LEONARD, issue 5, April 2012

LEONARD Issue FIVE / APRIL 2012

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Cover Andrew Mac Hosier Lane, Melbourne THE ANDY MAC COLLECTION

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Street and Fine art from Citylights Projects 1992-2012

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Auction Sunday 6 May 2012

Leonard Joel Specialists Valuation AND CLIENT Services

Monique Le Grand Phone + 61 (0) 3 8825 5620 Email monique.legrand@leonardjoel.com.au Corporate & Private collections

John Albrecht, Managing Director Phone 0413 819 767 Email john.albrecht@leonardjoel.com.au 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 Classic furniture, Objects 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

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

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Pre–Owned Luxury

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

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Natural History

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

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The Specialist Collector for single owner auctions

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

BID LIVE AT OUR AUCTIONS ON

The Weekly Auction

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

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

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Designer

Tel: +61 (0) 3 9826 4333

Rick Merrie

Maria Rossi

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FOReWord

THE REMOTE COLLECTOR John Albrecht, Managing Director AND HEAD OF PRIVATE & CORPORATE COLLECTIONS

In mid 2008 I vividly recall transacting a disciplined form of bidding that forces the internet. Our service provider is ARTFACT, THE FUTURE – NOW! Brett Whiteley by text messaging. The cli- bidder to set a maximum price and eliminate the largest art and antiques auction bidding Recently before an auction one of my specialent had viewed the work from a previous the emotion of over-spending that often platform in the world. For a small fee on ists remarked that “we have more registered catalogue (by email) but after that, the entire can accompany bidding in person. But for each successful purchase and, I must say, a telephone bidders than registered room transaction was conducted by text. So con- those unable to attend who still want a bit very simple credit card registration process bidders” – put simply, more people bidding cerned was I that I was not providing proper more involvement in the process they can you are able to bid on Leonard Joel auctions away from us than with us! The “remote colclient service that I texted the client offering telephone bid on high value lots with one of in real time from the comfort of your com- lector” is a feature of a world that is becomto “speak” with him. He replied that he was our staff from the comfort of their home or puter. This method of bidding is becoming ing less physical and vastly more digital. Ten too busy and perfectly happy! This moment office. One of our staff calls the bidder a few more popular each round of sales and, while years ago the digital economy for most was for me really was the dawn of the age of the lots prior and will basically bid in the room once upon a time the pace of the auction was still more about hyped floats and over-valued “digital art economy ”.

as instructed by the client. Both services dictated by room and telephone bidders, it is companies. Now it is a profound reality that Since then the rise of the “remote collec- are free of charge and very handy for those now dictated by the internet bidder. So in a is not just turning traditional retailing on its tor”, as I like to refer to the species, has both clients that are either interstate or unable to sense online bidders are now enjoying “run of head but also how auctions look, feel and increased in number and comfort with the attend.

the room”, so to speak . The one unique ben- behave. I hope that one day the auctioneer efit for those comfortable with the technol- does not become some Disneyland-like auto-

services that have grown organically from CONDITION REPORTS the original auction house that required But beyond these services there are several ogy is that bidding on a computer eliminates mated human model or a hologram but I am “human” attendance. In fact, it was only others that I’d encourage clients to explore. the nervousness and angst often experienced happy with the idea that auction rooms may about half a century ago that you either had The most important one is the “condition by bidders when they are either in the room become cosy, small gatherings of people, telto attend in person or beg someone to fill your report” – well used by the trade but far less or on the phone – it may be less exhilarating ephones and technology - connecting with place! Now the suite of services that accom- used by private collectors. Again the service but the “removed” sense and simplicity of the entire world. pany the auction experience are more elabo- is free of charge and enables you to request the technology is appealing to those wanting rate and useful. What I have found however a reasonably detailed report on the physi- a more concise and “quiet” bidding option. is that many private clients still do not know cal condition and originality of any lots that what they have these days at their disposal.

TELEPHONE AND ABSENTEE BIDDING

AUCTION RESULTS DATABASES

are of interest to you. It is basically a simple In previous issues of LEONARD, Artprice compendium to the description in the cata- and Australian Arts Sales Digest have been

logue to ensure you are fully informed about discussed. The former a vast international The two most popular are the absentee bid whether there is any minor damage or resto- database for art transactions throughout the and the telephone bid. The absentee bid ration work relevant to the piece in question auction world and the latter an extremely allows you to leave with us a maximum that you may like to consider prior to bidding. useful record of Australian and regional art amount you are prepared to bid and we BIDDING VIA THE INTERNET will execute the bid on your behalf for the AND ON YOUR COMPUTER

auction records. These are two amongst a plethora of online data resources and armed

lowest price possible. Some clients remain IN “REAL TIME” with these the collector has, for a modest nervous about absentee bidding, despite Finally there is live-bidding via the internet. annual fee, powerful information to source our guarantee that bids will be executed as Almost all major catalogues at Leonard Joel the history and sale performance of both artcheaply possible, but I encourage it as a very are available to clients wishing to bid via the ists and particular works of art.

Leonard

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Disneyland’s new Animatronic Abraham Lincoln

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Contents

Thinking of Selling?

From Single Items to Collections

APRIL 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

CLASSIC FURNITURE, OBJECTS &

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

DESIGN 5

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

The WEEKLY

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

COFFEE IN MELBOURNE

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ists on a daily basis.

LEONARD JOEL HISTORY

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-

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

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Australian and International Art

ART 12

Fine Jewellery and Wristwatches

JEWELLERY 14 PRE-OWNED LUXURY

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WHAT IS A PRINT?

