Fine Art

FINE ART AUCTION MONDAY 15 AUGUST 2022, SYDNEY

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AUCTION CATALOGUE VOLUME 15 ISSUE 13 LJ8461 COVER: Lot 18 MARGARET PRESTON (1875-1963) Native Flowers c. 1930 woodblock print 43 x 38.5cm $40,000 – 60,000 © Margaret Preston/Copyright Agency, 2022 INSIDE COVER: Lot 35 (detail) RAY CROOKE (1922-2015) The Conversation oil on linen 81 x 103cm $30,000 – 40,000 © Ray Crooke/Copyright Agency, 2022

leonardjoel.com.au

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FINE ART AUCTION MONDAY 15 AUGUST 2022, 6PM SYDNEY

VIEWING Viewing in Sydney: Friday 12 - Sunday 14 August The Bond, 36-40 Queen Street, Woollahra, NSW 2025

CONTACT

Madeleine Norton

Ronan Sulich

Marcella Fox

Senior Decorative Arts & Fine Art Specialist (02) 9362 9045 | 0405 565 644 madeleine.norton@leonardjoel.com.au

Senior Adviser (02) 9362 9045 | 0407 018 492 ronan.sulich@leonardjoel.com.au

Sydney Manager (02) 9362 9045 sydney.manager@leonardjoel.com.au

Please refer to our website for viewing times

Lot 36 (detail opposite)

leonardjoel.com.au

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Leonard Joel’s Inaugural Fine Art Auction in Sydney –

In 1919 Mr. Leonard Joel left his employment at Arthur Tuckett & Son and opened his own business. An article the following year in Table Talk magazine noted that “Mr. Leonard Joel, formerly Messrs. Arthur Tuckett and Son, has opened an Art Salon at 362 Little Collins Street, where some beautiful examples of art, including pictures, ornaments and antiques, are now being displayed.”

Over the century that has followed Leonard Joel have been entrusted with some of the most important artworks and single owner auctions in Australia’s secondary market including: the Emanuel Phillips Fox and Ethel Carrick Fox Collection of Paintings in 1952; The Charles Ruwolt Collection of Australian Paintings in 1966; The Hans Heysen Collection in 1970; and Arthur Streeton’s Settler’s Camp in July 1985 for what was then a world record price of $800,000. More recently our Fine Art department, based in Melbourne, have overseen incredible results for artists such as Clarice Beckett, Jeffrey Smart, Joy Hester, Banksy, Mirka Mora and Charles Blackman, to name a few.

After 95 years of operation in 2014 Leonard Joel opened its Sydney office which has been witness to an exciting expansion of the Melbourne business, offering jewellery auctions and combined auctions of art, Asian art, decorative arts and antique furniture, not to mention the Decorative Arts Collection of James Fairfax AC. In 2021 Leonard Joel was selected alongside Deutscher and Hackett to sell the National Australia Bank Art Collection, a divestment of over 2500 artworks. With many of these works being by well-known Sydney based artists or capturing local Sydney scenes the selection of artworks presented the perfect opportunity to extend Leonard Joel’s Fine Art offering to a Sydney audience.

Continuing the growth, creativity, and innovation that Leonard Joel has witnessed over its past 103 years of operation, it is an honour to oversee Leonard Joel’s inaugural Fine Art auction in Sydney, featuring a curated selection of important Australian and International artists.

— Madeleine Norton | Senior Fine Art Specialist, Sydney

Lot 43 (detail opposite) 3

Display photographs of the National Gallery of Victoria’s exhibition, The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, 1982, including lot 1.

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Artworks from the National Australia Bank Art Collection (LOT 1 – 17)

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1 RONALD MILLAR (born 1927) The Lily Pond 1978 oil on canvas signed lower right: Ronald / Millar signed, titled, dated and inscribed on stretcher verso: THE LILY POND, NAGAMBIE Ronald Millar 1978 / RONALD MILLAR (3 SELWYN ST. / CANTERBURY) 115 x 146.5cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October - 28 November 1982

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LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 64, p. 77 (illus.)

“Ronald Millar’s early 1970s work has a lyrical romantic quality combining, as in his “Nude and Water” series, fragments of figuration of the female nude with abstracted patterns of flowers. These interchanging and floating reflections on the water are combined with abstract passages of luscious colour and textured paint. Ronald Millar sees these works as a rhythmic metamorphosis of the observed world. They are ‘a composite of many related images, a summary of feelings aroused and held for long

enough to justify a visual celebration that also suggests the emotional one’ (Artist’s statement, Ronald Millar, ‘Civilized Magic’, Sorrett Press, Melbourne, 1974, p. 132). In 1978 to 1979 Ronald Millar spent six months in France researching a book and preparing an exhibition which, around the theme of water-lilies was shown at the Mornington Peninsula Arts Centre. He was inspired by the great late Impressionist ‘water lily’ paintings by Monet which reinforced his interest in lyrical use of colour and free painterly expressionism which appears to dissolve the reflected images into abstract patterning.” (excerpt, p. 77) $1,000-1,500

2 JAMES CLIFFORD (1936-1987) The Moon River 1976 synthetic enamel on canvas artist’s name, title, medium and date on label verso inscribed verso: To / WATTERS / GALLERY / 109 RILEY / EAST SYDNEY / NSW / AUSTRALIA 123 x 158cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October - 28 November 1982

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 23, p. 36 (illus.)

“In The Moon River 1976 James Clifford is concerned with controlled yet accidental effects of the enamel paint which as abstract areas mix and overlap with the pictorial detailing in the figurative landscape.

As well there is the additional ambiguity of the moon and its illuminated landscape reflected in the river. This work and its concern with multiple image fragments montaged together with a cinematic relapse into different sequences and viewpoints is an extension of Clifford’s 1960s paintings. The brown painted border returns the painting to a film frame convention, while the flowing dripping paint is a static record of a past sequence of animation.” (excerpt, p. 36) $1,500-2,500

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© Victor Majzner/Copyright Agency, 2022

3 VICTOR MAJZNER (born 1945) Rabiatu 1973 acrylic on canvas artist’s name, title and date on label verso 214 x 214cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October - 28 November 1982

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LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 62, p. 75 (illus.)

