Fine Art

Fine Art

21.10.2025, 6pm

VIEWING

view lot 13 in sydney fri 10 – sun 12 oct The Bond, 36-40 Queen Street, Woollahra, NSW 2025

viewing in melbourne fri 17 – sun 19 oct 2 Oxley Road, Hawthorn, VIC 3122

Please refer to our website for viewing times — leonardjoel.com.au

CONTACTS

wiebke brix

head of art 03 8825 5624

wiebke.brix@ leonardjoel.com.au

amanda north senior art specialist 03 8825 5644 amanda.north@ leonardjoel.com.au

lot 10

BRUCE ARMSTRONG (1957-2024) (Eagle) 2000 painted hand-carved hardwood

47 x 15 x 13cm

$5,000-8,000 © Bruce Armstong/ Copyright Agency, 2025

From French Impressionists to Australian Art Icons

Following the success of our recent sale of the Private Collection of Important Australian Art, we are now delighted to present our October Fine Art Auction. Whilst the recent sale offered works from a very distinct period in art history, this catalogue draws together exceptional works by significant artists across genres and eras.

Bridging from that Important Collection is one of our favourite Australian Impressionists, Arthur Streeton, represented here with A Venetian Scene c.1908. Painted during his honeymoon in Venice, this watercolour captures the city’s unique atmosphere that still attracts so many “lovers”.

The remarkable cover lot is Brett Whiteley’s Midnight at Lavender Bay, a late work that distils the artist’s restless energy into a pared-back meditation on his beloved harbour. Barry Pearce describes Whiteley’s enigma so fitting in his catalogue essay accompanying this work: “With outrageous energy and chutzpa, he conquered all before him, art lovers, collectors, critics and museums, spellbound.” Painted only a few years before his death, it is both a personal vision and a universal poem, a rare opportunity to acquire an intimately scaled work from this important period and of his most sought-after subject matter.

From Western Australia, Robert Juniper’s (Landscape with Figures) 1973 from the estate of Louis and Lily Kahan captures the richly worked textures and mythic presences for which the artist is celebrated. Evoking the Wheatbelt and desert landscapes, Juniper forged a distinct way of depicting the Australian landscape that continues to resonate deeply with collectors.

The Indigenous component of the auction is particularly significant, with works drawn from key regions across Country, Mornington Island, Yirrkala, the APY Lands, the Central Desert and Balgo. These include barks from Arnhem Land with provenance to Sandra Le Brun Holmes’ collection, as well as paintings that embody both ceremonial tradition and the continuing evolution of First Nations practice. A highlight is a painting by the recently deceased artist Tiger Yaltangki, whose joyful, electrified canvases bridge Indigenous storytelling with contemporary pop-cultural references, epitomising the vitality of today’s First Nations art.

Adding further dimension admidst several contemporary works in this sale is an early work by acclaimed contemporary sculptor Sam Jinks titled Face Man 2007. The work made of resin mounted on board and exhibited at West Space the same year, demonstrates the artist’s extraordinary ability to render human vulnerability with uncanny precision. Jinks’ practice has since gained international attention, making the reappearance of these early works a compelling opportunity for collectors of contemporary art.

Together, these highlights capture the dynamism and diversity of Australian art. This October auction offers a truly broad collection, something for everyone. From French Impressionists to Australian art icons, and from the depth of First Nations perspectives to the vitality of contemporary art practice. The catalogue presents works of wide-ranging appeal.

lot 69 (Previous Page)

TIGER YALTANGKI

(born 1974)

(Language group: Pitjantjatjara)

Malpa Wiru (Good Friends)

2016 (detail)

acrylic on canvas

167 x 243cm

$10,000-15,000

© Tiger Yaltangki/ Copyright Agency, 2025

lot 39 (Opposite)

DIENA GEORGETTI

(born 1966)

It’s Like Finding Home

in a Painting That You’ve

Never Seen, Still You Know

Everything it Took to Make it

(I Know I Know) 2007

acrylic on board

59 x 50cm

$5,000-7,000

© Courtesy The Artist

We warmly invite you to experience the auction in person at our Melbourne viewings, where exceptional works with exceptional stories continue to shape the landscape of collecting.

wiebke brix head of art

1

HANS HEYSEN (1877-1968)

(Cattle Amidst Eucalyptus Trees) 1923

watercolour on paper

signed and dated lower right: HANS HEYSEN. 1923

31.5 x 38.5cm

provenance

Private collection, Melbourne

Thence by descent

$15,000-20,000

2 J.H. SCHELTEMA (1861-1941)

Hauling Logs

oil on canvas

signed lower left: J.H. Scheltema

70 x 101cm

provenance

Leonard Joel, Melbourne, 1 August 1984, lot 110

Private collection, Melbourne

Corporate collection, Melbourne

$15,000-25,000

3

ALBERT NAMATJIRA (1902-1959) A James Range Valley 1935 watercolour on paper

signed lower right: ALBERT NAMATJIRA 16 x 36.5cm

provenance

Private collection, Queensland Thence by descent

$20,000-30,000

4

JAMES ALFRED TURNER (1850-1908) (The Bullock Team) oil on board

signed lower left: J.A.Turner 22 x 11.5cm

provenance

Private collection, Melbourne

$4,000-6,000

5

LUCIEN ADRION (French, 1889-1953)

The Pool, Palm Beach, Cannes oil on canvas

signed lower right: Adrion artist’s name and title on gallery label verso artist’s name on unknown partial label on stretcher bar verso

71.5 x 90.5cm

provenance

Kozminsky Art, Melbourne (label verso)

Private collection, Western Australia

$8,000-12,000

6

CHARLES-FRANÇOIS DAUBIGNY

(French, 1817-1878)

Deux Lavandières à La Rivière oil on panel

signed lower right: Daubigny

27.8 x 44.5cm

provenance

Private collection, Paris

Sotheby’s, Paris, 1 April 2015, lot 172

Private collection, Melbourne

literature

Hellebranth, R., & Hellebranth, A., Charles François Daubigny, 1817-1878, supplement to the catalogue raisonné, Matute, 1996, p. 37, cat. no. 101 (illus.)

other notes

Charles-François Daubigny was a pioneering French landscape painter and printmaker who was a member of the Barbizon School. Renowned for his atmospheric river scenes and rural vistas, Daubigny was among the first artists to paint directly from nature, often working from a studio boat he called ‘Le Botin’. His innovative approach to ‘en plein air’ painting greatly influenced the development of Impressionism, particularly the work of Claude Monet. Daubigny’s lyrical depictions of the French countryside reflect a deep sensitivity to light, mood and the changing seasons.

$15,000-25,000

7 CHARLES CONDER (1868-1909)

Venus, Juno and Minerva watercolour on silk signed lower right: CONDER artist’s name, title and date on gallery labels verso 17.5 x 35cm (irregular)

provenance

The Collection of Mr Pickford Waller

The Collection of Mrs Sybil Waller, London (daughter of the above)

Leonard Joel, Melbourne, 2 March 1983, lot 24

The Collection of Danuta and Ted Rogowski

Leonard Joel, The Rogowski Collection, Melbourne, 23 February 1998, lot 19

Private collection, Melbourne

exhibitions

Drawings And Paintings, Carfax Gallery, London, 1900 (label verso)

Leger Galleries, London, 1969 (label verso)

literature

Gibson, F., Charles Conder: His Life And Work, John Lane, London, 1914, p. 97

other notes

“Amongst those who created the Heidelberg school in Australia, Roberts brought it intellectual rigour, McCubbin poetic nostalgia, and Streeton unbridled confidence. Charles Conder gave it wings of imagination.” (Barry Pearce, Co-Curator of the Charles Conder Retrospective, 2003, Art Gallery of New South Wales)

Charles Conder was a key figure in Australian Impressionism and was known for his romantic and decorative style. Conder’s artwork Venus, Juno and Minerva reflects his fascination with classical mythology and the aesthetic ideals of the ‘fin de siècle’ (end of the century). This work depicts the three prominent goddesses from Roman mythology: Venus the goddess of love and beauty, Juno the queen of the gods and protector of marriage, and Minerva the goddess of wisdom and strategic warfare. The artwork exemplifies Conder’s delicate draftsmanship and ornamental flair, blending allegorical subject matter with the elegance of Art Nouveau. $10,000-12,000

Arthur Streeton

Arthur Streeton’s A Venetian Scene c.1908 encapsulates the atmospheric brilliance and lyrical light of Venice at the turn of the century. Painted during the artist’s honeymoon in 1908, the work reflects a period of personal joy and creative renewal. Streeton married Canadian violinist Nora Clench in London earlier that year and their travels through Italy became a catalyst for some of his most evocative European artworks. In particular, the time spent in Venice in love and as a newly married couple, resulted in a renowned group of works depicting the sights of the city known as ‘La Serenissima’.

This delicate watercolour reveals Streeton’s continued engagement with Impressionism and en plein air painting, practices that he advocated in Australia during the 1890s. The composition and subtle use of fluid colour demonstrate his skilful handling of watercolour, and the light washes of colour and transparent layers, allows the Venetian atmosphere to shimmer and the water to ripple. Streeton’s quick, confident brushstrokes evoke the languid movement of gondolas, while the lilac palette of the buildings and the orange tones of the terracotta roofs, dissolve the architectural forms of the Doge’s Palace and Bridge of Sighs into a luminous haze in the background.

This artwork is an example of Streeton’s ability to transpose his celebrated Australian light into the European setting, creating a painting that is both topographical and poetic. It recalls the words of critic James MacDonald, who described Streeton’s Venetian subjects as “records of light, water, and stone … in which colour and air are inseparable.”1 For centuries, writers and artists have remarked that the light is unique in Venice, the majestic city built on water and Streeton has certainly captured that feeling in his work. This notion is further highlighted in the London Observer in 1909, where the writer observed that “…Mr Streeton has caught the opalescence and glitter of the Venetian canals and marble palaces in moments of bright sunshine as few artists have done before him… he succeeds with delighting the eye and filling the heart with pleasure…”.2

In Streeton’s catalogue raisonné, there are over eighty paintings of Venice referenced, confirming how inspirational the city was for Streeton. During his stay in Venice, Streeton delighted in capturing the effects of shimmering light on the water and the Venetian buildings, producing numerous oils and watercolours, along with a series of pencil and wash sketches. These works on paper provided references for paintings that he later developed in the studio.3 Looking closely at the subject and composition of this watercolour, a comparison can be made with one of Streeton’s major oil paintings titled The Palace of the Doges c.1908. In the painting, Streeton deploys a more structured and architectural approach, with the Doge’s Palace taking centre stage and its gothic decoration is clearly articulated against the sky. By contrast, the watercolour privileges atmosphere over exactitude. The gondola and the resting gondolier in the foreground anchor the composition, leading the viewer’s eye into a more intimate and immediate encounter with the scene. The looser handling and the softness of the watercolour medium lend the work an almost musical quality, perhaps Nora Clench’s influence, where rhythm and harmony take precedence over architectural precision. The similar composition and vantage point to the The Palace of the Doges and the evidence of compositional changes seen in pencil in the foreground, suggests that this work on paper may be a study for one of his major oil paintings of the Doge’s Palace.

Following Streeton’s departure from Venice, in March 1909, he exhibited a solo show of Venetian scenes alongside English landscapes at the Alpine Club Gallery in Savile Row, London. The exhibition was very well received by the London press and a few months later in July 1909, he opened the exhibition Arthur Streeton's Venice at the Guild Hall in Melbourne. Streeton’s sojourn in Venice resulted in a significant body of artworks in 1908, including key paintings such as La Salute, The Grand Canal, The Palace of the Doges and Evening Venice and Evening Light. These artworks epitomise his deep fascination with the interplay of water, light and reflection.

Notes:

1 . MacDonald, S, J., Arthur Streeton: Painter, 1867–1943, Sydney: Ure Smith, 1944, p. 56

2. Observer, London, 4 April 1909, cited in Galbally, A., Arthur Streeton, Lansdowne Press, Melbourne, 1979, p. 71

3. Smith, G., Arthur Streeton 1867–1943, National Gallery of Victoria, Melbourne, 1995, p. 148

In the artwork A Venetian Scene, the pale blue and lilac expanse of the lagoon dominate the scene, acting as a mirror that reflects the gentle colour of the sky. Streeton uses the gondola as a framing device in this work, balancing the weight of the composition with a single gondola at rest in the lower right foreground. The figures are merely suggested in the distance, their gestures captured with a few brushstrokes and touches of colour. The dome of St Mark’s Basilica rises softly in the background, its form almost dissolving into the surrounding sky. The result is an image that speaks less of topographical reportage and more of mood, an evocation of Venice’s languid, floating world.

amanda north

senior fine art specialist

ARTHUR STREETON (1867-1943)

A Venetian Scene c.1908 watercolour and pencil on paper signed lower left: A STREETON. 23 x 30cm

The Artist

Private collection, Melbourne

Leonard Joel, Melbourne, 21 April 1998, lot 254 (as “A Venetian Scene”)

Private collection, Melbourne

related work

Arthur Streeton, The Palace of the Doges c.1908, oil on canvas, 50.6 x 76.5cm, Private collection

$25,000-30,000

Parrots in a Queensland Landscape oil on canvas

signed lower left: Tucker

75 x 59.5cm

provenance

Sotheby’s, Melbourne, 5 May 2003, lot 132

Private collection, Sydney

Sotheby’s, Melbourne, 16 May 2006, lot 40

Private collection, Melbourne

Leonard Joel, Melbourne, 3 December 2013, lot 17

Private collection, Melbourne

$20,000-30,000

BRUCE ARMSTRONG (1957-2024) (Eagle) 2000

painted hand-carved hardwood signed, dated and inscribed at base: To David/ (G.O.D) from/ Bruce +/ Linde/ Happy/ Birthday 2000!

47 x 15 x 13cm

provenance

The Artist

Private collection, Melbourne

$5,000-8,000

11 JOHN OLSEN (1928-2023)

Untitled 1975 ink and watercolour on paper initialled and dated lower left: J.O 75 inscribed with Australian Galleries cat. no. 7635 on label verso

74.5 x 55.5cm

provenance

(possibly) Australian Galleries, Melbourne 1990 Private collection, Melbourne

$6,000-8,000

12

CHARLES BLACKMAN (1928-2018)

The Garden of Carnavalet 1970 mixed media and collage on paper signed and dated lower right: BLACKMAN 70 90 x 188cm

provenance

The Blackman Trust Private collection, Melbourne Private collection, Melbourne, acquired from the above

related work

Charles Blackman, The Garden of Carnavalet 1970-71, wool tapestry woven at Portalegre, Portugal in 1971, 213 x 426cm, Private collection, Melbourne (Shapcott, T., The Art of Charles Blackman, Andre Deutsch, 1989, pl. no. 128 (illus.))

