ISSUE 73 AUGUST 2018
SYDNEY
|
MELBOURNE
Auction Calendar Sporting Memorabilia Online 9 - 16 August 2018
MELBOURNE
Australiana Thursday 23 August 2018 – 2pm
MELBOURNE
Fine Jewels Monday 3 September 2018 – 6.30pm
MELBOURNE
Fine Art Tuesday 4 September 2018 – 6.30pm
MELBOURNE
Luxury Wednesday 5 September 2018 – 6.30pm
MELBOURNE
Prints Wednesday 19 September 2018 – 6.30pm MELBOURNE
Decorative Arts Monday 17 September 2018 – 6.30pm
MELBOURNE
The Martin Bodinar Collection of Model Trains & Engines Thursday 19 September 2018 – 2pm
MELBOURNE
Collectables Thursday 27 September 2018 – 2pm
MELBOURNE
Asian Art Monday 8 October 2018 – 6.30pm
MELBOURNE
Women Artists Wednesday 10 October 2018 – 6.30pm
MELBOURNE
Militaria Thursday 11 October 2018
MELBOURNE
Modern Design Monday 14 November 2018 – 6.30pm
FITZROY
146 DREW GREGORY (born 1947) Twister’s Tangle 2005 oil on canvas 168 x 102cm $2,000-4,000 Fine Art Auction Tuesday 4 September at 6.30pm
The Thursday Auction Furniture & Interiors – 10am Jewellery & Wristwatches – 10.30am Art Salon – 11.30am Collectables – 12pm MELBOURNE Front Cover: 96 A VICTORIAN GOLD NECKLACE $2,600-3,600 Jewels Auction Monday 3 September at 6.30pm
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Our Expertise
Almost 100 Years of Auction History...
MANAGING DIRECTOR & PROPRIETOR John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au
Auction Specialists PRIVATE COLLECTIONS John Albrecht, National Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au FINE ART Sophie Ullin, National Head of Department
This month at Leonard Joel, we’re celebrating some of the beautiful pieces that have come through our doors in the past year, including the model ship of the SS Orontes.
03 8825 5609 | sophie.ullin@leonardjoel.com.au JEWELS John D’Agata, National Head of Department 03 8825 5605 | john.dagata@leonardjoel.com.au DECORATIVE ARTS Chiara Curcio, Head of Department, Melbourne 03 8825 5635 | chiara.curcio@leonardjoel.com.au Hamish Clark, Head of Sydney Office 02 9362 9045 | hamish.clark@leonardjoel.com.au
Also in this issue, we learn more about John Brack, delve into the significance of needlework and weaving in history, decode the editions numbering and lettering system, share a collector’s guide to Chinese ceramics and investigate the history of a pocket watch linked to Dame Nellie Melba!
MODERN DESIGN Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au COLLECTABLES Nora Merralls, Manager 03 8825 5625 | nora.merralls@leonardjoel.com.au LUXURY Bethany McGougan, Manager 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au
The Thursdays Auction Specialists ART SALON Lucy Foster, Art Specialist 03 8825 5630 | lucy.foster@leonardjoel.com.au
FURNITURE Tanith Harley, Manager
We hope you enjoy the read and look forward to seeing you in Melbourne or Sydney soon.
03 8825 5614 | tanith.harley@leonardjoel.com.au JEWELLERY Bethany McGougan, Manager 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au OBJECTS, BOOKS & COLLECTABLES Moira Rogers, Manager 03 8825 5604 | moira.rogers@leonardjoel.com.au
Valuations Caroline Tickner, Head of Department 03 8825 5638 | caroline.tickner@leonardjoel.com.au
Marketing & Communications Claire Mazzone, Manager 03 8825 5620 | claire.mazzone@leonardjoel.com.au Nicole Kenning, Marketing Consultant Maria Rossi, Graphic Artist Adam Obradovic, Senior Photographer Joseph Hammond, Photographer
Sale Rooms MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333 SYDNEY 39 Queen Street, Woollahra, Sydney NSW 2025 Telephone: 02 9362 9045
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BECOMING AN EXPERT I remember my dad Kurt telling me
before. This is the visual sensation
is the intellectual delight of being an
value. But it does. And just very recently
more than thirty years ago with such
and pleasure I derive and much of the
auctioneer as you have no choice but
I learnt, and was pleased to learn, that a
enthusiasm that one of the things he
reason I explain to friends why I am not
to learn as the unfamiliar thing must be
healthy collecting appetite remains for
loved about dealing in antiques and
a committed collector. I see so much
transformed in to the expertly described
antique clocks as long as they can easily
jewellery was the fact that there was
every week, month, season and year
Lot. And those little learnings along the
be placed on a table, desk or console.
