LEONARD, issue 74, September 2018

ISSUE 74 SEPTEMBER 2018

SYDNEY

|

MELBOURNE

Auction Calendar Fine Jewels Monday 3 September 2018 – 6.30pm

MELBOURNE

Fine Art Tuesday 4 September 2018 – 6.30pm

MELBOURNE

Luxury Wednesday 5 September 2018 Part 1 Louis Vuitton – 2pm Part 2 – 5pm

MELBOURNE

Decorative Arts Monday 17 September 2018 – 6.30pm

MELBOURNE

The Martin Bodinar Collection of Model Trains & Engines Wednesday 19 September 2018 – 5pm

MELBOURNE

Prints Wednesday 19 September 2018 – 6.30pm MELBOURNE

Collectables Thursday 27 September 2018 – 2pm

MELBOURNE

Asian Art Monday 8 October 2018 – 6.30pm

MELBOURNE

Women Artists Wednesday 10 October 2018 – 6.30pm

MELBOURNE

Militaria Thursday 11 October 2018 – 2pm

MELBOURNE

Modern Design

61 HERMAN PEKEL (born 1956) Skipping Girl 2006-2018 oil on canvas 122 x 92cm $3,000-5,000 Fine Art Auction, Tuesday 4 September at 6.30pm

Monday 14 November 2018 – 6.30pm

FITZROY

The Thursday Auction Furniture & Interiors – 10am Jewellery & Wristwatches – 10.30am Art Salon – 11.30am Collectables – 12pm MELBOURNE Front Cover: 98 CHARLES BLACKMAN (born 1928) Schoolgirls c.1974 charcoal on paper, 76 x 105.5cm $20,000-25,000 Fine Art Auction, Tuesday 4 September at 6.30pm

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Our Expertise

Almost 100 Years of Auction History...

MANAGING DIRECTOR & PROPRIETOR John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au

Auction Specialists PRIVATE COLLECTIONS John Albrecht, National Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au FINE ART Sophie Ullin, National Head of Department

This month’s issue of Leonard Joel is dedicated to Charles Blackman, who sadly passed away on 20 August. His monumental impact and influence on the landscape of Australian art will ensure an enduring legacy.

03 8825 5609 | sophie.ullin@leonardjoel.com.au JEWELS John D’Agata, National Head of Department 03 8825 5605 | john.dagata@leonardjoel.com.au DECORATIVE ARTS Chiara Curcio, Head of Department, Melbourne 03 8825 5635 | chiara.curcio@leonardjoel.com.au Hamish Clark, Head of Sydney Office 02 9362 9045 | hamish.clark@leonardjoel.com.au

Also in this issue, we learn more about Picasso ceramics, delve into the history of portrait miniatures, discuss the

MODERN DESIGN Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au COLLECTABLES

visionary designer Achille Castiglioni, share a collector’s

Nora Merralls, Manager

guide to enamel jewellery and reveal a piece of music

LUXURY

memorabilia from Australian great, Michael Hutchence.

03 8825 5625 | nora.merralls@leonardjoel.com.au

Bethany McGougan, Manager 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au

The Thursdays Auction Specialists ART SALON

We hope you enjoy the read and look forward to seeing you in Melbourne or Sydney soon.

Lucy Foster, Art Specialist 03 8825 5630 | lucy.foster@leonardjoel.com.au

FURNITURE Shawn Mitchell, Manager 03 8825 5614 | furniture@leonardjoel.com.au JEWELLERY Bethany McGougan, Manager 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au OBJECTS, BOOKS & COLLECTABLES Moira Rogers, Manager 03 8825 5604 | moira.rogers@leonardjoel.com.au

Valuations Caroline Tickner, Head of Department 03 8825 5638 | caroline.tickner@leonardjoel.com.au

Marketing & Communications Claire Mazzone, Manager 03 8825 5620 | claire.mazzone@leonardjoel.com.au Nicole Kenning, Marketing Consultant Maria Rossi, Graphic Artist Adam Obradovic, Senior Photographer Joseph Hammond, Photographer

Sale Rooms MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333 SYDNEY 39 Queen Street, Woollahra, Sydney NSW 2025 Telephone: 02 9362 9045

85 HUGH SAWREY (1923-1999) The Arrival of the New School Ma’am oil on canvas, 122 x 166cm $55,000-75,000 Fine Art Auction, Tuesday 4 September at 6.30pm

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CHARLES BLACKMAN (1928-2018) Seated Children in Landscape c.1953/54 oil on paper on board 90 x 122cm

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EVERYWHERE IS BLACKMAN The death of Charles Blackman on

artistry that seemed, to me, to move

shoe of the period. In later years I was

to whimsical drawings and in the process

20th August prompted me to distil

between schoolgirls in menacingly cast

to be equally beguiled by a privately

ensured that his work will and can be

what the artist has meant to me, both

environments and magical moments

held work of a school girl walking at

collected for decades to come.

as an art lover and as an auctioneer.

from Alice in Wonderland, or a curious

night against an intense and colour-

My predominant observation is that

merger of the two themes.

filled backdrop of period advertising

And if an art reference book or public

hoardings. These two paintings and

gallery or google is not where you wish

Blackman has loomed large and in many ways everywhere in the Australian art

As an auctioneer, a sale would not pass by

themes were constant markers on the

to start learning about Blackman, then

landscape.

without at least a handful of Blackmans;

journey that was uniquely Blackman’s.

may I suggest a cup of coffee at the Blackman Hotel? There, an interesting

major oil paintings, playful commissions He claimed his rightful place amongst

for friends and clients, through to

And now with his passing, which

survey of his early work in digital editions

the handful of those artists known as

masterly line drawings. The first time

will sponsor renewed interest in his

and splendid formation greet you at the

the Antipodeans, yet differentiated

I was struck by his lyrical strength was

art and curiosity about his life and

door!

himself markedly by focusing on human

when I was lucky enough to manage

lifelong struggles, new or emerging

narratives and story-telling rather than

the sale of a work, monumental in scale,

collectors can count themselves very

the harsh and confronting nature of the

and simply titled “Alice’s Foot”. Quite

lucky that Blackman painted, drew and

Australian landscape. And so began

literally it was a giant size rendering of

experimented with art and narrative on

his

Alice’s foot in a typical pretty buckle

a prodigious scale; from grand paintings

equally

haunting

and

magical

JOHN ALBRECHT, MANAGING DIRECTOR, LEONARD JOEL

leonardjoel.com.au

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FINE ART

24 CRISS CANNING (born 1947) Sunflowers 2004 oil on canvas 82 x 75cm $20,000-30,000 © Criss Canning. Licensed by Viscopy Ltd. Australia

Melbourne Auction Tuesday 4 September, 6.30pm 333 Malvern Road, South Yarra 3141

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Melbourne Viewing Wednesday 29 August, 9am-8pm Thursday 30 August - Monday 3 September, 10am-4pm

Enquiries Sophie Ullin National Head of Art 03 8825 5609 | 0407 360 513 sophie.ullin@leonardjoel.com.au

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154 PABLO PICASSO (Spanish/French, 1881-1973) Visage d’Homme (A.R. 287) 1955 ceramic plate, partially engraved, white glaze, black engobe ed. 38/350 39 x 32cm $8,000-12,000

“My husband grew this amazing flower, it was about 8ft. tall...

