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Fine Art & Objet D’Art formerly from the Estate of Graham Joel — Sunday 16 May 2021, Melbourne i

AUCTION CATALOGUE VOLUME 14 ISSUE 5

Cover: Graham Joel Auctioneering

Inside Cover: Lot 80 HANS HEYSEN (1877-1968) The Arkaba Range, Far North 1934 watercolour on paper signed and dated lower right: HANS HEYSEN 1934 titled verso 23 x 39.5cm $12,000-16,000 © Hans Heysen/Copyright Agency, 2021

leonardjoel.com.au

Mr Joel can remember when Heysen paintings were regarded as old hat. Today, he says it’s become a status symbol to own original paintings by early Australian artists. “These have stood the test of time.” Graham Joel quoted in The Age 24 August, 1970

Going...going...gone!

“If you buy a painting, it should be one you like, one that you can live with. This I think, is far more important than any investment value.” GRAHAM JOEL

Fine Art & Objet D’Art formerly from the Estate of Graham Joel AUCTION SUNDAY 16 MAY 2021 AT 2PM MELBOURNE

VIEWING Viewing in Sydney Friday 7 - Saturday 8 May, 10am - 4pm The Bond, 36-40 Queen Street, Woollahra, NSW 2025 Viewing in Melbourne: Friday 14 - Saturday 15 May, 10am - 4pm 333 Malvern Road, South Yarra, VIC 3141

CONTACT

Olivia Fuller

Bethany McGougan

Head of Art 03 8825 5624 olivia.fuller@leonardjoel.com.au

Head of Fine Jewels & Timepieces 03 8825 5645 bethany.mcgougan@leonardjoel.com.au

leonardjoel.com.au

Leonard Joel (left) and Graham (right) as a schoolboy, 1942

Graham Joel 1928-2019 The first time I encountered Graham Joel was in the late 1970s.

phones and the appearance of fully illustrated and documented

Curious about antiques and auctions I attended a Thursday sale at

catalogues, Leonard Joel held prime position ahead of the proliferation

the McKillop Street premises of Leonard Joel, just off Little Collins

of international and local auction houses that were to follow. There was

Street. It wasn’t a large establishment and if my memory serves

something for everyone in these auctions and they became a much

me accurately it seemed almost Dickensian in the way furniture

anticipated social event in Melbourne attracting local, overseas and

and decorative arts were displayed in a very confined space; cedar

interstate buyers alike. Graham’s style of auctioneering didn’t change.

wardrobes, wing-backed armchairs, crystal cabinets, framed paintings,

He would auction for hours on end. In later years he was to be assisted

watercolours, silverware, ceramics and all manner of domestic

by his son Warren and daughter Treena who had both joined the family

bric-a-brac displayed in an organised form of chaos. All of it was

business. Graham’s stamina was phenomenal. He kept up the pace but

totally fascinating to a newcomer.

brought a certain humour and a disciplined matter of fact approach to

Presiding over that auction was Graham Joel who from the 1950s had headed the family firm established by his father in 1919. Graham had a strong and at times almost booming voice well-honed no doubt

offering the many hundreds of lots each day. There was always a fair bit of adrenalin flowing in the room as Graham kept up the pace. The tension was only broken by his quips and comments along the way.

through years of practice, able to be heard over the general din of

In the mid-2000s I had the privilege to work closely with Graham at the

a busy auction room without the aid of a microphone. The clientele

new Malvern Road headquarters valuing paintings and on occasion

in those days ranged from pin-striped suited businessmen, lawyers

viewing private collections. Even though he was in his seventies by

and stockbrokers, antique dealers of every kind as well as members

then, Graham’s work ethic and stamina had not diminished. He liked

of the general public eager to snap up a treasure or a bargain. It was

to keep his hand in and continued to undertake insurance valuations

theatre and Graham played to the audience with a masterful blend of

and to estimate prices for potential auction items. He clearly enjoyed

commentary and hard-headed salesmanship. He always seemed to be

what he did. His memory was still sharp and his preferences for certain

fully in control of proceedings. The thud of the gavel as each lot sold

types of art were apparent. His taste was very much of his generation.

added yet another dimension to the art of his auctioneering. Graham

He liked traditional paintings and traditional subject matter, forming

was quick off the mark and the lots fell rapidly. He was unlikely to miss

his own substantial collection over many years. The paintings being

a bid as he always kept his eye on the room.

offered in this current sale were acquired as early as the 1950s. The

By the1980s the McKillop Street premises were outgrown and Graham re-established the firm in Inkerman Street, East St Kilda. This was the decade that Joel’s massive art auctions were held at the Malvern Town Hall. It was a decade of prosperity and these sales drew huge crowds of bidders and onlookers alike. Graham and his art specialist Paul Dwyer created a unique clearing house for Australian and international art from local collections. During the1980s, before the internet, mobile

Ethel Carrick Fox and Emanuel Phillips Fox works in particular have remained with the Joel family since 1952. These works offer some insight into the taste of the private man – a man who for over 50 years presided over the sale and dispersal of so many important collections in Melbourne and Victoria. Graham found great pleasure in his personal collection but now it is time for others to have the opportunity to become the new custodians of these treasures of a lifetime. Peter Struthers / Former Art Specialist for Leonard Joel 2001-2006

