Australian & International Art
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<strong>Australian</strong> &<br />
<strong>International</strong> <strong>Art</strong><br />
Melbourne, Monday 15 June 2020
Jennifer Gibson<br />
CEO & Head of Valuations<br />
Jennifer.Gibson@gibsonsauctions.com.au<br />
Elliott Hughes<br />
Auctions Manager & Specialist<br />
Elliott.Hughes@gibsonsauctions.com.au<br />
Deanna Baxter<br />
Business Manager<br />
Deanna.Baxter@gibsonsauctions.com.au<br />
Simon Gibson<br />
CFO<br />
Simon.Gibson@gibsonsauctions.com.au<br />
Marilla O’Sullivan<br />
Auction Assistant<br />
Marilla.Osullivan@gibsonsauctions.com.au<br />
Ann Roberts<br />
Consultant Specialist<br />
Asian <strong>Art</strong><br />
Elizabeth Stannard<br />
Consultant Specialist<br />
Jewellery<br />
Phil Gore<br />
Consultant Specialist<br />
Clocks, Watches & Barometers<br />
ORRONG RD<br />
IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIII<br />
OSMENT ST<br />
03 9500 2607<br />
gibsonsauctions.com.au<br />
Auction, Viewing and<br />
Payment & Collections<br />
Level 1, 885-889 High St<br />
Armadale, Victoria 3143<br />
HIGH ST<br />
SUTHERLAND RD<br />
KOOYONG RD<br />
LE ST<br />
HAMPDEN RD ASHLEIGH RD<br />
MT PLEASANT GROVE<br />
NEW ST<br />
AUBURN GROVE<br />
DENBIGH RD<br />
NORTHCOTE RD<br />
CHEEL ST
FRONT COVER:<br />
Lot 39 (Detail)<br />
BACK COVER:<br />
Lot 148<br />
<strong>Australian</strong> &<br />
<strong>International</strong><br />
<strong>Art</strong><br />
Auction<br />
Monday 15 June 2020, 6.30pm<br />
Level 1, 885-889 High Street<br />
Armadale, Victoria 3143<br />
Viewing (By Appointment)<br />
Friday 12 June<br />
Saturday 13 June<br />
Sunday 14 June<br />
10.00am – 5.00pm<br />
10.00am – 5.00pm<br />
10.00am – 5.00pm<br />
Auction Code: GA015<br />
GST<br />
† Lots with this symbol are subject<br />
to GST on the hammer price and the<br />
buyer’s premium.<br />
Buyer’s Premium<br />
Buyer’s Premium is charged at 22%<br />
of the hammer price plus GST. GST is<br />
applicable to the buyer’s premium only,<br />
unless otherwise indicated by the †<br />
symbol.<br />
Registration<br />
To register to bid at Gibson's<br />
Auctioneers & Valuers an accredited<br />
form of photo identification is required.<br />
This applies to bidding in person at<br />
the auction, Telephone, Absentee and<br />
Online bidding.<br />
Resale Royalty Scheme<br />
Lots subject to payment of the <strong>Art</strong>ist's<br />
Resale Royalty Scheme will be denoted<br />
by the symbol §. The <strong>Australian</strong> Resale<br />
Royalty is a flat rate of 5% on the<br />
hammer price (including GST) and is<br />
payable by the seller.<br />
Restricted or Organic Material<br />
♦ Lots with this symbol have been<br />
identified at the time of cataloguing<br />
as containing organic material which<br />
may be subject to export or import<br />
restrictions. The absence of this<br />
symbol is not a guarantee that export<br />
or import restrictions will not apply. See<br />
www.cites.org for further information.<br />
Payments & Collections<br />
Can be made from:<br />
Level 1, 885-889 High Street,<br />
Armadale, Vic 3143<br />
Tuesday 16 June<br />
Wednesday 17 June<br />
Thursday 18 June<br />
10am–5pm<br />
10am–5pm<br />
10am–5pm<br />
All goods must be collected and paid in<br />
full by 5pm on Thursday 18 June (unless<br />
by prior arrangement) to avoid removal<br />
and storage charges.<br />
All payments are to be made in<br />
<strong>Australian</strong> Dollars (AU$).<br />
Please refer to the methods of payment<br />
in the HOW TO BUY section on the<br />
following pages.<br />
Credit card surcharges apply – 1.2%<br />
(incl GST) for Visa and Mastercard and<br />
3% (incl GST) for American Express.
2<br />
How to Buy<br />
All you need to know about the bidding process at auction<br />
Viewing<br />
Catalogues<br />
Online catalogues can be viewed at<br />
www.gibsonsauctions.com.au approximately three weeks<br />
prior to the auction date.<br />
Complimentary printed catalogues are available at Gibson’s<br />
Auctioneers & Valuers.<br />
Symbols<br />
Occasionally, a symbol is printed next to a lot number,<br />
indicating a special clause associated with the sale of the<br />
item/s. Further information on symbols within our catalogues<br />
can be found on Page 1.<br />
Viewing<br />
Auction viewings are open to the public and usually take place<br />
three or four days prior to the auction date, at the location/s<br />
listed in the auction catalogue and on the website.<br />
Lot Descriptions<br />
Lot Descriptions provide basic catalogue information such<br />
as dimensions, date or age, medium, attribution, provenance<br />
and quantity.<br />
All lots are guaranteed for fourteen (14) days from the<br />
auction date.<br />
Estimates<br />
Estimates are printed in the catalogue beside every lot and<br />
take into account rarity, condition, quality and provenance.<br />
The reserve is the amount at which the item is available for<br />
purchase. The reserve is an undisclosed confidential amount<br />
which is set at, or below the low estimate.<br />
The reserve will never exceed the low estimate at Gibson’s<br />
Auctioneers & Valuers. Many lots are sold without reserve.<br />
Talk to our Specialists<br />
Gibson’s Auctioneers & Valuers are an experienced team of<br />
specialists who are available to discuss items in further detail,<br />
and to offer advice and assistance.<br />
Contact details for relevant specialists can be found on the<br />
inside front cover our auction catalogues and on our website.<br />
Condition Reports<br />
Condition Reports are available on request. Condition Reports<br />
supplement the lot description and provide information on the<br />
condition of an item.<br />
We strongly advise obtaining a condition report if you are<br />
unable to view an item in person prior to the auction.<br />
To request a condition report please email<br />
condition.reports@gibsonsauctions.com.au with the auction<br />
title and lot number/s.<br />
Bidding<br />
Gibson’s Auctioneers & Valuers offer four bidding options:<br />
1. Auction Room Bidding<br />
To bid in person we suggest you arrive early so that you<br />
have sufficient time to register for a bidding number prior<br />
to the auction. If this is your first time bidding with Gibson’s<br />
Auctioneers & Valuers please bring photo identification, such<br />
as a driver’s licence or passport with you.<br />
2. Telephone Bidding<br />
Gibson’s Auctioneers & Valuers offer telephone bidding on all<br />
lots, at all auctions.<br />
Telephone Bidding is a convenient solution if you are unable to<br />
attend an auction in person. A Gibson’s Auctioneers & Valuers<br />
staff member will call you approximately 5 lots in advance and<br />
with your instruction, bid on your behalf at the auction.<br />
Please note: Telephone Bids must be organised at least 24<br />
hours prior to the auction and that occasionally, the number<br />
of telephone bidders available may be restricted when the<br />
auction is offsite.<br />
To organise a Telephone Bid please follow the link<br />
to the Telephone Bidding form on our website:<br />
www.gibsonsauctions.com.au.<br />
Please fill in & return via email to mail@gibsonsauctions.com.au<br />
If this is your first time bidding with Gibson’s Auctioneers &<br />
Valuers, an email address is to be supplied when you submit<br />
your Telephone Bid, along with clear Photo ID verifying<br />
your address.
3<br />
3. Absentee Bids<br />
Absentee Bidding is another convenient solution if you<br />
are unable to attend an auction in person, to speak on the<br />
telephone or if you simply have a strict budget.<br />
An Absentee Bid should be set at the maximum amount<br />
you wish to bid on the lot/s you are interested in purchasing.<br />
Should the lot/s be knocked down at an amount lower than<br />
the bid recorded on your form, the lot will be sold to you for<br />
the lesser hammer price.<br />
Please note Absentee Bids must be received at least 24 hours<br />
prior to the auction to allow time for processing.<br />
To organise an Absentee Bid please follow the link to<br />
the Absentee Bidding form available on our website:<br />
www.gibsonsauctions.com.au.<br />
Please fill in & return via email to mail@gibsonsauctions.com.au<br />
If this is your first time bidding with Gibson’s Auctioneers<br />
& Valuers, an email address is to be supplied when you<br />
submit your Absentee Bid, along with clear Photo ID verifying<br />
your address.<br />
4. Online Bidding<br />
Online bidding allows you to bid via the internet in real<br />
time with a live broadcast of the auction. To bid online visit<br />
our website and follow the ‘Live Bidding’ link under the<br />
‘Auctions’ tab.<br />
Please register for this service at least 24 hours prior to the<br />
auction to ensure you do not miss your lot.<br />
Please note online bidding is powered by Invaluable.com and<br />
so will incur a 5% fee on successful lots.<br />
If you have not bid with Gibson’s Auctioneers & Valuers<br />
previously, a photo ID verifying your address will be<br />
required before you can be approved to bid. Please email to<br />
mail@gibsonsauctions.com.au as soon as practical.<br />
<strong>International</strong> Bidding<br />
If you are bidding from overseas for the first time, you will be<br />
asked to provide a clear Photo ID verifying your address and<br />
a deposit (set at Gibson’s Auctioneers & Valuers’ discretion)<br />
prior to the auction. The deposit is refundable within 48<br />
hours should you not be successful. If you are successful<br />
the deposit will be deducted from your invoice total. The<br />
remaining balance must be paid preferably by direct deposit.<br />
Bank details are provided in the Payment & Collection section<br />
of this guide.<br />
Payment & Collection<br />
Payments<br />
If you are successful an invoice (AU$) will be emailed or<br />
posted to you immediately after the auction.<br />
You will pay the hammer price, plus the buyer’s premium<br />
(22% plus GST) on each Lot, together with any additional<br />
applicable charges such as GST on hammer.<br />
Payments must be made in full by the final day of Collections<br />
as printed in the catalogue.<br />
Bank Transfer/Direct Deposit is our preferred method<br />
of payment:<br />
Account Name: Gibsons Auctions<br />
Bank:<br />
Bank of Melbourne (A division of St George)<br />
BSB: 193879<br />
Account No: 441701443<br />
Swift Code: SGBLAU2S<br />
Routing Code: 021000021<br />
Bank Address: 197-201 Glenferrie Road, Malvern, Vic, 3144<br />
• Personal, Company and Bank Cheques are not accepted<br />
without prior approval.<br />
• Eftpos (no charge).<br />
• Credit cards: Visa and Mastercard (1.2% inc GST merchant<br />
fee) and American Express (3% inc GST merchant fee).<br />
• Please note that credit card transactions over $5,000<br />
will not be accepted over the telephone unless by prior<br />
arrangement.<br />
• Cash payments up to AU$10,000 can be accepted. For any<br />
amount over this, cash is to be deposited directly into our<br />
account at a Bank of Melbourne/St George branch.<br />
Collections<br />
Gibson’s Auctioneers & Valuers are happy to assist and<br />
provide you with recommended transport companies whether<br />
it be a local, interstate or international delivery.<br />
Storage<br />
All items must be paid for and collected within the collection<br />
times advertised for each individual auction. If items are not<br />
collected within this time-frame, Gibson’s Auctioneers &<br />
Valuers reserve the right to charge removal and storage fees.
