruwolt Collection of Australian Paintings, Leonard Joel Pty Ltd, 17 McKillop Street Melbourne, November 1966.

6. Art and Antiques, April-August 2012, p. 38. https://issuu. com/worldantiquesart/docs/aaa-vic-apr-2012 7. Exhibition of paintings by Hans Heysen, Society Gallery, Melbourne, 1926, cat. No. 1.

8. The River, Autumn Morning, 1920, watercolour, signed lower left, dated 1920, 52 x 65 cm, Elder Fine Art, Australian & International Paintings, Adelaide, 18/11/2018, Lot No. 18.

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1 B.E. MINNS (1864–1937) Meditations watercolour on paper signed lower right: B. E. Minns 33 x 43.5cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales Leonard Joel, The Charles Ruwolt Collection of Australian Paintings, Melbourne, 17 November 1966, lot 41 The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria $2,000 – 4,000

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2 WILL ASHTON (1881–1963) Paris oil on canvas laid on board signed and titled lower right: WILL ASHTON. / PARIS 36 x 43.5cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales The Collection of Rue Ruwolt Leonard Joel, Melbourne, 2 November 1988, lot 17 (illus. p. 17) The Collection of Louise Ruwolt, Victoria $4,000 – 6,000 3 SYDNEY LONG (1871–1955) Houses of Parliament 1918 watercolour on paper signed and dated lower left: SID LONG / . 1918 .

36 x 52cm

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PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria EXHIBITIONS: Australian Art, The National Gallery, Melbourne, July – August 1925 (on loan) (label verso) $2,000 – 4,000

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4 BLAMIRE YOUNG (1862–1935) Vaster Than Empires and More Slow (Vaster Than Emptiness) watercolour on paper signed lower right: BLAMIRE YOUNG 67 x 91.5cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales Leonard Joel, Melbourne, The Charles Ruwolt Collection of Australian Paintings, 17 November 1966, lot 32 The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria

EXHIBITIONS: Athenaem Hall, Melbourne 1926 Exhibition of Watercolours by Blamire Young, David Jones Ltd, Sydney, September-October 1928

sturdy companions in the distance and the soft light filtering through the purple shadows of branches overhead and beneath the sheltering branches, a little, worn, man-made fence”.

LITERATURE: The Studio, The Australasian, Melbourne, July 1926 “…splitters at work in the bush on a fallen gum tree, in which the artist revels in the grey and gold of his romantic imagining”.

Art Exhibitions in Sydney, The Sydney Mail, Sydney, 3 October 1928- “ Here a great tree bulking dark in the right foreground, the colours on its trunks wonderfully studied, arches in with its heavy branches the spectator’s point of view. Behind it and the post-and-rail fence in clearer light is marshalled a regiment of straight tree-trunks, and beyond them again the open, sunlit glade”.

Blamire Young, The Sydney Mail, Sydney, September 1928- “The large painting dominates the exhibition… in the foreground - a massive old tree, even its gnarled old roots withstanding the centuries, its branches lost in the leaf-shadows of ages above and like the mist of long years, the grey-blue trunks of its

Marshall, S., The Watercolours of Blamire Young, Meridian, Sydney 2013, p. 600 $12,000 – 16,000

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5 ROBERT JOHNSON (1890–1964) Afternoon, Berrys Bay oil on board signed lower right: Robert Johnson titled verso 37 x 44.5cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria $4,000 – 6,000

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6 © Hans Heysen/Copyright Agency 2022

6 HANS HEYSEN (1877–1968) Sheep at Billabong 1920 watercolour on paper signed and dated lower right: HANS HEYSEN 1920 43 x 58cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales Leonard Joel, The Charles Ruwolt Collection of Australian Paintings, Melbourne, 17 November 1966, lot 25 The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria $25,000 – 35,000

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7 © Hans Heysen/Copyright Agency 2022

7 HANS HEYSEN (1877–1968) Drover and Cattle 1917 watercolour on paper signed and dated lower left: HANS HEYSEN 1917 46 x 62cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales Leonard Joel, The Charles Ruwolt Collection of Australian Paintings, Melbourne, 17 November 1966, lot 29 The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria $30,000 – 40,000

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8 W.B. MCINNES (1889–1939) The Farmyard oil on canvasboard signed lower right: W. B. McINNES 24 x 34cm PROVENANCE: The Collection of Mr and Mrs Charles and Ruwolt, New South Wales Leonard Joel, The Charles Ruwolt Collection of Australian Paintings, Melbourne, 17 November 1966, lot 7 (as “Farm Scene Panel”) The Collection of Rue Ruwolt Leonard Joel, Melbourne, 3 November 1988, lot 1410 (illus. p.125) The Collection of Louise Ruwolt, Victoria $2,000 – 3,000

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9 LIONEL LINDSAY (1874–1961) Old Ronda (Doorway) 1934 watercolour and gouache on paper signed lower right: LIONEL LINDSAY 33 x 25cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales Leonard Joel, The Charles Ruwolt Collection of Australian Paintings, Melbourne, 17 November 1966, lot 47 The Collection of Rue Ruwolt Leonard Joel, Melbourne, 3 November 1988, lot 472 (as “Doorway”) The Collection of Louise Ruwolt, Victoria $2,000 – 2,500 10 AUDLEY DEAN NICOLS (American, 1875–1941) Arizona 1927 oil on canvas signed, titled and dated lower left: Audley Dean Nicols / Ariz 1927 28 x 48cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria $5,000 – 8,000 9

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11 NORMAN LINDSAY (1879–1969) Juno and Peacock 1918 watercolour on paper signed and dated lower right: NORMAN / LINDSAY / 1918 30.5 x 26cm PROVENANCE: The Collection of Mr and Mrs Charles Ruwolt, New South Wales Leonard Joel, The Charles Ruwolt Collection of Australian Paintings, Melbourne, 17 November 1966, lot 36 (as “Juno, Slave Girl and Peacock 1918”) The Collection of Claude Ruwolt The Collection of Louise Ruwolt, Victoria $4,000 – 6,000

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Norman Lindsay remains one of the most prolific, critiqued, and collected artists of the fin de siècle in Australia. Although he originally created his works through pen and ink, fellow artist Blamire Young introduced him to the romantic and spontaneous qualities of watercolour. The medium allowed him to further develop his appetite for the mythical and magical.

Lindsay’s penchant for fantasy took hold during his younger years, when as a 6 year old he was confined indoors due to a rare blood disorder. Whilst being forced to refrain from the outside world, Lindsay delved deeply into his imagination where he taught himself to draw. His creativity reached new heights when, during the late 1890s, Ernest Moffitt introduced him to the Greek poets and the art of Pre-Raphaelite painter, Frederick Sandys. Suddenly, Lindsay was inspired with a new form of self-expression discovered. He traded Christianity and Puritan values prescribed by his mother, for Nietzsche, philosophy and Bacchanalia. He led, from then, a fairly bohemian life.

Norman Lindsay often returned to depictions of Bacchus, the Roman god of wine, pleasure, revelry and frenzied creativity. Bacchus represented an unrestrained lifestyle, something which Lindsay deeply sought. Originally, Bacchanalia was the Roman festival held in honor of the god, but eventually came to mean any occasion of wild and drunken revelry. Bacchus was said to inspire his worshipers in their intoxicated state, freeing them to think and act in new ways. Lindsay’s art, too, allowed him to explore liberating concepts and social mores, many of which were obstructed by the society of the time.

Bacchanalia permitted Lindsay with unlimited occasions to free his imagination and he explored the theme throughout his career with numerous lithographs, pen and pencil drawings, oils and watercolours. In this work, Bacchanal, Lindsay sets the scene under the crisp deep blue light of the moon. After all, at night we can become our true selves. Mythical creatures, men in fine clothing, sensuous naked females and even a friar are all uninhibited, relishing in their intoxicated states around the powerful flame of the fire at the centre.

Lindsay often teases the viewer with a hint of activity unfolding beyond the edge of the artwork to the left and right of the frame. It is as though we are granted merely a portion of the total scene unfolding. Some figures appear to run off, escaping for a moment away from prying eyes, whilst others appear to descend from above like celestial beings. The cropping technique cleverly imbues his works with a sense of mystery and spontaneity, further enhanced through the fluid and illusory nature of watercolour.

Olivia Fuller | Head of Art

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12 NORMAN LINDSAY (1879–1969) Bacchanal watercolour on paper signed lower right: NORMAN LINDSAY 61 x 54cm PROVENANCE: Bloomfield Galleries, Sydney (label verso) Private collection, Victoria Thence by descent Private collection, Melbourne RELATED WORK: Bacchanal, pencil on paper, 54 x 49cm, Deutscher~Menzies, Sydney, 5 March 2002, lot 66 $30,000 – 40,000

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13 ERNEST BUCKMASTER (1897–1968) Cinnerarias 1935 oil on canvas signed and dated lower right: EBuckmaster 1935 signed and titled verso 50 x 54cm

14 FRITZ MARTIN (German, 1859–1932) Nude Before a Mirror c.1914 oil on canvas signed and inscribed lower right: Fritz MARTIN / Mchn 83 x 61cm

PROVENANCE: Anthony Hordern & Sons Ltd Art Gallery, Sydney (label verso) Private collection, Melbourne $2,000 – 4,000

PROVENANCE: Sotheby’s, New York, 9 June 1987, lot 396 Private collection, Melbourne $2,000 – 3,000

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Exotically beautiful, dark-haired Rita Lee was one of Norman Lindsay’s most revered models. Featured heavily among the finest of his oil paintings, it was during the 1930s and 1940s that she confronted the viewer with her striking beauty and alluring presence on his canvases.

Commencing a modelling career at 18, Rita regularly sat for Lindsay in his studios in Sydney and the Blue Mountains, either to pose as the main subject or within surrounding figures of a work.1 While it’s noted that Lindsay worked with some 130 models across the span of his career, he often referred to Rita as “the perfect model

15 NORMAN LINDSAY (1879–1969) Rita oil on canvas laid on board signed upper right: NORMAN LINDSAY 61.5 x 47cm PROVENANCE: Acquired by the vendor’s parents, Melbourne c.1939 Thence by descent Private collection, Melbourne $30,000 – 40,000

for the metier of oil painting”2. Captivated by her natural beauty and temperament, he described Rita as a “quiet reticent girl who seldom spoke, but who secreted within her all those emotional intensities from which any variation on the feminine image may be extracted.”3 With mastering skill, Lindsay manifests Rita in this elegant, majestic portrait created in the late 1930s. Shimmering drapery draws our attention to Rita’s dress, carefully slid from her shoulders uncovering her glowing, smooth skin. While appearing slightly more romantic than previous depictions of Rita by Lindsay, here he uses other painterly means to engage and entice the viewer. The glistening translucency of the gown itself, subtly revealing her breasts from beneath the folds of the gown, is one such technique.

