The Art Collector

3 JOHN COBURN (1925-2006) The Burning Land 1995 oil on canvas signed lower right: Coburn artist’s name, title and date verso 180 x 160cm $40,000-60,000 © John Coburn/Copyright Agency, 2023

The Art Collector

04.12.2023

The Art Collector 04.12.2023, 6pm Sydney

VIEWING

CONTACTS

fri 01 – sun 03 dec The Bond, 36-40 Queen Street Woollahra, NSW 2025

madeleine norton head of decorative arts & art, sydney 02 9362 9045 madeleine.norton@ leonardjoel.com.au

Please refer to our website for viewing times — leonardjoel.com.au

lot 17 TIM STORRIER (born 1949) The Grand Impedimenta (Maquette) bronze, ed 44/50 foundry mark, signed and numbered in bronze to base: Storrier 44/50 32 x 15 x 9cm $8,000-12,000

1

2

lot 43 NORMAN SEEFF (South African, born 1939) Tina Turner, Los Angeles (Bel Air Sequence, 6-Up) 1983 archival pigment print, ed. 6/50 + 5AP signed and numbered lower right: NSeef 6/50 144 x 358cm $4,000-6,000

3

4

The Art Collector

Art collector Andrew Tuckfield, a medical specialist from Sydney with a significant art collection he’s been building for over 40 years, certainly didn’t start off thinking he was going to be an art collector. He started going to openings and galleries in his mid-20s and fell in love with a painting by Australian artist Nigel Thomson (another painting by Thomson is featured in The Art Collector, lot 16). It took him 12 months to pay off the work and from there perhaps the next year he bought another, the following year another, and so it began.

It's a familiar story and one which may be relatable to many of those reading. For many, myself included, we can be lured into the world of art collecting for a variety of reasons but regardless of the motivations behind it, the joy of collecting can be universally felt.

For those who consider themselves true art connoisseurs the motivation behind collecting is often driven by a thirst for knowledge and intellectual discovery. As a result, their collections are often amassed over a long period of time and characterised by methodical and thoughtful collecting.

However, it is certainly not a prerequisite of art collecting to engage in this methodology which requires so much time and devotion to the academic properties of art.

There are those whose collections may emerge purely from the aesthetic pleasure a work sparks when looking at it. These aesthetes often view their collection as an emotional extension of themselves and a way to display and develop their identity.

Thirdly, there is undeniably the category of collector who buys for investment purposes. Whilst traditionally this has perhaps been considered ‘taboo’ to discuss, with the evergrowing popularity of contemporary art (not to mention NFTs) it’s now deemed completely acceptable to consider the financial future of your art purchases. To quote one of Australia’s most eminent art auctioneers, Roger McIlroy, “if it’s appreciated it will appreciate.” Whilst many enterprising collectors may consider art as an asset class it is rarely a pure investment and is often coupled with the desire to tap into an unexpressed sense of individuality or taste. Otherwise, why choose to invest in art as opposed to the myriad of other investment opportunities available?

Perhaps it is because art collecting has always had an irresistible aura around it. So, whether you are motivated by the adrenaline of procurement, or by the contribution an artist has made to the art historical canon, or you yearn to be struck by the visual pleasure of an artwork, I’m sure you will find countless motivations to acquire in the selection of works ahead of you. madeleine norton head of decorative arts & art, sydney

lot 28 JULIAN MEAGHER (born 1978) Sleep Cycle #6 2020 oil on canvas signed, titled and dated verso: ‘Sleep Cycle # 6’ JMeagher ‘20 / Julian Meagher 2020 152 x 122cm $5,000-7,000

1.

Northover, K, “Behind Closed Doors: Inside the world of Private Art Collectors”, The Sydney Morning Herald, 26 August 2023

5

1

1

GIROLAMO PIERI BALLATI NERLI (1860-1926) Untitled (Early Victorian settlement) oil on canvas signed lower right: GP. Nerli 61 x 92cm provenance Sacred Heart Health Service, St Vincent’s Hospital Sydney Art Collection, 1972, donated by Norman Miller (label verso) Funds raised from the sale of this artwork will go towards purchasing new artworks for St Vincent’s Hospital Palliative Care and Rehabilitation Patient Rooms $7,000-9,000

6

2 © Geoffrey Dyer/Copyright Agency, 2023

2

GEOFFREY DYER (born 1947) Lake Repulse - Fire 2 oil on linen signed lower right: G DYER titled on gallery label verso 152 x 182cm provenance MiCK Gallery, Paddington (label verso) Private collection, Melbourne $8,000-10,000

7

3 © John Coburn/Copyright Agency, 2023

8

4 © Paul Partos/Copyright Agency, 2023

3

JOHN COBURN (1925-2006) The Burning Land 1995 oil on canvas signed lower right: Coburn artist’s name, title and date verso 180 x 160cm 4

provenance Australian Galleries, Melbourne and Sydney (label verso) Private collection, Sydney exhibitions John Coburn, Australian Galleries, Sydney, 27 November 23 December 1995, (no. 2) The Wynne Prize 1996, Art Gallery of New South Wales, Sydney, 9 March - 28 April 1996 $40,000-60,000

PAUL PARTOS (1943-2002) Untitled 5 1999 oil on canvas signed, titled and dated verso: Paul Partos / Untitled 5 1999 71.5 x 66.5 provenance Christine Abrahams Gallery, Melbourne (label verso) Private collection, Sydney $4,000-6,000

9

5

SIDNEY NOLAN (1917-1992) Mask 1979 oil on canvas signed lower right: Nolan . signed, titled and dated on stretcher verso: MASK NOLAN 31 - 11 -79 101.5 x 76cm provenance Lady Nolan, United Kingdom Corporate collection, Melbourne Menzies, Sydney, Important Australian and International Fine Paintings and Sculpture, 13 September 2012, lot 19 (titled Mask III) Private collection, Sydney exhibitions Landscapes and ‘Ned Kelly’ Paintings of 1979, Rudy Komon Gallery, Sydney, March 1980 (stock number 4995) $40,000-60,000 6

PHILIP HUNTER (born 1958) Night Paddocks - Wimmera II 2003 oil on canvas signed, titled, dated and inscribed verso: Hunter 2003 / NIGHT PADDOCKS - / WIMMERA / II / OIL ON CANVAS 228.5 x 213cm provenance Philip Bacon Galleries, Brisbane (label verso) Tim Olsen Gallery, Sydney (label verso) Private collection, Sydney $15,000-20,000

5 © Sidney Nolan/Copyright Agency, 2023

10

6 © Philip Hunter/Copyright Agency, 2023

11

Ian Fairweather

In 1929 Ian Fairweather visited China for the first time and its culture, philosophy and imagery continued to inform his artistic practice for the rest of his career. In 1934 he spent two years living in China in poverty and took lessons in calligraphy and Mandarin and studied the teachings of Taoism and Buddhism.

