LEONARD, issue 9, August 2012

ISSUE NINE / AUGUST 2012

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Cover BRUNO BENINI (1925-2001) Graeme Jones, Robyn Fong, Lucinda Wills model Concept for Gala, National Gallery of Victoria 1972 silver gelatin photograph 37 x 27.5cm Sold $1,020 IBP

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Leonard Joel Specialists VALUATION AND CLIENT SERVICES

Monique Le Grand Phone + 61 (0) 3 8825 5620 Email monique.legrand@leonardjoel.com.au CORPORATE & PRIVATE COLLECTIONS

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

John Albrecht, Head of Art Phone + 61 (0) 3 8825 5619 Email john.albrecht@leonardjoel.com.au Nicole Salvo, Art Specialist Phone + 61 (0) 3 8825 5624 Email nicole.salvo@leonardjoel.com.au JEWELLERY

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

FIND US ON

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

Facebook.com/Leonardjoel

COLLECTABLES

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

FOLLOW US ON

BOOKS AND MANUSCRIPTS

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

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

Facebook.com/Leonardjoel1919

WATCH US ON

youtube.com/Leonardjoel1919

NATURAL HISTORY

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

BID LIVE AT OUR AUCTIONS ON

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 THE WEEKLY AUCTION

Eoghan Doherty Phone + 61 (0) 3 8825 5632 Email eoghan.doherty@leonardjoel.com.au DIGITAL MEDIA

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

LEONARD JOEL Primary Salerooms 333 Malvern Road, South Yarra, Victoria 3141 Australia

Photography

Designer

Tel: +61 (0) 3 9826 4333

Rick Merrie

Maria Rossi

Fax: +61 (0) 3 9826 4544

FOREWORD

NO ONE LOOKS AT THEM ANYWAY

At our recent American Civil War auction catalogue anyway”. I’m not convinced he’s ing, in physical mediums, and storing our through the internet quite is. The beauty of at Leonard Joel an interesting fact emerged. entirely correct but his observation, every achievements or our memories on a shelf or the internet, for me as an auctioneer, is that it Not one of the forty four buyers had received year, every month and every week seems to on a wall. I suspect that over the next decade seems the information that we upload takes a hard copy catalogue in the mail. This raised be becoming more accurate. Auctioneers hard copy catalogues at auction will simply a journey much further and wider than our several questions. How did the buyers find will not tell you this but they would love to no longer exist unless a very big client, with traditional comprehensions about the reach out about the auction? What was the point mostly dispense with the time, expense and a very big collection, wants to subsidise the of websites and emails. There’s something of a catalogue being printed? Just how long angst associated with the production of large expense; either for memories sake or because a little Russian Roulette about posting out will it be until auction catalogues, in their scale catalogues. Why don’t they/we? A few they believe the “thumping big catalogue” is 1000 catalogues and crossing your fingers hard copy format, become an extinct spe- reasons at present. Firstly, it is still consid- still the way to go. So the question remains. that they hit the “right” mailboxes! Digital cies? Recently a client advised me not to ered the most prestigious marketing tool in If catalogues in hard copy are so important technology has taken the traditional cataillustrate a painting in a forthcoming cata- the suite of communications before an auc- why were they so unimportant at our recent logue on a much wilder and more valuable logue to relieve him of the applicable Vis- tion. Secondly, not everyone is online, yet! American Civil War auction? Probably ride and this evolution will only continue. copy reproduction fee. His opinion was that Finally, I think we humans have a very real because not even we are aware of how vast “everyone is online and no one looks at the and very primal attachment to document- and pervasive the movement of information

BY JOHN ALBRECHT

LEONARD

1

AUGUST

CONTENTS

THINKING OF SELLING? FROM SINGLE ITEMS TO COLLECTIONS

AUGUST 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

ART AUCTION

6

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

JEWELLERY 8

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

KAZARI WAREHOUSE AUCTION

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

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

10

ties are advised by our valuers and specialists on a daily basis.

THE GRAHAM GEDDES COLLECTION 12 THE WEEKLY

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

14

AUSTRALIAN AND INTERNATIONAL ART

CLASSIC FURNITURE, OBJECTS

FINE JEWELLERY AND WRISTWATCHES

& DESIGN

15

ANGUS O'CALLAGHAN

16

PRE-OWNED LUXURY CLASSIC OBJECTS AND FURNITURE MODERN DESIGN

COLLECTABLES 18 COLLECTABLE RESULTS

19

ANNE MARIE GRAHAM

20

ART BUSINESS

21

SINGLE OWNER COLLECTIONS COLLECTABLE TOYS AND SPORTING MEMORABILIA MILITARIA BOOKS AND MANUSCRIPTS

SUBSCRIBE

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

A LARGE RECTANGULAR GILT METAL CAGED SINGING BIRD AUTOMATON Sold for $3,600 IBP

both free at Leonard Joel and online or can be subscribed to for an annual fee of $44 inc GST (postage & handling). Visit us online at www.leonardjoel.com.au or for subscription information contact keryn.gilchrist@leonardjoel.com.au.

AUGUST

2

LEONARD

CALENDAR

FORTHCOMING AUCTIONS The Weekly Auction

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

The Collectables Watch Auction Thursday 2nd August 2012 - 12pm

333 Malvern Road, South Yarra, Melbourne, Victoria

The Monthly Toy Auction

Thursday 9th August 2012 - 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Kazari Warehouse Auction

Sunday 19th August 2012 - 12pm 7 Hill Street, Cremorne (Richmond), Melbourne, Victoria

The Australian Art Investment Trust Auction UNDER INSTRUCTIONS FROM THE DEED ADMINISTRATORS OF THE TRUSTEE OF THE AUSTRALIAN ART INVESTMENT TRUST

Sunday 26th August 2012 - 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Fine Jewellery Auction

Sunday 9th September 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Pre-Owned Luxury Auction

Sunday 9th September 2012 – 3pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Graham Geddes Collection of Important Antique Furniture & Objects Auction Saturday 15th to Monday 17th September 2012 333 Malvern Road, South Yarra, Melbourne, Victoria

The Sunday Fine Art Auction

Sunday 23rd September 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Modern Design Auction

Sunday 7th October 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Classic Furniture, Objects & Design Auction Sunday 18th November 2012 – 12pm

333 Malvern Road, South Yarra, Melbourne, Victoria Consigned for The Graham Geddes Collection of Important Antique Furniture & Objects Auction 22 A PAIR OF ARCHITECTURAL, CLASSICALLY INSPIRED COLUMNS $2,600 - 3,600

Auctions and viewing times are subject to change.