Ethel Carrick Fox and Emanuel Phillips Fox: A Historic Partnership Emanuel Phillips Fox and Ethel Carrick Fox remain two of Australia’s most revered Impressionist and Post-Impressionist painters. Separately, their careers followed different paths each with varying success, but together they formed a partnership that has remained unmatched in the course of Australian art. Emanuel Phillips Fox was born in 1865 in Melbourne. Following his studies at the National Gallery School alongside Rupert Bunny and Frederick McCubbin, he departed for Europe in search of artistic inspiration and further studies. After attending the Académie Julian in Paris, he travelled throughout France, England and even Spain. This exposure to the European art scene became a rite of passage for Australian artists following Emanuel. Upon returning to Australia in 1892, Emanuel now enjoyed a notable level of public recognition as an artist, although largely constricted to the output of portraits. Emanuel was commissioned by the National Gallery to paint the landing of Captain Cook at Botany Bay. The bequest outlined that this must take place overseas, and so in 1901 Emanuel once more set off for Europe. After a period in Paris, Emanuel visited the open-air painting colony in St Ives, Cornwall, which is where it is believed he met his future wife, Ethel. Born in England in 1872, Ethel Carrick Fox studied at the famous Slade Art School in London where she was encouraged to explore en plein air painting and the use of bright colours. Ethel was fascinated with the works of the Impressionist painters such as Monet and Pissarro. By the time she met Fox in Cornwall, perhaps as early as 1901, Ethel had successfully avoided the lures of marriage and motherhood. Fox was the husband she needed – a man just as devoted to his work as she was to hers, as opposed to the fulfillment of society’s familial expectations. ABOVE: A 1952 Auction Catalogue Cover

from the Collection of E. Phillips Fox & E. Carrick Fox OPPOSITE TOP: Lot 25

Following their marriage in 1905, the couple settled in Paris, the centre of the art world. New ideas were born here and Ethel revelled in them, while Emanuel remained somewhat more contained. In Paris, Fox showed at the New Salon, while Carrick showed at the more radical Autumn Salon. Carrick was certainly the more daring of the two in both personality and

EMANUEL PHILLIPS FOX (1865-1915) Gathering Hay oil on panel 34 x 26cm $10,000-15,000

artistic focus. She abandoned Impressionism in favour of the experimental colour and bold

OPPOSITE BOTTOM: Lot 21

on these trips that we often see Emanuel’s more experimental works. In 1907 Ethel produced

EMANUEL PHILLIPS FOX (1865-1915) Through the Trees oil on panel double-sided 13 x 20.5cm $5,000-8,000

brushwork of what we now consider Post-Impressionism. In Carrick’s scenes, colour takes on its own distinct identity, creating a vivid pattern. Fox, by contrast, was a master of light and shadow – the result of his academic training. Ethel and Emanuel travelled together, and it is a master work of St. Mark's Square in Venice, sold at Leonard Joel in 2015, also depicted by Emanuel in the same year. However, alongside his wife, Emanuel's rendering of St Mark's square is one of his less contained works. From these joint trips, we often see the two artist’s rendering their own impressions of the same scene around them.

LEFT: ETHEL CARRICK-FOX (1872-1952)

St Mark’s Square, Venice 1907 oil on panel 26 x 35cm Sold for $66,000

Much to Ethel’s dismay, the couple returned to Melbourne. World War I prevented their return to Europe, and so Australia now became home. Sadly, their marriage was short-lived with Emanuel succumbing to cancer at the age of 50. Carrick became the perfect artist’s widow, campaigning persistently on behalf of Emanuel’s reputation organising countless posthumous exhibitions of his work. Emanuel Phillips Fox may now be considered a highly recognised artist in Australian art history however at the time of his death he was only recognised in Europe and it was largely due to the efforts of Ethel Carrick that he found a place in Australian art history at all. While the focus for much of their partnership remained on Emanuel’s work, both artists are now considered each to be masters in their field. Separately, they would have undoubtedly remained as very talented painters but together their partnership saw their work extend to even greater heights with a now enduring legacy in Australian art history. Ethel Carrick Fox sadly passed away in 1952, and that same year Leonard Joel held the

Portrait of E. Phillips Fox

auction of the Fox Estate. From the Estate, Graham himself purchased a collection of works, most notoriously thrown into a suitcase. Collectors at the time may have seen these works as rejected throw-aways from the artists, but Graham saw beyond the detritus and dust, the cracks in the paint, and creases in the canvas. Now the collector has caught up to Graham’s all-knowing eye, with works by Ethel and Emanuel keenly sought after and fresh examples hard to come by. These works are now out of the suitcase and rightly in the grasp of the collector once more. A treasure chest is never without its mysteries, with stories hoping to be rediscovered once more and many of these artworks retain an air of mystery to them. Leonard Joel, however, is grateful to Ruth Zubans for her assistance in demystifying and cataloguing many of the paintings featured in lots 1-44 in this catalogue. The auction of this wonderful collection occurs on what would have been Graham Joel’s 93rd birthday. Portrait of Ethel Carrick, c.1912

OLIVIA FULLER / Head of Art

1 EMANUEL PHILLIPS FOX (1865-1915) Horses oil on panel 12.5 x 20.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above RELATED WORK: Ploughing 1904, oil on panel, 13 x 21cm Zubans, R., Emanuel Phillips Fox: His Life and Art, Melbourne University Press, Melbourne, 1991, pl. C31 $4,000-6,000 14

