LEONARD, issue 87, August-September 2020

ISSUE 87 AUGUST – SEPTEMBER 2020

LEONARD

The Collection of the Late John Schaeffer AO

AUGUST

Important Jewels

SEPTEMBER

An Important Forthcoming Auction / SYDNEY

Fine Jewels & Timepieces

Wednesday 26 August, 6.30pm / SYDNEY

Monday 7 September, 6.30pm / MELBOURNE Fine Art Tuesday 8 September, 6.30pm / MELBOURNE Scandinavian Design

OCTOBER

Thursday 10 September, 6.30pm / MELBOURNE Women Artists Monday 19 October, 6.30pm / MELBOURNE Decorative Arts Monday 19 October, 2pm / MELBOURNE Asian Works of Art Monday 19 October, 6.30pm / MELBOURNE

NOVEMBER

auction calendar —

Modern Design Monday 16 November, 6.30pm / MELBOURNE Prints & Multiples Wednesday 18 November, 6pm / MELBOURNE Luxury Wednesday 18 November, 6pm / MELBOURNE The Thursday Auction Furniture & Interiors – 10am Jewellery – 10.30am Art Salon – 12.30pm Objects & Collectables – 1pm MELBOURNE

LEFT: A SMALL MALACHITE

COVER: A selection of timepieces and

GLASS VASE Moulded in relief with a continuous frieze of dancing maenads.

Height 12cm $400-600

luxury scarves at Leonard Joel

The Collection of the Late John Schaeffer AO

welcome —

This Issue FROM THE DIRECTOR 3 Celebrating Collectors AUCTIONS 4 Private Collections: The Collection of the Late John Schaeffer AO 6 Important Jewels: Hamish Sharma 10 Fine Art: The Persistence of Memory

Welcome to the 87th issue of Leonard.

Within this issue, we get to know Hamish Sharma, Leonard Joel's new Head of Important Jewels, discover fascinating highlights from upcoming collections, take a tour through The Green Vault, learn how to choose a timepiece and ponder why Hermès pieces are so expensive.

We also say farewell to two of our great collectors, John Schaeffer AO and John Rosenberg.

We hope you enjoy.

12 Fine Jewels & Timepieces: Ruby: The King of Gemstones 14 Fine Jewels & Timepieces: Choosing the Right Wristwatch 16 Decorative Arts: The Green Vault 18 Modern Design: The World Turned Inside Out 20 Prints & Multiples: Jessie Traill 22 Luxury: Why is Hermès so Expensive?

– IN FOCUS 24 5 Minutes with Dominic Kavanagh 25 Valuations 26 22nd Report: The critical role of law enforcement at preventing future pandemics 28 In Memory of John Rosenberg 29 Under The Hammer JOIN US 32 Connect & Buy with Leonard Joel 33 Contact a Leonard Joel Specialist

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— PROFILE —

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— FROM THE DIRECTOR —

CELEBRATING COLLECTORS — Remembering John Schaeffer & John Rosenberg

The privilege of working at Leonard Joel is not just our continuous exposure to both the rare and the beautiful on a daily basis, but also the time we enjoy with the custodians of these things.

Over time, I have found that collectors often build an extraordinary knowledge and history around their collection or, if they have sometimes a single treasure, an intense affinity with that piece; its history, its maker, its mediums and its meaning in their life.

To enjoy the insights and knowledge of a great collector during the processes of auction is a rarity, and an even greater pleasure than the mere management of the property, as so often the collection is handed to us at the stage when it has either become an estate or is in the hands of advisors or family sometimes less connected to the spirit of the collection.

The tragic passing of John Schaeffer, indisputably one of the great Australian collectors with an international outlook, reminds us that we auctioneers are so very lucky when we get that rare privilege of working hand-in-hand with a collector of this calibre. Our Sydney salerooms enjoyed just that privilege as John Schaeffer worked for weeks with Hamish Clark, our Head of Sydney, on the catalogue and curation of this extraordinary collection that we will celebrate at our Woollahra location.

Melbourne too has seen the recent passing of a great collector-dealer who lived and dealt in Geelong, John Rosenberg. For decades John and his wife Lorraine would, without fail, attend our objects room every week and quietly, always politely and with occasional great wit would observe the offering of every single object and would also bid (with great discipline I might add) on the finest and most interesting pieces.

The Rosenbergs knowledge of porcelain was legendary, as was Lorraine’s sense of

OPPOSITE: John Schaeffer AO -

art collector and philanthropist 2014

by Evert Ploeg. Collection: National Portrait Gallery. © Evert Ploeg ABOVE: A GREEN AND RED

GLAZED JUG DESIGNED BY CHRISTOPHER DRESSER $1,000-1,500 The Collection of the Late John Schaeffer AO

humour, and complimented so well by John’s gentility. Their combined knowledge was encyclopaedic and beyond compare in Australia for their field and testament to this was the fact that if a public institution struggled to identify a piece of porcelain, the Rosenbergs were considered the ultimate authority.

Despite the loss of these great collectors I have no doubt that their unwavering passion for the decorative arts will live on in the myriad of conversations they have shared about their collections and the nature of collecting.

JOHN ALBRECHT

Managing Director / National Head of Collections

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— AUCTIONS —

PRIVATE COLLECTIONS The Collection of the Late John Schaeffer AO

Expressions in Bronze: The Work of Alfred Gilbert — The Collection of the Late John Schaeffer AO SYDNEY

OPPOSITE:

SIR ALFRED GILBERT M.V.O RA (British, 1854-1934) Comedy and Tragedy: Sic Vita c.

