Leading the sale is a C19th naïve American School painting of a New Bedford American Whaling in the Southern Ocean, c1855 (Lot 501 ) is an animated depiction of an industry that once prevailed the oceans. Equally intriguing in terms of historical interest are four hand-coloured aquatints of New South Wales: View of Sydney from the East and West Side of the Cove No. I & No. 2 (Lot 502 ) after Eyre’s original watercolours which were exhibited in London in 1810. The views are intended to be presented as two panoramic views of Sydney, and are admired for its attention-to-detail and its illustrations of historical landmarks and early settlement in Sydney. Published in 1810 by John Booth and engraved by John Clarke, these plates are part of the first edition of aquatints produced which served as illustrations for David Dickenson Mann’s book The Present Picture of New South Wales published in 1811.
Han Heysen's paintings of Quorn and the surrounding regions are regarded as some of his most iconic works. The atmospheric depiction of The Devil’s Peak, Quorn 1933 (Lot 503 ) overlooks the farmlands of Quorn with two stockmen on horseback droving sheep in the foreground and the ancient rock formation Devil’s Peak in the distance.
In contrast to the often-admired idyll scenes of bathers, Woman and Kangaroo (Lot 546 ) and Grass Trees (Lot 624 ) by Frederick Leist focus on representing Australian native beauty. Leist opts for an Arcadian representation of Australia, which we we similarly see in Fantasy 1930 and Apotheosis of Australia, c1930. As Leist was a vocal advocate for mural paintings in Sydney’s public buildings that celebrated national beauty, it is possible that these paintings were mural studies.
Hugh Sawrey, best known for his true-blue depictions of regional Australia, offers a humorous and familiar depiction of workers toiling in the wool shed, Wool Away! In Stingy Jones' Shed, Western Australia (Lot 506 ). While fellow contemporary D’arcy Doyle offers are a more nostalgic rendering of Australian scenes as we see in Mustering the Horses (Lot 504 ) and Flying Kites (Lot 518 ).
Simplified but nevertheless a good example of John Olsen’s ability to depict the Australian landscape through simply line and colour is Lake Eyre & Spoonbill's Head, 1974 (Lot 513 ).
Three exquisitely detailed paintings by Tasmanian artist Michael McWilliam (lots 528, 529 and 589) are sure to generate a flurry of interest given recent sale records.
The often-explored Ern Malley poems is the subject of Garry Shead’s collaborative series with Hill End based ceramicist Lino Alvarez of La Paloma. Of the four ceramics on offer, Ern Malley's 'Boult to Marina', 2003 (Lot 517 ) is the most alluring in terms of imagery and ceramic form. Among the sculptures in the sale, Bruce Armstrong’s totemic and whimsical sculptures continue to charm collectors, his bear-like figure (Lot 522 ) displays the artist preference for simplfied organic form and a reverence for native material.
