1

Brett Whiteley (1939 - 1992)

Towards Sculpture 5 1977

Lithograph

Signed “Brett Whiteley” lower right

Artist’s red stamped monogram, upper right

Edition: 18/50

88 x 61.5cm

$5,000 - 10,000

Provenance:

Private collection, Western Australia

Literature:

Brett Whiteley: The Graphics 1961 - 1992,

Deutscher Fine Art, Melbourne , 1995

Catalogue No. 32, p. 111

Illustrated p. 42 and front cover

Exhibited:

Recent Paintings & Drawings

Fischer Fine Art Limited, London ,

Sept 1977, cat. 79

Publisher:

Ganymed Original Editions, London

2

John Olsen (b. 1928)

Dead Fish 1976

Etching

Numbered 15/60, lower left

Titled lower centre, signed & dated 76, lower right

Inscribed upper margin: “LX Governing a large state is

like boiling a small fish - TAO”

27.5 x 39.5cm

$1,500 - 3,000

Published:

Port Jackson Press, Sydney

Illustrated:

p. 52 John Olsen His Complete Graphics

1957 - 2005 by Ken McGregor

3

Elizabeth Durack (1915 - 2000)

From the Conti, Broome Foreshore 1963

Mixed media on paper

Signed lower right

42 x 55cm

$2,500 - 4,500

4

Guy Edward Grey-Smith (1916 - 1981)

Out of Port Hedland

Mixed media

Signed & dated 76, lower right

46 x 62cm

$3,500 - 4,500

Provenance:

The Fire Station Gallery

5

William Lister Lister (1859 - 1943)

River Landscape

Oil on canvas on board

Signed lower left

49.5 x 59.5cm

$2,000 - 3,000

6

Robert Litchfield Juniper (b. 1929)

Black  Tree

Oil on canvas on board

Signed & dated 73, lower centre

32 x 26cm

$4,500 - 5,500

7

Ken Knight (b. 1956)

Point Walter

Oil on board

Signed lower right

8 x 60cm

$1,000 - 1,800

8

Kevin Charles (Pro) Hart (1928 - 2006)

Shearing

Oil on board

Signed lower right

44 x 59.5cm

$5,000 - 8,000

9

William Boissevain (b. 1927)

Dragonfly

Oil on board

Signed & dated 69, lower right

54.5 x 43cm

$2,000 - 3,000

10

Ray Austin Crooke (b. 1922)

Queensland Outback Landscape

Oil on board

Signed lower left

36 x 43.5cm

$2,000 - 3,000

11

Portia Mary Bennett (1898 - 1989)

Wildflower Pattern c.1960’s

Oil on board

Signed lower left

59.5 x 51.5cm

$3,000 - 5,000

Provenance:

The Estate of Iris Francis

12

Jules Sher (b. 1934)

Late Afternoon Shadow - Pilbara

Acrylic on canvas on board

Signed & dated 94, lower right

56 x 51cm

$1,000 - 2,000

13

William Boissevain (b. 1927)

Ballerina

Mixed media

Signed lower right

68 x 50cm

$2,500 - 3,500

14

David Boyd (b. 1924)

Flight From The Offering of Golden Cloth

Oil on board

Signed lower left & dated 1977, lower right

24.5 x 29.5cm

$8,000 - 11,000

15

Ella Fry (b. 1916)

Salt Lakes , Rottnest

Oil on canvas on board

Signed lower right and dated 1951 verso

24.5 x 30cm

$800 - 1,200

Literature:

The Artist’s Rottnest by Ted Snell

Illustrated p. 125.  Published 1988

Fremantle Arts Centre Press

16

René Collot d’Herbois (1883 - 1960)

Darling Ranges

Watercolour

Signed lower left

30 x 44cm

$700 - 1,000

17

Robert Litchfield Juniper (b. 1929)

North West Landscape with Figure

Oil on Belgian linen on board

Signed and dated 95 lower left

30 x 22cm

$4,500 - 5,500

18

Ken Knight (b. 1956)

Federal Hotel Kalgoorlie

Oil on board

Signed lower left

31 x 28cm

$1,500 - 2,500

Note:

Painted on site 2003

19

Tom Alberts (b. 1962)

Man in Amsterdam

Oil on board

Signed & dated 1989 lower left

32.5 x 29cm

$1,000 - 1,500

20

Robert Edgar Taylor Ghee (1869 - 1951)

Swagman at the Homestead

Oil on board

Signed lower left

24.5 x 37cm

$2,000 - 3,000

21

Paul Margocsy (b. 1945)

South American Scarlet Macaws

“Wasted Days and Wasted Nights”

Watercolour

Signed lower right

40 x 14cm

$900 - 1,200

22

Colin Ross Parker (b. 1941)