4<br />
1<br />
2 3
5<br />
1<br />
DOROTHY BRAUND<br />
(1926-2013)<br />
Beach Figures 1991<br />
oil on board<br />
signed and dated lower<br />
left: Braund ‘91<br />
61 x 91cm<br />
$4,000–6,000<br />
2<br />
WILLIAM BOISSEVAIN<br />
(BORN 1927)<br />
Studio Nude<br />
watercolour and charcoal<br />
signed lower right: W Boissevain<br />
75 x 54.5cm<br />
$600–800<br />
3<br />
CHARLES BLACKMAN<br />
(1928-2018)<br />
Felix 2003<br />
watercolour<br />
signed and dated lower left and right:<br />
BLACKMAN 2003<br />
71 x 51cm<br />
$2,500–3,500<br />
4<br />
ROBERT DICKERSON<br />
(1924-2015)<br />
Family Pet<br />
pastel<br />
signed lower right: DICKERSON<br />
75.5 x 55.5cm<br />
PROVENANCE<br />
Schubert Galleries, Gold Coast<br />
$5,000–6,000<br />
4
6<br />
5<br />
ALBERT HENRY FULLWOOD<br />
(BRITAIN, AUSTRALIA,<br />
1863-1930)<br />
Narrara Creek, 1893<br />
watercolour<br />
signed, titled and dated lower right:<br />
A. H. FULLWOOD, 93 NARRARA CREEK<br />
34.8 x 51cm<br />
$1,200–1,500<br />
5<br />
6<br />
CHARLES WHEELER (1880-1977)<br />
Untitled (Mooring on<br />
the River Thames)<br />
oil on canvas<br />
signed lower left: C Wheeler<br />
45 x 60cm<br />
PROVENANCE<br />
The Estate of the late Charles Wheeler<br />
$600–800<br />
6<br />
7<br />
LEONARD LONG (1911-2013)<br />
Summer at the High Range,<br />
Mittagong, 1959<br />
oil on canvasboard<br />
signed and dated lower right:<br />
Leonard Long 59<br />
titled verso: Summer at<br />
High Range, Mittagong<br />
51 x 61 cm<br />
PROVENANCE<br />
<strong>Art</strong>lovers Gallery, <strong>Art</strong>armon NSW<br />
(label attached verso)<br />
Antiques & Fine <strong>Art</strong>, Cordy’s,<br />
Auckland, 16 June 2015, lot 682<br />
Private collection, Melbourne<br />
$800–1,200<br />
7
7<br />
8<br />
8<br />
JAMES RANALPH JACKSON<br />
(1882-1975)<br />
Moorland Downs,<br />
Near Wanaaring 1954<br />
oil on canvas on board<br />
signed and dated lower right:<br />
JAMES R JACKSON 54<br />
55 x 75cm<br />
$3,000–5,000<br />
9<br />
HAROLD SEPTIMUS POWER<br />
(1878-1951)<br />
Thatched Cottage and Flowers<br />
oil on canvas on board<br />
signed lower left: HS POWER<br />
38.5 x 28cm<br />
$400–600<br />
10<br />
LEON HANSON (1918-2011)<br />
Constitution Dock, Hobart<br />
oil on canvas board<br />
signed lower left: Leon Hanson<br />
inscribed and titled verso: Constitution<br />
Dock Hobart. / Tasmania<br />
29.5 x 36.5cm<br />
$200–400<br />
11<br />
DAVID TAYLOR (BORN 1941)<br />
Sun Through the Mist Yarra Glen<br />
watercolour<br />
signed lower right: D Taylor<br />
25.5 x 31cm<br />
$400–600<br />
12<br />
HAROLD B HERBERT<br />
(1892-1945)<br />
Haystacks<br />
watercolour<br />
signed lower right: HAROLD HERBERT<br />
21.5 x 31cm<br />
$250–450<br />
13<br />
CHARLES F MUDIE<br />
(ACTIVE CIRCA1904-1934)<br />
Cottage in the Dandenongs<br />
oil on canvas on board<br />
signed lower right: C F MUDIE<br />
40.5 x 55.5cm<br />
$800–1,200
8<br />
14<br />
14<br />
HERMAN PEKEL (BORN 1956)<br />
Blue Sunday, St Kilda<br />
oil on paper<br />
signed lower right: PEKEL<br />
28 x 73.5cm<br />
$800–1,200<br />
15<br />
15<br />
NAYLOR GILL<br />
(1873 - CIRCA 1945)<br />
Passing of the Stage Coach<br />
oil on board<br />
signed lower left: Naylor Gill<br />
52.5 x 76cm<br />
$1,200–1,500<br />
16<br />
ISAAC WALTER JENNER<br />
(1837-1902)<br />
Fishermen Waiting for<br />
Clear Weather<br />
watercolour<br />
signed lower right: W Jenner<br />
62 x 87cm<br />
$2,500–4,000<br />
16
9<br />
17<br />
17<br />
ALEXANDER COLQUHOUN<br />
(1862-1941)<br />
Sandringham Beach 1899<br />
oil on canvas<br />
signed lower right: A Colquhoun<br />
19 x 49.5cm<br />
$500–800<br />
18<br />
ALFRED COFFEY (1869-1950)<br />
The White Stone House<br />
oil on board<br />
signed lower left: ALFRED COFFEY<br />
25 x 30.5cm<br />
$400–600<br />
18<br />
19<br />
DAVID TAYLOR (BORN 1941)<br />
Tram Stop Albert Park<br />
watercolour<br />
signed lower right: D Taylor<br />
36 x 53.5cm<br />
$500–800<br />
19
10<br />
20<br />
JASON BENJAMIN (BORN 1971)<br />
We Can’t Stop This Now 2002<br />
oil on canvas<br />
signed, dated and titled verso: we can’t<br />
stop this now / Benjamin / Oct 02<br />
40 x 50cm<br />
$1,200–1,800<br />
20<br />
21<br />
FRASER FAIR (BORN 1949)<br />
The River 1979<br />
oil on canvas<br />
signed and dated lower right:<br />
FRASER FAIR 1979<br />
101.5 x 90.5cm<br />
$1,000–1,500<br />
22<br />
LAWRENCE DAWS (BORN 1927)<br />
Landscape Under Eclipse<br />
oil on board<br />
signed lower right: DAWS<br />
22 x 18.cm<br />
$600–800<br />
21
11<br />
23 24<br />
23<br />
MARY (MCLEISH) COURIER<br />
(1912-1970)<br />
Emanation<br />
oil on board<br />
monogram to lower right: MC<br />
titled verso: EMANATION<br />
121 x 91cm<br />
$1,000–1,500<br />
24<br />
MARY (MCLEISH) COURIER<br />
(1912-1970)<br />
Portrait of Sam Fullbrook<br />
oil on foil on board<br />
signed lower right: ME. Courier<br />
titled verso: Sam Fullbrook<br />
91 x 60.5cm<br />
$1,500–2,500<br />
25<br />
MARY (MCLEISH) COURIER<br />
(1912-1970)<br />
Gold Abstract<br />
mixed media on board<br />
signed lower right: ME COURIER<br />
titled verso: GOLD ABSTRACT<br />
61 x 51cm<br />
$300–500<br />
26<br />
DANILA VASSILIEFF (1897-1958)<br />
Portrait of a Lady<br />
watercolour and gouache<br />
29.5 x 30.5cm<br />
$500–800<br />
27<br />
SIDNEY NOLAN (1917-1992)<br />
Acteon 1966<br />
ripolin on paper<br />
signed and dated lower right:<br />
Nolan 5 Oct 1966<br />
signed, dated and titled verso:<br />
Nolan 5t Oct 1966 Acteon<br />
63.5 x 52cm<br />
$2,500–3,500<br />
28<br />
SIDNEY NOLAN (1917-1992)<br />
Voznesensky, Goya 1967<br />
ripolin on paper<br />
signed titled and dated verso: Nolan<br />
26 May 67 Voznesensky, Goya<br />
63.5 x 50.5cm<br />
$2,500–3,500
12<br />
29<br />
FRANK HINDER (1906-1992)<br />
Trial Saint Joan 1962<br />
pastel<br />
signed and dated lower<br />
right: FC HINDER 62<br />
inscribed with title and date verso: “Trial”<br />
St Joan ‘(Bonython Hall) Adelaide 1962<br />
44 x 58.5cm<br />
$600–800<br />
29<br />
30<br />
ROBERT DICKERSON<br />
(1924-2015)<br />
Girl in Blue Dress<br />
pastel on paper<br />
signed lower right: Dickerson<br />
54 x 36cm<br />
PROVENANCE<br />
<strong>Art</strong> Galleries Schubert, Queensland<br />
<strong>Australian</strong> & European Paintings,<br />
Elder Fine <strong>Art</strong>, Adelaide,<br />
7 August 2005, Lot 82<br />
Fine <strong>Australian</strong> & <strong>International</strong> Fine<br />
<strong>Art</strong> - Day 1, Mossgreen Auctions,<br />
Melbourne, 29 August 2016, Lot 75<br />
$6,000–8,000<br />
31<br />
CLIFTON PUGH (1924-1990)<br />
An Old Fence 1989<br />
oil on board<br />
dated and signed lower right:<br />
22.5.89 / Clifton<br />
117 x 90cm<br />
PROVENANCE<br />
<strong>Australian</strong> Galleries, Melbourne<br />
Private Collection, Melbourne<br />
Deutscher-Menzies, <strong>Australian</strong> Modern<br />
Masters and 19th & 20th Century<br />
Fine <strong>Australian</strong> and <strong>International</strong> <strong>Art</strong>,<br />
Melbourne, 3 May 2000, Lot 125<br />
Private Collection, Queensland<br />
$12,000–15,000<br />
30
13<br />
31
14<br />
32<br />
ANNA SARAH COLLARD<br />
(1828-1904)<br />
Mustering Cattle 1890<br />
watercolour<br />
signed and dated lower right:<br />
ASR Collard February 1890<br />
27.5 x 37.5cm<br />
$1,000–2,000<br />
32<br />
33<br />
BENJAMIN E MINNS (1864-1937)<br />
Midday Rest 1929<br />
watercolour<br />
signed and dated lower right:<br />
B E MINNS 1929<br />
titled and inscribed verso:<br />
Midday Rest BE MINNS<br />
31 x 38.5cm<br />
$2,000–3,000<br />
34<br />
J H CARSE (1819?-1900)<br />
Herding Sheep and Cattle<br />
oil on canvas<br />
signed lower centre: J H Carse<br />
49.5 x 75cm<br />
$2,500–4,000<br />
33<br />
35<br />
ISAAC WALTER JENNER<br />
(1837-1902)<br />
Ship Wreck at Sunrise<br />
oil on board<br />
signed lower left: W Jenner<br />
15 x 22.5cm<br />
$600–1,000<br />
36<br />
ARTHUR MURCH (1902-1989)<br />
Untitled (At the Beach)<br />
oil on board<br />
signed lower left: MURCH<br />
signed and addressed verso: Murch<br />
Avalon BCL Beach, Palm Shore Road<br />
27 x 16.5cm<br />
$1,500–2,500<br />
34
15<br />
36 37<br />
37<br />
NEW ZEALAND SCHOOL<br />
Portrait of a Maori Chief 1937<br />
oil on canvas<br />
29.5 x 24cm<br />
$3,000–5,000<br />
38<br />
EDWARD DAVIS<br />
(ACTIVE 1900-1925)<br />
Fishing at the Stream,<br />
South Australia 1918<br />
oil on canvas<br />
signed dated lower right: E DAVIS 18<br />
69.5 x 59.5cm<br />
$600–1,000<br />
38
16<br />
39<br />
FREDERICK WOODHOUSE SENIOR (1820-1909)<br />
Mr Thomas Chirnside’s ‘General’ 1863<br />
oil on canvas on board<br />
signed and dated lower right: Fred Woodhouse 1863<br />
44.5 x 59cm<br />
$20,000–30,000<br />
PROVENANCE<br />
The Family of Alexander McGregor Grant<br />
Alexander McGregor Grant (1888-1973) was born in<br />
Casterton, Victoria.<br />
After completing a medical degree at the University of<br />
Melbourne, in 1910 Grant moved to New Zealand to take up<br />
the position of house surgeon.<br />
He trained his first New Zealand horse “Pendoon” secretly in<br />
the hospital grounds and rode it to victory at a hunt meeting<br />
at Ellerslie in 1914.<br />
In 1915 he became medical superintendent. Later that<br />
year he attached himself to the field ambulance in France<br />
as captain. Soon after arriving in Auckland, Grant, a keen<br />
horseman joined the Pakurana hunt where he had success as<br />
an amateur rider.<br />
His medical colleagues looked down on his love of horses<br />
regarding horse racing as a thing for villains. Grant became<br />
a member of the Auckland Racing Club in 1919, was elected<br />
to the committee in 1921 and became President in 1933 a<br />
post he held until 1968. He owned over 100 horses in his time,<br />
many of them successful racers although three attempts at<br />
the Melbourne cup were unsuccessful.<br />
On his retirement he was honoured by a special race meeting<br />
and one of the four premier steeplechase races in New<br />
Zealand, the McGregor Grant steeplechase was named in<br />
his honour.<br />
His son Jack succeeded his father on the Committee at the<br />
Auckland Racing Club and confirmed the family involvement<br />
in horse breeding and racing.<br />
NOTE<br />
<strong>Australian</strong> Racing Museum & Hall of Fame<br />
Frederick Woodhouse was already a noted artist when he<br />
arrived in Australia in 1858, quickly establishing himself as an<br />
equine artist and gaining favour for his work.<br />
The portrait consists of bearded gentleman carrying both<br />
horse rug (with full hood) and wine(?) bottle, and with red<br />
cloth/handkerchief protruding from jacket pocket. Jockey is<br />
mounted and wearing racing colours of blue jacket with black<br />
cap. Horse is a bay gelding or stallion.<br />
Owner<br />
The jockey colours of blue jacket and black cap indicate the<br />
horse was raced by Mr Thomas Chirnside (1815 – 1887).<br />
Chirnside arrived in Australia in 1839, and by the time of the<br />
1851 gold rush had settled by the Werribee river. By 1863, 47<br />
year old Chirnside was well established. He had constructed<br />
a substantial blue stone home on the Werribee property<br />
and with his brother Andrew had amassed land holdings<br />
across Victoria. Construction of the heritage listed, Italianate<br />
sandstone mansion would begin later, in the 1870s.<br />
Thomas Chirnside did not marry, and suffering from<br />
depression, died by suicide in 1887.<br />
Racecourse<br />
It is likely the scene depicted is that of Flemington racecourse.<br />
Although the first Melbourne Cup was run there in 1861,<br />
it was not until the formation of Victoria Racing Club and<br />
appointment of Secretary Robert Cooper Bagot in 1864 that<br />
the developments that shape the course as we know it today<br />
were undertaken; turf improvements, draining of the swamp<br />
and grandstand construction.<br />
Horse<br />
The limited racing records available for the period of the<br />
painting have posed some challenges in attempting to<br />
identify the horse depicted, however searches of newspapers<br />
available online via the National Library’s Trove portal have<br />
proved useful. ARM staff compiled a list of horse names<br />
connected to the Chirnside family via race results and<br />
newspaper articles, recording gender, age and colouring. All<br />
non-bay horses were eliminated from consideration, as were
17<br />
39<br />
mares and fillies. A further comparison was done to available<br />
race results to identify horses that had found success in their<br />
recent racing histories.<br />
Our research indicates one strong contender. The horse<br />
is likely to be Mr Thomas Chirnside’s bay gelding, General.<br />
In 1862 General (previously known as Major General)<br />
achieved success in the Geelong 1000 sovs Steeplechase<br />
match race, Victorian Turf Club Handicap Steeple, and the<br />
Victorian Jockey Club Handicap Hurdle Race (forerunner to<br />
the VRC Cup Hurdle) before retiring aged 7 in 1863. Both<br />
the prominence of races won and his retirement date have<br />
contributed to our conclusion.<br />
1862 Wins<br />
General; Mr T Chirnside’s b g, aged, previously known<br />
as Major General<br />
29th Jan 1862: 1st Geelong Steeplechase 1000 sovs<br />
(500 each) match race<br />
29th March 1862: 1st Victorian Turf Club Handicap Steeple<br />
17th Oct 1862: 1st Victorian Jockey Club Handicap Hurdle Race<br />
Jockey<br />
Identifying the jockey is more difficult. Assuming we have<br />
correctly identified the horse, it falls to reason that the jockey<br />
will be one connected with the win. General was ridden by<br />
Robinson in both the Geelong Steeple Match Race and the<br />
Victoria Turf Club Handicap Steeple. Wakefield was jockey for<br />
the for the Victoria Jockey Club Handicap Hurdle.<br />
Trainer<br />
Identification of the gentleman standing beside the horse<br />
and carrying rug and bottle is also uncertain. It is known that<br />
Thomas Chirnside trained his own horses, but we cannot say<br />
with any certainty that he has been included in the portrait.<br />
The clothing and attitude give an impression of a worker,<br />
rather than gentry, and while there are some facial similarities<br />
between this and a later portrait of Chirnside, the youthful<br />
appearance of the subject is somewhat at odds with his 47<br />
years at the date of painting.
