LEONARD, issue 86, June-July 2020

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ISSUE 86 JUNE – JULY 2020

LEONARD


JUNE

Jewels Monday 1 June, 5pm / MELBOURNE Fine Art Tuesday 2 June, 6.30pm / MELBOURNE The Mode 707 Collection Wednesday 10 June, 12pm / MELBOURNE Specialist Rugs Thursday 11 June, 2pm / MELBOURNE Decorative Arts Monday 22 June, 6.30pm / MELBOURNE Asian Works of Art Tuesday 23 June, 6.30pm / MELBOURNE The Collector's Auction III Tuesday 30 June, 6pm / SYDNEY

JULY

auction calendar —

Modern Design Monday 27 July, 6.30pm / MELBOURNE Luxury Wednesday 29 July, 6.30pm / MELBOURNE Prints & Multiples Wednesday 29 July, 6.30pm / MELBOURNE The Thursday Auction Furniture & Interiors – 10am Jewellery – 10.30am Art Salon – 1.30pm Objects & Collectables – 2pm MELBOURNE

LEFT: George Nelson 'Swag leg

COVER: Marc CHAGALL (1887-1985)

desk' for Herman Miller Sold $4,750 IBP

Bouquet au coq jaune, ca 1960 oil on canvas 24 x 33cm $300,000 – 500,000 © Marc Chagall/ADAGP. Copyright Agency, 2020 The Collector's Auction III Tuesday 30 June 6pm, Sydney


welcome —

This Issue FROM THE DIRECTOR 3 The First Eight Weeks AUCTIONS 4 Fine Art: A Look Back in Time 6 Fine Art: Centum 8 Jewels: The Brilliance of Natural Spinel 10 Sydney: An Important Announcement

Welcome to the 86th issue of Leonard. We are delighted to present our June suite of Fine Auctions, and in this issue we delve into highlights from Jewels, Fine Art, Decorative Arts, Asian Works of Art and The Collector's Auction III. These collections feature rare and beautiful treasures spanning time and place that we are thrilled to share with you. We also warmly welcome Hamish Sharma, the former Head of Jewels at Sotheby's Australia to our team, chat to our Luxury specialist about a certain impulse purchase, and learn about the incredible life and works of iconic artist Keith Haring. We hope you enjoy!

12 Decorative Arts: The Victoria Cascajo Collection 14 Decorative Arts: June Highlights 16 Asian Works of Art: June Highlights 18 Asian Works of Art: Highlights from the De Voogd Collection 22 Modern Design: A Legacy of Modern Love 24 Prints & Multiples: Keith Haring 26 Luxury: Fauré Le Page – Armed for Seduction 28 Sydney: The Collector's Auction III 31 Sydney: Bouquet au coq jaune, ca 1960, the only Marc Chagall oil painting to be sold at auction in Australia – IN FOCUS 32 5 Minutes with Rebecca Stormont 33 Valuations 34 22nd Report: Panda-Masuie Release Project 37 Under The Hammer JOIN US 40 Connect & Buy with Leonard Joel 41 Contact a Leonard Joel Specialist

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— PROFILE —

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— FROM THE DIRECTOR —

THE FIRST EIGHT WEEKS My last memory of a normal hug was when someone from

And with this eight weeks behind us, we remain

IFAW I was saying goodbye to at LA airport on Friday

completely positive that collectors will still collect,

February 28th declined a handshake and embraced me

decorators will still decorate and people will still adorn

instead. My last memory of a normal auction moment was

and our June round of auctions seems to aptly capture

my meeting with Thomas Keneally in Sydney on March

that spirit in four extraordinary consignments that have

13th - the welcome I received from him was as warm as

been entrusted to us.

the smile I have come to know from the images of him that populate the public domain.

In our seasonal Sydney Collector’s Auction we reveal an original Chagall for public auction. The only original ever

From that day, everything from an auction perspective

to be sold in Australia. While in our Asian Arts Auction

changed.

we present the De Voogd collection that includes a rare

Reviewing all my emails to the Leonard Joel team over these first eights weeks I am struck by both the content of them and the new priorities that informed them in a world consumed by this virus and its devastation.

Qianlong box with an exquisitely inlaid poem, quite possibly commissioned by Emperor Qianlong himself! Treasures in our June round of sales are not limited to the international either. Our Art department has uncovered an extremely rare set of four colonial sketch

For me and for almost every business owner, I would

and notebooks belonging to and authored by James

imagine, it began to feel like a rollercoaster of

Walker who arrived on the shores of Sydney harbour in

nervousness and fear. Then on Sunday the 22nd of March

1823. Such finds in 2020 are rare indeed and it has been

came wind that a shut-down was looming. No one knew

more than interesting to have researched the set and

how extreme that would be or what quite that would

now be presenting them for public auction. Our round

mean.

of auctions would not be complete without Fine Jewels

Then on the 24th of March the Prime Minister announced: “Auction Houses; gatherings together in auction rooms - that can no longer continue”. At first it sounded like our business had been turned upside down but soon I realised that what it actually meant was that if we wanted to continue to do business, we had to eliminate (and I

& Timepieces and in that forthcoming auction one of the finest south sea pearl strands ever to be offered at auction will present a rare buying opportunity. This golden strand of some twenty nine pears, so evenly matched and round, carries and estimate of $100,000 $120,000.

don’t like using that word) any form of gathering from

These are just some of our highlights within our June

midnight 25th of March. This challenged the very public

round of sales and despite these challenging times

nature of viewings (open for inspections) and auctions

we look forward to welcoming you to our rooms by

that have been intimately fused with the business model

appointment where you can enjoy our collections within

of traditional auction rooms for centuries. So, with a

peaceful environments free of gatherings and crowds.

24-hour window our amazing team set about finalising our conversion to online-only. That was eight weeks ago and since then, like so many other businesses, we have

JOHN ALBRECHT

Managing Director / National Head of Collections

walked the challenging path of business preservation and community safety. It has not been without its challenges, OPPOSITE: An Impressive Strand of

criticisms and self-doubt along the way but it also has

Golden South Sea Pearls by Autore $100,000-120,000

been (and continues to be) an adventure that is as inspiring as it is frightening.

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— AUCTIONS —

FINE ART

A Look Back In Time: Two Important Figures in 19th Century Australia JAMES WALKER (SCOTTISH, 1785-1856) In 1823, James Walker arrived in Sydney from Scotland, joining his younger brother, William Walker. Together the two brothers developed Walker and Co., engaging in coastal shipping and whaling from their wharf and warehouse at Dawes Point. During the late 1830s the company exported large quantities of wool to London. Walker established himself at Wallerawang in 1824, taking its name from an Indigenous word meaning "place of plenty of wood and water". Wallerawang was a sheep and cattle station which also served as a major stop-over location for travellers between Sydney, Mudgee and Bathurst. In 1836, Charles Darwin visited the district and specifically Wallerawang, after which he wrote, “this place offers an example of one of the large farming or rather sheep grazing establishments of the colony”. James Walker continued to build both property and livestock numbers over the following two decades including Loowee (Lue) about 70 miles from Wallerawang, Biambil on the Castlereagh River, Yooloondoory, Coonamble, Barradean, and Mobilla near the Warrumbungle Ranges.

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— AUCTIONS —

EDWARD HENTY (BRITISH, 1810-1878) Fine Art Auction Tues 2 June, 6.30pm MELBOURNE ABOVE: PHOTOGRAPHER

UNKNOWN (19th Century) Edward Henty (1810-1878) and Anna Henty (1818-1901) two stereoscopic plates in original leather bound cases 12 x 15cm (each, case size) $10,000-15,000 LEFT: JAMES WALKER

(Scottish/Australian, 1785-1856) i) A red sketchbook containing illustrations ii) A brown sketchbook containing illustrations iii) A brown notebook containing diary entries iv) A notebook titled “Collectanea” inscribed with James Walker on the cover containing miscellaneous writings $15,000-25,000

Edward Henty, “The Pioneer”, was known as the founder

cattle. After a difficult journey and the loss of some cattle,

of Victorian settlement.

they landed safely on the 19th of November 1834, and

Attracted by the promise of a grant of 80,000 acres, Mr. Thomas Henty, Edward’s father, chartered a vessel

were immediately struck with the advantages that the place offered for settlement.

from England for his sons bound for Western Australia.