“This painting was conceived from memories of Buchan Caves which I visited in the late ‘60s.

Dwellings and shelters have been a recurring subject of my work. Sheltering spaces entrap.

Below the surface of the ground exists a habitat of sound and tactility, a dream shelter, a final place.

Skins of energy suspended. Centrapetal heat worked to a point of stillness.

Touching, rubbing, flowing, spreading, licking, opening - fragments of biophysical experience.

No natural light. Each membrane exudes its own temperature. Constant shift of form and focus.

A space of an eternal event.

Rabiatu is an invented word.”

(Artist’s statement from 1981, p.34) $2,000-4,000

4 ELEAZAR (LES) KRUM (active 1970s-90s) Abstraction ‘75 1975 acrylic on canvas artist’s name and title on label verso 145 x 182.5cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October - 28 November 1982

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 23, p. 66 (illus.)

“Eleazar Krum sees his work as ‘instinctive drawing in paint’, a disciplined gestural mark-making similar to oriental calligraphy with its repertoire of repeatable marks which still retain their spontaneity and freedom. In his painting he first makes an abstract expressionist gesture or controlled accident, and then balances it within a ‘controlled chaos’. In 1973 he began experimenting with accidental effects in

paint rather than the controlled analytical approach of his earlier Hard-edge paintings. ‘I wanted to surprise myself, to see what happened and try to reproduce it again. The only idea was to make marks and consider their effects’ (Interview with the artist October 1981). During his stay in London 1974 to 1978, he continued to develop his ability to control and reproduce these ‘controlled accidents’ until the thrown paint gesture or the brush gesture was as precise and repeatable as any drawn line”. (excerpt, p. 66) $1,200-1,800

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© Matthew Perceval/Copyright Agency, 2022

5 MATTHEW PERCEVAL (born 1945) Boomerang Beach 1985 oil on board signed lower left: Matthew Perceval titled verso: Boomerang Beach 91.5 x 122cm PROVENANCE: The National Australia Bank Art Collection $2,000-3,000

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6 MICHAEL TAYLOR (born 1933) Winds, Tides and Currents 1977 oil on canvas signed and dated lower left: Taylor 77 titled verso: ‘WINDS, TIDES AND CURRENTS’ 138 x 182.5cm PROVENANCE: Leonard Joel, Melbourne, Australian and European Paintings, 8 August 2000, lot 249 The National Australia Bank Art Collection $3,000-5,000

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© David Van Nunen/Copyright Agency, 2022

7 DAVID VAN NUNEN (born 1952) Middle Harbour - Sugarloaf Bay 1986 acrylic on linen signed and dated lower right: Van Nunen ‘86 121.5 x 121.5cm PROVENANCE: Lowenstein Sharp Collection Deutscher-Menzies, Melbourne, Lowenstein Sharp Collection of Contemporary Australian Art, 11 November 2002, lot 168 The National Australia Bank Art Collection $1,000-2,000

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© Estate of John Thomas Rigby

8 JOHN RIGBY (1922-2012) Four Mile Beach, Port Douglas 1997 oil on canvas signed and dated lower right: Rigby ‘97 signed verso: Rigby 91.5 x 91.5cm PROVENANCE: The National Australia Bank Art Collection LITERATURE: Millington, J and Rigby, M, John Rigby Art and Life, 2003, p. 112, pl. 70 (illustrated) $2,000-3,000

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9 GIL JAMIESON (1934-1992) Alligator River 1989 oil on canvas signed and dated lower left: 89 / GIL Jamieson signed on stretcher verso: GIL JAMIESON 182.5 x 183cm PROVENANCE: Tolarno Galleries, Melbourne The National Australia Bank Art Collection

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EXHIBITIONS: The National Australia Bank Collection: Rivers in Australian Art, Heide Park and Art Gallery, Melbourne, October 1991 LITERATURE: The National Australia Bank , National Australia Bank Collection: Rivers in Australian Art, 1991, p. 19 $2,500-3,500

10 GIL JAMIESON (1934-1992) Yellow Grader 1982 oil on canvas signed lower right: GIL JAMIESON artist’s name, title and medium on label verso 84 x 129cm PROVENANCE: Bonython Art Gallery, Sydney The National Australia Bank Art Collection EXHIBITIONS: Bonython Art Gallery, Sydney, 1971 (label verso) $1,500-2,000

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11 GIL JAMIESON (1934-1992) Untitled (Monto Show) 1972 oil on canvas signed lower left: GIL JAMIESON dated lower right: 72 artist’s name, title and date on label verso 126.5 x 147cm PROVENANCE: The National Australia Bank Art Collection $2,000-3,000

Lot 11 (detail opposite) 16

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12 GEORGE BALYCK (born 1950) Brand Street Boogie 1975 acrylic on canvas signed, titled, dated and inscribed verso: BALYCK 75 / ‘BRAND STREET BOOGIE’ / 107CM X 203CM / ACRYLIC ON CANVAS 107 x 203cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October - 28 November 1982

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LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 6, p. 19 (illus.)

“Brand Street Boogie 1975 is, as the title implies, inspired by the series of abstract geometric paintings

by Piet Mondrian especially Broadway BoogieWoogie 1942-43 painted in America and based on Mondrian’s ‘neo plasticism’ view of the bright lights of America’s theatrical heart - Broadway.

The influence of American Hard-edge Colourfield paintings of the 1960s by artists such as Kenneth Noland and Frank Stella is also to be seen in Balyck’s painting in the crisp abutting bands of colour, however he has created a more complex patterning than that of the American Colourfield painters by introducing tonal bands and overlapping areas which conflict with the concern for flat surface and pure colour.” (excerpt, p. 19) $800-1,200

© The Artist

13 CHRIS CAPPER (born 1951) Breakfast 1977 oil on canvas artist’s name, title, medium and date on label verso 157 x 178cm PROVENANCE: The Artist The National Australia Bank Art Collection

LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 18, p. 31 (illus.)

