Aboriginal and South Pacific Gallery, Surry Hills, exhibited 1995; Private collection, Sydney

Malangi’s bold style of painting was distinctive from his contemporaries. He used thick white lines, large areas of black, chocolate brown ochre and generous amounts of rarrk (crosshatching). He began bark painting as a young man, taught by his father and uncle to paint on bodies for ceremonies, on hollow logs for burials and later on stringybark. He was taught to paint the story of his creation ancestor, Gurrumurringu, and the story of the Djangkawu sisters. His style influenced several other central Arnhem Land painters.

Australian Galleries; Private collection, Sydney

William Robinson began painting his farmyard scenes in the 1980s, after he had moved to rural Brisbane in the 1970s. Having spent much time in the company of his farm animals Robinson came to uncover their individual humorous, yet whimsical nature in his paintings.

Australian Galleries; Private collection, Sydney

William Robinson began painting his farmyard scenes in the 1980s, after he had moved to rural Brisbane in the 1970s. Having spent much time in the company of his farm animals Robinson came to uncover their individual humorous, yet whimsical nature in his paintings.

The collection of Lewis Morely;
Private collection, Sydney

Includes:
(1) Christine Keeler Seated with Chair, 1963, printed 2011,
C-type photograph printed on Fuji Crystal Archive Flex paper,
edition 48/150, signed in ink in lower margin, 30.5 x 40.6cm
(2) Lewis Morley: I To Eye, T&G Publishing, Sydney, 2011.
Hardcover book with dust jacket, 400 pages with over 270
duotoned and colour photographs; 8.1 x 47 x 36.4cm (box).
(3) Eight-page booklet entitled Lewis Morley: The Hidden
Nude with text by Lewis Morley.