LEONARD, issue 3, December-February 2012

Issue THREE / DECEMBER - FEBRUARY 2012

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Cover Collectables Auction Sunday 11 December at 12pm 272 A rare 19th century Thomas Humber Penny Farthing Bicycle Estimate $6,000 - 8,000

Leonard Joel Specialists John Albrecht, Managing Director Phone 0413 819 767 Email john.albrecht@leonardjoel.com.au Art

Briar Williams, Head of Art Phone 03 8825 5608 Email briar.williams@leonardjoel.com.au Jon Dwyer, Senior Adviser to the Art Department Phone 0402 751 610 Email jon.dwyer@leonardjoel.com.au Jewellery

John D’Agata, Head of Jewellery Phone + 61 (0) 3 8825 5605 Email john.dagata@leonardjoel.com.au Decorative Arts and Design

Guy Cairnduff, Head of Classic Furniture, Objects and Design Phone +61 (0) 3 8825 5611 Email guy.cairnduff@leonardjoel.com.au Collectables

Giles Moon, Head of Collectables and Books Phone + 61(0) 3 8825 5635 Email giles.moon@leonardjoel.com.au Books and Manuscripts

Giles Moon, Head of Collectables and Books Phone + 61(0) 3 8825 5635 Email giles.moon@leonardjoel.com.au Pre–Owned Luxury

John D’Agata, Head of Jewellery Phone + 61 (0) 3 8825 5605 Email john.dagata@leonardjoel.com.au The Specialist Collector

Guy Cairnduff, Head of The Specialist Collector

BID LIVE AT OUR AUCTIONS ON

Phone +61 (0) 3 8825 5611 Email guy.cairnduff@leonardjoel.com.au The Weekly Auction

Shawn Mitchell, Head of Weekly Auctions Phone + 61 (0) 3 8825 5615 Email shawn.mitchell@leanardjoel.com.au Valuation Services

Monique Le Grand Phone + 61 (0) 3 8825 5620 Email monique.legrand@leonardjoel.com.au

Leonard Joel Primary Salerooms

Photography Rick Merrie

333 Malvern Road, South Yarra, Victoria 3141 Australia

Designer

Tel: +61 (0) 3 9826 4333

Maria Rossi

Fax: +61 (0) 3 9826 4544

FOReWord

thankyou John Albrecht, Managing Director Leonard Joel

Two and a half years ago when I took the with Modern Design, Photography, Pre- art genre).

consider for anyone considering selling at an

reins of Leonard Joel I inherited not only a Owned Luxury and Specialist Collector For the best part of a few hundred years auc- auction. To my knowledge it is the first effort grand Melbourne business with an extraor- departments to cater to your evolving buy- tion houses have largely overlooked the fact by an auction house anywhere to turn a bafdinary history but more importantly a won- ing and selling habits. Our Specialist Collec- that they are retailers with clients that want fling document in to a simple and straightforderful group of individuals committed to tor department was also an exciting rebirth a simplified, more transparent and more ward read. This sort of thing you will see a completely reinvigorating and re-thinking for us of our long history of managing the interesting “collecting” experience and one lot more of in 2012 as Leonard Joel continues the way an auction house could be. It was dispersal of important single-owner col- that reflects their changing tastes. At Leon- its goal of becoming a modern-day auction my hope that more beautiful viewings and lections. But this year we became not just ard Joel we recognize this and in 2012 we house with the most genuine customer focus. surrounds, elegant catalogues, new ways of an auction house with a different business are committed to continuing the process communicating with our clients and mean- model and way of doings things. More impor- of improving and reviewing the Leonard On behalf of Leonard Joel I would like to ingful participation with our community tantly perhaps we became a business with a Joel experience to ensure that our business thank you again for your custom and support would resonate with you and we believe it soul when we decided to partner with Arts remains relevant and exciting for you. Next in 2011 and invite you to our annual “Little has. But without you; our clients and our Project Australia for at least four years and year we will focus even more heavily on Party in the Garden” under the pear trees of friends we recognize that this could not have bring our facilities, people and expertise to the customer and how we can simplify and Leonard Joel on Thursday December 15th been possible. So firstly and most impor- their wonderful organization that nurtures enhance their engagement with our auction from 4pm where my team and I can persontantly, on behalf of Leonard Joel I would like the artistic talents of 140 intellectually disa- house – digital technology, simplifying how ally thank you and share a drink to toast the to personally thank you for your custom and bled individual- within a caring environment we transact with our clients and further cat- 2011 year. If you can’t make it to our end of your support over this extraordinary year for and world class studio facilities in Northcote egories will be at the heart of our 2012 cal- year party can I take this opportunity to wish us in 2011.

these artists create, exhibit and sell their endar. On page 20 you can read a short piece you and your loved ones a happy and healthy

This year we were pleased to be able to works to clients all over the world (on pages on the conditions of business of an auction summer and exciting 2012. expand our category depth and provide you 8 to 9 you can read more about this emerging house that aims to distill the key elements to

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Contents

Thinking of Selling?

From Single Items to Collections

DECEMBER - FEBRUARY Contents

Tailored Trust and Estate Services

If you have a single item or collection you Leonard Joel has a long and distinguished wish to sell, the Leonard Joel team of spe- history of assisting both trust companies and cialists can guide you through the entire val- executors with the dispersal of important

Calendar 3

uation and auction process. We can provide collections. We provide fiduciaries (lawyers,

News 4

no less than thirteen categories of auction to with a complete suite of services to manage

art investigation

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of catalogue auctions in Australia. Leon- of large and small estates. Our services are

DECEMBER Preview

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market valuations for the entire spectrum and dispersal of fine art, antiques, jewel-

outsider art

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museums, fiduciaries and government enti- scripts and general household contents.

you with experts across all collecting fields, trust officers, accountants and executors) select from and the most expansive calendar accurately and successfully the dispersal ard Joel specialists conduct insurance and specially designed to aid in the appraisal of clients - private collectors, corporations, lery, objet d’art, collectables, books & manuties are advised by our valuers and special-

Art 10

ists on a daily basis.

