LEONARD, issue 82, October-November 2019

ISSUE 82 OCTOBER – NOVEMBER 2019

LEONARD

OCTOBER

The John Hurlston Collection Pt I Monday 7 October, 6.30pm / MELBOURNE The John Hurlston Collection Pt II Tuesday 8 October, 6.30pm / MELBOURNE Decorative Arts Tuesday 8 October, 6.30pm / MELBOURNE Women Artists Wednesday 9 October, 6pm / MELBOURNE Collectables

NOVEMBER

Thursday 24 October, 2pm / MELBOURNE Modern Design Monday 11 November, 6.30pm / MELBOURNE Luxury Wednesday 13 November, 6pm / MELBOURNE Prints & Multiples Wednesday 13 November, 6pm / MELBOURNE Jewels Monday 25 November, 6.30pm / MELBOURNE Fine Art Tuesday 26 November, 6.30pm / MELBOURNE

DECEMBER

auction calendar —

The Hyde Collection Tuesday 3 December, 6.30pm / SYDNEY Specialist Rugs Thursday 12 December, 2pm / MELBOURNE The Thursday Auction Furniture & Interiors – 10am Jewellery – 10.30am Art Salon – 11.30am Objects & Collectables – 12pm MELBOURNE

LEFT: Christmas Ham 2019

COVER: LUDMILLA MEILERTS

Wool, polystyrene, foam rubber foamcore, 31 x 55 x 41cm $1,200

(1908-1998) View to Sandridge Rail Bridge and Melbourne City 1976 (detail) oil on board 61 x 76cm $3,800 – 4,800

Trevor Smith Exhibition at Leonard Joel Wednesday 6 – Sunday 10 November

Women Artists Auction Wednesday 9 October, 6pm

welcome —

This Issue FROM THE DIRECTOR 3 The Economy of Beautiful Things and Interesting People THE CENTENARY SERIES 4 My Leonard Joel: with Jaci Foti-Lowe AUCTIONS 6 Private Collections: The Hyde Collection 8 Decorative Arts: The History of Cutlery 10 Modern Design: A Culinary Stitch Up 12 Jewels: Tools of the Gemmology Trade 14 Fine Art: Arthur Streeton: An Australian Artist Abroad

It's our pleasure to present Part IV, the final of our Centenary Series: My Leonard Joel in this issue, in which we step into the beautiful home (we wanted to move in!) of Jaci Foti-Lowe..

Elsewhere, there's highlights from our third dedicated Women Artists auction and Head of Jewellery, Julie Foster talks about Gemmology tools used to help grade and appraise gemstones...

16 Women Artists 18 Luxury 19 Prints & Multiples IN FOCUS 20 5 Minutes with... Toby Lennox-Hilton 21 The 22nd Report: Three Years and Real Change JOIN US 22 Connect & Buy with Leonard Joel 25 Contact a Leonard Joel Specialist

We also spend 5 minutes with Furniture Manager, Toby Lennox-Hilton who shares his favourite way to spend a day in Melbourne (when not at Leonard Joel of course!).

Finally, as our centenary year continues, we invite you to join us at a special Centenary Exhibition 19-20 October. More details online soon...!

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— PROFILE —

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— FROM THE DIRECTOR —

THE ECONOMY OF BEAUTIFUL THINGS & INTERESTING PEOPLE Acknowledging that our world is as much about the people that collect as the objects they covet.

Not long after I returned to Leonard Joel, almost exactly a decade ago, I began to describe this exciting marketplace as an economy of beautiful things and interesting people. I am therefore thrilled to advise that, to celebrate our centenary, we have self-published a history of Leonard Joel in words, imagery and stories that we believe encapsulates the diverse nature of our specialties, the buyers and sellers that find our way to us, the things that ultimately take us on a journey with our clients and the stories that accompany them.

This process of discovery, history-sharing and storytelling with both sellers and collectors, is the career motif of the auctioneer and it is what makes our world, for me anyway, endlessly fascinating and enriching. And now with 100 years of auctions almost behind us, it is this

IOO YEARS OF AUCTION HISTORY

thrill of discovery, these objects and collections, and their stories that have made our journey so interesting and, in turn, provided the inspiration to our centenary publication.

Throughout the publication we present a feast of imagery, from established collecting categories through to the newer ones; the categories of the future and the ones we are as excitedly committed to as the new collectors that covet them. The reader will also notice that we decided not to represent any sales that celebrated either elephant ivory or

IOO YEARS OF AUCTION HISTORY

rhinoceros horn. Acknowledging that our world is as much about the people that collect as the objects they covet, we interspersed four unique collecting stories, stories from both clients and friends of Leonard Joel that to us represent a collecting spirit that is as timeless as it is new. And finally, the book is framed by four chapters that have been produced by respected writer and editor Ray Gill who took us on a less conventional path in recording and celebrating a centenary of Leonard Joel.

