Made in Melbourne

Photographs from this collection were originally debuted at Strange Neighbour gallery in the Juvenilia exhibition curated by Helen Frajman and Linsey Gosper. Starting in 1976 when Milne was 16 and photographing school friends Gina Riley and
Rowland S Howard, through to images of the legendary band, the Boys Next Door lounging in Nick Cave’s bedroom in his parents’ house, the first Boys Next Door gig and photo shoot, parties, trips to the country, outings to the beach, rehearsals and a full length photo essay tracing ‘A Day in the Life of Rowland S Howard’, the photographs feature a dazzling cast including Anita Lane, Blixa Bargeld, Tony Clark, Polly Borland and Mick Harvey.

From the Juvenilia catalogue 2015.148

Not only is this an exhibition of striking, intimate and raw ‘snapshots’, illustrating incredible compositional skills, savvy use of available light and a daring personality, it is a significant cultural record. These are historically important photographs and fortunately for us, Peter had the foresight and boldness to document this early period of his life. It is an exhibition that will speak to many generations for many years to come.
Linsey Gosper 2015, co curator and gallery director.

This rare collection of work from Peter Milne’s Juvenilia will be available as part of Interiors & Jewellery Made in Melbourne feature. Auction Thursday 13th of August from 10am.

Auction | Thursday 13 August 2015 at 12pm

Melbourne Viewing | Wednesday 12 August 9am-11.30am

Enquiries | Dominic Kavanagh, Manager, Interiors & Furniture
(03) 8825 5632 | dom.kavanagh@leonardjoel.com.au

Angus 160: A Special Online Selling Exhibition

116The exhibition goes online for sale on Wednesday the 21st of May at 9am and runs until midnight Sunday the 1st of June 2014.

This is a Buy It Now Auction
There are multiple editions of each of the 20 artworks and each is sold framed. Please note, artworks have a two week turn around time. Please contact us for competitive shipping rates.

View the catalogue

Nicole Salvo
t: 03 8825 5624
e: nicole.salvo@leonardjoel.com.au

Robert Williams
t: 02 9362 9045
e: robert.williams@leonardjoel.com.au

It Was 50 Years Ago Today…

115

Many of the photographs to be auctioned have never been seen before and perfectly encapsulate the wave of excitement that swept across the nation during this time. The images include the Beatles departing the aeroplane on arrival, the crowd lining streets from airport, queues to get tickets, the press conference, Beatles waving from their balcony, the group performing at Centennial Hall and Paul McCartney’s 21st birthday. These truly fantastic photos will be sold mostly as unique one-off prints with negatives AND copyright which will appeal to both collectors and commercial entities.

Beatles and Entertainment Memorabilia, June 5,12pm







Strong Results for Inaugural Photograph Sale

100This was a rare opportunity for Australian collectors to view and bid locally on images normally only seen in international auctions. The result was a saleroom of enthusiastic buyers competing with interstate, European and American bidders.

The highest prices of the day were achieved for works by two American photographers. Lot 236A, Musical Instruments by Irving Penn achieved $9,600 IBP against a pre-sale estimate of $8,000-12,000 and lot 252, Male Nude With Thorns by Herb Ritts sold for $8,400 IBP ($5,000-7,000).

Fourteen works by Hungarian-French photographer Brassai also exceeded expectations. The highlight was lot 40, Grosse Poule, Place d’italie which was bought by a Melbourne collector for $$7,200 IBP ($3,000-5,000).

Contemporary works also performed strongly. Lot 272, Fortune Teller by Cindy Sherman sold for $2,640 IBP ($1,500-2,500) and lot 342, Journeys of the Mask by Joel-Peter Witkin that sold for $6,600 IBP (2,500-4,500).

For enquires please contact:
Giles Moon
t: 03 8825 5635
e: giles.moon@leonardjoel.com.au

Danish Parekh Collection of International Photographs

95

Dr Parekh has been collecting photographs for most of his adult life. His interest in photography developed as a teenager and he began collecting in earnest after qualifying as a doctor. The first photographs he acquired were of 10 of the most beautiful women in the world including examples by renowned photographer Yousuf Karsh.

His passion for collecting continued for more than 40 years over which time he has amassed more than 10,000 paintings, lithographs, chromolithographs, albumen photographs and silver gelatin photographs from 1840s-2000s.

