ISSUE 87 AUGUST – SEPTEMBER 2020
LEONARD
The Collection of the Late John Schaeffer AO
AUGUST
Important Jewels
SEPTEMBER
An Important Forthcoming Auction / SYDNEY
Fine Jewels & Timepieces
Wednesday 26 August, 6.30pm / SYDNEY
Monday 7 September, 6.30pm / MELBOURNE Fine Art Tuesday 8 September, 6.30pm / MELBOURNE Scandinavian Design
OCTOBER
Thursday 10 September, 6.30pm / MELBOURNE Women Artists Monday 19 October, 6.30pm / MELBOURNE Decorative Arts Monday 19 October, 2pm / MELBOURNE Asian Works of Art Monday 19 October, 6.30pm / MELBOURNE
NOVEMBER
auction calendar —
Modern Design Monday 16 November, 6.30pm / MELBOURNE Prints & Multiples Wednesday 18 November, 6pm / MELBOURNE Luxury Wednesday 18 November, 6pm / MELBOURNE The Thursday Auction Furniture & Interiors – 10am Jewellery – 10.30am Art Salon – 12.30pm Objects & Collectables – 1pm MELBOURNE
LEFT: A SMALL MALACHITE
COVER: A selection of timepieces and
GLASS VASE Moulded in relief with a continuous frieze of dancing maenads. Height 12cm $400-600
luxury scarves at Leonard Joel
The Collection of the Late John Schaeffer AO
welcome —
This Issue FROM THE DIRECTOR 3 Celebrating Collectors AUCTIONS 4 Private Collections: The Collection of the Late John Schaeffer AO 6 Important Jewels: Hamish Sharma 10 Fine Art: The Persistence of Memory
Welcome to the 87th issue of Leonard. Within this issue, we get to know Hamish Sharma, Leonard Joel's new Head of Important Jewels, discover fascinating highlights from upcoming collections, take a tour through The Green Vault, learn how to choose a timepiece and ponder why Hermès pieces are so expensive. We also say farewell to two of our great collectors, John Schaeffer AO and John Rosenberg. We hope you enjoy.
12 Fine Jewels & Timepieces: Ruby: The King of Gemstones 14 Fine Jewels & Timepieces: Choosing the Right Wristwatch 16 Decorative Arts: The Green Vault 18 Modern Design: The World Turned Inside Out 20 Prints & Multiples: Jessie Traill 22 Luxury: Why is Hermès so Expensive? – IN FOCUS 24 5 Minutes with Dominic Kavanagh 25 Valuations 26 22nd Report: The critical role of law enforcement at preventing future pandemics 28 In Memory of John Rosenberg 29 Under The Hammer JOIN US 32 Connect & Buy with Leonard Joel 33 Contact a Leonard Joel Specialist
leonardjoel.com.au | 1
— PROFILE —
2 | leonardjoel.com.au
— FROM THE DIRECTOR —
CELEBRATING COLLECTORS — Remembering John Schaeffer & John Rosenberg
The privilege of working at Leonard Joel is not just our continuous exposure to both the rare and the beautiful on a daily basis, but also the time we enjoy with the custodians of these things. Over time, I have found that collectors often build an extraordinary knowledge and history around their collection or, if they have sometimes a single treasure, an intense affinity with that piece; its history, its maker, its mediums and its meaning in their life. To enjoy the insights and knowledge of a great collector during the processes of auction is a rarity, and an even greater pleasure than the mere management of the property, as so often the collection is handed to us at the stage when it has either become an estate or is in the hands of advisors or family sometimes less connected to the spirit of the collection. The tragic passing of John Schaeffer, indisputably one of the great Australian collectors with an international outlook, reminds us that we auctioneers are so very lucky when we get that rare privilege of working hand-in-hand with a collector of this calibre. Our Sydney salerooms enjoyed just that privilege as John Schaeffer worked for weeks with Hamish Clark, our Head of Sydney, on the catalogue and curation of this extraordinary collection that we will celebrate at our Woollahra location. Melbourne too has seen the recent passing of a great collector-dealer who lived and dealt in Geelong, John Rosenberg. For decades John and his wife Lorraine would, without fail, attend our objects room every week and quietly, always politely and with occasional great wit would observe the offering of every single object and would also bid (with great discipline I might add) on the finest and most interesting pieces. The Rosenbergs knowledge of porcelain was legendary, as was Lorraine’s sense of
OPPOSITE: John Schaeffer AO -
art collector and philanthropist 2014 by Evert Ploeg. Collection: National Portrait Gallery. © Evert Ploeg ABOVE: A GREEN AND RED
GLAZED JUG DESIGNED BY CHRISTOPHER DRESSER $1,000-1,500 The Collection of the Late John Schaeffer AO
humour, and complimented so well by John’s gentility. Their combined knowledge was encyclopaedic and beyond compare in Australia for their field and testament to this was the fact that if a public institution struggled to identify a piece of porcelain, the Rosenbergs were considered the ultimate authority. Despite the loss of these great collectors I have no doubt that their unwavering passion for the decorative arts will live on in the myriad of conversations they have shared about their collections and the nature of collecting. JOHN ALBRECHT
Managing Director / National Head of Collections
leonardjoel.com.au | 3
— AUCTIONS —
PRIVATE COLLECTIONS The Collection of the Late John Schaeffer AO
Expressions in Bronze: The Work of Alfred Gilbert — The Collection of the Late John Schaeffer AO SYDNEY
OPPOSITE:
SIR ALFRED GILBERT M.V.O RA (British, 1854-1934) Comedy and Tragedy: Sic Vita c. 1890-2 (cast later) bronze, rich mid and dark brown patination, on marble base Height 39cm $55,000-75,000
Alfred Gilbert was the leading exponent of the New
Gilbert guides the viewer’s eye around the sculpture
Sculpture movement in British art, which was coined by
to reveal a complex narrative contained within. The
critic Edmund Gosse in an 1876 article in Art Journal.
spectator appreciates the work from multiple viewpoints.
