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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 © Courtesy of PA Durack Clancy & MF Clancy
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 © Courtesy of PA Durack Clancy & MF Clancy
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 © Courtesy of PA Durack Clancy & MF Clancy
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

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