By 1938 Fairweather returned to Australia but took many of these teachings with him.

He turned his artistic practice from oil paintings to gouache, often painting on fragile surfaces using a delicate watercolour and gouache on thin cream tissue paper. Drawing with economy and speed, these works on paper often have a fleeting sense of movement and ephemerality to them.

In the present lot this feeling of movement is conveyed by repetitive sweeping curved lines which coalesce into a busy overall graphic. If it weren’t for the literal title, the composition may be difficult for a viewer to make sense of. However, with the aid of the title we see these lines coming together to form several figures interwoven in a variety of positions. The image recalls that of Fairweather’s work on paper, Pied-à-terre, c.1950, in the Art Gallery of New South Wales. According to the Art Gallery of New South Wales, during the summer of 1950-51, when Fairweather was living in an abandoned patrol boat on the shores of Darwin Harbour, he was at a crossroads both artistically and personally. His art from this period demonstrates that he was wrestling with his identity as an Englishman abroad and an artist whose work was rooted firmly in the Australian landscape.2 The compositional elements within Figure Group are characteristic of Fairweather’s distinctive style and are present throughout his oeuvre from the mid-century onwards. In these lines we see the influence of Chinese calligraphy, and his appreciation of Chinese language in the signature and inscription in Chinese characters in the lower right corner. In an interview with Craig McGregor in 1968 Fairweather said: The Chinese have quite a different idea of painting from us. The movement, the stroke of the hand counts so much for them. They never draw a straight line. And it’s the same for me. It’s given me a sensitiveness towards line that I didn’t have.3 Upon reframing this artwork it was found to have another previously unknown work on the reverse. This work is unsigned but appears to be a preparatory work for the final piece on the other side. Although the composition appears somewhat complete it seems Fairweather has “crossed out” the image, with several sweeping brush strokes of black ink across the width of the page indicating he was unhappy with its result. It was a surprising discovery which offers a rare insight into the artistic process of one of Australia’s most interesting and unique modern painters.

1.

Ian Fairweather in an interview with Hazel de Berg, National Library of Australia 2.

Australian Art Department, Art Gallery of New South Wales, 2004, Ian Fairweather: Pied-à-terre, <https://www.artgallery.nsw.gov.au/collection/works/485.1996/#bibliography> 3.

Fairweather, I., 1968, Interview with Craig McGregor, quoted in: Bail, M., Fairweather, Murdoch Books, Sydney, 2009 (revised edition), pp. 269-270

madeleine norton head of decorative arts & art, sydney

“Painting to me is something of a tightrope act; it is between representation and the other thing – whatever that is. It is difficult to keep one’s balance.”1 ian fairweather

12

7 © Ian Fairweather/Copyright Agency, 2023

7

IAN FAIRWEATHER (1891-1974) Figure Group c.1950 gouache on paper signed and inscribed lower right in Chinese characters and likely dated: 50 52 x 75cm provenance Macquarie Galleries, Sydney, 1984 (original label retained, accompanied by a copy of purchase receipt) Private collection, Sydney $45,000-65,000 7 Verso © Ian Fairweather/Copyright Agency, 2023

13

8

ROBERT KLIPPEL (1920-2001) No. 859 1988 (cast in 2004) bronze, ed. 1/3 + 1AP initialled and titled to lower element: RK #859 inscribed: CRAWFORD CASTING 2004 Height 50.5cm, Width 40cm (approx.), Depth 25cm (approx.) provenance Private collection, Sydney related works No. 859, 1988, balsa wood assemblage, 50.7 cm, in Edwards, D, Robert Klippel: Catalogue Raisonne of Sculptures, (CD-ROM) Art Gallery of New South Wales, Sydney, 2002 (illus.) $18,000-24,000 9

JOHN COBURN (1925-2006) Yellow Landscape with White Bird 2003 oil on canvas signed lower right: Coburn 100 x 112cm provenance Australian Galleries, Sydney (cat. no. AG6128 inscribed verso) Eva Breuer Art Dealer, Sydney Private collection, Sydney Deutscher and Hackett, Melbourne, 100 Important Australian Paintings, 16 April 2008, lot 53 Company collection, Melbourne Lawson-Menzies, Sydney, Quarterly Fine Art Auction, 8 August 2013, lot 59 Private collection, Sydney Private collection, Melbourne Art Index, Sydney (accompanied by purchase receipt) The Collection of Barbara Stone AM, Sydney, 2019 exhibitions John Coburn, Twelve Recent Paintings with their Studies and One New Tapestry, Australian Galleries, Sydney, 25 November - 17 December 2003 (photograph of the artist with this painting illus. exhibition catalogue) $30,000-40,000

8 © Andrew Klippel. Courtesy of The Robert Klippel Estate, represented by Annette Larkin Fine Art,

Sydney and Galerie Gmurzynska, Zurich/Copyright Agency, 2023

14

9 © John Coburn/Copyright Agency, 2023

“I don’t think art is created in isolation; an artist, to me, is someone in tune with the environment around him.” john coburn

15

11

11

10

PIPPIN DRYSDALE (born 1943) Kimberley Series II 2008 porcelain, closed form signed, titled, dated and inscribed at base: PIPPIN/ DRYSDALE/ CODE/ 2-08/ KIMBERLEY SERIES/ II - 2008 49 x 17.5cm provenance Private collection, Melbourne $7,000-9,000

JASON BENJAMIN (born 1971) Letters from a Marriage 2016 oil on linen signed titled and dated verso: “Letters from a / Marriage” / 2016 / Benjamin 122 x 122cm provenance Art Index, Sydney (accompanied by purchase receipt) The Collection of Barbara Stone AM, Sydney, 2016 exhibitions Balentes: Life of an Ancient Soul, Australian Institute of Architects, Sydney, 7 - 14 April 2016 $12,000-18,000 10 © Pippin Drysdale/Copyright Agency, 2023

16

12 © Geoffrey Dyer/Copyright Agency, 2023

12

GEOFFREY DYER (born 1947) Ocean Beach Dusk 2015 oil on linen signed lower right: DYER 122 x 152cm provenance Art Index, Sydney (accompanied by purchase receipt) The Collection of Barbara Stone AM, Sydney, 2015 $6,000-8,000

17

Sidney Nolan

Widely recognised both at home and overseas; Sidney Nolan’s work has become synonymous with the mythology of the Australian outback. Nolan’s depiction of Australia’s landscape and ability to convey complex narratives, were crucial to the development of the Australian Modernist movement. Amongst Nolan’s depictions of the land his iconic Ned Kelly silhouette stands out as instantly recognisable and was most prominently illustrated in his Ned Kelly series from 1946-47. The Kelly mask silhouette became intertwined with Australian identity and was illustrated worldwide, even utilised in the opening of the 2000 Sydney Summer Olympics.