At the time of his death Edward Henty owned upwards

The area of Swan River however was found to be poor

of 20,000 acres of the old Muntham run. The history

in quality for the settlers and so instead they headed

of the career of Edward Henty is but the history of the

towards Van Diemen’s Land in 1832.

family. They bred the Merino sheep with care, and the

The aim that they had before them was to breed sheep and produce wool on a large scale like their father’s introduction of Merino sheep to the South of England. The decision was made to look for land on the continent at the southern end, an area of limited knowledge beyond the names of the capes and the harbours. Edward Henty and his wife Anna Henty departed from

flocks grew largely in numbers. The family left behind an enduring legacy that greatly shaped Australia’s history and contributed significantly to our agricultural development. The Henty family is recorded broadly in Australia’s history, and unsurprisingly, our public institutions. OLIVIA FULLER / Head of Art

Launceston taking with them several men and 33 head of

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— AUCTIONS —

CENTUM Our Centum contemporary art auction exceeded all expectations in its online auction on 5 May. The excitement and fast pace of an auction can often mean that little thought is given to the works after the hammer falls. So here are three works and personal favourites that I think are worth another look:

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— AUCTIONS —

LOT 12 MARK WHALEN (top) Estimate of $1,600-2,400, sold for $2,976 IBP. This Mark Whalen gathered a lot of attention in Centum. Its intricate gridded design and pop of neon pink edging was sure to catch anyone’s eye! What is unusual is that the work is two-dimensional. Whalen is often recognised for his sculpture, however his transformation of objects into witty and abstract musings of human folly extend beyond the medium making this distinction nearly obsolete. My favourite part of this work is the figure at the bottom, with its arm creeping over the edge to take a peek or perhaps the next to join in in the succession of figures “taking notes”.

LOT 18 JENNY WATSON (bottom) Estimate of $5,000-7,000, sold for $9,300 IBP Jenny Watson has discussed influences from 1970s culture and even punk music. My mind goes back to her incredible retrospective that toured here in Melbourne to Heide where punk music was playing overhead as you moved through the exhibition. Her works are somewhat autobiographical, recalling ideas and dreams of a typical suburban girl like a visual diary. Her use of fabric, as though taken from a child’s set of bed sheets, provides the “backdrop”, and her pretty-in-pink ballerina takes centre stage. At first glance, she appears to recall the dreams of a young girl. But then that punk music comes overhead again and she could almost be someone dressed for a gig, complete with a stare reminiscent of Courtney Love’s punkish rebellion.

LOT 32 JOHN OLSEN (opposite) Estimate of $50,000-70,000, sold for $80,600 IBP There’s an outdated preconception that works on paper are somehow less valuable or less important than paintings. The two mediums permit very different freedoms, and it is in works on paper that John Olsen lets his hand run most free. When talking about his free-flowing lines, Olsen once said “I take the line for a holiday…The line says ‘move me this way’, and I say ‘Yes? Really? Okay’…then it says ‘No, little bit that way’, ‘All right, I’ll move you that way. We’ll participate’.” When a good work presents itself, the medium should not determine its value, and this was certainly the case for Torres Strait 2006. Having been in one collection since being acquired from John directly, the work encouraged a few free hands itself – a bid here, another that way, no now a new bid back there, all right a bid online, let’s all participate!

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— AUCTIONS —

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— AUCTIONS —

JEWELS The brilliance of natural Spinel Jewels Auction Mon 1 June, 5pm MELBOURNE

Before the rise of modern gemmology in the late

gem. It has outlasted them all, surviving fires, attempted

19th and early 20th centuries, it was often believed

theft, and World War II bombing raids, to become, with

that rubies and spinels were the same stone as they

the Koh-i-Noor diamond, one of the centrepieces of

are often found in the same mines. Nevertheless, these

England’s Crown Jewels.

two minerals are quite distinct and chemically different. OPPOSITE: A Pair of Spinel

And Diamond Earrings $3,000-5,000 ABOVE: Black Prince’s ruby, this

Subsequently, as jewellery owners were told some of their treasured rubies and sapphires were actually spinels, the stone’s reputation suffered.

historic crimson-red gem set in England’s Imperial State Crown.

Until recent times, spinel was a relatively unknown gem

BELOW: A Spinel

underappreciated. Of late, an increasing demand for

And Diamond Ring $3,200-4,200

ruby alternatives has not only rekindled an appreciation

species with consumers and as such it has long been

for spinel’s rich red colour and history, but has brought about an awareness of the wonderful range of colours it is produced in. It may be colourless, but is usually various shades of pink, rose, red, blue, brown, black, or

Another large spinel in the Crown Jewels is the “Timur ruby,” weighing over 350 carats. It, too, has a chequered history. Several Persian inscriptions carved into the gem testify to its age. Found traditionally and mainly in Afghanistan, Myanmar, and Sri Lanka, spinels have been discovered more recently in various sites in Africa, Australia, Russia, and Vietnam. These gems are usually not mined from the hard rock primary deposits in which they form but instead from alluvial or placer deposits where eroded material has been washed downstream.

(uncommonly) violet, with red being the most valuable.

Natural spinels in today’s market are almost all untreated.

There is a general absence of green and yellow stones.

Their relatively modest prices, availability in an array

In ancient times, the mines of central and southeast Asia yielded exceptionally large spinel crystals. These fine

of colours, hardness, and suitability for most types of jewellery make them even more inviting.

stones became known as Balas rubies, and some of them

Spinels are generally free of inclusions, but some

were the treasured property of kings and emperors, often

inclusions are distinctive. Fine Octahedral-shaped

passing through many hands as spoils of war. As a result,

inclusions are the most common feature of spinels from

some of the world’s most illustrious “rubies” are actually

all sources.

spinel.

Regardless of colour, spinel’s high refractive index ensures

One of the most famous examples is the “Black Prince’s

excellent brilliance and fire in a well cut and polished

ruby”, this historic crimson-red gem set in England’s

stone. Spinels are hard and durable gemstones (8 on

Imperial State Crown and displayed in the Tower of

Moh’s scale of hardness) and make a good choice for

London. It first appeared in the historical records of

almost all jewellery applications.

fourteenth-century Spain, and was owned by a succession of Moorish and Spanish Kings before Edward, Prince of Wales, the “Black Prince”, received the stone in 1367 as payment for a battle victory. Since then, many other English monarchs, including Henry VIII have cherished the

Leonard Joel is delighted to be auctioning beautiful spinel set jewellery in our June Fine Jewels auction on Monday 1st June 2020. JULIE FOSTER / Head of Jewels leonardjoel.com.au | 9


— PROFILE —

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— SYDNEY —

An Important Announcement

Appointment of Hamish Sharma, former Head of Jewels at Sotheby’s Australia — OPPOSITE: Leonard Joel Sydney,

The Bond, 36-40 Queen Street Woollahra, NSW 2025 ABOVE: An Important

Colombian Emerald and Diamond Suite Sold $366,000

Hamish Sharma, Australia’s most credentialed auction

In 1981, with the sale of the Claire McKinnon collection

jewellery expert, joins the Leonard Joel team in Sydney

of jewellery, Australia’s Hollywood silent movie star, the

on July 1st 2020.

Leonard Joel jewellery department was conceived and as

Based full-time in our Sydney salerooms, Hamish Sharma will curate and present three Jewels auctions annually,

it approaches its 40th birthday celebrations in 2021, the timing of Hamish Sharma’s arrival could not be better.

with a focus on international, designer and signed

Leonard Joel now boasts the largest and longest

jewellery pieces.

running auction jewellery marketplace in Australia with

John Albrecht, Managing Director of Leonard Joel: “We are honoured to have Hamish Sharma on our team. He brings with him extensive auction house pedigree; having begun at Bonhams & Goodman in Sydney many

an unrivalled calendar of jewellery auctions to service the Australian market, and with the addition of Hamish Sharma this now completes its market offering across Melbourne, Sydney and more broadly, Australia.

years ago and most recently he was the head of Jewels at Sotheby’s Australia. We simply could not now have a more experienced jewellery head of department in Sydney and we look forward to growing that market with him.”