always something new to discover;
that my collecting senses are more than
way are what I think makes ultimately a
These are the things we learn as we
always something that he’d never seen
sated before the desire to acquire is
rounded valuer. Examples abound for
journey through a collection and one
before. Techniques, obscure hallmarks,
reached, well most of the time! Equally,
me. Before I sold a costume collection
of the privileges is that we cannot help
materials, styles and their combinations
the other benefit of handling exotic and
I suspected but didn’t know for sure
coming out the other side a little more
would fascinate him and occupy much
unfamiliar categories and collections
that only the very complex costumes
knowledgeable.
of his working life. The same can be
is that you often begin as the novice
with superb stage history were valuable.
said about the life of an auctioneer. In
but,
research,
Now I know. Before I handled a very
fact not a week goes by when I don’t
marketing and auction stages, come
large model ship (Orontes; see page
see some “thing”, whether object,
out an expert. Or at least so much more
14) I never knew that the “real” ship’s
jewel or art that I have never seen
familiar with what you are handling. This
history, its story if you like, enhanced its
after
the
handling,
JOHN ALBRECHT, MANAGING DIRECTOR, LEONARD JOEL
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FINE ART
JOHN BRACK (1920-1999) The Umbrellas 1977 conte on paper, 44 x 30.5cm $30,000-50,000 © Courtesy of Helen Brack
Melbourne Auction Tuesday 4 September, 6.30pm 333 Malvern Road, South Yarra 3141
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Sydney Viewing 39 Queen Street, Woollahra Thursday 16 August, 10am-4pm Friday 17 August, 10am-4pm Saturday 18 August, 10am-4pm
Melbourne Viewing Wednesday 29 August, 9am-8pm Thursday 30 August, 10am-4pm Friday 31 August, 10am-4pm Saturday 1 September, 10am-4pm Sunday 2 September, 10am-4pm Monday 3 September, 10am-4pm
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Enquiries Sophie Ullin National Head of Art 03 8825 5609 | 0407 360 513 sophie.ullin@leonardjoel.com.au
Modern Australian Life: John Brack As a painter of modern Australian life, John Brack’s
Brack was searching “for a new visual metaphor that
incoherent… in other words, these are premeditated
interest in the human condition remained a constant
would permit him to express the whole complexity of
ambiguities.3”
theme throughout a career that spanned more than
social interconnections”2. Pencils and pens marched
five decades. In his work of the 1950s and 60s, this
in war and in protest, playing cards performed and
The work has been in the collection of Laima and
was self-evident in his depiction of the people and
passed comment on power hierarchies.
Vincas Jomantas since they acquired it in 1979. Jomantas, also an exhibiting artist at Crossley Gallery
places surrounding him. However, following his first trip overseas in mid-1970, literal representations of
Brack’s work of the 1970s illustrates his increasing
in the 1970s, draws parallels with Brack’s Umbrellas
the human figure disappeared (with the exception
preoccupation with the fragility of life and the
1977 in his carefully orchestrated assemblages,
of the nude and portraits), to be replaced with every
inevitability of death. Produced as a study for his
and various balanced forms within a vertical
day, inanimate objects such as pens, pencils, cutlery,
later work, Forward 1978, The Umbrellas develops
preoccupation.
