Opera Australia Costumes and Memorabilia by Leonard Joel

OPERA AUSTRALIA

Costumes and Memorabilia EVENING AUCTION FRIDAY 30 JUNE 2017 DAY AUCTION SATURDAY 1 JULY 2017

AUCTION CATALOGUE VOLUME 10 ISSUE 8

Front Cover 58 THE FEMALE COSTUME FOR “MADONNA”, SUOR ANGELICA / IL TRITTICO [PUCCINI], 2007 $3,000-5,000

Inside Front and Back Covers Courtesy of Opera Australia

leonardjoel.com.au ii

OPERA AUSTRALIA Costumes and Memorabilia EVENING AUCTION FRIDAY 30 JUNE 2017 AT 6PM DAY AUCTION SATURDAY 1 JULY 2017 AT 10AM

Courtesy of Opera Australia

OPERA AUSTRALIA Costumes and Memorabilia EVENING AUCTION FRIDAY 30 JUNE 2017 AT 6PM DAY AUCTION SATURDAY 1 JULY 2017 AT 10AM

SYDNEY AUCTION & VIEWING LOCATION THE OPERA CENTRE 480 Elizabeth Street, Surry Hills 2010 (Entry via Dock 1, Clisdell Street)

PREVIEW Saturday 24 June 11am-6pm Sunday 25 June 11am-6pm Monday 26 June Closed Tuesday 27 June 11am-6pm Wednesday 28 June 11am-6pm Thursday 29 June 11am-8pm

CONTACT

Robert Williams

Timothy Nicol-Ford

Emily Sinclair

Millie Holles

National Head of Single-Owner Collections & Sydney Office 02 9362 9045 | 0403 142 106 robert.williams@leonardjoel.com.au

Fashion, Textiles & Luxury 02 9362 9045 | 0437 506 887 timothy.nicol@leonardjoel.com.au

Art Specialist 02 9362 9045 emily.sinclair@leonardjoel.com.au

Auction Project Manager 02 9362 9045 | 0478 114 611 opera@leonardjoel.com.au

View the entire catalogue at leonardjoel.com.au 3

LEONARD JOEL, SYDNEY

Robert Williams | National Head of Single-Owner Collections 02 9362 9045 | 0403 142 106 | robert.williams@leonardjoel.com.au 39 Queen Street, Woollahra NSW 2025

FINE JEWELLERY | FINE ART | SINGLE-OWNER COLLECTIONS 4

ISSUE 60 JUNE 2017

OPERA AUSTRALIA

Costumes and Memorabilia MELBOURNE

SYDNEY

LONDON

GET ALL THE NEWS Leonard Joel publishes a monthly printed and digital publication packed full of auction news, events and industry discussions and articles. 5

ANGUS STRATHIE Costume Design for Adele & Ida, Act III in Die Fledermaus 1997 mixed media on paper signed and dated lower right titled at base 55 x 37.5cm $500-700 Please note: this lot will be offered in our Saturday auction 6

Introduction

In three parts My education in opera began in 1983 when my father booted me out

exaggeration to state that many of the costumes are works of art and the front

(in a nice way) of a performance of Der Rosenkavalier at the Sydney Opera

cover of this issue of Leonard is testament to that statement.

House; principally for two reasons.

So this is now the third part to my education in opera and my learning is that

Firstly, I asked him why a male role was played by a female (and this query

these items are no mere costumes but rather represent significant moments of

annoyed him) and secondly I fell asleep! I suspect this was the straw that broke

Australian creative history and I am delighted that many will now pass to new

the camelâ&#x20AC;&#x2122;s back and so I was sent packing back to a nearby hotel.

groups and individuals; to be treasured and deployed for generations to come.

Fast forward to 1996 and the Wiener Staatsoper. It was here that I redeemed

Very recently I sat at a table at Opera Australiaâ&#x20AC;&#x2122;s Dinner at the Docks and a

myself by surviving the whole performance of Salome, with my father glued to

wise individual advised me that many of these costumes represent some of the

the edge of his seat. I did not fall asleep and dad was very impressed. I will never

finest artistry in the world in this sphere and it was at that moment that I realised

forget how excited and transfixed he was by this opera.

how truly privileged Leonard Joel is to be handling this unique part of the

Fast forward again to 2017 and I find myself immersed in a most fascinating

Australian arts.

auction and a category that I have never been part of before. The Opera Australia collection is quite literally an intact, more than half century, time capsule of the most extraordinary craftsmanship and artistry, mixed with a

JOHN ALBRECHT

very human commitment to the opera and the importance of costume. It is no

Managing Director Leonard Joel

DAN POTRA “This has been a most enchanting project with delightful surprises around every corner” ROBERT WILLIAMS NATIONAL HEAD OF SINGLE OWNER COLLECTIONS AND HEAD OF THE SYDNEY OFFICE

Emma Matthews as Pamina and Warwick Fyfe as Papageno in Opera Australia’s production of The Magic Flute. Credit: Opera Australia and Branco Gaica

1 THE FEMALE PRINCIPAL COSTUME FOR “PAMINA”, THE MAGIC FLUTE [MOZART], 2009 Designed by Dan Potra for the 2006 production by David Freeman and worn by Emma Matthews, constructed in devore velvet over synthetic lining with a swathed sash modelled as a cape from the shoulders at the rear, the sash in complimentary purple base to match the out-turned collar at neckline, approx. size 14-16 (1) $2,500-3,500

2 TWO MALE PRINCIPAL COSTUMES FOR “TAMINO”, THE MAGIC FLUTE [MOZART], 2006/09 Designed by Dan Potra for the 2006 production by David Freeman, worn by Andrew Goodwin and Henry Choo (cover), constructed in heavy cream woven wool as a floor length robe with centre front buttons and standing mandarin collar, together with a burgundy and orange over-robe in heavy velvet, size L (4) $2,000-4,000

Daniel Sumegi as Sarastro in Opera Australia’s production of The Magic Flute. Credit: Opera Australia and Branco Gaica

3 THE MALE PRINCIPAL COSTUME FOR “HIGH PRIEST”, NABUCCO [VERDI], 2005 Designed by Dan Potra for the 2005 production by David Freeman and worn by Richard Anderson, constructed in heavy textured cream wool in various weights, the neckline embellished with braided vinyl in alternating black and silver, the tunic with asymmetrical tassels to front and rear in attached over-skirt, the hem finished with faux fur, appliqued buckles and vinyl braid, together with a helmet with attached shroud, in light wool, sword and dagger, size L (5) $1,500-2,500

4 A FEMALE PRINCIPAL COSTUME FOR “FENENA”, NABUCCO [VERDI], 2005 Designed by Dan Potra for the 2005 production by David Freeman and worn by Roxane Hislop, designed in an empire waist silhouette modelled from the 1st century CE with eastern influence, constructed in purple taffeta with appliqued geometric embroidery, finished with a chiffon swathe from left shoulder to waist and then to floor trimmed in beads, size M-L (1) $1,000-2,000

