leonard, issue 4, march 2012
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Issue FOuR / MARCH 2012
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ValuatIOn anD ClIent seRVICes
Monique Le Grand Phone + 61 (0) 3 8825 5620Email monique.legrand@leonardjoel.com.au
John Albrecht, Managing DirectorPhone 0413 819 767Email john.albrecht@leonardjoel.com.au
aRt
Briar Williams, Head of ArtPhone + 61 (0) 3 8825 5608Email briar.williams@leonardjoel.com.au
JewelleRy
John D’Agata, Head of JewelleryPhone + 61 (0) 3 8825 5605Email john.dagata@leonardjoel.com.au
DeCORatIVe aRts anD DesIgn
Guy Cairnduff, Head of Classic Furniture, Objects and DesignPhone +61 (0) 3 8825 5611Email guy.cairnduff@leonardjoel.com.au
COlleCtables
Giles Moon, Head of Collectables and BooksPhone + 61 (0) 3 8825 5635Email giles.moon@leonardjoel.com.au
bOOks anD ManusCRIpts
Giles Moon, Head of Collectables and BooksPhone + 61 (0) 3 8825 5635Email giles.moon@leonardjoel.com.au
pRe–OwneD luxuRy
John D’Agata, Head of JewelleryPhone + 61 (0) 3 8825 5605Email john.dagata@leonardjoel.com.au
natuRal HIstORy
Giles Moon, Head of Collectables and BooksPhone + 61(0) 3 8825 5635Email giles.moon@leonardjoel.com.au
tHe speCIalIst COlleCtOR
Guy Cairnduff, Head of The Specialist CollectorPhone +61 (0) 3 8825 5611Email guy.cairnduff@leonardjoel.com.au
tHe weekly auCtIOn
Shawn Mitchell, Head of Weekly AuctionsPhone + 61 (0) 3 8825 5615Email shawn.mitchell@leanardjoel.com.au
DIgItal MeDIa
Clare Greig, Digital Media Manager Phone + 61 (0) 3 8825 5613Email clare.greig@leonardjoel.com.au
Leonard Joel Specialists
LEonARD JoEL
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South Yarra, Victoria 3141
Australia
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Leonard is published 10 times a year by Leonard Joel. If you have any questions regarding Leonard please contact 03 9826 4333
CoverFine Art AuctionSunday 25 March at 2pm
JOHN GLOVER (1767-1849)Wooded River Landscape with Anglers and Cattle in the Foregroundoil on canvas62 x 74.5cmEstimate $40,000 - 60,000 Also in this auction (Illustrated below)JOHN GLOVER (1767-1849)A Mountainous Wooded Landscape with Cattle by a Lakeoil on canvas62 x 75cmEstimate $35,000 - 45,000
PhotographyRick Merrie
DesignerMaria Rossi
leonardjoel.com.au
FoLLoW US on
BID LIVE AT oUR AUCTIonS on
FInD US on
Facebook.com/Leonardjoel
Twitter.com/LeonardJoel1919
FORewORD
I will bookend this piece with two stories
– one from 1988 at the Malvern Town Hall
Leonard Joel art auction and one from 2012
in a gallery hidden away in a building down
a laneway in Melbourne’s CBD. In 1988 I was
junior store-man (or porter as they say in the
UK) with Leonard Joel but I was fortunate
to have an eye for art and I loved compar-
ing and looking at all the paintings on offer
– some 2000 at any given quarterly Leonard
Joel art sale from this time. I was at the front
of the viewing area where all the more valu-
able and popular paintings were hung when
a well known “new client” arrived who had
developed quite a recent reputation as a “big
buyer” around the traps - this capacity alone
he clearly believed qualified him as an art
critic.
He had the attention of one of our senior staff
and began telling him how much he admired
the quality of a large Ernest Buckmaster
landscape - this mid century traditional land-
scape artist with a tonal twist was very much
in demand at a time when an artist like Jef-
frey Smart was still viewed as “edgy” and
only for the very adventurous. This client
then glanced to the side of the Buckmaster
and spotted a classic William Dobell portrait
and proceeded to tell us how the Buckmaster
was so “beautiful compared to that crappy
Dobell”. Even at 19 I spotted the absurdity
of the statement but couldn’t quite quantify
just how profoundly ignorant the compari-
son was and how much it spoke of prevailing
tastes.
In the late 1980s Victorian furniture, silver-
ware, pretty pre-war period objects and tra-
ditional paintings were still the dominant
currency in Australian collecting circles and
we were very much a microcosm of what
was happening in the UK. The large scale
English output (but maybe not quite mass
production) from say the mid 19th century
to the pre-war period was now in the 1970s
and 1980s feeding an appetite here to fill big
houses with small rooms with lots of things.
The frenzy for brown furniture and sil-
ver decoration remained strong, well, until
things began to change.
Suddenly Victorian dining room suites
weren’t selling like they used to, silverware
that was gifted to children was left in its box
(for good) and reproduction items, both here
and from abroad, were appealing to those
more concerned with “look” than history,
provenance or age. In short, from the 1990s
until the present, the nature of collecting
and acquiring things for the home has been
affected slowly but surely by a profound
change in taste. Now people are creating
bigger living areas and putting less in them,
focusing on aesthetics rather than history
and confidently replacing their parents’
things with a curious 20th century furnish-
ing or a colourful painting from the 1970s or
reinterpreting an inherited object with the
same verve as the individual that was bold
enough to convince Melbourne City Coun-
cil to turn some of their statues upside down
for a period of time. Add to this phenom-
ena the rise in digital commerce, the ability
to acquire from all around the world (quite
literally now from one’s phone) and a new
generation of collectors and you have a truly
open and adventurous collecting sensibility
that has caught many by surprise, including
myself.
Fast forward now to early 2012 and I find
myself walking down a laneway in Mel-
bourne’s CBD, up a flight of stairs and in to
a gallery loft filled with “street art” and late
20th century objects and design. I’m in my
suit, truly marveling at the collection that I
only half understand and thinking back to
those Malvern Town Hall days and wonder-
ing if the model of the auctioneer “suited up”
and handing out traditional glossy catalogues
is also not long for this world. As we dig
deeper in to this collection with the owner,
we learn that this is not just “crazy fun stuff”
but a survey of street art from artists all over
the world and a mini-history of the local
street art movement. After spending an hour
with the collection and discussing just how
this collection could come to auction, I leave
the space and find myself in Melbourne on a
stormy and very wet afternoon and excited
by how far collecting has come and where it
will take the auctioneer in the future.
John ALBREChT, MAnAGInG DIRECToR LEonARD JoEL
THE NEW COLLECTING PARADIGM
1 MARChleonard
COntents
MARCH Contents
CALEnDAR 3
nEWS 4
DECoRATIVE ARTS 6
JEWELLERY PREVIEW 7
WEEKLY 8
nATURAL hISToRY 9
ARTIFACT 10
ART 12
ART PREVIEW 13
JEWELLERY 14
CLASSIC oBJECTS AnD FURnITURE 16
CoLLECTABLES 18
CoLLECTABLES PREVIEW 19
An InTERVIEW 20
ART BUSInESS 21
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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 contribu-
tors from all fields of collecting Leonard will be an indispensable tool for both
the seasoned auction-goer and the new collector alike. Leonard is available
both free at Leonard Joel and online or can be subscribed to for an annual fee
of $44 inc GST (postage & handling). Visit us online at www.leonardjoel.com.au
or for subscription information contact keryn.gilchrist@leonardjoel.com.au.
Leonard Joel was delighted to host the joint launch and publication with JBWere
of Jeff Makin’s long awaited publication Critical Moments which brings together
Makin’s art reviews and commentary over the last 40 years. Critical Moments is
available this year in all select arts bookshops.
FRoM SInGLE ITEMS To CoLLECTIonSIf you have a single item or collection you
wish to sell, the Leonard Joel team of spe-
cialists can guide you through the entire val-
uation and auction process. We can provide
you with experts across all collecting fields,
no less than thirteen categories of auction to
select from and the most expansive calendar
of catalogue auctions in Australia. Leon-
ard Joel specialists conduct insurance and
market valuations for the entire spectrum
of clients - private collectors, corporations,
museums, fiduciaries and government enti-
ties are advised by our valuers and special-
ists on a daily basis.
