LEONARD, issue 109, April-May 2024

COLOUR IS ENOUGH

Curated by David Sequeira

Wendy Dawson

Ruth Howard

Julian Martin

A.D.S Donaldson

Eleanor Louise Butt

Nancy Constandelia

Renee Cosgrave

Rox De Luca

Mikala Dwyer

Louise Gresswell

6 April – 18 May

Aaron Martin

Jackson McLaren

John Nixon

Ron Robertson-Swann

David Serisier

Madeline Simm

Lachlan Stonehouse

David Thomas

Sam George & Lisa Radford and more...

ARTWORK: Ruth Howard. Untitled (detail), 2023. Ceramic 15x12x10cm

© Copyright the artist, represented by Arts Project Australia

Welcome to the April-May issue of Leonard Magazine.

The next few months at Leonard Joel promise to be filled with exciting collections and rare pieces. Within this issue, we preview some of these treasures with our specialists, take a tour of our new premises in Hawthorn with designer Mardi Doherty, discover creatives you should know, learn about the history of Cantagalli ceramics, and much more.

auction calendar

April–May 2024

features

Chanel & Verdura

Welcoming Wiebke Brix, Head of Art at Leonard Joel

Leonard Joel Hawthorn: Behind the Design

Three Legendary Female Interior Designers from the 19th Century to Now

A Global Curatorial Celebration of Creativity & Expression

Fantastical Aquariums That Chair for the Library

Hidden Gems: The Exceptionally Rare

Jewels Where You’d Least Expect Them… in a Watch Movement

The Figli Di Giuseppe Cantagalli and the Revival of Italian Maiolica

An Introduction to Brazilian Modernism

Comme As You Are

Through the Lens: Four Notable Photographers

in focus

How to Support Emerging Artists with Amber Creswell Bell Five Minutes with April

16 April, 6pm

AUCTION CALENDAR

APRIL –MAY 2024

May

The Auction Salon

Modern Design

Mon 8 Apr, 6pm

Melbourne

Luxury

Tue 9 Apr, 6pm

Melbourne

Prints & Multiples

Wed 10 Apr, 6pm

Melbourne

Important Jewels

Tue 16 Apr, 6pm

Sydney

Decorative Arts & Asian Art

Mon 29 Apr, 6pm

Melbourne

Centum

Mon 20 May, 6pm

Melbourne

Melbourne April

Furniture & Interiors, Objects & Collectables, Jewellery, Art

Every Thu from 10am

Chanel & Verdura

by lauren boustridge, senior jewels specialist

gabrielle ‘coco’ chanel, a visionary in fashion and style, held a profound belief that jewellery should evoke wonder rather than envy. This ethos laid the foundation for her collaboration with Duke Fulco di Verdura, a partnership that would leave an indelible mark on the world of jewellery design, weaving together threads of creativity and innovation to create sartorial magic.

For Chanel, jewellery was not merely an adornment but a means of self-expression and personal challenge. She delighted in the art of repurposing gems from her own collection, infusing them with new vitality. Among her treasures were magnificent emeralds, prized rubies, and an array of semi-precious gemstones, which she combined to create bold and dazzling displays of colour.

In 1927, Chanel sought the assistance of Verdura in bringing her creative vision to life. Amidst a backdrop of gleaming stones and vibrant hues, Chanel guided Verdura in the art of crafting mounts from soft putty, encouraging him to explore and experiment until the perfect balance of colour and form was achieved.

Verdura’s initial creations for Chanel were a testament to his daring approach. His designs, characterised by the interplay of gemstones in a kaleidoscope of colours and shapes, with a deliberate sense of asymmetry and depth, would become hallmarks of his distinctive style. Many of these pieces, originally crafted for Chanel herself, would later be replicated in semi-precious and non-precious metals for sale in her boutiques, following widespread admiration and publicity generated by Chanel’s public appearances wearing the originals.