In Nolan’s Ned Kelly series from the 1940’s the mask sits flatly on the canvas in black stencils over scenes in the Australian outback. However, in many of his other works where he utilises the same shape, such as in Mask (1979) and Mask (1980), the outline of the mask acts as a framing device to explore individual moments in isolation. Rather than the narrative informed scenes of his Ned Kelly series resembling a play, his Mask series are prompts into Ned Kelly himself, closely exploring the complexity of the character and moments like a Greek tragedy.

The artwork Mask (1980) depicts Kelly’s last moments in a haze of orange layers, the prominent silhouetted mask depicted in a rich block of colour. A handprint and hanging noose draw the attention down to a portrait, presumably of Kelly, in the centre of the composition.

The painterly marks draw an expressive portrait, conveying the harrowing moment. Trailing towards the bottom of the work, Nolan has inscribed Kelly’s legendary (yet highly debated) last words “such is life,” almost inconspicuously at the bottom on the canvas.

This work, capturing the climax of the Kelly narrative, was produced as part of a series for Rudy Komon Gallery on the 100th anniversary of Ned Kelly’s death. Nolan has described his work during this period as attempting to turn the ‘cliché’ into something “monumental.”2 In the present lot, Nolan has achieved this monumentality by using the silhouette as a mechanism to offer the viewer a window into the fateful scene.

Early in his career as a commercial painter Nolan worked with glass signs and stencils. These techniques were highly influential throughout his practice, most notably in his use of blocks of colour, layering of forms and particularly in his printmaking practice. In the present lot we see Nolan utilising these techniques to bring the mythology of Ned Kelly out of the landscape and into a more nuanced dimension. Through abstract forms and vivid colours Nolan highlights the human condition and extracts a strong emotional reaction from his viewers.

1.

Adams, B., Sidney Nolan: Such is Life, 1982, Hutchinson, Melbourne, p.239 2.

Nolan, S., Sir Sidney Nolan: 3 Exhibitions at the 1982 Festival of Perth, Festival of Perth, 1982, exhibition catalogue, p.4

ella nail office manager & administrator, sydney

“Predominant among Sidney Nolan’s themes are the ancient mystery of the Australian continent and its precipitate modernity – a paradox that he has brought into the mind’s eye of his countrymen over the past forty years. He is a poetic and highly accomplished painter, whose power rests on an ability to suggest simultaneously the might and the fragility of life.” 1 brian Adams

18

13 © Sidney Nolan/Copyright Agency, 2023

13

SIDNEY NOLAN (1917-1992) Mask 1980 oil on canvas signed and dated lower right: Nolan 1980 inscribed lower left: Such is Life signed, titled and dated on stretcher verso: MASK - NOLAN - 1-1-1980 101 x 76cm

provenance Lady Nolan, United Kingdom Corporate collection, Melbourne Menzies, Sydney, Fine Australian and International Paintings and Sculpture, 22 March 2012, lot 19 (label verso) Private collection, Melbourne Menzies, Sydney, Quarterly Fine Art Auction, 15 November 2012, lot 46 Private collection, Sydney exhibitions (probably) Landscapes and ‘Ned Kelly’ Paintings of 1979, Rudy Komon Gallery, Sydney, March 1980 (label attached verso, stock no. 4997) $40,000-60,000

19

15 © Noel McKenna/Copyright Agency, 2023

14

15

PIPPIN DRYSDALE (born 1943) Wilbrunga Ranges 2014 (Tanami Mapping III) porcelain incised with coloured glazes signed, dated and inscribed at base: PIPPIN/ DRYSDALE/ TM III/ 2014 25 x 19cm

§ NOEL MCKENNA (born 1956) Truck on Highway 1987 ink and pencil on paper signed and dated centre right edge: N. McKENNA 89 titled on label verso 28 x 47cm

provenance Sabbia Gallery, Sydney Private collection, Melbourne

provenance Garry Anderson Gallery, Sydney (label verso) Private collection, Queensland Estate of the above, Queensland Deutscher and Hackett, Melbourne, Selected Fine Art, 29 October 2019, lot 33 (label verso) Private collection, Sydney $1,500-2,500

exhibitions Pippin Drysdale: Tanami Mapping III, Sabbia Gallery, Sydney 14 May - 7 June 2014 $4,500-6,500 14 © Pippin Drysdale/Copyright Agency, 2023

20

16 © Nigel Thomson/Copyright Agency, 2023

16

NIGEL THOMSON (1945-1999) Untitled (Car crash monotone) 1993 oil on canvas signed and dated lower right: NIGEL THOMSON ‘93 107 x 249cm provenance Private collection, Sydney exhibitions Nigel Thomson Paintings 1993-1998, Annandale Galleries, Sydney, 1 - 25 July 1998 $3,000-5,000

“Each of his paintings was meticulously planned, built up from small studies and photographs, in time-honoured fashion. Yet the content of Thomson's work was more challenging than that of any salon avant-gardist. Thomson was not content to merely strike attitudes or signpost his awareness of topical issues, he aimed to short circuit the comfortable relationship between art and life, to jolt the viewer out of his or her complacency by providing an image that was realistic enough to command instant recognition, but disturbing in its deeper implications.”

JOHN McDONALD

21

17

TIM STORRIER (born 1949) The Grand Impedimenta (Maquette) bronze, ed 44/50 foundry mark, signed and numbered in bronze to base: Storrier 44/50 32 x 15 x 9cm provenance Private collection, Sydney Art Index, Sydney (accompanied by certificate of authenticity and purchase receipt) The Collection of Barbara Stone AM, Sydney, 2017 $8,000-12,000 18

IDA RENTOUL OUTHWAITE (1888-1960) Wishing on a Star ink and watercolour on paper monogrammed lower right 44 x 32cm provenance Patricia McLeod, Sydney Thence by descent $12,000-18,000 17 © Tim Storrier/Copyright Agency, 2023

22

18

23

19

DEL KATHRYN BARTON (born 1972) Untitled 1996 charcoal and gouache on paper signed and dated lower centre: Del Kathryn Barton 1996 90 x 57cm provenance Private collection, Sydney $3,500-4,500