“Breakfast 1977 acquired from Chris Capper’s postgraduate exhibition in 1977, typifies his post-student style. Working with a restricted colour range of blue, white, grey and black, Chris Capper with a free painterly style, simplifies and reduces his subject

matter to flat uncluttered areas and patterns of lines. His early paintings are mainly concerned with suburban images and landscapes which often exploit the formal device of window vistas onto suburban backyards. Often areas are filled with loosely painted patterns of flat parallel stripes or, as in Breakfast, the formal elements of the window frame are simplified and slightly distorted to enhance the rhythm and patterns of the subject”. (excerpt, p. 31) $2,500-3,500

EXHIBITIONS: 1977 Graduate exhibition, The Victorian College of the Arts, Melbourne, 27 October - 18 November 1977 The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October 28 November 1982

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© The Artist

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15 JAMES SMEATON (born 1964) Sleep 1991 acrylic on linen (triptych) 1. initialled and numbered verso: J S / 1/3 2. signed, titled, dated and numbered verso: “Sleep” 2/3 / James Smeaton / 1991 3. initialled and numbered verso: J S / 3/3 Each: 61 x 92cm

14 KENNETH ROWELL (1920-1999) White Relief-Mirage 1979 mixed media, rayon gauze, wool and acrylic on canvas in artist’s frame 123.5 x 154.5cm

PROVENANCE: The National Australia Bank Art Collection $1,500-2,500

PROVENANCE: Tolarno Galleries, Melbourne The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October - 28 November 1982 LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 79, p. 92 (illus.)

“Although White Relief - Mirage 1979, with its controlled use of geometric horizontals and verticals formed by projecting edges and low-relief squares and rectangles, is reminiscent of the constructionist works of the British artist, Ben Nicholson, Kenneth Rowell’s work owes more to the influence of his years spent as a designer for the theatre, both in his choice of materials and in the method which he uses. The experience of building small models and

maquettes to materialize an idea for stage design entailing the use of cardboard shapes, often also incorporating the use of gauze to create dramatic light effects to form transparent walls that become opaque with direct lighting, and the experience of building spatial shapes and relationships, contribute and are integral features of Kenneth Rowell’s recent relief paintings. The title White Relief - Mirage emphasises the intangible qualities and subtle light and colour relationships created by the veil of white gauze over the front of the low-relief projections.” (excerpt, p. 92) $700-900

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16 PAUL BAXTER (born 1949) Halcyon Sanctus V 1975 acrylic on canvas 167.5 x 137cm PROVENANCE: The National Australia Bank Art Collection EXHIBITIONS: The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, National Gallery of Victoria, Melbourne, 15 October - 28 November 1982

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LITERATURE: Lindsay, R. (ed.), The Seventies: Australian Paintings and Tapestries From the Collection of National Australia Bank, The National Bank of Australasia, Melbourne, 1982, pl. 8, p. 21 (illus.)

“Commenting on an exhibition of Chinese painting nearly forty years ago an eminent critic said that the paintings in the exhibition were ... ‘charts of a Way that men have followed’ and that our current training and approach would not let us follow it.

He went on to compare our ‘aesthetic’ approach ‘to that of a traveller who, when he sees a signpost, proceeds to admire its elegance, then asks who made it, and finally cuts it down and takes it home to be used as a mantelpiece ornament’.

Above all I would like to be a maker of signposts; and to have them treated as signposts.” (Artist’s Statement from 1981, p. 21) $800-1,200

© The Artist

17 CRAIG EASTON (born 1961) Case 1995 acrylic on canvas signed verso: Easton signed and titled on stretcher verso: ‘CASE’ CRAIG EASTON artist’s name, title, medium and date on label verso 91.5 x 92cm PROVENANCE: The Artist The National Australia Bank Art Collection EXHIBITIONS: Pure, Linden Gallery, Melbourne, February 1997 $1,000-2,000

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Margaret Preston

“Den O’ Gwynne”, Thompson Street, Clifton Gardens, in 1931, home of Nellie Stewart and later Margaret Preston.1

Australian artists must feel inherently the difference between their land and that of others ... the tremendous difference in our flowers ... so our treatment of our flora must be different. If it isn’t then it is merely copy and repetition.

MARGARET PRESTON, EARLY 1940S 2

Brimming with delicately hand-coloured Australian native flowers; this substantial woodblock print is unmistakably the work of renowned Australian artist Margaret Preston. The vibrantly colourful bouquet tells of a love affair with the Australian bush from the banksia to the kangaroo paw, the coral flower, and the wattle.

In 1932 Preston together with her husband Bill moved to Berowra, NSW, where they purchased a property of fourteen-acres, well hidden from passing traffic by extensive bushland. Previously while Preston had been living in Sydney she would purchase native flowers at florists or was given specimens from her friend TGB Osborn, Professor of Botany at Sydney University. However, the garden at Berowra allowed her to find the subjects for her still-life paintings and prints in her own backyard. It is possible this composition was constructed during her first two years in Berowra, given the first recorded edition of this print was exhibited in 1933 at Sedon Galleries in Melbourne which was the major outlet for Preston’s work during the early 1930s. 3 In August 1939 the Prestons sold their house in Berowra and returned to Sydney to live in the former home of actress Nellie Stewart at 14 Thompson Street, Clifton Gardens. This is the address handwritten by Preston on the original framing label for the present lot and we can assume from this that the artwork was likely printed during the time Preston lived at this address before moving to the Hotel Mosman.

