leonard, issue 5, april 2012
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Issue FIVe / APRIL 2012
FREEPlease take
a coPy
LEONARD
If you would like to receive Leonard you can subscribe online at leonardjoel.com.au for free digital delivery.If you would like to receive a printed version you can collect a free copy at Leonard Joel.If you’d prefer to be sent Leonard by mail you can subscribe to Leonard for $44 per year for postage and handling.
ValuatIon anD ClIent serVICes
Monique Le Grand Phone + 61 (0) 3 8825 5620Email monique.legrand@leonardjoel.com.au
Corporate & prIVate ColleCtIons
John Albrecht, Managing Director Phone 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
ClassIC FurnIture, obJeCts 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 For sIngle owner auCtIons
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
Primary Salerooms
333 Malvern Road,
South Yarra, Victoria 3141
Australia
Tel: +61 (0) 3 9826 4333
Fax: +61 (0) 3 9826 4544
Subscriptions
Leonard is published 10 times a year by Leonard Joel. If you have any questions regarding Leonard please contact 03 9826 4333
CoverAndrew MacHosier Lane, MelbourneTHE ANDY MACCOLLECTIONStreet and Fine art from Citylights Projects 1992-2012
Auction Sunday 6 May 2012
PhotographyRick Merrie
DesignerMaria Rossi
leonardjoel.com.au
WATCH US on
BID LIVE AT oUR AUCTIonS on
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FInD US on
Facebook.com/Leonardjoel1919
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youtube.com/Leonardjoel1919
ForeworD
In mid 2008 I vividly recall transacting a
Brett Whiteley by text messaging. The cli-
ent had viewed the work from a previous
catalogue (by email) but after that, the entire
transaction was conducted by text. So con-
cerned was I that I was not providing proper
client service that I texted the client offering
to “speak” with him. He replied that he was
too busy and perfectly happy! This moment
for me really was the dawn of the age of the
“digital art economy ”.
Since then the rise of the “remote collec-
tor”, as I like to refer to the species, has both
increased in number and comfort with the
services that have grown organically from
the original auction house that required
“human” attendance. In fact, it was only
about half a century ago that you either had
to attend in person or beg someone to fill your
place! Now the suite of services that accom-
pany the auction experience are more elabo-
rate and useful. What I have found however
is that many private clients still do not know
what they have these days at their disposal.
TELEPHonE AnD ABSEnTEE BIDDInGThe two most popular are the absentee bid
and the telephone bid. The absentee bid
allows you to leave with us a maximum
amount you are prepared to bid and we
will execute the bid on your behalf for the
lowest price possible. Some clients remain
nervous about absentee bidding, despite
our guarantee that bids will be executed as
cheaply possible, but I encourage it as a very
disciplined form of bidding that forces the
bidder to set a maximum price and eliminate
the emotion of over-spending that often
can accompany bidding in person. But for
those unable to attend who still want a bit
more involvement in the process they can
telephone bid on high value lots with one of
our staff from the comfort of their home or
office. One of our staff calls the bidder a few
lots prior and will basically bid in the room
as instructed by the client. Both services
are free of charge and very handy for those
clients that are either interstate or unable to
attend.
ConDITIon REPoRTSBut beyond these services there are several
others that I’d encourage clients to explore.
The most important one is the “condition
report” – well used by the trade but far less
used by private collectors. Again the service
is free of charge and enables you to request
a reasonably detailed report on the physi-
cal condition and originality of any lots that
are of interest to you. It is basically a simple
compendium to the description in the cata-
logue to ensure you are fully informed about
whether there is any minor damage or resto-
ration work relevant to the piece in question
that you may like to consider prior to bidding.
BIDDInG VIA THE InTERnET AnD on YoUR CoMPUTER In “REAL TIME”Finally there is live-bidding via the internet.
Almost all major catalogues at Leonard Joel
are available to clients wishing to bid via the
internet. Our service provider is ARTFACT,
the largest art and antiques auction bidding
platform in the world. For a small fee on
each successful purchase and, I must say, a
very simple credit card registration process
you are able to bid on Leonard Joel auctions
in real time from the comfort of your com-
puter. This method of bidding is becoming
more popular each round of sales and, while
once upon a time the pace of the auction was
dictated by room and telephone bidders, it is
now dictated by the internet bidder. So in a
sense online bidders are now enjoying “run of
the room”, so to speak . The one unique ben-
efit for those comfortable with the technol-
ogy is that bidding on a computer eliminates
the nervousness and angst often experienced
by bidders when they are either in the room
or on the phone – it may be less exhilarating
but the “removed” sense and simplicity of
the technology is appealing to those wanting
a more concise and “quiet” bidding option.
AUCTIon RESULTS DATABASESIn previous issues of LEONARD, Artprice
and Australian Arts Sales Digest have been
discussed. The former a vast international
database for art transactions throughout the
auction world and the latter an extremely
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-valued
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 auctioneer
does not become some Disneyland-like auto-
mated human model or a hologram but I am
happy with the idea that auction rooms may
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
THE REMOTE COLLECTOR
Disneyland’s new Animatronic Abraham Lincoln
1 APRILleonard
Contents
APRIL Contents
CALEnDAR 3
nEWS 4
CLASSIC FURnITURE, oBJECTS &
DESIGn 5
THE WEEKLY 8
CoFFEE In MELBoURnE 9
LEonARD JoEL HISToRY 10
ART 12
JEWELLERY 14
PRE-oWnED LUXURY 15
WHAT IS A PRInT? 16
CoLLECTABLES 18
SERVICES 20
ART BUSInESS 21
GET LEonARD ALL THE TIME
SUBSCRIBE
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.
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
ART DECo
Consigned for 17 June 2012
An Important Red and Black Galalith Collar by Auguste Bonaz, Circa 1928Estimate $2,000 - 3,000
2 leonardAPRIL
FoRthComIng AuCtIons
The Weekly Auction Every Thursday in 2012 – 10am333 Malvern Road, South Yarra, Melbourne, Victoria
The Danish Furniture Auction Thursday 5th April 2012 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria
The Monthly Toy Auction Thursday 19th April 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
The Andy Mac Collection Auction Sunday 6th May 2012 Melbourne
Classic Furniture, objects & Design Auction Sunday 3rd June 2012 – 1pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Fine Jewellery Auction Sunday 17th June 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Pre-owned Luxury Auction Sunday 17th June 2012 – 3pm 333 Malvern Road, South Yarra, Melbourne, Victoria
The Sunday Fine Art Auction Sunday 24th June 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Collectables, Toys & Sporting Memorabilia Auction Sunday 1st July 2012 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Photographic Auction Sunday 22nd July 2012 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria
Modern Design Auction Sunday 19th August 2012 333 Malvern Road, South Yarra, Melbourne, Victoria
The Graham Geddes Collection of Important Antique Furniture & objects Auction Mid September 2012 333 Malvern Road, South Yarra, Melbourne, Victoria
CalenDar
Leonard Joel is a proud supporter of Arts Project Australia
Auctions and viewing times are subject to change.