19

24

21

20

PIPPIN DRYSDALE (born 1943) Kimberley Walker I, Breakaway Series II 2021 porcelain titled, inscribed and dated at base: PIP DRYS/ B A/ SII/ 2021 22 x 21.5cm

21

provenance Acquired directly from the artist Private collection, Melbourne $4,000-6,000

provenance The Artist’s Studio Private collection, Melbourne $4,000-6,000

SAM LEACH (born 1973) Rosella 2020 oil on board signed and dated verso: Sam Leach / 2020 35.5 x 28cm

20 © Pippin Drysdale/Copyright Agency, 2023

25

22

26

22

GUIDO (GUY) MAESTRI (born 1974) Untitled 2006 oil on canvas signed, titled, dated and initialled verso: GUY MAESTRI / UNTITLED / 2006 / GM 198.5 x 153cm provenance Private collection, Sydney $4,000-6,000 23

DAVID BROMLEY (born 1960) Untitled (Boy Series) bronze signed in bronze to base: David Bromley 114 x 50 x 40cm provenance Art Index, Sydney The Collection of Barbara Stone AM, Sydney $3,000-5,000 23

27

24

25

24

WENDY SHARPE (born 1960) Circe and Ulysees Eating Eggs 1988 oil on canvas signed and titled verso: Circe and Ulysses / eating eggs / Wendy Sharpe 121 x 106cm provenance Acquired directly from the artist Private collection, Sydney $2,500-3,500

28

MARIE HAGERTY (born 1964) Legerdemain 2007 quadriptych, oil on canvas signed, titled and dated verso: Marie Hagerty / ‘Legerdemain’ / 2007 Overall 202 x 151cm provenance Tim Olsen Gallery, Sydney (label verso) Private collection, Sydney exhibitions Marie Hagerty: New Works 2007, Tim Olsen Gallery, Sydney, 21 August - 8 September 2007 $2,000-3,000

25 © Marie Hagerty/Copyright Agency, 2023

29

26

26

MATTHEW QUICK (born 1967) Tangled Web 2011 oil on linen signed lower right: Quick 90 x 168cm provenance Private collection, Sydney Art Index, Sydney (accompanied by purchase receipt) The Collection of Barbara Stone AM, Sydney, 2017 $4,000-6,000

30

“In the developed world, oil and its derivative products are inextricably interwoven through all parts of the society and economy.

Its inter-connectivity is all-encompassing, with all parts of civilisation interacting with and dependant upon one another.” matthew quick

28

28

JULIAN MEAGHER (born 1978) Sleep Cycle #6 2020 oil on canvas signed, titled and dated verso: ‘Sleep Cycle # 6’ JMeagher ‘20 / Julian Meagher 2020 152 x 122cm

27

KIRSTEN COELHO (born 1966) Ginger Jar 2008 porcelain, temmoku glaze with celadon interior, lid and shoulder initialled at base: K 24.5 x 10.5cm $900-1,200

provenance Edwina Corlette Gallery, Brisbane (stamp to stretcher verso) Private collection, Sydney exhibitions Julian Meagher, Sleepwalking, Edwina Corlette Gallery, Brisbane, 18 October - 18 November 2020 $5,000-7,000

27 © Kirsten Coelho/Copyright Agency, 2023

31

30

29

KIRSTEN COELHO (born 1966) Element 2019 porcelain, saturated iron glaze with celadon interior initialled at base: K 16 x 24cm provenance Sullivan+Strumpf, Sydney Private collection, Melbourne exhibitions Passages, Sullivan+Strumpf, Sydney, 17 January 16 February 2020 $1,800-2,800

30

CAMILLE HANNAH (b. 1977) Opto Votum 2011 diptych, oil and acrylic on aluminium and perspex signed indistinctly and dated to one panel verso: 2011 240 x 240cm provenance Nellie Castan Gallery, 2011 (accompanied by a copy of purchase receipt) Private collection, Sydney $8,000-12,000 29 © Kirsten Coelho/Copyright Agency, 2023

32

31

CHRIS CHARTERIS (born 1966) Tuaiwi (strength/ancestor/backbone) 2007 golden quartz, bluff New Zealand, granite, steele cable Full length 585cm, displayed 280 x 151cm provenance FHE Galleries, Auckland, New Zealand Mossgreen Auctions, Sydney, The Estate of Ann Lewis AO, 7 November 2011, lot 37 Private collection, Sydney exhibitions Chris Charteris, TOROA, FHE Galleries, Auckland, New Zealand, January 2007 $6,000-8,000

31

“All the stone for this necklace has been naturally formed; I have gathered it and left to the land whalebone as an acknowledgement of it’s gifting. As I feel the resources in this area are diminishing I shall not be using this material again in this configuration. The inspiration for this work comes from my connection with nature and the forces that move and shape our world. I feel often when ‘making’ that it is the spirit of this land that passes through and transforms what is now before us. I find the process both sacred and mystifying.” chris charteris

33

32 © Marie Hagerty/Copyright Agency, 2023

34

33 © Holly Greenwood/Copyright Agency, 2023

32

MARIE HAGERTY (born 1964) Thin Ice 2014 ink, charcoal, acrylic and acrylic pen on canvas signed, titled and dated verso: Marie Hagerty ‘Thin Ice’ 2014 200 x 180cm

33

HOLLY GREENWOOD (b.1992) The Darlo 1 2022 oil on board signed, titled and dated verso: ‘The Darlo I’ / 2022 / Holy g 110 x 160cm

provenance Karen Woodbury Gallery, Melbourne (label verso) Private collection, Sydney

provenance James Makin Gallery, Sydney Private collection, Sydney

exhibitions Marie Hagerty: New Works, Olsen Irwin Gallery, Sydney, 16 April - 4 May 2014 $3,000-5,000

exhibitions Sydney Contemporary, James Makin Gallery, 8 - 11 September 2022 $6,000-8,000

35

34

KIRSTEN COELHO (born 1966) Blue Poppy 2020 three pieces, porcelain matt white glaze, cobalt glaze cup initialled at base bowl and vessel unmarked Height of largest 24cm, width 11cm provenance Private collection, Melbourne $2,000-3,000 35

MARIE HAGERTY (born 1964) Plane Girl (Popova) 2013-2014 oil on canvas signed, titled and dated verso: Marie Hagerty 2013-2014 / ‘Plane girl (popova)’ 200 x 180cm provenance Karen Woodbury Gallery, Melbourne (label verso) Private collection, Sydney exhibitions Marie Hagerty: New Works, Olsen Irwin Gallery, Sydney, 16 April - 4 May 2014 $3,000-5,000