Born to a Spanish mother and Chinese father, Rita naturally bared long limbs, dark eyes and voluptuous features, instantly captivating Lindsay- “she had the loveliest breasts I ever painted, and they drove me to despair. No crude combination of colour extracted from the earth can hope to capture the pearly shimmer of light on the youthful feminine breast”.4 Lindsay revels in her beauty through countless watercolours and etchings- but most notably in the oil paintings, Crete 1940 and Reverie 1939 as well as the beautiful watercolour portrait, Rita of the Eighties, to name a few, are arguably some of the most impressive works created by Lindsay throughout his career. Across his multiple portraits of Rita, Lindsay in many cases paints her as he saw her with her striking features true to life, however, in others he took on artistic licence and his imagination once again took hold. Here, Lindsay has depicted her with sharp blue eyes and a hint of red glistening across her hair – a combination he used on occasion in depictions of Rita.

As we so often see in Lindsay’s art, his masterpieces are centred on the pure

— 1. Stewart, D., Norman Lindsay: A Personal Memoir, Thomas Nelson Limited, Melbourne 1975, p.175

nakedness of the female figure and while Lindsay’s technical brilliance glows in this piece, it is Rita that captivates us. Radiating an alluring aura of confidence, she reminds

2. Lindsay, N., My Mask: For What Little I Know of The Man Behind It, Angus and Robertson, Sydney, 1970, p.241

us of the importance of the model within the artist’s realm. Rita’s presence in this work is commanding, her strong gaze holds our attention bringing our awareness to her as a

3. Ibid

personal subject, not just a character in a Lindsay fantasy.

4. Ibid

Lucy Foster | Fine Art Specialist

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16 SYDNEY LONG (1871–1955) River Landscape oil on canvas signed lower right: SYDNEY LONG 49 x 74cm PROVENANCE: Private collection, Queensland $5,000 – 8,000

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17 HAROLD SEPTIMUS POWER (1878–1951) On the Dandenong Ranges, Victoria oil on canvas signed lower left: H. S. POWER titled verso 50 x 75cm PROVENANCE: Sotheby’s, Melbourne, 31 October 2012, lot 318 Private collection, Adelaide $3,000 – 5,000

18 J. W. CURTIS (1839–1901) River Landscape 1871 watercolour on paper signed and dated lower right: J W CURTIS 71 43 x 62cm PROVENANCE: Private collection, Victoria $3,000 – 5,000

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19 DONALD FRIEND (1915–1989) Banksias on Paperbark 1984 watercolour on paper signed, titled and dated upper left: Banksias on / Paperbark / Donald Friend ‘84 titled on gallery label verso 39 x 29cm PROVENANCE: Australian Galleries, Melbourne (label verso) Private collection, Melbourne $3,000 – 5,000

20 SIDNEY NOLAN (1917–1992) Paradise Garden c.1970 ripolin enamel on board signature incised lower right: Nolan 56 x 106cm PROVENANCE: Private collection, Melbourne Deutscher~Menzies, Melbourne, 13 September 2006, lot 167 Private collection, Melbourne Leonard Joel, Melbourne, 5 September 2017, lot 108 Private collection, New South Wales $8,000 – 12,000

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Jeffrey Smart 21 JEFFREY SMART (1921–2013) E.U.R. II 1965 oil on board signed and dated lower right: JEFFREY SMART 65 inscribed verso: Reserved/ E.U.R. II/ 10. CUT DOWN TO SIZE Charles Hewitt Frames label verso unknown partial gallery label verso 65.5 x 80cm PROVENANCE: South Yarra Gallery, Melbourne Osborne Galleries, Adelaide, acquired from the above in 1966 The Macquarie Galleries, Sydney 1969 (accompanied by original purchase invoice) The Gordon and Jackie Samuels Collection, Sydney

JEFFREY SMART (1921-2013) Study for E.U.R. II 1964 black fibre-tipped pen on Japanese cream wove paper 10.0 x 13.9 cm © The Estate of Jeffrey Smart and the Art Gallery of New South Wales

Strong works of art are a solitary transport. By an uncanny imaginative chemistry, they sweep the viewer into an alluring moody painted world. Take Jeffrey Smart’s E.U.R. II. So little is shown, yet somehow it suggests you are within an ultra-modern city. The sky is overcast. It is a somewhat grey afternoon. All is so poised and still.

You are outdoors, probably in a municipal district, near the base of broad stone stairs designed for crowds. Those stairs crop what is visible, preventing any view of the locality. Nevertheless, your eye is drawn by the stately minimalist dome of an unseen building. Exuding authority, that unadorned concrete dome juts into sight, well above you to the left in middle distance. It has an almost magnetic attraction, pulling the eye back when you look away. There are a couple of youngish priests in cassocks higher up on the right, evidently walking to an unseen building, but otherwise this scene is uncannily deserted.

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EXHIBITIONS: Jeffrey Smart, Galleria 88, Rome, 8–23 April 1965, cat. no. 23 Exhibition of paintings: Jeffrey Smart, Macquarie Galleries, Sydney, 29 September–11 October 1965, cat. no. 4, 185 Gns Jeffrey Smart, South Yarra Gallery, Melbourne, 19 April 1966, cat no. 2, $420.00 LITERATURE: Quartermaine, P., Jeffrey Smart, Gryphon Books, South Yarra, 1983, p.109, no. 440 RELATED WORKS: Study for E.U.R.II 1964, black fibre-tipped pen on Japanese cream wove paper, 10 x 13.9cm sheet, The Collection of the Art Gallery of New South Wales, Sydney E.U.R. I 1965, oil on canvas, 64 x 81cm, The Collection of the Newcastle Art Gallery, New South Wales Study for E.U.R.I 1964, black fibre-tipped pen on Japanese cream wove paper, 10 x 13.9cm sheet, The Collection of the Art Gallery of New South Wales, Sydney We are grateful to Stephen Rogers, Archivist for the Estate of Jeffrey Smart, for his kind assistance with cataloguing this painting. $250,000 – 350,000

21 © The Estate of Jeffrey Smart

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E.U.R. II marked a defining point in Jeffrey Smart’s output. This is where his mature style emerges. Up until now the artist had been composing pictures out of details from different Sydney suburbs, splicing them together in streetscapes with a sense of the mysterious. But he aspired to do much more. Ambition prompted him to leave Australia and go to Rome, a city brimming with cultural stimulus, although inspiration came from an unexpected source.

Italy was in a construction boom. Moving into a shared flat in Rome with the expatriate painters Justin O’Brien, Brian Dunlop and Ian Bent, the artist was quite taken by the brash modern developments close by: ‘We were near the periphery and I started roaming around these outskirts,’ Smart explained. ‘It was dramatic: you would be surrounded by blocks of ten-storey flats and the next moment be in open fields.’ Slick new offices stuck out amid historic buildings on old streetscapes.

The artist had encountered nothing like this in Australia. Sketchbook in hand he wandered Rome’s residential and industrial estates, filling page after page with visual fragments of 1960s Italy.

Smart was especially taken with the ultra-modern suburb E.U.R. (shortened from Esposizione Universale Roma). While he already knew E.U.R. as the bleak setting for Michelangelo Antonioni’s award-winning recent film L’Eclisse (1962), Smart told me on visiting the estate he was transfixed. It was as if he had stepped into a city of the future. There wasn’t a single old building in this showcase contemporary estate, a mix of minimalist office and apartment blocks with austere adjacent parklands. Then, turning a corner, Smart caught sight of the church of Santi Pietro e Paolo. Lacking ornamental flourishes, this blocky statement in pure geometry was designed by Arnaldo Foschini and set on a rise above the E.U.R. estate. Many Italians loathed the church. Calling it a secularist eyesore, they objected to the absence of religious adornment: there wasn’t even a crucifix atop its modernist dome. The artist looked, scrutinised, drew.

Smart spoke of his first visit to E.U.R. as a transforming experience. He came away intending to make a stirring portrayal of a wholly modern city. No dishevelled older buildings would be included, the stress being on infusing urban progress with a jarring sense of the uncanny. The artist designed a major composition using two architectural keynotes of the estate: the steps outside a museum and the dome on the controversial church. Trees and lawns were absent, no trace of nature intruded in a grey artificial world. Fascinated by the E.U.R. dome’s geometry—how cone sat on hemisphere sat on tube—Smart tinkered until the proportions of different elements worked together; as he later explained ‘My pictures are completely synthetic in that I move things around relentlessly, change the heights of buildings, the colours, to get the composition right.’

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JEFFREY SMART (1921-2013) E.U.R.I 1964 oil on hardboard 65.1 x 80.5cm © The Estate of Jeffrey Smart and the Newcastle Art Gallery

JEFFREY SMART (1921-2013) Study for E.U.R.I 1964 black fibre-tipped pen on Japanese cream wove paper 10.0 x 13.9cm © The Estate of Jeffrey Smart and the Art Gallery of New South Wales

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This is why overall tone is ordered into three compositional sections within E.U.R. II. The darkest tone is set by the sky in an upper pentilateral; the mid-tone fills a shadow made by a wall on the composition’s left; while a dominant pale tone fill the foreground and lower section spreading to right. Against this neat distribution of tones, full sunlight falls upon the dome, making it the centre of pictorial attention.

Most striking about E.U.R. II is the handling of geometry. Smart uses lines made by architectural edges to lead the eye around the composition, ensuring that we keep coming back to that dome. Notice how straight lines made by the upper edge of the wall on the left, the top of the stairs, and the base of the shadow at left all run straight to the dome. Then there is how Smart has slender street lights along the top of the composition echo the curve of the dome. Whenever the eye wanders, Smart’s pictorial geometry keeps bringing it back to the minimalist dome rising above the unseen estate.

When his plan was perfected, Smart was so taken with the composition he painted two near identical canvases. The chief differences between them are that E.U.R. II has two priests stand high on those stairs to the right, as well as a reddish notice board—the sole splash of muted colour—on a wall against the picture’s the left edge, whereas the other canvas, E.U.R. I, has a young man sit reading a book on the stairs at the upper left. (Smart used his flatmates for the figures, Justin O’Brien posing for both priests, and Ian Bent for the reading man.)