5 THE MALE PRINCIPAL COSTUME FOR “NABUCCO”, NABUCCO [VERDI], 2005 Designed by Dan Potra for the 2005 production by David Freeman and worn Michael Lewis, constructed as a military uniform in the style of the 1st century CE, comprising a heavily embellished tunic with cotton yolk above a navy gilt brocade body with applied metal embellishments and fringing to hem and a rear over-skirt in red chenille with faux fur and beading at hem, beneath an over-shirt in orange dupion with applied badges and metal floral embellishments, finished with a faux leather belt adorned with brass and white metal studding, size M (3) $1,500-2,500

6 THE MALE PRINCIPAL COSTUME FOR “ABDALLO”, NABUCCO [VERDI], 2005 Designed by Dan Potra for the 2005 production by David Freeman and worn Graeme Macfarlane, constructed as a soldier uniform in three pieces in the style of the 1st century CE, comprising purple velvet tunic with cotton yolk and brass studs to centre front terminating in a fringe hem, together with an over-robe in blue shag-style chenille with leather and brass fixtures finished with leather fringing at hem, topped by an armour-style tabard with applied painted foam and brass fixtures, size M-L (3) $1,200-1,800

PETER CORRIGAN

7 THE MALE PRINCIPAL JACKET FOR “NABUCCO”, NABUCCO [VERDI], 1995 Designed by Peter Corrigan for the 1995 production by Barrie Kosky and worn by Jonathan Summers, constructed in brown wool with turned green velvet lapels, finished with fantastic faux fur tiger head shoulders, from the waist moving into a train all in faux fur, the sleeves trimmed with military inspired brass-look buttons, size L (1) $800-1,600

Courtesy of Opera Australia

CARL FRIEDERICH OBERLE

8 THE FEMALE PRINCIPAL COSTUME FOR “DRUSILLA”, THE CORONATION OF POPPEA [MONTEVERDI], 1993/98 Designed by Carl Friederich Oberle for the 1993 production by Brian Fitzgerald and Göran Järvefelt, performed by Kathryn McKusker (98) and Catherine Ireland (93), comprising a floor length pleated satin gown with matched belt embellished with faux pearls, together with a necklace with pearl embellishments, size S, together with another similar costume for Drusilla, size S (A/F) (3) $1,200-1,800

10 THREE PRINCIPAL FEMALE COSTUMES FOR “OTTAVIA”, THE CORONATION OF POPPEA [MONTEVERDI], 1988/93 Designed by Carl Friederich Oberle for the 1993 production by Brian Fitzgerald and Göran Järvefelt, worn by Elizabeth Campbell (93), Bernadette Cullen and Roxane Hislop, constructed as a hybrid 1930s Medieval inspired gown with high embellished neckline and low backless design, the three with slight variations to design in satin, devore velvet, and chiffon, sizes S, M & L (3) $1,200-1,800

11 THREE MINOR CHARACTER COSTUMES, “AMOR” & “PALLADE”, THE CORONATION OF POPPEA [MONTEVERDI], 1993/98 Designed by Carl Friedrich Oberle for the 1993 production by Brian Fitzgerald and Göran Järvefelt, comprising a vinyl boned harness for a child actor, embellished with chain, safety pins and riveted buckle closures, with two feather embellished wings protruding from rear, size XS, together with two female woven metallic cord bodices for “Pallade”, each with right arm in the form of a feathered wing, each size M, together with the original artwork for the “Amor” design by Carl Friedrich Oberle (4) [costume for “Amor” pictured opposite] $1,500-2,500

JENNIE TATE 16

12 THREE FEMALE PRINCIPAL COSTUMES FOR “MADDALENA”, ANDREA CHÉNIER [GIORDANO], 2001 Designed by Jennie Tate for the 2001 production by Elke Neidhardt and worn by both Margaret Medlyn and Elizabeth Whitehouse, comprising three dresses of similar silhouette in different colour-ways with a shared crinoline, the first in striped teal taffeta, the second in white cotton voile over teal satin, the third an evening gown in pink hues, size M (7) $1,800-2,800

13 THE MALE PRINCIPAL COSTUME FOR “PIETRO FLÉVILLE”, ANDREA CHÉNIER [GIORDANO], 2001/02 Designed by Jennie Tate for the 2001 production by Elke Neidhardt and worn by David Hibbard, comprising an art-finished painted and fabric applied lace-front wig above a heavily distressed and effected brocade tartan jacket in the 18th century style, with bib over vest and pantaloons, together with tulle skirt, all in bright yellow and purple hues, size M (6) $2,500-3,500

14 THE MALE PRINCIPAL COSTUME FOR “THE ABBÉ”, ANDREA CHÉNIER [GIORDANO], 2001 Designed by Jennie Tate for the 2001 production by Elke Neidhardt and worn by Geoffrey Harris, comprising a cloak, tunic and outer robe in cream, the tunic in cream brocade with heavy applique and sequin embellishment to the chest in the form of a heart and gilt cross, the tunic finished with a purple sash belt, the outer robe with voluminous back from the waist on the bias, the lower left front with art finished applied fabric and paint, size L-XL (3) $2,000-4,000

15 THE FEMALE PRINCIPAL COSTUME FOR “THE COUNTESS DI COIGNY”, ANDREA CHÉNIER [GIORDANO], 2001 Designed by Jennie Tate for the 2001 production by Elke Neidhardt and worn by Dame Heather Begg DNZM OBE, constructed as an exaggerated 18th century ball gown in four pieces, comprising boned bodice in red jacquard with applied gilt net, tulle and faux gem stone embellishment, above a three part skirt including art finished red jacquard over-skirt, above a black “cage” in foam, over a hoop skirt and petticoat, with matched art finished character wig, size L $2,000-4,000

Dame Heather Begg DNZM OBE as Countess di Coigny in Opera Australia’s 2001 production of Andrea Chénier. Credit: Opera Australia

MICHAEL STENNETT Deborah Riedel as Tosca and Jonathan Summers as Scarpia in Opera Australiaâ&#x20AC;&#x2122;s 2007 production of Tosca. Credit: Opera Australia and Jeff Busby

18 A MALE PRINCIPAL COSTUME FOR “SCARPIA”, TOSCA [PUCCINI], 1998/2003 Designed by Michael Stennett for the 1981 production by John Copley, performed by baritone John Wegner in 1998 and again in 2013, constructed as a late 18th century men’s dress suit in black satin comprising embellished jacket, vest, shirt, cravat and breeches, size L (5) $2,000-3,000

17 A FEMALE PRINCIPAL COSTUME FOR “FLORIA TOSCA”, TOSCA [PUCCINI], 2007 Designed by Michael Stennett for the 1981 production by John Copley and worn in 2007 by Deborah Reidel, with wirework standing collar above a medieval-style gown in burgundy above a cream chiffon body, the burgundy velvet with gilt thread embellishment to edges, size 14-16 (2) $1,500-2,500 21