2 EMANUEL PHILLIPS FOX (1865-1915) Harvest oil on panel 13 x 20.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $4,000-6,000

3 EMANUEL PHILLIPS FOX (1865-1915) Thatched Roofs oil on panel 15 x 20cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $3,000-5,000

4 EMANUEL PHILLIPS FOX (1865-1915) The Henhouse oil on panel 15 x 21cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $3,000-5,000

5 EMANUEL PHILLIPS FOX (1865-1915) Fruit Sellers oil on panel 25.5 x 34cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $8,000-10,000

6 EMANUEL PHILLIPS FOX (1865-1915) Head and Shoulder Study of a Girl with Yellow Hat c. 1910-12 oil on panel 34 x 26cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above EXHIBITIONS: E. Phillips Fox & Ethel Carrick Fox, Deutscher Fine Art, Melbourne, 13 November - 6 December 1997, cat. no. 18 (illus.) LITERATURE: Zubans, R., E. Phillips Fox: His Art and Life, Melbourne University Press, Melbourne, 1995, cat. no. 355 $10,000-15,000

7 EMANUEL PHILLIPS FOX (1865-1915) Study of a Peasant Woman (with Mauve Dress) c.1904 oil on panel 33 x 25.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above LITERATURE: Zubans, R., E. Phillips Fox: His Life and Art, Melbourne University Press, Melbourne, 1995, illus. p.92 pl. C32, p. 221 as cat. no. 187 $10,000-15,000

8 ETHEL CARRICK FOX (1872-1952) Peasant Farmer oil on panel 20.5 x 13cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $3,000-4,000

9 ETHEL CARRICK FOX (1872-1952) Street Scene with Women oil on panel 15 x 21cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $3,000-4,000

10 EMANUEL PHILLIPS FOX (1865-1915) Buildings at Dusk oil on panel 12.5 x 21.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-2,000 11 EMANUEL PHILLIPS FOX (1865-1915) River Reflections oil on panel 16 x 22cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,500-2,500 11

12 EMANUEL PHILLIPS FOX (1865-1915) Untitled (Landscape) oil on panel 27 x 35cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $3,000-4,000 13 ATTRIBUTED TO ETHEL CARRICK FOX (1872-1952) The Bridge oil on board 14 x 18cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $2,000-3,000

14 EMANUEL PHILLIPS FOX (1865-1915) Street Scene oil on panel double-sided 16 x 22cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,500-2,500

15 POSSIBLY EMANUEL PHILLIPS FOX (1865-1915) Portrait of a Man oil on panel 35 x 26.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-2,000

16 EMANUEL PHILLIPS FOX (1865-1915) Portrait/ Royal Exhibition Building oil on panel double-sided 33 x 24cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $7,000-10,000

17 EMANUEL PHILLIPS FOX (1865-1915) Workmen oil on panel 26 x 34cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $9,000-12,000

“It’s a completely individual matter. One should buy what one likes and wants. Once you see something you like, buy it. I’ve seen more people regret not buying than regret buying.” GRAHAM JOEL

18 POSSIBLY EMANUEL PHILLIPS FOX (1865-1915) Study of a Girl oil on panel 15 x 21cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $700-1,000 19 ETHEL CARRICK FOX (1872-1952) Woman at Shop Window oil on panel 35 x 27cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $5,000-8,000 19 34

20 ETHEL CARRICK FOX (1872-1952) Flower Market Study oil on panel 27 x 35cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $4,000-6,000

21 EMANUEL PHILLIPS FOX (1865-1915) Through the Trees oil on panel double-sided 13 x 20.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $5,000-8,000

22 POSSIBLY BY ETHEL CARRICK FOX (1872-1952) Spring Time in the Orchard oil on canvas 26 x 36cm

23 ETHEL CARRICK FOX (1872-1952) View Across the Valley oil on panel 18 x 14cm

PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above

$1,000-2,000

$2,000-3,000

24 EMANUEL PHILLIPS FOX (1865-1915) Horses at Rest oil on panel 15.5 x 21.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $3,500-4,500

25 EMANUEL PHILLIPS FOX (1865-1915) Gathering Hay oil on panel 34 x 26cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $10,000-15,000

26 EMANUEL PHILLIPS FOX (1865-1915) Trees in Landscape oil on panel 30.5 x 19.8cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $5,000-8,000

27 EMANUEL PHILLIPS FOX (1865-1915) Buildings at Dusk II oil on panel double-sided 16 x 22cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,500-2,500

“Are you bidding Madam, or simply saying hello?” GRAHAM JOEL, 1963

28 POSSIBLY EMANUEL PHILLIPS FOX (1865-1915) Untitled (Possibly Drapery Study) oil on panel 35.5 x 25cm

29 EMANUEL PHILLIPS FOX (1865-1915) Sea at Dusk oil on panel 16 x 22cm

30 EMANUEL PHILLIPS FOX (1865-1915) Buildings at Dusk III oil on panel 12 x 21.5cm

PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above

$800-1,000

$1,500-2,500

$1,800-2,800

31 EMANUEL PHILLIPS FOX (1865-1915) Coastal Scene oil on panel 14 x 18cm

32 EMANUEL PHILLIPS FOX (1865-1915) Haystacks oil on panel 14 x 21.5cm

33 ARTIST UNKNOWN Iris oil on panel 35 x 25cm

PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above

$1,000-1,500

$1,500-2,500

$700-1,000

34 POSSIBLY EMANUEL PHILLIPS FOX (1865-1915) River Studies oil on panel (split, two parts) 35 x 23cm (overall) PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $700-1,000

