LEONARD, issue 4, March 2012

Issue FOUR / MARCH 2012

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Leonard Joel Specialists Valuation AND CLIENT Services

Monique Le Grand Phone + 61 (0) 3 8825 5620 Email monique.legrand@leonardjoel.com.au John Albrecht, Managing Director Phone 0413 819 767 Email john.albrecht@leonardjoel.com.au

Fine Art Auction Sunday 25 March at 2pm JOHN GLOVER (1767-1849) Wooded River Landscape with Anglers and Cattle in the Foreground oil on canvas 62 x 74.5cm Estimate $40,000 - 60,000 Also in this auction (Illustrated below) JOHN GLOVER (1767-1849) A Mountainous Wooded Landscape with Cattle by a Lake oil on canvas 62 x 75cm Estimate $35,000 - 45,000

Art

Briar Williams, Head of Art Phone + 61 (0) 3 8825 5608 Email briar.williams@leonardjoel.com.au Jewellery

John D’Agata, Head of Jewellery Phone + 61 (0) 3 8825 5605 Email john.dagata@leonardjoel.com.au Decorative Arts and Design

Guy Cairnduff, Head of Classic Furniture, Objects and Design Phone +61 (0) 3 8825 5611 Email guy.cairnduff@leonardjoel.com.au Collectables

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

John D’Agata, Head of Jewellery Phone + 61 (0) 3 8825 5605 Email john.dagata@leonardjoel.com.au

FIND US ON

Natural History

Facebook.com/Leonardjoel

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

FOLLOW US ON

The Specialist Collector

Guy Cairnduff, Head of The Specialist Collector Phone +61 (0) 3 8825 5611 Email guy.cairnduff@leonardjoel.com.au

Twitter.com/LeonardJoel1919

The Weekly Auction

Shawn Mitchell, Head of Weekly Auctions Phone + 61 (0) 3 8825 5615 Email shawn.mitchell@leanardjoel.com.au

BID LIVE AT OUR AUCTIONS ON

DIGITAL MEDIA

Clare Greig, Digital Media Manager Phone + 61 (0) 3 8825 5613 Email clare.greig@leonardjoel.com.au

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

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Tel: +61 (0) 3 9826 4333

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FOReWord

THE NEW COLLECTING PARADIGM John Albrecht, Managing Director Leonard Joel

I will bookend this piece with two stories only for the very adventurous. This client weren’t selling like they used to, silverware that has caught many by surprise, including – one from 1988 at the Malvern Town Hall then glanced to the side of the Buckmaster that was gifted to children was left in its box myself.

Leonard Joel art auction and one from 2012 and spotted a classic William Dobell portrait (for good) and reproduction items, both here Fast forward now to early 2012 and I find in a gallery hidden away in a building down and proceeded to tell us how the Buckmaster and from abroad, were appealing to those myself walking down a laneway in Mela laneway in Melbourne’s CBD. In 1988 I was was so “beautiful compared to that crappy more concerned with “look” than history, bourne’s CBD, up a flight of stairs and in to junior store-man (or porter as they say in the Dobell”. Even at 19 I spotted the absurdity provenance or age. In short, from the 1990s a gallery loft filled with “street art” and late UK) with Leonard Joel but I was fortunate of the statement but couldn’t quite quantify until the present, the nature of collecting 20th century objects and design. I’m in my to have an eye for art and I loved compar- just how profoundly ignorant the compari- and acquiring things for the home has been suit, truly marveling at the collection that I ing and looking at all the paintings on offer son was and how much it spoke of prevailing affected slowly but surely by a profound only half understand and thinking back to – some 2000 at any given quarterly Leonard tastes.

change in taste. Now people are creating those Malvern Town Hall days and wonder-

Joel art sale from this time. I was at the front In the late 1980s Victorian furniture, silver- bigger living areas and putting less in them, ing if the model of the auctioneer “suited up” of the viewing area where all the more valu- ware, pretty pre-war period objects and tra- focusing on aesthetics rather than history and handing out traditional glossy catalogues able and popular paintings were hung when ditional paintings were still the dominant and confidently replacing their parents’ is also not long for this world. As we dig a well known “new client” arrived who had currency in Australian collecting circles and things with a curious 20th century furnish- deeper in to this collection with the owner, developed quite a recent reputation as a “big we were very much a microcosm of what ing or a colourful painting from the 1970s or we learn that this is not just “crazy fun stuff” buyer” around the traps - this capacity alone was happening in the UK. The large scale reinterpreting an inherited object with the but a survey of street art from artists all over he clearly believed qualified him as an art English output (but maybe not quite mass same verve as the individual that was bold the world and a mini-history of the local critic.

production) from say the mid 19th century enough to convince Melbourne City Coun- street art movement. After spending an hour

He had the attention of one of our senior staff to the pre-war period was now in the 1970s cil to turn some of their statues upside down with the collection and discussing just how and began telling him how much he admired and 1980s feeding an appetite here to fill big for a period of time. Add to this phenom- this collection could come to auction, I leave the quality of a large Ernest Buckmaster houses with small rooms with lots of things.

ena the rise in digital commerce, the ability the space and find myself in Melbourne on a

landscape - this mid century traditional land- The frenzy for brown furniture and sil- to acquire from all around the world (quite stormy and very wet afternoon and excited scape artist with a tonal twist was very much ver decoration remained strong, well, until literally now from one’s phone) and a new by how far collecting has come and where it in demand at a time when an artist like Jef- things began to change.

generation of collectors and you have a truly will take the auctioneer in the future.

frey Smart was still viewed as “edgy” and Suddenly Victorian dining room suites open and adventurous collecting sensibility

Leonard

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MARCH

Contents

Thinking of Selling?

From Single Items to Collections

MARCH 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

DECORATIVE ARTS

6

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

JEWELLERY Preview

7

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

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 & manu-

WEEKLY 8

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

NATURAL HISTORY

ists on a daily basis.

ties are advised by our valuers and special-

9

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

ARTIFACT 10

Australian and International Art

ART 12 ART PREVIEW

Fine Jewellery and Wristwatches

13

Pre-Owned Luxury Classic Objects and Furniture

JEWELLERY 14

Modern Design

Classic Objects and Furniture 16

Single Owner Collections Collectable Toys and Sporting Memorabilia

COLLECTABLES 18 COLLECTABLES PREVIEW

19

AN INTERVIEW

20

Art BUSINESS

21

Militaria Books and Manuscripts

CRITICAL MOMENTS BOOK LAUNCH Left to right John Albrecht, Managing Director of Leonard Joel, Jeff Makin, Author and Artist and Richard Sinclair, Director, JBWere

Subscribe

Get Leonard all the time With more specialist categories and auctions than any auction house of its kind in Australia, Leonard is the simplest way to remain abreast of all forthcoming auctions, important sales results, events and auction news. With expert contributors from all fields of collecting Leonard will be an indispensable tool for both the seasoned auction-goer and the new collector alike. Leonard is available

Leonard Joel was delighted to host the joint launch and publication with JBWere

both free at Leonard Joel and online or can be subscribed to for an annual fee

of Jeff Makin’s long awaited publication Critical Moments which brings together

of $44 inc GST (postage & handling). Visit us online at www.leonardjoel.com.au

Makin’s art reviews and commentary over the last 40 years. Critical Moments is

or for subscription information contact keryn.gilchrist@leonardjoel.com.au.

available this year in all select arts bookshops.