34 © Kirsten Coelho/Copyright Agency, 2023

36

35 © Marie Hagerty/Copyright Agency, 2023

37

37

36

HARLEY IVES (born 1981) Immaterial Ornament 1 2020 2 channel moving image with sound, 2 minute seamless loop, ed 2/5 multiple thumb drives enclosed within envelopes with artist’s name, title, and date, master copy signed and editioned, encased in box with artist’s name, title, date and edition number provenance Chalk Horse, Sydney (label attached to box) Private collection, Sydney exhibitions Immaterial Ornament: Harley Ives, Chalk Horse, Sydney, 27 August - 19 September 2020 $1,500-2,000 36

38

37

CJ HENDRY (born 1988) King of Hearts pencil on paper signed lower right: CJHendry 101 x 103cm provenance Private collection, Sydney $20,000-30,000

38 © Josef Albers/Copyright Agency, 2023

38

JOSEF ALBERS (GERMAN/AMERICAN, 1888-1976) I-S LXXIIIb 1973 screenprint, ed 47/100 titled and editioned lower left: I-S LXXIII b 47/100 initial and dated lower right: A ‘73 Sheet: 71 x 71cm, Image: 44.5 x 44.5cm provenance Private collection, Sydney $3,000-5,000

“Every perception of color is an illusion, we do not see colors as they really are. In our perception they alter one another.”

JOSEF ALBERS

39

39

40

40 © Robert Indiana/Copyright Agency, 2023

40

MANUEL MARIN (Spanish, 1942–2007) Untitled enameled steel, enameled stainless steel 78 x 140cm (approximately)

ROBERT INDIANA (American, 1928-2018) The Hartley Elegies: The Berlin Series KvF VI-X 1990-1991 five silkscreen prints, editions of 50 each signed, titled, dated and variously numbered below image: KvF VI 13/50 R Indiana ‘90; KvF VII 11/50 R Indiana ‘90; KvF VIII 35/50 R Indiana ‘91; KvF IX 5/50 R Indiana ‘91; KvF X 41/50 R Indiana ‘91 Each 151 x 151cm

provenance Private collection, Sydney $2,000-3,000

provenance Private collection, Sydney $5,000-8,000

39

41

41

MIKE DARGAS (German, born 1983) Golden Girl 2015 oil on canvas signed and dated verso: M. Dargas / 2015 / MD 180 x 130cm provenance Private collection, Sydney exhibitions Mike Dargas, Opera Gallery, London, 6 - 20 July 2016 $6,000-8,000

33 © Lily Karadada/Copyright Agency, 2023

“Mike Dargas’ love for precision, almost obsessive, brings models to life under his brush stroke and draws us into a dreamlike world where time has suspended. His breath-taking large-scale portraits, all striking with their liveliness and expressionism, will transport the public into a world of intimacy and sensuality...” gilles dyan and jean-david malat, opera gallery exhibition catalogue

42

42

NORMAN SEEFF (South African, born 1939) The Eagles, Los Angeles (Hotel California) 1976 archival pigment print, ed. 6/50 + 5AP signed and numbered lower right: NSeef 2:50 112.5 x 295.5cm provenance Private collection, Sydney $4,000-6,000

“Soon after commencing this session, the band walked out. I had no idea why at the time. A week later, I showed them a poster design I had created by combining a number of individual shots. They loved it and all was forgiven. It became a poster insert for the HOTEL CALIFORNIA album.

I shot the Eagles 2 years later for a ROLLING STONE cover and recently re-designed the original poster in color for the re-release of the HOTEL CALIFORNIA vinyl. This is the result.”

Norman Seeff

42

43

43

ALBERT WATSON (Scottish, born 1942) Michael Jackson, New York City 1998 oversized chromogenic print, flush-mounted on aluminium, printed later, ed. 2/5 signed, titled, dated and numbered verso: AWatson 2/5 / MICHAEL JACKSON, NEW YORK CITY. 1998 243.8 x 147.3cm provenance Phillips de Pury & Company, New York, Photographs, 14 November 2009, lot 155 (label verso) Christie’s, London, Photographs, 15 May 2013, lot 72 (label verso) Private collection, Sydney $20,000-30,000

43

44

44

44

NORMAN SEEFF (South African, born 1939) Tina Turner, Los Angeles (Bel Air Sequence, 6-Up) 1983 archival pigment print, ed. 6/50 + 5AP signed and numbered lower right: NSeef 6/50 144 x 358cm provenance Private collection, Sydney $4,000-6,000

“Working with Tina is like being exposed to a nuclear reactor. She exudes a primordial energy that comes from the muse of her creativity. I was shooting so fast to keep up with her that I blew my strobe. Tina just kept going and we got the most amazing footage on video. Every shot was stunning and at the end of the session, Tina asked me to dance with her. Well, she ‘danced me’....I felt as though I was teleporting!”

Norman Seeff

45

46

45

45

MASSIMO LISTRI (Italian, born 1953) Reggia di Venaria I, Piemonte 2007 c-print mounted on aluminium, ed. 1/3 signed, titled, dated and numbered on label verso 178 x 224cm provenance Private collection, Sydney exhibitions Massimo Listri - Photographs, Royal Palace, Milan, 22 January 2008 (unknown edition number exhibited) $5,000-8,000

Based in Florence, Massimo Listri is a photographer who has created works that document the grand classical and baroque interiors of Europe.

In his photographs of chateaux, abandoned houses, libraries, cathedrals, and theatres, he symmetrically composes the space, using the perspective of the architecture to lead the eye into the framed pictorial space resulting in a balanced and harmonious composition. He manages to create a sense of serenity as well as awe, while celebrating the intricacy of grand architecture.

He has published over fifty books on art and architecture and was one of the founding members of the influential FMR Magazine. ronan sulich senior adviser, sydney

47

46

46

MURRAY FREDERICKS (born 1970) Hector #12 2011 pigment print, ed. 5/7 + 2AP signed and numbered on label verso: M-. 5/7 108.5 x 199.5cm provenance Hamiltons Gallery, London (label verso) Private collection, Sydney exhibitions Murray Fredericks: Hector, Hamiltons Gallery, London, 14 - 29 September 2012 (unknown edition number exhibited) $4,000-6,000

48

The series, Hector, is an ongoing exploration into the concept of space and isolation. Hector is the colloquial name for the convection thunderstorms ‘Hector the Convector’ that occur almost daily over the Tiwi Islands, situated in the Arafura sea, North of the Australian mainland. It was during the ‘build up’ season prior to the monsoon in 2010 that Fredericks chose to make his first trip to this area. Fredericks describes his approach as minimalist; his intention is to deny the traditional language of landscape in order to concentrate on space over place, whereupon the subject becomes the storm itself rather than the scene in which it sits. hamiltons gallery, london

