Before this realisation, we were aware of CITES (the Convention on the International Trade in Endangered Species) and like every other auctioneer in the country and indeed, globally, we often sought formal approval for both the sale and potential exportation of ivory and horn. We assumed, wrongly, that CITES protected the elephant and rhinoceros species and that our industry, with this compliance, adequately protected these animals from the illegal trade in their tusks and horns. In reality, and as I have learnt over the last two years, current conventions, legislation and industry regulation have almost completely failed in stemming the flood of recently poached ivory and horn from entering the global art and antiques marketplace.
When we introduced the policy, industry reaction was regrettably predictable; we were labelled “blatant opportunists” by one auctioneer and while others were somewhat supportive of our sentiment, to date none have come on board in any meaningful way or embraced our policy.
This is why I applaud Bonhams’ decision last week to cancel their forthcoming auction of antique Rhinoceros horn carvings in Hong Kong following increasing pressure from conservation groups. It was a courageous decision and an important step forward towards a complete ban in the trade of these materials.
Their decision inspired Sotheby’s International to follow suit with the announcement a day later that they too would cease trade in Rhino horn.
The decision now of these two international auction houses to follow the path of Christie’s finally acknowledges at the highest levels of the global auction market the undeniable part we auctioneers play in the value chain and ultimate poaching of these animals, if we are to continue to trade in these materials.
I hope that we will, one day very soon, look back on these recent announcements as defining moments in history; establishing a clear precedent that such materials should not and must not be traded.
The next, equally important step, and one which forms part of our policy, is the international cessation of trade in elephant ivory.
John Albrecht
Managing Director

The 1909 Ashes Urn which was presented to Australia’s Cricket Captain Monty Noble on his team’s victory over England, sold for $80,600 at Leonard Joel today.

Max Williamson, Head of Sporting Memorabilia at Leonard Joel said, ‘The Ashes Urn is the pinnacle for any Cricketing Memorabilia collector and this particular urn, being one of only three we know of still in private hands, is the most important piece of Cricketing Memorabilia to appear on the market for many, many years.’

‘We were honoured to be entrusted with such an important piece of cricketing history by the Noble family, and we are thrilled with the result.’

Although it stands at only approximately 10cm high, the Ashes Urn has, since its inception, been the most fiercely contested trophy in Test cricket, and represents the enduring competition between Australia and England.

The ‘Ashes’ originates from the 1882 Test series when Australia played and defeated England – the first defeat for England on home soil – and journalist Reginald Brooks published his now famous obituary in The Sporting Times (illustrated below), mourning the ‘death’ of ‘English Cricket and stating the ‘Ashes’ would be taken to Australia.

Later that year Ivo Bligh captained England’s team on their tour to Australia, and the British media dubbed the tour a quest to regain ‘The Ashes’.

England won the Test series 2-1 and a group of Melbourne ladies, including his future wife, Florence Morphy and her companion, Lady Clarke, presented Bligh with a small urn inside a velvet bag, said to contain ‘The Ashes’.

Over the years, several urns were created to symbolise the mythical ‘Ashes’ and held aloft by victorious teams (further details below). However, the Monty Noble urn, which was presented to him by Ivo Bligh’s wife, Lady Darnley, is one of only three known remaining urns in private hands (two of which are on loan to Melbourne Cricket Club Museum).

Elsewhere in the auction, a gold engraved Vesta case from The Monty Noble Collection sold for $3,720 and Dennis Lillee’s Baggy Green for $12,400.

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For media enquiries contact: nicole.kenning@leonardjoel.com.au | +61 424 186 377

Leonard Joel is honoured to announce its appointment by the executors to manage this historic single-owner collection.

Some 600+ items representing James Fairfax’s collecting passions and travels will be offered in a full colour catalogue and auction event in Sydney in early September 2017.

The catalogue will be titled “The Philanthropist and Connoisseur – The Decorative Arts Collection of the Late J.O. Fairfax” and will present superb antique furniture, Asian artefacts, textiles, porcelain, silver and photography, representing James Fairfax’s highly considered yet passionate approach to the decorative arts. Detailed exhibition history and impeccable documentary provenance come with many of the pieces, only adding to the stature and importance of the collection.

The auction will showcase some of the finest Chinese textiles and jades, Japanese lacquer and English and European furniture ever to come on to the Australian market place.

And the unpretentious yet grand collecting methodology behind the collection means that estimates will range from the low thousands through to exceptional single examples that are expected to realise tens of thousands of dollars.

