LEONARD, issue 99, August-September 2022

ISSUE 99 AUGUST – SEPTEMBER 2022

AUG

Decorative Arts Monday 8 August, 12pm / MELBOURNE Asian Works of Art Monday 8 August, 6pm / MELBOURNE Fine Art Monday 15 August, 6pm / SYDNEY Important Jewels Tuesday 16 August, 6pm / SYDNEY Indigenous Art Monday 22 August, 6pm / MELBOURNE

SEP

auction calendar —

Specialist Rugs Thursday 1 September, 2pm / MELBOURNE Luxury Icons Monday 5 September, 6pm / MELBOURNE The Collector's Auction Tuesday 13 September, 2pm / SYDNEY Scandinavian Design Thursday 15 September, 2pm / MELBOURNE Women Artists Monday 26 September, 6pm / MELBOURNE Geoffrey Hatty: A Life In Design & Decorative Arts Tuesday 27 September, 2pm / MELBOURNE The Auction Salon Furniture & Interiors – 10am Objects & Collectables – 10.30am Jewellery – 11am Art – 11.30am Every Thursday / MELBOURNE

COVER: Geoffrey Hatty

LEFT: A Tibetan Gilt Bronze

Densatil-style Support Circa 15th century $1,200 – 1,500 Asian Works of Art Auction Mon 8 Aug, 6pm

welcome —

This Issue FROM THE CHAIRMAN 3 A Greville Street Memory – AUCTIONS 4 Important Collections | Geoffrey Hatty: A Life in Design & Decorative Arts 8 Fine Art | 8-Bit Invasions

Welcome to the 99th issue of Leonard Magazine.

Within this issue, we celebrate the extraordinary career of 20th century decorative arts dealer Geoffrey Hatty, as we prepare for the auction of his expansive collection. We also learn more about the work of Australian woodcarver and cabinetmaker Robert Prenzel, discover the history of the tennis bracelet, and step into the 8-bit world of Invader.

We also introduce a new segment; the Art Expert Series. In each issue, we will chat to an industry expert to educate our readers on all things art - from investing to caring for your pieces. Who better to begin with than renowned gallerist, Michael Reid.

We hope you enjoy.

10 Fine Jewels | The Jewels of Kilimanjaro 12 Timepieces | Why Panerai?

13 Sydney | Le Goût Rothschild 14 Decorative Arts | The Laidlaw Suite by Robert Prenzel in Context 18 Important Jewels | Game, Set, Match! A History of the Tennis Bracelet 20 Indigenous Art | Searching for Symbols 22 Luxury | The Big Three from France: Part II 23 Prints & Multiples | Del Kathryn Barton – IN FOCUS 24 In Conversation: with Daniel Agdag 26 22nd Report | UK’s Ivory Trade Ban in Force 27 Art Expert Series: How to Begin Your Art Collection with Michael Reid OAM 28 5 Minutes with Lucy Foster 29 Brisbane: Miniature Masterpieces | Valuations 30 A Last Look – JOIN US 36 Connect & Buy with Leonard Joel 37 Contact a Leonard Joel Specialist

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— PROFILE —

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— FROM THE CHAIRMAN —

A GREVILLE STREET MEMORY The collecting journey

Celebrating collections means much more to us than simply their beautiful presentation, although undoubtedly this element is critical when it comes to the arts and decorative arts. Celebrating at Leonard Joel is as much about engaging with both our clients and their collections, on a journey. It often begins with the simple but still important task of how to physically manage a collection, through all the elements of a selling process, with the ultimate aim of a successful auction and a simple, timely settlement.

I find the process has a wonderful educational element; from beginning to end one learns about the collection and its categories, while often learning more about your client and their collecting philosophy. I always remember one collector telling me they collect what “speaks to them and gives them joy”. I’m attracted to that philosophy. At the end of these journeys you emerge enriched for the process; you’ve connected with someone new - sometimes their family also - and you know more about your subject matter than you did at the beginning.

Sometimes, an auction house is lucky enough to enjoy the constant contact of a passionate collector over decades and not just weeks. When I first began my Leonard Joel journey in the 1980s, the 20th century categories, the postwar categories, and the design categories were only just entering the broader collector consciousness, and indeed a dealer base that was previously completely preoccupied with the Victorian and surrounding periods.

One rare Melbourne visionary who saw beyond high-polished mahogany was Geoffrey Hatty, who presented extraordinary things for collector consideration; things that were contemporary in design and philosophy. I always remember visiting his dealership in Greville Street, Prahran and it was unlike anything I’d seen in Melbourne. He was as generous then with his quiet knowledge as he is now, and some 40 years later we have the great honour of offering his entire collection in a career concluding auction with Leonard Joel.

These are the journeys we love being on with our clients, and we look forward to celebrating with you, Geoffrey, and his collecting community, this compelling postwar survey of design objects and furniture.

JOHN ALBRECHT Chairman / Head of Important Collections

OPPOSITE: Pieces from Geoffrey Hatty: A Life in

Design & Decorative Arts ABOVE: Gae Aulenti Ruspa Quattro Table Lamp for

Martinelli Luce $25,000 – 30,000 Geoffrey Hatty: A Life in Design & Decorative Arts Tue 27 Sep, 2pm Melbourne

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— AUCTIONS —

“I always start with just one thing, one piece, which drives the aesthetic decisions around the rest of the space.’’

GEOFFREY HATTY, THE ALCHEMY OF THINGS BY KAREN MCCARTNEY 4 | leonardjoel.com.au

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— AUCTIONS —

IMPORTANT COLLECTIONS

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— AUCTIONS —

Geoffrey Hatty: A Life in Design & Decorative Arts Geoffrey Hatty is widely regarded as one of Melbourne’s

What is your favourite piece in the upcoming auction?

Geoffrey Hatty: A Life in

most influential 20th century decorative arts dealers. He

A pair of Bauhaus ceiling lights designed by Marianne

Design & Decorative Arts

was born in Moama in 1957, growing up along the banks of

Brandt, model DMB26, acquired through a friend in Munich

Tue 27 Sep, 2pm

the Murray River. He lost his father at a young age and was

who originally purchased them from the famous German

MELBOURNE

raised by his mother and sister. Despite not being wealthy,

photographer, Herbert List.

his mother had a sophisticated influence on him, and a OPPOSITE: Geoffrey Hatty

modern aesthetic that emanated throughout their house.

Describe your home aesthetic.

My home aesthetic is obviously very personal to me, each

TOP: GIO PONTI BAR CABINET

Geoffrey moved to Melbourne in the early 1980s to become

room has its own different theme. The most beautiful things

Pearwood, etched mirrored glass and brass.

Internal shelving, slide out drawers with Gio Ponti bar service set in sterling silver.

Italy c 1930s $60,000 – 70,000

a hairdresser, which in his own words "was simply to meet

are generally the ones nobody wants, and that is why I love

women". He moved within the alternative arts scene, living

them.

BELOW: DANTE BALDELLI ARCHERS VASE FOR ROMETTI UMBERTIDE Vase with majolica archers highlighted in gold and pewter (Novecento Ceramiche italiane) Vol 1 (#3581) Italy c 1930s $22,000 – 28,000

in shared houses where his love of decorating continued.