ART PREVIEw

Our specialists are now sourcing single items and collections for the following categories:

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Australian and International Art

Jewellery 12

Fine Jewellery and Wristwatches

Classic Objects and Furniture 14 JAPANESE ART

Pre-Owned Luxury Classic Objects and Furniture

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Modern Design

Collectables 16 The Weekly

Single Owner Collections Collectable Toys and Sporting Memorabilia

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Militaria

photography 19 AUCTION ADVICE

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Art BUSINESS

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Books and Manuscripts

MELBOURNE STREET ART

Subscribe

Get Leonard all the time With more specialist categories and auctions than any auction house of its kind in Australia, Leonard is the simplest way to remain abreast of all forthcoming auctions, important sales results, events and auction news. With expert contributors from all fields of collecting Leonard will be an indispensable tool for both the seasoned auction-goer and the new collector alike. Leonard is available both free at Leonard Joel and online or can be subscribed to for an annual fee

Three bats and a bird on a wire Original work by award winning street artist and muralist Fintan Magee Bangs Street, Prahran Photo taken by John Albrecht 8.20am 20th November 2011

of $44 inc GST (postage & handling). Visit us online at www.leonardjoel.com.au or for subscription information contact keryn.gilchrist@leonardjoel.com.au.

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Calendar

Forthcoming Auctions The Weekly Auction Every Thursday in 2011 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria

Fine Jewellery Auction Sunday 4th December 2011 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Sunday Fine Art Auction Sunday 4th December 2011 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Pre-Owned Luxury Auction Sunday 4th December 2011 – 3pm

Wei Dong (Chinese) Born 1968 Spring Outing SOLD $12,000 (IBP)

333 Malvern Road, South Yarra, Melbourne, Victoria

The Special Weekly Jewellery Auction Thursday 8th December 2011 – 10.30am 333 Malvern Road, South Yarra, Melbourne, Victoria

The Specialist Print Auction Thursday 8th December 2011 – 11.30am 333 Malvern Road, South Yarra, Melbourne,

Natural History Auction Thursday 8th December 2011 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Vintage Clothing Auction Thursday 8th December 2011 – 1pm 333 Malvern Road, South Yarra, Melbourne,

Collectables Auction Sunday 11th December 2011 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Christmas Auction Featuring a Collection of Danish Furniture

Tuesday 20th December 2011 – 6.30pm 333 Malvern Road, South Yarra, Melbourne, Victoria

2012 Weekly Auctions Begin 19th January 2012 – 10am 333 Malvern Road, South Yarra, Melbourne, Victoria

Auctions and viewing times are subject to change.

Leonard Joel is a proud supporter of Arts Project Australia

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News

RECORD PRICE FOR QANTAS MEDAL GROUP After keen interest from institutional, corporate and private collectors this medal group realised the highest price for a group of Australian medals outside the Victoria Cross medal series.

Important WW1 DFC, DCM Group Of Eight Awarded To Flying Ace And Qantas Co-Founder Lieutenant Paul Joseph McGinness Sold $252,000 (IBP)

Bugatti at auction

NEW Collector NIGHTS AT LEonard Joel in 2012

The work of Carlo Bugatti rarely reaches auction so well held is it by connoisseurs who have not tired of the revolutionary designs and aesthetic that he introduced to the decorative arts. An architect by profession, Carlo never applied his creativity to buildings and concentrated on his unique talent for combining post-Victorian design and atypical materials to most categories of object and design. Carlo was the father of Ettore Bugatti (1881 – 1947),

Immensely popular in the United Kingdom, Leonard Joel are pleased to be offer-

the famous car manufacturer and Rem-

ing information nights for new clients or for those simply interested in the auc-

brandt Bugatti (1885 – 1916), the sculptor.

tion world. Specifically developed for private clients that may not be familiar with buying and selling at auction, Giles Moon, Head of Collectables and John Albrecht, Managing Director will provide guests with a simple and interesting overview of the auction world. Sessions will be informal and limited to twenty places.

CARLO BUGATTI (1856-1940) PEDESTAL, CIRCA 1900 SOLD FOR $11,400 IBP

DEC - FEB

Date:

First Wednesday of every month commencing

February 2012

Venue:

Leonard Joel

333 Malvern Road, South Yarra, Victoria 3141

Time:

6.30 – 7.30pm

Bookings: Monique Le Grand (03) 8825 5620 or email monique.legrand@leonardjoel.com.au

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News

ALWAYS CONSIGNING Jewellery Including important signed jewellery, collectable wristwatches, Australian jewellery and pre-owned luxury

Art Including important Australian and international art Photography and Sculpture

chinese screen exceeds estimate twelve-fold

Classic Furniture and Objects Including modern design and single-owner collections

Collectables Including toys, sporting memorabilia and militaria

JAPANESE COOL A highlight of the November monthly Toy sale was a tinplate toy Ferrari almost as well equipped as the real thing! This Japanese battery operated 1960s example featured forward and reverse gears and working headlights and sounding horn.

Japanese Bandai Battery Operated Tinplate Ferrari, 29cm long Sold $384 (IBP) A Superb Chinese embroidered silk panel Qing Dynasty, 19th century The panel embroidered with a detailed scene depicting birdlife, including pheasants, cockerels, turkeys, herons and falcons in a fine satin stitch on a silk ground, within a pierced rosewood surround, mounted on a fretwork stretcher base with carved fo dog finials and legs, (small area of spotting to one corner of the silk ground), 190 x 115cm.

Sold for $36,000

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art INVESTIGATION

A SMALL PAINTINg signed manet Legend has it that swallowing a live goldfish bility of being a Manet. There was a lot of holes of countless online art history resouces appears dressed in Edwardian fashion, rather was a prerequisite for membership of the ground to cover before I’d even contemplate also yielded little.

International Goldfish Club, conceived by despatching it to Paris.

than that of Manet’s earlier Victorian era.

I was troubled by the inscription from the Scientific analysis detects things that the

zealous art collector Major Harold de Vahl The striking lack of a paper trail is curious get-go. Its upright singular lettering con- human eye cannot. In the laboratory, I deliRubin. I found this useless titbit of infor- for an artwork that makes such a tantalis- trasts abruptly with the sloping cursive typi- cately excised two miniscule paint samples, mation, amongst others, deep in the digi- ing claim. But Rubin’s collecting began in cal of 19th century French script. When I not much bigger than this comma, and analytal recesses of the Web whilst researching earnest in the aftermath of WWII, amongst compared it with inscriptions of Edouard sis by scanning electron microscopy conthe provenance of a small oil sketch once the adminstrative chaos resulting from the Manet’s many securely provenanced works, firmed that the blue and white pigments are owned by the late Rubin. It was then I real- wholesale loss of documentation proving it’s not even remotely close. However, this consistent with Manet’s palette but also the ised that this authentication wasn’t going rightful ownership of families’ ancestral doesn’t automatically discount its authen- palettes of most other painters of the 19th to be straight-forward. Someone as eccen- homes and treasured inheritances. And as a ticity. Perhaps the work left Manet’s studio century and later. Under infrared light, the tric as Rubin is probably not likely to have commercial art dealer in early post-war Lon- unsigned, a preparatory study maybe, and troublesome inscription is barely discernible, undertaken anything as pedestrian as good don, he had ample opportunity to acquire an early owner added Manet’s name in good supporting my suspicion that it may have record-keeping.

artwork outside the auction houses where faith. Anything’s possible. But the examina- been added later.