EMILY KAME KNGWARREYE (CIRCA 1910-1996) Linear Yam Dreaming 1996 Acrylic on canvas Inscribed verso with artist's name and Aboriginal Galleries of Australia cat. no. AAGA-6165 bears additional cat. numbers DA2380 and 2044-EKK219 verso 121.5 x 67cm Sold March 2012 $10,800 (IBP)
3 APRILleonard
news
This publication by Ida Rentoul Outhwaitetitled Fairyland and published byRamsay Publishiing Pty, Ltd, 1926 realised $2,160 (IBP) at our recent Antiquarian Book Auction.
AnTIQUARIAn BooK AUCTIon
STATE LIBRARY oF VICToRIA SECURES HERMAn PoRTRAIT
The Estate of Bernard Smith achieved
excellent results on Thursday 8th
March with the feature piece, a
portrait of Bernard Smith by Sali
Herman (illustrated), achieving
$22,200 (IBP) against estimates of
$8,000-$10,000. The portrait was
eagerly contested by two public
institutions. Amongst other notable
results, Australian Pottery was
highly sought after with an early
vase by Shiga Shigeo achieving
$1,600. Other items which attracted
interest were an ink and collage
exhibition invitation by Martin Sharpe
and an oil painting by Bernard
Smith dating from the 1980s.
BoUTIQUE SInGLE oWnER ART SALE FoR ART InVESTMEnT TRUST EnJoYS STRonG DEMAnD
On Thursday 16th February Leonard Joel successfully dispersed approximately
ninety works from the Art Investment Trust under the instructions of their
administrators. It was rare to see such a diverse and colourful selection of editions
and graphics at auction and collectors rapidly acquired the offering and quickly
pushed final sale prices to a 20% premium above the low estimate of $45,000.
Highlights of the sale included lot 3006, a mesmerizing work by Roger Byrt,
titled Red Roll 2001 (illustrated) that more than doubled its estimate to
realise $5040 (IBP) and the delightful lot 3071 Happy Man 1998, by Dean
Bowen, which quadrupled its estimate to sell for $2040 (IBP). Leonard
Joel offers specialist expertise to professionals and fiduciaries seeking
asset dispersal advice. If you require confidential advice regarding a
corporate collection contact John Albrecht, Head of Corporate & Private
Collections on 03 8825 5619 or email: john.albrecht@leonardjoel.com.au
Consigned for Specialist Print Auction 7 June 2012
Eric Thake (1904-1982) An Opera House in every home 1972linocut Estimate $800 - 1,200
IConIC AUSTRALIAn PRInT on oFFER
now consigning sPecialist PrintsFor 7 JUne 2012
4 leonardAPRIL
ClassIC FurnIture, obJeCts & DesIgn
Classic Furniture, Objects & Design Auction Sunday 3 June 2012
A 19th century Erard Giltwood and Satinwood Harp and associated stoolMaker’s mark for Erard Freres, ParisWith the inscription ‘Restored by J. George Mor-ley, Harp Maker from Erard’s / 6 Sussex Place, South Kensington, London,’ 165cm high.Estimate: $3,000 - $5,000
CLASSIC fURNiTURE, OBJECTS & DESigN
now consigning classic FUrnitUre, oBJects & design For JUne 2012
At the Leonard Joel Graham Geddes Ware-
house Auction on Sunday 18th March 2012 it
was clear that professional and home deco-
rators were out in force for an auction that
provided a truly diverse array of furnishings,
objects, architectural features and unusual
items of utility which extended to no less
than an antique Indian wedding carriage!
These warehouse-style auctions also provide
clients an opportunity to acquire both period
and more modern pieces at a fraction of retail
prices. This was exemplified by the sale of
lot 20, an elegant bureau plat in the manner
of Paul Sormani (illustrated) which realised
$7320 (IBP). Of the more unusual lots that
sold, lot 180, a Fallow antler chair realised
$2280 (IBP). The highest price for the auc-
tion was paid for a most impressive pair of
Indian brass and iron teak doors that realised
$7930 (IBP) and confirmed the demand from
clients for interesting architectural pieces
that are interested in “hands on” decorating
and placement of rather complex pieces. The
auction realised 88% by value of lots sold.
The Classic Furniture & Objects department
is now seeking entries for valuable single
items or entire collections for its early June
2012 auction. For enquiries please contact
Guy Cairnduff 8825 5611 or email guy.cairn-
duff@leonardjoel.com.au.
WAREHoUSE AUCTIon A DECoRAToRS’ HEAVEn
EnTRIES CLoSE
13 APRIL2012
AUCTIon JUnE 2012
5 APRILleonard
ClassIC FurnIture, obJeCts & DesIgn
By anton assaad
In September this year, a chapter in the his-
tory of one of Australia's largest and most
important family-owned antique dealerships
will come to a conclusion when the entire
stock in trade of Graham Geddes Antiques is
offered for sale in a final auction by Leonard
Joel at his premises on Melbourne’s High
Street, Armadale. Graham Geddes' choice in
appointing Leonard Joel was motivated by
his long-standing relationship with the com-
pany and his belief that Leonard Joel was
best resourced to undertake such a monu-
mental dispersal.
Unlike Geddes’ previous auctions, the sale in
September will be a serious, final dispersal
and the most historic of its type since The
Owston Collection in 2010. All stock will be
offered at below acquisition cost, present-
ing an outstanding opportunity for both
local and international clients to secure a
treasure from his vast and unparalleled local
collection.
Graham Geddes' association with Leonard
Joel has spanned over 40 years, with many
of the finest, most unusual offerings at Leon-
ard Joel catalogue auctions finding their way
into his collection.
Guy Cairnduff, Head of The Specialist Col-
lector Department: "Throughout my career,
Graham Geddes has been a somewhat enig-
matic figure and the first person you would
call when anything really special came
into the salerooms. His shop encapsulates
my idea of what the very best High Street
antique dealership should look like. Graham
has always been a great supporter of Leonard
Joel. It is a privilege to now have the oppor-
tunity to market his extraordinary collection
at his flagship establishment."
Graham Geddes’ collection has long been
renowned, not only for its sheer scale and
depth, but also for its eclectic nature. The
offering in the September auction will be no
less diverse, ranging from bronze and mar-
ble statuary, important and rare English and
European furniture, lighting and sculpture
to Asian antiquities and Viennese bronzes;
many pieces with extraordinary provenance.
Graham Geddes: “It is common knowledge
that I have dabbled with various auction
houses over the years that have assisted me
with aspects of my collection. But this is the
first and last time that a complete offering of
my entire stock in trade will hit the market
place.
The auction is scheduled to take place in
mid September 2012 over multiple sessions.