Dr Dinesh’s international photograph collection comprises around 700 works and is a Who’s Who of 90 of the world’s best known photographers from the 19th century to the present day.  The earliest example in the sale is a remarkable 1842 salt print from a calotype negative, The Hungerford Suspension Bridge by William Henry Fox Talbot, the British  photography pioneer and inventor of the calotype process. Other highlights include a signed silver gelatin print of the iconic Woman of the Night by Hungarian photographer Brassai (Gyula Hasz) and a silver gelatin portrait of the artist Miro by Armenian-Canadian photographer Yousuf Karsh. Several examples by American photographer Brett Weston, (son of Edward Weston) are also featured, most notably Nude Underwater, signed and dated 1979.

Auction Sunday 15th December 2013 at 2pm Australian Eastern Daylight Savings Time

Viewing at Leonard Joel Melbourne
Wednesday 11th December 2013 9am – 8pm
Thursday 12th December 2013 10am – 5pm
Friday 13th December 2013 10am – 5pm
Saturday 14th December 2013 10am – 5pm

Auction Highlights on view at Leonard Joel Sydney
Saturday 30th November 2013 10am – 4pm
Sunday 1st December 2013 10am – 4pm

VIEW THE CATALOGUE

 

A limted number of illustrated catalogues will be available at $50each including postage & handling.
Please contact Giles Moon via the details below to secure your copy.

Enquiries
Giles Moon
Head of Modern Design & Collectables
Leonard Joel Specialist Auctioneers & Valuers
333 Malvern Road, South Yarra VIC 3141
Tel:+61(0)3 9826 4333
Fax:+61(0)3 9826 4544
Email: giles.moon@leonardjoel.com.au

Download printable version of auction information here

 

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Top Five Results for the Angus O’Callaghan Photography Auction

44Lot 17
ANGUS O’CALLAGHAN
(BORN 1922)
Coffee Lounge
archival print on rag paper 1/15
signed lower left
editioned lower right
60 x 60cm
Estimate $ 800-1,200
Sold for $ 2,440 IBP

Lot 25
ANGUS O’CALLAGHAN
(BORN 1922)
The Block Arcade
archival print on rag paper 1/15
signed lower left
editioned lower right
60 x 60cm
Estimate $ 800-1,200
Sold for $ 2,440 IBP

Lot 22
ANGUS O’CALLAGHAN
(BORN 1922)
Auctioneers
archival print on rag paper 1/15
signed lower left
editioned lower right
60 x 60cm
Estimate $ 800-1,200
Sold for $ 2,190 IBP

Lot 9
ANGUS O’CALLAGHAN
(BORN 1922)
Pedestrians
archival print on rag paper 1/15
signed lower left
editioned lower right
60 x 60cm
Estimate $ 800-1,200
Sold for $ 2,190 IBP

Artist Talk with Angus O’Callaghan

43Looking through the viewfinder with Angus it is hard to believe that we are only just now discovering this unique documenter of Melbourne in the sixties. I had the rare and exciting opportunity to sit down and speak with Angus and ask what had inspired his documentation and why had we not had the privilege of seeing it until now. The answer I would find was an inspiring story of never giving up your passion.

Angus’ story is not an unfamiliar one for many born of his generation. Born in Melbourne, seven years before the great depression and one of 12 siblings, Angus O’Callaghan began his journey into photography in what most would think to be the last place such a creative endeavor would occur. He was consigned as an unofficial photographer whilst serving for the Australian Army as an engineer in Syria in the Second World War for two years. Here he was responsible with the task of photographing damaged structures and bridges using his own camera, never seeing the photographs beyond the negative stage. He then developed an interest in photojournalism while working as an English teacher in Melbourne. Documenting the Suez Canal crisis of 1956 using a standard 35mm camera, Angus returned with a suitcase full of slides which Women’s Weekly published, his first commercial commission. It was then that he decided to setup a studio as a photographer. “I didn’t actually set up as a fashion photographer or a wedding photographer, I thought, I will do a book that was the thing to do at that time, a book of a city, Melbourne city.”

Japanese camera manufacturer, Yashica, produced the 635 in 1958, a medium format twin lens reflex or TLR camera using 120 roll film at 6” x 6”. It was this camera that Angus captured his social documentation of a changing city, the city of Melbourne.