18 MARGARET PRESTON (1875-1963) Native Flowers c. 1930s woodblock print initialled in block lower left signed in pencil lower right: Margaret Preston inscribed lower left: Coloured wood cut Aus flowers accompanied by original framing label with artist’s name, alternate title and address 43 x 38.5cm PROVENANCE: The Artist Private collection, Murrumbeena Thence by descent EXHIBITIONS: Exhibition of etchings, woodcuts, etc. by Margaret Preston (and others), The Sedon Galleries, Melbourne, 12 September 1933, no. 10 (another impression) LITERATURE: Butler, R, The Prints of Margaret Preston: A Catalogue Raisonné, Australian National Gallery, Canberra and Oxford University Press, Melbourne, 1987, p. 168.

Butler, R, The Prints of Margaret Preston: A Catalogue Raisonné, Australian National Gallery, Canberra, 2005, p. 178, no. 173 (another impression illustrated) OTHER NOTES: Two other impressions of this print are known to be in existence, one in the Newcastle Regional Art Gallery and the other in the University of Queensland Art Gallery. $40,000-60,000

It was not unusual for Preston to print a later edition of her work; as Roger Butler notes in the catalogue raisonné: “Preston probably always printed on demand, occasionally indicating the limit of the edition […] After 1930 it is probable that only

1. “Nellie Stewart at Home”, The Australian Home Beautiful,

one or two impressions of each print were made.” 4 Only two other editions of this

1 May 1931, p. 11

print are known, one in the collection of the Newcastle Regional Art Gallery and the

2. Edwards, D, Margaret Preston, Art Gallery of New South

other in the collection of the University of Queensland Art Gallery.

Wales, Sydney, 2005, p 151 3. Butler, R, The Prints of Margaret Preston: A Catalogue Raisonné, Australian National Gallery, Canberra, 2005

Madeleine Norton | Senior Fine Art Specialist 24

4. Butler, The Prints of Margaret Preston: A Catalogue Raisonné, p 71

© Margaret Preston/Copyright Agency, 2022

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Tim Maguire All paintings are frozen moments of time.

TIM MAGUIRE, 2017 1

Enveloping the viewer in a velvety surround which delicately balances the enlargement of scale and the touch of the artist’s hand, Tim Maguire’s Untitled 20050804 is both a summary of his artistic practice of the 1990s and a departure from it.

In 1989 Maguire began a series of paintings in which he drew imagery and inspiration from 17th century Dutch and Flemish still-life paintings. This subject matter allowed him to explore his interest in vanitas and its symbolic reference to mortality. He took tiny details from reproductions of the original paintings and scaled these up transferring them onto large-scale canvases. With the arrival of digital photography in the late

19 TIM MAGUIRE (born 1958) Untitled 20050804 2005 oil on canvas signed, titled and dated verso: Maguire ‘05 / Untitled 20050804 148 x 148cm PROVENANCE: Martin Browne Fine Art, Sydney, 2005 Private collection, Sydney EXHIBITIONS: Martin Browne Fine Art at the Auckland Art Fair, New Zealand, 1-4 September 2005 $38,000-55,000

90’s Maguire’s source material began to exclusively rely upon his own photographs.

It was from the luminosity of digital imagery that he developed his renowned colourseparation process, now almost synonymous with his name. 1 Traditionally known for his bold, bright and colourful canvases how then do we approach a monochromatic Maguire work? In typical Maguire fashion, not everything is as it seems. His monochromatic paintings are a further investigation into the colour-separation process and are not entirely monochromatic at all; each black contains a trace of colour. In the early 2000s Maguire’s methodology had developed to a point where the tonal range of each colour was digitally generated and printed photographically in black and white as the artist’s reference, and it was in studying these images repeatedly that Maguire became intrigued in the idea of exploring the monochromatic effect of working with a single colour. For his exhibition at Galerie Andreas Binder, Munich in 2003 his new series of monochrome paintings were worked up from a single colour layer during a single session in the studio, allowing less time for intervention by the artist and reinvigorating his deliberate play between control and randomness. 2 Two years later, in the current work, we see a progression in this technique where the imagery is sharper and the tension heightened. The effect is almost that of a vintage black and white photograph which sees the flatness of photography co-existing with the depth of the painter’s brush. The striking contrast of black and white selectively elaborates details in the composition such as the curve of the petal’s edge, whilst concealing others in the shadows. Being almost devoid of colour the painting becomes even more effective in conveying the structure and movement of an image and it enables the viewers eye to rest upon textures on the surface in a way that may be lost in a riot of colour. Achieving a sense of beautiful simplicity, Untitled 20050804 retains

1. Maguire, T, Everything changes: Tim Maguire 2002-2017,

many of Maguire’s hallmarks including the enlargement of scale, the liquidity of paint

Newcastle Art Gallery, 2017

applied with a broad brush, and the use of the still-life as a symbol of the passage of

2. Millar, B, Tim Maguire: New Works, Galerie Andreas Binder,

time. 1 Madeleine Norton | Senior Fine Art Specialist 26

Munich, 2003

Tim Maguire is represented by Martin Browne Contemporary, Sydney and Tolarno Galleries, Melbourne

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20 Israel Birch is represented by Martin Browne Contemporary, Sydney

20 ISRAEL BIRCH (New Zealander, born 1976) Golden Oriori I 2007 lacquer on etched stainless steel artist’s name, title and date on Martin Browne Fine Art label verso 120 x 120cm

21 DANE LOVETT (born 1984) High Altitude Balloonist - Hellium 2005 mixed media on canvas signed lower right: Dane Lovett signed, titled and dated verso 160 x 202cm

PROVENANCE: Martin Browne Fine Art, Sydney, 2007 (accompanied by original purchase receipt) Private collection, Sydney

PROVENANCE: Art Galleries Schubert, Gold Coast, 2005 Private collection, Sydney $2,000-4,000

EXHIBITIONS: Summer Exhibition, Martin Browne Fine Art, Sydney, 11-23 December 2007 $4,000-6,000

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22 © The Artist

22 RICHARD DUNLOP (born 1960) Night Garden (Rising Damp and the Promise of New Growth) 1995 oil on canvas signed and dated lower right: Dunlop ‘95 signed, titled, and dated verso: Dunlop ‘95 / Night Garden: Rising Damp and / the promise of new growth 206 x 200cm PROVENANCE: Ray Hughes Gallery, Sydney, 1997 Private collection, Sydney EXHIBITIONS: Night Garden: Selective Cuttings, Ray Hughes Gallery, Sydney, 1997 $5,000-8,000

23 § BILL HENSON (born 1955) Untitled (Egypt Series) 1985-1986 c-type colour photograph 104 x 84cm PROVENANCE: Deutscher and Hackett, Melbourne, Important Australian and International Works of Art, 6 May 2015, Lot 83 Private collection, Sydney $2,500-3,500

I began to realise that these places could be understood as a dreamscape because they affect us so powerfully and with such immediacy as a memento mori.