To pre-register catalogue interest con-
tact Guy Cairnduff on 8825 5611 or email
guy.cairnduff@leonardjoel.com.au.
THE SPECIALIST CoLLECToR DEPARTMEnT SECURES THE GRAHAM GEDDES AnTIQUES CoLLECTIon
fORTHCOMiNg HISTORIC STOCk iN TRADE AUCTiON
A 19TH CENTURY FLORENTINE MARBLE STATUE DEPICTING ARIADNE ON THE PANTHERSigned F. Vichi, Firenze, after the original by Heinrich Dannecker Estimate on Request
6 leonardAPRIL
ClassIC FurnIture, obJeCts & DesIgn
THE GRAHAM GEDDES CoLLECTIon In FoCUSEvery month in LEONARD, Guy Cairnduff, Head of the Specialist Collector, will present a highlight from this important forthcoming September auction.
A MONUMENTAL PAIR OF CHINESE CLOISONNé ENAMEL LIDDED TEMPLE CENSORSEach of compressed ovoid form, decorated with stylised floral sprays below formal borders on a turquoise ground, beneath a domed cover surmounted by a bronze Buddhist lion knop, raised on tripod feet extending from lion mask heads, apocryphal Qianlong mark to rim, together with ebonised stands.101cm highEstimate on Request
7 APRILleonard
weekly
The Weekly Auction – Viewing Wednesdays 9am to 8pm / Auction Thurdays 10am / View online at leonardjoel.com.au
THEWEEkLY
Leonard Joel is excited to announce a significant collection
of Danish mid-century Modern furniture will go to auction
on Thursday the 5th of April. The collection consists of a
selection of high quality oak, rosewood and teak furniture with
examples from renowned Scandinavian designers such as Hans
Wegner, Kai Kristiansen and Arne Vodder. With up to one
hundred lots on view, this is the perfect opportunity to secure
that unique piece of Danish modern design for your home.
auction thursday 5th april at 10am
Viewing Wednesday 4th April 9am to 8pm
Catalogue Now Online
At our weekly auction on Thursday 24th
February a most interesting collection of
objects, furniture, decoration and ephemera
with a distinctly Japanese and Asian flavour
was offered for auction. The [insert number]
lots on offer included ceramics, jade, cloisonné,
porcelain bronzes, hibachis, painted screens,
kimonos, decorative items and furniture.
THE DAnISH FURnITURE AUCTIon
THEMATIC BoUTIQUE SInGLE-oWnER AUCTIon
At a recent weekly Objects
and Collectables Auction this
elegant Early 19th Century Flame
Mahogany Double Fusee Bracket
Clock realised $1,440 (IBP)
ILLUM WIKKELSOE(DENMARK 1919 – 1999), ATTRIBUTED.A matching pair of 1960s Danish upholstered armchairsEstimate $2,400 - $2,800
8 leonardAPRIL
CoFFee In Melbourne
The Legend Café took its name from the
story of the mural created especially for the
space. Clement Meadmore had a particular
idea on how to enlarge and provide depth to
the long, yet fairly narrow space through a
visual illusion. For this challenge he engaged
an amazing artist, Leonard French, who Ion
Nicolades had also become acquainted with
through Jazz.
Clement Meadmore had placed seven mirrors
in the Milk Bar and wanted to match them
with seven painted panels on the opposite
wall in the espresso bar space. The panels
would reflect off the mirrors to increase the
impression of space and add to the ambience.
At the time, Leonard French was an
apprentice sign-writer, painting enormous
signs, so when his friend approached him
with this brief he did not flinch. In fact, he
was excited that he could test his artistic
skills on something new and innovative.
‘As a struggling artist my lodgings were stark
and small’ recalls Leonard French. ‘When I
commenced the project of painting the seven
panels that collectively would tell the story
of the Legend of Sinbad the Sailor, I not only
lived and breathed the creative, I slept on it
– literally. I stacked the seven canvas panels,
one on top of each other, and they served
as my bed for the duration of the painting
project. After the enamel paint dried, I would
then place each panel in turn at the bottom of
the stack of seven.’
One strong element was extracted and
utilised as the business logo. As well as being
reproduced on T-shirts, business cards,
flyers and matchboxes, it was engraved in
gold on the leather-bound menu covers.
Leonard French did not know whether to
feel disappointed or elated that these special
menus disappeared within a week. When no
one was looking, people pocketed them as a
souvenir; however, what he did not know was
Ion Nicolades had put a couple aside for his
personal collection. They are still treasured
by him today.
Both Clement Meadmore and Leonard
French* OBE grew to become renowned
artists, receiving international acclaim
through their individual statement
commissions.
Sandra Makris, 2010
Photograph Courtesy Ion Nicolades Private Family Collection
COffEE iN MELBOURNE
ART, ARCHITECTURE AnD ARTEFACTS
In this first extract from Sandra Makris' publication Journeys of Melbourne's Coffee Pioneers - Trailblazing Passions, that documents the history of Melbourne's coffee culture, The Legend Café in Melbourne, its designer Clement Meadmore, and artist Leonard French are discussed.
*Suggested further reading: Cubism and Australian Art, Lesley Harding and Sue Cramer, The Miegunyah Press in association with the Heide Museum of Modern Art, Australia, 2009.
9 APRILleonard
leonarD Joel HIstory
6 7
LEONARD JOEL LEONARD JOEL
Classic Radio AuctionA Single Owner Collection
Sunday 19 September 2010 Melbourne
MOMENTS IN TIME THAT DEFINED US
MOMENTS IN TIME THAT DEFINED US MOMENTS IN TIME THAT DEFINED US
1998
The Rogowski Collection
1990
The Qintex Collection
1943
Porcelain and Objects of Art from the National Gallery of Victoria Collection
1988
Rupert C.W. Bunny’s Une Nuit De Canicule
(The first painting sold for more than $1,000,000 in Australia)
1952
The E. Phillips Fox and E. Carrick Fox Collection of Pictures
2010
The Szental Collection of Radios
1966
The Charles Ruwolt Collection of Australian Paintings
2011
The Lieutenant Paul McGinness WW1 Medal Group
1970
The Hans Heysen Collection
THE LIEUTENANT PAUL MCGINNESS
WWI MEDAL GROUP
INCLUDING THE QANTAS ARCHIVE
SUNDAY 20 NOVEMBER 2011 MELBOURNE
THE DAVID BROMLEY
COLLECTIONMONDAY 28 NOVEMBER 2011 MELBOURNE
2011
The David Bromley Collection
1971
The Dame Mabel Brookes Collection
1974
The Maharajah of Mysore Collection
Over 90 years on, Leonard Joel remains a Melbourne icon and our
time-honoured commitment to providing buyers and sellers with a
quality suite of auction and collection management services is just
as important today. Founded by the late Leonard Joel in 1919,
the business is now operated by John Albrecht, a former director
of Kozminsky, who has been associated with Leonard Joel for a
quarter of a century. In the 21st century Leonard Joel’s tradition of
managing historic dispersals and generating record results for its
clients continues.
