LEONARD, issue 6, May 2012

Issue SIX / MAY 2012

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Cover Jeff Koons (American, born 1955) Balloon Dog 1995 Metalised Porcelain ed. 2291/2300 26.4 x 25.4cm Estimate $3,000 - 5,000

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Auction Sunday 24 June 2012

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FOReWord

Art, Money & Mona Lisa's Curse

Robert Hughes’ ruminations on the economy for art

You could do worse than to bookend your arts was largely the preserve of royalty, those Hughes is not troubled by the reality of the leries and cashed-up collectors transfixed by understanding of the last 30 years of the art nobles with the means to acquire art and, at masses filling the museums and galleries of price, status and brand. market with two works by Robert Hughes, this time, not too many major public collect- the world. What concerns him is that they Fast forward now to a lazy Sunday afternoon the Australian born but mostly American res- ing institutions. But what concerns Hughes don’t seem to be doing enough “looking” and last year when I first watched Mona Lisa’s ident art critic who in the late 1970s famously more is what has happened to art appre- are rather, consumed by the obsession with Curse which in many ways is Hughes’ condismissed Australian art as of little signifi- ciation in the post-war period with a global price and treasure. temporary version of his earlier essay. Durcance as a young twenty-something. The two economy that is infinitely more liquid, more Hughes suggests a few defining moments ing the various segments of the documentary works I write of are essential art reading (and cashed-up and more vulnerable to art mar- that may well have contributed to the com- he sits with various 'seriously cashed-up watching) and illuminating on many levels. keting than it has ever been. In this sense, moditization of art and they are interesting collectors' and asks them what they think Hughes’ essay, Art and Money, written in money for him, when it comes to art is prob- indeed. In the 1960s Sotheby’s combined is going on. For me I think he delights in 1984 is just that, a straight forward essay that lematic. Just why he has a problem with it is with Time magazine to create an art and recording their belief, contained within concludes his work Nothing if Not Critical, the question that, for me, extracts the kernels antiques index that, as Hughes comments, their opinions, that their capacity to collect while in 2011 his made-for-TV documentary from this terrific short essay. was full of graphs, charts and very general necessarily endows them with an art intelMona Lisa’s Curse (only at present available According to Hughes, the post-war period data that indicated the enormous growth lect. These moments in the documentary on Youtube in parts and slowly disappear- created the phenomena of the “million dol- potential of these more exotic assets. For are made all the more poignant as they seek ing!) is a fascinating series of interviews and lar plus” painting; prior to this such prices Hughes this was one of those tipping points to impart their “forty something” views to observations that seem to confirm his fears were virtually unheard of and even when when art began to mean something other probably the greatest of all art critics. The and suspicions in 1984 that the art market one applies various conversion formulas to than history, beauty and story to the masses. documentary leaves us with Hughes’ despair was becoming much more about money, account for prices over the centuries, very But perhaps the most interesting of his that great museums like the Guggenheim block-busters and celebrity than it was about few of even the greatest works throughout observations within this piece is his analysis are now being cloned on a global scale as if the great pleasure of enjoying and learning history (based on their previous transaction of supply and demand and the emergence of the institutions have now become what the from the gentle practice of wandering quietly prices) would come anywhere close to the American dollars and collecting in the 20th art to the masses has become; places where through a public Museum or slowly moving million dollar price tags attributed to less century. In the late 19th and early 20th cen- brand and money are revered more than the through an illustrated art book. significant and more contemporary works. turies Hughes likens the plentiful and inex- art itself. For Hughes this is the time to “shut The essay Art and Money is a ranging rumi- Hughes asserts that money now moves like pensive supply of pre-19th century art (often the book”. nation of what money is doing to art and in mercury, and in such quantities, that for great works that were truly cheap) with the So why read Art and Money and why watch typical Hughes style infused with extremely him there is a profound disconnect between teaming fauna of the Serengeti Plains – there Mona Lisa’s Curse? I sound a little schizoinsightful and sober observations about price, value and quality (historical and aes- was simply so much of it and enough to keep phrenic given I do enjoy reading about and how money has transformed the prism thetic importance) the art trade going for “100 years”. This cre- interpreting art statistics and economic activthrough which the public identify with art. The appearance of the block-buster exhibi- ated the environment for sober prices, rarely ity. For me the answer is what Hughes is to It is interesting to read Hughes when he is tion on the American gallery scene in the expensive paintings and maintained the tone my understanding of the art world. Hughes talking about something he truly loves (art) 1960s and 70s, the practice of cordoning a of art as an aesthetic and historical pursuit to art is what your grumpy, well-meaning and something he mostly detests (money’s painting off in a public space with a red vel- rather than an economic one. This supply steel-trap-minded uncle is to you when you impact on art) and so the piece is very much vet rope and guard and the incessant discus- dried up in the post-war period and in no need some advice or direction – your uncle, a mini-search for the roots of art investment sion about the “priceless” or “zillion-dollar” small part due to the enormous fortunes like Hughes, grounds you and reminds you discourse and why indeed we need to think painting has distorted and demeaned the amassed by Americans who became volume what it’s really all about and what really is about art as an investment or in money terms importance of art socially and historically and collectors themselves and also endowed vari- happening. So as an art lover I encourage you at all. Hughes looks back through history repackaged art in general public discourse as ous American museums with the capacity to to remind yourself that art is not just about and moves forward in to the 1980s when the something that must be priced, revered for “out bid and out buy” the rest of the world. money but about appreciating, about history, piece was written. its price and never divorced from its price. The transfer of so much art from Europe to about beauty, about aesthetics and about His first observation is ironic and that is that Hughes remembers the time when he would the USA during this period lay at the centre of knowledge as well. he accepts the premise that throughout his- walk public galleries and never think about what was going on. When this supply largely tory art has only thrived in environments what such and such a painting was worth and dried up the demand didn’t and so began the where generous patronage (and enough dol- he wonders why this quiet, scholarly pleas- process of finding lesser quality old and new lars) existed to sponsor the 'creative' seg- ure has been lost to the masses that now sur- art to meet the demand. For Hughes this was ments of the population. Up until perhaps round a distant tiny painting on a wall and see the great turning point when art criticism the mid 19th century this support for the not the painting but the dollars. Significantly, was subsumed by clever marketing, slick gal-

Leonard

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BY John Albrecht

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Contents

Thinking of Selling?