Charles Blackman, Carnavalet 1971, ink and wash on paper, 58 x 79cm, in the collection of the Maitland Regional Art Gallery, accession no. 2008.092 (donated by Charles Blackman through the Australian Government's Cultural Gifts Program, 2008)

other notes

While living in Paris in 1970, Blackman worked on creating tapestries, inspired by visits to the Cluny Museum and to chateaux in the Loire Valley. Prior to the creation of the tapestries, Blackman would make artworks in ink and wash on paper which served as preparatory works for the tapestries. One of the tapestries, The Garden of the Carnavalet was inspired by a balcony view of the knot garden in the courtyard of the Musée Carnavalet in Paris. The garden was part of his daily walk while working in Paris, during his stay at the Moya Dyring studio at the Cité Internationale des Arts.

The original designs for the tapestries were made in Paris and the weaving was done at the workshops of Tapecarias de Portalegre in Portalegre, Portugal. Each tapestry took four months to weave and between the period of October 1970 and September 1971, six were created. During this time, Blackman visited the workshop four times to learn about the weaving techniques and collaborate with the artisans as they brought his designs to life.

$20,000-40,000

Brett Whiteley’s Midnight Redemption

In the middle of the twentieth century, when Australian art began to exude its first collective aroma of international uniqueness, Brett Whiteley was the most mercurial and spectacularly ambitious amongst an impressive contingent of contemporary antipodean painters then beginning to make an impact on the world stage.

With outrageous energy and chutzpa, he conquered all before him, art lovers, collectors, critics and museums, spellbound. Including London’s Tate Gallery, which acquired one of his earliest abstractions in 1961, just one year after his arrival from Sydney to take up a travelling scholarship in Italy, awarded no less than by Russell Drysdale in 1959.1 On the tidal wave of which, establishing a decade of residence in England before returning home, he was in fact amongst the youngest ever to be recognised as such by the Tate in its entire history.

On the eve of his departure from Australia in 1960 aged twenty-one, his precocious curiosity had already unleashed a fierce intention of becoming regarded as a serious painter, through a super-charged exploration of not only techniques, but also the very essence of charisma in his artist heroes, as he wrote to his father Clem upon arriving in Europe:

I am now in Modigliani’s country. This has been my secret, strange and abnormally mystical ambition, to sit alone…to retire entirely from everything and everyone that is important - and allow my understanding (or maybe it’s my misunderstanding) of how environment can mould, shape and even stain the personality of a genius.2

And so, over the ensuing three decades,Whiteley’s ego surged forward, progressively challenging himself as well as his admirers to accommodate new ways of seeing abstraction, landscape, portraiture, Australian avifauna and philosophical narratives, even if it meant occasionally shocking his audience out of any complacency by breaking the odd rule. This does not mean he actually rejected established canons of art history, only that he felt impelled to shape them towards a fresher spectacle of pictorial construction in his own language. Bosch, Rembrandt, Van Gogh, Gauguin, and then of his own time Drysdale, Dobell and Lloyd Rees in Australia, William Scott, Arshile Gorky and Francis Bacon in Europe, not to mention the French poets Rimbaud and Baudelaire, were amongst a vast array of North Stars that guided him constantly.

However behind all his ambitious pursuits between 1961 and his death in 1992, spiced with an acute shrewdness concerning the dynamics of fame, there were shadowy whispers of concern, even amongst his admirers, not to mention certain naysaying critics, that Whiteley’s relentless flight might inevitably crash and burn. Those naysayers were right in one sense, pertaining to a catastrophic drug addiction that eventually killed him.3

But not about his art. Indeed, his capacity to create a steadying aesthetic keynote near the very end when his demise was nigh is exemplified in this recently discovered, modest-scale Midnight at Lavender Bay. After much extravagance which included the dangerously thrilling shambles of his American Dream polyptych, and the impossibly expansive autobiography of Alchemy, possibly his greatest masterwork, it is remarkable how he finally arrived at an enchantingly small, simplified coda of affection for the liquid ecstasy of his beloved Lavender Bay, the subject which he famously declared to be soaking in perfume.4 In his romantic imagination such perfume suggested an idea of living with the smell of eternity.

Notes:

1 . The Italian Travelling Art Scholarship established by the Italian Government inspired a similar scholarship established by Whiteley’s mother Beryl in her son’s name in 1999.

2. From Whiteley’s Notebook 1961, Brett Whiteley Estate, copyright Wendy Whiteley.

3. Whiteley died in Thirroul, New South Wales, 15th June 1992 from overdose of drugs and alcohol.

4. The American Dream 1968-69, mixed media 214x2196 cm, private collection; Alchemy 1972-73, mixed media 203x1615 cm, Art Gallery of New South Wales; Quote regarding ultramarine from Barry Pearce et al Brett Whiteley: Art & Life London, Thames & Hudson 1995 p35.

13

BRETT WHITELEY (1939-1992)

Midnight at Lavender Bay c.1991 oil on canvas

signed lower left: brett whiteley 60 x 46cm

provenance

(probably) Robin Gibson Gallery, Paddington 1991 Private collection, Sydney

exhibitions (probably) Brett Whiteley, Robin Gibson Gallery, Sydney, 12 - 30 October 1991 (no catalogue)

literature

This work will appear in the addendum to Sutherland, K, Brett Whiteley: Catalogue Raisonné, Schwartz City, Melbourne, 2020, as cat. no. 100.91

other notes

This painting was authenticated by Wendy Whiteley in July 2025.

related works

Brett Whiteley, Orange Palm and Lavender Bay (Small Version) 1991 (Sutherland, K, Brett Whiteley: Catalogue Raisonné, cat. no. 98.91)

Brett Whiteley, The Pier at Lavender Bay 1991, oil on canvas. Private collection. (Sutherland, K, Brett Whiteley: Catalogue Raisonné, cat. no. 99.91)

$150,000-200,000

Gazing at this image with its unusually singular symmetry reminds us too how way back in 1961, at the opening of Bryan Robertson’s now legendary Whitechapel Gallery exhibition Recent Australian Painting in London, Whiteley confronted Sid Nolan for his apparent lack of respect for the flat picture plane. To which Nolan riposted with his painting Boy and the Moon c.1939-40, with its minimal abstract shape floating bang in the middle of a rectangle without apology.5 Whiteley no doubt carried that image from an older competitor in his backpack of inspiration for the rest of his career.

But perhaps more interestingly, in 1989, just two years before painting Midnight at Lavender Bay, and three years before his passing, Whiteley spent two months in Paris, followed by a visit to Japan, resulting in an exhibition, Paris Regard de Côté. 6 In that fabled city he walked the streets and lanes, looking ahead, left and right, recording with refreshing elan its verticals, diagonals, arabesques and sunlit walls - hence the exhibition title referring to the edges - which he claimed was the only true way of halting the passage of time.

Which brings us to this Sydney coda, whereby at last all clutter and noise from the past are finally quietened. The flattened form of a hallucinatory Canary Island Date Palm silhouetted in blue quietly holds the centre. Tiny boats quiver below in a darkly violet, anaesthetic sea like captive butterflies in a Kunisada woodcut; and a meandering line of ultramarine reminds us the secure Lavender Bay shoreline is not far away. Above, a shy moon peeks from behind a palm frond, the final evidence of a departed sun, leaving us to reflect on Whiteley’s essential genius to project when he so chose the dream of a perfect metaphysical moment.

That moment also embracing the fear of replicating his dear father’s early death was poignantly upon him.

barry pearce (fellow of the university of south australia)

Barry Pearce began his museum career at the Art Gallery of South Australia in 1967 and later studying at the British Museum. When he returned from overseas he became inaugural Curator of Prints and Drawings at the Art Gallery of South Australia, then Paintings at the Art Gallery of Western Australia, and then Curator of Australian Art at the Art Gallery of New South Wales, where he remained until his retirement.

Pearce has curated landmark exhibitions, published widely on Australian and European art, and lectured extensively. He received the Centenary Medal in 2003 and was made Fellow of the University of South Australia in 2016. His most recent major project was Arthur Boyd: Landscape of the Soul (2019), a national touring exhibition for the Bundanon Trust.

Notes:

5. Simon Pierse Australian Art and Artists in London, 1950-1965: An Antipodean Summer Surrey, Ashgate Publishing Limited 2012 p114.

6. Published by Australian Galleries, Melbourne & Sydney 1990.

14

BRETT WHITELEY (1939-1992) (Lovers) 1979 ink on paper monogram stamped (in red) and dated lower right: B/W/ 21/5/79 50 x 72cm

provenance

The Collection of James R. Lawson, Sydney 1991 Lawsons, Sydney, 16 July 1991, lot 313 (as "Man and Woman") Private collection, Melbourne

literature

Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz City, Melbourne, 2020, cat. no. 47.79, vol. 3, p. 654 (illus.), vol. 7, p. 469

related work

Brett Whiteley, Lovers 1979, brush and black ink on ivory paper, 73 x 51cm (sheet), in Sutherland, K., Brett Whiteley: Catalogue Raisonné, Schwartz Publishing, Melbourne, 2020, cat. no. 46.79, vol. 7, p. 469

$20,000-30,000

14 © Wendy Whiteley/Copyright Agency, 2025

15 © Arthur Boyd/Copyright Agency, 2025

15

ARTHUR BOYD (1862-1940)

Hillside River and Trees oil on board

signed lower right: Arthur Boyd

30.5 x 20cm

provenance

Barry Stern Galleries, Paddington

Private collection, Sydney

Shapiro Auctioneers, Sydney, 17 May 2018, lot 10

Private collection, Sydney

Shapiro Auctioneers, Sydney, 20 November 2023, lot 4

Private collection, Sydney

$15,000-25,000

BRUCE ARMSTRONG (1957-2024) (Penguin)

hand-carved redgum and base

69 x 28.5 x 26cm; 191cm (height, including base)

provenance

The Artist Private collection, Melbourne

$10,000-15,000

17

ROBERT JUNIPER (1929-2012)

Flowered Landscape 1968

oil on board

signed and dated lower right: Juniper ‘68

title inscribed verso

122 x 91.5cm

provenance

Skinner Galleries, Perth (label verso)

The Estate of Lily and Louis Kahan, Melbourne

Thence by descent

exhibitions

Blue Chip XXVII: The Collectors’ Exhibition, Niagara Galleries, 2025, cat. no. 21

$10,000-15,000

18

SHEN SHAOMIN (Chinese, born 1956)

Experimental Field No.3 - Poppy No.9 2004

bone, bonemeal, glue and glass

100 x 40 x 40cm

provenance

Eli Klein Gallery, New York 2012

The Mainland Collection, Melbourne

exhibitions

Flora and Fauna, Museum of Arts and Design (MAD), New York, 24 May - 6 November 2011

Scenes From Within: Contemporary Art From China, Georgia College, America, 2011

Re-Imagining Asia, The New Art Gallery, Walsall, England, 13 February - 3 May 2009

$6,000-7,000

19 WILLIAM DELAFIELD COOK (1936-2015)

Cabbage 1976

charcoal and conte crayon on paper

signed and dated lower right: WDelafield Cook ‘76

91.5 x 67cm

provenance

The Estate of Lady Grounds

Private collection, Melbourne

$4,000-6,000

20 RICK AMOR (born 1948)

The Gardens (4pm) 1991 oil on canvas

signed and dated lower left: Rick Amor ‘91 titled and dated verso: THE GARDENS/ 4pm/ APRIL/ 91

55 x 70cm

provenance

Niagara Galleries, Melbourne 1991

Private collection, Melbourne

exhibitions

Rick Amor, Niagara Galleries, Melbourne, 10-17 April 1991

$10,000-15,000

Robert Juniper

Robert Juniper was born in Merredin, Western Australia, in 1929, where he spent much of his childhood immersed in the open expanses of the Wheatbelt. Once a diverse ecosystem, the Wheatbelt was reduced when clearing began in the 1890s, with the removal of native plant species to make way for commercial agriculture. The formative years spent here, would resurface throughout his career in recurring motifs of vast skies, sparse vegetation, and a sense of natural beauty.

In 1936 his family moved to England, where Juniper attended Beckenham School of Art in the late 1940s. There he absorbed lessons from European modernism, particularly artists like Graham Sutherland, Paul Nash, and John Piper before returning to Australia in 1949. Juniper initially worked as a commercial artist, stage designer, and teacher but when he retired entirely dedicated himself to painting. His early training gave him a grounding in design and composition, and his exposure to British modernist painting encouraged him to develop a unique visual language.

While rooted in landscape painting, his work combines lyrical abstraction with figurative references to plants, buildings, animals and people. His surfaces often feature richly textured paint, scraped and layered to create depth, and his compositions switch between figuration and abstraction.

As art critic Nancy Parker observed in her 1987 review of Elwyn Lynn’s book, The Art of Robert Juniper, “Juniper’s…decorativeness is no slick, surface treatment of lines, colours or textures. Rather it is part of the very fabric of his ideas and therefore of his expression of them.”¹ Parker emphasised that Juniper was “primarily a Western Australian who has increasingly directed his attention to evocative, and sensitive depictions of the Western Australian landscape, and in particular, the desert.”²

A later critic, Sasha Grishin, reviewing Robert Juniper: Recent Work at Solander Gallery in 1992, similarly acknowledged the breadth of Juniper’s influences. Juniper was influenced by artists representing a wide range of work, Grishin mentions Sam Fullbrook along with Miró, Calder, Fred Williams, and an admiration for Indigenous art. Grishin says about Juniper “he has the rare ability to absorb another painter’s marks into his own artistic vision without appearing to be eclectic and derivative.”³

Juniper’s central theme was always the Western Australian landscape. He depicted dry riverbeds, solitary trees, red earth, and wide skies, yet his treatment went beyond naturalism. For him, landscape was both subject and metaphor, a vehicle for expressing human emotion, history, and myth.

(Landscape with Figures) 1973 from the Estate of Lily and Louis Kahan and included in this sale, is a remarkable example of the artist’s work. This painting carries the key elements for which he is best known for. A metaphorical landscape is represented in richly worked textures. The horizon dissolves into layers of ochre and umber, which evoke the sun-baked soils of Western Australia’s Wheatbelt and desert regions.

Within this landscape, semi-transparent figures emerge from washes of blue. Their presence recalls Juniper’s frequent interest in myth and memory. They do not dominate the composition but instead are part of the environment. The work conveys a sense of peace, the humans are not dominating the landscape, they coexist in harmony.

Juniper’s work gained national recognition from the 1960s onwards. He exhibited widely, with solo shows across Australia, and his paintings were acquired by major collections, including the Art Gallery of Western Australia, the National Gallery of Australia, and numerous regional institutions. He was awarded the Order of Australia in 1998 for his service to the arts.

Robert Juniper remains one of Australia’s most unique interpreters of landscape. The artist contributed immensely to the cultural life of Western Australia and to the broader narrative of Australian art.

wiebke brix head of art

Bibliography:

1. Parker, N., “Juniper’s Desert Metaphors”, The Canberra Times (ACT), 25 January 1987, p. 8.

2. Ibid.

3. Grishin, Sasha. “A Splendid Reaffirmation”, The Canberra Times (ACT), 7 October 1992, p. 22. Review of Robert Juniper: Recent Work, Solander Gallery.

