LEONARD, issue 2, November 2011

Issue TWO / NOVEMBER 2011

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THE DAVID BROMLEY COLLECTION

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Cover David Bromley in Daylesford, Victoria

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Briar Williams, Head of Art Phone 03 8825 5608 Email briar.williams@leonardjoel.com.au Jon Dwyer, Senior Adviser to the Art Department Phone 0402 751 610 Email jon.dwyer@leonardjoel.com.au Jewellery

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Giles Moon, Head of Collectables and Books Phone + 61(0) 3 8825 5635 Email giles.moon@leonardjoel.com.au Books and Manuscripts

Giles Moon, Head of Collectables and Books Phone + 61(0) 3 8825 5635 Email giles.moon@leonardjoel.com.au Pre–Owned Luxury

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Leonard Joel Primary Salerooms 333 Malvern Road, South Yarra, Victoria 3141 Australia

Photography

Tel: +61 (0) 3 9826 4333

Rick Merrie

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FOReWord

The Rise of China

or who ever heard of Poly International?

By John Albrecht, Managing Director Leonard Joel Before putting fingers to keyboard for this erated my curiosity. While I knew China art that distilled the tectonic and lightening

this market segment grew from under $100

foreword I had four short stories rolling sales were booming, I always understood speed shift in the art market from West to

million annually to just under $1 billion in

around my head. Let me very briefly share that New York, London and to a lesser extent East it is this one. Having got my head around

2010 – put simply, the contemporary mar-

them with you.

ket is ten times stronger than it was ten

Paris dominated this market place for the just how profound this shift was and the fact

I vividly remember my father telling me that resale of art for the best part of the last 150 that China is now the undisputed capital for

years ago.

great artistic periods only flourished amidst years. AMT2010 is very statistical and sur- art transactions, I delved deeper and found Having now bombarded you with what I great wealth and patronage. It was one of his vey driven which is probably why I like it, as other interesting information. For the sake think are some truly extraordinary facts you trademark grand statements and I probably crunching their numbers is made very easy of simplicity I will provide them in bullet are probably asking where Australian art sits walked away from it half wondering what for someone as innumerate as myself – I viv- points:

in all of this information? I too was asking the

the point of the “sweeping observation” was? idly remember being the only one in my year • The scale of repatriation of Chinese art by same question as I became initially daunted The next is the first time I heard the term 7 class that got a statistical survey assign-

mainland Chinese is historically unprece- by AMT2010’s top 500 artists by global turn-

“super-cycle” coined in 2007 to describe the ment correct – it was the first and last time

dented – the combination of the sheer vol- over. I began searching line by line and came

completely historical industrial transfor- I remember feeling competently numerate! I

ume of output from China over the centu- up with Australia’s representation and it con-

mation underway in China – a transforma- digress. As I progressed through AMT2010 I

ries and the extraordinary rise in wealth of stitutes 1.2% or six artists in total.

tion that will blitz the Japanese equivalent was simply overwhelmed by the plethora of

the Chinese is creating a cultural collecting Here they are by rank:

between 1945 and 1985. The third is the Chinese artists and records not just decorat-

phenomena. For instance, no less than 15 of 271 Sidney Robert Nolan $4,874,098

assistance I provided a client to transact ing but literally dominating this edition. It

the top 20 Old Master results were for Chi- 331 John Cecil Brack $3,816,271

two works by a contemporary Chinese art- was clear that great wealth, a super-cycle and

nese artists.

336 Brett Whiteley $3,747,094

ist in Hong Kong in recent years – the works Chinese art were changing the face of global • Of the 10 largest auction houses in the 376 Frank Jeffrey Edson Smart $3,189,366 returned an approximately 800% profit – art as I had always understood it.

world Chinese ones now occupy seven 400 Frederick Roland Williams $2,894,253

yes that’s 800%! I told him at the time that Some simple observations to begin with. For

positions

439 Russell Drysdale $2,522,100

it was the greatest windfall for a client that I the best part of 50 years both Andy Warhol • In 2007 global fine art revenue reached A final thought - before reading this edition believe I would ever witness in my lifetime. I and Pablo Picasso have contributed the bulk

$9.39 billion – doubling that of the 2005 of AMT2010 I had the usual international

thought very little about it after that. My final of value generated in the international auc-

result. And just as quickly as it collapsed in auction houses occupying my understanding

story drives the title of this foreword and it is tion market. In just three (yes three) short

2009 it was back at $9.36 billion in 2010, of who dominated international fine art auc-

about an extremely useful publication known years the Chinese artists Qi Baishi (1864-

largely due to China’s unbelievably rapid tion trade – now I have “Poly International”

as Art Market Trends 2010 (AMT2010) 1957) and Zhang Daqian (1899-1983) have

recovery from their 2009 results

stuck in their also – to quote AMT2010 “The

which is produced by ARTPRICE, the widely separated Warhol from Picasso as the second • Interestingly, the only area of the market planet’s third auction house by revenue”. It acknowledged leader in international fine art top seller and surrounded him with their

not to suffer during the dark months of doesn’t have quite the same ring to it but I’m

auction sale data and trends. It is an annual 2nd and 4th places respectively – Baishi at

2008/2009 was the Old Masters area; insu- sure over time the meaning and emotions

read and it provides a wonderful snapshot of $339,000,000 and Daqian at $304,000,000!

lated by sheer scarcity, public acquisitions that attach to a brand will also change for

global art movements.

and a far less faddish collector base

In total, no less than four Chinese artists

Poly International.

The current edition is emblazoned with a occupy the top 10 places for global art rev- • But the appetite for contemporary is not version of China’s flag and this in itself gen- enues at auction. If one was looking for data

waning either – between 2000 and 2010

Art Market Trends 2010 can be viewed and downloaded at www.artprice.com

Leonard

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Contents

Thinking of Selling?

From Single Items to Collections

November Contents

Tailored Trust and Estate Services

If you have a single item or collection you Leonard Joel has a long and distinguished wish to sell, the Leonard Joel team of spe- history of assisting both trust companies and cialists can guide you through the entire val- executors with the dispersal of important

Calendar 3

uation and auction process. We can provide collections. We provide fiduciaries (lawyers,

News 4

no less than thirteen categories of auction to with a complete suite of services to manage

artist in focus

6

of catalogue auctions in Australia. Leon- of large and small estates. Our services are

November Preview

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market valuations for the entire spectrum and dispersal of fine art, antiques, jewel-

danish modernism

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museums, fiduciaries and government enti- scripts and general household contents.

