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HIGHLIGHTS

FINE ART AUCTION TUESDAY 4 SEPTEMBER 2018, MELBOURNE

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AUCTION CATALOGUE VOLUME 11 ISSUE 12

Front Cover 44 JOHN BRACK (1920-1999) The Umbrellas 1977 conte on paper 44 x 30.5cm $30,000-50,000 © Courtesy of Helen Brack

Inside Cover Detail 128 BILL WHISKEY TJAPALTJARRI (c.1920-2008) Rockholes near the Olgas 2007 acrylic on linen 155 x 61cm $10,000-15,000 © Bill Whiskey Tjapaltjarri. Licensed by Viscopy Ltd. Australia

leonardjoel.com.au ii


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206 RAQUEL MAZZINA (born 1970) Primavera 2005 oil on canvas titled, signed, and dated verso: PRIMAVERA/ 2005/ RMazzina 173 x 122cm $3,000-5,000

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HIGHLIGHTS

FINE ART AUCTION TUESDAY 4 SEPTEMBER 2018 AT 6.30PM, MELBOURNE

VIEWING Sydney Highlights Viewing 36-40 Queen Street, Woollahra Sydney NSW 2025 16 - 18 August 10am-4pm

Melbourne Viewing 333 Malvern Road, South Yarra 29 August 9am-8pm 30 August - 3 September 10am-4pm 4 September By Appointment Only

CONTACT

Sophie Ullin

Olivia Fuller

Jane Messenger

National Head of Art 03 8825 5609 | 0407 360 513 sophie.ullin@leonardjoel.com.au

Art Specialist 03 8825 5624 olivia.fuller@leonardjoel.com.au

Art Specialist 02 9362 9045 jane.messenger@leonardjoel.com.au

View the entire catalogue at leonardjoel.com.au 3


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MODERNS 14 JOHN OLSEN (born 1928) Honey Possum and Bottle Brush 1974 watercolour on paper signed and dated lower left: John Olsen 74 titled lower right 27.5 x 37cm $5,000-7,000 © John Olsen. Licensed by Viscopy Ltd. Australia

127 (detail opposite) ANDREW BROWNE (born 1960) Dark Grid and Flowers 1993 oil on paper artist’s name, title, and date inscribed verso 75 x 56cm PROVENANCE: Gould Galleries, Melbourne (cat. no. 13217, label verso) Private collection, Melbourne $1,500-2,000 5


‘Tis the voice of the Lobster: I heard him declare “You have baked me too brown, I must sugar my hair.” As a duck with its eyelids, so he with his nose Trims his belt and his buttons, and turns out his toes. When the sands are all dry, he is gay as a lark, And will talk in contemptuous tones of the Shark; But, when the tide rises and sharks are around, His voice has a timid and tremulous sound. I passed by his garden, and marked, with one eye, How the Owl and the Panther were sharing a pie: The Panther took pie-crust, and gravy, and meat, While the Owl had the dish as its share of the treat. When the pie was all finished, the Owl, as a boon, Was kindly permitted to pocket the spoon; While the Panther received knife and fork with a growl, And concluded the banquet by --LEWIS CARROLL 30 CHARLES BLACKMAN (born 1928) Owl c.1957-58 oil and enamel on board signed lower right: CHARLES BLACKMAN 74 x 61cm PROVENANCE: Christie’s, Melbourne, 25 November 1997, lot 9 Private collection, Melbourne RELATED WORK: Rabbit with pince-nez 1956, tempera and oil on cardboard, 70 x 51.6cm Essex Street Magpie 1957, oil on glass, 29.3 x 34.3cm, The Collection of Barbara Blackman $25,000-35,000 © Charles Blackman. Licensed by Viscopy Ltd. Australia