The Pub Corner, Coolgardie

Oil on board

Signed lower right

59 x 89cm

$3,300 - 4,300

23

Joseph Ambrose Frost (b. 1953)

Ships at Anchor

Oil on canvas on board

Signed lower left

29 x 34.5cm

$3,000 - 5,000

24

William Boissevain (b. 1927)

River Landscape

Oil on board

Signed & dated 79, lower right

59 x 84.5cm

$8,500 - 10,500

25

Kevin Charles (Pro) Hart (1928 - 2006)

Races

Oil on board

Signed lower right

49 x 57cm

$15,000 - 20,000

26

David Rankin (b. 1946)

Abstract

Mixed media on paper

Signed & dated 81, lower right

82 x 51.5cm

$600 - 900

27

John Gould (1804 - 1881)

Platycerus Haematogaster; Blue Bonnet

Recalled edition - Birds of Australia

Original hand-coloured lithograph

Inscribed on plate “Drawn from nature and on stone

by J & E Gould”,  lower left

“Printed by G. Hallmandel”, lower right

51.5 x 35.5cm

$2,500 - 3,500  

John Gould (1804 - 1881), the renowned English ornithologist after a number of publications, commenced in 1837 - 1838 a large work on the birds of Australia , in two parts.  He then halted this work, visited Australia for two years and then returned to England in 1840.  Upon his return he cancelled the two parts already published.  He then began and completed his massive seven volume work, “The Birds of Australia 1840 - 1848”, with supplements from 1851 - 1869.

It is believed Gould recalled the suppressed parts.  No doubt many were returned for the payment of some compensation or discount on the forthcoming “Birds of Australia”.

This increases their rarity.  It is generally held that there are far less of each, as against 250 of each for the “Birds of Australia”, being the original number published.

Allan McEvoy (Curator of Birds, National Museum of Victoria) writing in “Appendix A” of the facsimile edition of the two part work, “The Birds of Australia and the Adjacent Islands”, says; “----- the Cancelled Parts were the first shoot of what blossomed as Gould’s greatest work, so regarded by Gould himself, and by others ----“

28

John Gould (1804 - 1881)

Geoffroyius Hetyeroclitus; Yellow-headed parrot

Original hand-coloured lithograph from The Birds

of New Guinea

Inscribed: “J Gould & W Hart del et lith”, lower left

“Walter, Imp”,  lower right

50 x 33cm

$600 - 800

29

John Gould (1804 - 1881)

Psitteuteles Subplacens; Green-backed Lorikeet

Original hand-coloured lithograph from The Birds

of New Guinea

Inscribed: “J Gould & W Hart del et lith”, lower left

“Walter, Imp”, lower right

50 x 33cm

$500 - 700

30

Terry Cousins

Returning

Acrylic

Signed lower right

74.5 x 101cm

$2,400 - 3,400

31

Elioth Gruner (1882 - 1939)

Central Lake NSW Coast c. 1920

Oil on canvas on board

Signed lower right

26 x 28.5cm

$10,000 - 14,000

32

Sir Hans Heysen (1877 - 1968)

Hills Near Mt Blinman, Flinders Ranges

Pencil and watercolour

13.5 x 22cm

$1,200 - 1,600

Provenance:

Certificate of authenticity from David Heysen

cat. no. D-364 - DHH

33

After Harry Hall (1816 - 1882)

West Australian

Winner of the 2000 Guineas , Derby and

St Leger 1853

Hand coloured engraving, published September 1853

by Baily Brothers, London & engraved by J. Harris

54 x 66cm

$800 - 1,400

 The origin of the horse’s name is obscure; however, it is generally believed the owner had an interest in property around the Australind, Bunbury area.

West Australian was owned by Mr John Bowes, who was the eldest son of the Earl & Countess of Strathmore.  He did not inherit the title, due to his parents “delayed marriage”.

As a racehorse, he is famous because he was the first to win the Triple Crown, The 2000 Guineas, The Derby and St. Leger, all in 1853.  He also won The Gold Cup in 1854.

Interestingly, The Derby could have been called The Bunbury as Lord Derby and Lord Bunbury apparently tossed a coin to decide naming rights for the race.

Both the engraving ( Lot 33) and the oil painting ( Lot 34), depict the jockey Frank Butler.  It is said that, like his grandfather, Samuel Chifney, he liked to ride from behind and end with the legendary, “Chifney rush”.

Upon retirement, West Australian was sold to Lord Londesborough and then to France , to become the property of the Emperor Napoleon.

Musket was one of his progeny, who went on to become the Dam of Carbine, one of Australia ’s greatest race horses.

The artist, Harry Hall (1816 - 1882), originally tutored by that great sporting artist, Abraham Cooper (1787 - 1868), got his start by illustrating horses in Tattersalls publications, including, British Racehorses, The Sporting Review, The Field and The Illustrated London News.  He exhibited at the Royal Academy (RA) from 1838 until 1864.