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— AUCTIONS —

DECORATIVE ARTS

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— AUCTIONS —

Decorative Arts Auction Mon 22 June, 6.30pm MELBOURNE

LEFT: AN IMPRESSIVE VENETIAN

POLYCHROME PAINTED WOODEN BLACKAMOOR STATUE WITH SHELL BASIN LATE 19TH CENTURY $3000-4000 OPPOSITE: A FINE VENETIAN

POLYCHROME PAINTED WOODEN BLACKAMOOR FIGURAL CENTRE TABLE, LATE 19TH CENTURY SIGNED TESTOLINI, VENEZIA $4000-6000

The Victoria Cascajo Collection This June, we look forward to celebrating a collection

immigration in Europe and are often laden with various

of classical bronze statuary and a unique collection of

gems, wearing Venetian silks, turbans, and modelled in

Blackamoor figures belonging to Melbourne based

acrobatic poses, evoking the spirit of trade, wealth, and

couturier Victoria Cascajo.

their athletic nature.

When considering Melbourne couture royalty, Victoria

These figures have been long admired for their aesthetic

Cascajo is one of a handful of designers that have shaped

design, crafted from various materials including

Australian fashion history. Starting her career with Spanish

polychromed wood, porcelain, ceramic and bronze, and

Fashion house Balenciaga, she migrated to Australia in

have formed part of many celebrity homes, such as Coco

the 1960s and established her own boutique in South

Chanel and Helena Rubenstein.

Yarra named Balenica, no doubt a nod to the beginnings

Two rare examples from Cascajo’s collection include a

of her career and to her mentor. Over her career, Cascajo

fine 19th Century hand painted, wood carved centre

was awarded various accolades for her race day designs,

table with faux porphyry top and blackamoor column by

however she was best known for her daring design

the Testolini brothers, estimated to fetch $4,000-6,000 at

created for Lady Sonia McMahon in 1971, wife of then

auction, along with an impressive Venetian Blackamoor

Prime Minster William McMahon, and worn to the White

with shell , estimated at $3,000-4,000. Cascajo’s

House for a state dinner with President Richard Nixon.

collection also features a small selection of patinated

The dress is still considered to be one of the most daring

bronze figural fountain centrepieces.

outfits to have been worn to the white house to this day and became a global sensation.

CHIARA CURCIO / Head of Decorative Arts

Like many designers, her exceptional taste was not exclusive to her own creations, and her Spanish roots fuelled her inclination to European flair for traditional statuary and particularly her love of Italian Blackamoor sculptures. Blackamoor sculptures have had a difficult history, being confused with depictions of African American slavery. However, these figures’ beginnings can be traced to the 17th Century symbolizing the merging of two identities, ‘Black Africans’ and ‘Muslim Moors’, who were at this time actively trading on Mediterranean shores. By the 18th Century, Venetian noblemen employed Nubians as bodyguards, and they were celebrated for their athletic stamina. The figures depict the rich history of trade and © Rennie Ellis Photographic Archive

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June Highlights A NORTHERN-ITALIAN TEN LIGHT CLEAR AND

resulting in artistry of leaves, fruits, and flowers enhanced

POLYCHROME GLASS ‘CIOCCIA’ CHANDELIER

by the richness of coloured glass, juxtaposing the heavy

IN THE MANNER OF GIUSEPPE BRIATI, VENICE,

faceted crystal chandeliers produced by Bohemia at this

MID 19TH CENTURY

time. These types of chandeliers were named ‘cioccia’ chandeliers and were popularized by Giuseppe Briati

The skilful art of glass blowing has long been ubiquitous

and later became an iconic Venetian design. ‘Cioccia’

with Venice, and the nearby island of Murano. Unlike

translates to ‘bouquet of flowers’ in Italian.

its fellow glass and crystal manufacturer Bohemia,

This Chandelier showcases the complexity of the glass

Venetian glass was set apart by the intricate production

blower’s technique, principally evident in the delicate

of melting and moulding its glass, as opposed to cutting.

flowers and chain link adornments, which were all

This malleability of the glass allowed for more delicacy,

painstakingly individually crafted.

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— AUCTIONS —

Decorative Arts Auction Mon 22 June, 6.30pm MELBOURNE

OPPOSITE: A Northern-italian Ten

Light Clear and Polychrome Glass ‘cioccia’ Chandelier In the Manner of Giuseppe Briati, Venice, Mid 19th Century $15,000-20,000 TOP: A Rare French Empire Double Fusee Ormolu Mounted Marble Mantel Clock, 19th Century $4000-6000 BOTTOM: An Impressive Neo-

classical Patinated Bronze Sculpture, ‘Gloria Victis’ by Ferninand Barbedienne & Marius Jean Antonin Mercie, Circa 1875. $12,000-15,000

AN IMPRESSIVE NEO-CLASSICAL PATINATED BRONZE SCULPTURE, ‘GLORIA VICTIS’ BY FERNINAND BARBEDIENNE & MARIUS JEAN ANTONIN MERCIE, CIRCA 1875. This large finely cast bronze titled ‘Gloria Victis’, depicts a dramatic allegory of Fame carrying a fallen soldier in her arms. The bronze figure was a collaboration of two celebrated artists of 19th Century France, bronzier Ferdinand Barbdeienne, and sculptor Marius-Jean-Antonin Mercie. Although bronze was very expensive and time consuming to produce, it was hugely desirable and was commonly used in post-revolutionary France for war-related commemorations. In fact, this sculpture was designed by Mercie to commemorate the Franco-Prussian war, where France was defeated, personified by the defeated solider in Fame’s arms. Mercie’s sculpture was awarded a medal of honour when exhibited at the Paris Salon in 1874. A RARE FRENCH EMPIRE DOUBLE FUSEE ORMOLU MOUNTED MARBLE MANTEL CLOCK, 19TH CENTURY Crafted from white Carrara marble and lushly adorned with ormolu mounted bronze applique, this rare clock is a wonderful example of the post-revolutionary French Empire period. Fuelled by the luxuriance of the royal court of Louis XVI and the classical motifs of the ancient world, the French empire’s tastes were nostalgic of the Ancien Régime. Napoleon coveted classical motifs and re-appropriated them as symbols of his empire, such as the laurels and depiction of the god Hermes seen in this clock, and they became iconic markers of the period. CHIARA CURCIO / Head of Decorative Arts

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— AUCTIONS —

ASIAN WORKS OF ART June Highlights Asian Works of Art Auction Tues 23 June, 6.30pm MELBOURNE

LEFT: Nineteen Indian Company

School Architectural Paintings and Pietra Dura Studies 19th Century $10,000-15,000 OPPOSITE TOP: A Chinese Junyao

Dish Song Dynasty (960-1279) 4cm High, 19cm Diameter $1500-2500 OPPOSITE BOTTOM: A Chinese

Cloisonne Gu-form Vase Late Ming to Early Qing Dynasty, First Half 17th Century 32cm High, 18cm Diameter $5000-7000

NINETEEN INDIAN COMPANY SCHOOL

‘Company School’ or ‘Patna School’, this type of painting

ARCHITECTURAL PAINTINGS AND PIETRA DURA

flourished in the 18th and 19th Centuries.

STUDIES After the dissolution of the Mughal Empire, artists who had previously been attached to ateliers in the Mughal courts needed work, and with the large influx into India of English officers of the British East India Company, they quickly adapted to the requirements of this new clientele, particularly reflecting European ‘Enlightenment’ tastes for animal and plant natural studies, and topographical and architectural studies. Colloquially known as the 16 | leonardjoel.com.au

We are proud to offer this group of Company School studies of Northern Indian Mughal monuments and pietra dura panels, many with 1820s and 1830s English watermarks, including multiple views of the building often referred to as the greatest example of Mughal architecture and one of the cultural treasures of the world, the Taj Mahal.