On first glance Owl c.1957-58 might appear to be an unusual choice of subject for Charles Blackman, however when one digs a little deeper, there are in fact a myriad of curious associations. During the mid 1950s, Blackman and Clifton Pugh enjoyed trips to Queensland’s Glasshouse Mountains and when reflecting upon this experience Pugh remarked ‘being out painting lots and lots of times with Charles Blackman, I liked him very much. It often strikes me that you can relate a person to an animal. I could only think of Charles Blackman in relation to a bird. (1)” Felicity St John Moore deepened the connection further when she revealed in the book Charles Blackman; Alice in Wonderland that “Birdie” was a nickname for Blackman which may have prompted inspiration for Pugh’s Archibald winning portrait Charles Blackman and the blackbirds 1959. (2) The Owl also connects to Alice in Wonderland and makes a fleeting appearance in Lewis Carroll’s iconic writings in a poem called “Tis the Voice of the Lobster”(3). In contrast Charles Blackman, at least for a moment, grants his hybrid bird creature centre stage as a fully formed, self-assured character akin to that bestowed upon the Rabbit in his Alice series. (Blackman’s Rabbit with pince-nez 1956 makes for an interesting study comparison.) Perhaps it is unsurprising that The Owl follows on from Alice Phoenix 1957 as in this farewell to his Alice in Wonderland sequence Blackman creates a “… more abstract and pictorial space, [and] weaves fragments of his earlier series with images of birds, the latter reflecting his recent painting trip to the Glasshouse Mountains with Clifton Pugh.”4 Whilst Blackman was drawn to the bird character for only a short time, Owl reveals intriguing and previously unseen links to a seminal era within his oeuvre. Sophie Ullin National Head of Art

(1)

(2)

Clifton Pugh in Grimwade, A., Involvement: The Portraits of Clifton Pugh and Mark Strizic, Sun Books, Melbourne, 1968, p.52 St John Moore, F., Smith, G., in Charles Blackman: Alice in Wonderland, National Gallery of Victoria, Melbourne, 2006,

p.128

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(3)

Carroll, L., Alice’s Adventure in Wonderland, Macmillan, London 1974, chapter 10

(4)

St John Moore, F., op cit, p.128


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JOHN BRACK 44 JOHN BRACK (1920-1999) The Umbrellas 1977 conté on paper signed and dated lower right: John Brack 77 titled on label verso 44 x 30.5cm PROVENANCE: Crossley Gallery, Melbourne 1979 The Collection of Laima and Vincas Jomantas, Melbourne EXHIBITIONS: Crossley Gallery, Melbourne, Inaugural exhibition, John Brack: Works on Paper, August 1979, cat no. 20 LITERATURE: Grishin, S., The Art of John Brack Volume II: Catalogue Raisonne, Oxford University Press, Melbourne, 1990, p. 232 (illus.) Lindsay, R., John Brack: A Retrospective Exhibition, National Gallery of Victoria, Melbourne, 1987 McCulloch, A., New forms - fat and thin, exhibition review, Herald newspaper, 23 August 1979 RELATED WORKS: John Brack, Pens 1977, pencil, pen and black and brown ink, watercolour on ivory wove paper, 76 x 55.5cm, National Gallery of New South Wales, Sydney. John Brack, Confrontation 1978, pen and coloured inks and watercolour, 70.5 x 49.6 cm, National Gallery of Victoria, Melbourne $30,000-50,000 © Courtesy of Helen Brack

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© Courtesy of Helen Brack

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JOHN BRACK As a painter of modern Australian life, John Brack’s interest in the human condition remained a constant theme throughout a career that spanned more than five decades. In his work of the 1950s and 60s, this was self-evident in his depiction of the people and places surrounding him. However, following his first trip overseas in mid-1970, literal representations of the human figure disappeared (with the exception of the nude and portraits), to be replaced with every day, inanimate objects such as pens, pencils, cutlery, playing cards, and umbrellas. Brack discussed his metaphoric use of objects in an interview with James Gleeson in 1978 (one year after The Umbrellas was painted): “[The objects] were the nearest things to hand in the studio, which for me could represent figures. They are a general representation of figures in paintings like Collins Street, 5 pm, 1955, (in the collection of the National Gallery of Victoria, Melbourne). I was looking for something that would provide me with the means of making a more general, more universal statement.” 1 Brack was searching “for a new visual metaphor that would permit him to express the whole complexity of social interconnections.”2 Pencils and pens marched in war and in protest, playing cards performed and passed comment on power hierarchies. Brack’s work of the 1970s revealed his increasing preoccupation with the fragility of our existance and the inevitability of death. The closed umbrellas in this work teeter on the point of collapse, tentatively moving down the incline. The umbrella, like a walking stick, protects and stablises, providing assurance. However, here, they are not just a prop but a symbol of the uncertainties that we invariably all face. As Brack stated:

© Courtesy of Helen Brack

“They are intended to have some reference to the complexity of life, of any life, so therefore they are intended to be both balanced and unbalanced, they are intended to be moving and intended to be still, they are intended to be coherent and intended to be incoherent… in other words, these are premeditated ambiguities.”3 Ella Perrottet Assistant Researcher

John Brack with James Gleeson, James Gleeson Oral History Collection, National Gallery of Victoria, 29 November 1978 Grishin, S., The Art of John Brack Volume II: Catalogue Raisonne, Oxford University Press, Melbourne, 1990, p. 140 3. John Brack, Australian Contemporary Art Archive, No.1, Deakin University Media Production, Melbourne, 1980, p. 5 1. 2.