“I read a lot about professional photographers from overseas, Europe and America and in many ways they were more advanced, except for the few we had here. They recommended the medium format, so I bought two of those at $45 each. They were sitting in a window in Collins Street up near George’s. I remember seeing them in the window there and they attracted my eye and the price, I can buy two instead of one. One for black and white, one for colour.”
Angus would often take a photo of a scene in both mediums. He explains that using these cameras with their fixed lenses was quite a disciplined format to work with and having no telephoto lenses; his principal technique was to walk in close to a subject or walk out. This created a voyeur almost fly on the wall approach to his photographs. “You feel like you could be there.” He says.42

The quality of the photographs he found to be better than expected which was confirmed when they were produced in a large format. Angus: “they are quite sharp, more resolution than I expected. Because I was only thinking of publishing my photography at book size, nothing bigger”

His plan was to document his love for the city and publish a book of photographs, to capture an image of a city’s landmarks in a new way. So from 1968 he began documenting the architecture, the people and the city itself, documenting the shifting attitudes and surroundings of Melbourne in the late sixties. Of particular importance for this period of his work is that at the time the city’s Victorian architecture, particularly what was then known as the ‘Golden Mile’ of Collins Street, was being demolished and dramatically redeveloped by Melbourne’s premier demolition fellow ‘Whelan the Wrecker’, responsible for the demolition of many iconic Melbourne architectural sites of the 1960s. Subsequently, the destruction of these buildings prompted the formation of the National Trust of Victoria. Angus remembers seeing Whelan the Wrecker demolishing the city he loved: “He used to drive me mad, walking around the city with all of this destruction going on.” Lucky for us Collins Street is featured quite prominently in Angus’ images, giving us a visual documentation of these absent structures residing now only in our nostalgic, hazy memories.

Angus’ images shy away from the stereotypical, almost tourism campaign shots, which were so common in books, published on Australia at the time, ‘Graham Kennedy’s Melbourne’ published in 1967 by Thomas Nelson Limited comes to mind. An agenda to represent Australia to the world in such a way as to project an image of a country full of endless beaches, red earth, bushmen, with modern, livable, thriving cities, whereas Angus captured those elements of a city that weren’t grand. He chose to show a different angle and take an approach that at the time wouldn’t have been marketable to an international audience, something that didn’t reinforce the stereotype of the archetypal Australian image. “You are looking for something that is different and interesting,” He says, “There was a provincialism, ours is the best, if it isn’t, we will make it the best and tell the world it’s the best. So when people saw my work they thought, that’s not really Melbourne, we know its Melbourne, but where’s the grand panorama?”
It is not hard to appreciate that at the time his images didn’t project an image to the world of how we craved to be perceived to an international audience. It’s not until we look at his work 40 years on that the importance of what he captured can finally be recognized and regarded as one of the most significant collections of Melbourne documented on film.

The imagery doesn’t evoke a sense of grandeur, more so the everyday, the commonplace, the changing city. Young & Jackson neon lights, drizzly Melbourne weather on Princess Bridge, new migrant butcher shops spruiking 29 cent Corned Brisket and Lamb’s Fry, Milk bars with ‘Moon Men Fit” broadsheets decorating the pavement, the fondly remembered Southern Cross Hotel with its minty hues, the block arcade with its Minnie skirts and shopping Nuns. There is a subtlety in the imagery where nothing is overstated. An obvious angle one would photograph the hulk that is Flinders Street Station would be to stand adjacent to the station in front of St Paul’s Cathedral with a wide-angle lens to create an imposing, announcement of a city pining for recognition on a world stage, an image that could be printed on a postcard and posted across the world and to the mother country. Instead Angus sees beyond the obvious and looks for subtly in the everyday, taking his images as if like a voyeur in a city bustling with change and neon. You can feel his love for the city in each image; they are love letters to a city. “You have to know the city. I went to Sydney for a couple of weeks, my sister was living there, and I got keyed up but it wasn’t the same, I didn’t know the city, I knew of it, I had been there, but as a tourist, I didn’t really know the city like the Sydneysiders know it, what to really look for.”

So what was his process behind capturing these iconic images that only now are being rediscovered 40 years on? “It was what you called street photography or urban photography. It’s a city in life. I wanted to include people, I wanted to put adjuncts to them, you’ll see the edges, you’ll see houses or cars, they add to the picture. Because you are restricted by the camera, you had to think, how could I get an interesting picture without all of these lenses and filters?” It was this restriction of the fixed lens where we can truly see the talent and skill in Angus’ images. They are framed perfectly; his compositions of the everyday are what make his work so beautiful. “Composition is the secret of interesting photography” he explains. “Rarely did I take more than one picture of a scene; you were pretty frugal with your film as it was quite costly. I have noticed with digital you get wasteful, you start taking pictures and you’re just throwing them away like cards.”