He also exhibited at the Royal Society of British Artists, (RBA).

Today, many of his sporting pictures are in collections throughout the world and are prime examples of the racing traditions of 19th century England .

34

Harry Hall (1816 - 1882)

West Australian, with Frank Butter up, c.1854

Oil on panel

19 x 24cm

$6,000 - 8,000

35

Sir Hans Heysen (1877 - 1968)

Flinders Ranges Landscape 1930

Charcoal

Signed lower left

Titled and dated on old backing board, verso

12.5cm x 19cm

$1,200 x 1,600

36

William Boissevain (b. 1927)

Seated Nude

Mixed media

Signed “ W. Boissevain ” lower right

62 x 50cm

$2,000 - 3,000

37

Iris Francis (1913 - 2004)

Midday Stroll, The Esplanade, Perth c.1940

Watercolour

Signed “Iris Francis”, lower left

49 x 33xm

On reverse:

South Perth Yacht Club c.1940

Watercolour

Signed “IRIS FRANCIS”, lower right

33 x 49cm

$800 - 1,000

Provenance:

Estate of Iris Francis

Iris Francis, born Fremantle 1913

Studies: J.W.R. Linton and A.B. Webb at Perth Technical College

She later worked as a commercial artist at Gibney & Sons and taught at Perth Technical College from 1935 - 1947.

During the 1930’s, she was a member of The Studio Club which met once a week in the Turf Club building in Howard Street .  Iris was also a member of the WA Art Society and the Perth Society of Artists, with whom she exhibited, for over 60 years.

Selected Recent Exhibitions:

1990    “Beyond the Image”, Lawrence Wilson Gallery

2003    Retrospective Exhibition, Central Tafe

2004    “Now and Then, 100 years of Art & Design”,

            Central Tafe

2004    Approaches to Modernism, Lawrence Wilson Gallery

Represented:

Art Gallery of Western Australia  

Central Tafe

National Gallery, Canberra

Lawrence Wilson Gallery

Holmes-a-Court Collection

38

Iris Francis (1913 - 2004)

Waiting for a Bus, St. Georges Terrace c.1940

Watercolour

Signed “IRIS FRANCIS”, lower right

Inscribed “WAITING FOR BUS”, lower left

28 x 38cm

$700 - 1,000

Provenance:

The Estate of Iris Francis

39

Iris Francis (1913 - 2004)

Hospital Scene c.1940’s

Oil on canvas on board

Signed “IRIS FRANCIS”, lower right

31.5 x 42cm

$900 - 1,200

Provenance:

Estate of Iris Francis

Iris Francis was a member of the Voluntary Aid Detachment (V.A.D.) at Swanbourne barracks during WWII, where she was taught shooting, truck driving and nursing.

In the exhibition catalogue, “Approaches to Modernism”, Lawrence Wilson Gallery 2004, the curator, Sally Quin writes:

“The Hospital Scene (c.1940), --- depicts a collection of disembodied heads --- an arm --- medical instruments --- the graphic Red Cross sign. ------- The rhythmic line often seen in Francis’s work becomes a sinuous, blood filled tube.  The work seems influenced by Surrealism ---.

What distinguishes Francis’s work, however, is that (paradoxically) Surrealist motifs are used to describe a subject matter which is, in some respects, grounded in the recognisable and everyday experience of the artist’s life during the war.  There are not radical conjunctions of objects, as can be found in McClintock’s work which suggests more overtly the intervention of the subconscious.  Despite the fragmentation of their bodies, the stolid caring medical staff in the picture seems to affect a plausible camaraderie - at once fantastical and ‘real’.  The work is distinctly unconventional in relation to art being produced at this time in Perth .  It is a highly imaginative response to the war and represents the artist’s ability to transform aspects of a Modernist aesthetic to her own purpose”.

40

Iris Francis (1913 - 2004)

Bicton c.1930’s

Oil on canvas on board

Signed “IRIS FRANCIS”, lower right

29 x 41cm

$700 - 1,000

Provenance:

Estate of Iris Francis

41

John Lunghi (b. 1912)

Portrait of a Cat

Oil on board

Signed lower left

91 x 122cm

$1,800 - 2,500

42

An Extremely Rare & Important Western Australian Document

with chart of the Swan River, 1829

$19,000 - 25,000

Ordered to be printed by the House of Commons,

13 May 1829

It includes copies of correspondence of the Colonial Department with various parties interested in forming a settlement at the Swan River, WA.

The Chart:

Printed by: James & Luke Ge. Hansard & Sons

With watercolour wash in 5 colours

27.7cm x 63cm (image size)

It depicts and names various topographical features along the coast south to Cape Naturaliste and inland to “General Darling’s Range”

Even at this early date, Mt. Eliza, Canning River, Ellen’s Brook, Cockburn Sound, Gage Road, Rous Point, Woodmans Point and others, are all named on the chart.

