LEONARD, issue 37, March 2015

Geddes, Wilcox Lissauer Collections

Upcoming AuctionsFine Art, Jewellery,Jewels & Objets D’Art

THE SINGLE OWNER EDITION

OUT OF POCKET EXPENSESReasonable or unreasonable?

IN SITU, OR NOT IN SITU?That is the single owner auction question.

ISSUE THIRTYSEVEN / MARCH 2015 MELBOURNE / SYDNEY

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Leonard is published 10 times a year by Leonard Joel. If you have any questions regarding Leonard please contact 03 9826 4333

CoverThe Mark Lissauer Collection Auction Sunday 31 May at 11am

AN OLD IATMUL MWAI MASK20TH CENTURY$3,000 - 5,000

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M A R G A R E T R I V E R

Leonard Joel Specialists

PHOTOGRAPHY

Rick Merrie

DESIGNER

Maria Rossi

MANAGING DIRECTOR

NATIONAL HEAD OF COLLECTIONS

John Albrecht, Managing Director

& Head of Collections

Phone + 61 (0) 3 8825 5619

Email [email protected]

CLASSIC FURNITURE & OBJECTS

SINGLE OWNER COLLECTIONS

Guy Cairnduff, Head of Classic Furniture & Objects

& Head of The Specialist Collector

Phone +61 (0) 3 8825 5611


JEWELLERY

Robert Haigh, Manager, Senior Jewellery Specialist

Phone + 61 (0) 3 8825 5618


JEWELLERY & PRE–OWNED LUXURY

John D’Agata, National Head of Jewellery

& Sydney Office

Phone + 61 (0) 3 8825 5605


CREATIVE DIRECTOR

Monique Le Grand

Phone + 61 (0) 3 8825 5620


ACCOUNTS

Susan Saunders, Head of Finance & Administration

Phone + 61 (0) 3 8825 5603


COLLECTIBLES

Tae Schmeisser

Specialist Vintage Toys/Monthly Toys

Phone + 61 (0) 3 8825 5625


ART

Sophie Ullin, Head of Art

Phone + 61 (0) 3 8825 5609


SPECIALIST JEWELS & OBJETS D’ART

& SINGLE OWNER COLLECTIONS

Robert Williams, Sydney Representative

Phone + 61 (0) 2 9362 9045


MODERN DESIGN

Anna Grassham, Specialist, Modern Design

Phone + 61 (0) 3 8825 5637


BOOKS & MANUSCRIPTS

Chiara Curcio, Specialist, Classic Furniture

& Objects, Books and Manuscripts

Phone + 61 (0) 3 8825 5635


Leonard Joel is a proud supporter

of Arts Project Australia

MAY WE INTRODUCE OURSELVESWhether you have a single item, a focused

collection or a complete house contents Leonard Joel has a team of specialists that

can help you identify, value and market your property with a genuine focus on very tailored

and personalised selling solutions. Robert Williams of our Sydney office, a specialist

valuer in his own right, can also arrange meetings with our specialists either at our

rooms in Woollahra or your home or office.

CONTENTS

MARCH CONTENTS

PRE OWNED LUXURY 2FOREWORD 3 NEWS 4CALENDAR 5THE GRAHAM GEDDES ANTIQUES RELOCATION AUCTION 6JEWELS & OBJETS D’ART SYDNEY 8FINE JEWELLERY 10FINE ART 12CLASSIC FURNITURE & OBJECTS 14SINGLE OWNER COLLECTIONS 15THE MARK LISSAUER COLLECTION 16 DREWEATTS & BLOOMSBURY 18MODERN DESIGN 20 VAULT 21

FROM VALUABLE SINGLE ITEMS TO ENTIRE COLLECTIONS

If you have a single item or collection you wish to sell, the Leonard Joel team of specialists can guide you through the entire valuation and auction process. We can provide you with experts across all collecting fields, no less than thirteen categories of auction to select from and the most expansive calendar of catalogue auctions in Australia. Leonard Joel specialists conduct insurance and market valuations for the entire spectrum of clients - private collectors, corporations, museums, fiduciaries and government entities are advised by our valuers and specialists on a daily basis.

THINKING OF SELLING?

WHERE CAN I FIND LEONARD?

If you have enjoyed Leonard and would like to stay up to date with our auctions

and events you can collect a copy from our South Yarra and Woollahra offices at

the start of every month. But don’t delay as copies run out quickly!

THIS MONTH LEONARD WILL BE MAILED TO DOUBLE BAY IN NSW & TOORAK IN VIC

Valuation Enquiries | Melbourne 03 9826 4333

Sydney 02 9362 9045 | [email protected]

Jewels & Objets D’Art Auction Sunday 8 March at 1pm

60 part

WILLIAM CHARLES PIGUENIT (1836-1914)

Boat on a lake and Cattle by a Lake

oil on canvas, 11.8 x 22.5cm (pair)

$4,500 - 6,500

1 MARCHLEONARD

PRE OWNED LUXURY

PRE-OWNED LUXURY AUCTION THURSDAY 14 MAY 2015

OVERWHELMING LUXURY-THE MR JOEL BARLOW COLLECTION

A LOUIS VUITTON HAT BOX IN MONOGRAM CANVAS Sold for $4,026 IBP

The year was 2013. Leonard Joel successfully tendered for the Mr Joel Barlow Collection, set for auction in Queensland on behalf of the Public Trustee. I had an inkling of what I was getting myself into when I saw the line of trucks that arrived at our auction venue in Brisbane to deliver the property for auction. After cataloguing, the auction boasted eight hundred and ten lots to be exact. You see, this was no ordinary sale and Mr. Barlow was no ordinary client. To begin with he was the biggest Louis Vuitton purchaser in the Southern Hemisphere. Most of his interior was furnished by Space Furniture and Mr. Barlow was a regular at Bang & Olufsen where all of his acoustic and visual needs were met. At the auction his Bang & Olufsen ‘Beovision’ 4 85” television sold for a staggering $67,000.00 IBP. It was the most sought-after item in the auction, as it was fully packaged, never used, and still under full warranty, waiting at the Bang & Olufsen warehouse for collection. The madness of the auction brought outstanding results as everyone wanted a piece of the action. Many items, especially Vuitton, sold for double and triple their retail price in the selling frenzy. Leather goods and accessories were offered that were not normally available to the general public from Vuitton’s ‘Runway’ & ‘Bespoke’ collections. One client, who didn’t realize her good fortune,

