ISSUE 78 FEB - MAR 2019
Auction Calendar The Fine Art of Dining Wednesday 27 February 2019 – 6.30pm
MELBOURNE
The Magical Studio of Mirka Mora Sunday 3 March 2019 – 11am
MELBOURNE
Jewels Monday 18 March 2019 – 6.30pm
MELBOURNE
Fine Art Tuesday 19 March 2019 – 6.30pm
MELBOURNE
The Collector’s Auction Tuesday 26 March 2019 – 6.30pm
SYDNEY
Collectables Thursday 28 March 2019 – 2pm
MELBOURNE
Modern Design Monday 8 April 2019 – 6.30pm
MELBOURNE
Luxury Tuesday 9 April 2019 – 6.30pm
MELBOURNE
Prints & Multiples Wednesday 10 April 2019 – 6.30pm
MELBOURNE
Decorative Arts Monday 20 May 2019 – 6.30pm
MELBOURNE
The Thursday Auction Furniture & Interiors – 10am Jewellery – 10.30am Art Salon – 11.30am Books & Objects – 12pm MELBOURNE Front Cover Detail: MIRKA MORA (1928-2018) Untitled Mural mixed media, 120 x 244cm Estimate on Request The Magical Studio of Mirka Mora, Sunday 3 March 2019
Back Cover: MIRKA MORA (1928-2018) Pleasure hand made doll $3,000-5,000 The Magical Studio of Mirka Mora, Sunday 3 March 2019
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MIRKA’S EASEL $200-400 The Magical Studio of Mirka Mora, Sunday 3 March 2019
100 Years of
Auction History...
Our Expertise MANAGING DIRECTOR & PROPRIETOR John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au
Auction Specialists PRIVATE COLLECTIONS John Albrecht, National Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au FINE ART Sophie Ullin, National Head of Department
Reaching 100 years is a rarity in any industry, and we are proud and excited to be celebrating our centenary this year with all of the people who help make Leonard Joel such a fascinating marketplace!
03 8825 5609 | sophie.ullin@leonardjoel.com.au JEWELS Julie Foster, National Head of Department 03 8825 5618 | julie.foster@leonardjoel.com.au DECORATIVE ARTS Chiara Curcio, Head of Department, Melbourne 03 8825 5635 | chiara.curcio@leonardjoel.com.au
As we progress through the year, we’ll be sharing some of our interesting moments of our 100 Years of Auction History with you as well as a special centenary series of auctions, events and celebrations, a video series, a new website and so much more...!
Hamish Clark, Head of Sydney Office 02 9362 9045 | hamish.clark@leonardjoel.com.au MODERN DESIGN Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au COLLECTABLES Nora Merralls, Manager 03 8825 5625 | nora.merralls@leonardjoel.com.au LUXURY Bethany McGougan, Manager
We could not be more delighted to mark the start of our centenary with The Magical Studio of Mirka Mora. Mirka is one of Australia most beloved artists, who was instrumental in creating the vibrant cultural scene of Melbourne. We are privileged to present her studio for auction and share her legacy with you all.
03 8825 5645 | bethany.mcgougan@leonardjoel.com.au
The Thursday Auction Specialists ART SALON Lucy Foster, Art Specialist 03 8825 5630 | lucy.foster@leonardjoel.com.au
FURNITURE Toby Lennox-Hilton, Manager 03 8825 5640 | furniture@leonardjoel.com.au JEWELLERY Bethany McGougan, Manager 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au
Subscribe to our newsletter and follow us Instagram to ensure you don’t miss out on upcoming events and news!
OBJECTS, BOOKS & COLLECTABLES Moira Rogers, Manager 03 8825 5604 | moira.rogers@leonardjoel.com.au
Valuations Caroline Tickner, Head of Department 03 8825 5638 | caroline.tickner@leonardjoel.com.au
Marketing & Communications Nicole Kenning, Head of Department 03 8825 5620 | nicole.kenning@leonardjoel.com.au Claire Mazzone, Manager 03 8825 5620 | claire.mazzone@leonardjoel.com.au Maria Rossi, Graphic Artist Adam Obradovic, Videographer & Photographer Joseph Hammond, Videographer & Photographer
Sale Rooms MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333 SYDNEY The Bond, 36-40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: 02 9362 9045
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100
Years of Conversations In this year our 100th (and I won’t deny our collective
global conservation group and I look forward to
provides a serious studio/haven for artists with an
pride in writing this!) Leonard Joel is well prepared
sharing further details in the months to come.
intellectual disability to both showcase their work
to celebrate with our clients, our industry and our
and advocate for their inclusion in contemporary
friends and we look forward to a year of events
Leonard Joel, in so many ways represents really a
art practice and dialogue is yet another community
and conversations with you to mark this important
century long four-way conversation between sellers,
partner that we will be in conversation with this year
milestone.
the auctioneer, the collector and our community
as we present their contemporary art practice to
and typically those conversations centre around a
you, our clients and friends.
And in this centenary issue it would be remiss of
beautiful or interesting or historical “thing” and, as
me to not first mark the passing of my first industry
we are ultimately a market-maker, “price”. And to
And this will not just be a Melbourne affair! We
mentor and second employer and heart of Leonard
mark those conversations we are delighted to have
already look forward to a conversation with our South
Joel for more than half a century, Graham Joel, who
engaged the respected Melbourne arts journalist
Australian clients at The David Roche Foundation
passed away on the 19th of January. And as Ron
and author-writer Ray Gill to, in his own distinctive
Museum. Director Martyn Cook and his Team have
Barassi might note, who I learnt in conversation with
way, write a non-linear history of Leonard Joel as
graciously opened the museum for a valuation
him is fascinated by numbers, the number “19” also
it relates to collecting, design and the Australian
and tour day in February where a select tour and
reflects our establishment year 1919 and my own
condition. Ray has been deep in conversation
roadshow will take place. Equally, our Sydney rooms
birthdate in September. For me there is something
about Leonard Joel and we anticipate launching the
in Woollahra are busily arranging events and guest
in that number.
publication later this year in both Melbourne and
speakers relevant to our NSW audience and more
Sydney and look forward to Ray’s unveiling of it.
will be revealed in coming weeks!