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Leonard

Calendar

Forthcoming Auctions The Weekly Auction Every Thursday in 2012 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria

The Specialist Print Auction Thursday 1st March 2012 – 11.30am 333 Malvern Road, South Yarra, Melbourne, Victoria

Japanese Ethnographic Auction Thursday 1st March 2012 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria

The Bernard Smith Estate Art Auction Thursday 8th March 2012 – 11.30am 333 Malvern Road, South Yarra, Melbourne, Victoria

The Monthly Toy Auction Thursday 15th March 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Graham Geddes Warehouse Auction Sunday 18th March 2012 – 12pm 899 High Street, Armadale, Melbourne, Victoria

Fine Jewellery Auction Sunday 18th March 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Pre-Owned Luxury Auction Sunday 18th March 2012 – 3pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Sunday Fine Art Auction Sunday 25th March 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The India Auction

This 19th century wood and gilt harp engraved J.A. Stumpff of London sold for $3,120 (IBP) at The David Bromley Collection, Melbourne auction on 28 November 2011

Thursday 29th March 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Collectables, Toys & Sporting Memorabilia Auction Sunday 1st April 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Monthly Toy Auction Thursday 19th April 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Classic Furniture, Objects & Design Auction Sunday 3rd June 2012 – 1pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Auctions and viewing times are subject to change.

Leonard Joel is a proud supporter of Arts Project Australia

Leonard

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MARCH

News

LEONARD JOEL VALUERS NOW FLYING TO SYDNEY

The Christmas Auction Now an annual Leonard Joel event

Beginning in March 2012, Leonard Joel valuers will be available in Sydney every month by appointment.

If you have a valuable single item or collection that you are considering THIS RARE RENE LALIQUE ‘POISSONS’ PATTERN GLASS VASE MODEL INTRODUCED 1921 SOLD FOR $5,520 IBP

selling please contact Monique Le Grand, Valuation & Client Services on (03) 8825 5602 or email monique.legrand@leonardjoel.com.au

Just four shopping days before Christmas 2011 on a Tuesday evening Leonard

SOCIABLE LEONARD JOEL

Joel conducted its first devoted Christmas auction that showcased items from each of our specialist categories. The core of the offering was a large collection of vintage Danish furniture that had recently arrived in the country. A departure from tradition for auction night, the room was left with an extensive display of Danish couches that formed part of the catalogue and bidders enjoyed a truly relaxed and innovative setting within which to watch and bid during

Leonard Joel is venturing into the world of Social Media,

the auction. Objects, furniture, items of luxury, jewellery and art all sold on the

keeping our clients up to date with all our Auctions, events,

night and confirmed the demand for an auction for Christmas shoppers.

talks, viewing displays, behind the scenes activity and amazing collections. Pop over and like us on Facebook, follow us on Twitter and watch out for our future YouTube channel.

COLLECTABLES auction

Win a $500 Leonard Joel Gift Voucher Visit an Auction at Leonard Joel with a $500 voucher to spend on any of our Catalogues of Art and Sculpture, Books and Manuscripts, Collectables, Classic Furniture, Objects and Design, Fine Jewellery, Photography, PreOwned Luxury, Specialist Prints, Toys and Weekly Antiques and Interiors.

How to Enter 1. “Like” our Facebook Group - Facebook/Leonardjoel 2. Fill in your details on our website and spread the word about

Leonard Joel Auctions.

There are links to the competition via our homepage.

LOT 52 SOLD 11 DECEMBER 2011 $7,800 IBP

Ways to spread the word about Leonard Joel Posting to your Facebook wall

This most rare London Bus (illustrated) realised a staggering $7800 (IBP) against

Tweeting about us

a low estimate of $4,000. The bus’ rarity lay in the fact that it was both spe-

Emailing your friends or work colleagues

cifically produced for the Australian market and in very small numbers.

Blogging about our Auctions and amazing collection

A strong sale rate and extremely keen bidding for toy vehicles and rare single Entries of single items or entire collections are now being sought for 2012

Entries close 31st March 2012

calendar auctions.

For enquiries contact Clare Greig on 0400 037 540

For enquiries please contact giles.moon@leonardjoel.com.au .

or email clare.greig@leonardjoel.com.au

items were the themes of the auction.

MARCH

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Leonard

News

natural History A new category for leonard joel

COUNTRY AND TOWNTHE DAVID BROMLEY COLLECTION

Leonard Joel is delighted to announce the extension of our specialist expertise to the rarefied area of minerals, formations, fossils and meteorites. Our first auction took place on Thursday 8th December 2011 and it is anticipated that we will conduct several auctions annually. The first auction attracted new collectors and existing buyers and realized in excess of $10,000 in sales. Highlights included lot 178, a particularly attractive and complete ammonite discovered in Morocco that realized $1920 (IBP) against an estimate of $500 - $800. More than 200 lots went under the hammer and we are now inviting consignments and new collections for our next Natural History auction in the first half of 2012.

For enquiries contact Giles Moon, Head of Collectables, Books and Natural History giles.moon@leonardjoel.com.au

AMMONITE, Morocco Sold $1,920 (IBP)

Photography by Island Continent Studio www.islandcontinent.com.au

On a beautiful spring day in Daylesford

South Yarra rooms a further 250 works

Leonard Joel was delighted to offer

of art, sculpture and interior decora-

over 400 lots from the first part of art-

tion from David’s Melbourne collection

ist David Bromley’s private collection.

were offered for auction. Part II was as

More than 400 buyers turned out to

diverse and idiosyncratic as Daylesford

secure a piece from David’s extraordi-

but with an emphasis on Australian art

nary wonderland known as “Shed 24”.

and works executed by Bromley that

Important bronze sculptures, Danish

resided in his Melbourne home. Works

furniture, industrial design, works of art

by Olsen, Blackman, Booth, Mead-

and 20th century objects were eagerly

more, Nolan, Arkley and Perceval were

snapped up by both followers of Da-

just some of the artists represented

vid’s work and new clients from Mel-

and the standing room only audience

bourne and Daylesford. The highlight

competed fiercely for every lot. One

of the Daylesford sale was the trans-

of the more compelling works in the

action of David Bromley’s important

collection was Peter Booth’s The En-

bronze sculpture, lot 646, Boys in Sail

trance 1995 that realised $32,400 (IBP)

Boat (illustrated) for $48,800 (IBP). The

against estimates of $18,000 - $25,000.

sale realised $442,000 against a low

The Melbourne collection realised

estimate of $323,000 with a sale rate of

$432,340 with a 92% sale rate by lot

95% by lot and 137% by value.

and a very pleasing 119% by value.