TAILoRED TRUST AnD ESTATE SERVICESLeonard Joel has a long and distinguished
history of assisting both trust companies and
executors with the dispersal of important
collections. We provide fiduciaries (lawyers,
trust officers, accountants and executors)
with a complete suite of services to manage
accurately and successfully the dispersal
of large and small estates. Our services are
specially designed to aid in the appraisal
and dispersal of fine art, antiques, jewel-
lery, objet d’art, collectables, books & manu-
scripts and general household contents.
THINkING Of SELLING?
Our specialists are now sourcing single items and collections for the following categories:
AUSTRALIAn AnD InTERnATIonAL ART
FInE JEWELLERY AnD WRISTWATChES
PRE-oWnED LUxURY
CLASSIC oBJECTS AnD FURnITURE
MoDERn DESIGn
SInGLE oWnER CoLLECTIonS
CoLLECTABLE ToYS AnD SPoRTInG MEMoRABILIA
MILITARIA
BooKS AnD MAnUSCRIPTS
crItIcal MoMents BooK LAUnCh
Left to rightJohn Albrecht, Managing Director of Leonard Joel, Jeff Makin, Author and Artist and Richard Sinclair, Director, JBWere
2 leonardMARCh
FoRtHCoMing AuCtions
The Weekly Auction Every Thursday in 2012 – 10am333 Malvern Road, South Yarra, Melbourne, Victoria
The Specialist Print Auction Thursday 1st March 2012 – 11.30am 333 Malvern Road, South Yarra, Melbourne, Victoria
Japanese Ethnographic Auction Thursday 1st March 2012 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria
The Bernard Smith Estate Art Auction Thursday 8th March 2012 – 11.30am 333 Malvern Road, South Yarra, Melbourne, Victoria
The Monthly Toy Auction Thursday 15th March 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
The Graham Geddes Warehouse Auction Sunday 18th March 2012 – 12pm 899 High Street, Armadale, Melbourne, Victoria
Fine Jewellery Auction Sunday 18th March 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Pre-owned Luxury Auction Sunday 18th March 2012 – 3pm 333 Malvern Road, South Yarra, Melbourne, Victoria
The Sunday Fine Art Auction Sunday 25th March 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria
The India Auction Thursday 29th March 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Collectables, Toys & Sporting Memorabilia Auction Sunday 1st April 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
The Monthly Toy Auction Thursday 19th April 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Classic Furniture, objects & Design Auction Sunday 3rd June 2012 – 1pm 333 Malvern Road, South Yarra, Melbourne, Victoria
CalenDaR
Leonard Joel is a proud supporter of Arts Project Australia
Auctions and viewing times are subject to change.
This 19th century wood and gilt harp engraved J.A. Stumpff of London sold for $3,120 (IBP) at The David Bromley Collection, Melbourne auction on 28 November 2011
3 MARChleonard
news
LEONARD JOEL VALUERS NOW fLYING TO SYDNEYBeginning in March 2012, Leonard Joel valuers will be
available in Sydney every month by appointment.
If you have a valuable single item or collection that you are considering
selling please contact Monique Le Grand, Valuation & Client Services on
(03) 8825 5602 or email monique.legrand@leonardjoel.com.au
LOT 52 SOLD 11 DECEMBER 2011 $7,800 IBP
CoLLECTABLES AUCTIon
This most rare London Bus (illustrated) realised a staggering $7800 (IBP) against
a low estimate of $4,000. The bus’ rarity lay in the fact that it was both spe-
cifically produced for the Australian market and in very small numbers.
A strong sale rate and extremely keen bidding for toy vehicles and rare single
items were the themes of the auction.
Entries of single items or entire collections are now being sought for 2012
calendar auctions.
For enquiries please contact giles.moon@leonardjoel.com.au .
THE CHRISTMAS AUCTION
Just four shopping days before Christmas 2011 on a Tuesday evening Leonard
Joel conducted its first devoted Christmas auction that showcased items from
each of our specialist categories. The core of the offering was a large collection
of vintage Danish furniture that had recently arrived in the country. A depar-
ture from tradition for auction night, the room was left with an extensive dis-
play of Danish couches that formed part of the catalogue and bidders enjoyed
a truly relaxed and innovative setting within which to watch and bid during
the auction. Objects, furniture, items of luxury, jewellery and art all sold on the
night and confirmed the demand for an auction for Christmas shoppers.
THIS RARE RENE LALIQUE ‘POISSONS’ PATTERN GLASS VASE MODEL INTRODUCED 1921 SOLD FOR $5,520 IBP
noW An AnnUAL LEonARD JoEL EVEnT
SoCIABLE LEonARD JoELLeonard JoeL is venturing into the worLd of sociaL Media,
keeping our cLients up to date with aLL our auctions, events,
taLks, viewing dispLays, behind the scenes activity and aMazing
coLLections. pop over and Like us on facebook, foLLow us on
twitter and watch out for our future youtube channeL.
WIn A $500LEonARD JoEL GIFT VoUChER
Visit an Auction at Leonard Joel with a $500 voucher to spend on any of
our Catalogues of Art and Sculpture, Books and Manuscripts, Collectables,
Classic Furniture, Objects and Design, Fine Jewellery, Photography, Pre-
Owned Luxury, Specialist Prints, Toys and Weekly Antiques and Interiors.
hoW To EnTER1. “Like” our Facebook Group - Facebook/Leonardjoel
2. Fill in your details on our website and spread the word about
Leonard Joel Auctions.
There are links to the competition via our homepage.
WAYS To SPREAD ThE WoRD ABoUT LEonARD JoELPosting to your Facebook wall
Tweeting about us
Emailing your friends or work colleagues
Blogging about our Auctions and amazing collection
EnTRIES CLoSE31ST MARCh 2012For enquiries contact Clare Greig on 0400 037 540
or email clare.greig@leonardjoel.com.au
4 leonardMARCh
news
Leonard Joel is delighted to announce the extension of our specialist expertise
to the rarefied area of minerals, formations, fossils and meteorites. Our first auc-
tion took place on Thursday 8th December 2011 and it is anticipated that we will
conduct several auctions annually. The first auction attracted new collectors and
existing buyers and realized in excess of $10,000 in sales. Highlights included lot
178, a particularly attractive and complete ammonite discovered in Morocco that
realized $1920 (IBP) against an estimate of
$500 - $800. More than 200 lots went under
the hammer and we are now inviting consign-
ments and new collections for our next Natu-
ral History auction in the first half of 2012.
For enquiries contact Giles Moon, Head of
Collectables, Books and Natural
History giles.moon@leonardjoel.com.au
nATURAL hISToRY
AMMONITE, MoroccoSold $1,920 (IBP)
A nEW CATEGoRY FoR LEonARD JoEL
Photography by Island Continent Studio www.islandcontinent.com.au
CoUnTRY AnD ToWn- ThE DAVID BRoMLEY CoLLECTIon
BOYS IN SAILBOATSold for $48,800 IBP
On a beautiful spring day in Daylesford
Leonard Joel was delighted to offer
over 400 lots from the first part of art-
ist David Bromley’s private collection.
More than 400 buyers turned out to
secure a piece from David’s extraordi-
nary wonderland known as “Shed 24”.
Important bronze sculptures, Danish
furniture, industrial design, works of art
and 20th century objects were eagerly
snapped up by both followers of Da-
vid’s work and new clients from Mel-
bourne and Daylesford. The highlight
of the Daylesford sale was the trans-
action of David Bromley’s important
bronze sculpture, lot 646, Boys in Sail
Boat (illustrated) for $48,800 (IBP). The
sale realised $442,000 against a low
estimate of $323,000 with a sale rate of
95% by lot and 137% by value.
The following evening in Leonard Joel’s
South Yarra rooms a further 250 works
of art, sculpture and interior decora-
tion from David’s Melbourne collection
were offered for auction. Part II was as
diverse and idiosyncratic as Daylesford
but with an emphasis on Australian art
and works executed by Bromley that
resided in his Melbourne home. Works
by Olsen, Blackman, Booth, Mead-
more, Nolan, Arkley and Perceval were
just some of the artists represented
and the standing room only audience
competed fiercely for every lot. One
of the more compelling works in the
collection was Peter Booth’s The En-
trance 1995 that realised $32,400 (IBP)
against estimates of $18,000 - $25,000.