1890-2 (cast later) bronze, rich mid and dark brown patination, on marble base Height 39cm $55,000-75,000

Alfred Gilbert was the leading exponent of the New

Gilbert guides the viewer’s eye around the sculpture

Sculpture movement in British art, which was coined by

to reveal a complex narrative contained within. The

critic Edmund Gosse in an 1876 article in Art Journal.

spectator appreciates the work from multiple viewpoints.

Gilbert looked to the idealism and athletic beauty of

The young boy is shown from one angle holding a comic

ancient Greek and Roman figurative sculpture and infused

mask and from another, grimacing in pain a bee sting.

it with a physical and psychological expression. He was

The symbolism informing the contrasting emotions and

responsible for creating one of London’s grandest public

tension within the sculpture was explained by Gilbert:

sculptures, Eros Fountain in Piccadilly Circus (designed as a memorial to Lord Shaftsbury).

by a bee – the symbol of love. He turns, and his face

Comedy & Tragedy: Sic Vita belongs to a group of

becomes tragic. The symbol is in reality fact. I was

sculptures referred to as the Great Bronzes within

strung […] by my love for my art, a consciousness of its

Gilbert’s oeuvre. Within these iconic works, Gilbert

incompleteness. […] I was living a kind of double life at

achieved monumentality without sacrificing intimacy.

that time, enjoying the society of Irving and Toole and

The Schaeffer bronze is a reduced version of the original

other famous and pleasant members of the Garrick Club

(a plaster of which was exhibited at the Royal Academy

going to the theatre at night, and with Tragedy in my

in 1892), produced by Gilbert for his expanding

private life, living my Comedy publicly, if not enjoying it."

collectors’ market.

While outwardly successful (the smiling comic mask),

The complexity of form and symbolism distinguishes

Gilbert was trapped in a spiral of debt, disputes over

Comedy & Tragedy: Sic Vita. Gilbert’s technical virtuosity

uncompleted commissions and anxiety about his sick

is apparent in the contrapposto arrangement of the figure

wife (the tormented face of the boy). The Latin subtitle to

pivoting on one foot. Movements oppose, as the naked

the work means ‘Thus is life’. Gilbert’s ability to combine

boy thrusts a comic mask in one direction while twisting

contrasting expressions within the one figure was

his upper body the other to observe a bee stinging his

testament to his brilliance.

left calf.

4

"…represents a boy carrying a comic mask. He is stung

JANE MESSENGER / Independent Writer

— AUCTIONS —

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— AUCTIONS —

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— AUCTIONS —

IMPORTANT JEWELS A Magnificent Collection Inaugurating our first Important Jewels sale, I have

gray-blue and pink diamond toi et moi ring, a dazzling

Important Jewels Auction

curated an array of exceptional jewels from the early

17.34 carat emerald cut diamond mounted in platinum

Wed 26 Aug, 6.30pm

20th Century to the present, along with an exquisite

estimated at $450,000 to $550,000, a magnificent

SYDNEY

selection of colourless and coloured diamonds of the

Art Deco diamond bracelet estimated at $150,000 to

finest quality and world-class standard.

$200,000 and many interesting and collectable jewels

ABOVE: 18CT FANCY GRAY-BLUE

AND PINK DIAMOND AND DIAMOND RING $450,000-550,000 LEFT: PLATINUM AND DIAMOND

ART DECO BRACELET $150,000-200,000

Led by an exceptional 9.02 carat fancy vivid yellow internally flawless diamond estimated at $650,000 to $750,000, the sale also features a sensational fancy

from the iconic houses of Cartier, Bulgari, Tiffany & Co., David Webb and Buccellati, sure to appeal to seasoned collectors and first buyers alike.

HAMISH SHARMA / Head of Important Jewels

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— AUCTIONS —

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— AUCTIONS —

We are thrilled to welcome Hamish Sharma to the team as the Head of Important Jewels, an exciting new department at Leonard Joel. Based in our Sydney saleroom, Hamish will curate and present three Important Jewels auctions annually, focusing on exceptional diamonds and coloured gemstones, along with signed jewels from iconic international design houses.

We sit down with Australia’s most credentialed auction jewellery expert to find out more about where his fascination and passion for jewellery began and learn about his plans for this new category at Leonard Joel.

— Tell us a bit about yourself and your background in

experiences relates to the discovery in March 2019

Important Jewels Auction

auctions and jewels.

of a unique and rare Cartier Egyptian inspired jewel

Wed 26 August 6.30pm

My love of jewellery began at a very early age, whilst

from the 1920s. Sifting through the client’s jewellery

SYDNEY

rummaging through my mother’s trinket box and as a

box, nestled at the bottom I spotted an open work

child following her around countless jewellery stores in

white metal plaque centring an Egyptian lotus vase

Delhi. My career in jewels began in retail sales in New

motif decorated with pear-shaped, rose-cut and old

Zealand following on from which I studied gemmology,

mine-cut diamonds between calibré-cut onyx, framed

leading me into jewellery design. I would travel frequently

by a similarly set architectural surround, centred on a

to the gemstone cutting centres of Mumbai, Jaipur and

later Van Cleef & Arpels three strand pearl collar. On

Bangkok, sourcing diamonds, emeralds, sapphires and

louping the centrepiece, I identified the pendant/brooch

rubies. As a trader in antique jewellery through leading

as a rare work by Jacques Cartier from the London

international auction houses in Geneva, London, and

workshop. Howard Carter’s discovery of the tomb of King

New York, I developed a thorough understanding of the

Tutankhamun in 1922 ushered in a wave of Egyptomania

auction industry and was appointed Head of Jewels of

in Europe and across the Atlantic, and the motifs

Sotheby’s Australia in 2010. My personal journey has

informed the fashion, parties, and theatre of the day.

evolved from looking at jewels solely from a value centric

In his timeless designs, Jacques Cartier maintained the

perspective to an admiration and appreciation for design

integrity of the ancient styles whilst updating the motifs

led jewels as works of precious, wearable art.

for modern audiences. I auctioned this piece in May

OPPOSITE: Hamish Sharma,

Head of Important Jewels, at our Sydney Saleroom, The Bond 36-40 Queen Street, Woollahra NSW.