The following evening in Leonard Joel’s

BOYS IN SAILBOAT Sold for $48,800 IBP

Leonard

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DECORATIVE ARTS

BOYD, DOUGLAS, PERCEVAL AND FRIENDS

PAINTERS AS POTTERS

BY Marvin Hurnall

T h e M urrumbee n a st o ry a n d bey o n d c o n ti n ues

The tradition of studio pottery in Australia as Dorothy Meyer, Carl Cooper, Neil Douglas, in November 2011 held a special Sale and their newly aware and self conscious selves. changed drastically in 1944. “Open Coun- Charles Blackman, Albert Tucker, David and Exhibition further highlighting the ceramic Merric Boyd’s contribution to these windows try”, the Murrumbeena home of Merric and Hermia Boyd, Tom Sanders, Margot Knox, works by Murrumbeena Potters and Merric of exploration was his strength of belief in his Doris Boyd, their five children and assorted Ethel Whiteside (nee Coutts) and John Boyd, amongst many others. artists and friends, had become the teaching (Richard) Howley.

own way of seeing. Playing an active role in

Furthermore, a major contributor to Austral- the lives of these artists seeking to redefine in

ground for a new generation of ceramicists. When Peter Herbst left for Oxford in 1950, ian studio ceramics, Merric Boyd left a crea- the 1930s and 50s, he exposed them to a new John Perceval, then living with the Boyds, his share in the works was taken over by Neil tive legacy that is unavoidable in the study of landscape. It was this very way of seeing the Arthur Boyd and Peter Herbst, a good friend Douglas whose depictions of native flora and our art and craft movement. Merric’s knotted environment in light of the new art nouveau and philosophy student at the University of fauna were to heavily influence the other art- gumtrees, gnarled branches, kookaburras, movement, a new nationalism and imminent Melbourne, decided to become partners in ists in the studio. Douglas’ lyrical works of koalas, homesteads and landscapes redefined world wars that set Merric Boyd apart – he pottery. As Perceval and Boyd needed time to forests, ferny groves, lyrebirds and kangaroos the Australian environments impact on its was founding a stylistic coup within the utilipursue their painting and Herbst his study, a contrasted heavily against the Brueghelesque peoples. His ceramic work, with its highly tarian realm of ceramics. three-way partnership in a tradition that two work done by Boyd and Perceval at the time. sculptural qualities, still offers a new and Merric’s influence (working 1912-1959) is of them knew a little about, was ideal. Hat- This new influence flowed through into the definitive way of seeing. As quoted by Arthur one not only exercised on later generations, ton Beck had married Lucy Boyd, Arthur’s works of all at the studio, presenting a more to Victoria Hammond at Bundanon, Febru- such as Arthur Boyd and John Perceval, but eldest sister, and the two of them had cre- Australian theme. The combination of a clear, ary 1989. “My father, Merric Boyd, had an also his contemporaries and students who ated a pottery works out of the dilapidated bold palette in a medium that was still to be extremely unusual, passionate, creative spirit adopted his style and way of manipulating butcher’s shop opposite the Murrumbeena fully explored meant that the AMB Studio and this energy, rhythm and life flow through and sculpting the clay. station. With Beck’s knowledge they were was not only at the vanguard then, but is as his pottery and drawings”. able to make a kiln from the salvaged parts of fresh and as vibrant today.

Finally, it would be remiss not to mention the

Merric Boyd’s creative needs were such that current touring exhibition “White gums and

Merric’s kiln, which had burnt down. Arthur The Arthur Merric Boyd Studio, and particu- even after he was no longer able to pot, his ramoxes” throughout the eastern states of Boyd, Perceval and Herbst bought this busi- larly the painted and ceramic works of Neil great artistic passion, he continued to draw Australia, including Tasmania. This imporness from the Becks with the hope of produc- Douglas, have gone largely unrecognised fervently. His body of work is overwhelming tant show features the ceramics and drawing utilitarian ware, complying with wartime for their great artistic merit, which has left with so many incredible, sculptural ceramic ings by Merric and Arthur Boyd from the decrees, and to experiment with the ceramic a large hole in the understanding of Austral- pieces and light, free drawings. The 1930s Bundanon Trust Collection, initiated and medium.

ian artistic and cultural heritage. This dearth and 1950s in Melbourne were definitive dec- developed by the staff under the guest cura-

Their initial “stock on hand” was the pur- in our knowledge was initially recognised by ades in which Australian artists were trying torial eye of Grace Cochrane. This touring chase from the Becks of a significant quan- the National Gallery of Victoria. The Gallery desperately to reappropriate their country, exhibition continues until September 2012. tity of “greenware” (unfired) teapots. The exhibited The Painter as Potter, Decorated identity, nationalism and arts in line with All related enquiries to the Bundanon Trust lids were disposed of whilst the bowls were ceramics of the Murrumbeena circle in 1982-

on (02) 4422 2100 or bundanon.com.au.

refashioned by removing the spouts, and at 3, an exhibition of the Arthur Merric Boyd times the handles, to become either vases Studio focussing on the ceramic works of the or two handled sugar bowls. All were deeply now famous Arthur Boyd, John Perceval, and incised and or over painted with free forms lesser known Neil Douglas, amongst others – of decoration, more or less resembling native curated by Geoffrey Edwards now Director flora. (Who could have foreseen the humble of the Geelong Art Gallery. beginnings or this as the birth place of two of Since 1983, little has been displayed of the Australia’s iconic artists).

studio’s work. Horsham Regional Art Gal-

Earthenware glazes offered a bright, trans- lery in August 1997 held an important retparent, vibrant and solid colour that allowed rospective of Neil Douglas’ works and selecthe lyrical and whimsical narrative of the tions of this were later shown at Hamilton “Arthur Merric Boyd” (AMB) studio pot- and Sale. Hurnall’s in June 1998 held a sale ters to come through. As Boyd, Perceval and which included the ceramic works of many Herbst continued to use the studio as a place of the AMB potters. An exhibition of selected to create and not just manufacture, other art- pottery items and paintings was also held ists began working there on a casual basis. at Heide Museum of Modern Art from July

Charger, decorated by Neil Douglas, thrown by Aurthur Boyd, dated 1950

Friends, neighbours and fellow artists such to October 2003. Hurnall’s Decorative Arts

MARCH

6

Charger, wildly decorated with Ringtail possums. Thrown and decorated by Aurthur Boyd, dated 1948

Leonard

JEWELLERY Preview

FINE JEWELLERY Preview AN EDWARDIAN DIAMOND LINE BRACELET Estimate $20,000 - $25,000

AN IMPRESSIVE 3.74ct THREE STONE DIAMOND RING Estimate $35,000 - $40,000

A 13.41ct WHITE & COGNAC DIAMOND NECKLACE Estimate $14,000 - $16,000

The Fine Jewellery Auction Sunday 18 March 2012, 12pm

Leonard

Preview Wednesday 14 March 2012 9am – 8pm Thursday 15 March 2012 10am – 4pm

Friday 16 March 2012 10am – 4pm Saturday 17 March 2012 10am – 5pm

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MARCH

WEEKLY

TheMATIC Weekly AUCTIONS

a COLLECTION OF OBJECTS & EPHEMERA FROM A MELBOURNE COLLECTOR SOLD AT LEONARD JOEL IN 2011

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

In any given month Leonard Joel are conducting interesting thematic weekly auctions, from rare toy collections to objects and antiques sourced from unusual corners of the globe. Keep an eye on our website and for emails that will alert you to these very interesting mini-auctions. And if you have an interesting small collection that you are considering selling contact Shawn Mitchell - Head of Weekly Auctions (03) 8825 5615 or email shawn.mitchell@leonardjoel.com.au

MARCH

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Leonard

NATURAL HISTORY

NATURAL HISTORY - A WONDERFUL OBSESSION

BY JASON SPRAGUE

Beginning in antiquity, with names such as More than at any previous time it was during ing, amongst innumerable other specimens, Aristotle and Pliny, continuing apace from the eighteenth and nineteenth centuries, via 300,000 birds, 30,000 beetles, 200,000 eggs, the Renaissance to the Age of Enlightenment, the great voyages of discovery in the Pacific, and an astonishing 2.25 million butterflies! and down to the present day, human beings that innumerable specimens from strange After the protracted period of relative inachave always possessed a profound desire to new worlds began to flood into Europe, tivity caused by the two World Wars, natuunderstand, catalogue and collect specimens especially England. Fabulous collections of ral history auctions enjoyed ever-increasing from the natural world around them.