The blue background was inspired by the sky. As I looked up at the

Pablo Picasso Ceramics 101

flower he had grown, high above my head, the sky was this intense, jewel like blue.

During the 1940s, Pablo Picasso spent his summers on the Côte

Such an amazing flower the

d’Azur in the South of France. It was here that he discovered his

Sunflower...I’ve noticed how people

the Madoura Pottery studio in Vallauris. The Ramiés allowed Picasso

passion for pottery and met Suzanne and George Ramié, founders of

always laugh and smile when they

to use their workshop in collaboration with Madoura Pottery. During this time he was also introduced to his second wife Jacqueline Roque, who became the inspiration behind many of his works until his death

come across them in my garden.

in 1973.

Picasso began creating simple objects, such as plates and bowls and then moved onto more complex and ambitious forms, including vases

It is wonderful working with

with elaborate handles that were sometimes formed facial features,

live flowers, I never paint from

anatomical parts or animals. The subjects and themes that Picasso

photographs, there is something of the energy and life force that I feel adds something special to the work when I paint from nature.”

explored in his ceramics were typical of his style and included Greek mythological figures, animals (such as owls, horses and fishes), face motifs and bullfighting.

Picasso designed over 600 different ceramic editions and a number of unique pieces during his life. Every ceramic produced by Picasso features a stamp or marking, which can usually be found on the underside of the work on the reverse. Some pieces also feature an edition number (e.g. 38/350) or a date.

CRISS CANNING

The September Fine Art auction features two beautiful Picasso ceramics, Visage d’Homme (A.R. 287) and Visage de Femme (A.R. 286). Both were conceived in 1955, executed in a numbered edition of 350 (A.R. 287) and 500 (A.R. 286) and are stamped verso Madoura Plein Feu Edition Picasso.

Picasso ceramics have an enduring appeal and the market for these charming objects continues to grow today.

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JEWELS

100 A VICTORIAN ENAMEL LOCKET $1,000-1,500

Melbourne Auction Monday 3 September, 6.30pm 333 Malvern Road, South Yarra 3141

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Melbourne Viewing Wednesday 29 August, 9am-8pm Thursday 30 August - Monday 2 September, 10am-4pm

Enquiries John D’Agata National Head of Jewels 03 8825 5605 | 0408 355 339 john.dagata@leonardjoel.com.au

leonardjoel.com.au

A guide to enamel Jewellery Enamel jewellery has been popular throughout the ages and also transitioned in style and design over a number of periods. Enamels are actually coloured glass, usually powdered and applied often in thin layers, which are heated and melted to form colours and images on jewellery. Enamels are usually set over gold, silver and platinum, as well as base metals. There are many different enamel techniques, including: Guilloche - a decorative technique in which metal pieces have been given the guilloche treatment and then covered with a translucent layer of enamel, giving the geometric patterns underneath the enamel a colourful hue.

Plique-a-jour - a vitreous enamelling technique where the enamel is applied in cells, so light can shine through the transparent or translucent enamel.

115 A ‘MAN IN THE MOON’ BROOCH / PENDANT $1,500-2,000

Basse-taille - a technique in which the artist creates a low-relief pattern in metal, usually silver or gold, by engraving or chasing.

Champlevé - decoration by enamelling, in which cells are carved, etched, die struck or cast into the surface of a metal object, and filled with vitreous enamel.

Taille d’epargne – is a variation from champlevé decoration, in which engraved lines in the metal base are filled in with opaque enamel, without any variation in the depth of the lines.

In the forthcoming September Jewels auction, there is a beautiful selection of enamel pieces. In Lot 100, the vivid colours in the antique locket are symbolical and tell the story of the dove of peace being released from Noah’s Ark. In Lot 115, the enamel in the minstrel and moonface is complimented by the use of diamonds. In Lot 110, simply set diamond and pearl is used to adorn the multi-coloured masked figure. In all of these exquisite pieces, the enamel work is the hero.

John D’Agata

110 A FRENCH ENAMEL DEMI-PARURE $3,000-4,000

National Head of jewellery

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DECORATIVE ARTS The joy of discovery For a valuer, discovering an item with

the Grey family history to determine

Wars of the Roses (1455–1487), a series

was associated with a red rose, and the

interesting

whether the flower may form part of the

of civil wars, fought over the throne of

House of York, a white rose, hence the

is one of the most exciting aspects

family emblem.

England, between supporters of the

name War of the Roses. Edmund Grey,

of the profession. Particularly when

It was not difficult to locate information

House of Lancaster and supporters of

Lord Grey of Ruthin, started out a as

provenance

or

history

observing furniture, the shape of the

Lancastrian, but switched to the Yorkist

legs can determine the age and value.

side at the Battle of Northampton. His

To find a piece labelled with its date of

move further secured the success of

manufacture is indeed a rare discovery.

the Grey family, as he became Lord

When consigning this lovely 17th century

Treasurer in 1463/4, was created Earl

Jacobean buffet, I saw the merit in its

of Kent in 1465 and was keeper of the

manufacturer of course, but after further

Tower of London in 1470.

research I realised there was more to the

I believe that the scene on the buffet is

piece than first meets the eye.

an allegorical representation of the War

The back panel of the buffet bears

of the Roses, with the depiction of the

the name Anthony Grey Magadalene

prominent rose, being the white rose of

above a carved figural scene and is

Yorkshire.

dated 1615. Anthony Grey (1557-1643)

Having handled so many pieces of

married his wife Magdalene in the late

furniture without known provenance, it

16th century. He was a reverend from a

was a great pleasure to discover a piece

wealthy baronial family, and by 1639 had

that inspires further contemplation, and

succeeded his father as the Earl of Kent,

is reminder of future discoveries.

and remained so until his death. At first glance the scene on the back panel of

Chiara Curcio

the buffet appears to be religious, and

Head of Decorative Arts

knowing that Grey was a reverend, I did

03 8825 5635 | 0412 653 315

not question its symbology, however it

chiara.curcio@leonardjoel.com.au

later became clear that the scene was political or historical, as there are knights

regarding the Grey family, as they were a

the House of York. Both houses were

visible in the image. A prominent flower

baronial family whose bloodline held the

branches of the Plantagenet royal

is also visible in a central position, which

Earl of Kent title from 1420-1740. They

house, tracing their descent from King

prompted my curiosity, so I explored

rose to greater prominence during the

Edward III.