“As long as I didn’t move my flatmates television, I could do whatever I wanted.”

His first shop was on Carlisle Street in St Kilda, later to become the famous Galleon café where his painted pink and grey walls remain. He was soon invited to open another store on Greville Street Prahran, when the strip was buzzing with fashionable cafés, clothing boutiques, and record stores.

By the late 90s, Geoffrey had established himself as a serious and respected Melbourne dealer. He took the standalone shop at 296-298 Malvern Road South Yarra. His initial business name, TCD (Twentieth Century Design), had unfortunately been registered by someone else, however “adversity turned to advantage, and what better way to sell, than with my own name”.

For the next 27 years, Geoffrey Hatty Applied Arts became an institution for interior designers, collectors, and stylish clientele. He was renowned for his keen eye, and interest in design movements that were outside the box. His buying

What is your favourite design period?

Modernism, from the 1920s - 40s, particularly the works of Josef Hoffmann and Gustav Siegel.

Do you have a favourite auction memory, or purchase?

Most of my purchases are special to me, I enjoy buying new items, things with some history to them or a story to tell; that’s sometimes as important as the item itself. I won’t buy anything I don’t personally like.

Any advice for the new generation of collectors?

Buy what you would like to have around you, even if you’re buying for investment, you still need to live with it.

Is there something you sold that you wished you had kept?

Probably lots of things. Back in the older days of Leonard Joel I purchased an Arts & Crafts sideboard with Christopher Dresser tiles… should have kept that.

What is the biggest misconception about 20th century design?

That everything manufactured is worth something.

trips overseas would see him return to Melbourne with

Spanning a career of over four decades, what are you most

elements of the Bauhaus, Arts & Crafts, and early Italian

proud of?

design, then a rare sight in Australia.

Surviving. And of course, getting better with age.

In the lead up to his career closing auction, we asked

ANNA GRASSHAM / Head of Modern Design

Geoffrey a few questions about life and design, and find out what has kept him inspired in an ever-changing industry for so many years. leonardjoel.com.au | 7

— AUCTIONS —

FINE ART

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— AUCTIONS —

8-Bit Invasions Anonymous urban artist Invader’s tile mosaics in the shape of

and visible locations such as above sidewalks, highways,

Fine Art Auction

8-bit video game characters (named ‘invaders’) can be found

shopfronts, and crossings, there are also more covert

Mon 15 Aug, 6pm

cemented and glued to building facades around the world -

locations in which one can discover a Space Invader, such

SYDNEY

more precisely in 80 cities across 20 countries, totalling 4056

as at the top of the Eiffel Tower. The highest located Space

invaders as of today. Beginning with the artist’s home in Paris,

Invader is found at the International Space Station (408km

‘invasions’ have been staged in waves over the past 20 years

altitude) and the lowest is found on the ocean floor of

from New York and London to Istanbul and Melbourne.

Mexico’s Cancun Bay, only accessible to experienced divers.

The anonymous artist, who only appears in public masked,

Invader estimates that about 15% of his artworks have been

was inspired by the 70s and 80s arcade games Space Invaders,

removed from public spaces, often by individuals hoping to

Pac-Man, and Super Mario Bros. His pixelated little creatures

sell them. To combat this, he has engineered defence tactics –

are freed from inside the games and installed in public

the type of tile he now uses breaks very easily, so if a passer-

spaces in an effort to decontextualise art and bring it to

by with malintent tries to deinstall a work they will be left

those who do not have access to institutions. He calls these

with broken pieces of tile rather than a complete work.

OPPOSITE: INVADER

(French, born 1969) Invasion Kit #06: Runner 2007 mosaic tiles ed. 65/150, 17 x 20cm $12,000 – 18,000 ABOVE: Space Invader, created

using a mosaic of tiles, Oxford Street, London / Alamy

creatures “the perfect icons of our time, a time where digital technologies are the heartbeat of our world”. 1 While the artist is a graduate of the École des Beaux-Arts, one of the most renowned schools worldwide and attended by greats such as Géricault, Delacrois, Degas, and Renoir, his artistic practice (which some term graffiti or a game) aims to break from such institutions which he considers to be confining. At the same time, Invader considers urban spaces and institutions to be “two very complimentary sources of energy” and since 2000

The artist began selling limited edition ‘invasion kits’ on his website to support his ‘invasion waves’. These ready-to-use tile kits are now in high demand on the secondary market as they present an opportunity to both own a Space Invader and participate in the worldwide invasion of these little critters.

We are pleased to present Invasion Kit #06: Runner 2007 within our forthcoming Fine Art auction here in Sydney.

has created mosaics for many exhibitions worldwide 2.

MARCELLA FOX / Sydney Manager

While most Space Invaders are found in highly populated

1. The Official Website of Invader, About, https://mail.space-invaders.com/ about/ 2. Ibid.

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— AUCTIONS —

FINE JEWELS

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— AUCTIONS —

The Jewels of Kilimanjaro As far as precious gemstones are concerned, tanzanite is

Intriguingly, tanzanites display an optical phenomenon

a relatively recent discovery. A form of the mineral Zoisite,

called pleochroism. Depending upon crystallographic

tanzanite was discovered in 1967 by Manuel D’Souza in the

orientation, the mineral can absorb different transmitted light

Manyara region near Mount Kilimanjaro, Tanzania. Whilst

wavelengths. This means that the stone displays a change

only discovered in the 20th century, geologists suggest

of colour when observed from different directions or when

that the gemstone was likely formed over 500 million years

viewed through plane polarised light. As tanzanite is trichroic,

OPPOSITE LEFT TO RIGHT:

ago through immense heat combined with tectonic activity

Platinum, Tanzanite and Diamond Ring $2,500 - 3,500

it is possible to observe three different colours when viewed

around Mount Kilimanjaro during the Ediacaran Period.

from varying angles. Colours visible in tanzanite include violet,

14ct White Gold, Tanzanite and Diamond Ring $5,000 - 7,000

a marketing campaign that rebranded the new gemstone as

Next Fine Jewels & Timepieces Auction Mon 24 Oct, 6pm MELBOURNE

ABOVE: 18ct White Gold, Tanzanite and Diamond Ring $3,000 - 5,000 BELOW: Mount Kilimanjaro, Tanzania / Alamy

Originally referred to as ‘Blue Zoisite’, Tiffany & Co. launched ‘Tanzanite’ to reference the exotic geographical location of discovery. Since then, various international jewellery houses

blue, indigo, burgundy, purple, red, brown, green, yellow, and cyan. Due to these colour variations, it requires a skilled lapidarist to cut a tanzanite ensuring the most desirable colour is reflected through the table of the stone.

including Bulgari, Buccellati, and Cartier among others have

Along with high clarity and exceptional colour display, scarcity

incorporated this alluring stone into their designs. Some

and rarity remain a drawcard for gem collectors. Mines are

notable examples include the Chopard ‘Belle’ necklace

close to depletion, with geologists speculating that supply

inspired by Disney’s Beauty and the Beast, Harry Winston’s

could run out within the next 20 years. In terms of value,

1991 convertible ‘Peterson’ brooch in platinum, and the

a watershed moment will be when the mine is entirely

intricate ‘Queen of Kilimanjaro’ tiara centring a 242 carat

depleted, and tanzanite is considered a highly coveted

faceted tanzanite within a contrasting surround of diamonds

‘heritage’ stone.

and tsavorite garnets.