Gilbert looked to the idealism and athletic beauty of
The young boy is shown from one angle holding a comic
ancient Greek and Roman figurative sculpture and infused
mask and from another, grimacing in pain a bee sting.
it with a physical and psychological expression. He was
The symbolism informing the contrasting emotions and
responsible for creating one of London’s grandest public
tension within the sculpture was explained by Gilbert:
sculptures, Eros Fountain in Piccadilly Circus (designed as a memorial to Lord Shaftsbury).
by a bee – the symbol of love. He turns, and his face
Comedy & Tragedy: Sic Vita belongs to a group of
becomes tragic. The symbol is in reality fact. I was
sculptures referred to as the Great Bronzes within
strung […] by my love for my art, a consciousness of its
Gilbert’s oeuvre. Within these iconic works, Gilbert
incompleteness. […] I was living a kind of double life at
achieved monumentality without sacrificing intimacy.
that time, enjoying the society of Irving and Toole and
The Schaeffer bronze is a reduced version of the original
other famous and pleasant members of the Garrick Club
(a plaster of which was exhibited at the Royal Academy
going to the theatre at night, and with Tragedy in my
in 1892), produced by Gilbert for his expanding
private life, living my Comedy publicly, if not enjoying it."
collectors’ market.
While outwardly successful (the smiling comic mask),
The complexity of form and symbolism distinguishes
Gilbert was trapped in a spiral of debt, disputes over
Comedy & Tragedy: Sic Vita. Gilbert’s technical virtuosity
uncompleted commissions and anxiety about his sick
is apparent in the contrapposto arrangement of the figure
wife (the tormented face of the boy). The Latin subtitle to
pivoting on one foot. Movements oppose, as the naked
the work means ‘Thus is life’. Gilbert’s ability to combine
boy thrusts a comic mask in one direction while twisting
contrasting expressions within the one figure was
his upper body the other to observe a bee stinging his
testament to his brilliance.
left calf.
4
"…represents a boy carrying a comic mask. He is stung
JANE MESSENGER / Independent Writer
— AUCTIONS —
leonardjoel.com.au | 5
— AUCTIONS —
6 | leonardjoel.com.au
— AUCTIONS —
IMPORTANT JEWELS A Magnificent Collection Inaugurating our first Important Jewels sale, I have
gray-blue and pink diamond toi et moi ring, a dazzling
Important Jewels Auction
curated an array of exceptional jewels from the early
17.34 carat emerald cut diamond mounted in platinum
Wed 26 Aug, 6.30pm
20th Century to the present, along with an exquisite
estimated at $450,000 to $550,000, a magnificent
SYDNEY
selection of colourless and coloured diamonds of the
Art Deco diamond bracelet estimated at $150,000 to
finest quality and world-class standard.
$200,000 and many interesting and collectable jewels
ABOVE: 18CT FANCY GRAY-BLUE
AND PINK DIAMOND AND DIAMOND RING $450,000-550,000 LEFT: PLATINUM AND DIAMOND
ART DECO BRACELET $150,000-200,000
Led by an exceptional 9.02 carat fancy vivid yellow internally flawless diamond estimated at $650,000 to $750,000, the sale also features a sensational fancy
from the iconic houses of Cartier, Bulgari, Tiffany & Co., David Webb and Buccellati, sure to appeal to seasoned collectors and first buyers alike. HAMISH SHARMA / Head of Important Jewels
leonardjoel.com.au | 7
— AUCTIONS —
8 | leonardjoel.com.au
— AUCTIONS —
We are thrilled to welcome Hamish Sharma to the team as the Head of Important Jewels, an exciting new department at Leonard Joel. Based in our Sydney saleroom, Hamish will curate and present three Important Jewels auctions annually, focusing on exceptional diamonds and coloured gemstones, along with signed jewels from iconic international design houses. We sit down with Australia’s most credentialed auction jewellery expert to find out more about where his fascination and passion for jewellery began and learn about his plans for this new category at Leonard Joel. — Tell us a bit about yourself and your background in
experiences relates to the discovery in March 2019
Important Jewels Auction
auctions and jewels.
of a unique and rare Cartier Egyptian inspired jewel
Wed 26 August 6.30pm
My love of jewellery began at a very early age, whilst
from the 1920s. Sifting through the client’s jewellery
SYDNEY
rummaging through my mother’s trinket box and as a
box, nestled at the bottom I spotted an open work
child following her around countless jewellery stores in
white metal plaque centring an Egyptian lotus vase
Delhi. My career in jewels began in retail sales in New
motif decorated with pear-shaped, rose-cut and old
Zealand following on from which I studied gemmology,
mine-cut diamonds between calibré-cut onyx, framed
leading me into jewellery design. I would travel frequently
by a similarly set architectural surround, centred on a
to the gemstone cutting centres of Mumbai, Jaipur and
later Van Cleef & Arpels three strand pearl collar. On
Bangkok, sourcing diamonds, emeralds, sapphires and
louping the centrepiece, I identified the pendant/brooch
rubies. As a trader in antique jewellery through leading
as a rare work by Jacques Cartier from the London
international auction houses in Geneva, London, and
workshop. Howard Carter’s discovery of the tomb of King
New York, I developed a thorough understanding of the
Tutankhamun in 1922 ushered in a wave of Egyptomania
auction industry and was appointed Head of Jewels of
in Europe and across the Atlantic, and the motifs
Sotheby’s Australia in 2010. My personal journey has
informed the fashion, parties, and theatre of the day.
evolved from looking at jewels solely from a value centric
In his timeless designs, Jacques Cartier maintained the
perspective to an admiration and appreciation for design
integrity of the ancient styles whilst updating the motifs
led jewels as works of precious, wearable art.
for modern audiences. I auctioned this piece in May
OPPOSITE: Hamish Sharma,
Head of Important Jewels, at our Sydney Saleroom, The Bond 36-40 Queen Street, Woollahra NSW.