The painting, bearing the inscription Manet, purchase details were dutifully recorded. tion of Manet’s preparatory studies are trick- And so the need to be subjected to the indigwas inherited by a client of mine and he By the 1960s, Australia’s art market was ier, for their execution differ significantly nities of the Wildenstein Institute did not remembers, as a teenager, his father pur- booming, partly due to Rubin’s enthusiastic from his final works intended for exhibition eventuate. While there’s sufficient evidence chasing it from Rubin’s son. After too many involvement, and opportunistic art fraud- or sale, and are poorly documented. How- to indicate that the painting is not by Manet, years wondering whether it really was by sters were at large.

ever, the few preparatory studies included it isn’t necessarily a fake either. Possibly just

the same artist whose work fetched $33 mil- The young age of Australia’s art libraries in his monograph are considerably more a case of mistaken identity by a wishful prelion at a London auction, John arranged for means that their research collections typi- economic in their composition. Fortunately, vious owner or perhaps a last laugh by the me to examine it more closely. To do this, cally date only from their respective incep- most artists are creatures of habit in numer- joker Rubin. Yet regardless of who the artI needed to delve into three areas - prove- tion in the second half of last century. Many ous tell-tale areas. The subject’s shadowed ist is or isn’t, the painting’s fresh and simple nance (history of ownership), connoisseur- days spent trawling library collections in profile and her physical extent across the charm remains. ship (whether it ‘looks’ right), and forensics Melbourne, Canberra, and Brisbane yielded canvas, the covered board, and the primer’s (material evidence). The Wildenstein Insti- only a few ragged press clippings and a cura- colour have no precedent in Manet’s oeuvre. Kate Ferguson tute, publisher of Manet’s catalogue raisonne tor’s typewritten list that indicate the paint- The brushwork’s loose and generous fluid ¡authentikate! and notorious for its difficult modus oper- ing was included in a Queensland Art Gallery application, giving an impression of spon- To enquire about ¡authentikate! services, andi, offered its authoritative services. But exhibition. Agonisingly, one of the cuttings taneity, is also dissimilar to Manet’s charac- please email kateferguson@graffiti.net to justify the Institute’s considerable fees, it refer to a Monet which may, or may not, be teristically short dry dragged stroke. And, first needed to have the very distinct possi- a typo. Chasing shadowy clues down rabbit perhaps more problematically, the subject

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DECEMBER Preview

212 WILLIAM HENRY HUGGINS (BRITISH, 1820-1884) Elephant 1838 oil on board signed and dated ‘W. Huggins 1838’ lower left 21 x 18cm Estimate $4,000-6,000

213 WILLIAM HENRY HUGGINS (BRITISH, 1820-1884) Rhinoceros oil on board signed indistinctly lower left titled indistinctly verso 21 x 18cm Estimate $3,000-5,000

DECEMBER ART Preview - ANIMALIA Leonard

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OUTSIDER ART

OUTSIDER ART WHAT IS OUTSIDER ART?

Outsider Art is a term loosely used to describe art produced by art makers “outside” the accepted mainstream. It was coined by Englishman Roger Cardinal in 1972 to embrace Jean Dubuffet’s concept of Art Brut. And while it is in common usage in Europe and North America, it is a term less familiar to Australian audiences.

In 2014 Arts Project Australia will present an International Outsider Art Conference in Melbourne as part of a program commemorating its 40th anniversary. In association with the conference, a series of exhibitions of Outsider Art from Australia and overseas will be presented in Melbourne.

The article reproduced here is generously provided by the magazine Raw Vision, the International Journal of Outsider Art. Jonah Jones

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President Arts Project Australia

What is Outsider Art?

Dubuffet’s concept of Art Brut, or Raw Art, In Los Angeles, the extraordinary Watts are all kinds of dwellers on the fringes of

The development of the awareness of forms was of works that were in their “raw” state, Towers, the product of a similar commit- society. Working outside fine art “system” of creative expression that exist outside uncooked by cultural and artistic influences. ment by an Italian immigrant worker, Simon (schools, galleries, museums and so on), accepted cultural norms, or the realm of “fine He built up a vast collection of thousands Rodia, became the first step in the realisation these people have produced, from the depths art”, began with the researches of psychia- of works, works which bore no relation to of a vast number of environments to be found of their own personalities and for themselves trists early in the century.

developments in contemporary art and yet right across North America.

and no one else, works of outstanding origi-

The work of Dr Morganthaler documented were the innovative and powerful expres- Today the increased awareness of all these nality in concept, subject and techniques. his patient Adolf Wolfli, a genius who pro- sions of a wide range individuals from a vari- forms of expression has led to a network of They are works which owe nothing to tradiduced countless thousands of works from a ety of backgrounds.

small organisations in both Europe and the tion or fashion. A firm distinction should be

small cell in his Swiss asylum. Dr Hans Prin- Dubuffet’s great collection was eventually United States devoted to the preservation of made between “art brut” and what is known zhorn collected thousands of works by psy- granted a permanent home by the city of such works and the support of their creators. as “naif art”. The naif or primitive painters chiatric patients and his book “Bildernerei Lausanne and the Collection de l’Art Brut Similar collections to the one in Lausanne remain within the mainstream of painting der Geisteskranken” (Artistry of the Men- is now one of the most powerful and over- have been established in many countries and proper, even if they fail ingenuously to practally Ill), published in 1922 became an influ- whelming art museums to be found any- exhibitions of different aspects of the phe- tise its style. However, they accept its subential work amongst Surrealist and other art- where in the world. ists of the time.

nonema are a regular occurence. The diverse jects, technique (generally oils) and even its

A parallel development to the awareness of influence of all these forms is now appar- values, because they hope for public, if not

