ISSUE 80 JUNE – JULY 2019
LEONARD
JUNE
Jewels Monday 3 June, 6.30pm / SYDNEY Fine Art Tuesday 4 June, 6.30pm / MELBOURNE Selected Danish II Thursday 6 June, 2pm / MELBOURNE Specialist Rugs Thursday 13 June, 2pm / MELBOURNE Luxury Wednesday 26 June, 6pm / MELBOURNE Prints & Photography
JULY
Wednesday 26 June, 6pm / MELBOURNE Modern Design
SEPTEMBER
auction calendar —
Jewels
Monday 29 July, 6.30pm / MELBOURNE
Monday 2 September, 6.30pm / MELBOURNE Fine Art Tuesday 3 September, 6.30pm / MELBOURNE Luxury Wednesday 11 September, 6pm / MELBOURNE Prints & Multiples Wednesday 11 September, 6pm / MELBOURNE The Thursday Auction Furniture & Interiors – 10am Jewellery – 10.30am Art Salon – 11.30am Books & Objects – 12pm MELBOURNE
LEFT: GILLIE & MARC SCHATTNER
COVER: HOWARD ARKLEY (1951-1999)
(born 1961 & 1965) They Were as Happy as Hippos (Mini Hippo Riders) 28 x 29 x 12cm $1,000 - 1,500
Triple Fronted 1988 (detail) digital giclee print 118/499 166 x 240cm $3,000-5,000
Fine Art Auction, Tuesday 4 June
© Copyright of the estate of Howard Arkley, courtesy of Kalli Rolfe Contemporary Art.
Prints & Photography Auction, Wednesday 26 June
welcome —
This Issue FROM THE DIRECTOR 3 Charm Not Without Challenge THE CENTENARY SERIES 4 My Leonard Joel: with Marie Laure Claisse AUCTIONS 6 Fine Art: Starting a Collection 8 Jewels: The Goldfields Brooch 10 Decorative Arts: The Golden Years of Royal Worcester & The Stinton Dynasty 12 Modern Design: Artimide: Luxury Lighting –
This issue, we're delighted to present the second in our Centenary Series: My Leonard Joel in which we stepped in to the super stylish abode of Marie-Laure Claisse; a selfconfessed addict of The Thursday Auction! We also share a recent exciting discovery, made on a Valuations Day in Adelaide, as well as our top tips for investing in Art and Luxury.
14 Selected Danish II 15 Specialist Rugs 16 Luxury 17 Prints IN FOCUS 18 5 Minutes with... Ella Perrottet 19 The 22nd Report: Congratulations E.J. Ainger JOIN US 20 Connect & Buy with Leonard Joel 23 Contact a Leonard Joel Specialist
Elsewhere there's highlights from past and upcoming auctions and we spend 5 Minutes With... Art Salon Administrator, Ella Perrottet. We hope you enjoy the read and invite you to visit us in Melbourne or Sydney soon. Enjoy!
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— PROFILE —
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— FROM THE DIRECTOR —
CHARM NOT WITHOUT CHALLENGE —
A final filter... should reassure us that the open market place is much safer than a discreet one.