playing cards, and umbrellas. Brack discussed his
the sense of binary polarity within society. The closed
metaphoric use of objects in an interview with
umbrellas in this work teeter on the point of collapse,
Ella Perrottet
James Gleeson in 1978 (one year after The Umbrellas
tentatively moving down the incline. The umbrella,
Assistant Researcher
was painted):
like a walking stick, protects and stabilises, providing assurance. However, here, they are not a prop but
“[The objects] were the nearest things to hand in the
a figure moving through life with uncertainty and
studio, which for me could represent figures. They
instability. As Brack stated:
are a general representation of figures in paintings
1
John Brack with James Gleeson, James Gleeson Oral History
like Collins Street, 5 pm, 1955, (in the collection of
“They are intended to have some reference to the
Collection, National Gallery of Victoria, 29 November 1978
the National Gallery of Victoria, Melbourne). I was
complexity of life, of any life, so therefore they are
2
looking for something that would provide me with
intended to be both balanced and unbalanced, they
Raisonne, Oxford University Press, Melbourne, 1990, p. 140
the means of making a more general, more universal
are intended to be moving and intended to be still,
3
statement.1”
they are intended to be coherent and intended to be
Deakin University Media Production, Melbourne, 1980, p. 5
Grishin, S., The Art of John Brack Volume II: Catalogue
John Brack, Australian Contemporary Art Archive, No.1,
JOHN BRACK (1920-1999) Collins Street 5pm oil on canvas © Courtesy of Helen Brack
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JEWELS 50 A GOLD OPEN FACE POCKET WATCH, PURPORTEDLY GIFTED TO FRANK RIGO FROM DAME NELLIE MELBA, CIRCA 1911 $5,000-8,000
Melbourne Auction Monday 3 September, 6.30pm 333 Malvern Road, South Yarra 3141
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Sydney Viewing Saturday 25 August, 10am-4pm Sunday 26 August, 10am-4pm
Melbourne Viewing Wednesday 29 August, 9am-8pm Thursday 30 August, 10am-4pm Friday 31 August, 10am-4pm Saturday 1 September, 10am-4pm Sunday 2 September, 10am-4pm
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Enquiries John D’Agata National Head of Jewels 03 8825 5605 | 0408 355 339 john.dagata@leonardjoel.com.au
An Inscribed Treasure Edward St John QC, a prominent Barrister in Sydney, and Federal Member of Parliament during the Holt and Gorton governments came across a pocket watch by chance in a curiosity shop in the 1960s. As the watch was inscribed Nellie Melba, Edward showed the watch to his close friend Geoffrey Smith, a Protocol Officer for the Victorian Government who well acquainted with Lady Pamela Vestey, Dame Nellie Melba’s granddaughter. Lady Vestey was able to fill in some of the history regarding the presumed recipient of the watch. The watchcase is engraved with the initials F.R. to the outer lid. The inner lid is the engraved inscription ‘From Nellie Melba Xmas 1911’. Lady Vestey wrote a letter about the watch explaining that ‘FR’ was one Frank Rigo, an Italian-American opera director and impresario who worked closely with Nellie Melba for many years. By all accounts, they were close friends; indeed Mr Rigo apparently lived at Coombe Cottage for a time and made himself useful in the kitchen! John D’Agata National Head of Jewellery
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DECORATIVE ARTS
AN AUBUSSON TAPESTRY, FRANCE LATE 17TH CENTURY $5000-7000
ENTRIES INVITED AUCTION MONDAY 17 SEPTEMBER 2018
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A Stitch in Time The 17th century proverb ‘a stitch in time saves nine’ refers to the notion that a task dealt with swiftly would lead to less work later on, but it also reflects the significant role needlework and weaving played in society at the time.
For centuries, the craft has been associated with and used in storytelling and education, as we see in samplers and allegorical tapestries.
Regions such as Aubusson in France became renowned for their specialist tapestries and handwoven carpets which often depicted every day life, from hunting scenes through to pastoral scenes. Pictured is an Aubusson tapestry from the late 17th century depicting Ceres, the goddess of Nature, accepting a cornucopia as a tribute. A piece of this size and quality would have taken a professional weaver months to complete.
Needlework was also adopted as a domestic craft by many middle-class women. Pictured is an example of a pair of needlework wall hangings, circa 1870, made square by square, as a wedding present for a prominent English family who relocated to Mackay, Queensland in the 1800s. The family owned textile mills in the UK and these hangings were designed by many individuals including family members who worked at the mill. The piece has interesting historical provenance - the family were cousins of the late Admiral Sir Harry Rawson Governor of New South Wales and also personal friends of Dame Nellie Melba.
Both of these beautifully crafted pieces will be offered in our upcoming Decorative Arts Auction on 17 September.