From Single Items to Collections

MAY 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

MODERN DESIGN

5

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

The Graham geddes collection 6

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.

ABOriginal art

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ists on a daily basis.

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:

CLASSIC FURNITURE, OBJECTS & DESIGN

Australian and International Art

10

Fine Jewellery and Wristwatches

ART 12

Pre-Owned Luxury Classic Objects and Furniture

Jewellery 14 Upcoming auctions

15

Dr. Marguerite mahood

16

Oceanic art

17

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

collectables 18 Fermoy estate WINE OFFER

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Art BUSINESS

21

Dodgem Subscribe

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Leonard

Calendar

Forthcoming Auctions The Weekly Auction

Every Thursday in 2012 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria

The Oceanic Art Auction

Thursday 3rd May 2012 – 11.30am 333 Malvern Road, South Yarra, Melbourne, Victoria

The Andy Mac Collection Auction Sunday 6th May 2012 - 12pm

333 Malvern Road, South Yarra, Melbourne, Victoria

The Monthly Toy Auction

Thursday 17th May 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

The Specialist Print Auction

Thursday 7th June 2012 – 11.30am 333 Malvern Road, South Yarra, Melbourne, Victoria

Fine Jewellery Auction

Sunday 17th June 2012 – 12pm

GEORGE BARRIS (AMERICAN, BORN 1928) Outside at the Top of the StepsFrom the set of the film the Seven Year Itch silver gelatin photograph Sold March 2012 $720 (IBP)

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 22nd July 2012 – 12pm

333 Malvern Road, South Yarra, Melbourne, Victoria

Photographic Auction

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, Victoriaa

The Graham Geddes Collection of Important Antique Furniture & Objects Auction Saturday 15th to Monday 17th 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

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News

ABORIGINAL ART

MEDAL GROUPS IN STRONG DEMAND

This work by Albert Namatjira (1902-1959), of rare subject matter, titled Morning, Narrow Gap, James Range, realised $31,200 IBP at the recent Sunday Fine Art Auction.

DANISH FEVER MINIATURE GROUP OF EIGHT AWARDED TO QANTAS CO-FOUNDER SIR WILMOT HUDSON FYSH Sold April 2012 $11,400 (IBP)

Following the sale of the Qantas Paul McGinness WW1 medals for $252,000 (IBP) in December 2011, medals continued to achieve strong results in the Collectables sale on 1 April. A miniature group to Qantas co-founder Sir Wilmot Hudson Fysh more than doubled expectations, selling for $11,400 (IBP) against an estimate of $4,000-6,000. The top price of the day was paid for a WW1 DSO, MC group to Brigade Major Herbert Gollan that sold for $18,000 against an estimate of $15,000-20,000

At our recent Danish Furniture Auction this four seat sofa attributed to Illum Wikkels (Denmark, 1919-1999), realised $3,840 (IBP).

Now consigning MILITARIA FOR 22 JULY 2012

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Leonard

Modern DESIGN

THE EAMES SUITE

For Sale by Private Treaty A set of four 'Time Life' Lobby Chairs and a back and seat flanked by padded arms, with a with a later top, raised on a brushed alu- Enquiries: Marble top table by Charles and Ray Eames. brushed aluminium frame and an out swept minium base. The table is 91.5cm diameter x Guy Cairnduff Manufactured by Herman Miller Furniture base, one chair with the original manufac- 43cm high.

Head of Classic Furniture, Objects & Design

Co. Model introduced 1960.

(03) 8825 5611

turer’s label for Herman Miller (Aust.) P/L; Price: $22,000 including GST

Each chair with a buttoned taupe leather together with a circular marble top table

Classic Furniture, Objects & Design Auction Sunday 3 June 2012, 12pm

Leonard

guy.cairnduff@leonardjoel.com.au

Preview Wednesday 30 May 2012 9am – 8pm Thursday 31 May 2012 10am – 4pm

Friday 1 June 2012 10am – 4pm Saturday 2 June 2012 10am – 5pm

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The Graham geddes collection

The Graham Geddes Collection OF IMPORTANT ANTIQUES & OBJECTS

The Mentmore Towers centre table shares its history with one of the most famous – and perhaps notorious – country houses of Britain, Mentmore Towers in Buckinghamshire.

Built between 1852-1854 as the country seat of the banker, Baron Mayer de Rothschild, the house was designed by Joseph Paxton and George Henry Stokes. The table is reflective of the Italian Renaissance style which featured throughout the property and gives a taste of the grandeur and quality of the Baron Rothschild’s collection.

Following successive ownership changes during the 19th and 20th centuries, the future of Mentmore Towers and its sumptuous interiors was threatened during the 1970s after offers to give title of the collection and property to the British Government in lieu of inheritance taxes or for a fee of 2million pounds were rejected. A landmark auction of the Mentmore Towers collection was undertaken and the contents of the property dispersed for 6 million pounds – a staggering figure at the time.

Enquiries: Guy Cairnduff Head of The Specialist Collector (03) 8825 5611 guy.cairnduff@ leonardjoel.com.au

19th century Italian Rococo style sidetable

The Graham Geddes Collection of Important Antique Furniture & Objects Auction Saturday 15, Sunday 16 to Monday evening 17 September 2012

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Preview Saturday 8 September 2012 10am – 5pm Sunday 9 September 2012 10am – 5pm Monday 10 September 2012 10am – 5pm Tuesday 11 September 2012 10am – 5pm

Wednesday 12 September 2012 10am – 8pm Thursday 13 September 2012 10am – 8pm Friday 14 September 2012 (by appointment only)

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The Graham geddes collection

An International Collection with Local Connections BY guy Cairnduff

“I was an assistant for the decorative arts department when this statue was consigned for auction. I had the job of scrubbing away years of grime with sugar soap, ready for photography.”