35 POSSIBLY BY EMANUEL PHILLIPS FOX (1865-1915) The Lone Tree oil on board 26 x 34cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-2,000

36 POSSIBLY BY ETHEL CARRICK FOX (1872-1952) Harbour View oil on canvas 25 x 34.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-2,000

Graham Joel and baby Simon Joel (his son) in 1956

37 POSSIBLY BY ETHEL CARRICK FOX (1872-1952) Coastal View gouache on card 25.5 x 36cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $800-1,000

38 POSSIBLY BY ETHEL CARRICK FOX (1872-1952) Spring Blossom gouache on card 25.5 x 35.5cm

39 POSSIBLY BY ETHEL CARRICK FOX (1872-1952) Villa gouache on paper 25.5 x 35.5cm

PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above

$800-1,000

40 ATTRIBUTED TO ETHEL CARRICK FOX (1872-1952) Winter Landscape oil on canvas inscribed lower left: CARRICK FOX 24 x 34.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,500-2,500

41 POSSIBLY ETHEL CARRICK FOX (1872-1952) Coastal Cliffs oil on card 26 x 34cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above $800-1,000

42 POSSIBLY ETHEL CARRICK FOX (1872-1952) Sandstone Cliffs oil on board inscribed lower left: CARRICK FOX 17 x 21.5cm PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above

43 ARTIST UNKNOWN Garden Study oil on panel 35 x 26cm

44 POSSIBLY EMANUEL PHILLIPS FOX (1865-1915) Landscape Studies oil on canvas (3) sizes variable, irregular

PROVENANCE: The Estate of Ethel Carrick Fox, 1952 The Estate of Graham Joel Private collection, Melbourne by descent from the above

$700-1,000

$800-1,200

$600-800

Lots 45 – 74 and Lots 88 – 131 are from the Estate of Leonard Joel

Leonard Joel

104

45 A GOLD COIN VINAIGRETTE Comprising two 1805 escudo coins in 20ct gold, depicting Carlos IV of King of Spain (1788 - 1808) and crowned coat of arms to reverse, set within a decorative surround in 18ct gold.

46 AN ANTIQUE ETRUSCAN REVIVAL RING Centrally set with an oval yellow hardstone intaglio depicting Meleager of Skopas, within a decorative setting in 15ct gold, ring size X.

47 AN ANTIQUE WAX SEAL The carved agate seal with gold lined base and intaglio dragon motif and initials. $200-300

$1,000-1,500

$3,600-4,600

48 TWO ANTIQUE SPINNERS The triple agate spinner in 9ct gold, together with a triple clear paste spinner with engraved initials ‘FH’, to a decorative gold lined mount. $200-300

49 AN ANTIQUE SPINNER SEAL The cushion shaped agate intaglios depicting a man in profile to one side, a unicorn rampant coronet with initials ‘JW’ to reverse, to a decorative scrolled surround in 15ct, possibly made for a member of the Wilkinson family. $400-600

50 A FINE QUARTER REPEATING PAIR CASE POCKETWATCH IN 18CT GOLD BY JOHN ELLICOTT LONDON, CIRCA 1750 Circular white enamel dial with Roman numerals, blue steel beetle and poker hands, gilt fusee cylinder, pierced and engraved balance cock, silver regulation, baluster pillars, two hammers striking on bell. Pierced and engraved inner case depicting a country landscape, inscribed L Sydney Bowden d.d . Sophia Bellem and outer repousse case depicting a Roman classical scene Movement number: 3808 Case number: 3808 Dimensions: 49mm Signed: movement and dust cover John Ellicott is regarded as one of the finest clock and watchmakers of the the 18th Century. He is best known for his work on temperature compensated pendulums and his use of the cylinder escapement. Ellicott’s reputation for excellence in design and innovation led to an appointment as Clockmaker to King George III. $4,000-6,000

51 A HAMILTON & CO OPEN FACE POCKETWATCH, CIRCA 1910 Swiss cylinder movement, crown wind, pin set, movement signed Hamilton & Co. Calcutta, circular white enamel dial with Arabic numerals, with gilt case in the form of a horse shoe applied with bird and foliate decoration, case number 24920, 30mm diameter, in a fitted case by Hamilton & Co. Jewellers Calcutta. $300-500

52 A COLLECTION OF ANTIQUE WAX SEALS The four seals in carved hardstone and paste, one with intaglio engraving of a demi lion rampant holding in his dexter paw a trefoil, motto reading ‘delectat et ornat’, possibly made for a member of the Hervey family. $160-260

53 TWO ANTIQUE WAX SEALS The carved agate seals, one having a silver engraved base. $100-200

54 AN ANTIQUE INTAGLIO SPINNER The triple bloodstone and hardstone spinner, one side engraved with a stag head intaglio crest with motto reading ‘be mindful’, and hardstone intaglio of a classical figure reading ‘souvenir’, to a decorative gold lined mount. The stag head motif in conjunction with the motto ‘be mindful’ is associated with Cawdor Castle. $200-300