Art – DECEMBER Preview

you with experts across all collecting fields, trust officers, accountants and executors) select from and the most expansive calendar accurately and successfully the dispersal ard Joel specialists conduct insurance and specially designed to aid in the appraisal of clients - private collectors, corporations, lery, objet d’art, collectables, books & manuties are advised by our valuers and special-

10

ists on a daily basis.

Jewellery 12

Our specialists are now sourcing single items and collections for the following categories:

Classic Objects and Furniture 14

Australian and International Art

november preview

Fine Jewellery and Wristwatches

15

Pre-Owned Luxury Classic Objects and Furniture

Collectables 16 The Weekly

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Pre Owned Luxury

19

Art Business

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Art Data

21

Modern Design Single Owner Collections Collectable Toys and Sporting Memorabilia Militaria Books and Manuscripts

1964 Corvette Stingray A 1964 C2 Chevrolet Corvette Stingray coupe Queensland registration VTT64, left hand drive, General Motors LT1 350 engine, four speed automatic transmission, front disc brakes, sold together with the original wheels and wheel covers, registered until 31 March 2012.

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Estimate $55,000 - $65,000

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Leonard

Calendar

Forthcoming Auctions The Weekly Auction Every Thursday in 2011 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria

Decorative Arts & Fine Furniture Sunday 20th November 2011 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The David Bromley Collection Part I Sunday 27th November 2011 – 12pm Shed 4 29 East Street, Daylesford

The David Bromley Collection Part II Monday 28th November 2011 – 6.30pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Fine Jewellery Auction Sunday 4th December 2011 – 1pm 333 Malvern Road, South Yarra, Melbourne, Victoria

THE DAVID BROMLEY COLLECTION

The Sunday Fine Art Auction Sunday 4th December 2011 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Specialist Print Auction Thursday 8th December 2011 – 11.30am 333 Malvern Road, South Yarra, Melbourne, Victoria

PART I – DAYLESFORD PART II – MELBOURNE

Collectables Auction Sunday 11th December 2011 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Leonard Joel is delighted to announce their ets of an individual that has evolved in to a engagement to manage the dispersal of complex creator across multiple mediums David Bromley’s personal collection of art, and visions; both here and internationally. antiques, objects and ephemera.

The Christmas Auction

To visit his Melbourne studio is to taste

Tuesday 20th December 2011

For the last two decades David has been one what it may have been like to visit Warhol’s

333 Malvern Road, South Yarra, Melbourne, Victoria

of the dominant forces in the Australian art dynamic New York space for art, people and scene but the extent of his creative energy ideas; albeit with much more soul, warmth moves well beyond his language as an artist.

and playfulness. This interpretation of

Auctions and viewing times are subject to change.

A passionate collector in his own right, what Bromley’s world has become is turned David has brought his artistic vision and on its head by a visit to his extraordinary acquisitive nature to projects as diverse as hangar (warehouse is far too smaller word publishing, film, the three dimensional arts, for what it is) in Daylesford where he has public and private commissions and ven- quite literally taken unrestricted collecttures such as A Day on Earth that became ing from around the world and interpreted recognised as more than just emporiums for it within this space in much the same way collectors of post-war utility, design and art an undisturbed young child would build his but quite literally living and breathing local or her model fantasy world. To sample the museums.

dichotomy between these two spaces, that

David’s art is commonly framed by his two goes toward defining the artist, is to feel consistent and unique interpretations; nos- both enchanted and overwhelmed by the talgic storybook imagery and a pop sensibil- sheer volume and splendour of Bromley’s ity that is unique on the Australian art scene. creativity.

But these two themes are really just two fac-

Leonard

Leonard Joel is a proud supporter of Arts Project Australia

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november

News

The Genevieve Cummins Collection of Antique Boxes A considered collection – inside and out The motivations behind the building of a compartment for sewing tools. Gradually, collection are many and varied – for some, replacement date-correct mother of pearl investment is an important consideration, tools were purchased and the compendium while for others, pure aesthetic attrac- was returned to its original purpose. tion is the driving force behind their deci- Over a period of a decade, Dr Cummins’ sion to acquire. For Sydney collector, Dr passion for collecting culminated in the Genevieve Cummins, a collection begun purchase of over 1000 objects and sevin an effort to replace family heirlooms eral specialist publications, co-authored bequeathed to other relatives soon became with fellow collectors and written herself, a consuming interest in antique boxes, their including Antique Boxes: Inside and Out specific purposes and reuniting them with an encyclopaedic survey of antique boxes their contents. To quote Dr Cummins, ‘so with over 1,000 images of nearly 2000 many times in antique shops I had seen the items, many from her own collection, this look of disappointment on people’s faces publication is considered an authoritative as they eagerly opened antique boxes on text on boxes, in a historical, social and display, only to find them stripped of their artistic context. contents.’

As part of Leonard Joel’s November Clas-

She describes her first purchase, a mother sic Objects, Furniture and Design Auction

A Rare Straw Work Miniature Bureau Circa 1800

of pearl inlaid papier mache compendium, over 130 boxes from the collection of Dr

Estimate $10,000 – $15,000

sadly lacking its contents but retaining the Genevieve Cummins will be offered for sale, in the first of a series of auctions. This the box is applied with fine geometric paninitial selection has been made with a view els in coloured straw, opening to an interior

The Informed Collector Series Floor Talk on Antique Boxes

to showcasing the variety of examples in fitted with a multitude of miniature storage the Cummins Collection, including sewing compartments. Or the late 18th century boxes, writing compendiums, snuff boxes, English quill work sewing box, with its

Renowned collector and writer on antique boxes, their use and contents, Dr

ballot boxes, tea caddies, vanity cases and surface of intricate filigree made from gilt-

Genevieve Cummins, will give clients of Leonard Joel an insight into aspects on

knife boxes, to name just a few. As varied edged rolled paper and fitted interior with

items from a selection of her personal collection of boxes, which will be offered as

as their uses are the exotic materials from period sewing accessories, its quality sum-

part of Leonard Joel’s November Classic Objects, Furniture and Design Auction.

which many of the boxes are constructed; marised by Dr Cummins as ‘exceptionally

Date:

including

Saturday 19th November 333 Malvern Road, South Yarra, Victoria 3141

Time:

12.00pm – 12.30pm

RSVP:

Liza Hallam, Decorative Arts Department on (03) 8825 5626 or email

ivory,

papier beautiful , yet quiet – it’s the only one I’ve

mache, ormolu and ebony.

Venue: Leonard Joel

tortoiseshell,

ever seen.’