Could you tell us about what you are looking for as you consign for Leonard Joel’s new Important Jewels
2019. It attracted a lot of international bidding and sold for $95,000, triple the lower estimate.
auctions?
Is there any advice you would give to a person looking
As a jeweller, as I am feeling the jewel and turning it
for their next investment piece?
around, I am looking at value; that is, how rare and
Practically, it is very important that a buyer seeks out
exceptional the gemstones are. Then I’m looking at the
an auctioneer that they can relate to and trust, with
design, the quality of the workmanship and the finish.
experience across the fields of diamond and gemstone
As an auctioneer, I then turn to the jewel’s provenance
buying, a familiarity of jewellery manufacturing for
and the story the jewel is concealing. Since jewellery is
evaluating quality and condition, and the ability to
associated with love and the celebration of milestones
determine the integrity and authenticity of an item.
along the journey of life, I try to flesh out this context, to
More personally, I encourage buyers to explore their own
find the human-interest story. At a commercial level, I am
style. Today’s fashion frames antique jewellery perfectly;
looking for jewels that are fresh to market and have not
you only need one piece as a wonderful spotlight to
been seen before in an auction setting.
define your style and individuality.
Is there one especially memorable piece of jewellery
Hamish is now consigning for Important Jewels, and
that has passed through your hands over the years?
will present his first auction at Leonard Joel Sydney on
I have been involved in the curation and auction of many
26 August.
exceptional jewels, however, one of my most memorable
leonardjoel.com.au | 9
— AUCTIONS —
FINE ART The Persistence of Memory
10 | leonardjoel.com.au
— AUCTIONS —
In 1968, Arthur Boyd and his family returned to
sky and water. Unlike his more figurative works that
Fine Art Auction
Australia after living in England for nine years. His time
cover the biblical, mythical and emotional, here the
Tues 8 Sept, 6.30pm
abroad had brought him numerous accolades with
painting appears to be just a literal landscape. However,
MELBOURNE
major retrospectives held in London and Australia. His
upon second sight we notice the pure brilliance in
achievements were momentous for a mid-career artist at
Arthur’s execution of paint, the delicate stingray in
ABOVE: Skate in Merric Boyd pot
just 48 years of age.
the foreground, and rendering of the light with such
© National Gallery of Australia, Canberra NGA 1986.2290
Now back in Australia, he returned to depicting a
LEFT: ARTHUR BOYD (1920-1999)
familiar landscape, in many ways a reflection on his own
Evening Shoreline c.1968 (detail) oil on canvas 91 x 99.5cm $40,000-60,000
childhood. When Boyd was a young artist living with his grandfather at Rosebud in Port Phillip Bay he spent many days on the beach observing the marine wildlife and the luminous deep blue ocean. In particular, he was struck by the extraordinary forms of skates (large stingrays) that he saw washed up on the beach. “I used to watch the fishermen throw their kite-shaped skates up on the shores…skates swim with a pink underside human-like face looking down into the water, and when these tender undersides were exposed on the sand, they seemed to symbolise absolute vulnerability” – Arthur Boyd In Evening Shoreline c.1968 Boyd has captured the stillness and beauty of Port Philip Bay. Upon first glance, the pure simplicity of the work strikes you – the serene waves, soothing blues, and vast expanse of
confidence and restraint only a gifted and developed artist such as Boyd could deliver. We, the viewer, are absorbed into the serenity of the landscape, triggering all the senses. Perhaps this painting tells a story of what we see as well as what we don’t see. Boyd invokes a shared memory of the uncomplicated life by the sea as a young child recalling an innocent past. In the decades following his childhood spent in the bay, Boyd repeatedly although not regularly drew upon the image of the stingray – sometimes as subjects for still life and at other times with a deeper meaning. The latter is prominent in his beautiful tribute to his father, Skate in Merric Boyd Pot, who suffered from epilepsy. Here the skate is once more set against a deep blue expanse and resides within one of Merric’s ceramics. The skate, as well as his father, is a creature both vulnerable and resilient. We are delighted to present Arthur Boyd’s Evening Shoreline c.1968 in our forthcoming September Fine Art auction. OLIVIA FULLER / Head of Art
leonardjoel.com.au | 11
— —AUCTIONS PROFILE ——
FINE JEWELS & TIMEPIECES Ruby: The King of Gemstones
12 | leonardjoel.com.au
— AUCTIONS —
Fine Jewels & Timepieces Auction Mon 7 Sept, 6.30pm MELBOURNE LEFT: BURMESE RUBY AND
DIAMOND RING Sold $8,060
Rubies, with their vibrant hues of purplish red, have
perfect balance between dark and light; a dark shade will
adorned royal treasures for millennia and remain highly
dull the stone’s brightness, but a stone that is too light
desirable to the present day. In this piece, we explore
may be confused with a pink sapphire, (though these
their history and what sets them apart.
gems also enjoy their own separate following).
SOURCES
THE DIFFERENCE BETWEEN PINK SAPPHIRES AND
Burmese rubies have set the standard in quality for
RUBIES
centuries; Burmese stones have always been scarce. In
Both rubies and pink sapphires belong to the same
recent decades, various events contributed to the decline
mineral family, (Corundum), though rubies are much rarer,
DIAMOND CLUSTER RING Sold $10,540
of the availability of Burmese rubies in the West. Similarly,
and this has led to some debate in the gem trade about
Thailand and Cambodia are historically prolific sources
how to correctly identify the stones. Historically, the word
OPPOSITE: A RUBY AND
but are now in decline.