55 TWO ANTIQUE PROPELLING PENCILS With hardstone set terminals, gold lined. $100-200 56 AN ANTIQUE VINAIGRETTE BY MORDAN & CO. The tiger’s head with bloodstone terminal, in gilt metal, stamped. $300-500 57 A GEORGIAN VINAIGRETTE BY WILLIAM BOOT The rectangular box, with engraved initials ‘JAM’, in sterling silver with gilt interior, Birmingham hallmarks circa 1805-6. $100-200 57

58 TWO ANTIQUE GOLD PROPELLING PENCILS The cylindrical pencil with fishscale design in two tone 14ct gold, signed Leroy Fairchild, together with a cylindrical pencil with crucifix in two tone 14ct gold and silver. $300-500 59 AN ANTIQUE AUSTRO-HUNGARIAN VINAIGRETTE BY LUDWIG POLITZER The handpainted enamel drop shaped vinaigrette depicting pastoral scenes, to continental silver fittings with gilt interior grille, stamped. $200-400

60 TWO ANTIQUE PROPELLING PENCILS The enameled pencils depicting a pastoral scene and racing horse, both gold lined, by Leroy Fairchild. $160-260

61 TWO ANTIQUE FOB SEALS The two hardstone seals, one with double headed eagle with motto reading ‘virtus vbiqve’, both in decorative gold lined mounts, possibly made for a member of the Stephen family. $200-300

62 THREE ANTIQUE SPINNER SEALS The triple sided amethyst spinner in 9ct gold, together with two triple sided paste spinners in 9ct and 14ct gold. $200-300

63 AN ANTIQUE SPINNER SEAL The triple citrine intaglio spinner, with engraved lion rampant motif and initials ‘MW’, in 9ct gold. $200-300

64 AN ANTIQUE MOURNING RING Featuring a central oval glazed panel with a photograph of a gentleman, reverse engraved ‘W. Hilgate 25 Nov 1875 aged 94’ to a black enameled band reading ‘Annette Hilgate 11 July 1780 aged 69’, in 14ct gold, ring size L. $300-500

65 A GEORGIAN MOURNING RING Featuring a central glazed oval panel containing woven hair, within a black enamel border reading ‘To the memory of my beloved mother’, with reverse inscribed ‘Elizabeth Moffat 13 June 1791 aged 53’, in 8ct gold, ring size K. $500-700

66 A VICTORIAN MOURNING RING Styled in black enamel reading ‘In memory of’, inner shank inscribed ‘W.Crosbie died June 19th 1856 aged 45’, hallmarked, in 14ct gold, ring size M. $600-800

67 AN ANTIQUE FOB SEAL AND MOURNING NECKLACE The oval carnelian intaglio seal depicting a Grecian man in profile, to a decorative gold lined mount, to a plaited hair mourning necklace, total length 800mm. $200-400

68 AN ANTIQUE INTAGLIO SCARF RING Featuring a square citrine intaglio engraved with a family crest and motto reading ‘tout vient de diu’, in gold lined mount, possibly for a member of the Leigh/Lee family.

69 TWO ANTIQUE FOB SEALS The amethyst intaglio seal of a witch on a broomstick reading ‘all have their hobbies’, together with a citrine intaglio of a man in profile, both in decorative gold lined mounts.

$200-300

$160-260

70 AN ANTIQUE FOB SEAL The carnelian intaglio seal with engraving of a stag head reading ‘Je suis prest’ with initials AF, in a decorative gold lined mount, the Fraser family crest. Possibly made for Lord Andrew Fraser from the Fraser of Lovat clan. $160-260

71 AN ANTIQUE FOB SEAL The hardstone intaglio seal, depicting a face in profile with initials’ DM’ with motto reading ‘Durum patientia frango’, in a gold lined mount, possibly made for a member of the Muir clan. $160-260

72 TWO ANTIQUE FOB SEALS The hardstone intaglios, one with a carved image of a fist holding a horn with the motto ‘for auld lang syne’, possibly belonging to a member of the Burns family, the second engraved ‘Jacob’, both in decorative gold lined mounts. $160-260

73 AN ANTIQUE FOB SEAL The carnelian intaglio seal, carved with a family crest with motto ‘per mare per terra’, in decorative gold lined mount, possibly made for a member of the Alexander family.

74 AN ANTIQUE FOB SEAL The bloodstone seal, with crest intaglio depicting a crest with Pegasus rampant with motto reading ‘mieux tard que jamais’, in decorative gold lined mount.