One artist who was particularly affected by paintings, drawings and sculptures which ent in the work of an increasing number of official recognition. the works Prinzhorn presented was Jean fell into the sphere of Art Brut, was the dis- “trained “ artists who have turned their back “Art brut” artists, on the other hand, make up Dubuffet. Together with others, including covery of environmental creations by a simi- on changing trends and fashions to try and their own techniques, often with new means Andre Breton, he formed the Compagnie de lar range of people.

form a truly singular reality for themselves.

and materials and they create their works for

l’Art Brut in 1948 and strove to seek out and One of the most famous of these, the Palais Michel Thevoz, Curator of the Collection their own use, as a kind of private theatre. collect works of extreme individuality and Ideal, built by the postman Cheval, received de l’Art Brut in Lausanne has written the They choose subjects which are often eniginventiveness by creators who were not only much attention from the Surrealists who following:”Art Brut”, or “outsider art”, con- matic and they do not care about the good untrained artists but often had little concept admired his ability to realise his dream in this sists of works produced by people who for opinion of others, even keeping their work of an art gallery or even any other forms of art incredible structure, the product of thirty various reasons have not been culturally secret. other than their own.

years of devoted toil.

indoctrinated or socially conditioned. They

The article reproduced here is generously provided by the magazine Raw Vision, the International Journal of Outsider Art.

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Feature

1 CHRISTOPHER MASON Not Titled (seated nude woman) ceramic 20 x 28 x 30cm 2 LEO CUSSEN Crocodile Dundee, 2009 pastel on paper 56 x 38cm Private Collection, Melbourne 3 PAUL HODGES Not Titled (woman wearing black blouse), 2009 gouache and ink on paper 29 x 19cm Private Collection, South Australia 4 JULIAN MARTIN Not Titled (blue form ob brown), 2010 pastel on paper 81 x 60.5cm Private Collection, Melbourne 5 ALVARO ALVAREZ Not Titled (figure in suit), 2005 ink on paper 33 x 25cm

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Art

the south australian ivOR HElE

In the October Sunday Art Sale three important works by Ivor Hele were offered for the first time at auction. The oil paintings were part of the Dr G. J. Smibert Estate that Leonard Joel was entrusted with the sale of. All three works attracted enormous interest and lot 41 titled The Circus set the second highest auction price ever, selling for $43,200

IVOR HELE (1912-1993) The Circus, oil on board, 60 x 90cm, Sold $43,200 (IBP)

Now Consigning for The MARCH Sunday Fine Art Auction DEC - FEB

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Leonard

Art – Preview

DECEMBER Art Sale

IMPORTANT COLONIAL WORK SECURED FOR MARCH 2012 Art Sale John Glover (1767 -1849) John Glover’s passion for the English Lake on the western side of Leathe’s Water, to District was such that he visited it many the east the mighty Helvellyn, with mounts times between 1793 and 1824. In about 1818 Skiddaw and Saddleback in the distance. he settled at Blawick Farm on Ullswater All is bathed in the soft, golden light of late near Patterdale. Furthermore, when he and afternoon. The picturesque was in vogue as his family moved to Van Diemen’s Land in artists and connoisseurs delighted in the 1831, he named his property Patterdale after magnificence of the mountain landscape the village in the Lakes district. Oil paint- with its touches of the sublime, the rugings, watercolours and numerous sketches ged wilds contrasted with the orderliness bear rich witness to this interest. Notable of the pastoral scene. Glover captures this examples included the watercolour Bridge superbly, the supreme clarity and high finat Buttermore, c.1806, in the collection ish of his paintings enabling the viewer to of Victoria and Albert Museum, London; discern the insignificance of the human and the oils (Landscape near Ullswa- endeavour amid the might and beauty ter), c.1820, National Gallery of Australia; of nature - a concept made so popular by Ullswater, early Morning, c.1824, Art Gal- the Romantics. A boatman piles the still lery of New South Wales; and Goldrill Beck waters, sheep graze on the grassy slope, and Place Fell near Ullswater, c.1827, in the and surrounded by trees nearby is what collection of Jeffrey Archer. The lakes and appears to be Dalehead Hall, the ancestral rugged mountains of this part of Cumbria home of the Leath family since the time of had long fascinated poets, painters and Elizabeth I. Dubbed the ‘English Claude’. writers.

Thomas Gainsborough painted Glover imbued his paintings with a mood

there in 1783, as well as Francis Towne and of classical order and calm, expressing the J.M.W. Turner, John Constable toured the nobility of nature found in the grand mounLake District in 1806; and the celebrated tain ranges of this painting, or the pastoral Hevellyn, the third highest peak in Britain, fields of England. His ability to observe and inspired William Wordsworth to write:

record accurately within the idiosyncrasies

Inmate of a mountain dwelling,

of his style is seen throughout this painting.

Thou hast clomb aloft, and glazed

Significantly, the dark serpentine trunks

From the watch-towers of Helvellyn:

and branches of the foreground trees are

Awed, delighted, and amazed!

harbingers of his sinuous trees of Van Die-

The views were inspiring if not breath- man’s Land. taking, as seen in Glover’s Leathe’s Water.

Viewed from the south, Raven Crag rises David Thomas

Auction Sunday 4 December at 2pm ELAINE HAXTON (1909-1999) Harlequin oil on board, 85 x 49.5cm Estimate $5,000 - 7,000

Consigned for March Sunday Fine Art Sale 2012

Auction Sunday 4 December 2011, 2pm

Leonard

Preview Wednesday 30 November 2011 9am – 8pm Thursday 1 December 2011 9am – 5pm Friday 2 December 2011 9am – 5pm Saturday 3 December 2011 10am – 5pm Sunday 4 December 2011 Limited Viewing

JOHN GLOVER (1767-1849) Leathe’s Water, Skiddaw and Saddleback in Distance oil on canvas, 75.5 x 111cm PROVENANCE The Kurt Albrecht Collection, Melbourne Private Collection Melbourne Estimate $70,000 - $90,000

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Jewellery

That’s not a diamondthat’s a swimming pool When John D’Agata, Head of Jewellery and John Albrecht, Managing Director were offered this important brilliant cut diamond for auction it reminded them of a fun story from Sydney when Kozminsky was exhibiting with Martyn Cook Antiques. John Albrecht: “We were showing a very vivacious client a very large diamond at the time and she commented ‘that’s not a diamond, it’s a bloody swimming pool’. I asked her if what she meant was that she could buy a swimming pool instead for the same money and she explained that wasn’t what she meant. She simply meant that she thought it was so big she could dive in to it!” With international prices for large diamonds continuing to rise, this impressive diamond ring pictured below is rare to the market. Its centre stone weighs 5.20 carats and is accompanied by a detailed gemmological certificate.