Could you tell us about what you are looking for as you consign for Leonard Joel’s new Important Jewels

2019. It attracted a lot of international bidding and sold for $95,000, triple the lower estimate.

auctions?

Is there any advice you would give to a person looking

As a jeweller, as I am feeling the jewel and turning it

for their next investment piece?

around, I am looking at value; that is, how rare and

Practically, it is very important that a buyer seeks out

exceptional the gemstones are. Then I’m looking at the

an auctioneer that they can relate to and trust, with

design, the quality of the workmanship and the finish.

experience across the fields of diamond and gemstone

As an auctioneer, I then turn to the jewel’s provenance

buying, a familiarity of jewellery manufacturing for

and the story the jewel is concealing. Since jewellery is

evaluating quality and condition, and the ability to

associated with love and the celebration of milestones

determine the integrity and authenticity of an item.

along the journey of life, I try to flesh out this context, to

More personally, I encourage buyers to explore their own

find the human-interest story. At a commercial level, I am

style. Today’s fashion frames antique jewellery perfectly;

looking for jewels that are fresh to market and have not

you only need one piece as a wonderful spotlight to

been seen before in an auction setting.

define your style and individuality.

Is there one especially memorable piece of jewellery

Hamish is now consigning for Important Jewels, and

that has passed through your hands over the years?

will present his first auction at Leonard Joel Sydney on

I have been involved in the curation and auction of many

26 August.

exceptional jewels, however, one of my most memorable

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— AUCTIONS —

FINE ART The Persistence of Memory

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— AUCTIONS —

In 1968, Arthur Boyd and his family returned to

sky and water. Unlike his more figurative works that

Fine Art Auction

Australia after living in England for nine years. His time

cover the biblical, mythical and emotional, here the

Tues 8 Sept, 6.30pm

abroad had brought him numerous accolades with

painting appears to be just a literal landscape. However,

MELBOURNE

major retrospectives held in London and Australia. His

upon second sight we notice the pure brilliance in

achievements were momentous for a mid-career artist at

Arthur’s execution of paint, the delicate stingray in

ABOVE: Skate in Merric Boyd pot

just 48 years of age.

the foreground, and rendering of the light with such

© National Gallery of Australia, Canberra NGA 1986.2290

Now back in Australia, he returned to depicting a

LEFT: ARTHUR BOYD (1920-1999)

familiar landscape, in many ways a reflection on his own

Evening Shoreline c.1968 (detail) oil on canvas 91 x 99.5cm $40,000-60,000

childhood. When Boyd was a young artist living with his grandfather at Rosebud in Port Phillip Bay he spent many days on the beach observing the marine wildlife and the luminous deep blue ocean. In particular, he was struck by the extraordinary forms of skates (large stingrays) that he saw washed up on the beach.

“I used to watch the fishermen throw their kite-shaped skates up on the shores…skates swim with a pink underside human-like face looking down into the water, and when these tender undersides were exposed on the sand, they seemed to symbolise absolute vulnerability” – Arthur Boyd In Evening Shoreline c.1968 Boyd has captured the stillness and beauty of Port Philip Bay. Upon first glance, the pure simplicity of the work strikes you – the serene waves, soothing blues, and vast expanse of

confidence and restraint only a gifted and developed artist such as Boyd could deliver. We, the viewer, are absorbed into the serenity of the landscape, triggering all the senses. Perhaps this painting tells a story of what we see as well as what we don’t see. Boyd invokes a shared memory of the uncomplicated life by the sea as a young child recalling an innocent past.

In the decades following his childhood spent in the bay, Boyd repeatedly although not regularly drew upon the image of the stingray – sometimes as subjects for still life and at other times with a deeper meaning. The latter is prominent in his beautiful tribute to his father, Skate in Merric Boyd Pot, who suffered from epilepsy. Here the skate is once more set against a deep blue expanse and resides within one of Merric’s ceramics. The skate, as well as his father, is a creature both vulnerable and resilient.

We are delighted to present Arthur Boyd’s Evening Shoreline c.1968 in our forthcoming September Fine Art auction.

OLIVIA FULLER / Head of Art

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— —AUCTIONS PROFILE ——

FINE JEWELS & TIMEPIECES Ruby: The King of Gemstones

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— AUCTIONS —

Fine Jewels & Timepieces Auction Mon 7 Sept, 6.30pm MELBOURNE LEFT: BURMESE RUBY AND

DIAMOND RING Sold $8,060

Rubies, with their vibrant hues of purplish red, have

perfect balance between dark and light; a dark shade will

adorned royal treasures for millennia and remain highly

dull the stone’s brightness, but a stone that is too light

desirable to the present day. In this piece, we explore

may be confused with a pink sapphire, (though these

their history and what sets them apart.

gems also enjoy their own separate following).

SOURCES

THE DIFFERENCE BETWEEN PINK SAPPHIRES AND

Burmese rubies have set the standard in quality for

RUBIES

centuries; Burmese stones have always been scarce. In

Both rubies and pink sapphires belong to the same

recent decades, various events contributed to the decline

mineral family, (Corundum), though rubies are much rarer,

DIAMOND CLUSTER RING Sold $10,540

of the availability of Burmese rubies in the West. Similarly,

and this has led to some debate in the gem trade about

Thailand and Cambodia are historically prolific sources

how to correctly identify the stones. Historically, the word

OPPOSITE: A RUBY AND

but are now in decline.