19 TWO FEMALE PRINCIPAL COSTUMES FOR “AMELIA” & “OSCAR”, UN BALLO IN MASCHERA [VERDI], 2002/03 Designed by Michael Stennett for the 1985 production by John Cox, ‘Amelia’ performed by Lisa Gasteen (02) and ‘Oscar’ performed by Natalie Jones (03), the costume for ‘Amelia’ comprising a two piece velvet ball gown with an embellished bodice above a gathered skirt over crinoline, together with a lace and net shawl, the role of ‘Oscar’ written by Verdi for a soprano, results in a costume comprising jacket breeches and faux knee high boots in leather, the jacket and breeches with contrasting black brain embellishment and a black sash belt, ‘Amelia’ size M, ‘Oscar’ size S-M (7) $1,200-1,800

Courtesy of Opera Australia

20 A MALE PRINCIPAL COSTUME FOR “GUSTAVO”, UN BALLO IN MASCHERA [VERDI], 2008 Designed by Michael Stennett for the 1985 production by John Cox and performed by Dennis O’Neil in 2008, comprising an embellished black cloak and faux white metal cross on a sash over a black Elizabethan jacket with puffed sleeves in velvet with silver cord embellishment, over a cream cravat and black wool trousers, together with a corresponding cream costume including cloak with blue lining and sequinned embellishment together with a silver brocade jacket above a black velvet vest (shared black trousers), size L (6) $1,500-2,500

21 THE FEMALE PRINCIPAL COSTUME FOR “MARQUISE DE BERKENFELD”, LA FILLE DU RÉGIMENT [DONIZETTI], 1997 Designed by Michael Stennett for the 1997 production by Joseph Ward and worn by Dame Heather Begg, comprising an 18th century dress in two pieces constructed in organza over a satin base with purple and brown velvet bows and lace edges to sleeves, together with a heavy green velvet coat with yellow and green braided cord edging and yellow tassels, size M (3) $2,000-4,000

22 THE FEMALE PRINCIPAL COSTUME FOR “MARIE”, LA FILLE DU RÉGIMENT [DONIZETTI], 1997 Designed by Michael Stennett for the 1997 production by Joseph Ward and worn by Emma Matthews (tagged Lysons), comprising an 18th century dress in two pieces constructed in pink organza over a printed floral cotton drill, the pleated structured skirt below a boned bodice with extravagant puff sleeves, the bodice trimmed with peach organza and cream satin, size S (2) $1,800-2,800

23 THE FEMALE PRINCIPAL COSTUME FOR “VIOLETTA”, LA TRAVIATA [VERDI], 1978 Designed by Michael Stennett for the 1978 production by Elijah Moshinsky, worn by Dame Kiri Te Kanawa ONZ DBE AC, constructed in the style of a 19th century ball gown, the boned bodice in ivory satin with embroidered floral motif, embellished with faux pearls, crystal beading, diamantes and lace at neckline and in tiered flutter sleeves, above a “bell” skirt with a central panel of tiered lace ruffles, edged with large cream bows, the remainder of the skirt in silk organza with appliques flowers and lace detailing, above an accompanying hoop skirt, the skirt and bodice finished in accenting sequins, size 12-14 (3) $4,000-6,000

ROGER KIRK Sigrid Thornton as Desiree Armfeldt in Opera Australia’s 2009 production of A Little Night Music. Credit: Opera Australia and Jeff Busby

“These costume designs represent unique moments in Opera Australia’s history. Each decade offers a playful new aesthetic, captivating the audience.” EMILY SINCLAIR ART SPECIALIST, SYDNEY

24 THE PRINCIPAL FEMALE COSTUME FOR “DESIREE”, A LITTLE NIGHT MUSIC [SONDHEIM], 2009/10 Designed by Roger Kirk for the 2009 production by Stuart Maunder and worn by Sigrid Thornton, comprising a sequinned bodice and skirt in high sheen purple taffeta in the style of an 18th century ball gown with cage sleeves and a train from the centre back, all trimmed in sequins and white gathered lace, all over a structured hoop panier, together with an associated white hat with purple trim, size S (4) $2,000-4,000

34 THE FEMALE PRINCIPAL COSTUME FOR “SYLVA VARESCU”, THE GYPSY PRINCESS [KÁLMÁN], 2001 Designed by Roger Kirk for the 2001 production by Stuart Maunder and worn by Yvonne Kenny AM, constructed in the Edwardian style in red crushed velvet with sequin embellishment and ostrich feather trim, together with jewels and matching hat, size M (3) $4,000-6,000

Courtesy of Opera Australia

35 THE FEMALE PRINCIPAL COSTUME FOR “PHYLLIS”, IOLANTHE [GILBERT & SULLIVAN], 2002 Designed by Roger Kirk for the 2002 production by Stuart Maunder, worn by Tiffany Speight (02) and Ali McGregor (02), comprising two bodices and one shared skirt over a tiered crinoline, the bodice and skirt in printed florals art finished on pinstriped cream, finished with lace cuffs and pink satin bows to sleeves, size S-M (4) $1,500-2,500

36 THE FEMALE PRINCIPAL COSTUME FOR “THE QUEEN OF THE FAIRIES”, IOLANTHE [GILBERT & SULLIVAN], 2002 Designed by Roger Kirk for the 2002 production by Stuart Maunder and worn by Rosemary Gunn, constructed with a gold vinyl bodice with buckles to boned front and shoulder straps, trimmed with beading to arms, above an open-fronted metallic and embroidered net skirt in an “exotic” style, finished with a bugle beaded sash to front and large organza bow to rear, size M (3) $1,800-2,800

25 THE PRINCIPAL FEMALE COSTUME FOR “DESIREE”, A LITTLE NIGHT MUSIC [SONDHEIM], 2009/10 Designed by Roger Kirk for the 2009 production by Stuart Maunder and worn by Sigrid Thornton, comprising a heavily sequinned bodice and skirt in purple dupion in the late Victorian style, featuring pleated mouton sleeves beneath concertina pleated flutter sleeves with black lace trim, the bodice and skirt with geometric embellishment in black braid, beads and sequins, size S (4) $3,000-5,000

Sigrid Thornton as Desiree in Opera Australia’s 2009 production of A Little Night Music. Credit: Opera Australia and Jeff Busby

26 THREE FEMALE SUPPORTING PRINCIPAL COSTUMES, A LITTLE NIGHT MUSIC [SONDHEIM], 2009/10 Designed by Roger Kirk for the 2009 production by Stuart Maunder, each constructed in the late Victorian style in various shades of blue and green taffeta, comprising bodice, skirt and bustle pad, the outer pieces with heavy embellishments of applique, lace and sequining in black, together with various accessories, size M & L (6) $2,000-4,000