4. Parker, N., “Juniper’s Desert Metaphors”, The Canberra Times (ACT), 25 January 1987, p. 8.

ROBERT JUNIPER (1929-2012)

(Landscape with Figures) 1973 oil on canvas

signed and dated lower centre: Juniper ‘73

172.5 x 180cm

provenance

The Artist

The Estate of Lily and Louis Kahan, Melbourne

Thence by descent

$50,000-70,000

22

ARTHUR BOYD (1920-1999)

On the Shoalhaven oil on board

signed lower right: Arthur Boyd titled on unknown label verso 34 x 19.5cm

provenance

Painted at Keeper’s Cottage, Ramsholt, Suffolk

Gifted to Barry Gordon 1986

The Estate of Mr Barry J. Gordon

Private collection, Melbourne

other notes

The actor Barry J. Gordon was born in Sydney in 1931. He left home at 15 after the death of his foster parents and went to live and work with the artistic community in Murrumbeena. It was here that he struck up his life long friendship with Arthur Boyd.

The present composition is of Shoalhaven, South Coast of New South Wales, Australia. Arthur Boyd’s recognisable depictions of Shoalhaven became a much loved subject matter expressed through the tranquil colour palette of the Australian Landscape.

Painted at Keeper’s Cottage, Ramsholt, Suffolk, and gifted to Barry Gordon on 26 June 1986, while he stopped overnight on his way to Great Yarmouth.

$20,000-30,000

23

ALBERT TUCKER (1914-1999)

Ibis Feeding 1964 oil on board

signed and dated lower left: Tucker 64 60 x 80.5cm

provenance

Australian Galleries, Melbourne

Private collection, Sydney

Leonard Joel, Sydney, 7 March 2016, lot 261

Private collection, Melbourne

$12,000-18,000

ARTHUR BOYD (1920-1999)

Scene from the Nebuchadnezzar series watercolour and gouache on paper signed lower right: Arthur Boyd

50.5 x 62cm

provenance

The Estate of Mr Barry J. Gordon

Private collection, Melbourne

other notes

Arthur Boyd’s Nebuchadnezzar series comments on the representation of the human condition, originally influenced by viewing a self-immolation protest against the Vietnam War. The title, Nebuchadnezzar, was named after the story of the King of Babylon who captured and destroyed Jerusalem within The Old Testament. Within this series Boyd compares Nebuchadnezzar with America’s participation with the Vietnam War. Boyd was an Australian artist concentrating on Australian landscapes and expressionist figures, as seen here with Boyd’s use of harsh brushstrokes and bright colours to present the anguish of the protest Boyd witnessed.

$15,000-20,000

25

DALE FRANK (born 1959)

Untitled 2019

tinted varnish, epoxy glass on iridescent perspex signed and dated verso: DALE FRANK/ 2019

120 x 200cm

provenance

Bangalow Fine Art, New South Wales 2024

Private collection, Victoria Private collection, Melbourne

exhibitions

Winter 2024, Bangalow Fine Art, New South Wales, 2024

$20,000-25,000

26

SAM JINKS (born 1973)

Face Man 2007

resin mounted on board, ed. 1/10 65 x 65cm

provenance

The Artist

Private collection, Melbourne

exhibitions

Sam Jinks, West Space, Melbourne, 27 April19 May 2007

$7,000-10,000

27

RICHARD LARTER (1929-2014)

Winter Reflection 1988

acrylic on canvas initialled and dated lower left: R.L./ 6.1988 signed, titled and dated verso

177 x 122cm

provenance

The Artist

The Collection of Reg Grundy and Joy Chambers-Grundy

Private collection, Sydney

Thence by descent

exhibitions

Richard Larter - Paintings, Niagara Galleries Melbourne, 1 - 18 November 1989, cat. no. 10 (label verso)

$8,000-12,000

28

ROBERT FIELDING (born 1969) (Language group: Pitjantjatjara)

Makali Kutju - Mara Kutjara (Two Hands) 2017 pencil, ink and acrylic on pierced and burnt paper, diptych

Mimili Maku Arts, Mimili, South Australia cat. no. 235-17

101 x 154cm (overall)

provenance

Mimili Maku Arts, Mimili, South Australia (accompanied by the certificate of authenticity) Private collection, Melbourne

other notes

From the same series as his 2017 NATSIAA award winning artwork Milkali Kutju – One blood

“Milkali Kutju -meaning ‘one blood’ in Pitjantjatj’ara language - is a call for unity, for an end to racial prejudice. I’m asking people to look beneath the surface and see that our differences are only skin deep. We all have blood running through our veins.

The white dots that make up the text are piercings I’ve burnt through the paper with a hot iron, I’ve pierced the paper so that viewers are literally looking beneath the surface of my artwork. With this burning/piercing technique I am paying tribute to a great artist and matriarch of Mimili who was famous for burning intricate designs onto wooden artefacts with a hot wire. This woman, who’s sadly no longer with us, was a senior cultural elder who showed me the beauty of the country, the culture, the story, song and dance when I first came to Mimili almost 20 years ago.

My artworks talk about the shared histories of Aboriginal people. Our customs and rituals, both new and old. Our struggle, our resilience, our hunger, our sustenance, our survival. I incorporate Pitj’antjatjara and Yankunytjatjara language in my work to demonstrate the pride, strength and resilience of our culture.”

As stated on the Mimili Maku Arts certificate of authenticity.

$6,000-8,000

29

DAVID LARWILL (1956-2011)

Games 1998

oil on linen, diptych

initialled and dated lower right: D. L. / 98 signed, titled and dated verso

152.5 x 244cm (overall)

provenance

Gould Galleries, Melbourne

Private collection, Victoria 1998

Gould Galleries, Melbourne

Private collection, Melbourne 2000

Leonard Joel, Melbourne, 28 June 2022, lot 24

Private collection, Queensland

other notes

Influenced by the artists Jean-Michel Basquiat and Pablo Picasso, David Larwill has drawn on an array of cultural influences such as prehistoric, International and Aboriginal Art, to create his body of work. The painting Games 1998, highlights these influences through his use of flatness, bright colours and layering of dark, silhouetted forms that contrast with the white background. Larwill’s work is full of energy and imagination and his subjects pose playfully, moving across the canvas in a pattern like sequence. The naïve designs floating around each figure are reminiscent of the technique used by Basquiat to emphasise movement and inject a playful childlike energy to the work.

$40,000-50,000

30

MIRKA MORA (1928-2018)

Cat Girl Rides her Best Bird Friend 1985 gouache and watercolour on paper signed and dated lower right: MiRKA/ 85 title inscribed verso

27.5 x 18.5cm

provenance

William Mora Galleries, Melbourne (stamp verso)

Private collection, Melbourne

$4,000-6,000

31

CHARLES BLACKMAN (1928-2018)

(Face with Flowers) c.1960 oil on masonite

29 x 22.5cm

provenance

Private collection, Melbourne

related work

Charles Blackman, Collection of Paintings 1960, oil on board, 96.5 x 121.9cm (Shapcott, T., The Art of Charles Blackman, Andre Deutsch, 1989, pl. no. 87 (illus.))

$7,000-9,000

32

CHARLES BLACKMAN (1928-2018)

(Face with Flower) c.1960 oil on masonite

30 x 23cm

provenance

Private collection, Melbourne

related work

Charles Blackman, Collection of Paintings 1960, oil on board, 96.5 x 121.9cm (Shapcott, T., The Art of Charles Blackman, Andre Deutsch, 1989, pl. no. 87 (illus.))

$7,000-9,000

titled and dated on gallery label verso

provenance

Greythorn Galleries, Melbourne (label verso)

Private collection, Melbourne

$7,000-9,000

(Girl

Vase) 1958 oil on glass and board signed and dated lower left: Blackman 58 62 x 49cm

provenance

The Collection of Barbara Blackman Private collection, New South Wales, gift from the above 2013

$12,000-18,000

35 © Estate of Edwin Tanner

35

EDWIN RUSSELL TANNER (1920-1980)

Untitled 1980

synthetic polymer paint on canvas

signed and date lower right: EDWIN TANNER 1980

120.5 x 135cm

provenance (possibly) Rudy Komon Gallery, Sydney Private collection, Melbourne

exhibitions (possibly) Edwin Tanner, Rudy Komon Gallery, Sydney, 1980, cat. no. 19 (cat. no. inscribed verso)

related work

Edwin Russell Tanner, A Horse, A Horse, My Kingdom For A Horse (Richard III) 1977, synthetic polymer paint on canvas, 168 x 183cm

other notes

Edwin Russell Tanner (1920-1980) was a Welsh born Australian artist and engineer whose unique career bridged mathematics, mechanics and art. Migrating to Tasmania as a child, Tanner first trained as an engineer, a discipline that informed his lifelong fascination with structure and precision. He began painting in the 1940s and quickly developed a distinctive style that fused exacting geometry with satirical humour.

“In 1952 the artist photographed a horse he found lying dead in a field. The image runs through his pictures across several years, beginning with the moving pencil-on-paper sketch of the lifeless animal, its legs poignantly arrayed, that is nonetheless darkly entitled ‘Dead Cert’ 1952. ‘Ozymandias’ 1960 shows a horse skull lying at the same angle as the head of the original ‘Dead Cert’ horse, but this skull is made of concrete and there are reinforcement cables emerging from its neck. An etiolated bird sits atop it, its own head cast down, either in mourning or to peck at the horse’s ear. The title drives the mood home: what are all our engineer’s tricks good for, if the flesh gives way in the end, no matter what?”(Bailey S., 'Preoccupied with the Circuitry of the Species', Arena Magazine, 2018-08 (155), p.52)

$30,000-40,000

36 © Charles Blackman/Copyright Agency, 2025

related work

Charles Blackman, Celestial Figure 1984, oil on canvas (diptych), 183 x 243cm, Private collection

36 CHARLES BLACKMAN (1928-2018) Night's Dream Celestial Mirror c.1984 oil on canvas signed lower right: BLACKMAN titled on gallery label verso 122 x 183cm

provenance

Art Galleries Schubert, Queensland (label verso) Private collection, Melbourne

Charles Blackman's Celestial series of the mid-1980s reflects his long fascination with the night sky and star-gazing with his children. Works such as Night's Dream Celestial Mirror and Celestial Figure 1984 combine jewel-like blue grounds with floating constellations, flowers, and his familiar motifs of the female form and the cat. Inspired by moon-watching in Japan and Barbara Warren Kenton's Astrology: A Celestial Mirror 1974, Blackman projected his own imaginative symbols into the zodiac. These dreamlike paintings resonate with lyrical Surrealism, recalling Miró, while offering a poetic interpretation of life where fact and imagination are inseparable.

$30,000-50,000

37

NATHAN HAWKES (born 1980)

Songs of that Kind 2022

chalk pastel on paper

220 x 150cm

provenance

Sophie Gannon Gallery, Melbourne 2022

Private collection, Melbourne

exhibitions

Nathan Hawkes: The Early Lessons, Sophie Gannon Gallery, Melbourne, 29 November - 17 December 2022

other notes

“Hawkes challenges the assumed distinction between the ecologies within the frame of a drawing and the ecologies of the natural world. The subject and object divide of traditional landscape drawing, wavers, hesitates, disappears through the sensation of media. Here we are referring to two things at once: media that is the charcoal and chalk pastels used to make these drawings and the media that is fire, water, air, and earth...This is Hawkes’ contribution: to add to the conversation of what it feels and means to be in this moment where we are moving away from the philosophical and ontological or toward an and. This or that, no longer makes sense. We cannot distinguish between the natural or artificial. Now there is plastics in our blood, we are natural and artificial, we are afraid and hopeful, media (evoking all the word’s definitions) will destroy us and save us, the elements – the floods and fires – are over there and they are inside us.”

(excerpt from exhibition, Jaimme Edwards 2022)

$7,000-10,000

38

PAUL RYAN (born 1964)

The King, Orange Sash 2024 oil on linen signed, dated and titled verso: ryan 24/ The King,/ orange sash 81.5 x 62cm

provenance

The Artist

Private collection, Sydney

$3,000-5,000

39

DIENA GEORGETTI (born 1966)

It’s Like Finding Home in a Painting That You’ve Never Seen, Still You Know Everything it Took to Make it (I Know I Know) 2007

acrylic on board artist’s name, title and date inscribed on gallery label verso

59 x 50cm

provenance

Darren Knight Gallery, Sydney (label verso) Private collection, Melbourne

exhibitions

Darren Knight Gallery Presents: Diena Gerogetti, Saskia Leek, Jennifer Mills, Michelle Nikou, Anne Wallace, Louise Weaver, Ryan Renshaw, Brisbane, 29 June19 July 2007

DIENA GEORGETTI: BLOK PLASTIK, Darren Knight Gallery, Sydney, 11 September - 6 October 2007

$5,000-7,000

40 NATALIE RYAN (Born 20th Century)

Untitled (Baboon) 2008

taxidermy foam cast, synthetic fibre, prosthetic jaw and tongue, prosthetic eyes

68 x 77 x 36cm

provenance

The Artist

Private collection, Melbourne

exhibitions

Static, West Space, Melbourne, 4 September27 September 2008

The Devolution Project, University of Southern Queensland Gallery, Toowoomba, 8 - 28 August 2008

$3,000-5,000

41

LAWRENCE DAWS (born 1927)

Willy up a Tree c.1956

oil on board

signed lower right: LAWRENCE DAWS. artist name and title on gallery label verso

100 x 75cm

provenance

Johnstone Gallery, Brisbane

Private collection, Brisbane

Philip Bacon Galleries, Brisbane (label verso)

Charles Nodrum Gallery, Melbourne (label verso)

Private collection, Melbourne

exhibitions

Lawrence Daws, Johnstone Gallery, Brisbane, 1956

Art & Furniture, Charles Nodrum Gallery, 4 - 29

April, 2000, cat. no. 15

$5,000-7,000

42

ANDREW ROGERS (born 1947)

Untitled 2006 (from the Weightless series)

bronze

artist’s name and date incised at base:

Andrew Rogers ‘06 28 x 33 x 24cm

provenance

William Mora Galleries, Melbourne

Private collection, Melbourne

$4,000-6,000

43

GEORGE BALDESSIN (1939-1978)

Untitled

mixed media on paper mounted on board signed and dated lower right: 64/ Baldessin artist’s name inscribed verso

101 x 75.5cm

provenance

Private collection, Melbourne

Thence by descent

$9,000-14,000 44

PETER CHURCHER (born 1964)

Delilah 1998 oil on linen signed and dated upper left: P.Churcher ‘98 titled on gallery label verso

79.5 x 68.5cm

provenance

Philip Bacon Galleries, Brisbane (label verso)

Private collection, Brisbane

$3,000-5,000

Haughton Forrest Collection

lots 45 – 51

Haughton Forrest is one of Australia’s most celebrated maritime artist’s, who captured the dramatic beauty of European and Tasmania coastlines and riverbanks with remarkable precision. We are delighted to present further works from the collection of Jim and Joy Durran, following from the October Fine Art Auction last year and March Fine Art earlier this year. Jim and Joy Durran’s son shares the story of how his father developed a passion for Forrest’s paintings. Jim, a keen amateur yachtsman and long-time member of the Royal Geelong Yacht Club (RGYC), discovered his love for Forrest’s works during his retirement. While in Hobart with his wife, they came across a Haughton Forrest painting for sale, which Jim felt compelled to purchase. This acquisition sparked an interest in the artist’s paintings, prompting the couple to search for more pieces across the country. During their time in Tasmania, they met several of Forrest’s descendants, including Geoffrey Ayling, who authored a two-volume catalogue of the artist’s works, further establishing their connection to the artist. Over a five-year period, Jim and Joy acquired a collection of twenty-eight Haughton Forrest paintings and we are honoured to be offering the remainder of the collection.