“ruby” referred to shades of red, which included pink.

RIGHT: A BURMESE RUBY AND

DIAMOND RING $4,600-5,500

The late 20th Century saw the discovery and high production of rubies originating from East African countries, particularly Madagascar, Tanzania and

Cultural differences also play a part, for example in some gem-producing nations such as Sri Lanka, pink coloured gems were always considered rubies.

Mozambique. Although first associated with lower grade

Most of the world’s leading laboratories now use a

gems, today increasingly large numbers of fine quality

controlled set of comparison stones called “Master

rubies come from Mozambique. It has become common

stones” to determine whether a Corundum is a ruby, the

practice by some gem testing laboratories to apply the

laboratory grading its master stones on the principle that

term “Pigeon’s Blood” to describe the colour of certain

red must be the dominant hue. In the gem trade however,

Mozambique stones, a term previously associated with

determining the dominant hue is subject to personal

the Burmese ruby trade. This contributed to the increase

perception.

in popularity of Mozambique stones in the far Eastern market. Fine quality Burmese rubies, however, are very rare and are priced accordingly.

Another source worth noting is Greenland. Although known as a source of rubies for decades, it has taken years for the stones to become available to the global market. Responsibly sourced Greenlandic rubies are

CLARITY Rubies almost always feature inclusions, though the value of the stone will depend in part on how visible these inclusions are. Noticeable inclusions that reduce the transparency or brightness of the stone can lower the value dramatically.

enjoying a warm welcome from different levels of the

Typical ruby clarity characteristics include thin mineral

industry.

inclusions called rutile needles, also called silk; needles

COLOUR Colour is the most significant factor influencing a ruby’s value. The finest rubies have a pure, vibrant red to slightly purplish red colour. In most markets, pure red hues fetch the highest prices and rubies with tones of orange and purple are less highly valued. The colour must be the

might be short or long and slender, and they might appear to be woven tightly together.

Some inclusions can contribute positively to a gem’s appearance. The presence of these rutile needles causes light to scatter across facets, illuminating them beautifully and spreading the colour more evenly across the ruby’s crown.

MARIA WALKER / Jewellery Manager

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— —AUCTIONS PROFILE ——

Choosing The Right Wristwatch While wristwatches are a common accessory today, a

(depending on the age of the watch) until the motion

century ago it was a different story. Wristwatches were

begins again.

really an advent as a consequence of the first world war. Previously, they were generally only worn by ladies, with gentlemen favouring pocket watches. When the war broke out, mid-size pocket watches were converted with the addition of lugs and a band into wearable

Tactile Watches – These are designed to tell the time without the user looking at the face of the watch.

Generally designed for the blind, there were also pocket

Fine Jewels & Timepieces Auction Mon 7 Sept, 6.30pm MELBOURNE

watches created in the 1800s which allowed the owner to discreetly check the time without removing the watch

ABOVE: A TOURBILLON

from his pocket.

WRISTWATCH BY BREGUET Sold $59,520

military; imagine the stories they could tell. Returning

Kinetic Watches - A combination of a quartz and

OPPOSITE: A GOLD BREGUET

soldiers continued wearing their watches after the war,

automatic watch, these have a weighted rotor that causes

leading to a decline in the use of pocketwatches.

the watch to move. The rotor movement is converted to

WRISTWATCH $7,000-9,000

wristwatches – known as trench watches. These later became part of the equipment issued to soldiers by the

Now an integral part of our modern life, for most people, watches do just one thing - they tell the time. However, watches are not always as simple as they look and are

electricity with the use of an internal dynamo (turbine).

The electricity is stored in a power cell. Kinetic watches need to be worn to recharge them.

often underestimated with regards to their features, and

Chronometer Watches - Automatic wristwatches

what they can offer.

are generally not as accurate as those powered by

Understanding some of the different types of watches available, their features, and what makes a watch valuable can assist in choosing which is best for you, whether it be for personal use or as a gift to someone else.

a quartz movement. Chronometer watches use high quality materials that are not impacted by a change in temperature causing expansion or contraction of parts.

They have a more sophisticated movement as well, allowing greater accuracy and may also have a stopwatch

POPULAR TYPES OF WATCHES & MOVEMENTS

feature.

Quartz Movements – These are the most common

Calendar and Moon Phase Watches - The moon phase

movements we see in watches. Driven by batteries, they

feature on a watch indicates just that - the phase of the

keep accurate time, are durable, and are generally come

moon - based on the calendar of the watch, and indicates

at an affordable price.

whether it is day or night through imagery.

Manual Wind Watches - Before the use of batteries,

Pilot watches - Often large in size, pilot watches were

watches were constructed and designed using

designed for use in aviation and as such are easy to

mechanical parts and specifically a mainspring which

read and include specific tools such as tachymeters,

stored energy. The mainspring slowly unwinds,

(measuring speed based on travel time, or distance based

transferring energy to move the parts and enable ticking.

on speed), altimeters to measure altitude, compasses and

These watches require daily winding.

sometimes a slide rule enabling calculations to be made.