Melbourne Auction Monday 17 September, 6.30pm 333 Malvern Road, South Yarra 3141

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Melbourne Viewing Wednesday 12 September, 9am-8pm Saturday 15 September, 10am-4pm Sunday 16 September, 10am - 4pm

The House of Lancaster

Enquiries Chiara Curcio Head of Decorative Arts (03) 8825 5635 | 0412 653 315 chiara.curcio@leonardjoel.com.au

leonardjoel.com.au

Illustrated above 260 AN UNUSUAL JACOBEAN OAK TWO TIER STANDING BUFFET 17TH CENTURY, CIRCA 1615 $1,500-2,500

Romantics in Romanticism; era of the portrait miniature The

94 (Part) TWO CONTINENTAL MINIATURE PORTRAITS* 19TH CENTURY $400-600

101 A COLLECTION OF FIVE FRAMED WAX RELIEF MINIATURE PORTRAITS 19TH CENTURY $300-500

Neil

Robertson

Collection,

miniatures (Lot 101) were also executed

featured in the forthcoming September

to depict the sitter’s profile. The wax

Decorative

includes

portrait was generally reproduced in

many curious insights into the life and

small quantities by use of a plaster

romanticism of 18th and 19th century

mould for the sitter’s family, however

Great Britain and Europe. Among the

reproductions of celebrities and heroes

numerous treasures on offer are several

of the period were also collected.

lots

By early 18th century, Great Britain was

Arts

comprising

Auction,

portrait

miniatures,

shadow and wax portraits.

in the midst of the industrial revolution,

Subject to their peak in popularity in

and portrait miniatures were no longer

the mid-19th century, portrait miniatures

exclusive to the elite. Limners and artists

became a casualty to the disruptive

alike proliferated during that period,

technology

offering their services as an affordable

that

was

photography.

However, up until this time, the trade

luxury to the broader population.

and profession in hand-painted portrait

One of the two framed portrait miniatures

miniatures, shadow and wax portraits,

in Lot 134 has information attached to

flourished.

verso ‘Painted by G. Marshall Mather,

Today they convey a melancholy and

miniature painter, 63 Princes Street,

nostalgia that alludes to the romantic

Edinburgh, dated 1842.’

spirit of the era; the unknown male and

Many of the portrait miniatures, shade

female sitters, young and old, dressed

and wax portraits in the Decorative Arts

in their finest, gaze back in muted

auction date from late 18th to mid 19th

expressions; the young with glimpses of

century. They would likely have served

hope and excitement; the older sitters

as personal mementos and precious

hold austere and morose expressions.

gifts

Without

or

wives, young romantics, parents and

markings, their identities are forever lost.

their children. Many continue to be

Many of the portrait miniatures on offer

passed from one generation to the next

(Lots 94, 95, and 134) are executed

as family heirlooms.

in watercolour on ivory or ivorene.

The

However,

miniature

provenance,

portrait

signatures

miniatures

were

treasured

between

obsolescence after

of

the

husbands,

the

portrait

invention

of

also painted in watercolour on vellum,

photography serves to remind us of

mother of pearl, silk or enamel on

the changes (positive and negative)

porcelain. The finest examples feature

that disruptive technology has on our

astonishing detail and technique and are

day-to-day lives. Like other mediums

traditionally presented in oval or square

succumbed to a similar fate, the

frames and lockets, some measuring as

portrait miniature with all the charm and

small as approximately 40mm by 30mm.

romanticism inherent to its period will

Lot 102 has a generous offering of

never be substituted.

shadow

portrait

miniatures,

distin-

guished by a striking silhouette of the

Dominic Kavanagh

sitter’s profile. They were often cut

Decorative Arts Specialist

freehand with scissors or knives and then pasted to a contrasting (usually lightcoloured) background, and painted 134 (Part) TWO FRAMED PORTRAIT MINIATURES 19TH CENTURY $400-600

on paper, card, vellum, ivory, silk, or porcelain.

Similar to the silhouette, the wax portrait

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ASIAN ART

Big in Japan Meiji giants on show

If you have stopped by Leonard Joel Melbourne lately, you may have noticed in our client room (opposite the front desk) an almost 7ft tall monumental Imari Floor Vase from the Meiji Period (1868-1912).

Ushered in by an era of revolution in Japan, the restoration of the power of the Meiji emperor in the 1860s saw a major transformation of engagement with the west unfold and a love affair of Japanese design, begin.

As Jennifer Harris notes, “Japan, shifting from its isolationist policies to modernisation, seized the opportunities provided by exhibitions to develop and promote its applied arts for ideological and economic purposes. The combination of these commercial and social shifts impacted on museum collections around the world, especially in the distribution of the decorative arts.” 1 Pieces like the Imari vase formed the very first Japanese acquisitions of public museums across Europe and the USA or found their way into private collections later to resurface as donations to public museums. It is signed ‘Hichozan’, a mark that was used by the Japanese firm Tashiro, which produced and marketed porcelain wares from Arita for the Western export market from the mid 19th century. Painted in a Bunjinga (Literati) style, the vase would have been designed for placement either side of a staircase in a stately home or public building.

This example is also signed by the artist or studio Iwahisa and prefaced with Dai Nihon/ Nippon which became popularly applied in part due to a requirement from the early 1890s that ceramics produced in Japan and exported to the US be stamped in this way. The Iwahisa studio name yields very little information about its history yet it’s handling of such an enormous piece commands our attention for both the painting and firing quality.

1

The Formation of the Japanese Art Collection at the Art Gallery of South Australia 1904-1940:

Tangible Evidence of Bunmei Kaika, Volume 1 Jennifer Harris

Trevor Fleming Asian Art Consultant 03 8825 5635 | asianart@leonardjoel.com.au

AN ENORMOUS JAPANESE IMARI FLOOR VASE SIGNED DAI NIPPON HICHOZAN IWAHISA SEI, MEIJI PERIOD, 1890s.

In two pieces and decorated overall in under glaze blue. Foliate flared rim with roundels of dragons and jewels. Main design of two dynamic eagles amongst a floral strewn ground and turbulent water and rocky outcrops.