Classic Radio AuctionA Single Owner Collection
Sunday 19 September 2010 Melbourne
6 7
Leonard JoeL Leonard JoeL
Classic Radio AuctionA Single Owner Collection
Sunday 19 September 2010 Melbourne
MoMents in tiMe that defined us
MoMents In tIMe that DefIneD Us MoMents In tIMe that DefIneD Us
1998
the Rogowski Collection
Italian giltwood centre tablewith oval pietra dura black marble top
18 century3 December 1990
1990
the Qintex Collection
1943
Porcelain and objects of art from the national Gallery of Victoria Collection
1998
Rupert C.W. Bunny’s Une nuit De Canicule
(The first painting sold for more than $1,000,000 in Australia)
1952
the e. Phillips fox and e. Carrick fox Collection of Pictures
2010
the szental Collection of Radios
1966
the Charles Ruwolt Collection of australian Paintings
2011
the Lieutenant Paul McGinness WW1 Medal Group
1970
the hans heysen Collection
THE LIEUTENANT PAUL MCGINNESS
WWI MEDAL GROUP
INCLUDING THE QANTAS ARCHIVE
SUNDAY 20 NOVEMBER 2011 MELBOURNE
THE DAVID BROMLEY
COLLECTIONMONDAY 28 NOVEMBER 2011 MELBOURNE
2011
the David Bromley Collection
1971
the Dame Mabel Brookes Collection
1974
the Maharajah of Mysore Collection
Over 90 years on, Leonard Joel remains a Melbourne icon and our
time-honoured commitment to providing buyers and sellers with a
quality suite of auction and collection management services is just
as important today. Founded by the late Leonard Joel in 1919,
the business is now operated by John Albrecht, a former director
of Kozminsky, who has been associated with Leonard Joel for a
quarter of a century. In the 21st century Leonard Joel’s tradition of
managing historic dispersals and generating record results for its
clients continues.
10 leonardAPRIL
leonarD Joel HIstory
6 7
LEONARD JOEL LEONARD JOEL
Classic Radio AuctionA Single Owner Collection
Sunday 19 September 2010 Melbourne
MOMENTS IN TIME THAT DEFINED US
MOMENTS IN TIME THAT DEFINED US MOMENTS IN TIME THAT DEFINED US
1998
The Rogowski Collection
1990
The Qintex Collection
1943
Porcelain and Objects of Art from the National Gallery of Victoria Collection
1988
Rupert C.W. Bunny’s Une Nuit De Canicule
(The first painting sold for more than $1,000,000 in Australia)
1952
The E. Phillips Fox and E. Carrick Fox Collection of Pictures
2010
The Szental Collection of Radios
1966
The Charles Ruwolt Collection of Australian Paintings
2011
The Lieutenant Paul McGinness WW1 Medal Group
1970
The Hans Heysen Collection
THE LIEUTENANT PAUL MCGINNESS
WWI MEDAL GROUP
INCLUDING THE QANTAS ARCHIVE
SUNDAY 20 NOVEMBER 2011 MELBOURNE
THE DAVID BROMLEY
COLLECTIONMONDAY 28 NOVEMBER 2011 MELBOURNE
2011
The David Bromley Collection
1971
The Dame Mabel Brookes Collection
1974
The Maharajah of Mysore Collection
Over 90 years on, Leonard Joel remains a Melbourne icon and our
time-honoured commitment to providing buyers and sellers with a
quality suite of auction and collection management services is just
as important today. Founded by the late Leonard Joel in 1919,
the business is now operated by John Albrecht, a former director
of Kozminsky, who has been associated with Leonard Joel for a
quarter of a century. In the 21st century Leonard Joel’s tradition of
managing historic dispersals and generating record results for its
clients continues.
Classic Radio AuctionA Single Owner Collection
Sunday 19 September 2010 Melbourne
now seeking single owner collections For aUction
11 APRILleonard
art
The Andy Mac Collection Auction Sunday 6 May 2012
Andy MacInternational Cooperation Will Speed Progress 2007Digital inkjet light box transparency in steel light box, 45 x 45cmEstimate on Request
STREET AnD FInE ART FRoM CITYLIGHTS PRoJECTS 1992-2012The art department is excited to announce
that Andrew Mac, renowned Melbourne
street artist and founder of Melbourne’s
City Lights project, has engaged Leonard
Joel to auction his entire collection of
Australian and international street art,
furniture and objects. Some 500 lots make
up the collection and of particular interest
is Andrew’s vast survey of some 300 works
of street art that he has assembled over the
last two decades. This sale of street art is
the first time such a collection has come to
public auction in Australia and represents
a unique collecting opportunity for those
interested in this most contemporary,
urban art movement. Within the collection
that will be offered for public auction
in early May 2012 is arguably one of the
most important street art works in private
hands; titled Freeze Muthasticka and made
up of no less than 72 panels (measuring
over 30 metres in length, or 60 sq metres
approx), this collaborative work was
painted on site at the the Big Day Out music
festival in 2004. Andrew has held the work
all this time and considers it an historically
important piece of early street art. Andrew
Mac: “It is not just the sheer scale of the
work, its original purpose and the number
of artists involved in its creation. For me
this work sums up what the walls of Hosier
Lane looked like in 2004, and is the first
time that many of the key players of this
period in street art collaborated together.
As such it is a time capsule of Melbourne
stencil art at the peak of it’s blossoming in
the early 2000s.
