Art Auction

donated by Isobel Crawford

River Bend Shoalhaven River at Bombay – framed, pastel on paper, 96 x 104 cm

donated by Isobel Crawford

Cattle appearing in ancient landscape – framed, charcoal on paper, 85 x 65 cm

donated by Judy Horacek 

Global Warming

Working with a master printmaker, Judy has produced a number of screenprints from a small number of ‘classic’ cartoons – cartoons that have been particularly popular and/or say something particularly important.  Global Warming is the sixth in the series, a cartoon which sadly, apart from the phone, hasn’t dated since it was first created.

Edition:                   200, signed and numbered
Image size:            135 x 170 mm
Paper size:             253 x 185 mm
Paper:                     Magnani Pescia, 300 gsm
Workshop:             Megalo Print Studio, Canberra
Printer:                    Paul Peisley (with Judy Horacek helping)

donated by Judy Horacek 

Building Site Fantasy

Working with a master printmaker, Judy has produced a number of screenprints from a small number of ‘classic’ cartoons – cartoons that have been particularly popular and/or say something particularly important.  Passing a building site fantasy is the fifth in the series.  The original version of this cartoon was part of her ‘Unrequited Love’ series.

Limited edition handprinted screenprint
(Cartoon copyright 1994, screenprint 2006)

Edition:                    250, signed and numbered
Image size:             172 x 120 mm
Paper size:              250 x 185 mm
Paper:                      Magnani Pescia, 300 gsm
Workshop:              Megalo Print Studio, Canberra
Printer:                     Paul Peisley (with Judy Horacek helping)

donated by Diana Reynolds

Bush stories from the Zizag Track, 2024 – painting/collage on canvas, ~120 x ~170 cm

My mother was passionate about the environment and conservation, so my natural curiosity and fledgling child ecology was encouraged. I gained a rich appreciation of Australia’s flora, fauna and striking natural places. I was encouraged to draw and paint from pocketings of native flora from the bush and I’d paint landscapes with my mum as well. 

As kids we collected jars of tadpoles to witness their metamorphosis. Frogs would be returned to small soaks along bush paths. These were early and enduring conservation lessons and fostered a sensitivity to our climate, ecosystems and environment.

These vulnerable Green and Gold Frogs leaping from bucket to bush are synonymous with the difficulties faced by so many of our native species. This picture represents the imperative leap we must make in our respect for original animal inhabitants, awareness of climate change’s effects and our own impact on the beauty of our natural environments.

donated by Diana Reynolds

Vesica Piscis – collage, 116 x 76 cm

A vesica piscis is the shape formed by the intersection of two circles. Throughout nature it occurs – in seeds pods, buds, fruits, leaves, and animals. It creates cell division integral to organisms, enabling growth and reproduction and is attributed to the female vulva as the portal for life. 

The vesica piscis show the turn of day to night, light to dark, season to season, signifying the overlapping colours, appearances, and sensations of these natural rhythms. Tasmanian bush instilled my fundamental love of landscape, entwined with awe for such natural shapes like the vesica piscis to which we are intrinsically attuned.

donated by Imago Figgs

Listen – Archival print framed, ~60 x ~75 cm.

Like musical notes frozen in time, each droplet and splash becomes part of a visual score, inviting us to lean in closer, to tune our senses to nature’s quieter frequencies. The rich palette – deep oranges of iron-stained rock embracing emerald moss while pearlescent water weaves through – creates a visual harmony that mirrors the auditory experience of standing beside flowing water. These are the colors of deep listening, of finding stillness amid motion.
Pause, lean closer and take a moment to be fully present, engaging with the world around.
Imago Figgs @mountainwalk https://www.instagram.com/mountainwalk/?hl=en

donated by Marja Rouse

Swift Parrot Head – painting, 30.5 x 21.5 cm

donated by Frank Bergersen

Yellow Water Lagoon Sunset, Northern Territory

donated by Isabelle Zhu Maguire

Chuck Em, They’re Straight – Acrylic on canvas, ~ A3

donated by Gillian Bellas

Lyre bird forest – Acrylic on board. 62 x 44 cm

donated Judith Bourne

Swift Parrots – Acrylic on Canvas. 60 x 76 cm

donated by Hedda Murray

The Mottlecah, 2023 – Framed fine art print, pigment on cotton

The Mottlecah (eucalyptus macrocarpa) is a species of mallee endemic to the south-west of Western Australia. It has spectacular gum nuts and large red flowers which bloom from late winter to early summer. In addition to looking gorgeous, Mottlecah flowers are well loved by pollinators such as birds, bees, butterflies and many other insects.