Verdura’s rainbow-hued creations proved to be an unparalleled success, embodying the opulent allure that was synonymous with the Chanel brand. Yet, his artistic vision extended beyond mere aesthetics, drawing inspiration from history and tradition. A passionate historian,

Verdura found fascination in symbols of honour and distinction, particularly those of the Knights Hospitaller of St. John and Jerusalem, known as the Knights of Malta. Their distinctive crimson Maltese cross captured Verdura’s imagination, and he transformed it into an enduring motif. Gilt versions encrusted with multi-coloured cabochons would adorn Chanel’s belts, lapels, and hat bands. Over the decades, these Maltese crosses would become synonymous with Verdura’s craftsmanship and Chanel’s legacy. Verdura’s most iconic creations in the form of Maltese cross jewels were a slightly mismatched pair of white enamel bracelets designed for Chanel’s personal collection. Each cross boasted a completely distinctive arrangement of stones, adding to their individual charm. Reflecting the design duo’s nonchalant approach to distinguishing between fine and costume jewellery, the bracelets were crafted from a base silver alloy. Chanel held a deep affection for these pieces. They adorned her wrists in both formal and casual settings, making frequent appearances in photographs and portraits. It would be fair to say that she wore them with unwavering abandon.

The collaboration between Coco Chanel and Fulco di Verdura reshaped jewellery design, blending creativity with innovation. Their partnership produced pieces that transcend mere adornment, embodying Chanel’s belief in evoking wonder. Together, they crafted a legacy that continues to captivate and inspire.

Our Important Jewels Auction will take place on Tuesday 16 April in Sydney. For viewing times and to see the full catalogue please visit our website.

opposite left: Verdura sensational wood, gem-set and diamond Maltese cross cuff-bracelet $50,000-70,000

opposite right: Verdura outstanding wood, gem-set and diamond Maltese cross cuff-bracelet $50,000-70,000

right: Gabrielle ‘Coco’ Chanel wearing her Verdura Maltese cross cuffs / Alamy

Welcoming Wiebke Brix, Head of Art at Leonard Joel

We are thrilled to welcome Dr. Wiebke Brix as Head of Art at Leonard Joel. Wiebke brings a wealth of experience, passion for art, and expertise to the team.

Tell us a bit about yourself and your background in art.

My background in art begins with my roots as a ceramicist. My professional journey began in Germany, where I navigated through the ranks of the traditional guild system learning my craft. My fascination led me to pursue a formal education in applied arts, specialising in ceramics.

A significant turning point in all levels of my life was when I received a scholarship to pursue my master’s degree in studio arts at the Sydney College of the Arts. The combination of being far from home, somewhat isolated on the other side of the world, and being exposed to a very vibrant arts campus broadened my horizon and introduced me to a more conceptual approach to art, marking a significant shift in my artistic focus. After completing my studies, I found myself naturally transitioning into arts management. This allowed me to combine my passion for art with the practical aspects of making a living.

What are you most looking forward to in your new role?

I am particularly excited about working with a multitude of specialists in their respective fields. I am looking forward to being exposed to my colleagues’ knowledge.

I have always had a keen interest in design and am drawn to contemporary styles. Therefore, the opportunity to work alongside experts in modern design is a valued bonus. I am also excited about delving into the world of jewellery. I hope to learn about the intricate craftsmanship involved in creating jewellery and to discover the rich history and cultural significance behind different styles.

Could you tell us about an exciting career moment from your time working in galleries?

A very memorable time was the opportunity to work with the renowned Australian artist, Stelarc. His approach to art is unique and fascinating, as he constantly pushes the boundaries of what we perceive art to be. Not only is Stelarc a true artist, but also an incredibly interesting and charming individual. I was struck by his dedication and unwavering commitment to his work. It was truly inspiring to work with someone so passionate.

What advice would you give to new art collectors?

It is important to acquire art from reputable vendors and to ensure ethical standards are followed. Whilst learning the ins and outs of the art

market my advice would be to buy what you love and respond to, it will always add value to your life, and you will never regret it. Art is deeply personal, and the pieces you collect should resonate with you on that level. Follow your gut and choose artworks that you genuinely connect with. These pieces will always bring you joy and enrich your life beyond their monetary value.

Who are some contemporary artists you are currently excited about?

One of my favourites is the German contemporary artist Wolfgang Laib, celebrated for his minimalist and meditative installations. I particularly admire his installations using pollen, which create immersive experiences that invite viewers to reflect on their relationship with the environment and the world around them.

Recently, I came across Dawn Ng, a Singaporean artist, whose latest project involved crafting pigmented ice blocks that she then documented melting. The colouration of the ice is incredibly beautiful, displaying a painterly quality in both video and photographic form.

Laib and Ng’s works relate in the sense that they are essentially ephemeral artistic practices.

Do you have any favourite museums or galleries to visit?