Leonard Joel is a proud supporter of Arts Project Australia

LEONARD

3

AUGUST

NEWS

SUCCESSFUL DEBUT FOR TWO PHOTOGRAPHERS At the third annual photographic auction at Leonard Joel on Sunday 22nd July two hundred works by Australian, international and unknown artists went up for public auction.

The sale was marked by the first time auction offerings of work by both Angus O'Callaghan and Bruno Benini. O'Callaghan's images of Melbourne in the post-war period, both in color and black and white, attracted strong bidding and the highest price realized for the artist was for the colour work lot 581, titled Royal Arcade, which sold for $2200 plus buyer's premium (BP).

Benini's portraits of posed women in lavish dresses and often sumptuous surrounds provided an interesting, alternate view of Melbourne and its interiors. Numerous of his works sold above estimate with the highest price paid for lot 544, a portrait of Helen Homewood (illustrated), which realized $1500 plus BP. Works by Sievers, Dupain, Stern and Strizic also graced the catalogue and sold well with the highest price for the auction jointly held by Sievers and Dupain for Advertisement for Elbeo Stockings, Contempora, Berlin 1938 and Flinders Street Station 1946 respectively, both realizing $3200 plus BP. A high sale rate and a well attended room confirmed the growing appetite for collectable photography in Australia and collector enthusiasm for artists "new" to the auction scene. We are now inviting entries for our next major photographic auction.

Enquiries Nicole Salvo | Art Department Tel: +61 (0) 3 8825 5624 Email: nicole.salvo@leonardjoel.com.au

COLLECTABLE WATCH AUCTION AUCTION THURSDAY 2 AUGUST AT 12PM VIEW WEDNESDAY 1 AUGUST 9AM TO 8PM On Thursday 2nd August Leonard Joel will offer a delectable collection of Fine Wristwatches including brands such as Rolex, Seiko, Tissot and an international watch company Schaffhausen.

Enquiries LOT 2570 A JAEGER LE COULTRE MEMOVOX MASTER COMPRESSOR WRISTWATCH $8,000 - 12,000

Robert Haigh | Jewellery Assistant (03) 8825 5618 robert.haigh@leonardjoel.com.au

AUGUST

4

LEONARD

NEWS

CONSIGNING FINE ART

AUCTION MARKS END OF AN ERA

AUCTION SUNDAY 23 SEPTEMBER

ETHEL SPOWERS (1890-1947) Sold $19,200 IBP

A COLLECTION OF TEN REVOLVING WORLD GLOBES Sold $2,040 IBP

ENTRIES CLOSE FRIDAY 10 AUGUST Enquiries

On Sunday 15th July at 10am Leonard Joel undertook the rather

John Albrecht | Head of Art

Nicole Salvo | Art Specialist

mammoth task of dispersing some 1000 lots from the Granny’s

(03) 8825 5619

(03) 8825 5624

Market collection. The Specialist Collector department was

john.albrecht@leonardjoel.com.au

nicole.salvo@leonardjoel.com.au

delighted to be engaged by the proprietors to catalogue and market this unique offering of literally “everything”. Granny’s Market became synonymous in Melbourne as the “go to place” for that rare thing that couldn’t be found anywhere else. It was also not long before set designers for movies, TV series and

DANISH DESIGN

large retail chains realized that they could satisfy every quirky or challenging decorating whim at the High Street establishment.

To walk in to Granny’s Market was to walk in to an interior that felt and looked like a Dickensian antiquarian dealer that always had something hidden away for a special visitor. The auction brought out collectors from all walks of life and they were treated to an extraordinary array of objects and furnishings, from rare enamel vintage signs from around the world, to antique desk sets through to items as diverse as pigeon clocks!

The collection was completely sold by 6.30pm with a sale total just shy of the expected $200,000 total excluding buyer’s premium. Highlights from the auction included a rare Victorian Cadburys chocolate counter (lot 371) that tripled its estimate to realize $3,200 plus buyer’s premium and a rare Victorian printing press (lot 16) by J. RICHARDSON of Fleet Street London that realised $2,400 plus buyer’s premium.

This three seater GE-236 sofa by Hans Wegner (1914-2007) realised $4,.080 IBP at our recent Danish Design evening auction.

LEONARD

5

AUGUST

ART AUCTION

THE AUSTRALIAN ART INVESTMENT TRUST AUCTION

UNDER INSTRUCTIONS FROM THE DEED ADMINISTRATORS OF THE TRUSTEE OF THE AUSTRALIAN ART INVESTMENT TRUST On Sunday August 26th an extraordinary collection of oil paintings and editions from many of Australia’s foremost artists will be offered for public auction at Leonard Joel. The works of art form the core collection of The Australian Art Investment Trust (AAIT) that is now under instructions from the deed administrators Taylor Woodings. The AAIT invested in works of art and leased these works throughout the country to various commercial and corporate operations. The collection was curated to ensure that works complimented and enhanced working and recreational environments and as such this auction provides a rare and abundant opportunity for collectors, decorators and interior designers looking for suites of works and impressive single works for collection and corporate display. Literally hundreds of works will be offered at fair market prices and shortly a full colour catalogue will be available for purchase. To register your interest for this auction please contact Nicole Salvo, Art Specialist at nicole.salvo@leonardjoel.com.au 33 KIM WESTCOTT (BORN 1968) Kelly 1, 2003 etching 6/12 88 x 119cm Estimate on request