“ruby” referred to shades of red, which included pink.
RIGHT: A BURMESE RUBY AND
DIAMOND RING $4,600-5,500
The late 20th Century saw the discovery and high production of rubies originating from East African countries, particularly Madagascar, Tanzania and
Cultural differences also play a part, for example in some gem-producing nations such as Sri Lanka, pink coloured gems were always considered rubies.
Mozambique. Although first associated with lower grade
Most of the world’s leading laboratories now use a
gems, today increasingly large numbers of fine quality
controlled set of comparison stones called “Master
rubies come from Mozambique. It has become common
stones” to determine whether a Corundum is a ruby, the
practice by some gem testing laboratories to apply the
laboratory grading its master stones on the principle that
term “Pigeon’s Blood” to describe the colour of certain
red must be the dominant hue. In the gem trade however,
Mozambique stones, a term previously associated with
determining the dominant hue is subject to personal
the Burmese ruby trade. This contributed to the increase
perception.
in popularity of Mozambique stones in the far Eastern market. Fine quality Burmese rubies, however, are very rare and are priced accordingly. Another source worth noting is Greenland. Although known as a source of rubies for decades, it has taken years for the stones to become available to the global market. Responsibly sourced Greenlandic rubies are
CLARITY Rubies almost always feature inclusions, though the value of the stone will depend in part on how visible these inclusions are. Noticeable inclusions that reduce the transparency or brightness of the stone can lower the value dramatically.
enjoying a warm welcome from different levels of the
Typical ruby clarity characteristics include thin mineral
industry.
inclusions called rutile needles, also called silk; needles
COLOUR Colour is the most significant factor influencing a ruby’s value. The finest rubies have a pure, vibrant red to slightly purplish red colour. In most markets, pure red hues fetch the highest prices and rubies with tones of orange and purple are less highly valued. The colour must be the
might be short or long and slender, and they might appear to be woven tightly together. Some inclusions can contribute positively to a gem’s appearance. The presence of these rutile needles causes light to scatter across facets, illuminating them beautifully and spreading the colour more evenly across the ruby’s crown. MARIA WALKER / Jewellery Manager
leonardjoel.com.au | 13
— —AUCTIONS PROFILE ——
Choosing The Right Wristwatch While wristwatches are a common accessory today, a
(depending on the age of the watch) until the motion
century ago it was a different story. Wristwatches were
begins again.
really an advent as a consequence of the first world war. Previously, they were generally only worn by ladies, with gentlemen favouring pocket watches. When the war broke out, mid-size pocket watches were converted with the addition of lugs and a band into wearable
Tactile Watches – These are designed to tell the time without the user looking at the face of the watch. Generally designed for the blind, there were also pocket
Fine Jewels & Timepieces Auction Mon 7 Sept, 6.30pm MELBOURNE
watches created in the 1800s which allowed the owner to discreetly check the time without removing the watch
ABOVE: A TOURBILLON
from his pocket.
WRISTWATCH BY BREGUET Sold $59,520
military; imagine the stories they could tell. Returning
Kinetic Watches - A combination of a quartz and
OPPOSITE: A GOLD BREGUET
soldiers continued wearing their watches after the war,
automatic watch, these have a weighted rotor that causes
leading to a decline in the use of pocketwatches.
the watch to move. The rotor movement is converted to
WRISTWATCH $7,000-9,000
wristwatches – known as trench watches. These later became part of the equipment issued to soldiers by the
Now an integral part of our modern life, for most people, watches do just one thing - they tell the time. However, watches are not always as simple as they look and are
electricity with the use of an internal dynamo (turbine). The electricity is stored in a power cell. Kinetic watches need to be worn to recharge them.
often underestimated with regards to their features, and
Chronometer Watches - Automatic wristwatches
what they can offer.
are generally not as accurate as those powered by
Understanding some of the different types of watches available, their features, and what makes a watch valuable can assist in choosing which is best for you, whether it be for personal use or as a gift to someone else.
a quartz movement. Chronometer watches use high quality materials that are not impacted by a change in temperature causing expansion or contraction of parts. They have a more sophisticated movement as well, allowing greater accuracy and may also have a stopwatch
POPULAR TYPES OF WATCHES & MOVEMENTS
feature.
Quartz Movements – These are the most common
Calendar and Moon Phase Watches - The moon phase
movements we see in watches. Driven by batteries, they
feature on a watch indicates just that - the phase of the
keep accurate time, are durable, and are generally come
moon - based on the calendar of the watch, and indicates
at an affordable price.
whether it is day or night through imagery.
Manual Wind Watches - Before the use of batteries,
Pilot watches - Often large in size, pilot watches were
watches were constructed and designed using
designed for use in aviation and as such are easy to
mechanical parts and specifically a mainspring which
read and include specific tools such as tachymeters,
stored energy. The mainspring slowly unwinds,
(measuring speed based on travel time, or distance based
transferring energy to move the parts and enable ticking.
on speed), altimeters to measure altitude, compasses and
These watches require daily winding.
sometimes a slide rule enabling calculations to be made.