Amongst this selection are a number of Dr And so encapsulates the psychology of the Cummins’ favourite pieces, perhaps most collector, where objects become as much notably a late eighteenth/early 19th century works of art as features of everyday life – to straw work miniature bureau (illustrated). quote Dr Cummins, ‘we live in them, work

liza.hallam@leonardjoel.com.au

Replicating in miniature the proportions of in them and we are buried in them.’ a full sized writing desk, every surface of

november

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Leonard

News

ALWAYS CONSIGNING Jewellery Including important signed jewellery, collectable wristwatches, Australian jewellery and pre-owned luxury

Art Including important Australian and international art Photography and Sculpture

Classic Furniture and Objects Including modern design and single-owner collections

Collectables Including toys, sporting memorabilia and militaria

Monthly Toys growing up The 6 October Monthly Toy Sale achieved very strong results with 84% of lots sellThe Outsider Art Fundraising Auction

ing. Indeed some lots achieved higher prices than in recent seasonal Toy sales. Of

Kerstine Elliott Portrait Photography

Susan Saunders, John Albrecht, Therese Rein, Sue Roff

particular note was lot 66, a Spot-On Presentation 0 set that sold for $1,020 IBP. The very same set was originally sold in the in May, 2010 for $840 IBP.

Leonard Joel raises $65,000 for Arts Project Australia On Thursday evening Leonard Joel and their artistic passions within a caring and Arts Project Australia invited 150 guests non-directional environment. The auction to attend the Outsider Art auction. In the was a complete success, raising in excess presence of Therese Rein, Arts Project Aus- of $65,000 on the night. Sue Roff, executralia’s patron, more than 50 works of art tive director of Arts Project Australia, was were offered without buyer’s premium and delighted with the result and commented: with all proceeds to Arts Project Australia. “Wow. This exceeded all my expectations”.

All artworks were generously donated by Arts Project Australia is based in High artists, galleries and private collectors. Street Northcote and is considered one of Therese Rein opened the auction proceed- the finest organisations of its type in the ings and provided the audience with her world. Arts Project Australia is open to insights in to the inspiring work that both the public and works can be acquired from the Arts Project Australia artists create and their regular gallery exhibitions or their the staff their undertake. At Arts Project extraordinary archive of works. For more Australia as many as 140 intellectually disa- information about Arts Project Australia go

Spot-On No. 0 Presentation Set Sold $1,020 (IBP)

bled individuals are provided with a gal- to www.artsproject.org.au lery, studio and administration to develop Arts Project Australia 24 High Street, Northcote Gallery open: Monday to Friday 9am – 5pm and Saturday 10am – 1pm

Leonard

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november

artist in focus

By Margaret McBride

another life Norman Lloyd

Except for a brief showing of his work in the war) and I suggested he should try to cap- by Edith’s family, where they opened their the countryside. This was first evident in an 1990 Australian Artists Abroad Exhibition ture some of those marvellous atmospheric home to Australian expatriates and other exhibition of Australian works at Macquarie at Savill Galleries, Sydney, and a retrospec- effects so frequent in our beautiful harbour.”

guests such as HG Wells, Bernard Shaw and Galleries in 1926, where works depicting the

tive exhibition at Christopher Day Gallery, For an emerging artist Lloyd’s work was Benjamin Britten.

landscape around Bathurst showed harvest

Sydney, in the same year, the Australian art- fresh but also showed a confidence and ear- During WWII, Lloyd was in Africa, and again time with fields of wheat and images of soarist Norman Lloyd was a forgotten figure both nestness which can be seen in the vigorous was drawn to the light of the sun-drenched ing poplars which were later to capture his locally and nationally. Although he had a suc- brushwork and application of paint; produc- terrain. Later he travelled to Spain and the interest in the landscape of France. cessful career in Australia in the 1920s, his ing works filled with light and colour. Lloyd Atlas Mountains in Morocco where he found Overall, Lloyd’s work would be considered move to England took him out of the spot- was chasing the elusive light of Australia, capturing light a challenge and quite differ- diverse in style. From the early traditional light in this country, yet he exhibited exten- particularly the clarity of the blue skies when ent to that in France. sively in England, France and the United the westerlies were coming.

technique he moved on to Impressionism

Privately, Lloyd had developed another, and then as one gallery catalogue stated,

States of America until his death in 1983. Art Not all of his Australian works were of Syd- somewhat, parallel life. From 1947 unbe- to Post Impressionism. He was also influjournalist, Terry Ingram wrote, in reference ney Harbour, he ventured out into other known to his wife, he spent his summers enced by Chinese and Japanese art and went to a work by Lloyd, which was sold at auction environments, as seen in his Hawkesbury in Chassignolles, France with Zenadine through a Rousseau stage where the works for a considerable sum, “He also contradicts River paintings which were mostly pano- Chaumette, whom he had met in Paris after were very dark and almost menacing. It is not the familiar story of the Australian artist ramic views of the area. going overseas to see his work go downhill”.

WWII. While in France he painted prolifi- unusual for artists to have stylistic variations

The Australian newspapers most often cally and exhibited with several salons of the throughout their career and in many cases

Norman Lloyd was born in Hamilton, New- reviewed his work favourably. In 1926, with Societe des Artistes Francais and with the the more radical changes are not always succastle in 1894. Like other Novocastrians, par- the knowledge of Lloyd’s impending move to Salon d’Hiver in Paris. It was not until after cessful. For Lloyd this was also true as flashes ticularly as the son of a coal miner in the early London, one reviewer went as far as predict- Chaumette’s death in 1954, when Lloyd was of exceptional innovation exist alongside the twentieth century, with aspirations of an art ing a great future for his art career.

willed her house that Edith became aware of mundane, and naive alongside the visionary.

career, Lloyd was forced to make the move Lloyd’s sojourn in Europe from 1926 to 1929 this other life.