24 months, of our elephant ivory and rhinoceros
As Melbourne’s oldest arts auctioneer and valuer, but
As I write I note that we have 341 days or 8198
horn policy - in simple terms we now no longer trade
one that also strives to innovate, we feel well versed
hours to celebrate with you our centenary. That’s a
in any whole ivory, not even a netsuke. We are an
in what both the established and new collector wants
long time and so it is my goal that our events and
industry world leader in this conservation effort and
to see, touch and collect and to this end we will be
conversations we plan throughout the year will
it is our hope that other auctioneers join us in our
presenting throughout the year guest speakers and
provide you subject matter and settings engaging
100th year of operation. Our conversation with IFAW
related events that will cover the great traditions
enough that you too will want to be part of our 100
(International Fund for Animal Welfare) that began
of collecting through to the more avant-garde
years of conversations.
over two years ago and inspired our policy will
categories of Design, Luxury and Contemporary Art.
culminate in a centenary event with this important
Arts Project Australia, that world-class entity that
This year also marks the complete activation, after
JOHN ALBRECHT, MANAGING DIRECTOR AND NATIONAL HEAD OF COLLECTIONS
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THE MAGICAL STUDIO OF
MIRKA MORA
MIRKA MORA (1928-2018) Good Morning Angel 1979 soft sculpture doll, acrylic 55.1cm high $2,500-3,500
Melbourne Auction Sunday 3 March, 11am 333 Malvern Road, South Yarra VIC 3141
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Melbourne Viewing 27 February, 9am-8pm, 28 February - 2 March, 11am-4pm
Enquiries Anna Grassham Head of Modern Design 03 8825 5637 anna.grassham@leonardjoel.com.au
Sophie Ullin National Head of Art 03 8825 5609 sophie.ullin@leonardjoel.com.au
This auction presents an extraordinary opportunity to delve into the life of one our nation’s best-loved artists. We recently spoke to Mirka’s son, William, about what it was like to grow up with Mirka as a mother, and also, some of his favourite pieces in the auction.
1. MIRKA IS ONE OF MELBOURNE’S (IF NOT, AUSTRALIA’S!) BEST-LOVED
2. MIRKA SEEMED TO POSSESS A WONDERFUL JOIE DE VIVRE THAT
ARTISTS. WHAT WAS IT LIKE GROWING UP WITH HER AS A MOTHER?
WAS INFECTIOUS. DO YOU THINK THAT’S WHY SHE WAS SO LOVED
Mirka was certainly unconventional as a mother! When I was a child, we lived
BY SO MANY PEOPLE?
in Grosvenor Chambers at 9 Collins Street, the top end of Collins Street. In
Yes, her vivacity and her uniqueness drew people to her – but also, she always
those days, the building was made up of artist studios - Tom Roberts and Arthur
had time, for anyone and everyone - time to talk to people. She felt everyone
Streeton once had studios there - and during the time we lived there, Albert
had the potential to be an artist and she would encourage people and inspire
Tucker and Wolfgang Sievers had studios there.
them. She worked in adult education for a time and I often have people tell me
We moved into Grosvenor Chambers in the 1950s and it was an open plan living / studio space – we slept upstairs and my mother’s studio was downstairs. There
‘your mother inspired us to believe in ourselves’ and ‘your mother changed our life 40 years ago’.
were always lots of visitors and parties and often, my brother and I would come
She had almost 70 years of making art, touching and inspiring people. I think
down in the morning after a big party and we’d slide our hands down the back
that, after her shocking war experiences in France, she wanted to make the
of the sofas for spare change. Growing up, I don’t think we saw our lives as being
most of her life and concentrate on the positives. It was a great quality that
‘different’, but we always felt it was exciting!
she possessed.
In 1967, we moved to Tolarno’s where we each had our own rooms. We had a lot
She always said to me, ‘Oh, you’ll have fun when I’m not here,’ as she filed all of
of freedom and came and went as we pleased, but my father had one rule – we
her letters in books. That was very Mirka; she loved to make mischief, to amuse
all had to be round the dinner table at 7pm every night. That was the only rule!
and provoke people – but always in a kind way.
Again, there were lots of gatherings and dinner parties and I remember Mirka
She belonged to everyone and that’s something you grow used to when you
would often hand out keys at the end of the night – so their friends could stay at
have a famous parent, particularly one who was as loved as much as Mirka
the hotel.
was. But I gain inspiration from the fact that she belonged to everyone. Her art
Another memory from childhood is Mirka picking me and my brother up from
continues to give people immense pleasure. She will live on forever in her art.
school. She would wear her colourful, hand-embroidered clothes and to us, she looked like an exotic gypsy! So, my brother and I went to Myer to buy her a twin set and begged her to pick us up from school wearing that instead!
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MIRKA MORA (1928-2018) Untitled Mural mixed media 120 x 244cm Estimate on Request
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“I love the large mural. Large works like this are extremely rare in Mirka’s almost 70 years of making art. In fact, this is the larger of only two uncovered in her studio since her passing in August last year.” WILLIAM MORA
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3. MIRKA AND GEORGES WERE KEY FIGURES IN THE POST-WAR MELBOURNE ART SCENE. WHAT WAS IT LIKE GROWING UP AROUND ARTISTS SUCH AS CHARLES BLACKMAN, AND OTHERS FROM THE
MIRKA MORA (1928-2018) Figure Rding Bird soft sculpture doll, acrylic 19cm high $600-800
HEIDE CIRCLE? Our home was always a very busy place! And Mirka was always, always working on her art. Often, when you grow up amongst it, you don’t think it’s that different – but as we became older we understood how incredible it was to grow up surrounded by so much creativity, with artists like Charles Blackman, Albert Tucker and John Perceval, and others from Heide – their enthusiasm for art definitely rubbed off on us. 4. YOU FOLLOWED MIRKA INTO THE ART WORLD. DID YOU EVER CONSIDER ANOTHER CAREER, OR WAS THIS AN INEVITABLE PATH FOR YOU? It was, I think, inevitable. As I said, as I became older I realised what an incredible privilege it was to grow up surrounded by many of the artists who really shaped Australian at history – amazing artists – and it became a very natural path for me to take.