Signature Dai Nippon Hichozan Iwahisa Sei on the recessed base. $12,000-18,000 Viewing in Melbourne

Melbourne Auction Monday 8 October, 6.30pm 333 Malvern Road, South Yarra 3141

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Melbourne Viewing 333 Malvern Road, South Yarra 3141 Wednesday 3 October, 9am-8pm Saturday 6 October, 10am-4pm Sunday 7 October, 10am - 4pm

Sydney Viewing 36-40 Queen Street, Woollahra 2025 Wednesday 3 October, 9am-8pm Saturday 6 October, 10am-4pm Sunday 7 October, 10am - 4pm

leonardjoel.com.au

Enquiries Carl Wantrup Asian Art Consultant 03 9826 4333 asianart@leonardjoel.com.au

The Journey of a Collector I first met Russell Howard about 20 years ago, probably at a TAASA (The Asian Art Society of Australia) textile study group meeting. He instantly struck me as a very thorough and scholarly collector, the kind that delves deeply into a chosen subject and emerges with real expertise. Soon after our initial meeting, I visited his home and looked at his Bhutanese textile collection. However, working with him and delving into his collection for the upcoming Asian Art auction, I have had the privilege of learning the background to his journey as a collector.

It all began in the late 1970s in South America. Russell travelled throughout Mexico and Peru and visited Guatemala, all countries with a long textile heritage, without evincing any interest in the medium. It was only when he got to Bolivia that he saw an old textile in the window of an antique shop in La Paz and was struck by its beauty. Thereafter, he made sure to visit the textile sections of markets looking for affordable, tactile and hand spun treasures.

Russell’s early interest lapsed as he worked as a geologist in northern Australia and overseas. It was only on his return to Melbourne in the late 1980s that his curiosity in textiles was rekindled when he visited the gallery of Melbourne Asian art dealer Suzy Lebasi of Soo Tze Orientique.

(PART) A GROUP OF SOUTHERN CHINESE MIAO BABY CARRIERS EARLY 20TH CENTURY $1,000-2,000

His interest was largely with the complex and beautiful Bhutanese textiles, so he built a small collection by visiting Kathmandu; most of which he ultimately donated to the NGV. Subsequently, his main collecting interests became the Burmese tribal textiles of the Chin, Kachin and Karen, and the silk textiles of the Tai groups in north-east Laos.

Russell still makes annual trips to the border region of north-east Laos and Vietnam researching these textiles.

In the early 1990s Russell became interested in the minority textiles of south-west China, and made trips to this area, mainly to Yunnan, in 1991 and 1994, assembling a large and exemplary group of beautiful embroideries, batiks and weavings of the Miao, Dong and Maonan people. These were supplemented by pieces bought in the shops and markets in Chiangmai, which had become a major outlet for these textiles at that time.

We are proud to offer in our forthcoming Asian Art auction on 8 October, Russell’s focused and important collection of Southern Chinese minority textiles.

Carl Wantrup Asian Art Consultant 03 8825 5635 | asianart@leonardjoel.com.au (PART) A GROUP OF FOUR SOUTHERN CHINESE BABY CARRIER PANELS EARLY 20TH CENTURY $500-700

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MODERN DESIGN “If you are not curious, forget it” ACHILLE CASTIGLIONI’

ACHILE CASTIGLIONI SNOOPY LAMP FOR FLOS Sold $2,480

CASTIGLIONI BROS RR226 RADIO-PHONOGRAM FOR BRIONVEGA Sold $4,960

ENTRIES INVITED AUCTION MONDAY 12 NOVEMBER 2018

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Extraordinary Designs: Achille Castiglioni Achille Castiglioni was one of the great Italian designers who impacted the world with more than just functionality. Like his peers, Achille worked across a range of design disciplines including product design, interior design and exhibition display.

ACHILLE CASTIGLIONI ARCO

He collaborated on lighting projects with other

FLOOR LAMP FOR FLOS

Italian lighting manufacturers before finding his

Sold $1,984

own style, which highlighted the technical and functional aspects of lighting. From the moment he set up his studio in Milan in 1944, with his brother Pier Giacomo, he set about taking ordinary objects or materials and translating them into delightful solutions for everyday life. He made a hole through 65kg of marble so two men with a rolling pin or a broom handle could carry it. This design became his

ACHILLE CASTIGLIONI FRISBI

now famous ’Arco’ floor light.

SUSPENSION LIGHT FOR FLOS

Castiglioni was one of those rare characters that had

Sold $680

many powers of design and was not restricted to one particular category. He loved the simplicity of everyday objects, and his imagination ran wild with them. In 1962 he designed stools made from tractor and bicycle seats, which at the time were so radical that they were not produced until 1971, when Italian manufacturer Zanotta put them into production.

The 1970s saw him diversify into other areas of product design, joining forces with Alessi, Zanotta and Moroso. Castiglioni, a man known for his jokes believed that design should add humour to our lives. The Snoopy light 1967, was named because its silhouette was similar to the cartoon dog.

Castiglioni himself possessed a creative potency and flexibility that gave birth to an array of stylistically varied objects, including the Parentesi Lamp, Taccia and the poetic Fucsia Hanging Lamp.

Achille Castiglioni would have been 100 years old this year. He is remembered for his ironic humour, imagination and of most importantly his highly individual designs, which are still in production today.

Anna Grassham Head of Modern Design 03 8825 5637 | 0415 076 480 anna.grassham@leonardjoel.com.au

EUROPEAN SIDE CABINET Sold $1,200

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CHARLES BLACKMAN 1928-2018

Trumpeter 1954

Night Flowers c.1965

After completing his Schoolgirl series in 1954, Blackman

To me, Night Flowers, perfectly encapsulates Charles Blackman’s

introduced a new tempo in Trumpeter. The bold simplification

captivating poetic and enigmatic qualities both in image and

of form and geometric blocking of space is set into joyful

word. This painting was also much loved by Barbara Blackman,

motion by the bright blue accent.

hanging in the heart of her home for nearly 50 years.

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‘Farewell to the intuitive adventurer who so imaginatively and splendidly wove dreams and reality together to reveal curious and compelling trajectories of visceral and intellectual experience.’

SOPHIE ULLIN, HEAD OF ART.

Boy in Bush 1954

Owl c.1957-58

The singular figure in this work is at once child and man,

An intriguing work that prompts previously unseen links to his

existing somewhere between dream and reality. Both float

seminal Alice series through the obscure character of the Owl,

on a timeless ground with natural light excluded; the effect

brimming with character akin to that he bestowed upon the Rabbit.

being that life seems to come from the action within.