E.U.R. II is an historically significant painting. Taking progress as its theme, Jeffrey Smart’s celebrated mature style starts here. Henceforth the artist would portray futuristic townscapes with an unsettling edginess: ‘I find myself moved by man in this new violent environment,’ he explained in the leading European journal Art International, adding ‘I want to paint this explicitly and beautifully.’ To this end, E.U.R. II employs what would be Smart’s new pictorial vocabulary, being derived from the minimalist language and materials of the modern architecture, especially its emphasis on overt geometric forms. Indeed, E.U.R. II also introduces what would be the artist’s signature motif: a cropped church dome seen rising in the distance.

Dr Christopher Heathcote

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Jeffrey Smart with The steps, Palma 1965 in Majorca, 1965 Photograph courtesy of the Jeffrey Smart Archive

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

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22 SIDNEY NOLAN (1917–1992) Kelly in Landscape 1967 ripolin on board signed and dated lower left: nolan 67 24 x 29.5cm

23 ALBERT TUCKER (1914–1999) Brolga 1966 oil on board signed and dated lower right: Tucker 66 43 x 59cm

PROVENANCE: Private collection Deutscher~Menzies, Sydney, 15 March 2006, lot 241 Private collection, Melbourne $9,000 – 12,000

PROVENANCE: Corporate collection, Sydney Shapiro Auctioneers, Sydney, 5 December 2006, lot 3 Private collection, Melbourne $9,000 – 12,000

22 © The Sidney Nolan Trust. All rights reserved, DACS/Copyright Agency 2022

24 ANTHONY VANDERZWEEP (born 1960) Owl 2021 bronze, ed. 1/6 artist’s seal, date and edition inscribed on base 32 x 29.5cm PROVENANCE: The Artist Private collection, Melbourne $4,000 – 6,000 25 ALBERT TUCKER (1914–1999) Ibis 1964 oil on board signed and dated lower right: Tucker 64 titled verso 59 x 74cm PROVENANCE: Purchased directly from the artist, c.1966 Private collection, United States of America Amanda Addams Auctions, Melbourne, 28 November 2004, lot 668 Private collection, Melbourne $18,000 – 24,000 23 © Albert & Barbara Tucker Foundation. Courtesy of Smith & Singer Fine Art

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26 KEVIN CONNOR (born 1932) Pyrmont 1965 oil on board signed and dated lower right: Connor65 60.5 x 60.5cm PROVENANCE: Christie’s, Melbourne, 3 May 1988, lot 351 Private collection, Melbourne $2,500 – 4,500 27 YOSL BERGNER (1920–2017) The Suitor bronze, unique ed. 1/1 accompanied by a leather bound certificate of authenticity signed by the artist, dated July 2014 49 x 22 x 13cm PROVENANCE: The Artist Private collection, Melbourne $8,000 – 12,000 28 ARTHUR BOYD (1920–1999) White Cockatoo Over Shoalhaven oil on board signed lower right: Arthur Boyd 30 x 22.5cm PROVENANCE: Private collection, Melbourne $25,000 – 30,000

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29 CHARLES BLACKMAN (1928–2018) Memory 1978 tapestry signed and titled beneath image on backing board: “memory”/ Blackman 64 x 50cm PROVENANCE: Victorian Tapestry Workshop, Melbourne 1978 Australian Galleries Joan’s Ridge Street Gallery, Sydney Private collection, New South Wales Private collection, Melbourne LITERATURE: Walker, S., Australian Artist Tapestries 1976–2005, Beagle Press, Sydney, 2007, p. 74 (illus.), p. 270 OTHER NOTES: Woven by the Victorian Tapestry Workshop in 1978 as part of an experimental series of small tapestries based on artists. $8,000 – 10,000

28 © Arthur Boyd/Copyright Agency 2022

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30 © Courtesy of the Estate of Dorothy Braund

30 DOROTHY BRAUND (1926–2013) The Artist 1956 watercolour and gouache on paper signed and dated lower left: DOROTHY BRAUND ‘56 titled verso 18 x 24cm PROVENANCE: The Artist Private collection, Melbourne $4,000 – 5,000

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31 JOY HESTER (1920–1960) Man with Beard 1955 ink on paper signed and dated lower left: Joy Hester/ 1955 75.5 x 50.5cm PROVENANCE: Private collection, Melbourne Thence by descent $15,000 – 20,000

31 © Joy Hester/Copyright Agency 2022

32 SHAY DOCKING (1928–2000) Storm Approaching 1964 oil, tempera and PVA on board signed lower right: SHAY DOCKING titled and dated verso 91.5 x 122.5cm PROVENANCE: Private collection, Tasmania $3,000 – 5,000

33 ADA MAY PLANTE (1875–1950) Portrait of Mr. Malcolm Pratt oil on canvas laid on board signed lower left: A.M.Plante 56 x 45.5cm PROVENANCE: Deutscher~Menzies, Melbourne, 4 June 2003, lot 309 Private collection, Sydney EXHIBITIONS: The Melbourne Modernists, Victorian Artists Society, Melbourne, 15–28 October 1990, cat. no. 35

LITERATURE: In the 1930s, Malcolm Pratt was a tenant, along with Ada Plante, Lina Bryans and William Frater, of Darebin Bridge House in Melbourne. In 1942 Bryans bought the building and shortly after Ian Fairweather joined the residents, living and working there.

Malcolm Pratt was a close friend of Ada’s, who painted Malcolm at least twice including this portrait likely from the late 1930s or early 40s. Malcolm was thought to be a free thinker in support of the avant garde artistic circles prevalent, although marginal, at the time. $5,000 – 7,000

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Clarice Beckett was perhaps the most important yet underappreciated woman artist during the 1920s and 1930s. Max Meldrum’s theories assisted Beckett in the understanding of soft-focus realism and the importance of handling paint in the execution of light, tone and colour. Capturing Melbourne’s landscape and its most atmospheric nuances, Beckett’s works appear effortless, depicting foggy streets, misty mornings and hazy sunsets.

Before joining the school of Tonalism, Beckett graduated from the National Gallery School. Unlike many of her other female counterparts, travelling abroad to further her studies in Europe was not an option. Instead, she chose to remain in Melbourne unmarried and cared for her parents as their primary caregiver. While prioritising her home duties, Beckett’s painting time was limited to the early hours of the morning and evenings when she was not required in the home.

1

The little time Beckett had to paint was cherished and did not arrest her development as an artist. Honing consistency, Clarice managed a large output of works over a small period of time. Her focus was established early on, as she so commented at the 1924 Twenty Melbourne Painters Society’s annual exhibition – “To give a sincere and truthful representation of a portion of the beauty to nature, and to show the charm of light and shade, which I try to set forth in correct tones so as to give as nearly a possible an exact illusion of reality.”2 Beckett’s execution was far removed from the conventional methods of painting during this time, Clarice took to her surface with a flat, rounded brush, with a thinned paint rendered to the surface for a flawless finish. Regularly depicting the freshness

34 CLARICE BECKETT (1887–1935) Studley Park Footbridge c.1924 oil on board signed lower left: C. Beckett inscribed verso: indefinite/ 10/ The Bridge 25.5 x 35cm PROVENANCE: Rosalind Humphries Galleries, Melbourne (label verso) The Collection of Alan Grant, Melbourne Thence by descent Private collection, Melbourne EXHIBITIONS: Athenaeum Hall, Melbourne, September 1924 Homage to Clarice Beckett (1887 – 1935): Idylls of Melbourne and Beaumaris, Rosalind Humphries Galleries, Melbourne, 12 November – 1 December 1972, cat. no. 62 LITERATURE: The Herald, 1 September 1924, p.17 “...the three impressions of bridges, in which Miss Beckett’s blurred technique fits itself to the atmosphere. These have a certain quality that is apposite to the time of day and lighting of her subjects.”

We are grateful to Rosalind Hollinrake for her assistance with cataloguing this painting. $50,000 – 70,000

of early mornings, cold drizzly days, twilight, rainy reflections, and boats at dusk, it was the essence of the scene she sought for, a purist approach none the less. On the doorstep of the city, lays a footbridge over the Yarra bend in Abbotsford and it was this location that Beckett chose for Studley Park Footbridge c.1924. Nestled in the misty stillness, Beckett uses soft renderings of grey to create the early morning fog and glassy reflections. A stillness sets upon this work, the bridge itself almost appears part of nature. Permitting only the most vital details, purposeful placement was key.

Emerging from the skyline, the spires appear from the nearby Abbotsford Convent.

Although Clarice Beckett received very little attention as an artist during her lifetime, she was without question one of the most unique artists of the 1920s and 1930s. Only since her rediscovery in the 1970s by Rosalind Hollinrake has she now been formally recognised and celebrated as one of the most important female artists and Tonalist innovators to capture Melbourne at a time of growth, making her an invaluable part of Australian art history.

Lucy Foster | Fine Art Specialist

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— 1. Hollinrake, R., Clarice Beckett: The Artist and Her Circle, The MacMillan Company of Australia, Melbourne 1979 p.15 2. Burke, J., Australian Women Artists 1840-1940, Greenhouse Publications, Melbourne 1980, p. 56

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37 35 JESSIE TRAILL (1881–1967) Gums at Sunset oil on canvas titled, signed and inscribed verso: Gums at Sunset/ J.C.A.Traill/Harkaway/in Gum Tree Ex V.A.S 39.5 x 60cm

36 EDITH HOLMES (1893–1973) Moonah, Tasmania oil on canvas laid on board signed lower centre: Edith Holmes titled verso 60 x 75.5cm

OTHER NOTES: Jessie was a member of the Australian Forest League, an early environmental group. The group had a journal called The Gum Tree. The first page of the journal set out the league’s aims and objects including: the maintenance of our present forest reserves, the setting apart of further areas as forest reserves - more particularly on the main water-sheds and along the banks of rivers and the re-forestation of denuded areas.