Interest is expected to be both local and international and the collection is conservatively estimated to realise in excess of $1,000,000 and proceeds from this auction will be invested in a fund, The James Fairfax Foundation, which will provide income to help support charities that Mr Fairfax has supported during his life, including The Children’s Hospital at Westmead, The Children’s Medical Research Foundation and WWF.

Robert Williams, National Head of Single-owner auctions for Leonard Joel:

“Numerous visits to Retford Park, the home of this most personal collection and conversations with Mr Fairfax’s nearest and dearest, have made researching and understanding this collection for me a deeply satisfying exercise and one I wish to respect in every facet of its management. As a UK-trained specialist it will be delightful to be offering for sale so many pieces of international calibre and flavour. European, English, Chinese and Japanese decorative arts are all strongly represented and I simply can’t wait to view the collection with the people of Sydney and the world.”

John Albrecht, Managing Director of Leonard Joel:

“So much has been written about the Fairfax family and story that for me it is as though I have been invited inside a discreet aspect of Australian social history. My first drive to Retford Park, the beautiful English-inspired gardens and the Victorian Italianate mansion that greeted me belied the truly diverse, international and complex nature of James Fairfax’s collecting style. As the appointed auctioneer it is my privilege to be managing this collection for the estate and what I feel most now is that I am very lucky indeed to be part of what is essentially the “collecting” chapter of the biography of this great Australian.”

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Viewing | Saturday 26 – Wednesday 30 August, 11am-6pm & Thursday 31 August, by appointment.
Leonard Joel Sydney, 39 Queen Street, Woollahra NSW 2025
Auction: Thursday 31 August at 6.30pm & Friday 1 September at 11am
The Cell Block Theatre, National Art School, Forbes Street, Darlinghurst NSW 2010
Contact: Nicole Kenning | 03 8825 5620 | 0424 186 377 | nicole.kenning@leonardjoel.com.au

Leonard Joel is pleased to offer at auction the Estate of Keith Clarke. Prior to this, the apartment will be sold at auction on Saturday 27 May at 12pm by Jellis Craig.

The luxury of the spaces, enhanced by the natural asset of northern light, captures the attention from the very first step into this spectacular apartment – and the further you explore, the more exceptional this property becomes.

A living/dining of outstanding size and style is the centrepiece of a design that includes a granite kitchen featuring Smeg and Miele appliances while French doors reveal the appealing proportions of a north facing balcony.

Independent access to the balcony complements a fabulous main bedroom accompanied by built-in robes, a walk in robe and a marble tiled ensuite while two further bedrooms and two additional bathrooms include a light filled second bedroom with its own ensuite.

Heating/cooling, complete security, lift access and allocated garaging mean this outstanding apartment, in a beautiful Georgian inspired building, makes the most of a setting so close to Toorak Road and Chapel Street’s great range cafes and restaurants.

Enquiries:
Tim Bennison
03 9864 5000 | 0418 332 865 | email

Chiara Curcio, Associate Head of Classic Furniture, Objects & Collectables, could not believe what she was reading when Judith Durham sought her advice about her personal piano; the very piano where Judith penned and created ‘Australia Land of Today’.

The Bechstein has been in Durham’s possession for some 45 years. She purchased the piano in Switzerland in 1973 and the piano followed her around the world until she resettled in Australia. The Bechstein was the special place where many songs were born and concert elements were rehearsed. When Judith bought her piano Ron Edgeworth, her late husband was purchasing his own Bechstein from Harrods. Now that Judith is selling her piano, it is her wish that a proportion of proceeds from the sale will go to the Motor Neurone Disease Association, for of which she has been National Patron since the death of her husband from the disease in 1994.

John Albrecht, Proprietor of Leonard Joel: “We are honoured to have been entrusted with this very special, not just musical instrument, but piece of Australian music and social history and even more excited that the public will have the opportunity to view first-hand a piano belonging to one of the Seekers”.

Chiara Curcio: “Researching this rare piano has taken on a whole new context for me given its relevance to Australian popular culture and in the process we learn more about this creative period for Australian music. I’m also touched that Judith has entrusted me to manage the marketing and sale of her piano and to find for Judith a new owner that will hopefully actively pursue the use of the piano for generations to come”.