The book will be available on-site at Leonard Joel Melbourne and Sydney, and at select bookstores in Melbourne from 18 October. 100% of proceeds will be donated to the two causes we, as an organisation, are most passionate about; Arts Project Australia and the International Fund for Animal Welfare.

I do hope you enjoy the read and with the knowledge that your purchase is supporting great civic and conservation causes.

I would also like to take this opportunity to invite you all to a special Centenary Exhibition ABOVE: Leonard Joel: 100 Years of Auction History

at Leonard Joel Melbourne, 19-20 October.

LEFT: detail from 100 Years of Auction History

For more details visit our website!

JOHN ALBRECHT

Managing Director & Head of Private Collections leonardjoel.com.au | 3

— THE CENTENARY SERIES —

MY LEONARD JOEL — With Jaci Foti-Lowe

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— THE CENTENARY SERIES —

In this, Part IV of Centenary Series: My Leonard Joel we visit the home of Jaci Foti-Lowe.

Do you consider yourself a collector or do you simply buy what you like when you see it?

My mum often says to me “I don’t know how you see amongst everything; what’s beautiful or what’s special” but what I’m doing is I’m adding to a thread of an idea or, creating a collection that I know that I’ll complete with an acquisition of one object or another. I’ve stopped trying to decide whether it’s good or if it has a place, or has any merit, and I’ll just look at it for the beauty of the piece in the moment.

What do you enjoy about buying at auction? Is it the element of discovery, or the excitement of not knowing whether or not you’ll secure the winning bid?

I never know what I will find when I look through the catalogue or turn up onsite at Leonard Joel. It’s that thrill of what could be, but never going in with any measured outcome and then being open to acquire anything, (or) nothing in particular; that creates the magic, because the magic is in the unknown and not trying too hard to specifically pick something and then find it.

I can’t know what this week or next week will bring. And they’re not my treasures, they’re someone else’s treasures, so it’s got to be that alignment of the moment; of someone releasing and me coming, and acquiring. That whole process is a really enjoyable one because it’s always a surprise, you never know.

Do you have a favourite piece you’ve bought at Leonard Joel or a piece that you wish you’d won, but lost at auction?

So that’s how my passion with the basalts (Wedgwood) started; it was just a beautiful form. The pot itself was perfectly balanced and pure black, and very decorative; completely and absolutely not aligned with anything I had ever considered before but, once I had that piece in my hands it opened my eyes to every other black basalt piece that came through The Thursday Auction!

Everything that we use in the General Store for display is a found object or acquired through the auctions, and that’s created an environment that is really special and comfortable; homely and welcoming. I attribute a lot of that to the fact that the only pieces we have in there are old pieces.

Jaci Foti-Lowe is Founder of Hub Furniture and Hub General Store, Melbourne.

LEFT: Hub General Store

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— AUCTIONS —

PRIVATE COLLECTIONS

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— AUCTIONS —

The Hyde Collection

A well-known medical professional, the vendor of this

inspire design for the next 30 years. Arnold’s timepieces

Auction

extraordinary private collection was also a heritage

are included in the National Maritime Museum,

Tues 3 Dec, 6.30pm

enthusiast and a passionate collector of antiques, fine

Greenwich and the British Museum.

SYDNEY

art and furniture.

Other significant pieces include a Dutch Musical Walnut

TOP LEFT: A fine English Regency

card table with cut brass inlay, circa 1810.

TOP RIGHT: J. Haughton Forrest, ‘Shipwreck’. Signed and dated 1888.

OPPOSITE: A directoire ormolu

and marble mantel clock, Joseph Revel, Paris, circa 1795.

He wrote several submissions to the government,

Longcase Clock, signed Gruning Amsterdam circa 1770,

urging them to preserve local buildings and this

a rare Henry Borrell (active 1795-1840) Regency Quarter

appreciation for history was reflected in his home, a

Striking Musical Clock with a singing bird mechanism

Federation house in Sydney, and its contents.

and bracket clocks with examples by John Johnson (active 1770-1800, London) and Grignion & Sons (active

A passionate collector for over 70 years, he travelled

1720-1825, London).

extensively, and the majority of his pieces were acquired during expeditions to Europe, the result of which is an

The porcelain section includes a rare Flight and Barr

outstanding collection which will be proudly offered at

Worcester dessert service painted with botanical

auction by Leonard Joel in Sydney on 3rd December.

specimens circa 1800, and a Nymphenburg Royal Bavarian pattern part dinner service.

Comprising fine English Georgian and Regency furniture, English porcelain, 17th and 18th century

The paintings are mainly of landscapes, seascapes,

Dutch paintings, Kangxi blue and white, tortoiseshell

pastoral scenes and Dutch domestic interiors. One

boxes and a selection of high quality clocks, the

of the standout paintings is a dramatic shipwreck by

collection represents an era of timeless grandeur.