24 GEOFF LAGERCHE (BORN 1940) Rocks and Water, Wilson’s Prom oil on linen 72 x 200cm Estimate on request

The Australian Art Invetsment Trust Auction Sunday 26 August 2012, 2pm

AUGUST

Preview Wednesday 22 August 2012 9am – 8pm Thursday 23 August 2012 10am – 4pm

Friday 24 August 2012 10am – 4pm Saturday 25 August 2012 10am – 5pm

6

Enquiries John Albrecht (03) 8825 5619 john.albrecht@leonardjoel.com.au LEONARD

ART AUCTION

42 MARK SCHALLER (BORN 1962) Siren Nude acrylic on canvas 137 x 183cm Estimate on Request

233 GRAHAM FRANSELLA (BORN 1950) Head on Track etching A/P 88 x 72cm Estimate on request

LEONARD

225 CHARLES REDDINGTON (BORN 1929) Hot Sand and Sun acrylic on linen 137 x 127cm Estimate on request

7

154 ROGER BYRT (BORN 1959) Arabesque oil on linen 111 x 111cm Estimate on request

AUGUST

JEWELLERY

A ROLEX POCKET WATCH SOLD $3,120 IBP

TIC TOC POCKET WATCHES - THE NEW BLACK!

For over three hundred years, watch mak-

pocket watch and effortlessness of flipping

complications, repeating the hours, quar-

been? Who had owned this watch? What

ers all around the world have been con-

open the lid to reveal the time.

ter hours and minutes, dates, months and

has this watch seen? If only these remark-

structing the pocket watch. There has been,

The watch maker’s imagination is reflected

phases of the moon.

able time pieces could talk. So next time

however, a recent revival in their popularity

in the infinite variety available. Count-

Most alluring of all is the history involved

you see a pocket watch just think; what can

– as gifts to celebrate weddings or to mark

less styles, such as victorian, art deco, and

in gifting a pocket watch. Whether it is

it tell me about its life.

a monumental birthday. The attraction of

military, and incredible materials, from

through passing it on to the next genera-

a humble, clean pocket watch on a match-

gun metal to sterling silver and solid gold,

tion, or giving it a new life through celebra-

Philip Gore

ing chain – reminiscent of quality, style and

enamelled or set with precious stones. The

tion, a pocket watch has the ability to cap-

Ferntree Gully Watch & Clock

elegance of old – surpasses mod cons and

mechanical craftsmanship further adds to

ture history through the marking of time.

quick fads. There is nothing quite like the

their intrigue. Some perform the simple

When looking at acquiring a pocket watch,

weight and feel of a carefully assembled

task of telling the time, while others are full

ask yourself this. Where has this watch

NOW CONSIGNING JEWELLERY, WATCHES AND PRE OWNED LUXURY FOR SEPTEMBER 2012

AUGUST

8

LEONARD

JEWELLERY

AN ENGLISH PAIR CASE VERGE POCKET WATCH MADE FOR THE DUTCH MARKET, THE DIAL SIGNED STOAKES, LONDON, CIRCA 1720 SOLD $1,320 IBP

A FRENCH SILVER CASED QUARTER REPEATING SKELETON POCKET WATCH THE MOVEMENT SIGNED E. FERRIER, 66 RUE DE RENNES, PARIS, CIRCA 1850 SOLD $2,640 IBP

A SWISS SILVER CASE DOUBLE DIAL CHRONOGRAPH CIRCA 1900 SOLD $360 IBP

A SILVER CASED VERGE POCKET WATCH CIRCA 1710 SOLD $4,800 IBP

LEONARD

AN ENGLISH/DUTCH PAIR CASED VERGE POCKET WATCH THE DIAL SIGNED D KOSTER, AMSTERDAM, CIRCA 1710 SOLD $4,800 IBP

AN ENGLISH 18CT GOLD PAIR CASE VERGE POCKET WATCH WITH A SHAGREEN OUTER CASE SOLD $4,800 IBP

AN ENGLISH STERLING SILVER PAIR CASED VERGE POCKET WATCH SOLD $1,200 IBP

9

A FRENCH 'ONION' VERGE POCKET WATCH CIRCA 1690 SOLD $7,200 IBP

AUGUST

KAZARI WAREHOUSE AUCTION

KAZARI WAREHOUSE AUCTION View catalogue online at www.leonardjoel.com.au Bid live for this auction at www.artfact.com

AUCTION SUNDAY 19 AUGUST AT 12PM

Easy Weekend Parking (Car Park also opposite Coco Republic, Church St)

Kazari Warehouse Auction Sunday 19 August 2012, 12pm Auction & Viewing On-Site at 7 Hill Street, Cremorne (Richmond) Melbourne, Victoria

AUGUST

Preview Saturday 11 August 2012 10am – 5pm Sunday 12 August 2012 10am – 5pm Wednesday 15 August 2012 10am – 8pm Thursday 16 August 2012 10am – 5pm

Friday 17 August 2012 10am – 5pm Saturday 18 August 2012 10am – 5pm No viewing auction day

10

Enquiries Guy Cairnduff Head of The Specialist Collector (03) 8825 5611 / 0407 828 137 guy.cairnduff@leonardjoel.com.au

LEONARD

KAZARI WAREHOUSE AUCTION

It is now possible to see the wood for the at 440, Malvern Rd, Prahran, next door to • 50 lots - other architectural features ing to collectable manga posters and shunga trees at Kazari Warehouse at 7- 11, Hill St, Kazari Collector. “There was a well beaten including Japanese Edo and Meiji period erotic art. just off Church St., Richmond – an area now path from a steady stream of lovers of beau- doors, nineteenth century security doors • 20 Shelf lots – of assorted items. known as Cremorne. Stacked to the rafters tiful textiles; from creators of quilts to fash- and decorative panels, summer sliding doors 50 lots - of other pieces of Chinese furniture for far too long, furniture piled too high for ionistas from fashion houses in search of and papered shoji panels.