45

HAUGHTON FORREST (1826-1925)

Wreck of Martin Luther, Off Ushant c.1871 oil on canvas

signed lower left: H Forrest titled on frame plaque 44 x 74cm

provenance

Private collection, California 2013

The Collection of Jim and Joy Durran, Geelong

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no.

HF2.1.011, p. 210 (illus.)

other notes

This work depicts the Martin Luther under tow by the SS Tagus in April 1857.

$12,000-16,000

46

HAUGHTON FORREST (1826-1925)

Wreck on Shore (also known as Nautical Scene, Ships in Storm) oil on canvas

signed lower left: HForrest 45 x 75.5cm

provenance

Gowens, Hobart, 20 November 2010

Private collection, Tasmania

The Collection of Jim and Joy Durran, Geelong

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no.

HF2.2.094, p. 235 (illus.)

$12,000-16,000

47

HAUGHTON FORREST (1826-1925)

In Heavy Seas

(also known as Ship in a Storm and Sailing Boat in Rough Seas) oil on board

signed lower left (partially concealed) 30 x 46cm

provenance

Private collection, Sydney

Sotheby’s, Sydney, 21 June 2017, lot 245 (as "Sailing Boat in Rough Seas")

The Collection of Jim and Joy Durran, Geelong

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no.

HF2.3.100, p. 266 (illus.)

$6,000-9,000

48

HAUGHTON FORREST (1826-1925)

(Fishing Boats in Fowey Harbour) oil on board

11.5 x 20cm

provenance

Private collection, Tasmania

The Collection of Jim and Joy Durran, Geelong

$3,000-5,000

49

HAUGHTON FORREST (1826-1925)

Ross Castle, Ireland oil on board

signed lower left: HForrest 30 x 46cm

provenance

Hudson's Bay Company, Canada (label verso)

Private collection, Tasmania

The Collection of Jim and Joy Durran, Geelong

$8,000-10,000

50

HAUGHTON FORREST (1826-1925)

(Stream and Dense Forest) oil on board

signed lower left: FORREST 13 x 24cm

provenance

Private collection, Tasmania

The Collection of Jim and Joy Durran, Geelong

$3,000-4,000

51

HAUGHTON FORREST (1826-1925)

Loch Lubnaig, Perthshire oil on canvas

signed lower left: HForrest 55 x 68cm

provenance

Private collection, Sydney

Christies, Sydney, 26 October 1987, lot 490

Boronia Art Gallery, Sydney (label verso)

Private collection, Sydney

Deutscher and Hackett, Melbourne, 30 April 2014, lot 141

The Collection of Jim and Joy Durran, Geelong

literature

Ayling, G., Smith, I. & The Forrest Project, Haughton Forrest (1826-1925): Biography, Catalogue and Gallery of Paintings, The Forrest Project, 2016, vol. 1, cat. no.

HF2.4.1.036, p. 309 (illus.)

$12,000-18,000

52

OSWALD WALTERS BRIERLY 1817-1894 (Maritime Scene)

watercolour on paper

signed lower left: O.W.Brierly R.W.S.

11.5 x 20cm

provenance

Deutscher Gertrude Street, Melbourne

Private collection, Melbourne

$3,000-5,000

The Lone Hours 1898 oil on canvas

signed and dated lower right: J.A. Turner/ 1898 titled on frame plaque

29 x 21cm

provenance

Leonard Joel, Melbourne, 11 April 1984, lot 195

Private collection, Melbourne

Leonard Joel, Melbourne, 7 November 1984, lot 151

Private collection, Melbourne

Leonard Joel, Melbourne, 16 September 2014, lot 138

Private collection, Melbourne

$5,000-6,000

54

RESHID BEY (1916-1984) (Smoko) oil on canvas laid on board

signed lower right: RESHID

74.5 x 90cm

provenance

The Collection of Kurt Albrecht Kozminsky Galleries, Melbourne

Private collection, Western Australia

$3,000-5,000

55 WALTER WITHERS (1854-1914)

Cattle Grazing oil on panel

signed lower left: Walter Withers

23.5 x 34cm

provenance

Private collection, Melbourne

Christies, Melbourne, 10 April 2006, lot 316 (as “Cattle Amongst the Gums”)

Private collection, Melbourne

$8,000-12,000

56 NORMAN LINDSAY (1879-1969)

Yvonne c.1938

oil on canvas on board

signed upper right: NORMAN LINDSAY titled on gallery label verso

42 x 26cm

provenance

Artarmon Galleries, Sydney (label verso)

The Bloomfield Galleries, New South Wales (label verso)

Private collection, Melbourne

$15,000-20,000

The Holmes Collection

lots 57 – 60

Sandra Le Brun Holmes (1924–2017) was a renowned anthropologist, collector of Aboriginal art, and patron of the senior Gunwinggu artist Yirawala MBE.

She travelled alone through Western Australia's desert regions after World War II, documenting Aboriginal people, their songs and messages from different clans. After moving to Sydney in the 1950's to pursue her studies of Indigenous people, Sandra was guided by Emeritus Professor Elkin.

It was there that she learned about Cecil Holmes, a director who was creating films about Indigenous people. Together, they produced numerous ethnographic films of ceremonies in Papua New Guinea, Melanesia, and Australia. During their journeys Sandra was recording, documenting and collecting.

Living in Darwin from 1962, Sandra commenced assembling one of the most extensive personal collections of the art of Arnhem Land, ranging from Yirrkala in the north-east, through Milingimbi in Central Arnhem Land, to Oenpelli (Gunbalanya) and Minjilang (Croker Island) in the west, and beyond to the Tiwi Islands of Bathurst and Melville to the north of Darwin, amongst other communities.

Through her anthropological research with the Australian Institute of Aboriginal and Torres Strait Islander Studies (AIATSIS), she had the opportunity to interact directly with the artists whose work she collected and she accumulated a vast collection of photographs and documentation of artists, ceremonies, and community life.

A nuanced and respectful approach to writing and describing indigenous culture and social relationships set her scholarship apart, with a focus on conserving Aboriginal ceremonial art.

At her Darwin home, Sandra created a teaching museum and invited Aboriginal people to document their knowledge for future generations and help fight for their rights. Sandra knew that in order for non-Indigenous people to understand the cultural significance of indigenous art, education was crucial in an effort to foster intercultural understanding.

Over the years her museum's reputation grew and people from the USA, UK, Africa, Europe and Australasia visited her museum.

Sandra was instrumental in promoting the work of prominent Aboriginal artists, most notably Yirawala M.B.E., a master artist and elder of high degree from Arnhem Land. In the early 1960's she formed a close association with Yirawala.

In 1971, she curated Yirawala's first solo exhibition at the University of Sydney; the exhibition then toured Australia. In that year, Yirawala was appointed a Member of the British Empire (M.B.E.) in recognition of his services to Aboriginal art and he was awarded the International Cooperation Art Prize. In 1976 the National Gallery of Australia, in recognition of Yirawala's pre-eminent standing in Aboriginal art, acquired a group of 139 'Maraian series' bark paintings, collected by Mrs Holmes.

Sandra and Cecil made a series of documentary films, including People of Pindan 1959, Lotu 1961, How Shall They Hear 1962, Djalambu 1962; Faces in the Sun 1962, The Uwar Ceremony, Lorrgon Ceremony, and The Naggaren Yubidarrawa in 1964–1965 and Return to the Dreaming,1971.

Sandra produced and directed The Goddess and the Moon Man about Tiwi religion in 1979 and with Amanda Holmes, Yirawala, the Picasso of Arnhem Land in 1981.

Mrs Homes published Yirawala Artist and Man (Jacaranda Press, Brisbane, 1972) and Yirawala Painter of the Dreaming (Hodder and Stoughton, 1992, and Hale and Iremonger, 1994), The Goddess and the Moon Man (Craftman House 1995) and her autobiography, Faces in the Sun (Penguin Books 1999).

During the years of filming, Sandra also recorded many of the great songmen and musicians of the Yolngu and Tiwi people and produced records such as Land of the Morning Star Carl Sagan selected Sandra's hauntingly beautiful recordings of Aboriginal songs, Devil Bird and Morning Star, to be featured on the golden records of Voyager 1 and II, which were launched to the stars in 1976.

Through her life's work and deep respect for Aboriginal religion and their connection to the land, Sandra helped to raise awareness of Australia's First Nations peoples' rich heritage around the world.

57

MIJAU MIJAU (JIMMY MITJAU-MITJAU) (c.1897-1985) (Language group: Kuninjku)

Nagijbik - Male and Female Mimi’s 1959 natural earth pigments on eucalyptus bark bears artist’s name, title, indistinctly dated 1959 and numbered 81 on the verso 75 x 34cm

provenance

Painted at Minjilang (Croker Island), Western Arnhem Land

The Collection of Sandra Le Brun Holmes Private collection, Victoria $10,000-15,000

58 YIRAWALA MBE (c.1897-1976)

(Language group: Gunwinggu)

Maraian - Lorrgon (Lorrkon) Ceremony

Kundaagi the Red Plains Kangaroo 1960

natural earth pigments on eucalyptus bark artist’s name, title, size and the number 58 artist’s name, title and date on label verso 138 x 57cm

provenance

Painted at Minjilang (Croker Island), Western Arnhem Land

The Collection of Sandra Le Brun Holmes Private collection, Victoria

literature

Le Brun Holmes, S., Yirawala: Painter of the Dreaming, Hodder & Staughton, Sydney, 1992, pl. 51, 52, 53, 54 (similar examples)

other notes

“In the Dreaming Time, Kundaagi the Kangaroo was pursued by Mimi hunters who speared him, then cooked him. The painting shows the traditional way of cooking kangaroo; Legs cut off and placed next to body. When the Mimi had eaten him they placed his bones in a heap. Bones are never burned for that destroys the spirit. Kundaagi’s old mother found her sons’ bones and after performing a mourning ritual, she collected all the bones and finally performed a Lorrgon ritual, as she interred the bones in a hollow log. This was the origin of the ceremony performed today.”

The design upon his back depict the fire, leaves and sticks used to cook it. The legs are trussed in a certain way for cooking and shows the cooked whitened flesh of the kangaroo is waiting to be eaten by the Mimi. (Sandra Le Brun Holmes, 1960)

$18,000-25,000

59

MAWALAN MARIKA (c.1908-1967) (Language group: Rirratjingu)

Djunkowa (Djang’kawa) Ceremony

Yurlunggurr’s (Yulengor) Sacred Waterhole 1957 natural earth pigments on eucalyptus bark inscribed verso with artist’s name

97 x 48cm

provenance

Painted at Yirrkala, Arnhem Land

The Collection of Sandra Le Brun Holmes

Private collection, Victoria

$15,000-20,000

60

DAVID DAYMIRRINGU MALANGI (1927-1999)

(Language group: Djinang/Liyagalawumirr)

Djalambu Ceremony - Water Lily with Diver Bird 1968 natural earth pigments on eucalyptus bark inscribed verso with artist’s name

78.5 x 46.5cm

provenance

Painted at Ramingining, Central Arnhem Land

The Collection of Sandra Le Brun Holmes

Private collection, Victoria

$6,000-8,000

Makinti Napanangka

Makinti Napanangka (c.1930–2011) stands among the most influential painters of the Western Desert movement and the Papunya Tula Artists cooperative. A senior Pintupi woman, she was central to the mid-1990s surge of women artist’s painting from Kintore and Kiwirrkura; momentum catalysed by the Haasts Bluff and Kintore women’s collaborative painting project of 1994. This significant project which included a series of major paintings that were exhibited at the Tandanya National Aboriginal Cultural Institute in Adelaide, represents the beginning of Pintupi women’s participation as independent artists in the Western Desert art movement.1 Makinti’s practice, grounded in ceremonial design and Women’s Law, redirected awareness to the aesthetics and authority of Pintupi women’s cultural narratives within Papunya Tula. Makinti refined a pictorial language that conveyed ceremonial motion as rhythm and colour, layering the canvases with paint, creating a sense of movement. This painting style is a contrast to the detailed and precise dotting that is typical of men’s traditional painting of Dreaming Law.

Makinti’s paintings centre on two related Dreamtime stories, the journeys of Kungka Kutjarra, the two ancestral women, and the rockhole site of Lupulnga, South of Kintore. The Kungka Kutjarra story is the focus for this 2001 artwork. This work is rich in colour and texture, the pale swirling lines represent the handspan hair string skirts worn by women in ceremonial dance. These skirts, woven from human hair and spindle sticks, animate the canvas with looping banded forms applied over the orange ochre toned background. Makinti’s approach to painting is looser and more gestural than many of her contemporaries, offering a tactile and sensual experience that is immediate and energetic. The emphasis is on movement and cultural presence, differing to the precision of the dot-work and geometric lines seen in traditional men’s paintings.

The Kungka Kutjarra narrative is significant to Makinti’s oeuvre, often entwined with sites around Lake MacDonald (Kaakuratintja) and the ceremonial rockhole of Lupulnga, over which she held custodial rights. Her paintings from the late 1990s through to the 2000s, pursue this story with increasing visual confidence. The concentric rockhole motifs from earlier works, give way to expanses of undulating lines, representing the string of the skirts worn in ceremonial dance. These flowing lines, which appear to extend beyond the edges of the canvas, create a sense of dynamism, emulating the movement of the dance. This repeated thematic focus, anchored in knowledge of the place and performed ritual, is central to Makinti’s authority as a cultural custodian, as well as to the artwork’s visual power.

In the early 2000s, Makinti began to experience greater recognition for her innovative and energetic artworks. In 2000, one of her works was included in the major retrospective exhibition ‘Papunya Tula: Genesis and Genius’ at the Art Gallery of New South Wales, Sydney, and in 2003, in the Clemenger Contemporary Art Award at the National Gallery of Victoria. In 2008, Makinti won the National Aboriginal and Torres Strait Islander Art Award with an untitled painting of Lupulnga which was an acknowledgement of both artistic achievement and cultural leadership. The career defining prize helped spotlight Papunya Tula women artists within national narratives of contemporary art, not merely as an adjunct to the creation stories of men.