Chiara Curcio Head of Decorative Arts 03 8825 5635 | 0412 653 315 chiara.curcio@leonardjoel.com.au
(Part 1 of 2) TWO FINE ENGLISH NEEDLEWORK WALL HANGINGS, CIRCA 1871 $3000-5000
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MODERN DESIGN “ Everything changes quickly, and what is state of the art one moment won’t be the next. Adaptation has to be ongoing we have to know and accept this. These are transient times.” CHARLOTTE PERRIAND CHARLOTTE PERRIAND ‘OMBRA TOKYO’ CHAIR FOR CASSINA $800 - 1200
CHARLOTTE PERRIAND 511 VENTAGLIO TABLE BY CASSINA Sold for $6,200
ENTRIES INVITED AUCTION MONDAY 14 NOVEMBER 2018
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CHARLOTTE PERRIAND NUAGE MX CABINET FOR CASSINA Sold for $10,540
CHARLOTTE PERRIAND SIX LES ARCS CHAIRS Sold for $4,712
New Aesthetics
CHARLOTTE PERRIAND TOKYO 522 CHAISE LONGUE FOR CASSINA Sold for $3,720
Charlotte Perriand passionately forced her way into
Perriand later recreated this for that year’s Salon
particular talent and intuition for the discovery, and
design and architecture at a time when women were
D’Automne. It was finally then that Le Corbusier,
use of new materials. By the late 1940s she began
expected to stay at home. Even after WW1 when
so impressed by the design, changed his mind and
designing more rustic styles, inspired by her love of
there were more opportunities for women, they
hired her as a furniture designer.
nature, and her time spent in Japan.
professions. Perriand’s contributions to the avante-
Perriand began a decade-long collaboration with Le
Today, Perriand’s creations are still at the heart of
garde movement focuses on interior composition,
Corbusier and his cousin Pierre Jeanneret at their
contemporary lifestyle. Her pieces are considered
conceived as creating a new way of living.
famous design studio. Her presence is evident in
icons of 20th century design, and continue to be
all the furnishings designed with Le Corbusier and
reproduced under license by the famous Italian
After graduating Art school at 24, and suffocated
Jeanneret, and today the question still remains, is
manufacturer Cassina.
by the traditional Beaux-Arts designs around her, in
she is actually the woman behind all those famous
1927 Perriand applied for a job as an atelier and was
designs from Studio 35 rue de Sevres?
were still barred from traditionally male dominated
Anna Grassham
famously rejected with the line “We don’t embroider cushions here”. In the face of rejection, Perriand
Perriand added a distinct dimension of humaneness,
Head of Modern Design
renovated her own small apartment into a sleek bar,
her creations managed to animate the fundamental
03 8825 5637 | 0415 076 480
made out of chrome, aluminium, copper and glass.
substance of daily life with new aesthetics. She had a
anna.grassham@leonardjoel.com.au
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THE SS ORONTES (1929-1962)
Sold by Leonard Joel for $140,000
The SS Orontes was a passenger ship owned by the Orient Line and built by Vickers Sons & Maxim Limited in 1929. From 1929 to 1940, it served on the England to Australia route, notably carrying the English cricket team to the famed Bodyline tour in Australia in 1932. During World War II, the Orontes became a troopship, serving that role from 1940 to 1947. At the end of the war, it was used to return Prisoners of War from Australian camps back to Europe. Following the war, the ship was refitted as a single class passenger ship, and served once again on the England to Australia route until 1962, when it was scrapped in Valencia, Spain.
The model ship of SS Orontes was sold by Leonard Joel for $140,000.
Leonard Joel has a long-established and active client database to whom we occasionally approach directly with rare or important pieces, dependant on their interest. If you have a significant piece, Fine Art, Decorative Arts or Jewels and are interested in selling privately, rather than at auction, please contact one of our specialists who will be happy to assist you.
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COLLECTABLES
MACQUARIE COASTER Leonard Joel was fortunate to be entrusted with an important piece of Australian history recently; The Macquarie Coaster. Major General Lachlan Macquarie based the coat of arms on that of his cousin, the chief of the Clan MacQuarrie. The Governor assumed these arms prior to his departure for the colony of New South Wales in 1809 and this pair of silver wine coasters are believed to have accompanied the Governor on his journey and formed part of his household on his settlement in Australia. Arriving on the HMS Dromedary, Macquarie stepped foot in Australia already appointed as Captain-General and Governor-in-Chief of the newly founded New South Wales and its dependencies. He was shortly thereafter promoted to the ranks of Colonel, Brigadier and finally Major-General in 1813. Governor Macquarie’s progressive policies played an integral part in transforming Australia from penal colony to free settlement. Macquarie returned to Scotland and was buried on the Isle of Mull, where his grave is inscribed “The Father of Australia”. The Macquarie Coaster was sold to a private collector, but we wanted to share this fascinating piece with you. Leonard Joel has a long-established and active client database to whom we occasionally approach directly with rare or important pieces, dependant on their interest. If you have a significant piece, Fine Art, Decorative Arts or Jewels and are interested in selling privately, rather than at auction, please contact one of our specialists who will be happy to assist you.