– excess to requirements – benches, seats,

most to see or imagine in the home, there special details, says ” Robert Joyce, Kazari’s There are several Chinese Buddhist altar desks, cupboards and various tables and is now a spacious new arrangement with other director.

tables from Qing dynasty temples in Qinghai stools.

pieces newly emerged from the dust to be Robert, who has been the main buyer for province, bordering Tibet – which have trav- • 20 lots - Sideboards – functional furniture admired anew, as if fresh out of the con- Kazari since the early days in High St, when elled 4,000 kilometres to market in Beijing for dining rooms and TV’s – some up to 4 m tainer, including C17th, C18th and C19th the buying was mostly from Japan says, over potholed roads. These work incredibly long.

Chinese furniture and Chinese and Japa- “I’ve been buying in mainland China since well in long narrow hallways and under con- • 15 lots - make up an eclectic mix of coffee nese architectural pieces, previous stored the mid 90’s, when China opened up for temporary art works or Japanese screens.

tables from different periods and origins –

by the Directors for a possible grand design trade. Only a few years ago, the local mar- • 30 lots - Japanese screens including some early nineteenth century Chinese day beds home. Items in this Warehouse auction are ket was sceptical about what was coming we haven’t time to repair – estimates $100 - to sophisticated Japanese carved Kamakura equal to many pieces at Kazari Collector, the out of China. Now, as everyone knows, there $1000, though many are really worth much lacquer tea tables. main store and gallery space 450, Malvern are Chinese people scouring the world and more. Hanging mechanisms, in some cases, • 20 – 30 lots Erotic paintings ( shunga), Rd, with fine art, screens and collectables sending items back. “

will easily support these screens on the wall Ukiyo-e, Japanese woodblock prints and

along with a quality selection of Japanese The items in this auction include an eclectic as large mural pictures, or for use as free several framed and unframed paintings. and Chinese furniture.

mix of small decorative items, some unusual standing dividers. Repairs can be made by • 40 – 50 lots of Imari and Seto-ware – por-

“Reorganising the shape of the business is art objects; a Chinese colonial four poster our resident Japanese paper conservator – it celain and ceramics. essential in these times, just as when we bed from Malacca, a Chinese opera bench is advisable to get quotes before auction.

• 10 – 15 lots chests of drawers from Japan,

first opened our warehouse to the public in and Japanese erotic art are included with Karuma dansu, rare chests on wheels and chests on chests, cho-dansu and small tea the mid 80’s recession. Champagne open- the lots to be sold off –the estimates range Kaidan dansu, intriguing and ever popular cabinets. ings were considered poor taste, then,” says from $50 to $5,000 – and there are more stair case chests.

• 40 lots of textiles – bundles and boxes of

Jo Maindonald. “Kazari was one of the first than 600 items.

Also included is a plethora of assorted items kimono, ukata or summer dressing gowns,

warehouse outlets in the part of Richmond, Some auction highlights include:

including ceramics, lacquer items, ephem- banners, obis, Boy’s Day fish and other ban-

now called Cremorne.”

A late 17th century, Qing dynasty, armour era, tea ceremony items, baskets, boxes, ners – excess to requirements.

Clear space is available at the warehouse plated security door – suitable as a front gessoed puppet heads, Chinese carpets and Japanese style stone lanterns and water because earlier this year, Ziguzagu, the pop- door in a contemporary architectural Japanese bamboo carpets and a Chinese pots. ular vintage Japanese kimono textile part designed home, a feature in a courtyard, or colonial four poster bed from Malacca plus of the business, moved to Kazari’s Annex door to a wine cellar.

LEONARD

Bob Daly mural sized circus canvas hoard-

11

AUGUST

THE GRAHAM GEDDES COLLECTION

THE GRAHAM GEDDES COLLECTION OF IMPORTANT ANTIQUES & OBJECTS AUCTION SATURDAY 15 SEPTEMBER TO MONDAY 17 SEPTEMBER 2012 MELBOURNE, AUSTRALIA

190 A IMPORTANT ITALIAN PAINTED, IVORY INLAID EBONY AND EBONISED CABINET* CIRCA 1860 $46,000-55,000

AUGUST

12

LEONARD

THE GRAHAM GEDDES COLLECTION

735 A PAIR OF 19TH CENTURY FRENCH GILT BRONZE MOUNTED VARIEGATED MARBLE CASSOLETTES $6,000-8,000

540 A FRENCH EMPIRE GILT BRONZE FIGURAL MANTEL CLOCK $1,600-2,600

140 A PAIR OF EARLY 19TH CENTURY VENETIAN ENAMELLED GLASS WALL MIRRORS $20,000-30,000

100 A FINE QUALITY LOUIS XV STYLE ORMOLU MOUNTED KINGWOOD AND PALISANDER BUREAU PLAT MAKER’S MARK P. SORMANI, PARIS LATE 19TH CENTURY $50,000-60,000

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

LEONARD

395 A MONUMENTAL PAIR OF 19TH CENTURY FRENCH BLACKENED CAST IRON FIGURAL TORCHERES EACH BEARING A PLAQUE INSCRIBED L. DENONVILLIERS & FILS MAITRES DE FORGES 174, RUE LAFAYETTE, PARIS $36,000-42,000

Preview at 877 High Street Armadale, Melbourne, Australia 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 10am - 5pm

13

Enquiries Guy Cairnduff Head of The Specialist Collector (03) 8825 5611 / 0407 828 137 guy.cairnduff@leonardjoel.com.au

AUGUST

THE WEEKLY

THE WEEKLY Leonard Joel, under instructions from Tim Goodman, adviser to the powers of attorney, recently offered for public auction a most interesting collection of antiques and collectables from NSW which included furniture, European and English silver, ceramics, art, jewellery and collectable books. This late 18th

At our recent weekly Jewellery Auction a happy client jumped the queue and acquired this Birkin handbag by Hermes for $11,590 IBP

century life sized oak carving was one of the more interesting items from the dispersal and it realized $3120 (IBP).