45 (detail opposite) ROBERT JACKS (1943-2014) The Garden 1983 watercolour on paper signed and dated lower right: R. Jacks 1983 titled lower left 152 x 102cm PROVENANCE: Private collection, Melbourne EXHIBITIONS: Colour and Transparency, National Gallery of Victoria, Melbourne. 22 February - 27 April 1986, cat. no. 24 $2,500-3,500 © Robert Jacks. Licensed by Viscopy Ltd. Australia

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92 CHARLES BLACKMAN (born 1928) Burnley Dreams 1954 oil on masonite double-sided (image verso: Cat with Circus Hat) signed upper right: BLACKMAN 61 x 76cm PROVENANCE: The Collection of Barbara Blackman, Canberra RELATED WORKS: Schoolgirls at Burnley c.1952-3, enamel on board, 60 x 83cm The Chase 1952, tempera on board, 75 x 99.5cm, The Collection of the Artist $25,000-35,000 © Charles Blackman. Licensed by Viscopy Ltd. Australia

In this rather dreamlike early painting, the smoking chimneys and shadowed stacks on the single-storey terrace houses in Burnley are the backdrop for a personal dream of creation and collaboration. The figure of the young artist, in black beret attire, is poised behind the shaky fence on the left, while his painting hand reaches towards the earth mother form floating on a post in the foreground. This totemic image is a symbol of his wife Barbara’s psyche. Its rounded surface is brushed with gold in line with the sunlit roof of the terrace house behind; the fresh greens of its cheeks and pinks of its forehead suggest the promise of new life; its fixed eyes seem to contain her knowledge and inner strength. In the early fifties Blackman’s urban landscape imagery is stimulated by dawn walks with Barbara through Burnley and Richmond on their way to Victoria Market. Her low vision meant that he needed to describe the world - a running commentary that sharpened his observations. “I shall achieve but only I feel through Barbara” he wrote to her, “I know it, above me it stands, a clear vision.” Her imagined, listening presence breaks the monotony of the suburban terraces, introducing notions of individualism, communication and conversation. Felicity St John Moore Art Historian and Curator

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43 BRETT WHITELEY (1939-1992) Bird on a Branch 1977 sugarlift and aquatint on paper ed. A/P editioned lower left signed lower right: brett whiteley 43 x 75 cm (image), 68 x 78cm (sheet) PROVENANCE: Hill Smith Fine Art, Adelaide 1997 Private collection, Sydney Sotheby’s, Sydney, 21 June 2017, lot 179 Private collection, Melbourne LITERATURE: Brett Whiteley The Graphics 1961-1992, Deutscher Fine Art, Melbourne, p. 52 (illustrated, another impression), cat. no. 44 $6,500-8,500 © Courtesy of Wendy Whiteley

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106 (opposite) CLIFTON PUGH (1924-1990) Mr. Georges Mora 1955 oil on composition board signed and dated lower right: Clifton / Oct ‘55 83 x 74cm PROVENANCE: Sir Ross Grey-Smith, Melbourne Lady Bettine Grey-Smith, Melbourne Leonard Joel, Melbourne, 11 May 1977, lot 367 Private collection, Melbourne LITERATURE: Macainsh, N., Clifton Pugh, Georgian House, Melbourne1962, p.12. Grimwade, A., Involvement: The Portraits of Clifton Pugh & Mark Strizic, Sun Books, Melbourne 1968, pp. 24, 25 (illus.) $12,000-18,000


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50 ROGER KEMP (1908-1987) Semi Abstract Picture in Blue, Red and Cream oil on linen laid on board unsigned authenticated by Michel Kemp 73 x 83cm PROVENANCE: Eastgate Gallery, Melbourne Private collection, Sydney $10,000-15,000

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111 JOHN COBURN (1925-2006) Night Music pastel on paper signed lower right: Coburn titled at base 50.5 x 50.5cm PROVENANCE: Axia Gallery, Melbourne Private collection, Melbourne $4,000-6,000 © John Coburn. Licensed by Viscopy Ltd. Australia