claimed that she was sold counterfeit goods, only to be proven wrong by Louis Vuitton’s meticulous sale records proving that she had actually purchased items that some of us could only dream of owning. Highlights of this single owner collection were plentiful. A custom made Louis Vuitton surfboard sold for $7,900.00 IBP, a Hermes saddle for $7,900.00 IBP, a Steinbeck ebony baby grand $19,500.00 IBP, a cased bottle of 2002 Cristal champagne $5,100.00 IBP and a full size stallion lamp designed by Front Sweden $7,900.00 IBP. The beauty of this type of auction was that clients were able to acquire items that they would not normally be able to own or in some cases, afford. On the other hand, cashed-up purchasers bid hard and purchased at any cost luxury items that they could not live without. This is the power of the single owner collection - it puts things into perspective, with higher priced items giving lower priced items relevance and context. The purchaser buys into a lifestyle, which in turn, gives items from the collection being sold a new lease on life.

By John D’Agata

EnquiriesAmanda SainiJewellery & Luxury Assistant (03) 8825 [email protected]

2MARCH LEONARD

Three questions every single-owner should

ask their prospective auctioneer

Single-owner collectors considering selling

should be well abreast of the nature and

reasonableness of out of pocket expenses (let’s

call them OPE) in the context of proposed

fee arrangements. When considering fee

arrangements one should think about not

just the proposed commission rate but also

the buyer’s premium the auction house

will be receiving. Generally speaking the

application of OPE is reasonable when the

vendor commission charged and the buyer’s

premium received do not adequately cover

the costs of executing the dispersal and the

profit margin required by the auction house

- in this sense OPE should only be accepted

as a supplement to an inadequate vendor

commission rather than a “margin grab” on

behalf of the auctioneer. A simple example

where OPE could be reasonably applied is

where the collection is voluminous but of low

overall value. What constitutes “adequate

coverage” and “reasonableness” is something

that both a vendor and a seller could debate

interminably but for the sake of getting to the

point of this article let’s agree that vendor

commission should cover the costs of the

auction and that the buyer’s premium (or

the bulk of it) should fairly be retained by

the auctioneer as profit. After all, that was

the rationale for the global introduction of

buyer’s premium in the late 1980s. So the first

question for any prospective seller should

be “isn’t the proposed selling commission

enough to cover the costs of the auction?” If

the answer is yes you have negotiated away

any additional charges – congratulations! But

if the answer is no then ask for an explanation

of the differential. With that out of the way

I want to now look at expenses in a little

more detail which are all the costs associated

with the single-owner auction in question. A

transparent auction house will discuss these

with you, identify them accurately and be

happy to confirm for you their fair value. Fair

value should be no more than cost plus 10% so

be very circumspect when you are presented

with, say, a quote for a $40,000 catalogue bill

with the exclamation that it is “crucial to the

success of the auction!” Before you get blown

away by your convincing auctioneer please

ask two further questions. Firstly ask “is that

a competitive price?” and secondly ask, “Is

there a margin attached to that price?” These

questions should then be applied to every

line item of the proposed OPE, questions not

being asked enough in single-owner circles

that should be. If more single-owner sellers

asked these questions it would create greater

transparency in a notoriously opaque market

place and would ensure sellers a more

competitive environment. I can think of only

a handful of collections at Leonard Joel that

couldn’t be handled without the application

of out of pocket expenses and from my

experience, collections in the $300,000 plus

range, very rarely require the supplement of

OPE from the seller. Vendors unwilling to pay

a fair commission rate or wanting to spend

too much on the marketing and management

of their collection aside, OPE is overused

and not well enough understood by single-

owner collectors in the Australian market

place. At Leonard Joel we pride ourselves on

our transparent and competitive approach to

costing single-owner collections and I invite

single-owners to explore this discussion

with me or the fine art and antiques industry

in general.

FOREWORD

JOHN ALBRECHT

MANAGING DIRECTOR

& NATIONAL HEAD OF COLLECTIONS

OUT OF POCKET EXPENSES – REASONABLE OR UNREASONABLE?

3 MARCHLEONARD

NEWS

THE FINKELSTEIN NUGGETThis gold nugget, weighing 586.5gms, was found byAnne Finkelstein on her 81st birthday with a gold and metal detector. This extraordinary nugget was found on the 22nd of November 2014 75km north of Kalgoorlie.$50,000 - $80,000

AUCTION THURSDAY 19 MARCH AT 2PM

SELBY WARRENThe Man from Snowy Riveroil on board, 76 x 100cm$2,500 – 4,500

NAIVE ART

THE INNOCENT EYEThe innocent unworldly naïve artist is of course untainted by the academic rigours and intellectualism engendered in the art school academies. This aspect is the key appeal for us others as artists, collectors and institutions. Naïve artists possess and harness an imaginative, creative inner life that spans heaven on earth through to the vicissitudes of tougher times. In many respects Naïve art owes its emergence into the limelight through the keen interest and high regard key 20th century artists had for the genre. The genius Pablo Picasso discovered the essentially self-taught 19th century artist, Henri Rousseau, renowned for his dream-like masterpieces and considered the Father of Naive art. The avant-garde Surrealists too were drawn to the concept of innocence embodied by the naïve artist. However perhaps it was the highly original artist Jean Dubuffet, who was the greatest ambassador of naïve art (and the closely related outsider art as well) who recalibrated art world views that saw it as folk art to redefine it as fine art.