THE AnDY MACCoLLECTIon
THECITYLIGHTS PROJECTS
COLLECTIONStreet and Fine Art 1992-2012
SUNDAY 6 MAY 2012 MELBOURNE
At the Leonard Joel Sunday Fine Art Auc-
tion on Mach 25th 2012 institutional and
private collectors were treated to a rare
collection of historically important art and
objects. The early highlights of the auction
were two works by John Glover of almost
identical proportion and similarly framed
that had been in one private collection for
30 years and had been originally acquired
from Christie’s in London. The two works,
lots 16 and 17, realised $91,200 (IBP) against
total low estimates of $75,000 and were both
secured by the same collector. A mid 20th
century work by Eric Wilson, lot 99, contin-
ued the theme of rarity when a very small,
jewel-like work, by the artist of London real-
ised $9,600 (IBP). Expectations were high
when the middle of the auction was reached
and three exceptionally rare transitional-
period indigenous pieces were offered (lots
148-150). Two boomerangs, both elaborately
incised with decoration, lettering and names
enjoyed strong interest from institutions
and finally sold for $21,600 (IBP) against a
combined low estimate of $4,000. The third
item from the collection was a very early
transitional-period club that realised $3,120
(IBP). Leonard Joel is delighted to report
that all three items were secured by a public
institution. Later in the sale, scarcity
of artist and rarity of subject matter
probably accounted for the extraor-
dinary result when a rather small
work by the artist Herbert Rose
(lot 157) sold for $10,200 (IBP)
against a low estimate of $800. The
oil titled Le Ruy, France provided a par-
ticularly unusual representation of a
protruding hill top castle within
a provincial village. The pleas-
ant surprises and challenges
associated with identifying
early unsigned portraits
came to the fore when lot
211, a pair of portraits, came
up for auction. One was
unframed and the other
was housed in a mid 18th
century frame that looked
tantalislingly like one used
by some of the great Brit-
ish painters. The sitters (or
subjects of the portraits)
were identified as part of the
English Kenrick family but
there was little more that could
be gleaned from the two paint-
ings. In rather rough condition the
paintings were conservatively esti-
mated at $2,000 - $3,000. After
both local and international
interest the “Kenricks” trans-
acted for $18,000 (IBP) the pair
and will now, no doubt, enter
the slow process of restoration,
further painstaking research and
potentially some sort of attribu-
tion. Provenance and age were
recurring themes and no
more so than when the Cap-
tain Edgar Johnston Col-
lection of Rare New Guin-
ean Artefacts came up for
auction. The collection
comprised three pieces
collected by Johnston
in 1928 and comprised
a dance ornament and
two pigment bowls. The
three pieces had been
held by descendants of
Johnston for almost 90
years and extremely con-
servative estimates were
placed on the three items
that are often notoriously hard
to price before they reach public
auction. The results were truly breathtaking
– lot 234 realised $7,800 (IBP) against a low
estimate of $800, lot 235 sold for $10,200
against a low estimate of $1,000 and lot 236
(illustrated) sold for $23,400 against a low
estimate of $2,000. In total, the three pieces
realised $42,400 (IBP) or approximately 10
times low estimate. The final highlight of the
auction was a rare work depicting a gorge in
central Australia by Albert Namitjira. Sub-
ject matter, sometimes more than artist,
is key with many of these Hermannsburg
works and the deep gully and dramatic com-
position of this very considered work by the
artist ensured strong interest. The work sold
for $31,200 (IBP) which was more than tri-
ple its low estimate. Of the almost 300 lots
offered on Sunday the sale total came to just
over $820,000 (IBP) with a sale rate of 69%
by lot. Briar Williams and Nicole Salvo are
now accepting entries for the June Sunday
Fine Art Auction and Sophie Ullin, Aborigi-
nal and Tribal art specialist, is now seek-
ing single items and important collections
of tribal and aboriginal art. If would like a
confidential valuation for auction please
contact Anna Hombsch, Art Administrator
03 8825 5613 anna.hombsch@leonardjoel.
com.au
THE RARE AND iTHE UNUSUAL
12 leonardAPRIL
art
now consigning For the JUne sUnday Fine art aUction
JUNEfiNE ART
Consigned for June Sunday Fine Art Sale
HAUGHTON FORREST (1826-1925)Rothesay Bay RegattaOil on canvas73 x 116cm
ILLUSTRATEDForrest, Haughton & Deas Brown, George,Haughton Forrest 1826 – 1925, Melbourne:Malakoff Fine Art Press, 1982, p.129
PROVENANCEPrivate Collection, VictoriaEstimate $60,000 - $80,000
13 APRILleonard
Jewellery
now consigning Jewellery, watches and Pre owned lUxUry For JUne 2012
At the Leonard Joel Fine Jewellery Auction
on Sunday 18th March 2012 it was clear
that collectors and jewellery lovers were
focusing on statement jewellery pieces –
by “statement” we refer to jewellery that is
high impact, visually. No longer are clients
content with the staple jewellery items and
designs of the 80s and 90s – they are now
looking for much more adventurous and
bold colour combinations and designs. This
was exemplified by the sale of lot 110, a most
impressive Aquamarine and Diamond ring/
brooch – yes, that’s “ring/brooch”. This very
large display of precious stones was centrally
set with an Aquamarine weighing no less than
23 carats and finally sold for $14,640 (IBP)
against an estimate of $12,000 - $15,000.
Equally impressive and unusual was lot 162, a
rather large diamond pendant set with a rare
Tanzanite that also realised $14,640 (IBP).
The highest price for the auction was paid for
a more understated, but no less rare, cushion
cut solitaire diamond ring lot 140A, that sold
for $53,689 (IBP). This result also confirmed
the growing demand for more unusual
diamond cuts, such as the cushion and
oval shapes, as opposed to the more widely
worn brilliant and emerald cuts. Of the
wristwatches, the highest price realised was
for lot 238 a diamond encrusted Vacheron
Constantin which sold for $10,980. The
auction realised $615,000 IBP against a low
estimate of lots sold of $481,000, or 105% by
value of lots sold. The jewellery department
is now seeking entries for valuable single
jewellery items or collections for its mid-
June 2012 auction. For enquiries please
contact John D'Agata (03) 8825 5605 or email
john.dagata@leonardjoel.com.au
FINE JEWELLERY
140A
238
162
110
“stAtement JeWeLLeRY ALL the RAge”
14 leonardAPRIL
pre-owneD luxury
At the Leonard Joel Pre-Owned Luxury
Auction on Sunday 18th March 2012 an
interesting survey of Hermes items came
up for auction. In this post-auction wrap
we highlight the strongest results from
this fashion icon and results from other
houses of luxury. Again it was evident that
Hermes fanatics were keen to avoid long
waiting lists when lot 330, a Kelly handbag
realised $7930 (IBP) against a low estimate
of $6500. Continuing the “Kelly” theme,
lot 309, a padlock wristwatch by Hermes
sold for $1220 (IBP). One of the more
rare Hermes pieces on offer was lot 305,
a vintage silver cuff beautifully pierced
with stars and crescents. Complete with its
original box and packaging it realised $840;
almost doubling its low estimate. Hermes
was not the only show-stopper on Sunday
with lot 449, a superb, as-new condition
L’Extravagant overnight bag in Suhali
leather by Louis Vuitton realising $4,800
(IBP) – the price was a fraction of its retail
cost and represented astute buying. The
highest price for the auction again went to
Hermes with the sale of lot 330 (see earlier
in this piece) and confirmed the appetite for
high-quality “as new” (but not new!) leather
goods by luxury brands and that Australian
buyers are now feeling more comfortable
with the idea that they are collecting
beautiful pieces of design rather than simply
buying second hand items. The auction
realised $62,000 against a low estimate of
lots sold of $55,000, or 113% by value of lots
sold. The Pre-owned Luxury department is
now seeking entries for high-quality leather
goods or indeed entire fashion collections
for its mid-June 2012 auction. For enquiries
please contact John D'Agata on 8825 5605 or
email john.dagata@leonardjoel.com.au
PRe-oWned LuxuRY At LeonARd JoeL
FOCUS ON HERMES
330
340
309
traVel FroM a bygone eraDespite missing its original locks, this nearly complete Ortner & Houle Crocodile Travelling Case Makers Mark Frederick Purnell, London, Circa 1884, realised 2880 (IBP). Typically these travelling cases are missing pieces that have been sold off separately so it was a rare pleasure to offer this very complete example of period travel luggage.