Automatic wristwatches - Self-winding watches have
Our September Fine Jewels & Timepieces auction will
a rotor attached to the movement which spins as the
feature a number of vintage and luxury watches, including
wearer moves their hand. This rotor, when spinning, winds
a solid 18ct gold Breguet, and a wonderful selection of
the watch up again by tightening the mainspring. Without
pocketwatches… which we’ll cover in a future issue.
the constant motion, the rotor will stop spinning and the watch will cease to tick after approximately 30-70 hours
14 | leonardjoel.com.au
JULIE FOSTER, Head of Fine Jewels & Timepieces
——AUCTIONS PROFILE — —
15 | leonardjoel.com.au
leonardjoel.com.au | 15
— AUCTIONS —
DECORATIVE ARTS
16 | leonardjoel.com.au
— AUCTIONS —
Leonard Joel’s Head of Decorative Arts Takes Us Into The Green Vault With the current travel restrictions, I have become nostalgic reflecting over my former travels and adventures overseas. The place that comes front of mind the most is Dresden, one of the porcelain capitals of Germany, which is also the birthplace of The Grunes Gewolbe (Green Vault) Museum. Although the name leaves little to be desired, the Green Vault is literally a treasure trove, founded in 1723 by Augustus the Strong as one of the first public museums and contains an extensive collection of precious objet d’art. The museum was recently in the public eye over its 2019 jewels heist, which is mysteriously yet to be solved. What sets the Green Vault aside from other museums in my opinion, besides the extraordinary collection within its walls; is that it has lived through the severe bombings of World War 2 resulting in three of the original eight exhibition rooms being rebuilt. The museum is now divided into two sections, The Historic Green Vault, which is composed of ten lavish Baroque rooms, and The New Green vault, a modern labyrinth consisting of twelve exhibition rooms. Each have rooms dedicated to specilaized and labour intensive artistry using materials such as amber, ivory, silver and precious stones such as rock crystal, not to mention the exquisite jewels and armour collection. It is challenging to pinpoint highlights from the collection as every room is almost as impressive as the last, however two pieces come to mind because of their stunning craftmanship, firstly the Cup as Daphne with Coral Tines. I distinctly remember viewing this piece in awe of its elegance and how well the artist captured Daphne’s transformation into a tree. This objet d’art is inspired by Ovid’s tale of the nymph Daphne’s desire to escape the unrequited love from the God Apollo and her metamorphosis into a Laurel tree. Crafted by silversmith Abraham Jamnitzer in late 1580s, it is comprised of finely cast parcel- gilt silver with generous Italian red coral mounts, the piece separates at the waist to reveal a cavity than can be used as a drinking vessel. The second piece that is often referred to as a highlight and cannot be overlooked is The Golden Coffee Service,
being a synthesis of perfection, and truly captures the German theory of ‘Gesamtkunstwerk’, translating to
Decorative Arts Auction
a ‘total work of art’. Crafted between 1697-1701, the
Mon 19 Oct, 2pm
45-piece centerpiece is cast in silver and gold, with
MELBOURNE
enamel decoration and further embellished with over 5600 diamonds along with other precious stones, and
ABOVE: THE GRUNES GEWOLBE
flanked by four ivory figures.
(GREEN VAULT) MUSEUM
The Green Vault is undoubtedly one of Germany’s most
OPPOSITE: CUP AS DAPHNE WITH
celebrated museums and is thought to be the longest surviving princely art collection in Europe, therefore it is a must see for any ‘treasure’ enthusiast. Although I have only shared two of my favourites, there
CORAL TINES, NUREMBERG, AROUND 1580 - 1586 CREDIT: BPK BERLIN / STAATLICHE KUNSTSAMMLUNGEN DRESDEN / JÜRGEN KARPINSKI
are thousands of rare pieces in The Green Vault that are worth noting, and with this in mind I am happy to share that the majority of the collection has been digitized online and virtual tours are accessible via the Green Vault website. I strongly urge any interested party to take an leisurely afternoon to peruse the catalogue, and I hope it leaves the same impression on you as it did me. CHIARA CURCIO / Head of Decorative Arts
leonardjoel.com.au | 17
— AUCTIONS —
MODERN DESIGN The World Turned Inside Out
18 | leonardjoel.com.au
— AUCTIONS —
Modern Design Auction Mon 16 Nov, 6.30pm MELBOURNE
LEFT: AN ALVAR AALTO AUTO
TROLLEY Sold for $2,640 BELOW LEFT: SECTIONAL
MODERNIST CABINET Sold for $8,400 BELOW RIGHT: FIVE WENDINGEN
ARCHITECTUAL DESIGN MAGAZINES OPPOSITE: BAUHAUS BUILDING
BY WALTER GROPIUS (1925–26)
Modernism was a philosophical movement of the late
This explosion of design came after four years of
19th and early 20th centuries that was based on an
bloodshed and pain, and lasted until the advent of a
underlying belief in the progress of society and moving
bigger, bloodier war. Yet, in those 22 years of relative
forward. Rejecting the traditional neoclassical architecture
peace, artists and designers found hope and embraced
and Beaux-Arts styles that dominated the 19th Century,
a new philosophy for the world. We see in the work of
Modernism pushed forward with new construction
Alvar Aalto a move towards the psychological aspects
methods heavily involving glass, steel, and reinforced
of design; Ludwig Mies van der Rohe’s embracing of
concrete. Buildings could grow taller and lighter, and the
freedom and simplicity; and the legacy of all things Le
world started to be reborn.
Corbusier.
Bauhaus – founded by Walter Gropius in 1919 – was
As we look back to the present and the uncertain times
a fusion of artists, film makers, writers and architects
we live in, it is important to remember those that came
merging craft traditions with modern technology and
before and thrived in times more uncertain than our own.
mass production. The ideas of modernism were being
Those who desired to redesign the world going forward,
manifested in the Bauhaus; building materials were
rather than lament over what had been lost.
brought to the forefront, incorporated into the aesthetics and design, while ornamentation and facades were stripped away.