Australia too has over its short history, had many naïve, innocent artists; too many to name in this brief note. But within this survey of works to be auctioned by Leonard Joel are the celebrated names that we collectors and artists see all to rarely; Roma Higgins, Selby Warren, Perle Hessing, Sam Byrne, Charles Callins and Matilda Lister to name a few. I have lived with my collection of Naïve Australian art for much of my working life as an artist; the works have proved so satisfying in their charm and innocent beauty. I have learned so much from their unschooled splendour. Murray Walker

EnquiriesMaggie SkeltonManager, Vintage Interiors Art (03) 8825 5630 / [email protected]

CHARLES CALLINS Rose Bloom Children’s Hairdressing Salon 1966 oil on board, 47 x 42.5cm$4,000 - 6,000

EnquiriesRobert HaighManager, Senior Jewellery Specialist (03) 8825 [email protected]

4MARCH LEONARD

FORTHCOMING AUCTIONS

CALENDAR

Auctions and viewing times are subject to change.

The Vintage Interiors Auction Every ThursdayFurniture & Interiors – 10am Jewellery & Wristwatches – 10.30am Art – 11.30am Books – 12pm Objects & Collectibles – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Specialist Rug Auction Thursday 5th March 2015 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Jewels & Objets D’Art Auction Including The Wilcox Collection Sunday 8th March 2015 – 1pm InterContinental 33 Cross St, Double Bay, Sydney NSW

Monthly Toy Auction Thursday 12th March 2015 – 12pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Naive Art Auction Thursday 19th March 2015 – 2pm 333 Malvern Road, South Yarra, Melbourne, Victoria

The Graham Geddes Antiques Relocation Auction Including Antiquities from the private collection of Graham Geddes Session I Saturday 21st March 2015 – 11am Session II Sunday 22nd March 2015 – 11am 877 High Street, Armadale, Melbourne, Victoria

Fine Jewellery Auction Monday 23rd March 2015 – 6pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Fine Art Auction Tuesday 24th March 2015 – 6.30pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Modern Design Auction Thursday 23rd April 2015 – 6.30pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Pre Owned Luxury Auction Thursday 14th May 2015 – 1pm 333 Malvern Road, South Yarra, Melbourne, Victoria

Classic Furniture & Objects Auction Saturday 30th May 2015 – 11am 333 Malvern Road, South Yarra, Melbourne, Victoria

The Mark Lissauer Collection Sunday 31st May 2015 – 11am 333 Malvern Road, South Yarra, Melbourne, Victoria

BID LIVE ONLINE

SYDNEYAUCTION

SINGLEOWNER

AUCTION

SINGLEOWNER

AUCTION

PETRIT ABAZI

INTRODUCING

J. ALPHONSE PELLION (1776-1868)Voyage à Bathurst (nouv. holl) une Vue de Prospect hill. maison de Camp de M. Lawson, 1819watercolour and ink on paper, MONTGOLFIER watermark19.8 x 27.6 cm$12,000 - 18,000

Leonard Joel is pleased to announce

the appointment of Petrit Abazi as the

latest addition to its expanding Fine Art

Department. As Senior Researcher and

Art Specialist, Petrit brings with him

over a decade of experience in both the

commercial and academic art sectors,

having worked with major auction houses in

Australia and curated numerous exhibitions

internationally. In 2014 he received first-

class honours for his MA thesis on the

exhibition and reception of Australian art in

London in the nineteenth century. Petrit’s

research interests focus on, though are not

limited to, Australian and European art from

this period.

When asked to share his thoughts in his favourite work in the forthcoming March Fine

Art auction, Petrit had this to share:

“The catalogue is replete with important and rare Australian artworks noteworthy for

both their artistic and historical value. A striking highlight of the collection is a small

watercolour and ink drawing by the French artist J. Alphonse Pellion (1796-1868). A naval

draughtsman, Pellion was one of three official artists aboard the Uraine, a scientific-

discovery corvette, navigated by Louis de Freycinet - the first man to publish a full outline

of the Australian coastline.

The current work, Voyage à Bathurst, was painted in 1819, during Pellion’s five week

sojourn in Sydney and its environs. Led by a group of native guides and pioneer explorer

William Lawson (whose modest house is seen at the centre of the composition), Pellion’s

voyage was only the fifth recorded crossing of the Blue Mountains by Europeans. His

sketches and watercolours of the local Aborigines of the Nepean district are the earliest

known depictions by a foreign artist.

Voyage à Bathurst is a singular record of the expedition which remained in the Baron de

Freycinet collection until at least the early 1960s. Leonard Joel is proud to be entrusted

with the sale of this historically significant artwork - one of the very few extant works by

Pellion still in private hands.”

5 MARCHLEONARD

THE GRAHAM GEDDES ANTIQUES RELOCATION AUCTION

The Graham Antiques Relocation AuctionSaturday 21 March 2015, 11amSunday 22 March 2015, 11am

Preview & Auction Onsite877 High Street, Armadale

Preview Saturday 14 March 10am - 5pmSunday 15 March 10am - 5pmWednesday 18 March 9am - 8pmThursday 19 March 9am - 8pmFriday 20 March 9am - 12pm

EnquiriesGuy CairnduffHead of the Specialist Collector(03) 8825 5611 / 0407 828 [email protected]

Live Bidding Available for our UK clients in Association with Dreweatts & Bloomsbury


In an industry renowned as much for its

engaging personalities as the objects in

which they trade, the transition of one its

best known identities to a less direct role in

the business they have built gives pause for

reflection.

While it is almost unthinkable to imagine

Graham Geddes withdrawing from the

antiques trade completely, the fact that the

sprawling premises from which he has plied

his trade for over 40 years will shortly be

replaced by a residential development, brings

a definite physical reality to the changes

afoot in one of Australia’s foremost antique

dealerships: on 21-22 March, in association

with Dreweatts & Bloomsbury, London, the

collection will be sold by Leonard Joel and

soon, Graham Geddes Antiques as we have

known it will be changed forever.

Since 1972, 877 High Street Armadale has

been a focal point for local and international

collectors of fine antiques, art and antiquities.

It has also been the scene of riotous parties

and philosophical debates, thanks to the

gregarious – and at times mercurial - nature

of the larger-than-life proprietor of the

dealership. During this time, the footprint

of the business has grown to encompass

three palatial shop fronts with adjoining

galleries and workshops, housing a vast

inventory which has become renowned as an

encyclopaedic catalogue of styles, spanning

Asian and European antiquities through to

early European and English furniture and

objects.