It is one thing to be able to take a nice photo but in capturing those iconic moments in time there were some occupational hazards of walking the streets which was still suffering from a hangover of the great depression and post war suspicions. “I would walk the streets, looking for subjects. Some days you go all day and take very few pictures. You get abused as well. For instance if I was photographing an old fence in a lane, wouldn’t you think it was nothing? A lot of people would think ‘What’s wrong with this bloke?’ if you photographed a private home.” Angus would also take a conventional, professional approach to gaining access to buildings. “I used to write letters to firms for permission to photograph their buildings.” This would often turn out to be counterproductive, with the marketing departments offering Angus bland, corporate, staged photographs for him to feature in his proposed book of Melbourne.

From 1968 to 1971 Angus worked on producing a book that perhaps was ahead of its time. So did he find a publisher? Have we ever had the privilege of uncovering a dusty old Rigby published book on the city and people of Melbourne in second hand stores, filled with images that are so sincerely beautiful and intimate? The answer is surprising but not unexpected.

“One publisher said they we’re interested, we’ll have a look at it. I had it assembled with quite a voluminous draft narrative; they were very interested but had filled their publishing quotas. I tried two or three others but wasn’t getting anywhere. I remember one publisher, he showed me a book on Melbourne and said ‘sorry I already published this one, but yours would be far better.” Angus goes on to tell me: “I met a chap who was an ex representative of the Herald, I showed it to him and he was very interested but couldn’t get me a publisher. He also tried Angus & Robertson and a few others and I thought if he can’t do it I wouldn’t have much hope with it. So that ended the idea, I just put it away, went back into teaching until I retired in the early 90s”

After the death of his first wife in the 1990s, Angus moved to Queensland where he undertook a diploma course in Photography at Toowoomba Tafe in his mid seventies. Whilst studying he did various commercial jobs, wedding photography, photojournalism and selling images to photo libraries, but still treated it as a hobby. “I took up photography again when I retired; I went into a stock library and sold a few pictures, mainly for books and advertising. They just sent you a cheque for half the amount they got, only $50 a picture then, some were $100 depending on what magazine or book it was going into. I sold a few, I was happy doing it.”

So how have we come to rediscover or in fact newly discover this incredible image-maker? As life would have it, purely by chance, when two years ago Ben Albrecht, at the time joint-owner of Kozminsky Jewellery in Bourke Street Melbourne, was contacted to participate in a charity art auction as a guest auctioneer. In a back room he discovered a black and white photograph of a Japanese lady looking in a shop window in Collins Street and knew he had stumbled upon something special.

“I spoke to the lady who was in charge and asked ‘who took this photograph?’ I thought it was a one off. She told me it was Angus O’Callaghan. I asked for his telephone number as I would love to give him a buzz, which she replied ‘he’s in the other room, you can have a chat!’ It was a leap of faith because I knew by the image it was really special. I gave Angus my address to send me some images and five days later I got this post pack choc ‘o’ block full of transparencies. I started looking through them and thought these are phenomenal.”

No doubt these transparencies hadn’t been seen in public for decades and one wonders whether Angus himself had reviewed them since the disappointment of failing to secure a publisher all those years ago. So knowing he had stumbled on something incredible, Ben worked with Angus to scan and print editions of the collection through JCP Studios, which resulted in an exhibition of the collection two years ago, and a rediscovery of an important body of work that hadn’t been seen since 1971. A body of work, which Ben acknowledges, transcends generations.
“When we first had the exhibition there was the older generation of Australians, people who had lived through the 1960’s and the 70’s as 30 year olds, people who are my age and then you had the younger generation. The work really pleased a lot of different generations.”

In 1968 Angus began the undertaking of producing a book that failed to secure the funding of an open-minded publisher and now in 2012, Ben Albrecht is working on finally finishing the book that Angus set out to publish 40 years ago. And going by the auction results of his works this July, some prints well surpassing the thousand dollar mark, in particular ‘Royal Arcade’ (pictured) selling for $2,640, there has never been a better time than now for Angus to finally get the audience and appreciation he so duly deserves as one of this country’s greatest Photographers; an acknowledgement and appreciation that has eluded him throughout his life and career. Now in his 90th year, it has taken almost half a century for his work to be recognized which is something he is philosophical about. “Some things don’t happen, then other things do happen, it’s not always what you think is going to happen. I call life a winding track.”