In Australia, one cannot overlook MONA. It stands as a visionary undertaking, blending striking architectural design with a captivating art collection set against an idyllic location. The museum’s uniqueness lies in its immersive and unconventional approach to art.

Schloss Gottorf, a museum in my hometown in Germany, holds a special place in my heart. It houses a collection of historical and archaeological artefacts as well as fine art, most notably the “Sammlung Horn” collection of expressionist painters. It was here that I first discovered the influential works of artists like Ernst Ludwig Kirchner and Max Ernst.

If you could own any piece of art, what would it be?

If given the choice, I would own Francisco Goya’s Saturn Devouring His Son. While it is not the type of art I would display prominently in my home due to its disturbing nature, it holds a profound significance for me. Having seen Goya’s black paintings at the Prado, I experienced firsthand the extraordinary power art can have. The black paintings moved me in a way that was both emotional and visceral. This work of art would serve as a reminder of the impact art can have, and the incredible range of human emotions it can evoke.

opposite: Wiebke Brix, Head of Art at Leonard Joel

left: Francisco Goya, Saturn Devouring His Son

right: Wolfgang Laib, Pollen from Hazelnut

Our approach was to create a calm and elegant backdrop for the ever-changing landscape of antique furniture, fine art, jewellery, and decorative objects.

mardi doherty, director of studio doherty

Leonard Joel Hawthorn: Behind the Design

Mardi Doherty, Director of Studio Doherty Photography by Prue Ruscoe Styled by Bea + Co.

We hope that you may have already had the chance to visit us at our brand-new galleries in Hawthorn and enjoyed the elegant, contemporary setting designed by Studio Doherty as you browsed our collections. Renowned for their playful approach to design and bold use of colour, Director Mardi Doherty and her team were tasked with designing a space that combines Leonard Joel’s 105-year history with an exciting new future. Here, Mardi gives us an inside look at her design process.

How did you approach this project in the beginning?

With great excitement - here was a business I had been intrigued by since my late teens, and getting to go behind the scenes was like finding a golden ticket to Willy Wonka’s chocolate factory!

Leonard Joel has such a strong history in Melbourne’s cultural landscape, and part of their charm was the building they occupied for over 30 years in South Yarra, with a warm sense of history, and a series of busy rooms. We needed to acknowledge that this new building was vastly different and respond accordingly. This contemporary building has over 3,000 square metres of space across two levels, allowing us to create large gallery spaces and viewing areas, a spacious reception and communal bar area, and theatrical auction spaces.

Our approach was to create a calm and elegant backdrop for the ever-changing landscape of antique furniture, fine art, jewellery, and decorative objects.

Tell us about the design layout.

The ground floor level has an expansive Auction Salon display space, and a carpark/pick-up area where clients can drop off their items and collect their purchases. Upstairs on the first floor is the Fine Auction gallery (Leonard gallery) and the Art and Jewels Salon (August gallery), along with a large communal reception area, and a dedicated auction space. A series of consignment rooms, meeting rooms, and a cashier sit between the two gallery spaces. At the rear of the building is an expansive open plan staff working space, with associated meeting rooms, auction rooms, and amenities.

Flexibility in the gallery spaces is important, so large sweeping curtains and movable pod walls have been introduced. The auction space can be made smaller by a large J-shaped curtain track, which can be pushed back to reveal the surrounding Leonard gallery, or closed to create a more intimate, moody space.

What do you think Leonard Joel clients will enjoy most about the design?

We think clients will love how much space there is in this new building. It’s a place you can nip in to for a quick visit, or meander in for hours. Oh, and the views from the top floor windows are fabulous, it feels like you’re in the trees!

What is your personal favourite space in the building?

My favourite part is walking past reception into the Leonard gallery and the main auction area. This space is so generous, yet it also has a quiet, warm, sophisticated feel to it. I’m really looking forward to attending auctions there.

Could you tell us about the thought behind the colours and finishes you chose?

In the design of the new premises, we have referenced the history of the business through the use of materials, colours, and forms, including introducing traditional rich colours that would have been seen in 19th century galleries, such as deep petrol greens and dark smoky blues, interspersed with accents of mustard and grey/blue quartzite.

We stripped the interiors of the typical commercial office ceiling grids, thereby exposing all the structural and mechanical components, creating a somewhat industrial feel. The existing concrete floors on each level have been retained, and help contribute to a contemporary, fresh interior.