When we think about successful artists born

in 1911, to the more supportive art world in was a changing point in his career, particu- From 1974 he lived at Chassignolles per- in Newcastle, we inevitably cast our thoughts Sydney. After performing various manual larly in his style of rendering the landscape. manently until his death in 1983. Lloyd’s to William Dobell, John Olsen and Jon jobs while studying art with James R Jack- His travels to Italy, France and England attraction to specific subjects did not change Molvig. These are, however, not the only artson and later Julian Ashton, Lloyd enlisted broadened his view and his painting style. He greatly over his career and the depiction of ists to achieve a high level of professionalism in the Australian Imperial Forces in 1916, moved away from the traditional rendering buildings, boats and bridges often reflected and broad acceptance. This exhibition of the and was immediately dispatched to Europe. of the image to a more impressionistic paint- in waterways was a recurring theme. The works of Norman Lloyd is to acknowledge After being seriously wounded a year later, erly style. He exhibited in the UK, France and earliest examples of this can be seen in him as a committed and significant painter he returned to Sydney. A collection of works Australia, and, although he came under the Lloyd’s Mount Stewart (Steam Ship, Newcas- worthy of recognition and review, particuhe produced during the war is in the Austral- influence of the Impressionists, he did not tle Harbour) 1922 and Sydney Harbour circa larly in Newcastle, the city of his birth. ian War Memorial in Canberra. In 1918, after venture into the world of what he called “the 1925 where he plays with light and reflection. convalescence, he resumed landscape paint- affectation, ignorance, and wrong headed Later works painted in England, France and ing lessons with Ashton. From 1921 to 1926 ideas of the so-called ultra-modernists.”

Morocco continue this interest such as Le

Lloyd exhibited successfully in Sydney and In 1930 Lloyd and his wife Edith (they mar- Pont Neuf, Paris circa 1935.

Melbourne to audiences who admired the ried in 1923) migrated to England. It was here Except for brief forays into still life and figtraditional style reminiscent of his teach- he reinvented himself and soon established urative representation, which were not as ers. Ashton wrote in an exhibition catalogue another life. He and Edith moved into a large developed as his landscapes, he continued “He took up his paintbrush again (after the house, in up-market St Johns Wood, owned to be drawn to the abundance and beauty of

1 Terry Ingram, ‘Norman Lloyd’s Work Enjoys a Late Harvest’, Australian Financial Review, December 15, 1988 2 Norman Lloyd Retrospective Exhibition Catalogue, Christopher Day Gallery, June 1990. Page 1 3 Bruce Chenoweth, interview June 14, 2011 4 Unnamed Publication, 19 May, 1926.

5 “Misguided Art – Ultra-Modernism – Sydney Man Abroad”, Evening News, February 6, 1929.

6 Stewart’s, London and Donegal, Catalogue “Norman Lloyd FROS, ROI, PLSC, Post Impressionist Artist.

This essay was first published in the catalogue produced for the exhibition Norman Lloyd Another Life 27 August - 27 November 2011 at Newcastle Art Gallery. © Newcastle Region Art Gallery 2011

november

By Anton assaad

6

Leonard

November Preview

NOvember Preview – bronze Ferdinand Preiss(1882-1943) A cold painted bronze and ivory figure, ‘The Skater’, circa 1925 Estimate $20,000 – $30,000

Leonard

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november

danish modernism

Why Danish Modernism?

A Softer modernism.

The Pelikan Chair by Finn Juhl

november

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Leonard

Feature

The Plank Chair by Hans Wegner

By Anton assaad Mid-century Denmark was a renaissance: tional, but also allowed for a fluidity within much of Wegner’s work is resolved and can- I think the answer to this is simple: the furnithe combination of the industrial revolution, the design of the furniture that had not been not be improved upon. The Wishbone Chair, ture is designed for the human in mind.

300 years of cabinet-making history, and the seen before.

Y Chair, Plank Chair (GE290) and Round Each piece is as relevant today as it was

strong tradition of understanding of function Finn Juhl’s work was a shining example of Chair are all great examples of his resolve.

50 years ago, whether it‘s the Egg Chair by

and the human form. These elements, com- this fluidity within design. Using organic The Danes were able to combine a softer Jacobsen, or Kaare Klint’s Safari Chair. Each bined with post-war prosperity, optimism forms and influenced by free form art, such aesthetic and understanding of the human of these items shows a clear idea of design for and a collaborative approach produced a as Wassily Kadinsky, combined with the form to conceive a new way of looking at fur- the human. Today more than ever, people are golden era that became known as the mid- structure of Klint’s teaching, created some- niture, from a human perspective, and com- looking for furniture and objects that are relcentury Danish movement. This movement thing truly new. Wegner’s Pelikan Chair and bined with all the best elements of mass pro- evant to their life, that relate to who they are was also a backlash against industrialisation Poeten Sofa are wonderful examples of the duction, this is Danish Modernism. Wegner and what is important in their life—as well and the harshness associated with the Bau- kind of free form design that came out of and Juhl are only two of the many designers as high-quality manufacturing, attention to haus movement, that produced what many Denmark in the mid-century.

who worked in the golden era; others include detail and a use of rich and tactile materials.

believe was and still is some of the most Hans Wegner, considered by most to be the Arne Vodder, Kai Kristiansen, Illum Wik- This new way of looking at design, combined beautiful furniture from the 20th century.

most prolific chair designer of the 20th cen- kelso, Arne Jacobsen, all of whom designed with a rich cabinet-making history, created a

Kaare Klint is often considered the godfa- tury, had a very focused approach that cre- extraordinary work.

wonderful time that has impacted on design

ther of Danish design, having taught many ated some of the most recognized modern Many ask why this furniture is so collectable today and becomes more valuable every year. of the greats including Hans Wegner and chair designs. Wegner was the master of today and what has brought this furniture Finn Juhl. His method was strict and func- proportions and harmony: many would say into the limelight?

Anton Assaad is the founder and director of Great Dane Furniture, Melbourne and Sydney greatdanefurniture.com

Leonard

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november

Art

SOLD – record price for vera blackburn The September print auction confirmed the appetite for this specialist category with record attendance and strong levels of absentee and telephone bids. The sale boasted an 80% clearance rate by lot and 100% by value.

Australian women printmakers proved to be popular with great results for Melbourne artist Aileen Brown and a new record price set for Vera Blackburn with Pattern (illustrated) selling for $3,120 IBP.

Vera Blackburn (1911-1991) Pattern 1936 linocut, 17.5 x 27cm Sold $3,120

Critical Moments The long awaited publication of jeff makin’s essays on australian art JBWere and Leonard Joel are delighted to tralia’s leading landscape painters. His pubannounce the joint publication of Jeff Mak- lication Critical Moments brings to together in’s Critical Moments in conjunction with his writings as an art critic over the last 40 Macmillan Press. Jeffrey Makin is a full-time years and ranges from compelling critiques artist, art critic and Director of Port Jack- of Australian art movements and individual son Press Australia. Born in Wagga Wagga artists to landmark Australian exhibitions.

NSW, he has a diploma in painting from the This ground breaking work will be essential National Art School, Sydney and a Master’s reading for not just seasoned art collectors Degree (Research) from Deakin University but also those individuals seeking a concise Melbourne. Makin has held numerous senior and useful summary of the Australian art academic appointments while maintaining a market over the last half century. This essenflourishing artistic practice. Both nationally tial Australian art text will be available in all and internationally he has held over 60 solo fine art books shops from late November – exhibitions and is recognized as one of Aus- December 2011.