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Pre-Owned Luxury Classic Objects and Furniture Modern Design Single Owner Collections Collectable Toys and Sporting Memorabilia

COLLECTABLES 18

Militaria

SERVICES 20 Art BUSINESS

Books and Manuscripts

21

ART DECO

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

Consigned for 17 June 2012

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

An Important Red and Black Galalith Collar by Auguste Bonaz, Circa 1928 Estimate $2,000 - 3,000

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

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Leonard

Calendar

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

The Danish Furniture Auction Thursday 5th April 2012 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria

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

The Andy Mac Collection Auction Sunday 6th May 2012 Melbourne

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

Fine Jewellery Auction Sunday 17th June 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Pre-Owned Luxury Auction Sunday 17th June 2012 – 3pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Sunday Fine Art Auction Sunday 24th June 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

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

Photographic Auction

EMILY KAME KNGWARREYE (CIRCA 1910-1996) Linear Yam Dreaming 1996 Acrylic on canvas Inscribed verso with artist's name and Aboriginal Galleries of Australia cat. no. AAGA-6165 bears additional cat. numbers DA2380 and 2044-EKK219 verso 121.5 x 67cm Sold March 2012 $10,800 (IBP)

Sunday 22nd July 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Modern Design Auction Sunday 19th August 2012 333 Malvern Road, South Yarra, Melbourne, Victoria

The Graham Geddes Collection of Important Antique Furniture & Objects Auction Mid September 2012 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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News

STATE LIBRARY OF VICTORIA SECURES HERMAN PORTRAIT

BOUTIQUE SINGLE OWNER ART SALE FOR ART INVESTMENT TRUST ENJOYS STRONG DEMAND

The Estate of Bernard Smith achieved excellent results on Thursday 8th March with the feature piece, a portrait of Bernard Smith by Sali Herman (illustrated), achieving $22,200 (IBP) against estimates of $8,000-$10,000. The portrait was

On Thursday 16th February Leonard Joel successfully dispersed approximately

eagerly contested by two public

ninety works from the Art Investment Trust under the instructions of their

institutions. Amongst other notable

administrators. It was rare to see such a diverse and colourful selection of editions

results, Australian Pottery was

and graphics at auction and collectors rapidly acquired the offering and quickly

highly sought after with an early

pushed final sale prices to a 20% premium above the low estimate of $45,000.

vase by Shiga Shigeo achieving

Highlights of the sale included lot 3006, a mesmerizing work by Roger Byrt,

$1,600. Other items which attracted

titled Red Roll 2001 (illustrated) that more than doubled its estimate to

interest were an ink and collage

realise $5040 (IBP) and the delightful lot 3071 Happy Man 1998, by Dean

exhibition invitation by Martin Sharpe

Bowen, which quadrupled its estimate to sell for $2040 (IBP). Leonard

and an oil painting by Bernard

Joel offers specialist expertise to professionals and fiduciaries seeking

Smith dating from the 1980s.

asset dispersal advice. If you require confidential advice regarding a corporate collection contact John Albrecht, Head of Corporate & Private Collections on 03 8825 5619 or email: john.albrecht@leonardjoel.com.au

ANTIQUARIAN BOOK AUCTION

ICONIC AUSTRALIAN PRINT ON OFFER

This publication by Ida Rentoul Outhwaite titled Fairyland and published by Ramsay Publishiing Pty, Ltd, 1926 realised $2,160 (IBP) at our recent Antiquarian Book Auction.

Consigned for Specialist Print Auction 7 June 2012 Eric Thake (1904-1982) An Opera House in every home 1972 linocut Estimate $800 - 1,200

Now consigning SPECIALIST PRINTS FOR 7 JUNE 2012

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CLASSIC FURNITURE, OBJECTS & DESIGN

CLASSIC FURNITURE, OBJECTS & DESIGN AUCTION JUNE 2012

ENTRIES CLOSE 13 APRIL 2012 Classic Furniture, Objects & Design Auction Sunday 3 June 2012 A 19th century Erard Giltwood and Satinwood Harp and associated stool Maker’s mark for Erard Freres, Paris With the inscription ‘Restored by J. George Morley, Harp Maker from Erard’s / 6 Sussex Place, South Kensington, London,’ 165cm high.

Estimate: $3,000 - $5,000

Warehouse Auction a Decorators’ Heaven At the Leonard Joel Graham Geddes Ware- $2280 (IBP). The highest price for the auchouse Auction on Sunday 18th March 2012 it tion was paid for a most impressive pair of was clear that professional and home deco- Indian brass and iron teak doors that realised rators were out in force for an auction that $7930 (IBP) and confirmed the demand from provided a truly diverse array of furnishings, clients for interesting architectural pieces objects, architectural features and unusual that are interested in “hands on” decorating items of utility which extended to no less and placement of rather complex pieces. The than an antique Indian wedding carriage! auction realised 88% by value of lots sold.

These warehouse-style auctions also provide The Classic Furniture & Objects department clients an opportunity to acquire both period is now seeking entries for valuable single and more modern pieces at a fraction of retail items or entire collections for its early June prices. This was exemplified by the sale of 2012 auction. For enquiries please contact lot 20, an elegant bureau plat in the manner Guy Cairnduff 8825 5611 or email guy.cairnof Paul Sormani (illustrated) which realised duff@leonardjoel.com.au. $7320 (IBP). Of the more unusual lots that sold, lot 180, a Fallow antler chair realised

Now consigning CLASSIC FURNITURE, OBJECTS & DESIGN for JUNE 2012

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CLASSIC FURNITURE, OBJECTS & DESIGN

FORTHCOMING HISTORIC STOCK IN TRADE AUCTION THE SPECIALIST COLLECTOR DEPARTMENT SECURES THE GRAHAM GEDDES ANTIQUES COLLECTION In September this year, a chapter in the his- to Asian antiquities and Viennese bronzes;

A 19TH CENTURY FLORENTINE MARBLE STATUE DEPICTING ARIADNE ON THE PANTHER Signed F. Vichi, Firenze, after the original by Heinrich Dannecker Estimate on Request

tory of one of Australia's largest and most many pieces with extraordinary provenance. important family-owned antique dealerships Graham Geddes: “It is common knowledge will come to a conclusion when the entire that I have dabbled with various auction stock in trade of Graham Geddes Antiques is houses over the years that have assisted me offered for sale in a final auction by Leonard with aspects of my collection. But this is the Joel at his premises on Melbourne’s High first and last time that a complete offering of Street, Armadale. Graham Geddes' choice in my entire stock in trade will hit the market appointing Leonard Joel was motivated by place. his long-standing relationship with the com- The auction is scheduled to take place in pany and his belief that Leonard Joel was mid September 2012 over multiple sessions. best resourced to undertake such a monu- To pre-register catalogue interest conmental dispersal.

tact Guy Cairnduff on 8825 5611 or email

Unlike Geddes’ previous auctions, the sale in guy.cairnduff@leonardjoel.com.au.