How did you incorporate the history of Leonard Joel into this contemporary space?

We designed a space that references Leonard Joel’s history, and also pushes it towards a progressive future. The building needed to have a sense of permanence to reference its past, so features such as signage have been embedded into the facade, giving the appearance that it’s been there for decades.

We introduced quartzite skirting and architraves, curved displays, and bronze cast signage as nods to design gestures associated with the 1800s. These insertions were offset by a deliberately modern approach to the overall design, namely the large flexible spaces boasting all the amenity and efficiency (lighting, volume of space and technology) needed for the fast paced and ever evolving nature of Leonard Joel.

Although Leonard Joel are now in a contemporary space, what’s sold there is a precious time capsule that will continue to reflect the history of Melbourne, its inhabitants, and their stories. We also acknowledge that Leonard Joel is as much about the interesting people and their stories as it is a marketplace for fabulous treasures.

With thanks to Mardi Doherty.

Visit us at 1A Oxley Road, Hawthorn.

images: Leonard Joel's galleries in Hawthorn Photography by Prue Ruscoe Styled by Bea + Co.

Three Legendary Female Interior Designers from the 19th Century to Now

by madeleine norton, head of decorative arts & art, sydney

elsie de wolfe (1865-1950)

Often referred to as “America’s first decorator”, De Wolfe was born in New York City and her life story provides a fascinating tale of romance and adventure. A true entertainer, she enjoyed shocking high society with her attire (including dyeing her hair blue, thus starting a new high society fad) and throwing extravagant parties. In her youth, she was educated in Scotland and even presented at court to Queen Victoria before returning to the US where she became a professional actress. Although her sensitivity to light and colour was apparent from childhood, her interest in interior decorating grew as a result of staging plays, and in 1903 she left the theatre to launch her career as a decorator. Her reputation as an actress, her social connections, and her success in decorating the interior of her own home in New York, Irving House, all aided her influence as a designer.

In 1905 she received the first of many official commissions to decorate the Colony Club in New York, the first exclusive women’s club in America. She took on ambitious projects on both sides of the Atlantic; notably Villa Trianon, her seasonal residence in Versailles, and Countess Dorothy di Frasso’s Beverly Hills home. Her style was defined by her ability to transform dark, cluttered, and dreary Victorian interiors into lightfilled, simpler spaces featuring fresh colours and suggesting the allure of the garden. She often made a feature of mirrors, utilising them to both illuminate and expand living spaces, and complemented this with the use of white or pale colours and trompe-l’oeil wallpaper. As she so aptly stated, “I opened the doors and windows of America, and let the air and sunshine in.”

sister parish (1910-1994)

Born Dorothy May Kinnicutt, Sister Parish opened her decorating business at the age of 23 in 1933. With no formal training, her family helped influence her style and her earliest work was decorating the houses of friends. Despite the depression and WWII, Mrs Henry Parish II Interiors flourished. In the late 1950s she met Jacqueline Kennedy who asked her to decorate the Georgetown house the family lived in whilst John F. Kennedy was a Senator. Following Kennedy’s election to President in 1960, Parish was hired to redecorate the White House. Although Stephane Boudin

was hired to decorate the State Rooms and later to also revisit the private rooms, Parish’s influence can still be seen - particularly in the Yellow Oval Room. Her style was what would now be considered American country; she avoided matching, instead she filled homes with contrasting prints and often intentionally placed items off-centre.

In a 1999 Architectural Digest article, Parish’s interiors were described as: “refreshingly unstudied, unself-conscious, and unstrained… A Sister Parish room overflowed, to be sure – but buoyantly.” In 1962, a young designer named Albert Hadley introduced himself to Parish and two years later became a full partner. Together they formed a legendary design duo known as Parish-Hadley Associates and went on to style the homes of America’s elite for decades.

india mahdavi (b.1962)

Mahdavi is an Iranian-French architect and designer who was born in Tehran. Raised in the United States, Germany, and France, her heritage and cosmopolitan upbringing have been major influences on her work. Studying at the École des Beaux Arts in Paris and Parsons in New York, she then returned to France to work as the artistic director of Christian Liagre for seven years before leaving to start her own design company. One of her earliest projects was working with restaurateur Jonathan Morr on Townhouse, Miami, an 80-bedroom hotel. This first hotel set the scene for what would later become synonymous with her designs; rich, bold colours that transcend fashion and seasons. Her work is a mix of elegance and louder-than-life colour. Whilst every detail is meticulously thought out and planned in her work, the overall impression is very uncontrived. She conveys a sense of playfulness and humour whilst maintaining sophistication and originality.