The international stature of Graham Geddes’

collection and stock in trade is perhaps

best represented by The Mentmore Towers

Side Table, lot 230. An exquisite example

of Florentine Baroque-inspired giltwood

furniture, the table is one of a pair which

formed part of the original furnishings of the

stately English country manor, Mentmore

Towers, in Buckinghamshire, which were

dispersed in a series of historic auctions

between the 18th and 27th May 1977.

Its presence in Geddes’ collection is made all

the more fascinating by the fact that he had

also previously owned the companion piece

to the table, which was sold to a Melbourne

collector some years ago.

Geddes’ forays overseas in search of treasures

have not been limited to Europe and the

United Kingdom, though, with early sourcing

expeditions seeing him spend extended

periods in exotic locales including Sri Lanka,

India, China and even owning property in

Cuba at one time. It is this determination

and creativity which have become hallmarks

of Geddes’ entrepreneurship. Today, we are

witnessing the successful transfer of this

family enterprise to the next generation,

themselves seasoned in the operation of such

a diverse business and bringing with them

the ideas and experience to continue Geddes’

vision into the future.

The management and directors of Leonard

Joel are delighted to introduce clients both

new and existing to Graham Geddes’ unique

collection, which we view as an embodiment

of both his personality and his pursuit of

his passions. We trust you will enjoy this

opportunity to share in his journey.

GUY CAIRNDUFF

HEAD OF THE SPECIALIST COLLECTOR

6MARCH LEONARD


THE GRAHAM GEDDES ANTIQUES RELOCATION AUCTION 21 - 22 MARCH

STREET FRONTAGE OF GRAHAM GEDDES ANTIQUES, 877 HIGH STREET, ARMADALE.TO BE DEMOLISHED FOR RESIDENTIAL DEVELOPMENT.

8

A LARGE AND IMPRESSIVE PAIR OF CHINESE

BLUE AND WHITE PORCELAIN FLOOR VASES

$8,000 - 10,000

33

AN 18TH CENTURY SPANISH

OAK SIDE TABLE

$2,000 - 3,000

1070

AN IMPORTANT DUTCH 18TH CENTURY

BUREAU BOOKCASE

$46,000 - 55,000

1295

A CHINESE DOUCAI-ENAMELLED ‘DUCK AND

LOTUS’ BOWL, QING DYNASTY (1644-1911),

UNDERGLAZE BLUE JIAQING SEALMARK AND OF

THE PERIOD (1796-1820)

$36,000 - 40,000

7 MARCHLEONARD

JEWELS & OBJETS D’ART SYDNEY

JEWELS & OBJETS D’ART AUCTION

Jewels & Objet D’Art Sydney AuctionSunday 8 March 2015, 1pm

Auction Location in SydneyInterContinental Sydney, Double Bay33 Cross Street, Double Bay NSW 2028

Melbourne Highlights333 Malvern Road, South Yarra25 February 2015 9am - 8pm

Preview in SydneyLEONARD JOEL 39 Queen StreetWoollahra NSW 2025Saturday 28 February 2015 10am - 4pmSunday 1 March 2015 10am - 4pmWednesday 4 March 2015 10am - 4pmThursday 5 March 2015 10am - 4pmFriday 6 March 2015 10am - 4pmSaturday 7 March 2015 10am - 4pm

Jewels & Objets D’Art EnquiriesJohn D’Agata(02) 9362 9045 / 0408 355 339

[email protected]

Robert Williams(02) 9362 9045

[email protected]

FEATURING THE DR GEORGE WILCOX COLLECTION

The Doctor George Wilcox collection of fine clocks epitomises the Doctor’s discerning eye for collecting only the best examples he could source; demonstrating evidence of his relationship with some of England’s top clock dealers.The highlight from our selection of clocks is lot 51, a fine Regency musical automata clock by James Smith, circa 1820. It is in a well proportioned ormolu mounted mahogany case with an eight day fusee movement and verge escapement, hour strike and twelve bells playing four tunes or strike silent options. This clock is a particularly fine example of its type, with a lively automata scene, and a good amount of bells and hammers producing a high quality sound. I was excited to see such a fine example of a bracket clock being represented from my home town of Edinburgh, and from one of its most famous districts off the Royal mile. Lot 50 is a fine George III bracket clock by James Nicoll of Canongate Edinburgh, circa 1770, with a double fusee and verge escapement and pull movement. The Museum of Edinburgh has a mahogany clock with an original eight day dial made by James Nicoll in the mid 18th century which I often admired on my visits to the museum. Edinburgh was renowned for being an important centre for clock making, especially during the second half of the 18th century. The longcase clocks lead with lot 54, a mahogany example by Percival Mann, London circa 1790. The case features some very fine quality fret carving and a broken swan neck hood with carved rosette terminals. The panel door is constructed from flame mahogany with a fine grain figuration and of good colour. This clock embodies late Georgian style with its fine carvings and classical architectural references.Another excellent example of late Georgian clock making and Chinoiserie style is lot 53, a George III longcase clock by Spencer & Perkins, London circa 1780. Spencer & Perkins were one of the most respected high quality clock makers of the George III period recorded at; 44 Snow Hill London from 1765 - 1810. The company was also sometimes seen as Perkins and Spencer, a very fine maker of watches and instruments. There is also a pedometer by this maker which can be seen in the Guildhall Museum London.

53

A GEORGE III CHINOISERIE LONGCASE CLOCK

BY SPENCER AND PERKINS, CIRCA 1780

$4,000 - 6,000

54

A MAHOGANY LONGCASE CLOCK BY

PERCIVAL MANN, LONDON CIRCA 1790

$6,000 - 8,000

8MARCH LEONARD

JEWELS & OBJETS D’ART SYDNEY

Leonard Joel Sydney’s inaugural auction showcased a wonderful single owner collection of fine antiques and decorative arts. The collection sourced by an American Gentleman featured most of the auction’s top selling lots including; lot 4, a French silver box by Jean Emile Puiforcat with an estimate of $3,000; this piece finally realised a staggering $19,520 (IBP). The box was extensively researched and found to be one of the largest pieces to be offered globally in a decade. The Parisian silversmith is regarded as one of the elite names in European silver craftsmanship. Founded in 1820 by the two brothers Emile and Joseph-Marie Puiforcat, the manufactory soon established itself as a purveyor of fine silver to various European royal households. Following the theme of French Art Deco silver and from the same collection and auction was lot 1, a Louis Vuitton gentleman’s valise necessaire fitted with a French silver vanity set selling for $4,000 (IBP). Our research concluded that this was an extremely rare item that would have been commissioned or at least purchased by an extremely wealthy client. This would have been the ultimate Gentleman’s accessory. The set had interest from galleries and institutions alike but finally sold to a private American collector. From the same collection and sold in our subsequent Sydney auction was lot 243, an Art Deco silver cigar box by Cartier of Paris and signed Cartier Paris. Another example of fine French art deco silver by French designer royalty and purchased from none other than Cartier’s great grandson Alain Cartier for $4,880 (IBP) now housed in one of the most prestigious collection of Cartier in the world.