PROVENANCE: Private collection, Melbourne $3,000 – 5,000

We would like to thank Jo Oliver for her kind assistance in cataloguing this work. $6,000 – 8,000

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37 MARIE ANNE TUCK (1866–1947) The Spinning Wheel oil on canvas signed lower left: M. Tuck titled verso 78.5 x 66cm PROVENANCE: Leonard Joel, Melbourne, 22 November 1994, lot 942 Private collection, South Australia $5,000 – 7,000

38 MARIE ANNE TUCK (1866–1947) Spinning Yarn oil on canvas 58 x 71cm PROVENANCE: Private collection, South Australia Theodore Bruce Auctions, Adelaide, 20 June 2011, lot 105 Private collection, South Australia $4,500 – 6,500

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39 CATHLEEN ELIZABETH EDKINS (1922–2008) Andrew on a Pony, Old Penola Estate 1953 oil on canvas signed and dated lower left: C. E. Edkins 1953 50 x 60cm

41 VIOLET TEAGUE (1872–1951) Portrait of a Girl in a Pink Dress 1933 oil on canvas signed and dated lower left: Violet Teague / 1933 60 x 45cm

PROVENANCE: Commissioned from the artist The Collection of John and Eleanor Rymill Private collection, South Australia $2,000 – 3,000

PROVENANCE: Mossgreen Auctions, Melbourne, 3 June 2014, lot 253 Private collection, Melbourne $2,000 – 4,000

40 CATHLEEN ELIZABETH EDKINS (1922–2008) The Old Penola Estate oil on canvasboard signed lower right: C. K. Edkins 29.5 x 39cm

42 ELLIS ROWAN (1848–1922) Melbonica Mudiflora Woods watercolour on paper signed lower right: ELLIS ROWAN titled on gallery label verso 52.5 x 36.5cm

PROVENANCE: Commissioned from the artist The Collection of John and Eleanor Rymill Private collection, South Australia $3,000 – 4,000

PROVENANCE: Gould Galleries, Melbourne (label verso) Private collection, Melbourne $2,500 – 3,000 37

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POST WAR & CONTEMPORARY LOTS 43 – 77

66 © Robert Owen/Copyright Agency 2022

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§ DAVID MACKAY HARRISON (born 1941)

CHRIS LANGLOIS (born 1969) Ocean (Violet Green Blue) No. 57 2004 oil on linen signed, dated and titled verso: Chris Langlois 2004 “Ocean (violet green blue) N: 57 2004” 153 x 153cm

Alana bronze, ed. 74/100 initialled and editioned at base: DMH 74/100 22 x 55 x 32cm

PROVENANCE: Martin Browne Fine Art, Sydney 2004 (label verso) Private collection, Melbourne $4,000 – 6,000

PROVENANCE: Masterpiece@IXL Fine Art Gallery, Hobart 2014 Private collection, Victoria $3,500 – 4,500

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44

GABRIEL RIVERA (American, born 1967)

CHRIS LANGLOIS (born 1969) Landscape (Blue Brown Red) No. 34 2005 oil on linen signed, dated and titled verso: Chris Langlois 2005 “Landscape (blue brown red) N: 34 2nd Variation 2005” 138 x 198cm

Untitled 2017 mixed media on canvas signed and dated verso: GABRIEL RIVERA 2017 165 x 211cm PROVENANCE: Colin Fisher Studios, Palm Springs, United States of America Private collection, Melbourne $4,000 – 5,000

PROVENANCE: Martin Browne Fine Art, Sydney 2005 (label verso) Private collection, Melbourne EXHIBITIONS: Chris Langlois: Landscape Variations, Martin Browne Fine Art, Sydney, 3 – 28 August 2005 $6,000 – 9,000

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48 © Euan Macleod/Copyright Agency 2022

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The Escape 2021 oil on linen signed and dated lower left: James Robertson 2021 titled, dated and signed verso 122.5 x 167.5cm

Geoff Sleeping 1998 oil on canvas signed, titled and dated verso: GEOFF SLEEPING / EUAN MACLEOD / 4/98 50 x 90cm

PROVENANCE: The Artist Donated to the CFA Fundraiser, Daylesford 2021 Private collection, Melbourne $7,000 – 9,000

PROVENANCE: Victor Mace Fine Art Gallery, Brisbane (label verso) Private collection, Tasmania Private collection, Melbourne $3,000 – 5,000

§ JAMES ROBERTSON (born 1968)

EUAN MACLEOD (born 1956)

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50

Tree #1 2004 oil on canvas signed, dated and inscribed on stretcher bar verso: ‘’TREE #1” MPeck 2004 75.5 x 70.5cm

Moment 2005 oil on canvas signed, titled and dated on stretcher bar verso: “MOMENT” 2005 MPeck 71 x 71cm

PROVENANCE: Metro Gallery, Melbourne Private collection, Melbourne $2,500 – 3,000

PROVENANCE: Metro Gallery, Melbourne Private collection, Melbourne $2,500 – 3,000

MICHAEL PECK (born 1977)

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MICHAEL PECK (born 1977)

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51 © Rick Amor/Copyright Agency 2022

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Study for The Halls 2004 charcoal on paper signed and dated lower left: Rick Amor 10/10/’04 titled on gallery label verso 54 x 74.5cm

Husband and Wife - White Room 1994 synthetic polymer paint and mixed media on linen signed, titled and dated verso: Husband + Wife white room / Rankin 94 136 x 187cm

PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $4,500 – 6,500

PROVENANCE: Adrian Slinger Galleries, Queensland Private collection, Melbourne $3,000 – 4,000

RICK AMOR (born 1948)

DAVID RANKIN (born 1946)

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Husband and Wife Rock 1987 oil on linen signed and dated lower right: Rankin / 87 titled and dated verso 243 x 106cm

Kaurwangi Market Place 2012 oil on canvas signed, titled and dated verso: James Drinkwater / 2012 / “Kaurwangi Market / Place” 120 x 100cm

PROVENANCE: Adrian Slinger Galleries, Queensland Private collection, Melbourne $3,000 – 5,000

PROVENANCE: Damien Minton Gallery, Sydney 2014 Private collection, Sydney $5,000 – 7,000

DAVID RANKIN (born 1946)

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§ JAMES DRINKWATER (born 1983)

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55 © Katherine Hattam and Will MacKinnon/Copyright Agency 2022

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KATHERINE HATTAM AND WILL MACKINNON (born 1950, born 1978) Tower Hill 2002 mixed media with collage on board signed, titled and dated verso: Tower Hill 2002.

William Mackinnon / K. Hattam 61 x 87cm PROVENANCE: Private collection, Melbourne $2,500 – 3,500

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MCLEAN EDWARDS (born 1972) Bottles 2007 oil on canvas signed, titled, dated and inscribed verso: Sydney / 2007 / McLean / Bottles titled on gallery label verso 102 x 102cm PROVENANCE: Martin Browne Fine Art, Sydney (label verso) Private collection, Melbourne EXHIBITIONS: McLean Edwards, Martin Browne Fine Art, Sydney, 18 July – 12 August 2007 (label verso) $2,500 – 4,500

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58 © Katherine Hattam/Copyright Agency 2022

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Café Scene 1989 oil on plywood signed, titled and dated verso: N McKenna 1989 / “Café Scene” 33 x 51.5cm

Ginger Jars mixed media with collage on canvas signed lower right: K. HATTAM 80 x 100cm

Special Tea 2011 watercolour on paper signed and dated lower right: MiRKA / 2011 50 x 65cm

PROVENANCE: Private collection, Melbourne $3,500 – 4,500

PROVENANCE: William Mora Galleries, Melbourne (label verso) Private collection, Melbourne $8,000 – 12,000

§ NOEL MCKENNA (born 1956)

PROVENANCE: Dick Bett Gallery, Hobart Darren Knight Gallery, Sydney (label verso) Lawsons, Sydney, 27 May 2021, lot 533 Private collection, Melbourne $3,000 – 4,000

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KATHERINE HATTAM (born 1950)

§ MIRKA MORA (1928–2018)

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62 © John Coburn/Copyright Agency 2022

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Discourse on Joy 1995 oil and mixed media on linen signed, titled and dated verso: Rankin 95 / Discourse / on Joy 180.5 x 124cm

Little Drummer Boy 1986 oil on canvas artist’s signature stamped verso: David Larwill 139.5 x 188.5cm

Study for Ah, “What is Man” I gouache on paper signed lower right: Coburn titled lower centre 32 x 24cm

DAVID RANKIN (born 1946)

PROVENANCE: Adrian Slinger Galleries, Queensland Private collection, Melbourne $3,000 – 5,000

DAVID LARWILL (1956–2011)

PROVENANCE: Commissioned by Black Ink Theatre Company, Canberra 1986 Private collection, Melbourne

JOHN COBURN (1925–2006)

PROVENANCE: Australian Galleries, Melbourne (label verso) Private collection, Melbourne $3,000 – 4,000

OTHER NOTES: In 1986, David Larwill was commissioned to produce the poster and set design for the play, Ubu Roi, by Alfred Jarry at the Australian National University in Canberra $10,000 – 15,000 47

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64 © Robert Owen/Copyright Agency 2022

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Dancer 2001 oil on canvas signed, titled and dated verso: 2001/Dancer/ Jacks/2001 60.5 x 60cm

Origami Series #6ZR 1992 synthetic polymer paint on canvas signed, titled and dated verso: ROBERT OWEN / 1992 / ORIGAMI SERIES / #6ZR 121 x 121cm

Untitled 2007 oil on canvas signed and dated verso 76 x 76cm

PROVENANCE: Heiser Gallery, Brisbane (label verso) Private collection, Brisbane $3,000 – 4,000

PROVENANCE: Private collection, Melbourne $8,500 – 9,500

ROBERT JACKS (1943–2014)

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ROBERT OWEN (born 1937)

MELINDA HARPER (born 1965)

PROVENANCE: Private collection, Queensland Private collection, Melbourne $3,000 – 4,000

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65 © Melinda Harper/Copyright Agency 2022

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Untitled painted steel 78 x 62 x 57cm (irregular)

The Great Scenic Railway 1912 2017 enamel, gloss acrylic and gesso on linen signed, dated and titled verso: JASPER KNIGHT/ ‘THE GREAT/ SCENIC RAILWAY 1912’/ 2017 signed, dated and titled on stretcher bar verso 153 x 122cm

ROBERT OWEN (born 1937)

PROVENANCE: Private collection, Melbourne $5,000 – 6,000

§ JASPER KNIGHT (born 1978)

PROVENANCE: Private collection, Sydney $8,500 – 10,000

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Untitled (Think) 1990 enamel on linen, diptych each signed, titled and dated verso: UNTITLED / THINK - 1990 / BARBOUR 184 x 213cm (overall)

Roadscape 2001 oil on linen signed, titled and dated verso: -ROADSCAPE- / Tony Lloyd 2001 71 x 198cm

PROVENANCE: YuillCrowley Gallery, Sydney 2018 Private collection, Melbourne

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

§ JOHN BARBOUR (1954–2011)

EXHIBITIONS: John Barbour: Work for Now, Australian Experimental Art Foundation, Adelaide, 12 November 2010 – 29 January 2011 John Barbour - Dark Star, YuillCrowley Gallery, Sydney 28 April – 30 May 2018, cat. no. 6 LITERATURE: Barbour, J., Hard Soft, Australian Experimental Art Foundation, Adelaide and Yuill/Crowley, Sydney 2011 (illus.) $7,000 – 9,000

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§ JOANNE MORRIS (20th Century) Afghan Girl 2016 charcoal and mixed media on paper signed and dated lower right: Joanne Morris / 16 100 x 150cm PROVENANCE: Private collection, Melbourne $4,000 – 6,000