— AUCTIONS —

A CHINESE JUNYAO DISH SONG DYNASTY (960-1279) The Jun kilns were known in ancient times as one of the five great kilns of the Song Dynasty, alongside Ru, Guan, Ding and Ge. Jun is known for its elegant and austere, unornamented forms. It is most famous for its beautiful skyblue opaque glaze which comes from iron oxide in the thick glaze, which is fired in a reduction kiln (reduced oxygen). This treatment scatters the blue light when it hits the glaze, reflecting the light so as to appear opalescent blue in the viewer’s eyes. Occasionally the glaze is then splashed with copper red to produce abstract cloud-like effects. The bowl illustrated here demonstrates the blue glaze well, thinning to a pale olive hue at the rim.

A CHINESE CLOISONNE GU-FORM VASE LATE MING TO EARLY QING DYNASTY, FIRST HALF 17TH CENTURY The technique of applying metal wires to a metal base to form partitions, filling the partitions with crushed enamel and then firing in a muffle kiln to melt the enamel, is called cloisonné. This technique appeared in the Mediterranean region thousands of years ago, but came to extraordinary heights of perfection in Byzantium in the 12th Century. Soon after, the technique reached China in the Yuan Dynasty (1279-1368), with virtually the same colour palette as that perfected in Byzantium. Initially with seven colours (blue, turquoise, green, red, white, yellow and purple), this expanded with the use of mixed or speckled colours during the Ming Dynasty, and then finally more colours emerged later during the Qing Dynasty, with new colours (known in China as yangcai and falangcai) arriving in China from Europe through the Jesuit mission to the Kangxi Emperor’s court, the most famous example being the rose colour based on colloidal gold. The vase in this auction is in gu form, based on a type of ritual bronze wine vessel of the Shang Dynasty (16001046BC) called a gu. The gu is one of the most sublime forms in the history of Chinese forms, and has been replicated in different materials like jade and ceramic from the Song Dynasty to modern times. This vase has a copper base, decorated in cloisonné with scrolling vines and lotus blossoms, with the exposed copper including the vertical blades around the central ovoid section gilded. CARL WANTRUP / Asian Art Specialist

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— AUCTIONS —

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— AUCTIONS —

Highlights of the De Voogd Collection

Asian Works of Art Auction Tues 23 June, 6.30pm MELBOURNE

OPPOSITE & BELOW: An Important

Imperially Inscribed Chinese Silver and Gold Embellished Zitan and Lacquer Inkstone Box Qianlong Mark and of the Period (1735-1796) $10,000-20,000

In the last issue we uncovered the story of the de Voogd family’s journey in the East, through Ambassador Nicholaas Arie de Voogd’s various consular and ambassadorial missions on behalf of the Dutch government. Of particular interest was his posting as Consul in Nanjing from 1948 through to 1950, and as Ambassador to the People’s Republic of China in Beijing from 1950 to 1951, a period when high quality art objects were available in the market to collectors with a good eye, situated at the right place and the right time. In this issue, let us examine a handful of wonderful objects collected in Nanjing and Beijing during this period.

AN IMPORTANT IMPERIALLY INSCRIBED CHINESE SILVER AND GOLD EMBELLISHED ZITAN AND LACQUER INKSTONE BOX QIANLONG MARK AND OF THE PERIOD (1735-1796) This distinguished box was crafted in the Muzuo (wood workshop) in the Zaobanchu (Imperial Palace workshops) in the Forbidden City in Beijing, and exhibits the pinnacle of quality of low relief carving of the Qianlong Period (1735-1796). It was created by order of the Qianlong Emperor, and inscribed with a poem written by the Emperor himself, and originally contained a precious inkstone made of jade, duan or songhua stone. The box is made of zitan, one of the rarest timbers and highly prized in the Imperial Palace, known for its deep lustrous purple-brown colour and tight grain, and its ability to receive the most delicate carving. The box is of lobed hexagonal form when viewed from above, referencing Song Dynasty ceramic, lacquer and precious metal forms which in turn were based on flowers like the mallow. It is decorated with archaistic taotie masks surrounding a square reserve inlaid with painstakingly crafted silver wire calligraphy, the lines running from thick to thin as if written by a brush in ink. The sides of the lid are further relief carved with archaistic clouds and taotie masks in the manner of the finest jade carving. The decorations referencing archaic bronzes and jades and Song forms reflect Qianlong’s love of antiques. The interior of the lid is finished in thick black lacquer with the Taoist trigram Qian carved in intaglio into the centre and gilded. Qian is the northern trigram of the Bagua (the eight trigrams), represents heaven and leadership, and is the first character in Qianlong’s name. Thus, it is found inscribed in various personal objects used by Qianlong, and in addition to the poetic inscription, signifies that this object had a very personal connection.

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— AUCTIONS —

Highlights of the De Voogd Collection

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— AUCTIONS —

Asian Works of Art Auction Tues 23 June, 6.30pm MELBOURNE

OPPOSITE: A Chinese Longquan

Celadon Carved and Moulded Dragon Bowl Yuan Dynasty (1279-1368) 8cm High, 35cm Diameter $5,000-7,000 ABOVE: A Chinese Huanghuali

Kang Table Qing Dynasty (1644-1912), Circa 17th/18th Century 43cm High, 91cm Wide, 57cm Deep $8,000-12,000

A CHINESE LONGQUAN CELADON CARVED

A CHINESE HUANGHUALI KANG TABLE

AND MOULDED DRAGON BOWL

QING DYNASTY (1644-1912),

YUAN DYNASTY (1279-1368)

CIRCA 17TH/18TH CENTURY

The Longquan kilns in China’s Zhejiang province were

Zitan wood was favoured by the Imperial palace, but

known for their celadons since the Northern Song

huanghuali (yellow flowering pear) wood was the

Dynasty, but the most famous wares were created in the

favourite of the literati. Famous for its deep honey colour

Southern Song and Yuan Dynasties.

and exceptional watery figuring of the grain, during

This bowl is a good example from the Yuan Dynasty. It is made of high fired stoneware, with powerful carved scrolling foliage to the cavetto, and a sprig moulded

the Ming and Qing Dynasties it was crafted into simple architectural forms which exhibited the colour and grain to their best.

writhing four-clawed dragon to the centre, the high points

This ‘kang table’, was made for use on the kang (a heated

forcing the celadon glaze to pull back during the firing

platform popular in northern China, where a scholar

and pool around the dragon, exaggerating the three-

might work, eat, have meetings with friends or relax

dimensionality to give a heightened graphic power to the

during the colder months).

image. These bowls have been found in small numbers in Southeast Asia, Japan and Turkey (and can be seen in the Topkapi Museum collection), indicating that in addition to noble use in China, they were a rare, high-level export product of the Longquan kilns during the Yuan Dynasty.

It is waisted under the top surface, with subtly flaring legs terminating in hoof feet, the legs joined by humpback stretchers, with a fine beaded line along the inner edge of the legs, continuing along the underside of the apron, with a grain figured like flowing water to the top panel, including some characteristic ‘ghost face’ knots, a sought after feature of huanghuali.

