61 John Goodchild Australian 1898-1980
Afternoon Light, 1926. Lithograph, titled, editioned 19/30, signed
and dated in pencil below image, 33.8 x 47cm. Minor stains to
centre and left of image, repaired tears to image left and mar
62 Bruce Goold Australian b.1948
Cockatoo, 1986. Hand-coloured linocut, titled in block lower
left, editioned 11/50, signed and dated in pencil in lower margin,
43.6 x 31.6cm. Slight foxing to upper portion. Framed.
63 Wolfgang Graesse German/Australian b.1930
Allegoria (Sydney), 1967. Pencil drawing, monogrammed, dated,
titled and signed upper to lower right, 36.3 x 27.2cm (paper).
Repaired slight surface loss to upper corners, minor stain to
64 Murray Griffin Australian 1903-1992
The Shorn Ones, 1933. Colour linocut with woodcut, titled and
monogrammed in image upper right, editioned 12/16, titled, signed
and dated in pencil in lower margin, 27.7 x 35.1cm. Minor glue
remnants to image upper left.
in Castlemaine Art Gallery.
65 Murray Griffin Australian 1903-1992
Wild Duck, 1933. Colour linocut with woodcut, monogrammed in
image upper right, editioned 14/17, titled, signed and dated
in pencil in lower margin, 16.2 x 21.5cm. Slight tears to lower
margin, old mount burn.
66 Oswald Hall Australian 1917-1991
[Portrait], c1939. Oil on textured paper, signed lower right,
cancelled correspondence in ink verso, 16 x 11.2cm. Paper loss
to image centre right, crease lower left, slight foxing, minor
tears and missing portions to upper edge.
painter and printmaker Oswald Hall was the son of L. Bernard
Hall, a prominent artist. Oswald was influenced by Christian
Waller, who shared his interest in Theosophy. He was a founding
member of the Contemporary Art Society (Victorian Branch). Ref
67 Bernard Hesling British/Australian 1905-1987
[Man And Goanna], c1970s. Vitreous enamel on metal plate, signed
lower centre, 28cm (diameter). Chip to enamel outside image.
plates are held in NGA and Powerhouse collections. Bernard Hesling
was a British-born muralist and painter who lived and worked
in Australia and produced many vitreous enamel artworks and wrote
humorous autobiographies. Ref: Wiki.
68 Bernard Hesling British/Australian 1905-1987
[Hand And Figure], c1970s. Vitreous enamel on metal plate, signed
lower left, 28cm (diameter). Minor crazing to lower portion.
69 Bernard Hesling British/Australian 1905-1987
[Comedy And Tragedy], c1970s. Vitreous enamel on metal plate,
initialled "H" and annotated "test" lower
right, 27.5cm (diameter).
70 Bernard Hesling British/Australian 1905-1987
[Knights And Their Horses], 1972. Pair of vitreous enamel metal
plates, both signed and one dated lower centre, 28cm (diameter,
each). Some scratches, scuffing.
The pair $1,850
71 Frank Hinder Australian 1906-1992
[Parrots], 1977?. Lithograph, initialled and dated in image lower
right, editioned 3/5 in pencil lower left, 17.9 x 17cm. Framed.
uncommon image which is not listed in Bloomfield's book on Frank
72 Attrib. Rayner
Hoff Australian 1894-1937
[Virgin Mary], c1930. Plaster relief, 43.9 x 24.4 x 1.5cm. Hairline
crack centre left, chips to edges, slight stains. Framed.
73 Livingston Hopkins American/Australian 1846-1927
The Fisher, 1889. Etching, signed and dated in plate lower right,
12 x 16.2cm. Minor soiling and old mount burn to margins.
in NGA. Livingston York Yourtee "Hop" Hopkins was an
American illustrator who became a major Australian cartoonist,
working for The Bulletin during the time of the Federation of
Australia. One of his major hobbies was printmaking and he introduced
a number of artists in Sydney to etching including Julian Ashton,
Tom Roberts, B.E. Minns and Arthur Streeton. Ref: AGNSW.
74 William Hunter British/Australian 1899-1963
The Greek Scholar, 1945. Etching and aquatint, signed and dated
in plate lower right, editioned 13/50, titled and signed in pencil
in lower margin, 16.1 x 18.1cm. Cockling overall, tears and slight
stains to margins.
Hunter's work is represented in NGA and AGNSW.
75 Kenneth Jack Australian 1924-2006
Christian Building Since Christ's Death III, c1961-1965. Perspex
engraving with colour screenprint, initialled in plate lower
left, titled, editioned 14/30 and signed in lower margin, 32
x 44.5cm. Minor paper remnants to image centre.
76 Kenneth Jack Australian 1924-2006
Ferries, Brisbane River, 1962-c1963. (a) Pencil study, titled,
signed and dated in pencil upper right and lower left, 42.7 x
37cm. Foxing overall. Framed. Ref: Klepac #108. (b) Linocut with
screenprint, titled, editioned 6/30 and signed in pencil in lower
margin, 32.5 x 27.8cm. Missing portions, paper loss and tears
to right margin, repaired perforation to left margin, old mount
The pair $2,650
77 Kenneth Jack
Ghost Town, c1973. Lithograph, titled and signed in pencil below
image, 40.4 x 65.5cm. Repaired tears to left and right edges,
slight paper loss to image lower left, old mount burn.
town is most likely Hammond in South Australia.
78 Allan Jordan Australian 1898-1982
[Parrots], c1930s. Colour woodcut, initialled in block lower
left, 20.1 x 22.8cm.
printmaker and teacher Jordan is best known for his bookplates
and woodcuts. His work is held in numerous Australian institutions,
including the National Library, National Gallery of Art, Hamilton
Art Gallery and Benalla Art Gallery.
79 Stephen King Australian b.1958
Brave Cowboy Bill Says Hello, 1988. Linocut, annotated "A/P",
titled, signed and dated in lower margin, 32.5 x 43cm. Minor
foxing to image lower right and margins.
King originally studied printmaking at the Sydney College of
the Arts. After graduating, he moved to London for postgraduate
study at St Martin's School of Arts. On his return, he switched
from linocuts to sculpture. Ref: Maitland Regional Art Gallery.
80 Amie Kingston Australian 1908-1996
Gas Mask, 1939. Lithograph, titled and signed in pencil below
image, 11.7 x 12.3cm. Slight foxing to upper portion of image,
minor stains and missing portion to edges of paper, old mount
burn. Laid down on acid-free tissue.
in NGA. Unusual, rare image by Kingston. Hobart-born painter,
art teacher and theatrical designer Amy (Amie) Kingston was studying
art and design in London when gas masks were issued to all British
civilians in September 1939 at the start of WWII. There was a
grave fear that poison gas bombs would be used again with the
devastating effect experienced during WWI. Civilians were directed
to carry their gas mask at all times, with the threat of a fine
if they were caught without one. Ref: NPG; Huffington Post, 2016.