TONY LLOYD (born 1970)

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§ MONIKA BEHRENS (born 1975) The Beast 2016 oil on polyester signed verso: MBehrens 121.5 x 91.5cm PROVENANCE: Martin Browne Contemporary, Sydney (label verso) Private collection, Brisbane EXHIBITIONS: Summer Group Exhibition, Martin Browne Contemporary, Sydney, 9 January – 4 February 2018 $2,000 – 3,000

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ANNETTE BEZOR (1950–2020) Night Blush (for Olga) 2004 synthetic polymer paint on canvas signed, titled and dated verso: “Night Blush” (for Olga) / Bezor / August 2004 164 x 165cm PROVENANCE: The Artist Private collection, Sydney Private collection, South Australia $9,000 – 12,000

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§ MATTHEW JOHNSON (born 1963) Untitled 2010/2018 oil on canvas signed and dated verso: Matthew Johnson 2010/2018 150 x 130cm PROVENANCE: The Artist Private collection, Melbourne $6,000 – 8,000

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CALLUM MORTON (born 1965) Drugs 2009 paint, wood, steel stand and Perspex cover 182 x 114.5 x 49.5cm (excluding Perspex cover) PROVENANCE: Anna Schwartz Gallery, Melbourne 2009 Private collection, Melbourne $10,000 – 15,000

74 © Courtesy of the artist and Anna Schwartz Gallery

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§ KIT WISE (British, born 1975) Xanadu 2010 HD digital video animation, single channel projection, colour, 6:00, mirrored glass unique, 1/1 107.5 x 191.5cm PROVENANCE: Commissioned from the artist, via Experimenta Private collection, Melbourne

OTHER NOTES: This work is a digital still from the the video, Xanadu, which was commissioned by Experimenta.

The work involved digital animation, incorporating digital video and photography collected by the artist in Japan and Italy. It is a critique of the idealised urban representations, or the megatropolis.

“Xanadu critiques popular representations of the increasingly virtual ‘ideal city’; here conceived as a trans-cultural model of contemporary utopia.

Seductively hyperreal in full HD, Xanadu depicts a vast and spectacular urban space of uncertain spatial, temporal and cultural origins. Selected details are flawlessly animated, providing an almost hallucinogenic quality of visual sensitivity.”

(The Artist) $5,000 – 7,000

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OLIVIA STEELE (American, born 1985) That’s All Folks 2011 hand blown and coloured neon on perspex photographic print 125.5 x 150cm PROVENANCE: Circle Culture Gallery, Hamburg 2012 Private collection, Melbourne $7,000 – 9,000

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Zeng Fanzhi’s portraits are globally celebrated for his use of expressionist representational techniques that document a prolific period of social and economic development in Chinese history. With an artistic career stretching across 30 years, Zeng Fanzhi has continuously sought to infuse western theories, calligraphy and social realism developing a body of work with symbolically rich and emotive images that have been universally lauded.

Based in Beijing, China, Zeng Fanzhi was born in Wuhan in 1964. Growing up during the later years of the Chinese Cultural Revolution, his parents who were printmakers were avid supporters of his creative interests, even when the family struggled to make ends meet. At 16 he travelled solo to Shanghai after learning of a travelling exhibition of French art. The show, 250 Years in France, surveyed paintings from every stage of French art history1. The show left a lasting impression on Zeng Fanzhi and would influence his art in the years to come.

Honing the technical skills of social realist painting, Zeng Fanzhi studied Fine Arts at the Hubei Academy of Fine Arts from 1987 to 19912. Frustrated with the restrictive teaching methods, he trudged through his studies feeling uninspired as the curriculum consisted only of communist-approved art training, far from the colourful expressionist works he witnessed in Shanghai as a 16-year-old.

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ZENG FANZHI (Chinese, born 1964) Figure (Mask Series) 1999 coloured pencil on card signed and dated lower right: 1999/ Zeng Fanzhi signed in Pinyin lower right 20 x 18cm PROVENANCE: Acquired in China, c.2000 Private collection, New Zealand $60,000 – 80,000

Figure (Mask Series) 1999 is striking in both its colourfully rendered composition and compact size. An anonymous masked figure stands in front of an idyllic beachside setting. Zeng Fanzhi’s distinct colour palette here is vivid, the figure illuminated with joyful yellows, blues and pinks all rendered to perfection, reminiscent of the key traits in social realist paintings from the mid-20th century. The subject appears youthful, healthy and well clothed, evoking a sense of prosperity and success, a heavy contrast to his critique on the current social problems faced by his homeland. Like many works by Zeng Fanzhi during this period, the face of his subjects are almost always obscured by a white mask. From 1994 and until 2001, this period became known as his Mask Series3. Revealing common feelings amongst the Chinese population, this concept prevents the viewer from seeing the figures true emotions.

Between the subject and viewer lays a bed of pink and white flowers in the foreground, a subtle acknowledgment to the brutalities of the Hundred Flowers Movement leaving citizens untrusting and scarred.

Initiated by the government in the mid-1950s, the move was intended to engage intellectuals, students and artists who were previously alienated by the Chinese Communist Party. Encouraging them to express their opinions freely, it was designed to promote the flourishing of the arts and progress of science. Following this brief period, those who spoke out were persecuted, resulting in convictions, re-education camps and executions4. The artist’s signature oversized hands are down by the subject’s side, natural to the figures midstride motion. Zeng Fanzhi’s reference to the enlarged hands and head speaks to the shared anxiety amongst his subjects. As critic Li Xianting summarises “the overall effect is of people who are trying to suppress their emotions in order to present an air of calm – yet they are betrayed by their hands; they are unable to conceal their hands”.

Zeng Fanzhi’s deceptively simple depictions are carefully crafted constructs of the Chinese landscape in which he found himself in. Steeped in symbolism and hidden meaning, Zeng Fanzhi depicts the relationships between individuals and society, especially during times of political change. As an accomplished artist, Zeng Fanzhi has chosen to live and work in his home country with the intention of supporting other contemporary artists whose practices do not follow the Social Realist constructs. In 2009, Zeng Fanzhi represented China in the Venice Biennale, and in 2013 he exhibited at the Musée d’Art Moderne and the Louvre in Paris. With a practice unparalleled in the world of Chinese contemporary art, Zeng Fanzhi has also been recognised internationally. In 2007, he scored his first 7-digit auction result in London, multiplying the low-end estimate by 11 times. In 2008 a work from his Mask Series fetched US$9.6 million in Hong Kong (five times its mid-range estimate), reaching his height in 2013 at US$23.3 million for his work The Last Supper, marking his place as one of the world’s highest selling contemporary living artists.

Lucy Foster | Fine Art Specialist

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— 1. Zeng Fanzhi-Biography and Legacy, The Art Story, theartstory.org/artist/ zeng-fanzhi/life-and-legacy/ 2. Li, Xianting, Zeng Fanzhi, ShanghART Gallery 3. Erickson, B., Zeng Fanzhi: Raw Beneath The Mask, Shang Art Gallery, Shanghai 2001 4. Short, P., Mao: A Life, Macmillan, New York 2000 pp. 457–471.

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Indigenous Art LOTS 78 – 95 78 KURUWARRIYINGATHI BIJARRB PAULA PAUL (born 1937) Oysters 2008 synthetic polymer paint on linen inscribed verso with artist’s name, title and Mornington Island Arts & Crafts cat. no. 2959/ LPP/0208 and Alcaston Gallery stamp and cat. no. AK14318 121 x 92cm PROVENANCE: Mornington Island Arts & Crafts, Queensland (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne EXHIBITIONS: Bandikawaanda makuwalada rarunginja thaand– Return of Kaiadilt Women, Alcaston Gallery, Melbourne, 16 September – 4 October 2008 OTHER NOTES: “I like to crack the big oysters that are found on my country on Bentinck Island and eat them” (The Artist) $3,000 – 5,000 79 KURUWARRIYINGATHI BIJARRB PAULA PAUL (born 1937) Shells 2007 synthetic polymer paint on canvas inscribed verso with artist’s name, title, Mornington Island Arts & Crafts stamp and cat. no. 2168-L-PP-0407 and Alcaston Gallery stamp and cat. no. AK13660 122 x 92cm

78 © Kuruwarriyingathi Bijarrb Paula Paul/Copyright Agency 2022

PROVENANCE: Mornington Island Arts & Crafts, Queensland (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “My painting shows the shells that we collect from the beaches at Bentinck Island.” (The Artist) $3,000 – 5,000

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80 ROBERT BURTON (born 1976) Ngayuku Ngura - My Country 2011 synthetic polymer paint on linen inscribed verso with artist’s name and Tjala Arts cat. no. 201-11 and Alcaston Gallery stamp and cat. no. AK17116 150.5 x 100.5cm PROVENANCE: Tjala Arts, Alice Springs (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne (accompanied by a certificate of authenticiy) Private collection, Melbourne EXHIBITIONS: Anangu Maruku Mulapa - This is our real way, Alcaston Gallery, Melbourne, 19 July – 12 August 2011 OTHER NOTES: “Tjala Artists succeed in creating a dynamic and fresh expression of their tjurkurpa (Dreaming) through a vibrant colour palette and stylistic experimentation, and the striking imagery used in their paintings is a unique representation of their ngurra (country.)” (Alcaston Gallery) $3,000 – 5,000 81 IAN ROBERTS (20th Century) Pukara 2010 synthetic polymer paint on canvas inscribed verso with artist’s name and Tjungu Palya cat. no. TPIR10249 and Alcaston Gallery cat. no. AK16496 89 x 72cm PROVENANCE: Tjungu Palya, South Australia (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne EXHIBITIONS: Nganana Uwankaraku Tjukurpa Palyani Tjukurpa Mulapa - We are painting these sacred stories for you, Alcaston Gallery, Melbourne, 9 – 27 November 2010

80 © Robert Burton/Copyright Agency 2022

OTHER NOTES: “This is the place called Pukara where the two water snake men from creation time have their home in the two waterhole; there are many sand hills nearby.” (The Artist) $2,000 – 4,000

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83 © Teresa Baker/Copyright Agency 2022

82 JIMMY AND TERESA BAKER (1915–2010; born 1977) Kalaya Iwara 2010 synthetic polymer paint on canvas inscribed verso with artist’s name, date and Tjungu Palya cat. no. TPJBTB10463 75 x 84.5cm PROVENANCE: Tjungu Palya, South Australia (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “This is the track of the kipara (turkey) man. He was travelling around close to Kanpi community where he had many camps. He would stop and camp for a while before travelling on. He came to a place where there was kampurarpa tjuta (lots of desert raisins) which he ate.