equally fabulous specimens were amassed by international popularity throughout the sec-

From the sixteenth century onwards, (ever- such notable British collectors as the Duch- ond half of the twentieth century. Now, at growing in popularity), this passion became ess of Portland and Sir Hans Sloane, (the col- the beginning of the twenty-first, this area one of the principal pursuits of leisured soci- lection of the latter ultimately forming the of collecting continues to grow in interest ety, enthralling an enormous number of the foundation of the British Museum). aristocratic and noble houses of Europe.

throughout the world. The many fascinating

A veritable cornucopia of exotic plants, and beautiful natural history specimens sold

Maintained within such houses were ‘wun- seeds, flowers, seashells, corals, birds, fish, through major auction houses during recent derkammer’, or ‘cabinets of curiosities’. (In reptiles and insects found its way, not only years range from small mineral specimens, this sense the word ‘cabinet’ refers to the area into museums, but into the auction houses selling for a few hundred dollars each, to a within which such collections were housed, of Europe. Amongst the many natural history virtually complete Tyrannosaurus rex skeland thus may refer to an entire series of items offered for sale at this time, a particular eton, which sold internationally in 1997 for rooms.) Although such ‘cabinets’ were con- penchant existed for seashells, whose dura- $8.36 million. stituted of all manner of ‘curiosities’, (antiq- bility, in conjunction with their magnificent In 2012 Leonard Joel will be inaugurating uities, weapons, native artefacts, scientific colours and patterns, rendered them the the new sale category of ‘Natural History’. instruments), it was the specimens of natu- eternal favourite area of natural history col- Initially consisting of one major annual sale ral history which were most numerous and lecting. Indeed, it is an oft-told true story and several smaller featured sections within which occupied pride of place. Fossils, min- that, at various times in the past, certain sea- monthly auctions, Leonard Joel hopes to erals, precious gems, amber, seashells, corals, shells have sold at auction for higher prices introduce this fascinating, eclectic and skulls and skeletons, sat happily alongside than a painting by Vermeer.

highly rewarding area of collecting to the

ancient Greek vases and fragments of marble In the late nineteenth and early twenti- wider auction-going public. sculptures.

eth centuries, the tradition of natural his- Whether inspired by an appreciation of aes-

It was these ‘cabinets of curiosities’ which tory collecting was taken to its zenith when thetics, scientific interest, or high curiosity, became the basis for the modern museum in Baron Walter Rothschild amassed the largest one of the best and most satisfying ways to all its varieties, the most famous early exam- private collection of natural history speci- become better informed about the world we

ABOUT JASON SPRAGUE Outside of his work as an entrepreneur in the arts industry and as a composer, Jason Sprague has been a collector of natural history for more than three decades. In conjunction with his more recent collecting in the areas of antiquities, Asian art, tribal art and antiquarian books, Jason has maintained his consuming passion for natural history, especially in the area of fine and rare seashells. Every year he travels to Paris for the most prestigious exposition of rare seashells in the world; makes available specimens and knowledge to many of the world’s leading institutions and museums; and acts as dealer, agent and consultant for many of the finest rare seashell collections in Australia and abroad. Articles concerning Jason and his collecting activities have featured in numerous magazines and newspapers, including The Age and The Sydney Morning Herald, and upon the internet. Jason will be assisting Leonard Joel with sales of natural history in 2012.

ple being that of the Tradescant family in mens yet formed, (considerably decreasing inhabit is through the collection and study of London.

Leonard

the family fortune in the process), contain- natural history.

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MARCH

ARTIFACT

ARTIFACT Over the last few decades a rare group of indig- to facets of European life.

tions and performances that were specifically retaining some shared characteristics, over-

enous cross-cultural objects have sporadically The early contact artifacts (pre 1920) rang- designed to promote the settlement. In 1911, whelmingly and tantalisingly proffers a differcome to light and each time they raise more ing from woomeras, coolamons, clubs to boo- the Chief Protectors’ Department organised a ent point of origin. questions than are answered. A scarcity of merangs, incised with stone scrapers and later display of the various facets of its work. Each Emblazoned with the word ‘Galbraith’ on its information surrounds them and the fact that metal tools, display a combination of both settlement and mission, including Barambah, left half side, a flower near the centre and a most artists are seldom identifiable lends the figurative and geometric elements (the latter was asked to contribute items of work by its charming multi carriage train on its right, the objects an intrigue, and on both a scholarly and carried encoded knowledge but were inserted inmates. Items displayed ranged from samples highly detailed and finely executed boomerang collector level, a last frontier quality. It’s only in discretely to the object’s borders and tips). In of schoolwork to traditionally made imple- is rich with clues to its lineage. The prominence recent times that academics and the dedicated subsequent periods the geometric designs ments and weapons.”

bestowed upon ‘Galbraith’ does not belong to

few have begun to map this fairly uncharted, began to dissipate and native animal imagery The group of early 20th century Queensland a town or cattle station, but in all likelihood but important cultural territory. Hence, the dominated. In contrast, early contact figura- artifacts comprised of two decorated boomer- to Percy Dumas Fead Galbraith. Born in 1854 re-emergence of this group of repatriated tive imagery frequently depicted new found angs and a club, have emerged from a private in County Cork, Ireland he served in the New Queensland artifacts offer valuable and curious features of European life including mission- collector in the United Kingdom, however Zealand Police Force and by 1884 he was a subinsights into a little known chapter of Austral- aries, police, stockmen, often in combination their provenance while long held is, unsurpris- inspector in the Queensland Police. He rose ian history and are sure to contribute to the with native animals or scenes from traditional ingly, unknown. Nonetheless, the reclaimed through the ranks to Inspector (2nd Class) stagrowing body of cross-cultural knowledge, as indigenous life.

nature of the trio is certain, evident from the tus and by 1901 Percy Galbraith was appointed

well as presenting an uncommon opportunity Contact art has been traced to settlements and natural ridges found on one boomerang, to Aboriginal Protector of Normanton in Gulf for collectors.

missions as far afield as La Perouse, NSW, Flin- the scratched grip markings on the club, rein- country, a remote port and cattle hub in north-

Described in various quarters as contact or ders Ranges, S.A. and Barambah, now called forcing their dating to an early period when west Queensland and he remained there until transitional art, decorated artifacts emerged Cherbourg, in SE Queensland. The Barambah decoration was applied to pre-existing objects, 1904. In gleaning the annual Chief Aboriginal towards the end of the 19th century and by artifacts are some of the earliest found and rather than later times when boomerangs were Protector reports , Galbraith comes across as a mid century had shifted from carved surfaces may have begun as personal recordings for an carved from scratch and decorated for a ready humane individual who was committed to his to pokerwork and paint. In essence, contact individual or their community, however by 1911 commercial market.

role of protecting and upholding the rights of

art bears witness to Aborigines’ experience of they were consciously created for an external Similarly, the artifact group all bear decorative the Aboriginal people at a time when tensions change, of dislocation from traditional lands, market:

attributes displayed in Barambah carvings, but were rife between the Europeans, particularly

and also their interest and willingness to adapt “Barambah inmates were involved in exhibi- after research, one of the boomerangs, while station owners and the indigenous population.