Captain Haughton Forrest. Captain Forrest was the son of Queen Victoria’s equerry and had an interesting

Clocks by esteemed English and French makers of the

military upbringing, attending military school in

late 18th and early 19th centuries include a mantle

Wiesbaden, Germany. He left the army to join the Royal

clock by John Arnold (1736-1799, London). Arnold was

Mail and settled in the Isle of Wight painting marine

an innovator of the wristwatch, taking over from John

settings, with some commissioned by HRH Prince of

Harrison and refining precision in timekeeping. In 1770

Wales. Eventually Forrest migrated to Tasmania and

he developed the portable precision timekeeper which

became a prolific artist, particularly known for his

included three inventions, one of which, the overcoil

landscapes, some of which appeared on the first set of

balance spring is still found in wristwatches today.

pictorial stamps in Australia. Demand for Forrest’s work has increased in recent years due to his photorealistic

The Hyde Arnold is a refined Georgian mantle clock

style and Hyde’s example demonstrates this.

with Egyptian Revival inspired motifs painted on the base. The wonders of Ancient Egypt had been revisited

HAMISH CLARK / Head of Sydney Office

by the French Revolutionary Army in 1798 and were to leonardjoel.com.au | 7

— AUCTIONS —

DECORATIVE ARTS The History of Cutlery

Cutlery may seem like the most basic of epicurean

The purpose of the spoon was not merely for eating, its

utensils, however their current design is relatively new to

importance in society had expanded and spoons were

society and the way we consume food.

commonly used in ceremonies and as a symbol of status,

Spoons were the first invention, leading the way to what became widely regarded in the Western world as civilised dining.

Dating back as far as early 1000BC in Egypt, spoons were

hence we see anointing spoons in Britain to welcome new monarchs.

The fork is a relative newcomer to the table with an even more interesting history.

adapted from a variety of scoop-like objects over history

Although the prototype was Ancient Egyptian, it was of

from seashells to chips of wood—in fact, the name itself

elongated form with sharp prongs, being used primarily

originates from the Anglo-Saxon word 'spon' meaning a

for cooking and serving food. One of the earliest records

chip of wood. Fashioned handles were added to these

of the fork is from a story of the wedding of a Byzantine

found objects later on and thus, the spoon was born!

princess, Theodora Anna Doukaina and a Venetian called Domenico Selvo in the 11th century. She arrived with

Once the popularisation of spoons spread, there was a

her dowry which consisted of a case of golden forks and

demand for the objects to be fashioned and not found,

then proceeded to use them at the wedding feast. Her

so we see early examples crafted from wood, bronze and

decadence was condemned by the local clergy, and one

silver, from early civilization to the middle-ages.

member announced “God in his wisdom has provided

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ABOVE: Three Leather cased

Travelling Cutlery Sets* 17th Century & Later $500 – 700

— AUCTIONS —

man with natural forks—his fingers. Therefore, it is an

It was not until the late 18th century with the introduction

insult to him to substitute artificial metal forks for them

of affordable pewter that all levels of society began using

when eating.” Two years later when Theodora died of

forks.

Hurlston Collection Part II

The knife (although one of the oldest members of the

MELBOURNE

an unknown disease, it was considered by some to be punishment for her pride and life of excess.

at the dining table was frowned upon on account of the

method to eat food. It was not until the Renaissance,

very sharp edges. In fact, in 1669, Louis XIV decreed that

during another noble marriage, where the fork’s

overly sharp knifes were illegal at the table. They were

popularity grew. When Catherine De Medici arrived in

replaced by a wider, blunt knife which gave birth to the

France to marry Henry II, she brought a collection of

dining knife which we are familiar with now (see illustrated

silver forks with her to be used during the nuptial feast.

example below).

leading to spilled food and much laughter, however despite the ridicule, this popularised the use of forks to all French upper class society, who by the 18th century began sporting personal cutlery sets as a symbol of

Tues 8 Oct, 6.30pm

cutlery family) was used mainly for hunting. Using a knife

And so, fingers and spoons remained the preferred

Henry’s courtiers struggled to use the foreign utensils,

Decorative Arts & The

BELOW: A set of Jasper Handled

Knives Sheffield, circa 1867 $300 – 500

Next time you sit down for a meal, pause to reflect on the fact that we now use safe blunt knives and have roundly accepted the common use of forks and not our fingers.

CHIARA CURCIO / Head of Decorative Arts

wealth and status (see illustrated example opposite).