32 THREE FEMALE PRINCIPAL SECONDARY COSTUMES FOR “ELIZA DOOLITTLE”, MY FAIR LADY [LERNER & LOEWE], 2008 Designed by Roger Kirk for the 2008 production by Stuart Maunder and worn by Taryn Fiebig, the first constructed as an Edwardian day walking suit in peach with matching bolero, parasol and cane hat, the second a pink day dress comprising a fitted chiffon tunic over a cream polyester dress in the silhouette of a hobble skirt with matched wire-work hat and bag, the third a blouse and pinafore in blue and white, size S (9) $1,000-2,000

33 THE FEMALE PRINCIPLE COSTUME FOR “ELIZA”, MY FAIR LADY [LERNER & LOEWE], 2008 Designed by Roger Kirk for the 2008 production by Stuart Maunder and worn by Taryn Fiebig, constructed in the exaggerated Edwardian style in peach and cream, comprising a fitted fishtail dress in peach base with applied felt floral cutwork on a fine layer of netting, finished with a broad sash from shoulder to waist, the collar and cuffs finished in white organza ruffles, the structure of the flounced fishtail supported by a boned crinoline, together with matched broad hat with ostrich feather embellishments and parasol (4) $2,000-4,000

ULISSE SANTICCHI 37 THE MALE PRINCIPAL COSTUME FOR “MUSTAFA, THE BEY OF ALGIERS”, THE ITALIAN GIRL IN ALGIERS [ROSSINI], 1997 Designed by Ulisse Santicchi for the 1992 production by Italian Director Giulio Chazalettes and worn by Richard Alexander, comprising a “fat suit” constructed of foam padding and lycra with applied synthetic hair, together with a Persian inspired two piece suit with a heavily embellished red devore polyester jacket above lined harem pants in the same fabric, together with a sash belt edged in gold braid and tassels, size L (5) $2,500-3,500

JENNIFER IRWIN

38 A FEMALE PRINCIPAL COSTUME FOR “JULIETTE”, ROMÉO ET JULIETTE [GOUNOD], 2005 Designed by Jennifer Irwin for the 2005 production by Stuart Maunder and worn by Emma Matthews (05), constructed as high Victorian walking suit in cream satin brocade with a boned bodice embellished with gathered chiffon neckline and sleeves, above a brocade swathed apron with an attachable train, above a straight skirt with ruffle and box pleating to hem in pinstripe satin with inbuilt crinoline, size S (4) $1,500-2,500

39 A FEMALE PRINCIPAL COSTUME FOR “JULIETTE”, ROMÉO ET JULIETTE [GOUNOD], 2005 Designed by Jennifer Irwin for the 2005 production by Stuart Maunder and worn by Emma Matthews (05) amongst others, styled as a 19th century gown constructed with boned crossover pleated chiffon bodice with trailing chiffon from right shoulder, above a taffeta skirt with tiered crinoline and bustle pad, size S-M (4) $2,000-4,000

KENNETH ROWELL

40 THE FEMALE PRINCIPAL COSTUME FOR “ELSA”, LOHENGRIN [WAGNER], 1990 Designed by Kenneth Rowell for the 1987 production by Andrew Sinclair and worn by Lisa Gasteen (90), comprising a floor length dress in cream brocade with a gored skirt and metallic embellished chiffon sleeves, faux pearls and metallic braid to neckline, together with a metallic sleeveless robe, size L (2) $1,200-1,800

41 THE MALE PRINCIPAL COSTUME FOR “LOHENGRIN”, LOHENGRIN [WAGNER], 2001 Designed by Kenneth Rowell for the 1987 production by Andrew Sinclair and worn by Glenn Winslade (01), comprising multiple costume components utilised in different acts including cloaks, robes, chain mail, gauntlet gloves, belt and crown with jewellery, size XL (8 + accessories) $1,500-2,500

42 THE FEMALE PRINCIPAL COSTUME FOR “JULIETTE”, ROMÉO ET JULIETTE [GOUNOD], 1993/99 Designed by Kenneth Rowell for the 1983 production by Robert Helpmann, worn by numerous sopranos including Penelope Brister, modelled in the Napoleonic style in cream chiffon with gilt appliques to bodice and train, with devore velvet sleeves interrupted by chiffon ruffles, an exceptional example of its type, size M (1) $2,000-4,000

43 A PAIR OF MALE AND FEMALE PRINCIPAL COSTUMES FOR “LORD AND LADY CAPULET”, ROMÉO ET JULIETTE [GOUNOD], 1983 Designed by Kenneth Rowell for the 1983 production by Robert Helpmann, the costume for Lord Capulet played by Donald Shanks and Lady Capulet marked P. Moore amongst others, each of unique design constructed in heavy felted wool with art finishing as spray painted designs and effect, further embellished with gilt hand moulded plasticine, Lord Capulet’s costume completed with a sleeveless overrobe, the men’s size L, the women’s size L (3) $1,200-1,800

Courtesy of Opera Australia

JOHN BURY

44 TWO MALE SUPPORTING PRINCIPAL COSTUMES, POSSIBLY FOR “RANGONI”, BORIS GODUNOV, 1980 Designed by John Bury for the 1980 production by Elijah Moshinksy, constructed in heavy felted wool as a large robe in an ecclesiastical style with applied gilt plasticine embellishment and faux pearls, the two costumes sharing one collar (one A/F) $1,200-1,800

45 TWO FEMALE COSTUMES FOR “MARINA MNISZECH”, BORIS GODUNOV [MUSSORGSKY], 1980/86 Designed by John Bury for the 1980 production by Elijah Moshinksy, worn by Elizabeth Campbell (81) and Dame Heather Begg DNZM OBE (80/86), constructed as two 17th century dresses, the first comprising a boned bodice with tiered puff sleeves and heavy embellishment in silver cord, over a skirt including a later style panier cage with blue taffeta and leopard print poly-chiffon edged with tassels, the second dress of a similar period in cream and silver brocade with slimmer mutton sleeves and a deep longline corset bodice over a voluminous skirt (panier interchangeable), size S & M $2,500-3,500

REINHARD HEINRICH Christopher Lincoln Bogg as Prince Ramiro and Fiona James as Angelina in Opera Australiaâ&#x20AC;&#x2122;s 2003 production of La Cenerentola. Credit: Opera Australia and Branco Gaica

Hundreds of talented costumiers, artists and designers have collaborated over thousands of hours to bring these costumes to the stage. We are proud that, for the first time, our work can be shared up close with the public.” LYN HEAL WARDROBE/WIG DIRECTOR

46 THE MALE PRINCIPAL COSTUME FOR “PRINCE RAMIRO/DANDINI”, LA CENERENTOLA [ROSSINI], 1994/03/08 Designed by Reinhard Heinrich for the 1987 production by Michael Hampe, this costume worn by tenor Kanen Breen as Ramiro and Andrew Dalley as Dandini (94), constructed as a 17th century men’s dress suit in silver brocade, with a unique design feature asymmetrical cape attached at rear of jacket (qty 2), over shirt, cravat and breeches, size M-L (5) $2,000-4,000