The chart also shows the following:

The part coloured green, marks the lands intended for settlers and public purposes.

The part coloured yellow to be granted to Mr Thomas Peel on condition of his landing 400 persons before the 1st November 1829 .

The part coloured red granted to Captain Stirling R.N.

Overall condition: very good. Paper oxidisation on extreme edges only, otherwise fine.

Colour: original hand-colouring, bright, in excellent condition.

The Text:

Complete

6 printed sheets double sided giving 12 printed pages plus extra sheets at front and back.  (Plus the above-mentioned folding chart)

35 x 21.7cm

Bound in original grey paper covers titled both sides; “Correspondence. Swan River Settlement. Ordered by The House of Commons, to be Printed 13 May 1829”.

Condition: Various pencil notations throughout text.  Some fraying and oxidisation to borders, otherwise very good.

A schedule is at page 2, in summary it indexes various correspondences, such as:

2.     Copy of letter from Mr. Thomas to Mr. Twiss,

        30 November 1828

11.   Copy of a letter from Captain Stirling to Mr Hay,

        26 December 1828

12.   Copy of a letter from Mr. Hay to Captain Stirling,

        1 January 1829

This document and chart is a direct result of a favourable report given by Stirling about the Swan River area upon his return to England .

Prior to this, others such as the Dutch, French and even other English ships had visited our shores.

It was, however, the threat of French Settlement in our South West, which promoted Governor Darling to send Major Lockeyer to establish the settlement at King Georges Sound ( Albany ) in 1827.  The success of this settlement led to further exploration to the north.

Captain Stirling, in HMS Success, initially sailed to Australia with the intention of exploring the North for settlement.

This did not eventuate, instead from Sydney, he arrived at Rottnest Island on 4 March 1827 and within a few days set off with eighteen men in two small boats to explore the previously named (by de Vlamingh) Swan River.

With Stirling was the marine artist, Frederick Garling, who recorded a number of views in watercolour.  (Some of which are held by the Art Gallery of Western Australia and the Holmes - a - Court Collection)

Captain Fremantle was then sent in HMS Challenger to take possession of the area for Britain ; he arrived 2 May 1829 .

Whilst this document was printed 13 May 1829 for the House of Commons, it is actually a compilation of correspondence from mostly the previous year discussing various propositions for the establishment of the colony.

Such as:

-      The provisions needed

-      The vessels needed

-      Perhaps the most important issue is that of land grants, 
       particularly to Stirling and Peel.

-      The growing of crops etc.

-      The number of people.  The number of 10,000 persons over 4      years is discussed.

Importantly, the map is the first published of the Swan River and its surrounds.  It was based directly on the survey work by Stirling in 1827, who later became the colony’s first Governor in November 1831.

43

Elizabeth Durack (1915 - 2000)

Bernadette  c.1954

Mixed media on board

Signed “Elizabeth Durack”, lower right

56.5 x 26cm

$3,500 - 5,000

44

Kevin Charles (Pro) Hart (1928 - 2006)

Mill and Fence

Oil on board

Signed “Pro Hart”, lower right

Titled “Mill and Fence”, lower centre

60 x 60cm

$6,000 - 8,000

45

William Boissevain (b. 1927)

Stretching for Rehearsal

Pastel & wash

Signed “W. Boissevain”, lower right

63 x 51cm

$3,000 - 4,000

46

No Lot

47

Bessie Saunders

Portrait of Iris Francis c.1938

Watercolour

Signed “Bessie Saunders”, lower left

29 x 24cm

$700 - 1,000

Provenance:

Estate of Iris Francis

Bessie Saunders was the wife of Allan Cook.

She was part of a tight-knit painting group which

included Portia Bennett, Iris Francis, Audrey

Greenhalgh, Kath Jarvis and Elizabeth Blair Barber.

Originally associated with the Cremorne Gallery, they

formed the nucleus of the Perth Society of Artists.

Literature:

Western Australian Art and Artists 1900 - 1950

by Janda Gooding. Published by the Art Gallery of WA

1987, p.52

48

View full collection...

An Important Western Australian Photography Collection (1890’s - c.1912)

Bound into a period album of the time

Consisting of 169 vintage photographs; plus 22 process,

offset black and white prints

$55,000 - $70,000

The photographs depict images of Perth City , South Perth , Peppermint Grove, Cottesloe Beach , Fremantle, North Fremantle ,  Rottnest Island , Albany , the Darling Ranges , Freshwater Bay, Jarrahdale,  Margaret River , Busselton, Bunbury, Coolgardie, Pinjarra, Mandurah, Mt. Helena and others.

A full summary, and the album itself, are available for inspection during the auction viewing period.