One of the great pleasures of being part of a full-service auction house, one that doesn’t cherry pick but one that commits to managing the entire gamut of an estate or collection, is that you handle both the interesting and the beautiful, across the entire price spectrum. In short, the auction experience for us is a comprehensive one; from the tiny Victorian silver pill box that might sell for a hundred dollars through to a rare, undiscovered painting by a female artist that sells for hundreds of thousands of dollars! The flip-side is that managing three tiers of auctions, and over 100,000 Lots per annum, is not without its challenges and the critical one is time – that often fleeting element that does not always enable the luxury of extended deliberation, consultation or pause. Imagine the art connoisseur, index finger poised carefully on chin in a contemplative manner and you will get the picture of what a weekly auction specialist very rarely has the time to indulge in. Just such an intersection of charm and challenge presents every week when we assemble our weekly Art Salon, our third tier of art auctions that make a market for modestly priced art and enable a fascinating entry point for old and new collectors alike. Every week, an array of artists, mediums, styles and sizes are presented and in a very short timeframe we conduct physical and online inspections before the works are hung for public display and auction. This physical display and online promotion can, very occasionally, act as a final filter that in very rare instances identify something we simply were unable to detect or extract, from either the seller or the work itself. The challenge at this point is balancing the competing interests of the vendor (the seller), the party advising us of the issue and indeed the public interest in acquiring legitimate works of art. When we receive supporting information that moves public advice from mere hearsay to something more meaningful, we always withdraw the work from auction and consult with all parties concerned. When the whiff of fake, forgery or copy finds its way to the journalist it is only natural that the rush will be on for a sensational, first to press article, but what can become lost in the drama is that the very act of bringing works of art, or anything for that matter, to public viewing is that this can reveal what is occasionally very difficult to reveal and in the process provides a very transparent final filter before the work ultimately changes hands at auction. A final filter that should reassure all of us and remind us that open market places are much safer than discreet ones. JOHN ALBRECHT
Managing Director & Head of Private Collections LEFT: The Art Salon at Leonard Joel
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— THE CENTENARY SERIES —
MY LEONARD JOEL — With Marie-Laure Claisse
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— THE CENTENARY SERIES —
BELOW: The interiors of Marie-Laure
We're delighted to share Part II of our Centenary Series: My Leonard Joel. This time, we had the pleasure of stepping into the super stylish home of and chatting to Marie-Laure Claisse, a self-confessed addict of The Thursday Auction! Can you remember your first visit to Leonard Joel? The first time I visited Leonard Joel, I just felt a sense of 'wow'! I felt as if I had entered the Cave of Ali Baba – with all of the gold and precious stones – or a fairytale, like Alice in Wonderland, with so many things to discover at every turn. Do you consider yourself a collector or do you simply buy what you like when you see it? No, I don't consider myself a collector. What I buy is totally random. I never have a shopping list; its more about the catch of the day. As you can see - I love the eclectic, so anything will fit - it just has to sing to me! In my world, you can see an Italian Renaissance chest, flirting with a Ming Dynasty Chinese Warrior. What do you enjoy about buying at auction? Is it the element of discovery, or the excitement of not knowing whether or not you'll secure the winning bid? I love the sense of anticipation, and the wonders of les objets trouvés. I guess, there's also a sense of responsibility; for me its not about acquiring a new item or piece, but more so about giving those pieces another life in a way, making sure they don't get lost in time, and that their story, their heritage continues. In this era of mass production of plastic, they are beautiful, singular voices that sing about the past but also about contemporary art and artists. Do you have a favourite piece you've bought at Leonard Joel or a piece you wish you'd won, but lost at auction? I guess my favourite discovery at Leonard Joel was a polychrome statue of Saint Jacque de Compostelle. He's like my wiseman, my shepherd - and he doesn't answer back, so that's perfect as well! I think he was probably stolen from a church, unfortunately, but Saint Jacque de Compostelle was the patron saint of Spain and of pilgrims, pilgrimages, which reminds me of my Latin heritage, and my adventurous spirit. He's very special to me.
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— AUCTIONS —
FINE ART Starting a Collection
JOY HESTER (1920-1960) Girl with Cocky c.1957 Sold for $322,400 © Joy Hester. Licensed by Viscopy Ltd. Australia
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— AUCTIONS —
Starting an art collection can be a daunting venture for many.
Next Fine Art Auction Tues 4 June, 6.30pm MELBOURNE
Isn't art collecting expensive? How do you know which art is good? Where do you start?
BELOW: BANKSY (born1974)
Love is in the Air 2003 Sold for $23,560
These are questions I am asked regularly by art enthusiasts at every level. But the reality is, that above all, it should be an enjoyable and rewarding experience. So here are my top 5 suggestions on how to successfully navigate the art world: EDUCATE YOURSELF Visit museums, auction viewings, read art magazines and blogs – expose yourself to the emporium of choice that is out there and figure out what draws you in. If you attempt to set out to start a collection with no sense of what you want to build, you’ll find yourself feeling exhausted amongst the plethora of options. DON’T FOCUS TOO HEAVILY ON THE $ Collecting art doesn't need to be expensive, nor should it be all about money. Whether you choose to spend a little bit of money on art every now and again, or save up to buy a big piece, the motivation should be enjoyment. And remember, all major artists started somewhere so you may find yourself supporting the art world’s next big thing! Which leads me to my next tip… BUY WHAT YOU LOVE! Art is highly subjective so build a collection that you love and it can't help but be a 'good' art collection. Purchase with your heart, and make sure it is something you can live with every day. The art market can change, just like stocks, so what is ‘hot’ one day may not be the next and visa versa. If there is a genuine appreciation for the work you will not only feel enriched by your collection but this will translate if your collection is ever to be measured by the public. In the case of the James Fairfax Collection and the Studio of Mirka Mora sold at Leonard
LOVE WHAT YOU BUY Take care of all your art purchases no matter how much it is worth. Not only will this allow you to enjoy them fully for longer, but if there comes a time that you wish to sell your collection the value will not be affected by any condition issues. TAKE THE LEAP There comes a point when you have to have confidence in the knowledge you’ve attained so far. You don’t want to find yourself regretting an unmade acquisition, so if all signs are pointing to ‘yes’ then trust your instincts. OLIVIA FULLER / Head of Art
Joel, the public were allowed an insight into the artistic minds and homes of these recognised Australians. Their collections showed a true passion for the arts, with record prices achieved and a lasting legacy that atests to their collecting habits.