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154 PABLO PICASSO (Spanish/French, 1881-1973) Visage d’Homme (A.R. 287) 1955 ceramic plate, partially engraved, white glaze, black engobe ed. 38/500 stamped centre verso: MADOURA PLEIN FEU EDITION PICASSO incised verso lower centre: EDITION/ PICASSO/ 38/500 / MADOURA 39 x 32cm PROVENANCE: Philips Australia, 31 July 2011, lot 315 Private collection, Sydney $8,000-12,000 © Pablo Picasso. Licensed by Viscopy Ltd. Australia

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155 PABLO PICASSO (Spanish/French, 1881-1973) Visage de Femme (A.R. 286) 1955 ceramic plate, partially engraved, white glaze, black engobe ed. 37/500 stamped centre verso: MADOURA PLEIN FEU EDITION PICASSO incised verso lower centre: EDITION/ PICASSO/ 37/500 / MADOURA 39 x 32cm PROVENANCE: Philips Australia, 31 July 2011, lot 316 Private collection, Sydney $8,000-12,000 © Pablo Picasso. Licensed by Viscopy Ltd. Australia

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HORACE BRODSKY

Brodsky was a strong supporter of the modern arts movement in London, and was an early member of the The London Group, exhibiting with the likes of Walter Sickert and Lucian Pissaro whilst forming clost ties Jacob Epstein, Ezra Pound and Wyndham Lewis. In 1912 he was the first Australian artist to be included in the Venice Biennale of Modern Art.

101 HORACE BRODZKY (1885-1969) The Watches 1956 oil on canvas signed and dated lower right: H. Brodzky ‘56 dated and titled verso 41 x 51 cm PROVENANCE: Private collection, Melbourne $2,000-4,000

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102 (detail opposite) HORACE BRODZKY (1885-1969) Bermondsey Nocturne - Fish Shop 1930 oil on canvas signed and dated lower right: H. Brodzky ‘30 titled verso 29.5 x 23.5cm PROVENANCE: Private collection, Melbourne $2,000-4,000


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LAURENCE HOPE

33 LAURENCE HOPE (born 1928) Sleeper Man oil on board signed lower right: L Hope 29 x 89cm PROVENANCE: Private collection, Melbourne $1,500-2,500

32 LAURENCE HOPE (born 1928) Night Time Boy oil on board signed lower right: HOPE 59.5 x 89cm PROVENANCE: Private collection, Melbourne $3,000-5,000 22


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JOURNEYS 156 THOMAS YEO (Singaporean, born 1936) Clear Waters mixed media on paper on board signed lower right: tyeo 77 x 59cm PROVENANCE: Raya Gallery, Melbourne (label verso) Private collection, Melbourne $2,000-4,000 24


16 DONALD FRIEND (1915-1989) The Thatched Roof ink, watercolour on paper mounted on board inscribed, titled, and signed lower left: The Thatched Roof/ Donald/ Friend Bali 57 x 77cm PROVENANCE: Christie’s, Sydney, 5 October 1971, lot 278 Private collection, Sydney $8,000-12,000 © Donald Friend. Licensed by Viscopy Ltd. Australia

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40 RAY CROOKE (1922-2015) Fijian Village oil on canvas signed lower left: R Crooke 120 x 150cm PROVENANCE: Savill Galleries, Sydney (cat. no. 202002, label verso) Private collection, Melbourne EXHIBITIONS: Ray Crooke, Savill Galleries, Sydney, 27 February to 23 March 2002 $50,000-70,000 © Ray Crooke. Licensed by Viscopy Ltd. Australia

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13 CLIFTON PUGH (1924-1990) The Hunter 1990 oil, feathers and bone on canvas dated lower right titled lower left: THE HUNTER 91 x 115.5cm PROVENANCE: Private collection, Melbourne Thence by descent $5,000-7,000

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15 ROBERT JUNIPER (1929-2012) Untitled 1987 oil on canvas signed and dated lower left: Juniper ‘87 90 x 120cm PROVENANCE: Commissioned directly from the artist Private collection, Melbourne $10,000-15,000 © Robert Juniper. Licensed by Viscopy Ltd. Australia

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85 HUGH SAWREY (1923-1999) The Arrival of the New School Ma’am oil on canvas signed lower right: SAWREY 120 x 150cm PROVENANCE: Christie’s, Melbourne, 12 April 1987, lot 388 Private collection, Melbourne $55,000-75,000 31


TIMELESS CLASSICS 32

10 W. D. KNOX (1880-1954) On the Old Diggings oil on board signed lower right: W. D. KNOX 23 x 31.5cm PROVENANCE: Private collection, Scotland $2,500-3,500