Perhaps the most remarkable feature of tanzanite is the intense and unique colour. Often mined rough as a reddishbrown coloured stone, tanzanite is heated to remove these

The October 2022 Fine Jewels and Timepieces auction features several pieces of collectable tanzanite jewellery.

BETHANY MCGOUGAN / Head of Fine Jewels & Timepieces

tones and reveal dominant violet hues. The process is much gentler than typical gemstone heating, with temperatures of around 500 – 800 degrees Celsius for up to an hour. This treatment is considered stable and permanent.

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— AUCTIONS —

TIMEPIECES

Why Panerai?

Next Fine Jewels & Timepieces Auction Mon 24 Oct, 6pm MELBOURNE

The Panerai wristwatch has always struck me as an impressive

the perspex crystal, in 1938 they introduced their massive

piece of horological machinery. Let’s delve a little deeper and

luminous sandwich dials, in 1940 came the integrated lugs

explore what makes these watches so distinctly wrist-worthy.

with spring bars as well as a movement with an 8-day power

The popularity of the Panerai watch can be traced back to the role they played in the Navy. Watchmaker Giovanni

BELOW: Giovanni Panerai outside his

watch store / Alamy ABOVE: Panerai Luminor PAM00372

a Stainless Steel Wristwatch With 3-day Power Reserve NOO29/3500 Circa 2011 Sold for $7,500

brought in their signature lever-activated crown lock.

Panerai (1825-1897) founded Officine Panerai in 1860. In the

So unfalteringly accurate and resilient were Panerai watches,

following years, Panerai’s grandson Guido Panerai (1873-

that during the Second World War, the Officine Panerai

1934) broadened the business to include the production

productions were not only standard issue tools for military

of mechanical engineering and high precision scientific

personnel of the Italian Navy frogmen but for the German

instruments.

Kriegsmarine as well. In the 1970s, Panerai supplied similar

Further innovations and developments followed, and in 1916,

instruments to the Egyptian Navy.

Panerai filed the patent for Radiomir, a radium-based powder

With their larger-than-life aesthetic matched equally by

that gave luminosity to the dials of sighting instruments and

their fascinating and important place in military history,

devices, which proved invaluable during military operations.

Panerai today retains all the immediately recognisable

Officine Panerai later changed this material to Luminor, which

features – the large crowns, minimalist style of dials, and large

had the same qualities as Radiomir but was not as dangerous

cases. Panerai’s distinctive characteristics were borne out

as the original radioactive material.

of naval necessity, yet their watches command a presence

Panerai was highly innovative in a relatively short period of time and many of the distinct features developed in the company’s early history are recognisable in some form or another in their models today. In 1936, they developed

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reserve to reduce wear on crown seals, and in 1950 they

and significance today, just as they have throughout their captivating and complicated history.

PATRICIA KONTOS / Senior Jewels & Timepieces Specialist

— AUCTIONS —

SYDNEY

Le Goût Rothschild The name Rothschild is one that immediately suggests The Collector's Auction

wealth, opulence, and luxury. The famed banking family

Tues 13 Sep, 2pm

were at the centre of international high finance during the

SYDNEY

rapid industrialisation of Europe in the nineteenth century, being responsible for supporting many of the great railway

ABOVE: A Pair of Austrian Silver

schemes as well as complex government financing for massive

Candlesticks $5,000 – 7,000

infrastructure projects such as the Suez Canal. Originally

RIGHT: 'Pandora Gifted' by John

extensive households in London, Paris, Naples, Vienna, and

Flaxman / Alamy

from Frankfurt, by the end of the century the family had the Netherlands, and their great wealth, combined with their love of art, luxury, and fine living led to the creation of the expression le goût Rothschild – “the Rothschild taste”.

These elegant Viennese silver candlesticks of neo-classical

It is likely that these candlesticks belonged to Salomon

design are dated 1805, the year that Napoleon’s army

Mayer von Rothschild (1774-1855). In 1820, Prince Metternich,

stormed through Europe, ultimately occupying Vienna after

Austrian Minister for Foreign Affairs, entered into negotiations

the December defeat of the Austrian and Russian armies at

with the House of Rothschild for a large loan that was to take

the battle of Austerlitz. The fluted urn shaped nozzles are

the form of a lottery. The complicated arrangements for this

supported by draped female herms suggesting the caryatids

enormous loan demanded the presence of a Rothschild in

(the sculpted figures serving in the place of columns) of the

Vienna and thus Salomon, who had been handling Rothschild

Erechtheion in Athens, and the overall design is of a pared

affairs with Austria, moved to the city and established a bank

back classicism close to the spare linear designs of John

there. Salomon’s close ties to Metternich were crucial in

Flaxman and a foretaste of Biedermeier. The base of each

earning for the family a stake in the restructuring of Europe

candlestick is engraved with the arms of the Rothschild family

after the Napoleonic wars.

and their motto: “Concordia, Integritas, Industria” (harmony, integrity, industry). This hereditary barony was granted to the five Rothschild brothers; Amschel, Salomon, Nathan, Carl, and James, by the Austrian Emperor Francis II in 1822.

We are pleased to offer these beautiful candlesticks in our forthcoming Collector’s Auction in Sydney.

RONAN SULICH / Senior Adviser, Sydney leonardjoel.com.au | 13

— AUCTIONS —

“Robert Prenzel's suites form one of the most important bodies of work in earlier Australian furniture design.’’

DAVID PARSONS, HEAD OF DECORATIVE ARTS

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— AUCTIONS —

DECORATIVE ARTS

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— AUCTIONS —

The Laidlaw Suite by Robert Prenzel in Context Leonard Joel is honoured to offer the Laidlaw bedroom suite

Next was the Laidlaw suite of 1908, commissioned as a gift

Decorative Arts Auction

by Robert Prenzel (1866–1941) in our August Decorative Arts

to Thomas Haliburton Laidlaw, a prosperous auctioneer,

Mon 8 Aug, 12pm

auction.

station agent, and pastoralist, by his wife Margaret for ‘Kilora’,

MELBOURNE OPPOSITE (DETAIL): A Carved

Australian Blackwood Chest of Drawers by Robert Prenzel, Circa 1908 $20,000 – 25,000 BELOW: A Carved Australian

Blackwood Dressing Table by Robert Prenzel, Circa 1908 $20,000 – 25,000

The suite, made circa 1908, is one of five similar suites made

by Prenzel between 1905 and 1910, all to commission for

their fine house in Hamilton for which Prenzel also provided architectural woodwork.

prominent Western District patrons, that, together, form one

The decoration of the Laidlaw suite is the richest and most

of the most important bodies of work in earlier Australian

exuberant of Prenzel’s 1905–1910 suites. The design and

furniture design. The suite has remained within the Laidlaw

carving of the Glenormiston suite is restrained even by

family since its creation and is perhaps the last of these suites

comparison with some of Prenzel’s earlier work, restraint he

to remain intact in original ownership.

continued in the Mathias suite even with its introduction

Born and trained as a carver in Germany, Prenzel arrived in Melbourne in 1888. For the next thirteen years, he worked as a designer and carver of decorative elements for use on furniture and in architectural schemes, mostly in fashionable historically-inspired styles. Around 1900, Prenzel turned to new, seemingly disparate sources of inspiration; the European Art Nouveau and Australian fauna and flora, the latter reflecting the current of national pride in Australia surrounding federation in 1901.