305
15 APRILleonard
wHat Is a prInt?
The current confusion about what is, and
what isn’t, an original print suggests, if noth-
ing else, that the Australian print market is
still in it’s infancy. The rest of the world, it
seems, has no problem with this issue, for
example : the William Weston Gallery, one of
the oldest print dealers in London, publishes
the European standard definition on the
inside front cover of each of it’s catalogues :
“An original print is an image produced from
a block, plate, stone or such like on which
the artist who conceived that image has him-
self worked. Every impression of an original
print is an original work of art in it’s own
right. The artist’s ideas are only expressed
in the printed image which results from this
work on the block. The choice made by the
artist to produce this image in ‘print’ does
not differ from the choice to work in oil, or
any other medium; the only difference in
‘print’ lies in the possibility of producing
a number of identical images, each one an
original work by the artist.”
This definition is consistent with that used
by the International Fine Print Dealers Asso-
ciation, New York, (IFPDA) of which the
William Weston Gallery is a member. IFPDA
lists over 180 members mostly in Europe and
the U.S.A.
The London Original Print Fair in it’s 20th
year published a more concise definition :
“An original print is an image produced from
a surface on which the artist has worked,
such as a stone or wood block or a copper
plate. This surface is intended by the artist
to be a stage in the creation of the artwork.
Thus the original work of art in this case is
the print itself rather than the block or plate
from which it is printed”.
The practice of the United States Customs
identifies an original artist’s print as a hand-
made image, available in multiples, where
the initial printing surface and successive
colour separations are made by hand and
not by a mechanical process - conversely,
with a reproduction the colour separations
are made mechanically, as in the case of
photogravure.
Such reasoning has it’s foundation in author-
itative texts such as Prints and Printmaking
by Anthony Griffiths, Keeper of the Depart-
ment of Prints and Drawings at the British
Museum, who in discussing the term ‘origi-
nal print’ refers to the revolution caused by
the invention of photography in the 1820s,
and the difference between reproductive
and non-reproductive processes. Griffiths
cites the invention of photography and the
spread of photomechanical images as origi-
nally causing confusion in the public’s mind
regarding the status of artist’s prints. Perhaps
it is history repeating itself with the recent
introduction of new technologies in print-
making again blurring of the boundaries
between original prints and reproductions.
Giclee prints for example, are digital ink jet
prints of a digital image file on a computer
or CD. Technically, if one just takes a snap
of an existing art work, downloads it onto
the computer and clicks ‘print’ without any
manipulation, they are reproductions. If the
artist signs it, as thousands of artists have
done, then it is a signed reproduction, and not
an original artist’s print. Where the problem
arises is when they are sold to an unsuspect-
ing public as an ‘original print hand signed
by the artist’ at an original price.
Such things as signed reproductions, in the
fine art, High-Art / Low-Art stakes belong
on a similar plane to facsimile prints, or
memorabilia. And this should (and usually is)
reflected in the price – just above a reproduc-
tion (you pay for the signature) but consider-
ably less than an original print.
But where the computer is used as an exten-
sion of the artist’s hand and, even better,
combined with hand made images by an
artist such as Milan Milojevic the original
intention and meaning of the appropriated
images is metamorphosed or montaged to
create something totally different. Artisti-
cally this process is not unlike the use of
photo-stencils in silk screen printing in the
1960s during the POP ART period in London,
where found text, photographs from maga-
zines and newspapers were appropriated
from a mass media context and reassembled
into a new meaning in a different medium.
Milojevic’s recent work is a good example of
just how rich a graphic dialogue can be when
combining traditional woodcut with appro-
priated digitally manipulated images. Such
experimentation with a new technology by
a contemporary artist is not dissimilar to the
way 19th Century artists very quickly sub-
sumed photography into their studio prac-
tice – the computer, like the camera before
it, is merely a tool, it’s what is visualised
through it that determines whether it is a
reproduction, non-reproduction, original or
copy, art or artifice.
With etchings where an artist like John
Olsen draws directly through a hard or soft
acid resist bituminous ground to expose the
copper plate, then bites it in the acid, inks it
up and prints it, there can be no confusion.
These prints, like those of Fred Williams, are
‘pure etchings’.
At a practical level, the key to whether a print
is original or not therefore lies in the degree
BY JEFF MAKIn
DEfiNiNg AN ORIGINAL PRiNT
16 leonardAPRIL
wHat Is a prInt?
of hand manipulation by the artist. There
are levels of originality. The accepted prac-
tice in major print workshops around the
world, and certainly at Port Jackson Press in
Melbourne, is that the creation of the plate,
stone, block or stencil must be 100% the art-
ist’s effort. During the proofing stages there
may be discussion between artist and printer
but it is the artist’s responsibility to get the
image up to a bon a tier (French for good
to pull) stage. The BAT is the full expression
of the artist’s idea, and the end of the crea-
tive process. The editioning by comparison
is repetitive work where each impression is
printed as close as possible to the BAT and
is carried out by the artist, or master printer
working with or under the artist’s instruc-
tion. If the artist is satisfied with each indi-
vidual impression, he signs and numbers it,
following which the plate, stone or stencil is
usually destroyed thus guaranteeing the ‘lim-
ited’ number and thus the rarity of the print.
This latter practice was introduced by 19th
Century printmakers (Whistler was thought
to have been the first to do so) to further dis-
tinguish artist’s prints from photomechani-
cal reproductions. Prior to this, artist’s print
were usually signed in the plate, and were
unnumbered. Hence the print market began
to be driven by rarity : all other criteria being
satisfied (that it is a good impression and the
best image from the best period of an artist’s
oeuvre) the number in the edition became a
factor determining price; the fewer the bet-
ter, with the unique one-of, in-state (prior
to reaching a BAT stage and outside the edi-
tion) proof becoming the most sought after,
and the most expensive, second only to the
BAT, which of course is the exemplar print,
and rarely if ever comes on the market.
There are many fallacies regarding the qual-
ity of an impression, such as buying low
numbers in an edition of etchings because
they are the best. This is only true where dry-
point has been used: this process produces a
burr along one side of an incision made into
copper with an engraving tool, and as it runs
through the press it sometimes breaks, or
wears off. Such a criteria is meaningless with
most other etching techniques particularly
when the plates are chrome faced (as is the
practice at PJP) to prevent wear from suc-
cessive runs through the press, and of course
with lithographs, relief prints, and silk screen
prints.