8 WALTER WITHERS (1854-1914) Cattle oil on canvas signed lower left: Walter Withers 34.5 x 50.5cm PROVENANCE: Acquired by the vendor’s grandparents c.1920 Thence by descent Private collection, Melbourne $10,000-15,000

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The major statements of the period [1920-23] reveal the extent to which Boyd’s overriding interest in scenes of emerging, full or passing light - the serenity of the bush - could be realised through images of the gum tree. RODNEY JAMES

67 PENLEIGH BOYD (1890-1923) Ghost Gums and Figure 1921 oil on canvas signed and dated lower right: Penleigh Boyd/ 21 68 x 80cm PROVENANCE: McKenzies Auctioneers, Perth, 23 November 2010, lot 72 Private collection, Melbourne LITERATURE: James, R., Penleigh Boyd 1890-1923, Mornington Peninsula Regional Gallery, Victoria, 2000, p.13 $20,000-30,000


2 WALTER WITHERS (1854-1914) The Artist’s Four Daughters watercolour on paper initialled lower right: WW 12 x 17cm PROVENANCE: Private collection, Melbourne $2,000-3,000

164 (detail opposite) JANET CUMBRAE-STEWART (1883-1960) The Cuckoo Clock 1927 pastel on paper signed and dated lower right: Cumbrae Stewart 27 45 x 37cm PROVENANCE: Beaux Arts Gallery, London Christie’s, London 24 September 2015, lot 27 Private collection, Scotland $5,000-7,000 36


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3 JULIAN ROSSI ASHTON (1851-1942) Paddle Steamer and Boating Party on the River 1889 watercolour on paper signed lower right: J. R ASHTON /1889 27.5 x 43cm PROVENANCE: Private collection, America Christie’s, Melbourne, 27 August 1997, lot 10 Lauraine Diggins Fine Art, Melbourne Private collection, Sydney $9,000-12,000

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9 HAROLD SEPTIMUS POWER (1878-1951) Cart and Driver oil on board signed lower left: H. S. POWER 28 x 32.5cm PROVENANCE: Private collection, Scotland $5,000-8,000

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186 ARTIST UNKNOWN (19th Century) Racehorse oil on canvas unsigned 49 x 67cm PROVENANCE: Private collection, Scotland $3,500-4,500

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7 HAROLD SEPTIMUS POWER (1878-1951) Sketch For The Hunt watercolour on paper signed lower left: H. S. POWER 51 x 75.5cm $6,000-8,000

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163 EDWARD PRITCHETT (British, 1808-1894) Venetian Scene oil on paper laid on board signed lower right: E. PRITCHETT 37 x 44cm $3,000-5,000

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187 GEORGE ROBERTS (c.1800-1865) King Street Towards St James, Sydney c.1847 watercolour on paper signed and dated lower right: G Roberts... 184[7] 28.5 x 45cm PROVENANCE: Private collection, Melbourne c.1930’s Thence by descent $6,000-8,000

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WOMEN ARTISTS

23 MIRKA MORA (born 1928) My Eyes are Closed to Dream 2014 oil on canvas signed and dated middle right: 2014/ MIRKA 39 x 118cm PROVENANCE: William Mora Galleries, Melbourne (stamped verso) Private collection, Melbourne $9,500-12,000

24 (opposite) CRISS CANNING (born 1947) Sunflowers 2004 oil on canvas signed lower right: Criss Canning 82 x 75cm PROVENANCE: Gould Galleries, Sydney (label verso) Private collection, Melbourne $20,000-30,000 © Criss Canning. Licensed by Viscopy Ltd. Australia

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140 ANNE MARIE GRAHAM (born 1925) Botanical Garden, Melbourne 1987-1988 oil on canvas triptych signed and dated lower right: Anne Graham 87 - 88 120 x 90 cm (each) A frequent visitor to the Royal Botanic Gardens, Anne Graham utilises the triptych format normally reserved for traditional European religious paintings, such as Hieronymus Bosch’s enigmatic The Garden of Earthly Delights, to illustrate one of her most beloved subject matter. Anne’s contemporary play on Melbourne everyday life, depicts locals at leisure in the iconic grounds with affection and sometimes irony, framed by an oasis of lush flora.