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

AUGUST

14

LEONARD

CLASSIC FURNITURE, OBJECTS & DESIGN

CLASSIC FURNITURE OBJECTS & MODERN DESIGN

DESIGN

AUCTION SUNDAY 7 OCTOBER 2012

ENTRIES CLOSE 17 AUGUST 2012

A FINE QUALITY PAIR OF FRENCH BRONZE AND GILT BRONZE CANDELABRA FOUNDRY MARK FOR HENRI PICARD, 19TH CENTURY SOLD FOR $9,600 (IBP)

Enquiries Guy Cairnduff | Head of Classic Furniture, Objects & Design

ROBIN DAY A RECLINING CHAIR England, 1952

Tel: +61 (0) 3 8825 5611 guy.cairnduff@leonardjoel.com.au Enquiries

NOW CONSIGNING

Eoghan Doherty | Manager of Weekly Furniture

ENTRIES CLOSE 28 SEPTEMBER 2012

eoghan.doherty@leonardjoel.com.au

LEONARD

Tel: +61 (0) 3 8825 5632

15

AUGUST

ANGUS O'CALLAGHAN

ANGUS O’CALLAGHAN THE CITY IS LIFE

BY EAMON DONNELLY Angus O’Callaghan’s 1958 Yashica 635 medium format TLR camera.(detail)

On

July

22,

photographer

Angus commission. It was then that he decided to attitudes and surroundings of Melbourne in Melbourne, we know its Melbourne, but

O’Callaghan’s photographic prints went setup a studio as a photographer. “I didn’t the late sixties. Of particular importance for where’s the grand panorama?” under the hammer at Leonard Joel. This actually set up as a fashion photographer or this period of his work is that at the time the It is not hard to appreciate that at the time little known Australian photographer’s a wedding photographer, I thought, I will do city’s Victorian architecture, particularly his images didn’t project an image to the works were sold alongside the likes of a book that was the thing to do at that time, a what was then known as the ‘Golden Mile’ world of how we craved to be perceived photographic icons and household names book of a city, Melbourne city.”

of Collins Street, was being demolished and to an international audience. It’s not until

Wolfgang Sievers, Helmut Newton, Max Japanese camera manufacturer, Yashica, dramatically redeveloped by Melbourne’s we look at his work 40 years on that the Dupain, David Hockney and Mark Strizic. produced the 635 in 1958, a medium format premier demolition fellow ‘Whelan the importance of what he captured can finally Ben Albrecht who represents Angus, and twin lens reflex or TLR camera using 120 Wrecker’, responsible for the demolition of be recognized and regarded as one of the is responsible for the rediscovery of Angus’ roll film at 6” x 6”. It was this camera that many iconic Melbourne architectural sites most significant collections of Melbourne works, believes the auction was a “really Angus captured his social documentation of of the 1960s. Subsequently, the destruction documented on film. great way of getting his name out there, a changing city, the city of Melbourne.

I really wanted his photography to have “I

read

a

lot

about

of these buildings prompted the formation The imagery doesn’t evoke a sense of

professional of the National Trust of Victoria. Angus grandeur, more so the everyday, the

a listing on the secondary art market.” photographers from overseas, Europe and remembers seeing Whelan the Wrecker commonplace, the changing city. Young Looking through the viewfinder with Angus America and in many ways they were more demolishing the city he loved: “He used to & Jackson neon lights, drizzly Melbourne it is hard to believe that we are only just advanced, except for the few we had here. drive me mad, walking around the city with weather on Princess Bridge, new migrant now discovering this unique documenter of They recommended the medium format, so all of this destruction going on.” Lucky for us butcher shops spruiking 29 cent Corned Melbourne in the sixties. I had the rare and I bought two of those at $45 each. They were Collins Street is featured quite prominently Brisket and Lamb’s Fry, Milk bars with exciting opportunity to sit down and speak sitting in a window in Collins Street up near in Angus’ images, giving us a visual ‘Moon Men Fit” broadsheets decorating the with Angus and ask what had inspired his George’s. I remember seeing them in the documentation of these absent structures pavement, the fondly remembered Southern documentation and why had we not had the window there and they attracted my eye and residing now only in our nostalgic, hazy Cross Hotel with its minty hues, the block privilege of seeing it until now. The answer the price, I can buy two instead of one. One memories.

I would find was an inspiring story of never for black and white, one for colour.” giving up your passion.

Angus’

images

arcade with its Minnie skirts and shopping shy

away

from

the Nuns. There is a subtlety in the imagery

Angus would often take a photo of a scene stereotypical, almost tourism campaign where nothing is overstated. An obvious