The Melbourne collection realised
$432,340 with a 92% sale rate by lot
and a very pleasing 119% by value.
5 MARChleonard
DeCORatIVe aRts
By anton assaad
PAINTERS AS POTTERSThe tradition of studio pottery in Australia
changed drastically in 1944. “Open Coun-
try”, the Murrumbeena home of Merric and
Doris Boyd, their five children and assorted
artists and friends, had become the teaching
ground for a new generation of ceramicists.
John Perceval, then living with the Boyds,
Arthur Boyd and Peter Herbst, a good friend
and philosophy student at the University of
Melbourne, decided to become partners in
pottery. As Perceval and Boyd needed time to
pursue their painting and Herbst his study, a
three-way partnership in a tradition that two
of them knew a little about, was ideal. Hat-
ton Beck had married Lucy Boyd, Arthur’s
eldest sister, and the two of them had cre-
ated a pottery works out of the dilapidated
butcher’s shop opposite the Murrumbeena
station. With Beck’s knowledge they were
able to make a kiln from the salvaged parts of
Merric’s kiln, which had burnt down. Arthur
Boyd, Perceval and Herbst bought this busi-
ness from the Becks with the hope of produc-
ing utilitarian ware, complying with wartime
decrees, and to experiment with the ceramic
medium.
Their initial “stock on hand” was the pur-
chase from the Becks of a significant quan-
tity of “greenware” (unfired) teapots. The
lids were disposed of whilst the bowls were
refashioned by removing the spouts, and at
times the handles, to become either vases
or two handled sugar bowls. All were deeply
incised and or over painted with free forms
of decoration, more or less resembling native
flora. (Who could have foreseen the humble
beginnings or this as the birth place of two of
Australia’s iconic artists).
Earthenware glazes offered a bright, trans-
parent, vibrant and solid colour that allowed
the lyrical and whimsical narrative of the
“Arthur Merric Boyd” (AMB) studio pot-
ters to come through. As Boyd, Perceval and
Herbst continued to use the studio as a place
to create and not just manufacture, other art-
ists began working there on a casual basis.
Friends, neighbours and fellow artists such
as Dorothy Meyer, Carl Cooper, Neil Douglas,
Charles Blackman, Albert Tucker, David and
Hermia Boyd, Tom Sanders, Margot Knox,
Ethel Whiteside (nee Coutts) and John
(Richard) Howley.
When Peter Herbst left for Oxford in 1950,
his share in the works was taken over by Neil
Douglas whose depictions of native flora and
fauna were to heavily influence the other art-
ists in the studio. Douglas’ lyrical works of
forests, ferny groves, lyrebirds and kangaroos
contrasted heavily against the Brueghelesque
work done by Boyd and Perceval at the time.
This new influence flowed through into the
works of all at the studio, presenting a more
Australian theme. The combination of a clear,
bold palette in a medium that was still to be
fully explored meant that the AMB Studio
was not only at the vanguard then, but is as
fresh and as vibrant today.
The Arthur Merric Boyd Studio, and particu-
larly the painted and ceramic works of Neil
Douglas, have gone largely unrecognised
for their great artistic merit, which has left
a large hole in the understanding of Austral-
ian artistic and cultural heritage. This dearth
in our knowledge was initially recognised by
the National Gallery of Victoria. The Gallery
exhibited The Painter as Potter, Decorated
ceramics of the Murrumbeena circle in 1982-
3, an exhibition of the Arthur Merric Boyd
Studio focussing on the ceramic works of the
now famous Arthur Boyd, John Perceval, and
lesser known Neil Douglas, amongst others –
curated by Geoffrey Edwards now Director
of the Geelong Art Gallery.
Since 1983, little has been displayed of the
studio’s work. Horsham Regional Art Gal-
lery in August 1997 held an important ret-
rospective of Neil Douglas’ works and selec-
tions of this were later shown at Hamilton
and Sale. Hurnall’s in June 1998 held a sale
which included the ceramic works of many
of the AMB potters. An exhibition of selected
pottery items and paintings was also held
at Heide Museum of Modern Art from July
to October 2003. Hurnall’s Decorative Arts
in November 2011 held a special Sale and
Exhibition further highlighting the ceramic
works by Murrumbeena Potters and Merric
Boyd, amongst many others.
Furthermore, a major contributor to Austral-
ian studio ceramics, Merric Boyd left a crea-
tive legacy that is unavoidable in the study of
our art and craft movement. Merric’s knotted
gumtrees, gnarled branches, kookaburras,
koalas, homesteads and landscapes redefined
the Australian environments impact on its
peoples. His ceramic work, with its highly
sculptural qualities, still offers a new and
definitive way of seeing. As quoted by Arthur
to Victoria Hammond at Bundanon, Febru-
ary 1989. “My father, Merric Boyd, had an
extremely unusual, passionate, creative spirit
and this energy, rhythm and life flow through
his pottery and drawings”.
Merric Boyd’s creative needs were such that
even after he was no longer able to pot, his
great artistic passion, he continued to draw
fervently. His body of work is overwhelming
with so many incredible, sculptural ceramic
pieces and light, free drawings. The 1930s
and 1950s in Melbourne were definitive dec-
ades in which Australian artists were trying
desperately to reappropriate their country,
identity, nationalism and arts in line with
their newly aware and self conscious selves.
Merric Boyd’s contribution to these windows
of exploration was his strength of belief in his
own way of seeing. Playing an active role in
the lives of these artists seeking to redefine in
the 1930s and 50s, he exposed them to a new
landscape. It was this very way of seeing the
environment in light of the new art nouveau
movement, a new nationalism and imminent
world wars that set Merric Boyd apart – he
was founding a stylistic coup within the utili-
tarian realm of ceramics.
Merric’s influence (working 1912-1959) is
one not only exercised on later generations,
such as Arthur Boyd and John Perceval, but
also his contemporaries and students who
adopted his style and way of manipulating
and sculpting the clay.
Finally, it would be remiss not to mention the
current touring exhibition “White gums and
ramoxes” throughout the eastern states of
Australia, including Tasmania. This impor-
tant show features the ceramics and draw-
ings by Merric and Arthur Boyd from the
Bundanon Trust Collection, initiated and
developed by the staff under the guest cura-
torial eye of Grace Cochrane. This touring
exhibition continues until September 2012.
All related enquiries to the Bundanon Trust
on (02) 4422 2100 or bundanon.com.au.
BOYD, DOUGLAS, PERCEVAL AND fRIENDS
ThE MURRUMBEEnA SToRY AnD BEYonD ConTInUES
By MarvIn Hurnall
CHARGER, decorated by Neil Douglas, thrown by Aurthur Boyd, dated 1950
CHARGER, wildly decorated with Ringtail possums. Thrown and decorated by Aurthur Boyd, dated 1948
6 leonardMARCh
JewelleRy pReVIew
AN EDWARDIAN DIAMOND LINE BRACELET Estimate $20,000 - $25,000
AN IMPRESSIVE 3.74ct THREE STONE DIAMOND RING Estimate $35,000 - $40,000
A 13.41ct WHITE & COGNAC DIAMOND NECKLACE Estimate $14,000 - $16,000
fINE JEWELLERY
PREviEW
The Fine Jewellery AuctionSunday 18 March 2012, 12pm
PreviewWednesday 14 March 2012 9am – 8pmThursday 15 March 2012 10am – 4pm
Friday 16 March 2012 10am – 4pmSaturday 17 March 2012 10am – 5pm
7 MARChleonard
weekly
The Weekly Auction
Viewing Wednesdays 9am to 8pm
Auction Thurdays 10am
View online at leonardjoel.com.au
In any given month Leonard Joel are conducting interesting thematic
weekly auctions, from rare toy collections to objects and antiques
sourced from unusual corners of the globe. Keep an eye on our
website and for emails that will alert you to these very interesting
mini-auctions. And if you have an interesting small collection that
you are considering selling contact Shawn Mitchell - Head of Weekly
Auctions (03) 8825 5615 or email shawn.mitchell@leonardjoel.com.au
THEMATICWEEkLY AUCTIONS
A COLLECTION OF OBJECTS & EPHEMERA FROM A MELBOURNE COLLECTOR
SOLD AT LEONARD JOEL IN 2011
8 leonardMARCh
natuRal HIstORy
Beginning in antiquity, with names such as
Aristotle and Pliny, continuing apace from
the Renaissance to the Age of Enlightenment,
and down to the present day, human beings
have always possessed a profound desire to
understand, catalogue and collect specimens
from the natural world around them.