Size:  The photographs are predominately medium in size and vary from approximately 10cm x 14cm to approximately

19cm x 27cm.

Condition:  Predominately excellent.  Unbacked and inserted into the album by corner slots in the leaves of the album.

Copyright:  Due to their age, there would be no copyright restrictions.

49

Elizabeth Durack (1915 - 2000)

Linda Fong Fan 1946

Mixed media on board

Signed & dated “Durack “46”, lower left

Titled vertically “Linda Fong Fan”, lower right

57 x 35.5cm

$6,000 - 8,000

Exhibited:

“Time and Tide” Elizabeth Durack’s first exhibition

at the Old Museum & Art Gallery, Beaufort Street , Perth , August 1946

50

Clifton Ernest Pugh (1924 - 1990)

Bird

Oil on board

Signed & dated 63, lower right

67 x 89.5cm

$10,000 - 15,000

51

Charles Blackman (b. 1928)

Polka Dot Bikini

Watercolour

Signed upper and lower left

68 x 43cm

$5,000 - 8,000

Provenance:

Greythorn Galleries

52

James Haughton Forrest (1826 - 1925)

Ship off the Coast

Oil on artists board

Signed “H Forrest”, lower left

28 x 45cm

$6,000 - 8,000

53

William Boissevain (b. 1927)

Billabong

Oil on board

Signed “W. Boissevain”, lower right

89 x 120cm

$11,000 - 14,000

54

Brett Whiteley (1939 - 1992)

The Arrival 1988

Offset lithograph

Edition: 150

Numbered 114/150, lower left

Titled “The Arrival”, lower left

Signed “Brett Whiteley”, lower right

Image size: 71 x 89cm

Sheet size: 79 x 104cm

$14,000 - 18,000

Publisher:

Time Australia, special bicentennial edition

Literature:

Brett Whiteley: The Graphics 1961 - 1992

Deutscher Fine Art, Melbourne 1995

Catalogue No. 98.  Illustrated p.93

55

Kevin Charles (Pro) Hart (1928 - 2006)

Miners Arms Hotel, Broken Hill c.1970

Oil on board

Signed “Pro Hart”, lower right

58 x 119cm

$25,000 - 30,000

The art of Pro Hart is the result of his accumulated life experiences of living in the bush, as a miner and of his living in Broken Hill.

His artwork is successful both on a formal and a narrative level.  He employs the conventions of Western art, such as colour, shape, light, etc. to establish a pleasing painting in terms of composition, harmony and subject.  At a narrative level, he paints to tell a story or communicate an idea.

In “Miners Arms Hotel, Broken Hill”, this narrative purpose is very evident.  The picture is a montage of mining scenes.  From the underground miners to the robust two-up game in progress and what appears to be a nod to the Eureka Stockade uprising in the background.  Amongst these scenes are various mine heads, a wagon drawn by a team of horses and a few miners houses.

 Interestingly, there is still a Miners Arms Hotel in Broken Hill, which was established in 1888.  It is highly likely that the early stories associated with the hotel and the township, are the inspiration for this painting.

When Hart passed away he was offered a state funeral by the NSW Government.  No other artist had been accorded such an honour.  On top of Hart’s coffin were placed his miners helmet and lamp.

His passing forced the art world to reassess him and his work.  During his career he baited the art establishment; he didn’t adhere to the art worlds ‘norms’.  To mock painting, he used to fire paint out of a cannon onto the canvas.

His work has, of late, been reassessed.  His work is more than illustrations of outback and mining town life.  It has a certain ring of truth to it.  He gets the light of the outback right.  The scraggy trees and scrub he captures with the minimum of painterly effort and the leaning buildings and hanging, lopsided gates really do look like that; or did in decades past.

56

John Paterson Campbell (1855 - 1924)

Swan Brewery

Mixed media

Signed, dated & inscribed “John Campbell.

Perth . 1904”, lower right

36 x 60cm

$15,000 - 20,000

Until recently, not much was known about Campbell .  However, the exhibition of his works at the Art Gallery of Western Australia, late 2003, with the attendant catalogue and research for a lengthy catalogue essay, has greatly added to our knowledge about him.

His precise detail and observation is what makes his work historically significant.  That and the fact that whilst most artists at the time painted landscape, he depicted the urban environment.

Also, his works exude a charm which lifts them above mere architectural documentation.  He included people, horses, cars and signage.  For instance in one of his works, “Perth Railway Station”, 1903 an advertising billboard announces:

“For pictures of residences commission Mr. J. Campbell, Scenic Artist, Perth ”.

From 1901 to 1911 the population of Perth almost doubled from 44,000 to 87,000.  Gold mining and the expansion of primary industries, gave Perth a sense of optimism and no doubt along with the increasing population, the Swan Brewery thrived.