Angus’ story is not an unfamiliar one for many in both mediums. He explains that using shots, which were so common in books, angle one would photograph the hulk that born of his generation. Born in Melbourne, these cameras with their fixed lenses was published on Australia at the time, ‘Graham is Flinders Street Station would be to stand seven years before the great depression quite a disciplined format to work with and Kennedy’s Melbourne’ published in 1967 adjacent to the station in front of St Paul’s and one of 12 siblings, Angus O’Callaghan having no telephoto lenses; his principal by Thomas Nelson Limited comes to mind. Cathedral with a wide-angle lens to create began his journey into photography in what technique was to walk in close to a subject An agenda to represent Australia to the an imposing, announcement of a city pining most would think to be the last place such or walk out. This created a voyeur almost world in such a way as to project an image for recognition on a world stage, an image a creative endeavor would occur. He was fly on the wall approach to his photographs. of a country full of endless beaches, red that could be printed on a postcard and consigned as an unofficial photographer “You feel like you could be there.” He says. earth, bushmen, with modern, livable, posted across the world and to the mother whilst serving for the Australian Army as The quality of the photographs he found thriving cities, whereas Angus captured country. Instead Angus sees beyond the an engineer in Syria in the Second World to be better than expected which was those elements of a city that weren’t grand. obvious and looks for subtly in the everyday, War for two years. Here he was responsible confirmed when they were produced in a He chose to show a different angle and taking his images as if like a voyeur in a city with the task of photographing damaged large format. Angus: “they are quite sharp, take an approach that at the time wouldn’t bustling with change and neon. You can feel structures and bridges using his own camera, more resolution than I expected. Because have been marketable to an international his love for the city in each image; they are never seeing the photographs beyond the I was only thinking of publishing my audience, something that didn’t reinforce love letters to a city. “You have to know the negative stage. He then developed an interest photography at book size, nothing bigger”

the stereotype of the archetypal Australian city. I went to Sydney for a couple of weeks,

in photojournalism while working as an His plan was to document his love for the image. “You are looking for something my sister was living there, and I got keyed English teacher in Melbourne. Documenting city and publish a book of photographs, that is different and interesting,” He says, up but it wasn’t the same, I didn’t know the the Suez Canal crisis of 1956 using a to capture an image of a city’s landmarks “There was a provincialism, ours is the city, I knew of it, I had been there, but as a standard 35mm camera, Angus returned in a new way. So from 1968 he began best, if it isn’t, we will make it the best and tourist, I didn’t really know the city like the with a suitcase full of slides which Women’s documenting the architecture, the people tell the world it’s the best. So when people Sydneysiders know it, what to really look Weekly published, his first commercial and the city itself, documenting the shifting saw my work they thought, that’s not really for.”

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16

LEONARD

ANGUS O'CALLAGHAN

ANGUS O'CALLAGHAN (BORN 1922) Royal Arcade print on rag paper 1/10 80 x 80cm SOLD $2,640 IBP

ANGUS O'CALLAGHAN (BORN 1922) Show Bags archival print on rag paper 1/20 39 x 39cm SOLD $456 IBP

ANGUS O'CALLAGHAN (BORN 1922) Fashion Street archival print on rag paper 4/20 39 x 39cm SOLD $780 IBP

So what was his process behind capturing

Melbourne.

So how have we come to rediscover or in

different generations.”

these iconic images that only now are being

From 1968 to 1971 Angus worked on

fact newly discover this incredible image-

In 1968 Angus began the undertaking of

rediscovered 40 years on? “It was what

producing a book that perhaps was ahead of

maker? As life would have it, purely by

producing a book that failed to secure the

you called street photography or urban

its time. So did he find a publisher? Have we

chance, when two years ago Ben Albrecht,

funding of an open-minded publisher and

photography. It’s a city in life. I wanted to

ever had the privilege of uncovering a dusty

at the time joint-owner of Kozminsky

now in 2012, Ben Albrecht is working on

include people, I wanted to put adjuncts to

old Rigby published book on the city and

Jewellery in Bourke Street Melbourne,

finally finishing the book that Angus set

them, you’ll see the edges, you’ll see houses

people of Melbourne in second hand stores,

was contacted to participate in a charity

out to publish 40 years ago. And going by

or cars, they add to the picture. Because

filled with images that are so sincerely

art auction as a guest auctioneer. In a back

the auction results of his works this July,

you are restricted by the camera, you had to

beautiful and intimate? The answer is

room he discovered a black and white

some prints well surpassing the thousand

think, how could I get an interesting picture

surprising but not unexpected.

photograph of a Japanese lady looking in a

dollar mark, in particular ‘Royal Arcade’

without all of these lenses and filters?” It

“One publisher said they we’re interested,

shop window in Collins Street and knew he

(pictured) selling for $2,640, there has

was this restriction of the fixed lens where

we’ll have a look at it. I had it assembled

had stumbled upon something special.

never been a better time than now for

we can truly see the talent and skill in

with quite a voluminous draft narrative;

“I spoke to the lady who was in charge

Angus to finally get the audience and

Angus’ images. They are framed perfectly;

they were very interested but had filled

and asked ‘who took this photograph?’

appreciation he so duly deserves as one

his compositions of the everyday are what

their publishing quotas. I tried two or

I thought it was a one off. She told me it

of this country’s greatest Photographers;

make his work so beautiful. “Composition

three others but wasn’t getting anywhere.

was Angus O’Callaghan. I asked for his

an acknowledgement and appreciation

is the secret of interesting photography”

I remember one publisher, he showed

telephone number as I would love to give

that has eluded him throughout his life

he explains. “Rarely did I take more than

me a book on Melbourne and said ‘sorry I

him a buzz, which she replied ‘he’s in the

and career. Now in his 90th year, it has

one picture of a scene; you were pretty

already published this one, but yours would

other room, you can have a chat!’ It was a

taken almost half a century for his work

frugal with your film as it was quite costly.

be far better.” Angus goes on to tell me: “I

leap of faith because I knew by the image it

to be recognized which is something he is

I have noticed with digital you get wasteful,

met a chap who was an ex representative

was really special. I gave Angus my address

philosophical about. “Some things don’t

you start taking pictures and you’re just

of the Herald, I showed it to him and he

to send me some images and five days later

happen, then other things do happen,

throwing them away like cards.”

was very interested but couldn’t get me a

I got this post pack choc ‘o’ block full of

it’s not always what you think is going to

It is one thing to be able to take a nice photo

publisher. He also tried Angus & Robertson

transparencies. I started looking through

happen. I call life a winding track.”

but in capturing those iconic moments

and a few others and I thought if he can’t

them and thought these are phenomenal.”

in time there were some occupational

do it I wouldn’t have much hope with it. So

No doubt these transparencies hadn’t been

hazards of walking the streets which

that ended the idea, I just put it away, went

seen in public for decades and one wonders

was still suffering from a hangover of the

back into teaching until I retired in the

whether Angus himself had reviewed

great depression and post war suspicions.

early 90s”

them since the disappointment of failing

“I would walk the streets, looking for

After the death of his first wife in the

to secure a publisher all those years ago.