18<br />
40<br />
40<br />
GUY WILKIE WARREN<br />
(BORN 1921)<br />
Pathway to the Chalet of Delights,<br />
2003<br />
oil on canvas<br />
signed and dated lower right:<br />
Guy Warren 03<br />
inscribed and titled verso:<br />
GUY WARREN “PATHWAY TO THE<br />
CHALET OF DELIGHTS” CAT NO: 1623<br />
90 x 119.5cm<br />
PROVENANCE<br />
Axia Modern <strong>Art</strong>, Melbourne<br />
EXHIBITED<br />
Guy Warren, New Paintings & Book<br />
Launch, Axia Modern <strong>Art</strong>, November<br />
13 - December 2, 2003, cat no. 18<br />
$2,000–3,000<br />
42<br />
41<br />
KEVIN CHARLES (PRO) HART<br />
(1928-2006)<br />
Ant<br />
oil on board<br />
signed lower centre: PRO HART<br />
9 x 12cm<br />
$400–600
19<br />
43<br />
42<br />
BRYAN WESTWOOD (1930-2000)<br />
Cliff Face<br />
oil on board<br />
121 x 121.5cm<br />
PROVENANCE<br />
Corporate Collection, Melbourne<br />
$1,500–2,500<br />
43<br />
SIDNEY NOLAN (1917-1992)<br />
Snow Landscape, 1959<br />
oil on board<br />
signed lower right: Nolan<br />
signed, dated and titled verso:<br />
Nolan 1959 Snow Landscape<br />
inscribed verso: To MAX GRANICK<br />
/ 52W56 / for DURLACHER BROS<br />
75 x 90cm<br />
PROVENANCE<br />
Rex Evans Gallery, Los<br />
Angeles (label verso)<br />
Corporate Collection, Melbourne<br />
$30,000–50,000
20<br />
44<br />
LIEUT. HENRY R. BOWERS<br />
(1883-1912)<br />
The Five at the South Pole,<br />
circa 1912<br />
silver gelatin photograph<br />
bears authenticity label verso:<br />
THE FIVE AT THE SOUTH POLE<br />
This is a genuine photographic print<br />
made direct from the original negative<br />
taken by Lieut. Henry R. Bowers<br />
during Capt. Scott’s Exhibition to<br />
the South Pole. Further inscribed<br />
Paul Popper Photographic Agency,<br />
14-18 High Holborn, London, WC1’<br />
20 x 25.5 cm<br />
$1,000–1,500<br />
44<br />
45<br />
45<br />
ALFRED GREGORY (1913-2010)<br />
Hillary & Tenzing at 28000<br />
ft 1953/1970s<br />
silver gelatin photograph<br />
titled signed and dated in pen on verso<br />
titled signed in pencil on verso, signed<br />
in pen on lower right on image<br />
26 x 39 cm<br />
Everest Pub. RGS 2013 p.250<br />
Everest Summit of Achievement<br />
Pub. RGS 2003 p.177<br />
Alfred Gregory Photographs from Africa<br />
to Everest Pub. Penguin 2007 p.64<br />
$2,000–3,000<br />
46<br />
ALFRED GREGORY (1913-2010)<br />
Nuptse from South Col 1953/1953<br />
vintage dye transfer photograph<br />
signed and dated in pencil on verso<br />
titled and dated in pen on verso<br />
33 x 22 cm<br />
$800–1,000<br />
47<br />
LEWIS HINE<br />
(AMERICAN 1874-1940)<br />
Miners circa 1913<br />
reprinted circa 1975<br />
silver gelatin print<br />
12.5 x 17.5cm<br />
$600–800<br />
46
21<br />
48 49<br />
48<br />
FRANK HURLEY (1885-1962)<br />
Looking Towards the Western<br />
Mounts on a Calm Evening<br />
silver gelatin print<br />
titled verso: Looking towards the<br />
western mts on a calm evening<br />
16.5 x 11.5cm<br />
$1,200–1,500<br />
49<br />
FRANK HURLEY (1885-1962)<br />
Haunt of the Wild Duck,<br />
Northern Territory 1914<br />
photograph<br />
58.5 x 42.5cm<br />
PROVENANCE<br />
The Collection of Sir Douglas Mawson<br />
Michael Treloar Antiquarian<br />
Booksellers, Adelaide<br />
$5,000–8,000<br />
50<br />
BILL HENSON (BORN 1955)<br />
Untitled 1983/84<br />
photograph<br />
signed, titled, dated and numbered<br />
verso: image number: ‘LAT-46’<br />
Print Number 3/10 ‘Untitled<br />
1983/84’ Bill Henson<br />
78 x 63cm<br />
LITERATURE<br />
Haywood, Michael, Bill Henson<br />
Photographs, Introduction by<br />
David Malouf, Pan Books, Sydney,<br />
1988, illustrated page 93<br />
$10,000–15,000<br />
51<br />
ALFRED GREGORY (1913-2010)<br />
Summit of Mt Everest 1953/1953<br />
vintage silver gelatin<br />
titled signed dated in pen on verso<br />
signed titled dated in pencil on verso<br />
24 x 35 cm<br />
$600–800<br />
52<br />
ALFRED GREGORY (1913-2010)<br />
South Col, Lhotse face from<br />
Western Cwm with Hunt<br />
and porter 1953/1985<br />
vintage colour photograph<br />
on fuji chrome paper<br />
titled signed dated in pen on verso<br />
signed titled dated in pencil on verso<br />
24 x 35 cm<br />
$600–800<br />
53<br />
ALFRED GREGORY (1913-2010)<br />
To Himnoch base camp<br />
1953/1970s<br />
silver gelatin photograph<br />
titled, signed and dated in pen on<br />
verso, titled, studio label to verso<br />
signed in pen on L.R on image<br />
20.5 x 20 cm<br />
Alfred Gregory Photographs from Africa<br />
to Everest Pub. Penguin 2007 p.19<br />
$1,000–1,200
22<br />
54<br />
ELSIE E MIDDLETON<br />
(1876-1950)<br />
Conveying Water to the<br />
Homestead, Tasmania 1925<br />
oil on canvas on board<br />
signed and dated lower right:<br />
Elsie E Middleton 1925<br />
inscribed verso: Conveying<br />
Water to the Homestead<br />
(Tasmania) Elsie E Middleton<br />
48 x 58.5cm<br />
$800–1,200<br />
54<br />
55<br />
RAYMOND MCINTYRE<br />
(NEW ZEALAND 1879-1933)<br />
Dunedin Street Scene, circa 1907<br />
oil on canvas on board<br />
signed lower right: McIntyre<br />
28.5 x 34.5cm<br />
$5,000–8,000<br />
55 56
23<br />
57<br />
56<br />
PEG MALTBY (1899-1984)<br />
Rockaby Baby<br />
watercolour<br />
signed lower right: P Maltby<br />
titled verso: Rockaby Baby<br />
27 x 20.5cm<br />
$1,200–1,800<br />
57<br />
VERA CUMMINGS<br />
(NEW ZEALAND 1891-1949)<br />
Maori Elders<br />
two oil on canvas<br />
signed lower right: V Cummings<br />
inscribed verso: presented to<br />
me by a Maori in Hastings NZ<br />
after performing a concert<br />
20 x 15cm (each)<br />
PROVENANCE<br />
The Estate of Austral<br />
Groves (Strella) Wilson<br />
$2,000–3,000<br />
58<br />
WILLIAM ROWELL (1898-1946)<br />
The Farmhouse<br />
oil on board<br />
signed lower left: William Rowell<br />
27 x 44.5cm<br />
$200–400<br />
59<br />
CHARLES WHEELER (1880-1977)<br />
Untitled (Snow Scene)<br />
oil on canvas<br />
signed lower right: C Wheeler<br />
45 x 60cm<br />
PROVENANCE<br />
The Estate of the late Charles Wheeler<br />
$600–800<br />
60<br />
CHARLES BLACKMAN<br />
(1928-2018)<br />
The Fall, 2003<br />
watercolour and ink<br />
signed and dated lower left and right:<br />
BLACKMAN 2003<br />
72.5 x 52.5cm<br />
$1,800–2,500<br />
61<br />
SIDNEY NOLAN (1917-1992)<br />
Figure Study 1968<br />
ripolin on paper<br />
signed and dated verso: Nolan 68<br />
30 x 25cm<br />
$2,500–3,500
24<br />
62<br />
62<br />
ALBERT TUCKER (1914-1999)<br />
Figure Leading Camel, 1979<br />
gouache on paper<br />
signed lower right: Tucker<br />
36.5 x 54.5cm<br />
© Albert & Barbara Tucker Foundation.<br />
Courtesy of Smith & Singer Fine <strong>Art</strong><br />
PROVENANCE<br />
<strong>Australian</strong> Galleries,<br />
Melbourne (label verso)<br />
Corporate Collection, Melbourne<br />
$4,000–6,000<br />
63<br />
MIRKA MORA (1928-2018)<br />
Untitled (Girl with Goose) 1984<br />
gouache on paper<br />
signed and dated lower left: MIRKA 84<br />
18 x 26cm<br />
$1,200–1,500<br />
64<br />
ROBERT DICKERSON<br />
(1924-2015)<br />
Young Girl in Bush<br />
oil on canvas<br />
signed lower right: DICKERSON<br />
119.5 x 89.5cm<br />
$10,000–15,000
25<br />
64
26<br />
65<br />
JAMES DAVIS (BORN 1940)<br />
Red Star Over Brunswick, 2003<br />
gouache on paper<br />
monogrammed lower right<br />
80 x 120cm<br />
PROVENANCE<br />
Gallery New Quay, Melbourne<br />
(label verso)<br />
$2,000–3,000<br />
65<br />
66<br />
MARY (MCLEISH) COURIER<br />
(1912-1970)<br />
Untitled (Abstract)<br />
oil and gold foil on board<br />
signed lower right: MC<br />
122 x 91.5cm<br />
$1,500–2,500<br />
67<br />
LISA TOMASETTI (1963)<br />
The Heart that is theirs, 2009<br />
inkjet print on Hahnmuhle paper<br />
edition 4/15<br />
inscribed verso ‘The heart that is<br />
theirs, 4/15 Lisa Tomassetti, 2009<br />
100 x 100 cm<br />
$500–800<br />
68<br />
MATTHEW SLEETH (BORN 1972)<br />
Hakone 2006<br />
C type print<br />
signed, dated, titled and<br />
editioned verso: Matthew Sleeth<br />
/ 2006 / [HAKONE] / 6/7<br />
120 x 145.5cm (image size)<br />
$2,000–3,000<br />
66
27<br />
68<br />
69<br />
70<br />
71<br />
69<br />
MATTHEW SLEETH (BORN 1972)<br />
llumination Circus,<br />
Taskashimaya, Shinjuku 2005<br />
C type print<br />
signed, dated, titled and<br />
editioned verso: Matthew Sleeth<br />
/ 2005 / ILLUMINATION CIRCUS<br />
[TAKASHIMAYA CIRCUS} 6/7<br />
120 x 145cm (image size)<br />
$2,000–3,000<br />
70<br />
MATTHEW SLEETH (BORN 1972)<br />
Southern Lights Shinjuku<br />
Southern Promenade 2006<br />
C type print<br />
signed, dated, titled and editioned<br />
verso: Matthew Sleeth / 2006 /<br />
SOUTHERN LIGHTS [SHINJUKU<br />
SOUTHERN PROMENADE]<br />
120 x 145.5cm (image size)<br />
$2,000–3,000<br />
71<br />
MATTHEW SLEETH (BORN 1972)<br />
Millenario Lights,<br />
Marunouchi 2006<br />
C type print<br />
signed, dated, titled and<br />
editioned verso: Matthew Sleeth<br />
/ 2006 / MILLENARIO LIGHTS<br />
[MARUNOUCHI] / 6/7<br />
120 x 145.5cm (image size)<br />
PROVENANCE<br />
Sophie Gannon Gallery, Melbourne<br />
$2,000–3,000
28<br />
72<br />
73<br />
74<br />
75<br />
72<br />
ANNA SARAH COLLARD<br />
(1824-1904)<br />
Rounding Up Cattle 1890<br />
watercolour<br />
signed and dated lower right:<br />
A S R Collard February 90<br />
27.5 x 37.5cm<br />
$800–1,200<br />
73<br />
SAMUEL THOMAS GILL<br />
(1818-1880)<br />
Convivial Gold Diggers<br />
in Melbourne<br />
colour lithograph<br />
signed lower left: ‘S.T.G. /52’<br />
13 x 18cm<br />
$500–800<br />
74<br />
C B NORTON (1887-1968)<br />
SS Themistocles 1920<br />
watercolour<br />
signed, dated and titled lower<br />
right and centre: CB Norton<br />
1920 SS THEMISTOCLES<br />
25.5 x 36.5cm<br />
$800–1,200<br />
75<br />
C B NORTON (1887-1968)<br />
SS Karoola 1920<br />
watercolour<br />
signed, dated and titled lower right and<br />
centre: CB Norton 1920 SS KAROOLA<br />
25.5 x 36.5cm<br />
$800–1,200<br />
76<br />
ISAAC WALTER JENNER<br />
(1837-1902)<br />
Storm on the Coast 1896<br />
oil on board<br />
signed and dated lower<br />
right: W Jenner 1896<br />
15 x 22.5cm<br />
$600–1,000<br />
77<br />
SAMUEL THOMAS GILL<br />
(1818-1880)<br />
Tin Dish Washing<br />
colour engraving<br />
signed and titled in printed image lower<br />
left and right: STG Tin Dish washing<br />
19 x 14cm<br />
$500–800
29<br />
78<br />
78<br />
FREDERICK McCUBBIN<br />
(1855-1917)<br />
Evening, South Yarra<br />
pastel on paper<br />
signed lower left: F McCubbin<br />
26 x 35cm<br />
PROVENANCE<br />
<strong>Art</strong>armon Gallery, Sydney<br />
Fine <strong>Australian</strong> Paintings and<br />
Books, Sotheby’s, Sydney, 17<br />
November 1988, Lot 268<br />
Sotheby’s, Fine <strong>Australian</strong> <strong>Art</strong>,<br />
Sydney, 24 August 2004, Lot 180<br />