September will be a serious, final dispersal and the most historic of its type since The Owston Collection in 2010. All stock will be offered at below acquisition cost, presenting an outstanding opportunity for both local and international clients to secure a treasure from his vast and unparalleled local collection.

Graham Geddes' association with Leonard Joel has spanned over 40 years, with many of the finest, most unusual offerings at Leonard Joel catalogue auctions finding their way into his collection.

Guy Cairnduff, Head of The Specialist Collector Department: "Throughout my career, Graham Geddes has been a somewhat enigmatic figure and the first person you would call when anything really special came into the salerooms. His shop encapsulates my idea of what the very best High Street antique dealership should look like. Graham has always been a great supporter of Leonard Joel. It is a privilege to now have the opportunity to market his extraordinary collection at his flagship establishment."

Graham Geddes’ collection has long been renowned, not only for its sheer scale and depth, but also for its eclectic nature. The offering in the September auction will be no less diverse, ranging from bronze and marble statuary, important and rare English and European furniture, lighting and sculpture

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Leonard

CLASSIC FURNITURE, OBJECTS & DESIGN

The Graham Geddes Collection IN FOCUS Every month in LEONARD, Guy Cairnduff, Head of the Specialist Collector, will present a highlight from this important forthcoming September auction.

A monumental pair of Chinese cloisonnĂŠ enamel lidded temple censors Each of compressed ovoid form, decorated with stylised floral sprays below formal borders on a turquoise ground, beneath a domed cover surmounted by a bronze Buddhist lion knop, raised on tripod feet extending from lion mask heads, apocryphal Qianlong mark to rim, together with ebonised stands.

101cm high Estimate on Request

Leonard

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WEEKLY

The WEEKLY THE DANISH FURNITURE AUCTION Leonard Joel is excited to announce a significant collection of Danish mid-century Modern furniture will go to auction on Thursday the 5th of April. The collection consists of a

At a recent weekly Objects

selection of high quality oak, rosewood and teak furniture with

and Collectables Auction this

examples from renowned Scandinavian designers such as Hans

elegant Early 19th Century Flame

Wegner, Kai Kristiansen and Arne Vodder. With up to one

Mahogany Double Fusee Bracket

hundred lots on view, this is the perfect opportunity to secure

Clock realised $1,440 (IBP)

that unique piece of Danish modern design for your home.

Auction Thursday 5th April at 10am Viewing Wednesday 4th April 9am to 8pm Catalogue Now Online

THEMATIC BOUTIQUE SINGLE-OWNER AUCTION At our weekly auction on Thursday 24th February a most interesting collection of objects, furniture, decoration and ephemera with a distinctly Japanese and Asian flavour was offered for auction. The [insert number] lots on offer included ceramics, jade, cloisonné,

Illum Wikkelsoe(Denmark 1919 – 1999), attributed.

A matching pair of 1960s Danish upholstered armchairs Estimate $2,400 - $2,800

porcelain bronzes, hibachis, painted screens, kimonos, decorative items and furniture.

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

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Leonard

COFFEE IN MELBOURNE

COFFEE IN MELBOURNE In this first extract from Sandra Makris' publication Journeys of Melbourne's Coffee Pioneers - Trailblazing Passions, that documents the history of Melbourne's coffee culture, The Legend Café in Melbourne, its designer Clement Meadmore, and artist Leonard French are discussed.

Photograph Courtesy Ion Nicolades Private Family Collection

ART, ARCHITECTURE AND ARTEFACTS The Legend Café took its name from the impression of space and add to the ambience. one on top of each other, and they served souvenir; however, what he did not know was story of the mural created especially for the At the time, Leonard French was an as my bed for the duration of the painting Ion Nicolades had put a couple aside for his space. Clement Meadmore had a particular apprentice sign-writer, painting enormous project. After the enamel paint dried, I would personal collection. They are still treasured idea on how to enlarge and provide depth to signs, so when his friend approached him then place each panel in turn at the bottom of by him today. the long, yet fairly narrow space through a with this brief he did not flinch. In fact, he the stack of seven.’

Both Clement Meadmore and Leonard

visual illusion. For this challenge he engaged was excited that he could test his artistic One strong element was extracted and French* OBE grew to become renowned an amazing artist, Leonard French, who Ion skills on something new and innovative.

utilised as the business logo. As well as being artists,

Nicolades had also become acquainted with ‘As a struggling artist my lodgings were stark reproduced on T-shirts, business cards, through through Jazz.

receiving their

international individual

acclaim statement

and small’ recalls Leonard French. ‘When I flyers and matchboxes, it was engraved in commissions.

Clement Meadmore had placed seven mirrors commenced the project of painting the seven gold on the leather-bound menu covers. in the Milk Bar and wanted to match them panels that collectively would tell the story Leonard French did not know whether to Sandra Makris, 2010 with seven painted panels on the opposite of the Legend of Sinbad the Sailor, I not only feel disappointed or elated that these special wall in the espresso bar space. The panels lived and breathed the creative, I slept on it menus disappeared within a week. When no would reflect off the mirrors to increase the – literally. I stacked the seven canvas panels, one was looking, people pocketed them as a *Suggested further reading: Cubism and Australian Art, Lesley Harding and Sue Cramer, The Miegunyah Press in association with the Heide Museum of Modern Art, Australia, 2009.

Leonard

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MoMents In tIMe that DefIneD Us leonarD Joel HIstory

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MoMents in tiMe that MOMENTS IN defined us TIME THAT MOMENTS IN TIME THAT DEFINED US

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DEFINED US

1943 1943 Porcelain Porcelain Objects and and objects of Art from the of art from the National Gallery national Gallery of Victoria Collection of Victoria Collection

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1952

1966

1952

1966

1970

the The E. e.