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— AUCTIONS —
JEWELS The Goldfields Brooch
AN AUSTRALIAN GOLDFIELDS BROOCH $4,000 – 6,000
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— AUCTIONS —
Next Jewels Auction Mon 3 June, 6.30pm SYDNEY
LEFT: A SOUTH AFRICAN GOLD
MINER'S BROOCH $500 – 700
“Every piece of jewellery tells a story.” Examples of Australian colonial jewellery are scarce and
Bendigo for eisteddfods in the late 1890s. In the boom
it is particularly unusual to find pieces that can be traced
of the 1850s there were any number of jewellers from
back to previous owners. So, we are particularly excited
Britain and Europe who are known to have worked on
to present a fabulous example in our forthcoming Jewels
the Victorian goldfields and major cities, meeting the
Auction, which takes place in Sydney on 6 June.
demand of wealthy prospectors and merchants who
The rare gold Goldfields brooch has all the attributes of a classic piece of Australian jewellery, intricately detailed with birds and mining tools in a foliate surround. Made at the time of the gold rush when rapid wealth was experienced by many, this type of memento jewellery was either acquired or personally made for those who made their fortunes on the goldfields.
were riding the wave of success. By the end of the 19th century this prosperity floundered and many of the gold and stone set pieces of jewellery from the previous decades was either sold on the secondary market, or melted down for gold. This brooch became a family heirloom and was much cherished. Edward died in 1925 and the brooch has been handed down the male line of the Reeves family ever since. With no further heirs, it
This brooch has been in the same family since the late
was reluctantly decided that the brooch would be sold
19th century and was gifted to Louise Adeline Harris by
at auction to be enjoyed and appreciated by a new
Edward Reeves on the occasion of their wedding. It is
custodian.
known that Edward, who founded 'The Reeves School of Elocution’, travelled from Adelaide to Ballarat and
JOHN D'AGATA / Associate Head of Jewels
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— AUCTIONS —
DECORATIVE ARTS The Golden Years of Royal Worcester & The Stinton Dynasty
ABOVE: A ROYAL WORCESTER
PAINTED PORCELAIN OVAL PANEL 15 x 23cm The frame 32 x 40cm Sold for $2,108
Imagine that your vocation was a painter of fine
centuries. The perfection and refinement of their artistry
decorative arts, and your primary occupation was painting
is still admired today in a variety of examples of Royal
scene after scene of highland cattle, sheep, game birds
Worcester porcelain.
and British pastoral landscapes onto porcelain vases, urns, cups and saucers. Furthermore, imagine devoting 67 years of your life to this art form, spending much of it in the company of your father and uncle who had also made it their vocation.
his medium was typical of most artists working in the field of hand-painted and signed porcelain, a field particularly prolific during the 18th, 19th and early 20th centuries. In this industry, in order to avoid redundancy an artist or
The artist I speak of is Harry Stinton, the last and arguably
worker often had to establish them selves as irreplaceable
most celebrated of the Stinton family artists whose
within the manufacturing process. Artists had to perfect
dynasty at various Worcester porcelain factories, namely
their chosen subject, medium or technique and this often
Royal Worcester, lasted for almost 167 years; a period
lead to extreme secrecy among peers and co-workers.
that spanned the late 18th century to the mid 20th century. Harry’s uncle James and father John Stinton Jnr, whom Harry worked under for many years, are among the most recognised of the Stinton artists for painting and decorating Worcester porcelain in the late 19th and 20th
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Harry Stinton’s long tenure as a painter and devotion to
‘There are many examples of workers of the times being the only people who knew how to do their job or what the recipe was for their particular part of the manufacturing process.’ Peter Marsh, 2005.