These interests are evident, usually separate from each other, in Prenzel’s work in the following years but came together in a more substantial and dramatic way in his 1905–1910 bedroom suites. The first of these was that commissioned

of Australian motifs, but Prenzel seems to have cast this restraint aside for the Laidlaws, in so doing reaching for the first time the full-blown style for which he is best known. More boldly carved overall in deeper relief than its predecessors, the Laidlaw suite is also richer in faunal decoration, including, most spectacularly, near-freestanding figures perched atop three pieces in the suite that are not found on any of the other suites.

In its freedom, Prenzel’s work for the Laidlaws marks a high point among these suites. The last of these, the ‘Davies suite’ of 1910 for another part of the Black family, retains much of the character of the Laidlaw suite but at a more subdued level.

by Steuart and Isabella Black as part of a major renovation

It appears Prenzel made no further suites, turning instead to

of their historic Western District homestead ‘Glenormiston’.

producing the smaller works – stand-alone faunal panels and

The Glenormiston suite is, however, only partly a precursor

occasional single pieces of furniture – that are now the most

of the following suites for while it is generally similar to these

commonly seen of his work. Typically carved in deep relief,

in composition and design, its carved decoration is entirely in

and sometimes surmounted with figures carved almost in the

the Art Nouveau idiom with no Australian motifs at all.

round, these relate most closely to the particular manner of

The change was to come with Prenzel’s next bedroom suite,

the Laidlaw suite.

the ‘Mathias suite’ of 1906–1907, now in the National Gallery

Seen in this context, the Laidlaw suite may fairly be regarded

of Victoria. This was commissioned by Isabella Black’s visiting

as the fullest expression of what we now associate with

sister May, who, despite being Canadian, requested that her

Robert Prenzel.

suite be decorated with Australian fauna and flora. This suite attracted much attention in Prenzel’s Melbourne workshop

DAVID PARSONS / Head of Decorative Arts

before being shipped off and was replicated for another

Reference: Terence Lane, Robert Prenzel 1866–1941: His Life and Work

Western District patron (this latter suite now dispersed).

(National Gallery of Victoria, 1994)

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— AUCTIONS —

IMPORTANT JEWELS

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— AUCTIONS —

Game, Set, Match!

A History of the Tennis Bracelet Important Jewels Auction Tues 16 Aug, 6pm SYDNEY OPPOSITE LEFT TO RIGHT:

Tiffany & Co. 'Tiffany Jazz' Bracelet $18,000 - 24,000

As the sun blazes down upon centre court, a thundering

At the news conference afterwards, reporters push Evert to

roar erupts from the crowd. It is a typically hot late summer

reveal the reason behind her mid-match antics. She waves

afternoon at the 1984 US Open, and Tennis great Chris

her arm showing the almost lost item, “This, my tennis

Evert has just won set point, continuing to cement her

bracelet!”, a response that will forever immortalise the

legacy as one of the all-time greats of women’s tennis

design in jewellery history.

history.

The tennis bracelet to this day remains a staple in the

This day, however, another star is born. Elegantly glittering

collection of all fashion forward women, an irreplaceable

Diamond Bracelet $32,000 - 48,000

on her wrist is a single line of diamonds. Popularly referred

addition to the art of sartorial dressing. The simplicity of

to as a ‘line bracelet’, the style dates back to the 1920s.

the design allows for layering with existing pieces. A popular

Diamond Tennis Bracelet $40,000 - $60,000

The pairing of the diamonds in a more causal setting had

combination today is stacking it together with creations of

gained traction in the mid-1970s, notably when Elsa Peretti

the same era, such as the iconic designs of LOVE and Juste

ABOVE: Diamond Bracelet

released her ‘Diamonds by the Yard’ collection for Tiffany &

un Clou by Aldo Cipullo for Cartier.

$70,000 - 90,000 BELOW: Chris Evert, 1981 French

Open / Alamy

Co. The ‘throw on and go’ mentality had seen diamonds no longer reserved exclusively for evening wear, but styled with jeans and t-shirts, or in Evert’s case, tennis whites.

Suddenly, a hush moves across the audience - the star has dropped to her knees, an ill-fated injury perhaps? Or some new tennis ritual destined to be incorporated into a

On the induction of Evert into the Tennis Hall of Fame, she was presented with a scintillating tennis bracelet designed

by Kwiat totalling over 8 carats; a gift truly worthy of a woman who altered the course of jewellery history.

LAUREN BOUSTRIDGE / Senior Jewels Specialist

million amateur routines? The crowd leans forward straining to make sense of what they see on the court below, she seems to be frantically searching for something, but what?

Her diamond bracelet of course. During a quick return the bracelet had come loose and fallen to the ground, suddenly diamonds are the priority. Play is halted, but Evert quickly finds her gleaming treasure and flashes her brilliant smile as play continues.

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— AUCTIONS —

INDIGENOUS ART Searching for Symbols in Australian Indigenous Art For appreciators, admirers, and observers of Indigenous Australian art, there is a vast array of visual information to absorb. In many situations, we seek a deeper understanding of the imagery. The Papunya Tula painting style, for example, is derived directly from the artists’ knowledge of traditional ceremony.

As this imagery of a sacred nature was not necessarily intended for public broadcast, many artists developed conventional symbols with multiple meanings allowing them to describe their work without revealing sacred stories to those who don’t possess the rights to their significance.1 Here we take a look at five Indigenous paintings both recently sold and pending auction at Leonard Joel and the symbols, or ‘hieroglyphs’ as Geoffrey Bardon terms them, that act as affirmations of story or place:

Charlie Tarawa Tjungurrayi

Larry Spencer Jungurrayi

Frog Dreaming 1979

Wati (Men's) Dreaming at Yarripilangu 1989

Sold for $10,625 IBP on 11 April 2022

Sold for $2,750 IBP 11 April 2022

Corroboree men, as shown through the ‘U’ shapes, sit around

At the top of this painting, we can see the rockhole site

campfires in caves as shown through the circular forms in

shown through the concentric circles. Either side are two

seven different spots across the painting. The wavy lines

men, as shown by the two ‘U’ shapes. Coming from the

connecting them are the tracks of the Frog Spirit Beings

rockhole is snake vine, which was often used as rope or twine,

as well as the rain outside. In the upper right we see the

as shown through the wavy lines with branched endings.

waterhole shown through isolated concentric circles.

Flanking the painting either side are two straight lines, which are the sandhills.