On another level might also playfully refer to his nickname of ‘Birdie’.

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WOMEN ARTISTS Three women artists you should know PEG MALTBY Residing in Melbourne’s northern suburb of Coburg during the difficult years of the Great Depression, Peg Maltby supported the family income through her “chocolate box” creations to please the commercial market and finance her studio and gallery in the Dandenong Ranges. Her biggest artistic success, however, came in 1946 when she published the extremely popular “Peg’s Fairy Book”, one of over 40 eventual publications, which despite wartime restrictions on paper and printing, ran into five editions and sold over 180,000 copies.

This publication launched Peg’s career, and she became known for her enchanting illustrations of mystical garden landscapes complete with fairies, nut babies, elves and woodland creatures.

The magic surrounding her unfortunately faded when the federal government opened the floodgates to book imports in the mid-20th century and books by renowned British children’s author Enid Blyton usurped Peg’s popularity. Despite falling on hard times, the 1970s saw a resurgence in “Peg’s Fairy Book” when it was reissued by Angus and Robertson. The original plates and artwork for the book were unfortunately lost, and at the age of 75, Peg was asked to recreate her special drawings. This book firmly established her as one of the greats of Australian children’s illustration and reintroduced her to a new generation. The current market favour for fairy lore, such as Ida Rentoul Outhwaite, indicates an increasing fascination with the fantastical world. Despite these market trends, Peg’s works are rarely seen at auction, and it is our hope that these unique works will amplify her mounting popularity.

PEG MALTBY (1899-1984) Pixie Market, watercolour and ink on paper laid on card, 50.5 x 38.5cm. $3,500-4,500

ENTRIES INVITED AUCTION WEDNESDAY 10 OCTOBER 2018

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ANNE GRAHAM Enrolled in the RMIT Art School at the young age of fourteen, Anne Graham became the youngest student, male or female, to ever study at school. From a young age, she also travelled to Italy, Austria and Greece to learn and work under some of the world’s greatest artists. Anne made one of her most original contributions to art in the form of the ‘cut-in’ format for her paintings, in which the shape of the canvas was changed by removing or cutting certain sections, as can be seen in ‘Just for Fun’.

Unfortunately, Anne’s artistic vision was at many times stifled by the (predominantly male) Victorian attitude, as critics and reporters could not come to terms with Anne’s work. This critical confusion would taint the reception of her work for many years to come. Male artists were regularly chosen and promoted above female artists, and Graham recalls the husband of a fellow artist saying, ‘Go to the kitchen where you belong! Women can never paint as well as men.’1 This is a statement that Anne is increasingly defying throughout her ongoing career. She has held over 75 one-woman shows to date and is still painting and exhibiting into her nineties.

1. Anne Marie Graham in an interview with Graeme Stevenson, 2015.

ANNE MARIE GRAHAM (born 1925) Just For Fun, oil on board, 113 x 122 cm (irregular) $3,500-5,500

ERICA MCGILCHRIST (BORN 1926) Continent Without Words 1963, oil on canvasboard, 70 x 130cm. $800-1,000

ERICA MCGILCHRIST Although Erica McGilchrist’s 50 year career boasts more than 40 solo exhibitions,

After her death in 2014, McGilchrist ensured that her legacy of arts education and

her artistic merits remain relatively unknown to the Australian art world. Her works

advocacy for the support of women artists was continued, by bequeathing her

mine the realm of the subconscious, often drawing upon her own experiences

estate to Heide Museum of Modern Art, in order to fund further exhibitions of

and allowing her mood to dictate her stylistic approach. She therefore alternated

work by women artists.

between abstraction and figuration, often combined both, and cemented her contribution to Melbourne Modernism of the 1950s.

Olivia Fuller

Setting her apart from her female counterparts, however, was Erica’s determined

Art Specialist

support of women’s rights and artistic movement. In 1975, Erica and Lucy Lippard,

03 8825 5624 | olivia.fuller@leonardjoel.com.au

amongst others, established the Women’s Art Register, aimed at forwarding the feminist movement in the arts.

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COLLECTABLES

FORGOTTEN ‘FRICTION’ Michael Hutchence, the frontman of INXS, is perhaps Australia’s most iconic rock star. The song ‘Friction’, unfinished at the time of his death in November 1997, is a testament to his lyrical prowess but also reveals the artist’s troubled mind.

Hutchence recorded a demo of the track in 1997, in what was to be one of his final recordings. A finished version of ‘Friction’ was finally released to the public in 2015, produced by Danny Saber, who worked with Hutchence on his posthumously released solo album.

The lyrics of the song reflect a particularly tumultuous time in Hutchence’s personal life: he had just fathered a daughter, Tiger Lily, with partner Paula Yates, was struggling with drug and alcohol addiction, and INXS’s latest album, Full Moon, Dirty Hearts, received a mixed critical response. The plaintive lyrics “Send me God/She knows I need her/Send the Devil away” paint a picture of the prodigy’s perturbed psyche.

The lyric sheet, in Hutchence’s instantly recognisable script, also features everyday notes and to-do lists on the reverse as the singer wrote them in the notebook of the site manager, a friend to the Geldof family, who was overseeing renovations on his Chelsea home in 1996.

The lyric sheet is a feature in the forthcoming Collectables auction on 27 September.

Nora Merralls Collectables Manager 03 8825 5625 MICHAEL HUTCHENCE ORIGINAL HANDWRITTEN LYRICS FOR ‘FRICTION’, C 1996. $5,000-7,000

nora.merralls@leonardjoel.com.au

THE MARTIN BODINAR COLLECTION OF MODEL TRAINS AND ENGINES 34 A PRE-WAR 1925 HORNBY METROPOLITAN RAILWAY COMPANY LOCOMOTIVE 0-4-0 LOCO NO.2, THE FIRST ELCTRIC LOCOMOTIVE PRODUCED BY HORNBY $650-850

Martin Bodinar amassed one of the largest and most diverse

lot 145, a pre-war O gauge Bassett-Lowke ‘Royal Scot’ locomotive

collections of model trains, cars and vintage toys in Australia. A

and tender, and lot 9, a Bing c 1908 live steam compound

schoolboy collector, Martin saved his lunch money to use at local

locomotive and tender.

garage sales, swap meets and local markets. Later in life, this

The auction of the remarkable Martin Bodinar Collection will

hobby became his business, as Martin, together with his family,

commence at 5pm, Wednesday 19th September. A weekend

took over the organisation of the Box Hill Swapmeet in the 1980s,

viewing is available from 10 am to 4 pm on Saturday 15th and

before moving to its present day incarnation in Forest Hill. Martin’s

Sunday 16th.

knowledge and passion set him apart in the field, as his expertise was renowned and his collection specialised in all makes and

Nora Merralls

gauges, both new and second hand.