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— AUCTIONS —

MODERN DESIGN A Culinary Stitch Up

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— AUCTIONS —

Trevor Smith Exhibition Wed 6 Nov, - Sun 10 Nov MELBOURNE

TOP: Selection of Margaret Fulton

Cook Books MIDDLE: Kettle 2019

Wool, polystyrene, foamcore, wire 26 x 38 x 33cm $680 BOTTOM: Blender 2019

Wool, polystyrene, foam rubber, foamcore, 40 x 21 x 23cm $680

Trevor spent many years working with traditional patchworks, soft sculpture and quilts, before turning his hand back to crochet.

An interest in textiles started at an early age for Trevor Smith. He was taught to sew by his mother Jean, herself a talented craftswoman. He was taught to sew by his mother Jean - who was herself a talented craftswoman - and was gifted his first sewing machine at age 15, a tool that allowed him to develop his creative passions in all areas of craft. Trevor spent many years working with traditional patchworks, soft sculpture and quilts, before turning his hand back to crochet.

Trevor has been involved in the Australian art scene for over 30 years, participating in group and solo craft exhibitions. In 2009 he was part of the ‘The Big Hole Yarn’ a site-specific exhibition that incorporated crochet into the natural environments of the Panmure swimming hole in Warrnambool.

Trevors recent works have been heavily influenced by the late Margaret Fulton, who was best-known for revitalising post war cuisine. Fulton was most famous for her 1968 Margaret Fulton Cookbook. The visual aesthetics of her recipes can be seen throughout Trevors works, especially the kitsch food presentation of the 1970s.

A fantastic collection of Trevor Smiths works will be exhibited at Leonard Joel as part of the 100 Year Centenary celebration, in collaboration with the November Modern Design auction. Highlights include a wonderful fish platter, and assortment of fantastic Australian cakes and retro kettle, radio and blender.

ANNA GRASSHAM / Head of Modern Design

All of these works will be on view alongside and offered as part of the Modern Design Auction on Monday 11 November.

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— AUCTIONS —

JEWELS Tools of the Gemmology Trade

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— AUCTIONS —

How do we know the difference between a diamond and cubic zirconia, or if a blue stone is paste or sapphire and then, if its natural, colour-enhanced, synthetic, treated, or damaged?

Next Jewels Auction Mon 25 Nov, 6.30pm MELBOURNE

LEFT: Julie Foster, Head of

Jewellery.

Gemmology involves studying the physical and optical

CHELSEA FILTER

properties that make gems unique. The identification

The Chelsea filter can help separate imitations from

process involves analysing these properties to help us

the real thing. It can identify the chromium content of

grade stones, determine natural stones from synthetics

Colombian emeralds, give a red reaction to natural lapis

and differentiate one species from another.

lazuli, show chromium content of jade, separate synthetic

Here are 10 gemmology tools we use at Leonard Joel to distinguish or measure these properties.

10X TRIPLET JEWELLER’S LOUPE This is used for all initial inspections. It allows us to closely inspect the jewellery and make instant assessments, based on the internal and external features of the stone.

Sometimes this means a diagnosis of a stone simply from the inclusions.

BINOCULAR MICROSCOPE A binocular microscope offers higher magnification of jewellery and gemstones and can be extremely useful in the identification of difficult gemstones such as synthetics. The gemmological microscope also has light sources, which assist in illuminating the gems and offer the ability to see more inclusions in greater detail under higher magnification.

REFRACTOMETER This is one of the most important tools in the gemmologist's tool kit. The refractometer can give you the refractive index (sometimes diagnositic) including the optic character and sign of the gemstone.

POLARISCOPE The polariscope is also a critical piece of equipment, allowing us to easily identify single and double refractive gemstones and assist us in quickly differentiating stones, for example, garnet from rubies. It can also help to distinguish between natural and synthetic materials.

DICHROSCOPE The dichroscope allows us to see the pleochroism in a gemstone (the multiple colours that many gemstones produce). Our eyes cannot separate these colours in most cases, so the dichroscope uses calcite crystals to separate the light waves, which allows us to see the individual colours. This can also assist in the identification process of a gem.

blue spinel from natural.

ELECTRONIC SCALES Traditionally, the weight of a gemstone is expressed in carats (1 carat = 0.20 grams or 200 milligrams).

For gemstones weighing less than 1 carat, their weight is expressed in units that are 100 times smaller, known as points (e.g. 50 points = 0.5 carats). Scales are used in determining the pricing of gold jewellery and size of loose stones.

ULTRAVIOLET CABINET – LONG WAVE/SHORT WAVE UV LIGHT Both longwave and shortwave ultraviolet light (UV) is used in the identification process. The luminescence of a stone can help us differentiate between certain natural and synthetic gems.

Ultravoilet testing can expose enhanced layers of diffusion-treated gems, oils used as fillers in emeralds and other gems, and components in assembled stones which often have different fluorescent qualities to the rest of the specimen material. Seeing this at an early stage of your examination can save time later.