Phillips Fox fox Phillips and and E. Carrick Fox e. Carrick fox Collection of Collection Pictures of

the The The Charles Ruwolt Hans Heysen Charles Ruwolt Collection Collection Collection of Australian Paintings of australian

1970 1971

1971 1974

the The Dame hans heysen Mabel Brookes Collection Collection

the The Maharajah Dame of Mysore Mabel Brookes Collection Collection

Paintings

Pictures

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leonard

leonarD Joel HIstory

MOMENTS IN TIME THAT DEFINED US

now seeking single owner collections For aUction

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Over 90 years on, Leonard Joel remains a Melbourne icon and our time-honoured commitment to providing buyers and sellers with a quality suite of auction and collection management services is just as important today. Founded by the late Leonard Joel in 1919, the business is now operated by John Albrecht, a former director of Kozminsky, who has been associated with Leonard Joel for a quarter of a century. In the 21st century Leonard Joel’s tradition of managing historic dispersals and generating record results for its clients continues.

Classic Radio Auction Classic Radio Auction A Single Owner Collection A Single Owner Collection Sunday 19 September 2010 Sunday 19 September 2010 Melbourne Melbourne

THE LIEUTENANT PAUL MCGINNESS WWI MEDAL GROUP INCLUDING THE QANTAS ARCHIVE

THE DAVID BROMLEY COLLECTION MONDAY 28 NOVEMBER 2011 MELBOURNE

SUNDAY 20 NOVEMBER 2011 MELBOURNE

1988

1990

1998

2010

2011

2011

Rupert C.W. Bunny’s Une Nuit De Canicule

The Qintex Collection

The Rogowski Collection

The Szental Collection of Radios

The Lieutenant Paul McGinness WW1 Medal Group

The David Bromley Collection

(The first painting sold for more than $1,000,000 in Australia)

leonard

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Art

THE ANDY MAC COLLECTION Street and Fine art from Citylights Projects 1992-2012 The art department is excited to announce hands; titled Freeze Muthasticka and made that Andrew Mac, renowned Melbourne up of no less than 72 panels (measuring street artist and founder of Melbourne’s over 30 metres in length, or 60 sq metres City Lights project, has engaged Leonard approx), this collaborative work was Joel to auction his entire collection of painted on site at the the Big Day Out music Australian and international street art, festival in 2004. Andrew has held the work furniture and objects. Some 500 lots make all this time and considers it an historically up the collection and of particular interest important piece of early street art. Andrew is Andrew’s vast survey of some 300 works Mac: “It is not just the sheer scale of the of street art that he has assembled over the work, its original purpose and the number last two decades. This sale of street art is of artists involved in its creation. For me the first time such a collection has come to this work sums up what the walls of Hosier public auction in Australia and represents Lane looked like in 2004, and is the first a unique collecting opportunity for those time that many of the key players of this

The Andy Mac Collection Auction Sunday 6 May 2012

interested in this most contemporary, period in street art collaborated together.

Andy Mac International Cooperation Will Speed Progress 2007 Digital inkjet light box transparency in steel light box, 45 x 45cm Estimate on Request

urban art movement. Within the collection As such it is a time capsule of Melbourne that will be offered for public auction stencil art at the peak of it’s blossoming in

THE CITYLIGHTS PROJECTS COLLECTION

in early May 2012 is arguably one of the the early 2000s. most important street art works in private

Street and Fine Art 1992-2012

The Rare and

Ithe Unusual SUNDAY 6 MAY 2012 MELBOURNE

At the Leonard Joel Sunday Fine Art Auc-

institution. Later in the sale, scarcity

paintings were conservatively esti-

auction. The results were truly breathtaking

tion on Mach 25th 2012 institutional and

of artist and rarity of subject matter

mated at $2,000 - $3,000. After

– lot 234 realised $7,800 (IBP) against a low

private collectors were treated to a rare

probably accounted for the extraor-

both local and international

estimate of $800, lot 235 sold for $10,200

collection of historically important art and

dinary result when a rather small

interest the “Kenricks” trans-

against a low estimate of $1,000 and lot 236

objects. The early highlights of the auction

work by the artist Herbert Rose

acted for $18,000 (IBP) the pair

(illustrated) sold for $23,400 against a low

were two works by John Glover of almost

(lot 157) sold for $10,200 (IBP)

and will now, no doubt, enter

estimate of $2,000. In total, the three pieces

identical proportion and similarly framed

against a low estimate of $800. The

the slow process of restoration,

realised $42,400 (IBP) or approximately 10

further painstaking research and

times low estimate. The final highlight of the

potentially some sort of attribu-

auction was a rare work depicting a gorge in

tion. Provenance and age were

central Australia by Albert Namitjira. Sub-

recurring themes and no

ject matter, sometimes more than artist,

that had been in one private collection for

oil titled Le Ruy, France provided a par-

30 years and had been originally acquired

ticularly unusual representation of a

from Christie’s in London. The two works,

protruding hill top castle within

lots 16 and 17, realised $91,200 (IBP) against

a provincial village. The pleas-

total low estimates of $75,000 and were both

ant surprises and challenges

more so than when the Cap-

is key with many of these Hermannsburg

secured by the same collector. A mid 20th

associated with identifying

tain Edgar Johnston Col-

works and the deep gully and dramatic com-

century work by Eric Wilson, lot 99, contin-

early

lection of Rare New Guin-

position of this very considered work by the

ued the theme of rarity when a very small,

came to the fore when lot

ean Artefacts came up for

artist ensured strong interest. The work sold

jewel-like work, by the artist of London real-

211, a pair of portraits, came

auction. The collection

for $31,200 (IBP) which was more than tri-

ised $9,600 (IBP). Expectations were high

up for auction. One was

comprised three pieces

ple its low estimate. Of the almost 300 lots

when the middle of the auction was reached

unframed and the other

collected by Johnston

offered on Sunday the sale total came to just

and three exceptionally rare transitional-

was housed in a mid 18th

in 1928 and comprised

over $820,000 (IBP) with a sale rate of 69%

period indigenous pieces were offered (lots

century frame that looked

a dance ornament and

by lot. Briar Williams and Nicole Salvo are

148-150). Two boomerangs, both elaborately

tantalislingly like one used

two pigment bowls. The

now accepting entries for the June Sunday

incised with decoration, lettering and names

by some of the great Brit-

three pieces had been

Fine Art Auction and Sophie Ullin, Aborigi-

enjoyed strong interest from institutions

ish painters. The sitters (or

held by descendants of

nal and Tribal art specialist, is now seek-

and finally sold for $21,600 (IBP) against a

subjects of the portraits)