HUGH COLMAN 42

“There are so many stories associated with these costumes. It is a privilege to be involved in their unveiling.” ANDREW BURN PHOTOGRAPHER

49 THREE FEMALE PRINCIPAL COSTUMES FOR “HANNA”, THE MERRY WIDOW [LEHÁR], 2004 Designed by Hugh Colman for the 2004 production by Simon Phillips and performed by Yvonne Kenny AM, comprising a skirt suit with black sequin embellished prink brocade jacket over a black velvet skirt, the second costume a bodice and skirt for the “Vilija” in hues of purple and teal taffeta with traditional Hungarian corset style bodice, the third a floor length black sequined evening gown with pink accents to neckline in the late Victorian style, together with a matching taffeta cape in black with matched pink lining, size M, together with an illustration (UNKNOWN ARTIST) for promotion of The Merry Widow, 2004, 36 x 31cm (7) [pictured opposite] $4,000-6,000

KRISTIAN FREDRIKSON 44

51 A PAIR OF PRINCIPAL COSTUMES FOR “SALOME” & “HERODIAS”, SALOME, 1991/93 Designed by Kristian Fredrikson for the 1991 production by Graeme Murphy, Herodias worn by Linda Calwell and Salome performed by Cynthia Makris, the first constructed as a high necked wiggle dress with textured and ruched chiffon over a sequined base, with a structured pleated peplum to rear which arches down to the hem at front, above a skirt comprising applied red and black feathers, size M-L, together with a matched costume for Salome in cream in a similar silhouette with sleeveless sweetheart bodice above peplum at front (reverse of Herodias), above a lower skirt comprising ruffles, moulded peacock feathers and sequins, size S-M (2) $4,000-6,000

52 THE COSTUME FOR MINOR CHARACTER “PRINCESS NEGRONI”, LUCREZIA BORGIA [DONIZETTI], 1990/96 Designed by Kristian Fredrikson for the 1990 production by Lindy Hume, constructed as one piece with attached bodice and skirt in alternating jacquard and distressed synthetic floral metallic polyester, with ruffled chiffon sleeves embellished with roses, size S-M (1) $1,500-2,500

53 A FEMALE CHORUS COSTUME FOR “DON GIOVANNI” [MOZART], 1987 Designed by Kristian Fredrikson for the 1987 production by George Ogilvie and worn by Ann Way amongst others, constructed in two pieces in the style of a late 17th century day dress, with applied knitted and cord embellishment to corduroy in rust and gold tones, the boned bodice with gathered chiffon sleeves and grosgrain bow trim, the skirt with heavy quilted integral crinoline beneath a skirt with peplum above two aprons to front, size M (2) $800-1,600

MICHAEL WILKINSON â&#x20AC;&#x153;Over the past sixty years of continuous performing, Opera Australia has amassed an incredible collection of individually, handmade costumes and props, many that are now well overdue for retirement. But these unique, specially designed pieces deserve a much better future than remaining in storage boxes, never to see the light of day. LYNDON TERRACINI ARTISTIC DIRECTOR

Emma Matthews as Almirena in Opera Australiaâ&#x20AC;&#x2122;s 1999 production of Rinaldo. Credit: Opera Australia and Jeff Busby

54 THE FEMALE PRINCIPAL COSTUME FOR “ALMIRENA”, RINALDO [HANDEL], 1999 Designed by Michael Wilkinson for the 1999 production by James Robinson and worn by Emma Matthews, constructed in three pieces in the 16th century style including a large hooded cloak in pale blue and gold taffeta, over a cream empire waist gown with exaggerated medieval bell-style sleeves, supported by a large structural hoop skirt, size M-L (3) $3,000-5,000

55 THE MALE PRINCIPAL COSTUME FOR “ARGANTE”, RINALDO [HANDEL], 1999/05 Designed by Michael Wilkinson for the 1995 production by James Robinson and worn by Richard Alexander, comprising a large shapeless robe with a long train in poly-silk, with accompanying matched outer robe with green silk sleeves which terminate in pink and gold woven edge imitating an Indian textile, together with a matched belt, size L (3) $1,500-2,500

56 THE MALE PRINCIPAL COSTUME FOR “HERALD”, RINALDO [HANDEL], 1999/05 Designed by Michael Wilkinson for the 1999 production by James Robinson and worn by Henry Choo, comprising a tunic in green poly-silk with gilt woven thread imitating an Indian textile with a belt and sash, together with a secondary costume for the “pagan scene” comprising metallic tights, shirt and hood, size M-L (6) $1,800-2,800

57 A FEMALE PRINCIPAL COSTUME FOR “ARMIDA”, RINALDO [HANDEL], 1993 Designed by Michael Wilkinson for the 1999 production by James Robinson and worn by Yvonne Kenny AM, constructed in orange dupion in the 16th century style with extended bell sleeves from a boned bodice above a voluminous skirt with crinoline, the bodice and skirt embellished with sequins and beads, the hem of the sleeves in gilt woven fabric in the style of an Indian textile, size L (3) $2,000-4,000

DESMOND DIGBY

“Over the past three months, Opera Australia’s Wardrobe Department has unpacked, examined, categorised and photographed over fifty overflowing crates of costumes spanning the company’s performing history. “We have unearthed a vibrant collection spanning sixty years of artistic vision, meticulous detail and high quality construction that will be on show in Opera Australia’s costume collection. LYN HEAL WARDROBE/WIG DIRECTOR

Amy Campbell as Madonna in Opera Australia’s 2007 production of Suor Angelica. Credit: Opera Australia and Branco Gaica

58 THE FEMALE COSTUME FOR â&#x20AC;&#x153;MADONNAâ&#x20AC;?, SUOR ANGELICA / IL TRITTICO [PUCCINI], 2007 Designed by Desmond Digby for the 1973 production by Moffatt Oxenbould and worn by Amy Campbell, the embellished brocade gown constructed in two pieces in the Elizabethan style comprising an elaborate ruffle collar, the trunk sleeves trimmed with grosgrain, lace and faux pearls, the bodice and skirt decorated with floral and bow embellishments finished with faux stones, the costume with accompanying crown together with a sun shaped gilt halo supported by a concealed harness, all over a heavy weight quilted crinoline, size S-M (5) $3,000-5,000

59 A MALE PRINCIPAL COSTUME FOR “SCHICCHI”, GIANNI SCHICCHI / IL TRITTICO [PUCCINI], 1995 Designed by Desmond Digby for the 1973 production by Moffatt Oxenbould and worn by John Shaw, constructed in one piece as a medieval style tunic, the sleeves with an 18th century deep cuff, all in heavy orange and red wool brocade, the neckline with a gathered cotton voile ruffled trim above navy velvet edging, finished with a belt to waist, size XL (2) $800-1,600