Breweries seem to be one of Campbell ’s favourite subjects.  The Swan Brewery began business in St. Georges Terrace in 1857, before moving to the base of Mt. Eliza in 1897.  This new brewery was designed by Joseph Talbott Hobbs to look like an English castle.

The Brewery had a stable of 24 Clydesdales which were gradually replaced by steam wagons.  Here, the company’s barge is depicted on its return from Fremantle.

More than simply an architectural rendition, the work is full of charm.  It includes the company’s wagons and horses, workers and the companies new steam wagon.

57

David Boyd (b. 1924)

Playing Under the Wattle Tree

Oil on board

Signed “David Boyd”, lower left

49 x 59cm

$25,000 - 30,000

58

Robert Litchfield Juniper (b. 1929)

Desert

Oil on canvas on board

Signed & dated ’70, lower left

40 x 54cm

$5,000 - 7,000

59

Guy Edward Grey-Smith (1916 - 1981)

Broome Coastline

Oil on Board

Signed “G Grey Smith” & dated 76, lower right

76.5 x 120cm

$30,000 - 40,000

Provenance:

The Fire Station Gallery (Rie Heymans)

60

Norman Lindsay (1879 - 1969)

A Summer Day Andante 1925

Etching, aquatint, engraving & stipple

4 / 55, signed & dated 1925, lower right

34 x 38.4cm

$3,800 - 4,800

Represented:

The New York Public Library

Mitchell Library

Illustrated:

p.174 Norman Lindsay Etchings

Catalogue Raisonné by Lin Bloomfield

61

Norman Lindsay (1879 - 1969)

Don Juan’s Garden 1926

Aquatint & etching

5 / 45, signed & dated 1925, lower right

25.3 x 30.6cm

$4,500 - 6,000

Represented:

Art Gallery of South Australia

National Gallery of Victoria

The New York Public Library

Mitchell Library

Illustrated:

p.186 Norman Lindsay Etchings

Catalogue Raisonné by Lin Bloomfield

62

Norman Lindsay (1879 - 1969)

(i)  The Talking Breasts 1920

Etching, engraving & stipple

97 / 133, signed lower right

15.7 x 13.4cm

$3,500 - 6,000

Published:

Idyllia, 1922 by Hugh McCrae

(ii)  This lot includes the framed associated text from Idyllia

63

Norman Lindsay (1879 - 1969)

Little Witch 1937

Etching, engraving & stipple

15 / 40, signed lower right

27.2 x 23.5cm

$3,500 - 6,000

Illustrated:

p.257 Norman Lindsay Etchings

Catalogue Raisonné by Lin Bloomfield

64

Norman Lindsay (1879 - 1969)

(i)  The Yellow Lady 1920

Etching

2 / 133, signed lower right

12 x 13cm

$3,500 - 5,500

Published:

Idyllia, 1922 by Hugh McCrae

(ii)  This lot includes the framed associated text from Idyllia

65

Norman Lindsay (1879 - 1969)

Peacock and Anklet 1924

Ink

Signed lower left

15 x 19.5cm (frame opening size)

$3,000 - 5,000

Published:

Illustration for, Vision 4, Literary Quarterly

by Jack Lindsay 1924

66

Norman Lindsay (1879 - 1969)

The Mirror 1924

Ink

Signed with initials, lower right

19.8 x 18cm (frame opening size)

$3,000 - 5,000

Published:

Illustration for, Vision 4, Literary Quarterly

by Jack Lindsay 1924

67

Norman Lindsay (1879 - 1969)

Pumping Water at Fremantle 1909

Pencil

Titled lower left

26 x 20cm

$2,800 - 3,800

Certificate of Authenticity, Bloomfield Galleries, verso

Provenance: Released from the artist’s estate,

then, Bloomfield Galleries

Illustrated:

Norman Lindsay, 80 Years of Pencil Drawing

(Odana Editions 2008)

This is the only known Western Australian work by

Lindsay.  He made a stop off in Fremantle on his

way to Europe in 1909.

68

Norman Lindsay (1879 - 1969)

Good Night 1920

Original etching, stipple & roulette

26 / 45,  titled, signed & dated in margin

25 x 30.5cm

$4,000 - 5,000

Represented:

Ballarat Fine Art Gallery

Mitchell Library

Illustrated:

p.116 Norman Lindsay Etchings

Catalogue Raisonné by Lin Bloomfield

69

Norman Lindsay (1879 - 1969)

(i)  Robin Hood 1920

Etching, engraving & stipple

67 / 133, signed lower right  

25.3 x 21.4cm

$4,000 - 6,000

Published:

Idyllia, 1922 by Hugh McCrae

(ii)  This lot includes the framed associated text from Idyllia

70

Norman Lindsay (1879 - 1969)

(i) Toilet 1932

Watercolour

Signed “Norman Lindsay”, lower right

28 x 23cm

(ii)  Toilet

Facsimile etching 401/550

15.7 x 14cm

$28,000 - 45,000

Although Lindsay used many foreign models during

the 1930’s, his etching “Toilet”, is one of only two

where he portrayed dark skinned girls.