MARCH

10

Leonard

ARTIFACT

The Sunday Fine Art Auction 25 March 2012 The GALBRAITH BOOMERANG EARLY TRANSITIONAL QUEENSLAND BOOMERANG circa 1901-1904, Normanton region carved hardwood incised on the front surface with figurative images including a train and floral motif, lettering and traditional designs, shiny patina overall length: 63cm Estimate $2,000 - 3,000

He advocated Aborigines’ unhindered access to cargo provides more evidence grounding it carved into the Galbraith boomerang’s design. as well as Aboriginal trackers. The stamp was traditional water holes, declaring “to deprive in the early 20th century and the Normanton The club is purely embellished with geometric operational in Queensland between 1890-1910, them of this right simply means wiping them region. In 1891 the Normanton-Croydon train designs including the same arrows and circle however it began to be phased out from 1901 out or driving them in to the smaller townships line was built to service the export of gold dis- designs found in Barambah art.

once Federation occurred.

where women must prostitute themselves in covered in Croydon six years earlier. The boom Scott Rainbow, author of A study of the transi- Whether this boomerang belongs to Barambah order to enable the men and children to live. was short-lived and by 1907 the mines and tional art of Barambah/ Cherbourg Settlement is not certain, however the rustic style of the Those that are myalls [nomadic aborigines] will towns were in decline. Until 1906 an A10 Loco- in QLD (2009) and major collector of the art, letter G, the compositional structure and spare naturally kill the cattle, or even commit murder, motive ran on the line and photographs of this has identified seven common recurring Baram- design differentiates it from the Galbraith artiif driven away from their hunting grounds.”

particular steam engine reveal that its features bah motifs and characteristics, two of which fact which exhibits greater embellishment and

<

Given Protector Galbraith’s role within the are exactly replicated in the carving down to its are featured in the ‘Q G’ boomerang. Flank- intricate detail indicating that it is by another community, it is feasible that he was either four coupled wheels with their distinctive 5 – ing the central panel are an incised image of a artistic hand. gifted the boomerang by an indigenous person spoke star shape.

horse head and that of a saddle which Rainbow Recognition for contact artifacts has long been

(maybe a stockman or a tracker) or instead, The flower decorating the Galbraith boomer- relates to Aboriginal stockmen, although, in overdue, but with an increasing number of Galbraith may himself have commissioned the ang provides an intriguing link to Barambah this case they could equally and most probably studies by Paul Tacon et al and the Scott Raindecorated boomerang as a memento. It could with a club from the SE Qld settlement boast- symbolise the police upon decoding the letter bow collection, these special objects have been be speculated that he was influenced by the ing an identical motif. Barambah was settled and symbol stamp.

recast from ignorantly being best considered as

avid interest in indigenous material culture over the same period as Galbraith’s Normanton The recreational activities of the Aboriginal curiosities and at worst early tourist ware into held by his superior, Chief Aboriginal Protec- tenure, so the existence of the same floral carv- stockmen, namely card playing found their significant social, historical and cultural docutor Walter E. Roth. Known for his care and ing suggest that either two artists belonging to way into the pictorial language of contact art ments for indigenous and non-indigenous Ausrespect of the Aboriginal people, Roth was also the same tribe were active in separate locations, and constitutes the second example of com- tralians alike. an anthropologist and ethnographer whose or contentiously, that the Galbraith boomerang mon motifs. Sitting at the boomerang’s apex 2000 strong artifact collection and documenta- predates many of the Barambah artifacts,

is a clear rendition of a spade. Carved inside it

tion was acquired by the Australian Museum, Other Barambah stylistic attributes, primarily are the letters “Q “and “G” along with the broad Sydney in 1905.

traditional markings including cross-hatching, arrow symbol. This symbol is a military ord-

Returning to the boomerang surface, the carved as well as crescent shapes, arrows and bead- nance mark which denoted government issued train filled with passengers, cattle, horses and ing used as decorative and framing devices are equipment assigned to the Queensland police

Leonard

11

BY SOPHIE ULLIN ABORIGINAL ART SPECIALIST

MARCH

Art

NEW AUCTION RECORD

Connoisseurs out for Specialist Print Auction

Fred Williams (1927-1982), Landscape etching, aquatint and drypoint 12/20, Sold $5,280 IBP

For centuries, limited edition engrav- on offer, lot 3066, an interesting work by ings, woodblocks and lithographs have the 20th century Austrian Norbertine von continued to provide artist and collector Bresslern Roth titled Ibises, realised $1,200

ANNE HALL (BORN 1945), Boy with a Frog in His Pocket, Sold $20,400 IBP

alike a distinct and interesting alternative (IBP). We are currently consigning fine

On Sunday afternoon December 4th 2011 of the auction was the most unusual work

medium for the expression of imagery and graphics for our first print auction of 2012.

just over 250 lots of Australian and Inter- by Anne Hall of Phillip Mora as a young

style. Leonard Joel is now providing col- For enquiries please contact nicole.salvo@

national art went under the hammer. The boy. The work, lot 26, was dated 1967 and

lectors carefully curated graphics auctions leonardjoel.com.au.

auction began promisingly with the sale of realised a staggering $20400(IBP) which

that offer the most significant survey of the

lot 2 an early work by Ludmilla Meilerts was ten times the presale estimate and a

medium for Australian artists in the coun-

titled Yarra Boats 1954. The work realised new record price for the artist. The Mora

try. On Thursday 8th December 2011 our

$6,000(IBP), quadrupling its presale esti- theme was continued with lot 147, a small

fourth auction in this field offered more

mate. Rare artists and imagery seemed to be work by Mirka Mora in painted fabric titled

than 200 works by Australian and inter-

the focus of buyer attention on Sunday with Girl Riding Bird which realised $8040(IBP)

national artists. This rounded off a very

the sale of lot 9, a late 19th century work of quadrupling its presale estimate. Again, the

successful year for the specialist print auc-

Sydney Harbour by the Australian artist auction confirmed strong demand for unu-

tions, achieving 80% by volume and 100%

Sophie Steffanoni, for $5040(IBP) which sual but compelling subject matter by rare

by value. Lot 3044, Landscape by Fred Wil-

was more than six times the presale esti- artists. We are now inviting entries for our

liams (illustrated) realised the highest price

mate. Steffanoni died young and produced 2012 auctions. For enquiries contact briar.

at $5,280 (IBP). Of the international works

few works, which no doubt added to the williams@leonardjoel.com.au . interest in this work. One of the highlights

Now Consigning for The JUNE Sunday Fine Art Auction MARCH

12

Leonard

Art – Preview

ART PREVIEW ROBERT DICKERSON (BORN 1924) Figure by the Pier pastel, 28.5 x 38.5cm $3,500 - 4,500

The Sunday Fine Art Auction Sunday 25 March 2012, 2pm

MARGARET OLLEY (1923 - 2011) Still Life with Cherries and Blue Jug oil on board, 45.5 x 53cm $12,000 - 18,000

Preview Wednesday 21 March 2012 9am – 8pm Thursday 22 March 2012 10am – 4pm

RAY CROOKE (BORN 1922) Islanders oil on canvas, 39. 5 x 49.5cm $8,000 -12,000

Friday 23 March 2012 10am – 4pm Saturday 24 March 2012 10am – 5pm

the estate of Bernard smith Bernard Smith, art critic and academic, was one of the founders of the discipline of art history in this country and among its most distinguished practitioners.