Many painters who are also printmakers
often work an idea from a painting to an
etching, and from an etching back to a paint-
ing as a way of reaching a better synthesis
of an idea: Olsen’s Seaport of Desire suite of
etchings (printed and published by PJP in
2003) refers back to earlier paintings of the
same name ; Jason Benjamin’s landscapes;
Robert Jacks James Joyce : House of the Dead
; Christine Johnson’s burnished aquatint
roses; Luke Sciberras, Mark Schaller and
David Larwill’s etchings, or Williams’s for-
est ponds, You Yangs and Lysterfield etch-
ings - all were worked at the conceptual
stage from ideas that may have been seen at
a different stage of development in a paint-
ing or earlier print. Hence the idea that a
print is a reproduction because it resembles
an image in another medium is also a fallacy
- it is a variation on a theme. And it doesn’t
even have to be your own theme: look what
Picasso did with Manet’s Luncheon on the
Grass, and Leon Kossoff with Poussin’s Rape
of the Sabines. Such interpretations are in
essence no different from Pavarotti singing
Puccini – it can work brilliantly if the artist
is in good voice.
The very best way to learn about prints is to
look at them. Printmaking by it’s very nature
is a visual language, not a verbal one. There
are many qualities, originality being one of
them, that only become apparent from con-
tinual looking, and by looking, comparing
and learning, the outcome of which is appre-
ciation, and ultimately, connoisseurship.
And if that doesn’t work for you ask a print-
maker, because they are truly the experts in
the field.
Jeff Makin, Artist & Art Critic
May 2006
This essay is an extract from Critical
Moments – Essays and Reviews on Art in Aus-
tralia, authored by Jeff Makin and published
by Macmillan Art Publishing 2011
Copyright ©2011, Jeff Makin
For too long the Understanding oF the diFFerences Between Prints has PerPlexed many art collectors.
in this article JeFF makin shines a
light on this Facet oF art Practice.
17 APRILleonard
ColleCtables
1. A trade box of six pre-war Dinky 280/1
Delivery Vans – Sold for $14,400 IBP, 2 May ,
2010. These vans were made circa late 1930s
and were supplied to toy shops in a yellow
trade box which contained six models. The
vans were then sold by the shop individually
and unboxed. Complete boxes are extremely
rare and are amongst the most sought after
Dinkys.
2. Mr Atomic Robot made by Yonezawa,
circa 1962 – Sold for $4,800 IBP, 31 Octo-
ber, 2010. This battery operated tinplate
Japanese robot features a distinctive plastic
domed ‘head’ with sixteen miniature flash-
ing lights. Its rarity and charm make it highly
sought after by space toy collectors. This
particular example was purchased at Myer
department store by the vendor’s grand-
mother and given to him when he was a
young boy. It was one of his most treasured
toys, hence its remarkable condition.
3. AWA Fisk Radiolette ‘Empire State’ Radio
- sold for $16,800 IBP, 21 March, 2010. An
iconic Australian bakelite radio, made in the
mid-1930s. As with most radios of this period
they were most commonly made in utilitar-
ian colours such as black, brown or white.
This green version is very rare; less than
twenty examples are known to exist.
4. Highly Important group of medals
awarded to WW1 flying ace and QANTAS
co-founder Lt. Paul Joseph McGinness –
Sold for $252,000, 20 November, 2011. These
medals are unique – McGinness is the only
Australian serviceman ever to receive both
the Distinguished Flying Cross and the
Distinguished Conduct Medal. The medals
were sold with an archive of photographs
and ephemera documenting the formation
of Qantas in 1920 by McGinness and Sir Wil-
mot Hudson Fysh.
5. 1895 VFA Premiership Football Presented
To Fitzroy Captain Tom Banks - sold for
$12,000, 22 May, 2011. This ball dates back
to the final round of the 1895 VFA season
when Fitzroy drew with South Melbourne
to secure their first Premiership. Tom Banks
was of West Indian descent an was an excep-
tional talent and was considered to be one of
Victoria's finest players during this period.
An important piece of Australian Rules Foot-
ball history.
WHAT MAKES A ToP FIVE CoLLECTABLE?
1
3
5
2
4
BY GILES Moon
18 leonardAPRIL
ColleCtables
HOLY HIGHLY COLLECTABLE RADiO BATMAN!Batman was created by Bob Kane and Bill Finger and was first introduced to the general public in Detective Comics #27, May, 1939. He was an instant success and was given his own comic book ‘Batman ‘ in 1940. ‘The Caped Crusader’ is one of a rare breed of Superheroes who do not possess any supernatural powers. Instead he battles evil with his faithful sidekick Robin, using physical strength, cunning and an array of ingenious gadgets. Batman’s secret identity is millionaire industrialist and playboy Bruce Wayne. One of the most popular depictions of Batman was in the ABC TV series which aired from 1966-1968. The show was more camp comedy than serious detective/action and featured memorable baddies played by established actors such as Cesar Romero ( Joker), Burgess Meredith (Penguin) and Vincent Price (Egghead). The Topp Super-Micro Bat Radio (pictured) was made during this period and would not look out of place on Batman’s famous yellow utility belt, alongside other gadgets such as the Batarang and Shark Repellent Bat Spray. For the time, this miniature radio would have been considered hi-tech and ultra cool with its edgy chrome detail and Bat logo fob. It’s accompanying fitted case is equally eye-catching. It features a colourful comic-strip graphic of Batman holding the radio in one hand. This radio is one of the rarest and most sought after vintage Batman collectables and is expected to realise $600-800.
now consigning collectaBles, toys & sPorting memoraBilia For JUly 2012
19 APRILleonard
serVICes
To celebrate the re-launch of the Leonard Joel Fine Art department and
its seasonal full colour catalogues, we are delighted to offer art sellers a
special selling arrangement for more valuable works of art.
For works consigned between April 1st 2012 until the end of December
2012 all clients of our Sunday Fine Art Auctions selling single works for
a hammer price of $40,000 and above will enjoy a 105% return on the
final sale price.
What this means is not only no transaction costs but also a 5% return
over and above the final hammer price. As an example, assume you
have a work of art that sells for $80,000. Instead of the normal transac-
tion costs that would be deducted from this sale price, Leonard Joel
will return to the seller net proceeds of $84,000. Simple – an enhanced
return and no transaction costs.
This offer only applies to single works consigned between April 1st 2012 and
December 31st 2012 for our Sunday Fine Art Auctions.
In November last year I started my new
role as Digital Media Manager at Leonard
Joel. I had a blank canvas, my starter tools
consisted of an eight year old website with
many quirks, an equally old email marketing
system with a large and very elite database of
client emails and no social media presence
at all. Yet my most valuable asset that I could
see was a fantastic business immersed in
history and bursting at the seams with activ-
ity, character, a passionate owner and staff
with expertise across every department.
In order to deliver the very essence of
Leonard Joel to the world via digital com-
munications I had a large and challenging
project but one that made me rub my hands
together in anticipation!