One of her most notable projects was for The Gallery at Sketch London, a three Michelin-starred restaurant in Mayfair, in 2014. Her design assisted the restaurant with being labelled as the most Instagrammed restaurant in the world.

opposite : India Mahdavi, The Gallery at Sketch London

far left: Bernard Boutet de Monvel, Elsie De Wolfe, c. 1940 / Alamy

top left : White House Yellow Oval Room, c. 1962, decorated by Sister Parish

bottom left: William Bruce Ellis Ranken, La Chambre de Lady Mendl, Elsie De Wolfe, 1920

Art Biennials and Triennials stand tall as significant platforms for the presentation of contemporary art on an international scale.

by amanda north, art specialist

A Global Curatorial Celebration of Creativity & Expression

Photo: Sean Fennessy

art biennials and triennials offer a comprehensive overview of artistic practices whilst also facilitating cultural exchange and dialogue. With the recent conclusion of the National Gallery of Victoria’s (NGV) Triennial exhibition in Melbourne and the anticipation surrounding the forthcoming Biennials in Sydney and Venice, it is opportune to explore the conceptual underpinnings of these events and clarify their respective roles within the international contemporary art sphere.

Art Biennials are among the most prestigious and anticipated events in the art world, with over one hundred Biennials taking place in cities globally. These large-scale international exhibitions occur every two years (hence the name) and showcase contemporary art sourced from around the globe. The exhibits include a wide range of paintings and sculptures as well as installations and multimedia works. Biennials offer a comprehensive overview of the current state and mood of the art market and provide an opportunity for artists to express their creativity and engage with highly diverse audiences of art-world denizens.

The whole concept originated, appropriately, in Venice, Italy; a place filled with history, myth, and intrigue, through the establishment of the Venice Biennale in 1895. Initially focusing solely on visual arts, the Venice Biennale (the oldest and most prestigious example), has since expanded to encompass various art forms including architecture, cinema, dance, music, and theatre. Its resounding success paved the way for the proliferation of Biennials worldwide, each with its own thematic focus, curatorial approach, and cultural significance. This international scope allowed artists from different countries and cultural backgrounds to come together to present their work, promoting cross-cultural dialogue. Biennials are organised around specific themes or concepts chosen by the curators and these often reflect contemporary social, political, and cultural issues. Through their artwork, artists engage with these themes in thought-provoking – sometimes provocative – and innovative ways, sparking conversations and challenging viewers to reconsider their preconceptions.

Established in 1973, the Biennale of Sydney is one of the most prominent contemporary art events in Australia and is one of the oldest of its kind, alongside events like the Venice Biennale and São Paulo Biennial. A defining feature of the Sydney Biennale is its commitment to presenting art in a variety of unconventional and unexpected locations across the city. From iconic cultural institutions like the Art Gallery of New South Wales to lesser-known venues, including industrial warehous-

es and public parks, the Biennale of Sydney transforms the city into a vibrant and often colourful hub of artistic activity, inviting audiences to engage with art in diverse settings.

Similarly to Art Biennials, Triennials (occurring every three years), serve as dynamic platforms for artistic expression, cultural exchange, and creative innovation. The NGV Triennial is a key example of this form of art exhibition. The NGV Triennial, based in Melbourne, Australia, is one of the largest and most ambitious contemporary art events held in the Asia-Pacific region and showcases a diverse range of artworks from around the world in various mediums, styles, and themes.

The NGV Triennial aims to provide an opportunity for artists to present new and innovative works that reflect the complexities of the contemporary world through a variety of mediums such as visual, design, architecture, fashion, and performance. Through its thematic approach, the Triennial explores pressing social, political, environmental, and technological issues.

In addition to the exhibition, the NGV Triennial features an extensive program of public events which seek to promote and enhance public engagement with contemporary art by providing opportunities for audiences to interact directly with artists and curators. The Triennial continues to push the boundaries of contemporary art and inspires the audience to fully embrace new ways of thinking about the world we inhabit.