Collectables Manager

The auction comprises 300 lots, with both contemporary and

03 8825 5625

historical pieces by makers such as Bing, Hornby, Markin, Tri-ang,

nora.merralls@leonardjoel.com.au

Ferris, Basset Lowke, Robilt and others. Particular items of note are

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PRINTS

PABLO PICASSO (SPANISH/FRENCH, 1881-1973) Neo-Classical Painter in his Studio (Peintre Néo-Classique dans son Atelier) 1963 etching 40/50 42.5 x 57cm $10,000-15,000

PABLO PICASSO EDITIONS This September Leonard Joel’s Art

works on a high quality white Rives

Department is delighted to feature two

paper.

works from one of the 20th century’s

The second listing, Festival Mondial

most influential artists: the inimitable

de la Jeunesse, is a limited edition

Pablo Picasso.

scarf, printed by Picasso in 1951, made

The first of these is the famous Peintre

in support of the World Festival of

Néo-Classique dans son Atelier (Neo-

Youth and Students for Peace Berlin.

Classical Painter in his Studio). Picasso

This early piece has become quite

etched this incredible work in 1963 at

the collector’s item, as a very limited

Mas Notre Dame de Vie, a house in

number – featuring Picasso’s now

Mougins in the South of France, where

iconic dove rendering – were produced

he and his wife Jacqueline moved in

exclusively for this conference.

June 1961. The edition was printed by

A master of many mediums, Picasso

brothers Aldo and Piero Crommelynck,

found inspiration across his lifetime as

who had worked with Picasso’s printer

a painter, sculptor, etcher, lithographer,

Roger Lacourière in Paris, before going

ceramist and designer, carving out a

on to become Picasso’s primary printers

distinct mode of self-expression in an

until his death. Three proofs were

unprecedented variety of styles.

PABLO PICASSO (SPANISH/FRENCH, 1881-1973) Festival Mondial de la Jeunesse et des Etudiants pour la paix Berlin 5-19 Août 1951 (World Festival of Youth and Students for Peace Berlin 5-19 August 1951) screenprint in colours on cotton 76 x 75cm $800-1,200

pulled from the original copper plate and published in 1967 in an edition of

Lucy Foster

fifteen artist’s proofs and fifty numbered

Art Specialist

prints (of which this is one). The Galerie

03 8825 5630

Louise Leiris in Paris printed these

lucy.foster@leonardjoel.com.au

Prints & Multiples Auction Wednesday 19 September at 6.30pm Melbourne

Viewing 333 Malvern Rd, South Yarra VIC Saturday 15 September, 10am-4pm Wednesday 18 September, 9am-8pm

Enquiries Lucy Foster Art Specialist 03 8825 5630 lucy.foster@leonardjoel.com.au

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LUXURY

138 AN ELLIPSE HANDBAG

BY LOUIS VUITTON $550-650

5 FACTS ABOUT LOUIS VUITTON 1. The house of Louis Vuitton was founded in 1854 on Rue des

5. Limited edition and collaboration designs are among the most

Capucines in Paris, and began designing handbags in 1892. Prior to

collectable pieces. Artist collaborations with Yayoi Kusama, Takashi

establishing the elite brand, Louis Vuitton had worked as the personal

Murakami, Jeff Koons and others have seen a re-imagining of the iconic

box-maker for Napoleon’s wife, Empress Eugénie.

Louis Vuitton logo. The recent collaboration with street wear brand Supreme illustrates how the brand continues to push boundaries today.

2. All Louis Vuitton handbags are carefully made by hand. The iconic Speedy bag consists of 21 individual parts and there are over 400 steps

Part 1 of the September Luxury Auction features a dedicated selection

involved in manufacturing the finished piece.

of highly desirable Louis Vuitton pieces, including bags, wallets, travel goods and accessories.

3. Luggage pieces remain modern day best sellers. The first luggage pieces manufactured by the company were large trunks, which gained

Bethany McGougan

huge popularity during the 1860s. In recent years the Pégase suitcase,

Luxury & Jewellery Manager

with retractable handle and wheels, remains one of the most popular

03 8825 5645

sellers.

bethany.mcgougan@leonardjoel.com.au

4. Louis Vuitton bags are designed to be practical and functional. The Keepall overnight bag for example is lightweight, easy to carry and is made from waterproof-coated canvas for durability. The Alma bag, which was designed for Coco Chanel in 1925, remains popular due to its functionality and availability in a range of sizes and finishes.

Luxury Auction Wednesday 5 September, Melbourne Part 1 - Louis Vuitton at 2pm Part 2 - Luxury at 5pm

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Viewing Wednesday 29 August, 9am-8pm Thursday 30 August - Monday 2 September, 10am-4pm Wednesday 5 September, 9am-12pm

leonardjoel.com.au

Enquiries Bethany McGougan Luxury Manager 03 8825 5645 bethany.mcgougan@leonardjoel.com.au

VALUATIONS

AT LEONARD JOEL

The difference between insuring & selling Many people assume that comparing the value between market and insurance

resources but also look at retailers, galleries, the direct creator or artist as well

prices is as simple as using a calculator and multiplying or dividing by a factor of

as international speciality retailers of art, antiques, jewellery and watches. We

three, four or maybe even five.

may need to consider exchange rates, GST, import duties and shipping, all in the

Valuations conducted by Leonard Joel are rigorous in their methodology and

framework of deriving an accurate price. Remember that a market price is the

there is no magical formula to derive a price by simple mathematics.

current value that can be derived on an open Australian marketplace. Insurance is

Our market prices are based on our extensive database held within our system of

based on the retail replacement of an item if it were to be lost, stolen or damaged.

recent and historical sale prices. In addition, we consult a wide variety of specialist

This is best illustrated by a strand of cultured pearls which would currently have a

consultants, books and websites such as Australian Art Sales Digest, the Antiques

market value of $80 and yet for insurance would have a figure around $1500 if one

Reporter, Invaluable and Carters, just to name a few.

was to buy the same item from a reputable jeweller. Multiplying or dividing these

Talking to our Leonard Joel colleagues is an immediate source of shared

prices to derive the alternate value is no longer a valid method and with so much

knowledge. However, learning from others is key to assisting us and many of the

information now widely available accuracy and informed pricing is imperative.

dealers who we have known for many years are often a wealth of knowledge in

Leonard Joel is proud to have specialists in fifteen different specialist categories

their own right.

that can value with knowledge and professionalism.