Automatic wristwatches - Self-winding watches have

Our September Fine Jewels & Timepieces auction will

a rotor attached to the movement which spins as the

feature a number of vintage and luxury watches, including

wearer moves their hand. This rotor, when spinning, winds

a solid 18ct gold Breguet, and a wonderful selection of

the watch up again by tightening the mainspring. Without

pocketwatches… which we’ll cover in a future issue.

the constant motion, the rotor will stop spinning and the watch will cease to tick after approximately 30-70 hours

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JULIE FOSTER, Head of Fine Jewels & Timepieces

——AUCTIONS PROFILE — —

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— AUCTIONS —

DECORATIVE ARTS

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— AUCTIONS —

Leonard Joel’s Head of Decorative Arts Takes Us Into The Green Vault With the current travel restrictions, I have become nostalgic reflecting over my former travels and adventures overseas. The place that comes front of mind the most is Dresden, one of the porcelain capitals of Germany, which is also the birthplace of The Grunes Gewolbe (Green Vault) Museum. Although the name leaves little to be desired, the Green Vault is literally a treasure trove, founded in 1723 by Augustus the Strong as one of the first public museums and contains an extensive collection of precious objet d’art. The museum was recently in the public eye over its 2019 jewels heist, which is mysteriously yet to be solved.

What sets the Green Vault aside from other museums in my opinion, besides the extraordinary collection within its walls; is that it has lived through the severe bombings of World War 2 resulting in three of the original eight exhibition rooms being rebuilt.

The museum is now divided into two sections, The Historic Green Vault, which is composed of ten lavish Baroque rooms, and The New Green vault, a modern labyrinth consisting of twelve exhibition rooms. Each have rooms dedicated to specilaized and labour intensive artistry using materials such as amber, ivory, silver and precious stones such as rock crystal, not to mention the exquisite jewels and armour collection.

It is challenging to pinpoint highlights from the collection as every room is almost as impressive as the last, however two pieces come to mind because of their stunning craftmanship, firstly the Cup as Daphne with Coral Tines. I distinctly remember viewing this piece in awe of its elegance and how well the artist captured Daphne’s transformation into a tree. This objet d’art is inspired by Ovid’s tale of the nymph Daphne’s desire to escape the unrequited love from the God Apollo and her metamorphosis into a Laurel tree. Crafted by silversmith Abraham Jamnitzer in late 1580s, it is comprised of finely cast parcel- gilt silver with generous Italian red coral mounts, the piece separates at the waist to reveal a cavity than can be used as a drinking vessel.

The second piece that is often referred to as a highlight and cannot be overlooked is The Golden Coffee Service,

being a synthesis of perfection, and truly captures the German theory of ‘Gesamtkunstwerk’, translating to

Decorative Arts Auction

a ‘total work of art’. Crafted between 1697-1701, the

Mon 19 Oct, 2pm

45-piece centerpiece is cast in silver and gold, with

MELBOURNE

enamel decoration and further embellished with over 5600 diamonds along with other precious stones, and

ABOVE: THE GRUNES GEWOLBE

flanked by four ivory figures.

(GREEN VAULT) MUSEUM

The Green Vault is undoubtedly one of Germany’s most

OPPOSITE: CUP AS DAPHNE WITH

celebrated museums and is thought to be the longest surviving princely art collection in Europe, therefore it is a must see for any ‘treasure’ enthusiast.

Although I have only shared two of my favourites, there

CORAL TINES, NUREMBERG, AROUND 1580 - 1586 CREDIT: BPK BERLIN / STAATLICHE KUNSTSAMMLUNGEN DRESDEN / JÜRGEN KARPINSKI

are thousands of rare pieces in The Green Vault that are worth noting, and with this in mind I am happy to share that the majority of the collection has been digitized online and virtual tours are accessible via the Green Vault website. I strongly urge any interested party to take an leisurely afternoon to peruse the catalogue, and I hope it leaves the same impression on you as it did me.

CHIARA CURCIO / Head of Decorative Arts

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— AUCTIONS —

MODERN DESIGN The World Turned Inside Out

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— AUCTIONS —

Modern Design Auction Mon 16 Nov, 6.30pm MELBOURNE

LEFT: AN ALVAR AALTO AUTO

TROLLEY Sold for $2,640 BELOW LEFT: SECTIONAL

MODERNIST CABINET Sold for $8,400 BELOW RIGHT: FIVE WENDINGEN

ARCHITECTUAL DESIGN MAGAZINES OPPOSITE: BAUHAUS BUILDING

BY WALTER GROPIUS (1925–26)

Modernism was a philosophical movement of the late

This explosion of design came after four years of

19th and early 20th centuries that was based on an

bloodshed and pain, and lasted until the advent of a

underlying belief in the progress of society and moving

bigger, bloodier war. Yet, in those 22 years of relative

forward. Rejecting the traditional neoclassical architecture

peace, artists and designers found hope and embraced

and Beaux-Arts styles that dominated the 19th Century,

a new philosophy for the world. We see in the work of

Modernism pushed forward with new construction

Alvar Aalto a move towards the psychological aspects

methods heavily involving glass, steel, and reinforced

of design; Ludwig Mies van der Rohe’s embracing of

concrete. Buildings could grow taller and lighter, and the

freedom and simplicity; and the legacy of all things Le

world started to be reborn.

Corbusier.

Bauhaus – founded by Walter Gropius in 1919 – was

As we look back to the present and the uncertain times

a fusion of artists, film makers, writers and architects

we live in, it is important to remember those that came

merging craft traditions with modern technology and

before and thrived in times more uncertain than our own.

mass production. The ideas of modernism were being

Those who desired to redesign the world going forward,

manifested in the Bauhaus; building materials were

rather than lament over what had been lost.

brought to the forefront, incorporated into the aesthetics and design, while ornamentation and facades were stripped away.

ANNA GRASSHAM / Head of Modern Design CHRISTIAN COX / Assistant

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— PROFILE —

“Traill had an appreciation early in her life for the natural landscape, with the beauty she saw in it later being depicted in her work.”