— AUCTIONS —
During the Stinton family’s 160 plus year dynasty, they
Worcester a coveted manufacturer of English porcelain,
became recognised among Worcester artists for their
particularly in the hand-painted and artist signed field.
refinement of subjects such as pastoral scenes, highland cattle and game birds. Harry Stinton’s grandfather, John Stinton Snr was the first to mix oil of cloves with the paint to stop it drying out too quickly, a tradition that was passed down through the Stinton dynasty. It is said their
Revered for intricate gilding, majestic shapes and vibrant colour, each piece of Royal Worcester is painted as a one off, signed and dated; to a collector these attributes are most gratifying.
studios were always filled with the distinctive smell of
During my research for this article I was amused to
cloves.
discover the term ‘Worcesteristus’. The wife of an
From the early 1900s to 1941 many of Britain’s most skilled artists including Harry Davis, George Owen, Walter Sedgley, Richard Sebright and numerous others were also employed at the Royal Worcester factory, a period that is now commonly referred to as the company’s golden years. Together with their varied degrees of diligence,
LEFT TO RIGHT:
A ROYAL WORCESTER RETICULATED VASE GEORGE OWEN, CIRCA 1909 16cm high Sold for $4,712 A ROYAL WORCESTER PORCELAIN HIGHLAND CATTLE VASE HARRY STINTON, CIRCA 1950 31cm high Sold for $2,480
obsessed Royal Worcester collector supposedly coined it to express her husband’s elation at yet another epic auction win. Perhaps it was a fine Royal Worcester
Next Decorative
highland cattle vase, signed H. Stinton?
Arts Auction
DOMINIC KAVANAGH / Decorative Arts Specialist
Mon 7 October, 6.30pm MELBOURNE
uncanny skill, and perfectionism, these artists made Royal
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— AUCTIONS —
MODERN DESIGN
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— AUCTIONS —
Artemide: Luxury Lighting One of the world's top manufacturers of high quality lighting since 1959, Artemide is renowned for creating striking, statement pieces that perfectly balance form, function, innovation and efficiency. A selection of bold and understated pieces will be presented as part of our forthcoming Modern Design Auction in July; representing the very best of lighting design, these pieces deserve to take a leading role in any interior! I look forward to sharing the catalogue with you very soon. ANNA GRASSHAM / Head of Modern Design
Next Modern Design Auction Mon 29 July, 6.30pm MELBOURNE
OPPOSITE: ATELIER OI
'DECOMPOSE' SUSPENSION CEILING LIGHT FOR ARTEMIDE TOP: GERHARD REICHERT
'LOGICO MINI' TABLE LAMP FOR ARTEMIDE BOTTOM: PAOLA DI ARIANELLO
'EMPATIA 36' TABLE LAMP FOR ARTEMIDE
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— AUCTIONS —
Next Selected Danish II Auction Thurs 6 June, 2pm MELBOURNE
Selected Danish II
TOP: POUL HENNINGSEN 'PH5'
CEILING LIGHT FOR LOUIS POULSEN Red painted metal, Denmark, Designed 1958
Hygge: 'A quality of cosiness, and comfortable
showcasing an eclectic mix of premium pieces from the
conviviality, that engenders a feeling of contentment
1950s through to the 1980s. Highlights include pieces by
or well-being; regarded as a defining characteristic of
Arne Vodder, Mogens Hansen, Ingmar Relling and Børge
$600 – 800
Danish culture.'
Mogensen to name a few.
BOTTOM: MOGENS HANSEN
Scandinavian design, an aesthetic marked by minimalism
Adhering to the "less is more" philosophy, it is rare to
and functionality, has been hugely influential since its
see a Scandinavian home full of clutter or colour but a
inception in the early 20th century, but ideas from the
little bit of colour goes a long way. And, what better way
Nordic region still infiltrate mainstream design to this day.
to inject a splash than with the streamlined silhouette
There is a certain sense of serenity in the simple lines and
of a Louis Poulsen ceiling light in glossy red, purple or
silhouettes and the furniture connects with nature through
orange? The collection also boasts some wonderful
the craftsmanship of the natural wood and detailing.