Now Consigning for The December Sunday Fine Art Auction november

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Leonard

Art – DECEMBER Preview

Arthur Streeton (1867-1943) Longacres oil on canvas, 58.5 x 74cm Estimate $65,000 – $85,000

DECEMBER Art Sale One of the highlights of the December Fine Art Streeton redefined the ‘impression’ of the Aus- Arthur Streeton purchased five acres of land at played throughout this period. sale is Arthur Streeton’s ‘Longacres’.

tralian landscape and with a high keyed palette Olinda Victoria in 1921 and subsequently built This atmospheric work features the diminish-

Arthur Streeton, a founding member of the displayed the blue and gold of the genuine Aus- his home, naming it ‘Longacres’ on the prop- ing light in the open paddock whilst the warm Heidelberg School, is unquestionably one of tralian landscape.

erty in 1924.

late afternoon sunlight filters across the black-

the most significant and influential artist’s in Arthur Streeton’s reinvention of the land- It is here at ‘Longacres’ that Streeton remained wood trees and the woodpile beyond. the history of Australian art.

scape bought him high esteem in art circles until his death in 1943 producing many of his As Lionel Lindsay rightly stated in 1935 ‘As

Through the colonial period and late Victorian and insured he was of the very few Austral- finest later period works including ‘The Valley Australia is concerned his position is unique, era the Australian landscape was traditionally ian artist’s to enjoy international support and from Olinda Top 1925’ ‘Last of the Messmates he stands alone, the true discoverer of beauty viewed in a very European manner by the likes acceptance. of Eugene Von Guerard and Louis Buvelot.

1928’ and ‘The Vanishing Forest 1935’

and essential character’.

Painted in the mid 1920’s ‘Longacres’ (illus- Measuring 50 x 75 cm and in delightful original In the painting ‘Longacres’ we witness a pas-

In the cornerstone shift in Australian art, the trated) is one of a number of oil paintings pro- condition with a contemporary John Thallon sionate rendition of the landscape and the Heidelberg School along with fellow members duced by Arthur Streeton on the family prop- frame, the work ‘Longacres’ is typical of the remarkable genius and majestic brilliance of Frederick McCubbin and Tom Roberts, Arthur erty ‘Longacres’.

Auction Sunday 4 December 2011, 2pm

Leonard

bold and confident brush strokes Streeton dis- the artist.

Preview Wednesday 30 November 2011 9am – 8pm Thursday 1 December 2011 9am – 5pm Friday 2 December 2011 9am – 5pm

Saturday 3 December 2011 10am – 5pm Sunday 4 December 2011 Limited Viewing

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november

Jewellery

THE LURE OF THE NATURAL PEARL The ultimate object of beauty and desire, it is said that the Natural Pearl forms under a set of accidental conditions when a microscopic intruder parasite enters a mollusk, and settles inside the shell. The irritated mollusk secretes the irritant and thus a pearl is formed. Natural pearls come in many shapes, with perfectly round ones being comparatively rare.

Throughout history the rarity of natural pearls have made them a symbol of status and wealth. Mary, Queen of Scots, amongst her vast jewellery collection adored pearls. Of particular merit, a rare rope length strand of black pearls worn by the famous monarch would have been the ultimate in chic in its day. Marie Antoinette, also a fashion icon, sought out only the best pearls available and had them transformed by her court gold and silversmiths into the most sumptuous pieces of jewellery. In the early 20th century the move by Cartier to their present American headquarters at 653 Fifth Avenue, was brought about by an exchange for a matched Oriental double strand of natural pearls that Pierre Cartier had been collecting for years; valued at the time at $1 million USD. Previously, natural pearls were found in many parts of the world but present day natural pearling is confined mostly to the seas off Bahrain.

Australia also has one of the world’s last remaining fleets of pearl diving ships and as a result significant numbers of natural pearls are still found in the Australian Indian Ocean waters from wild oysters.

The spectacular rarity of these “naturally occurring” pearls as opposed to their cultured descendants was reinforced this year when an antique natural pearl pendant sold at the Leonard Joel Fine Jewellery Auction for an Australian record price of $146,000.00 IBP.

This extraordinarily rare antique natural pearl sold for an Australian auction record of $146,000 (IBP)

november

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Leonard

Jewellery

Left: A pearl and diamond sautoir so reminiscent of the Great Gatsby look Sold $4800 (IBP) Right: A perfect condition raisin colour Birkin handbag Sold $8,400 (IBP)

Art Deco and Hermes

Magic Words at October Jewellery and POL Auctions Just before the fine jewellery auction on Sunday ders and an elegant pear of perfectly matched eagerly anticipated and sold to a telephone bidJohn D’Agata, Head of Jewellery, commented opal drop earrings; both also from the Art Deco der for $48,000 (IBP). The impressive Russian that for the first time he had more registered period, realized $4080(IBP) and $7200(IBP) diamond and pearl riviere pendant necklace absentee bidders than room bidders - meaning, respectively. The clean lines of that early part was inspired by a piece worn by Catherine the that more clients had decided to bid away from of the 20th century and the neutrality of the Great and confirmed again the appetite for diathe Leonard Joel rooms than in them. It was white metals employed have ensured an endur- mond and pearl jewellery in precious white an interesting observation about the changing ing modernity and appeal over, say, the lavish metals. The jewellery auction was immediately dynamics of how people choose to buy at auc- and frenzied designs of the Victorian period followed by a significant offering of pre-owned tion. Despite this “inversion” of room bidders when copious amounts of gold and floral deco- Hermes from a single collection and other the sale was well attended and fine quality pre- ration were the order of the day. This theme items from international fashion houses. No cious stone and period jewellery sold extremely continued with the sale of lot 79, a beautiful less than five luxurious Hermes handbags were well. Interest in fine quality early 20th century cushion cut sapphire and diamond ring (first offered for auction. Each of them, in mint conpieces was most apparent with the sale of three half 20th century), that realized $3,840. The dition with original boxes and wrapping, were consecutive lots (29 – 31) of rare opal and dia- elegance of this period was best represented eagerly bid for by Hermes lovers, well aware mond jewellery from the Edwardian and Art in this sale by lot 105, an intricately designed that the waiting list for some of these extraorDeco periods. Lot 29, a rare Liberty of London sautoir, constructed using hundreds of minute dinarily luxurious bespoke pieces can run in to opal and diamond pendant in original fitted seed pearls and ending in diamond drops, this the years! One of the highlights was lot 380, a box, proved once again that the simple lines exquisite piece sold for $4,800 (IBP). Twenty raisin leather Birkin, that realized $8,400 (IBP). of this period have stood the test of changing six lots later, lot 131, a most elegant fancy yel- The two afternoon auctions realized in excess fashions and realized $5040(IBP), more than low and white diamond ring was offered for of $400,000 and of lots sold 120% by value was tripling its low estimate. The following two sale. The centre stone of oval design weighed realised. Entries are now invited for forthcomlots of opal and diamond jewellery, a beautiful 2.35 carats and the ring realized $33,600 (IBP). ing fine jewellery and pre-owned luxury sales. single opal ring with simple diamond shoul- The front cover feature lot of the sale was