The growing attention to Papunya Tula women artists over the past few decades is visible in exhibition programming and secondary market activity. Institutional and commercial art shows continue to spotlight Pintupi women’s painting as an evolving intergenerational practice; recent exhibitions have explicitly named these women as a ‘next generation’ which builds on the legacies of artists such as Makinti Napanangka and Wintjiya Napaltjarri. Meanwhile, auction results for key Kungka Kutjarra and Lupulnga works by Makinti from the early 2000s, demonstrate steady demand. These curatorial and commercial trends, reflect a broader reassessment of women’s contributions to Papunya Tula’s history and its present.

Artworks such as Untitled - The Travels of Kungka Kutjarra (Two Women), embody Makinti Napanangka’s synthesis of ceremonial design, narrative and a distinctive painterly language. The sweeping lines of the hair string forms in the painting do more than describe ceremonial adornment; they enact movement, combining place, ancestry and performance within a single canvas. In doing so, the artwork, like Makinti’s practice at large, illustrates why the paintings of Papunya Tula women artists have become a locus of sustained scholarly, curatorial and collector interest.

amanda north senior fine art specialist

61

MAKINTI NAPANANGKA (c.1930-2011)

(Language group: Pintupi)

Untitled - The Travels of Kungka Kutjarra (Two Women) 2001 synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. MN0105154 122 x 90cm

provenance

Painted at Kintore, Northern Territory

Papunya Tula Artists, Alice Springs, Northern Territory (accompanied by a copy of the certificate of authenticity)

Utopia Art Sydney, Sydney 2001 (exhibition label verso)

The Laverty Collection, Sydney Private collection, Sydney

exhibitions

Makinti Napanangka - New Paintings, Utopia Art Sydney, Sydney 10 November - 5 December 2001, cat. no. 23

other notes

“This painting depicts designs associated with the travels of the Kungka Kutjan’a (Two Women) to a site on the south side of Lake MacDonald.

The two women were digging for the small animal Kuningka (Western Quoll). These animals usually live in burrows which were dug by other animals such as the Burrowing Bettong or Rabbits and occasionally in hollow logs.

The lines in the work represent spun hair which is made into hair-string skirts worn by the women during ceremonies associated with the site. The women later continued their travels to the east.”

As stated on a copy of the Papunya Tula Artists certificate of authenticity.

$18,000-24,000

62

NYURAPAYIA NAMPITJINPA (c.1935-2013)

(Language group: Pintupi/Pitjantjatjara)

Untitled synthetic polymer paint on canvas inscribed verso with artist’s name, Papunya Tula Artists cat. no. NN0011075

122 x 122cm

provenance

Papunya Tula Artists, Northern Territory (accompanied by the certificate of authenticity) Private collection, Darwin

other notes

“This painting depicts designs associated with the rockhole site of Yumarra, near Tjukula in Western Australia. The roundels show the camp sites of the women who had travelled from Punkilpim, a large permanent water site, north-west of Docker River in the Walter James Range. A snake was making sandhills as the women travelled through the area. The straight lines show the hair-string skirts the women made while at the site. They also gathered the edible berries and fruits growing in the area.”

As stated on the Papunya Tula Artists certificate of authenticity.

$4,000-6,000

63

WARLIMPIRRNGA TJAPALTJARRI (born c.1958)

(Language group: Pintupi)

Untitled - Karrinyarra 1999

synthetic polymer paint on linen

inscribed verso with artist’s name and Papunya Tula Artists cat. no. WT9905129 122 x 61cm

provenance

Papunya Tula Artists, Northern Territory (accompanied by a copy of the certificate of authenticity)

Gabrielle Pizzi Gallery, Melbourne (label verso) The Estate of Grant Smith, Melbourne Private collection, Melbourne

other notes

“This painting depicts designs associated with the Snake Dreaming which travelled from Karrinyarra (Mt. Wedge), west to Lake Mackay and then further west to Nyinmi Rockhole and soakage water, just to the east of Jupiter Well. At Nyinmi the snake entered the rockhole where it is said to remain today.

This mythology forms part of the Tingari Cycle. Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post-initiatory youths today as well as providing explanations for contemporary customs.”

As stated on the Papunya Tula Artists certificate of authenticity.

$4,000-6,000

64

YALA YALA GIBBS TJUNGURRAYI

(c.1928-1998) (Language group: Pintupi)

Wapintjinna 1996

synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. YY960770

90 x 46cm

provenance

Painted at Kiwirrkura in 1996 for Papunya Tula Artists, Alice Springs (accompanied by the certificate of authenticity)

Private collection, Alice Springs Sotheby’s, Melbourne, 26 July 2004, lot 267 Gallery Savah, Sydney

other notes

“This painting depicts the site of Wapintjinnga, a number of rockholes situated in sandhill country, just to the west of Lake MacDonald. In mythological times a large number of Tingari Men and Tingari Women travelled from Lake MacDonald to this site.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given.

Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites.

The Tingari Men were usually followed by Tingari Women and accompanied by novices and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post initiatory youths today as well as providing explanations for contemporary customs.”

As stated on a copy of the Papunya Tula Artists certificate of authenticity.

$4,000-6,000

65

FREDDIE TIMMS (NGARRMALINY JANAMA) (c.1946-2017) (Language Group: Gija)

Untitled natural earth pigments and synthetic binder on canvas

inscribed verso with artist’s name and Waringarri Aboriginal Arts cat. no. AP0267

60 x 80cm

provenance

Painted in Kununurra for Waringarri Aboriginal Arts, Western Australia

Private collection, Queensland

Sotheby’s, Melbourne, 24 June 2002, lot 334 Gallery Savah, Sydney

$3,000-5,000

66

QUEENIE MCKENZIE (1915-1998)

(Language group: Gija)

Untitled

natural earth pigments and synthetic binder on canvas

inscribed verso with artist’s name and Red Rock Art cat. no. KP416

30 x 80cm

provenance

Red Rock Art, Western Australia

Private collection, Melbourne

Sotheby’s, Melbourne, 24 June 2002, lot 231 Gallery Savah, Sydney

$4,000-6,000

67

JACK BRITTEN (c.1925-2002) (Language group: Gija)

Bungle Bungles 1992

natural earth pigments and natural earth binder (bush gum) on canvas board

53 x 70cm

provenance

The Artist, Warmun (Turkey Creek), Western Australia

Private collection, Western Australia

Sotheby’s, Melbourne, 26 July 2004, lot 218 Gallery Savah, Sydney

$3,000-5,000

68

CLIFF REID (1947-2010)

(Language group: Ngaanyatjarra)

Tuurnparra 2006

synthetic polymer paint and natural earth pigments on linen

inscribed verso with artist’s name, date and Papulankutja Artists, Blackstone cat. no. 06-1225

152 x 76cm

provenance

Papulankutja Artists, Western Australia

Aboriginal and Pacific Art, Sydney

Joel Fine Art, Melbourne, 3 June 2008, lot 178

The Estate of Paul Sutherland, New South Wales

Cooee Art, Sydney, New South Wales

Private collection, Melbourne

$5,000-6,000

TIGER YALTANGKI (born 1974)

(Language group: Pitjantjatjara)

Malpa Wiru (Good Friends) 2016 acrylic on canvas inscribed verso with artist’s name and Iwantja Arts cat. no. 129-16

167 x 243cm

provenance

Iwantja Arts, Alice Springs (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne

exhibitions

The 33rd Telstra National Aboriginal & Torres Strait Islander Art Awards, (Telstra NATSIAA), Museum and Art Gallery of the Northern Territory, Darwin, 2016 (finalist)

other notes

“Tigers canvases are boldly coloured and often include elements of fantasy, his creative talent and sense of humour is also reflected in his canvas. Malpa Wiru relates to both imaginary and real friends that fill Tigers canvas and create narrative through the painting medium.

Tiger’s paintings often portray stories about contemporary life in the Indulkana community and his artworks continues to be influenced by the country, Anangu law and culture, memories of family holidays, music by ACDC and Hank Williams, and a love for science fiction television programmes”

As stated on the Iwantja Arts certificate of authenticity.

$10,000-15,000

70

REGINA PILAWUK WILSON (born 1945)

(Language group: Ngan’gikurrunggurr)

Sun Mat 2014

synthetic polymer paint on Belgian linen

inscribed verso with artist’s name and Durrmu Arts cat. no. 30-14

98 x 98cm

provenance

Durrmu Arts (accompanied by the certificate of authenticity)

Gallery Gabrielle Pizzi, Melbourne (label verso) Private collection, Melbourne

other notes

“In this painting Regina has depicted a sun mat, traditionally woven with pandanus by the women of peppimenarti for decorative use”

As stated on the Durrmu Arts certificate of authenticity.

$6,000-8,000

71

WEAVER JACK (c.1928-2010)

(Language group: Yulparija)

Nannarri 2004

synthetic polymer paint on canvas

inscribed verso with Short St. Gallery cat. no. 2990 166 x 101cm

provenance

Short St. Gallery, Broome (accompanied by a copy of the certificate of authenticity)

William Mora Gallery, Melbourne Private collection, Melbourne Mossgreen Auctions, Melbourne, 21 July 2015, lot 82 Private collection, Victoria

other notes

“He got all the big trees there, I walk around all this country. I walk with my aunty we came all together to the bush, this is the country we left. Plenty kuwi (meat), mayi (bush tucker). Walk around with my grand mothers grand fathers, my aunty tell me they been walking round and talking to that country and he all right now.

Old rockhole, for drinking, wet season place we have big rockhole, Wirragodja.

Anjula, & ffinkalarta, two jila (water holes) Kalaju (Alma Webour) belong to that country, Weaver painted him for her.”

As stated on the Short St. Gallery certificate of authenticity.

$5,000-7,000

72

KUNMANARA (RAY) KEN (1940-2018)

(Language group: Pitjantjatjara/Yankunytjatjara) Tali – Sand Dune 2015

synthetic polymer paint on linen inscribed verso with artist’s name and Tjala Arts cat. no. 57-15

197 x 198cm

provenance

Tjala Arts, South Australia Private collection, Victoria

other notes

“Ray is telling the story of the sandhill country.”

As stated on the Tjala Arts certificate of authenticity.

$6,000-8,000

73

MORRIS GIBSON TJAPALTJARRI (1957-1917)

(Language group: Pintupi)

Tjulungtjulungnga

synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. MG0107207 122 x 122cm

provenance

Papunya Tula Artists, Northern Territory (accompanied by a copy of the certificate of authenticity)

Sotheby’s, Melbourne, 25 July 2005, lot 84

Private collection, Melbourne

other notes

“This painting depicts designs associated with the rockhole site of Tjulungtjulungnga, west of Lake MacDonald. In mythological times a large group of

Tingari Men camped at this site before travelling to Lake MacDonald. A small creek is shown by the area of dense yellow dots.

Since events associated with the Tingari Cycle are of a secret nature no further detail was given. Generally, the Tingari are a group of mythical characters of the Dreaming who travelled over vast stretches of the country, performing rituals and creating and shaping particular sites. The Tingari Men were usually followed by Tingari Women and accompanied by novices, and their travels and adventures are enshrined in a number of song cycles. These mythologies form part of the teachings of the post-initiatory youths today as well as providing explanations for contemporary customs.”

As stated on a copy of the Papunya Tula Artists certificate of authenticity.

$4,000-6,000

74

TWO BOB TJUNGURRAYI (c.1938-2000)

(Language group: Warlpiri/Luritja)

Untitled

synthetic polymer paint on linen

121 x 121cm

provenance

Papunya Tula Artists, Northern Territory Private collection, Germany

Sotheby’s, Melbourne, 27 July 2010, lot 299

Private collection, Melbourne

$4,000-6,000

75

TWO BOB TJUNGURRAYI (c.1938-2000)

(Language group: Warlpiri/Luritja)

Untitled synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. TB8807170

91 x 122cm

provenance

Papunya Tula Artists, Northern Territory (accompanied by the certificate of authenticity) Private collection, Melbourne

other notes

“This painting depicts designs associated with the Budgerigar Dreaming at the site of Tjunti to the north of Mt. Allan.

The brown oblong shapes are ceremonial objects and the roundel is the site.

The ceremonies associated with this site are for the instruction of initiated men and are therefore of a secret nature. This teaching extends for periods of a few years.”

As stated on the Papunya Tula Artists certificate of authenticity.

$3,000-5,000

76

TURKEY TOLSON TJUPURRULA (c.1938-2001)

(Language group: Pintupi)

Five Stories 1984

synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. TT841031

151.3 x 59.2cm

provenance

Papunya Tula Artists, Northern Territory

The Collection of Tim and Vivienne Johnson

Private collection, Perth 1989

Thence by descent

Private collection, Sydney

$5,000-7,000

77

PATJU PRESLEY (c.1945)

(Language group: Pitjantjatjara)

Tolu 2021

synthetic polymer paint on linen inscribed verso with artist’s name and Spinifex Arts Project cat. no. 21-342 (concealed)

137 x 90cm

provenance

Spinifex Arts Project, Western Australia

Aboriginal Signature - Estrangin Gallery, Brussels Private collection, Melbourne

exhibitions

Aluni-Resonance, Aboriginal Signature - Estrangin Gallery, Brussels, Belgium, 18 January - 19 February 2022

$9,000-12,000

78

MICK NAMARARI TJAPALTJARRI (1928-1998)

(Language group: Pintupi)

Untitled 2001

synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. MN880499

91.5 x 45cm

provenance

Papunya Tula Artists, Northern Territory (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne

other notes

“This painting depicts designs associated with the Two Kangaroo Dreaming at the site of Ngalutinya, east of Nyunmanu in the Gibson Desert. The central white panel is the creek through which the dreaming trail passes, and the sides are sandhills. In mythological times the Two Kangaroo Dreaming passed through this site. As these ceremonies are of a secret nature, the artist did not reveal any further detail.”

As stated on a copy of the Papunya Tula certificate of authenticity.

$2,000-4,000

79

JULIE ROBINSON NANGALA (born 1974)

(Language group: Warlpiri)

Mina Mina Dreaming 2023 synthetic polymer paint on linen inscribed verso with artist’s name and Warlukurlangu Artists cat. no. 4693/23 107 x 91cm

provenance

Warlukurlangu Artists, Northern Territory (accompanied by the certificate of authenticity) Private collection, Melbourne

other notes

From the same series as 2023 NATSIAA award winning work with the same title.

“Mina Mina is an extremely Important ceremonial site for Napangardl and Napanangka women that is located approximately 600kms west of Yuendumu just east of Lake Mackay and the WA border. Mina Mina has a ‘marluri’ (salt lake or claypan) that Is usually dry, without water. There are also a number of ‘mulju’ (soakages), sandhills, and a large stand of ‘kurrkara’ (desert oaks [Allocasuarina decaisneana]).

The Mina Mina Jukurrpa is an important source of Warlpiri ritual knowledge and social organization, particularly relating to the different roles performed by men and women.