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PRINTS
GEORGE BALDESSIN (1939-1978) Untitled etching 25 50 x 36.5cm Sold for $3,472
GEORGE BALDESSIN (1939-1978) Assemblage of past images 1973 coloured etching aquatint and relief no. 25 55.5 x 41cm Sold for $3,720
NUMBERS AND LETTERS One of the most common queries I receive during
A/P - Artist Proof. This is a sample print that is
H/C - Hors Commerce Proof, in French means ‘not
a Prints and Multiples auction viewing, is an
generally used by the artist who then gives this to the
to sell’. These works are supposedly not for sale,
explanation of the numbering and letting system
printmaker as a guide, to make sure that the result
however they have started appearing on the market
used for editions.
will be as close as possible to what the artist desires.
and have become a piece to the collectors puzzle.
These works can be very desirable to collect as they As a basic rule of thumb, an authorised, limited
represent a record of the work in process. Fractions
E/V - Edition Varied. These prints indicate that the
edition print will be marked in pencil at the bottom
may be used to indicate the total number of proofs,
artist has changed something slightly in the original
of the paper with a edition number. The number is
and the print number (e.g. A/P 1/4).
work i.e. colour change, scale or the type of paper. This marking is the artist acknowledging that the
typically written as a fraction — for example, 35/50.
work is a varied copy of the original print.
The number to the right of the slash indicates the
BAT - Bon a Tirer, in French this means ‘good to
edition size (in this case, 50), while the figure to the
pull’. Another similar print which would usually be
left is the individual print’s number.
accompanied by special requirements for the print-
Our next Prints and Multiples Auction will be on
maker to the artist, such as colours adjustments,
the 19 September, with viewing taking place from
wiping or general tweaking of the paper.
Saturday the 15 September.
Depending on where that print sits in the whole process, you may find you have an edition that has letters instead of numbers. These letters are code for
T/P - Trail Proof. This is a print that is pulled before
unique prints that are often done in the initial stage
the edition to monitor the progress of the colours
Lucy Foster
of the process before the full set are pulled from the
and technique; this can be done at any stage during
Prints & Multiples Specialist
printer. These can quite often be more desirable on
the process.
03 8825 5630 lucy.foster@leonardjoel.com.au
the market, as buyers acknowledge that they are one off works in themselves. Here are a few examples:
PRINTS ENTRIES INVITED AUCTION WEDNESDAY 19 SEPTEMBER 2018
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AUSTRALIANA
DEREK SMITH, BOWL WITH RAISED RIB AROUND CENTRE AND GOLD LUSTRE. 26cm $600-1,000
THE ALEX BROWN COLLECTION was later awarded the Polar Medal for his
the Royal Australian Air Force as a wireless
contribution to the success of the 1958
operator/air gunner in 1944. After the war
Mawson expedition and had a land feature
ended, Alex attended a Radio Technician
named after him - Brown Range, located in
(Civil Aviation) course at the Royal
the Framnes Mountains, South of Mawson.
Melbourne Institute of Technology and by 1948 successfully obtained a First Class
After returning from his last expedition to
Commercial Operator’s Certificate.
Antarctica in 1962, Brown began teaching electronics at the Civil Aviation Technical
Later Alex became a member of the
Training College in Melbourne. In 1977 he
Australian National Antarctic Research
became Principal of the College, a post he
Expeditions to Macquarie Island (1956),
held until his retirement in 1985.
Mawson (1958) and Davis (1961). Here he
Alexander Brown was born in Antwerp, Victoria in 1925. As a long-time client of Leonard Joel, we have known Alex solely as an Australian art enthusiast, however, Alex has lived a rich life, and his accolades exceed just mastering an understanding of Australian art and ceramics.
Australiana Auction Thursday 23 August, 2pm, Melbourne
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As a patriot and adventurer Alex joined
Melbourne Viewing Wednesday 22 August, 9am-8pm
worked primarily as a radio telegraphist;
During his lifetime, Alex has collected a
however he did assist in biological work
broad range of Australian art and ceramics,
on Macquarie Island which included
particularly artists such as Gary Shead, John
the collection of botanical specimens.
Coburn, Derek Smith and Col Levy.