6. THIS AUCTION, THE MAGICAL STUDIO OF MIRKA MORA, OFFERS AN INSIGHT INTO THE HEART OF MIRKA’S LIFE; HER STUDIO. WAS IT IMPORTANT TO YOU TO PRESENT HER STUDIO IN ITS ENTIRETY? Yes, it was very important. I want people to have a glimpse of the amazing world she lived in – which was unconventional in nature – and I think that to be
MIRKA MORA (1928-2018) Girl with Serpents soft sculpture doll, acrylic 14cm high $400-600
able to present that vision to people is rare. Her living and artistic environment was combined - she’d often roll out of bed and go straight to her easel. Sometimes I would drop by her studio in the afternoon and she would be there, at her easel, painting in her pyjamas. She loved to be surrounded by all of the objects she loved, and her home was bursting at the seams – but she knew where every object, every piece of furniture, every book lived and could go to it in a moment. Everything she surrounded herself with was significant in some way and inspired her art - her antique doll collection, her books – she read Greek and French literature. She would always say, ‘I need this for my work!’ The auction includes objects from her everyday life – her teapot, her pepper grinder, her crockery – and she loved these objects as much as she loved her
5. WHAT WAS IT LIKE WORKING ALONGSIDE YOUR MOTHER, AS HER GALLERIST, FOR SO MANY YEARS? Mirka was once asked what her advice to young artists would be and she said, ‘that’s simple, give birth to your own art dealer!’ I think that sums it up really. It was wonderful.
art. She would never have a dishwasher - she used to say to me that she loved to wash dishes the next morning as it would remind her of the conversations from the night before.... If we can recreate that magic it will be a fabulous insight and will reveal what a remarkable person she was.
I built Mora galleries in Richmond in 1999 and Mirka lived next door. It was lovely to see mum every day and to go into her studio any time. She would often ask for my opinion of her latest painting so I would just walk over and we’d chat. Living next door to her dealer, all she had to worry about was her shopping - which inspired the volume of this auction! - and of course her art. I have memories of trucks arriving with her new purchases which there never seemed to be any space for as far as I could see - but somehow, she always found space! Interestingly, I have sold a lot of her work over the years, but I notice that her work very rarely appears on the open market...people tend to keep their ‘Mirka’ for life.
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MIRKA MORA (1928-2018) Fish on Legs 1977 soft sculpture doll, acrylic 33cm high $800-1,200
“Everything she surrounded herself with was significant in some way and inspired her art.” WILLIAM MORA
7. DO YOU HAVE A FAVOURITE PIECE IN THE AUCTION, OR A PIECE
8. THERE ARE SEVERAL OF MIRKA’S SOFT-SCULPTURE DOLLS
WHICH HOLDS PARTICULAR SIGNIFICANCE?
AND FIGURES IN THE AUCTION, WHICH I THINK HAVE ALWAYS
I love the large mural. Large works like this are extremely rare in Mirka’s almost 70 years of making art. In fact, this is the larger of only two uncovered in her studio since her passing in August last year.
CREATING HER DOLLS? She began making them in the late 70s and 80s - and only for a short time
It is a remarkable painting from the early 1970s combining both paint and charcoal. For me the key to this painting is the central figure, in charcoal, holding her child. Is she pulling it back or letting it go out into the world? To me, it represents Mirka’s world of magic and wonder; of being flooded in colour and full of hope, joy, love and all that is positive in humanity. It invites continued looking as one scans the surface for the new and beautiful vignettes that appear, constantly adding to the intrigue of Mirka’s unique vision of the world. As an aside, the child reminds me of early drawings Mirka did of a young Sweeney Reed, obviously this work was done at the time of Georges and Mirka’s intense friendship with John and Sunday Reed at Heide and their immersion in all things about the importance of love and art in the world.
BROUGHT MIRKA’S PAINTINGS TO LIFE. WHEN DID SHE BEGIN
because they were so hard to make – and yes, they were 3D versions of the characters and creatures in her paintings. As her eyesight deteriorated, she could not hand stitch them anymore, and she insisted on hand-stitching all of them. She would use any material she could find around our home – I would often come home and shout, ‘my sheet has gone!’ ‘my pillow case has gone!’ She would draw on the fabric and then cut it up and sew her drawings to make them in to dolls. They bring to life, in some strange way, those unique characters but I think that they exist very much on their own too. Somewhere, in her home studio – and in this auction – there are books on stitching and embroidery. She always researched everything she did in her art before she embarked on anything new. The research was part of the artistic journey for her - whether it was for her drawings, her paintings, her mosaics or her sculptures – she would always spend time on research before she began.
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A GERMAN 800 SILVER FIGURAL EWER AND COVER LATE 19TH CENTURY $600-800
DECORATIVE ARTS ENTRIES INVITED AUCTION MAY 2019
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A WILLIAM IV STERLING SILVER SALVER LONDON / CIRCA 1836 $1200-1800
Polish & Provenance Once upon a time, some years ago when I joined
The abundance of sterling silver in the market place
impressive and rare collections; The Estate of Neil
the Decorative Arts department at Leonard Joel,
can be overwhelming. Many enthusiasts looking
Robertson and The Frank and Jill Jones Collection.
I was given the arduous task of polishing silverware
to start collecting often struggle to focus on a
The silverware in both auctions was a standout
in preparation for cataloguing. Up until that point
period or category and will often ask us for advice
category and was coveted by many collectors. The
tarnished silverware and I had not crossed paths
on where to start and what to look for. Identifying
combination of two key factors elevated the results
and I will never forget how the muscles in my hands
categories of interest such as style, era, maker,
for both of these private collection auctions, those
and forearms ached within minutes of starting. I was
pattern and type is a good place to start. Deciding
being provenance and rarity. Together these factors
surprised to learn that my colleague Chiara Curcio
on a budget will also help you to narrow your
demonstrated their importance and impact within
(now head of Decorative Arts at Leonard Joel)
choices.
the market for sterling silver. It reminds us of the
relished the task of polishing silver; to paraphrase
importance behind the history attached to an object
her, “the more tarnished an item the more
Sterling silverware, the kind used in everyday
and the qualities that make it unique. Similar to the
gratifying the outcome�. Perhaps Chiara was just
life, designed for both use and display is a
way a thorough polish brings clarity and richness
humouring me.
popular category and one that is easier and more
to a piece of silver, so too can an enquiry into its
affordable, compared to other categories such as
provenance.