$10,000–15,000<br />
79<br />
SAMUEL THOMAS GILL<br />
(1818-1880)<br />
Butcher’s Shamble<br />
colour lithograph<br />
initialled and titled lower left and<br />
right: S.T.G Butchers Shamble / Mt<br />
Adelaide Gully / Forrest Creek<br />
13 x 18cm<br />
$500–800<br />
76
30<br />
80<br />
WARLIMPIRRNGA TJAPALTJARRI<br />
(BORN CIRCA 1958)<br />
Untitled 2001<br />
synthetic polymer paint on canvas<br />
cat no. WT0102026<br />
inscribed verso: WARLIMPIRRNGA<br />
TJAPALTJARRI WT0102026<br />
87 x 28cm<br />
PROVENANCE<br />
Tony Bond Aboriginal <strong>Art</strong>, Adelaide<br />
$800–1,200<br />
81<br />
WILLY TJUNGURRAYI<br />
(BORN CIRCA 1930)<br />
Spear 2003<br />
synthetic polymer paint on canvas<br />
inscribed with catalogue<br />
number verso: 770013 W.J.<br />
45 x 30cm<br />
$300–500<br />
82<br />
WILLY TJUNGURRAYI<br />
(BORN CIRCA 1930)<br />
Spear 2003<br />
synthetic polymer paint on canvas<br />
inscribed with catalogue<br />
number verso: 770012<br />
30 x 30cm<br />
$200–300<br />
83<br />
KEITH DHAMARRANDJI<br />
LAPULUNG (BORN 1960)<br />
Warramu Mala Birrkili, 2007<br />
natural earth pigments on carved wood<br />
225cm high<br />
PROVENANCE<br />
The Rio Tinto Collection, Melbourne<br />
$500–800<br />
80
31<br />
84<br />
84<br />
EMILY KAME KNGWARREYE<br />
(CIRCA 1910-1996)<br />
Alatyite Altyerre (Spinifex Dreaming) 1994<br />
synthetic polymer paint on canvas<br />
signed, dated, and titled verso: EMILY<br />
KAME KNGWARREYE / ‘ALATYITE<br />
ALTYERRE’ 94 / (SPINIFEX DREAMING)<br />
74 x 59.5cm<br />
PROVENANCE<br />
Utopia <strong>Art</strong> Cat No EKK620 (B)<br />
$4,000–6,000
32<br />
85<br />
SALLY D ELMER (BORN 1964)<br />
Retired Wagons 2007<br />
oil on board<br />
signed lower right: S D Elmer<br />
titled and dated verso:<br />
Retired Wagons 2007<br />
54 x 79cm<br />
$2,500–4,000<br />
85<br />
86<br />
LEON HANSON (1918-2011)<br />
Roadside Gum Capertee<br />
Valley NSW<br />
oil on canvas<br />
signed lower left: Leon Hanson<br />
59.5 x 75cm<br />
$600–800<br />
87<br />
RAY LE BUSQUE<br />
Phar Lap Cantering to the Start,<br />
Melbourne Cup 1930,1999<br />
pastel<br />
signed and dated lower<br />
left: R. Le Busque 99<br />
42 x 57.5cm<br />
$700–1,000<br />
86<br />
88<br />
IN THE STYLE OF<br />
CLARICE BECKETT<br />
Beach at Beaumaris, circa 1930<br />
oil on board<br />
19 x 23.5cm<br />
$500–800<br />
89<br />
PERCY LEASON (1889-1959)<br />
New Bedford Vistor,<br />
Mattapoissett, Cape Cod<br />
oil on canvas on board<br />
signed lower right: P LEASON<br />
inscribed with title verso: New Bedford<br />
Vistor, Mattapoissett, Cape Cod<br />
39.5 x 49.5cm<br />
$500–1,000<br />
87
33<br />
90<br />
JOHN SAMUEL LOXTON<br />
(1903-1969)<br />
The Timber Workers,<br />
Wangaratta N.E Victoria<br />
watercolour<br />
signed lower right: John S Loxton<br />
inscribed verso: The Timber<br />
Workers by John Loxton<br />
31.5 x 38cm<br />
$1,000–1,500<br />
91<br />
JOHN SAMUEL LOXTON<br />
(1903-1969)<br />
Fishing on Lake Brierley<br />
watercolour<br />
signed lower right: John S. Loxton<br />
46 x 54cm<br />
PROVENANCE<br />
<strong>Australian</strong> and European Paintings,<br />
Leonard Joel, Melbourne,<br />
25 August 1993, Lot 91<br />
$600–800<br />
90<br />
92<br />
CARLYLE JACKSON (1891-1940)<br />
Morning at Tontes Farm,<br />
Benalla 1933<br />
watercolour<br />
signed and dated lower left:<br />
Carlyle Jackson 1933<br />
inscribed verso: Morning at Tontes<br />
Farm Benalla Carlyle Jackson<br />
30 x 35cm<br />
$300–500<br />
93<br />
EVELYN M BAXTER (1926-1979)<br />
Spring Bunch<br />
oil on canvas<br />
signed lower right: EVELYN M BAXTER<br />
inscribed and titled on label verso:<br />
Evelyn M Baxter Spring Bunch<br />
45.5 x 45cm<br />
$300–500<br />
91
34<br />
94<br />
JAPANESE SCHOOL<br />
Ponte Vecchio, Florence<br />
oil on canvas<br />
signed with monograme lower left<br />
inscribed on stretcher verso<br />
37 x 44.5cm<br />
$400–600<br />
94<br />
95<br />
JESSIE MACDONALD<br />
(ACTIVE MID-20TH CENTURY)<br />
Boulevard Raspail,<br />
Paris, circa 1920<br />
oil on canvas<br />
signed lower left: A J MacDonald<br />
inscribed verso: Boulevard Raspail Paris<br />
44.5 x 36.5cm<br />
$500–800<br />
96<br />
MARC CHAGALL<br />
(FRENCH, 1887-1985)<br />
Serenade<br />
colour serigraph<br />
printed signature lower right:<br />
Marc Chagall<br />
editioned in pencil lower left: 118/250<br />
70 x 51cm<br />
$500–800<br />
95
35<br />
97<br />
SURABAYA RUSTAMADJI<br />
(INDONESIAN, 1921-2001)<br />
Balinese Dancer 1981<br />
oil on canvas<br />
signed and dated lower<br />
left: Rustamadji 1981<br />
53.5 x 68.5cm<br />
$2,500–3,500<br />
97<br />
98<br />
F ALLARD L’OLIVIER<br />
(BELGIAN, 1883-1933)<br />
Troops Entering the Town Loos<br />
1917<br />
oil on canvas<br />
signed, dated and titled lower left:<br />
F ALLARD L’OLIVIER LOO 1917<br />
63.5 x 90.5cm<br />
$1,200–1,500<br />
98<br />
99<br />
CHRISTIAN WILHELM ERNST<br />
DIETRICH (GERMAN, 1712-1774)<br />
Untitled (Landscape with Travellers<br />
Resting) and (River Landscape<br />
with Travellers and Mules)<br />
two drawings - watercolours<br />
signed lower left: C. W. E. Dietrich<br />
9.5 x 14.5cm (each)<br />
$1,500–2,500<br />
99
36<br />
100<br />
101<br />
100<br />
LENORE BOYD (BORN 1953)<br />
Seated figure<br />
bronze<br />
signed to base: Lenore<br />
28cm high, 19cm wide, 14cm deep<br />
$800–1,200<br />
101<br />
GUY BOYD (1923-1988)<br />
The Bather<br />
bronze<br />
signed and numbered on<br />
base: Guy Boyd 3/6<br />
32.5cm high, 18cm wide, 9.5cm deep<br />
$1,500–2,000<br />
102<br />
STANLEY HAMMOND<br />
(1913-2000)<br />
The Water Carrier<br />
timber<br />
signed to base: Stanley Hammond<br />
61.5cm high, 14cm wide, 13.5cm deep<br />
$1,800–2,500<br />
103<br />
TIMOTHY HORN<br />
Love Muscle<br />
cast crystal, metallic foil, bronze,<br />
and nickel-plated metal<br />
17cm high, 40cm wide, 18cm deep<br />
$200–300<br />
102
37<br />
104<br />
WENQIN CHEN (BORN 1979)<br />
Monumental Sculpture, 2006<br />
stainless steel<br />
signed and stamped:2006 RS 02 AU<br />
inscribed: Chen<br />
225cm high, 124cm wide<br />
$30,000–50,000<br />
105<br />
CHARLES HADDOCK<br />
(BORN 1965)<br />
Untitled 1995<br />
bronze<br />
signed, dated and editioned on<br />
base: HADDCOCK 1995 1/5<br />
23cm high, 26cm wide, 18cm deep<br />
$1,000–2,000<br />
104
38<br />
106<br />
109<br />
107<br />
106<br />
ALFRED GREGORY (1913-2010)<br />
KHUMBU GLACIER 1953/1992<br />
printed 5 worldwide silver<br />
gelatin photograph<br />
signed in pencil on verso<br />
45 x 45 cm<br />
Alfred Gregory Photographs from Africa<br />
to Everest Pub. Penguin 2007 p.19<br />
$1,200–1,500<br />
107<br />
ARTIST UNKNOWN<br />
Lost Steffason Men 1914<br />
silver gelatin photograph<br />
inscribed verso ARCTIC / Herald<br />
& / Lost Staffason men / 1914<br />
/ SNOW EXPEDITION<br />
stamped verso INTERNATIONAL<br />
NEWSREEL NEW YORK CITY<br />
20 X 25.5cm<br />
$600–800<br />
108
39<br />
110 111<br />
108<br />
ALFRED GREGORY (1913-2010)<br />
Sherpa’s welcoming Hillary back<br />
from Summit 1953/1992<br />
silver gelatin photograph<br />
glued to exhibition board<br />
titled signed dated in pen on verso<br />
signed titled and dated<br />
in pencil on verso<br />
28 x 30 cm<br />
$600–800<br />
109<br />
PHILIPPE HALSMAN<br />
(LATVIAN, AMERICAN<br />
1906-1979)<br />
Marilyn Monroe Life<br />
Cover, circa 1960<br />
silver gelatin montage (4)<br />
21.5 x 14.5cm<br />
$2,000–3,000<br />
110<br />
MAX DUPAIN (1911-1992)<br />
Torso in Sunlight 1941<br />
silver gelatin print<br />
printed circa 1970<br />
signed and dated lower right:<br />
Max Dupain 41<br />
49 x 36cm<br />
$3,000–3,500<br />
111<br />
MAX DUPAIN (1911-1992)<br />
Nude in Shadow circa 1940<br />
silver gelatin photograph<br />
printed circa 1970<br />
certificate of authenticity<br />
signed verso: Rex Dupain<br />
27.5 x 19.5cm<br />
$2,000–3,000<br />
112<br />
ALFRED GREGORY (1913-2010)<br />
Porters on Lhotse<br />
Face 1953/1985<br />
vintage colour photograph on<br />
kodak professional paper<br />
titled signed dated in pen on<br />
verso, signed in pencil on verso<br />
25.5 x 17.5 cm<br />
$600–800<br />
113<br />
ALFRED GREGORY (1913-2010)<br />
Tenzing & porters on<br />
icefall 1953/1985<br />
vintage colour photograph,<br />
kodak professional paper<br />
titled signed dated in pen on<br />
verso, signed in pencil on verso<br />
26 x 20 cm<br />
$600–800
40<br />
114<br />
JOHN BAIRD (BORN 1954)<br />
The Authentic Consequence 1990<br />
oil on board<br />
signed, dated and titled verso:<br />
John. K. Baird / March 90 / THE<br />
AUTHENTIC CONSEQUENCE<br />
48.5 x 63.5cm<br />
$1,500–2,500<br />
114<br />
115<br />
JAMES DAVIS (BORN 1940)<br />
Christ Over Surry Hills<br />
(Sydney Study), 1992<br />
oil on canvas<br />
monogrammed lower right<br />
titled, dated and monogrammed verso:<br />
Christ Over Surry Hills (Sydney Study) 92<br />
122 x 107cm<br />
$2,500–3,500<br />
116<br />
NEIL TAYLOR (BORN 1953)<br />
Crossing the Line 1978<br />
acrylic and oil on canvas<br />
initialled and titled lower left:<br />
NT Crossing the Line<br />
signed, dated and titled verso:<br />
Neil Taylor 1978 / Crossing the Line<br />
69.5 x 106.5cm<br />
$1,000–1,500<br />
117<br />
HOWARD ARKLEY (1951-1999)<br />
Animal Study 1972<br />
pencil on paper<br />
signed and dated lower right:<br />
H ARKLEY 72<br />
35.5 x 48cm<br />
117 © The Howard Arkley Estate<br />
NOTE<br />
This work is accompanied by a<br />
letter from David Bradtke stating:<br />
‘During the early 1970’s Howard<br />
Arkley and I were friends having<br />
been <strong>Art</strong> students at Prahran<br />
College of Advanced Education.<br />
During Final Year in Painting, we<br />
swapped work. Howard’s signed<br />
work is graphite pencil on paper.’<br />
$1,500–1,800
41<br />
118<br />
ROBERT DICKERSON<br />
(1924-2015)<br />
Mother and Child<br />
pastel<br />
signed lower right: DICKERSON<br />
70 x 50cm<br />
$6,000–8,000<br />
118<br />
119<br />
CLIFTON PUGH (1924-1990)<br />
Rockpools circa 1954<br />
oil, sand and found wood on board<br />
signed lower right: Clifton<br />
68 x 90cm<br />
$3,000–5,000<br />
119
42<br />
120<br />
120<br />
MANDY MARTIN (BORN 1952)<br />
The Land of El Dorado, 1999<br />
diptych<br />
oil, ochre and pigment on linen<br />
signed, dated and titled verso: Mandy<br />
Martin 1999 “The Land of El Dorado”<br />
135 x 448cm (overall)<br />
PROVENANCE<br />
Christine Abrahams Gallery,<br />
Melbourne (label verso)<br />
Corporate Collection, Melbourne<br />
$6,000–8,000<br />
121<br />
JOHN OLSEN (BORN 1928)<br />
Coorong Pelicans 1978<br />
colour lithograph<br />
signed, dated, titled and editioned<br />
lower left centre and right:<br />