During this period, he also conducted independent research on the breeding
Alex’s collection will be featured within our
biology of snow petrels at Mawson and
Australiana auction on 23 August.
Davis, during which time he was official collector of biological specimens for the
Chiara Curcio
Victorian and Queensland museums. Brown
Head of Decorative Arts
Melbourne Enquiries Moira Rogers Obects, Books & Collectables Manager 03 8825 5604 moira.rogers@leonardjoel.com.au
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LUXURY A VINTAGE ORANGE VUITTONITE CANVAS STEAMER TRUNK BY LOUIS VUITTON The early twentieth century trunk in orange vuittonite canvas with brown leather trim, signed brass fittings, studs, and wooden slats to the base, original signed cloth interior with four removable inner trays, original printed Louis Vuitton label, printed code number 173022, printed to 212133, 110 x 57 x 58cm. $2,000-3,000 Luxury Auction 5 September
LOUIS VUITTON STEAMER TRUNK The Louis Vuitton steamer trunk was purchased
The trunk travelled with the family as they set up a
clothing the couple had provided for their only child,
second hand in Paris by Abram & Rut Lastman post
new life in Australia. They initially rented in Coburg,
which had been stored and left undisturbed in this
WWII; hence the A.L. label at both ends of the trunk
Kew and South Yarra, the trunk ever present in their
steamer trunk, along with precious memories of
still remains today. The Lastman’s were both Jewish
dĂŠcor. In 1959 it found its resting place in the corner
leaving troubled past for happier new beginnings in
immigrants, who after losing nearly their entire
of a fibro garage in the back yard of an East Brighton
Australia.
families during the Holocaust, fled war torn Poland
property they subsequently purchased, which was to
to Paris to begin a new life together. It was here that
be their final long term family home.
Bethany McGougan Luxury & Jewellery Manager
they purchased the steamer trunk at Louis Vuitton. The trunk was used when they emigrated, with their
The orange Louis Vuitton, now well and truly loved
03 8825 5645
newly born baby son, via steam boat from France
and worn, sat in this location untouched until June
bethany.mcgougan@leonardjoel.com.au
to Australia in July 1950, arriving in Fremantle on
2018, when the Brighton property was sold and the
27 August that same year. As was the norm with many
trunk was then opened for the first time in possibly
migrant ships at that time, they arrived in Melbourne,
some fifty-five years. When opened, it was found to
their final destination, later on that month.
be in good condition internally and contained baby
LUXURY ENTRIES INVITED AUCTION MONDAY 5 SEPTEMBER 2018
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LEONARD JOEL SYDNEY A Glimpse of 17th Century Europe Since joining the Leonard Joel Sydney team just over a month ago, I have been busy re-connecting with clients and industry colleagues alike, particularly within the busy art and antiques hub that is Woollahra, and I am delighted to share with you some recent discoveries from the Sydney office.
Firstly, this rare and magnificent pair of 17th century Venetian toile screens with twenty-four hand-painted panels that feature, in the centre, classic scenes illustrating the Four Seasons flanked by illustrious figures representing the Arts, Music, Military and Civic Authorities, while the upper and lower panels depict noble, religious and military scenes.
The screens, which are in excellent condition, were designed to be used together as one eight panel screen, or as separate, decorative panels.
A PAIR OF VENETIAN SCREENS, 17TH CENTURY $12,000-15,000
Other highlights which have passed through our doors in recent weeks include two, high quality pieces of 17th century European walnut furniture; a chest of drawers which likely originates from Bologna and includes its original locks and key, and an exceptional Spanish table, the kind of which is rarely seen on the market here in Australia.
All three pieces will be on view in Sydney before being offered in our forthcoming Decorative Arts Auction on 17 September. Hamish Clark Head of Sydney 02 9362 9045 | hamish.clark@leonardjoel.com.au
A WALNUT CHEST OF DRAWERS, NORTH ITALY, 17TH CENTURY $6,000-8,000
A REFRACTORY SPANISH TABLE, 17TH CENTURY $6,000-8,000
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A 17th Century Painting by Joseph Fowles Artist Joseph Fowles and his wife arrived in Sydney from London in August 1838 as cabin passenger on the Fortune. In 1847 he was part of the first exhibition of the Society for the Promotion of Fine Arts in Australia, in which his entry included three paintings of horses, together with views of English and Australian ships. As well as marine and equine subjects, Fowles was known for his paintings of Sydney landscapes and English scenes.