LEVERIDGE GAUGE Gauges are vital in making weight estimations of set stones and measuring loose stones. In many cases, the stone size is the only key to weight estimation, which can be carried out with measurement formulas.

MASTER COLOUR GRADING SET This master set helps us assign a colour grade to diamonds. The scale begins with the letter D, representing colourless, and continues with increasing presence of colour to the letter Z. Each letter grade has a clearly defined range of colour appearance. Diamonds are colour-graded by comparing them to our stones of known colour under controlled lighting.

JULIE FOSTER / Head of Jewellery

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— AUCTIONS —

FINE ART

Arthur Streeton: An Australian Artist Abroad

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— AUCTIONS —

Next Fine Art Auction Tues 26 Nov, 6.30pm MELBOURNE

Following many of his peers, Arthur Streeton left his

like Streeton, was establishing herself in a new

homeland of Australia, bound for London in 1897. The

landscape. Nora was a breath of fresh air for Streeton

general consensus was that to be a great artist you must

and reinvigorated his artistic desires and assisted in

travel abroad, and so Streeton sought inspiration and

obtaining him significant commissions. Arthur and Nora

international exposure from Europe and Britain.

eventually settled at 10 Hill Road, St. John’s Wood, at which time Streeton became a member of the Royal British Colonial Society and the Royal Institute of

“I feel convinced that my work will contain a larger idea & quality than before – I wish you and the Prof (McCubbin) could have a trip here – I think it’s necessary for ones work.

I’m evolving & should I return I’d never paint Australia in exactly the same way – I know more know - & would touch it more poetically” – Arthur in a letter to Tom Roberts dated 28 June 1898.

Painters. His art now continued to develop, and he had adapted his technique to that of a round brush which brought a thicker and looser brush stroke.

By 1906 Arthur had the opportunity to return to Australia upon which he received the public’s praises. The trip brought continued success for Arthur with successful exhibitions, re-strengthened relationships with patrons, and of course numerous sales. Whilst he only stayed for 12 months on this return trip, he continued to send works back to Australia over the coming years.

His search for inspiring landscapes took him to the English counties, where he often painted in the company of newly made friends or as a guest of wealthy art

In England, he could rub shoulders with some of the art world’s elite and, most importantly, gain access to international art forums such as the Royal Academy. He had left Australia as one of the nation’s finest artists, however his optimism slowly began to dwindle in his new environment. He delved further into poverty and loneliness as he grappled with his anonymity in London.

patrons. Venturing to the East Midlands in 1911, Arthur produced two significant landscapes of Cromford – the home of Sir Richard Arkwright. The larger of the two landscapes, Arkwright’s Valley, Derbyshire 1911, is now part of the National Gallery of Victoria’s collection. The smaller landscape Arthur produced, Valley of Sir Richard Arkwright 1911, will lead our upcoming November Fine Art auction. Having been in the same family collection

After this challenging introduction abroad, he finally

for 105 years, this painting will once again have the

reached a turning point in 1899 when he met his

opportunity to be exhibited in the public eye.

future wife Nora Clench – a Canadian violinist who,

OPPOSITE: ARTHUR STREETON

(1867-1943) Valley of Sir Richard Arkwright 1911 oil on canvas in original John Thallon frame (label verso) signed lower right: A. STREETON dated lower left 51 x 75cm $70,000 – 90,000 PROVENANCE: Sir Arthur Streeton Victorian Artists Society Gallery, Melbourne The Collection of Dr. J H. Kelly Thence by descent EXHIBITED: ‘Mr Streeton’s Pictures’, Victorian Artists Society Gallery, Melbourne, June 1914, cat. no. 10.

LITERATURE: ‘Mr Arthur Streeton’s pictures’, Leader, Melbourne, 6 June 1914, p.51 Arthur Streeton, The Arthur Streeton Catalogue, Arthur Streeton, Melbourne, 1935, no. 456, Valley of Sir Richard Arkwright, 1911.

RELATED WORK: Arkwright’s Valley, Derbyshire 1911, oil on canvas, 90.0 x 144.6cm, The Collection of the National Gallery of Victoria (Also known as Valley of Sir Richard Arkwright).