Over the years however, I have had plenty of time
Objet de Vertu. Items designed for everyday use
to discover a joy in the simple act of polishing finely
reflect the customs, rituals, and lifestyles of the
crafted sterling silver. Polishing silverware to remove
bygone eras they originated from. Sometimes they
Dominic Kavanagh
the tarnish often unveils breath-taking clarity of
bare an unknown monogram, a family coat of arms,
Decorative Arts Specialist
detail, not to mention the distinctive lustrous quality
or inscriptions shared between loved ones. The thrill
03 8825 5611
of the sterling silver. A majority of the silverware that
for many enthusiasts is in identifying an item and
dominic.kavanagh@leonardjoel.com.au
we encounter has been cherished and used over
unearthing an aspect of its history.
the centuries by its numerous owners, and I like to think that we are returning these items a little closer
2018 brought many eye opening results for sterling
to their former glory.
silverware at Leonard Joel, particularly from two
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JEWELS
49.72CTS MAUVE STAR SAPPHIRE $25,000-35,000
Melbourne Auction Monday 18 March, 6.30pm 333 Malvern Road, South Yarra VIC 3141
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Sydney Viewing 9 - 10 March, 10am-4pm
Melbourne Viewing 13 March, 9am-8pm 14 - 17 March, 10am-4pm
Enquiries Julie Foster National Head of Jewels 03 8825 5618 julie.foster@leonardjoel.com.au
79.57CTS BLUE STAR SAPPHIRE AND DIAMOND RING Sold for $28,500
A STAR SAPPHIRE AND DIAMOND RING Sold for $29,800
A Star is Reborn - Star Sapphires Star Sapphires are a rare variety of sapphire that
star sapphire and diamond ring; the sapphire being
ring at auction. This highlighted the ever-changing
exhibit a magical star phenomenon known as
of significant size (79.57cts).
nature of our business, and how the world becomes
asterism - the appearance of a pattern or group of
a smaller place every day! We are increasingly
stars - under specific lighting. The six-rayed star is
When the ring appeared online, we received an
welcoming buyers and sellers (although, admittedly
most visible when the stone is tilted and rotated,
enquiry from a client in U.S. requesting further
not always in person!) from all over the world.
and will appear to move across the rounded
details on the stone. After several discussions over
surface of a cabochon cut stone. Needle-like
Facetime, the client flew from the U.S. to Melbourne
With that aside, stay tuned - wherever you are!
inclusions of rutile (also known as silk) contained
to inspect the stone further and forty-eight hours
- as we are set to offer another, exquisite mauve
within the sapphire crystal intersect each other at
later, arrived at Leonard Joel, equipped with a torch
star sapphire as part of our Fine Jewels auction in
varying angles to produce this rare phenomenon
and magnification tools. He was keen to identify if
March.
known as asterism. Typically opaque, with some
he could cut the stone down into multiple stones,
finer specimens exhibiting more translucency, star
with improved star phenomenon. A specialist in the
Julie Foster
sapphires will present a silky lustre when cut and
field of stone-cutting, the was delighted to discover
National Head of Jewels
polished. A recent fine example, which was offered
that the stone did indeed have the potential to
in our November Fine Jewels auction was Lot 188, a
produce several superior stones, and he bought the
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FINE ART
BRETT WHITELEY (1939-1992) Vase blue and white glazed ceramic unmarked 20cm (height) $15,000-20,000
Melbourne Auction Tuesday 19 March, 6.30pm 333 Malvern Road, South Yarra VIC 3141
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Sydney Highlights Viewing The Bond, 36-40 Queen Street, Woollahra NSW 2025 27 February - 1 March, 10am-4pm
Melbourne Viewing 333 Malvern Road, South Yarra VIC 3141 13 March, 9am-8pm 14 - 18 March, 10am-4pm
Enquiries Sophie Ullin National Head of Art 03 8825 5609 | 0407 360 513 sophie.ullin@leonardjoel.com.au
BRETT WHITELEY (1939-1992) Lavender Bay Wharf 1978 etching edition 32/90 numbered and signed below image 60 x 50cm Sold for $8,700
Brett Whiteley & The Three Dimensional Realm Following their return to Australia in the 1970s,
and ceramics often feature in his painted studio
external sources. However, Australian visual culture
Brett and Wendy Whiteley purchased Lavender Bay
scenes, and so adhering to this “bounce between”
in general from the 1960’s had been infiltrated
house - the artist’s own paradise. Brett took new
his painted creations also appear on three-
by an Asian aesthetic, in particular the brushwork
inspiration from his living room window looking
dimensional ceramic forms. He collaborated with a
of Chinese and Japanese calligraphy, and so
out upon the visual ecstasy of Lavender Bay, which
number of Australian potters including Derek Smith,
Whiteley’s access to such sources of inspiration
not only culminated in his iconic 1974 exhibition at
Shigeo Shiga, and John Dellow, producing a variety
would have been abundant. Photographic records
Australian Galleries, but also marked the beginning
of vases, plates and other ceramic vessels drawn
and even paintings of the period that document the
of Whiteley’s ‘mature’ phase as a painter.
with calligraphic gestures in blue glaze over a white
artist’s home and studio allow us insight into these
For many of us, the name Brett Whiteley is
porcelain background.
sources with vases, books, tapestries, and painted
synonymous with the two-dimensional painted
There is evidently a clear inspiration drawn from
scrolls inhabiting his immediate surroundings.
medium, however, objects around him constantly
Asian ceramics, both in the choice of blue and
Brett’s extraordinary gift for form was not limited to
inspired the artist, and this is evident in his oeuvre.
white as well as the calligraphic brushwork. Similar
the pencil and brush, but extended into the three-
Brett once commented on his keen interest in
to the dichotomy between painting and sculpture,
dimensional realm. Whilst sculptures and ceramics
sculpture, noting that it is the “bounce between”
Brett’s affinity with calligraphy was formed around
are amongst some of Brett’s most thoughtful and
painting and sculpture that constantly intrigued
his observations that “calligraphy’s poetry simply
unique creations, they can sadly be overlooked
him. It is through this dialogue that the two
comes down to being the discrepancy between
when reviewing his artistic merits.
mediums correlate and harmonise, with discoveries
seeing and feeling”. His fluid brushwork across
in one form finding their expression in the other. He
all mediums reflects a lyrical response to the
did not limit his expression to one material, often
calligraphic style.