From the sixteenth century onwards, (ever-
growing in popularity), this passion became
one of the principal pursuits of leisured soci-
ety, enthralling an enormous number of the
aristocratic and noble houses of Europe.
Maintained within such houses were ‘wun-
derkammer’, or ‘cabinets of curiosities’. (In
this sense the word ‘cabinet’ refers to the area
within which such collections were housed,
and thus may refer to an entire series of
rooms.) Although such ‘cabinets’ were con-
stituted of all manner of ‘curiosities’, (antiq-
uities, weapons, native artefacts, scientific
instruments), it was the specimens of natu-
ral history which were most numerous and
which occupied pride of place. Fossils, min-
erals, precious gems, amber, seashells, corals,
skulls and skeletons, sat happily alongside
ancient Greek vases and fragments of marble
sculptures.
It was these ‘cabinets of curiosities’ which
became the basis for the modern museum in
all its varieties, the most famous early exam-
ple being that of the Tradescant family in
London.
More than at any previous time it was during
the eighteenth and nineteenth centuries, via
the great voyages of discovery in the Pacific,
that innumerable specimens from strange
new worlds began to flood into Europe,
especially England. Fabulous collections of
equally fabulous specimens were amassed by
such notable British collectors as the Duch-
ess of Portland and Sir Hans Sloane, (the col-
lection of the latter ultimately forming the
foundation of the British Museum).
A veritable cornucopia of exotic plants,
seeds, flowers, seashells, corals, birds, fish,
reptiles and insects found its way, not only
into museums, but into the auction houses
of Europe. Amongst the many natural history
items offered for sale at this time, a particular
penchant existed for seashells, whose dura-
bility, in conjunction with their magnificent
colours and patterns, rendered them the
eternal favourite area of natural history col-
lecting. Indeed, it is an oft-told true story
that, at various times in the past, certain sea-
shells have sold at auction for higher prices
than a painting by Vermeer.
In the late nineteenth and early twenti-
eth centuries, the tradition of natural his-
tory collecting was taken to its zenith when
Baron Walter Rothschild amassed the largest
private collection of natural history speci-
mens yet formed, (considerably decreasing
the family fortune in the process), contain-
ing, amongst innumerable other specimens,
300,000 birds, 30,000 beetles, 200,000 eggs,
and an astonishing 2.25 million butterflies!
After the protracted period of relative inac-
tivity caused by the two World Wars, natu-
ral history auctions enjoyed ever-increasing
international popularity throughout the sec-
ond half of the twentieth century. Now, at
the beginning of the twenty-first, this area
of collecting continues to grow in interest
throughout the world. The many fascinating
and beautiful natural history specimens sold
through major auction houses during recent
years range from small mineral specimens,
selling for a few hundred dollars each, to a
virtually complete Tyrannosaurus rex skel-
eton, which sold internationally in 1997 for
$8.36 million.
In 2012 Leonard Joel will be inaugurating
the new sale category of ‘Natural History’.
Initially consisting of one major annual sale
and several smaller featured sections within
monthly auctions, Leonard Joel hopes to
introduce this fascinating, eclectic and
highly rewarding area of collecting to the
wider auction-going public.
Whether inspired by an appreciation of aes-
thetics, scientific interest, or high curiosity,
one of the best and most satisfying ways to
become better informed about the world we
inhabit is through the collection and study of
natural history.
NATURAL HISTORY - A WONDERfUL OBSESSiONBy Jason sPraGue
ABOUT JASON SPRAGUE
Outside of his work as an entrepre-
neur in the arts industry and as a
composer, Jason Sprague has been a
collector of natural history for more
than three decades. In conjunction
with his more recent collecting in the
areas of antiquities, Asian art, tribal
art and antiquarian books, Jason has
maintained his consuming passion
for natural history, especially in the
area of fine and rare seashells. Every
year he travels to Paris for the most
prestigious exposition of rare sea-
shells in the world; makes available
specimens and knowledge to many of
the world’s leading institutions and
museums; and acts as dealer, agent
and consultant for many of the fin-
est rare seashell collections in Aus-
tralia and abroad. Articles concern-
ing Jason and his collecting activities
have featured in numerous maga-
zines and newspapers, including The
Age and The Sydney Morning Her-
ald, and upon the internet. Jason will
be assisting Leonard Joel with sales
of natural history in 2012.
A COLLECTION OF OBJECTS & EPHEMERA FROM A MELBOURNE COLLECTOR
SOLD AT LEONARD JOEL IN 2011
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Over the last few decades a rare group of indig-
enous cross-cultural objects have sporadically
come to light and each time they raise more
questions than are answered. A scarcity of
information surrounds them and the fact that
most artists are seldom identifiable lends the
objects an intrigue, and on both a scholarly and
collector level, a last frontier quality. It’s only in
recent times that academics and the dedicated
few have begun to map this fairly uncharted,
but important cultural territory. Hence, the
re-emergence of this group of repatriated
Queensland artifacts offer valuable and curious
insights into a little known chapter of Austral-
ian history and are sure to contribute to the
growing body of cross-cultural knowledge, as
well as presenting an uncommon opportunity
for collectors.
Described in various quarters as contact or
transitional art, decorated artifacts emerged
towards the end of the 19th century and by
mid century had shifted from carved surfaces
to pokerwork and paint. In essence, contact
art bears witness to Aborigines’ experience of
change, of dislocation from traditional lands,
and also their interest and willingness to adapt
to facets of European life.
The early contact artifacts (pre 1920) rang-
ing from woomeras, coolamons, clubs to boo-
merangs, incised with stone scrapers and later
metal tools, display a combination of both
figurative and geometric elements (the latter
carried encoded knowledge but were inserted
discretely to the object’s borders and tips). In
subsequent periods the geometric designs
began to dissipate and native animal imagery
dominated. In contrast, early contact figura-
tive imagery frequently depicted new found
features of European life including mission-
aries, police, stockmen, often in combination
with native animals or scenes from traditional
indigenous life.
Contact art has been traced to settlements and
missions as far afield as La Perouse, NSW, Flin-
ders Ranges, S.A. and Barambah, now called
Cherbourg, in SE Queensland. The Barambah
artifacts are some of the earliest found and
may have begun as personal recordings for an
individual or their community, however by 1911
they were consciously created for an external
market:
“Barambah inmates were involved in exhibi-
tions and performances that were specifically
designed to promote the settlement. In 1911,
the Chief Protectors’ Department organised a
display of the various facets of its work. Each
settlement and mission, including Barambah,
was asked to contribute items of work by its
inmates. Items displayed ranged from samples
of schoolwork to traditionally made imple-
ments and weapons.”
The group of early 20th century Queensland
artifacts comprised of two decorated boomer-
angs and a club, have emerged from a private
collector in the United Kingdom, however
their provenance while long held is, unsurpris-
ingly, unknown. Nonetheless, the reclaimed
nature of the trio is certain, evident from the
natural ridges found on one boomerang, to
the scratched grip markings on the club, rein-
forcing their dating to an early period when
decoration was applied to pre-existing objects,
rather than later times when boomerangs were
carved from scratch and decorated for a ready
commercial market.
Similarly, the artifact group all bear decorative
attributes displayed in Barambah carvings, but
after research, one of the boomerangs, while
retaining some shared characteristics, over-
whelmingly and tantalisingly proffers a differ-
ent point of origin.