61 A FEMALE PRINCIPAL COSTUME FOR “LAURETTA”, GIANNI SCHICCHI / IL TRITTICO [PUCCINI], 2007 Designed by Desmond Digby for the 1973 production by Moffatt Oxenbould and worn by Cheryl Barker (07), constructed as a medieval inspired gown in pink, designed with long vertical princess lines from neckline to hem, trimmed with centre front buttons and cotton lace to cuffs, size S (1) $1,200-1,800

60 THE FEMALE PRINCIPAL COSTUME FOR “FRUGOLA”, IL TABARRO / IL TRITTICO [PUCCINI], 1973/74/82/95/01/07 Designed by Desmond Digby for the 1973 production by Moffatt Oxenbould and worn by Rosina Raisbeck, Jennifer Bermingham and Elizabeth Campbell, constructed in three pieces including skirt, overskirt and jacket in distressed hemp velvet and cotton in the Victorian style, together with accessories including bag, collar and gloves, size M (6) $1,500-2,500

Elizabeth Campbell as Frugola in Opera Australia’s production of Il Tabarro Credit: Opera Australia and Branco Gaica

63 THE FEMALE PRINCIPAL COSTUME FOR “INEZ”, IL TROVATORE [VERDI], 1999 Designed by Luciana Arrighi for the 1999 production by Richard Jones and worn by Prudence Dunstan, contructed as a ball gown in the style of the 1860s in four pieces, including a boned sleeveless bodice in purple dupion with sequin embellished lace trim to neckline, above a vluminous skirt in matched fabric, over a petticoat with three layers of stiff crinoline, all supported by a large hoop skirt, size M (4) $1500 - $2500

LEON KRASENSTEIN 64 THE FEMALE PRINCIPAL FOR “ROSINA”, BARBER OF SEVILLE [ROSSINI], 2007 Designed by Leon Krasenstein for the 2007 production by John Milson and worn by Emma Matthews, designed in a Spanish surrealist style, the first in canary yellow with puff sleeves and lace trimmed neckline, above black lace trimmed tiered ruffle skirt with lace belt and art finished polka-dots, the second in silver with a sleeveless bodice with lace trim, above a skirt similar to the first, size M (2) $1,500-2,500

DONA GRANATA 66 A PAIR OF PRINCIPAL COSTUMES FOR â&#x20AC;&#x153;BEATRICEâ&#x20AC;?, BEATRICE AND BENEDICT [BERLIOZ], 1998 Designed by Dona Granata for the 1998 production by Elijah Moshinsky and worn by Emma Matthews, two ball gowns in the mid-19th century style, the first in blush pink silk chiffon with green velvet accents, the boned shirred chiffon bodice with sheer lace bishop sleeves, above a tiered skirt with each layer terminating in lace at hem above two petticoats, the second gown of a similar design in gold including a short sleeved bodice with lace trimmed neckline embellished with gilt embroidery, braid and sequins, above a full metallic net skirt with lace accents above a petticoat and hoop skirt, size 12-14 (8) $3,000-5,000

67 THE FEMALE PRINCIPAL COSTUME FOR “URSULA”, BEATRICE AND BENEDICT [BERLIOZ], 1998 Designed by Dona Granata for the 1998 production by Elijah Moshinsky and worn by Kerry Elizabeth Brown, constructed as a mid-19th century ball gown in three pieces comprising an attached bodice and skirt in grey taffeta with black net overlay and black velvet trim, the neckline with applied ruffled net and faux flowers, the skirt with faux flowers to right hip and a ruffle layer at hem, all over a petticoat and hop skirt, size M (3) $1,000-2,000

CATHERINE MARTIN

69 THE FEMALE PRINCIPAL COSTUME FOR “MUSETTA”, LA BOHÈME [PUCCINI], 1990 Designed by Catherine Martin for the 1990 production by Baz Luhrmann and worn by Christine Douglas, constructed in a 1950s silhouette with black embellished net over red satin lining, the bodice with sweetheart neckline and sleeves, above a black velvet wide waist band, over a full skirt with accompanying petticoat, approx. size 14-16 (2) $2,000-4,000 68 THE FEMALE PRINCIPAL COSTUME FOR “MUSETTA”, LA BOHÈME [PUCCINI], 1996 Designed by Catherine Martin for the 1996 production by Baz Luhrmann and worn by Nakajima Akiko, constructed in a red cotton lace over matched lining in a 1950s silhouette with halter shelf bust neckline and full skirt, the bodice and skirt encrusted with red sequins, size 6-8 (1) $3,000-5,000

FRIEDRICH BLEIN Three Set Designs, Act I-III for Tosca 1968 mixed media on card all signed, dated and titled lower right 22.5 x 38.5cm; 21.5 x 38.5cm $300-500 Please note: this lot will be offered in our Saturday auction

RICHARD ROBERTS Emma Matthews as Amina and Jorge Lopez-Yanez in Opera Australia’s production of La sonnambula. Credit: Opera Australia and Jeff Busby

70 TWO FEMALE PRINCIPAL COSTUMES FOR “AMINA”, LA SONNAMBULA [BELLINI], 2010 Designed by Richard Roberts for the 2010 production by Julie Edwardson and worn by Emma Matthews, comprising a peasant style three piece cream lace outfit with blouse, bodice and skirt, together with a sheer dress with overskirt under a large cream brocade coat, size S-M (5) $2,000-3,000

75 TWO PRINCIPAL COSTUMES FOR “MINNIE” & “BILLY JACKRABBIT”, LA FANCIULLA DEL WEST [PUCCINI], 1989 Designed by Tom Lingwood for the 1989 production by Stuart Maunder, ‘Billy Jackrabbit’ worn by John Germain (83) and David Hibbard (89), ‘Minnie’ performed by Marilyn Zschau (89) and Arlene Sanders, the first comprising a “Red Indian” caricature costume in felted wool including a shirt with tassel sleeves and laced neckline and side seams, over elasticised trousers with fringing to side seams and hem, finished with a feather headband, size M-L (3), the second in the late Victorian style comprising a blue velvet bodice with taffeta bows and white collar over a blue corduroy skirt with a cream tiered petticoat, size M (3) $1,000-2,000

PETER COOKE + TOM LINGWOOD

74 THE FEMALE PRINCIPAL COSTUME FOR “ROSINA”, IL TRIONFO DELL’ONORE [SCARLATTI], 1980 Designed by Peter Cooke for the 1980 production by Franco Cavarra, worn by Cynthia Johnston, constructed in the style of an 18th century day dress with heavily embellished teal taffeta bodice and skirt with cream cotton drill inserts to each, the bodice with a “folk” style corset front feature in velvet ribbon, size S (2) $1,500-2,500