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— AUCTIONS —

Indigenous Art Auction Mon 22 Aug, 6pm MELBOURNE

Paddy Nelson Tjupurrula Water (Ngapa) Dreaming at Waturlpunyu 1988 Sold for $3,750 IBP 11 April 2022 This is a painting of the Ngapa (rain/water) Dreaming for Tjupurrula at Waturlpunyu and is associated with the Jardiwarnpa (Snake Dreaming) ceremonies. The concentric circles represent rockholes, within which lives Warnayarra, a large watersnake. The trees are shown through the larger straight lines whilst the wavy and curved lines represent the water as well as the paths of the creation ancestors. The small straight lines are small clouds.

Susie Bootja Bootja Napangardi Wanayarra, Kurtal, South of Yaka-Yaka 1990 From the National Australian Bank Art Collection, forthcoming auction, 22 August 2022 At the centre of this painting is the waterhole (kurtal), home to many ceremonies. Wanayarra, the Rainbow Snake, lives inside it and is called upon when water is needed in the drought. Either side we see the two goannas who were here in the Dreamtime and held ceremonies here, and the sandhills as the wavy lines at the top and bottom.

Elizabeth Nyumi Nungurrayi Minyilli, Near Kiwirrkurra, Western Australia 1997 From the National Australian Bank Art Collection, forthcoming auction, 22 August 2022 Elizabeth here depicts the site where her grandfather died.

She shows a number of waterholes in the top right, as well as one that has dried out in the middle with the black centre which is where bush tomato (pura) can be collected. We see a campsite with the fire upper left and a digging stick (wanna) sitting horizontally next to it. In the bottom left we see a large coolamon, which is a wooden dish, full of food.

1 Caruna, W., Aboriginal Art, Thames and Hudson, Singapore, 1993, p.109-110

OLIVIA FULLER / Head of Art

leonardjoel.com.au | 21

— AUCTIONS —

Luxury The Big Three from France: Part II — In the last issue, we delved into the influential vision of Louis Vuitton. Now, we take a look at the next of our three French

Next Luxury Auction

luxury giants; Hermès.

Tues 15 Nov, 6pm MELBOURNE

Hermès, timeless yet innovative, opened its doors in 1837 along the Grands Boulevards quarter of Paris as a harness

TOP: A Birkin 35 Handbag by Hermès

workshop servicing the elite of Europe. It was founded by

Sold for $15,000

Theirry Hermès, who like Louis Vuitton came from humble

LEFT: Hermès advertisement, 1929

beginnings. After Thierry’s death, in 1880, his son Charles-

/ Alamy

Emile Hermès took over the management of the business, and things started to change for the brand.

Expanding the business, the workshop moved to 24 Rue Faubourg Saint-Honore, laying a solid foundation, as the Hermès headquarters still stand there today. The company continued to focus on international sales throughout Europe, Russia, North Africa, Asia, and the Americas, primarily as an artisan saddler.

With an affluent clientele established, the 20th century introduced a range of products synonymous with the house today. In 1900 the 'Haut à Courroies', a saddle carry bag, was created - the predecessor of the desirable Birkin, by the way.

Handbags were introduced formally in 1922, and in 1935 the ‘Sac à Dépêches’ came along. It would take the fashion world by storm when it was renamed 1956 as the ‘Kelly’.

The first women’s ready couture collection was launched in 1929. The famous silk scarves were added to the offering in 1937, and in 1951 the first fragrance ‘Eau d’ Hermès’ was launched. The company continued to reinvent and add new

22 | leonardjoel.com.au

products to its range right through the 20th and into the 21st centuries. Hermès stays true to its artisan values with limited stock across some lines, and is proud to be still family owned.

Stay tuned for the next issue of Leonard Magazine, in which we’ll look at Chanel, our third French trailblazer.

JOHN D'AGATA / Head of Luxury

— AUCTIONS —

Prints & Multiples Del Kathryn Barton — Del Kathryn Barton is widely recognised as one of Australia’s Next Prints & Multiples

leading figurative painters of her generation. She is a two-time

Auction

Archibald Prize winner, a position only shared with one other

Wed 16 Nov, 6pm

female artist, Judy Cassab. Her winning 2008 self-portrait

MELBOURNE

with her children ‘You are what is most beautiful about me, a self-portrait with Kell and Arella’, and the 2013 portrait of

TOP: DEL KATHRYN BARTON

Australian actor Hugo Weaving, have propelled her to local

(born 1972) That’s When I Was Another Tree 3 2007 105 x 76cm Sld for $8,750

and international distinction.

RIGHT: DEL KATHRYN BARTON

veins in leaves to the strands of hair. Our eyes travel across

(born 1972) Girl 2004 watercolour, gouache and ink on paper with padded fabric border 80 x 60cm Sold for $9,375

Looking at Del Kathryn Barton’s works, we are instantly captivated by the intricacy of her delicate marks, from the the works, drawn to the powerful opulent imagery and lost in their complexity.

The detail of her works is further heightened through collage, with Barton adding unusual mediums from glitter to embroidery to her pieces.

Beyond the canvas and drawn from one of her inspirations, the artist’s fantasy world led her to create a 14-minute

‘That’s when I was another tree 3’ shows the meticulous

animated adaption of Oscar Wilde’s work ‘The Nightingale

detail that the artist is known for. Each strand of hair weaves

and the Rose’ in 2015 with filmmaker Brendan Fletcher.

together to create a foliage-like pattern, as though traced

“When I first discovered Oscar Wilde’s radical fairy story ‘The Nightingale and the Rose’ as a teenager, it seemed to me that the character of the Nightingale breathed with the energy of a true artist” (The Artist)

from nature. A rhythmic line extends across and down the sitter’s body, also drawing parallels with nature. Del Kathryn Barton has also included an ode to ‘The Nightingale and the Rose’ with a sparrow perched on her shoulder. It is prints like this that make her one of the most collected and sought-after

Her lithographic prints, whilst not using the range of mediums

artists today.

seen in her paintings, still gather sharp market attention.

HANNAH RYAN / Art Specialist

The intricate use of colour and manipulated texture give the appeal of either a watercolour or oil on paper, and close inspection reveals a superb level of detail.

leonardjoel.com.au | 23

— IN CONVERSATION —

In Conversation with Daniel Agdag

This issue, we chat to Melbourne based artist and filmmaker Daniel Agdag, whose delicate, inventive, and bewilderingly intricate architectural sculptures take the humble medium of cardboard to completely new heights.

Your subject matter and visual style are instantly recognisable, what inspires your work?

I’m predominately inspired by the built world, from machinery to architecture. I’m intrigued by the myriad of hidden systems behind closed doors or utilitarian hatches.

I find myself absorbed by the designed details of elements made for very specific purposes and functions, from ducting systems in the streets of Tokyo to the now defunct levers and pulleys of the canal bridges in Amsterdam. Every part and fixture has a story and person behind it. Somebody, somewhere, devoted time and effort to solve a problem by creating it and I’m fascinated and in awe of that. I want to understand why something is shaped a certain way or why it needs to be where it is. This is what I explore in my work.

What do you hope people take away from your work?

I hope people find within the work some contemplation, I hope they see more revealed on every view.