Olivia Fuller
experimenting with wood, bronze, plaster, ceramic,
Although he greatly admired the Zen philosophy
Art Specialist
fibreglass and even found objects.
of the East, he did not travel first-hand to many
In his Lavender Bay home, the artist took inspiration
of the countries who promote this aesthetic,
from this new stable domestic environment. Vases
therefore much of his inspiration was through
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SYDNEY
THE COLLECTOR’S AUCTION We’re excited to be kicking off our Sydney calendar this year with The Collector’s Auction in March, which combines decorative arts and fine art. Leading the offering is a group of animal sculptures by national and international artists that provide compelling buying opportunities. Drawing on the 19th century animalier tradition of Antoine-Louis Barye, Zimbabwaen born Llewellyn Davies imbues his bronze elephant with power, strength and authority. Davies’ talent for conveying motion and the dynamics of movement gives his work a depth, which affords lasting interest. Susie Dureau’s Gate of Ivory from Horn 2011 exemplifies her creative practice, capturing the light and atmosphere of nature. Living on the Northern Beaches of Sydney, Dureau draws inspiration from her rugged surrounds and atmospheric conditions, aiming to define that moment when, as humans, we feel at one with our surrounds. The auction also features an impressive regulator clock by Reid & Sons, Newcastle-upon-Tyne. Manufactured between 1840 and 1860, the restrained mahogany casing and silvered dial is an example of some of the finest horological techniques of the 19th century. No compromise has been made to the construction of the movement, with focus placed on the large outer track of the dial, which is solely devoted to minutes – with the hour hand unusually sitting within its own subsidiary dial. The precision of the movement, which is protected by three brass dust covers, is best exhibited by the use of a jar of mercury suspended in the pendulum, acting as a weight to counteract against changes in temperature that would reduce accuracy. The mechanical accuracy of these class of clocks was unrivalled and highly coveted, with only the invention of the quartz clock in 1927 rivalling their accuracy.
Hamish Clark Head of Sydney Office MAHOGANY REGULATOR LONGCASE CLOCK retailed by Reid and Sons, Newcastle upon Tyne. Circa 1850. $4,000-6,000
Sydney Auction Tuesday 26 March, 6.30pm The Bond, 36-40 Queen Street, Woollahra NSW 2025
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Sydney Viewing The Bond, 36-40 Queen Street, Woollahra NSW 2025 22 - 25 March, 10am-4pm
Enquiries Hamish Clark Head of Sydney Office 02 9362 9045 hamish.clark@leonardjoel.com.au
SUSIE DUREAU Gate of Ivory from Horn 2011 121 X 136.5cm. $1,000-2,000
EMMA MCDERMOTT (IRISH, BORN 1957- ) Bronze of a charging wild boar $1,500-2,500
LOUIS XVI BUREAU PLAT $2,000-4,000
Va l e G r a h a m J o e l | 1 9 2 8 - 2 0 1 9
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LUXURY
A LIPSTICK LIGNE ACCORDION TOTE BY CHANEL $1,800-2,200
A HOBO BAG BY GUCCI $400-600
AN EVENING POUCH BY EMILIO PUCCI $200-400
HANDBAGS: DAY VS NIGHT It’s rare to find a bag that fulfils your every need. That’s why we all have so many, right? We’ve selected our favourite Day and Night bags from our upcoming auction:
DAY
DAY TO NIGHT
EVENING
A reliable, yet good-looking, all-purpose
Could it be anything but Chanel? The
On the 2018/2019 runways, the trusted
shoulder bag - it must be large enough
perfect day to night bag; striking the
evening clutch bag was replaced by the very
to carry our everyday essentials (wallet,
perfect balance between form and function,
chic evening pouch. This low-key accessory
sunglasses, lipstick, phone, laptop etc.) - is
style and substance. With enough space for
also looks particularly sophisticated in
a must in every wardrobe. Interior pockets
the daytime essentials, but without the bulk
a range of textures. Naive in shape, the
are important too, as it makes finding those
of a traditional day bag, this timeless classic
evening pouch may only hold the absolute
smaller essentials (phone, keys) quick and
will transition from day to night with no
essentials for a night out, remaining light
easy. We also love a sturdy clasp or zip to
effort at all. The Chanel tote is versatile and
and elegant. This Emilio Pucci is perfect for
keep everything secure when you are on the
fun, with an adjustable chain strap, punchy
summer nights, with its luxurious satin print,
go. This classic Gucci hobo bag - with an
colour and a striking patent finish, it will add
edgy wrist strap and jewelled tassel.
embossed GG monogram, wide shoulder
a touch of style to your day or night!
strap and understated elegance - is perfect
Bethany McGougan
for the everyday.
Luxury Manager 03 8825 5645 bethany.mcgougan@leonardjoel.com.au
ENTRIES INVITED AUCTION APRIL 2019
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One of the most commonly asked questions
light will significantly speed up the ageing
This kind of paper was used by Andy Warhol,
from our buyers is ‘what is the best way to
process, causing the paper to fade and
Keith Haring and Martin Sharp, and is known
take care of my print?’ For the new collector,
loose colour. Air pollution and humidity can
to be thin and brittle, so it is important to
who wants to protect and preserve their new
also alter the condition of works on paper.
handle with extra care, particularly if the
purchase, its an important question.