The ‘kirda’ (owners) of this country are Napangardi/ Napanangka women and Japangardi/Japanangka men, who can depict portions of the Mlna Mina Jukurrpa In their paintings. The artists mother, Dorothy Napangardi (& 1956-2013) painted Mlna Mina and has passed down her Jukurrpa stories to her children and asked them to continue to paint for her. There are a number of different components of the Mina Mlna Jukurrpa; artists usually choose to depict one particular aspect. These can include ‘karnta’ (women), ‘karlangu’ (digging sticks), ‘majardi’ (hairstring skirts/tassels), ‘ngalyipi’ (snakevlne [Tinospora smilacina]), ‘jlntiparnta’ (desert (ruffle [Elderia arenivaga]), and ‘kurrkara’ (desert oak [Allocasuarina decaisneana]).

In ancestral times a group of karnta’ (women) traveled from Mina Mina on an epic Journey to the east. These ancestral women danced at Mina Mina and ‘karlangu’ (digging sticks) rose up out

of the ground. They collected these digging sticks and started travelling to the east. They carried their digging sticks over their shoulders and they were adorned with ‘majardi’ (hairstring belts), white feathers, and necklaces made from ‘ylnirnti’ (bean tree [Erythrina vespertllio]) seeds.

They travelled east from Mina Mina, dancing, digging for bush tucker, and creating many places as they went. As they went east, they passed through Kimayi (a stand of ‘kurrkara’ (desert oak)). They passed through sandhill country where the ‘yarla’ (bush potato or ‘big yarn’ [Ipomea costata]) ancestors from Yumurrpa and the ligarlajiyl’ (pencil yarn or “small yarn’ IVigna lanceolata]) ancestors from Yumurrpa were engaged in a huge battle over women. This battle Is also a very Important Warlplri Jukurrpa narrative. The women went on to Janyinkl and stopped at Wakakurrku (Mala Bore), where they stuck their digging sticks In the ground.”

As stated on the Warlukurlangu Artists certificate of authenticity.

$4,000-6,000

80 SIMON HOGAN (c.1930) (Language group: Pitjantjatjara)

Lingka 2023

synthetic polymer paint on linen inscribed verso with artist’s name and Spinifex Arts Project cat. no. 23-145

137 x 90cm

provenance

Spinifex Arts Project, Western Australia (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne

other notes

“Here is the songline of Wati Kutjara Tjukurpa (Twi Men Creation Line) generating from Lingka. It comprises Wati Walawuru (Wedge Tail Eagle) and Wati Wirutja (Owl Man) who both reside at Lingka. The narrative follows a particular day when, Wati Walawuru asks the other man to “Come hunting with me” but Wati Wirutja decides that he will stay home this day. Wati Walawuru soars off in search of game and is drawn to travel a long distance.

Meanwhile at Lingkaya a big rain comes and severely floods the site, drowning Wati Wirutja. These are Creation Beings, the first beings, those usually bestowed with great metamorphic powers who shaped the landscape as they moved though it, leaving the physical reminders of their supremacy for others to follow.

The songlines follow the physical and moral paths these powerful beings undertook. They then become intertwined with song and ceremony to encompass the land and the means to culturally embrace it. For Simon, the Tjukurpa is within him, it is part of him and he recalls the stories with passion and familiarity all at once, as if animatedly transposed to the very sites he speaks of.”

As stated on the Spinifex Arts Projects certificate of authenticity.

$6,000-9,000

81

ELSIE GABORI (c.1947) (Language group: Kayardild)

Stone Fish Traps - Ngurruwarra 2022

synthetic polymer paint on linen

inscribed verso with artist’s name, title and Mornington Island Art cat. no. 282-22

60.5 x 91.5cm

provenance

The Artist, painted at Mornington Island, Queensland

Mornington Island Art, Queensland (accompanied by a copy of the certificate of authenticity)

Woolloongabba Art Gallery, Brisbane

Private collection, Melbourne

other notes

“For generations our people farmed the sea to feed their families. Whole family groups were involved in the work. They used oyster rocks to form semi circles, and some were intertwined to catch seafood at different tidal levels.”

As stated on a copy of the Mornington Island Art certificate of authenticity.

$3,000-5,000

82

KURUWARRIYINGATHI BIJARRB PAULA PAUL (c.1937-2021) (Language group: Kayardild) Burrkunda 2007

synthetic polymer paint on linen

inscribed verso with artist’s name, title and Mornington Island Art cat. no. 275-24

122 x 91cm

provenance

Mornington Island Art, Queensland (accompanied by a copy of the certificate of authenticity)

Private collection, Sydney

other notes

“In the old days our people would make scars on our body called burrkunda, to connect us to our family and as a sign of coming of age. Markings were made by our Elders cutting us with a sharp shell and our Mothers had the say as to where the marking would be on our body. Today we continue to make markings by painting paper and canvas. Together we make these markings, strengthening our connection to family and Country. Today we can share this, to a bigger world, so others would know about the past.”

As stated on a copy of the Mornington Island Art certificate of authenticity.

$4,000-6,000

KURUWARRIYINGATHI BIJARRB PAULA PAUL (c.1937-2021) (Language group: Kayardild)

Big Oysters 2009 synthetic polymer paint on linen inscribed verso with artist’s name and Mornington Island Art cat. no. 3983-L-PR-0209

137 x 61cm

provenance

Mornington Island Art, Queensland (accompanied by a copy of the certificate of authenticity) Private collection, Sydney

other notes

“Jawarlda-big oyster. Bana Jiljaa-the small variety. Both are known as KamarrwandaWirrinda (rock dwelling) in our Kayardild language.”

As stated on the Mornington Island Art certificate of authenticity.

$4,000-6,000

84

CARBIENE MCDONALD TJANGALA (born 1961) (Language group: Luritja/Pintupi)

Four Dreamings 2020

synthetic polymer paint on linen inscribed verso with artist’s name and Papunya Tula Artists cat. no. 321-20

122 x 152cm

provenance

Papunya Tula Artists, South Australia (accompanied by a copy of the certificate of authenticity) Outstation Gallery, Darwin Private collection, Melbourne

$6,000-9,000

85

NORA WOMPI (1935-2017) (Language group: Kukatja)

Kunawarritji 2008

synthetic polymer paint on linen inscribed verso artist’s name and Walayirti Artists cat. no. 303/08

180 x 120cm

provenance

Walayirti Artists, Western Australia (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne

other notes

“This work reflects a classic depiction of the Great Sandy Desert around the mid-section of the Great Sandy Desert. This is Nora’s traditional country where she grew up as a girl and continued to live until she moved with family to Billiluna and then to Balgo. The painting shows a landscape rich in sandhills (tali) as seen in the parallel lines. The colour variation shows varying bushfoods such as bush onion, bush tomato and bush raisin.”

As stated on a copy of the Walayirti Artists certificate of authenticity.

$5,000-6,000

86

NANCY NANINURRA NAPANANGKA

(born c.1936) (Language group: Warlpiri/Pintupi)

Kulkabi 1992

synthetic polymer paint on linen inscribed verso with artist’s name and Warlayirti Artists cat. no. 577/92

100 x 50cm

provenance

Warlayirti Artists, Balgo Hills (accompanied by a copy of the certificate of authenticity) Private collection, Melbourne

Sotheby’s, Melbourne, 24 June 2002, lot 155 Gallery Savah, Sydney

other notes

“Nancy is one of the traditional owners of this area and it is her Dreaming country. The area is named after a Kutajayi tree (iron tree) as a large specimen in that place has been visited for many generations. Nearby is a soakhole where as the painting shows with people digging to get to the water.”

As stated on a copy of the Warlayirti Artists certificate of authenticity.

$2,000-4,000

87 NYUNMITI

(born 1960)

(Language group: Pitjantjara)

Seven Sisters Story 2020 synthetic polymer paint on linen inscribed verso with artist’s name and Tjala Arts cat. no. 263-20

197 x 241cm

provenance

Tjala Arts, South Australia (accompanied by a copy of the certificate of authenticity)

Aboriginal & Pacific Art, Sydney Private collection, Melbourne

other notes

“This is a Tjukurpa (Creation Story) about the constellations of Pleiades and Orion. The sisters are the constellation of Pleiades and the other star Orion is said to be the man Nyiru or Nyirunya.

Nyiru is forever chasing the sisters known as the Kunkarunkara women as it is said he wants to marry the eldest sister.

The seven sisters travel again and again from the sky to the earth to escape Nyiru’s unwanted attention. They turn into their human form to escape Nyiru, but he always finds them and they flee back to the sky.

As Nyiru is chasing the sisters he tries to catch them by using magic to turn into the most tempting kampurarpra (bush tomatoes) for the sisters to eat and the most beautiful ili (fig) tree for them to camp under.

However, the sisters are too clever for Nyiru and outwit him as they are knowledgeable about his magic. They go hungry and run through the night rather than be caught by Nyiru. Every now and again one of the women falls victim to his ways.

It is said that he eventually captures the youngest sister, but with the help of the oldest sister, she escapes back to her sisters who are waiting for her. Eventually the sisters fly back into the sky, reforming the constellation.”

As stated on the APY Art Centre Collective certificate of authenticity.

$15,000-20,000

Viewing by appointment

88

MINNIE PWERLE (1922-2006)

(Language group: Alyawarre)

Awelye 2000

synthetic polymer paint on linen inscribed verso with Dacou Gallery cat. no. DG 03905/ MP and Flinders Lane Gallery cat. no. FG 00189.MP

122 x 90cm

provenance

Dacou Gallery, South Australia Flinders Lane Gallery, Melbourne Private collection, Melbourne

other notes

“Awelye - Atnwengerrp’ is depicted by a series of lines painted in varying widths and colours. These patterns represent the lines painted on the top half of women’s bodies during ceremonies in Minnie’s country of Atnwengerrp.

Minnie’s Dreamings consist of elements of ‘Bush Melon’ and ‘Bush Melon Seed’. ‘Bush Melon” is depicted using a linear design of curves, circles and breast designs in different colours creating a very loose and bold design while ‘Bush Melon Seed” is big and small patches of colour strewn across the canvas.

Both of these Dreamings tell the story of this lovely sweet food that comes from a very small bush and is only found in Atnwengerrp. Once very abundant and fruiting in the summer season, the Bush Melon is now very hard to find. Minnie and the other women used to collect this fruit (that was green in colour and then ripened to a brown colour) and scrape out the small black seeds. They would then eat the fruit straight away or cut it into pieces and skewer them onto a piece of wood and dry them to be eaten in the coming months when bush tucker was scarce.

These artistic symbols carry potent spiritual meanings. The physical creation of these Dreamings is an important part of the continuation of an ancient and rich cultural heritage.”

As stated on the Flinders Lane Gallery certificate of authenticity.

$4,000-6,000

89 YARITJI HEFFERNAN (born 1955)

(Language group: Pitjantjatjara) Kapi Tjukul

synthetic polymer paint on linen

inscribed verso with artist’s name and APY Art Centre Collective cat. no. 503-20

200 x 300cm

provenance

APY Art Centre Collective, Adelaide (accompanied by a copy of the certificate of authenticity)

Private collection, Melbourne

other notes

“The circles of this design represent rock holes, where water collects after the rains. These rock holes were an important source of water during the dry season when most of the water holes and creeks dried up. Water is an essential element in the desert. Knowledge of rock hole sites is passed on from generation to generation and revered by all Anangu (people) Pitjantjatjara.”

As stated on the APY Art Centre Collective certificate of authenticity.

$10,000-15,000

Viewing by appointment

90

WATURR GUMANA (born 1957)

(Language group: Yolnu)

Dhalwanu Djarwarrk

natural earth pigments on eucalyptus bark

Buku-Larrnggay Mulka Art Centre cat. no. 2352P 120 x 56cm

provenance

Buku-Larrnggay Mulka Art Centre, Yirrkala, Northern Territory (accompanied by the certificate of authenticity)

Private collection, Queensland

other notes

“The Dhuwa saltwater country is marked by the straight and parallel ribbons of miny’tji of the Djawarrk. It is read to be water affected by the Ancestral presence of the Djan’kawu Creators, the Sisters manifest as the catfish Walwaltjpa, endorsed in that their canoe and paddles are depicted top right indicated sacred events imbued this water with lore for the Djarrwark. By the presence of Baliny the Barramundi on the other hand, indicates the Yirritja, as Balin here against the flow is a manifestation of one of this moietys Creator Ancestors - Banatja.

The elliptical shapes represents the saltwater country of Baraltja with Dhalwanju clan connotations. The Madarrpa also paint this very country, for the same reasons of ownership but using their own sacred design, However the sacred song cycles that narratye the Ancestral events of this country are the same and shared by the Dhalwanju and Madarroa. Senior Djarwarrk would also have custodial.”

As stated on the Buku-Larrnggay Mulka Art Centre certificate of authenticity.

$2,000-3,000

91

KAY LINDJUWANGA (born 1945)

(Language group: Kuninjku)

Mardayin 2005

natural earth pigments and synthetic binder on stringybark

inscribed verso with artist’s name and Maningrida Arts & Culture cat. no. 2741-05

169 x 41.5cm

provenance

Maningrida Arts & Culture, Northern Territory (label verso) (accompanied by a copy the certificate of authenticity)

Private collection, Melbourne

other notes

“This work by Kay Lindjuwanga concerns a major patrimoiety ceremony of a secret and sacred nature called Mardayin. Much of the meaning of the iconography in the painting is not in the domain of public knowledge and so it cannot be explained in detail here.

The painting also refers to an important site, Dilebang, where the ancestor Buluwana and her family died. Today an arrangement of rocks standing in the ground remains as Buluwana’s present-day form at Dilebang. Only her head protrudes as a prismic standing stone, the rest of her body is under the ground. Other human remains lying on rock ledges are said to be the remains of other early ancestors. The white circles are the watersprings from Dilebang.”

As stated on a copy of the Maningrida Arts & Culture certificate of authenticity.

$4,000-6,000

92

DAVID RANKIN (born 1946)

Green Hillside 1990 oil on canvas signed lower left: Rankin/ 90 signed, titled and dated verso 90 x 134.5cm

provenance

Private collection, Melbourne

$4,000-5,000

93

HARLEY CAMERON GRIFFITHS (1908-1981)

A Venetian Facade 1968 oil on canvasboard signed and dated lower right: H. Griffiths - 68 signed and titled verso 60 x 75cm

provenance

Private collection, Melbourne

Thence by descent

$4,000-5,000

94

ALFRED COLEMAN (1890-1952)

Late Afternoon, Parkdale oil on canvas laid on board signed lower right: ALFRED/ - COLEMANtitle inscribed on unknown label verso 26 x 37.5cm

provenance

Private collection, Melbourne

$3,000-4,000

95

HUGH RAMSAY (1877-1906)

Self portrait - Head and Shoulders pastel on paper

39 x 29cm

provenance

The Collection of Miss E.D Ramsay (the artist’s sister)

Private collection, Melbourne Thence by descent

exhibitions

Hugh Ramsay Loan Exhibition, March - April 1943, National Art Gallery of Victoria, Melbourne, cat. no. 9, (as ‘Self-Portrait’), on loan by Miss E.D. Ramsay (the artist’s sister)

literature

Fullerton, P., Hugh Ramsay: His Life and Work, Hudsons Publishing, Melbourne, 1988, cat. no. D60, p. 218 (illus.)