ANGUS STRATHIE

76 THE FEMALE PRINCIPAL COSTUME FOR “LA PÉRICHOLE”, LA PÉRICHOLE [OFFENBACH], 1993 Designed by Angus Strathie for the 1993 production by Lindy Hume and worn by mezzo-soprano Suzanne Johnston, constructed as a 1940s style purple satin wiggle dress with diamante spaghetti shoulder straps above a shelf bust embellished with heavy sequining, size M (1) $2,000-4,000

63 63

SUE WILMINGTON

Courtesy of Opera Australia

78 THREE FEMALE PRINCIPAL COSTUME FOR “MELISANDE”, PELLÉAS ET MÉLISANDE [DEBUSSY], 1998/99 Designed by Sue Wilmington for the 1998 production by Patrick Nolan, worn by Clare Gormley (98) & Kirsti Harms (99), comprising of three late Victorian style day dresses in red velvet, blue taffeta and devore velvet, each highly detailed with high neckline and long sleeves, size M-L (3) $1,500-2,500

SUSAN BENSON Reg Livermore as The Duke of Plaza-Toro, Natalie Jones as Casilda and Judi Connelli as The Duchess of Plaza-Toro in Opera Australiaâ&#x20AC;&#x2122;s production of The Gondoliers. Credit: 66 Opera Australia and Jeff Busby

“It is truly an honour to work with an important part of Australia’s performing arts history, and to assist in bringing the magic of opera to the public sphere in such a uniquely tangible way.” TIMOTHY NICOL-FORD FASHION, TEXTILES & LUXURY

79 TWO MALE PRINCIPAL COSTUMES FOR “THE DUKE OF PLAZA-TORO”, THE GONDOLIERS [GILBERT & SULLIVAN], 2006 Designed by Susan Benson for the 1989 production by Brian Macdonald, both worn by Reg Livermore and Robert Gard, each modelled after 18th century men’s formal suits comprising frock coats with heavy gilt thread embellishment, over ruffled shirts with accompanying ties, all over breeches in complimentary colours, size M & L (8) $3,000-5,000

80 THE MALE PRINCIPAL COSTUME FOR “GIUSEPPE PALMIERI”, THE GONDOLIERS [GILBERT & SULLIVAN], 2000/06/07 Designed by Susan Benson for the 1989 production by Brian Macdonald, worn by Angus Wood (00), Luke Gabbedy (06) and Robert Bertram (07), modelled after an 18th century men’s formal suit comprising a frock coat and vest with heavy gilt braid and thread embellishment, over a ruffled shirt with attached jabot, all over breeches in complimentary rust tone satin, size M (4) $1,200-1,800

81 THE MALE PRINCIPAL COSTUME FOR “THE DUCHESS OF PLAZA-TORO”, THE GONDOLIERS [GILBERT & SULLIVAN], 1989/90/00 Designed by Susan Benson for the 1989 production by Brian Macdonald and worn by Graeme Ewer, constructed in the 18th century Venetian style, comprising an ornate bone bodice with gilt thread grograin ribbon and polyester embellishments with flowers, above a large pannier skirt with associated crinoline, finished with a matching choker with faux floral embellishment, worn with the iconic 18th century wig with attached ship, size M-L (5) $3,000-5,000

Opera in a box Leonard Joel is pleased to offer the rare

This extraordinary collection of costumes

opportunity to purchase a full suite of

was designed for the 1989 production of

costumes from an entire Opera Australia

The Gondoliers by British-born Canadian

production. The Gondoliers is the famous

costume designer Susan Benson. Of the

duo Gilbert and Sullivan’s twelfth opera,

designs, in 2007 Peter McCallum wrote for

and has been a favourite of Opera

the Sydney Morning Herald that “Susan

Australia and its audience for decades.

Benson’s design, with rose-tinted lighting

From the perspective of costume design

by Jonathan Perry, is all pink, flowers and

and production, the ingenious characters

prettiness: a visual embodiment of the

and Venetian setting has resulted in some

idyllic Gilbert & Sullivan world, where

of the Company’s most beautiful work.

every Jill finds her Jack and every eight-bar

The hilarious tale involves a young bride

phrase finds its perfect cadence.”

arriving in Venice to meet her betrothed, only to find that he cannot be identified

Comprising principals, chorus and dancers,

as a drunken gondolier swapped his own

the complete production will be offered in

son with the entrusted prince at birth. What

the Saturday auction

follows is a witty satire which explores the

$15,000-25,000

theme of class and questions the notions of duty and honour.

JOHN STODDART 82 TWO MALE PRINCIPAL COSTUMES FOR “DUKE OF DUNSTABLE” & “BUNTHORNE”, PATIENCE [GILBERT & SULLIVAN], 1995 Designed by John Stoddart for the 1995 production by John Cox, worn by Graeme Ewer as the Duke and Dennis Olsen as Bunthorne, each styled as two piece suits in the medieval style with breeches, in light-weight green velvet with white cotton bibs, sizes M & L (6) $1,500-2,500

83 TWO MALE PRINCIPAL COSTUMES FOR “GROSVENOR”, PATIENCE [GILBERT & SULLIVAN], 1987/95 Designed by John Stoddart for the 1987 production by Stuart Maunder, worn by Anthony Warlow (95) and Robert Gard (87), each styled as late Victorian day suits in lightweight plaid wool, together with bib, bow tie, vest and gloves, one with faux spats, sizes M & L (10) $1,500-2,500

NIKI TURNER

84 THE FEMALE PRINCIPAL COSTUME FOR “THE FOREIGN PRINCESS”, RUSALKA [DVORÁK], 2007 Designed by Niki Turner for the 2007 production by Olivia Fuchs and worn by Elizabeth Whitehouse, comprising four pieces with black petticoat beneath three piece red satin Victorian outfit including skirt, bodice, jacket with mouton sleeves, cape and gloves, each heavily embellished with red sequins, size 16-18 (6) $3,000-5,000

SUE FIELD

It has been great fun working with the Opera Australia team. Of special note is the facilities manager Neal Hughes, and the Wardrobe Director Lyn Heal, who have uncovered the treasure trove of costumes and illustrations for auction. In addition, the great team at Leonard Joel will do justice to auctioning these wonderful pieces and raise much needed funds for Opera Australia DI HENRY PROJECT DIRECTOR MAXXAM INTERNATIONAL

Opera Australia’s Tannhäuser ®Branco Gaica

85 TWO FEMALE PRINCIPAL COSTUMES FOR “ELIZABETH”, TANNHÄUSER [WAGNER], 1998/07 Designed by Sue Field for the 1998 production by Elke Neidhardt and performed by Lisa Gasteen (98), Anke Hoppner (07) and Janice Watson (07) each costume comprising a burgundy velveteen dress in a steampunk medieval inspired style, over a printed polka-dot taffeta bustle skirt in cream with burgundy spots, both with plunging V-neckline and long sleeves finished with brass-look buttons, size L & M (4) $1,500-2,500 73