Eamon

subjects. Some days you go all day and

1990s,

Queensland

So knowing he had stumbled on something

winning, internationally recognised

take very few pictures. You get abused as

where he undertook a diploma course in

incredible, Ben worked with Angus to

illustrator, artist and designer with

well. For instance if I was photographing

Photography at Toowoomba Tafe in his mid

scan and print editions of the collection

representation in New York City and

an old fence in a lane, wouldn’t you think

seventies. Whilst studying he did various

through JCP Studios, which resulted in an

here in Melbourne. He has worked

it was nothing? A lot of people would

commercial jobs, wedding photography,

exhibition of the collection two years ago,

for iconic international brands and

think ‘What’s wrong with this bloke?’ if

photojournalism and selling images to

and a rediscovery of an important body of

magazines, exhibited his works both

you photographed a private home.” Angus

photo libraries, but still treated it as a

work that hadn’t been seen since 1971. A

locally and abroad and is an Australian

would also take a conventional, professional

hobby. “I took up photography again when

body of work, which Ben acknowledges,

image advocate and historian, and is

approach to gaining access to buildings. “I

I retired; I went into a stock library and

transcends generations.

founder and creative director of The

used to write letters to firms for permission

sold a few pictures, mainly for books and

“When we first had the exhibition there

Island Continent, an online archive

to photograph their buildings.” This would

advertising. They just sent you a cheque for

was the older generation of Australians,

documenting the Australian image and

often turn out to be counterproductive, with

half the amount they got, only $50 a picture

people who had lived through the 1960’s

its image-makers.

the marketing departments offering Angus

then, some were $100 depending on what

and the 70’s as 30 year olds, people who

www.eamo.com.au

bland, corporate, staged photographs for

magazine or book it was going into. I sold a

are my age and then you had the younger

www.islandcontinent.com.au

him to feature in his proposed book of

few, I was happy doing it.”

generation. The work really pleased a lot of

LEONARD

Angus

moved

to

17

Donnelly

is

an

award-

AUGUST

COLLECTABLES

NOW CONSIGNING COLLECTABLES & SPORTING MEMORABILIA FOR 2012

AUGUST

18

LEONARD

COLLECTABLE RESULTS

BIDDERS BATTLE FOR CIVIL WAR MEMORABILIA AND EARLY PHOTOGRAPHY. Two private historical collections formed the Collectables sale at Leonard Joel on 22 July. The first part of the sale included 180 lots of American Civil War memorabilia compiled by Bob Simpson from 1960s to the 1980s. As well as a strong presence in the saleroom, there was considerable interest from American collectors, with more than fifty participating through absentee and online bidding via Artfact. com. Antique firearms achieved particularly good results, including lot 98, a Burnside Percussion Breech Loading Carbine that sold for $1,920 (IBP) against an estimate of $600-800. Another highlight was lot 144, and impressive Infantry Captain’s frock coat, cape and accoutrements that sold for $3,120 against an estimate of $3,000-5,000.

Part 2 of the sale was another one owner collection, of 100 lots of daguerreotypes, ambrotypes and other early forms of photography. Lot 186, a rare quarter-plate daguerreotype of an Australian exterior scene titled ‘Barogarook’ attracted a great deal of local and international.

There was fierce bidding from the room and several telephone bidders. The rare image was eventually knocked down to an Australian RARE QUARTER-PLATE DAGUERREOTYPE OF BARONGAROOK SOLD $10,800 IBP

buyer for a remarkable $10,800, against an estimate of $400-600.

CASED STEREO DAGUERREOTYPE

BY ANTOINE CLAUDET SOLD $3,840 IBP ALBUM WITH PHOTOS INCLUDING PORTRAIT OF 'TRUGERNANNER/TRUGANINI' SOLD $4,080 IBP

LEONARD

19

AUGUST

ANNE MARIE GRAHAM

PRIVATE SELLING EXHIBITION OF OIL PAINTINGS BY MELBOURNE ARTIST ANNE MARIE GRAHAM LEONARD JOEL ARE DELIGHTED TO BE HOSTING THIS INTIMATE EXHIBITION FOR SALE OF 28 WORKS FROM ANNE MARIE GRAHAM’S STUDIO.

ANNE MARIE GRAHAM (BORN 1925) Silence Please 1989 oil on linen 61.0 x 91.5 cm Estimate on request

The Anne Marie Graham Exhibition

AUGUST

Venue The Red Room Leonard Joel 333 Malvern Road, South Yarra

Exhibition Times Wednesday 15 August 2012 10am – 8pm Thursday 16 August 2012 10am – 5pm Friday 17 August 2012 10am - 5pm Saturday 18 August 11am to 5pm Sunday 19 August 11am to 5pm

20

Enquiries & Price List Monique (03) 8825 5620 monique.legrand@leonardjoel.com.au

LEONARD

ART BUSINESS

WE NEED TO ENSURE THAT WE CONTINUE TO SUPPORT OUR DEVELOPMENT CULTURALLY AS WELL AS ECONOMICALLY. AUSTRALIA HAS A TALENTED BUT FRAGILE VISUAL ARTS SECTOR AND THE BENEFITS OF PROTECTING THIS FAR OUTWEIGH THE RATIONALE FOR THIS SPECIFIC RECOMMENDATION. ANDY PENN, FORMER HEAD OF AXA ASIA-PACIFIC, JULY 2010, COMMENTS MADE IN SUPPORT OF THE SAVE SUPER ART CAMPAIGN TO PREVENT THE BAN ON ARTWORK INVESTMENT BY SUPER FUNDS

ART BUSINESS

BY MICHAEL FOX

Super Art: Time to Move Forward

also investment-driven and not just a per- Roger Dedman analysed the art market in to the Resale Royalty Right definition and not

Below is an edited text of a speech I made sonal folly.