$3,500-4,500

96

HUGH RAMSAY (1877-1906)

Study of a Man Half-Draped, Leaning on Box oil on canvas laid on board signed lower right: Hugh Ramsay 89.5 x 58.5cm

provenance

Masterpiece Fine Art Gallery, Hobart 1986

Private collection, Tasmania

Colonial Art Gallery, Tasmania 1987

Private collection, Tasmania

literature

Fullerton, P., Hugh Ramsay: His Life and Work, Hudsons Publishing, Melbourne, 1988, cat. no. 58, p. 196 (illus.)

$6,000-8,000

97

HENRY GRITTEN (British, 1818-1873)

View from Yam Yean from Bears Castle c.1865 oil on academy board

signed lower left: H. Gritten

inscribed verso: View of the Yan Yean/ from Bears Castle/ from a sketch on the spot by Henry Gritten 30 x 46cm

provenance

Private collection, Melbourne

Christie’s, Melbourne, 6 December 1994, lot 143

Private collection, Melbourne

related work

Henry Gritten, The Yan Yean from the Woodstock Road from a Sketch on the Spot, oil on board, 19 x 29cm.

Private collection

$5,000-7,000

98

HENRY GRITTEN (c.1818-1873) (Castle Pfalzgrafenstein) 1842 oil on board

signed and dated lower left: H C Gritten 1842 24 x 35cm

provenance

The Collection of Danuta Rogowski

Private collection, Melbourne

$6,000-9,000

99 © Hans Heysen/Copyright Agency, 2025

99

HANS HEYSEN (1877-1968)

On the Brachina Creek watercolour on paper signed lower left: HANS HEYSEN

23.5 x 30.5cm

provenance

Victorian Artists’ Gallery, Melbourne Private collection, Melbourne

exhibitions

Hans Heysen 1936, Victorian Artists’ Gallery, Melbourne, 26 October - 7 November 1936, cat. no. 25 (accompanied by the original exhibition catalogue)

$6,000-8,000

100

RUSSELL DRYSDALE (1912-1981)

(A Church in an Australian Hamlet, New South Wales) pen, ink and wash on paper signed lower centre right: Russell Drysdale 23 x 36cm

provenance

The Collection of Attilio Guarracino, Melbourne

other notes

“While very loosely sketched here, the church appears to be St Paul’s, the Presbyterian church at Hill End, the rear elevation of which appears prominently at the centre of Drysdale’s 1948 oil Picture of Donald Friend” (Art Gallery of New South Wales (acc. no. 8170)

$8,000-12,000

(An English Country House)

watercolour on paper

signed lower left: A.STREETON

23.5 x 38.5cm

provenance

The collection of Arthur Octavius Barrett

Thence by descent

Private collection, Melbourne

Thence by descent

$6,000-8,000

Hafenpartie watercolour on paper

signed lower right: a. müller

23.5 x 27.5cm

provenance

Private collection, Switzerland

Artrust Gallery, Switzerland

Private collection, Melbourne

$4,000-6,000

103

signed lower right: JAMES R JACKSON

43 x 63.5cm

provenance

Corporate collection, Melbourne

$4,000-6,000

104

WILL ASHTON (1881-1963)

(Duttons Schooner, Sydney Harbour)

oil on canvasboard

signed lower left: WILL ASHTON.

32.5 x 43cm

provenance

L’dume Art Gallery, South Australia (label verso)

Private collection, Melbourne

$4,000-6,000

105

HARLEY CAMERON GRIFFITHS (1908-1981)

Gondolas, Venice 1955 oil on board

signed and dated lower left: H. Griffiths - 55 49 x 59.5cm

provenance

Leonard Joel, Melbourne, 20 August 1991, lot 993 (as “Venice”)

Private collection, Melbourne

Leonard Joel, Melbourne, 25 August 1993, lot 201 (as “Venice”)

Kozminsky Galleries, Melbourne

Private collection, Melbourne

exhibitions

Annual Connoisseurs’ Catalogue Volume II, Kozminsky Art, Melbourne, May 2002

$3,000-4,000

ALBERTO MORROCCO (Scottish, 1917-1998)

Campo San Vio, Venezia 1974 oil on board

signed and dated lower right: Morrocco 74 artist’s name and title on gallery label verso 90 x 92cm

provenance

Atken Dott & Son (The Scottish Gallery), Edinburgh (label verso)

Private collection, Melbourne Thence by descent

exhibitions

Summer Exhibition, Atken Dott & Son (The Scottish Gallery), Edinburgh, 1975, cat. no. 35

$8,000-12,000

signed lower left: -A. COLEMANdate inscribed on stretcher bar verso 40 x 68cm

provenance

The Collection of Kurt Albrecht Kozminsky Galleries, Melbourne

Private Collection, Western Australia

$4,000-6,000

signed lower left: Will. Ashton. 36.5 x 26.5cm

provenance

Private collection, Melbourne

$2,000-4,000

109

HUGH SAWREY (1923-1999)

Ladies and Gentleman - The New Spinner (from the Casino series) oil on canvas

signed with thumbprint lower right: SAWREY

artist’s name and title inscribed verso

103.5 x 119cm

provenance

Private collection, Queensland

$15,000-20,000

110

RAY CROOKE (1922-2015)

Settlement at Chillagoe, Queensland oil on board

signed lower left: R. Crooke titled on gallery label verso

45 x 60cm

provenance

Artarmon Galleries, New South Wales (label verso)

Private collection, Queensland

$4,000-6,000

111

ROBERT DICKERSON (1924-2015)

(Two Faces)

pastel on paper

signed lower right: DICKERSON

55.5 x 74.5cm

provenance

Corporate collection, Melbourne

$6,000-8,000

112

DAVID BOYD (1924-2011)

Nude 1968

oil and sfumato on board

signed and dated lower right: David Boyd/ 1968 title and date inscribed verso 121 x 91cm

provenance

Deutscher and Hackett, Melbourne, 9 May 2007, lot 127

Private collection, Melbourne

$8,000-12,000

113

LEONARD FRENCH (1928-2017)

Caged enamel on hessian covered board signed lower left: French (partially concealed) 88.5 x 79.5cm

provenance

The Artist

Private collection, Melbourne

$7,000-10,000

114

CLIFTON PUGH (1924-1990)

Leda and the Emu 1979 oil on canvas signed lower right: Clifton/ 26-10.79 titled verso

90.5 x 90cm

provenance

Private collection, Melbourne

$8,000-10,000

Winged Figure Driving into Pool 1973 oil on canvas

signed and dated lower right: David Boyd 1973

title inscribed on stretcher bar verso

53 x 64cm

provenance

Leonard Joel, Melbourne, 27 May 1981, lot 293

Private collection, Melbourne

$10,000-15,000

116

Untitled 1974 oil on canvas

signed lower left: David Boyd

dated lower right

53.5 x 64.5cm

provenance

Private collection, Melbourne

$10,000-15,000

117

WILMA TABACCO (born 1953)

Ombre Shadows 1990

oil on linen signed, titled and dated verso: Wilma Tabacco 1990 ‘OMBRE / SHADOWS”

182.5 x 137cm

provenance

Niagara Galleries, Melbourne, 1991

Private collection, Melbourne

exhibitions

Rediscovery: Australian Artists in Europe, 1982-1992, University of Tasmania, Visual Arts and Crafts Board, Australian Exhibitions Touring Agency (label verso)

$4,000-6,000

118

KATHRIN LONGHURST (born 1971)

Untitled oil on canvas

initialled lower right: KL* 122 x 122cm

provenance

Private collection, Melbourne

$10,000-15,000

119

MATTHEW JOHNSON (born 1963)

Untitled 2009 oil on canvas

signed and dated verso: Matthew Johnson/ 2009

110 x 90.5cm

provenance

Private collection, Melbourne

$5,000-7,000

120

JOEL REA (born 1983)

Hang Time 2006 oil on canvas

signed lower right: JOEL REA

101 x 61cm

provenance

Private collection, Singapore

Leonard Joel, Melbourne, 5 September 2017, lot 28

Private collection, Melbourne

$9,000-12,000

121

MELINDA HARPER (born 1965)

Untitled 2012 oil on linen

signed and dated verso: 2012/ Melinda Harper

152.5 x 198.5cm

provenance

The Artist

Private collection, Melbourne

Private collection, Victoria

$8,000-12,000

122

§ JASPER KNIGHT (born 1978)

1978 West Gate 2015

acrylic, enamel, plywood, perspex and metal sign on board

signed, titled and dated verso: JASPER KNIGHT/ ‘1978 WEST GATE’/ 2015 163.5 x 122cm

provenance

Private collection, Melbourne

$6,000-8,000

123

DAMIEN HIRST (British, born 1965)

Take Your Time 2016 (from The Currency series) enamel on paper signed, titled, dated and numbered verso: 5326. Take your time. 2016 Damien Hirst artist’s blindstamp, watermark, hologram and microdot verso 21.5 x 30cm

provenance

Heni Editions, London 2016

Private collection, Sydney

$4,000-6,000

124

DAMIEN HIRST (British, born 1965)

Throw Him Around Like a Trophy 2016 (from The Currency series) enamel on paper signed, titled, dated and numbered verso: 8018. Throw him around like a trophy. 2016 Damien Hirst artist’s blindstamp, watermark, hologram and microdot verso 21.5 x 30cm

provenance

Heni Editions, London 2016

Private collection, Sydney

$4,000-6,000

§

Generale 8 2022-2023 oil on canvas

initialled lower right: r. p.

initialled, titled and dated on stretcher verso 130 x 120.5cm

provenance

The Artist

Private collection, Sydney

$6,000-8,000

127

MCLEAN EDWARDS (born 1972)

The Alchemist 2017 oil on board

signed, dated and titled verso: Mclean/ Sydney/ 2017/ “The alchemist”

inscribed with artist’s age lower right: 45

50.5 x 41cm

provenance

Scott Livesey Galleries, Melbourne (stamp verso)

Private collection, Melbourne

exhibitions

Passport, Scott Livesey Galleries, Melbourne, 15 November - 9 December 2017

$3,000-4,000

128

STANISLAW HALPERN (1919-1969)

Self Portrait 1968 oil on canvasboard artist’s name, title and date on gallery label verso

49.5 x 39cm

provenance

Estate of the Artist

Private collection, Perth, 1986

Thence by descent

exhibitions

Stanislaw Halpern, Tolarno Gallery, Melbourne, November 1986, cat. no. 6 (label verso)

$5,000-7,000

129

LOUISE HEARMAN (born 1963)

544 1997

oil on board

signed, dated and inscribed verso: 28.1.98 LH0001/ 544/ Hearman 97

90 x 67.5cm

provenance

Mori Gallery, Sydney

Private collection, Sydney

Menzies, Melbourne, 20 March 2014, lot 16

Private collection, Melbourne

$5,000-6,000

130

EUAN MACLEOD (born 1956)

Sprout 1993 oil on canvas signed, titled and dated verso: SPROUT/ EUAN

MACLEOD/ 2-7 93

138 x 184cm

provenance

Watters Gallery, Sydney

Private collection, New South Wales

Private collection, Melbourne

$6,000-9,000

131

SIDNEY NOLAN (1917-1992)

Shark mixed media on paper

signed, titled and numbered verso: 63/ Shark/ nolan (concealed)

24.5 x 30cm

provenance

Private collection, Melbourne

$1,000-2,000

132

SIDNEY NOLAN (1917-1992)

Shark

mixed media on paper

signed, titled and numbered verso: Shark/ 38/ nolan (concealed)

24.5 x 30cm

provenance

Private collection, Melbourne

$1,000-2,000

133

133

ASHER BILU (born 1936)

Modular Expansion

mixed media on board

signed upper left: A.Bilu

91.5 x 91.5cm

provenance

Corporate collection, Melbourne

$3,000-5,000

134

ROGER KEMP (1908-1987) (Flowers) 1969

acrylic on board

artist’s name, title and date inscribed on gallery label verso

32 x 15.5cm

provenance

The Redfern Gallery, London 1969 (label verso)

The Collection of Miss Kathleen Miller, 1969

The Collection of Mr W.J Beauvais, United Kingdom

Gregsons Auctioneers, Perth, 15 October 1991

Private collection, Perth

Thence by descent

exhibitions

The Redfern Gallery, London, 1969

$4,000-6,000

135

CLIFFORD LAST (1918-1991)

Standing Figure no. 4 1966

bronze

monogram and date to base: LXVI

artist’s name, title and date on label at base

32 x 23 x 15cm (including base)

provenance

Leonard Joel, Melbourne, 12 April 1989, lot 1478

Private collection, Melbourne

$4,000-6,000

136

LAWRENCE DAWS (born 1927)

Pink Rain 1982

oil on board

signed lower right: DAWS

title and date inscribed on unknown label verso

101 x 121cm

provenance

Robin Gibson Gallery, Sydney

Private collection, Sydney

$3,000-5,000

137

ERNEST BUCKMASTER (1897-1968)

Jamieson River, Victoria oil on canvas

signed lower right: EBuckmaster

67.5 x 84.5cm

provenance

Leonard Joel, Melbourne, 24 May 1973, lot 85

Private collection, Melbourne

$4,000-6,000

138

LEONARD LONG (1911-2013)

From the Pigeon House, Clyde Valley, New South Wales 1988 oil on canvasboard

signed lower right: LEONARD LONG titled verso

titled and dated on frame plaque 111 x 166cm

provenance

The Artist

Private collection, Melbourne

Thence by descent

Leonard Joel, Melbourne, 28 June 2022, lot 87

Private collection, Melbourne

$6,000-7,000

139 ERNEST BUCKMASTER (1897-1968) Still Life oil on canvas

signed lower right: EBuckmaster 77 x 57cm

provenance

Tom Silver Gallery, Melbourne

Private collection, Melbourne

Thence by descent

$5,000-6,000

140 DAVID BOYD (1924-2011) (Children Playing) oil on canvas

signed lower left: David Boyd 60 x 49.5cm

provenance

Private collection, Melbourne

$10,000-15,000

141

HUGH SAWREY (1923-1999)

‘Big Paddy’ Shoes Up oil on canvas

signed with thumbprint lower right: SAWREY title inscribed on stretcher bar verso: “”BIG PADDY” SHOES UP”/ N.T

28.5 x 34cm

provenance

Private collection, Queensland

$4,000-6,000

142

CLIFTON PUGH (1924-1990)

(Cottlesbridge) c.1960 oil on board

signed lower left: Clifton

48.5 x 59.5cm

provenance

Niagara Galleries, Melbourne

The Estate of Lily and Louis Kahan, Melbourne Thence by descent

exhibitions Blue Chip XVII, The Collectors Exhibition, Niagara Galleries, Melbourne, 2025, cat. no. 25