John Olsen 78 Corrong Pelicans 30/40<br />
76 x 57cm<br />
$600–800<br />
121
43<br />
122<br />
JOHN OLSEN (BORN 1921)<br />
Lake Eyre in December, 1978<br />
lithograph<br />
editioned, titled, signed and dated<br />
lower left, centre and right: AP L.<br />
Eyre in December John Olsen 78<br />
81 x 58cm<br />
PROVENANCE<br />
Corporate Collection, Melbourne<br />
$1,200–1,500<br />
123<br />
DONALD FRIEND (1915-1989)<br />
Bumbooziana<br />
two lithographic plates<br />
signed in printed image lower right:<br />
Donald Friend<br />
numbered 190/200<br />
53.5 x 39cm (each)<br />
$500–800<br />
122
44<br />
124<br />
124<br />
Anti-Cancer Council of Victoria print folio, 1991<br />
in association with the <strong>Australian</strong> Print Workshop<br />
a set of six limited edition lithographs<br />
folio edition: 10/85<br />
comprising<br />
i) Davida Allen, Mum on the Beach<br />
ii) Leonard French, Fisherman<br />
iii) Paul Partos, Untitled<br />
iv) William Robinson, Sunset with Diver and Bathers<br />
v) Jan Senbergs, Hudson Industrial<br />
vi) John Wolseley, The Honey of the Kakea Tree<br />
PROVENANCE<br />
Corporate Collection, Melbourne<br />
$1,500–2,500
45<br />
125<br />
125<br />
DAVID RANKIN (BORN 1946)<br />
Coastal Sandstone<br />
colour etching triptych<br />
signed, dated, titled and editioned<br />
lower right, centre and left:<br />
Rankin 85 Coastal Sandstone 8/50<br />
98 x 58cm (each)<br />
$600–800<br />
126<br />
SAVAAD FELICH<br />
Repose<br />
red gum bridge timber<br />
100cm high, 27cm wide, 14cm deep<br />
$600–800<br />
127<br />
SIDNEY NOLAN (1917-1992)<br />
Drought Series<br />
a suite of five etchings<br />
25 x 30cm (each)<br />
$800–1,200<br />
128<br />
SIDNEY NOLAN (1917-1992)<br />
Drought Series<br />
a suite of five etchings<br />
25 x 30cm (each)<br />
$800–1,200<br />
129<br />
JANINE DADDO (BORN 1959)<br />
The Embrace<br />
oil on canvas<br />
signed lower right: Janine Daddo<br />
120.5 x 120.5cm<br />
$600–800
46<br />
130<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
The Local London N.W.3<br />
stone colour lithograph<br />
titled lower left:<br />
The Local London N. W. 3<br />
signed and editioned lower right:<br />
J Courier 4/20<br />
31 x 41cm<br />
$600–800<br />
130<br />
131<br />
JOHN VICKERY (1906-1983)<br />
Outposts of Empire,<br />
Central Australia 1937<br />
colour lithograph<br />
signed, dated and titled in printed<br />
image: JOHN VICKERY 37 OUTPOSTS<br />
OF EMPIRE CENTRAL AUSTRALIA<br />
46.5 x 60.5cm<br />
PROVENANCE<br />
Douglas Stewart Fine Books, Melbourne<br />
$3,000–5,000<br />
132<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Seated Figure (Lace Impressions)<br />
stone colour lithograph<br />
titled lower left: Seated Figure<br />
signed and editioned lower right:<br />
J Courier 9/18<br />
52 x 36cm<br />
$400–600<br />
131<br />
133<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Two Figures<br />
stone colour lithograph<br />
titled lower left: Two Figures<br />
signed and editioned lower right:<br />
J. Courier <strong>Art</strong>ists Proof<br />
43 x 57.5cm<br />
$400–600
47<br />
134<br />
JOHN EDWARD ROBINSON<br />
(1935-2007)<br />
Water Planet, 1979<br />
woven wool tapestry<br />
edition: 2/6<br />
woven at the Atelier Goubely, Aubusson<br />
196.5 x 310.5cm<br />
PROVENANCE<br />
Corporate Collection, Melbourne<br />
NOTE<br />
Water Planet represents<br />
‘The Mother Earth, sunlight on water:<br />
the source of life’. His art reflects<br />
his belief that ‘the universe is the<br />
materialism of a divine idea’.<br />
$1,200–1,500<br />
135<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Landscape<br />
stone colour lithograph<br />
titled lower left: Landscape<br />
signed and editioned lower right:<br />
J. Courier 1/10<br />
titled and signed verso:<br />
J Courier Landscape<br />
29 x 38cm<br />
$600–800<br />
136<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Seated Figure 1974<br />
stone colour lithograph<br />
titled and dated lower left:<br />
Seated Figure 1974<br />
signed and editioned lower right:<br />
J. Courier 6/18<br />
52 x 35cm<br />
$400–600<br />
137<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Standing Figure<br />
stone colour lithograph<br />
unsigned and uneditioned<br />
54 x 40cm<br />
$400–600<br />
134
48<br />
138<br />
138<br />
CLIFFORD POSSUM<br />
TJAPALTJARRI<br />
(CIRCA 1932-2002)<br />
Untitled 1995<br />
synthetic polymer paint on canvas<br />
inscribed and dated verso:<br />
CLIFFORD POSSUM 1995<br />
80.5 x 127cm<br />
$3,000–5,000<br />
139<br />
JOHNNY WARANGKULA<br />
TJUPURRULA<br />
(CIRCA 1932-2001)<br />
Fire Dreaming, 1999<br />
acrylic on linen<br />
cat no. JW0990-84<br />
inscribed verso: JW0990-84<br />
216 x 126cm<br />
This painting is sold with Red Desert<br />
Gallery, Certificate of Authenticity<br />
$1,200–1,500<br />
139
49<br />
140<br />
TURKEY TOLSON<br />
TJUPURRULA<br />
(1942-2001)<br />
Straightening Spears 1995<br />
acrylic on Belgium linen<br />
signed and inscribed verso:<br />
Turkey Tolsen Tjupurrula<br />
cat no. TT9910195<br />
60 x 91cm<br />
PROVENANCE<br />
Papunya Tula <strong>Art</strong>ists, Alice Springs<br />
Scott Livesey Galleries, Melbourne<br />
$1,500–2,500<br />
141<br />
GEORGE WARD<br />
TJUNGARRAYI (BORN<br />
CIRCA 1945)<br />
Untitled<br />
synthetic polymer paint on linen<br />
inscribed verso with<br />
catalogue no. GWT0433<br />
149 x 173cm<br />
$4,000–6,000<br />
140<br />
141
50<br />
142<br />
ALFRED GREGORY (1913-2010)<br />
Stanley glacier, mountains<br />
of the moon, Ruwenzorie<br />
- Uganda 1960/2007<br />
ed 6/50, only 10 ever printed<br />
metallic photograph, kodak<br />
professional paper<br />
signed in pen l.r below image<br />
editioned in pen l.l below image<br />
50.5 x 37.5 cm<br />
$1,000–1,200<br />
142<br />
143<br />
CAMILLE SEAMAN (BORN 1969)<br />
Overturned Berg 2006<br />
digital colour photograph<br />
50 x 76cm<br />
$500–800<br />
144<br />
CAMILLE SEAMAN (BORN 1969)<br />
Overturned Berg 2006<br />
digital colour photograph<br />
50 x 76cm<br />
$500–800<br />
143<br />
145<br />
CAMILLE SEAMAN (BORN 1969)<br />
At the end of the World II Ellemore<br />
Island, Greenland September 2009<br />
digital colour photograph<br />
50 x 76cm<br />
$500–800<br />
146<br />
ARTIST UNKNOWN<br />
Painter on Golden Gate Bridge<br />
Associated Press Vintage Print<br />
16 x 21.5cm<br />
$300–500<br />
147<br />
ARTIST UNKNOWN<br />
Mount Rushmore<br />
Associated Press Vintage photograph<br />
16.5 x 16.5cm<br />
$300–500<br />
144
51<br />
148<br />
148<br />
DOROTHEA LANGE (AMERICAN, 1895-1965)<br />
Migrant Mother, Nipomo, California, 1936<br />
printed circa 1970<br />
silver gelatin print on paper<br />
22.5 x 18cm<br />
$8,000–10,000
52<br />
149<br />
149<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Mousehole Harbour, Cornwall<br />
colour lithograph<br />
titled lower left: Mousehole<br />
Harbour, Cornwall<br />
signed and editioned lower right:<br />
J. Courier 7/15<br />
36.5 x 50cm<br />
$600–800<br />
150<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Reclining Figure<br />
stone colour lithograph<br />
unsigned and uneditioned<br />
56 x 44cm<br />
$400–600<br />
151<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Landscape<br />
stone colour lithograph<br />
titled lower left: Landscape<br />
signed and editioned lower right:<br />
J. Courier 8/12<br />
21.5 x 52cm<br />
$400–600<br />
152<br />
JOHN (JACK) COURIER<br />
(1915-2007)<br />
Seated Figure II<br />
stone colour lithograph<br />
titled lower left: Seated Figure II<br />
signed and editioned lower right:<br />
J Courier 5/12<br />
54 x 42cm<br />
$600–800
53<br />
153 154<br />
153<br />
MARY (MCLEISH) COURIER<br />
(1912-1970)<br />
The Gift<br />
oil and silver paper on board<br />
signed lower right: M E COURIER<br />
titled verso: THE GIFT<br />
91.5 x 46cm<br />
$500–800<br />
154<br />
MARY (MCLEISH) COURIER<br />
(1912-1970)<br />
Untitled (Abstract)<br />
mixed media on board<br />
signed lower right: ME COURIER<br />
122 x 61cm<br />
$600–800<br />
155<br />
MARY (MCLEISH) COURIER<br />
(1912-1970)<br />
Untitled (Ballerina)<br />
oil on canvas<br />
65.5 x 122cm<br />
$400–600<br />
End of Sale
55<br />
<strong>Art</strong>ist Index<br />
ARKLEY, HOWARD 117<br />
BAIRD, JOHN 114<br />
BAXTER, EVELYN M 93<br />
BENJAMIN, JASON 20<br />
BLACKMAN, CHARLES 3, 60<br />
BOISSEVAIN, WILLIAM 2<br />
BOWERS, LIEUT. HENRY R. 44<br />
BOYD, GUY 101<br />
BOYD, LENORE 100<br />
BRAUND, DOROTHY 1<br />
CARSE, J H 34<br />
CHAGALL, MARC 96<br />
CHEN, WENQIN 104<br />
COFFEY, ALFRED 18<br />
COLLARD, ANNA SARAH 32, 72<br />
COLQUHOUN, ALEXANDER 16<br />
COURIER, JOHN (JACK) 130, 132, 133,<br />
135, 136, 137, 149, 150, 151, 152<br />
COURIER, MARY (MCLEISH) 23, 24, 25,<br />
66, 153, 154, 155<br />
CUMMINGS, VERA 57<br />
DADDO, JANINE 128<br />
DAVIS, EDWARD 38<br />
DAVIS, JAMES 65, 115<br />
DAWS, LAWRENCE 22<br />
DICKERSON, ROBERT 4, 30, 64, 118<br />
DIETRICH, CHRISTIAN WILHELM<br />
ERNST 99<br />
DUPAIN, MAX 110, 111<br />
ELMER, SALLY D 85<br />
FAIR, FRASER 21<br />
FELICH, SAVAAD 126<br />
FRIEND, DONALD 123<br />
FULLWOOD, ALBERT HENRY 5<br />
GILL, NAYLOR 15<br />
GILL, SAMUEL THOMAS 73, 77, 79<br />
GREGORY, ALFRED 45, 46, 51, 52, 53,<br />
106, 108, 112, 113, 142<br />
HADDOCK, CHARLES 105<br />
HALSMAN, PHILIPPE 109<br />
HAMMOND, STANLEY 102<br />
HANSON, LEON 10, 86<br />
HART, KEVIN CHARLES (PRO) 41<br />
HENSON, BILL 50<br />
HERBERT, HAROLD B 12<br />
HINDER, FRANK 29<br />
HINE, LEWIS 47<br />
HORN, TIMOTHY 103<br />
HURLEY, FRANK 48, 49<br />
JACKSON, CARLYLE 92<br />
JACKSON, JAMES RANALPH 8<br />
JAPANESE SCHOOL 94<br />
JENNER, ISAAC WALTER 16, 35, 76<br />
KNGWARREYE, EMILY KAME 84<br />
LANGE, DOROTHEA 148<br />
LAPULUNG, KEITH DHAMARRANDJI<br />
83<br />
LEASON, PERCY 89<br />
LE BUSQUE, RAY 87<br />
L’OLIVIER, F ALLARD 98<br />
LONG, LEONARD 7<br />
LOXTON, JOHN SAMUEL 90, 91<br />
MACDONALD, JESSIE 95<br />
MALTBY, PEG 56<br />
MARTIN, MANDY 119<br />
McCUBBIN, FREDERICK 78<br />
MCINTYRE, RAYMOND 55<br />
MIDDLETON, ELSIE E 54<br />
MINNS, BENJAMIN E 33<br />
MORA, MIRKA 63<br />
MUDIE, CHARLES F 13<br />
MURCH, ARTHUR 36<br />
NEW ZEALAND SCHOOL 37<br />
NOLAN, SIDNEY 27, 28, 43, 61, 127,<br />
128<br />
NORTON, C B 74, 75<br />
OLSEN, JOHN 121, 122<br />
PEKEL, HERMAN 14<br />
POWER, HAROLD SEPTIMUS 9<br />
PUGH, CLIFTON 31, 119<br />
RANKIN, DAVID 125<br />
ROBINSON, JOHN EDWARD 134<br />
ROWELL, WILLIAM 58<br />
RUSTAMADJI, SURABAYA 97<br />
SEAMAN, CAMILLE 143, 144, 145<br />
SLEETH, MATTHEW 68, 69, 70, 71<br />
TAYLOR, DAVID 11, 19<br />
TAYLOR, NEIL 116<br />
TJAPALTJARRI, CLIFFORD POSSUM<br />
138<br />
TJAPALTJARRI, WARLIMPIRRNGA 80<br />
TJUNGARRAYI, GEORGE WARD 141<br />