Judith Durham: “Inspiring me since 1973 composing music and lyrics for my hundreds of inspirational songs, this beautiful, antique Bechstein Grand has a lightness of touch, which responds to every nuance of emotion”, says Judith Durham AO A.Mus.A. “I bought it in Lugano near where my darling late husband Ron Edgeworth and I lived in Switzerland. May its new owner experience my own joy of this piano through a lifetime.”

For further information please contact
Chiara Curcio
03 8825 5635 | chiara.curcio@leonardjoel.com.au

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1
LIN ONUS (1948-1996)
Green and Red Pattern with Frog Pattern 1994
screenprint, ed.1/1
bears Lin Onus Estate stamp lower right.
50 x 75cm (image); 70 x 100cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

OTHER NOTES:
In 1994 while printing “Gumiring Garkman” Lin Onus realised the power of the pattern and he harnessed it to represent the image(the animal.I remember that I told him that Queenie McKenzie said “Dots make it more beautiful”.
Shaike Snir, September 2016

Asking Price: $12,000
Contact us to Purchase >

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2
LIN ONUS (1948-1996)
Blue Reflection with Frogs Heads 1994
screenprint, ed.1/1
unsigned
75 x 114cm (image); 80 x 120cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

Asking Price: $15,000
Contact us to Purchase >

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3
LIN ONUS (1948-1996)
Blue Leaves 1994
screenprint, ed.1/1
bears Lin Onus Estate stamp lower right
68.5 x 76cm (image); 70 x 100cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

OTHER NOTES:
A print based on the design of “Pitoa Garkman” and an homage to the Israeli artist Arie Aroch whom I introduced to Lin.
Shaike Snir, September 2016

Asking Price: $12,000
Contact us to Purchase >

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4
LIN ONUS (1948-1996)
Gumbirri Garginingi 1996
screenprint, ed.50/85
signed and dated lower right: Lin Onus’ 96
titled and editioned at base
50 x 74.5cm (image); 70 x 100cm (paper)

PROVENANCE:
Published by Port Jackson Press, Melbourne

OTHER NOTES:
As an indigenous person, Lin could not just paint any animal he wanted. After meeting and chatting with the owner of the rights to the turtle totem, Lin was granted permission and part of the exchange included two pairs of blue-jeans.
Shaike Snir, September 2016

When it came to printing the last colour, the blue wash, I was not entirely happy with the colour nor the transparency of the ink. I tried to reach Lin many times to check the tests but he was not available. In the end I had to print the whole edition in its current state. The next day Lin came to sign the edition and he preferred the colour in the experimental edition too. I took the two experiments as my Printers Proofs…Here is one from the limited edition.

Asking Price: $5,000
SOLD!

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5
LIN ONUS (1948-1996)
Pebbles with Black Rectangle 1996
screenprint , ed.1/1
bears Lin Onus Estate stamp lower right
61 x 75cm (image); 70 x 100cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

OTHER NOTES:
Lin and I did this WILD experiment to see the different way the black sits on a printed area to compare with black on white paper. On the pebbles it looks like a burnt country and on the paper just like a matt black. The white colour on top is playful both visually and conceptually.
Shaike Snir, September 2016

Asking Price: $12,000
Contact us to Purchase >

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6
LIN ONUS (1948-1996)
Pebbles with Black Rectangle and Houses 1996
screenprint, ed.1/1
bears Lin Onus Estate stamp lower right
50 x 75cm (image); 70 x 100cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

Asking Price: $12,000
Contact us to Purchase >

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7
LIN ONUS (1948-1996)
In Memory 1996
screenprint, ed.1/1
50 x 70cm (image); 70 x 100cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

OTHER NOTES:
This is a true collaboration between two cultures; Aboriginal and Jewish. While working on Lin Onus’s last large print “ Gumbirri Garginingi” in 1996 we both realised that pebbles are a symbol of commemoration representing the circle of life in both cultures .     At the time I had just returned from a trip to the Kimberleys where I revisited Mistake Creek and the plaque that says:”IN MEMORY OF OUR ANCESTORS WHO WERE SHOT AND BURNED HERE. R.I.P MISTAKE CREEK. This print remembers the Aboriginal genocide and the Jewish holocaust.
Shaike Snir, September 2016

Asking Price: $15,000
Contact us to Purchase >

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8
LIN ONUS (1948-1996)
To Rover Thomas 1996
screenprint hanpainted with printer’s ink and wash, ed.1/1
bears Lin Onus Estate stamp lower right
50 x 75cm (image); 70 x 100cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

OTHER NOTES:
Rover Thomas was an artist Lin and I both admired greatly. I had just returned from the Kimberleys and I told Lin about my experience with Rover painting what I thought resembled the shape of a human skull but for him represented Lake Argyle. We painted this motif over the top of the pebbles with printers ink. An amazing artwork!
Shaike Snir, September 2016

Asking Price: $18,000
Contact us to Purchase >

Rover Thomas (right) discussing his painting with Shaike Snir (left), c 1994.