This painting is dated 1866 and will be offered in our forthcoming Fine Art Auction on 4 September in Melbourne.
JOSEPH FOWLES (1810-1878) Racehorse 1866 oil on canvas $6,000-8,000
Watch This Space... We’ll soon have more exciting announcements from Leonard Joel Sydney. Stay tuned and subscribe to our new, dedicated Sydney newsletter for auction news and insights from your local auction team.
Winter in Woollahra It’s no secret that Woollahra is one of my favourite suburbs in Sydney and I feel fortunate to wander the streets every morning on my way to work. This
We are looking forward to welcoming you to our Sydney office soon. Remember, we are open for Valuations and always available to offer advice on buying and selling at auction.
month, I keep being drawn to the windows of our neighbour in Olsen Gallery, who are currently showing the sublime still life paintings by Peter Gardiner. I’d recommend stopping by before it closes on 5 August if you’re in the neighbourhood.
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VALUATIONS
AT LEONARD JOEL Discovered at the July Valuations Evening
22 A RUBY AND DIAMOND BUCKLE RING $500-700 Jewels Auction Monday 3 September at 6.30pm
389 AN ANTIQUE GOLD LOCKET $500-700 Jewels Auction Monday 3 September at 6.30pm
Do you have treasures that you would like valued?
Join us for complimentary auction valuations, first Wednesday of every month, 5-8pm. No appointments necessary Caroline Tickner, Head of Valuations 03 8825 5638 | caroline.tickner@leonardjoel.com.au
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ASIAN ART
A Collector’s Guide To Chinese Ceramics The study and collecting of Chinese ceramics is in some ways like climbing a vast mountain, there is so much to learn. Fakes of differing quality have been made for centuries, and sometimes quite innocently, without an intention to deceive. So it can help to have a framework through which to look at ceramic works from your chosen area of collecting.
FORM: Vessels will tend to have certain proportions to their forms. This is because the large workshops where these pieces were manufactured used to make the same forms over and over again and only changed at major stylistic junctures. For example the foot-rim will tend to be a certain size in comparison with the rest of the vessel, and will tend to be finished in a certain way (sharply cut or smoothly rounded), depending on the era.
TECHNIQUE: Little details like how a lug handle or a spout was attached to the piece, or how it was dipped into the glaze are to be closely regarded, as these tend to be repeated over and over.
MATERIALS: You can tell a lot about the truth of a piece from the materials used. The body (visible through the unglazed foot-rim) and even the glaze itself should have a A RARE CHINESE FAMILLE ROSE “BALSAM PEAR” BOWL DAOGUANG SIX-CHARACTER SEAL MARK AND OF THE PERIOD (1820-1850) $1,000-2,000
certain texture and finish.
DECORATION: The decoration was applied by the same people over and over again within a kiln workshop, so you should see a consistency within the decoration. Sometimes it is finely and confidently executed, in other types it can be naively executed.
SPIRIT OF THE AGE: It also helps to regard the spirit of the age, which is the prevailing style in motifs and design sensibility of a particular era. For example in the Qianlong reign, the prevailing style was refined opulence, often incorporating archaistic designs derived from archaic bronzes of the Shang or Zhou Dynasties, or complex curvilinear motifs like intricate scrolling lotuses, and even Western baroque motifs, brought to Beijing by Jesuit missionaries in the 18th century. Copyists sometimes mix up these stylistic subtleties and a motif at home in one period might be used on a work purporting to be from an earlier period. It helps to look at, ask questions about, and handle as many genuine pieces as A FINE CHINESE FAMILLE ROSE SEAL PASTE BOX YONGZHENG MARK, PROBABLY REPUBLIC PERIOD, 20TH CENTURY $1,000-2,000
possible from your chosen collecting area. This helps to key the collector’s eye into the details of the correct piece as early as possible, to minimise costly mistakes and to make collecting a richer and more enjoyable experience. Carl Wantrup Asian Art Consultant 03 8825 5635 | asianart@leonardjoel.com.au
ASIAN ART ENTRIES INVITED AUCTION MONDAY 8 OCTOBER 2018
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THE 22ND REPORT #16
TAKING ACTION Opening Statement from Leonard Joel: Thank you for this opportunity. I’m advised I have 3 minutes so I wish to be economical with my words and clear with my purpose. My company Leonard Joel was the largest auction trader in ivory in the country. We also dealt occasionally in Rhino horn. Now, since January 1st 2017, we no longer trade at all in Rhino horn and
today and that is to argue that the only solution
the inquiry into trade in elephant ivory and rhino horn in Australia. The current domestic legislative
environment
was
explored
as were recent legislative efforts in the United Kingdom and elsewhere. A broad cross section of stakeholders were invited to present and answer questions for the committee and the overwhelming response from participants was that some form of ban should be implemented within Australia. Leonard Joel’s position remains, and we argued, that no auction house or antique dealers even remotely depends on this trade for their business livelihood and that the time has come for us all; collectors, antique dealers and auctioneers alike, to acknowledge that we no longer need to express ourselves in
business. Ivory trade at the individual business level is insignificant. But collectively?