Photographer Angus O’Callaghan will be discussing his photography that will be auctioned on May 2nd at 6:30pm.

The talk will be held on Wednesday the 1st of May at 6:30pm

View the Catalogue

Enquiries
Nicole Salvo
t: 03 8825 5624
e: Nicole Salvo

Successful Debut for Two Photographers

22The sale was marked by the first time auction offerings of work by both Angus O’Callaghan and Bruno Benini. O’Callaghan’s images of Melbourne in the post-war period, both in color and black and white, attracted strong bidding and the highest price realized for the artist was for the colour work lot 581, titled Royal Arcade, which sold for $2200 plus buyer’s premium (BP).

Benini’s portraits of posed women in lavish dresses and often sumptuous surrounds provided an interesting, alternate view of Melbourne and its interiors. Numerous of his works sold above estimate with the highest price paid for lot 544, a portrait of Helen Homewood (illustrated), which realized $1500 plus BP.

Works by Sievers, Dupain, Stern and Strizic also graced the catalogue and sold well with the highest price for the auction jointly held by Sievers and Dupain for Advertisement for Elbeo Stockings, Contempora, Berlin 1938 and Flinders Street Station 1946 respectively, both realizing $3200 plus BP. A high sale rate and a well attended room confirmed the growing appetite for collectable photography in Australia and collector enthusiasm for artists “new” to the auction scene. We are now inviting entries for our next major photographic auction.

 

Angus O’Callaghan

19Born in 1922, O’Callaghan’s childhood coincided with the years of the Great Depression, and forced the children into accepting any work that would assist in feeding a hungry family. An interest in photography developed during O’Callaghan’s military service during the Second World War, when he was made responsible for documenting damaged structures in Syria. This interest in photography remained a constant, and in 1969, O’Callaghan purchased two Yashicaflex twin lens reflex medium format cameras, one for black and white, one colour.

O’Callaghan would spend the next three years photographing his local city on spare weekends and evenings. These images would form the basis for a book prepared with the assistance of his wife, Annette, but a publisher was not forthcoming. Bitterly, the couple put the project aside, and it was not to be revived until after Annette’s death.

In O’Callaghan’s images, Melbourne is a familiar backdrop to scenes of everyday life, but with a sentimental, witty twist. It is worth noting that capturing these images in a discreet fashion took some skill: no zoom lenses to allow the privilege of distance, cumbersome equipment in a world in which photography was by no means as ubiquitous as digital technology now allows. O’Callaghan needed to move in close to his subject, and would hold the camera at waist height while looking down into the view-finder at the top of the camera. Testament to the photographer’s skill, in O’Callaghan’s photograph of Bay 13, the crowd watch proceedings impassively, ciga- rettes never far from the lip, but as a coun- terpoint, a young boy clutches his Kool- Mints, enraptured by the game unfolding beyond his sunglasses.

O’Callaghan’s camera captures the detail of the simple summer dresses, hats and shoes of the spectators, bare legs visible against the timber benches. A butcher’s shop-window is witness to earlier tastes: corned brisket and lamb’s fry, steak and kidney and ox tongue feature prominently amongst the bold signage, while a young girl stares at the photographer through the window. Life resembles art once again in O’Callaghan’s image of a wintry Melbourne evening outside Flinders Street Station. Reminiscent of John Brack’s Collins St., 5pm (1955, NGV Collection), commuters flood across the intersection, lines of light and dark in front of the brilliantly-lit Station.

The artist’s colour images bring a height- ened sense of immediacy: a procession of observers in front of a temporary, outdoors gallery presents a symphony of greens so bright it calls to mind the tropics in midsummer. A small sailboat on the Yarra a brilliant triangle of yellow, its reflection captured in the still water and behind it, a procession of buses and signage evocative of travel in a more leisurely-paced era.

Angus O’Callaghan’s photographic negatives lay untouched in a shoebox for over forty years until, at the urging of his second wife, Lynette, they were presented again for viewing. The renaissance of O’Callaghan and his scenes of ‘Marvellous Melbourne’ is a true testament to the power of the photographer to transport the viewer to another world.

 

Viewing Times
Wednesday 18 July 2012 9am – 8pm
Thursday 19 July 2012 9am – 5pm
Friday 20 July 2012 9am – 5pm
Saturday 21 July 2012 10am – 5pm