Your work is so intricate, how long does it take you to finish a piece? (And how’s your eyesight?!)

So far so good regarding my eyesight. Very grateful for that!

The length of each piece can vary quite a bit depending on the idea and its execution. One of my smaller works can take up to three months. Because I work intuitively without drawings or detailed plans, I can find myself making and then remaking elements of the work multiple times on occasion which can take time.

The journey of this process of sometimes reworking something to fit in a place it was unintended to go or as an afterthought leads me to weird and wonderful outcomes aesthetically.

We loved your work for Hermès, what was it like to work with the brand?

It was very exciting and a very special experience. Whilst I’ve collaborated with Hermès previously, this was the first time I was introduced to their atelier, petit h.

24 | leonardjoel.com.au

— IN CONVERSATION —

Every four years, petit h produce a bespoke arrangement of

Most of the items are small enough to be contained in tiny

unique limited-edition items to showcase in a Hermès store

boxes, which I purpose build for their storage. One day I

for a limited time. For this event, they engage with an artist

envision an exhibition of these items being displayed inside

to become the scenographer, and for this occasion I was

their boxes – or maybe it just happens that I like collecting

the selected artist. This was the first time it was presented

boxes!

in Australia, to celebrate the opening of the new store in Sydney.

seen it!) Do you have plans to make another stop motion animation?

essence of my studio in my beloved medium of cardboard

Thank you. Sitting in a darkened room, in front of a stage, and

throughout the store. There was an in-store workshop where

carefully lighting a composition of a shot is one life’s most

guests and clients were invited to make flying machines,

wonderful pleasures for me. Whilst I have no immediate plans

created using my designs, in Hermès fabrics.

in development, I’m almost always thinking about film. The I make.

Each work holds within it a section of story hermetically

incorporated other materials into my work, and I found it

sealed in a moment in time. It’s only a matter of time before

challenging and very rewarding - it definitely took me out of

I collect enough sections to put them in sequence for a film.

were absolutely magical and I could channel the petit h spirit of making into my own creations. Their philosophy regarding the act of making was very much akin to mine, and they couldn’t have been more encouraging and sympathetic to my

Tell us about your home, is it reflective of your work?

I’d say my studio is somewhat reflective of my work – organised chaos and clutter – but my home is very simple.

I need the simplicity to create the complexity.

process. The team both in Sydney and Paris were extremely

What are you working on next?

dedicated and amazingly supportive to work with so it was an

My next project is a secret at the moment, I can be

absolute pleasure for me.

superstitious like that. I feel when I’m creating, it’s still so

Do you collect anything?

I would say I collect a lot of things. Not everything I collect is something worth displaying, and the items that are suffer from my lack of space to display them. I have a particular

sculptures and works in progress in the studio

narrative nature of filmmaking informs every sculptural work

to form new creations. It was the first time I have ever

my comfort zone but the materials I was sent to work with

TOP LEFT TO RIGHT: Daniel's

‘Lost Property Office’. (Readers – Google that if you haven’t

their environment creating. They managed to capture the

an artist’s journey of reappropriating objects and materials

studio

We were blown away by your award-winning short film

The concept was an immersive embodiment of an artist in

I was commissioned to produce five short films showcasing

OPPOSITE: Daniel in his Melbourne

unmade in inside my mind, nothing has been determined yet even whilst the idea is there. I can say that it’s very large in size, and it will be going to New York City, to be installed permanently.

penchant for any vintage office or filing system paraphernalia;

Daniel is represented by MARS Gallery in Melbourne

quirky machinery, punch cards, stamps, various stationery.

and Messums London. View more of Daniel’s work at

Anything procedural or system related.

publicoffice.com.au and on Instagram at @thepublicoffice

leonardjoel.com.au | 25

— ART EXPERT SERIES —

22

ND REPORT

UK’s ivory trade ban in force after long-fought campaign to protect endangered elephants — A few months ago, IFAW (International Fund for Animal

In Australia, a similar waiting game has played out with the

Welfare) celebrated a significant step forward for the

former federal government committing to close down the

protection of elephants. On June 6, three and a half years

country’s domestic ivory and rhinoceros horn markets more

after the United Kingdom government passed legislation to

than two years ago. While legal domestic markets anywhere

ban elephant ivory sales, it finally announced that it will begin

in the world remain open, a green light to continue supplying

enforcing the ban.

the demand for ivory is driving elephant poaching across both

From now on, it is illegal to trade in ivory items in the UK, except for very limited exemptions. The UK’s world-leading

Africa and Asia, and there are serious concerns that elephants may become extinct within just a few decades.

Ivory Act is one of the toughest bans on elephant ivory sales in

But, with a new government now leading Australia comes new

the world, with some of the strongest enforcement measures.

priorities, and IFAW hopes the implementation of this ban

Those who break the law now face prosecution and a fine of

will be one of them. While we wait for this legislation, IFAW

up to £250,000 or up to five years’ imprisonment.

continues to advocate the voluntary adoption of policies by

James Sawyer, IFAW UK Director, said: “It is a good day for elephants. IFAW campaigned long and hard for the ivory ban to be passed so that the UK could play no further part in the

Australian auction houses, following the lead of Leonard Joel, who has had a voluntary policy not to sell rhino horn or ivory pieces since 2016.

bloody ivory trade. After welcoming the passing of this vital

It’s now Australia’s turn to play its part and move from words

piece of legislation in 2018, we and the many others who want

to action and legislate the domestic ivory trade ban. The iconic

to see elephants safeguarded for future generations were

elephant’s conservation status cannot afford any further delay.

frustrated by the delays to it coming into force.

Elephants are intelligent and social animals that also play

“With thousands of elephants poached every year for ivory

an important role in the ecosystem, and even help combat

trinkets that nobody needs, this ban could not have come a

climate change by enabling greater carbon capture in the

moment too soon. It is now vital that the ban is effectively

landscapes they inhabit. They are often referred to as

enforced and that those who attempt to circumvent it face

‘ecosystem engineers’ as they help modify landscape as they

the full force of the law. This was promised as world-leading

feed and move through it, creating new clearings and space for

legislation and must be shown to be so, but this is a day to

other species to grow and thrive, as well as dispersing seeds.

celebrate for elephant conservation and we hope it will also

To protect elephants and the communities who live alongside

inspire other countries to close their own domestic ivory

them, IFAW also endeavours to secure land for safe pathways,

markets.”

providing elephants with room to roam.

Sawyer added: “IFAW believes ivory should only be valued

To find out more about IFAW’s work on ending the Australian

on a live elephant and the overwhelming public support for

domestic ivory trade, visit this website: https://www.ifaw.org/

banning the trade shows the majority of people feel the same.

au/projects/australia-wildlife-crime-prevention

Legal ivory markets have long provided a smokescreen for illegal trade, putting endangered elephants in further jeopardy.

Ivory trading in the UK has now rightly been consigned to the history books and everyone who has played a part in this important conservation victory should be proud.”

26 | leonardjoel.com.au

CHRISTINA PRETORIUS / IFAW

ABOVE: A stock of illegal ivory

destroyed by the French government.