47

47

SIMON CHAPUT (French, born 1952) Waterfall 9 2009 silver gelatin print mounted to dibond, edition of 10 152 x 101.5cm provenance Private collection, Sydney exhibitions Simon Chaput: Waterfalls & Nudes, Jackson Fine Art, Atlanta, 26 March - 16 June 2010 (unknown edition number exhibited) $5,000-8,000

49

48

48

SEBASTIAN COPELAND (American-British-French, born 1964) MG-4082 2007 archival pigment print, ed. 5/10 signed, titled, dated and numbered on certificate of authenticity verso 91 x 138cm provenance Private collection, Sydney exhibitions Sebastian Copeland - A World of Ice, Petra Gut Contemporary, Zurich - St. Moritz, 4 March - 16 April 2022 (another edition exhibited, titled “Iceberg I”) $2,000-4,000

50

49

CHRISTOPHER SCHULZ (born 1974) Blue AK 2013 marine grade stainless steel mountex on perspex plinth, ed. 6/9 impressed signature and numbered to base: SCHULZ 6/9 Length 114cm provenance Private collection, Sydney exhibitions Christopher Schulz: Amalgamation, George Billis Gallery, Los Angeles, 11 April - 16 May 2015 (unknown edition number exhibited) $8,000-12,000 50

MARK LAITA (American, born 1960) Malayan Coral Snake 2010 archival pigment print, ed. 4/15 + 2AP signed, titled, dated and numbered on label verso 120.5 x 120.5cm exhibitions Mark Laita: Amaranthine, Sea and Serpentine, Fahey/ Klein Gallery, Los Angeles, 28 July - 3 September 2011 (unknown edition number exhibited) literature Laita, M, (author) and Vollmann, W (introduction), Serpentine, Abrams, New York, 2013, pp. 23 & 190 $5,000-8,000

50

49

51

51

51

SEBASTIAN COPELAND (American-BritishFrench, born 1964) Iceberg IX 2010 archival pigment print, ed. 2/10 title and edition number verso 91 x 138cm provenance Private collection, Sydney exhibitions Sebastian Copeland - A World of Ice, Petra Gut Contemporary, Zurich - St. Moritz, 4 March - 16 April 2022 (another edition exhibited) $2,000-4,000

52

52

A LIMITED EDITION OF “GOAT. CHAMP’S EDITION” BY TASCHEN Edition of 1,000, signed by Muhammad Ali and Jeff Koons in hardcover clamshell box with four gelatin silver prints signed by Howard L. Bingham and Muhammad Ali, together with ‘Radial Champs’ sculpture by Jeff Koons.

50 x 50cm, 45kg provenance Private collection, Sydney other notes GOAT - GREATEST OF ALL TIME is a tribute to Muhammad Ali, consisting of over 3,000 images including photographs, art, and memorabilia from over 150 photographers and artists. The Champ’s Edition (limited to 1,000 copies) features four gelatin silver prints signed by photographer Howard L. Bingham and Muhammad Ali and the print and sculpture ‘Radial Champs’ by Jeff Koons, the print is signed and numbered ‘103’ by Koons lower right, the sculpture which measures 175 x 170cm is comprised of two inflatables and a stool.

The book contains original essays, interviews and writing on Ali over five decades, totaling 600,000 words, enclosed in a silk-covered box illustrated with Neil Leifer’s iconic 1966 photo of Ali vs Williams.

The XXL-format consists of 792 pages, including two gatefold sequences measuring 200 x 50 cm; nine gold-metallic double-page spreads printed in silkscreen open each chapter. $2,000-4,000

52

53

53

53

MARK LAITA (American, born 1960) North Pacific Giant Octopus 2010 archival pigment print, ed. 4/15 signed, titled, dated and numbered on label verso 121 x 209cm provenance Fahey/Klein Gallery, Los Angeles (label verso) Private collection, Sydney exhibitions Mark Laita: Amaranthine, Sea and Serpentine, Fahey/ Klein Gallery, Los Angeles, 28 July - 3 September 2011 (another size and edition exhibited) literature Laita, M, Sea, Abrams, New York, 2011 $8,000-12,000

54

54

54

MARK QUINN (British, born 1964) Under the Volcano, Tengger Caldera 2011 pigment print, ed. 2/20 signed lower left: Mark Quin dated and numbered lower right: 2/20 2011 71.5 x 111cm provenance Private collection, Sydney $2,000-3,000

Quinn’s ‘Flower Series’ utilises one of the oldest forms of traditional painting; the still-life. Quinn combines arrangements of flowers and fruit in his studio, bought in London on a particular day, which would often never be found in the natural world together at the same time. In this way the artist shows us how human desire has created new seasons by assembling items together in his studio which nature could not. The arrangements, often set amid a snowy ground or volcanic sand, are then painted in oil by Quinn and these paintings turned into print editions such as the present lot.

55

55

56

56

55

MARK LAITA (American, born 1960) Rowley’s Palm Pit Viper 2012 archival pigment print, ed. 1/15+2AP signed, titled, dated and numbered on label verso 121 x 121cm provenance Private collection, Sydney 56

literature DeWalt, R, “FULL-SCALE REPRODUCTIONS: Mark Laita’s Serpentine,” Pasatiempo (The New Mexican’s Weekly Magazine of Arts, Entertainment & Culture), 29 March 2013, pp. 36 (illus.)

Laita, M, (author) and Vollmann, W (introduction), Serpentine, Abrams, New York, 2013, pp. 137 & 196 $5,000-8,000

MASSIMO LISTRI (Italian, born 1955) Castello di Rivoli II, Torino 2007 c-print mounted on aluminium, edition of 5 169 x 225cm provenance Private collection, Sydney $4,000-6,000

57

Artist Index

A

S

Albers, Josef 38

Schulz, Christopher 49 Seeff, Norman 42, 44 Sharpe, Wendy 24 Storrier, Tim 17

B

Barton, Del Kathryn 19 Benjamin, Jason 11 Bromley, David 23

T

Thompson, Nigel 16 C

Chaput, Simon 47 Charteris, Chris 31 Coburn, John 3, 9 Coelho, Kirsten 27, 29, 34 Copeland, Sebastian 48, 51 D