If the paper is exposed to extreme heat or
work has been stored in a tube. Once rolled
cold, it will expand and contract, causing
up tightly it is at risk of breaking if rolled out
Prints Specialist, Lucy Foster has compiled a
the paper to ripple and curve. Having an
quickly, so take extra care!
few handy tips to help:
airtight frame can help avoid this. Air flow
Finally, if you purchase an older work, such
is essential and will prevent the paper from
as an etching by Lionel Lindsay, you may see
FRAMING
moulding which often happens if a print is
some foxing in the paper, especially if the
I always recommend using a professional
hung in a humid environment, such as near a
print has been glued down onto the backing
framer, and one who uses acid free, archival
steamy bathroom. The heat or humidity can
board. But don’t let this put you off! To
materials. If however, you decide to frame
cause small dark spots on the paper, known
prevent further deterioration you can simply
or repair a frame yourself, ensure you use a
as ‘foxing’.
take the work to a framer and have the
high quality framing tape, backing board,
mount and seal replaced, or even refer the
mounting board and glue so that you do
THE AGE OF YOUR PRINT
not risk the wellbeing of your print. Acid will
Knowing a thing or two about the artist and
slowly eat away at your print and can give a
the period when the work was produced
By following these steps and taking
yellow/brown or ‘burnt’ look, and over time
will help you to understand what your
appropriate precautions when storing,
can cause the paper to become brittle and
print requires to remain in good condition.
hanging and framing your print, you can
easily torn. Prints should always be mounted
Leonard Joel regularly sells works by artists
dramatically slow down the ageing process,
onto a backing board, which is used as a flat
such as John Coburn and Sydney Ball. Both
and enjoy your print for many years to come.
support and positions the work in a frame.
artists are known to produce colour rich,
The print should never be completely glued
vibrant prints on high quality paper. So,
Lucy Foster
down to this board, only attached at each
assuming the print was purchased in good
Art Specialist
corner with acid free tape or material hinges.
condition, the only maintenance required
03 8825 5630
would be looking after the colour by
lucy.foster@leonardjoel.com.au
work to a restorer.
LOCATION
positioning it in non-direct light.
Hang your print in a space away from direct
Artists in the 80s often experimented with
sunlight and with good quality air flow. Direct
cheaper new paper, such as poster paper.
KEITH HARING (1958-1990) Pop Shop Quad III, 67 x 81cm. Sold for $10,500
PRINTS & MULTIPLES
AGEING GRACEFULLY: HOW TO EXTEND THE LIFE OF YOUR PRINT
JOHN COBURN (1925-2006) Hozanna 1988, screenprint 55/99. Sold for $1,000
ENTRIES INVITED AUCTION APRIL 2019
Va l e G r a h a m J o e l | 1 9 2 8 - 2 0 1 9
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LINES AND COLOURS: KAYE MCDONALD SOLO @ ARTS PROJECT AUSTRALIA
Lines and Colours heralds the first solo show of Kaye McDonald, a painter and ceramicist who has a continuing fascination with repetition and mark making. Many of her 2D works represent pure abstraction, revealing a sensitive consideration of composition, colour and energy. Her recent works depict something between a star-scape and white noise: patterns of line work and dots are applied to the surface of the paper using various mediums such ink and paint pen over a transparent background of watercolour wash, resulting in artworks that have a gentle, timeless quality. Her 3D artworks have combined energy and vibrancy about them. While sometimes reflecting a love of domestic objects such as vases, cups and saucers, many are abstracted forms that draw viewers in to admire the intricate detail and craftsmanship. Kaye McDonald (born 1946) has worked in the Arts Project Australia studio since 1988 and is a painter and ceramicist. Having exhibited each year in the Annual Gala exhibition at Arts Project Australia, her work has also been selected for various additional group shows at Arts Project Australia, C3 Gallery, Abbotsford and Melbourne Art Fair.
1 September – 24 February Arts Project Australia 24 High Street, Northcote, VIC
Coinciding with Lines and Colours is group exhibition Whatever You Love, You Are. Image: Kaye McDonald, Not titled, 2015, gouache and paint pen, 28 x 38 cm.
www.artsproject.org.au
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The David Roche Foundation was established in 1999 by the late Mr David J Roche AM (1930-2013) to be the recipient and custodian of the exceptional collection of antiques, paintings and objets d’art accumulated by him over his lifetime and to be preserved for future generations.
Régence & Rococo: Portraits & Porcelain EXHIBITION: 22 JANUARY – 29 JUNE 2019 Régence & Rococo: Portraits & Porcelain
Rogers, 1768, illustrated the new preference
offers a glimpse of the luxurious objects
for portraiture set outdoors, within nature.
and portraits created during the eighteenth century as collected by David Roche for
In the decorative arts, the rococo movement was
his private residence, Fermoy House.
widely influential, spreading throughout Europe and Britain by the mid-eighteenth century. The
This exhibition features a superb portrait of Duc
style found a willing partner in British porcelain
d’Orleans and Madame De Parabere daringly
manufacturers of which David collected many
titled Adam and Eve, c.1716, by Jean-Baptiste
examples. Displayed are rare pieces by Chelsea,
Santerre (France 1651–1717). The Duc was
including the Music lesson, c.1760, as well as
Regent at the time for the young Louis XV and
a range of important porcelain figurines.
ADELAIDE
THE DAVID ROCHE FOUNDATION
brought a lighter and more convivial approach to the royal court, which he moved back to Paris.
Right:
The aristocracy followed suit and while rococo
JOHN RUSSELL (Britain 1745-1806)
art was dominated by the French, some English
Ensign and Lieutenant James Duff
artists also took note. Foremost amongst these
(Britain 1753-1839), 1771,
was Francis Cotes, whose painting of Mrs George
oil on canvas
A Leonard Joel Centenary Event WEDNESDAY 13 FEBRUARY Leonard Joel specialists will be at The David Roche Foundation in Adelaide on Wednesday 13 February, from 10am-2pm, to offer complimentary valuations. No appointment necessary. Exclusive Tour To celebrate our centenary year we are delighted to partner with our hosts at the Foundation, to offer a complimentary tour of the house and museum for up to 20 guests at 12noon and 2pm on the same day. Please contact info@rochefoundation.org.au to reserve your space on one of the tours.