TJUNGURRAYI, WILLY 81, 82<br />
TJUPURRULA, JOHNNY WARANGKULA<br />
139<br />
TJUPURRULA, TURKEY TOLSON 140<br />
TOMASETTI, LISA 67<br />
TUCKER, ALBERT 62<br />
VASSILIEFF, DANILA 26<br />
VICKERY, JOHN 131<br />
WARREN, GUY WILKIE 40<br />
WESTWOOD, BRYAN 42<br />
WHEELER, CHARLES 6, 59<br />
WOODHOUSE SENIOR, FREDERICK 39
56<br />
Terms & Conditions of Sale<br />
The terms and conditions of sale listed here contain<br />
the policies of Gibson’s Auctioneers & Valuers<br />
Pty Ltd. They are the terms on which Gibson’s<br />
Auctioneers & Valuers Pty Ltd and the Seller contract<br />
with the Buyer. They may be amended by printed<br />
Saleroom Notices or oral announcements made<br />
before and during the sale. By bidding at auction you<br />
agree to be bound by these terms.<br />
1. Background to the Terms used in<br />
these Conditions<br />
The conditions that are listed below contain terms<br />
that are used regularly and may need explanation.<br />
They are as follows:<br />
“the Buyer” means the person with the highest bid<br />
accepted by the Auctioneer<br />
“the Lot” means any item depicted within the sale for<br />
auction and in particular the item or items described<br />
against any lot number in the catalogue.<br />
“the Hammer price” means the amount of the highest<br />
bid accepted by the auctioneer in relation to a lot<br />
“the Buyers Premium” means the charge payable by<br />
the Buyer to the auction house as a percentage of<br />
the hammer price.<br />
“the Reserve” means the lowest amount at which<br />
Gibson’s Auctioneers & Valuers has agreed with the<br />
Seller that the lot can be sold.<br />
“Forgery” means an item constituting an imitation<br />
originally conceived and executed as a whole, with<br />
a fraudulent intention to deceive as to authorship,<br />
origin, age, period, culture or source, where the<br />
correct description as to such matters is not<br />
reflected by the description in the catalogue.<br />
Accordingly no lot shall be capable of being a forgery<br />
by reason of any damage or restoration work of any<br />
kind (Including re-painting).<br />
“the insured value” means the amount that Gibson’s<br />
Auctioneers & Valuers in its absolute discretion<br />
from time to time shall consider the value for which<br />
a lot should be covered for insurance (whether or<br />
not insurance is arranged by Gibson’s Auctioneers<br />
& Valuers.)<br />
All values expressed in Gibson’s Auctioneers &<br />
Valuers Pty Ltd catalogues (in any format) are in<br />
<strong>Australian</strong> Dollars (AU$). All bids, “hammer price”,<br />
“reserves”, “Buyers Premium” and other expressions<br />
of value are understood by all parties to be in<br />
<strong>Australian</strong> Dollars (AU$) unless otherwise specified.<br />
2. Gibson’s Auctioneers & Valuers<br />
Auctions as Agent<br />
Except as otherwise stated Gibson’s Auctioneers &<br />
Valuers Pty Ltd acts as agent for the Seller.<br />
The contract for the sale of the property is therefore<br />
made between the Seller and the Buyer.<br />
3. Before the Sale<br />
A) EXAMINATION OF PROPERTY<br />
Prospective Buyers are strongly advised to examine<br />
in person any property in which they are interested<br />
before the Auction takes place. Neither Gibson’s<br />
Auctioneers & Valuers nor the Seller provides any<br />
guarantee in relation to the nature of the property<br />
apart from the Limited warranty in the paragraph<br />
below.<br />
The property is otherwise sold “AS IS”<br />
B) CATALOGUE AND OTHER DESCRIPTIONS<br />
All statements by Gibson’s Auctioneers & Valuers<br />
in the catalogue entry for the property or in the<br />
condition report, or made orally or in writing<br />
elsewhere, are statements of opinion and are not<br />
to be relied upon as statements of fact. Such<br />
statements do not constitute a representation,<br />
warranty or assumption of liability by Gibson’s<br />
Auctioneers & Valuers of any kind. References in the<br />
catalogue entry to the condition report to damage<br />
or restoration are for guidance only and should be<br />
evaluated by personal inspection by the bidder or<br />
a knowledgeable representative. The absence of<br />
such a reference does not imply that an item is free<br />
from defects or restoration, nor does a reference to<br />
particular defects imply the absence of any others.<br />
Estimates of the selling price should not be relied<br />
on as a statement that this is the price at which<br />
the item will sell or it’s value for any other purpose.<br />
Neither Gibson’s Auctioneers & Valuers nor The<br />
Seller is responsible for any errors or omissions in the<br />
catalogue or any supplemental material.<br />
Images are measured height by width (sight size).<br />
Illustrations are provided only as a guide and should<br />
not be relied upon as a true representation of colour<br />
or condition. Images are not shown at a standard<br />
scale. Mention is rarely made of frames (which may be<br />
provided as supplementary images on the website)<br />
which do not form part of the lot as described in the<br />
printed catalogue.<br />
Foreign buyers should note that all transactions<br />
are in <strong>Australian</strong> dollars (AU$)so there may be a<br />
small exchange rate risk. The costs associated<br />
with acquiring a good certificate will be carried by<br />
the purchaser. If the item turns out to be forged or<br />
otherwise incorrectly described, all reasonable costs<br />
will be borne by the vendor.<br />
C) BUYERS RESPONSIBILITY<br />
All property is sold “as is” without representation<br />
or warranty of any kind by Gibson’s Auctioneers<br />
& Valuers or the Seller. Buyers are responsible for<br />
satisfying themselves concerning the condition<br />
of the property and the matters referred to in the<br />
catalogue by requesting a condition report<br />
4. At the Sale<br />
A) REFUSAL OF ADMISSION<br />
Gibson’s Auctioneers & Valuers reserves the right at<br />
our complete discretion to refuse admission to the<br />
auction premises or participation in any auction and<br />
to reject any bid.<br />
B) REGISTRATION BEFORE BIDDING<br />
Any prospective new buyer must complete and sign<br />
a registration form and provide photo-identification<br />
before bidding. Gibson’s Auctioneers & Valuers may<br />
request bank, trade or other financial references to<br />
substantiate this registration.<br />
C) BIDDING AS A PRINCIPAL<br />
When making a bid, a bidder is accepting personal<br />
liability to pay the purchase price including the<br />
buyers premium and all applicable taxes, plus all<br />
other applicable charges, unless it has been explicitly<br />
agreed in writing with Gibson’s Auctioneers & Valuers<br />
before the commencement of the sale that the<br />
bidder is acting as agent on behalf of an identified<br />
third party acceptable to Gibson’s Auctioneers &<br />
Valuers and that Gibson’s Auctioneers & Valuers will<br />
only look to the principal for payment.<br />
D) INTERNATIONAL REGISTRATIONS<br />
All <strong>International</strong> clients not known to Gibson’s<br />
Auctioneers & Valuers will be required to scan or fax<br />
through an accredited form of photo identification<br />
and pay a deposit at our discretion in cleared funds<br />
into Gibson’s Auctioneers & Valuers’ account at least<br />
48 hours before the commencement of the auction.<br />
Bids will not be accepted without this deposit.<br />
Gibson’s Auctioneers & Valuers also reserves the<br />
right to request any additional forms of identification<br />
prior to registering an overseas bid.<br />
This deposit can be made using a credit card,<br />
however the balance of any purchase price in excess<br />
of $5,000 can not be charged to this card without<br />
prior arrangement. This deposit is redeemable<br />
against any auction purchase.<br />
E) ABSENTEE BIDS<br />
Gibson’s Auctioneers & Valuers will use reasonable<br />
efforts to execute written bids delivered to us AT<br />
LEAST 24 Hours before the sale for the convenience<br />
of those clients who are unable to attend the auction<br />
in person. If we receive identical written bids on a<br />
particular lot, and at the auction these are the highest<br />
bids on that lot, then the lot will be sold to the person<br />
whose written bid was received and accepted first.<br />
Execution of written bids is a free service undertaken<br />
subject to other commitments at the time of the sale<br />
and we do not accept liability for failing to execute<br />
a written bid or for errors or omissions which may<br />
arise. It is the bidder’s responsibility to check with<br />
Gibson’s Auctioneers & Valuers after the auction if<br />
they were successful. Unlimited or “Buy” bids will not<br />
be accepted. Please refer to our indicative bidding<br />
increments below for appropriate absentee bid<br />
amounts (Section K).<br />
F) TELEPHONE BIDS<br />
Priority will be given to overseas and interstate<br />
bidders. Arrangements for this service must be<br />
confirmed AT LEAST 24 HOURS PRIOR to the auction<br />
commencing. Gibson’s Auctioneers & Valuers<br />
accepts no responsibility whatsoever for any errors<br />
or failure to execute bids. In telephone bidding the<br />
buyer agrees to be bound by all terms and conditions<br />
listed here and accepts that Gibson’s Auctioneers<br />
& Valuers cannot be held responsible for any<br />
mis-communications in the process. The success<br />
of telephone bidding cannot be guaranteed due to<br />
circumstances that are unforeseen. Buyers should<br />
be aware of the risk and accept the consequences<br />
should contact be unsuccessful at the time of<br />
Auction. You must advise Gibson’s Auctioneers &<br />
Valuers of the lots in question and recommend a<br />
‘Cover Bid’ amount should there be any issues with<br />
technology or communication via the telephone<br />
number provided. Gibson’s Auctioneers & Valuers<br />
will advise Telephone Bidders who have registered<br />
at least 24 hours before the auction of any relevant<br />
changes to descriptions, withdrawals or any other<br />
sale room notices.<br />
G) ONLINE BIDDING<br />
Gibson’s Auctioneers & Valuers accepts no<br />
responsibility for any errors, failure to execute bids or<br />
any other miscommunications regarding this process.<br />
It is the online bidder’s responsibility to ensure the<br />
accuracy of the relevant information regarding bids,<br />
lot numbers and contact details.<br />
H) RESERVES<br />
Unless otherwise indicated, all lots are offered subject<br />
to a reserve, which is the confidential minimum price<br />
below which the Lot will not be sold. The reserve will<br />