For insurance valuations, we are considering the value for replacement purposes.

This may involve a straight retail replacement price for an item that can be easily

Caroline Tickner

replaced. However, for more unusual or unique items, we again utilise the above

Head of Valuations

Do you have treasures that you would like valued?

Join us for complimentary auction valuations, first Wednesday of every month, 5-8pm.

No appointments necessary.

Caroline Tickner, Head of Valuations 03 8825 5638 | caroline.tickner@leonardjoel.com.au

leonardjoel.com.au

23

LEONARD JOEL SYDNEY Souvenirs of the Grand Tour The Grand Tour was a right of passage for aristocratic men – and a few women –

the classical sculptures, monuments and buildings or ruins of Greece and Rome.

which reached its heyday in the 18th and 19th centuries. The Grand Tourists toured

Featured in the Sydney Decorative Arts auction on 23 October are pieces from this

Europe, North Africa and the Holy Land as an essential and fashionable part of their

period, including a bronze figure of Hercules and emperor Marcus Aurelius on horse

education. The discerning travellers would often bring back souvenirs – copies of

back, an Alabaster Parthenon temple and a Sienna marble tragedy mask.

18th and 19th Century Porcelain Other highlights that have passed through the doors in recent weeks include an extensive and beautiful group of 18th and 19th English and European porcelain, featuring a Chantilly shaped tureen with stand and cover, circa 1735 -1740, a Mennecy white vase and cover, circa 1750 and a Meissen Dresden Chinoiserie pattern teacup and saucer, 1739.

All pieces illustrated will be on offer in the Decorative Arts auction on 23 October in Sydney.

Hamish Clark Head of Sydney 02 9362 9045 hamish.clark@leonardjoel.com.au

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Leonard at LUXE You can now enjoy reading Leonard at LUXE cafe, 118 Queen Street, Woollhara. Stop by, have a coffee and immerse yourself in the latest issue.

Art Deco Glamour This glamorous French Art Deco make-up compact, a timeless example from a golden era of design, features a solid gold interior and a slide clasp with carved jade and rose cut diamonds. Crafted by renowned jeweller Auguste Peyroula, who also designed for Cartier and Van Cleef & Arpels in the 1930s, this rare piece (estimate: $5,000-7,000) will be offered at auction in Sydney on 23 October.

leonardjoel.com.au

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Leonard Joel partners with Art Signifikant Leonard Joel is delighted to announce a new partnership with Art Signifikant,

Berlin is also interesting in that the art buying and viewing audience are very

a membership initiative created by Michael Reid Gallery Sydney with the aim

often visiting the city from wider Europe, North America and increasingly

of making art and decorative arts more accessible to a broader audience.

Australia. Berlin is a hub for cultural tourism and we see many of our Sydney clients over in Berlin and they happily buy from either location.

We recently spoke to Michael and his team, Toby Meagher, Director and James Dorah, Contemporary Art Specialist and Head of Art Signifikant

LJ: What has been the response to Art Signifikant and its events?

about what it offers and the plans for the future.

JD: The response has been fantastic, with a growing membership base and LJ: Michael, you have been running your gallery membership program,

new alliance partnerships with like-minded companies and institutions.

Art Signifikant for one year now. Can you tell us about what prompted

Simply put, the more we interact with our clients, the more we do business

you to initiate the program?

with our clients.

MR: We have, in our Sydney and Murrurundi galleries, been deeply

MR: Enthusiastic to say the least, we are obtaining new members every week.

committed to art education for over a decade. In the early days, we ran art

Art Signifikant is the only membership program established by a commercial

education on topics ranging from 19th Century Australian Decorative Arts to

art gallery in the country.

Indigenous Bark Paintings to Contemporary Film. Every year, a dozen or so speakers would engage with our audience across the two galleries. With the

LJ: What role do you see Leonard Joel playing in the alliance with Art

introduction of Art Signifikant, my colleagues and I intend to further develop

Signifikant?

our art education experience to be far more interactive.

MR: Our time in Europe, particularly Germany, has reinforced to Toby Meagher As the art world moves increasingly online in both our day to day interactions

and I the vital importance of collaboration and alliance partnerships.

and buying habits, there develops within us, a growing desire to interact as

We love forming partnerships with like-minded, forward-thinking companies

human beings - to see, share and experience art in real life. Art Signifikant is

and their products. For example, Kelly + Partners is a fast moving, expanding

aimed, within a transactional world, to be a vehicle through which we

accountancy and financial services company with an astute interest in the

educate and engage our clients - clients who want a deeper, more involved

arts. Similarly, we greatly enjoy our partnerships with Four Pillars Gin and

art experience. Throughout the year we host artist studio visits, private art

Sullivan’s Cove Whisky. We admire a successful start-up; those that have the

collection viewings, art talks and museum tours. Our latest event was held

vision to mature and grow within competitive industries.

at a private home in Castlecrag Sydney, at which the property owner and the architect discussed the art collection within the context of the built

We approached Leonard Joel because I have known John Albrecht for many,

environment.

many years. I have watched and admired his move from Kozminsky Jewellers

to the world of the auction house. I came from Christie’s and fully understand

LJ: Do you feel it’s important, for new collectors in particular, to feel

the exhilaration and challenges one finds in an auction house. John is doing

more informed, and to promote accessibility to art and culture for a

a bloody good job!

broader audience?

JD: This is an exciting partnership and the synergies are strong. Our Art TM: There still exists an old-world style of art gallery that is intimidating to

Signifikant members will be invited to attend private events and viewings at

many; a culture built on exclusivity and inaccessibility. Thankfully, this style of

Leonard Joel.

business is dying out.

Art Signifikant offers our clients a very different experience. It’s not about

Leonard Joel celebrates its centenary next year, rare and extraordinary

exclusive social events, but about providing access to artists and experts

in any business. With almost 100 years of auction history, Leonard Joel

who can explore ideas and share knowledge. To join a program like this is

now offers expertise and auctions across a broad range of collecting

particularly appealing to new collectors as it crosses the broader ecosystems

categories including Fine Art, Decorative Arts, Jewels & Timepieces, Asian

of the creative industries and provides insights into the various stages from

Art, Modern Design, Luxury and Collectables

artist studios to art gallery walls. Art Signifikant lifts the curtain on the backstage of the art world and empowers collectors by sharing knowledge and

We’re looking forward to providing Art Signifikant members access to this

inspiring confidence.

extensive knowledge and an insight into the role of the secondary market.