Left: A vintage sapphire and diamond ring Sold $3,840 (IBP) Right: A rare fancy yellow diamond ring Sold $33,600 (IBP)

Now consigning jewellery, watches and pre owned luxury for December 2011 Leonard

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november

Classic Objects and Furniture

Classic Objects and Furniture

A fine transitional style ormolu mounted satinwood and kingwood vitrine

A fine quality Louis XVI cut brass and tortoiseshell inlaid pedestal clock

Estimate $10,000 – $15,000 The Estate of the Late Dr G.J Smibert, Adelaide, South Australia

The movement signed D. Bourdin, a Bordeaux Estimate: $10,000 - $15,000 The Estate of the Late Dr G.J Smibert, Adelaide, South Australia

november

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november preview

extraordinary results at clendinnen house contents auction Lot 15

A fine quality matched set of three victorian sterling silver ewers

A Scottish rosewood cased two-day ship’s chronometer. The dial signed Alexr. Dobbie

Maker’s Marks Goldsmiths & Silversmiths Co Ltd, London circa 1900; and Martin, Hall & Co, Sheffield circa 1895/1900 Estimate $8,000 – $12,000 The Estate of the Late Dr G.J Smibert, Adelaide, South Australia

Sold for $7,200 IBP Lot 60 A superb Chinese embroidered silk panel Qing Dynasty, 19th century Sold for $36,000 IBP Lot 85 A Regency Cary’s Celestial table globe Retailed by G. Do-lond, circa 1820 and later (illustrated) Sold for $4,500 IBP Lot 202 A fine quality mid 19th century cedar and rose mahogany cellarette Sold for $14,400 IBP Lot 250 A walnut and maple Wooton patent secretary Sold for $13,200 IBP

A rare and important pair of french breech loading pin fire 18ct gold plated pistols by Lefaucheux Each stamped E. LeFaucheux Brte Sdgd, a Paris, with consecutive serial numbers LF110441 and LF110442 Estimate $15,000 – $20,000

Classic Furniture Objects & Design Featuring The Genevieve Cummins Collection of Antique Boxes

Auction Sunday 20 November at 12pm Melbourne Enquiries: Contact Guy Cairnduff on (03) 8825 5611 or 0407 828 137, or email guy.cairnduff@leonardjoel.com.au You can view all results of this sale on our website http://leonardjoel.com.au/auctions_results_view.php?auction=276&year=2011

Leonard

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november

Collectables

A Remarkable Life WWI Flying Ace and QANTAS Co-Founder Paul McGinness

Important WW1 DFC, DCM Group Of Eight Awarded To Flying Ace And Qantas Co-Founder Lieutenant Paul Joseph McGinness Estimate $160,000 – 200,000

Giles Moon, Head of Collectables at Leonard Joel, discusses the archive he discovered that charts the remarkable life of WWI Flying Ace and QANTAS Co-Founder Paul McGinness DFC, DCM. In November a unique WWI medal group lingham, Victoria on 4 February, 1896. He his future, which he seemed to be well aware Flying Corps in 1918, joining No.1 Squadron. awarded to Lieutenant Paul McGinness attended St Patrick’s College in Ballarat and of. In a letter he wrote to his mother in 1916 He flew Bristol Fighters in the Middle East, will be offered for auction at Leonard Joel, at age 18 enlisted in the A.I.F. with the 8th from the Sinai Desert he explained ‘... You gaining seven victories and recognition as a Melbourne. McGinness is believed to be the Light Horse. He was one of the few survivors cannot get a commission in the (A.I.F.) Light flying ace - five victories was considered the only Australian serviceman in World War to take part in the ill-fated charge at the Nek Horse or Infantry unless you are over 23 qualification. He was awarded the DFC for I or World War II to be awarded both the at Gallipoli and was later awarded the Dis- years of age. Now in the Flying Corps you can action on 24 August, 1918. The citation in the Distinguished Flying Cross (DFC) and the tinguished Conduct Medal (DCM) for action get a commission at 21 and with a DCM to my Supplement to the London Gazette dated 8 Distinguished Conduct Medal (DCM). The against the Turkish Army at Jifjafa in 1916. credit, I should have a good chance. Another February, 1919 reads: medals are accompanied by a fascinating The success of this mission was particularly reason is that aviation is only in its childhood ‘A bold and gallant airman who has disarchive of photographs and ephemera fol- significant as it proved to the British High and, say, if a man had a good deal of experi- played marked initiative and skill in attacklowing McGinness’ military and post-war Command the effectiveness of the Australian ence in it here, after the War he might follow ing and destroying enemy aircraft, notably career as an aviation pioneer and co-founder Cavalry in the Middle East. of QANTAS.

it up in Australia - if not in the military, then on 24th August, when, with his observer, he

At age 20 McGinness requested a transfer to perhaps as a profession’.

crashed two enemy machines in an engage-

Paul Joseph McGinness was born in Fram- the Flying Corps. This decision was to shape McGinness transferred to the Australian ment against heavy odds. He has also carried

to be sold 20 november 2011

november

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Leonard

Collectables

Top: Wilmot Hudson Fysh standing outside early QANTAS office at Longreach, circa 1922. Note QANTAS office is the building with the flat roof Middle: AIF, 8th Light Horse Bottom: Paul McGinness (in helmet) on a fundraising trip for QANTAS.

out successful attacks on enemy aerodromes, the Defence Department to survey suitable ter agreed to invest and persuaded a friend, air again! Early flights were generally joy inflicting heavy casualties and causing seri- landing sites for the race, from Longreach in Ainslie Templeton to match his contribution. rides and demonstrations until the company ous damage.’ During some of these missions, Queensland to Darwin in the Northern Terri- McGinness was instrumental in further fun- secured the mail service contract between McGinness’ Observer and Gunner was Lieu- tory. It was during this period that the plans draising, flying from town to town in Queens- Charleville and Cloncurry in 1922. tenant Wilmot Hudson Fysh.