ANNA GRASSHAM / Head of Modern Design CHRISTIAN COX / Assistant
leonardjoel.com.au | 19
— PROFILE —
“Traill had an appreciation early in her life for the natural landscape, with the beauty she saw in it later being depicted in her work.” HANNAH RYAN
20 | leonardjoel.com.au
— AUCTIONS —
Prints & Multiples Auction Wed 18 Nov, 6pm MELBOURNE LEFT: JESSIE TRAILL (1881-1967)
The West Window 1922 etching 6/20 34.5 x 25cm $2,000-3,000 OPPOSITE: JESSIE TRAILL
(1881-1967) Their Time Has Come, in Northumberland 1938 etching and aquatint 22/25 10.5 x 21cm $3,500-4,500
Prints & Multiples Jessie Traill — Working almost exclusively in the printmaking technique
sense of familiarity. Traill created many poetic but humble
of etching, Jessie Traill forged a path for women artists
etchings from her immediate environment.
and indeed all printmakers across Australia in the first half of the 20th Century. Growing up in the bayside suburbs
In the late 1920s, Traill’s long-lasting interest in
of Melbourne, Traill had an appreciation early in her life
documenting the industrial landscape began, leading her
for the natural landscape, with the beauty she saw in it
to frequently travel to Sydney to record and study the
later being depicted in her work, throughout her career
transforming skyline of the city.
as an artist. These seminal works paved the way for her later Traill was brought up in wealthy household. This gave
depictions in the 1940s of urban landscapes. These
her the unique opportunity to travel widely, resulting in
works were much more brooding and featured fractured,
her extended exploration of Europe in the 1900s at the
black silhouettes of the wartime Edinburgh horizon, seen
beginning of her career. She studied with Anglo-Welsh
in Black Out (1940). Traill had at this time relocated to
artist Frank Brangwyn in London, where he encouraged
Britain during the Second World War and produced many
her to use larger printing plates and highly contrasting
prints depicting the urban environment held hostage to
shape and line work, resulting in her first striking urban
this calamitous event.
scenes. These prints and more were featured within our Prints & Traill’s further exploration of etching when she returned
Multiples July auction, highlighting definitive points in
to Australia in the 1910s and 1920s had a focus on the
the career of Jessie Traill, of one of the true pioneers of
natural landscape, often featuring stark, sentinel like
Australian women in art.
eucalypts guarding a still, quiet hillside, as depicted in The West Window (1922). In capturing the essence of
HANNAH RYAN / Prints & Multiples Manager
her rural surroundings, she imbued it with a warmth and
leonardjoel.com.au | 21
— AUCTIONS —
Luxury Why is Hermès so expensive? — In my opinion, Hermès is not expensive, it is costly. The main reason why Hermès products are so pricy is that most, if not all, of their products are handmade. This luxury house prides itself on its exclusive products and in turn the process of manufacturing these goods has always been considered an art form. The specialist craftsmanship and attention to detail to make any Hermès product comes at a cost.
Did you Know? Hermès was founded by Thierry Hermès in 1837.
Wed 18 Nov, 6pm
•
The silk for Hermès scarves comes from Brazil.
MELBOURNE
•
The average width for a Hermès tie is 9.1cm.
•
Every Hermès bag is completed by one craftsman.
•
It takes an average of 17 hours to make the famous
The Birkin bag is a classic example of craftsmanship, rarity and exclusivity. There are no other makers of these accessories in the world and it takes one craftsman
Birkin bag. •
•
exclusive gems can be up to two to three years as a result; this is accepted by all and worth the wait. Founded in 1837 as a harness workshop in The Grands Boulevards quarter of Paris, the company has always stuck
The time it takes to make a Hermès belt is between 1 to 3 hours. It takes about 150 operations to assemble a shoe.
•
A skilled Hermès craftsman can make up to 2 pairs of gloves a day.
•
Hermès still remains a family run business.
demand, hence making them more desirable. With its firm marketing strategy, attention to detail, limited production of goods and might I add, the outstanding products it makes, though unquestionably dear, Hermès is not an overpriced luxury house.
22 | leonardjoel.com.au
ABOVE: A KELLY 35 SELLIER
HANDBAG BY HERMÈS $8,000-12,000 OPPOSITE TOP RIGHT:
A BIRKIN TOILE 35 HANDBAG BY HERMES $14,000-18,000 OPPOSITE BOTTOM LEFT:
A VINTAGE KELLY BAG BY HERMÈS $6,000-8,000 OPPOSITE BOTTOM RIGHT:
•
to its high standards. It also challenges consumerism by slowing down manufacturing of products that are in high
Hermès has its own famous ‘nose’ for all of its perfume.
seventeen hours from start to finish to produce one handbag. The consumer wait time to purchase these
Luxury Auction
•
JOHN D'AGATA / Luxury Manager
A BIRKIN 35 BY HERMÈS $14,000-18,000
— PROFILE —
leonardjoel.com.au | 23
— PROFILE —
Minutes with… DOMINIC KAVANAGH
In this issue, we spend five minutes with Dominic Kavanagh, a specialist in our lively Decorative Arts department.
FAVOURITE MAKER / ARTIST Diamanda Galás- An utterly inimitable artist, virtuosic,
Wake in Fright, by Kenneth Cook, 1961. Years ago
and awe-inspiring.
when I read this book it stirred within me a nightmarish
FAVOURITE WORK OF ART / OBJECT
fantasy which entailed revisiting the country town of my childhood and undergoing a similar version of the
SternenFall/ Shevirath Ha Kelim, by Anselm Kiefer, 2007.
novel’s notorious Friday night pub shenanigans...
(Free standing assembly. Iron, lead, glass and cardboard.)
I’m yet to do it!