$160-260

75 W. E. VIZKELETI (Hungarian, 1882-1962) Market Place oil on canvas signed lower right: Vizkeleti W.E. 58 x 78cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-2,000

76 VICTOR ZELMAN (1877-1958) Sheep on Hillside, Leggatt’s Farm oil on canvas signed lower right: Victor Zelman 46 x 57.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-1,500

77 ATTRIBUTED TO VICTOR ZELMAN (1877-1958) The Bridge oil on canvas laid on board unsigned 37 x 44.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $500-800

78 W.B. MCINNES (1889-1939) The Haystacks oil on canvas on board unsigned accompanied by a handwritten letter signed by Violet McInnes dated 1952 regarding the work’s authenticity 40 x 49.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above EXHIBITIONS: (Possible) W. B. McInnes, Tye’s Art Gallery, Victoria, 14-16 July 1952, cat. no. 24 $3,000-3,500 73

79 ROBERT JOHNSON (1890-1964) Morning, Macleay Valley oil on canvas on board signed lower left: Robert Johnson title inscribed verso 37 x 44.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,500-2,500

80 HANS HEYSEN (1877-1968) The Arkaba Range, Far North 1934 watercolour on paper signed and dated lower right: HANS HEYSEN 1934 titled verso 23 x 39.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $12,000-16,000

81 W.B. MCINNES (1889-1939) Through the Trees oil on canvas on board signed lower right: MCINNES 29 x 39.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $2,000-4,000

82 JAMES MUIR AULD (1879-1942) Country Scene 1936 oil on composition board signed and dated lower right: J. MUIR/ AULD/ 1936 inscribed verso: “from the Webeck collection” 29.5 x 37cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $700-1,000

83 CHARLES WHEELER (1881-1977) Landscape oil on canvasboard signed lower centre: C. Wheeler 29.5 x 39.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-1,500

84 JAMES HOWE CARSE (c.1819-1900) The Falls oil on canvas signed lower right: J. H. Carse 36 x 54.5cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $2,000-3,000

85 B.E. MINNS (1864-1937) Portrait of an Indigenous Australian watercolour on paper signed lower right: B. E. MINNS inscribed lower left: Aust. Abo/ S. Coast N.S.W 24 x 18cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $2,000-3,000

86 E.J. SHEARSBY (active, c.1900s) The Old Timer oil on canvas signed lower right: E. J. Shearsby 23 x 44cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $400-600

87 WILLIAM DOBELL (1899-1970) Man with Guitar 1943 ink on paper signed and dated lower centre: W Dobell/ 1943 14 x 10cm PROVENANCE: The Estate of Graham Joel Private collection, Melbourne by descent from the above $1,000-1,500

128 part

122 part

88 A STERLING SILVER BON BON SPOON, INSCRIBED TO MADAME MELBA BY GEORGE. W. SHIEBLER, NEW YORK, CIRCA 1890 The openwork bowl decorated with fleur-de-lis and scrollwork enclosing a central lion rampant crest with a fleur-de-lis handle. Inscribed to verso Mme Melba/ from/ S.D. Stamped sterling with Shiebler mark and numbered 3317 to verso. 13cm long, 7.7cm diameter $600-800

89 A FRENCH MINIATURE ENAMEL VASE BY CAMILLE FAURÉ (1874-1956), CIRCA 1900 Of tapering bottle form, in purple and green enamel on copper. Signed C. FAURE/ Limoges/ Made in France. 7cm high, 3.5cm wide $300-500

90 AN ANTIQUE GEORGIAN SILVER MOUNTED COWRIE SHELL SNUFF BOX PROBABLY SCOTTISH, 18TH CENTURY The hinged lid engraved with shells and scrollwork motifs, inscribed John Rob/ Dumblaine/ 1760/ EL. Not hallmarked. Approximately 5cm high, 8.5cm long, 6cm wide. $500-700 91 TWO OTTOMAN DAMASCENED STEEL SCRIBE’S SCISSORS 18TH/19TH CENTURY Each of typical elongated shape, each side of the blade with abstract copper of silver inlaid design, terminating in openwork foliate handles. 25.5cm & 24cm respectively $600-800 90

92 A STERLING SILVER SNUFF BOX BY THOMAS HAYES, BRIMINGHAM, CIRCA 1896 Of shaped rectangular form, with engraved decoration to hinged lid and base. 2cm high, 7.8cm wide, 5.3cm deep $600-800 93 A FRENCH VERNIS MARTIN GENTLEMAN’S TABLE SNUFF BOX* LATE 18TH CENTURY Oval in form, the exterior decorated overall with hand painted landscape and animalia scenes. The hinged lid opening to a scarlet tortoiseshell interior. Faint intial visible to lid. 4.1cm high, 9.2cm wide, 7.2cm deep OTHER NOTES: Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www. environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 $800-1,200

94 A GEORGIAN BURR YEW WOOD TEA CADDY CIRCA 1800 Of octagonal form, with banded edges, the hinged lid opening to a dual compartment with lead linings. 12.5cm high, 18.7cm wide, 10.5cm deep $300-500 95 AN ENGLISH REGENCY TORTOISESHELL SEWING BOX* 19TH CENTURY Of shaped rectangular form with pewter string inlaid, the domed lid opening to an ivory banded edge and fabric lined interior, the whole raised on bun feet. Approximately 9.5cm high, 19.5cm wide, 14cm deep

OTHER NOTES: Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www. environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 $400-600

96 A FRENCH BACCARAT CRYSTAL AND BRONZE MOUNTED DESK CLOCK 19TH CENTURY The rectangular crystal body applied with a Napoleonic bust finial and other Empire inspired appliqués. The eight day movement with cylinder platform. 24.5cm high, 14.7cm wide, 9cm deep $700-900 97 A SIMILAR PAIR OF FRENCH PORTRAIT MINIATURES* SIGNED M. RAUMER, 19TH CENTURY Circular in form, finely painted on ivory depicting a lady and gentleman, each signed to lower right. Frame in copper frames. The frames 8.5cm & 9cm repsectively OTHER NOTES: Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www. environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 $700-900