Emblazoned with the word ‘Galbraith’ on its
left half side, a flower near the centre and a
charming multi carriage train on its right, the
highly detailed and finely executed boomerang
is rich with clues to its lineage. The prominence
bestowed upon ‘Galbraith’ does not belong to
a town or cattle station, but in all likelihood
to Percy Dumas Fead Galbraith. Born in 1854
in County Cork, Ireland he served in the New
Zealand Police Force and by 1884 he was a sub-
inspector in the Queensland Police. He rose
through the ranks to Inspector (2nd Class) sta-
tus and by 1901 Percy Galbraith was appointed
Aboriginal Protector of Normanton in Gulf
country, a remote port and cattle hub in north-
west Queensland and he remained there until
1904. In gleaning the annual Chief Aboriginal
Protector reports , Galbraith comes across as a
humane individual who was committed to his
role of protecting and upholding the rights of
the Aboriginal people at a time when tensions
were rife between the Europeans, particularly
station owners and the indigenous population.
ARTIfACT
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aRtIFaCt
He advocated Aborigines’ unhindered access to
traditional water holes, declaring “to deprive
them of this right simply means wiping them
out or driving them in to the smaller townships
where women must prostitute themselves in
order to enable the men and children to live.
Those that are myalls [nomadic aborigines] will
naturally kill the cattle, or even commit murder,
if driven away from their hunting grounds.”
Given Protector Galbraith’s role within the
community, it is feasible that he was either
gifted the boomerang by an indigenous person
(maybe a stockman or a tracker) or instead,
Galbraith may himself have commissioned the
decorated boomerang as a memento. It could
be speculated that he was influenced by the
avid interest in indigenous material culture
held by his superior, Chief Aboriginal Protec-
tor Walter E. Roth. Known for his care and
respect of the Aboriginal people, Roth was also
an anthropologist and ethnographer whose
2000 strong artifact collection and documenta-
tion was acquired by the Australian Museum,
Sydney in 1905.
Returning to the boomerang surface, the carved
train filled with passengers, cattle, horses and
cargo provides more evidence grounding it
in the early 20th century and the Normanton
region. In 1891 the Normanton-Croydon train
line was built to service the export of gold dis-
covered in Croydon six years earlier. The boom
was short-lived and by 1907 the mines and
towns were in decline. Until 1906 an A10 Loco-
motive ran on the line and photographs of this
particular steam engine reveal that its features
are exactly replicated in the carving down to its
four coupled wheels with their distinctive 5 –
spoke star shape.
The flower decorating the Galbraith boomer-
ang provides an intriguing link to Barambah
with a club from the SE Qld settlement boast-
ing an identical motif. Barambah was settled
over the same period as Galbraith’s Normanton
tenure, so the existence of the same floral carv-
ing suggest that either two artists belonging to
the same tribe were active in separate locations,
or contentiously, that the Galbraith boomerang
predates many of the Barambah artifacts,
Other Barambah stylistic attributes, primarily
traditional markings including cross-hatching,
as well as crescent shapes, arrows and bead-
ing used as decorative and framing devices are
carved into the Galbraith boomerang’s design.
The club is purely embellished with geometric
designs including the same arrows and circle
designs found in Barambah art.
Scott Rainbow, author of A study of the transi-
tional art of Barambah/ Cherbourg Settlement
in QLD (2009) and major collector of the art,
has identified seven common recurring Baram-
bah motifs and characteristics, two of which
are featured in the ‘Q G’ boomerang. Flank-
ing the central panel are an incised image of a
horse head and that of a saddle which Rainbow
relates to Aboriginal stockmen, although, in
this case they could equally and most probably
symbolise the police upon decoding the letter
and symbol stamp.
The recreational activities of the Aboriginal
stockmen, namely card playing found their
way into the pictorial language of contact art
and constitutes the second example of com-
mon motifs. Sitting at the boomerang’s apex
is a clear rendition of a spade. Carved inside it
are the letters “Q “and “G” along with the broad
arrow symbol. This symbol is a military ord-
nance mark which denoted government issued
equipment assigned to the Queensland police
as well as Aboriginal trackers. The stamp was
operational in Queensland between 1890-1910,
however it began to be phased out from 1901
once Federation occurred.
Whether this boomerang belongs to Barambah
is not certain, however the rustic style of the
letter G, the compositional structure and spare
design differentiates it from the Galbraith arti-
fact which exhibits greater embellishment and
intricate detail indicating that it is by another
artistic hand.
Recognition for contact artifacts has long been
overdue, but with an increasing number of
studies by Paul Tacon et al and the Scott Rain-
bow collection, these special objects have been
recast from ignorantly being best considered as
curiosities and at worst early tourist ware into
significant social, historical and cultural docu-
ments for indigenous and non-indigenous Aus-
tralians alike.
BY SoPhIE ULLInABoRIGInAL ART SPECIALIST
The Sunday Fine Art Auction 25 March 2012
THE GALBRAITH BOOMERANGEARLY TRANSITIONAL QUEENSLAND BOOMERANGcirca 1901-1904, Normanton regioncarved hardwood incised on the front surface with figurative images including a train and floral motif, lettering and traditional designs, shiny patina overalllength: 63cmEstimate $2,000 - 3,000
<
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aRt
anne Hall (bORn 1945), Boy with a Frog in His Pocket, Sold $20,400 IBP
ConnoISSEURS oUT FoR SPECIALIST PRInT AUCTIon
FRED WILLIAMS (1927-1982), Landscape etching, aquatint and drypoint 12/20, Sold $5,280 IBP
For centuries, limited edition engrav-
ings, woodblocks and lithographs have
continued to provide artist and collector
alike a distinct and interesting alternative
medium for the expression of imagery and
style. Leonard Joel is now providing col-
lectors carefully curated graphics auctions
that offer the most significant survey of the
medium for Australian artists in the coun-
try. On Thursday 8th December 2011 our
fourth auction in this field offered more
than 200 works by Australian and inter-
national artists. This rounded off a very
successful year for the specialist print auc-
tions, achieving 80% by volume and 100%
by value. Lot 3044, Landscape by Fred Wil-
liams (illustrated) realised the highest price
at $5,280 (IBP). Of the international works
on offer, lot 3066, an interesting work by
the 20th century Austrian Norbertine von
Bresslern Roth titled Ibises, realised $1,200
(IBP). We are currently consigning fine
graphics for our first print auction of 2012.
For enquiries please contact nicole.salvo@
leonardjoel.com.au.
On Sunday afternoon December 4th 2011
just over 250 lots of Australian and Inter-
national art went under the hammer. The
auction began promisingly with the sale of
lot 2 an early work by Ludmilla Meilerts
titled Yarra Boats 1954. The work realised
$6,000(IBP), quadrupling its presale esti-
mate. Rare artists and imagery seemed to be
the focus of buyer attention on Sunday with
the sale of lot 9, a late 19th century work of
Sydney Harbour by the Australian artist
Sophie Steffanoni, for $5040(IBP) which
was more than six times the presale esti-
mate. Steffanoni died young and produced
few works, which no doubt added to the
interest in this work. One of the highlights
of the auction was the most unusual work
by Anne Hall of Phillip Mora as a young
boy. The work, lot 26, was dated 1967 and
realised a staggering $20400(IBP) which
was ten times the presale estimate and a
new record price for the artist. The Mora
theme was continued with lot 147, a small
work by Mirka Mora in painted fabric titled
Girl Riding Bird which realised $8040(IBP)
quadrupling its presale estimate. Again, the
auction confirmed strong demand for unu-
sual but compelling subject matter by rare
artists. We are now inviting entries for our
2012 auctions. For enquiries contact briar.
williams@leonardjoel.com.au .
now consIGnInG for tHe June sunday fIne art auctIon
NEW AUCTiON RECORD
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Special Thursday AuctionThursday 8 March 2012, 11.30am
PreviewWednesday 7 March 2012 9am – 8pm
EnquiriesNicole Salvo, Art Specialist(03) 8825 5624 / nicole.salvo@leonardjoel.com.au
ThE ESTATE oF BERnARD SMIThBernard Smith, art critic and academic, was one of the founders of the discipline of art history in this country and among its most distinguished practitioners.While Smith began his creative life as a painter, it wasn’t long before the study of history and ideas took over his life and he turned his attention to writing about art and teaching. In 1945 he established his name with the publication of Place, Taste and Tradition, one of the first publications to examine the history and evolution of Australian art and he continued to write throughout his life, releasing The Formalesque at the age of 91.Leonard Joel is honoured to present works from the Estate of Bernard Smith, which includes a rare insight into his own artistic productivity with early sketches from the 1930s and oils from the 1980s. The stand-out work from this collection is a 1949 portrait of Bernard Smith by friend and fellow socialist Sali Herman (illustrated). This portrait was painted while they were neighbours in Potts Point and marks the beginning of their respective careers as Art Historian and Artist. The collection also includes works by renowned Australian artists Martin Sharp, John Howley, Hal Missington and Mark Howson as well as studio ceramics and small sculptures.This auction presents an outstanding opportunity to share in the history of one of Australia’s most highly regarded art historians.