Danish lighting and floor rugs to complement the
Buyers feel safe investing in furniture that will stand the
restrained armchairs, sofas and sideboards.
THREE SEAT SOFA Quality brown leather, Denmark c 1960s $2,200 – 2,600
test of time. In continuation of our long-standing Nordic love affair, this June we host our second Selected Danish collection,
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Don't miss the opportunity to splurge on a new winter piece for your home or office. ANNA GRASSHAM / Head of Modern Design
— AUCTIONS —
Next Specialist Rugs Auction Thurs 13 June, 2pm MELBOURNE
Specialist Rugs On 13 June we will host what has become a firm favourite in our auction calendar The Specialist Rugs Auction which will see the Leonard Room transformed into a woven sea of colours, symbols and crested medallions with an array of fine traditional and contemporary rugs. — TRADITIONAL
CONTEMPORARY
Being from the epicentre of an ancient industry,
The contemporary stage - where boundaries are pushed
TOP: A Hamadan Rug,
Persian rugs and their interwoven patterns hold
to breaking point and the avant-garde mercilessly
100% Wool. Village weave.
tales of a lost world. In each design you can trace a
neglects tradition. Like art and design, rug making
BOTTOM: A contemporary vogue
rug not only to the region where it was made, but
has transcended into new realms since the birth of
even to a specific town or tribe. Shiraz, Tabriz and
modernism. Their composition, relief and harmonious
Qom – areas of Iran with their own culture and story
colours have been deconstructed and rebuilt in new and
to tell and this is clearly demonstrated in the unique
exciting ways. Contemporary rugs can follow none of the
qualities of their craftsmanship. These skills, being
rules whatsoever: they need no boarder or symmetry and
passed on from generation to generation, have
can be fields of colours with no centre point. Old rugs are
entered bordering countries such as Afghanistan,
being bleached, over-dyed and shaved back to expose
Pakistan and India. The art of rug making has been
their skeletons - the pictorial landscape of a rug can now
reconsidered again and again bringing new life to
be completely reimagined yet the core foundations of
each interpretation.
warp and weft have not changed for thousands of years.
style rug, dense hand-spun wool pile and silk texture.
TOBY LENNOX-HILTON / Furniture & Interiors Manager
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— AUCTIONS —
Next Luxury Auction Wed 26 June, 6pm MELBOURNE
Luxury Timeless Investments — When investing in luxury pieces, timeless design and exceptional quality should be top of the list. Read on to discover our top investment tips: The Timeless Handbag If there is one accessory worthy of investment, it is a beautiful handbag. Whether it's Chanel 2.55, a Louis Vuitton Alma or Hermès Birkin, a practical design of exceptional quality will last you several seasons if not decades. This vintage Lady Dior handbag by Christian Dior is the epitome of elegant design, with a luxurious high shine leather finish. The Ballet Flat The chic ballet flat gets my vote every time. Rocketing in popularity during the 1960s, the Chanel ballet flat is as relevant now as it was then. Equally chic with a dress or pair of jeans, a ballet flat keeps your cost-per-wear price low. A Quality Belt A high quality belt with a designer clasp has become a TOP: A PAIR OF BALLET FLATS
BY CHANEL $300 – 500 MIDDLE: A LADY DIOR
HANDBAG BY CHRISTIAN DIOR $1,500 – 2,000
coveted fashion accessory in recent years. This example by Hermès is styled in beautiful leather with the iconic ‘H’ clasp for a sleek modern look. These timeless pieces are the building blocks of any good wardrobe and their versatility can elevate the everyday
RIGHT: A ‘H’ BELT BY HERMES
and the evening look. And, Whilst those eye-watering
$400 – 600
stilettos are an indulgent splurge, they probably won’t make an appearance on a regular basis. BETHANY MCGOUGAN / Luxury Manager
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— AUCTIONS —
TOP: A CIPANGO PONT NEUF
BY LOUIS VUITTON $500 – 700 BOTTOM: A BIRKIN 30 BY
HERMES $10,000 – 14,000
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— AUCTIONS —
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— AUCTIONS —
Next Prints & Photography Auction Wed 26 June, 6pm MELBOURNE
Prints & Photography The Pioneering Print-Maker — An aristocratic, alcoholic dwarf known for his louche
stone washed and a printing ink rolled over the stone
lifestyle” , Henri de Toulouse-Lautrec’s career lasted
adhearing only to the artist’s image. The paper was
just over a decade and coincided with two major
then laid down and pressure applied to create a print,
developments in late nineteenth-century Paris: the birth
which is a mirror image of the original drawing. A two-
of modern printmaking and the explosion of nightlife
toned colour lithograph, like L’Aube (The Dawn) repeats
and culture. He created some of the most iconic
this process with another stone, each with a different
depictions of nineteenth century culture and life in Paris.