CARL WANTRUP / Asian Art Specialist

leonardjoel.com.au | 21


— AUCTIONS —

MODERN DESIGN “The most important thing is that you love what you are doing, and the second that you are not afraid of where your next idea will lead” CHARLES EAMES

22 | leonardjoel.com.au


— AUCTIONS —

Modern Design Auction Mon 27 July, 6.30pm MELBOURNE

OPPOSITE: AN EARLY 1960'S

CHARLES AND RAY EAMES 670 & 671 LOUNGE CHAIR AND OTTOMAN Sold for $6,000 LEFT: A SET OF FOUR CHARLES

AND RAY EAMES DCM DINING CHAIRS Sold for $2,230

A Legacy of Modern Love Charles and Ray Eames are by far America’s most famous

Three pieces of moulded plywood were used to create

industrial designers; the husband and wife duo who

the chair, with a base, a separate headrest, and a

introduced modernist design to the mainstream. Best

backrest. All three pieces were covered in a rosewood

known for their elegant and functional furniture, they also

veneer, with later versions using walnut, cherry, and other

worked across many creative fields, such as architecture,

finishes. Black or brown leather cushions were used to

industrial design, photography and film.

complete the design, and a matching ottoman completed

The Bauhaus movement had pioneered the true

the set.

modernist functional approach before the war. Marcel

To celebrate the 50th anniversary of the Eames Chair

Breuer designed the ‘Wassily chair’ in 1928 that

in 2006, Herman Miller released new models using a

epitomised the ‘new age’ world of sleek, simple, and

sustainable palisander rosewood veneer. The chair is

functional furniture design. However, it was after the war

still in production today and remains one of the most

that Charles and Ray Eames began using the tools and

influential furniture designs in American history.

techniques of the Bauhaus, and shifting them into the mainstream. Their designs were pleasing and accessible - attractive to young consumers. They softened the hard edged pre-war designs and gave them mass appeal.

In 1949 Charles and Ray designed and built their own home in Pacific Palisades California, as part of the Case Study House Program. Their design and innovative use of materials made the house a destination for architects

The new generation of suburbanites wanted a different

and designers. Today it is considered one of the most

kind of décor, and Charles and Ray provided it. Their

important post-war residences in the world, alongside

mission statement was bold and simple: “We want to

that of the Irish modernist deisgner Eileen Gray's E-1027

make the best for the most for the least.” Charles likened

house built in Cape Moderne France, which is still

a good designer to a good host, anticipating the needs

famously disputed as being partly designed, or ruined, by

of his guests. The furniture they made was stylish and,

the late Le Corbusier.

above all, fit for purpose.

For Charles and Ray, design was a means to an end,

The couple was well-versed in mass-production pieces,

rather than an end in itself. “One can describe design as

they worked with both plastic and plywood when

a plan for arranging elements to accomplish a particular

designing chairs. Both materials are common today,

purpose,” said Charles. “The extent to which you have

but in the 1950s, the Eameses were some of the first

a design style is the extent to which you have not solved

designers to use plywood and plastic in their designs.

the design problem.”

The famous ‘Eames chair’ constituted the first major

The Eames legacy is an indelible imprint of a beautiful

development in chair design since Marcel Breuer. The

couple, destined to find each in a world of never ending

chair was released in 1956 with the official name Eames

design, and together create a spirit that continues

Lounge (670) and Ottoman (671) manufactured by

to enhance the lives of everyday people, and the

Herman Miller. The chair was the first one designed by

environments they inhabit.

the Eameses for the high-end market and has become one of the most famous chair designs ever created. ANNA GRASSHAM / Head of Modern Design

leonardjoel.com.au | 23


— PROFILE —

24 | leonardjoel.com.au


— AUCTIONS —

Prints & Multiples Auction Wed 29 July, 6.30pm MELBOURNE LEFT: KEITH HARING (1958-1990)

Silence = Death screenprint 84/200 82 x 82cm $20,000-30,000 OPPOSITE: Keith Haring, New York

City Subway, 1984

Prints & Multiples Keith Haring: Bridging the gap between the art world and the street. — Keith Haring is now a household name. He is known for

In the last year of his life, Keith Haring produced Silence

the progression of artistic movements, experimenting

= Death. This is now widely known as one of his most

with styles from expressionism to pop art. Haring’s work

prolific works to AIDS awareness and activism. In this

combines a distinct pop-graffiti aesthetic centred on fluid

piece, there are stick figures outlined in bold lines inside

bold outlines against dense, rhythmic imagery of babies,

and around a pink triangle. The pink triangle had been

barking dogs, flying saucers and hearts.

appropriated from a symbol used during the holocaust to indicate the people who were singled out for their

Raised in Pennsylvania, Haring came to New York in the

homosexuality. The figures vary from covering their ears,

late 1970s and attended the School of Visual Arts. Soon

their mouths and their eyes representing the ‘Hear no

after moving to the city, he discovered that the most

evil, See no evil, Speak no evil’ to the people suffering

beautiful paintings he saw were on subways, by graffiti

from AIDS who felt as if they had been silenced and cast

artists. Haring begun his subway drawings anonymously

away from society because of the disease.

and became a celebrity underground and above. In 1982 Haring began to show his art at the Tony Shafrazi Gallery,

Haring was 31 years old at the time of his death. His

which would represent him for the rest of his career.

art is still exhibited worldwide and many of his works are owned by prestigious museums. Haring’s art, with

Haring used his artist’s platform to raise awareness for

its deceptively simple style and its deeper themes of

social and political issues, such as the battle to end

love, death, war and social harmony continues to appeal

Apartheid, the AIDS epidemic and drug abuse. In 1988

strongly to viewers.

Haring was diagnosed with AIDS. This pushed him deeply to raise awareness further; he wanted to reach as many

We are lucky enough to be featuring a collection of

people as possible to highlight the importance of AIDS

screen prints by Keith Haring within the Prints & Multiples

and education.

July auction. Included in this collection is Silence = Death, one of Haring’s most recognised pieces created towards the end of his career. HANNAH RYAN / Prints & Multiples Manager

leonardjoel.com.au | 25


— PROFILE —

26 | leonardjoel.com.au


— AUCTIONS —

Luxury Auction Wed 29 July, 6.30pm MELBOURNE

OPPOSITE: John's Fauré Le Page

Pochette Cal LEFT: Fauré Le Page Emblem

Luxury Fauré Le Page – Armed for Seduction — Whilst on vacation in Paris in 2013, quite by chance I came

Now, back to my purchase. The piece is decorated in

across one of France’s oldest Luxury houses, Fauré Le

the iconic Ecaille ‘scale’ motif; inspired by the scales

Page. I was immediately seduced by what I later would

of a dragon and now the hallmark of all the Fauré Le

find out was their signature piece, the Fauré Le Page

Page collection. I love this accessory and receive many

Pochette Cal.

compliments when sporting in on the weekends with a

Inspired by a handgun holster, the accessory pays homage to the house’s roots as a firearms manufacturer. Founded in 1717, the house made its mark in French history when it handed out weapons to the revolutionary French forces in 1789 and again in 1830. In 2012, the relaunched three hundred-year-old family owned firm moved to its current quarters at 21 Rue Cambon, Paris, in good company next door to the legendary Chanel boutique at number 31.

casual shirt, a pair of jeans and sneakers. My only complaint is that its nifty enough for all of life’s essentials, credit card, house, and car keys, but alas it is too small for a mobile phone. Still, this piece is amongst my favourite designer accessories and true to the Fauré Le Page motto ‘Armé Pour Séduire’, when I wear it I am certainly armed for seduction… or so I think? JOHN D'AGATA / Luxury Manager

leonardjoel.com.au | 27


— AUCTIONS —

THE COLLECTOR'S AUCTION III

28


— AUCTIONS —

The Collector's Auction III Tue 30 June, 6pm SYDNEY

ABOVE: A selection of Royal

Worcester from the Hailey Collection

Leonard Joel Sydney is pleased to present The Collector’s Auction III on Tuesday the 30th of June 2020 at 6pm at our Woollahra location. This multi-vendor auction is comprised of a unique selection of fine art, decorative art, furniture and porcelain from notable private Australian collections.