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RELATED WORKS: A Garden for all Seasons 1983, oil on canvas, triptych, 180 x 360cm Collection: Victorian Arts Centre Peace, Botanic Gardens 1999, oil on canvas, triptych, 91.5 x 61cm (each panel) $7,000-10,000


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130 MIGNONETTE JAMIN (born 1932) Muthhanonngamaya natural earth pigment on canvas inscribed verso with artist’s name and Waringarri Aboriginal Arts stamp and cat. no. WAA875806 100 x 140cm PROVENANCE: Waringarri Aboriginal Arts, Western Australia (accompanied by a certificate of authenticity) Private collection, Sydney $2,000-3,000 Š Mignonette Jamin. Licensed by Viscopy Ltd. Australia

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132 § BETTY KUNTIWI PUMANI (born 1963) Untitled 2010 acrylic on canvas inscribed verso with artist’s name, date and Mimili Maku artists cat. no. MM457-10 122 x 137cm PROVENANCE: Mimili Maku Arts, NT (accompanied by a certificate of authenticity) Private collection, Sydney $2,500-3,500 © Betty Kuntiwi Pumani. Licensed by Viscopy Ltd. Australia

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CONTEMPORARY


114 TIM STORRIER (born 1949) The Evening Blaze Line mixed media on canvasboard titled and signed lower right: The Evening Blaze Line/Storrier 40.5 x 49.5cm PROVENANCE: Private collection, Melbourne $12,000-15,000 51


205 GRAEME TOWNSEND (born 1954) The Ringer Takes a Ride 1992 oil on canvas signed and dated lower right: Graeme Townsend 92 151 x 304cm PROVENANCE: Private collection, Melbourne $4,000-5,000

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138 DEAN BOWEN (born 1956) Black Bird oil on canvas 25 x 35cm PROVENANCE: Acquired directly from the artist Private collection, Melbourne $1,500-2,500 © Dean Bowen. Licensed by Viscopy Ltd. Australia

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204 PETER POWDITCH (born 1942) Sun Torso, 139 (Bunch) oil on composition board signed and titled verso: SUN-TORSO, 139 (BUNCH)/ POWDITCH 90 x 98cm PROVENANCE: Rudy Komon Art Gallery, Sydney (cat. no. 3569) Christie’s, Melbourne, 27 Nov. 2000, lot 257 Lauraine Diggins Fine Art Melbourne (cat. no. 230118, label verso) Private collection, Melbourne $3,000-5,000

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146 (opposite) DREW GREGORY (born 1947) Twister’s Tangle 2005 oil on canvas signed and dated lower right: Drew Gregory ‘05 inscribed verso with artist name, title and date 168 x 102cm $2,000-4,000


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JEWELS

AUCTION MONDAY 3 SEPTEMBER 2018 AT 6.30PM, MELBOURNE

AN ANTIQUE AUSTRALIAN GOLDFIELDS BROOCH $3,000- 5,000

John D’Agata, National Head of Jewellery john.dagata@leonardjoel.com.au | 03 8825 5605 56


Thinking of Selling?

WOMEN ARTISTS AUCTION WEDNESDAY 10 OCTOBER 2018, MELBOURNE

ANNE MARIE GRAHAM (born 1925) Just For Fun, oil on board, 113 x 122 cm (irregular) $3500-5500

Olivia Fuller, Art Specialist 03 8825 5624 | olivia.fuller@leonardjoel.com.au 57


ARTIST INDEX AMOR, RICK

122, 122A

ARKLEY, HOWARD

123

ARMSTRONG, IAN

26

ARTIST UNKNOWN

186

FOWLES, JOSEPH

185

O’CONNOR, VIC

93

FRANSELLA, GRAHAM

113

OLSEN, JOHN

14

FRENCH, LEONARD

28

FRIED, PAL

PAREROULTJA, OTTO

81

157

PEKEL, HERMAN

61, 61A

16

PICASSO, PABLO

154, 155

ASPDEN, DAVID

51

FRIEND, DONALD

ATTRIBUTED TO EMANUEL PHILLIPS FOX

68

GABORI, SALLY

129

PICCININI, PATRICIA

125

AUDETTE, YVONNE

21

GRACE, WENDY

213

POWDITCH, PETER,

204

AUDETTE, YVONNE

22

GRAHAM, ANNE MARIE

140

POWELL, ARTHUR TED

BALE, A. M. E.