for a local air service began to form. McGin- land and the Northern Territory asking locals Paul McGinness left QANTAS in 1922 to farm

After the war, McGinness and Fysh reu- ness and Fysh had used a Model T Ford to for investments and support. Arthur Baird, a in Western Australia but times were hard. nited to enter the Great Air Race. A prize of complete the survey. This was a phenom- highly talented engineer, who had served After attempting to join the Chinese Air AU$10,000 was on offer to the first Austral- enal achievement considering the complete with McGinness and Fysh in the Australian Force in 1939 he re-enlisted with the R.A.A.F. ians to complete a flight from Great Britain absence of sealed roads at this time. The Flying Corps also agreed to join the fledgling during World War II as a trainer. At the end to Australia in less than 720 hours before journey had been painstakingly slow with company.

of the war he returned to WA as a tobacco

midnight on 31 December, 1919. Sir Samuel roads and bridges often rendered impass- With adequate funds the Queensland And farmer with limited success. His health was McHaughey had donated the Bristol Fighter able due to flooding. With these experiences, Northern Territory Aerial Service was for- failing and he passed away aged 56 in Holthat McGinness had flown in World War 1 the two aviators realised that there was huge mally established at the Gresham Hotal, lywood Hospital, Perth on 25 January, 1952. and agreed to fund the pair’s entry into the potential for a local commercial air service Brisbane on 16 November, 1920. The early The McGinness Collection will be offered for race. However, McHaughey died suddenly but needed to raise significant funds to get office was located at Longreach. Initially, public auction at Leonard Joel, Melbourne and his estate refused to honour the funding the project off the ground.

two aircraft were used; an Avro 504K and on 20 November at 11.30am. For more details

so McGinness and Fysh were forced to with- As luck would have it, McGinness had previ- a BE2E. The latter was purchased from a contact Giles Moon 0439 493 038 or email draw from the race.

ously met Fergus McMaster, a grazier whose Longreach stock and station agent, who had giles.moon@leonardjoel.com.au

Their involvement in the race did con- car McGinness repaired when it had broken experienced an uncomfortable delivery trip tinue when they were commissioned by down on the Cloncurry riverbed. McMas- in the plane and refused to ever travel in the

Leonard

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november

The Weekly

The Weekly

A special red r o o m a u c t i o n

In early December, Leonard Joel will offer abundant and affordable than the present day. shops and restoring them. As his reputation tional Australian paintings. Vincent also loved items from the Estate of Vincent Uoselis.

Vincent Uoselis emigrated to Australia from grew, he started working for private clients researching paintings and spent long hours

Items to be sold in this auction include art- Lithuania after World War II and as his daugh- and also restored oil paintings as well as deco- reading and investigating the paintings he works and decorative arts collected over a 25 ter commented “like so many new migrants rative arts.

bought, working out attributions to artists and

year period in Melbourne. At this time pieces obtained work in a factory.� However, he His own collecting tastes were varied, learning of their history. of great quality were often sold at estate sales already held a Fine Art Degree in Sculpture although particular areas of interest were This auction will be held on Thursday 1st and second hand shops so the opportunities and soon after arriving in Melbourne, started Japanese ivories, English and Continental December at 1pm at Leonard Joel. to collect hidden treasures were much more a business collecting broken ceramics from porcelain, Old Master paintings and tradi-

Thursday 1 december at 1pm

Vincent Uoselis in his living room, circa 1960

The Weekly Auction – Viewing Wednesdays 9am to 8pm / Auction Thurdays 10am / View online at leonardjoel.com.au november

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Leonard

Pre Owned Luxury

LOUIS VUITTON AT AUCTION An Alzer Anglais suitcase by Louis Vuitton Sold $3,600

A briefcase by Louis Vuitton Sold $3,360

A hat box by Louis Vuitton Sold $2,160

A beauty case by Louis Vuitton Sold $4,080

LIFE’S LITTLE LUXURIES

When a Leonard Joel client arrived earlier this year with four items of Louis Vuitton John Agata, Head of Jewellery, decided it was time to offer this category to our clients.

We live in a world of excesses and are inun- ger tips. The power of the designer brand is other hand give us a chic product, often with Purchasing luxury items at auction gives the dated with disposable, cheap and cheerful to give us a sense of style and security that is little visible branding, but always of the fin- buyer the opportunity of attaining either products. Most of us however, are looking for instantly recognizable to others. In this aspect est craftsmanship. Unlike Vuitton many prod- products that are currently or no longer availsubstance. Quality is a thing of luxury and if Louis Vuitton is king. Whilst often criticized ucts, such as the Hermès Birkin handbag, are able on mainstream markets. It also gives new you can afford it you might just buy into the for the mass marketing of some of their prod- in limited supply and their clients are some- purchasers of luxury the opportunity to enter look and feel that comes with owning special ucts, they always deliver the style and quality times required to be patient on waiting lists of the market for a quality product at a reasonitems that aren’t readily available at your fin- synonymous with their brand. Hermès on the up to three years.

Leonard

19

able price.

november

Art Business

ART Business

By Michael Fox

The Lockheed Lounge Australia’s resale royalty scheme commenced

years ago. Whole categories of artworks

for all commercial resales occurring after

will be unaffected by the levy such as most

June 8th 2010. According to its administrator

nineteenth-century paintings. As an exam-

Copyright Agency Limited (CAL) in its first

ple Arthur Streeton passed away in 1943 –

year of operation $390,000 in resale royalties

therefore all sales of Streeton paintings after

(RR) was generated on 1,927 eligible resales

1 January 2014 will be exempt from RR.

for 320 artists.

4. Overseas artists may also be exempt if there

But it would seem the collecting public has lit-

is no comparable scheme in their country of

tle idea of how the scheme actually operates,

residence. The United States, for example,

except to take a cautious approach to those

does not have such a levy and artists like

artworks appearing at auction with an asterisk indicating “RR will be payable on sale.”

Andy Warhol are exempt.