Johnston for almost 90

ing single items and important collections

combined low estimate of $4,000. The third

were identified as part of the

years and extremely con-

of tribal and aboriginal art. If would like a

item from the collection was a very early

English Kenrick family but

servative estimates were

confidential valuation for auction please

transitional-period club that realised $3,120

there was little more that could

placed on the three items

contact Anna Hombsch, Art Administrator

(IBP). Leonard Joel is delighted to report

be gleaned from the two paint-

that are often notoriously hard

03 8825 5613 anna.hombsch@leonardjoel.

that all three items were secured by a public

ings. In rather rough condition the

APRIL

unsigned

portraits

to price before they reach public

12

com.au

Leonard

Art

Consigned for June Sunday Fine Art Sale HAUGHTON FORREST (1826-1925) Rothesay Bay Regatta Oil on canvas 73 x 116cm

JUNE FINE ART ILLUSTRATED Forrest, Haughton & Deas Brown, George, Haughton Forrest 1826 – 1925, Melbourne: Malakoff Fine Art Press, 1982, p.129 PROVENANCE Private Collection, Victoria Estimate $60,000 - $80,000

Now Consigning for The JUNE Sunday Fine Art Auction Leonard

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Jewellery

162

110

Fine Jewellery 140A

238

“STATEMENT JEWELLERY ALL THE RAGE”

At the Leonard Joel Fine Jewellery Auction was exemplified by the sale of lot 110, a most The highest price for the auction was paid for Constantin which sold for $10,980. The on Sunday 18th March 2012 it was clear impressive Aquamarine and Diamond ring/ a more understated, but no less rare, cushion auction realised $615,000 IBP against a low that collectors and jewellery lovers were brooch – yes, that’s “ring/brooch”. This very cut solitaire diamond ring lot 140A, that sold estimate of lots sold of $481,000, or 105% by focusing on statement jewellery pieces – large display of precious stones was centrally for $53,689 (IBP). This result also confirmed value of lots sold. The jewellery department by “statement” we refer to jewellery that is set with an Aquamarine weighing no less than the growing demand for more unusual is now seeking entries for valuable single high impact, visually. No longer are clients 23 carats and finally sold for $14,640 (IBP) diamond cuts, such as the cushion and jewellery items or collections for its midcontent with the staple jewellery items and against an estimate of $12,000 - $15,000. oval shapes, as opposed to the more widely June 2012 auction. For enquiries please designs of the 80s and 90s – they are now Equally impressive and unusual was lot 162, a worn brilliant and emerald cuts.

Of the contact John D'Agata (03) 8825 5605 or email

looking for much more adventurous and rather large diamond pendant set with a rare wristwatches, the highest price realised was john.dagata@leonardjoel.com.au bold colour combinations and designs. This Tanzanite that also realised $14,640 (IBP). for lot 238 a diamond encrusted Vacheron

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

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Leonard

PRE-OWNED LUXURY

Focus on HermeS

309

Pre-owned Luxury at Leonard Joel

At the Leonard Joel Pre-Owned Luxury leather by Louis Vuitton realising $4,800 Auction on Sunday 18th March 2012 an (IBP) – the price was a fraction of its retail interesting survey of Hermes items came cost and represented astute buying. The up for auction. In this post-auction wrap highest price for the auction again went to we highlight the strongest results from Hermes with the sale of lot 330 (see earlier 305

this fashion icon and results from other in this piece) and confirmed the appetite for houses of luxury. Again it was evident that high-quality “as new” (but not new!) leather Hermes fanatics were keen to avoid long goods by luxury brands and that Australian waiting lists when lot 330, a Kelly handbag buyers are now feeling more comfortable realised $7930 (IBP) against a low estimate with the idea that they are collecting of $6500. Continuing the “Kelly” theme, beautiful pieces of design rather than simply lot 309, a padlock wristwatch by Hermes buying second hand items. The auction sold for $1220 (IBP). One of the more realised $62,000 against a low estimate of rare Hermes pieces on offer was lot 305, lots sold of $55,000, or 113% by value of lots a vintage silver cuff beautifully pierced sold. The Pre-owned Luxury department is with stars and crescents. Complete with its now seeking entries for high-quality leather original box and packaging it realised $840; goods or indeed entire fashion collections almost doubling its low estimate. Hermes for its mid-June 2012 auction. For enquiries was not the only show-stopper on Sunday please contact John D'Agata on 8825 5605 or with lot 449, a superb, as-new condition email john.dagata@leonardjoel.com.au L’Extravagant overnight bag in Suhali

330

TRAVEL FROM A BYGONE ERA Despite missing its original locks, this nearly complete Ortner & Houle Crocodile Travelling Case Makers Mark Frederick Purnell, London, Circa 1884, realised 2880 (IBP). Typically these travelling cases are missing pieces that have been sold off separately so it was a rare pleasure to offer this very complete example of period travel luggage.

340

Leonard

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APRIL

WHAT IS A PRINT?

DEFINING AN ORIGINAL PRINT

BY JEFF MAKIN

The current confusion about what is, and year published a more concise definition :

regarding the status of artist’s prints. Perhaps create something totally different. Artisti-

what isn’t, an original print suggests, if noth- “An original print is an image produced from it is history repeating itself with the recent cally this process is not unlike the use of ing else, that the Australian print market is a surface on which the artist has worked, introduction of new technologies in print- photo-stencils in silk screen printing in the still in it’s infancy. The rest of the world, it such as a stone or wood block or a copper making again blurring of the boundaries 1960s during the POP ART period in London, seems, has no problem with this issue, for plate. This surface is intended by the artist between original prints and reproductions. where found text, photographs from magaexample : the William Weston Gallery, one of to be a stage in the creation of the artwork. Giclee prints for example, are digital ink jet zines and newspapers were appropriated the oldest print dealers in London, publishes Thus the original work of art in this case is prints of a digital image file on a computer from a mass media context and reassembled the European standard definition

on the the print itself rather than the block or plate or CD. Technically, if one just takes a snap into a new meaning in a different medium.