RESEARCH & RESULTS

10

A REGENCY MAHOGANY MARBLE TOPPED

SIDE CABINET, CIRCA 1825

$2,000 - 3,000

6

A REGENCY MAHOGANY DOUBLE ENDED

CHAISE LOUNGE, CIRCA 1830

$3,000 - 5,000

FRENCH SILVER BOX BY JEAN

EMILE PUIFORCAT

SOLD FOR $19,520 IBP

41

A GOOD 19TH CENTURY GEORGE II STYLE

MIRROR, SECOND HALF OF THE 19TH CENTURY

$2,200 - 3,200

145

A VICTORIAN SILVER COFFEE POT BY EDWARD

AND JOHN BERNARD, LONDON 1852

$1,000 - 1,500

1

A REGENCY ORMOLU THREE BRANCH

CANDELABRUM, CIRCA 1830

$1,000 - 1,500

9 MARCHLEONARD

FINE JEWELLERY

FINE JEWELLERY

Fine Jewellery AuctionMonday 23 March 2014, 6pm

PreviewWednesday 18 March 2015 9am - 8pm Thursday 19 March 2015 10am - 4pm Friday 20 March 2015 10am - 4pm Saturday 21 March 2015 10am - 5pm Sunday 22 March 2015 10am - 5pm Monday 23 March 2015 By Appointment

EnquiriesJohn D’AgataNational Head of Jewellery & Sydney Office(03) 8825 5605 / 0408 355 [email protected]

Robert HaighManager, Senior Jewellery Specialist (03) 8825 [email protected]

March Auction Highlights

257AN ANTIQUE AUSTRIAN ENAMEL BROOCH IN SILVER$2,000 - $3,000

44AN AQUAMARINE, CULTURED PEARL AND DIAMOND CLUSTER RING$4,000 - $5,000

176A 1.22CT SOLITAIRE DIAMOND RING$7,000 - $9,000

226A ROLEX OYSTER PERPETUAL WRISTWATCH$6,000 - $8,000

90A WIENER WERKSTATTE GEM SET BROOCH IN SILVER $10,000 - $16,000

10MARCH LEONARD

FINE JEWELLERY

NEW LEASE ON LIFEThere is nothing more exciting than purchasing a piece of jewellery at auction. Jewellery is becoming one of the fastest growing categories at auction globally, in many cases leaving its rivals, Objets and Art, lagging behind. The Winston Blue, a13.22-carat pear-shaped fancy vivid blue flawless diamond, sold at Christie’s Geneva in May 2014 for almost $23.8 million is a good example of just how far jewellery at auction has come. It was acquired by the luxury jewellery brand, Harry Winston and in every respect was a superstar lot.

Part of the reason for the upturn in sales locally is the large number of sellers from an older generation, now retired, and with fewer occasions to wear fabulous jewels, selling off their collections to a savvy younger generation looking for a special piece of quality jewellery to call their own. In addition, the buying public has more confidence in purchasing items online, sight unseen, so jewellers are now offering products at reasonable prices at auction thus cutting out the middle man.

It is still however the privately owned jewels that are the most sought after. In 2010, Catherine Freeman, the famous Olympian, decided to sell part of her private collection of jewels and donate the proceeds to her ‘Palm Island’ charity. This worked on three levels: first, Freeman’s charity benefited from the donation, second, the purchasers were thrilled to be able to purchase an item that belonged to a famous Australian and third, Catherine obtained the best possible result from valuable items that she no longer had any use for.

Similarly in 2013, a collection of Fine Jewellery consigned by an Armadale socialite which included a large number of extravagant cocktail pieces went under the hammer at Leonard Joel . The beauty of this collection was that high and low value items were sold side-by-side telling a story about the owner and crossing several periods of collecting. Many items exceeded their estimates and buyers made multiple purchases, building on their own jewellery collections while keeping like items together.

More recently Leonard Joel secured the sale of Sam Frost’s 3.01 ct diamond ring made by renowned Australian jeweller BUNDA. Sam of course was selling the ring after being very publically dumped by reality TV show’s Blake Garvey in ‘The Bachelor’. Old fashioned superstitions were set aside as our rooms were inundated with enquiries and eager bidders who wanted to buy the famous ring. Ironically the ring was successfully purchased for $31,720.00 by an interstate phone bidder who knew nothing about the show and just saw value for money in the magnificent diamond ring compared to similar items available on the market. This new age woman made the purchase on behalf of her fiancé so that she could get exactly the type of ring she wanted. As Australia’s largest jewellery auction house, we see the full gamut of the jewellery market. It is always a pleasure to match up vendor to buyer, giving a piece of jewellery a new lease on life.