While Smith began his creative life as a painter, it wasn’t long before the study of history and ideas took over his life and he turned his attention to writing about art and teaching. In 1945 he established his name with the publication of Place, Taste and Tradition, one of the first publications to examine the history and evolution of Australian art and he continued to write throughout his life, releasing The Formalesque at the age of 91.

Leonard Joel is honoured to present works from the Estate of Bernard Smith, which includes a rare insight into his own artistic productivity with early sketches from the 1930s and oils from the 1980s. The stand-out work from this collection is a 1949 portrait of Bernard Smith by friend and fellow socialist Sali Herman (illustrated). This portrait was painted while they were neighbours in Potts Point and marks the beginning of their respective careers as Art Historian and Artist. The collection also includes works by renowned Australian artists Martin Sharp, John Howley, Hal Missington and Mark Howson as well as studio ceramics and small sculptures.

This auction presents an outstanding opportunity to share in the history of one of Australia’s most highly regarded art historians.

Special Thursday Auction Thursday 8 March 2012, 11.30am Preview Wednesday 7 March 2012 9am – 8pm Enquiries Nicole Salvo, Art Specialist (03) 8825 5624 / nicole.salvo@leonardjoel.com.au

Leonard

SALI HERMAN (1898-1993) Portrait of Bernard Smith 1949 oil on canvas, 50 x 40.5cm $8,000 - 12,000

13

MARCH

Jewellery

Appetite for Pre-Owned Luxury Leather InsatiablE At the final pre-owned luxury auc-

Birkin Handbag by Hermes (illus-

tion for 2011 high quality leather

trated) realised $7,200 (IBP), almost

wear from the world’s great fashion

doubling its low estimate. Another

houses attracted the strongest bidding.

interesting item was lot 380, the large

Almost “as new” handbags from Prada,

pleated steam bag by Louis Vuitton and

Balenciaga, Rykiel, Gucci and Louis

designed by Marc Jacobs that realised

Vuitton were keenly sought but the

$4,680. Consignments of high quality

preeminent brand Hermes continued

leather ware for 2012 auctions are now

its track record of realizing the highest

being invited. For enquiries contact

prices at auction. Lot 350, a Blue Jean

john.dagata@leonardjoel.com.au .

A Blue Jean Birkin Handbag by HERMES, SOLD $7,200 IBP

95% Sale Rate for Collectable Wrist and Pocket Watches On December 4th 2011 almost 400 lots

IWC, Patek Philippe and Vacheron

of precious stone jewellery, designer

Constantin were sold to collectors

pieces and wristwatches were offered

and investors seeking safe havens in

at the last major jewellery auction for

these cautious times. The nineteen

the year. Period and old cut diamond

watches achieved a combined total of

jewellery continued to enjoy strong

$69,780(IBP) with the highest price

interest from buyers seeking original

realised from lot 176, a Cartier Panthere

designs. A fine selection of South Sea

wristwatch in 18ct yellow gold selling

pearl and coral jewellery was also well

for $13,200(IBP). Entries are now

received by buyers taken by the strong

being sought for our 2012 calendar

colours and quality of these pieces. Of

of fine jewellery and wristwatch

particular note was lot 48 (illustrated),

auctions. For enquiries contact john.

an impressive Art Deco coral and

dagata@leonardjoel.com.au .

diamond plaque brooch set in platinum which realised $6,600(IBP). But the A CARTIER PANTHERE DIAMOND WRISTWATCH SOLD $13,200 IBP

strength of interest was most notable with the offering of watches and of the twenty on offer only one did not find a buyer. Watches by Rolex, Cartier,

Now consigning jewellery, watches and pre owned luxury for JUNE 2012

MARCH

14

Leonard

Jewellery

LUXURY PIECES AT AUCTI N An impressive 3.80ct diamond ring Estimate $20,000 - $25,000

AN ALZER 60 SUITCASE IN BLACK EPI BY LOUIS VUITTON Estimate $5,000 - $8,000

The Fine Jewellery Auction Sunday 18 March 2012, 12pm

Leonard

Preview Wednesday 14 March 2012 9am – 8pm Thursday 15 March 2012 10am – 4pm

Friday 16 March 2012 10am – 4pm Saturday 17 March 2012 10am – 5pm

15

MARCH

Classic Furniture, OBJECTS & DESIGN

The rise and rise of Chinese Antiques

BY LIZA HALLAM

The economic boom currently experienced in competitors in a world where the likes of sites China is no secret, but how has this affected such as Ebay are capturing a whole generation Australian auction rooms and the way we do either unaware or disinterested in what an aucbusiness? When thinking about the context of tion house can offer them in terms of selling this article I decided to mooch about the inter- and buying. net of course, to see what more experienced Buoying the spirits of both staff and clients, the industry specialists were saying about this confidence of these new Chinese buyers in our phenomenon.

auction rooms now see them expanding their

I came across a page in ARTINFO, an online existing antique appetite beyond their Asian website dedicated to international art and cul- borders and outbidding the seasoned auction ture, entitled “Speak Chinese? Need a job? ”..., goer, confidently paying top prices in the tradiit went on to discuss how international auc- tional collecting areas of fine English silver and tion houses are currently scouting for fluent French clocks.

Mandarin speakers with a Ph.D. in Chinese art. Clients new and old to the auction rooms who It makes a lot of sense and I for one seriously are keen to collect Chinese antiques may well wish I had a better understanding of the Chi- be interested in seeking out alternative areas nese language, both written and spoken.

such as cloisonné, carved ivory and my per-

The well advertised record prices achieved sonal favourite export silver. Keep an eye out for Chinese porcelain around the world has for hallmarked pieces from makers such as shined a beacon on the local auction room and Wang Hing & Co of Hong Kong in tea services, delivered a fresh take on an industry that may vases and flatware. have been in danger of becoming irrelevant. As Overall, what has been experienced in auction good Chinese porcelain and carved jade pieces rooms is really a snapshot of a world trend that attract the astute and cashed up collector, this is sure to influence our global culture indel-

A CHINESE EXPORT SILVER TEA SET MAKER’S MARK WANG HING & CO, HONG KONG, CIRCA 1910 Sold June 2011 for $ 5,760 IBP

in turn has had a broad impact on the auction ibly for the future. Might I suggest introducing industry as a whole.

Mandarin into the Australian primary school

Most importantly it has allowed a new client room curriculum, now that sounds like a smart to be introduced to the auction culture, a feat move to me. A certain former Prime Minister so desirable it’s as good as money in the bank. would be the perfect figure head for such a bold This has therefore boosted prices realised and move and I say that with no personal political in turn the profile of our auction house and our interests intended!

MARCH

16

A CHINESE EXPORT STERLING SILVER TANKARD MAKER’S MARK SUNSHING, CANTON, CIRCA 1830 Sold November 2011 for $1,800 IBP

Leonard

Classic Furniture, OBJECTS & DESIGN

(Part lot) A PAIR OF COMPOSITE STONE FIGURES OF HOUNDS Impressed foundry mark and initialled AJ to base, each figure 80cm high, each plinth 75cm high.