Va l e G r a h a m J o e l | 1 9 2 8 - 2 0 1 9
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COLLECTABLES
© 2018 EAMON DONNELLY THE MILK BARS BOOK
THE AUSTRALIAN MILK BAR The Milk Bar is an instantly recognisable and distinctive feature of
continue to be highly sought after – an example was recently sold
suburban Australia. As the place where most children spent their
in our December Collectables auction for over $1,000.
pocket money and had their first experience as an independent
Eamon Donnelly’s newly published homage to these humble
consumer, milk bars provided an oasis of bright lights, strong
institutions, The Milk Bars Book, captures the last of the
advertising imagery and - most importantly - lollies, Chiko Rolls and
independent milk bars around the nation, as he explores the
a copy of the newspaper for mum and dad.
history of these shops as well as that of the people behind them. The colourful coffee table book contains snapshots of the uniquely
These shared personal experiences have resulted in an enduring
Australian businesses, compiled by Donnelly as the travelled the
interest in Milk Bar related paraphernalia and ephemera, thanks
country for over a decade, alongside personal stories from milk bar
to the bold and bright tin advertising signs, colourful displays of
owners, to create this permanent record of collective nostalgia. As
sugary foods and a deep sense of nostalgia for past visits. The
Eamon is himself a collector of milk bar memorabilia it is only too
rapidly vanishing genre of corner stores still hold a place in the
fitting for Leonard Joel to partner with him on the launch of The
heart of most Victorians, as do the memories of meeting friends
Milk Bars Book, in conjunction with the March Collectables auction.
after school for a milkshake and far too much 5 cent pick’n’mix. Who wouldn’t want to live out the childhood fantasy of having a
Stay tuned for more information on the book launch!
personal lolly dispenser? Gone are the days of digging deep into your pockets for loose change to spin the dial for a jaw-breaking
Nora Merralls
gumball – instead, you can be in charge of the key.
Collectables Manager
And nothing quite captures a sense of time and place more than possessing one’s own Peter’s ice cream cone sign. The classic shape and functional light up design ensure that these signs A PETER’S ICE CREAM CONE LIGHT UP SIGN. SOLD FOR $1,100
Melbourne Auction Thursday 28 March, 2pm 333 Malvern Road, South Yarra VIC 3141
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Melbourne Viewing 333 Malvern Rd, South Yarra VIC 27 March, 9am-8pm
Melbourne Enquiries Nora Merralls Collectables Manager 03 8825 5625 nora.merralls@leonardjoel.com.au
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2.
1.
3. 4. 1. Great Expectations film poster featuring
work of art by Francesco Clemente
2. Cam’s Cafe, Melbourne 3. Anna Grassham, Head of Modern Design 4. The Price of Salt by Patricia Highsmith 5. Anna’s Bulldog Pickles
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5.
This month, we sat down with Leonard Joel’s Head of Modern Design, Anna Grassham, and she shared with us some of her favourite things.
5 Minutes With...
ANNA GRASSHAM HEAD OF MODERN DESIGN 1.
FAVOURITE MAKER / ARTIST
3.
WHAT’S YOUR FAVOURITE COFFEE / WINE?
My favourite artist is Francesco Clemente. I never trained formally in
I only drink coffee after a big meal, a short black to finish the night. I’m a tea
art; I am simply drawn to colour and movement. To me his portraits are
drinker, probably 3-5 cups a day, depending on the day. I love a Pinot Gris in
beautiful, full of symbolism and intrigue. I first discovered his work in
the summer, or a Chotes du Rhone if I’m drinking red. I socialise quite a lot,
the film Great Expectations, after which I became obsessed and pur-
so I don’t conform to drinking rituals, for me it’s all about the company.
chased many of his art books. You sink into the portraits, and find yourself having long conversations with his familiar strangers.
4.
YOUR IDEAL DAY IN MELBOURNE?
Shopping! Especially for vintage designer clothes. My favourites are dot.COMME As I work in Modern Design I have many favourite makers, more
Melbourne, Bruce, Recycle Boutique, and Shag. As for escaping, Cam’s bar
than I can write about in this short bio. But I do love Achille Cas-
behind the Abbotsford Convent is a favourite of mine. A spritz with my friends
tiglione for his humour, skill, and wonderful outlook on life.
in the afternoon sun, trying to control my naughty bulldog, that’s heaven to me. I also love films, a lazy Sunday in Carlton at the Nova Cin-
2.
FAVOURITE WORK OF ART / OBJECT / JEWEL
ema, and old school Italian food at Tiamo is perfect.
I honestly don’t feel like you can have a favourite work of art! I could talk about the greats of the 19th and 20th century that we repeatedly see over and over
5. FAVOURITE BOOK?
again, but I’m more inspired by creative people; their ideas, values, what they
The Price of Salt by Patricia Highsmith. I first read it 12 years
do for work and their inspirations. For me it’s choosing the top 15 people in the
ago and fell in love with her language and courage.
world that I would love to invite to dinner, that’s a guest list I want to organise!
Va l e G r a h a m J o e l | 1 9 2 8 - 2 0 1 9
27
THE 22ND REPORT #21
THE LAST TWO BY GILLIE & MARC Photo credit: Paul Van Kan
As we commence our centenary, we are delighted to announce our first special project of the year−our sponsorship of The Last Two, a powerful new sculpture by artists and conservationists, Gillie & Marc. We are proud to support this important campaign which raises awareness of the plight of rhinos and other wild animals on the brink of extinction. The Last Two will be unveiled at St Kilda Beach, Melbourne on Saturday 2 February. We spoke to artists Gillie & Marc about the project. 1. GILLIE & MARC, CAN YOU TELL US
another powerful sculpture to honour Sudan’s
to further educate the global audience about
ABOUT YOUR SCULPTURE, THE LAST TWO
legacy and the family he left behind.
rhino conservation through this unique design
AND THE INSPIRATION BEHIND IT?
Sudan, the last male Northern White Rhino, left
element.
Gillie: In March 2018 we installed The Last
behind his daughter and granddaughter named
Three, a sculpture featuring the last three
Najin and Fatu. Now, the mother and daughter
Marc: The sculpture will depict Najin and
remaining Northern White Rhinos, Sudan,
are the final two Northern White Rhinos on the
Fatu connected in the middle, with their
Najin and Fatu, in New York City. The sculpture
planet, sadly facing imminent extinction. We
heads facing opposite directions. Both rhinos
inspired a massive global audience, fueling
were determined to create a legacy of their
are trying to pull each other to safety, while
hundreds of articles by world leading press
plight to save other species from the same
constricted by the reality their situation has
and art critics, tens of thousands of dedicated
tragic fate.
thrust upon them. It seems their fate is stuck
hashtags and millions of impressions that
The Wonderful Two will continue our campaign
in place and time with only two left on Earth,
spread critical awareness about rhino
to push for the eradication of rhino poaching!
and no simple path to freedom. Through the
conservation.