inside front cover of each of it’s catalogues :

from which it is printed”.

of an existing art work, downloads it onto Milojevic’s recent work is a good example of

“An original print is an image produced from The practice of the United States Customs the computer and clicks ‘print’ without any just how rich a graphic dialogue can be when a block, plate, stone or such like on which identifies an original artist’s print as a hand- manipulation, they are reproductions. If the combining traditional woodcut with approthe artist who conceived that image has him- made image, available in multiples, where artist signs it, as thousands of artists have priated digitally manipulated images. Such self worked. Every impression of an original the initial printing surface and successive done, then it is a signed reproduction, and not experimentation with a new technology by print is an original work of art in it’s own colour separations are made by hand and an original artist’s print. Where the problem a contemporary artist is not dissimilar to the right. The artist’s ideas are only expressed not by a mechanical process - conversely, arises is when they are sold to an unsuspect- way 19th Century artists very quickly subin the printed image which results from this with a reproduction the colour separations ing public as an ‘original print hand signed sumed photography into their studio pracwork on the block. The choice made by the are made mechanically, as in the case of by the artist’ at an original price. artist to produce this image in ‘print’ does photogravure.

tice – the computer, like the camera before

Such things as signed reproductions, in the it, is merely a tool, it’s what is visualised

not differ from the choice to work in oil, or Such reasoning has it’s foundation in author- fine art, High-Art / Low-Art stakes belong through it that determines whether it is a any other medium; the only difference in itative texts such as Prints and Printmaking on a similar plane to facsimile prints, or reproduction, non-reproduction, original or ‘print’ lies in the possibility of producing by Anthony Griffiths, Keeper of the Depart- memorabilia. And this should (and usually is) copy, art or artifice. a number of identical images, each one an ment of Prints and Drawings at the British reflected in the price – just above a reproduc- With etchings where an artist like John original work by the artist.”

Museum, who in discussing the term ‘origi- tion (you pay for the signature) but consider- Olsen draws directly through a hard or soft

This definition is consistent with that used nal print’ refers to the revolution caused by ably less than an original print.

acid resist bituminous ground to expose the

by the International Fine Print Dealers Asso- the invention of photography in the 1820s, But where the computer is used as an exten- copper plate, then bites it in the acid, inks it ciation, New York, (IFPDA) of which the and the difference between

reproductive sion of the artist’s hand and, even better, up and prints it, there can be no confusion.

William Weston Gallery is a member. IFPDA and non-reproductive processes. Griffiths combined with hand made images by an These prints, like those of Fred Williams, are lists over 180 members mostly in Europe and cites the invention of photography and the artist such as Milan Milojevic the original ‘pure etchings’. the U.S.A.

spread of photomechanical images as origi- intention and meaning of the appropriated At a practical level, the key to whether a print

The London Original Print Fair in it’s 20th nally causing confusion in the public’s mind images is metamorphosed or montaged to is original or not therefore lies in the degree

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Leonard

WHAT IS A PRINT?

For too long the understanding of the differences between prints has perplexed many art collectors.

In this article Jeff Makin shines a light on this facet of art practice.

of hand manipulation by the artist. There satisfied (that it is a good impression and the etchings (printed and published by PJP in And if that doesn’t work for you ask a printare levels of originality. The accepted prac- best image from the best period of an artist’s 2003) refers back to earlier paintings of the maker, because they are truly the experts in tice in major print workshops around the oeuvre) the number in the edition became a same name ; Jason Benjamin’s landscapes; the field. world, and certainly at Port Jackson Press in factor determining price; the fewer the bet- Robert Jacks James Joyce : House of the Dead Melbourne, is that the creation of the plate, ter, with the unique one-of, in-state (prior ; Christine Johnson’s burnished aquatint Jeff Makin, Artist & Art Critic stone, block or stencil must be 100% the art- to reaching a BAT stage and outside the edi- roses; Luke Sciberras, Mark Schaller and May 2006 ist’s effort. During the proofing stages there tion) proof becoming the most sought after, David Larwill’s etchings, or Williams’s formay be discussion between artist and printer and the most expensive, second only to the est ponds, You Yangs and Lysterfield etch- This essay is an extract from Critical but it is the artist’s responsibility to get the BAT, which of course is the exemplar print, ings - all were worked at the conceptual Moments – Essays and Reviews on Art in Ausimage up to a bon a tier (French for good and rarely if ever comes on the market.

stage from ideas that may have been seen at tralia, authored by Jeff Makin and published

to pull) stage. The BAT is the full expression There are many fallacies regarding the qual- a different stage of development in a paint- by Macmillan Art Publishing 2011 of the artist’s idea, and the end of the crea- ity of an impression, such as buying low ing or earlier print. Hence the idea that a Copyright ©2011, Jeff Makin tive process. The editioning by comparison numbers in an edition of etchings because print is a reproduction because it resembles is repetitive work where each impression is they are the best. This is only true where dry- an image in another medium is also a fallacy printed as close as possible to the BAT and point has been used: this process produces a - it is a variation on a theme. And it doesn’t is carried out by the artist, or master printer burr along one side of an incision made into even have to be your own theme: look what working with or under the artist’s instruc- copper with an engraving tool, and as it runs Picasso did with Manet’s Luncheon on the tion. If the artist is satisfied with each indi- through the press it sometimes breaks, or Grass, and Leon Kossoff with Poussin’s Rape vidual impression, he signs and numbers it, wears off. Such a criteria is meaningless with of the Sabines. Such interpretations are in following which the plate, stone or stencil is most other etching techniques particularly essence no different from Pavarotti singing usually destroyed thus guaranteeing the ‘lim- when the plates are chrome faced (as is the Puccini – it can work brilliantly if the artist ited’ number and thus the rarity of the print. practice at PJP) to prevent wear from suc- is in good voice.