A CLUSTER DIAMOND RING BY BUNDASOLD $31,720 IBP

JOHN D’AGATA

NATIONAL HEAD OF JEWELLERY

& SYDNEY OFFICE

11 MARCHLEONARD

FINE ART

FINE ART

Fine Art AuctionTuesday 24 March 2014, 6.30pm

PreviewWednesday 18 March 2015 9am - 8pm Thursday 19 March 2015 10am - 4pm Friday 20 March 2015 10am - 4pm

Saturday 21 March 2015 10am - 5pm Sunday 22 March 2015 10am - 5pm Monday 23 March 2015 By Appointment Tuesday 24 March 2015 By Appointment

EnquiriesSophie UllinHead of Art (03) 8825 [email protected]

DANILA VASSILIEFF (1897-1958)Fitzroy Street Scene c.1938oil on board, 45 x 54cm$20,000 - 30,000

RUBERT BUNNY (1864-1947)Danse du Printemps (Spring Dance) c1889oil on canvas, 45 x 62cm$35,000 - 45,000

EMILY KNGWARREYE (C. 1910-1996)Alkahere 1995acrylic on canvas, 121 x 91cm$30,000 - 40,000

NICOLE ALLEN (BORN 1967)Al 2012 (pair)hand-cast aluminium, edition 4/10120cm height, each$3,000 - 5,000

12MARCH LEONARD

FINE ART

W. C. PIGUENIT (1836-1914)Lane Cove River from Cliffs near Bridge, New South Walesoil on canvas, 89.5 x 65cm$90,000 - 120,000

ARTIST UNKNOWNUnusual Transitional Boomerang 1933, North-East Australiacarved and shaped palm wood, 85cm length$2,500 - 3,500

At the end of the creative act, the energy and vision the artist contributes to his artwork, transforms it into a fixed material object. Its value, by contrast is fluid in character. Harnessing the dynamic spirit of value in order to find the perfectly balanced and attuned catalogue estimate is the perennial challenge for the art specialist. Artist, subject, period, medium, scale and condition along with recent market activity are always pivotal factors to any assessment of value. However, sometimes special circumstances exist which compel the art valuer to consider additional aspects in determining the pre-sale quote. The Pro Hart auction held last July was one such circumstance inviting a context that differed quite markedly from the Seasonal Fine Art sales. Comprised of 170 paintings from Pro Hart’s own personal collection, the auction offered the “double whammy” combination of a single vendor and a solo artist sale. As a result, the elephant in the room (as well as on the catalogue front cover), was to ascertain where the estimates should sit on a barometer that starts with bold and ends with gun-shy. A bold approach would entail pricing works with striking estimates on the basis of the gold star provenance, secondly their first market release and thirdly the cachet that Pro Hart had retained this selection of works during his life. The opposing end of the scale would see estimates set well below current market results, prioritising the view that such a large trove of works, all by the one artist, might prove too much for the market to absorb at one time. While both strategies have their merits and place within the economic cycle, ultimately we decided against benchmark or mercenary-style estimates and adopted a conservative approach. This acknowledged the inherent challenges of presenting a large scale single artist collection but tempered it by setting estimates at the realistic end of recent results and thereby allowed maximum scope for market dynamics to play out. Consequently the alchemy of Pro Hart’s popularity, the continued demand for his work, the narrative of the auction combined with conservative estimates prompted and propelled an astonishingly competitive spirit that drove the auction to almost double expectations and achieve a rare white glove result.

THE ART OF THE ESTIMATE

SOPHIE ULLIN

HEAD OF ART

Auction Highlights

13 MARCHLEONARD

CLASSIC FURNITURE & OBJECTS

NOW CONSIGNING FOR CLASSIC FURNITURE & OBJECTS AUCTION 30 MAY AT 11AM 2015

CLASSIC FURNITURE & OBJECTSAUSTRALIAN DECORATIVE ARTS & FURNITURE

ASIAN WORKS OF ART

ANTIQUARIAN BOOKS &

MANUSCRIPTS

NOW CONSIGNING

“LONDON LEAVE”, BY WILLIAM

WALLACE ANDERSON, EARLY

20TH CENTURY

SOLD $7,800 IBP

A DIARY IN PICTURES: PEKING

SOLD $8,400 IBP

A LARGE CHINESE BLUE

AND WHITE VASE WITH RUYI LUGS

SOLD $15,600 IBP

EnquiriesChiara CurcioClassic Furniture & Objects Specialist / Books & Manuscripts(03) 8825 [email protected]

14MARCH LEONARD

IN SITU, OR NOT IN SITU?THAT IS THE SINGLE OWNER AUCTION QUESTIONIn the colourful and varied world of

collecting, knowing where an item comes

from can form a key part of the acquisition

process. The context in which an object

or objects were originally collected is

something that has the power to separate

the ordinary from the extraordinary and

can imbue an object with a mystique

that might otherwise be lost.

The term in situ can be understood as

meaning ‘the original place.’ While I am

not sure that the ancient Romans who

coined the Latin term were ruminating

on the best way to structure an auction,

the desire to know ‘the original place’ of

a potential purchase is often foremost

in the mind of the modern collector.

To the auctioneer and vendor, being able to

impart something of the context in which

a collection was assembled is a proven

method of retaining the personal character

of a consignment and helping it to stand

out in a market often crowded with similar

offerings. Selling the collection in-situ,

holding the public viewing at the client’s

property and recreating the essential

atmosphere of the collection, either literally

or through images taken at the property,

are some of the ways this can be achieved.

A number of factors, both commercial and

practical, are taken into consideration when

determining whether a collection should

be auctioned at the property in which it

resides, or removed to the auctioneer’s

salerooms. Holding an on-site auction at

a client’s property can entail substantial

costs, given that the entire infrastructure

used to run an auction needs to be

transferred to a private residence. The

first criteria for determining whether this

will be a viable option is ensuring that the

estimated total sale price of the collection

will cover the projected operating costs. In

some cases, the auctioneer will contribute

an amount toward the vendor commission

charged to cover a portion of the operating

expenses, with the balance of costs being

met by a specified contribution from the

vendor, while in other instances, the value

of the collection is such that all expenses

can be met by the auctioneer’s

vendor commission.

The ideal outcome is a combination of

the two scenarios, with sensible estimates

agreed and, in some cases, a ‘no reserve’

price-point set to ensure that literally all of

the saleable items in the property are given

the best chance to sell for the optimal price.