98 A FRENCH MINIATURE PAINTING ON IVORY* 19TH CENTURY Circular in form, finely painted on ivory depicting Diana and cherub with attendant. Housed in an ornate finely cast gilt metal frame. The miniature 8.7cm diameter OTHER NOTES: Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www. environment.gov.au/biodiversity/trade-use/cites/ index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 $700-900 99 TWO SMALL ANTIQUE SILVER BOXES The first box, inset with two Edward VI third period silver shillings, engraved Sarah Wilde 1696 to edge. The second box inset with a banded agate top and turquoise finial, raised on three rams horn and paw feet, marked with a crown and passant lion to underside of base. 3.2cm & 4.3cm respectively

$400-600

100

100 A PAIR OF REGENCY STERLING SILVER CANDLESTICKS BY S C YOUNGE & CO., SHEFFIELD, CIRCA 1811 Each with fluted decoration and removable wax catchers 15.5cm high, the base 10.5cm diameter $800-1,200

101 TWO FACETED GLASS SCENT BOTTLES 19TH CENTURY AND LATER Comprising a French green opaline glass bottle-form perfume with a faceted design with associated Chinese stand. Together with a Victorian faceted ruby glass cornucopia-form scent bottle with an embossed lid, supported by a chain and ring. The largest 6cm high $200-300

103

104

102 A FRENCH BIJOUTERIE DISPLAY CABINET 19TH CENTURY The shaped, glazed cabinet, its top inset with bevelled glass, ormolu mounting overall, the single front door opening to a silk embroidered interior, standing on four cabriole legs 86cm high, 68.5cm wide, 45.5cm deep

103 AN ANTIQUE CLOAK FASTENER Featuring two oval panels set with carnelian and bloodstone intaglios with carved family crests, linked by a chain, gold lined.

104 AN ANTIQUE FOB SEAL The oval smokey quartz intaglio depicting a coat of arms, to a decorative gold lined mount. $100-200

$100-200

$1,000-2,000

105

106

107

105 TWO ANTIQUE SPINNER FOBS The triple yellow paste spinners, in decorative gold lined mounts.

106 TWO ANTIQUE FOB SEALS The bloodstone seal, together with a banded agate seal, both in decorative gold lined mounts.

$100-200

107 AN ANTIQUE TURQUOISE AND SEED PEARL FOB SEAL Featuring a hardstone intaglio reading ‘MS’, within decorative turquoise and seed pearl foliate mount, gold lined. $160-260

109

110

108 TWO ANTIQUE FOB SEALS The amethyst intaglio seal, carved with Freemasons motif and initials ‘MR’, together with a topaz seal, both in decorative gold lined mounts.

109 TWO ANTIQUE FOB SEALS The two hardstone intaglios, one depicting a coat of arms with lion rampant, the second with initials, both with decorative gold lined mounts.

$160-260

110 AN ANTIQUE CAMEO PENDANT AND SPINNER The finely carved hardstone cameo pendant, depicting a man in profile, with letter C to reverse, together with a hardstone spinner with carved intaglio of horse head and motto. $160-260

111

112

111 TWO ANTIQUE FOB SEALS The hardstone intaglio seals depicting classical figures in profile, to decorative gold lined mounts.

112 THREE ANTIQUE SEALS Two hardstone seals, together with a faceted citrine seal, all in decorative gold lined mounts.

$160-260

$200-300

113 A COLLECTION OF ANTIQUE FOB SEALS The four hardstone seals, including bloodstone intaglio of a sword enfiled with a boar’s head and Hake family crest, in decorative gold lined mount. $200-300

114

115

114 A COLLECTION OF ANTIQUE AGATE SEALS The four carved agate seals, two engraved with initials, one with intaglio crest with motto reading ‘audaces fortuna favit’, one with intaglio crest with motto reading ‘fide et opera’.

115 TWO ANTIQUE FOB SEALS Featuring a carved carnelian intaglio of a Poseidon in profile, together with a carved hardstone intaglio with a soldier in profile, both in gold lined mounts. $160-260

$200-300

116

117

116 TWO ANTIQUE FOB SEALS The hardstone seals, one with carved initials ‘ATW’, the other reading ‘Catherine’, both with gold lined mounts.

117 TWO ANTIQUE FOB SEALS The amethyst and carnelian intaglio seals engraved with initials, to a decorative gold lined mounts, with grosgain and brocade albertinas.

$160-260

118 A COLLECTION OF ANTIQUE FOB SEALS The four hardstone seals, having carved initials, including one with lion rampant possibly made for a member of the Leigh family, all with decorative gold lined mounts. $200-300

119

120

119 A COLLECTION OF ANTIQUE FOB SEALS The four agate set seals, in decorative gold lined mounts.

120 TWO ANTIQUE SEALS The large hardstone and quartz foil back seals, in decorative gold lined mounts.

$160-260

121

122

121 A COLLECTION OF ANTIQUE WAX SEALS The three carved gilt seals, with letter intaglios to base.

122 A COLLECTION OF ANTIQUE SEALS The five wax seals, finely carved in mother of pearl, some having engraved initial bases.

$100-200

$300-500

123

124

123 A COLLECTION OF ANTIQUE WAX SEALS The various seals including agate, wood, mother of pearl and rose quartz, with various intaglio and initial carvings.