The light, smell, even temperature, as well as the look of these places, animates our memory and gently sharpens our sense of the passage to time.

BILL HENSON, 2014

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© John Olsen/Copyright Agency, 2022

24 § JOHN OLSEN (born 1928) Frogs 2001 crayon, ink and watercolour on paper signed and dated lower left: John Olsen ‘01 29 x 42cm PROVENANCE: Private collection, Melbourne Menzies Art Brands, Melbourne, Australian & International Fine Art & Sculpture, 31 October 2013, lot 85 Private collection, Sydney $12,000-16,000

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© The Artist

25 HERMAN PEKEL (born 1956) A View from Lavender Bay 2010 oil on canvas signed lower left: PEKEL artist’s name, title and date inscribed verso 113 x 174cm PROVENANCE: Trevor Victor Harvey, Sydney (label verso) Private collection, Sydney $3,000-5,000

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26 ANTE DABRO (born 1938) Theatrical Mask bronze 62 x 55 x 46cm PROVENANCE: The Collection of Gisella Scheinberg (proprietor of Holdsworth Galleries) Private collection, Sydney $3,000-5,000

The artist in his studio with a plaster cast of Lot 25, photo courtesy the University of Canberra website.

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27 © Charles Blackman/Copyright Agency, 2022

27 CHARLES BLACKMAN (1928-2018) Seated Nude with Flowers oil on canvas signed top left: BLACKMAN artist’s name and title on Holdsworth Galleries label verso 102 x 122cm PROVENANCE: The Collection of Gisella Scheinberg (proprietor of Holdsworth Galleries), 1997 Private collection, Sydney $25,000-35,000

In the mid-1950s when he began his Alice in Wonderland series, Charles Blackman, one of Australia’s most loved artists began painting tender psychological portraits of his wife Barbara seated at a table with a vase of flowers. It was at this point that Barbara’s sight was failing – in light of this, Blackman’s portraits of her become contemplative and demonstrate an extreme sensitivity to the human condition. Likely painted almost 20 years later, Seated Nude with Flowers contains the same elements as these earlier works and a reinforced sense of intimate reflection as the figure and flowers peacefully float in a dreamlike composition, likely the sitter’s own inner world.

Marcella Fox | Sydney Manager

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28 © Charles Blackman/Copyright Agency, 2022

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28 CHARLES BLACKMAN (1928-2018) The Offering oil on Belgian linen signed top left: BLACKMAN 120 x 90cm PROVENANCE: Framed Gallery, Darwin Private collection, Darwin $22,000-34,000

In the early 1980s Charles Blackman moved up to Queensland and spent most of his time there over the following years, often painting on themes of nudes and lovers living in idyllic lush tropical beauty. It is likely that The Offering harkens back to these days, embracing the viewer in the warmth and ease of the tropical lifestyle. In the background beside the central figure we see the use of a particular technique Blackman utilised in his later paintings where he would scrunch and fold a rag in turpentine and press it on to the canvas to create a randomness of texture. This has the effect of illuminating the central figure as she walks towards us emerging from the palms of the rainforest.

Madeleine Norton | Senior Fine Art Specialist

29 REINIS ZUSTERS (1919-1999) Burnt Ridge oil on canvas artist’s name and title inscribed verso artist’s name, title and medium on Holdsworth Galleries label verso 122 x 122cm PROVENANCE: The Collection of Gisella Scheinberg (proprietor of Holdsworth Galleries, Sydney), 1997 Private collection, Sydney EXHIBITIONS: Reinis Zusters, Holdsworth Galleries, Woollahra, 23 May - 10 June 1992, no. 28 $1,000-1,500

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© Charles Blackman/Copyright Agency, 2022

30 CHARLES BLACKMAN (1928-2018) The Wave c. 1974 oil on canvas panel signed lower left: BLACKMAN title inscribed verso 25 x 35cm PROVENANCE: Private collection, Sydney RELATED WORKS: The Wave, 1974, oil on canvas on board, 25 x 35cm, The Collection of Home of the Arts (HOTA), Gold Coast $4,000-6,000

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31 JAMES GLEESON (1915-2008) Wanderer I oil on board signed lower right: Gleeson titled on label verso 14.5 x 12cm PROVENANCE: Prouds Art Gallery, Sydney Private collection, Sydney $2,000-4,000

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© Robert Dickerson/Copyright Agency, 2022

32 ROBERT DICKERSON (1924-2015) Mother and Child pastel on paper signed lower right: DICKERSON artist’s name, title and medium on Art Galleries Schubert label verso 76 x 56cm PROVENANCE: Art Galleries Schubert, Gold Coast (label verso) Private collection, Sydney $4,000-6,000

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© Ray Crooke/Copyright Agency, 2022

33 RAY CROOKE (1922-2015) Blue Lady oil on canvas on board signed lower right: R Crooke 60 x 45cm PROVENANCE: Macquarie Galleries, Sydney, 1980s Private collection, Sydney $7,000-10,000

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Sidney Nolan

Sidney Nolan outside the tithe barn at The Rodd, Presteigne, c. 1986 1

The secret of Nolan’s Africa is that it is the most unique and intensely creative series ever completed by Sidney. His two and a half month personal experience – fuelled by the literal, literary and artistic – ended in works broader, deeper and richer than anything he had created before.