The second most important consideration

when weighing up whether or not to sell

a collection in-situ is the physical lay-out

of the vendor’s property. In recent years,

Leonard Joel clients have been treated

to auctions in numerous interesting

locations, spanning a broad spectrum

from grand Victorian mansions, to country

antique warehouses, a Queensland

homestead offering elevated vistas of

the Gold Coast, and the curated-chaos of

artist David Bromley’s sprawling Chapel

Street studio. On the flip side, however,

selling a one thousand lot collection

in a property the size of a shoe box is

certainly not the ideal way of displaying

a vendor’s collection. So, when space is

at a premium, it is time to explore some

more creative options for capturing the

essence of a collection. Depending on

the proximity of the vendor’s property to

the auctioneer’s premises, conducting the

public viewing of the collection in-situ

but holding the auction at the salerooms

is a neat solution to overcrowding in a

small property. Alternatively, the entire

collection can be photographed at the

vendor’s property and transported to the

salerooms to be displayed and sold, thus

taking advantage of an impressive in-situ

interior, but allowing the convenience of

a viewing and auction at the salerooms.

A third option is the inclusion of a

collection as a dedicated component of

a mixed vendor auction. Here, one or

more collections can be presented in their

own section of a printed and/or on-line

catalogue. This is particularly suitable for

collections of medium level value, which

do not warrant the financial outlay of a

dedicated catalogue and separate auction

but which would benefit from being

displayed as a whole, rather than dispersed

over multiple auctions. Here, the benefit to

the vendor is being able to take advantage

of a suite of services already in place for an

auction including the property of multiple

owners, while still retaining the essence

of the personal context of the collection.

Since January 2010, the Leonard Joel

Specialist Collector department has

successfully managed the dispersal of

no less than 56 single owner collections,

comprising 11,800 lots, sold to 4000

successful bidders for a combined value

of $10.4 million. Varying in composition

from the Andy Mac Collection of Street

and Fine Art – the first of its type in

Australia – to the monumental scale of the

Graham Geddes Collection of Important

Antiques & Objects - one of the largest

stock-in-trade dispersals in Australia at the

time – the Specialist Collector department

offers collectors the benefit of versatile

auction platforms and a suite of services

that can be adapted to suit any collection.

For enquiries about options for the

sale of your collection, contact:

Guy Cairnduff

Head of the Specialist Collector

(03) 8825 5611 / 0407 828 137

SINGLE OWNER COLLECTIONS

15 MARCHLEONARD

THE MARK LISSAUER COLLECTION

THE MARK LISSAUER COLLECTIONAn Important Private Collection of Oceanic Artefacts & Asian Works of Art

THE MARK LISSAUER COLLECTION AUCTION SUNDAY 31 MAY AT 11AM 2015

EnquiriesChiara CurcioClassic Furniture & Objects Specialist / Books & Manuscripts(03) 8825 [email protected]

The Mark Lissauer collection offers a rare combination of two diverse categories: Asian works of art and Oceanic artifacts. Accumulated over a period of 65 years, Mark’s collection serves as a veritable ‘road map’ of the regions he has visited and the tribes he has encountered, each item judiciously recorded in a series of over 20 handwritten catalogues. Mark began collecting while exploring the islands of Polynesia and Melanesia, acquiring items both foreign to the western world, such as the Fijian cannibal fork, or the New Ireland ceremonial dance mask, as well as more familiar totems such as the New Zealand Maori Tiki. Later exploring Asia, from the

Meo Tribe in Northern china to the temples in Tibet, Mark cannot think of a single place in the world’s largest continent he has not visited. His collection of Asian works of art offers a vast variety of items across of broad range of media, including textiles from Bhutan, Indian bronzes, a fine lacquered Sutra from Burma, woodwork crafted in Indonesia, an intricate Chinese Suzhou embroidery, Tibetan turquoise and Ikebana vessels from Japan. This ethnographic splendour will be on view at Leonard Joel’s Melbourne salerooms from the 16th- 29th May 2015 and the auction will take place on Sunday 31st May, commencing at 11am.

16MARCH LEONARD

THE MARK LISSAUER COLLECTION

A SANTA CRUZ ISLAND KAP KAP,stylized bird, tortoise shell fret work$1,500 - 2,500

AN INDIAN SIX STRANDED SILVER AND LAPIS LAZULI NECKLACE$500 - $600

A TIBETAN THANGKAVajrapani below, surrounded by deities$800 - $1,000

Highlights

CHINA - JAPAN - INDONESIA - INDIA - T IBET - MELANESIA - POLYNESIA

17 MARCHLEONARD

DREWEATTS & BLOOMSBURY

PRESENTING BLOOMSBURY AUCTIONS’ SALE OF

CONTINENTAL, ENGLISH & MIDDLE EASTERN BOOKS AND MANUSCRIPTS,

LONDON, THURSDAY 19TH MARCH 2015

DREWEATTS &

This prestigious auction includes 25 incunables charting the development of printing in Europe from 1471-1500. It features a text that influenced Shakespeare, the first printing of the works of

the mathematician Euclid and a book on cryptology and codes that suggests Shakespeare’s plays were in fact written by Sir Francis Bacon.

View the auction catalogue at www.bloomsburyauctions.com

Lot 157Shakespeare (William)Comedies, Histories, and Tragedies,edited by John Heminge and Henry Condell, [Fourth Folio Edition], Covent-Garden, 1685. £10,000 - 15,000

The last of the 17th century editions of Shakespeare’s collected plays.

Lot 4Plautus (Titus Maccius)Comoediae,[edited by Georgius Merula], first edition, 1472. Est. £10,000-15,000

The influence of the comedies of Plautus on the work of Shakespeare, Dryden and Molière (amongst others) is well documented.

Lot 129(Duke of Brunswick-Luneburg ), Gustavus Selenus Cryptomenytices et Cryptographiæ Libri IX , first edition, 1624.Est. £2,000-3,000

The work purports to attribute the authorship of Shakespeare’s plays to Sir Francis Bacon. One panel supposedly depicts Bacon handing a text to Shakespeare (a man holding a spear), while another supposedly depicts Augustus holding the Cap of Maintenance over the head of Bacon, who is writing on a folio-sized piece of paper.