You may be following our Facebook, Twit-
ter and blog pages which aim to keep our
clients up to date with all the activity,
amazing items, auctioneers, viewings and
even a ghost sighting? Or perhaps you have
watched our video of the Japanese Robot in
action on YouTube? However
the biggest improvement
is still “in the post” - our
new website which will
not only revolutionise
your experience with us
but also change the way we
do things in house. It will be simple, fresh,
visual and elegant and allow our custom-
ers to quickly find out about how to
buy and sell, do advanced searches,
change their account details and
track their consign-
ments online.
Our launch date for
the new website is
to be confirmed but we will keep
you posted via our social pages and
email alerts so sign up and
stay informed.
Clare Greig
Digital Manager
THE LEonARD JoEL DIGITAL JoURnEY
MANY HAPPY [ART] RETURNS
BID LIVE AT oUR AUCTIonS on
FoLLoW US on
Facebook.com/Leonardjoel1919
FInD US on
Facebook.com/Leonardjoel
WATCH US on
youtube.com/Leonardjoel1919
enHanCIng your returns oTHER AUCTIon THE SUnDAY FInE ART
HoUSES AUCTIon
HAMMER PRICE $80,000 $80,000
CoMMISSIon CHARGE $9,600 No charge
InSURAnCE CHARGE $1,200 No charge
SALE PRoCEEDS $69,200 $84,000
Charges quoted exclude GST, are indicative only and vary auction house to auction house. Hammer price excludes buyer's premium and other conditions apply.
20 leonardAPRIL
They say politics is the art of the possible. In
that respect it was an enormous achievement
for Australia to introduce the resale royalty
scheme in late 2009.
But with the second anniversary of its com-
mencement due in June it is also now possi-
ble to conclude that the scheme:
• Willnotbeself-funding;
• Is most likely unenforceable for eligible
resales made offshore; and
• Creates too much bureaucracy for little
return.
In short the resale royalty right has become
the carbon tax for the arts. And like the car-
bon tax, should there be a change of govern-
ment at the next federal election, there has to
be serious doubt as to whether resale royal-
ties will continue in its current format.
That’s not to say the idea of a resale royalty
is a bad idea – there is merit in having a sin-
gle authority compile a database of valuable
art market resales – however the scheme has
to move from being a collecting society to a
repository of art market knowledge with the
skills to identify the schemers who occasion-
ally blight the market.
The resale royalty right is administered
by Copyright Agency Limited (CAL). It
was appointed by the Federal Government
shortly before the scheme commenced in
June 2010 for an initial period of five years.
According to its latest financial statements,
for the year ended 30 June 2011, CAL spent
about $3 million in developing internal com-
puter software and systems. It seems most of
this outlay was spent on resale royalties sys-
tems as the software will be written off over
five years – the same time span as CAL’s ini-
tial period to administer the scheme.
How will CAL recover this $3 million invest-
ment? The Federal Government has ear-
marked $1.5 million in government outlays to
establish the scheme, most of which will go
to CAL (conditional on its performance). The
other $1.5 million will have to come from rev-
enue derived from resale royalties collected
from the Australian art market.
In other words CAL will not earn a return
on its software investment, let alone paying
its staffing and other costs, unless it collects
resale royalties on eligible resales of $300
million in the first five years of the scheme.
CAL therefore requires the heroic assump-
tion of an average of $60 million per year in
reported resales of artworks to recover their
systems outlay and make this a user pays sys-
tem. If this can’t be achieved the scheme may
as well be funded from general revenue and
made workable for the efficiency of the art
market.
In the first 18 months of the scheme $10 mil-
lion in eligible resales were reported (about
$6 million of which came from the Aborigi-
nal art market). The total turnover of the
Australian secondary art market (in reported
public sales) for 2010 and 2011 was about
$100 million each year. It would be reason-
able to conclude a figure of $60 million per
year in eligible resales to make the scheme
work would be highly unlikely.
Could their shortfall be made up by collect-
ing resale royalties on sales of Australian art
offshore? This would not be likely judging
by the example of sales of Sidney Nolan art-
works, which I have discussed separately.
In fact, not all artists are in favour of the
scheme. A particular grievance is the fact
that they cannot opt out of the scheme
entirely but can only exempt eligible resales
one at a time. This is an example of the need-
less bureaucracy of the resale royalty right.
A recent change that is welcome, however, is
the removal of the reporting of eligible sales
worth less than $1,000.
Not two years yet into the scheme it is obvi-
ous that it should be modified for the one
true purpose it could serve - to preserve
the integrity of the art market by providing
a database of valuable artworks. There is
little financial gain in art market schemers
producing copies or fakes of artworks to the
value of say $5,000 or less and that is the sort
of low end threshold that would make resale
royalties more effective in its aims.
This would also eliminate the tokenistic
aspect of the scheme. The odd royalty pay-
ments of $250 or less are quite immaterial in
the greater scheme of sustaining an artist’s
practice. Unfortunately for many contem-
porary artists the trade-off with receiving
these royalties is a decline in their gallery
wall prices. This is becoming evident in the
Aboriginal art market, particularly as many
gallery sales now carry a 5% resale roy-
alty charge due to the Indigenous Code of
Practice.
It is clear this is not a user pays system but
CAL has now made the financial investment
into creating the systems needed to adminis-
ter the scheme. What is needed is the exper-
tise to run the scheme for the wider public
good. The idea of a collecting society is wor-
thy but should go further by incorporating an
art market investigations unit. More on this
idea in my next column.
ART BUSiNESS
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.
“the ARt oF tAxIng ConsIsts In so PLuCkIng the goose As to obtAIn the LARgest Amount oF FeAtheRs WIth the LeAst Amount oF hIssIng”.JEAn-BAPTISTE COLBERT, TREASuRER TO KInG LOuIS XIV
By michael Fox
It may not be well-known but currently no
resale royalties will be payable on the sale
of Nolan artworks. Nolan, one of the “top
5 artists” identified in the government’s
2004 discussion paper on the viability of
the then-proposed scheme, left his estate
to his widow, a British citizen living per-
manently outside of Australia.
The resale royalty scheme requires estates
of deceased artists to be managed by indi-
viduals or entities who satisfy what is
known as the residency test. Passing the
residency test requires one of three ele-
ments to exist: Australian citizenship, per-
manent residency of Australia or being “a
national or citizen of a country prescribed
as a reciprocating country”.
The last element would be satisfied if
Australia and the United Kingdom had
a reciprocal agreement in relation to
their respective resale royalty schemes,
however this has yet to occur. In fact no
reciprocal agreements have yet been put
in place with other countries with similar
resale royalty schemes.
In 2011 Sidney Nolan was the fourth most
valuable traded artist on the Australian
market with over 170 resales worth close
to $3.6 million. Should all future sales of
Nolan artworks be permanently exempt
from resale royalties, it could be argued
this will create a competitive advantage
over comparable artists who cannot avoid
the levy.
SIDnEY noLAn SALES EXEMPT FRoM RESALE RoYALTIES
21 APRILleonard
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