Arkwright Valley c.1913, lithograph, 19.9 x 31.6 cm, The Collection of the Art Gallery of New South Wales, Sydney

OLIVIA FULLER / Head of Art

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— AUCTIONS —

WOMEN ARTISTS

TOP LEFT: ANNE MONTGOMERY

(1908-1991) Still Life with Lillies oil on masonite 47 x 37.5cm $900 – 1,200 TOP RIGHT: SYBIL CRAIG

(1901-1989) Bouquet oil on paper 48 x 35cm $1,200 – 1,600

The turn of the twentieth century was a critical time

and Violet Mcinnes again (lot 25) present a more sombre

for women artists in Australia, by the 1900s, women

take on the traditional scene. These palettes inadvertently

played an active part in the nation’s major art schools

compliment the work Portrait of A Boy by the prominent

and institutions, often outnumbering their male peers.

artist, Florence Fuller (lot 24). This painting is a soft yet

Ever so slowly, these female artists began to enter major

striking canvas work of a young boy with a simple white

exhibitions, travel to Europe to enhance their studies and

necktie in period clothing. The artist paved the way for

pursue successful careers as professional artists. Whilst

realism in the late 19th century during the economic

the importance of female artists is still being recognised,

boom in Melbourne, featuring children as her prime

we are delighted to present a curated selection of works

subject matter. Fuller caused a stir when she presented a

in the October Women Artists Auction.

painting of two young girls titled Love of Reading to the National Gallery of Australia, a move that challenged the

With spring frivolously upon us, this collection pays

stereotype of a woman and their depiction in art.

homage to the fresh, colourful scents of Zinnias, Poppies

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and Daffodils. In multiple works we see artists, Violet

With distinctive themes running through the auction, a

Mcinnes (lot 74), Anne Montgomery (lot 83) and Sybil

number of these artists travelled to Europe to hone their

Craig (lot 13 & 18) presenting their take on the humble

skills and explore new subject matter and techniques.

still life, a genre of painting adopted by women in the

Neo-impressionist artist, Jessie Traill delights us with a

Twentieth Century. While artists Nellie Govett (lot 28)

glowing watercolour of Oslo. While visiting Norway in the

— AUCTIONS —

Next Women Artists Auction Wed 9 Oct, 6pm MELBOURNE

With spring frivolously upon us, this collection pays homage to the fresh, colourful scents of Zinnias, Poppies and Daffodils.

ABOVE: MIRKA MORA (1928-2018)

Sun hand painted soft sculpture 32cm (height) $1,500 – 2,000

1930s, Traill took inspiration from these cool landscapes,

the new art scene and became an advocate for modern

a true contrast to the dry Australian landscape in which

art and unsurprisingly a voice for women artists at the

she based her early etchings off. Lot 55, Trinity Church

time. Syme’s dedication to the arts was well recognised,

Oslo - Norway 1939 is a fine example of her palette

however it was her linocuts which made her globally

adapting to her Nordic surroundings, adopting blues and

recognised and widely praised for her unique body of

greys to evoke the wintery landscape.

work and complex understanding of colour and form.

Mary Mercer (lot 5), Josephine Muntz-Adams (lot 57) and

With Spring in the air, what better way to celebrate the

Elma Roach’s works follow suit but this time inspired by

warmth than with a fresh array of still-life floral works

the Mediterranean, depicting bustling street scenes, old

and the ever-uplifting sculpture dolls from everyone's

towns and breezy late afternoon sunsets.

favourite, Mirka Mora.

Eveline Syme’s Sydney Tramline 1936 (lot 31) is a

We look forward to welcoming you to the viewing from

stand-out in this collection. The artist was well versed in

Saturday 5th October, with an evening auction on 9th

overseas travel, studying under the Claude Flight school

October.

with Ethel Spowers in the late 1920s. The bold colours, rhythmic design and movement was something unheard

LUCY FOSTER / Art Specialist

of in Australia. Upon returning home, Syme pioneered

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— AUCTIONS —

Next Luxury Auction Wed 13 Nov, 6pm MELBOURNE

TOP: A HAT BY SAINT LAURENT

Sold for $650 MIDDLE: A PAIR OF PLATFORM

HEELS BY GUCCI Sold for $340 BELOW: A LIMITED EDITION

Luxury

LUCKY CHARM FLAP BAG

BY CHANEL $3,000 - $5,000

The 2019 Melbourne Spring Carnival is almost underway, bringing with it a flurry of fashion and glamour. Whether you are heading to the elegant Derby Day, Feminine Oaks or prestigious Melbourne Cup, planning an outfit can be a daunting task. Read on to discover how to select winning race day accessories to set you apart from the crowd.

—

HEADWEAR The essential component to any race day ensemble is of course headwear. Whilst traditionally a hat has been the go to, fashionistas have branched out in recent years wearing headbands, turbans, scarfs, fascinators and everything in-between. This sleek hat by Yves Saint Laurent is a perfect combination of edgy and traditional.

BAGS Having the perfect bag for racing day is vital. This limited edition flap bag by Chanel is not only quirky and fun, but large enough to hold racing essentials – lipstick, phone and importantly, the form guide!

SHOES Being comfortable in heels is a must for race day when walking and standing for long periods of time are guaranteed. This event is the perfect time to bring out stack heels or wedges.