I encountered this monumental, towering bookcase of decaying books and glass shards on a visit to MONA in
YOUR IDEAL DAY IN MELBOURNE
Hobart in 2015. For me it resembles a giant, nihilistic,
Once a northsider before parenthood and moving to
churning machine in a state of perpetual self-destruction.
Emerald, an ideal day was one spent alone, beginning
FAVOURITE COFFEE / WINE / COCKTAIL Every morning I look forward to purchasing my 7am large latte from Emerald based cafe Incy Wincy before commencing my 40 plus km drive to work.
24 | leonardjoel.com.au
FAVOURITE BOOK
with a leisurely, aimless walk from Fitzroy North into the city. After a coffee or two on the way I’d eventually do my usual round of art galleries.
— 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. — Like so much of Leonard Joel’s activity, our monthly
process. Additionally, clients have been able to make
valuation evenings have had to adapt during these
bookings directly online and select which type of virtual
times of change, so for the past four months we been
service they would like.
conducting these evenings virtually.
We look forward to offering virtual valuations as a
Our online events have been a great success, allowing
standard service in the future, in addition to our physical
clients to walk us through their house or garage, or to
appointment service, valuation evenings and online
show us larger pieces that may not fit in the boot of the
system.
car. Our specialists can advise clients in real time what their object may be worth at auction. The service offers greater interaction and more personal experience than
For all valuation enquiries whether it is for probate, market or insurance please contact:
looking at individual images on email. It also allows the
CAROLINE TICKNER / Head of Valuations
client to talk directly to us and engage with the valuing
caroline.tickner@leonardjoel.com.au
leonardjoel.com.au | 25
22
ND REPORT
The critical role of law enforcement at preventing future pandemics — Photo credit: ©IFAW. Lesanne Dunlop
Many of you will already be aware from previous articles,
To be clear, while COVID-19 originated in wildlife, it
that Leonard Joel and IFAW (International Fund for
spread into the human population because of human
Animal Welfare) formed an unlikely friendship, which has
activities. These activities need to be addressed
already driven critical momentum for change within the
holistically through cross-sectoral integrated planning and
environmental sector. The following is taken from part of
coordinated solutions that use the One Health approach,
the testimony provided by Dr. Jimmiel Mandima, Deputy
which recognises the connection between the health of
Director of Conservation at IFAW, during a virtual hearing
people, animals and the environment, in order to avoid
of the International Conservation Caucus Foundation
future pandemics.
(ICCF) held in April, 2020, entitled “Wildlife Trade, Origins of COVID-19, and Preventing Future Pandemics”. The full blog can be read at IFAW’s website, ifaw.org. ------------------------------------------------------------------------As we continue to face the crisis caused by COVID-19, it is incumbent upon us to address the causes of this novel coronavirus and examine ways that we can work together to protect against future zoonotic pandemics. Law enforcement plays an absolutely critical role in protecting against future pandemics. COVID-19 and other major illnesses that have spilled over from wildlife populations, have been triggered by imbalances in ecosystem health which are largely driven by human development and consumption habits, and ultimately resulting in increasing levels of wildlife trade.
26 | leonardjoel.com.au
There is incredible will in communities on the ground to continue to conserve wildlife and habitats even in the face of overwhelming stressors. This fact is not often given the credit it deserves. Rangers are under tremendous stress, many of whom are working far away from their families for months at a time. In the absence of tourism however, IFAW is seeing collaboration across public and private sectors, with reports that some wildlife parks are increasing ranger deployment to prevent more wildlife crime. However, with as much as 99% of tourism revenue lost for the foreseeable future, conservation successes will also be lost—unless we can provide short term stimulus or emergency funding that allows communities to survive without reverting to illegal or counterproductive activities.
— 22ND REPORT —
Data is still being gathered on the effects of COVID-19 in conservation areas, but we know that the closure of tourism means fewer people are around to scare off poachers, which leads to a rise in poaching activities. For example, where tourism has been heavily impacted by COVID-19, increased incidents of cyanide poisonings have killed five elephants in parts of Hwange National Park and a Community Wildlife Estate close to Victoria Falls UNESCO World Heritage Site in Zimbabwe. This was likely originally driven by job loss and economic stressors. The use of cyanide is sadly no new phenomenon, but often results in secondary poisoning of other predators including lions, as cyanide is unselective. And, such poisoning raises obvious concerns for the community at large. It is abundantly clear that wildlife and other natural
©IFAW
resources are intertwined with livelihoods in communities across the globe. Natural resources are key engines for a healthy society and economic development, while building resilient communities, where the rural
economy is diverse enough to provide the right balance for sustainability is key to protecting wild animals and habitats. Desperate local communities that truly value wildlife as a source of pride and identify with it for culture, tradition, religion and other sustainable livelihoods needs, end up extracting resources wantonly. Meanwhile criminal syndicates entice them and get them to be complicity to poaching. It is within this context that the importance of safeguarding wildlife and other natural resources is so critical, making law enforcement so vital at all levels. Supporting the men and women in protected areas is fundamental, complementing ranger training and support with technologies that facilitate identifying and prosecuting wildlife poaching and trafficking, and other illegal activities that degrade the environment. Enforcement is an immensely critical element, however, it cannot exist in a vacuum. We must also take steps to address the root causes of wildlife crime, including poverty and food insecurity and demand for illegal products. And we must look beyond the illegal trade in wildlife if we truly want to protect against zoonotic pandemics: habitat destruction and biodiversity loss, two key drivers of zoonotic spillover. This is a pivotal moment in human history – our world has been shut down by the exploitation of wildlife. Our response must be holistic, transformational, and comprehensive. JIMMIEL MANDIMA, Deputy Vice President of Conservation
Jimmiel Mandima. ©IFAW
at IFAW
leonardjoel.com.au | 27
— PROFILE —
A Tribute
In Memory of John Rosenberg, 1938-2020 — Born in Geelong in 1938, John began collecting at a very
When his health began to fail, and the road to Melbourne
young age, finding his first pieces on the neighbourhood
too congested, he regularly browsed the online catalogue
tip! His Grandmother took him to his first auction at age
- learning how to use a computer solely for this purpose.