This latter practice was introduced by 19th cessive runs through the press, and of course The very best way to learn about prints is to Century printmakers (Whistler was thought with lithographs, relief prints, and silk screen look at them. Printmaking by it’s very nature to have been the first to do so) to further dis- prints.

is a visual language, not a verbal one. There

tinguish artist’s prints from photomechani- Many painters who are also printmakers are many qualities, originality being one of cal reproductions. Prior to this, artist’s print often work an idea from a painting to an them, that only become apparent from conwere usually signed in the plate, and were etching, and from an etching back to a paint- tinual looking, and by looking, comparing unnumbered. Hence the print market began ing as a way of reaching a better synthesis and learning, the outcome of which is appreto be driven by rarity : all other criteria being of an idea: Olsen’s Seaport of Desire suite of ciation, and ultimately,

Leonard

17

connoisseurship.

APRIL

Collectables

WHAT MAKES A TOP five collectable?

BY GILES MOON 1. A trade box of six pre-war Dinky 280/1 Delivery Vans – Sold for $14,400 IBP, 2 May , 2010. These vans were made circa late 1930s and were supplied to toy shops in a yellow trade box which contained six models. The vans were then sold by the shop individually and unboxed. Complete boxes are extremely rare and are amongst the most sought after Dinkys.

2. Mr Atomic Robot made by Yonezawa, circa 1962 – Sold for $4,800 IBP, 31 October, 2010. This battery operated tinplate Japanese robot features a distinctive plastic domed ‘head’ with sixteen miniature flashing lights. Its rarity and charm make it highly

3

2

sought after by space toy collectors. This particular example was purchased at Myer department store by the vendor’s grandmother and given to him when he was a young boy. It was one of his most treasured toys, hence its remarkable condition.

3. AWA Fisk Radiolette ‘Empire State’ Radio - sold for $16,800 IBP, 21 March, 2010. An iconic Australian bakelite radio, made in the mid-1930s. As with most radios of this period they were most commonly made in utilitarian colours such as black, brown or white.

This green version is very rare; less than twenty examples are known to exist.

4. Highly Important group of medals awarded to WW1 flying ace and QANTAS co-founder Lt. Paul Joseph McGinness – Sold for $252,000, 20 November, 2011. These

1

medals are unique – McGinness is the only Australian serviceman ever to receive both the Distinguished Flying Cross and the Distinguished Conduct Medal. The medals were sold with an archive of photographs and ephemera documenting the formation of Qantas in 1920 by McGinness and Sir Wilmot Hudson Fysh.

5. 1895 VFA Premiership Football Presented To Fitzroy Captain Tom Banks - sold for $12,000, 22 May, 2011. This ball dates back to the final round of the 1895 VFA season when Fitzroy drew with South Melbourne to secure their first Premiership. Tom Banks was of West Indian descent an was an exceptional talent and was considered to be one of Victoria's finest players during this period.

An important piece of Australian Rules Foot-

5

4

ball history.

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Leonard

Collectables

HOLY HIGHLY

COLLECTABLE RADIO BATMAN! Batman was created by Bob Kane and Bill Finger and was first introduced to the general public in Detective Comics #27, May, 1939. He was an instant success and was given his own comic book ‘Batman ‘ in 1940. ‘The Caped Crusader’ is one of a rare breed of Superheroes who do not possess any supernatural powers. Instead he battles evil with his faithful sidekick Robin, using physical strength, cunning and an array of ingenious gadgets.

Batman’s secret identity is millionaire industrialist and playboy Bruce Wayne. One of the most popular depictions of Batman was in the ABC TV series which aired from 1966-1968. The show was more camp comedy than serious detective/action and featured memorable baddies played by established actors such as Cesar Romero ( Joker), Burgess Meredith (Penguin) and Vincent Price (Egghead). The Topp Super-Micro Bat Radio (pictured) was made during this period and would not look out of place on Batman’s famous yellow utility belt, alongside other gadgets such as the Batarang and Shark Repellent Bat Spray. For the time, this miniature radio would have been considered hi-tech and ultra cool with its edgy chrome detail and Bat logo fob. It’s accompanying fitted case is equally eye-catching.

It features a colourful comic-strip graphic of Batman holding the radio in one hand. This radio is one of the rarest and most sought after vintage Batman collectables and is expected to realise $600-800.

Now consigning COLLECTABLES, TOYS & SPORTING MEMORABILIA for JULY 2012

Leonard

19

APRIL

SERVICES

THE LEONARD JOEL DIGITAL JOURNEY FIND US ON

In November last year I started my new action on YouTube? However role as Digital Media Manager at Leonard the biggest improvement Joel. I had a blank canvas, my starter tools is still “in the post” - our

Facebook.com/Leonardjoel

consisted of an eight year old website with new website which will many quirks, an equally old email marketing not

only

revolutionise

system with a large and very elite database of your experience with us FOLLOW US ON

client emails and no social media presence but also change the way we at all. Yet my most valuable asset that I could do things in house. It will be simple, fresh, see was a fantastic business immersed in visual and elegant and allow our custom-

Facebook.com/Leonardjoel1919

history and bursting at the seams with activ- ers to quickly find out about how to ity, character, a passionate owner and staff buy and sell, do advanced searches, with expertise across every department.

WATCH US ON

change their account details and

In order to deliver the very essence of track

their

consign-

Leonard Joel to the world via digital com- ments online. munications I had a large and challenging Our launch date for

youtube.com/Leonardjoel1919

project but one that made me rub my hands the new website is together in anticipation!

to be confirmed but we will keep

You may be following our Facebook, Twit- you posted via our social pages and ter and blog pages which aim to keep our email alerts so sign up and BID LIVE AT OUR AUCTIONS ON

clients up to date with all the activity, stay informed. amazing items, auctioneers, viewings and even a ghost sighting? Or perhaps you have Clare Greig watched our video of the Japanese Robot in Digital Manager

MANY HAPPY [ART] RETURNS ENHANCING YOUR RETURNS OTHER AUCTION

THE SUNDAY FINE ART

HOUSES AUCTION HAMMER PRICE $80,000

$80,000

COMMISSION CHARGE

No charge

To celebrate the re-launch of the Leonard Joel Fine Art department and its seasonal full colour catalogues, we are delighted to offer art sellers a special selling arrangement for more valuable works of art.

For works consigned between April 1st 2012 until the end of December 2012 all clients of our Sunday Fine Art Auctions selling single works for a hammer price of $40,000 and above will enjoy a 105% return on the final sale price.