Estimate $5,500-6,500

MARGUERITE MAHOOD (1901-1989) A RARE EARTHENWARE FIGURE OF A FEMALE NUDE Inscribed signature and model number C627 Estimate $12,000-$15,000

Classic FURNITURE, Objects and DESIGN

THE GRAHAM GEDDES WAREHOUSE AUCTION For all enquiries contact Guy Cairnduff Head of The Specialist Collector (03) 8825 5611 / 0407 828 137 guy.cairnduff@leonardjoel.com.au

A BOXED SET OF PLASTER RELIEF PLAQUES AFTER THE ELGIN MARBLES 19TH CENTURY, JOHN HENNING (1717-1851) Estimate $2,500-$3,500

Now consigning classic furniture, objects & design for 3 JUNE 2012 Entries close 13 April

Leonard

AUCTION SUNDAY 18 March 2012 to be viewed and sold on site at 899 High Street, Armadale, Melbourne

17

MARCH

Collectables

FILM POSTERS

10 Questions with a specialist GILES MOON AND COLLECTABLES

PETER PAN, RKO, 1954, AUSTRALIAN DAYBILL POSTER Estimate $200 - 400

1. What exactly comes within the “col- In 2000 I was approached by a client in New lectables” category or better still, what York who wanted to sell an LP signed by John does not constitute a collectable? A col- Lennon. The provenance was impeccable: it lectable, by definition, is something that is had been signed outside John Lennon’s apartdeemed to be worth collecting, or of interest ment in the Dakota building in New York in to a collector. Unsurprisingly, therefore, it is 1980. it was owned by Mark Chapman, who the most diverse selling category within the shot Lennon the same day as he returned auction industry! There are numerous col- home. The album was found at the scene of lecting areas attracting global interest. These the shooting and used as evidence during include vintage toys, sporting memorabilia, Chapman’s murder trial. Although its notorirock n’ roll and entertainment memorabilia, ety made it highly collectable I declined to sell animation art, classic radios, cameras, movie the item on grounds of taste. posters, advertising posters, militaria, railway 6. The most exciting collector your ever memorabilia and scientific instruments.

met?

2. When did collectables as a category I have met a few celebrity clients in the past but emerge at auction houses? Collectables had the most exciting was someone that I nearly been sold at auction for many years, but the met. I was conducting a valuation of Johnny area really developed in the early 1980s when Cash’s memorabilia collection in Nashville, major auction houses identified that there was Tennessee. This included a visit to his house a great demand for specialised sales of collect- in Hendersonville. I could hear his unmistakeables. This led to auctions in one particular able voice from the next room but didn’t have collecting field. For instance, a London auc- the opportunity to meet him in person.

t

tion house held the first sale of Rock n’ Roll 7. If there was one collection you would

a

Memorabilia in 1981.

d

3. Could any region, culture or country what would that be?

t

lay claim to its creation?

e

No one country can claim to be the creator but been involved in the sale of James Bond mem-

-

The UK and USA have traditionally been at orabilia that was held in 1998. The auction the heart of the market.

have liked to have been a part of but wasn’t I am a big 007 fan so would have loved to have

included an amazing one-owner collection

4. The most exciting collectable you have of original props used in many Bond movies.

-

ever sold?Undoubtedly, the most exciting Highlights included Oddjob’s steel-rimmed

d

would be the Gallipoli Victoria Cross awarded bowler hat from Goldfinger and a knuckle

m

to Captain Alfred Shout that sold in 2006. The duster from With Russia From Love.

g

medal was particularly important as it was the 8. What do you think shouldn’t be col-

-

last remaining Gallipoli Victoria Cross in pri- lected, that is?

-

vate hands; the other 8 reside at the Austral- Although collected in certain circles I do not

n

ian War Memorial. There was a huge amount accept Nazi memorabilia consignments for

s

of interest in the sale, with a packed saleroom auction.

-

and numerous TV crews present. At the time, 9. What do you collect?

y

the highest price paid for a Victoria Cross was I have a small collection of advertising and

g

$575,000. I had expected the Shout VC to movie/rock n’ roll posters.

l

break the record but was absolutely stunned 10.

-

when it hammered $1,000,000. It was a fan- that may “become” collectable?

e

tastic outcome, particularly as the medal was I have noticed that vintage hi-fi equipment is

t

bought by Kerry Stokes and put on display in attracting quite a following. Good 1950s/1960s

s

the Australian War Memorial.

-

d

MARCH

pieces are collectable both as examples of

5. Have you ever declined to sell some- modern design and for their musical capabili-

SNOW WHITE AND THE SEVEN DWARFS, RKO, CIRCA 1940s REISSUE AUSTRALIAN DAYBILL POSTER Estimate $400 - $600

e

What to you are the emerging areas

thing considered collectable and if so what ties I think this has been fuelled by a renewed was it?

18

interest in collecting vinyl records.

Leonard

Collectables PREVIEW

COLLECTABLES APRIL PREVIEW The ‘Non-Stop Robot’ was made by Japanese manufacturer Masudaya in the 1950s and is more commonly known as the ‘Lavender Robot’ due to its colour. It was the second in a series of 5 battery operated tinplate robots made by Masudaya from the late 1950s to the early 1960s. While all share the same skirted body and impressive size (15 inches tall), each differs in colour and the actions that it performs.

This group are highly sought after by robot collectors and have been nicknamed the ‘Gang of Five’. Another of the Gang; an unboxed ‘Giant Sonic Robot’ (aka ‘Train Robot) was sold by Leonard Joel in 2010 for $5,040 (IBP) The Lavender Robot (pictured) will be offered in the forthcoming Collectables auction on 1 April and is in excellent overall condition with relatively little wear. It also has its original colourfully illustrated box which is rare and significantly increases its value.

MASUDAYA NON-STOP ‘LAVENDER’ ROBOT CIRCA 1959 Estimate $6,500 - $8,500

The Collectables Auction Sunday 1 April 2012, 12pm

Leonard

Preview Wednesday 14 March 2012 9am – 8pm Thursday 15 March 2012 10am – 4pm

Friday 16 March 2012 10am – 4pm Saturday 17 March 2012 10am – 5pm

19

MARCH

AN INTERVIEW

THE QC AND WOLFGANG SIEVERS It is a not too widely known fact that in Julian Burnside’s chambers in Melbourne resides a legacy from one of Australia’s most famous photographers that perfectly combines the selling of art with the funding of refugee support groups. John Albrecht, Managing Director of Leonard Joel interviews Julian Burnside, AO QC about this very active collection.

1. Very few people would know that you 3. What causes do Wolfgang Sievers dol- your thoughts when a photograph like oversee the selling of photographic work lars go to? Did his legacy provide particu- Andreas Gursky’s realises “millions of

by Wolfgang Sievers – how do people buy lar parameters for suitable causes? No, dollars”? I think art at the “ultra top end” a work from your collection? If I could just it was essentially left up to me. Wolfgang is not really about art but more about a margo back a step. I actually have two collec- had an interest in refugee and human rights ket for unique things and with a fair dash of tions of Sievers works. The first is the Born causes as I do so there was no real issue here. fashion thrown in. I don’t think I can add to See series that I bought from Wolfgang. In terms of causes and given my particular anything more to this answer as it’s really not The second, which is the one we are talking interest in the status and protection of refu- my territory. about, was given to me by Wolfgang a year gees, most of the funds raised assist this area. 8. Do you feel there is any significant or so later, for the sole purpose of raising 4. Did serendipity play a part in Wolf- public benefit in the exhibiting and transfunds for human rights causes. I was actually gang leaving you his collection or was acting of art or do you think it is mostly approached by a mutual friend and I immedi- your relationship more significant than a sport for the dispassionate rich? Well, I ately said Yes.