Auction Sunday 4 December 2011, 12pm

DEC - FEB

143 An impressive diamond ring Estimate $140,000 - 180,000

Preview Wednesday 30 November 2011 9am – 8pm Thursday 1 December 2011 10am – 4pm Friday 2 December 2011 10am – 4pm

Saturday 3 December 2011 10am – 5pm Sunday 4 December 2011 Limited Viewing 10am – 11am

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Jewellery

December Jewellery and POL Auctions On Sunday December 4th Leonard Joel conducts its last major catalogue jewellery and pre-owned luxury auction before Christmas. Almost 400 lots of period and contemporary precious stone jewellery, collectable wrist and pocket watches and designer leather goods will be offered for public auction. The houses of Cartier, Tiffany & Co, Patek Philippe, Rolex, Bulgari, Van Cleef & Arpels, Vacheron Constantin, Georg Jensen, Hermes, Yves Saint Laurent, Prada, Chanel and Gucci are all represented in this auction and can often be acquired for a fraction of their retail prices. An interesting highlight in this auction is a large collection of black diamond jewellery.

25 AN ART DECO COMPACT BY TIFFANY & CO Estimate $1,400 - 1,600 109 AN ANTIQUE FAVRE LEUBA JUMP HOUR POCKET WATCH Estimate $2,000 - 3,000

JACOBS meets vuitTON

380 A PLEATED STEAM BAG

BY LOUIS VUITTON Estimate $4,000 - $6,000

Now consigning jewellery, watches and pre owned luxury for MARCH 2012 Leonard

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Classic Objects and Furniture

Classic Objects and Furniture

A THOMAS WEBB CAMEO GLASS SWAN SCENT BOTTLE 19TH CENTURY Sold November 2011 for $14,400

Guy Cairnduff, Head of Decorative Arts and Design

AN ENGLISH GILT METAL MOUNTED SCARLET TORTOISESHELL CASED BRACKET CLOCK SIGNED JOHN TAYLOR, LONDON, CIRCA 1780 Sold November 2011 for $16,800

2011 has been a watershed year for the Leonard Joel Decorative Arts and Design department, with over 1,900 items sold to Australian and overseas collectors. The addition of The Specialist Collector department has brought to market single owner auctions such as The Clendinnen Collection, The Graham Geddes Warehouse Auction and The Kazari Relocation Auction, while the mid-year stand alone Modern Design auction, the only auction of its type in Victoria, provided a select offering of Australian and international design to an enthusiastic audience.

The attraction of collectors to fine quality objects across both traditional and modern categories has been borne out throughout the year and the Leonard Joel decorative arts and design specialists look forward to sourcing objects of beauty and quality for our clients in

WARREN MCCARTHUR (1885-1961) AN EASY CHAIR, DESIGN ORIGINATED 1930 Sold August 2011 for $2,400 (IBP)

2012.

IB KOFORD-LARSEN (BORN 1921) A ROSEWOOD SIDEBOARD Sold August 2011 for $13,200 (IBP)

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A PATINATED BRONZE AND IVORY FIGURE OF A GOLFER SIGNED F. (FERDINAND) PREISS Sold November 2011 for $23,400 (IBP)

Leonard

JAPANESE ART

NETSUKE The survival of the Ephrussi netsuke collec- tury is what may be called The Golden Age

tion as the leitmotif of one man’s discovery of netsuke. The Tokugawa had stabilized and retelling of his family history has cap- Japan: Samurai, no longer militarily engaged, tivated millions. Edmund de Waal’s ‘The became patrons of the arts and gentlemen Hare with Amber Eyes’ has rekindled inter- of leisure. At the same time, the merchants, est in the Japanese netsuke, but it provides bottom of a legislated class structure, had scant information on the nature of netsuke: increased greatly in wealth and power and Japanese and part of the fad of Japonisme were vying for social and cultural status. in 19th century Paris; able to be purchased Netsuke-shi, as the carvers were called, were in large quantities; significant enough to be recognized and patronized, certain artists displayed in a special vitrine; fascinating to and styles enjoying waves of popularity. Netthe Ephrussi children in their mother’s bou- suke were collected as functional accessories doir, but perhaps not important enough to be to the inro rather than as art pieces in their on display with the Ephrussi art collection; own right until major collections of netsuke small enough to be smuggled and hidden were amassed in the late nineteenth and from the Nazis.

throughout the twentieth century – mostly

The Japanese netsuke has been regarded in by Western collectors. the West as a significant art object and focus Earlier in 2010, it was suggested that “the for serious collecting activity since the 19th market for Japanese art, which experienced century. Dedicated clubs, societies and jour- an extended lull after the bubble of the Japa-

Seated Tiger

nals abound in the West, and more recently nese economy burst in the early 1990s, is now in Japan. Reference material in English out- demonstrably back on track” (artfixdaily. weighs that on any other subject of Japanese com) This has been further supported by art, yet much confusion and lack of knowl- recent international sales records reaching edge remains.

astounding heights and achieving a world

The netsuke is a perfect example of the record price for netsuke of £265,000. fusion of art and function. It evolved from the As an art form, the netsuke has continued into lack of pockets in the traditional Japanese modern times and has captured the creative dress, the kimono. In order to be able to carry interest of Western artists. Internationally objects about the person, a suspended pouch recognized netsuke artists, Susan Wraight – or variation thereof (sagemono) – was and Leigh Sloggett live in Melbourne. Susan devised. This pouch was strung with cord, is the recipient of the inaugural Golden had a round bead, which moved up and down Dragon Award for contemporary netsuke, the cord to fasten it (ojime) and a toggle by and both artists have work in leading interwhich it was suspended from the belt (obi). national museums and the collection of HIH This toggle was the netsuke (pronounced Princess Takamado. nets-kay the last ‘ay’ short). The word ‘netsuke’ is a compound of two characters ‘ne’ For further information, please contact (根) and ‘tsuke’ (付)- ‘ne’ meaning ‘root’ and Lesley Kehoe Galleries, 9671-4311 ‘tsuke’ the stem form of the verb ‘to attach’.