Photo © IFAW

— ART EXPERT SERIES —

How to...

Begin your art collection

WITH MICHAEL REID OAM Having a decade of arts industry experience already with Christie’s in London and Australia, Michael Reid OAM cemented his reputation as an arts journalist, commentator, and then gallery owner with the establishment of his first gallery in inner Sydney over twenty years ago. Since then, he has expanded with multiple gallery spaces in New South Wales including an Art Bar, as well as a gallery in Berlin. We ask him to share his advice for those just starting their collections.

TOP: Adam Cullen (1965-2012)

Portrait of Michael Reid, 2009 BELOW: Adam Cullen artwork against

a wall at Bobadil House

What steps would you advise a new collector to take before

What is the most common error you feel new collectors

making their first purchase?

make, and how can it be avoided?

An art collection is not a mere assemblage of objects, and by

Social media has emboldened and empowered people to

that, I mean it is not the acquisition of one thing after another

make decisions for themselves. This is good. However, such

to make a horde. An art collection is a body of works that

empowerment has also witnessed, to some significant degree,

visually speak to you and amongst each artwork to tell a tale.

the death of connoisseurship. Drunk on their own snap

It is a grouping of artworks that says something about the

opinions, new collectors will often neglect the expertise and

world we live in and/or the person who curates the gathering.

wisdom of those who have long been in the field that they as

So, start by considering what you would like to visually say or

a newbie are only now just dabbling in. So, use social media

have the art say to you. What is the story that you want your

to see and learn, but be astute enough to ask questions of

collection to tell? This does not have to be highfalutin. But if

specialists. It is, now more than ever, highly important to

you start out as you intend to end up, be aware that major art

combine learnings.

collections all tell some facet of a bigger art story.

What, if any, changes have you noticed lately in the art market that have influenced collectors?

As a collector yourself, what do you think is the most rewarding thing about buying a piece of art?

Touching, holding, and seeing what engages you, every day.

Instagram is from God. This visual tool allows the professional

I suggest you place your favourite artworks in kitchens and

and art interested individual alike the enormous opportunity

bedrooms; in those spaces that we pass through and inhabit

to see worldwide.

constantly, not just the “better” rooms. Art is to be enjoyed, not worshipped.

Discover more at michaelreid.com.au

leonardjoel.com.au | 27

— PROFILE —

Minutes with…

LUCY FOSTER

This issue, we spend five minutes with Lucy Foster, our knowledgeable Art Specialist…

FAVOURITE AUCTION PURCHASE Some years ago, I was eyeing off a landscape work in

LEONARD JOEL STAFF ALL SEEM TO HAVE A SIDE PROJECT OR TALENT. WHAT'S YOURS?

the Salon that reminded me of North Queensland.

I started a baking apprenticeship when I was in my last

It featured a crumbling structure with palm trees in the

years of school with the hopes of becoming a pastry chef.

breeze, reminiscent of a tropical cyclone aftermath. A small,

After working out that for me it was more of a passion

competent work which packed a punch with vivid blues

than profession, I pursued the arts. No skills went to

and creamy whites. Our dear client and friend, the late

waste; learning the fundamentals set me up for a lifetime

Mr. Abazi, was also keen on the work but encouraged me to

of good baking, and an appreciation for French pastry.

go for it. After I won it, he told me that he deliberately held

I thoroughly enjoy baking crazy, colourful cakes for

back on bidding after learning I liked the piece. I’m reminded

birthdays and bringing baked goods in for the team, there’s

of this warm gesture every time I look at the work, it hangs

something so humbling about baking for the people you love.

prominently in my dining room with other tiny paintings.

FAVOURITE / COCKTAIL

FAVOURITE BOOK “Ninth Street Women” by Mary Gabriel. A deeply researched

It’s never too cold (or early) for a margarita! After travelling

and enlightening account of five women who pursued their

to Mexico, it wouldn’t be extreme to say that I’m obsessed

artistic careers during the post-war era of the 20th century.

with their culture, music, food, and drinks! Every time I have

These overlapping biographies include artists Lee Krasner,

a margarita and smell the fresh lime, I feel like I’m on holiday.

Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen

The best ones are home-made, all you need is a nutri-bullet

Frankenthaler - women who dared to take on the male-

or mixer, ice, limes, good quality tequila and cointreau, and

dominated world of Abstract Expressionism in New York. It’s

yes, salt is a MUST. Whip up some guacamole and chips and

an essential read for anyone in the arts industry!

Hey Presto! You’re on holiday!

YOUR IDEAL DAY IN MELBOURNE Packing the car and heading to the snow! My dear husband bravely taught me how to snowboard some years ago and now it’s our winter ritual getaway! My ideal day/weekend would be booking a lodge at Mount Hotham and hitting the slopes - for as long as my legs will hold up! After a day of playing out in the cold, mulled wine and hot chips by the fire with your loved ones feels like sheer indulgence. It’s the small

28 | leonardjoel.com.au

things in life!

Brisbane Miniature Masterpieces — Decorative Arts Auction Mon 8 Aug, 12pm MELBOURNE RIGHT: AN ITALIAN MICROMOSAIC

PAPERWEIGHT DEPICTING THE PANTHEON, ROME Mid-19th century $3,000 – 5,000

Micromosaic is a special form of mosaic that is created

speaking community in Rome were also avid collectors, with

through a laborious process performed by talented craftsmen

the firm catering to Elizabeth Barrett Browning, Henry James

using many tiny pieces (tesserae) of opaque vitreous glass in

and other celebrated expatriate clients. The passion for

a multitude of colours to make small images. The inspiration

micromosaic jewellery was not just limited to Italy - pieces

for the practice can be traced back to the renewed interest

were exported to England, Germany, Russia, and France, and

in large-scale Early Christian and Byzantine mosaics, which

inspired versions were created by the great, London-based

had started to attract amateur archaeologists and antiquarian

jewellers Carlo Giuliano and Robert Phillips.

scholars in the late eighteenth century. Micromosaic jewellery reached the height of popularity in the 1840s-1870s when small, vivid images of religious subjects, ancient Roman ruins, animals, and flowers were inset into imposing gold-mounted necklaces, bracelets, and brooches.

Today, opulent and striking examples of micromosaic jewellery are much prized and sought-after by collectors, especially in the form of demi-parure matched sets.

I am please to have discovered in Brisbane a locally sourced

Among the great practitioners of the art were the Italian Castellani family (Fortunato Castellani and his sons Alessandro and Augusto), whose opulent and expensive jewels were prized as souvenirs by wealthy ‘grand tourists’. The English-

micromasaic plaque being offered in our Decorative Arts sale in August.

TROY MCKENZIE / Queensland Representative Specialist

— AUCTIONS —

Valuations Leonard Joel is the only auction house in Australia with a dedicated Valuations department, enabling us to offer a broad range of specialist expertise for the valuation and auction of single items and entire collections.

— Contact our Head of Valuations, David Parsons at 03 8825 5638 or email david.parsons@leonardjoel.com.au leonardjoel.com.au | 29

— A LAST LOOK —

A Last Look In this feature, we revisit a handful of beautiful and extraordinary pieces that have passed through our doors since the last issue...