124 A COLLECTION OF ANTIQUE FOB SEALS The hardstone seals, with various intaglio carvings, all in decorative gold lined mounts. $200-300

$200-300

125

125 A COLLECTION OF ANTIQUE FOB SEALS AND WATCH KEYS Including hardstone and paste set in gold lined mounts. $200-300 126 THREE ANTIQUE SEALS The carved base seals, two in silver. $60-100 127 A 1917 MAUNDY MONEY SET Comprising of four coins, in original fitted box. $100-200

127

100

128

128 A COLLECTION OF ANTIQUE PROPELLING PENCILS Including bloodstone, carnelian and paste set in engraved silver. $200-300 129 TWO ANTIQUE POCKET KNIVES The mother of pearl pocket knife, hallmarked, together with a bone pocket knife. $60-100

129

130 A COLLECTION OF ANTIQUE GOLD FINDINGS Including a button in 9ct gold, a vinaigrette in 9ct gold, an urn charm in 9ct gold, and two propelling pencils and a fitting in low carat gold. $400-600

101

131 A COLLECTION OF INTAGLIOS In various sizes and colours, including hardstone and paste. $200-300

102

103

“Some people have a wonderful sense… they seem to know instinctively what’s a good thing.” GRAHAM JOEL

Simon, Warren, Graham, and Treena Joel.

104

105

— To be read in conjunction with our General Conditions of Business as displayed during the viewing and auction.

CONDITIONS OF BUSINESS / SUMMARY Special Conditions of Sale – Jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement. Authenticity Certificates As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale. GST In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged. For further information contact: Marie McCarthy accounts@leonardjoel.com.au Admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person. Commission (Absentee) Bids Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves. Telephone Bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis. Bidder Registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them. Buyer’s Premium There will be a buyer’s premium added to all purchases. The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas.

106

Property subject to the Artist Resale Royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.

and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act.

Damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage.

Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index

Title Leonard Joel guarantees good title to all lots. Warranties and Condition Reports Condition reports will be available for any lot upon request, subject to conditions. Estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates. Payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 21 of the Buyer’s Conditions of Sale. Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer. Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected. Credit card fees may apply. Bank telegraph transfers should be directed to: Account name: Leonard Joel Pty Ltd Address: Westpac Banking Corporation 150 Collins Street, Melbourne VIC 3000 Australia BSB: 033–364 Account no: 942956 Collection of Lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars. Removal and Storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense. Removal Charges Each lot: $55 Storage Charges Each lot: $33 per day Protection of Movable Cultural Heritage Act 1986 (PMCH Act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property,

Exporting Significant Australian Cultural Heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au CITES Regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/trade-use/cites/index. html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 Leonard Home Delivery Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases. For any enquiries about this service please contact delivery@leonardjoel.com.au

For alternative recommended carriers please refer to our website. Partners:

CONTACT A LEONARD JOEL SPECIALIST Sale Rooms — MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: (03) 9826 4333 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: (02) 9362 9045 Facsimile: (03) 9826 4544 Interstate: 1800 264 333 BRISBANE Telephone: 0412 997 080

LUXURY John D’Agata F.G.A.A., Head of Department Indigo Keane, Assistant PRINTS Hannah Ryan, Art Salon Manager Ella Perrottet BFA, Assistant

The Auction Salon — Anthony Riepsamen, Manager FURNITURE Nick Bastiras, Manager David Price, Assistant Angus McGougan, Assistant Ari Walpole, Assistant

email: info@leonardjoel.com.au leonardjoel.com.au

JEWELLERY Hannah Sass, Jewellery Manager Indigo Keane, Assistant

MANAGING DIRECTOR & HEAD OF COLLECTIONS John Albrecht BA LLB MBA

ART SALON Hannah Ryan, Manager Tessa Pietsch, Assistant

Leonard Joel Specialists —

OBJECTS & COLLECTABLES Rebecca Stormont , Manager Natasha Berlizova, Assistant

FINE ART Olivia Fuller BArtTh, Head of Department Lucy Foster EMA, Specialist Summer Masters BDes Hons, Administrator INDIGENOUS ART Olivia Fuller BArtTh, Head of Department DECORATIVE ARTS Chiara Curcio BA, Head of Department Dominic Kavanagh MFA, Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art SYDNEY Marcella Fox, Manager Ronan Sulich, Senior Advisor, Sydney Madeleine Norton, Decorative Arts and Fine Art Specialist, Sydney

— VALUATIONS Caroline Tickner BA Hons, F.G.A.A., Head of Department Troy McKenzie, Queensland Representative Specialist ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager Andrea Del Campo, Accountant CLIENT SERVICES Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison OPERATIONS & LOGISTICS Anthony Riepsamen, Manager

IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney Louisa Hirst, Assistant

MARKETING & COMMUNICATIONS Blanka Nemeth, Head of Department Keryn Gilchrist, Database Administrator

FINE JEWELS & TIMEPIECES Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Hannah Sass, Jewellery Manager Indigo Keane, Assistant Isabella Macciolli, Administrator Henrietta Maiyah, Consultant

PHOTOGRAPHY Adam Obradovic Henry Murphy GRAPHIC DESIGN Maria Rossi

MODERN DESIGN Anna Grassham BA Contemporary Arts, Head of Department 107

MELBOURNE

SYDNEY

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