Teresa Baker completed this work at the request of her grandfather who became too ill to finish the painting.”

(Tjungu Palya) $2,000 – 4,000

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83 § TERESA BAKER (born 1977) Minyma Malilunya 2013 synthetic polymer paint on linen inscribed verso with artist’s name date and Tjungu Palya cat. no. 13251 101.5 x 152cm PROVENANCE: Tjungu Palya, South Australia (accompanied by a copy of the certificate of authenticity) Outstation Gallery, Darwin Private collection, Melbourne $4,000 – 6,000

84 © Jimmy Baker/Copyright Agency 2022

84 JIMMY BAKER (1915–2010) Kalaya Tjukurpa 2009 synthetic polymer paint on canvas inscribed verso with artist’s name, date and Tjungu Palya cat. no. TPJB09102 65.5 x 54cm

85 YUMPULULU TJUNGURRAYI (c.1930–1998) Tjipurru 1976 synthetic polymer paint on composition board inscribed verso with Papunya Tula Artists cat. no.

Y76441 50.5 x 40cm

PROVENANCE: Tjungu Palya, South Australia (accompanied by a certificate of authenticity) Private collection, Melbourne

PROVENANCE: Papunya Tula Artists, Northern Territory (copy of certificate of authenticity affixed verso)

OTHER NOTES: “This is my painting of all the emu’s. Kanpi is the Kalaya (Emu ancestoral spirit) place. They emus are everywhere walking through the country. The rockhole in the middle has the emu tracks left in the sand as they come and go for water.” (The Artist) $3,000 – 5,000

Please note that 5% of the sale price of this lot will be distributed directly to NEIVA (The National Endowment for Indigenous Visual Arts) to support this initiative. $2,500 – 4,500

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86 © Harry Tjutjana/Copyright Agency 2022

86 HARRY TJUTJANA (c.1930–2020) Ngayuku Ngura 2006 synthetic polymer paint on canvas inscribed verso with artist’s name, date and Ernabella Arts cat. no. HT016-06 76.5 x 51cm PROVENANCE: Ernabella Arts, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne $2,000 – 4,000

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87 © Tjunka Lewis/Copyright Agency 2022

87 TJUNKA LEWIS (born c.1927) Wakalpuka Rockhole synthetic polymer paint on canvas inscribed verso with artist’s name and Warakurna Artists cat. no. 187-11 76 x 76cm PROVENANCE: Warakurna Artists, Alice Springs (accompanied by a certificate of authenticity) Private collection, Melbourne

OTHER NOTES: “This painting is from Tjunka’s country. Tommy Mitchell says this painting is about Tjunka’s country and a special place called Wakalpuka, a rockhole at the base of Mt. Fanny on the road from Warakurna to Blackstone. It’s a story about an emu man. He was walking around and making noise from his throat. He was making a funny sound and his throat exploded!

The young emu boys were also walking around.

Nothing more can be said about this tjukurrpa.”

(Warakurna Artists) $2,000 – 4,000

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90 TOSSIE BAADJO (born 1958) Willkinkarra 2008 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 70/08 and Alcaston Gallery stamp and cat. no. AK14456 119 x 40cm PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a certificate of authenticity) Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne OTHER NOTES: “Karntawarra is the name of a small rockhole found on Tossie’s grandmother’s country, north west of Wilkinkarra, or Lake Mackay, the vast salt lake south of Balgo in The Great Sandy Desert. Karntawarra only holds water after rain, and is shown here in the centre of the painting, dominated by the tali, or sand dunes of the area. This is rocky, hilly country with bush raisin found in abundance.” (Warlayirti Artists and Alcaston Gallery) $2,000 – 4,000 91 PADDY BEDFORD (1922–2007) Untitled 2003 gouache on acid free crescent board 51 x 76cm PROVENANCE: Jirrawun Arts, Western Australia 2003 William Mora Galleries, Melbourne (stamp verso) Leonard Joel, Melbourne, 3 June 2008, lot 64 Private collection, Melbourne

88 © Bai Bai Napangardi/Copyright Agency 2022

88 BAI BAI NAPANGARDI (born c.1935) Mungai 2006 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 196/06 99.5 x 75.5cm

89 WIMMITJI TJAPANGATI (c.1924–2000) Tingarri 1990 synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 211/90 118 x 89cm

PROVENANCE: Warlayirti Artists, Western Australia (accompanied by a certificate of authenticity) Private collection, Melbourne

PROVENANCE: Warlayirti Artists, Western Australia Private collection, United States of America

OTHER NOTES: “Bai Bai has depicted country south of Balgo in the Great Sandy Desert. This country is named Mungai.

This painting depicts the variety of seeds that can be found in this country such as tjirrilpatja (bush carrots) and kantjilyi (bush raisin).” (Warlayirti Artists) $4,000 – 6,000

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Please note that 5% of the sale price of this lot will be distributed directly to NEIVA (The National Endowment for Indigenous Visual Arts) to support this initiative. $15,000 – 20,000

Please note that 5% of the sale price of this lot will be distributed directly to NEIVA (The National Endowment for Indigenous Visual Arts) to support this initiative. $8,500 – 12,000 92 RUSTY PETERS (born c.1935) My Father’s Country 2008 natural ochres with synthetic polymer binder on Belgian linen inscribed verso with artist’s name, title, date and Jirrawun Arts cat. no. RP 2008 04 132 120 x 120cm PROVENANCE: Jirrawun Arts, Western Australia (accompanied by a copy of the certificate of authenticity) Raft Artspace, Northern Territory Private collection, Melbourne $4,000 – 6,000

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93 GEORGE MUNG MUNG (1921–1991) Untitled 1988 natural earth pigments and binders on linen artist’s name inscribed verso 61 x 76cm PROVENANCE: Waringarri Aboriginal Arts, Western Australia Joel Smoker, Western Australia D’Lan Davidson, Melbourne Private collection, Melbourne Please note that 5% of the sale price of this lot will be distributed directly to NEIVA (The National Endowment for Indigenous Visual Arts) to support this initiative. $4,500 – 6,000

94 MICK KUBARKKU (c.1922–2008) Namangwari 1980 natural earth pigments on bark inscribed verso with artist’s name and Maningrida Arts & Culture cat. no. E514/OAR 148 x 58cm PROVENANCE: Maningrida Arts & Culture, Northern Territory (certificate of authenticity attached verso) Please note that 5% of the sale price of this lot will be distributed directly to NEIVA (The National Endowment for Indigenous Visual Arts) to support this initiative. $5,000 – 7,000

95 FIONA JIN-MAJINGGAL MASON (born 1977) Jima Jima - Water Lily 2007 natural ochres on bark artist’s name, title and Maningrida Arts & Culture cat. no. 1883-07 on label verso inscribed verso with Alcaston Gallery cat. no. 13759 120 x 55 (irreg.)

PROVENANCE: Maningrida Arts & Culture, Northern Territory (accompanied by a certificated of authenticity) Alcaston Gallery, Melbourne (accompanied by a certificate of authenticity) Private collection, Melbourne $1,500 – 2,000

END OF INDIGENOUS ART 63

96 96 ARTHUR BAKER-CLACK (1887–1955) French Scene oil on canvas signed lower right: A. Baker-Clack 39.5 x 50cm PROVENANCE: Private collection, United Kingdom Private collection, Melbourne $2,500 – 3,500 97 ARTHUR BAKER-CLACK (1887–1955) Haystack oil on board signed lower left: A. Baker-Clack 34 x 26.5cm PROVENANCE: Private collection, Melbourne $2,000 – 4,000

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98 HANS HEYSEN (1877–1968) Cotswolds 1934 watercolour on paper signed and dated lower right: ‘34 / HANS HEYSEN titled lower left 30.5 x 39.5cm PROVENANCE: Private collection, South Australia $10,000 – 15,000 99 JAMES HAZEL ADAMSON (Scottish, 1829–1902) View on the Onkaparinga 1854 watercolour on paper initialled lower left dated lower right A. Molton & Sons label verso 25 x 35cm

PROVENANCE: Mr J. Howard Johnson, Adelaide 1932 Private collection, Adelaide Sotheby’s, Melbourne, 31 October 2012, lot 311 Private collection, South Australia EXHIBITIONS: National Art Gallery of South Australia, Adelaide, 1932 LITERATURE: Art Gallery Additions, The Advertiser, Adelaide, 17 February 1932, p.14 $2,000 – 3,000

98 © Hans Heysen/Copyright Agency 2022 100 DAVID DAVIES (1864–1939) Evening Glow, Porthminster Beach, St. Ives c.1897 oil on canvas signed lower left: D. DAVIES 35 x 44.5cm

101A HARLEY CAMERON GRIFFITHS (1908–1981) Still Life with Pears 1976 oil on canvasboard signed and dated lower left: H. Griffiths -76 43.5 x 59cm

102A HARLEY CAMERON GRIFFITHS (1908–1981) A Glass of Wine, Flagon and Grapes 1974 oil on canvasboard signed and dated lower left: H. Griffiths-74 48 x 58.5cm

PROVENANCE: Leonard Joel, Melbourne, 27 April 1992, lot 225 Private collection, Queensland $4,000 – 6,000

PROVENANCE: Leonard Joel, The Rogowski Collection, Melbourne, 23 February 1998, lot 3 Private collection, Melbourne $4,000 – 5,000

PROVENANCE: Leonard Joel, The Rogowski Collection, Melbourne, 23 February 1998, lot 4 Private collection, Melbourne $4,000 – 5,000

102 GEORGE BELL (1878–1966) Portrait of Nancy Jones c.1928 oil on panel 44 x 37cm

103 MAX MIDDLETON (1922–2013) Morning Light, Sorrento oil on canvas signed lower left: Max Middleton 30 x 50cm

101 JEAN-LOUIS FORAIN (French, 1852–1931) La Plaidoirie pastel on paper signed lower right: Forain titled verso 55 x 41.5cm PROVENANCE: Deutscher~Menzies, Melbourne, 22 November 1998, lot 344 Private collection, Melbourne $3,500 – 5,500

PROVENANCE: Christie’s, Melbourne, 9 May 1989, lot 350 Private collection, Melbourne $3,000 – 4,000

PROVENANCE: Estate of the Artist $2,500 – 3,000

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104

104 KEN KNIGHT (born 1956) The Majestic Coastline oil on board signed lower right: KEN KNIGHT signed and titled verso 99 x 120cm

106 ERNEST BUCKMASTER (1897–1968) Towards the Coast oil on canvas on board signed lower left: E. Buckmaster titled on gallery label verso 62 x 90cm