86 A MALE PRINCIPAL COSTUME FOR “LANDGRAVE”, TANNHÄUSER [WAGNER], 1998/07 Designed by Sue Field for the 1998 production by Elke Neidhardt, the steampunk fusion outfit comprising an Edwardian style double breasted coat, over a shirt and cravat, together with a green vest and forest green velvet breeches, the jacket with black vinyl turned collar and military inspired buttons, approx. size 38R (5) $1,500-2,500

87 THE MALE PRINCIPAL COSTUME FOR “REINMAR VON ZWETER”, TANNHÄUSER [WAGNER], 1998 Designed by Sue Field for the 1998 production by Elke Neidhardt and performed by Warwick Fyfe, the steam-punk fusion outfit comprising an Edwardian style faux double breasted tail coat with front zip closure, over a metallic pinstripe vest with blue cravat above black wool breeches, the jacket finished with military inspired buttons, size XL-XXL (4) $1,200-1,800

88 THE MALE PRINCIPAL COSTUME FOR “REINMAR VON ZWETER”, TANNHÄUSER [WAGNER], 2007 Designed by Sue Field for the 1998 production by Elke Neidhardt and performed by bass Richard Anderson in the 2007 production, comprising a long double breasted overcoat and breeches constructed in supple black leather, together with a metallic check vest with double lapel, bib and cravat, size M-L (5) $2,500-3,500

89 THE FEMALE PRINCIPAL COSTUME FOR “VENUS”, TANNHÄUSER [WAGNER], 2007 Designed by Sue Field for the 2007 production by Elke Neidhardt and performed by Bernadette Cullen, comprising a burgundy velveteen dress in a steampunk medieval inspired style, over a printed polka-dot taffeta bustle skirt in cream with burgundy spots with plunging V-neckline and long sleeves finished with brass-look buttons, together with a Victorian inspired faux fur collared wrap style coat with a long train and faux fur trim to hem, each size L (4) $2,000-4,000

“We know that opera fans and collectors, not only from Australia but all around the world, would be thrilled to acquire some of these rare gems, so we thought it was time to share the collection with those who’ll value it as much as we do.” LYNDON TERRACINI ARTISTIC DIRECTOR

Milijana Nikolic as Venus in Opera Australia’s production of Tannhäuser. Credit: Opera Australia and Branco Gaica

KIMM KOVAC

90 THE FEMALE PRINCIPAL COSTUME FOR “ANGELICA”, ORLANDO [HANDEL], 2008 Designed by Kimm Kovac and Andrew Hays for the 2008 production by Justin Way, worn by Rachelle Durkin, constructed in printed Japanese crimplene with navy jacquard trim, the dress in a early 1940s style with shelf bust above a gathered swag to left hip, the hem to floor, the jacket with a cutaway design beneath a standing mandarin collar, lined in printed floral satin, size M (2) $1,200-1,800

91 THE MALE PRINCIPAL COSTUME FOR “MEDORO”, ORLANDO [HANDEL], 2008 Designed by Kimm Kovac and Andrew Hays for the 2008 production by Justin Way and performed by Tobias Cole, comprising a velvet brocade suit in a “tapestry” floral pattern above a brown shirt, the suit jacket lapel finished with military pins to blue badge and a leather belt with a buckle inscribed “Royal Army Medical Cops”, size 38R (3) $800-1,600

92 THE PRINCIPAL FEMALE COSTUME FOR â&#x20AC;&#x153;ANGELICAâ&#x20AC;?, ORLANDO [HANDEL], 2008 Designed by Kimm Kovac and Andrew Hays for the 2008 production by Justin Way and worn by Emma Matthews, designed as a mid-century inspired showgirl costume, consisting of strapless shelf bust gown with embroidered peacock to bodice and skirt terminating in applied hand dyed ostrich feathers, the flared skirt with attachable extension with further feathers, together with two ostrich feather armbands, size M-L (4) $2,500-3,500

Wardrobe production coordinator, Bronwyn Jones, who has overseen the unpacking and sorting of over 50 crates of costumes, is thrilled at the idea of them having another life. Photography Credit: Andrew Burn

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David LaChapelle, Courtney Love: Pieta, Los Angeles, 2006 (detail)

David LaChapelle, Courtney Love: Pieta, Los Angeles, 2006 (detail) David LaChapelle, Courtney Love: Pieta, Los Angeles, 2006 (detail)

19 AUGUST – 17 SEPTEMBER 2017 Featuring an Australian exclusive

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Leonard Joel Specialists SYDNEY Robert Williams, National Head of Single-Owner Collections & Sydney Office Emily Sinclair, Art Specialist Tim Nicol, Fashion, Textiles & Luxury Millie Holles, Opera Australia Project Manager ART Sophie Ullin BA Hons, National Head of Art Olivia Fuller BArtTh, Art Specialist Maggie Skelton BA, Art Specialist Lucy Foster EMA, Art Specialist Emily Sinclair, Art Specialist Daizi Zheng, Administrator ABORIGINAL ART Sophie Ullin BA Hons, National Head of Art JEWELLERY John Dâ&#x20AC;&#x2122;Agata F.G.A.A., National Head of Jewellery Robert Haigh F.G.A.A. Dip DT., Senior Jewellery Specialist and Resident Gemmologist and Diamond Technologist Bethany McGougan, BA Hons, MSc, Manager, Jewellery & Luxury Ophelia Lai, Jewellery Assistant Kerry Dobson, Administrator Mary Kenny BA, Dip. Ed., Consultant Henrietta Maiyah, Consultant

IN ASSOCIATION WITH

LUXURY Bethany McGougan, BA Hons, MSc, Manager, Jewellery & Luxury CLASSIC FURNITURE & OBJECTS Chiara Curcio BA, Associate Head of Classic Furniture & Objects Trevor Fleming, BA (Asian Studies), M.Mgmt (Arts), Specialist, Japanese Art COLLECTABLES Allison Therrien, Collectables Manager & Specialist Administrator INTERIORS & FURNITURE Ryan Parle BA, Manager Jack McIlroy, Assistant Edwin Fox, Assistant MODERN DESIGN Anna Grassham BA Contemporary Arts, Specialist OBJECTS, BOOKS & COLLECTABLES Maxine Winning, Manager Elise Landry, Assistant VALUATIONS Caroline Tickner, BA Hons, F.G.A.A., Head of Valuations ACCOUNTS Marie McCarthy, Chief Financial Officer Michelle Draper, Account Manager FRONT OFFICE Kim Clarke, Front of House Manager Amelia Lewis, Receptionist Phoebe Ellis, Receptionist Keryn Gilchrist, Database OPERATIONS & LOGISTICS Anthony Riepsamen, Manager COMMUNICATIONS & MARKETING Katarina Ljahovic, Manager PHOTOGRAPHY Adam Obradovic, Senior Photographer Joseph Hammond, Photographer Andrew Burn, Sydney Photographer DESIGN Maria Rossi, Finished Artist