71

After Norman Lindsay (1926)

Sphinx Radiator Cap

Bronze and black marble, mounted on a plinth

National Trust medallion mounted into the side

Height: 19.5cm; plus plinth; 23.5cm

$3,000 - 5,000

In 1926, Lindsay designed The Sphinx as a mascot

for his wife, Rose’s Vauxhall car.  The following year,

Rayner Hoff (of Holden cars Lion emblem fame),

cast it in lead from melted down paint tubes and later

in metal which was then silvered.

In 1988, for the Bicentennial year, the National Trust

(NSW), recast 203 from the original, with 200 being

for sale.  The edition sold out quickly.

72

After Norman Lindsay

30th Anniversary National Trust Red Ceramic Vase

with 24ct gold decoration.

Depicts 3 panels each with 3 exotic ladies.

Numbered 118 / 300. Made 2003 after an original in

the Norman Lindsay museum, by the National Trust.

Height: 18cm

$900 - 1,600

73

After Norman Lindsay

Swirl of the Sea, Blue Vase

Depicting mermaids and fish swimming in a blue

ocean.

Numbered 294 / 300

By the National Trust after an original held in the

Norman Lindsay museum.

Height: 18cm

$800 - 1,300

74

After Norman Lindsay c.1930

Pair of cast bronze book ends

Depicting seated ladies surrounded by a scrolled

border with background foliage, set upon black

marble bases.

Cast by the Meridian Foundry, Melbourne from the

artist’s original plaster mouldings in a limited edition

of 235.

Foundry stamp verso

Total height: 21cm; total width: 14.5cm

$1,800 - 3,000

75

Norman Lindsay (1879 - 1969)

Gypsy Love, Springwood, 14/6/69

Watercolour

Signed and dated 1969, lower left

Titled and with full date under mount.  Copy of which is attached verso

27 x 18cm (image)

$20,000 - 25,000

76

Norman Lindsay (1879 - 1969)

Micomicon 1921

Etching, engraving & stipple

15 / 50, signed & dated 1921, lower right

33.1 x 26.4cm

$4,500 - 6,500

Represented:

Mitchell Library

Art Gallery of NSW

National Gallery of Australia

Illustrated:

p.124 Norman Lindsay Etchings

Catalogue Raisonné by Lin Bloomfield

77

Norman Lindsay (1879 - 1969)

Night’s Garden 1927

Etching, aquatint, engraving & stipple

10 / 45, signed & dated 1927, lower left

35.6 x 27.6cm

$4,000 - 5,500

Represented:

Art Gallery of South Australia

Mitchell Library

Illustrated:

p.200 Norman Lindsay Etchings

Catalogue Raisonné by Lin Bloomfield

78

Norman Lindsay (1879 - 1969)

Lands of Afternoon 1923

Etching & stipple

10 / 55, signed & dated 1923, lower right

35.4 x 29cm

$4,000 - 5,500

Represented:

Art Gallery of NSW

National Trust Norman Lindsay Gallery & Museum

Mitchell Library

Illustrated:

p.150 Norman Lindsay Etchings

Catalogue Raisonné by Lin Bloomfield

79

Norman Lindsay (1879 - 1969)

The Only Gods 1942

Watercolour wash, ink & pencil

Signed & dated 1942, lower right

34 x 36cm

$45,000 - 70,000

80

Norman Lindsay (1879 - 1969)

Amy c.1930

Pencil, signed “Norman Lindsay”, lower right

40 x 36cm

$9,000 - 16,000

81

Norman Lindsay (1879 - 1969)

Dawn c.1940

Pencil

21 x 16cm (frame opening size)

$5,000 - 8,000

Provenance:

Certificate of Authenticity, Fine Art Australia verso

82

Norman Lindsay (1879 - 1969)

Cora and Old Mother Spadget 1938

Pencil, pen & ink

20 x 27cm

$4,000 - 7,000

Provenance:

Unused illustration for, Age of Consent, c.1938

Bloomfield Galleries Label, verso

83

Norman Lindsay (1879 - 1969)

Wanderer Returns

Cover page to The Bulletin, December 6 1933

Signed lower left

40 x 25.5cm

$500 - 1,000

84

Norman Lindsay (1879 - 1969)

The Fan  c.1930

Pen & ink

15 x 19cm (frame opening size)

$2,500 - 4,000

Provenance:

Lindsay Family

Fine Art Australia

85

Norman Lindsay (1879 - 1969)

Leda and the Swan  c.1940

Pen & ink

17 x 24cm (frame opening size)

$3,500 - 5,000

Provenance:

Lindsay Family

Fine Art Australia

86

Norman Lindsay (1879 - 1969)

Faun and the Maiden  c.1930

Pen & ink

Signed lower centre

17 x 23.5cm (frame opening size)

$3,500 - 5,000

Provenance:

Deutcher Menzies 11/3/04

87

Norman Lindsay (1879 - 1969)

(i)  Her Extravagant Love for the Canon

Pen & ink

Signed with initials, lower centre

20 x 19cm (frame opening size)

$3,000 - 5,000

Published:

p.140 Tales from The Heptameron of Marguerite of Navarre

Publisher: Melbourne University Press 1976

(ii)  This lot includes a copy of the above book,

being number 49 of 1,000 printed.