OPPOSITE: A selection of

Highlights from The Collector's Auction III

The Collector’s Auction includes an impressive selection of fine art, notably the only oil painting by Marc Chagall to be sold in Australia, Bouquet au coq jaune, ca 1960; a work on paper by Lee Krasner, the wife of Jackson Pollock, whose critically acclaimed retrospective at the Barbican, London, was held last year; an expansive canvas by the esteemed Australian artist Wendy Sharpe, winner of both the Archibald and Sulman Prizes; a dynamic composition by British-born Australian artist Alun Leach-Jones, featuring his signature approach to abstraction; four paintings from the Thomas Kenneally Collection including iconic Australian artists Garry Shead and David Boyd; and a fascinating collection of paintings, drawings and personal letters by Frank Hinder, a pioneer of Australian abstract art. Following the success of The Hyde Collection Auction at Leonard Joel Sydney in December we are proud to present part two of the collection including an impressive collection of rare pocket watches and scent bottles, clocks by respected English horologists, and fine early

THE HAILEY COLLECTION OF ROYAL WORCESTER This extraordinary collection was acquired both locally and internationally during the 1970s, purchased locally from David Jones and Prouds, and overseas from Sotheby’s Belgravia and specialist antique and porcelain dealers. The Hailey family were meticulous in their pursuit of acquiring high quality pieces in pristine condition. The golden period for decorative Royal Worcester ranges from the 1890s through to the 1950s. Royal Worcester had some of the greatest artists ever to put brush to porcelain working at its factory. In 1889 Worcester acquired the Grainger factory whose chief painters were the Stintons – John senior and junior and brother James. John junior and his son Harry specialized in painting Highland Cattle. Neither of them had ever been to Scotland and so painted all their work from imagination and postcards. It is said that John couldn’t paint cattle’s hooves hence he always painted them in long grass, this can be seen in the examples held in this collection. John painted for almost 40 years until 1938 and is renowned as one of the greatest landscape painters on porcelain of all time. This collection includes pieces by John, Harry and James Stinton. Other highlights include pieces by Harry Davis, another celebrated painter whose most well-known subject was highland sheep and whose 70+ year career ended in 1969; Charles Balwin’s classic Swan’s pot pourri vase and cover; and a fine pair of vases and covers of fruit in a woodland landscape by Freeman, dated 1956.

English walnut and mahogany furniture. In the porcelain section of the auction Leonard Joel presents the Hailey Collection of Worcester which includes works by Davis, Baldwin and Stinton; a fine collection of 18th Century Meissen; and several rare examples of Wegely porcelain, Berlin, 1751-1773. The furniture in the auction includes three rare early to mid-16th Century Italian walnut coffers, acquired from Di Clemente, Florence, and a rare 17th Century walnut priedieu purchased in 1987 from Csaky’s Antiques, London. leonardjoel.com.au | 29


— AUCTIONS —

PAINTINGS FROM THE COLLECTION OF THOMAS KENNEALLY

WATCHES FROM THE HYDE COLLECTION

The Collector's Auction III

A collection of approximately 50 rare pocket watches

Tue 30 June, 6pm

Thomas Kenneally (born 1935) is a prolific Australian

dating from the late 17th Century through to the early

SYDNEY

novelist, playwright and essayist. His first novel was

20th Century. There are many fine examples of the

published in 1964 and he has won numerous awards

watchmaker’s craft, both technically and aesthetically,

including the Miles Franklin Award, the Booker Prize, the

with movements such as quarter repeating musical,

Los Angeles Times Prize, the Mondello International Prize,

striking, quarter repeating cylinder and classical cylinder,

and has been made a Literary Lion of the New York Public

and decorative elements of fine enameled dials, gold

Library. He is perhaps best known for his non-fiction novel

repoussé work, red tortoiseshell pique, and pictorial

born 1942 Bettany's Book oil on board 35.7 x 56.8cm $25,000-35,000

Schindler’s Ark, the story of Oskar Schindler’s rescue of

enamels. The watches are by world renowned makers,

TOP RIGHT: A selection of watches

Jews during the Holocaust, which won the Booker Prize

many considered the finest in their craft, including

from the Hyde Collection

in 1982. The book was later adapted into the 1993 film

George Ritherdon (circa 1760), Francis Perigal (circa

Schindler’s List, directed by Steven Spielberg which won

1771), Cornelius Herbert (circa 1720), Edward Tomlin

the Academy Award for Best Picture. Kenneally has a

(circa 1795), Henry James (circa 1690), JNO Jackson (circa

passion for Australian history, sometimes featuring iconic

1820), Thomas Uttering (circa 1830), Thomas Windills

Australian artists on the covers of his books. For example,

(circa 1690), Eardley Norton (circa 1770), Julien LeRoy

the painting by Garry Shead in the upcoming auction was

(Paris, circa 1750), Gerrit Braemer of Amsterdam and

the cover artwork for Bettany’s Book, an epic Australian

Breguet, Paris.

novel inspired by a diary Keneally discovered while carrying out research.

SCENT AND SNUFF BOTTLES & WATCH KEYS FROM THE HYDE COLLECTION

CLOCKS FROM THE HYDE COLLECTION There are several fine English bracket clocks by Paul

A collection of approximately 60 snuff and scent bottles,

Barraud, Thomas Grigon, and Johnson of Greys Inn

each a fine example of the opulence of their time, finely

Passage, as well as a rare 18th Century ebonized bracket

crafted in silver, gold, agate, coral, porcelain, enamel,

clock with carillon and bird automaton by John Henry

jade, crystal, and Venetian glass.

Borrell (1757-1840). Also included in the auction is a rare

A rare offering of over 100 English and European fine

James II walnut marquetry long-case clock by Morgan

gold watch keys, some in steel or silver, with Georgian

Herbert, London circa 1690.

examples set with micro mosaic, paste, and cameo. There are many of novelty form such as horses, foxes, boar heads, cannons, wrench, scissors, polo mallets, compass, and guns. Also found in this collection of watch keys are several in gold by Breguet.

30 | leonardjoel.com.au

TOP LEFT: GARRY SHEAD

OPPOSITE: A selection of Highlights from The Collector's Auction III


— AUCTIONS —

BOUQUET AU COQ JAUNE, CA 1960, THE ONLY MARC CHAGALL OIL PAINTING TO BE SOLD AT AUCTION IN AUSTRALIA, RETURNS TO MARKET WITH LEONARD JOEL, SYDNEY ON 30TH JUNE. The joyous painting Bouquet au coq jaune, ca 1960 is definitively Marc Chagall. It reflects the personal fantasy Chagall created on his canvases. Leitmotifs of entwined lovers, floral bouquet and rooster float within a deliberately ambiguous spatial plane. The vibrant palette and expressive handling of paint demonstrate why Chagall is regarded as a master colourist. Bouquet au coq jaune, ca 1960 was likely painted towards the end of Chagall’s career, around the time he and his second wife Valentina (Vava) moved to the outskirts of Saint-Paul de Vance in 1966. Flowers filled his paintings of this period and his compositions included reference to the village and its ramparts as viewed from his home. It was during this time he painted two large murals for the lobby of the Metropolitan Opera House at Lincoln Centre in New York. Chagall cherished what he called the lumière-liberté, the light of freedom, in the French Riviera. It inspired a joyous renewal of creative possibility which Chagall expressed through a series of sumptuous floral paintings. His paintings, as in the example of Bouquet au coq jaune, ca 1960, were a celebration of life through colour and references to love. As Chagall wrote: “in our life there is a single colour, as on an artist’s palette, which provides the meaning of life and art. It is the colour of love”. The rooster had long been a symbol in Chagall’s paintings, in part referencing his personal identity and nostalgia for his peasant origins. Chagall was born in Vitebsk, Russia, of a large and poor Jewish family. From his background he acquired a repertoire of RussianJewish folktales and sentimental attachment to the Jewish religion and traditions. From these elements emerged his profoundly personal and poetic compositions, which were distinct in their lyricism and sentimentality from the avantgarde developments of his peers. © Marc Chagall/ADAGP. Copyright Agency, 2020

Chagall’s artistic development was also informed by the early years he spent in Paris, where he first arrived in

appearing as through from a dream, a visualisation of the

1910 from St. Petersburg. He absorbed the influences

subconscious.

of Fauvism and Cubism. Although he departed from the analytical and fragmented representation of form,

As Pablo Picasso stated: “I don’t know where he gets

the fauvist passion for colour remained with him.

those images from; he must have an angel in his head”.