What this means is not only no transaction costs but also a 5% return

$9,600

over and above the final hammer price. As an example, assume you have a work of art that sells for $80,000. Instead of the normal transac-

INSURANCE CHARGE

$1,200

No charge

tion costs that would be deducted from this sale price, Leonard Joel will return to the seller net proceeds of $84,000. Simple – an enhanced

SALE PROCEEDS $69,200

return and no transaction costs.

$84,000

This offer only applies to single works consigned between April 1st 2012 and December 31st 2012 for our Sunday Fine Art Auctions.

Charges quoted exclude GST, are indicative only and vary auction house to auction house.

Hammer price excludes buyer's premium and other conditions apply.

APRIL

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Leonard

Art Business

ART Business

“The art of taxing consists in so plucking the goose as to obtain the largest amount of feathers with the least amount of hissing”.

Jean-Baptiste Colbert, treasurer to King Louis XIV

By Michael Fox

They say politics is the art of the possible. In shortly before the scheme commenced in made workable for the efficiency of the art the integrity of the art market by providing that respect it was an enormous achievement June 2010 for an initial period of five years. market.

a database of valuable artworks. There is

for Australia to introduce the resale royalty According to its latest financial statements, In the first 18 months of the scheme $10 mil- little financial gain in art market schemers scheme in late 2009.

for the year ended 30 June 2011, CAL spent lion in eligible resales were reported (about producing copies or fakes of artworks to the

But with the second anniversary of its com- about $3 million in developing internal com- $6 million of which came from the Aborigi- value of say $5,000 or less and that is the sort mencement due in June it is also now possi- puter software and systems. It seems most of nal art market). The total turnover of the of low end threshold that would make resale ble to conclude that the scheme:

this outlay was spent on resale royalties sys- Australian secondary art market (in reported royalties more effective in its aims.

• Will not be self-funding;

tems as the software will be written off over public sales) for 2010 and 2011 was about This would also eliminate the tokenistic

• Is most likely unenforceable for eligible five years – the same time span as CAL’s ini- $100 million each year. It would be reason- aspect of the scheme. The odd royalty payresales made offshore; and

tial period to administer the scheme.

able to conclude a figure of $60 million per ments of $250 or less are quite immaterial in

• Creates too much bureaucracy for little How will CAL recover this $3 million invest- year in eligible resales to make the scheme the greater scheme of sustaining an artist’s return.

ment? The Federal Government has ear- work would be highly unlikely.

practice. Unfortunately for many contem-

In short the resale royalty right has become marked $1.5 million in government outlays to Could their shortfall be made up by collect- porary artists the trade-off with receiving the carbon tax for the arts. And like the car- establish the scheme, most of which will go ing resale royalties on sales of Australian art these royalties is a decline in their gallery bon tax, should there be a change of govern- to CAL (conditional on its performance). The offshore? This would not be likely judging wall prices. This is becoming evident in the ment at the next federal election, there has to other $1.5 million will have to come from rev- by the example of sales of Sidney Nolan art- Aboriginal art market, particularly as many be serious doubt as to whether resale royal- enue derived from resale royalties collected works, which I have discussed separately. ties will continue in its current format.

That’s not to say the idea of a resale royalty

from the Australian art market.

gallery sales now carry a 5% resale roy-

In fact, not all artists are in favour of the alty charge due to the Indigenous Code of

In other words CAL will not earn a return scheme. A particular grievance is the fact Practice.

is a bad idea – there is merit in having a sin- on its software investment, let alone paying that they cannot opt out of the scheme It is clear this is not a user pays system but gle authority compile a database of valuable its staffing and other costs, unless it collects entirely but can only exempt eligible resales CAL has now made the financial investment art market resales – however the scheme has resale royalties on eligible resales of $300 one at a time. This is an example of the need- into creating the systems needed to administo move from being a collecting society to a million in the first five years of the scheme. less bureaucracy of the resale royalty right. ter the scheme. What is needed is the experrepository of art market knowledge with the CAL therefore requires the heroic assump- A recent change that is welcome, however, is tise to run the scheme for the wider public skills to identify the schemers who occasion- tion of an average of $60 million per year in the removal of the reporting of eligible sales good. The idea of a collecting society is worally blight the market.

reported resales of artworks to recover their worth less than $1,000.

thy but should go further by incorporating an

The resale royalty right is administered systems outlay and make this a user pays sys- Not two years yet into the scheme it is obvi- art market investigations unit. More on this

by Copyright Agency Limited (CAL). It tem. If this can’t be achieved the scheme may ous that it should be modified for the one idea in my next column. was appointed by the Federal Government as well be funded from general revenue and true purpose it could serve - to preserve

Sidney Nolan sales exempt from resale royalties It may not be well-known but currently no residency test requires one of three ele- resale royalty schemes. resale royalties will be payable on the sale ments to exist: Australian citizenship, per- In 2011 Sidney Nolan was the fourth most of Nolan artworks. Nolan, one of the “top manent residency of Australia or being “a valuable traded artist on the Australian 5 artists” identified in the government’s national or citizen of a country prescribed market with over 170 resales worth close 2004 discussion paper on the viability of as a reciprocating country”.

to $3.6 million. Should all future sales of

the then-proposed scheme, left his estate The last element would be satisfied if Nolan artworks be permanently exempt to his widow, a British citizen living per- Australia and the United Kingdom had from resale royalties, it could be argued manently outside of Australia.

a reciprocal agreement in relation to this will create a competitive advantage

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

The resale royalty scheme requires estates their respective resale royalty schemes, over comparable artists who cannot avoid

superannuation funds (SMSFs). He is a member

of deceased artists to be managed by indi- however this has yet to occur. In fact no the levy.

of the Leonard Joel Valuation Panel and is

viduals or entities who satisfy what is reciprocal agreements have yet been put

engaged exclusively by Leonard Joel to provide advice to their clients in relation to artwork

known as the residency test. Passing the in place with other countries with similar

investment in SMSFs. He may be contacted at michael.fox@superartbusiness.com.au.

Leonard

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APRIL

OUR VALUERS NOW FLYING TO SYDNEY EVERY MONTH

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