SALI hERMAn (1898-1993)Portrait of Bernard Smith 1949 oil on canvas, 50 x 40.5cm$8,000 - 12,000
The Sunday Fine Art AuctionSunday 25 March 2012, 2pm
PreviewWednesday 21 March 2012 9am – 8pmThursday 22 March 2012 10am – 4pm
Friday 23 March 2012 10am – 4pmSaturday 24 March 2012 10am – 5pm
ART PREVIEW
RoBERT DICKERSon (BoRn 1924)Figure by the Pierpastel, 28.5 x 38.5cm$3,500 - 4,500
MARGARET oLLEY (1923 - 2011)Still Life with Cherries and Blue Jug oil on board, 45.5 x 53cm$12,000 - 18,000
RAY CRooKE (BoRn 1922)Islandersoil on canvas, 39. 5 x 49.5cm$8,000 -12,000
13 MARChleonard
JewelleRy
now consIGnInG Jewellery, watcHes and Pre owned luxury for June 2012
A BLUE JEAN BIRKIN HANDBAG BY HERMES, SOLD $7,200 IBP
95% SALE RATE FoR CoLLECTABLE WRIST AnD PoCKET WATChES
At the final pre-owned luxury auc-
tion for 2011 high quality leather
wear from the world’s great fashion
houses attracted the strongest bidding.
Almost “as new” handbags from Prada,
Balenciaga, Rykiel, Gucci and Louis
Vuitton were keenly sought but the
preeminent brand Hermes continued
its track record of realizing the highest
prices at auction. Lot 350, a Blue Jean
Birkin Handbag by Hermes (illus-
trated) realised $7,200 (IBP), almost
doubling its low estimate. Another
interesting item was lot 380, the large
pleated steam bag by Louis Vuitton and
designed by Marc Jacobs that realised
$4,680. Consignments of high quality
leather ware for 2012 auctions are now
being invited. For enquiries contact
john.dagata@leonardjoel.com.au .
On December 4th 2011 almost 400 lots
of precious stone jewellery, designer
pieces and wristwatches were offered
at the last major jewellery auction for
the year. Period and old cut diamond
jewellery continued to enjoy strong
interest from buyers seeking original
designs. A fine selection of South Sea
pearl and coral jewellery was also well
received by buyers taken by the strong
colours and quality of these pieces. Of
particular note was lot 48 (illustrated),
an impressive Art Deco coral and
diamond plaque brooch set in platinum
which realised $6,600(IBP). But the
strength of interest was most notable
with the offering of watches and of the
twenty on offer only one did not find
a buyer. Watches by Rolex, Cartier,
IWC, Patek Philippe and Vacheron
Constantin were sold to collectors
and investors seeking safe havens in
these cautious times. The nineteen
watches achieved a combined total of
$69,780(IBP) with the highest price
realised from lot 176, a Cartier Panthere
wristwatch in 18ct yellow gold selling
for $13,200(IBP). Entries are now
being sought for our 2012 calendar
of fine jewellery and wristwatch
auctions. For enquiries contact john.
dagata@leonardjoel.com.au .
APPETITE fOR PRE-OWNED LUxURY LEATHER INSATIABLE
A CARTIER PANTHERE DIAMOND WRISTWATCHSOLD $13,200 IBP
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JewelleRy
LUxURY PiECES AT AUCTI N
The Fine Jewellery AuctionSunday 18 March 2012, 12pm
PreviewWednesday 14 March 2012 9am – 8pmThursday 15 March 2012 10am – 4pm
Friday 16 March 2012 10am – 4pmSaturday 17 March 2012 10am – 5pm
An ALZER 60 SUITCASE In BLACK EPI BY LoUIS VUITTon Estimate $5,000 - $8,000
An IMPRESSIVE 3.80CT DIAMonD RInGEstimate $20,000 - $25,000
15 MARChleonard
ClassIC FuRnItuRe, ObJeCts & DesIgn
The economic boom currently experienced in
China is no secret, but how has this affected
Australian auction rooms and the way we do
business? When thinking about the context of
this article I decided to mooch about the inter-
net of course, to see what more experienced
industry specialists were saying about this
phenomenon.
I came across a page in ARTINFO, an online
website dedicated to international art and cul-
ture, entitled “Speak Chinese? Need a job? ”...,
it went on to discuss how international auc-
tion houses are currently scouting for fluent
Mandarin speakers with a Ph.D. in Chinese art.
It makes a lot of sense and I for one seriously
wish I had a better understanding of the Chi-
nese language, both written and spoken.
The well advertised record prices achieved
for Chinese porcelain around the world has
shined a beacon on the local auction room and
delivered a fresh take on an industry that may
have been in danger of becoming irrelevant. As
good Chinese porcelain and carved jade pieces
attract the astute and cashed up collector, this
in turn has had a broad impact on the auction
industry as a whole.
Most importantly it has allowed a new client
to be introduced to the auction culture, a feat
so desirable it’s as good as money in the bank.
This has therefore boosted prices realised and
in turn the profile of our auction house and our
competitors in a world where the likes of sites
such as Ebay are capturing a whole generation
either unaware or disinterested in what an auc-
tion house can offer them in terms of selling
and buying.
Buoying the spirits of both staff and clients, the
confidence of these new Chinese buyers in our
auction rooms now see them expanding their
existing antique appetite beyond their Asian
borders and outbidding the seasoned auction
goer, confidently paying top prices in the tradi-
tional collecting areas of fine English silver and
French clocks.
Clients new and old to the auction rooms who
are keen to collect Chinese antiques may well
be interested in seeking out alternative areas
such as cloisonné, carved ivory and my per-
sonal favourite export silver. Keep an eye out
for hallmarked pieces from makers such as
Wang Hing & Co of Hong Kong in tea services,
vases and flatware.
Overall, what has been experienced in auction
rooms is really a snapshot of a world trend that
is sure to influence our global culture indel-
ibly for the future. Might I suggest introducing
Mandarin into the Australian primary school
room curriculum, now that sounds like a smart
move to me. A certain former Prime Minister
would be the perfect figure head for such a bold
move and I say that with no personal political
interests intended!
A CHINESE EXPORT SILVER TEA SETMAKER’S MARK WANG HING & CO, HONG KONG, CIRCA 1910Sold June 2011 for $ 5,760 IBP
A CHINESE EXPORT STERLING SILVER TANKARDMAKER’S MARK SUNSHING, CANTON, CIRCA 1830Sold November 2011 for $1,800 IBP
THE RISE AND RISE Of ChiNESE ANTIqUESBy lIZa HallaM
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ClassIC FuRnItuRe, ObJeCts & DesIgn
ThE GRAhAM GEDDES WAREhoUSE AUCTIonFor all enquiries contact Guy CairnduffHead of The Specialist Collector(03) 8825 5611 / 0407 828 137guy.cairnduff@leonardjoel.com.au
ClASSiC fURNITURE, OBJECTS AND DESIGN
now consIGnInG classIc furnIture, oBJects & desIGn for 3 June 2012EnTriES CloSE 13 April
auctIon sunday 18 MarcH 2012To BE viEwEd And Sold on SiTE AT899 High Street, Armadale, Melbourne
A BOXED SET OF PLASTER RELIEF PLAQUES AFTER THE ELGIN MARBLES19TH CENTURY, JOHN HENNING (1717-1851)Estimate $2,500-$3,500
MARGUERITE MAHOOD (1901-1989)A RARE EARTHENWARE FIGURE OF A FEMALE NUDEInscribed signature and model number C627Estimate $12,000-$15,000
(Part lot)A PAIR OF COMPOSITE STONE FIGURES OF HOUNDSImpressed foundry mark and initialled AJ to base, each figure 80cm high, each plinth 75cm high. Estimate $5,500-6,500
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COlleCtables
1. What exactly comes within the “col-
lectables” category or better still, what
does not constitute a collectable? A col-
lectable, by definition, is something that is
deemed to be worth collecting, or of interest
to a collector. Unsurprisingly, therefore, it is
the most diverse selling category within the
auction industry! There are numerous col-
lecting areas attracting global interest. These
include vintage toys, sporting memorabilia,
rock n’ roll and entertainment memorabilia,
animation art, classic radios, cameras, movie
posters, advertising posters, militaria, railway
memorabilia and scientific instruments.
