Lot 124A

This work has numerous scratches to the steel. There is foreign residue on one of the steel plates We recommend that this work be looked at by a professional conservator.

There are inherent pin sized holes on the inside and outside of the rings, and the wooden base displays signs of wear in terms of surface marks and light scratches.

The break line in the narrowest park of each steel disk does not exactly match up, and does not sit flush. This can be seen in the photograph online.


The opinions expressed in the condition reports are a guide only and should not be treated as a statement of fact. Prospective buyers are encouraged to inspect articles for sale at our pre-sale viewing where Leonard Joel staff are available for advice.
Leonard Joel makes no guarantee of the originality of mechanical or applied components. Absence of reference to such modifications does not imply that a lot is free from modifications.

Gift of the artist to her daughter Mrs Enid Hawkins, Sydney
Sotheby's, Sydney, 15 April 2014, lot 254
Private collection, Melbourne

During summer school in America in 1930, Margel met her future husband Frank Hinder which began a partnership of mutual artistic respect and love.
In the 1940s she experimented with abstract forms and her later works included "revolving sculptures through whose interlocked forms spaces changed and changing shadows were cast. Nature, such as spider webs, often inspired her work".

Margel Hinder and her sculpture have been neglected in standard accounts of Australian art history, despite the excellence of her work. Caught up in a parochial rejection of international modernism as a threat to national identity, that effectively extended over many decades, in the 20th century, she and fellow artists Frank Hinder, Grace Crowley, Rah Fizelle and Ralph Balson because casualties of the earlier, political 'culture wars'. (Ian Cornford)