A finely rendered, 19th century statue of Ari- aiding his escape from the Minotaur. Stories its 93rd year of operation, with both entities is a trait common amongst almost all passionadne resting on the back of a panther by the such as this abound in Geddes’ collection, enduring and prospering in spite of a series ate antique dealers – a reticence to let go of Florentine sculptor, F. Vichi, is just one piece because over the past four decades he has not of well-documented economic recessions, a their most prized pieces. Such is his apprein the collection of Melbourne antique dealer, only travelled the world sourcing the finest generational shift in the antique-buying audi- ciation for the scarcity of some of the gems Graham Geddes, which resonates personally quality items for his business, but has also ence, bringing with it changes in customers’ in his collection, Geddes quotes numerous with Guy Cairnduff, head of The Specialist been a key participant in the local auction appetites, and the shift in the bricks-and- instance of pieces in his shop that have been Collector department at Melbourne auction market. A somewhat enigmatic figure, Gra- mortar retail buying landscape associated sold, bought back, then re-sold, only to be rehouse, Leonard Joel.

ham Geddes is often the first person an auc- with the rise of on-line purchasing.

acquired years later, with some pieces chang-

“I was a junior assistant in the decorative tioneer would contact when anything really Geddes attributes his longevity in the ing ownership as many as five times before arts department when this statue was con- special came into their salerooms. His flag- antiques trade to his ability to adapt to re-entering the inventory of Graham Geddes signed for auction. I was very lucky to be ship premises in Melbourne’s High Street, meet changes in the market, expanding the Antiques. Once such example is a Louis XV given the opportunity to see the home it Armadale, encapsulates the image of what scope of his business beyond simply selling period Kingwood and marble commode by came from before it arrived at the salerooms. the very best High Street antique dealership antiques to encompass film hire, commercial the French cabinet maker, Francois Fleury.

It came out of the South Yarra property of a should look like. However, the experience hire and high-end real estate display. Con- The commode was originally sold by Geddes well-known Melbourne interior decorator, of a visit to Graham Geddes Antiques for the stant overseas travelling has given him the to a Melbourne private collector. It was then the type of unassuming house you see every first time visitor can be one of contrasts. The ability to quickly respond to changing tastes, re-purchased by Geddes at a Sydney auction so often as an auctioneer, only to find a treas- formality of entry to the building via security sourcing stock from locations as far afield in 2009 and is now to be offered for sale a furure trove hidden behind the front door. The entrance is immediately contrasted with the as Marrakesh, Spain, India, Britain, France, ther time in September this year. statue was stored in a glass house in the back- familiarity of finding Darling the cat sound Italy and China.

Other treasures from the Geddes collection

yard of the property, covered in leaves but asleep on an 18th century armchair, or the Similarly, Leonard Joel has responded to include an extraordinary mid 19th century remarkably intact.” Such was its weight, spe- sound of chirping crickets which have nested changing dynamics in the auction industry Italian Rococo style carved giltwood and cialists in moving bank safes were engaged undisturbed beneath the floorboards of what with the development of The Specialist Col- marble sidetable (see p.6). Purchased from to undertake the task of transporting it from is referred to as the ‘Old Shop’. This familiar- lector – a department with the specific aim of the sale of the contents of the impressive its resting place in the South Yarra backyard ity is a reminder that above all, Graham Ged- providing tailored marketing for important English country house, Mentmore Towers in to Leonard Joel’s salerooms. “I had the job des Antiques is a family business, with Ged- single owner or single category collections. 1977, the table is a reminder of a bygone era of of scrubbing away years of grime with sugar des’ five children involved in the day to day “The department was conceived to meet the lavish furnishing. soap, ready for photography. The end result running of the establishment and its various increasing interest amongst our clients in The shared history of Graham Geddes was stunning.”

off-shoots.

the personal context of collections, which, in Antiques and Leonard Joel is just one ele-

The Vichi statue is a copy of a piece executed The next impression would have to be the some instances, was being lost in multi-ven- ment of an international calibre auction, by the German sculptor, Johann Heinrich vast scale of the Geddes’ premises and inven- dor auctions. In most cases in a single owner which will mark the conclusion of an imporvon Dannecker (1758-1841) between 1810 tory.

Once even larger, the business still auction, you can state the vendor’s name and tant chapter in the history of the Australian

and 1824 and is one of an anticipated 1500 occupies four shop fronts, extending through give people an insight into the personal his- antiques industry. lots which will be offered on behalf of Gra- to the street behind and encompassing tory behind one person’s collection, which ham Geddes in a final dispersal of his stock numerous separate galleries and workshops.

is something our clients really respond to. Enquiries:

in trade in September 2012. It has been rep- The September auction has the feeling of a Being engaged to market the Graham Geddes Guy Cairnduff licated in numerous forms, including minia- coming together of two icons of the Austral- collection completely validates our decision Head of The Specialist Collector tures in porcelain, the panther signifying the ian antiques industry – Graham Geddes and to focus on regaining the single-owner col- (03) 8825 5611 favoured mount of Dionysus, who, according Leonard Joel. Over the last 40 years, the Ged- lection market, which was previously domi- guy.cairnduff@leonardjoel.com.au to Greek mythology, took Ariadne as his lover des antique business has developed in tan- nated by Leonard Joel.” following her abandonment by Theseus after gent with the Melbourne auctioneer, now in Another characteristic of Geddes’ collection

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THE WEEKLY

The WEEKLY THE SPECIALIST PRINT AUCTION

NOW CONSIGNING FOR AUCTION Thursday 7 June

This unusual 1960's garden egg chair

by Peter Ghyczy (Hungary/Germany, born 1940), and manufactured by Reuter Products realised $840 (IBP).