www.kehoe.com.au

The late eighteenth/early nineteenth cen-

Herald of Spring

Leonard

Sea Eagle

15

DEC - FEB

Collectables

The COROWA CUP giles moon head of collectables invites john cherry,

expert silversmith to discuss this unique silver trophy

1. Reading John Hawkin’s books on Australian silver will

5. The engraving of the Racing scene on one side of the

tell you that all the great craftsmen worked in collaboration,

cup is stylistically naïve in nature, typically reminiscent of

both in Victoria and South Australia and one would assume

the early to mid 19th century, easily comparable with other

the other States also! Examination of modelled parts of

works of this period. This also figures in the “stock item”

Australiana, be it Kangaroos, Emus, Echidnas, Cockatoos,

theory. An item made to sit in the display case waiting for a

Snakes, etc. will also give many clues to its maker as they all

buyer, the blank side remaining un-engraved for maybe 75

had their own styles, but also used craftsmen outside their

years or so. The “1952 Corowa Cup” engraving style does not

own domain for this specialised skill. Not unlike winemak-

match the racing scene and under a magnifying lens the dif-

ers in this current era. The horse finial that is on the lid of

ferent cutting styles of the engravers would be apparent.

the trophy has a story of its own …. So the sleuths need to do their research!

2. Even though this piece is not individually stamped with a makers mark, (which was not uncommon with stock items produced during this period), but only with a quality stamp, detective work on the stamp itself will enable a keen eye to make comparisons and deductions by cross referencing with similar stylistic examples. My own experience tells me three Master Silversmith’s names.

• Edward Fischer – Geelong

6. In well-made European and English silver all joints

• J.M. Wendt – Adelaide

are “silver soldered”, using a solder alloy that matches the

• Henry Steiner – Adelaide

standard of the silver construction. This involves quite high

Stylistically, I would favour the first name, Edward Fischer.

temperatures and great skill - don’t forget that a charcoal hearth with bellows (powered by the Apprentice!) were the tools of the day, or later, “town gas” torches with forced air.

3. By looking at the overall quality of construction already

Consequently if clean, sharp solder joints are seen on an

discussed, as well as observing the appropriate gauge (thick-

antique item of silver, then this also bears witness to the skill

ness) of metal used, to create strength and “good weight”,

of the maker, not only in making a solder alloy that flows

one can also determine the abilities of the maker. If too little

well, but also in the execution of the process itself. Examine

metal is used then weaknesses where the components join

the solder joints on some Georgian silver …… rough as! On

become a problem. Always examine the junction between

this trophy, all joints are clean and neat.

the body and foot of a piece, or where a spout or handle meet the body. If there is buckling or a poor fit at these points

7. Examining the base of this trophy speaks reams about

then this could be an underlying manufacturing fault which could influence its longevity and need for repairs. This tro-

the maker, their training and ability to execute fine work.

phy is of high quality.

This trophy has been made by a master who understands traditional hand construction techniques, shown here by the classic heavy base “wire” silver soldered to the flared

4. If the plinth on which the trophy is presented appears

base section. By looking for a vertical line on the inside of

to be original, what is it made from? Many Victorian silver-

this section will inform as to whether it is “raised” in one

smiths, especially William Edwards, used polished Black-

piece from a flat sheet, or “seamed” by way of constructing

wood as plinth material; where as in South Australia (where

the base from a development, like a tailor would cut out a

good timber was scarce) Pine or other wood that was “ebon-

pattern to make a sleeve. The fine, even hammer marks are

ised” was often used. This is also a pointer to its origin.

“First impressions are always significant. I immediately identified this trophy as Australiana as I have over the last 30 years or more worked on countless Australian pieces. Name-dropper? Why not! Wendt, Steiner, Brunkhorst, Schomburgk, Firnhaber, Basse, Fischer, Mole, Quist, Edwards and many other makers, jewellers too! I know them well and their work speaks to me.

real so the sign of a master Silversmith

275 A FINE LATE 19TH CENTURY AUSTRALIAN SILVER EQUESTRIAN TROPHY ATTRIBUTED TO EDWARD FISCHER LATER INSCRIBED FOR THE COROWA CUP, 1952 Estimate $8,000 - $12,000

Article by John Cherry Silversmith, Goldsmith & Jeweller Service Provider for AAADA Trained and worked in the U.K prior to coming to Australia Over 35 years experience

I won’t start on the European makers ….. Australia is an incredibly rich source of International objects D’art, it reflects our rich cultural diversity ….”

John Cherry

DEC - FEB

16

Leonard

Collectables

The PRIVATE SECRETARY AND THE BEATLES

A SET OF BEATLES AUTOGRAPHS WITH FASCINATING PROVENANCE WILL BE OFFERED IN THE FORTHCOMING COLLECTABLES AUCTION ON 11 DECEMBER In 1964, “Beatlemania” had swept the globe. Australia House in London. The event took too much. They climbed all over the chairs inspection there was a letter attached stating Sales of the Fab Four’s albums and singles had place on 22 April and was hosted by the High and then when we went inside a closed office that under no circumstances would daughbroken all records. Even in the U.S.A. where Commissioner to Australia the Right Hon- they were thrusting their cameras through ters of employees be allowed to attend the few British bands succeeded, The Beatles at ourable Sir Eric Harrison. 700 guests and the windows and rapping on the glass ...”

party! However, although Gillian was not

one point monopolised the top 4 positions of reporters packed Australia House, eager to One of the attendees was John Mcdonald, able to meet the Beatles in person, her father the U.S. singles chart with “She Loves You”, meet the group, much to the consternation of Private Secretary to the Australian High asked them to sign his invitation which he “Twist And Shout”, “I Want To Hold Your Sir Eric who was heard to exclaim “There has Commissioner. Mcdonald’s 16 year old gave to his daughter.

Hand” and “Please Please Me”.

never been a reception quite like this in Aus- daughter Gillian was a huge Beatles fan but

In April of that year The Beatles were pre- tralia House and I hope there will never be her father disapproved and would not allow The autographs are expected to realise paring for their first (and only) tour of Aus- another one. I guess I am what you would call her to attend the event. Rather suspiciously, $10,000-15,000. tralia. A press reception was held for them at a square but those photographers were just when her father produced his invitation for

Leonard

17

DEC - FEB

The Weekly

The Weekly TUESDAY 20 december at 6.30pm

T H E C H R I S T M A S A U C T I ON

On Tuesday evening December 20th at 6.30pm and just four shopping days before Christmas, Leonard Joel will conduct its first devoted Christmas auction that aims to showcase select items from each of our departments and special collections tailored to the collecting habits of “Christmas shoppers”. We are particularly excited to advise that the auction will include a large collection of Danish furniture never before seen in Australia. This auction will offer a carefully selected range of jewellery, objects, art, collectables and furniture. Please join us at the auction for a glass of champagne and help us make our Christmas auction part of your December shopping habit.