Najin and Fatu are sculpted in bronze, featuring
sculpture, audiences will understand that, while
Sadly, just a few days after the installation of
golden patina horns. Rhinos are murdered at
Najin and Fatu have stuck together in their fight
The Last Three, Sudan died, shattering hearts
horrific rates for their horns, which are worth
to survive, they are intertwined by the plight
all over the world. In response, we have created
more than their weight in gold. We are seeking
of all Northern White rhinos and will therefore
28
remain in this place forever.
Gillie: The beach here at St Kilda is a place for
on the horizon! We will be unveiling our latest
The artwork’s design is inspired by the ‘pushmi-
appreciating the beauty of our surroundings,
project Statues for Equality later this year
pullyu’ (pronounced push me-pull you) from the
and how fortunate we are to live on this planet.
in New York, which aims to balance gender
classic Dr. Dolittle books by Hugh Lofting. The
By installing The Wonderful Two in this location,
representation in public art, and honour
pushmi-pullyu is a creature that has a head of
it reminds us of how precious life is and how
women’s contributions to society. With so few
both a unicorn and gazelle, one on either side
important it is to take care of the earth and
statues in New York City depicting real women,
of its body.
its creatures. Melbourne is a truly an amazing
the disparity in public art illustrates how
Their story is a powerful one, which will
place -and now even more so for taking such
serious this issue really is. In response to this,
continue to inspire a community to action
admirable strides with this ground-breaking
we have teamed up with some of the world’s
worldwide. This will ignite real lasting chance
sculpture.
most powerful women to take a stand for equal
for rhino conservation, so that no other species
rights through Statues for Equality. We will be
will fall to extinction as we’ve tragically watched
4. WHAT HAS BEEN THE RESPONSE TO
officially launching this on Women’s Equality
happen to the Northern White Rhinos.
THE PROJECT, AND WHAT DO YOU HOPE
Day, on August 26th, 2019.
THE SCULPTURE WILL ACHIEVE IN TERMS 2. WHEN WAS IT YOU LAUNCHED
OF FUNDS RAISED AND AWARENESS?
THE LAST THREE, AND WHAT WAS THE
Gillie: We have been so amazed and
Gillie: Also on the agenda this year is Love The
RESPONSE TO IT IN NEW YORK?
overwhelmed by the response from people
Last, our global art and conservation movement
Marc: The Last Three was launched to much
already! The outpouring of donations and
where we want to raise awareness for twelve of
success in Astor Place, New York in March
support is so inspiring and humbling, and it
the world’s most endangered species, some of
2018. It was a life-changing project for us, and
reminds us of why we do this.
which we’ve been lucky enough to spend time
it had a much tighter timeline than our other
with and others that we are yet to meet!
monumental sculpture projects because we
Marc: The Wonderful Two sits within our larger
The mission of #LoveTheLast is to share the
were determined to finish it before Sudan died
mission to raise not just awareness around
experience of being close to earth’s animals
and he was deteriorating more and more every
conservation, but also get people to want to
in need, so that even people disconnected by
day. Being able to finish it while he was still with
activate and enact change. We hope to provide
urban environments can learn to love them.
us was something I’ll never forget.
people with a chance to learn and interact with
Only people can make a difference. If the whole
Unveiling it in New York, a city we love and in
animals through our work, no matter where
world doesn’t get on board now to make strides
such a prominent position, to a crowd of people
they live, and also inspire generations to join
in conservation, then all animals will fall to the
who knew about the Northern White rhinos or
the battle for rhino conservation. The idea is to
same fate as Najin and Fatu’s species. It’s now
wanted to learn more was just amazing.
connect to people, and one by one help forge
or never.
Gillie: The reaction from the public was
a special bond and deeper understanding that
We want to create sculptures all around the
fantastic, and for me that’s the best part.
may not have existed before.
world that tell the stories of these endangered
People were incredibly eager to connect, learn,
species to drive positive change and ensure
help, and to share the work with their friends
5. WHAT IS YOUR OPINION ON LEONARD
and on social media.
JOEL’S VOLUNTARY POLICY AND CAMPAIGN
We are animal lovers and are so grateful we can
TO CEASE TRADE OF ELEPHANT IVORY AND
The Last Two will be officially unveiled at
use our platform and our art for the good of
RHINO HORN?
11am on Saturday 2 February at St Kilda Sea
these endangered species.
Marc: We think it’s fantastic! We are so
Baths. John Albrecht, Managing Director
these animals don’t leave us forever.
continually inspired by wildlife, as many others
of Leonard Joel will speak at the event and
3. WHAT MADE YOU DECIDE ON THE
are and we believe it is paramount that we
we invite you to join us in support of this
LOCATION AT ST KILDA BEACH AS A
protect it. Its great that Leonard Joel feels the
important cause.
RESTING PLACE FOR THE LAST TWO?
same and is taking the lead and we hope that
Marc: I was born in Melbourne and used to
the changes they are making in ceasing ivory
live in St Kilda, so I’ve always understood the
and rhino horn trade continues to influence
people here to be extremely passionate about
others.
lovethelast.com/the-last-two
protecting the natural world. Growing up, the influence of this incredible city helped spark
Gillie: We’re so proud to be partnering with
my own passion for conservation, so Gillie
Leonard Joel, especially in the face of their
and I knew there would be no better place to
current conservation efforts and it’s so exciting
install The Wonderful Two. Now, the people
and heartening to see the art world getting
of Melbourne can champion the endeavour to
behind such an important cause.
save rhinos, by setting an example for the world and spreading Najin and Fatu’s story as they’ve
6. WHAT’S NEXT FOR GILLIE & MARC?
already begun to do!
Marc: We have so many more exciting projects
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URS FISCHER Francesco, 2017 Photo: Stefan Altenburger Courtesy the artist, Galerie Eva Presenhuber, Zurich, Moretti Gallery, Florence, and Sadie Coles HQ, London. © Urs Fischer
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