Through their exploration of diverse themes and ideas, these highly curated art Biennials and Triennials aim to stimulate critical dialogue and cultural exchange by exploring pressing social, political, and environmental issues through the lens of contemporary art, challenging viewers to engage critically with topical issues. As they continue to evolve and expand globally, these exhibitions play a crucial role in shaping the future of contemporary art and fostering connections across borders and cultures.

Venice Biennale: Saturday 20 April to Sunday 24 November 2024

Biennale of Sydney: Saturday, 9 March 2024 – Monday, 10 June 2024

left: Visitors viewing Agnieszka Pilat’s Heterobota, 2023 on display in NGV Triennial until 7 April 2024 at NGV International, Melbourne. Photo: Liana Hardy

top: The entrance to the Venice Biennale, 1895 right: Visitors viewing Yoko Ono’s

My Mommy is Beautiful on display in NGV Triennial until 7 April 2024 at NGV International, Melbourne.

Photo: Liana Hardy

FANTASTICAL AQUARIUMS

by john albrecht, chairman & head of important collections

A Sea of Glass

there’s certainly a thread here between my recent piece on Essex Crystal and this short story. The Cenedese glass studio, with a unique aesthetic and technique, created their own versions of water worlds like no other; different to the ones that Essex examples captured.

While my very first encounter with Venetian glass was in the James Bond movie, Moonraker, my first tactile experience with Italian glass was selling all manner of 1950s - '70s pieces for tiny sums at Leonard Joel many years ago and mostly to a quiet giant of a man known in the trade by the name “Puss”. I was lucky enough to view his collection once and his futuristic buying resulted in the sale of one of the great glass collections. Puss saw, during the 80s, what few other collectors did.

Not long after, I saw my first Cenedese aquarium “brick”. I choose to call them bricks because it describes best the sheer heaviness and presence of these quirky works of art. In essence, this famous glass studio, with artisans such as Barbini, fused two thick flat, and to a degree, organically shaped, pieces of glass and sandwiched within this glass you will find caricatured and naturalistic fish, sea creatures, delicate reefs of seaweed, and even bubbles! Kitsch, splendid, bold, and nostalgic are words that come to my mind to describe these pieces of art glass.

I have watched so many sell, but only recently did I successfully bid on a Cenedese lamp base (electrification and a shade will be part two to this acquisition). The pieces are very accessible and can vary from $1,000 to as much as $10,000 for very complex and well-balanced scapes.

Examples are at their most entrancing when they are lit from the base in spaces with low light and the effect is just as it was intended, to create the impression of an aquarium’s moment in time. I could stare at them forever.

I’m embarrassed to say that the only time I was in Venice I didn’t think to visit the cluster of islands known as Murano that, through a quirk of history, became the refuge and region for the great glass makers of Italy, including Cenedese, but I’m not shy to suggest that their collectability has a long way to go.

Image:

Alfredo Barbini for Cenedese Murano Glass Aquarium

THAT CHAIR FOR THE LIBRARY

by john albrecht, chairman & head of important collections

Sit Back and Relax

our salon auctions are the closest thing to a traditional auction experience and one of the privileges that comes with observing these auctions is discovering the patterns that reveal themselves over months and years. What struggles to find a buyer, what flies out the door, and what consistently finds an eager collector or decorator. Period wine tables are one of those great sellers and change-of-taste survivors, but the other that I have been noticing is the button-back armchair or library chair, and variations thereof.

They are one of those period pieces of design that span the centuries and have remained on the wish lists of collectors and decorators alike. Placed in contemporary environments they can look just as at home and can relieve the unintended feeling of emptiness that contemporary living can create. When reimagined a little they can look simply splendid!

While I agree that a well-worn example (but not with ripped and peeling leather) is often the ideal, I have seen wonderful reinterpretations of coverings. While some may have become a little cliché, one that has grabbed my attention is the use of metallic leather, yes - metallic leather. I can see our furniture purist David Parsons shuddering at the thought but when I say metallic, I refer to those deep leather colours with just a hint of the metallic. Not shiny to look garish, but with enough sparkle to ensure the owner knows they are sitting in something that has been re-thought. Woods are respected, construction is respected and so too de-

sign, so I can live with the idea that these examples need not be slavishly restored and can be given a little vigour. Would I suggest this treatment for examples with intact leather and lovely wear? No, because to recreate such a finish would take the best part of a century. But I would certainly suggest it’s worth a whirl when the leather is beyond repair and when shabby is no longer chic!