2. When did collectables as a category
emerge at auction houses? Collectables had
been sold at auction for many years, but the
area really developed in the early 1980s when
major auction houses identified that there was
a great demand for specialised sales of collect-
ables. This led to auctions in one particular
collecting field. For instance, a London auc-
tion house held the first sale of Rock n’ Roll
Memorabilia in 1981.
3. Could any region, culture or country
lay claim to its creation?
No one country can claim to be the creator but
The UK and USA have traditionally been at
the heart of the market.
4. The most exciting collectable you have
ever sold?Undoubtedly, the most exciting
would be the Gallipoli Victoria Cross awarded
to Captain Alfred Shout that sold in 2006. The
medal was particularly important as it was the
last remaining Gallipoli Victoria Cross in pri-
vate hands; the other 8 reside at the Austral-
ian War Memorial. There was a huge amount
of interest in the sale, with a packed saleroom
and numerous TV crews present. At the time,
the highest price paid for a Victoria Cross was
$575,000. I had expected the Shout VC to
break the record but was absolutely stunned
when it hammered $1,000,000. It was a fan-
tastic outcome, particularly as the medal was
bought by Kerry Stokes and put on display in
the Australian War Memorial.
5. Have you ever declined to sell some-
thing considered collectable and if so what
was it?
In 2000 I was approached by a client in New
York who wanted to sell an LP signed by John
Lennon. The provenance was impeccable: it
had been signed outside John Lennon’s apart-
ment in the Dakota building in New York in
1980. it was owned by Mark Chapman, who
shot Lennon the same day as he returned
home. The album was found at the scene of
the shooting and used as evidence during
Chapman’s murder trial. Although its notori-
ety made it highly collectable I declined to sell
the item on grounds of taste.
6. The most exciting collector your ever
met?
I have met a few celebrity clients in the past but
the most exciting was someone that I nearly
met. I was conducting a valuation of Johnny
Cash’s memorabilia collection in Nashville,
Tennessee. This included a visit to his house
in Hendersonville. I could hear his unmistake-
able voice from the next room but didn’t have
the opportunity to meet him in person.
7. If there was one collection you would
have liked to have been a part of but wasn’t
what would that be?
I am a big 007 fan so would have loved to have
been involved in the sale of James Bond mem-
orabilia that was held in 1998. The auction
included an amazing one-owner collection
of original props used in many Bond movies.
Highlights included Oddjob’s steel-rimmed
bowler hat from Goldfinger and a knuckle
duster from With Russia From Love.
8. What do you think shouldn’t be col-
lected, that is?
Although collected in certain circles I do not
accept Nazi memorabilia consignments for
auction.
9. What do you collect?
I have a small collection of advertising and
movie/rock n’ roll posters.
10. What to you are the emerging areas
that may “become” collectable?
I have noticed that vintage hi-fi equipment is
attracting quite a following. Good 1950s/1960s
pieces are collectable both as examples of
modern design and for their musical capabili-
ties I think this has been fuelled by a renewed
interest in collecting vinyl records.
10 QUESTIonS WITh A SPECIALIST
useful record of Australian and regional art
auction records. These are two amongst a
plethora of online data resources and armed
with these the collector has, for a modest
annual fee, powerful information to source
the history and sale performance of both art-
ists and particular works of art.
THE FUTURE – NOW!
Recently before an auction one of my special-
ists remarked that “we have more registered
telephone bidders than registered room
bidders” – put simply, more people bidding
away from us than with us! The “remote col-
lector” is a feature of a world that is becom-
ing less physical and vastly more digital. Ten
years ago the digital economy for most was
still more about hyped floats and over-val-
ued companies. Now it is a profound reality
that is not just turning traditional retailing
on its head but also how auctions look, feel
and behave. I hope that one day the auction-
eer does not become some Disneyland-like
automated human model or a hologram but
I am happy with the idea that auction rooms
become cosy, small gatherings of people, tel-
ephones and technology connecting with the
entire world.
John Albrecht, Managing Director and Head
of Private & Corporate Collections
FILM PoSTERS
SNOW WHITE AND THE SEVEN DWARFS, RKO, CIRCA 1940s REISSUE AUSTRALIAN DAYBILL POSTEREstimate $400 - $600
PETER PAN, RKO, 1954, AUSTRALIAN DAYBILL POSTEREstimate $200 - 400
GIles Moon and collectaBles
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COlleCtables pReVIew
COLLECTABLES APRIL PREviEW
The ‘Non-Stop Robot’ was made by Japanese manufacturer Masudaya in the 1950s and is more commonly known as the ‘Lavender Robot’ due to its colour. It was the second in a series of 5 battery operated tinplate robots made by Masudaya from the late 1950s to the early 1960s. While all share the same skirted body and impressive size (15 inches tall), each differs in colour and the actions that it performs.This group are highly sought after by robot collectors and have been nicknamed the ‘Gang of Five’. Another of the Gang; an unboxed ‘Giant Sonic Robot’ (aka ‘Train Robot) was sold by Leonard Joel in 2010 for $5,040 (IBP) The Lavender Robot (pictured) will be offered in the forthcoming Collectables auction on 1 April and is in excellent overall condition with relatively little wear. It also has its original colourfully illustrated box which is rare and significantly increases its value.
The Collectables AuctionSunday 1 April 2012, 12pm
PreviewWednesday 14 March 2012 9am – 8pmThursday 15 March 2012 10am – 4pm
Friday 16 March 2012 10am – 4pmSaturday 17 March 2012 10am – 5pm
MASUDAYA NON-STOP ‘LAVENDER’ ROBOT CIRCA 1959 Estimate $6,500 - $8,500
19 MARChleonard
1. Very few people would know that you
oversee the selling of photographic work
by Wolfgang Sievers – how do people buy
a work from your collection? If I could just
go back a step. I actually have two collec-
tions of Sievers works. The first is the Born
to See series that I bought from Wolfgang.
The second, which is the one we are talking
about, was given to me by Wolfgang a year
or so later, for the sole purpose of raising
funds for human rights causes. I was actually
approached by a mutual friend and I immedi-
ately said Yes.
Not long after about fourteen Kodak boxes
arrived containing the collection. They are
all signed on the reverse and while Wolf-
gang was still alive I had him sign a number
of the ones that I had mounted, some sixty
or so. In terms of how people can actually
buy a work from this collection, there are a
number of ways. We actually sold a number
in an exhibition at Nellie Castan gallery not
long before Wolfgang’s death. Now many are
sold by word of mouth or by people simply
contacting me. They can see the works on my
website (www.julianburnside.com.au). Once
they have agreed the work and the price I
simply tell them such and such a cause to
make the cheque payable to. But I have also
given prints to various human rights groups
that I think are worth supporting, so they can
mount an exhibition and keep the proceeds.
2. Am I correct that the collection for sale
is in effect a charitable gallery; with every
purchase dollar going to your human
rights causes? Yes. Whether they are works
being sold by me or by human rights groups,
every dollar goes to the designated human
rights cause. The “providing” of works to
other causes has also been very effective and
in fact both methods of sale have remained
simple and very effective. I have a particu-
lar interest in assisting charities that do not
enjoy a tax deductible status as these are the
ones that usually have the most trouble rais-
ing money. To date the photos have raised
about $300,000 and other than the cost of
mounting and framing some of the photos, it
has been an entirely cost-free exercise.
3. What causes do Wolfgang Sievers dol-
lars go to? Did his legacy provide particu-
lar parameters for suitable causes? No,
it was essentially left up to me. Wolfgang
had an interest in refugee and human rights
causes as I do so there was no real issue here.
In terms of causes and given my particular
interest in the status and protection of refu-
gees, most of the funds raised assist this area.