64

GREGORY, DREW

BALSON, RALPH

103

BEN-MEIR, JUDITH

118, 119

BENNETT, ANTHONY

56

HALPERN, DEBORAH HART, PRO

52 35, 36, 39, 83, 84, 196, 197

POWER, HAROLD SEPTIMUS

144 7, 9, 70, 71, 72

PRITCHETT, EDWARD PUGH, CLIFTON

163 13, 19, 106, 107

HAWKINS, WEAVER

193

PUMANI, BETTY KUNTIWI

132

HAYES, CLAUDE

182

QUILTY, BEN

124

59, 151

HERMAN, SALI

189

RANKIN, DAVID

27, 30, 92, 98, 99

HEYSEN, HANS

172, 173

BENNETT, RUBERY

170

BEZOR, ANNETTE BLACKMAN, CHARLES

145, 146

BOOTH, PETER

120, 121

BOWEN, DEAN

138

HODGKINSON, FRANK HOPE, LAURENCE

BOYD, ARTHUR

42

HUGHES, EDWIN

63

BOYD, DAVID

16A, 16B, 37, 38, 86, 87

BOYD, JAMIE

194

JACK, KENNETH

195

BOYD, PENLEIGH

67

JACKS, ROBERT

45, 46

BRACK, JOHN

44

JACKSON, JAMES R.

BRIERLY, OSWALD

75, 76

BRODZKY, HORACE

100, 101, 102

BROMLEY, DAVID

147

BROWNE, ANDREW

55, 126, 127

BUCKMASTER, ERNEST

78, 79

BUNNY, RUPERT

159

BUVELOT, LOUIS

5

CANNING, CRISS

24

HUMPHRIES, BARRY

198 32, 33 142, 143

1, 4

20

REA, JOEL

203

ROBERTS, GEORGE

187

ROBINSON, MAX

49

ROSE, HERBERT

73

ROSSI ASHTON, JULIAN

3

RYAN, ROBERT

211

SAWREY, HUGH

85

SCHELTEMA, J.H.

6, 69

JOHNSON, MATTHEW

54

SHAW, KATE

JOHNSON, MICHAEL

48

SIBLEY, ANDREW

60, 209, 210

JOHNSON, ROBERT

17

STANSFIELD, IAN

137

JUNIPER, ROBERT

15

STORRIER, TIM

114

STREETON, ARTHUR

161

STUART, W.E.D.

179

TARR, DEBORAH

152

JURASZEK, PAUL KEMP, ROGER KNOX, W. D.

116 47, 50 10

201

KOPIETZ, GUNTHER

117

TJAPALTJARRI, BILL WHISKEY

128

CARDOSO, MARIA FERNANDA

115

LEASON, PERCY

168

TJUNGURRAYI, WILLY

133

CHEVALIER, NICOLAS

180

LINDSAY, NORMAN

162

TJUPURRULA, JOHNNY WARANGKULA

131

CHRISTMANN, GUNTER

212

LISTER, ANTHONY

149, 150

TOWNSEND, GRAEME

205

25, 110, 111, 112

LLOYD, NORMAN

65, 66, 74

TRAILL, JESSIE

160

COLAHAN, COLIN

167

LONG, LEONARD

80

COLEMAN, BILL

105

LOOGATHA, NETTA

134

TURNER, JAMES ALFRED

LYTTLETON, THOMAS HAMILTON

184

VANDERZWEEP, ANTHONY

MAKIN, JEFF

141

VASSILIEFF, DANILA

COBURN, JOHN

COOLEY, PETER

53

CROOKE, RAY

11, 12, 40

TROTT, DARRYL

CUMBRAE-STEWART, JANET

164

MAZZINA, RAQUEL

206

WHITELEY, BRETT

CURTIS, J. W.

177

McCULLOCH, ABBEY

148

WILLIAMSON, RUBY TJANGAWA

158

MCKENNA, NOEL

153

WITHERS, WALTER

DE TOULOUSE-LAUTREC, HENRI DEL MACE, JILL DICKERSON, ROBERT

202, 207, 208 26A, 31, 31A, 88, 91, 96, 97, 108, 109, 109A

MCKENZIE, ALEXANDER MEILERTS, LUDMILLA MIDDLETON, MAX

DRYSDALE, RUSSELL

82

MINNS, B. E.

DUNLOP, BRIAN

62

MORA, MIRKA

114A 191, 192 166, 165, 171 169 23

DYER, GEOFFREY

200

NAPANANGKA, WALANGKURA

135

EGAN, MELISSA

199

NERLI, GIROLAMO

183

FORD, WILLIAM

181

NICKOLLS, TREVOR

FORREST, HAUGHTON FORTESCUE MORESBY, MATTHEW FORTHUN, LOUISE

58

77 174 57, 58

NOLAN, SIDNEY NUNBERG, LUDWIG O’BRIEN, JUSTIN

136 29, 41, 89, 90 188, 190 104

WOLFHAGEN, PHILIP YEO, THOMAS

18 175, 176, 178 139 34, 94, 95 43 130 2, 8 125A 156


CONDITIONS OF BUSINESS - SUMMARY To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction. 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. 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 accountant@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.