2009 and concluded that carefully cho- by reference to the old ATO definition.

recently at The James Makin Gallery, Unfortunately the financial services indus- sen Australian paintings bought at auction 3. Capital gains or losses on the sale of Melbourne.

try groups art with other collectables like with the intention of being held for at least artworks should be permitted to be off-

To borrow Julia Gillard’s 2010 campaign antiques and coins and describes these types 5 years and preferably 10 can confidently be set against capital losses or gains on other slogan - it is now time to move forward on of investments as “exotics”. the super art laws that came into effect dur-

expected to produce a satisfactory rate of classes of assets except for collectables.

The danger of the term “exotics” can be return when viewed purely as an investment. 4. The in-house asset rule should be reintro-

ing the recent period of political turmoil – by seen in a recent edition of the Super Made Artworks can be very suitable for SMSFs. duced for artworks. having the new laws amended in line with Easy magazine which illustrates an article They are more likely to return growth with 5. Storage requirements to be modified: the government’s original promise to the arts on buying artworks and collectables through a long-term strategy which suits many in artworks should be permitted on the premindustry to simply mandate new storage and super funds with images of retired people on the accumulation phase of their investment ises of the member provided they are not on insurance requirements for super art assets.

yachts.

strategy. It is also a more personal form of display (except for the in-house asset rule).

It is obvious many Australians wish to invest Artworks are a very different class of asset to investment as you can follow the career of Such an arrangement could be satisfied by a in the art market. One of the reasons why is yachts and memberships in social clubs for the artist you have invested in and in this way Statutory Declaration by the SMSF trustee to a nervousness and distrust of financial mar- three main reasons:

it can be seen as a form of “ethical investing”. the Fund’s auditor.

kets – ironically this is the exact opposite (a) The art market has a very long history and The Cooper Report changed the landscape 6. Cost of the Insurance requirements to be to the reasoning behind The Cooper Report it is integrated on a global level

for super art investing. Central to under- eased by modifying the storage measures.

- which advocated that only prudentially- (b) The creation of art itself is part of a standing this are the rule changes to in-house One of the reasons behind the success of the regulated investments would be allowed in broader arts industry that supports commu- assets and related party transactions – which Australian art market over the last twenty order to protect retirement savings.

nities all over the country and is part of the are no longer allowed.

When the Cooper Report was released two cultural fabric of Australia

years has been the role of superannuation,

Previously the in-house asset rule with particularly in the self-managed sector, to

years ago the all ordinaries index stood at (c) Art is now defined separately in the resale respect to artworks meant that you could provide liquidity and certainty to the mar4350 – today it is actually 200 points lower. royalty legislation

keep and display artworks in your house – up ket. It is a world-class system that deserves

Super funds have responded to the disap- However not all art is suitable for investment to a value of 5% of the assets held by the fund its place in the retirement policies of the pointing performance of the stock market by by super funds – particularly now that the – without breaching sole purpose.

country.

reallocating their assets into cash at record super art laws have been changed. Art invest- The related party rules pre-Cooper meant levels and this has led to a growing desire by ments in super funds should be a considered that super art could be displayed and leased investors to diversify their investments into part of the entire portfolio of investments to a company or individual associated with other areas like artworks.

and not isolated to a single painting or a sin- the SMSF. This is no longer the case nor can

During this same period the Australian art gle sculpture.

artworks owned by the member of a SMSF be

market has held its ground and continues to What makes a super fund unique is the bought by that SMSF or transferred across as turn over approximately $100 million per “sole purpose test” – the fund must meet a contribution. year at auction. This is a tremendous cultural the requirement that it exists solely to pro- But importantly investor choice has been and economic achievement and places Aus- vide benefits to its members in the event of maintained. The new rules encourage coltralia ahead of similar nations like Canada retirement.

lectors to think about their artworks as a col-

– who have an extra few centuries of history In relation to artworks and the sole purpose lection or an investment within a portfolio and a French heritage in their favour!

test the ATO argues that hanging artworks of other investments – this is positive. What

It is important to recognise that superannua- at the home of a member immediately con- is now needed is to have the super art laws tion investments by their nature are held for fers a benefit to that member pre-retirement modified so they do not create disincentives long periods and this seems to be a good fit and therefore breaches the sole purpose test. in the future – and before the five-year tranwith the art market where artists can pro- This proposition has not been tested in court sition period from the old to new rules ends Michael Fox is a qualified accountant and duce works over their lifetime. At the same but it is the rationale behind the new super on 30 June 2016. professional fine art valuer who successfully ran the time the ability of self-managed funds to con- art laws.

Save Super Art campaign to prevent the prohibition So what should these amendments be? tinue to invest in the art market has become a However if art was seen as a legitimate Suggested amendments to the super art of artworks from self-managed superannuation

deeply political issue.

investment class – separated away from the laws

There is a mystique around the activities of other “exotics” that constitute the ATO defi- 1. The rules for SMSF artwork investment

funds (SMSFs). He is a member of the Leonard Joel Valuation Panel and is engaged exclusively by Leonard Joel to provide advice to

artists, dealers and valuers but the public nition of a collectable - the problems associ- be separated from the rules for other forms their clients in relation to artwork investment in should be made aware that acquisitions of ated with hanging super art at home would of collectables.

SMSFs. He may be contacted at art, although a very enjoyable past-time, are mainly go away.

LEONARD

2. Artworks should be defined by reference michael.fox@superartbusiness.com.au.

21

AUGUST

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