not exceed the low estimate printed in the catalogue.<br />
The auctioneer may open the bidding on any Lot<br />
below the reserve by placing a bid on behalf of the<br />
Seller. The auctioneer may continue to bid on behalf<br />
of seller up to the amount of the reserve, either<br />
by placing consecutive bids or by placing bids in<br />
response to other bidders.<br />
I) AUCTIONEERS DISCRETION<br />
The Auctioneer has the right at his absolute and sole<br />
discretion to refuse any bid, to advance the bidding<br />
in such a manner as he may decide, to withdraw or<br />
divide any lot, to combine any two or more lots and,<br />
in the case or error or dispute and whether during or
57<br />
after the sale, to determine the successful bidder, to<br />
continue the bidding, to cancel the sale or to reoffer<br />
and resell the item in dispute. If any dispute arises<br />
after the sale, then Gibson’s Auctioneers & Valuers’s<br />
sale record is conclusive.<br />
J) SUCCESSFUL BID AND PASSING OF RISK<br />
Subject to the auctioneer’s discretion, the highest<br />
bidder accepted by the auctioneer will be the buyer<br />
and the striking of his hammer marks the acceptance<br />
of the highest bid and the conclusion of a contract<br />
for sale between the Seller and the Buyer. Risk and<br />
responsibility for the lot (including frames or glass<br />
where relevant) passes immediately to the Buyer.<br />
K) INDICATIVE BIDDING STEPS, ETC.<br />
Gibson’s Auctioneers & Valuers reserves the right to<br />
refuse any bid, withdraw any lot from sale, to place<br />
a reserve on any lot and to advance the bidding<br />
according to the following:<br />
Increment Amount<br />
Dollar Range<br />
$20 $0–$500<br />
$50 $500–$1,000<br />
$100 $1,000–$2,000<br />
$200 $2,000–$5,000<br />
$500 $5,000–$10,000<br />
$1,000 $10,000–$20,000<br />
$2,000 $20,000–$50,000<br />
$5,000 $50,000–$100,000<br />
$10,000 $100,000–$200,000<br />
$20,000 $200,000–$500,000<br />
$50,000 $500,000–$1,000,000<br />
Absentee bids must follow these increments and any<br />
bids that don’t follow the steps will be rounded up to<br />
the nearest acceptable bid.<br />
5. After the Sale<br />
A) BUYERS PREMIUM<br />
In addition to the hammer price, the buyer agrees to<br />
pay to Gibson’s Auctioneers & Valuers the buyers<br />
premium. The buyer’s premium is 22% of the<br />
hammer price plus GST. (Goods and Services Tax)<br />
where applicable.<br />
B) PAYMENT AND PASSING OF TITLE<br />
The buyer must pay the full amount due (comprising<br />
the hammer price, buyers premium and any<br />
applicable taxes and GST) not later than three (3)<br />
days after the auction date.<br />
The buyer will not acquire title for the lot until<br />
Gibson’s Auctioneers & Valuers receives full<br />
payment in cleared funds, and no goods under any<br />
circumstances will be released without confirmation<br />
of cleared funds received. This applies even if the<br />
buyer wishes to send items interstate or overseas.<br />
Payment can be made by the following means:<br />
• Bank Transfer/Direct Deposit is our preferred<br />
method of payment<br />
Account Name: Gibsons Auctions<br />
Bank:<br />
Bank of Melbourne<br />
(A division of St George)<br />
BSB: 193879<br />
Account No: 441701443<br />
Swift Code: SGBLAU2S<br />
Routing Code: 021000021<br />
Bank Address: 197-201 Glenferrie Road,<br />
Malvern, Vic, 3144<br />
The buyer is responsible for any bank fees and<br />
charges applicable for the transfer of funds into<br />
Gibson’s Auctioneers & Valuers’s account<br />
• Personal, Company and Bank Cheques are not<br />
accepted without prior approval.<br />
• Eftpos (no charge)<br />
• Credit cards: Visa and Mastercard (1.2% incl GST<br />
merchant fee) and American Express (3% incl<br />
GST merchant fee)<br />
Please note that credit card transactions over<br />
$5,000 will not be accepted over the telephone<br />
unless by prior arrangement.<br />
• Cash up to AU$10,000 can accepted in<br />
cash. For any amount over this, cash is to be<br />
deposited directly into our account at a Bank of<br />
Melbourne/St George branch<br />
C) COLLECTION OF PURCHASES & INSURANCE<br />
Gibson’s Auctioneers & Valuers is entitled to retain<br />
items sold until all amounts due to us have been<br />
received in full in good cleared funds. Subject to this,<br />
the Buyer shall collect purchased lots within three<br />
(3) days from the date of the sale unless otherwise<br />
agreed in writing between Gibson’s Auctioneers &<br />
Valuers and the Buyer.<br />
At the fall of the hammer, insurance is the<br />
responsibility of the purchaser.<br />
D) PACKING, HANDLING AND SHIPPING<br />
At the request of the buyer, Gibson’s Auctioneers &<br />
Valuers may assist with packing of goods but takes<br />
no responsibility for loss, damage or breakage that<br />
may occur.<br />
Gibson’s Auctioneers & Valuers at the request of the<br />
buyer may arrange for a carrier, packer or shipper to<br />
have the property packed, insured and shipped at<br />
the buyer’s expense. All packing, shipping, insurance,<br />
postage & associated charges will be borne by the<br />
purchaser.<br />
Gibson’s Auctioneers & Valuers can assist with<br />
removal companies that the buyer can use but takes<br />
no responsibility whatsoever for the actions of any<br />
recommended third party.<br />
E) CULTURAL HERITAGE EXPORT LICENCES<br />
Unless otherwise agreed by us in writing, the fact<br />
that the buyer wishes to apply for an export licence<br />
does not affect his or her obligation to make full<br />
payment immediately, nor our right to charge<br />
interest or storage charges on late payment. It<br />
is the Buyer’s responsibility to check Australia’s<br />
Protection of Moveable Cultural Heritage Act 1986<br />
before purchase. If the Buyer requests Gibson’s<br />
Auctioneers & Valuers to apply for an export licence<br />
then we shall be entitled to charge a fee for this<br />
service. We shall not be obliged to rescind a sale nor<br />
to refund any interest or other expenses incurred<br />
by the Buyer where payment is made by the Buyer<br />
in circumstances where an export licence is not<br />
granted.<br />
F) REMEDIES FOR NON-PAYMENT<br />
If the Buyer fails to make full payment immediately,<br />
Gibson’s Auctioneers & Valuers is entitled to exercise<br />
one or more of the following rights or remedies (in<br />
addition to asserting any other rights or remedies<br />
available under the law)<br />
i) to charge interest at the ANZ visa credit card<br />
rate as published weekly in the <strong>Australian</strong><br />
Financial Review<br />
ii)<br />
iii)<br />
iv)<br />
to hold the defaulting Buyer liable for the<br />
total amount due and to commence legal<br />
proceedings for it’s recovery along with interest,<br />
legal fees and costs to the fullest extent<br />
permitted under applicable law<br />
to cancel the sale<br />
to resell the property publicly or privately on<br />
such terms as we see fit<br />
v) to pay the Seller an amount up to the net<br />
proceeds payable in respect of the amount bid<br />
by the defaulting Buyer. In these circumstances<br />
the defaulting Buyer can have no claim upon<br />
Gibson’s Auctioneers & Valuers in the event that<br />
the item(s) are sold for an amount greater than<br />
the original invoiced amount.<br />
vi)<br />
vii)<br />
to set off against any amounts which Gibson’s<br />
Auctioneers & Valuers may owe the Buyer in<br />
any other transactions, the outstanding amount<br />
remaining unpaid by the Buyer.<br />
where several amounts are owed by the Buyer to<br />
us, in respect of different transactions, to apply<br />
any amount paid to discharge any amount owed<br />
in respect of any particular transaction, whether<br />
or not the Buyer so directs.<br />
viii) to reject at any future auction any bids made by<br />
or on behalf of the Buyer or to obtain a deposit<br />
from the Buyer prior to accepting any bids.<br />
ix)<br />
to exercise all the rights and remedies of a<br />
person holding security over any property in<br />
our possession owned by the Buyer whether by<br />
way of pledge, security interest or in any other<br />
way, to the fullest extent permitted by the law of<br />
the place where such property is located. The<br />
Buyer will be deemed to have been granted such<br />
security to us and we may retain such property<br />
as collateral security for such Buyer’s obligations<br />
to us.<br />
x) to take such other action as Gibson’s<br />
Auctioneers & Valuers deem necessary or<br />
appropriate<br />
If we do sell the property under paragraph<br />
(iv), then the defaulting Buyer shall be liable<br />
for payment of any deficiency between the<br />
total amount originally due to us and the<br />
price obtained upon reselling as well as for<br />
all costs, expenses, damages, legal fees and<br />
commissions and premiums of whatever kinds<br />
associated with both sales or otherwise arising<br />
from the default.<br />
If we pay any amount to the Seller under<br />
paragraph (v) the Buyer acknowledges that<br />
Gibson’s Auctioneers & Valuers shall have all<br />
of the rights of the Seller, however arising, to<br />
pursue the Buyer for such amount.<br />
G) FAILURE TO COLLECT PURCHASES<br />
Where purchases are not collected within three (3)<br />
days from the sale date, whether or not payment<br />
has been made, we shall be permitted to remove the<br />
property to a warehouse at the buyer’s expense, and<br />
only release the items after payment in full has been<br />
made of removal, storage handling, insurance and<br />
any other costs incurred, together with payment of all<br />
other amounts due to us.<br />
6. Extent of Gibson’s Auctioneers &<br />
Valuers Liability<br />
Gibson’s Auctioneers & Valuers agrees to refund<br />
the purchase price in the circumstances of the<br />
Limited Warranty set out in paragraph 7 below.<br />
Apart from that, neither the Seller nor we, nor any<br />
of our employees or agents are responsible for<br />
the correctness of any statement of whatever kind<br />
concerning any lot, whether written or oral, nor<br />
for any other errors or omissions in description<br />
or for any faults or defects in any lots. Except as<br />
stated in paragraph 7 below, neither the Seller<br />
ourselves, our officers, agents or employees give any<br />
representation warranty or guarantee or assume any<br />
liability of any kind in respect of any lot with regard<br />
to merchantability, fitness for a particular purpose,<br />
description, size, quality, condition, attribution,<br />
authenticity, rarity, importance, medium, provenance,<br />
exhibition history, literature or historical relevance.<br />
Except as required by local law any warranty of any<br />