ANDREW TURLEY, 2017 2

The vibrant paint work in Beggar recalls the shimmering heat of an African day, the central figure hovering inside a technicolour cave. In 1962 Sidney and Cynthia Nolan travelled to Africa for the first time where they experienced crossing the Seronera River, visiting Uganda’s capital Kampala and witnessing the Ethiopian Emperor’s coronation day celebrations in Asmara, amongst many other adventures. Following this trip Nolan created approximately 90 paintings as part of his African series, 35 of which were exhibited in May 1963 at Marlborough Fine Art, London, and publicly lauded.

The Queen made a purchase for the Royal collection and Francis Bacon praised their colour. 3 Beggar was executed in London as part of the African series and shipped to Adelaide for the Bonython Galleries African Paintings exhibition in March 1964. Here it features in grainy footage from the opening held in conjunction with The Third Adelaide Festival of Arts. After this the painting disappears for over twenty years until it reemerges back in the UK in a black and white photograph side by side with Nolan at his family home The Rodd, Presteigne, around 1986. It was during this time that Nolan was working on his series of Silk Route paintings inspired by his multiple trips to China, the first of which occurred in 1965. In 1987 the Nolan Gallery in Lanyon, ACT, exhibited his Silk Route paintings which included a painting titled Cave (Beggar) and this inscription can be found on the verso of the present lot. This interconnecting of themes across periods of his work was not unusual for Nolan whose ideas flowed from one work to the next, weaving colours and patterns in and out.

From Canberra Beggar travelled up to Sydney where it likely was included in an exhibition at Holdsworth Galleries and underwent a further title transformation to Silk Route Monk. This impressive painting not only connects the tales of Nolan’s travels to Africa and China but has also been on a remarkable journey of its own.

Madeleine Norton | Senior Fine Art Specialist 40

34 SIDNEY NOLAN (1917-1992) Beggar 1963 oil on board signed lower right: N (reversed) artist’s name, title and date inscribed verso artist’s name and alternate title (Silk Road Monk) on Holdsworth Galleries label verso 122 x 142cm PROVENANCE: The Collection of Gisella Scheinberg (proprietor of Holdsworth Galleries), 1997 Private collection, Sydney EXHIBITIONS: African Paintings by Sidney Nolan, Bonython Art Gallery, Adelaide, March 1964 (in conjunction with The Third Adelaide Festival of Arts), no.4 Silk Route: An Exhibition of New Paintings by Sir Sidney Nolan, Nolan Gallery, Lanyon, Tharwa, ACT, July-September 1987, no. 28 (Probably) Sidney Nolan, Holdsworth Contemporary Galleries, Sydney, 5 January - 4 February 1988 LITERATURE: Rosenthal, T G, Sidney Nolan, Thames & Hudson, London 2002, illus p.12 Pearce, B, Sidney Nolan 1917-1992, Beagle Press for AGNSW 2007, illus p.252 Underhill, N, Nolan on Nolan, Penguin Group, Victoria, Australia 2007 illus p.4 of photographs “At the Rodd barn 1986” This work is to be included in the forthcoming book Nolan’s Africa, by Andrew Turley OTHER NOTES: We are grateful to Andrew Turley, author of Nolan’s Africa, for his assistance with this catalogue entry. $20,000-30,000

1. Pearce, B, Sidney Nolan 1917-1992, Sydney, Beagle Press for AGNSW, 2007, p. 252 2. Turley, A, “Sidney Nolan’s African Journey”, Issue 41 Artist Profile Magazine, Australia Nov 2017, excerpt p. 124 3. Turley, “Sidney Nolan’s African Journey”, p. 122

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

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Ray Crooke I find a strange island sometimes where ghosts of ancient glories linger, where the winds and flowers are sweet and the people are still gentle and smiling, where man is conscious of his grandeur and is content to live simply in harmony with the forces around and within him. Yet if we found this island we would destroy it in a month. So we must be content to write symphonies and paint pictures about it, always yearning for the vague dream world that seems so real…1 RAY CROOKE

35 RAY CROOKE (1922-2015) The Conversation oil on linen signed lower right: R Crooke artist’s name and title on Savill Galleries label verso 81 x 103cm PROVENANCE: Savill Galleries, Sydney Private collection, Sydney $30,000-40,000

When contemplating The Conversation, we are captured first by the still life on the table and figure in the foreground - a moment of introspection, meditation, and perfect stillness. We are then slowly brought-to almost like waking from a dream by whispers of a conversation floating in through the entrance on a warm breeze.

Ray Crooke enlisted in the Australian Army as an 18-year-old in 1940, shortly after the outbreak of World War II. Throughout the war his unit was posted to Western Australia, Cape York, Thursday Island, Papua New Guinea and Borneo – these travels would instil in him an enduring love of the tropics. After being discharged he returned to Melbourne to complete his studies at the Swinburne Technical College from 1946 to 1948 but upon graduation promptly returned to the tropics. Living between Cairns and Thursday Island he worked as a cook, labourer and trochus shell diver. This time however, he armed himself with a notebook in which he would record reference material for some of his most important paintings. Finding infinite inspiration in tropical life he went on to visit Fiji, Tahiti and Hawaii, writing notes, descriptions, and sketching impressions of the life and people there. Crooke’s writings demonstrate his appreciation for the history of the Pacific and respect for the indigenous people’s traditional way of life.

The vibrant colours and complex composition of The Conversation make it a commanding example of Ray Crooke’s favoured composition across his island theme; that of gazing out a window or entranceway to the people and landscapes of the tropics. Crooke’s immediately recognisable visual language is decorative and anti-

1. Ray Crooke cited in Denham, P, Island Journal Ray Crooke,

illusionistic, composed of broad planes of bold and sometimes even unmediated

Brisbane, 2000, pp. 28-29.

colour assembled in simplified forms. Such a language is universally comprehensible, communicating the immense peace and harmony present in the scenes and interactions he recollects.