JEWELLERY Statement jewellery is the finishing touch to any race day ensemble. A bold pair of earrings or a fabulous necklace can really set you apart form the crowd.

BETHANY MCGOUGAN / Luxury Manager

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— AUCTIONS —

Next Prints & Multiples Auction Wed 13 Nov, 6pm MELBOURNE

Prints & Multiples Roger Kemp is now recognized as one of Australia’s greatest innovators in the field of abstract art.

— Roger Kemp’s interests were not in the overriding traditions of figurative and landscape art, nor the prevailing trends in non-objective art of his time, but rather something much deeper and more metaphysical.

After completing three years of study at the NGV’s School of Painting in 1935, Roger Kemp remained aloof from the art world for a decade, filled with bitter criticism of the conservative creative circles to the new concepts of abstract and experimental art.

His artworks were abstract and symbolic. Having a lifelong relationship with music, Kemp’s artworks were constantly referenced in terms of movement and rhythm.

After joining George Baldessin in his print workshop in Melbourne, by 1976 Roger Kemp had produced over 80 etchings, all being of the structural complexity of his finest drawings. Many of these etchings have been featured within Leonard Joel’s Prints & Multiples auctions over the years.

Roger Kemp is now recognized as one of Australia’s greatest innovators in the field of abstract art.

The National Gallery of Victoria have curated a show along with the estate of the artist, Roger Kemp: Visionary Modernist on view until 15th March 2020.

TOP: ROGER KEMP (1908-1987)

BOTTOM: ROGER KEMP

Movement Eight 1980 etching 9/45 37.5 x 36cm © Kemp Estate Sold for $744

(1908-1987) Movement Five 1975 etching A/P 60 x 80cm © Kemp Estate Sold for $744

HANNAH RYAN / Prints Specialist

leonardjoel.com.au | 19

— PROFILE —

Minutes with…

TOBY LENNOXHILTON

This issue, we spend 5 minutes with Furniture Manager, Toby Lennox-Hilton, who will sadly be leaving Leonard Joel soon to return to the U.K. His calm demeanor and superior styling of the Furniture auction will be missed!

FAVORITE BOOK I’m a big fan of all things Sci-Fi and 2001: A Space Odyssey is harrowingly poignant. I saw the movie first and then read the book and they're both equally brilliant.

IDEAL DAY IN MELBOURNE Waking up and going for coffee somewhere in the city before grabbing lunch at a little Indonesian place called

FAVOURITE ARTIST Lucian Freud - the last master. I was obsessed from the first time I was shown Reflection (Self-Portrait) by a tutor in college. Shortly after he died, there was a retrospective show at the National Portrait Gallery, London and it was the first time I considered the subject matter of a painting being the paint itself, rather than the sitter.

FAVOURITE WORK OF ART This is a harder one to choose but John Martin’s The Great Day of His Wrath is an epic! The hopelessness of it all really puts life into perspective.

FAVOURITE COFFEE / WINE! I love coffee, and wine, and I will really miss the wine in Australia. I have been particularly enjoying riesling and pinot noir recently. On the contrary, I’ll usually go for a full-bodied, robust coffee.

20 | leonardjoel.com.au

Salero Kito. After that, a lap of the art galleries in the CBD to check out the latest exhibitions, ending the day with beers and dumplings and then a movie... or more beers!

22

ND REPORT

Panel Discussion with Azzedine Downes (IFAW), John Albrecht (Leonard Joel) and Andrew Burke (AFR) as Moderator.

Three Years and Real Change — On Thursday 12th September, almost exactly three years

to dramatically reduce trade in these materials and it is

since IFAW first made contact with Leonard Joel, we

our sincere hope that, as once the biggest auction trader

hosted Azzedine Downes, global president and CEO of

in these materials, our adoption of the UK model will

IFAW for a fund-raising and awareness initiative. The focus

encourage local government and industry to follow our lead

of the evening was Leonard Joel’s voluntary policy on the

and embrace a comprehensive ban on the trade of these

cessation of rhinoceros horn and elephant ivory and the

materials.

timing of this event was particularly poignant.

The evening was supported not just by IFAW’s amazing,

To begin with IFAW was celebrating its 50th anniversary

committed team from all over the globe but also by Andrew

and we our centenary. But beyond these milestones much

Burke of the Australian Financial Review who hosted a panel

more meaningful events were being both celebrated and

discussion, a wonderful audience of clients and friends who

discussed. This year the United Kingdom introduced its

donated generously to anti-poaching projects and just as

world-leading legislation to restrict and reduce the trade in

generously no less than nine gallerists and artists donated

these materials and we, Leonard Joel, publicly committed

works of art for Art for IFAW, a timed online auction with all

to match this legislation effective 1st January 2020. Our

proceeds to IFAW.

further embrace of cessation in these materials means we reduce our 50% De Minimis threshold to 10% for antiques and 20% for musical instruments, effectively reducing even further and more dramatically our remaining incidental

A total of almost $35,00 was raised and I would like to sincerely thank ALL generous donors and bidders. Your money is truly going to aid a great cause.

trade in pieces that have a small element of ivory in them.