say, a chance meeting or two? I did not get have mixed feelings about this. I think show-

Not long after about fourteen Kodak boxes to know Wolfgang until I was approached ing art is great but I have a real problem with arrived containing the collection. They are to buy his Born to See series. I had also had (and you might not like me saying this) the all signed on the reverse and while Wolf- some brief earlier contact with Wolfgang secondary market for living artists as I think gang was still alive I had him sign a number about some refugee matters which was also acquiring at auction is more about mercantile of the ones that I had mounted, some sixty a cause of interest to him. At that time he interests than about supporting the art and or so. In terms of how people can actually needed to raise funds for his daughter who the artist. And it worries me that so called buy a work from this collection, there are a was living overseas. It was actually a couple “great supporters of the arts” are often found number of ways. We actually sold a number of years later that I was approached by Wolf- looking for bargains at auction or buying safe in an exhibition at Nellie Castan gallery not gang to take on the task of selling the charita- stuff by dead people rather than supporting long before Wolfgang’s death. Now many are ble works for Wolfgang.

the galleries that support the artists.

sold by word of mouth or by people simply 5. When you look at Wolfgang Sievers’ 9. Is there a subject or building or place contacting me. They can see the works on my works, what do you see in them that you that you wished Wolfgang Sievers had website (www.julianburnside.com.au). Once don’t see in say, a Dupain or a work by executed as a photograph but didn’t? Yes. they have agreed the work and the price I Cotton? You know, I saw this question on I would like to have seen photos by Sievers simply tell them such and such a cause to the list and I decided it wasn’t one I could of the Abbottsford Convent and maybe the make the cheque payable to. But I have also really answer. My own collecting has been Sydney Opera House or the Harbour Bridge given prints to various human rights groups mainly paintings and a few photographs and – perhaps the last two are a little too obvious. that I think are worth supporting, so they can is fairly idiosyncratic. And I’d have to say that The old BHP building maybe, on the corner mount an exhibition and keep the proceeds.

holding this extraordinary collection hasn’t of Williams and Bourke Street would also be

2. Am I correct that the collection for sale prompted me to seek out other photographic an image I would like to have seen because he is in effect a charitable gallery; with every works although I have bought a few. I’m for- did some wonderful works of the AMP buildpurchase dollar going to your human tunate enough to be grossly over-stocked ing opposite. rights causes? Yes. Whether they are works with artworks which I try and lend out to being sold by me or by human rights groups, friends. I don’t like the idea of storing works every dollar goes to the designated human in cupboards and boxes so I try and get as rights cause. The “providing” of works to many up on walls as possible – I find the idea other causes has also been very effective and of art in storage or in boxes a bit unhappy. in fact both methods of sale have remained 6. Do you collect photography yourself or simple and very effective. I have a particu- are you simply a seller of photography? I lar interest in assisting charities that do not am not a seller of art work at all, other than enjoy a tax deductible status as these are the the photographs Wolfgang gave me. In fact, ones that usually have the most trouble rais- I have never actually sold anything from my ing money. To date the photos have raised own collection. about $300,000 and other than the cost of 7. Robert Hughes has always commented mounting and framing some of the photos, it on the absurdity (mostly) of paintings has been an entirely cost-free exercise.

MARCH

INTERESTED IN PURCHASING A WORK FROM THE WOLFGANG SIEVERS COLLECTION AT JULIAN BURNSIDE AND SUPPORTING REFUGEE SUPPORT GROUPS AT THE SAME TIME? Simply visit www.julianburnside. com and go to “Wolfgang Sievers photographs for sale” under “The Arts”.

realizing “millions of dollars”. What are

20

Leonard

Art Business

ART Business “When the critics come around it’s always too late” Sir Sidney Nolan

By Michael Fox

What are moral rights?

is a type of copyright that artists assert over It is hard to see how deep-frying an artwork

For newspapers and their readers the New the works that they create. Moral rights are could be ‘reasonable’ and it is difficult to Year period is known as the “silly season” personal rights that exist from the moment imagine the estate of Sidney Nolan agreeing due to the inclusion of stories that would not copyright arises (which is when art is cre- to the act – but I will leave the interpretation normally be newsworthy at any other time ated) and they cannot be assigned or sold. of the Copyright Act to those more suitably of the year. A particularly silly story from The Copyright Act was amended in 2000 to qualified than me.

December 2011 concerned a Melbourne “art- incorporate moral rights - in essence these In any case Wear, a man with a high degree ist” who, inspired by a dream, deep-fried an personal rights have been protected by stat- of education, might have felt he was on safe inherited Sidney Nolan artwork and then ute for just over a decade.

ground carrying out this stunt. The artwork

sold the altered work on e-bay to raise funds There are three types of moral rights cur- in question was a portrait of his grandfather, for an arts space.

rently recognised in Australian law:

who supposedly met and associated with

But is there more to this story than meets the 1. Artists have the right to be attributed for Nolan in the 1940s. If Wear’s grandfather eye?

their work, which requires a ‘reasonable’ commissioned the artwork from Nolan, cop-

At first glance it appears little more than a form of identification to be adopted.

yright would not reside with the artist. (The

stunt attempting to create controversy. Art 2. Artists have the right not to be falsely Copyright Act provides that the commisconsultant Michael Reid said “it just strikes attributed for their work.

sioner of a portrait owns the copyright in that

me as a pathetic, undergraduate and possi- 3. Artists have the right of integrity, which work). In this case Andy Wear or his grandfable attention-seeking thing to do.” The frier means that their work should not be treated ther could not possibly breach Nolan’s copy-

Michael Fox is a qualified accountant and

of the Nolan, Andy Wear, who holds a doc- in a manner that is derogatory or that preju- right. Perhaps the real silly story for the New

professional fine art valuer who successfully

torate of philosophy, defended his actions dices their reputation.

ran the Save Super Art campaign to prevent

Year period just gone should have been the

by saying “it wasn’t an aesthetical work and In relation to the last point, altering, add- way people confuse copyright with moral even as a family heirloom it had little value.” ing to or cropping artworks without consent rights.

He claims not to be an artist and hoped his would breach the artist’s moral right.

However, whatever way you look at it, the

actions would encourage debate over what Deep-frying a Sidney Nolan artwork would even sillier story is that the deep-fried artconstituted art.

appear to contravene the artist’s right of work that sold for only $115 on e-bay could

Lost in this discussion is whether Wear actu- integrity – particularly as the act itself was have been left in the expert hands of Leonard

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.

ally had the right to do what he did to the filmed and posted online. The comments of Joel untouched and raised many multiples of artwork. Unfortunately for him, no copyright Wear seem to support the idea that he wished that sum for Mr Wear’s arts space. lawyer made an appearance inside his dream to take Nolan’s reputation down a notch. “I to say that, despite Nolan passing away in find it intriguing that just because a great art1989, deep-frying the work in question could ist does it, it’s treasured”, he was quoted in well be a breach of the artist’s moral rights. Melbourne’s Herald Sun newspaper.

Further, the 2010 case of Blackman v Gant Could there be a defence to this seeming established a precedent for artists (and their breach of the artist’s moral right? There are estates) wishing to protect their reputations two that could be relied upon: in cases where their copyright had been dis- 1. The infringement was reasonable given regarded. Due to this case there are now seri- the circumstances; and ous legal ramifications for such breaches.

2. The artist (or his estate) consented to the

So what are moral rights? In general terms, it infringement.

Leonard

21

MARCH

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