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. 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. 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. (1.65% administration fee applies for Visa and Mastercard, 3.15% for American Express and Diners is not accepted.) Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Bank West 62 Elizabeth Street Melbourne, VIC 3000 Australia BSB: 303-111 Account no: 1304963 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.

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.

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

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 24% of the hammer price on each lot. This is inclusive of GST.

Storage Charges Each lot

$33 per day

The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas. 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. 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.

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: http://www.environment.gov.au/heritage/movable/index.html 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: http://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, phone 02 6274 1810 or email 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 Recommended carrier for this auction International Art Services 03-9329 6262 Melbourne to Canberra, Sydney, Brisbane, Gold Coast, and Sunshine Coast (and stops in between). TRANSART- Specialist Art Transporters Local Melbourne Please contact Matt or Ben Foster for a competitive quote. P: 0417 103 494 E: info@transartaustralia.com W: www.transartaustralia.com Collection and Storage: All lots must be collected by 4pm on Thursday 6th September 2018. All uncollected items will be removed to third party storage at the purchaser’s expense.

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Sale Rooms MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 SYDNEY 39 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 email: info@leonardjoel.com.au

COLLECTABLES Nora Merralls, Manager & Specialist Administrator Dominic Kavanagh MFA, Specialist LUXURY Bethany McGougan, BA Hons, MSc, Manager, Jewellery & Luxury MODERN DESIGN Anna Grassham, BA Contemporary Arts, Head of Modern Design

Thursdays at Leonard Joel FURNITURE Tanith Harley, Manager William Broadhurst, Assistant Toby Lennox-Hilton, Assistant

leonardjoel.com.au MANAGING DIRECTOR & NATIONAL HEAD OF COLLECTIONS John Albrecht BA LLB MBA

Leonard Joel Specialists ART Sophie Ullin BA Hons, National Head of Art Olivia Fuller BArtTh, Specialist Jane Messenger, Specialist, Sydney Lucy Foster EMA, Specialist Phoebe Ellis, Specialist Summer Masters, Administrator ABORIGINAL ART Sophie Ullin BA Hons, National Head of Art DECORATIVE ARTS Chiara Curcio BA, Head of Decorative Arts, Melbourne Hamish Clark, Head of Sydney Office Dominic Kavanagh MFA, Assistant Trevor Fleming, BA (Asian Studies), M.Mgmt (Arts), Specialist, Japanese Art Carl Wantrup, Specialist, Asian Art JEWELLERY John D’Agata F.G.A.A., National Head of Jewellery Elizabeth Stannard, BMus (Hons) GG AJP (GIA), Senior Specialist Bethany McGougan, BA Hons, MSc, Manager, Jewellery & Luxury Maria Fayyaz-Toussi, Specialist, Sydney Kerry Dobson BCA, MA, Assistant Christel Reid, Administrator Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant

IN ASSOCIATION WITH

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OBJECTS & COLLECTABLES Moira Rogers, Manager VALUATIONS Caroline Tickner, BA Hons, F.G.A.A., Head of Valuations ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager Andrea Del Campo, Accountant FRONT OFFICE Kim Clarke, Front of House Manager Amelia Lewis, Receptionist Faraday Boydell, Administrator Keryn Gilchrist, Database OPERATIONS & LOGISTICS Anthony Riepsamen, Manager COMMUNICATIONS & MARKETING Claire Mazzone, Manager Nicole Kenning, Marketing Consultant PHOTOGRAPHY Adam Obradovic, Senior Photographer Joseph Hammond, Photographer DESIGN Maria Rossi, Graphic Artist e-mail all lower case firstname.surname@leonardjoel.com.au


Thinking of Selling?

PRINTS

AUCTION WEDNESDAY 19 SEPTEMBER 2018, MELBOURNE

ERIC THAKE (1904-1982) Nuns on the Geelong Road 1969, linocut, 14.5 x 21cm. Sold for $2,730

Lucy Foster, Art Specialist 03 8825 5630 | lucy.foster@leonardjoel.com.au 61


MELBOURNE 62

|

SYDNEY

leonardjoel.com.au

FINE ART  
FINE ART