Image:

A George III-style mahogany and upholstered wing armchair. Sold for $1,625

Diamonds, sapphires, and rubies might be first to spring to mind as the most coveted and widely collected gemstones in the world, however beyond these lies a rainbow of rare and valuable stones, all of which are certainly deserving of a place in your jewellery box, if you can track one down... by rebecca sheahan, head of fine jewels & timepieces

Hidden Gems: The Exceptionally Rare

padparadscha sapphire

Sapphires are usually known for their beautiful blue colour, but there are in fact several hues this gemstone can display. The rarest is the padparadscha sapphire, with pink and orange tones.

The name derived from the Sinhalese word for “lotus flower,” referencing the blossom’s bright salmon-coloured petals. Padparadscha sapphires are typically found in Sri Lanka but have also been discovered in Tanzania and Madagascar. In 2018, Princess Eugenie revealed her engagement ring to be a padparadscha sapphire surrounded by diamonds, a gorgeous piece estimated to be worth around £100,000-120,000.

paraiba tourmaline

The Paraiba gemstone is known for its rarity and striking neon blue colour. Part of the tourmaline family, it was discovered in Paraiba, Brazil in the 1980s. More recent discoveries have been made in Nigeria and eastern Africa, however Brazilian stones remain the most vibrant and sought after, with their prices sometimes exceeding $20,000 per carat. The largest example ever discovered is the Ethereal Carolina Divine Paraiba, weighing in at almost 192 carats and valued anywhere between $25-125 million.

alexandrite

Alexandrite was first discovered in Russian emerald mines in the Ural Mountains and is one of the rarest and most expensive gemstones on earth. It is said to be named in honour of Czar Alexander II. Alexandrite is a rare variety of the mineral chrysoberyl that changes colour from bluish green in daylight to purplish red under incandescent light – ‘emerald by day, ruby by night’.

tsavorite garnet

Tsavorite is the rarest and most expensive member of the garnet family. It was discovered in 1967 by British geologist Campbell R. Bridges and named by Harry Platt of Tiffany & Co. (New York) after the Tsavo Game Reserve in Kenya. The largest tsavorite on record is a 325.14 carat stone, valued at over 2 million USD.

red diamond

Red diamonds probably take the prize for the most expensive gems per carat in the world. The world’s largest red diamond discovered to date is the Moussaieff Red, which weighs 5.11 carats and was sold for $8 million at auction in 2001. It is estimated to be valued at over $20 million today.

In fact, a red diamond is so rare, that only 20 to 30 gem-quality red diamonds exist in the world. They have been mined in Africa, Brazil, and at the recently closed Argyle mine in Western Australia. Being so scarce, naturally they are considered a good investment if you can afford to be in the market!

Jewels Where You’d Least Expect Them… in a Watch Movement

by patricia kontos, senior timepieces specialist

there is something equally gratifying in things that happen unexpectedly and in finding something where you least expect it. Think of finding that treasured item you thought lost or reaching into a coat pocket to pull out a twenty dollar note. Yes, the nicest things are often those which are totally unexpected and that was indeed the case when many years ago I opened an exquisite gold 18th century verge pocketwatch. Whilst routinely inspecting the intricately pierced and engraved masked cock, to my amazement I found a diamond endstone in there, elegantly set in a polished steel setting. I still recall that startling instant in time, yes, a diamond, amongst all those small and sophisticated mechanical components that go to make up a spring wound watch movement; how unexpected, how delightful. But what was a diamond doing embedded in a micromechanical engine, of all places?

We are all quite accustomed to seeing gem-setting on dials, bezels, or cases, either added for aesthetic appeal or to enhance value. However, jewels that are set within a movement serve an important functional purpose. This practice was first introduced in the early 1700s when Swiss watchmaking brothers Peter and Jacob Debaufre and their partner Nicolas Fatio introduced jewel bearings into their watch movements and received an English patent for the concept.

If we think of a mechanical watch as a machine, it will house a number of moving metallic parts, all of which grind and rub in harmony to perform a function. Over time, this friction leads to metal wear and tear adversely affecting the performance of a watch’s functioning life. The challenge of the early period in watchmaking was to find a substance harder than these metal parts to place at the vital pivot points in order to reduce metal-on-metal fatigue, enhance accuracy, and in turn reduce the amount of energy needed to keep the watch in continuous motion.