4. Did serendipity play a part in Wolf-
gang leaving you his collection or was
your relationship more significant than
say, a chance meeting or two? I did not get
to know Wolfgang until I was approached
to buy his Born to See series. I had also had
some brief earlier contact with Wolfgang
about some refugee matters which was also
a cause of interest to him. At that time he
needed to raise funds for his daughter who
was living overseas. It was actually a couple
of years later that I was approached by Wolf-
gang to take on the task of selling the charita-
ble works for Wolfgang.
5. When you look at Wolfgang Sievers’
works, what do you see in them that you
don’t see in say, a Dupain or a work by
Cotton? You know, I saw this question on
the list and I decided it wasn’t one I could
really answer. My own collecting has been
mainly paintings and a few photographs and
is fairly idiosyncratic. And I’d have to say that
holding this extraordinary collection hasn’t
prompted me to seek out other photographic
works although I have bought a few. I’m for-
tunate enough to be grossly over-stocked
with artworks which I try and lend out to
friends. I don’t like the idea of storing works
in cupboards and boxes so I try and get as
many up on walls as possible – I find the idea
of art in storage or in boxes a bit unhappy.
6. Do you collect photography yourself or
are you simply a seller of photography? I
am not a seller of art work at all, other than
the photographs Wolfgang gave me. In fact,
I have never actually sold anything from my
own collection.
7. Robert Hughes has always commented
on the absurdity (mostly) of paintings
realizing “millions of dollars”. What are
your thoughts when a photograph like
Andreas Gursky’s realises “millions of
dollars”? I think art at the “ultra top end”
is not really about art but more about a mar-
ket for unique things and with a fair dash of
fashion thrown in. I don’t think I can add
anything more to this answer as it’s really not
my territory.
8. Do you feel there is any significant
public benefit in the exhibiting and trans-
acting of art or do you think it is mostly
a sport for the dispassionate rich? Well, I
have mixed feelings about this. I think show-
ing art is great but I have a real problem with
(and you might not like me saying this) the
secondary market for living artists as I think
acquiring at auction is more about mercantile
interests than about supporting the art and
the artist. And it worries me that so called
“great supporters of the arts” are often found
looking for bargains at auction or buying safe
stuff by dead people rather than supporting
the galleries that support the artists.
9. Is there a subject or building or place
that you wished Wolfgang Sievers had
executed as a photograph but didn’t? Yes.
I would like to have seen photos by Sievers
of the Abbottsford Convent and maybe the
Sydney Opera House or the Harbour Bridge
– perhaps the last two are a little too obvious.
The old BHP building maybe, on the corner
of Williams and Bourke Street would also be
an image I would like to have seen because he
did some wonderful works of the AMP build-
ing opposite.
an InteRVIew
IT IS A noT Too WIDELY KnoWn FACT ThAT In JULIAn BURnSIDE’S ChAMBERS
In MELBoURnE RESIDES A LEGACY FRoM onE oF AUSTRALIA’S MoST FAMoUS
PhoToGRAPhERS ThAT PERFECTLY CoMBInES ThE SELLInG oF ART WITh ThE FUnDInG
oF REFUGEE SUPPoRT GRoUPS. John ALBREChT, MAnAGInG DIRECToR oF LEonARD
JoEL InTERVIEWS JULIAn BURnSIDE, Ao QC ABoUT ThIS VERY ACTIVE CoLLECTIon.
ThE QC AnDWoLFGAnG SIEVERS
InTERESTED In PURChASInG A
WoRK FRoM ThE WoLFGAnG
SIEVERS CoLLECTIon AT JULIAn
BURnSIDE AnD SUPPoRTInG
REFUGEE SUPPoRT GRoUPS
AT ThE SAME TIME?
Simply visit www.julianburnside.
com and go to “Wolfgang
Sievers photographs for
sale” under “The Arts”.
20 leonardMARCh
What are moral rights?
For newspapers and their readers the New
Year period is known as the “silly season”
due to the inclusion of stories that would not
normally be newsworthy at any other time
of the year. A particularly silly story from
December 2011 concerned a Melbourne “art-
ist” who, inspired by a dream, deep-fried an
inherited Sidney Nolan artwork and then
sold the altered work on e-bay to raise funds
for an arts space.
But is there more to this story than meets the
eye?
At first glance it appears little more than a
stunt attempting to create controversy. Art
consultant Michael Reid said “it just strikes
me as a pathetic, undergraduate and possi-
ble attention-seeking thing to do.” The frier
of the Nolan, Andy Wear, who holds a doc-
torate of philosophy, defended his actions
by saying “it wasn’t an aesthetical work and
even as a family heirloom it had little value.”
He claims not to be an artist and hoped his
actions would encourage debate over what
constituted art.
Lost in this discussion is whether Wear actu-
ally had the right to do what he did to the
artwork. Unfortunately for him, no copyright
lawyer made an appearance inside his dream
to say that, despite Nolan passing away in
1989, deep-frying the work in question could
well be a breach of the artist’s moral rights.
Further, the 2010 case of Blackman v Gant
established a precedent for artists (and their
estates) wishing to protect their reputations
in cases where their copyright had been dis-
regarded. Due to this case there are now seri-
ous legal ramifications for such breaches.
So what are moral rights? In general terms, it
is a type of copyright that artists assert over
the works that they create. Moral rights are
personal rights that exist from the moment
copyright arises (which is when art is cre-
ated) and they cannot be assigned or sold.
The Copyright Act was amended in 2000 to
incorporate moral rights - in essence these
personal rights have been protected by stat-
ute for just over a decade.
There are three types of moral rights cur-
rently recognised in Australian law:
1. Artists have the right to be attributed for
their work, which requires a ‘reasonable’
form of identification to be adopted.
2. Artists have the right not to be falsely
attributed for their work.
3. Artists have the right of integrity, which
means that their work should not be treated
in a manner that is derogatory or that preju-
dices their reputation.
In relation to the last point, altering, add-
ing to or cropping artworks without consent
would breach the artist’s moral right.
Deep-frying a Sidney Nolan artwork would
appear to contravene the artist’s right of
integrity – particularly as the act itself was
filmed and posted online. The comments of
Wear seem to support the idea that he wished
to take Nolan’s reputation down a notch. “I
find it intriguing that just because a great art-
ist does it, it’s treasured”, he was quoted in
Melbourne’s Herald Sun newspaper.
Could there be a defence to this seeming
breach of the artist’s moral right? There are
two that could be relied upon:
1. The infringement was reasonable given
the circumstances; and
2. The artist (or his estate) consented to the
infringement.
It is hard to see how deep-frying an artwork
could be ‘reasonable’ and it is difficult to
imagine the estate of Sidney Nolan agreeing
to the act – but I will leave the interpretation
of the Copyright Act to those more suitably
qualified than me.
In any case Wear, a man with a high degree
of education, might have felt he was on safe
ground carrying out this stunt. The artwork
in question was a portrait of his grandfather,
who supposedly met and associated with
Nolan in the 1940s. If Wear’s grandfather
commissioned the artwork from Nolan, cop-
yright would not reside with the artist. (The
Copyright Act provides that the commis-
sioner of a portrait owns the copyright in that
work). In this case Andy Wear or his grandfa-
ther could not possibly breach Nolan’s copy-
right. Perhaps the real silly story for the New
Year period just gone should have been the
way people confuse copyright with moral
rights.
However, whatever way you look at it, the
even sillier story is that the deep-fried art-
work that sold for only $115 on e-bay could
have been left in the expert hands of Leonard
Joel untouched and raised many multiples of
that sum for Mr Wear’s arts space.
aRt busIness
Michael Fox is a qualified accountant and
professional fine art valuer who successfully
ran the Save Super Art campaign to prevent
the prohibition of artworks from self-managed
superannuation funds (SMSFs). He is a member
of the Leonard Joel Valuation Panel and is
engaged exclusively by Leonard Joel to provide
advice to their clients in relation to artwork
investment in SMSFs. He may be contacted at
michael.fox@superartbusiness.com.au.
ARTBUSINESS
“WHen tHe CRitiCs CoMe ARound it’s AlWAys too lAte”SIR SIDNEY NOLAN
By MIcHael fox
21 MARChleonard
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