HANNAH RYAN

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— AUCTIONS —

Prints & Multiples Auction Wed 18 Nov, 6pm MELBOURNE LEFT: JESSIE TRAILL (1881-1967)

The West Window 1922 etching 6/20 34.5 x 25cm $2,000-3,000 OPPOSITE: JESSIE TRAILL

(1881-1967) Their Time Has Come, in Northumberland 1938 etching and aquatint 22/25 10.5 x 21cm $3,500-4,500

Prints & Multiples Jessie Traill — Working almost exclusively in the printmaking technique

sense of familiarity. Traill created many poetic but humble

of etching, Jessie Traill forged a path for women artists

etchings from her immediate environment.

and indeed all printmakers across Australia in the first half of the 20th Century. Growing up in the bayside suburbs

In the late 1920s, Traill’s long-lasting interest in

of Melbourne, Traill had an appreciation early in her life

documenting the industrial landscape began, leading her

for the natural landscape, with the beauty she saw in it

to frequently travel to Sydney to record and study the

later being depicted in her work, throughout her career

transforming skyline of the city.

as an artist.

These seminal works paved the way for her later Traill was brought up in wealthy household. This gave

depictions in the 1940s of urban landscapes. These

her the unique opportunity to travel widely, resulting in

works were much more brooding and featured fractured,

her extended exploration of Europe in the 1900s at the

black silhouettes of the wartime Edinburgh horizon, seen

beginning of her career. She studied with Anglo-Welsh

in Black Out (1940). Traill had at this time relocated to

artist Frank Brangwyn in London, where he encouraged

Britain during the Second World War and produced many

her to use larger printing plates and highly contrasting

prints depicting the urban environment held hostage to

shape and line work, resulting in her first striking urban

this calamitous event.

scenes.

These prints and more were featured within our Prints & Traill’s further exploration of etching when she returned

Multiples July auction, highlighting definitive points in

to Australia in the 1910s and 1920s had a focus on the

the career of Jessie Traill, of one of the true pioneers of

natural landscape, often featuring stark, sentinel like

Australian women in art.

eucalypts guarding a still, quiet hillside, as depicted in The West Window (1922). In capturing the essence of

HANNAH RYAN / Prints & Multiples Manager

her rural surroundings, she imbued it with a warmth and

leonardjoel.com.au | 21

— AUCTIONS —

Luxury Why is Hermès so expensive?

— In my opinion, Hermès is not expensive, it is costly. The main reason why Hermès products are so pricy is that most, if not all, of their products are handmade. This luxury house prides itself on its exclusive products and in turn the process of manufacturing these goods has always been considered an art form. The specialist craftsmanship and attention to detail to make any Hermès product comes at a cost.

Did you Know?

Hermès was founded by Thierry Hermès in 1837.

Wed 18 Nov, 6pm

•

The silk for Hermès scarves comes from Brazil.

MELBOURNE

•

The average width for a Hermès tie is 9.1cm.

•

Every Hermès bag is completed by one craftsman.

•

It takes an average of 17 hours to make the famous

The Birkin bag is a classic example of craftsmanship, rarity and exclusivity. There are no other makers of these accessories in the world and it takes one craftsman

Birkin bag.

•

•

exclusive gems can be up to two to three years as a result; this is accepted by all and worth the wait.

Founded in 1837 as a harness workshop in The Grands Boulevards quarter of Paris, the company has always stuck

The time it takes to make a Hermès belt is between 1 to 3 hours.

It takes about 150 operations to assemble a shoe.

•

A skilled Hermès craftsman can make up to 2 pairs of gloves a day.

•

Hermès still remains a family run business.

demand, hence making them more desirable. With its firm marketing strategy, attention to detail, limited production of goods and might I add, the outstanding products it makes, though unquestionably dear, Hermès is not an overpriced luxury house.

22 | leonardjoel.com.au

ABOVE: A KELLY 35 SELLIER

HANDBAG BY HERMÈS $8,000-12,000 OPPOSITE TOP RIGHT:

A BIRKIN TOILE 35 HANDBAG

BY HERMES $14,000-18,000 OPPOSITE BOTTOM LEFT:

A VINTAGE KELLY BAG BY HERMÈS $6,000-8,000 OPPOSITE BOTTOM RIGHT:

•

to its high standards. It also challenges consumerism by slowing down manufacturing of products that are in high

Hermès has its own famous ‘nose’ for all of its perfume.

seventeen hours from start to finish to produce one handbag. The consumer wait time to purchase these

Luxury Auction

•

JOHN D'AGATA / Luxury Manager

A BIRKIN 35 BY HERMÈS $14,000-18,000

— PROFILE —

leonardjoel.com.au | 23

— PROFILE —

Minutes with…

DOMINIC KAVANAGH

In this issue, we spend five minutes with Dominic Kavanagh, a specialist in our lively Decorative Arts department.

FAVOURITE MAKER / ARTIST Diamanda Galás- An utterly inimitable artist, virtuosic,

Wake in Fright, by Kenneth Cook, 1961. Years ago

and awe-inspiring.

when I read this book it stirred within me a nightmarish

FAVOURITE WORK OF ART / OBJECT

fantasy which entailed revisiting the country town of my childhood and undergoing a similar version of the

SternenFall/ Shevirath Ha Kelim, by Anselm Kiefer, 2007.

novel’s notorious Friday night pub shenanigans...

(Free standing assembly. Iron, lead, glass and cardboard.)

I’m yet to do it!

I encountered this monumental, towering bookcase of decaying books and glass shards on a visit to MONA in

YOUR IDEAL DAY IN MELBOURNE

Hobart in 2015. For me it resembles a giant, nihilistic,

Once a northsider before parenthood and moving to

churning machine in a state of perpetual self-destruction.