JORDY KERWICK (born 1982) Still Life 2017 synthetic polymer paint on canvas 40 x 30cm Sold for $52,500 Fine Art, June 2022

Australian painter Jordy Kerwick has been in the rare position to see a swift and significant rise in his market in the last few years alone, attracting international attention. Leonard Joel was honoured to be the first Australian auction house to present a work by Jordy Kerwick for major public auction.

AN ALBUM OF JAPANESE WOODBLOCK PRINTS, UTAGAWA HIROSHIGE (17971858), Edo period (1615-1868) Sold for $93,750 The Collector's Auction, June 2022

Our Sydney specialists were thrilled to consign an album of vibrantly coloured woodblock prints by Japanese master printmaker Utagawa Hiroshige (1797-1858) to our recent Collector's Auction. The album, containing a complete set of 55 oban yoko-e (horizontal) prints, sold to a determined telephone bidder for $93,750 IBP, a fantastic result for the rare collection of works.

30 | leonardjoel.com.au

— A LAST LOOK —

PLATINUM AND DIAMOND RING Sold for $87,500 Fine Jewels & Timepieces, June 2022

ISSEY MIYAKE IN-EI MINOMUSHI FLOOR LAMP FOR ARTEMIDE Italy / Japan, Designed 2010 210h x 58d Sold for $8,125 Contemporary Collections, May 2022

TIM STORRIER (born 1949) The Scattering 2003 oil on canvas Sold for $118,750 Fine Art, June 2022

HERMÈS, KELLY SELLIER 28 HANDBAG Sold for $37,500 Luxury Icons, May 2022

Formerly Property of The Estate of Count John Francis McCormack PATEK PHILIPPE A RARE PLATINUM WRISTWATCH CIRCA 1930 Sold for $50,000 Fine Jewels & Timepieces, June 2022

leonardjoel.com.au | 31

Like a Wheel That Turns: The 2022 Macfarlane Commissions 2 July – 4 Sept 2022

Nadia Hernández Lucina Lane Gian Manik Betty Muffler Jahnne Pasco-White Jason Phu JD Reforma Esther Stewart

Australian Centre for Contemporary Art 111 Sturt Street Southbank, VIC 3006 Melbourne Australia acca.melbourne

Presenting Partner:

Exhibition Partner:

Media Partner:

Government Partners:

32 | leonardjoel.com.au v

Art Guide Australia

— PROFILE —

Podcasts

Listen to conversations with creatives The Art Guide Podcast delves into engaging, insightful, and humourous conversations with creatives and artists including Robert Owen, Patricia Piccinini, John Wolseley, Gareth Sansom, Yvette Coppersmith, Alexie Glass-Kantor, Louise Weaver and many, many more.

Listen back to these conversations on Spotify, Apple Podcasts or Simplecast, and subscribe to the Art Guide Podcast to keep up-to-date on new episodes as they’re released.

Listen on Apple Podcasts Listen on Spotify artguide.com.au/podcasts

DELIVERING ONLY THE HIGHEST QUALITY SERVICES, ACCOMPANIED BY AN EXTENSIVE RANGE OF CHAMPAGNE, WINE AND COCKTAILS AVAILABLE, SOAK IS NOT YOUR AVERAGE BEAUTY SALON. WITH AN INCREDIBLY INTIMATE AND CONTEMPORARY SPACE, SOAK IS SURE TO BE YOUR FIRST CHOICE FOR PAMPERING. WWW.SOAK.BAR

leonardjoel.com.au | 33

— PROFILE —

34 | leonardjoel.com.au

SEX ISSUE 38 OUT NOW TROY-ANTHONY BAYLIS, ROBERT ANDY COOMBS, ROBERT CRUMB, JOHN CURRIN, GERWYN DAVIES, TOM OF FINLAND, JENNA GRIBBON, LOIE HOLLOWELL, SANNÉ MESTROM, HELMUT NEWTON, JULIA ROBINSON, AIKO ROBINSON, EJ SON, MICHELLE USSHER, PAUL YORE & MORE

SUBSCRIBE NOW VAULTMAGAZINE.COM

Jenna Gribbon Comment section (detail), 2021 oil on linen 50.8 x 40.6 cm

leonardjoel.com.au | 35 Courtesy Fredericks & Freiser, New York

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information or contact delivery@leonardjoel.com.au

Contact a Leonard Joel team member or stop by a saleroom if you have any questions.

B

— PROFILE —

Value / Sell / Buy Contact a Leonard Joel Specialist CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au CHIEF EXECUTIVE OFFICER Marie McCarthy 03 8825 5603 | marie.mccarthy@leonardjoel.com.au

Auction Specialists — IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney 02 9362 9045 | hamish.sharma@leonardjoel.com.au FINE JEWELS & TIMEPIECES Bethany McGougan, Head of Department 03 8825 5618 | bethany.mcgougan@leonardjoel.com.au FINE ART Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au DECORATIVE ARTS David Parsons, Head of Department 03 8825 5638 | david.parsons@leonardjoel.com.au MODERN DESIGN Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au LUXURY John D'Agata, Head of Department 03 8825 5605 | john.dagata@leonardjoel.com.au PRINTS & MULTIPLES Hannah Ryan, Art Specialist, Manager of Speciality Auctions 03 8825 5666 | hannah.ryan@leonardjoel.com.au SYDNEY Ronan Sulich, Senior Adviser 02 9362 9045 | ronan.sulich@leonardjoel.com.au Madeleine Norton, Senior Decorative Arts and Fine Art Specialist 02 9362 9045 | madeleine.norton@leonardjoel.com.au BRISBANE Troy McKenzie, Representative Specialist 0412 997 080 | troy.mckenzie@leonardjoel.com.au ADELAIDE Anthony Hurl, Representative Specialist 0419 838 841 | anthony.hurl@leonardjoel.com.au PERTH John Brans, Representative Specialist 0412 385 555 | john.brans@leonardjoel.com.au

The Auction Salon Specialists — ART Amanda North 03 8825 5630 | art.manager@leonardjoel.com.au FURNITURE Nick Bastiras 03 8825 5640 | furniture@leonardjoel.com.au JEWELLERY Hannah Sass 03 8825 5621 | jewellery.manager@leonardjoel.com.au OBJECTS & COLLECTABLES Rebecca Stormont 03 8825 5655 | objects.manager@leonardjoel.com.au

Valuations — David Parsons, Head of Department 03 8825 5638 | david.parsons@leonardjoel.com.au

Marketing & Communications — Blanka Nemeth, Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au Maria Rossi, Graphic Artist Adam Obradovic, Photographer Paolo Cappelli, Photographer

Sale Rooms — MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333 SYDNEY The Bond, 36–40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: 02 9362 9045

Leonard Magazine — EDITOR Blanka Nemeth, Marketing & Communications Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au

A Remarkable Fancy Intense Bluish Green Diamond and Argyle Fancy Pink Diamond Ring Sold for $600,000 Important Jewels Auction, April 2022

leonardjoel.com.au | 37 This document has been produced to international environmental management standard ISO14001 by a certified green printing company.

— PROFILE —

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