colour. This poster was made to advertise the illustrated
1
After studying under academic painters that taught the likes of Vincent Van Gogh and Émile Bernard, he was commissioned to produce a poster advertising the famous Moulin Rouge. This was the artist’s first experiment in the medium of printmaking and more specifically, lithography. It was a huge success, and in 1891, three thousand of Lautrec’s posters were pasted around Paris, to great applause from both the public and critics. Lautrec had become an overnight sensation and from there, became the premier poster and lithographic artist in Paris. Using a relatively new process of colour lithography, Lautrec brought to light the potential of
OPPOSITE: HENRI DE TOULOUSE
LAUTREC (1862-1901) L'Aube (The Dawn) 1896 lithograph in two colours on wove paper 60.5 x 80.5 cm $8,000 – 10,000
art review titled L'Aube (The Dawn), which started publishing in May 1896. The artist conveys a wonderful light and atmosphere, and demonstrates elements of his splattered ink technique, known as crachis, of which he was a pioneer. His images have become some of the most recognisable of our time, and over a century later his work still resonates with the same originality and beauty that it did at the time of creation. We are thrilled to present a fine example of the artist’s work in the upcoming Prints & Photography auction, and look forward to sharing it with you. ELLA PERROTTET / Art Assistant
this medium and helped in the elevation of postermaking to a fine art. To make his lithographs, the artist first drew on a hard surface, often limestone with a
1 Michael, Cora. “Henri de Toulouse-Lautrec (1864–1901).” In Heilbrunn
material that was chemically fixed to the stone. Next, the
Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
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— PROFILE —
Minutes with… ELLA PERROTTET
This issue, we spent 5 minutes with Ella Perrottet, who sees the most diverse range of art every week in her role as Art Assistant. FAVOURITE MAKER / ARTIST I love Australian Women Artists, with my favourite being
If it's a nice morning, I would head to the local tennis
Anne Marie Graham. I was lucky enough to meet and
courts for a game, followed by a trip to Heide Museum
write about her for Leonard last year and have been in
of Modern Art and lunch at Tahina in Northcote, an ice
love ever since. My other favourites would have to be
cream at Messina. I would finish the evening with a movie
Dorrit Black, Margaret Preston, Cressida Campbell and
at the Astor, maybe Singing in the Rain.
Aileen Brown. FAVOURITE WORK OF ART / OBJECT
FAVOURITE BOOK? Woman in White by Wilkie Collins, Love in the Time of
My absolute favourite painting of all time would have to
Cholera by Gabriel Garcia Marquez and The Art of Travel
be Margaret Preston’s Implement Blue 1927, in the Art
by Alain de Botton.
Gallery of NSW. I just love the geometric forms and the muted palette. I also love relief prints, especially from the 20s, 30s and 40s. FAVOURITE COFFEE / WINE / COCKTAIL! Surprisingly, I don’t drink coffee so it’s wine all the way. After spending some time living in Tuscany, my favourite wine has to be Chianti.
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YOUR IDEAL DAY IN MELBOURNE?
22
ND REPORT
Our ongoing campaign to cease trade of ivory and rhino horn
Congratulations E.J. Ainger — It is now more than two years since Leonard
Australian auction house community a recent
Joel participated in the first meeting between
decision brings hope that at a commercial
Australian auctioneers, industry representatives
domestic level attitudes to what should and
and IFAW, with a view to ending the auction
should not be sold are changing. E.J. Ainger,
and antiques trade in elephant ivory and
one of Australia’s longest running auction
rhinoceros horn. Since that first meeting,
houses, was recently consigned a rhinoceros
sadly, Leonard Joel remains the only
horn for public auction. After both public
Australian auction house to have publicly and
feedback and consultation, John Ainger, the
fully committed to a policy that has ended
proprietor of the auction house, agreed to
completely our historically occasional trade
withdraw the item from auction. This decision
in rhinoceros horn and also elephant ivory,
of E.J. Ainger is to be applauded and builds
subject to our stated De Minimis exclusions.