$5,000-7,000

143

RAY CROOKE (1922-2015) (Cape York) oil on canvas on board

signed lower left: R Crooke 35 x 45cm

provenance

Private collection, Queensland

$3,000-4,000

144

DAVID BOYD (1924-2011)

Summertime at the Bush Waterhole 1971 oil on board

signed lower left: David Boyd dated lower right 52 x 62cm

provenance

Joel Fine Art, Melbourne, 30 October 2007, lot 63

Private collection, Melbourne

Leonard Joel, Melbourne, 16 September 2013, lot 106

Private collection, Melbourne

$10,000-15,000

145

HAROLD SWANWICK (British, 1866-1929)

(At Work in the Fields)

watercolour and pastel on paper

signed lower left: HAROLD SWANWICK

71.5 x 123cm

provenance

Private collection, Melbourne

Sotheby’s, Melbourne, 26 November 2002, lot 207 (unsold)

Private collection, Melbourne

$4,000-6,000

146

ROBERT RICHMOND CAMPBELL (1902-1972)

The Bridge at Besalu, Spain 1931 oil on canvas

signed lower left: Robert Campbell

50.5 x 60.5cm

provenance

The Collection of A.H Norman

Leonard Joel, Melbourne, 29 August 2010, lot 85 (as “Besalu, Spain”)

Private collection, Perth

Thence by descent

exhibitions

Robert Campbell 1902-1972, Art Gallery of South Australia, May 1973, cat. no. 28 (as “The Bridge at Besalu”)

Robert Richmond Campbell An Australian Impressionist, Queen Victoria Museum and Art Gallery Launceston, 7 February – 16 March 1986, then touring to Burnie

$3,000-5,000

147

WILLIAM FRATER (1890-1974)

Street Scene, Carlton 1951 oil on board

signed lower right: William Frater artist’s name, title and date on gallery label verso

40 x 49.5cm

provenance

Niagara Galleries, Melbourne (label verso)

Private collection, Perth, 1986

Thence by descent

$3,000-5,000

148

PHILLIP PIPERIDES (born 1956)

Kneeling Nude bronze, ed. 20/25

signed and editioned at base: P.Piperides 20/25

43 x 32 x 21cm

provenance

BC Fine Art Gallery, Queensland

Private collection, Melbourne

$4,000-6,000

149

PRO HART (1928-2006)

St Patrick’s Day Races oil on board, triptych

signed lower right: PRO/HART (on each panel) titled on frame plaque

40 x 29.5cm, 40 x 50cm, 40 x 29.5cm; 56 x 134cm (overall)

provenance

Corporate collection, Melbourne

$6,000-8,000

150 HUGH SAWREY (1923-1999) (The Revellers) oil on canvas

signed with thumbprint lower right: SAWREY

74.5 x 100.5cm

provenance

Cooperate collection, Melbourne

$10,000-15,000

$8,000-12,000 151

151

PRO HART (1928-2006)

The Folly of T.A.B ‘One Tree Races’ 1980 oil on canvas

signed and dated lower right: PRO/ HART/1980 titled lower left

122.5 x 122.5

provenance

Estate of the Artist

Leonard Joel, Melbourne, 22 July 2014, lot 3

Private collection, Melbourne

152

HUGH SAWREY (1923-1999)

East Mereenie Rough-Necks oil on canvas

signed and dated lower right: 64/ SAWREY signed and titled verso

59 x 78.5cm

provenance

Corporate collection, Melbourne

$8,000-12,000

153

ERNEST BUCKMASTER (1897-1968) (Still Life with Flowers) oil on canvas

signed lower right: E. Buckmaster 52 x 64.6cm

provenance

Private collection, Melbourne

$4,000-6,000

154

GEORGE BELL (1878-1966)

The Sleeper c.1950 oil on pulpboard

38.5 x 48cm

provenance

Estate of the Artist

Private collection, Perth, 1986 Thence by descent

exhibitions

George Bell 1878-1966, A Survey Exhibition, David Ellis

Fine Art, Collingwood, 28 October – 22 November 1986, cat, no. 35

literature

George Bell 1878-1966, A Survey Exhibition, David Ellis Fine Art, Collingwood, 1986, (illus., cover)

$3,000-5,000

155

ERNEST BUCKMASTER (1897-1968)

Rhododendrons, Still Life oil on canvas

signed lower right: EBuckmaster 95 x 64.5cm

provenance

Private collection, Melbourne

Thence by descent

$5,000-6,000

156

BILL COLEMAN (1922-1993)

(Playing with Friends) 1970 oil on canvas laid on board

signed and dated lower left: Bill Coleman 70 50 x 60cm

provenance

Private collection, Melbourne

$3,000-5,000

157

MATTHEW JOHNSON (born 1963)

Dusk (Liminal) 2012 oil on linen signed, titled and dated verso: “Dusk” (Liminal) 2012/ Matthew Johnson 150 x 140cm

provenance

The Artist

Private collection, Melbourne

$6,000-8,000

158

MICHAEL LEUNIG (1944-2024)

Map 2014 oil on board

signed lower right: Leunig titled and dated on Australian Galleries label verso 91.5 x 122cm

provenance

Art Loft, Melbourne

Private collection, Melbourne

$6,000-8,000

159

ROMERO BRITTO (Brazilian, born 1963)

Antarctica 2015 oil pen and acrylic on canvas signed lower right: Romerobritto signed and titled verso accompanied by a Romero Britto certificate of authenticity 101 x 75.5cm

provenance

Collins & Kent International Fine Art, Melbourne Private collection, Sydney

$6,000-7,000

160

MICHAEL LEUNIG (1944-2024)

Untitled oil on canvas signed lower right: Leunig

76.5 x 90.5cm

provenance

Art Loft, Melbourne

Private collection, Melbourne

$4,000-6,000

161

CLIFFORD LAST (1918-1991)

Symbology One 1969 bronze on stone plinth, ed. 2/4 artist’s monogram to base artist’s name, title, date and edition on unknown label at base

28 x 15 x 10.5cm (including base)

provenance

Private collection, Melbourne

$3,000-5,000

163

162

GEOFFREY PROUD (born 1946)

Still Life with Table Lamp 1982 oil stick and acrylic on paper signed and dated lower right: Proud 82 title inscribed on frame verso 122 x 89.5cm

provenance

Private collection, Sydney

$1,500-2,500

163

CLIFTON PUGH (1924-1990)

Stock Race 1988 oil on canvas signed and dated lower right: Clifton/ 12 OCT ‘88 90 x 110cm

provenance

Gift of the Artist, 1990

Private collection, Melbourne Menzies, Melbourne, 21 September 2016, lot 109

Private collection, Melbourne

$6,000-9,000

164

DAVID BOYD (1924-2011) (Children Playing) oil on canvas signed lower left: David Boyd 60 x 70cm

provenance

Private collection, Melbourne

$10,000-15,000

165

AINSLIE ROBERTS (1911-1993)

Tirlta and The Flowers of Blood 1964 oil on board signed and dated lower right: Ainslie Roberts -/ 1964 titled lower right 66 x 89.5cm

provenance

The Artist

Private collection, Adelaide Thence by descent

$3,000-5,000

Artist Index

A

Adrion, Lucien 5

Amor, Rick 20

Armstrong, Bruce 10, 16

Ashton, Will 104, 108

B

Baldessin, George 43

Bell, George 154

Bey, Reshid 54

Bilu, Asher 133

Blackman, Charles 12, 31, 32, 33, 34, 36

Boyd, Arthur 15, 22, 24

Boyd, David 112, 115, 116, 140, 144, 164

Britten, Jack 67

Britto, Romero 159

Buckmaster, Ernest 137, 139, 153, 155

Burton, Nyunmiti 87

C

Churcher, Peter 44

Coleman, Alfred 94, 107

Coleman, Bill 156

Conder, Charles 7

Crooke, Ray 110, 143

D Daubigny, Charles-François 6

Davis, James 126

Daws, Lawrence41, 136

Delafield Cook,William19

Dickerson, Robert 111

Drysdale, Russell 100

E Edwards, Mclean 127

F

Fielding, Robert 28

Forrest, Haughton 45, 46, 47, 48, 49, 50, 51 Frank, Dale 25

Frater, William 147

French, Leonard 113

G Gabori, Elsie 81

Georgetti, Diena 39

Gibbs Tjungurrayi, Yala Yala 64

Griffiths, Harley Cameron 93, 105

Gritten, Henry 97, 98

Gumana, Waturr 90

H

Halpern, Stanislaw 128

Harper, Melinda 121

Hart, Pro 149, 151

Hawkes, Nathan 37

Hearman, Louise 129

Heffernan, Yaritji 89

Heysen, Hans 1, 99

Hirst, Damien 123, 124

Hogan, Simon 80

J

Jack, Weaver 71

Jackson, James R. 103

Jinks, Sam 26

Johnson, Matthew 119, 157

Juniper, Robert 17, 21

K

Kemp, Roger 134

Ken, Kunmanara (Ray) 72

Knight, Jasper 122

L

Larter, Richard 27

Larwill, David 29

Last, Clifford 135, 161

Leunig, Michael 158, 160

Lindjuwanga, Kay 91

Lindsay, Norman 56

Long, Leonard 138

Longhurst, Kathrin 118

M

Macleod, Euan 130

Malangi Daymirringui, David 60

Marika, Mawalan 59

Mcdonald Tjangala, Carbiene 84

Mckenzie, Queenie 66

Mijau Mijau, Jimmy 57

Mora, Mirka 30

Morrocco, Alberto 106

Müller, Albert 102

N

Namatjira, Albert 3

Nampitjinpa, Nyurapayia 62

Nangala, Julie Robinson 79

Napanangka, Nancy Naninurra 86

Napanangka, Makinti 61

Nolan, Sidney 131, 132

O

Olsen, John 11

P

Paula Paul, Kuruwarriyingathi Bijarrb 82, 83

Piperides, Phillip 148

Presley, Patju 77

Proud, Geoffrey 162

Pugh, Clifton 114, 142, 163

Pwerle, Minnie 88

R

Raftopoulos, George 125

Ramsay, Hugh 95, 96

Rankin, David 92

Rea, Joel 120

Reid, Cliff 68

Richmond Campbell, Robert 146

Roberts, Ainslie 165

Rogers, Andrew 42

Ryan, Natalie 40

Ryan, Paul 38

S

Sawrey, Hugh 109, 141, 150, 152

Scheltema, J.H. 2

Shaomin, Shen 18

Streeton, Arthur 8, 101

Swanwick, Harold 145

T

Tabacco, Wilma 117

Tanner, Edwin Russell 35

Timms, Freddie 65

Tjapaltjarri, Mick Namarari 78

Tjapaltjarri, Morris Gibson 73

Tjapaltjarri, Warlimpirrnga 63

Tjungurrayi, Two Bob 74, 75

Tjupurrula, Turkey Tolson 76

Tucker, Albert 9, 23

Turner, James Alfred 4, 53

W

Walters Brierly, Oswald 52

Whiteley, Brett 13, 14

Wilson, Regina Pilawuk 70

Withers, Walter 55

Wompi, Nora 85

Y

Yaltangki, Tiger 69

Yirawala 58

Conditions of Business / Summary

special conditions of sale – jewellery

Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement.

authenticity certificates

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

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: Ety Liong accounts@leonardjoel.com.au

admission

Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person.

commission (absentee) bids

Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves.

telephone bidding

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

bidder registration

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

buyer’s premium

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

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.

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 22 of the Buyer’s Conditions of Sale.

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

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

Credit card fees may apply.

Bank telegraph transfers should be directed to:

account name: Leonard Joel Pty Ltd

address: Westpac Banking Corporation

150 Collins Street, Melbourne

VIC 3000 Australia

bsb: 033–364 account no: 942956

collection of lots

Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

removal and storage

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

removal charges

Each lot: $55

storage charges

Each lot: $33 per day

protection of movable cultural heritage act 1986 (pmch act)

Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index

exporting significant australian cultural heritage

The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au

cites regulations

It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/tradeuse/cites/index.html or may be requested from:

The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities

GPO Box 787

CANBERRA ACT 2601

leonard home delivery

Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@ leonardjoel.com.au

recommended carriers

For recommended carriers please refer to our website.

This document has been produced to international environmental management standard ISO14001 by Ellikon Fine Printers, a certified green printing company.

Our Specialists

m anaging d irector & head of important collections

John Albrecht, BA LLB MBA

fine art

Wiebke Brix, Head of Art

Amanda North, Senior Art Specialist

Hannah Ryan, Senior Art Specialist, Manager of Specialty Auctions

Charlotte Barrett, Administrator and Registrar

decorative arts

Chiara Curcio BA, Head of Department

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Kyle Walker, Administrator and Coordinator

asian art

Luke Guan MLitt, Head of Department

Kyle Walker, Administrator and Coordinator

sydney

Ronan Sulich, Senior Adviser

Madeleine Mackenzie BFA, BComm, MLitt, Head of Decorative Arts & Art

Ella Nail, Office Manager & Administrator

important jewels

Hamish Sharma, Head of Department, Sydney

fine jewels & timepieces

Bethany McGougan, Head of Department, Melbourne

Patricia Kontos F.G.A.A., Senior Timepieces & Jewellery Specialist

Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist, Sydney

Phoebe East, Jewellery Assistant

Piper Jiang, Jewellery & Luxury Administrator

John D'Agata, Senior Jewellery Consultant

Henrietta Maiyah, Consultant

modern design

Rebecca Stormont, Specialist

Maya Loughnan, Assistant

luxury

Julia Gueller, Specialist

prints

Hannah Ryan, Senior Art Specialist

furniture

Natasha Berlizova, Manager

Angus McGougan, Assistant

Alex Sargeant, Assistant

Inigo Fleming, Assistant

Shawn Mitchell , Interiors Consultant

jewellery

Phoebe East, Manager

Anna Akacich, Assistant

art salon

Millie Lewis, Manager

Jane Goh, Assistant

objects & collectables

Dominic Kavanagh MFA, Manager

Kieran Grogan Carpenter, Assistant

valuations

David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist

Troy McKenzie, Head of Private Collections, Queensland

Anthony Hurl, Representative Specialist, South Australia

John Brans, Representative Specialist, Western Australia

accounts

Ety Liong, Finance Manager

Michelle Draper, Accounts Manager

Ninad Chouhan , Finance & Accounts Assistant

client services

Kim Clarke, Saleroom & Office Manager

Amelia Lewis, Client Services Liaison

Richard Grieve, Client Services Liaison

operations & logistics

David Price, Operations, Delivery & Logistics Manager

marketing & communications

Lucy Lewis, Marketing, Media, & Communications Manager

Kyle Walker, Marketing & Database Coordinator

photography

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

graphic design

Maria Rossi

melbourne

2 Oxley Road, Hawthorn, VIC 3122 (03) 9826 4333

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025 (02) 9362 9045

brisbane 54 Vernon Terrace, Teneriffe, QLD 4005 0412 997 080

adelaide 429 Pulteney Street, Adelaide SA 5000 0419 838 841

perth 0412 385 555

info@leonardjoel.com.au leonardjoel.com.au