Emerald, an ideal day was one spent alone, beginning

FAVOURITE COFFEE / WINE / COCKTAIL Every morning I look forward to purchasing my 7am large latte from Emerald based cafe Incy Wincy before commencing my 40 plus km drive to work.

24 | leonardjoel.com.au

FAVOURITE BOOK

with a leisurely, aimless walk from Fitzroy North into the city. After a coffee or two on the way I’d eventually do my usual round of art galleries.

— MELBOURNE & SYDNEY —

Valuations

Leonard Joel is the only auction house in Australia with a dedicated Valuations department, enabling us to offer a broad range of specialist expertise for the valuation and auction of single items and entire collections.

— Like so much of Leonard Joel’s activity, our monthly

process. Additionally, clients have been able to make

valuation evenings have had to adapt during these

bookings directly online and select which type of virtual

times of change, so for the past four months we been

service they would like.

conducting these evenings virtually.

We look forward to offering virtual valuations as a

Our online events have been a great success, allowing

standard service in the future, in addition to our physical

clients to walk us through their house or garage, or to

appointment service, valuation evenings and online

show us larger pieces that may not fit in the boot of the

system.

car. Our specialists can advise clients in real time what their object may be worth at auction. The service offers greater interaction and more personal experience than

For all valuation enquiries whether it is for probate, market or insurance please contact:

looking at individual images on email. It also allows the

CAROLINE TICKNER / Head of Valuations

client to talk directly to us and engage with the valuing

caroline.tickner@leonardjoel.com.au

leonardjoel.com.au | 25

22

ND REPORT

The critical role of law enforcement at preventing future pandemics — Photo credit: ©IFAW. Lesanne Dunlop

Many of you will already be aware from previous articles,

To be clear, while COVID-19 originated in wildlife, it

that Leonard Joel and IFAW (International Fund for

spread into the human population because of human

Animal Welfare) formed an unlikely friendship, which has

activities. These activities need to be addressed

already driven critical momentum for change within the

holistically through cross-sectoral integrated planning and

environmental sector. The following is taken from part of

coordinated solutions that use the One Health approach,

the testimony provided by Dr. Jimmiel Mandima, Deputy

which recognises the connection between the health of

Director of Conservation at IFAW, during a virtual hearing

people, animals and the environment, in order to avoid

of the International Conservation Caucus Foundation

future pandemics.

(ICCF) held in April, 2020, entitled “Wildlife Trade, Origins of COVID-19, and Preventing Future Pandemics”. The full blog can be read at IFAW’s website, ifaw.org.

------------------------------------------------------------------------As we continue to face the crisis caused by COVID-19, it is incumbent upon us to address the causes of this novel coronavirus and examine ways that we can work together to protect against future zoonotic pandemics. Law enforcement plays an absolutely critical role in protecting against future pandemics. COVID-19 and other major illnesses that have spilled over from wildlife populations, have been triggered by imbalances in ecosystem health which are largely driven by human development and consumption habits, and ultimately resulting in increasing levels of wildlife trade.

26 | leonardjoel.com.au

There is incredible will in communities on the ground to continue to conserve wildlife and habitats even in the face of overwhelming stressors. This fact is not often given the credit it deserves. Rangers are under tremendous stress, many of whom are working far away from their families for months at a time. In the absence of tourism however, IFAW is seeing collaboration across public and private sectors, with reports that some wildlife parks are increasing ranger deployment to prevent more wildlife crime. However, with as much as 99% of tourism revenue lost for the foreseeable future, conservation successes will also be lost—unless we can provide short term stimulus or emergency funding that allows communities to survive without reverting to illegal or counterproductive activities.

— 22ND REPORT —

Data is still being gathered on the effects of COVID-19 in conservation areas, but we know that the closure of tourism means fewer people are around to scare off poachers, which leads to a rise in poaching activities.

For example, where tourism has been heavily impacted

by COVID-19, increased incidents of cyanide poisonings have killed five elephants in parts of Hwange National Park and a Community Wildlife Estate close to Victoria Falls UNESCO World Heritage Site in Zimbabwe. This was likely originally driven by job loss and economic stressors.

The use of cyanide is sadly no new phenomenon, but often results in secondary poisoning of other predators including lions, as cyanide is unselective. And, such poisoning raises obvious concerns for the community at large.

It is abundantly clear that wildlife and other natural

©IFAW

resources are intertwined with livelihoods in communities across the globe. Natural resources are key engines for a healthy society and economic development, while building resilient communities, where the rural

economy is diverse enough to provide the right balance for sustainability is key to protecting wild animals and habitats. Desperate local communities that truly value wildlife as a source of pride and identify with it for culture, tradition, religion and other sustainable livelihoods needs, end up extracting resources wantonly. Meanwhile criminal syndicates entice them and get them to be complicity to poaching.

It is within this context that the importance of safeguarding wildlife and other natural resources is so critical, making law enforcement so vital at all levels.

Supporting the men and women in protected areas is fundamental, complementing ranger training and support with technologies that facilitate identifying and prosecuting wildlife poaching and trafficking, and other illegal activities that degrade the environment.

Enforcement is an immensely critical element, however, it cannot exist in a vacuum. We must also take steps to address the root causes of wildlife crime, including poverty and food insecurity and demand for illegal products. And we must look beyond the illegal trade in wildlife if we truly want to protect against zoonotic pandemics: habitat destruction and biodiversity loss, two key drivers of zoonotic spillover. This is a pivotal moment in human history – our world has been shut down by the exploitation of wildlife. Our response must be holistic, transformational, and comprehensive.