CHARLES BLACKMAN (BORN 1928) Schoolgirls screenprint 21/80 64.5 x 45.5cm SOLD $1,080 (IBP)

THE DANISH FURNITURE AUCTION

Enquiries Nicole Salvo (03) 8825 5624 / nicole.salvo@leonardjoel.com.au

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

MAY

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Leonard

ABORIGINAL ART

We Need to Talk About Aboriginal Art Several years ago I attended an aboriginal Then, let’s say over the last decade or so, a little aboriginal art was selling at auction for $30,000 – this is a feature of a market art auction fund raiser for a school’s very fairly significant, by Australian standards, and what was selling was for a fraction of that is no longer sure which works to collect worthy indigenous projects. Richard Alston, secondary or auction market for aboriginal its “2007” style price. This was not specific and by which artists. My view is that the then Minister for the Arts, was assisting and art spearheaded by the then local branch to aboriginal art at auction but it was to collecting community needs to start “talking key speaker at the event. He made a very of Sotheby’s International, emerged. The affect it more profoundly. In harmony with about aboriginal art” and not avoiding the interesting, very honest and straight forward prices of what was considered good-to-great less “art money” on offer, declining prices conversation about “what to do” when the observation that, amongst other benefits, aboriginal art rose like 'no one’s business' and so much stock available, sales for more confluences of over-production, taste and the aboriginal art industry had evolved in to and in retrospect what we had was a classic considered aboriginal art, as opposed to, let’s downturn unite to economically punish a very successful and valuable mechanism early stage new market for an art category call them, decorative tourist pieces (and the an important component of our local art for employment. His comments were not that was peaking rapidly and in a bubble- distinction is not a simple one), declined and culture. Over-production is of itself a those of a particularly passionate art buff like manner – works were finding their way dramatically. This has been the great shame worthy employment mechanism, assuming or commentator but those of an individual from galleries to auction houses too quickly of the market in the last half decade as it sustainable demand, but it does different that genuinely saw the social benefits of and with unsustainable prices rises. This was has gone from being a darling of the broad things to the process of art appreciation and active participation in art practice and in not just unique to aboriginal art but it was collecting community to now a very cautious the important element known as “serious this case with the Australian indigenous aboriginal art that was young to the market, market full of participants that are no longer art collecting”, that ultimately sustains community. Hughes in the piece discussed by collecting standards, and was as such more sure of which artists they should be collecting and underpins long-term appreciation and earlier in Art and Money deals briefly with vulnerable to that dreaded “change in taste” and what price they should be paying. My reverence for an art genre or culture. My the flipside of this dilemma and that is the phenomena or maybe in this case, change opinion is that no one is really talking about view is that collectors and academics should problem of over-production when too many in appetite. The market for indigenous how to get a relatively recent market that start again “talking about” who are the great, artists, art academics, museums and cashed art reached its emblematic zenith when a has experienced an extreme downturn, back who are the good and who are the average up masses converge and demand “more”. local auction house transacted a work by within the collecting dialogue and thinking aboriginal artists in the market place so that This is precisely what has happened to the Clifford Possum Tjapaltjarri for $2,400,000 of art collectors generally. The aboriginal more collectors will come back and begin Australian aboriginal art market over the (AUD) – in 1977 the Commonwealth Bank art of the last 30 years is too important to dipping their toes in the water of this very last decade. Early, very committed galleries of Australia had paid $1200 for the work. So fade away like some very brief art fad and I important market. to aboriginal art spawned a genuine and here we art market buffs go again – banging believe it will recover but in what shape I am broad public interest in this contemporary on about extraordinary prices rises. But not sure? At present one can acquire quality art movement which in turn precipitated let me briefly explore the flipside of these works by one of the undisputed masters, a broad retail gallery appeal and demand heady prices. Fast forward not too far in Emily Kame Kngwarreye, for $10,000 that for more decorative aboriginal works. to the late 2000s and all of a sudden very say five years ago were comfortably selling

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BY John Albrecht

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CLASSIC FURNITURE, OBJECTS & DESIGN

CLASSIC FURNITURE, OBJECTS & DESIGN

AUCTION 3 JUNE 2012 The June Classic Furniture, Objects & Design auction offers a select collection of items in categories including Asian works of art, modern design, important Australian decorative arts, clocks and barometers and European and Australian furniture. With over 300 items to choose from, the June auction showcases classic pieces in both the modern and traditional decorative arts.

Enquiries: Guy Cairnduff Head of Classic Furniture, Objects & Design (03) 8825 5611 guy.cairnduff@leonardjoel.com.au

A JAPANESE BRASS STRIKING LANTERN CLOCK (KAKE-DOKEI) ON BRACKET CIRCA 1860 Estimate: $4,000 - $6,000

Classic Furniture, Objects & Design Auction Sunday 3 June 2012, 12pm

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Preview Wednesday 30 May 2012 9am – 8pm Thursday 31 May 2012 10am – 4pm

ROBERT PRENZEL (1866-1941) A RARE CARVED LONG CASE CLOCK, CIRCA 1910 REPUTEDLY PART OF THE ORIGINAL FURNISHINGS OF GLENORMISTON, WESTERN DISTRICT, VICTORIA THE MOVEMENT STAMPED F. ZIEGELER, MELBOURNE Estimate: $20,000 - $30,000

Friday 1 June 2012 10am – 4pm Saturday 2 June 2012 10am – 5pm

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CLASSIC FURNITURE, OBJECTS & DESIGN

AN OPALESCENT NIGHT LIGHT ON CHROME BASE BY MARIUS SABINO CIRCA 1930, SIGNED SABINO FRANCE Estimate: $2,000 - $3,000

ROBERT PRENZEL (1866-1941) THE PAN CONSOLE, A PLASTER RELIEF MAQUETTE, CIRCA 1890 Estimate: $1,000 - $2,000

AN IMPRESSIVE CHINESE SUZHOU EMBROIDERED SILK PANEL QING DYNASTY, 19TH CENTURY Estimate: $10,000 - $15,000

A CHINESE CARVED JADE BOWL AND CARVED BOXWOOD STAND QING DYNASTY, 19TH CENTURY Estimate: $3,000 - $5,000

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Art

have certainly driven more dollars in to the art asset class by investors that consider it a relatively safe area to park some cash that is not performing on the share markets • This previous point seemed to be confirmed somewhat by a record $11.57 billion in art traded in calendar 2011 which is the highest figure ever recorded (readers should note that this is profoundly influenced by the explosion in Chinese art trade that grew 49% in the 2011, yes that’s 49%!)