Lot 115Euclid.The Elements of Geometrie,translated by Sir Henry Billingsley, preface by John Dee, first edition in English of the first complete translation, 1570.£20,000 - 30,000

18MARCH LEONARD

DREWEATTS & BLOOMSBURY

PRESENTING DREWEATTS’ AUCTION

THE PETE WATERMAN COLLECTION OF UNIQUE SCRATCH BUILT HISTORIC LOCOMOTIVES IN GAUGE 1 AND LARGER GAUGES

LONDON, THURSDAY 16TH APRIL 2015

BLOOMSBURY

Music producer Pete Waterman has dedicated more than 50 years of his life to model train making and has managed to take it to new heights with his pursuit ‘Just Like the Real Thing’, which supplies locomotive kits in 7mm scale to model makers. He can be seen at many of the UKs model railway exhibitions promoting railway modelling and giving encouragement to all who also love the hobby as builders, or those just admiring the skills of others.

The collection illustrates snap shots in time of a quickly developing industry and the progression of locomotives in the L&NWR and other regional railways companies. Add to this some of the most skilled and eminent model locomotive builders who have devoted many years and thousands of hours of their lives to building these locomotives and you have one of the finest collections ever to come up for sale.

View the auction catalogue at www.dreweatts.com

Lot 55The fine exhibition quality 5” inch gauge model of the Sir William Stanier London Midland and Scottish Railway Pacific 4-6-2 LMS Coronation Class Locomotive and Tender B R No 46235 City of Birmingham.£50,000 - 60,000

Lot 52A fine exhibition quality model of a 7 1/4 inch gauge Great Western Railways Castle Class 4-6-0 Locomotive and Tender. No 4073 ‘Caerphilly Castle’.£100,000 - 150,000

Lot 54A fine exhibition standard 7 1/4 inch gauge model of the Great Western Railway Class 3700 4-4-0 tender locomotive ‘City of Truro’, No 3440.£100,000 - 120,000

Lot 53A fine exhibition quality model of a 7 ¼ gauge Great Western Railways 0-6-0 Beyer Goods. No 337 Locomotive and Tender.£100,000 - 120,000

Lot 56An extremely rare and historically important late 19th Century Great Western Railway cutaway instructional model. The model being a 7 ¼ inch gauge 805 class 0-6-0 tank engine built by the apprentices at the Wolverhampton Works, circa 1874.£5,000 - 7,000

19 MARCHLEONARD

MODERN DESIGN

MODERN DESIGN

NOW CONSIGNING MODERN DESIGN FOR APRIL 2015

POLIFORM - B&B ITALIA - CASSINA - VICO MAGISTRETTI - ARTEMIDE - KNOLL - ARFLEX - EAMES

Let’s not lie to ourselves, this is the age of consumerism: new car, new shoes, new hat

... new house! The best of everything is available at the tap of a pay pass. However,

let’s take a moment to think about the true meaning behind the old and the new, the

real and the replica.

The fascination with pre-owned objects is perhaps best described by a term used in

the interpretation of Japanese art forms, Shibui, which was shared with me recently

by a scholar of design history. Similar to ‘patina,’ the more widely used reference

for the gentle softening to the surface of an object over time through natural age

and use, Shibui describes the ‘life’ behind the qualities of any experience, a sense

of evolving perfection - or in the context of furniture design, the wear and tear, the

folds and forms and the natural beauty that only time brings.

We all have the opportunity to choose pre-owned objects over something bought

new off the showroom floor. When we buy something pre-owned or of the period,

we not only help the environment, we select an object that has taken decades to

perfect and was constructed using enduring materials and methods contemporary

to the piece, brought to life by a craftsman’s vision. An original piece quantifies the

relationship between the designer and the choices they have made in constructing

an object, an embodiment of the time and thought devoted to considering, for

instance, how a certain type of wood bends and ages, or how soft aluminium curves

perfectly when framed properly.

Educating buyers is important: real products are manufactured using innovative

techniques and materials. Many replicas are produced overseas, in poverty stricken

countries, are of sub-standard quality and made from materials that are not created

to last and are mere imitations of grand designs, with no meaning or reverence for

the original concept.

A chair is not just a chair if you are looking for true design - you will never find what

you are looking for in the substitute replicas of today. Wait and search, find the

magic in the real.

REAL OVER REPLICA

EnquiriesAnna GrasshamSpecialist Modern Design(03) 8825 [email protected]

20MARCH LEONARD

VAULT

ISSUE 9 ComIng SoonSubScribe now and receive your copy of vault Magazine firStGilbert & GeorGe Claire lambe el anatsui Christian rosa riChard lewer nyapanyapa yunupinGu david lynCh Chapman brothers & more

SUBSCRIBE now VAULTART.COM.AU

el anatSui AG and BA (detail), 2014 aluminium and copper wire and nylon dimensions variable

photo Jonathan greet image courtesy the artist and october gallery, london

new art & Culture maGazine

21 MARCHLEONARD

leonardjoel.com.au

Melbourne Head Office333 Malvern RoadSouth Yarra VIC 3141 Australiat. 03 9826 4333 f. 03 9826 4544

Sydney

39 Queen StreetWoollahra NSW 2025 Australiat. 02 9362 9045 f. 03 9826 4544

ILLUSTRATEDModern Design 23 April 2015

PAUL JENSEN, SELIG Z SOFA$5,500 – 6,500

IN COLLABORATION WITH

MR BIGGLESWORTHY

MODERN DESIGN

Leonard Joel is delighted to announce the introduction of Mr Bigglesworthy to the Australian market. This New Zealand Modern Design concept store created by superstar duo Emma and Dan Eagle is now officially launching as part of our April 2015 Modern Design auction. The collection will showcase authentic pieces from the 1950s through to the 1970s. Highlights include work from Charles and Ray Eames, Arne Vodder and Grete Jalk just to name a few. Dan and Emma love the promise and potential of

modern design and their collections are a culmination of passion, knowledge and shared appreciation of the eras in which they were created. The couple have been collecting and selling mid-20th century furniture for the last decade and along the way creating one of New Zealand’s most reputable design stores. Leonard Joel look forward to showcasing this stellar collection from Mr Bigglesworthy and welcoming design lovers to our viewing and auction.

EnquiriesAnna GrasshamSpecialist Modern Design(03) 8825 [email protected]

LEONARD, issue 37, March 2015

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Transcript of LEONARD, issue 37, March 2015