Dargas, Mike 41 Drysdale, Pippin 10, 14, 20 Dyer, Geoffrey 2, 12 F

Fairweather, Ian 7 Fredericks, Murray 46 G

Greenwood, Holly 33 H

Hagerty, Marie 25, 32, 35 Hannah, Camille 30 Hendry, CJ 37 Hunter, Philip 6 I

Indiana, Robert 40 Ives, Harley 36 K

Klippel, Robert 8 L

Laita, Mark 50, 53, 55 Leach, Sam 21 Listri, Massimo 45, 56 M

Maestri, Guy 22 Marin, Manuel 39 Mckenna, Noel 15 Meagher, Julian 28 N

Nolan, Sidney 5, 13 Nerli, Girolamo Pieri Ballati 1 O

Outhwaite, Ida Rentoul 18 P

Partos, Paul 4 Q

Quick, Matthew 26 Quinn, Mark 54

58

W

Watson, Albert 43

Important Jewels

sydney The Bond, 36-40 Queen Street, Woollahra, NSW 2025 t: (02) 9362 9045 info@leonardjoel.com.au leonardjoel.com.au

image: Marc Paris Aquamarine and Diamond Bracelet, Circa 1940 $200,000-300,000

Auction 05.12.2023

The Collector's Auction

sydney The Bond, 36-40 Queen Street, Woollahra, NSW 2025 t: (02) 9362 9045 info@leonardjoel.com.au leonardjoel.com.au

Auction 05.03.2024

Artworks from the Nolan Estate

sydney The Bond, 36-40 Queen Street, Woollahra, NSW 2025 t: (02) 9362 9045 info@leonardjoel.com.au leonardjoel.com.au

image: Sidney Nolan (1917-1992) Kelly on Horseback 1961 mixed media on paper dated verso (concealed) 63.5 x 52cm (sheet); 57.5 x 48.5cm (reveal) Sold for $13,750 © The Sidney Nolan Trust.

All rights reserved. DACS/ Copyright Agency, 2023

Auction 19.02.2024

v

An Art Gallery of New South Wales touring exhibition

Support partner

This project has been assisted by the Australian Government’s Visions of Australia program.

NPG Principal Sponsor

NPG Cultural Partner

63

FREE ENTRY 3 DEC 2023 – 7 APR 2024 ONLY IN MELBOURNE SMACK Speculum 2019 (detail). Courtesy of the artists and Colección SOLO, Madrid © SMACK PRESENTING PARTNER

PRINCIPAL PARTNER

MAJOR PARTNERS

NGV TRIENNIAL CHAMPIONS

FELTON BEQUEST

|

DESIGN PARTNER

NGV TRIENNIAL LEAD SUPPORTERS

JULY CAO

|

BARRY JANES & PAUL CROSS

LOTI & VICTOR SMORGON FUND

|

NGVWA

|

|

NEVILLE & DIANA BERTALLI

JOE WHITE BEQUEST

|

MICHAEL & EMILY TONG

|

BOWNESS FAMILY FOUNDATION

ELIZABETH SUMMONS GRANT IN MEMORY OF NICHOLAS DRAFFIN VIVIEN & GRAHAM KNOWLES

|

BYOUNG HO SON

TAPESTRY FOUNDATION OF AUSTRALIA

64

LEARNING PARTNER

|

LISA FOX

| |

|

JO HORGAN AM & PETER WETENHALL

ORLOFF FAMILY CHARITABLE TRUST SOLOMON FAMILY FOUNDATION

|

|

|

Diamond and sapphire bee brooch, England, c.1870.

Powerhouse Collection. Gift of Anne Schofield AM, 2022.

Object No. 2023/50/44

ON NOW

1001

65

Conditions of Business / Summary special conditions of sale – jewellery Jewellery and watches offered by Leonard Joel are sometimes accompanied by an Independent valuation as stated in the catalogue. These valuations are conducted by registered valuers and are offered purely as independent opinions. Variation may be found as to the colour, clarity and size of stones described in these reports, consequently Leonard Joel does not guarantee these Independent Valuations. Where stones can be weighed accurately, weights will be provided. Weights of set stones are estimates only and are provided to the best of our technical ability. Gram weight on gold and other precious metals are also given as an approximation. Wristwatches and pocket watches are offered in there current condition and Leonard Joel does not guarantee that they are in working order. Items may be thoroughly inspected during the viewing period or by prior arrangement. authenticity certificates As various manufacturers may not issue certificates of authenticity, Leonard Joel has no obligation to furnish a buyer with a certificate of authenticity from the manufacturer, except where specifically noted in the catalogue. Unless Leonard Joel is satisfied that it should cancel the sale in accordance with the Limited Warranty provided in the General Conditions of Business, the failure of a manufacturer to issue a certificate will not constitute grounds for cancellation of the sale. gst In the event that the vendor is registered for Goods & Services Tax (GST), the invoice to the buyer will provide a separate entry for the GST which is included in the purchase price. All Leonard Joel charges for services referred to in this catalogue are exclusive of GST. Overseas buyers may be entitled to a rebate for GST charged.

For further information contact: Marie McCarthy accounts@leonardjoel.com.au admission Leonard Joel has the right at its sole discretion without assigning any reason therefore to refuse admission to the premises or attendance at any of its sales of any person. commission (absentee) bids Leonard Joel will execute absentee bids when instructed. Lots will be bought as cheaply as allowed by other bids and/or reserves.

damage Any viewer who damages a Lot will be held liable for all damage caused and shall reimburse Leonard Joel for all costs and expenses relating to rectification of such damage. title Leonard Joel guarantees good title to all lots. warranties and condition reports Condition reports will be available for any lot upon request, subject to conditions. estimates Estimates are a reflection of Leonard Joel’s opinion of the current market values, based on historic and current market realisations of similar lots. Estimates are inclusive of any GST, which may be applicable. Actual prices at this sale may fall short or exceed the estimates. payment In any event accounts must be settled with Leonard Joel no later than 4pm two days after the auction. Attention is specifically drawn to condition 22 of the Buyer’s Conditions of Sale.

Payment may be made by way of cheque, most credit cards, eftpos or telegraphic transfer.

Please note: payments made by cheque are subject to a 5 day clearance before goods can be collected.

Credit card fees may apply.