BY JOHN ALBRECHT

Our decision is timely given the Australian government will

—

be considering this year the adoption of local legislation

leonardjoel.com.au | 21

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Connect / Browse / Bid

With regular auctions in Fine Art, Jewels & Watches, Decorative Arts, Modern Design and Luxury, there’s something to suit every taste and budget at Leonard Joel.

Connect

Bid Create an account online and use it every time you bid. You can also receive Lot alerts tailored to your interests. Bidding is easy and you can do so in person, online, or by phone. Our team is always on hand to guide you.

Subscribe to stay up to date with news on upcoming auctions, special events and industry insights, or follow us on social.

Browse Browse our online auction catalogues or view in person at one of our salerooms.

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Contact a Leonard Joel team member or stop by a saleroom if you have any questions.

CENTUM

VERNON AH KEE YVONNE AUDETTE DEL KATHRYN BARTON DANIEL BOYD

May 2020 —

CRESSIDA CAMPBELL CRISS CANNING JON CATTAPAN ROBERT CLINCH PAUL DAVIES MARTINE EMDUR NICHOLAS HARDING BRENT HARRIS LOUISE HEARMAN BILL HENSON SAM LEACH GUY MAESTRI

We're excited to announce Centum, a new Contemporary Art

ALEXANDER MCKENZIE

auction which will launch next May 2020.

TRACEY MOFFATT

Centum will collate and present 100 works by Australia’s leading

JOHN OLSEN

contemporary artists in a standalone Contemporary Art auction.

We are specifically seeking the works by the artists listed here. If

PATRICIA PICCININI

you are thinking of selling please contact Head of Fine Art, Olivia

WILLIAM ROBINSON

Fuller for a complimentary market valuation.

PHILLIP WOLFHAGEN MICHAEL ZAVROS

olivia.fuller@leonardjoel.com.au | 03 8825 5624

Under The Hammer Welcome to our new feature, Under The Hammer, in which we will share one or a few of the rare, beautiful and extraordinary pieces to pass through our doors since the last issue.

Two Chinese painted silk and soapstone inset erotic panels recently sold for a remarkable $62,000 in our dedicated Asian Art Auction.

Comprising two panels of painted silk on a card backing within a cloth bound frame, each panel is further encapsulated within a Chinese book style box. Each panel depicts figures within a classical Chinese garden landscapes with pavilions.

LEFT: TWO CHINESE SETS OF PAINTED SILK AND SOAPSTONE

INSET EROTIC PANELS QING DYNASTY (1644-1912), 19TH CENTURY Sold for $62,000

— JOIN US —

Sell / Value / Buy Contact a Leonard Joel Specialist

John Albrecht

The Thursday Auction Specialists —

03 8825 5619 | john.albrecht@leonardjoel.com.au

ART SALON

MANAGING DIRECTOR & PROPRIETOR

Auction Specialists — PRIVATE COLLECTIONS John Albrecht, Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au FINE ART Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au JEWELS Julie Foster, Head of Department 03 8825 5605 | julie.foster@leonardjoel.com.au

Hannah Ryan 03 8825 5630 | hannah.ryan@leonardjoel.com.au FURNITURE Toby Lennox-Hilton 03 8825 5640 | toby.lennox-hilton@leonardjoel.com.au JEWELLERY Bethany McGougan 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au OBJECTS & COLLECTABLES Nora Merralls 03 8825 5604 | nora.merralls@leonardjoel.com.au

Chiara Curcio, Head of Department

Valuations —

03 8825 5635 | chiara.curcio@leonardjoel.com.au

Caroline Tickner, Head of Department

DECORATIVE ARTS

Hamish Clark, Head of Department, Sydney 02 9362 9045 | hamish.clark@leonardjoel.com.au MODERN DESIGN Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au COLLECTABLES Nora Merralls 03 8825 5625 | nora.merralls@leonardjoel.com.au LUXURY Bethany McGougan 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au

03 8825 5638 | caroline.tickner@leonardjoel.com.au

Marketing & Communications — Nicole Kenning, Head of Department 03 8825 5620 | nicole.kenning@leonardjoel.com.au Kim Soep, Coordinator 03 8825 5620 | kim.soep@leonardjoel.com.au Maria Rossi, Graphic Artist Adam Obradovic, Videographer & Photographer Joseph Hammond, Videographer & Photographer

Sale Rooms — MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333 SYDNEY The Bond, 36–40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: 02 9362 9045

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