The Weekly Auction – Viewing Wednesdays 9am to 8pm / Auction Thurdays 10am / View online at leonardjoel.com.au DEC - FEB

18

Leonard

PHOTOGRAPHY

THE MARKET FOR PHOTOGRAPHY

JOHN ALBRECHT DISCUSSES PHOTOGRAPHY WITH PHILIP KULPA OF SOURCE PHOTOGRAPHICA

A photograph by Andreas Gursky titled Well it all depends on your budget and taste Rhein II just sold for a record price of but if you were wanting to cover off interna$4,300,000 (USD) – how can a photograph tional contemporary, vintage and Australian sell for so much money?

then you will need an unlimited budget. I

The Andreas Gursky image is a very unusual don’t have 10 for you but my photographers image for him. It was taken in 1999, a defin- would be Man Ray, Richard Avedon, Edward ing point in his career. Its pre-auction esti- Weston, Max Dupain, Edward Steichen, mate was $2,500,000 - $3,500,000 (USD) and Alfred Stieglitz, Ansel Adams and Frantisek it was an edition of only six – four of the six Drtikol. are already in public galleries and will never To buy a quality work by any of these photogre-sold; those galleries include MOMA, the raphers would cost $30,000 and if you want an Tate and others. Gursky had been planning important vintage print you will need at least and thinking about this photo for 18 months $150,000. You can still buy important 1970’s and that included what elements of the Max Dupain photographs for $12,000 or for image would be removed and what would a vintage Dupain you will need $35,000. Max be included. Would I have put that price on Dupain is the ONLY Australian photographer it? No. Is it worth it? Two people obviously I am ever asked about by the overseas photothought so. I think there are better photos in graphic dealers and I believe Max Dupain is the world.

seriously undervalued in the Australian mar-

When did photography evolve from a func- ket place. tional hobby in to a recognised art form?

What is the difference between a vintage

The beginning of the 20th century.

print and a modern print?

What was so significant about that discov- A vintage print is a print printed within five ery of Ansel Adams plates in a garage sale years of the photograph being executed. in the USA?

Do photographs have different condition

The Ansel Adams plates were made between or covservation issues to other mediums?

1919 and the early 1930’s, very early in his All photographs should be kept away from career. They were thought to have been lost in direct sunlight and moist air. If a photograph a fire in 1937. They show how his style devel- loses five (5) per cent of its toning and contrast oped into one of the most famous landscape it loses 50 per cent of its value. If it loses ten photographers of the 20th century.

(10) per cent it loses 90 per cent of its value!

How can a buyer be sure that a photogra- Is there any pattern or theme to the value pher will not turn an edition of say 10 in to of subject matter? For instance, do nudes an edition of 1000 and render the purchase tend to be more valuable than landscapes much less valuable?

also be multiple editions, the highest price for

or urban scenes or interiors?

If a photographer extended an edition he There is only one nude in the top ten most a photograph is not outrageous. For instance, would ruin his own market so usually sensi- expensive photographs ever sold and it was someone such as Giacommetti can sell for ble art practice will dictate that this will not taken by Alfred Stieglitz. I personally believe over $100,000,000 (USD).

What is your favourite image and who is it happen. nudes are the purest form in photography.

What should someone pay for an unlimited Why should a photograph that takes a by? edition photograph? moment to snap be worth as much as an Kiki and Mask by Man Ray held by the

Mark Seliger (born 1959) USA Giselle in Headdress C-type photograph mounted to aluminium and glass Signed and editioned verso 1/10 68cm x 89cm $15,000 (inc GST)

Whatever they are willing to spend, as long as oil painting that takes hours or days to National Gallery of Victoria (NGV). I first saw this image when the NGV opened in 1974 and they are not expecting it to rise in value. Do execute? not expect an “open edition” photograph to $4,300,000 (USD) is not a lot of money for have loved it ever since. increase in value until after the photographer the world’s most expensive photograph when you consider that the world’s most expensive Philip Kulpa If there were ten photographers that I sim- painting is around $150,000,000 (USD) and SOURCE PHOTOGRAPHICA ply must collect who would they be? when compared to sculpture where there can www.sourcephotographica.com.au dies.

Leonard

19

DEC - FEB

AUCTION ADVICE

A CONDI ION OF BUSINESS IN THIS ARTICLE JOHN ALBRECHT DISTILLS AND SIMPLIFIES THE KEY ELEMENTS OF THE CONDITIONS OF BUSINESS THAT SELLERS AT AUCTION NEED TO KNOW

Every time I provide a client with a contract remind myself what it must be like for the reserve prices and depending on what stage tion is sometimes necessary and as long as of sale it is accompanied by our Conditions client) on my last read I committed myself the auction house is at in terms of cataloguing no damage is caused the auction house is of Business and it is the standard exchange to extracting the “pearls” that will be truly and marketing the item, fees will be charged authorised to undertake such activity. around the world between auctioneer and helpful in informing the seller of what they and calculated with reference to the antici- 5. The estimated selling range provided by seller but too often a lack of explanation should consider when contracting with an pated sale value of the item. In my experi- the auction house is an indication only of the between agent and seller and the terms that auction house. Below I identify what I con- ence this item seems to be the most challeng- anticipated selling price and is not the minigovern their relationship create unnecessary sider to be the seven most common points of ing for both seller and auctioneer but my rule mum price at which an item can be sold. The angst. To avoid these situations, I generally contention between seller and auctioneers. of thumb is that if both parties are reasonable reserve price agreed between the parties is try to indicate to my clients key points that While conditions of business vary from auc- a fair outcome can always be negotiated.

the price at which the item can be sold.

they should be mindful of and usually end tioneer to auctioneer you can be reasonably 2. An auction house does not settle with 6. The auction house usually has an excluthat discussion with my light-hearted sug- confident that, wording aside, these items the seller until it has received cleared funds sive agency to sell the item for 28 days after gestion that the four or so pages will make our universal in “auction land”. It does not from the buyer and if the buyer reneges on the nominated auction date and while most “great bedtime reading” – not! I usually get a purport to be a definitive summary but it is their purchase, both the auction house and auction houses will allow collection of items small acknowledgment from my client of the designed to highlight and explain items that the seller must work together on whether to immediately after sale, they do have the right humour in the statement.