PROVENANCE: Private collection, Melbourne $5,000 – 7,000

PROVENANCE: Anthony & Woodgate Antiques & Art, Melbourne (label verso) Private collection, Melbourne $4,000 – 6,000

105 ERNEST BUCKMASTER (1897–1968) Huka Falls, New Zealand oil on canvasboard signed lower right: E Buckmaster titled verso 80 x 105cm PROVENANCE: Private collection, Melbourne $5,000 – 7,000

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107 D’ARCY DOYLE (1932–2001) Landscape with Kangaroos oil on board signed lower right: d’Arcy W. Doyle 39 x 49.5cm PROVENANCE: Private collection, Melbourne $4,000 – 6,000

105

108 PRO HART (1928–2006) Landscape with Drovers 1968 oil on board signed and dated lower right: PRO / HARt 68 44 x 58.5cm PROVENANCE: Private collection, South Australia $6,000 – 8,000 109 D’ARCY DOYLE (1932–2001) Landscape with Horse oil on canvasboard signed lower right: d’Arcy W. Doyle 38.5 x 49cm PROVENANCE: Private collection, Melbourne $4,000 – 6,000

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112 © David Boyd/Copyright Agency 2022

110 ERNEST BUCKMASTER (1897–1968) Upper Hollyford Valley oil on canvasboard signed lower left: E Buckmaster titled verso 70 x 93cm PROVENANCE: Private collection, Melbourne $3,000 – 5,000

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111 PRO HART (1928–2006) Landscape with Figures oil on board signed lower right: PRO HARt 28.5 x 28.5cm PROVENANCE: Private collection, Melbourne $2,500 – 3,500

112 DAVID BOYD (1924–2011) The Sunflower II oil on canvas signed lower left: David Boyd titled verso 34 x 44.5cm PROVENANCE: Private collection, Melbourne $7,000 – 9,000

113 © John Perceval/Copyright Agency 2022

113 JOHN PERCEVAL (1923–2000) Double Trouble 1990 oil on canvas signed and dated lower left: 90 / Perceval signed and titled verso 60 x 75cm PROVENANCE: The Collection of the Artist The Collection of Shelton Lea, by exchange (letter confirming change of title dated 25 Feburary 2000, signed by both parties) Thence by descent, 2005 Private collection, Melbourne $16,000 – 22,000

114 JAMES GLEESON (1915–2008) Figure in Psychoscape I oil on board signed lower right: Gleeson 16 x 13cm PROVENANCE: Private collection, Melbourne $1,500 – 2,500

115 JAMES GLEESON (1915–2008) Figures in Psychoscape II oil on board signed lower right: Gleeson titled on gallery label verso 20 x 15cm PROVENANCE: Greythorn Galleries, Melbourne (label verso) Private collection, Melbourne $2,000 – 3,000

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116 JAMES GLEESON (1915–2008) Figures in Psychoscape III oil on board signed lower right: Gleeson titled on gallery label verso 20 x 15.5cm PROVENANCE: Greythorn Galleries, Melbourne (label verso) Private collection, Melbourne $2,000 – 3,000 117 JAMES GLEESON (1915–2008) Figures in Psychoscape IV oil on board signed lower right: Gleeson 15 x 12.5cm PROVENANCE: Private collection, Melbourne $1,500 – 2,500 118 JAMES GLEESON (1915–2008) Figures in Psychoscape V oil on board signed lower right: Gleeson titled on gallery label verso (partial) 13.5 x 12cm 117

PROVENANCE: Private collection, Melbourne $1,500 – 2,500 119 PRO HART (1928–2006) Ibis Series 1970 oil on board signed lower right: PRO HARt dated lower left 47 x 60cm PROVENANCE: Private collection, Adelaide $6,500 – 8,500 120 § ALBERT TUCKER (1914–1999) River Gum, Metung 1964 oil on board signed and dated lower right: Tucker 64 titled on gallery label verso 34.5 x 24.5cm PROVENANCE: Australian Galleries, Melbourne, 1964 (label verso) The Collection of Dr W.R.D. Griffiths, Victoria Sotheby’s, Melbourne, 6 April 2016, lot 161 (label verso) Private collection, Melbourne $3,000 – 5,000

118

70

124

121 STANISLAUS RAPOTEC (1913–1997) Golden Blue Landscape 1967 oil on board signed and dated lower right: 67 Rapotec 91 x 106.5cm

123 ALAN SUMNER (1911–1994) Rooftops watercolour on paper signed lower right: ALAN SUMNER 31.5 x 36.5cm

PROVENANCE: Private collection, Sydney Private collection, Melbourne $5,000 – 7,000

PROVENANCE: Estate of the Artist Deutscher~Menzies, Sydney, 14 June 2006, lot 227 Private collection, Adelaide $2,000 – 3,000

122 KENNETH JACK (1924–2006) Machine in Abstract 1963 oil on board signed and dated lower left: KENNETH JACK/ 1963 titled verso 90 x 120cm PROVENANCE: Estate of the Artist $6,000 – 8,000

124 ROGER KEMP (1908–1987) Untitled mixed media on paper artist’s name on gallery label verso 29.5 x 42cm PROVENANCE: Niagara Galleries, Melbourne (label verso) Private collection, Melbourne $2,500 – 3,500

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125

125 § JOHN PASSMORE (1904–1984) Untitled (Abstract) gouache on newspaper signed and dated indistinctly lower right: J. PASSMORE / 19_6 58.5 x 82.5cm

127 JAMES GLEESON (1915–2008) Hermes Inventor oil on board signed lower right: Gleeson titled on gallery label verso 14.5 x 10.5cm

PROVENANCE: Lawson~Menzies, Sydney, 23 February 2012, lot 100 (label verso) Private collection, Melbourne $4,000 – 5,000

PROVENANCE: Greythorn Galleries, Melbourne (stamp verso) Private collection, Melbourne $1,500 – 2,500

126 YOSL BERGNER (1920–2017) Angel 1961 oil on canvas signed and dated lower left in Hebrew signed and dated verso, with dedication 62 x 48cm PROVENANCE: The Artist Private collection, Melbourne $5,000 – 7,000

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128 § CHARLES BLACKMAN (1928–2018) The Confrontation (Figures Fighting) 1951 oil on paper on board signed lower right: BLACKMAN 49 x 39cm PROVENANCE: The Charles Blackman Fundraising Auction, Mossgreen, Melbourne, 1 April 2014, lot 196 (as “Figures Fighting”) Private collection, Tasmania $5,000 – 7,000

130

129 YOSL BERGNER (1920–2017) Wildflowers oil on canvas signed in Hebrew lower right signed and titled verso 59 x 49cm PROVENANCE: The Artist Private collection, Melbourne $4,000 – 6,000 130 MIRKA MORA (1928–2018) Figure Studies 1965 charcoal on paper (12) signed and dated on lower right corner sheet, lower right: Mirka / 65. each numbered lower right 71 x 88cm (overall)

131 ROBERT DICKERSON (1924–2015) Figure charcoal on paper signed lower right: DICKERSON 72 x 52cm PROVENANCE: Private collection, Queensland $3,500 – 5,500 132 ONIB OLMEDO (Filipino, 1937–1996) Woman with Basket 1984 pastel on paper signed and dated lower right: ONIB OLMEDO ‘84 63 x 47.5cm PROVENANCE: Acquired in the Philippines, c.1985 Private collection, Melbourne $3,000 – 5,000

PROVENANCE: Leonard Joel, Melbourne, 21 August 1996, lot 759 Private collection, Melbourne $6,000 – 9,000

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134

133 REARNGSAK BOONYAVANISHKUL (Thai, born 1961) Holy Wall 2007 oil on canvas signed, dated and titled lower right: Rearngsak 2007/ “Holy Wall” 149 x 119cm PROVENANCE: Anthony Smith Fine Art, Melbourne 2008 Private collection, Melbourne $15,000 – 20,000

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134 ANGELITO ANTONIO (Filipino, born 1939) Family 1986 oil on canvas signed and dated lower left: Antonio 86 57 x 72.5cm

135 ANGELITO ANTONIO (Filipino, born 1939) Sabong 1985 oil on canvas on board signed and dated lower right: Antonio 85 59.5 x 75cm

PROVENANCE: Acquired in the Philippines, c.1986 Private collection, Melbourne $5,000 – 7,000

PROVENANCE: Heritage Art Center and Antiquities, Philippines 1986 Private collection, Melbourne $5,500 – 7,500

136

136 NORMA BELLEZA (Filipino, born 1939) Market Scene 1985 oil on canvas on board signed and dated lower left: Belleza 85 titled on unknown gallery label verso inscribed verso: NB-002-045/ #532 75 x 106cm PROVENANCE: Acquired in the Philippines, c.1985 Private collection, Melbourne $9,000 – 12,000

137 DAVID BROMLEY (born 1960) Girl Seated with Bubble Pipe bronze signed at base: BROMLEY 97cm (height)

138 ATTASIT POKPONG (Thai, born 1977) Portrait of a Girl 2008 oil on canvas signed lower left: KANG. 2008 189 x 190cm

PROVENANCE: Private collection, Melbourne $5,000 – 7,000

PROVENANCE: Tusk Art Gallery, Melbourne Private collection, Melbourne $3,000 – 5,000

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139 § ZHONG CHEN (born 1969) Rebecca 2010 oil on canvas signed lower right: Zhong Chen signed and dated verso 137.5 x 137cm PROVENANCE: Private collection, Melbourne $4,000 – 5,000 140 § DAVID BROMLEY (born 1960) Playtime synthetic polymer paint and aerosol on repurposed Japanese folding screen signed lower left: BROMLEY 170 x 384cm (overall) PROVENANCE: Bromley & Co., Melbourne 2019 Private collection, New South Wales $10,000 – 15,000 141 DAVID BROMLEY (born 1960) Red Shoes Blue Shoes synthetic polymer paint on canvas signed lower left: BROMLEY 151.5 x 121cm PROVENANCE: Scott Livesey Galleries, Melbourne (stamp verso) Private collection, Melbourne $4,000 – 6,000

140 142 MATTHEW SIMMONS (born 1976) Katamatite 2004 oil on canvas monogrammed and dated lower left titled verso 73.5 x 195.5cm PROVENANCE: Artistry Galleries, Victoria 2004 Private collection, Melbourne $5,000 – 7,000

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143 DOROTHY BRAUND (1926–2013) Bathers gouache and watercolour on paper (3) i) signed and dated lower left: BRAUND ‘01 ii) signed and dated lower right: BRAUND ‘83 iii) unsigned 17 x 22.5cm (each) PROVENANCE: The Artist Private collection, Melbourne $3,500 – 5,000