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9
LIN ONUS (1948-1996)
Reflection on Pebbles 1996

screenprint, ed.40/80
signed lower right: Onus (Tiriki)
editioned and titled at base
50 x 70cm (image and paper)

PROVENANCE:
This print was started by Lin Onus and completed by Tiriki Onus with Printer Shaike Snir.

OTHER NOTES:
In 1996 Lin and I started to work simultaneously on a few prints. We used the same four screens of pebbles to create different prints but unfortunately Lin passed away before completing them. One was “Walawala Garkman” and another “Wish you were here Tiriki Onus, Lin’s son completed them with me and signed the works.
Shaike Snir, September 2016

Asking Price: $2,000
Contact us to Purchase >

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10
LIN ONUS (1948-1996)
Wish you were Here – Djalng Baltjigi Nyuui Djinigima 1996-2007
screenprint, edition of 70, P/P
signed lower right: Onus (Tiriki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
30 x 69cm (image) This work is unframed

PROVENANCE:
Commissioned by the Lin Onus Estate

Asking Price: $2,500
Contact us to Purchase >

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11
LIN ONUS (1948-1996)
Black on Black on Grey on White Paper 1996
screenprint, ed.1/1
unsigned
75 x 114cm (image); 80 x 120cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

OTHER NOTES:
Visually this simple and beautiful image has the appearance of a hard edge print but conceptually it represents a very personal Lin Onus story. It also may speak of Aboriginal experience in a white society, trying to fine equilibrium.                           These prints were exhibited in Cooee Art, Sydney under the title “IT ALL STARTED WITH BLACK” for Lin always requested that I first print black before he started to build up the image.
Shaike Snir, September 2016

Asking Price: $12,000
Contact us to Purchase >

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12
LIN ONUS (1948-1996)
Black on Black on Grey on White Paper 1996
screenprint, ed.1/1
unsigned
75 x 114cm (image); 80 x 120cm (paper)

PROVENANCE:
This is a collaborative print by Lin Onus and his printer, Shaike Snir

OTHER NOTES:
Another biographical image for the artist.

Asking Price: $12,000
Contact us to Purchase >

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13
LIN ONUS (1948-1996)
Pawns- Red 2000
screenprint, ed.6/20
signed lower right: Onus (Tiriki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
40 x 60cm (image); 56 x 76cm (paper)

PROVENANCE:
Commissioned by the Estate of Lin Onus and based on an original image by the artist.

OTHER NOTES:
“Pawns Red” and “Pawns Yellow” prints were commissioned by the Lin Onus Estate to commemorate a small black and white linocut that Lin made in 1986. They illustrate Lin’s foray into the political arena celebrating the colours of the Aboriginal flag.
Shaike Snir, September 2016

Asking Price: $2,500
Contact us to Purchase >

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14
LIN ONUS (1948-1996)
Pawns -Yellow 2000
screenprint, ed.6/20

signed lower right: Onus (Tiriki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
40 x 60cm (image); 56 x 76cm (paper)

PROVENANCE:
Commissioned by the Estate of Lin Onus and based on an original image by the artist.

OTHER NOTES:
“Pawns Red” and “Pawns Yellow” prints were commissioned by the Lin Onus Estate to commemorate a small black and white linocut that Lin made in 1986. They illustrate Lin’s foray into the political arena celebrating the colours of the Aboriginal flag.
Shaike Snir, September 2016

Asking Price: $2,500
Contact us to Purchase >

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15
LIN ONUS (1948-1996)
Dislocation Yellow 2000
screenprint, ed. 20/20
signed lower right: Onus (Tiriki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
60 x 35cm (image); 76 x 56cm (paper)

PROVENANCE:
Commissioned by the Estate of Lin Onus and based on an original linocut by the artist from 1986.

Asking Price: $2,500
Contact us to Purchase >

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16
LIN ONUS (1948-1996)
Dislocation Red Experiment 2000
screenprint
signed lower right: Onus (Tiriki)
editioned at base
bears Lin Onus Estate stamp lower right
61 x 36cm (image); 76 x 56cm (paper)

PROVENANCE:
Commissioned by the Estate of Lin Onus.