can cause unnecessary angst and confusion pursue settlement.

to hold the item for post-auction sale, usually

But jokes aside, this contract between seller for the seller and hopefully assist them when 3. If the seller is aware that his or her item only if they have a very interested party. and agent is a complex one that is a unique dealing with an auction house.

has been restored, has been altered in any 7. Sellers can have obligations under the

and evolving blend of common and con- Discussing these items with your auctioneer manner or may be a forgery the auctioneer Resale Royalty for Visual Artists Act 2009. tract law, legislation, a few hundred years and understanding them will simplify your should be advised of this. This avoids later Ask your auctioneer what these obligations of, mainly English, auction-centric thinking auction experience and hopefully make it detection of this after sale and the messy are but in short, they relate to simply advis(with little concern for the client in my opin- more enjoyable.

task of seeking a return of proceeds from the ing the auctioneer when the item was bought

ion) and some local adaptations along the Things for the seller to think about ranked in seller and a refund to the unwitting buyer. way.

order of significance:

or acquired.

4. In certain circumstances the removal of

Occasionally I’m required to re-read ours 1. If a seller decides to withdraw from sale images from their frames or surrounds or the John Albrecht, Managing Director and Head and while the overall task is torturous (I must before the auction or raise already agreed dismantling of objects for detailed inspec- of Corporate and Private Collections

DEC - FEB

20

Leonard

Art Business

ART Business

“Since 2008 the arts industry has been disproportionately targeted in relation to censorship and classification issues….

It is clear that this has had a chilling effect on the arts with some artists choosing to avoid controversial themes.”

Extract from The Arts Law Centre of Australia’s submission to the National Classification Review, July 2011.

By Michael Fox

Should artists be subject to censorship?

media. This was most famously echoed in submit the work for classification in order to I can only agree with the view of ALCA

The widely-held view within the fine arts is then Prime Minister Kevin Rudd’s descrip- prove it was not offensive.

that not only do the creative arts provide an

that artists should not be subject to the same tion of Bill Henson’s work as “absolutely A trend of self-regulation has also emerged important means of expressing a wide varisorts of classifications that apply to film, revolting” in 2008 and the questioning of his with many public galleries now music and advertising because:

artistic merit.

provid- ety of opinions and beliefs vital to the articu-

ing information about their exhibitions for lation of public or social debate, but the arts

• ‘artistic merit’ exists as an implicit free- In June this year the Senate Committee the purpose of allowing audiences to make also assist Australians to develop a culture dom of creation for the artist; and

tabled its “Report on the Review of the informed choices about what they are about which reflects and documents the society in

• audiences viewing fine art exhibitions are National Classification Scheme: achieving to view. Unlike public advertising audiences which we live. a small niche group with a level of knowledge the right balance”. In the terms of reference can avoid viewing ‘offensive artworks’ by The final report and recommendations of and education who know what they’re look- were listed 15 specific concerns, including: simply not entering that exhibition space. ing at.

the review into the NCS are due to be deliv-

“application of the NCS to works of art and ‘Artistic merit’ is not the most salient factor ered to the Attorney-General by the end of

But the controversy generated by the work the role of artistic merit in classification in deciding classification; rather its existence January. of one high-profile artist in 2008 brought decisions”.

may tip the balance with high impact works

into stark relief the differences in attitude The Committee found: “’artistic merit’ (generally films) that are borderline between between fine art audiences and the general remains a defence to child pornography and Refused Classification (RC) and R18+ in population and has resulted in a Federal Sen- child abuse material offences in many states, determining whether to ban them altogether ate enquiry examining whether works of art meaning that sexualised images of naked or to allow publication on a restricted basis. should be subject to the National Classifica- children can be exhibited in public galleries For example the film Salo was given an R18+ tion Scheme (NCS).

under the guise of ‘art’”.

and allowed a limited release while Ken Park

The artist in question is of course Bill Hen- Fine art audiences would be aghast at the was given an RC rating and was not allowed son. In the three years since his Sydney above finding; however it does reflect three to be shown in Australia. exhibition was closed prior to opening by common misconceptions:

Finally, the Commonwealth Criminal Code

the NSW police, Henson has become a light- 1. Art is never required to be classified

Act 1995 does not provide for a defence of

ning rod for the Australian tabloids which 2. ‘Artistic merit’ is the predominant factor artistic merit for child pornography, however have discerned a more sinister motive lying taken into consideration when classifying the jurisdictions of Victoria, Queensland and beneath the surface of his otherwise (to fine material submitted for classification

WA do. As a criminal law defence ‘artistic

arts audiences) evocative and sublime photo- 3. ‘Artistic merit’ is an excuse for child merit’ only comes into play if the police or graphic works.

pornography

Director of Public Prosecutions believes an

Since that time the artist has not been The fact is that art is not “never required to offence has been committed. In Australia the accorded the title of artist by these newspa- be classified” - rather art is rarely classified only time in recent history when the artistic pers. He is a “photographer”, as though Hen- – because the majority of artworks would merit defence was raised in relation to a child son is no more important a person to anyone not cause sufficient offence to make them pornography charge, the defence failed.

Michael Fox is a qualified accountant and professional fine art valuer who successfully

else standing behind the lens. This appears ‘submittable publications’. The Classifica- According to the Arts Law Centre of Australia ran the Save Super Art campaign to prevent to be a deliberate strategy to strip away the tion Board rating of Bill Henson’s artworks (ALCA) the purpose of classification is pri- the prohibition of artworks from self-managed accomplishments of Henson’s distinguished in 2008 as PG indicated that they were not marily to enable adults to make an informed superannuation funds (SMSFs). He is a member career by the papers in question but it also ‘submittable publications’ under the Act and choice as to what they want to see, hear and of the Leonard Joel Valuation Panel and is seems to reflect suspicions held by broader there was no need for them to be classified. read, and what to allow their children to have engaged exclusively by Leonard Joel to provide Australian society towards the arts, particu- However because of the negative reaction access to. It should not be used as a means to larly in the fields of photography and new from the public it was deemed necessary to censor material that is otherwise legal.

Leonard

21

advice to their clients in relation to artwork

investment in SMSFs. He may be contacted at michael.fox@superartbusiness.com.au.

DEC - FEB

Look out for The MARCH issue.

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