• Christie’s and Sotheby’s art turnover covered 47% in 2011 compared to 73% in the early 2000s – Chinese auction houses and the rise of internet trade are considered key drivers of this decline in art market dominance – the writer would not at all be surprised if a Chinese billionaire with a passion for art might decide one day to acquire a trophy brand like Sotheby’s or Christie’s • While the European, American and English auction art markets can be measured in centuries the Asian one can be measured in a single decade – it clearly has a long way to go!

Art Market Trends 2011

• Modern art, as opposed to contemporary or traditional areas, remains at the heart of the global trade and as if to prove the point of their rise, China can now claim as its own the two highest grossing artists in the world – move over Picasso and Warhol • But it is not just Modern art that it is being driven up by the Chinese. The Old Master Wang Meng now sits between no less than Rubens and Raphael, yes Raphael, as the second most expensive work ever to sell in this category at auction at $54 million • Interestingly, the Contemporary art sector sold more works by volume in 2011 than ever before and nearly double that since 2001 with 62% of works selling for $5000 or less • Unsold works at auction peaked in

– a statistical perspective

2008/2009 and the figure is now declining slightly albeit still fairly high compared to the heady days of 2006/2007 • The 'Shark in the Tank' artist Damien Hirst, is identified as perhaps the emblematic fad

Song Haizeng (Chinese, born 1969) Edge of the City Blue Series #3 2000, acrylic on linen, 99.5 x 80.5cm Sold for $7,200 (IBP)

BY John Albrecht

artist of the last decade with nine (9) million dollar results in 2011 compared to sixty-five (65) in the 2006-2008 period • Christie’s announced a 29% increase in online art revenues from 2010 to 2011

2011

definitively

Chinese

year marked China’s rise as the new global

(this naturally includes Beijing, Shanghai

domination of the art market: with a

powerhouse of international art trade, 2011

and Hong Kong) than anywhere else in the

And

more than 40% share of the global art

confirmed this was no flash in the pan. The

world

Australian artists sit by turnover in the top

market and six out of the world’s top

figures coming out of Chinese art auctions

• Drawings, typically a small global catalogue

500 artists globally?

ten best-selling artists, China is now

are truly breathtaking and clearly reflect the

by turnover, have skyrocketed due to the

incontrovertibly the world’s leader of the

enormous and rapid disposable wealth being

Chinese appetite for drawn works on paper

Ranking

art market. Art Market Trends 2011, Artprice.com

generated by a highly acquisitive population

with annual revenue up by $1.318 billion

Brett Whiteley 225

and government, with public museums

• In many ways the global art economy

Russell Drysdale 291

Last year I provided readers with a snapshot

popping up all over mainland China. Below

reflects the two speed nature of the

Arthur Boyd 350

of key facts from Art Market Trends 2010

I summarise key facts about the 2011 year at

Australian economy; a relatively weak

John Brack 406

produced annually by Artprice which is the

auction:

European and American trade while China

Fred Williams 408

best global summary of art auction data. Last

• In 2011, China represented 41% of global

and other Asian states are experiencing a

Jeffrey Smart 481

year it was all about China and this year of

art auction trade

profound early stage explosion in art trade

Sidney Nolan 482

review, 2011, is no exception. If the previous

• More high-value art is being sold in China

• The GFC and subsequent economic turmoil

MAY

confirmed

12

for

those

interested,

where

Leonard

do

Art

June FINE ART We are currently seeking entries for our June Sunday Fine Art Sale. Entries for this sale close on Friday 18th May. Works already consigned include two large and impressive landscapes by John Glover and a large regatta view by Haughton Forrest.

Leonard Joel is seeking works by Ethel Carrick Fox, Clarice Beckett, Fred Williams, John Brack, Margaret Olley as well as English and European paintings and watercolours and Australian sculpture.

For a complimentary market valuation please contact: Briar Williams (03) 8825 5608 briar.williams@leonardjoel.com.au

Consigned for Sunday 24 June 2012 John Glover (British/Australian 1767-1849) Landscape View, Oil on canvas, 75 x 111cm Estimate $60,000 - $80,000

THE ANDY MAC COLLECTION Street and Fine art from Citylights Projects 1992-2012

147 DOLK LUNDGREN (Dolk) Starwars 8 2004 enamel stencil print on card a/p three Queen stencils applied verso 64 x 102cm Estimate $500 - 700

The Andy Mac Collection Auction Sunday 6 May 2012 at 12pm Preview Wednesday 2 May 2012 10am – 8pm Thursday 3 May 2012 10am – 4pm Friday 4 May 2012 10am – 4pm Saturday 5 May 2012 10am – 5pm Enquiries Monique Le Grand (03) 8825 5620 / monique.legrand@leonardjoel.com.au

Leonard

13

MAY

Jewellery A CORAL AND DIAMOND COCKTAIL RING Estimate $800 - $1,000

Cocktail Jewellery

BY John D'AGATA

A PAIR OF COCKTAIL EARRINGS

BY VAN CLEEF AND ARPELS Estimate $10,000 - $15,000

A GOLD FANCY LINK CHAIN Estimate $1,400 - $1,600

AN EASTERN DIAMOND AND RUBY BRACELET Estimate $1,800 - $2,200 A DIAMOND AND ONYX NOVELTY BROOCH Estimate $1,800 – $2,200

The type of jewellery that a woman will and design. This period saw the advent of time when Hollywood stars actually 'owned' of jewellery. These included floral motifs, wear for work is normally vastly different long pendants, jewelled bangle bracelets, their own jewellery and set the trends.

flora and fauna, which followed the feminine

than what she will put on for a night out. elaborately set cocktail rings and decorated The jewels evoked style, glamour and fashions of the day. Women continued to look For a bit of evening "bling" cocktail jewellery accessory items such as cigarette cases and sophistication. Motifs included flowers, to Hollywood and Paris for their inspiration. has made a resurgence for those of us who powder compact holders. Many of these bows,

and

sunburst

designs

with

a An extensive range of “bling” jewellery

want to be noticed or personalize their pieces still survive today and are regularly Hollywood flair. Also popular were horse is available today in a wide array of price outfit. There are some stunning pieces of available at auction.

motifs, military influences and ballerinas. ranges. The most exclusive and popular

cocktail jewellery available from Art Deco The Retro period (1935-1950) saw an The most poignant motif is surely the bird designs are still made by the leading world to modernist designs. Now with many top exaggeration of the designs from the previous in the cage, symbolizing the occupation of fashion designers and jewellery houses. On a designers lending their names to various two decades and a more afford affordable France. Of course at the end of the war, the dreary day, such jewellery allows us to walk ranges, cocktail jewellery has come into its style was created. This was due to restrictions cage door opened - the birds and the people tall and have fun. own and can be enjoyed by all.

on platinum, the use of synthetic stones and of Europe were liberated.