Chagall also synthesised Surrealism within his practice, with paintings such as Bouquet au coq jaune, ca 1960

JANE MESSENGER / Independent Writer

leonardjoel.com.au | 31


— PROFILE —

Minutes with… REBECCA STORMONT

Running our lively Objects & Collectables department there's never a dull moment. This issue, we spend five minutes with Rebecca Stormont, who works with an eclectic range of objet d'art offered through The Thursday Auction each week. FAVOURITE MAKER / ARTIST I’m a fan of Jess Johnson’s art. I enjoyed her exhibition

I enjoyed the dark and funny absurdity of 'My Year of

'Terminus' at Heide at the end of last year and was very

Rest and Relaxation,' by Ottessa Moshfegh which is

happy to get one of the prints she produced to raise

about a young woman who decides to embark on a year

funds for the bush fire relief earlier this year.

of chemically induced hibernation.

FAVOURITE WORK OF ART / OBJECT

YOUR IDEAL DAY IN MELBOURNE

Some of my favourite objects that I have seen go

It would start with a strong coffee and croissant from

through auction have been indigenous artefacts such

one of Melbourne's many amazing cafes before heading

as a spectacular Royal Hawaiian Lei Hulu made from

out of the city to one of the national parks for a day of

the feathers of the now extinct ʻōʻō bird, a Maori Kahu Huruhuru (feather cloak) made from flax and native bird feathers, and a carved Maori Oko Ngarahu (tattoo pigment pot). FAVOURITE COFFEE / WINE / COCKTAIL Homemade cold brew coffee - it’s easy to make and less acidic than regular hot coffee.

32 | leonardjoel.com.au

FAVOURITE BOOK

hiking - I'm looking forward to exploring the Grampians and Wilsons Promontory in the near future.


— MELBOURNE & SYDNEY —

Valuations

Leonard Joel is the only auction house in Australia with a dedicated Valuations department, enabling us to offer a broad range of specialist expertise for the valuation and auction of single items and entire collections. — COMPLIMENTARY VALUATIONS IN MELBOURNE & SYDNEY

ONLINE VALUATIONS To submit items for valuation, simply complete the form

We offer complimentary verbal valuations in our

on our website and a Leonard Joel specialist will contact

Melbourne and Sydney salerooms by appointment.

you within 5-10 working days.

Contact us today to discover the value of your treasures. Join us, virtually, for our Valuations Evenings in Melbourne on the first Wednesday of every month from 5pm and in Sydney, Valuations Days every

Please contact our Head of Valuations, Caroline Tickner, if you would like further information. 03 8825 5638 | caroline.tickner@leonardjoel.com.au

Wednesday from 10am. *Please note that, during busy times, we can only spend 15 minutes with each client. If you have several items for valuation, please make an appointment with one of our specialists.

leonardjoel.com.au | 33


22

ND REPORT

The Panda-Masuie Release Project —

Photo credit: ©IFAW/Lesanne Dunlop.

Many of you will already be aware from previous articles,

At the core of IFAW’s philosophy is that individual animals

of Leonard Joel and IFAW’s (International Fund for Animal

matter. As the challenges that these individual animals

Welfare) friendship, which has already driven critical

and their habitats face have grown larger and more

momentum for change within the environmental sector.

complex, so has IFAW’s approach. And given that we are

In 2016 we initially worked together to help the Leonard Joel team phase out ivory sales over two years, as well as implement a full ban on rhino horn. Since that point,

asked regularly is “how does IFAW continue to operate on the ground?”

Leonard Joel was and remains a vocal champion of the

To answer this, we recently released some images of

domestic ivory ban and has openly and actively used its

rangers in Zimbabwe who continue to work to look after

reputable platform to influence other auction houses in

threatened wildlife such as elephants. But, because of

Australia and internationally, to adopt similar bans.

COVID-19, they are not able to return to their homes and

This unrivalled commitment by Leonard Joel’s Managing

families between their shifts, while a lack of tourism has

Director John Albrecht and his entire team to stopping

had a huge impact on local communities and economic

wildlife trade by reducing demand has been instrumental

pressure has increased the risk of poaching.

in securing an Australian Government announcement last year that they would look to implement a domestic ivory ban.

The following interview with colleagues and images from the IFAW-supported Panda-Masuie Release Project in Victoria Falls, highlights the work that is undertaken to

Since that announcement, IFAW continues to put pressure

look after a herd of 14 rescued and rehabilitated elephant

on our Federal and state governments, and governments

orphans that are learning to live as wild elephants in a

around the world to implement domestic bans.

groundbreaking venture.

But our work protecting elephants doesn’t stop there.

REBECCA KEEBLE

We don’t and won’t stop poaching by targeting one place

Regional Director Oceania, IFAW

or decision; we need to tackle wildlife trade every single step of the way: from the source through transit points to the destination, both offline and online; by pushing for and improving policies and legislation, devoting resources to law enforcement, and reducing demand.

34 | leonardjoel.com.au

all living through a global pandemic, one question I’m


Photo credit: ©IFAW/Lesanne Dunlop.

Photo credit: ©IFAW/Lesanne Dunlop.

In a partnership between Wild is Life-ZEN, Zimbabwe’s

From elephants targeted for their tusks, to smaller game

only elephant rescue centre, and IFAW, young elephants

at risk of poaching for the pot, no wild animal is safe from

now have the chance to roam safely and slowly integrate

the bullet or the snare. At the same time, communities

with wild herds in a vast protected forest reserve, which

need to be protected from wildlife conflict as people and

the organisations secured in another first for Zimbabwe –

animals compete for limited resources such as water, land

the land had previously been used for hunting.

and grass. This is the job of the forestry rangers.

Despite a strict lockdown, the work continues and both

IFAW commissioned this series of photographs telling the

the elephants’ individual handlers who work tirelessly with

story of a small community of people living and working

each elephant and the rangers who protect them all have

together as a family for an extended period during

been on site for up to eight weeks without a break, and

extraordinary circumstances, dedicating their lives to the

with none expected any time soon. Long-term quarantine

elephants and their forest home. It focuses on Paradzai

has ensured the health of the staff and so here, protective

Mutize, head elephant handler at Panda-Masuie and

gear like gloves and masks are not currently being worn.

Francis Ncube, Forestry Commission ranger.

“Most of the elephants at Panda-Masuie were rescued as

It is a unique story that keeps the tale of the rescued

orphans by the Wild is Life-ZEN elephant orphanage in

elephants undergoing their gradual rewilding central, at

Harare,” said Neil Greenwood, IFAW’s Regional Director,

the same time speaking to the critical role of the rangers

Southern Africa. “Some calves are rescued when no

protecting the handlers as well as their anti-poaching

more than a few weeks old. It has taken years of careful

patrols.

nurturing to ensure they were prepared to move to the facility 700 kms away at Victoria Falls.

“It’s impossible to put this kind of rehabilitation work on hold – it simply can’t be interrupted,” said Jos

“IFAW believes in the importance of rescuing and

Danckwerts, Project Manager at the Panda-Masuie

protecting individual animals as well as whole populations

Release Site.

so this is a vital project which continues to provide daily care and protection, despite the challenges of the global pandemic.”