144 HERMAN PEKEL (born 1956) Big Dipper (St. Kilda Series) 2009 oil on board signed lower right: PEKEL signed, titled and dated verso 82 x 78cm PROVENANCE: Private collection, Melbourne $2,500 – 4,000

145 GILLIE & MARC SCHATTNER (born 1965 & 1961) Dogman and Rabbitwoman Reach New Heights bronze, ed. 8/25 49 x 26 x 20cm PROVENANCE: The Artist Private collection, Sydney $3,800 – 4,800

146 JAMES DAVIS (1940–2019) Green Train 1992 oil on canvas monogrammed lower right monogrammed, titled and dated verso 91.5 x 181.5cm PROVENANCE: Private collection, Melbourne $5,000 – 7,000

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FINE JEWELS & TIMEPIECES MELBOURNE AUCTION Monday 21 March, 6pm 333 Malvern Road, South Yarra, VIC 3141

leonardjoel.com.au 78

BIRKS, PLATINUM, SAPPHIRE AND DIAMOND BRACELET, CIRCA 1935 $30,000 – 35,000

The Kelton Collection Indigenous Art at Leonard Joel MELBOURNE AUCTION Monday 11 April, 6pm 333 Malvern Road, South Yarra, VIC 3141

PANSY NAPANGARDI (born c.1945) Kungka Kutjara (Two women) at Winpirri Rockhole 1991 Synthetic polymer paint on canvas 135 x 90cm $4,000 – 6,000 © Pansy Mcleod Napangati /Copyright Agency, 2022

leonardjoel.com.au 79

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WHO ARE YOU: AUSTRALIAN PORTRAITURE 82

THE IAN POTTER CENTRE: NGV AUSTRALIA 25 MAR – 21 AUG AN NGV AND NATIONAL PORTRAIT GALLERY COLLABORATION

MAJOR PARTNER

SUPPORTER

TOURISM PARTNER

EXHIBITION PARTNER

Brook Andrew; Trent Walter (printer) Marcia Langton 2009 (detail) National Portrait Gallery, Canberra. Commissioned with funds provided by Marilyn Darling AC 200 © Brook Andrew

ARTIST INDEX

A

G

O

ADAMSON, JAMES HAZEL......................................... 99 AMOR, RICK................................................................... 51 ANTONIO, ANGELITO....................................... 134, 135 ASHTON, WILL................................................................2

GLEESON, JAMES.................... 114, 115, 116, 117, 118, 127 GRIFFITHS, HARLEY CAMERON................. 101A, 102A

OLMEDO, ONIB........................................................... 132 OWEN, ROBERT.................................................... 64, 66

H

P

HARPER, MELINDA.......................................................65 HARRISON, DAVID MACKAY.................................... 43 HART, PRO...................................................... 108, 111, 119 HATTAM, KATHERINE................................................. 58 HATTAM, KATHERINE AND WILL MACKINNON...55 HESTER, JOY.................................................................. 31 HEYSEN, HANS.....................................................6, 7, 98 HOLMES, EDITH............................................................36

PASSMORE, JOHN..................................................... 125 PAUL, KURUWARRIYINGATHI BIJARRB PAULA........ ................................................................................... 78, 79 PECK, MICHAEL...................................................... 49, 50 PEKEL, HERMAN.........................................................144 PERCEVAL, JOHN.........................................................113 PETERS, RUSTY.............................................................92 PLANTE, ADA MAY........................................................33 POKPONG, ATTASIT...................................................138 POWER, HAROLD SEPTIMUS.....................................17

B BAADJO, TOSSIE.......................................................... 90 BAKER, JIMMY AND TERESA..................................... 82 BAKER, TERESA............................................................ 83 BAKER, JIMMY.............................................................. 84 BAKER-CLACK, ARTHUR...................................... 96, 97 BARBOUR, JOHN......................................................... 68 BECKETT, CLARICE...................................................... 34 BEDFORD, PADDY........................................................ 91 BEHRENS, MONIKA.....................................................71 BELL, GEORGE.............................................................102 BELLEZA, NORMA....................................................... 136 BERGNER, YOSL............................................ 27, 126, 129 BEZOR, ANNETTE.........................................................72 BLACKMAN, CHARLES.........................................29, 128 BOONYAVANISHKUL, REARNGSAK...................... 133 BOYD, ARTHUR............................................................ 28 BOYD, DAVID................................................................112 BRAUND, DOROTHY.......................................... 30, 143 BROMLEY, DAVID........................................ 137, 140, 141 BUCKMASTER, ERNEST........................13, 105, 106, 110 BURTON, ROBERT....................................................... 80

C CHEN, ZHONG........................................................... 139 COBURN, JOHN............................................................62 CONNOR, KEVIN..........................................................26 CURTIS, J. W................................................................... 18

D DAVIES, DAVID........................................................... 100 DAVIS, JAMES..............................................................146 DICKERSON, ROBERT.................................................131 DOCKING, SHAY...............................................................

32 DOYLE, D’ARCY................................................... 107, 109 DRINKWATER, JAMES................................................. 54

E EDKINS, CATHLEEN ELIZABETH........................39, 40 EDWARDS, MCLEAN....................................................56

F FANZHI, ZENG............................................................... 77 FORAIN, JEAN-LOUIS.................................................101 FRIEND, DONALD......................................................... 19

J JACK, KENNETH......................................................... 122 JACKS, ROBERT ............................................................63 JOHNSON, ROBERT.......................................................5 JOHNSON, MATTHEW...............................................73

K KEMP, ROGER.............................................................. 124 KNIGHT, JASPER.......................................................... 67 KNIGHT, KEN.............................................................. 104 KUBARKKU, MICK....................................................... 94

L LANGLOIS, CHRIS..................................................44, 45 LARWILL, DAVID........................................................... 61 LEWIS, TJUNKA.............................................................87 LINDSAY, LIONEL............................................................9 LINDSAY, NORMAN...........................................11, 12, 15 LLOYD, TONY.................................................................70 LONG, SYDNEY......................................................... 3, 16

M MACLEOD, EUAN......................................................... 48 MARTIN, FRITZ.............................................................. 14 MASON, FIONA JIN-MAJINGGAL.............................95 MCINNES, W.B.................................................................8 MCKENNA, NOEL.........................................................57 MIDDLETON, MAX......................................................103 MINNS, B.E........................................................................1 MORA, MIRKA........................................................59, 130 MORRIS, JOANNE........................................................69 MORTON, CALLUM......................................................74 MUNG MUNG, GEORGE ............................................93

N

R RANKIN, DAVID................................................52, 53, 60 RAPOTEC, STANISLAUS.............................................121 RIVERA, GABRIEL......................................................... 46 ROBERTS, IAN............................................................... 81 ROBERTSON, JAMES....................................................47 ROWAN, ELLIS.............................................................. 42

S SCHATTNER, GILLIE & MARC...................................145 SIMMONS, MATTHEW............................................... 142 SMART, JEFFREY............................................................ 21 STEELE, OLIVIA..............................................................76 SUMNER, ALAN........................................................... 123

T TEAGUE, VIOLET........................................................... 41 TJAPANGATI, WIMMITJI............................................. 89 TJUNGURRAYI, YUMPULULU................................... 85 TJUTJANA, HARRY....................................................... 86 TRAILL, JESSIE................................................................35 TUCK, MARIE ANNE...............................................37, 38 TUCKER, ALBERT........................................... 23, 25, 120

V VANDERZWEEP, ANTHONY...................................... 24

W WISE, KIT.......................................................................75

Y YOUNG, BLAMIRE..........................................................4

NAPANGARDI, BAI BAI............................................... 88 NICOLS, AUDLEY DEAN.............................................. 10 NOLAN, SIDNEY..................................................... 20, 22

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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.

Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order.

Items may be thoroughly inspected during the viewing period or by prior arrangement.

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.

Authenticity Certificates As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale.

Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates.

GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.

For further information contact: Marie McCarthy accounts@leonardjoel.com.au Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person.

Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed.

Lots will be bought as cheaply as allowed by other bids and/or reserves.

Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis.

Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them.

Buyer’s Premium There will be a buyer’s premium added to all purchases.

The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

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Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Title Leonard Joel guarantees good title to all lots.

Warranties and Condition Reports Condition reports will be available for any lot upon request, subject to conditions.

Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale.

Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer.

Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected.

Credit card fees may apply.

Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street, Melbourne VIC 3000 Australia BSB: 033–364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

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

Removal Charges Each lot: $55 Storage Charges Each lot: $33 per day Protection of Movable Cultural Heritage Act 1986 (PMCH Act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell

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

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

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

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

For any enquiries about this service please contact delivery@leonardjoel.com.au

For alternative recommended carriers please refer to our website.

Partners:

CONTACT A LEONARD JOEL SPECIALIST Sale Rooms —

Leonard Joel Specialists —

The Auction Salon —

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

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Hannah Ryan, Specialist Noelle Martin, Administrator and Registrar

Nick Bastiras, Manager

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

INDIGENOUS ART Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Specialist DECORATIVE ARTS David Parsons, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Chiara Curcio BA, Head of Department (On Maternity Leave) SYDNEY Ronan Sulich, Senior Advisor Madeleine Norton BFA, BComm, MLitt, Decorative Arts and Fine Art Specialist Marcella Fox, Manager IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Hannah Sass, Jewellery Manager Indigo Keane, Assistant Isabella Macciolli, Administrator Henrietta Maiyah, Consultant MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department Paul Nicol, Modern Design Assistant LUXURY John D’Agata F.G.A.A., Head of Department Indigo Keane, Assistant PRINTS Hannah Ryan, Art Specialist

FURNITURE David Price, Manager Angus McGougan, Assistant Ari Walpole, Assistant JEWELLERY Hannah Sass, Jewellery Manager Indigo Keane, Assistant ART SALON Amanda North, Manager Tessa Pietsch, Assistant OBJECTS & COLLECTABLES Rebecca Stormont, Manager Natasha Berlizova, Assistant

— VALUATIONS David Parsons, Head of Department Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist ACCOUNTS Yue Zhang, Finance Manager Michelle Draper, Account Manager Andrea Del Campo, Accountant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Lucy Lewis, Client Services Liaison Richard Grieve, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant MARKETING & COMMUNICATIONS Blanka Nemeth, Marketing Manager Keryn Gilchrist, Database Administrator PHOTOGRAPHY Adam Obradovic Paolo Cappelli GRAPHIC DESIGN Maria Rossi

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Lot 76 (detail) OLIVIA STEELE (American, born 1985) That’s All Folks 2011 hand blown and coloured neon on perspex photographic print 125.5 x 150cm $7,000 – 9,000

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