The Leonard Joel Fine Jewellery Auction

Cocktail jewellery can be characterized by not as much emphasis on diamonds. This In the Art Modern period (1945 – 1960) on the 17th of June 2012 will feature a wide the period in history in which it was made. style was extremely popular in America, following World War II, jewellery designs variety of cocktail jewellery.

The Art Deco period (1920 – 1930) was however many European designers such as became more traditional and understated. an attempt to combine the harshness of Van Cleef & Arpels, Cartier & Boucheron also The big, bold styles of the Retro period mass production with the sensitivity of art adopted this mode of jewellery. This was the were replaced by the more tailored styles

Fine Jewellery Auction Sunday 17 June 2012, 12pm

MAY

Preview Wednesday 13 June 2012 9am – 8pm Thursday 14 June 2012 10am – 4pm

Friday 15 June 2012 10am – 4pm Saturday 16 June 2012 10am – 5pm

14

Enquiries John D'Agata (03) 8825 5605 / john.dagata@leonardjoel

Leonard

UPCOMING AUCTIONS

Modern design AUCTION

Photographic Auction NOW CONSIGNING ENTRIES CLOSE Friday 16 June

Single owner collection A significant Single Owner Collection of Modern Design will be auctioned

by Leonard Joel on Sunday 20th May 2012.

The collection sourced from

Europe, Australia and the USA features iconic designers such as Charles and Ray Eames, Harry Bertoia, Robin Day, Clement Meadmore and Arredoluce.

These lighting,

unique

items

decorative

of

furniture,

objects,

books

and art on offer reflect the collector’s passion and interest in high-quality mid-century design.

Enquiries Eoghan Doherty (03) 8825 5632 / eoghan.doherty@leonardjoel.com.au

ANGELO LELLI A TRIENNIELE THREE ARM FLOOR LAMP Arredoluce Italy, c. 1952

BRUNO BENINI (1925 - 2001) Hot Soup 1957 Silver Gelatin Photograph 11 x 15 inches

Leonard Joel is now seeking entries for its forthcoming Photography Auction to be held in July 2012.

Already consigned is a fantastic collec-

HANS BELLMAN A RECLINING SOFA Switzerland, c. 1952

tion of works by Bruno Benini, one of Australia’s leading 20th century fashion photographers. For five decades the Italian immigrant recorded the evolution of fashion, from the 1950s through to the 1990s. Establishing his studio in Melbourne in the mid 1950s, Benini

ROBIN DAY A RECLINING ARMCHAIR Hille, England, c. 1952

Modern Design Auction Sunday 20 May 2012 at 2pm

Leonard

refined his craft, working alongside famed photographers Helmut Newton and Athol Shmith.

Enquiries Briar Williams (03) 8825 5608 briar.williams@leonardjoel.com.au

Preview Wednesday 16 May 2012 10am – 8pm Thursday 17 May 2012 10am – 4pm Friday 18 May 2012 10am – 4pm Saturday 19 May 2012 10am – 5pm

15

BRUNO BENINI (1925 - 2001) Models wearing dresses by Concept for Gala 1975 Silver Gelatin Photograph 11 x 15 inches

MAY

DR. Marguerite Mahood

A woman's touch

BY MARVIN HURNALL

The Creative Legacy of Dr. Marguerite Mahood (1901 - 1989) Australian ceramics have become, over the recognised her as a sculptor of note. From Dr. Mahood was personally and creatively University of Melbourne on the history of past three decades, one of the most collectable 1934 to 1950 she exhibited regularly at Sedon involved in all stages of her ceramic political cartoons in Australia. Dr. Mahood’s and desirable forms of Australiana.

The Galleries Collins Street, David Jones Sydney production from selection and digging of the work is held in all major Australian public

variety of works available, the vibrancy and was selected for the 1956 Olympic clay to stoking the kiln. High level technical collections and is well represented in large of colour, form and price offer unique Sculpture Exhibition. As an established artist skills were required for her double walled Australian private collections which feature opportunities for both the established and she was influential in the Melbourne Society ‘pierced’ work vessels and these continue the decorative arts. Holdings of note are aspiring collectors to develop their interest, of Women Painters and the Arts and Crafts to arouse enthusiasm from contemporary the Australian National Gallery, Canberra, taste and knowledge. For many the tactile Society and helped found the Australian practicing potters.

Commentators on her The National Gallery of Victoria, the Art

quality of ceramics give a very personal ceramics Society and the Victorian Sculptors work have also stated that her keen sense of Gallery of New South Wales, the excellent dimension to collecting – the items can be Society.

balance, proportion and scale derives from collection of Australian ceramics held by the

held, moved around and displayed in a variety A person of great energy, enterprise and skill an innate ability to compose a piece using Shepparton Art Gallery and the Powerhouse of ways to capture both natural or artificial she taught pottery, managed a textile firm a subjective form of mathematics. Similar Museum, Sydney. light, but most importantly are distinctive and published widely in the popular and attention to detail and skill is shown in her Along with other prominent Australian insights to the owner’s personality.

specialised press on art and sculpture. Her preliminary drawings, which are included ceramicists her value has soared over the

In the history of Australian ceramics younger contemporary the distinguished alongside her ceramics in this Exhibition past two decades. Because of the variety Marguerite Mahood is at the forefront in ceramicist Klytie Pate was an inspired and Sale at Hurnall’s Decorative Arts, where of her work, ranging from small objects to terms of her originality, variety, taste and admirer – both followed a common interest an initial visual idea is developed through stunning complex pieces, her current prices technical skills.

in feline images.