and while they continue to operate they contribute to the endangerment of these species. 15000 Rhinos remain - their likely survival as a species is already grim. And Elephants are not far from a tipping point. So what can our industry, auctioneers and antique
prevent extinction is to ban the trade in these
dealers alike do? We could start with my working
materials.
and public policy.
All efforts to date; CITES conventions and
My position and my publicly available company
adoptions internationally, industry self-regulation,
policy is not complex, it is not extreme, it does
government efforts, NGO efforts and the efforts
not seek the destruction of these materials nor
of private citizens and activist groups (as noble
their seizure. It merely seeks to remove them from
and profoundly important as they all are) have not
circulation and advocate for their retention by the
ensured the survival of these species yet.
holder.
Why?
And
Because while markets remain for these materials, whether the animal’s horns were the product of slaughtering hundreds of years ago or yesterday, and monetary value can be derived from them, the allure to poach, to slaughter, to sell and make money will continue. The idea that “old” or “pre-1975” ivory and horn somehow do not contribute to this value-chain and slaughter-origin, as I choose to call it, is an artificial construct (one that I too suffered from)
one
final
point;
to
those
that
argue
restricting trade represents some sort of cultural infringement of rights. I say, there are entities known as “museums”, they are all over the world and more than adequately represent ivory and rhino material across cultures and periods. In my view, we no longer need to express ourselves commercially in these materials and until we recognize that, and the total ban in trade that is required to achieve that, our commercial conscience cannot be clear from the part we play.
designed to ease the conscience of the trader and
I was the biggest auction trader in ivory in
grease the wheels of commerce in these materials.
Australia and I am now advocating for a total ban
The hollow prestige that auction houses, antique
continue to maintain markets and value
dealers and collectors, that choose to ignore this
in materials that inescapably promote the
connection, bring to the trade in these materials,
slaughter of the remaining elephant and
is undeniable and only serves to confuse the
rhinoceros populations. Below is a copy of
discourse on banning trade. This was my epiphany and January 1st 2017 was the moment I chose to no longer live and trade with that lie.
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materials for their commercial survival or ongoing
to disrupt Rhinoceros and Elephant poaching and
these materials and that while we do, we
Leonard Joel’s opening statement:
depends, even remotely, in the trade of these
that are significant enough to warrant attention
it positions me well, I believe, to state my purpose
Joint Committee on Law Enforcement for
Not a single antique dealer or auctioneer
grown and my staffing has too.
Leonard Joel in these materials before this time,
was honoured to present at the Parliamentary
requirement or business viability.
Collectively, our industry is maintaining markets
While I am not proud of the trading history of
On the third of July in Sydney, Leonard Joel
materials is one of entitlement - not need,
almost NO ivory. In this same period business has
No commercial or human resource impact - NONE.
John Albrecht & Rebecca Keeble from IFAW
The argument for continued trade in these
leonardjoel.com.au
in the trade of these materials - not destruction, not seizure; just a ban. John Albrecht, Managing Director
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THE ART OF LIVING 28 July – 8 September 2018 Southbank Arts Precint, 111 Sturt Street, Southbank VIC 3006
Image | Lisa Reid, Globe of the World, 2002, pencil on paper, 66 x 50 cm.
The Art of Living marks Arts Project Australia’s inaugural ‘Artist As Curator’ program. Curated by prominent Australian artist Rhys Lee, the show brings together works by Australian and international artists, alongside Arts Project studio artists, to consider how one can live honestly and bravely through the work they produce. The participating artists explore themes of everyday life. They show us that they live to make art and make art to live.
www.artsproject.org.au
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RONNIE VAN HOUT I can’t give up, 2012 painted polyurethane and fibreglass 150 x 30 x 28 cm Courtesy the artist and STATION, Melbourne
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