7, and he was buying and selling “old things” by his
He certainly missed the atmosphere of live auctions,
mid teens. A local elderly antiques dealer took a shine
and the innumerable friendships formed from being
to John, and soon he had half the premises for his own
together in a room with so many people sharing the
stock, before purchasing the entire business. At the
same interests, he called Leonard Joel his “social club in
age of 20, he had his first of many shops, all in central
Melbourne!”
Geelong, culminating in Moorabool Antiques, now continued by his son Paul.
PAUL ROSENBERG
A close association with Leonard Joel began with trips to Melbourne with his Grandmother, the destination being
The Leonard Joel team would like to pass our
the original Leonard Joel auction rooms in Little Collins
condolences to the Rosenberg family. John will be
Street. He was soon addicted, and from Leonard Joel’s
deeply missed by our staff and community.
move to Inkerman Street, St Kilda, to the current premises in South Yarra, John was a weekly presence in the auction room and became good friends with the staff.
28 | leonardjoel.com.au
ABOVE LEFT:
John in his natural environment at Moorabool Antiques, Geelong ABOVE RIGHT TOP & BOTTOM:
John at Leonard Joel, Inkerman Street, 1997-8
— PROFILE —
Under The Hammer In this feature, we share one of the rare, beautiful and extraordinary pieces to pass through our doors since the last issue. An oak Melbourne Stock Exchange chair recently sold in our Thursday Auction for $4,216 (IBP). This impressive chair is a part of Melbourne’s history, being one of a limited number that were used by the Melbourne Stock Exchange until 1961, when call trading at that exchange closed. There were only 120 made and they were in use at the stock exchange for 70 years. In fact, an enthusiast has let us know that when call trading at the MSE closed, the chairs were sold for just five pounds each!
Thinking of Selling?
WOMEN ARTISTS
—
NOW CONSIGNING FOR 2020 AUCTION ENQUIRIES 03 8825 5613 art@leonardjoel.com.au
leonardjoel.com.au
FLORENCE ADA FULLER (1867-1946) Portrait of a Boy 1888. Sold for $42,160 Now in the Collection of the National Gallery of Victoria
— PROFILE —
30 | leonardjoel.com.au
— PROFILE —
Philip Kulpa
With over 25 years of experience in both the Australian and international photography markets as an investor, buyer, seller, observer and artists representative, Philip Kulpa can provide a curatorial service for private or corporate as well as photography advice. With over 25 clients years of experience in both investment the Australian and international
photography markets as an investor, buyer, seller, observer and artists The Source Photographica stockroom a large collection of vintage representative, Philip Kulpa can provideholds a curatorial service for private and or contemporary photographs and Philip is available to source photography for corporate clients as well as photography investment advice. new and established art collections from worldwide contacts.
The Source Photographica stockroom holds a large collection of vintage and contemporary photographs and Philip is available to source photography for new and established art collections from worldwide contacts.
Contact Philip Kulpa +61 413 279 078
philip@sourcephoto.com.au
sourcephotographica.com.au
— JOIN US —
Connect
With regular auctions in Fine Art, Jewels & Watches, Decorative Arts, Modern Design and Luxury, there’s something to suit every taste and budget at Leonard Joel.
Connect
Bid
Subscribe to our email newsletter to stay up to date
Create an account online and use it every time
with news on upcoming auctions, special events and
you bid. You can also receive Lot alerts tailored
industry insights, or follow us on social media.
to your interests. Bidding is easy and you can do so in person, online, by phone or by leaving an absentee bid. Our team is always on hand to guide you.
Browse Browse our online auction catalogues or view in person at one of our salerooms.
THANK YOU TO OUR PARTNERS
32 | leonardjoel.com.au
Contact a Leonard Joel team member or stop by a saleroom if you have any questions.
— JOIN US —
Value / Sell / Buy Contact a Leonard Joel Specialist MANAGING DIRECTOR & PROPRIETOR John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au
Auction Specialists — PRIVATE COLLECTIONS John Albrecht, Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney 02 9362 9045 | hamish.sharma@leonardjoel.com.au FINE JEWELS & TIMEPIECES Julie Foster, Head of Department 03 8825 5618 | julie.foster@leonardjoel.com.au FINE ART Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au DECORATIVE ARTS 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 5655 | objects.assistant@leonardjoel.com.au LUXURY John D'Agata 03 8825 5605 | john.dagata@leonardjoel.com.au PRINTS & MULTIPLES Hannah Ryan 03 8825 5630 | hannah.ryan@leonardjoel.com.au
The Thursday Auction Specialists — ART SALON Hannah Ryan 03 8825 5630 | hannah.ryan@leonardjoel.com.au FURNITURE Nick Bastiras 03 8825 5640 | furniture@leonardjoel.com.au JEWELLERY Maria Walker 03 8825 5621 | maria.walker@leonardjoel.com.au OBJECTS & COLLECTABLES Rebecca Stormont 03 8825 5655 | objects.assistant@leonardjoel.com.au
Valuations — 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 Maria Rossi, Graphic Artist Adam Obradovic, Photographer Henry Murphy, 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
LEFT: A RARE 18TH CENTURY EBONISED BRACKET CLOCK WITH CARILLON AND BIRD AUTOMATON Sold for $43,400
This document has been produced to international environmental management standard ISO14001 by a certified green printing company.
— PROFILE —
34 | leonardjoel.com.au