JIMMIEL MANDIMA, Deputy Vice President of Conservation

Jimmiel Mandima. ©IFAW

at IFAW

leonardjoel.com.au | 27

— PROFILE —

A Tribute

In Memory of John Rosenberg, 1938-2020 — Born in Geelong in 1938, John began collecting at a very

When his health began to fail, and the road to Melbourne

young age, finding his first pieces on the neighbourhood

too congested, he regularly browsed the online catalogue

tip! His Grandmother took him to his first auction at age

- learning how to use a computer solely for this purpose.

7, and he was buying and selling “old things” by his

He certainly missed the atmosphere of live auctions,

mid teens. A local elderly antiques dealer took a shine

and the innumerable friendships formed from being

to John, and soon he had half the premises for his own

together in a room with so many people sharing the

stock, before purchasing the entire business. At the

same interests, he called Leonard Joel his “social club in

age of 20, he had his first of many shops, all in central

Melbourne!”

Geelong, culminating in Moorabool Antiques, now continued by his son Paul.

PAUL ROSENBERG

A close association with Leonard Joel began with trips to Melbourne with his Grandmother, the destination being

The Leonard Joel team would like to pass our

the original Leonard Joel auction rooms in Little Collins

condolences to the Rosenberg family. John will be

Street. He was soon addicted, and from Leonard Joel’s

deeply missed by our staff and community.

move to Inkerman Street, St Kilda, to the current premises in South Yarra, John was a weekly presence in the auction room and became good friends with the staff.

28 | leonardjoel.com.au

ABOVE LEFT:

John in his natural environment at Moorabool Antiques, Geelong ABOVE RIGHT TOP & BOTTOM:

John at Leonard Joel, Inkerman Street, 1997-8

— PROFILE —

Under The Hammer In this feature, we share one of the rare, beautiful and extraordinary pieces to pass through our doors since the last issue.

An oak Melbourne Stock Exchange chair recently sold in our Thursday Auction for $4,216 (IBP). This impressive chair is a part of Melbourne’s history, being one of a limited number that were used by the Melbourne Stock Exchange until 1961, when call trading at that exchange closed.

There were only 120 made and they were in use at the stock exchange for 70 years. In fact, an enthusiast has let us know that when call trading at the MSE closed, the chairs were sold for just five pounds each!

Thinking of Selling?

WOMEN ARTISTS

—

NOW CONSIGNING FOR 2020 AUCTION ENQUIRIES 03 8825 5613 art@leonardjoel.com.au

leonardjoel.com.au

FLORENCE ADA FULLER (1867-1946) Portrait of a Boy 1888. Sold for $42,160 Now in the Collection of the National Gallery of Victoria

— PROFILE —

30 | leonardjoel.com.au

— PROFILE —

Philip Kulpa

With over 25 years of experience in both the Australian and international photography markets as an investor, buyer, seller, observer and artists representative, Philip Kulpa can provide a curatorial service for private or corporate as well as photography advice.

With over 25 clients years of experience in both investment the Australian and international

photography markets as an investor, buyer, seller, observer and artists The Source Photographica stockroom a large collection of vintage representative, Philip Kulpa can provideholds a curatorial service for private and or contemporary photographs and Philip is available to source photography for corporate clients as well as photography investment advice. new and established art collections from worldwide contacts.

The Source Photographica stockroom holds a large collection of vintage and contemporary photographs and Philip is available to source photography for new and established art collections from worldwide contacts.

Contact Philip Kulpa +61 413 279 078

philip@sourcephoto.com.au

sourcephotographica.com.au

— JOIN US —

Connect

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

Subscribe to our email newsletter to stay up to date

Create an account online and use it every time

with news on upcoming auctions, special events and

you bid. You can also receive Lot alerts tailored

industry insights, or follow us on social media.

to your interests. Bidding is easy and you can do so in person, online, by phone or by leaving an absentee bid. Our team is always on hand to guide you.

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

THANK YOU TO OUR PARTNERS

32 | leonardjoel.com.au

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

— JOIN US —

Value / Sell / Buy Contact a Leonard Joel Specialist MANAGING DIRECTOR & PROPRIETOR John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au

Auction Specialists — PRIVATE COLLECTIONS John Albrecht, Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney 02 9362 9045 | hamish.sharma@leonardjoel.com.au FINE JEWELS & TIMEPIECES Julie Foster, Head of Department 03 8825 5618 | julie.foster@leonardjoel.com.au FINE ART Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au DECORATIVE ARTS Chiara Curcio, Head of Department 03 8825 5635 | chiara.curcio@leonardjoel.com.au 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 Rebecca Stormont 03 8825 5655 | objects.assistant@leonardjoel.com.au LUXURY John D'Agata 03 8825 5605 | john.dagata@leonardjoel.com.au PRINTS & MULTIPLES Hannah Ryan 03 8825 5630 | hannah.ryan@leonardjoel.com.au

The Thursday Auction Specialists — ART SALON Hannah Ryan 03 8825 5630 | hannah.ryan@leonardjoel.com.au FURNITURE Nick Bastiras 03 8825 5640 | furniture@leonardjoel.com.au JEWELLERY Maria Walker 03 8825 5621 | maria.walker@leonardjoel.com.au OBJECTS & COLLECTABLES Rebecca Stormont 03 8825 5655 | objects.assistant@leonardjoel.com.au

Valuations — Caroline Tickner, Head of Department 03 8825 5638 | caroline.tickner@leonardjoel.com.au

Marketing & Communications — Blanka Nemeth, Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au Nicole Kenning, Consultant Maria Rossi, Graphic Artist Adam Obradovic, Photographer Henry Murphy, 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

LEFT: A RARE 18TH CENTURY EBONISED BRACKET CLOCK WITH CARILLON AND BIRD AUTOMATON Sold for $43,400

This document has been produced to international environmental management standard ISO14001 by a certified green printing company.

— PROFILE —

34 | leonardjoel.com.au