Hedda.M. is a Canberra-based photographer, taking photos across a range of genres: people, places, and the creatures and spaces of the natural world around us, big and small.

https://www.flickr.com/photos/198598285@N07/albums

donated by Cynthia Breheny

Scatter of gum leaves – Acrylic on canvas, 40 x 30 cm

donated by Rob and Marelle Rawson

Windswept Scene in the Snowy Mountains  – oil painting, framed, 810 x 980 mm

Joseph A Klimek was a Polish artist who immigrated to Australia with his family in 1960 or 1961. Upon arrival, he began teaching at the National Arts School and East Sydney Technical College. In 1968, he was a finalist for the Archibald Prize and a finalist for the Wynne Prize for Australian Landscape Artwork with a painting titled ‘Waterfront’. In 1970, he was appointed as head of the Department of Fine Arts at Seaforth Technical College. In 1979, he retired to focus on painting full-time. He was born in Poland in 1918 and died in Sydney in 2006.

donated by Cobie Brinkman

Greater Glider

donated by Elle Lawless

Glider, 2022 – Lino Print, A4

donated by Eva van Gorsel

Ancient – Archival pigment pring on Ilford Fine Art Textured Silk, A2

This photograph showcases an ancient tree in the Antarctic beech forest of New England National Park. It is covered in lichen, moss, and epiphytes, highlighting the tree’s role as a living host for a diverse range of plants. The filtered light from the upper right brings out the textures and rich colours of the forest, illuminating a scene that reflects the interconnectedness of this cool temperate rainforest ecosystem.

https://www.instagram.com/evavangorsel/
https://www.theimageforager.com.au/

donated by Eva van Gorsel

Morning Flight – Archival pigment print on Ilford Smooth Cotton Rag, A2

This photograph captures a crimson rosella in flight on a foggy morning at Kama Nature Reserve, ACT, a reserve that features critically endangered Yellow Box–Blakely’s Red Gum grassy woodlands. The scene highlights the importance of mature trees, with their hollows providing critical nesting sites for native birds. Fallen limbs scattered on the ground reflect the natural cycle of these woodlands, where decaying wood supports insects and other wildlife.

https://www.instagram.com/evavangorsel/
https://www.theimageforager.com.au/

donated by Eva van Gorsel

Up – Archival pigment print on Ilford Smooth Cotton Rag, A2

This photograph captures the towering crowns of the Antarctic beech forest in New England National Park. Sunlight filters through the ever-present mist and fog, casting a soft, diffused glow that highlights the forest’s airy beauty. The interplay of light and fog in this cool temperate rainforest evokes a sense of tranquility and showcases the forest’s unique atmosphere.

https://www.instagram.com/evavangorsel/
https://www.theimageforager.com.au/

donated by Isobel Crawford

Feathertail Glider Acrobates pygmaeus – framed colour print of photograph ~ 35 x ~ 31 cm

Ederic Slater, photographer at CSIRO Division of Wildlife Research, developed and perfected many new techniques for photographing wildlife in the field. 

donated by Lois Padgham

Post Wilfire Bark 1 2020 – water colour,  ~A5

The three bark paintings are based on a visit to the SE forests soon after the 2019-2020 bushfires when trees were shedding their burnt bark to make way for new bark. The brilliant red of the bark was in contrast to the bright green new growth and the still blackened tree trunks of many species.

donated by Lois Padgham

Post Wilfire Bark 2 2024 – water colour,  ~A5

donated by Manuel Pfeiffer

Wee Jasper, 2022 – pencils and colour-pencils on paper, A4 drawing on A3 portrait

https://www.theimageforager.com.au/

donated by Morgyn Phillips

‘On the street where you live’: Eucalyptus cinerea Argyle Apple – watercolor and gouache – framed, 34 x 44 cm 

Canberra’s street trees create an urban forest and are a wonderful feature of the cityscape. My street tree, Eucalyptus cinerea, grows across the south east of Australia on the central and southern tablelands and western slopes. I love turning into my street and seeing its dark twisty limbs and beautiful grey green leaves shimmering in the sunlight. Very young new leaves in springtime are infused with a delicate mauve tinge and the leaves are almost translucent.

In springtime the street is awash with a honey smell from the flowering blossoms which are small and creamy white coloured. Yet another reason to love this tree are the beautiful deep rusty orange the leaves produce as a natural dye.

Our street trees shelter and feed magpies and wattle birds while cockatoos and galahs swing by in the hopes of discovering a nesting hollow. Many of our street trees are still too young by at least 20 to 40 years to have developed hollows.

donated by Judith Bourne

Powerful Owl – Print on paper

donated by Diana Reynolds

Vesica Piscis – collage, 116 x 76cm

donated by Diana Reynolds

Vesica Piscis – collage, ~90 x ~ 185 cm (Two pieces auctioned together)

The vesica piscis is the intersection of two circles forming an almond shape. It occurs
everywhere in nature; in seeds pods, buds, fruits and leaves. It is attributed to the female
vulva as the portal for life and the vesica piscis creates cell division integral to organisms,
enabling growth and reproduction.

Within the vesica piscis shape, I have used Banksia pods, Grevillea seeds, Everlasting
Daisies, Sydney Rock Orchids and Bracken in a collage of image manipulation and textures
on film to represent the shiny protective casings which house floras’ seeds for life, with torn
paper representing unity and separation.

donated by Marja Rouse

Gumtree – painting/collage/mixed media 90 x 60 cm

donated by Elle Lawless

Burnt to the Beach, Yuin, 2020 – Lino Print, A4

donated by Cynthia Breheny

Old Man of the Mountains – Watercolour & pencil on paper, 30 x 21 cm

donated by Marja Rouse

Gumtree – painting, 36 x 27.5 cm

donated by Cynthia Breheny

In the Rainforest – Water colour on paper, 20 x 14 cm

donated by Lois Padgham

Post Wilfire Bark 3 2024 – water colour,  ~A5