LJ: You have a gallery in Berlin as well as Sydney. Do you feel the buying

For more information visit michealreid.com.au

habits of art collectors in the two cities is different?

TM: German art collectors are extremely considered. I often have clients revisit a show 7 or 8 times before making a decision; something that rarely happens in our Sydney gallery. It is a much faster pace in Sydney and this can make it difficult for audiences to keep up. Art Signifikant provides members with a manageable way to engage with the art world – with focused, educative events once a month.

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THE 22ND REPORT #17

TWENTY MONTHS ON...

Now twenty months in to our voluntary policy we

regular trade in 20th century ivory but continued

are still fielding questions about what our policy

to enable our trade in carved antique pieces and

allows and disallows us from trading in and also

pieces where the ivory elements were incidental

what comes in to effect for Leonard Joel from

to the overall piece; that is, they met the De

1 January 2019. Here below we review the spirit of

Minimis principle.

our policy and its rationale.

And where have we to go?

At the heart of our policy there are three key

The final phase of our policy involves us removing

principles that guide our cessation.

from our market place all whole or predominantly whole ivory carved pieces regardless of age.

Firstly, our position is that while markets are

This is undeniably the most courageous aspect

made for these materials (old or new), value is

of our policy as we commit to the principle that

maintained in the materials and encourages

the continued trade in voluminous ivory pieces

continuous poaching. Secondly, the situation for

(regardless of age) maintains value in the material

Rhinoceros populations is so dire that we could

and therefore encourages continued poaching.

not in good conscience continue to deal in any

Put simply, the flawed mental construct and

Rhino material; no matter how old, how intricately

argument that somehow “old� ivory does not

carved or culturally significant that piece may

feed the problem is a commercially convenient lie

be. And finally, our view is that all voluminous

that Leonard Joel can no longer live with.

or whole elephant ivory should be removed from circulation as it is these pieces that both

What will 2019 look like?

legitimise their continued use in decoration and

This will be the year that De Minimis begins to

by extension maintain a value for the material.

inform us as an auction house and perhaps it can best be described by illustrating a Lot that in

It is this final principle that drives our De Minimis

2019 would no longer harmonise with our policy;

exceptions as we seek to strike a balance between

it is an antique ivory puzzle ball that we sold on

our sincere policy goals and certain decorative

16 October 2016 and it was the very last time I

arts and instruments that, while containing ivory

found ivory removed from an elephant beautiful.

elements, do not overtly celebrate or promote John Albrecht, Managing Director

its use.

So where are we now with our policy?

At this point our decision on 1 January 2017 committed Leonard Joel to never deal in any Rhinoceros horn or whole/uncarved ivory again and any carved ivory pieces that could not be confidently dated as pre-1921. This commitment alone all but eliminated, literally overnight, our

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BUYING AT AUCTION. IT S SIMPLE, REALLY! Browse With regular auctions in Contemporary Art,

Connect with us

Stay up to date with news, insights and auctions via our e-newsletter and social media platforms.

Furniture, Jewels & Watches, Luxury, Modern Design and Sporting Memorabilia, there’s something to suit every taste and to tempt every collector.

Browse our online catalogues before each auction, or view in person at one of our salerooms.

Register Create an account with Leonard Joel and register your details, just as you would when you shop online. Once you have registered, you’ll have your own Leonard Joel account which you can use every time you bid.

Bid Bid in person, from home or even while you’re on holiday on the other side of the world. It’s easy to do so either at one of our salerooms, online or on the telephone, and our team is always on hand to guide you.

1. ONLINE All of our auctions are available for online bidding via our online bidding platform partner, Invaluable, which you can access via our website.

2. ABSENTEE OR TELEPHONE BIDS

SUBSCRIBE leonardjoel.com.au

If you can’t make it to the auction, you can leave an absentee bid (the maximum amount you would like to bid up to) through the Leonard Joel website, or bid on the

PINTEREST

phone with one of our team members.

pinterest.com/leonardjoel

INSTAGRAM instagram.com/leonardjoelauctions

FACEBOOK facebook.com/leonardjoel

3. BID IN PERSON All of our auctions are open to the public and you are more than welcome to attend if you are in Melbourne or Sydney. If successful bidder, you’ll be sent an invoice via email after the auction, and then you can arrange

YOUTUBE youtube.com/LeonardJoel1919

collection or delivery of your purchase/s.

Contact a member of our team or stop by our Melbourne or Sydney salerooms if you have any questions.

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3 X 3: RUTH HOWARD, MILES HOWARD-WILKS & AMANI TIA 15 September – 20 October | 24 High Street, Northcote, VIC 3070

Image | Ruth Howard, Not titled, 2017, ceramic, earthenwar‌15.5 x 2.5 cm

3 x 3 presents three solo shows by Arts Project Australia studio artists Ruth Howard, Miles Howard-Wilks and Amani Tia. Ruth Howard will display a collection of her recent works on paper and ceramics, depicting wild animals and organic matter in abstract form, and conjuring a unique elegance and beauty. Meanwhile, Miles Howard-Wilks will pursue his ongoing fascination of oceanic scenes and landscapes, gesturing towards a totalising perception of the dominant sites that contain our existence: earth and water. Finally, Amani Tia will present a series of paintings and drawings that evoke pop culture icons and figures from the animal world, combining a sense of homage combined with a desire to depict life in a realist, yet fluid, style.

www.artsproject.org.au

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Australasian Art & Culture Magazine

ISSUE 23 OUT NOW

SUBSCRIBE NOW AND RECEIVE YOUR COPY OF VAULT MAGAZINE FIRST

AUS $17.50 NZ $25.00

ABDUL ABDULLAH, TONY ALBERT, DAVIDA ALLEN, POLLY BORLAND, HEAVENLY BODIES, ISAAC JULIEN, FRANCIS KURKDJIAN, RONNIE VAN HOUT, GORDON WALTERS, ALLISON ZUCKERMAN & MORE ISSU E 23 · AUGUST to OC TOBER 2018

Abdul Abdullah, Tony Albert, Davida Allen, Polly Borland, Michael Bugelli, Andrew Hazewinkel, Heavenly Bodies, Isaac Julien, Francis Kurkdjian, Ron Robertson Swann, Yvonne Todd, Ronnie Van Hout, Gordon Walters, Allison Zuckerman & more

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Leonard Joel Ad_Sep253 x369_FA2.indd 1

Allison Zuckerman installing her exhibition at the Rubell Family Collection, 2017

17/8/18 9:19 am

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LOOK OUT FOR THE OCTOBER ISSUE.

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