Marcella Fox | Sydney Manager

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© Ray Crooke/Copyright Agency, 2022

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36 THEO MEIER (1908-1982) (Nude) 1963 oil on canvas on board signed and dated lower left: 63 / Theo Meier 92 x 78cm PROVENANCE: The Artist The Estate of Professor Bill and Ngaere Geddes, Sydney $20,000-25,000

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OTHER NOTES: While conducting fieldwork among the highland minorities of Northern Thailand, Professor Bill and Ngaere Geddes were based in Chiang Mai in 1967 where they formed a close friendship with Theo Meier and his partner Laiad (Jetli). Both Nude and Portrait of Laiad were acquired directly from the artist in Chiengmai Thailand.

37 THEO MEIER (1908-1982) (Portrait of Laiad) 1966 oil on canvas on board signed and dated upper left: 1966 Theo Meier 73 x 63cm PROVENANCE: The Artist The Estate of Professor Bill and Ngaere Geddes, Sydney $12,000-18,000

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Invader Anonymous urban artist Invader’s tile mosaics in the shape of 8-bit video game characters (named ‘invaders’) are found cemented and glued to building facades around the world - more precisely, in 80 cities over 20 countries, totalling 4056 invaders as of today. Beginning with the artist’s home in Paris, ‘invasions’ have been staged in waves over the past 20 years from New York to London, to Istanbul and even Perth and Melbourne.

The anonymous artist who only appears in public masked was inspired by the arcade video games Space Invaders, Pac-Man and Super Mario Bros. released during the

38 INVADER (French, born 1969) Invasion Kit #06: Runner 2007 mosaic tiles ed. 65/150 artist’s name, title and editioned on label verso 17 x 20cm PROVENANCE: Outre Gallery, Sydney, 2007 (accompanied by original purchase receipt) Private collection, Sydney $12,000-18,000

1970s and 1980s when he was a child. His pixelated little creatures inspired by the characters in these games are freed from inside the games and installed in public spaces in an effort to decontextualise art and bring it to those who do not have access to institutions. He calls these creatures “the perfect icons of our time, a time where digital technologies are the heartbeat of our world”. 1 While the artist is a graduate of the École des Beaux-Arts, one of the most renowned schools worldwide and attended by greats such as Géricault, Delacrois, Degas and Renoir, his artistic practice (which some term graffiti or a game) aims to break from such institutions which he considers to be confining. At the same time, Invader considers urban spaces and institutions to be “two very complimentary sources of energy” and since 2000 has created mosaics for many exhibitions worldwide 2.

While most Space Invaders are found in highly-populated and visible locations such as above sidewalks, highways, shopfronts and crossings, there are also more covert locations in which one can discover a Space Invader, such as at the top of the Eiffel Tower. The highest located Space Invader is found at the International Space Station (2015, 248 miles altitude) and the lowest is found on the ocean floor in the Cancun Bay in Mexico, only accessible to experienced divers.

Invader estimates that about 15% of his artworks have been removed from public

Space Invader graffiti, created using a mosaic of tiles, Oxford Street, London / Alamy

spaces, oftentimes by individuals hoping to sell them. To combat this he has engineered defence tactics – the type of tile he now uses breaks very easily, so if a passer-by with malintent tries to deinstall a work they will be left with broken pieces of tile rather than a complete work.

The artist began selling limited edition ‘invasion kits’ on his website to support his ‘invasion waves’. These ready-to-use tile kits are now in high demand on the secondary market as they present an opportunity to both own a Space Invader and participate in the worldwide invasion of these little critters.

Marcella Fox | Sydney Manager

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1. The Official Website of Invader, About, https://mail.spaceinvaders.com/about/ 2. Ibid.

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© Edouard Cortes. ADAGP/Copyright Agency, 2022

39 ÈDOUARD CORTÈS (French, 1882-1969) L’Opera, Paris oil on canvas signed lower right: EDOUARD CORTÈS. 44 x 51cm PROVENANCE: Christie’s, New York, 19th Century European Art, 19 April 2005, lot 227 Private collection, North Yorkshire, UK Walker Galleries, UK Private collection, Melbourne Leonard Joel, Melbourne, Fine Art, 16 March 2021, lot 41 Private collection, Sydney $30,000-35,000

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If my paintings please those who view them and if they give a feeling of places and moments, or waken curiosity about the history of a monument of a place, then I am fully satisfied with my success. ÈDOUARD CORTÈS

If you break a rectangular box, you arrive at something cubist.

If you break a violin you get something romantic.

ARMAN1

40 ARMAN (French, 1928-2005) Violin bronze and wood violin ed. 8/8 signed and editioned in bronze: 8/8 Arman 66 x 21cm PROVENANCE: Private collection, Sydney $12,000-18,000

1. Arman, exhibition catalogue, Paris, Galerie Enrico Navarra, 1977, p. 30

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Norman Lindsay Shipwreck with Sea Nymphs fuses three of Lindsay’s most favoured subjects in its full, swirling composition – creatures from classical mythology, the feminine figure, and naval crafts.

Born in 1879, much of Lindsay’s artistic inspiration was derived from children’s adventure stories that remained with him from when he was confined indoors until the age of 6 due to a rare blood disorder. It was here he began his life-long fascination with ships, studying them arduously and making model ship-building a life-long hobby.

Piracy was a subject that he and his brother Lionel shared a passion for, many of Norman’s early works being imaginative piratical compositions.

During the summer of 1897-98 Norman, Lionel and artist-musician Ernest Moffitt retreated to a cottage they shared near Heidelberg. Here Moffitt pushed Lindsay to uncover his own artistic voice, introducing him to Greek poetry and the pre-Raphaelite

41 NORMAN LINDSAY (1879-1969) Shipwreck with Sea Nymphs watercolour and pencil on paper signed lower left: NORMAN LINDSAY 50.5cm x 40cm PROVENANCE: The Artist Dr & Mrs Edward (Teddy) Wilson, Hunters Hill, gift of the artist’s family, 1980’s Mrs Margaret Reid, Sydney Goodmans, Sydney, 11th Sydney National Art Auction, 18 November 2002, lot 153 Private collection, Sydney $20,000-30,000

works of Frederick Sandys which made an indelible impression on Lindsay. Foregoing the traditional values imparted on him by his mother, he began to live a seemingly bohemian life and his works reflect this – the influence of Nietzsche in particular, with his anti-Christian, overtly sensual and passionate approach is evident in Lindsay’s life and art from this point on.