on Leonard Joel’s efforts to close down local
During this period there have been positive
market places for this material and most
signs that the tide is turning in favour of
importantly, brings us another small but
cessation. A national parliamentary enquiry has
meaningful step closer to a time when no one
been held, a public crush event in Melbourne
will find these materials acceptable to trade in
occurred with the support of a federal member
any more. With now two Melbourne auction
of parliament, an international auction house
houses rejecting the sale of this material a
publicly withdrew from auction a significant
convention is emerging that we hope will take
antique rhinoceros horn collection and the
hold throughout Australia.
push is on at European parliamentary level to follow the United Kingdom’s move to an almost complete ban in trade. And within the
JOHN ALBRECHT —
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Contact a Leonard Joel team member or stop by a salesroom if you have any questions.
AUSTRALIAN WOMEN ARTISTS 1920–1950
18 May– 4 August 2019
Mary Alice Evatt Portrait of Moya Dyring (detail) 1938 oil on canvas, Collection: Art Gallery of Ballarat © the estate of the artist
TOP Lisa Reid Life Drawing – Seated Figure 2002 ink on paper 50 x 60 cm
BOTTOM Yvette Coppersmith John Safran 2009 right panel oil on plywood 120 x 90 cm
FEM-aFFINITY Curated by contemporary artist and ACU academic Catherine Bell, FEM-aFFINITY brings together female artists from Arts Project and wider Victoria whose work share an affinity of subject and process. By situating female Arts Project studio artists alongside other female contemporary artists, the exhibition seeks to uncover shared perspectives and variations on female identity. Drawing upon interdisciplinary and collaborative approaches, and understanding artworks as a complex and nuanced way of thinking about embodied knowledge, the exhibition reveals how feminism materialises in distinctive and uncanny ways. Featuring works by: Fulli Andrinopoulos, Dorothy Berry, Yvette Coppersmith, Wendy Dawson, Prudence Flint, Helga Groves, Bronwyn Hack, Janelle Low, Eden Menta, Jill Orr, Lisa Reid, Heather Shimmen, Cathy Staughton and Jane Trengove.
— 15 JUNE – 20 JULY
GALLERY HOURS Mon to Fri 9am–5pm Sat 10am–5pm
24 High St Northcote VIC 3070 Australia
T +61 3 9482 4484 F +61 3 9482 1852
gallery@artsproject.org.au www.artsproject.org.au
Find us on social media #artsprojectaust
— JOIN US —
Sell / Value / Buy Contact a Leonard Joel Specialist
John Albrecht
The Thursday Auction Specialists —
03 8825 5619 | john.albrecht@leonardjoel.com.au
ART SALON
MANAGING DIRECTOR & PROPRIETOR
Auction Specialists — PRIVATE COLLECTIONS John Albrecht, Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au FINE ART Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au JEWELS Julie Foster, Head of Department 03 8825 5605 | julie.foster@leonardjoel.com.au
Lucy Foster 03 8825 5630 | lucy.foster@leonardjoel.com.au FURNITURE Toby Lennox-Hilton 03 8825 5640 | toby.lennox-hilton@leonardjoel.com.au JEWELLERY Bethany McGougan 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au OBJECTS, BOOKS & COLLECTABLES Nora Merralls 03 8825 5604 | nora.merralls@leonardjoel.com.au
Chiara Curcio, Head of Department
Valuations —
03 8825 5635 | chiara.curcio@leonardjoel.com.au
Caroline Tickner, Head of Department
DECORATIVE ARTS
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 Nora Merralls 03 8825 5625 | nora.merralls@leonardjoel.com.au LUXURY Bethany McGougan 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au
03 8825 5638 | caroline.tickner@leonardjoel.com.au
Marketing & Communications — Nicole Kenning, Head of Department 03 8825 5620 | nicole.kenning@leonardjoel.com.au Kim Soep, Coordinator 03 8825 5620 | kim.soep@leonardjoel.com.au Maria Rossi, Graphic Artist Adam Obradovic, Videographer & Photographer Joseph Hammond, Videographer & Photographer
Sale Rooms — MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333 SYDNEY The Bond, 36–40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: 02 9362 9045
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— PROFILE —
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