“Every day sees each individual take one step closer to living their lives as a free-roaming elephant. The handlers are selfless in their commitment, better still they can

The pandemic has had a catastrophic effect on Victoria

do their work knowing the elephants are secure and all

Falls’ main employer, the tourism industry. In a country

thanks to the Forestry Rangers. It’s a remarkable team

already hard hit by drought and food shortages, the

effort,” said Danckwerts.

economic fallout on communities dependent on a thriving tourism industry has been catastrophic. Hotels and lodges at the world famous waterfalls have closed, incomes have dried up and people are desperate to put food on the table. The temptation to poach wildlife to provide food for families and for economic gain has

The Panda-Masuie Release Project is helping its staff cope in different ways, including building a small bush chapel, to support the staff’s spiritual needs. Practically, a vegetable garden has been extended to provide a productive leisure activity.

become that much greater. Panda-Masuie Forest Reserve has not been exempt and has seen a marked uptick in the number of poachingrelated activities.

leonardjoel.com.au | 35


— RECIPE —

Hobba's Mushroom Potato Galette PISTOU SAUCE

GALETTE

FOR THE CAPSICUM CAVIAR

gram Flat leaf parsley

1.25 kg Royal blue or similar

75 mls (strained) Capsicum juice

50 grams basil

potato

0.5 gram Sodium alginate

2-3 cloves garlic

100 mls Clarified butter

175mls water

120-150ml Olive oil

1 tablespoon Thyme leaves

0.9 grams Calcium chloride

50 grams gruyere To taste Sea salt

75 mls (strained) Capsicum juice FOR THE MUSHROOM STACK

0.5 gram Sodium alginate

12 Flat field mushrooms (small to FOR THE PUREE

medium in size)

500 grams Button mushroom

18 oyster mushrooms

1 tablespoon Porcini powder

6 king brown or king oyster

1 teaspoon tarragon

1 punnet (200g) enoki

3 tbs oil

12 Flat field mushrooms (small to

2 cloves Garlic

medium in size)

½ lemon Lemon juice

18 oyster mushrooms

100 mls (more to blend) water

6 king brown or king oyster

Chef Name: Joshua Green Serving Size: 6 pax

DETAILED METHOD: For the Gallete: (This needs to be made the day before, as it needs to be weighed down in the refrigerator overnight) • Preheat oven to 170 c and line a 26cm by 32 cm baking dish with non stick baking paper. Wash, peel and wash potatoes again. Using a mandolin or a very sharp knife, thinly slice the potatoes length ways into 0.5 cm slices. • Brush the bottom of the lined baking dish with clarified butter and begin to layer with the sliced potato, with a slight overlap on each piece to ensure no gaps. Between each layer brush with more clarified butter and season with thyme leaves and salt. • Cover with tinfoil and bake for 60 mins or until cooked (pierce with knife to check this). Remove tinfoil and place non stick paper on top. Press with a similar sized tray weighed down with some heavy tins or bottles filled with water in the refrigerator overnight. It is important that the weight is evenly distributed on the galette overnight. • Remove from the tin and trim edges. Slice into 6 even pieces, approx. 8 x 9cm

For the Capsicum Caviar: • Use a juicer to juice capsicum and strain through cheese cloth or a fine

For the Pistou: • Pick herbs from stem and wash and dry thoroughly. • Combine all ingredients except the olive oil in blender and blitz together slowly adding the olive oil until desired texture and consistency has been

Plating: • Fry each portion of galette in a pan until warmed through and golden and crispy on each side. Remove and place on paper towel. • Sauté oyster and king brown mushrooms, ensuring not to overcrowd the

reached. It should be thick enough to coat the field mushrooms when tossed together.

pan so mushrooms can colour and cook evenly. Remove and place on paper towel to remove excess oil. • Toss hot flat mushrooms with pistou until well coated. • Slowly drop individual droplets of the capsicum mix into the calcium chloride solution to form caviar sized spheres. Leave in solution for 1 min to set, then strain into a small tea strainer or sieve. • Place gallette in the middle of the plate. Place pistou tossed mushrooms on top of the gallete as evenly as possible, stack the sauted oyster mushrooms on top followed by the king browns in a criss cross formation to form a stack. • Using either a squeezy bottle or piping bag pipe three dots of the puree around the gallete, and using a teaspoon place an even amount of the caviar on top of each portion of puree. • Ball up the crispy enoki to form 6 nest like bunches and place on top of the king browns and garnish with micro herbs or a sprig of chervil • Enjoy

For the mushroom Puree: • Reconstitute the porcini powder in hot water. Thinly slice mushrooms and roughly chop garlic cloves. • Heat oil in a heavy based deep pan or pot and add mushrooms and cook until they are a deep golden brown. Halfway through cooking add the garlic so as not to burn it. Add porcini stock and deglaze pan. Add mushrooms and all remaining ingredients into a high speed blender and blitz until smooth adding more water if necessary. Puree should be smooth and creamy and be able to hold its form when piped. Season to desired taste with salt and lemon juice. • Transfer to piping bag or squeezy and bottle and keep warm for plating.

strainer. • Using a stick blender or blender, thoroughly mix the sodium alginate into the capsicum juice. Strain once more and pour mixture into small squeezy bottle or use a syringe. • Dissolve calcium chloride in water and set aside in the refrigerator. For the mushroom stack: • Remove roots from the bunch of enokis and peel apart each mushroom from the bunch. Spread out evenly and thinly on a lined baking tray and drizzle with olive oil and season with salt. Bake in a preheated oven at 170 centigrade until golden brown. Don’t worry if they are not crispy in the oven, they will crispen up as they cool. Once cool transfer to an airtight container. • Prep the oyster mushrooms by tearing them up into even sized strips and remove the roots from the king browns and slice each one into four lengthways. Bake the flat fields mushrooms in the oven until cooked.

HOBBA 428 Malvern Rd, Prahran VIC 3181 | www.hobba.com.au


— PROFILE —

Under The Hammer Welcome to our feature, Under the Hammer, in which we will share one of the rare, beautiful and extraordinary pieces to pass through our doors since the last issue. A rare Georgian Silver and Walnut Etui recently sold in our dedicated Thursday auction for $870 (IBP), and we were immediately fascinated by the little objet d'art. An etui – borrowed from the French ‘étui’, meaning ‘case’ – is a small ornamental bag or container, used for holding articles such as needles, or in this case, thimbles and a silver pick. That’s etuis in a nutshell!

BESPOKE MOVES

NO MATTER WHAT DEPARTMENT YOU ARE PURCHASING FROM, BESPOKE MOVES WILL TAILOR A SOLUTION TO YOUR BUDGET - FROM AN LV HANDBAG, LOUIS XIV BUREAU PLAT, A LINDSAY LITHOGRAPH OR LARGE DIAMOND RING, THROUGH TO AN ENTIRE ESTATE, BESPOKE MOVES LOVE LOOKING AFTER LEONARD JOEL CUSTOMERS. SO PLEASE CONTACT US ANYTIME WE ARE HERE TO HELP

M

Installation Packing & Crating Restoration

Unpacking & Home Set Up Valuation Courier Service

Luxury Home Relocations

Import & Export Interstate & Local

leonardjoel.com.au | 37



— PROFILE —

leonardjoel.com.au | 39


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Value / Sell / Buy Contact a Leonard Joel Specialist

John Albrecht

The Thursday Auction Specialists —

03 8825 5619 | john.albrecht@leonardjoel.com.au

ART SALON

MANAGING DIRECTOR & PROPRIETOR

Auction Specialists — PRIVATE COLLECTIONS John Albrecht, Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au

Hannah Ryan 03 8825 5630 | hannah.ryan@leonardjoel.com.au FURNITURE Nick Bastiras 03 8825 5640 | furniture@leonardjoel.com.au JEWELLERY

FINE ART Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au

Maria Walker 03 8825 5621 | maria.walker@leonardjoel.com.au OBJECTS & COLLECTABLES

JEWELS Julie Foster, Head of Department 03 8825 5605 | julie.foster@leonardjoel.com.au DECORATIVE ARTS

Rebecca Stormont 03 8825 5625 | objects.assistant@leonardjoel.com.au

Valuations

Chiara Curcio, Head of Department 03 8825 5635 | chiara.curcio@leonardjoel.com.au Hamish Clark, Head of Department, Sydney 02 9362 9045 | hamish.clark@leonardjoel.com.au MODERN DESIGN Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au COLLECTABLES Rebecca Stormont 03 8825 5625 | objects.assistant@leonardjoel.com.au LUXURY John D'Agata 03 8825 5605 | john.dagata@leonardjoel.com.au

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

Marketing & Communications — Blanka Nemeth, Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au Nicole Kenning, Consultant 03 8825 5620 | nicole.kenning@leonardjoel.com.au Maria Rossi, Graphic Artist Adam Obradovic, Photographer Henry Murphy, Photographer

Bethany McGougan 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au PRINTS & MULTIPLES Hannah Ryan 03 8825 5630 | hannah.ryan@leonardjoel.com.au

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

LEFT: An Important Solitaire Diamond Ring by Tiffany & Co. Sold for $225,600

This document has been produced to international environmental management standard ISO14001 by a certified green printing company.


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42 | leonardjoel.com.au


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