Classical mythology became a constant source of inspiration for Lindsay. From a young age he was fascinated by Greek gods and literature, in particular Homer’s The Odyssey and legends such as the lost world of Atlantis. His childhood home Lisnacrieve in Creswick was stocked with classical books and conversation with his 9 siblings and parents was robust. Norman’s brother Daryl has recounted that “…there was nothing exceptional in the old rambling house, money not plentiful, books everywhere, … thanks to uncensored reading the children grew to maturity with a natural appreciation for good classical books”. 1 In Greek mythology, the sea nymphs (or Nereids and more commonly, mermaids) are spirits of the water living in the Mediterranean Sea. All 50 sisters and daughters of the wise Nereus, called by Homer “Old Man of the Sea” are often found in the company of Poseidon, the god of the sea. As opposed to Sirens and their desire to lure sailors to their death with their song (another favoured subject of Lindsay’s), sea nymphs in art and literature are reported as the beautiful protectors of sailors and fisherman, aiding those in distress. The most famous appearance of a sea nymph in literature is that of Calypso, who in Homer’s The Odyssey, kept Odysseus against his will on her island of Ogygia for seven years.

In Shipwreck with Sea Nymphs, a swarm of spirited sea nymphs excitedly play amongst darting fish on the ocean bed. Their laughter echoes through the wreck of a oncenoble ship which, in its fossilised, submarine state is perhaps more eerily sublime than it was above water.

Marcella Fox | Sydney Manager

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1. Creswick Museum, The Legendary Lindsay’s, https://www. creswickmuseum.org.au/trail/the-legendary-lindsays/

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42 CHARLES CONDER (1868-1909) Summer’s Day watercolour on silk signed lower right: CONDER 26 x 38cm PROVENANCE: Sotheby’s, Sydney, Fine Australian Paintings and Books, 17 November 1988, lot 325 Private collection, Sydney $6,000-8,000

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43 NORMAN LINDSAY (1879-1969) The Naiads Hour 1929 watercolour on paper signed and dated lower right: NORMAN LINDSAY / 1929 45 x 39cm PROVENANCE: Sotheby’s, Melbourne, Fine Australian Paintings, Books and Ceramics, 26 July 1987, lot 549 Private collection, Sydney $15,000-20,000

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© Alan and Jancis Rees/Copyright Agency, 2022

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44 LLOYD REES (1895-1998) The Caloola Suite 1980 portfolio of six lithographs ed. 46/80 in original presentation box inscribed with artist’s name, title, edition number, and publisher 1. Illawarra Landscape 2. The Distant Derwent 3. Tree at Caloola 4. The Pinnacles, Mount Wellington 5. The Vortex 6. The Storm at Sunset Each 65 x 50cm PROVENANCE: Mr John Anthony Gilbert, Sydney Thence by descent OTHER NOTES: Other editions of this work are in the collection of the Art Gallery of New South Wales, Sydney, the National Gallery of Victoria, Melbourne, and the Art Gallery of Western Australia, Perth. $2,400-3,600

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IMPORTANT JEWELS SYDNEY AUCTION Tuesday 16 August, 6pm VIEWING Friday 12 - Sunday 14 August The Bond, 36-40 Queen Street, Woollahra, NSW

leonardjoel.com.au 56

A Magnificent Solitaire Diamond Ring, 21.13 carats $600,000 – 800,000

THE COLLECTOR’S AUCTION SYDNEY AUCTION Tuesday 13 September VIEWING Friday 9 - Sunday 11 September The Bond, 36-40 Queen Street, Woollahra, NSW

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ARTIST INDEX A

L

ARMAN........................................................................... 40

LINDSAY, NORMAN...............................................41, 43 LOVETT, DANE............................................................... 21

B BALYCK, GEORGE......................................................... 12 BAXTER, PAUL............................................................... 16 BIRCH, ISRAEL.............................................................. 20 BLACKMAN, CHARLES.................................... 27, 28, 30

C CAPPER, CHRIS.............................................................. 13 CLIFFORD, JAMES ..........................................................2 CONDER, CHARLES.................................................... 42 CORTÈS, ÈDOUARD.....................................................39 CROOKE,RAY.......................................................... 33, 35

D DABRO, ANTE................................................................26 DICKERSON, ROBERT..................................................32 DUNLOP, RICHARD......................................................22

E EASTON, CRAIG.............................................................17

G

M MAGUIRE, TIM............................................................... 19 MAJZNER, VICTOR ........................................................3 MEIER, THEO.......................................................... 36, 37 MILLAR, RONALD ...........................................................1

N NOLAN, SIDNEY........................................................... 34

O OLSEN, JOHN............................................................... 24

P PEKEL, HERMAN...........................................................25 PERCEVAL, MATTHEW...................................................5 PRESTON, MARGARET................................................ 18

R REES, LLOYD................................................................. 44 RIGBY, JOHN....................................................................8 ROWELL, KENNETH..................................................... 14

GLEESON, JAMES......................................................... 31

H

S SMEATON, JAMES......................................................... 15

HENSON, BILL...............................................................23

I

T TAYLOR, MICHAEL..........................................................6

INVADER........................................................................ 38

J

V VAN NUNEN, DAVID .................................................... 7

JAMIESON, GIL..................................................... 9, 10, 11

K

Z ZUSTERS, REINIS..........................................................29

KRUM, ELEAZAR.............................................................4

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Lot 6 (detail) MICHAEL TAYLOR (born 1933) Winds, Tides and Currents 1977 oil on canvas 138 x 182.5cm $3,000 – 5,000

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