OTHER NOTES:
An image commisioned by the artist’s estate that is in the spirit of Lin’s passion for experimental print-making.
Shaike Snir, September 2016

Asking Price: $2,500
Contact us to Purchase >

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17
LIN ONUS (1948-1996)
Dislocation Red Experiment 2000
screenprint
signed lower right: Onus (Tiriki)
editioned at base
bears Lin Onus Estate stamp lower right
61 x 35cm (image); 76 x 56cm (paper)

PROVENANCE:
Commissioned by the Estate of Lin Onus and based on an original linocut by the artist from 1986.

Asking Price: $2,500
Contact us to Purchase >

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18
LIN ONUS (1948-1996)
Reflection Experimental 2002

experimental screenprint
signed lower right: Onus (Tiriki)
titled and editioned at base – justReflection
bears Lin Onus Estate stamp lower right
52 x 77cm (image); 60 x 84cm (paper)

PROVENANCE:
Commissioned by the Estate of Lin Onus from an original screen made by the artist.

OTHER NOTES:
This print was created from an original screen not yet printed by the artist . The estate commissioned a few versions in different colours.
Shaike Snir, September 2016

Asking Price: $3,500
Contact us to Purchase >

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19
LIN ONUS (1948-1996)
Reflection Experimental 2002
experimental screenprint
signed lower right: Onus (Tiriki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
50 x 77cm (image)

PROVENANCE:
Commissioned by the Estate of Lin Onus from an original screen made by the artist.

OTHER NOTES:
This print was created from an original screen not yet printed by the artist . The estate commissioned a few versions in different colours.
Shaike Snir, September 2016

Asking Price: $3,500
Contact us to Purchase >

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20
LIN ONUS (1948-1996)
Reflection Experimental (Blue) 2002
experimental screenprint
signed lower right: Onus (Tirki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
52 x 77cm (image)

PROVENANCE:
Commissioned by the Estate of Lin Onus from an original screen made by the artist.

OTHER NOTES:
This print was created from an original screen not yet printed by the artist . The estate commissioned a few versions in different colours.
Shaike Snir, September 2016

Asking Price: $3,500
Contact us to Purchase >

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21
LIN ONUS (1948-1996)
Reeds Experimental 2000
experimental screenprint
signed lower right: Onus (Tiriki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
59.5 x 40cm

PROVENANCE:
Commissioned by the Estate of Lin Onus after original linocuts by the artist from 1986.

OTHER NOTES:
There are up to 8 prints of this image, however each one varies in its colour.
Shaike Snir, September 2016

Asking Price: $5,000
Contact us to Purchase >

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22
LIN ONUS (1948-1996)
Splash Experiment 2000

experimental screenprint
signed lower right: Onus (Tiriki)
titled and editioned at base
bears Lin Onus Estate stamp lower right
59 x 37.5cm (image); 76 x 56cm (paper)

PROVENANCE:
Commissioned by the Estate of Lin Onus after original linocuts by the artist from 1986.

OTHER NOTES:
There are up to 8 prints of this image, however each one varies in its colour.
Shaike Snir, September 2016

Asking Price: $5,000
Contact us to Purchase >

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23
LIN ONUS (1948-1996)
Gumbirri Garginingi 1996
screenprint. ed. P/P
signed and dated lower right: Lin Onus’96
titled and edtioned at base
49.5 x 75cm (image); 70 x 100cm (paper)

OTHER NOTES:
As an indigenous person, Lin could not just paint any animal he wanted. After meeting and chatting with the owner of the rights to the turtle totem, Lin was granted permission and part of the exchange included two pairs of blue-jeans.
When it came to printing the last color, the blue wash, I was not entirely happy with the colour nor the transparency of the ink. I tried to reach Lin many times to check the tests but he was not available. In the end I had to print the whole edition in its current state. The next day Lin came to sign the edition and he preferred the colour in the experimental edition too. I took the two experiments as my Printers Proofs…and this is one of them.

Asking Price: $15,000
Contact us to Purchase >

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24
A LIN ONUS DESIGNED WOOL RUG
Goonya na Bilda

Asking Price: $25,000
Contact us to Purchase >

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25
A LIN ONUS DESIGNED WOOL RUG
Red and Green Pattern
edition 1/2

Asking Price: $22,000
Contact us to Purchase >