88

Norman Lindsay (1879 - 1969)

A Cat Which I Want to Sell Also

Pen & ink

Signed with initials, lower centre

21.5 x 17cm (frame opening size)

$4,000 - 7,000

Provenance:

Bloomfield Galleries label verso

Published:

p.152 Tales from The Heptameron of Marguerite of Navarre

Publisher: Melbourne University Press 1976

89

Norman Lindsay (1879 - 1969)

(i)  Preliminary study for the cover of the book,

Age of Consent.  First published 1938.

Pencil

22.5 x 14.5cm

$2,500 - 4,000

Provenance:

Bloomfield Galleries label verso

(ii)  This lot includes 1951 edition of the above book

by Norman Lindsay, published by Werner Laurie, London

90

Norman Lindsay (1879 - 1969)

Three Girls Bathing  c.1934

Pencil

30.5 x 24.5cm

$3,000 - 5,000

Provenance:

Bloomfield Galleries label verso

91

Norman Lindsay (1879 - 1969)

(i)  Men Will I Think, Remember Me 1924

Etching & stipple

Edition of 70

8.3 x 8.3cm

$2,000 - 3,000

Published:

A Homage to Sappho 1928, page 26

(ii)  This lot includes the framed associated text

92

Norman Lindsay (1879 - 1969)

(i)  Stand a While Among Your Playmates 1924

Etching & stipple

Edition of 70

7.6 x 7.6cm

$2,000 - 3,000

Published:

A Homage to Sappho 1928, page 34

(ii)  This lot includes the framed associated text

93

Norman Lindsay (1879 - 1969)

(i)  Love is Child of the Earth & Heaven 1924

Etching & stipple

Edition of 70

9.2 x 9.2cm

$2,000 - 3,000

Published:

A Homage to Sappho 1928, page 28

(ii)  This lot includes the framed associated text

94

Norman Lindsay (1879 - 1969)

A Homage to SapphoTitle Page 1924

Etching & stipple

18.9 x 13.1cm

$1,500 - 2,500

Published:

Title page for A Homage to Sappho, published 1928

95

Norbertine Bresslern-Roth (1891 - 1978)

Bulldog

Woodcut

Signed in margin

15 x 15cm

$200 - 350

96

Norbertine Bresslern-Roth (1891 - 1978)

Donkeys with Robed Riders

Woodcut

Signed in margin

24 x 21.5cm

$300 - 500

97

Jeannie Pitjara Petyarre (b. 1951)

Yam Leaf Dreaming

Language Group: Anmatyerre

Region: Central Desert , Utopia

Acrylic on canvas

Inscribed “Jeannie Pitjara” verso

123 x 129cm

$2,500 - 3,500

Accompanied with a Certificate of Authenticity and a CD showing the artist painting this artwork

Provenance:

IndigeArt Alice Springs

Represented:

National Gallery of Australia, Canberra

Holmes-a-Court Collection, Perth

98

Barbara Reid Napangardi (b. circa 1964)

Grandmother’s Dreaming

Region: Tjukurla

Acrylic on canvas

Inscribed “Barbara Reid” verso

122 x 144cm

$2,800 - 3,800

Accompanied with a Certificate of Authenticity and a CD showing the artist painting this artwork

Provenance:

IndigeArt Alice Springs

99

Ningura Napurrula (b. 1938)

Women’s Dreaming

Language Group: Pintupi

Region: Pintupi; Walungurra , Northern Territory

Acrylic on Belgian linen

205 x 145cm

$9,000 - 12,000

Accompanied with a Certificate of Authenticity and a CD showing the artist with this artwork

Provenance:

Altjira, Alice Springs

Represented:

National Gallery of Australia , Canberra

Art Gallery of NSW

National Gallery of Victoria

Queensland National Art Gallery

Museum and Art Gallery Darwin , Northern Territory

Musee du quai Branly, Paris , France

National Museum of Women in the Arts, Washington , USA

2002 Australia Post $1.10 stamp

100

Guy Edward Grey-Smith (1916 - 1981)

Still Life

Oil

Signed lower right

60 x 43cm

$3,000 - 5,000

Lots 101 - 200