The recent exhibition of works by Dr. drawings Mahood

at

Hurnall’s

Decorative

and

Many of her paintings, successive stages of extraordinary fastidious range from the hundreds of dollars to well in linocuts

illustrate

her detail, into final images in the mixed excess of many thousands of dollars. Limited

Arts interest in Art Noveau and all things feline, mediums of either watercolour, Indian ink, supply has meant that any new works on

offered a unique opportunity to review her which was a particular feature of that art pencil, crayon or hand coloured linocuts. In the market have aroused keen interest and place at the centre of the development of movement. The work of William Ricketts at later life Dr. Mahood combined art and study competition.

Australian arts and crafts and to view new Mt. Dandenong also caught her attention.

and undertook research for a PhD at the

and interesting material sourced from the In the 1930’s and 1940’s her interests Mahood family archives and collection.

broadened into successful children’s books,

Born in Richmond in 1901, Dr. Mahood a return to study and a heightened interest attended

Presbyterian

Ladies

College in politics, shared with many other artists,

prior to beginning art classes from 1915 at and given dramatic focus in the Spanish civil the National Gallery School, Melbourne, war. Along with her husband she became a under the guidance of Frederick McCubbin. member of the Communist Party of Australia Showing

early

promise

she

exhibited and opposed fascism and all forms of racism.

successfully from her mid-teens to old age at Unusually, the subject matter of her art did major Melbourne and Sydney Galleries.

not follow the social realism of others with

Dr. Mahood was a significant public figure similar political interests. Rather, whimsy, in the arts in Australia. Her weekly radio her interest in Art Noveau, Pre-Raphaelitism broadcasts for the Australian Broadcasting and neo Gothic styles and in fantastical Commission were a first for an Australian grotesqueries both set her apart from others female artist and covered a wide range of her and have been the basis of her continuing interests from the history of art to interior wide appeal to successive generations of design.

By mid-career her significance Australian collectors.

The success of her

was well understood and the first major objects is enhanced by her use of vibrant published history of Australian art – ‘The glazes and the range of colours carefully Story of Australian Art’ by William Moore applied.

MAY

16

Leonard

OCEANIC ART

Oceanic Art formerly from the Ed Boylan Collection In the early 1970s an intrepid and youthful Ed Boylan and his brother Chris, set off to

3001 KAKAME FIGURE, DANCING BUSH SPIRIT mid 20th century. Papuan Gulf, Papuan New Guinea. Placed outside as protective figures. 90cm (height) Estimate $200 - $300

Papua New Guinea as volunteers for the Paulian Association, a Roman Catholic organisation which assisted developing countries in areas of education, health and trade.

BY SOPHIE ULLIN

Aboriginal & tribal art specialist for leonard joel

The brothers soon became

enamoured with the indigenous art of the region and this led to the founding of the Paulian Association Gallery in Sydney which raised funds for the organisation’s programs in Papua New Guinea.

Later on the Boylan brothers became independent tribal dealers and collectors carving a strong reputation within the tribal field, with Ed focusing on the arts of New Guinea and Chris on Oceania.

Ed Boylan’s first gallery was Gallery Primitive, Cairns which featured objects and artefacts collected directly in the field from a diverse range of tribes including the Abelam, Sawos, Mundugamos, Nukumu, Papuan Gulf and Sepik. By the late 1970s Boylan expanded to a larger gallery called Gallery Tikowi, also in Cairns. During his career Boylan placed works in institutions that include the National Gallery of Victoria and Queensland Museum.

Amongst the works formerly belonging to Ed Boylan is the uncommon Monumental Figurative Roof Lintel (lot 3003), an architectural feature made for a Men’s House. This was collected at source with Anthony Meyer, the renowned Oceanic dealer and author and close colleague of Boylan.

3040 LARGE ASMAT WAR SHIELD, CURVILINEAR INCISED DESIGNS and remnant ochres, mid 20th century.

173cm (height) Estimate $350 - $550

A handful of pieces were collected by other highly respected individuals in the tribal realm; Todd Barlin originally sourced the handsome April River House Door (lot 3039) as well as the Large Asmat War Shield (lot 3040, illustrated) in the field.

A notable feature of the sale is a rare late nineteenth century Killenge Club (lot 3047), also titled the Widow Killer which perhaps, unsurprisingly, was a cultural practice banned in the mid twentieth century by the missionaries.

The current owner of the collection acquired these works from Ed Boylan a number of years ago. He shares with Boylan an interest in the Oceanic arts, evident in the

3019 FINELY DETAILED KWOMA YINA FIGURE with strong red pigment, mid 20th century. Washkuk Hills, Papua New Guinea.

Yam ceremony. 123cm (height) Estimate $250 - $350

3026 MONUMENTAL ABELAM FIGURATIVE HOUSE POST CARVED AS MALE ANCESTRAL FIGURE with remnant pigments. Circa 1920-40.

This figure is from a large communal house in the Maprik region, Prince Alexander Mountains, Papua New Guinea. 240cm (height) Estimate $3,000 - $5,000

varied and unique pieces on offer.

The Oceanic Art Auction Thursday 3 May 2012, 11:30am

Leonard

Preview Wednesday 2 May 2012 9am – 8pm

17

MAY

Collectables

Rare Army 36 Cal. Revolver, circa 1850s

CIvil war collection Militaria Including the Bob Simpson Collection of American Civil War Memorabilia Bob Simpson began collecting American Civil War artefacts in 1966. His first acquisition was an Enfield rifle shortly followed by an early Colt Army revolver; believed to be one of the first 500 supplied by Colt to officers in the Civil War. Over the next twenty years Bob amassed hundreds of items, largely sourced from well known American history dealers in the U.S. The collection is incredibly diverse, including rifles, swords, revolvers, bullet moulds, tintype photographs, carte-de-visites, clothing, accoutrements and documents. Many of these item have been identified to a particular soldier and, through Bob’s exhaustive research nearly every item is accompanied by that individual’s regimental details, army and pension files and burial information. This remarkable collection is the finest of its type to come to auction in recent years and is sure to generate a great deal of overseas interest.