Bank telegraph transfers should be directed to: account name: Leonard Joel Pty Ltd address: Westpac Banking Corporation

150 Collins Street, Melbourne

VIC 3000 Australia bsb: 033–364 account no: 942956 collection of lots Purchased lots must be collected no later than two days after the auction; otherwise lots shall be moved to storage at the Buyer’s expense (see below). Lots are at the Buyer’s risk from the fall of the hammer. It is strongly advised that overseas and interstate purchasers and absentee bidders make their arrangements with Leonard Joel in advance of the Sale. Charges are outlined below and are quoted in Australian dollars.

ment, Water, Heritage and the Arts website at: www.environment.gov.au/heritage/movable/index exporting significant australian cultural heritage The export of Australia’s significant cultural heritage is regulated under the Protection of Movable Cultural Heritage Act 1986 (PMCH Act.) It is not intended to restrict normal and legitimate trade in cultural property and does not affect an individual’s right to own or sell within Australia. The PMCH Act implements a system of export permits for certain heritage objects defined as ‘Australian protected objects’. More information is available on the Department of the Environment, Water Heritage and the Arts’ website: www.arts.gov.au/movable_heritage Enquiries can be made to the Cultural Property Section at the Department of the Environment, Water, Heritage and the Arts, T: 02 6274 1810 E: movable.heritage@environment.gov.au cites regulations It is the buyer’s sole responsibility to comply with all export and import regulations relating to your purchases and also to obtain any relevant export and/or import licences. The refusal of any import or export licences, any delay in obtaining such licences or any limitation on your ability to export a lot shall not permit the cancellation of the sale. Please note that all lots marked with the symbol * are subject to CITES regulations when exporting these items outside of Australia. Information about these regulations may be found at www.environment.gov.au/biodiversity/tradeuse/cites/index.html or may be requested from: The Director International Wildlife Trade Department of Sustainability, Environment, Water, Population and Communities GPO Box 787 CANBERRA ACT 2601 leonard home delivery Purchases can be delivered to your door via Leonard Home Delivery. Please note this service is available in Melbourne (Select suburbs) only and is not available for Sydney auction purchases.

For any enquiries about this service please contact delivery@ leonardjoel.com.au recommended carriers For recommended carriers please refer to our website. partners:

telephone bidding Buyers interested in bidding by telephone should contact Leonard Joel as soon as possible. Please note that telephone bidding facilities are available on a first-come, first-served basis. bidder registration To recognise bidders during the sale all intending buyers are required to complete a Bidder Registration Form providing full photo identification and appropriate references if required before the Sale which will enable them to bid by way of a numbered paddle allocated to them. buyer’s premium There will be a buyer’s premium added to all purchases.The buyer’s premium will be calculated at the rate of 25% of the hammer price on each lot. This is inclusive of GST. The buyer’s premium is reflected by a reduction in the Seller’s Commission and is a common practice throughout Australia and overseas. property subject to the artist resale royalty Lots with the § sign will be subject to payment of the Artist Resale Royalty in the event that the lot is sold for a hammer price of $1,000 or more. The Australian Resale Royalty is a flat rate of 5 percent (5%) levy on the hammer price (including GST). The Australian Resale Royalty is payable by the buyer in addition to the buyer’s premium plus applicable GST.

66

removal and storage Any lots not collected within two days after the auction, may be stored or resold at the Buyer’s expense. removal charges Each lot: $55 storage charges Each lot: $33 per day protection of movable cultural heritage act 1986 (pmch act) Buyers should be aware of the PMCH Act which protects Australia’s heritage of movable cultural objects and supports foreign countries’ right to protect their heritage of movable cultural objects. The PMCH Act regulates the export of nationally significant heritage objects, it is not intended to restrict normal and legitimate trade in cultural property, and does not affect an individual’s right to own or sell objects, within Australia. The PMCH Act was enacted in response to the 1970 UNESCO Convention on the Means of Prohibiting the Illicit Import, Export and Transfer of Ownership of Cultural Property. It is the responsibility of the Buyer to ensure that the export of any lots purchased are not subject to, or in breach of, this Act. Information about the PMCH Act, the Protection of Movable Cultural Heritage Regulations 1987 and the 1970 UNESCO Convention, can be found on the Department of the Environ-

Our Specialists

chairman & head of important collections John Albrecht, BA LLB MBA chief executive officer Marie McCarthy fine art Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Senior Specialist, Fine Art Hannah Ryan, Specialist James Stanton, Administrator and Registrar indigenous art Olivia Fuller BArtTh, Head of Department Lucy Foster BCA EMA, Senior Specialist decorative arts Chiara Curcio BA, Head of Department David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Trevor Fleming BA, Consultant, Japanese Art Carl Wantrup, Consultant, Asian Art Natasha Berlizova, Administrator sydney Ronan Sulich, Senior Adviser Madeleine Norton BFA, BComm, MLitt, Head of Decorative Arts & Art Ella Nail, Office Manager & Administrator important jewels Hamish Sharma, Head of Department, Sydney Lauren Boustridge BSc, AJP, GG (GIA), Senior Specialist fine jewels & timepieces Bethany McGougan F.G.A.A., BA Hons, MSc, Head of Department, Melbourne Patricia Kontos F.G.A.A., Senior Jewellery Specialist Indigo Keane, Luxury Specialist & Jewellery Manager Isabella Macciolli, Jewellery Assistant Leila Bakhache, Luxury and Jewellery Assistant Echo Liu, Administrator Henrietta Maiyah, Consultant modern design Rebecca Stormont, Specialist Paul Nicol, Assistant

furniture April Chandler, Manager Angus McGougan, Assistant Daragh Geraghty-Singlton, Assistant Shawn Mitchell, Interior Consultant jewellery Indigo Keane, Manager Isabella Macciolli, Assistant art salon Amanda North, Manager Noelle Martin, Assistant objects & collectables Dominic Kavanagh MFA, Manager Kyle Walker, Assistant valuations David Parsons, Head of Private Estates and Valuations, Decorative Arts Specialist Troy McKenzie, Queensland Representative Specialist Anthony Hurl, South Australia Representative Specialist John Brans, Western Australia Representative Specialist accounts Aaron Gurney, Finance Manager Michelle Draper, Account Manager Karishma Sareen, Accounts Assistant client services Kim Clarke, Client Services Manager Amelia Lewis, Client Services Liaison Richard Grieve, Client Services Liaison operations & logistics Anthony Riepsamen, Manager Chris Salaoras, Logistics Assistant marketing & communications Blanka Nemeth, Senior Marketing, Media, & Communications Manager Lucy Lewis, Database & Marketing Coordinator photography Paolo Cappelli, Senior Photographer & Videographer Adam Obradovic, Photographer & Videographer graphic design Maria Rossi

luxury Indigo Keane, Specialist Leila Bakhache, Assistant Echo Liu, Administrator prints Hannah Ryan, Art Specialist

67

68

melbourne 333 Malvern Road, South Yarra, VIC 3141 (03) 9826 4333 sydney The Bond, 36-40 Queen Street, Woollahra, NSW 2025 (02) 9362 9045 brisbane 201 Latrobe Terrace, Paddington QLD 4064 0412 997 080 adelaide 429 Pulteney Street, Adelaide SA 5000 0419 838 841 perth 0412 385 555 info@leonardjoel.com.au leonardjoel.com.au

AUCTION CATALOGUE VOLUME 16 ISSUE 22 LJ8705