kind is excluded by this paragraph.<br />
7. Limited Warranty<br />
Subject to the terms and conditions of this<br />
paragraph, the Seller warrants for the period of<br />
fourteen (14) days from the date of the sale that<br />
any property described in this catalogue (noting<br />
such description may be amended by any saleroom<br />
notice or announcement) which is stated without<br />
qualification to be the work of a named author or
58<br />
authorship is authentic and not a forgery. The term<br />
“Author” or “authorship” refers to the creator of the<br />
property or to the period, culture, source, or origin<br />
as the case may be, with which the creation of such<br />
property is identified in the catalogue.<br />
The warranty is subject to the following:<br />
i) it does not apply where a) the catalogue<br />
description or saleroom notice corresponded<br />
to the generally accepted opinion of scholars<br />
and experts at the date of the sale or fairly<br />
indicated that there was a conflict of opinions,<br />
or b) correct identification of a lot can be<br />
demonstrated only by means of a scientific<br />
process not generally accepted for use until<br />
after publication of the catalogue or a process<br />
which at the date of the publication of the<br />
catalogue was unreasonably expensive or<br />
impractical or likely to have caused damage to<br />
the property.<br />
ii)<br />
iii)<br />
iv)<br />
the benefits of the warranty are not assignable<br />
and shall apply only to the original buyer of the<br />
lot as shown on the invoice originally issued by<br />
Gibson’s Auctioneers & Valuers when the lot was<br />
sold at Auction.<br />
the Original Buyer must have remained the<br />
owner of the lot without disposing of any interest<br />
in it to any third party<br />
The Buyer’s sole and exclusive remedy against<br />
the Seller in place of any other remedy which<br />
might be available, is the cancellation of the sale<br />
and the refund of the original purchase price<br />
paid for the lot less the buyers premium which is<br />
non refundable. Neither the Seller nor Gibson’s<br />
Auctioneers & Valuers will be liable for any<br />
special, incidental nor consequential damages<br />
including, without limitation, loss of profits not for<br />
interest.<br />
v) The Buyer must give written notice of claim<br />
to us within fourteen (14) days of the date of<br />
the Auction. The Seller shall have the right,<br />
to require the Buyer to obtain two written<br />
opinions by recognised experts in the field,<br />
mutually acceptable to the Buyer and Gibson’s<br />
Auctioneers & Valuers to decide whether or not<br />
to cancel the sale under warranty.<br />
vi)<br />
the Buyer must return the lot to Seller in the<br />
same condition that it was purchased.<br />
8. Severability<br />
If any part of these Conditions of Sale is found by any<br />
court to be invalid, illegal or unenforceable, that part<br />
shall be discounted and the rest of the Conditions<br />
shall continue to be valid to the fullest extent<br />
permitted by law.<br />
9. Copyright<br />
The copyright of all images, illustrations and written<br />
material produced by Gibson’s Auctioneers &<br />
Valuers relating to a lot including the contents of this<br />
catalogue, is and shall remain the property at all times<br />
of Gibson’s Auctioneers & Valuers and shall not be<br />
used by the Buyer, nor by anyone else without our<br />
prior written consent. Gibson’s Auctioneers & Valuers<br />
and the Seller make no representation or warranty<br />
that the Buyer of a property will acquire any copyright<br />
or other reproduction rights in it.<br />
10. Law and Jurisdiction<br />
These terms and conditions and any matters<br />
concerned with the foregoing fall within the exclusive<br />
jurisdiction of the courts of the state in which the<br />
auction is held.<br />
11. Pre-Sale Estimates<br />
Gibson’s Auctioneers & Valuers publishes with each<br />
catalogue our opinion as to the estimated price range<br />
for each lot. These estimates are approximate prices<br />
only and are not intended to be definitive. They are<br />
prepared well in advance of the sale and may be<br />
subject to revision. Interested parties should contact<br />
Gibson’s Auctioneers & Valuers prior to auction for<br />
updated pre-sale estimates and starting prices.<br />
12. Sale results<br />
Gibson’s Auctioneers & Valuers will provide auction<br />
results, which will be available as soon as possible<br />
after the sale. Results will include buyer’s premium<br />
(22% plus GST). These results will be posted at<br />
www.gibsonsauctions.com.au.<br />
13. Goods and Service Tax<br />
In accordance with A New Tax System (Goods<br />
and Services Tax) Act 1999 Gibson’s Auctioneers<br />
& Valuers Auctions will collect on behalf of the<br />
<strong>Australian</strong> tax office (ATO) a Goods and Service Tax<br />
(GST) of 10% on all applicable transactions.<br />
ABN: 26 440 767 899<br />
GST is applicable on the hammer price in the case<br />
where the seller is selling property that is owned by<br />
an entity registered for GST. GST is also applicable<br />
on the hammer price in the case where the seller is<br />
not an <strong>Australian</strong> resident. These lots are denoted by<br />
a dagger symbol † placed next to the estimate.<br />
GST is also applicable on the buyer’s premium.<br />
Overseas buyers and buyers non-resident in Australia<br />
will not be charged GST on both hammer price and<br />
premiums under the following conditions:<br />
1. The items are exported through a Gibson’s<br />
Auctioneers & Valuers approved freight<br />
company including Australia Post<br />
2. The items are exported within 60 days of the<br />
date of the sale<br />
The invoice supplied by Gibson’s Auctioneers &<br />
Valuers for purchases will be regarded as a Tax<br />
invoice for GST purposes.<br />
14. Resale Royalty Scheme<br />
Under the legal obligations of the Resale Royalty<br />
Scheme for Visual <strong>Art</strong>ists Act 2009, sellers must<br />
provide the following information to comply with<br />
the act:<br />
• was the artwork acquired after 8 June 2010?<br />
• is the sale/reserve price (including GST) $1,000<br />
or more?<br />
• is the artist from Australia or a country listed in<br />
the Regulations to the Act?<br />
• is the artist alive, or deceased less than 70<br />
years?<br />
The seller:<br />
i) acknowledges that he or she understands his or<br />
her legal obligations under the Resale Royalty for<br />
Visual <strong>Art</strong>ists Act 2009 (the Act);<br />
ii)<br />
iii)<br />
iv)<br />
undertakes to comply with all requirements of<br />
the Act, including by providing its agent, the<br />
company, with accurate information sufficient for<br />
compliance with sections 28 and 29 of the Act;<br />
undertakes to indemnify the company for any<br />
loss incurred by the company as a result of<br />
the vendor’s failure to comply with any of the<br />
vendor’s legal obligations under the Act; and<br />
acknowledges that if he or she fails to comply<br />
with any of his or her legal obligations under<br />
the Act, the company may provide the vendor’s<br />
name and contact details to Copyright Agency<br />
Limited (CAL).<br />
Lots subject to payment of the Resale Royalty<br />
Scheme will be denoted by the §. The <strong>Australian</strong><br />
Resale Royalty is a flat rate of 5% on the hammer<br />
price (including GST). The <strong>Australian</strong> Resale Royalty<br />
is payable by the seller in addition to the buyers<br />
premium plus any applicable GST.<br />
15. Jewels & Watches<br />
GEMSTONES<br />
Gemstones have historically been subjected to a<br />
variety of treatments to enhance their appearance.<br />
Sapphire and rubies are routinely heat treated to<br />
improve their colour and clarity, similarly emeralds<br />
are frequently treated with oils or resin for the same<br />
purpose. Other treatments such as staining or dyeing,<br />
irradiation, filling or coating may have been used<br />
on other precious and semi-precious gemstones<br />
and organic material. These treatments may be<br />
permanent, whilst others may need special care to<br />
preserve their appearance. Buyers should assume<br />
that each lot has been subject to some form of<br />
treatment and that the estimates reflect this.<br />
A number of laboratories issue certificates that<br />
give detailed descriptions of gemstones, and in<br />
the event that Gibson’s Auctioneers & Valuers has<br />
been supplied with or obtained certificates for any<br />
lot, this shall be noted in the catalogue. However,<br />
as there may not be consensus between different<br />
laboratories on the degree, or types of treatment<br />
of the gemstones, Gibson’s Auctioneers & Valuers<br />
supplies these without warranty.<br />
Buyers should assume that all gemstones sold by<br />
Gibson’s Auctioneers & Valuers may have been<br />
subjected to such treatments, and that the catalogue<br />
estimates reflect this.<br />
PEARLS<br />
Pearls, like gemstones, are also subject to various<br />
treatments. Buyers should assume that any pearls<br />
sold by Gibson’s Auctioneers & Valuers may have<br />
been subjected to such treatments, and that the<br />
catalogue estimates reflect this.<br />
WATCHES<br />
Please note: All watches sold by Gibson’s<br />
Auctioneers & Valuers are sold on an “as is”<br />
basis. Gibson’s Auctioneers & Valuers makes no<br />
representation or warranty that any watch is in<br />
working order. Many watches have been repaired<br />
over their lifetime and may contain non-original parts.<br />
The absence of any reference to the condition of a<br />
watch does not imply that the lot is in good condition<br />
and without defects, repairs or restorations. Buyers<br />
should be aware that a general service, change of<br />
battery or further repair work, for which the Buyer is<br />
solely responsible for, may be necessary.<br />
ESTIMATED WEIGHTS<br />
If a stone has a known weight, it has been weighed<br />
out of the mount. If a stone has an estimated weight,<br />
it is an approximate weight only and has been<br />
measured by us in the mount and is a statement of<br />
opinion only. The information is given as a guide only<br />
and Buyers should satisfy themselves with regard to<br />
this information as to its accuracy.
Consigning Now<br />
Two Chinese mounted fan leaves bearing signatures<br />
of Zhu Mei-Cu (1911-1993) and Gu Rong Mu<br />
Lot 416 Autumn Auction Series, May 2020<br />
Estimate: $600-800 SOLD $10,370<br />
The Winter Auction Series<br />
Auction | August 2020<br />
ENQUIRIES 03 9500 2607 | mail@gibsonsauctions.com.au