BY Giles moon

The five items illustrated over pages 18 to 19 form part of the Bob Simpson Collection Illuminated address of a soldier's Civil War service

MAY

18

Leonard

Collectables

Infantry Captain's Cape and Frock Coat

Rare Civil War Cap

Tintype photograph of Calvin L. Merrill Junior Co. 'G' 101st New York

Now consigning COLLECTABLES, TOYS & SPORTING MEMORABILIA for JULY 2012

Leonard

19

MAY

ferMoy estate wIne offer

THE FInE ART oF WInEMAkInG Fermoy Estate, a premium winery in Since Fermoy Estate’s establishment more able to craft distinctive award winning wines Sauvignon Reserve receiving 96 points, one the heart of Western Australia’s world- than 25 years ago, the winery has been full of unique flavours and characters.

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MAy

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leonard

Art Business

ART Business

“Art is a lie that brings us nearer to the truth” Pablo Picasso

By Michael Fox

On one of Anthony Lister’s paintings in the tries are handling this issue - a google search in spite of their very specialised nature. In Fox Galleries Urbanised Influence show of for “uk art crime” will take you to the Art 2005 a Brisbane artist was accused of Aus2001 (his first gallery exhibition) the young and Antiques Unit of New Scotland Yard in tralia’s biggest art theft – splashed on the artist had inscribed the phrase art = crime.

England. There you will find helpful hints to front pages of both The Courier-Mail and

Although my first thoughts on seeing these protect both owners and potential buyers of The Australian – because the police had words was that the reference was to the genre valuable goods and a link to the London Sto- unknowingly accepted a valuation from the of street art – where in Brisbane it really was len Arts Database. If you google “australia art complainant which had grossly overstated and is a crime to engage in unauthorised pub- crime” you will be led to an array of academic the value of the artworks in question. The lic art - it struck me then and it still resonates papers and the types of salacious stories artist was eventually acquitted. that for some people art really is crime.

referred to above.

There have been some important recent

Arts writer Terry Ingram uncovered a sen- In my previous article I discussed how, developments that would enable the estabsational event in 1978 when nine ‘Jackson despite its current shortcomings, the resale lishment of an arts investigations unit, not

Michael Fox is a qualified accountant and

Pollocks’ were exhibited for the first time in royalty (RR) scheme established two years least the Blackman v Gant case in 2010. In

professional fine art valuer who successfully

Perth. According to the curator of the exhi- ago could not only provide a database of val- that case artists Charles Blackman and Robbition the works had been bought in the uable art trades but it could also be used as ert Dickerson took action against Melbourne United States from three Washington col- the platform for an art market investigations art dealer Peter Gant under the Fair Trad-

ran the Save Super Art campaign to prevent the prohibition of artworks from self-managed superannuation funds (SMSFs). He is a member of the Leonard Joel Valuation Panel and is

lections, a result of “two opportune divorce unit. There are three important steps that ing Act on the basis that he knowingly sold

engaged exclusively by Leonard Joel to provide

settlements and a corporation short of ready could be taken to make this happen.

advice to their clients in relation to artwork

works he knew were not right and by doing

cash”. Ingram thought the works resembled First, an acknowledgement that the art mar- so he breached Section 9 of the Act – engag“the do-it-yourself machine productions of ket is comprised of both artists and collectors ing in commerce “misleading or deceptive

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

a fairground sideshow” – but the final word in a way that is not dissimilar to the share or is likely to mislead or deceive”. The arton the paintings was delivered by Eugene V. market having both buyers and sellers – and ists were successful in preventing the works Thaw, who was then the President of the Art then amend the RR laws accordingly. One being “recirculated” in the market and had Dealers Association of America.

change that would help matters would be to them handed back, whereby they were pub-

Thaw declared the ‘Pollocks’ would not be increase the lower threshold for RR reporting licly burnt. This was a ground-breaking case accepted into the raison d’etre he was com- to a figure like $5,000 – which would mean but the reaction of government in the two piling on the artist, rather they would be the database of resales is focused on valuable years since the decision has been silence. “illustrated in the section of forgeries at the art trades and at the same time remove the It does seem that with all the regulations end of the book”. To rub salt in the wound disincentives to trade in emerging art.

imposed on the arts industry in the last five

he suggested Australia should “examine your Second, legislation to enable the various years there is not one politician in the counprovinciality to allow this to get this far” and State fair trading laws in relation to the com- try who sees an imperative in providing both stated “this would not have lasted ten min- merce of art to be harmonised and prioritised the market and the public with the necesutes in the streets of New York”!

by the Commonwealth in a way not unlike sary protections other industries enjoy as a

Such stories make great headlines for the how ASIC now has carriage over our com- matter of right. Instead the problem of art newspapers and the art world never disap- pany laws.

crime – exaggerated by its newsworthiness -

points to provide colourful images and quotes Finally, the establishment of a dedicated has become a stalking horse against the arts when the occasion arises – but I believe the police unit for art fraud complaints. Cur- industry in issues as diverse as the extreme problem of art crime in Australia is exagger- rently, these complaints must be made to the new super art laws and the continual inacated. What is not exaggerated, however, is relevant State police force where the fraud tion to provide real taxation incentives for the inaction of federal and state governments took place (not always easy to establish) and the visual arts. in Australia to do something about it.

they are investigated in the same manner as

For a simple comparison to how other coun- other types of frauds or lost property claims

Leonard

21

MAY

Is your fine art Auction House returning you 105% of the sale price?

If not speak with a Leonard Joel art specialist who are now offering sellers of valuable art a 105% return on the final sale price. If we sell your painting for $40,000 or more, you will enjoy no transaction costs PLUS a 5% rebate over and above the sale price.

Conditions apply.

ATTENTION FINE ART SELLERS