5. The threshold level for paying RR is on a

Below is a quick run-through the legislation to

sale price of $1,000 and above. The sale

provide some clarification of the scheme.

price is defined as the amount paid by the

1. It applies only to commercial resales – these

buyer including GST but excluding buyer’s

must be conducted by “art market pro-

premium or any tax payable on sale. That

fessionals” (widely defined and of course

is, RR will be payable on a hammer price

Leonard Joel is one) which involve a trans-

of $1,000 and more on eligible artworks.

fer of ownership, which is not for the first

(Regardless of the threshold level and other

time and occurring after June 8th 2010.

factors determining whether RR is payable

2. The Act identifies 21 separate categories

all commercial resales have to be reported

of “artworks” as well as “any other things

under the Act. This has made the scheme

prescribed by the regulations”; however it

very unpopular in the “trade” within the

is certain that anomalies will arise in the

arts industry.)

future. Take the example of the Mark New- 6. There is no maximum cap – theoretically son Lockheed Lounge sold in New York last

if an artwork which met all the necessary

year for $US2.1 million (refer The Lockheed

criteria under the Act sold for $1 million it

Lounge).

would attract RR of $50,000.

3. RR will only be payable for artists who are 7. Artists and their estates cannot opt out from still alive or who died less than 70 calendar

the scheme entirely; instead if they choose to forgo collecting RR or negotiate a lower rate than the deemed 5% levy it must be done on an individual sale by individual sale basis.

8. Who pays? Either the seller or the buyer could be liable depending on the terms of

An Australian world record price was result in some positive outcomes such as achieved at the Phillips de Pury New York greater transparency for the art market; evening art auction in early May 2010 when however it would also be fair comment a rare Lockheed Lounge from 1988 by Aus- that the passage of the scheme in late 2009 tralian born designer Mark Newson, sold owed more to convenient politics than good for $US2.1 million, far exceeding its pre-sale policy. estimates of $US1 million to $US1.5 million.

The highest resale royalty generated to date

1. The Lockheed Lounge is not specifi- is $40,000 – indicating that this related to cally defined as an artwork under the an artwork sale of $800,000 – however this resale royalty legislation – it might be transaction has been the exception and not better described as decorative furniture the norm. According to CAL, at 31 August and hence exempt from resale royalties 2011, of the 205 artists who have been paid even though each prototype is now worth resale royalties: more than $1million a piece.

2. Mark Newson is known as a designer and

• 119 (58%) received between $50 and $300;

not an artist – but the term artist is not • 81 (40%) received between $301 and $5,000; and actually defined in the resale royalty legislation. He has also lived for long periods • 5 (2%) received in excess of $5,000. overseas meaning he also may not qualify With 4,000 artists and their estates registered with CAL only 2% of eligible artists as a resident.

3. The United States does not have resale have so far received any resale royalties. royalty legislation so there would be no This is consistent with comparable resale royalties payable in any event (assuming royalty schemes overseas, such as Great this sale occurred post June 9 and was the Britain. first commercial resale etc).

Despite the above reservations from an

4. In Australia there have been fewer than operational point of view the scheme has ten sales of art at auction by Australian run remarkably well in its initial period and artists that have exceeded the amount the Government should feel vindicated in realised for the Newson Lockheed its decision to appoint CAL as the collecting body early last year. CAL is well advanced in Lounge.

The above discussion is not meant to criti- producing a Guide to the artists’ resale roycise the resale royalty scheme, rather to alty scheme which will assist collectors and highlight some of the scheme’s inconsisten- art market professionals with their obligacies. The intent of the Act is honourable in tions in the future. relation to providing artists a reliable stream of income from their practice and it should

sale. Leonard Joel has prescribed the buyer of eligible artworks as being liable to pay the levy in its Terms of Trade. (Which seems fair when you consider some sellers will be incurring losses without the added imposition of a levy).

Michael Fox is a qualified accountant and professional fine art valuer who successfully ran the Save Super Art campaign to prevent the prohibition of artworks from self-managed superannuation funds (SMSFs). He is a member of the Leonard Joel Valuation Panel and is engaged exclusively by Leonard Joel to provide advice to their clients in relation to artwork investment in SMSFs. He may be contacted at michael.fox@superartbusiness.com.au.

november

“Special causes make bad law” John R Walker, September 2009 20

Leonard

aRT busIness

ARt DAtA

John Furphy has always loved antiques. In 1993, the Australian Art Sales Digest was is aimed at professionals such as auctioneers

Which is probably why in 1978 he teamed born – which started as a straight record of and valuers, art consultants and collectors up with fellow enthusiast Max Milton to sales. Gradually, improvements were added and its annual subscription package of $255 establish Acorn Antiques in High Street, including art market statistics, auction reflects the detailed information to which Armadale.

results and independent reviews for both they have ready access.

With hard work and diligent sourcing of Australia and New Zealand.

“However, for $30 a month the site is also

antique furniture and collectables, over the Over the years, AASD (as it was known) open to casual users such as Camberwell years the business became a household name became accepted as the industry bible for art Sunday market buyers, or someone who and much loved destination for genuine auction prices in both countries. antique collectors.

might have been left a painting in a will and

However, John was not content to leave wants to know its worth,” John said.

Once Acorn Antiques became a sound finan- the project in only textbook form and, as John Furphy has continued to use the versa-

John Furphy, founder of AASD

cial entity, John found there was plenty of the Internet became more sophisticated, tility of the Internet to promote his online art time in between running the various aspects searched for ways to provide online art mar- market database and refine the information of the business to turn his attention to other ket data to art industry followers. endeavours.

he is able to send subscribers.

“I finally went online in 1997 once the Inter- “We now send art auction alerts and copies

One passion he had always wanted to indulge net had become more sophisticated and it of new articles on auction items in which was the establishment of an effective data- had been accepted by a sufficiently large user they might be interested and follow up with base for antique and collectables sales. base,” he said.

sales results so they can monitor price move-

Despite repeated efforts, John soon found it From there, the database expanded rapidly ments,” he said. almost impossible to obtain sufficient infor- and today AASD has 450,000 works listed on In addition to establishing AASD, in 2005 mation to make the database viable.

the Internet.

John Furphy bought Carter’s Publications,

However, while antiques were difficult, art With the increase of Internet usage, sales of which publishes Carter’s Price Guide to sale records were more readily available the published text have declined, so 2011 will Antiques (now also on line). and, by scouring thousands of old catalogues be its last year of production.

And his involvement with the antique trade

back to the early 1970s sourced from auction “From next year, AASD will be solely Inter- continues through life membership (awarded houses like Leonard Joel (mainly from its net based and only available by Internet sub- in 2010) of the Australian Antique Dealers weekly sales), John Furphy was able to com- scription,” John said. pile an effective art database.

LEONARD

Association after filling the treasurer’s role

Essentially, the online art market data service from 1993-2002 and president (2005-2008).

21

aasd.com.au

novEMBER

Look out for The December / February issue.

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