The answer lay in minerals, and precious ones at that, stones like diamonds, sapphires, and rubies were not only harder than metal, they were also less abrasive and slicker which meant they protected vulnerable areas whilst encouraging a smoother, less-damaging process. It was quite a breakthrough for early horology and further to their utilitarian function, the use of natural gemstones added to the cost and exclusivity of the timepiece itself. There was even a practice in the early 1900s known as ‘up-jeweling’, where watch manufacturers would intentionally increase their jewel counts to make their watch seem more prestigious.

Inevitably, as time progressed and technology allowed, innovations were introduced to lower costs of incorporating real gemstones in watch movements. Most significant was that of French chemist Auguste Verneuil who invented a process of making synthetic gemstones which made it more affordable to incorporate jewels into watch movements. Verneuil’s discovery soon spread to the whole Swiss watch industry and became a key element of movement construction.

Today, the standard use of synthetic rubies and sapphires is de rigueur not only for cost-efficiency and convenience but it is also regarded as an ethical choice by manufacturers. The standard jewelled movement uses approximately 17 jewels for basic mechanical watches. A typical fully jewelled time-only watch has two cap jewels, two pivot jewels and an impulse jewel for the balance wheel, two pivot jewels and two pallet jewels for the pallet fork, and two pivot jewels each for the escape, fourth, third, and centre wheels. The more functions that a watch has, the more complex the machinery will need to be in order to accommodate all of those functions. More complications equals more jewels, in fact up to a whopping 242 jewels, all of which are functional, found in Vacheron Constantin’s reference 57260 with 52 complications.

However, a word of caution, a bedecked movement does not necessarily equate to a better or more inherently valuable watch. Where once the number of jewels may have reflected a movement’s quality or complexity, that is not the case today. In today’s market many lower grade movements incorporate several plastic parts which sit alongside an excessive and totally unnecessary number of jewels. It may hold true in the world of jewels as it does with watches that quantity doesn’t always equate to quality, still, for many an enthusiast, stumbling across these hidden gems buried in a movement makes for a thrilling moment.

opposite:

A. Lange & Sohne Lange 1 a fine 18ct gold wristwatch with date and power reserve, circa 2000 Sold for $21,250

right:

A sketch of an early furnace used by Auguste Victor Louis Verneuil to synthesise rubies using the Verneuil process.

far right:

Auguste Victor Louis Verneuil (1856-1913)

The Italian firm that most successfully profited from the revival of interest in ceramic traditions, and made the highest quality wares to meet it, was that headed by Ulisse Cantagalli (1839–1901).

by david parsons, head of private estates and valuations, decorative arts specialist

The Figli di Giuseppe Cantagalli and the Revival of Italian Maiolica

of the various revivals of interest in earlier periods that influenced the decorative arts in France, Britain, and America in the second half of the nineteenth century, the highly refined furniture and objects of the eighteenth century received the greatest attention in the wider market. But with the rise of Aestheticism in the 1860s and the Arts and Crafts movement from around 1880, attention from some quarters turned to earlier decorative arts that was variously of more artistic, humble, or craft-based origin.

One such area of renewed interest was in ceramic traditions pre-dating the advent of porcelain manufacture in Europe in the early eighteenth century, mostly in different types of tin-glazed earthenware. In early sixteenth century Italy, where such ware was known as maiolica, the influence of Renaissance narrative painting had led to increasingly sophisticated decoration on larger objects, such as chargers and storage jars. The most finely and elaborately decorated were those in the new istoriato style, so called for their colourful decoration with ‘stories’, narrative scenes of mythological, historical, or Biblical subjects with decorative borders of Classical motifs and other designs. For two centuries maiolica of this quality enjoyed high status but this declined with the increasing availability of European-made porcelain through the eighteenth century, relegating maiolica to the provinces, where it remained until the late nineteenth century revival of interest.

The Italian firm that most successfully profited from this revival of interest, and made the highest quality wares to meet it, was that headed by Ulisse Cantagalli (1839–1901). Based at Impruneta outside Florence, the Cantagalli family had been prosperous merchant ceramic makers for generations but fell on difficult times in Ulisse’s childhood. Having struggled on, in 1878 the business passed to Ulisse and his brother, who re-established it, renamed in their father’s honour as the Figli di Giuseppe Cantagalli, upon Ulisse’s determination and vision to revive the production of high-quality glazed earthenware, not only the styles of the best sixteenth century Italian maiolica but also Hispano-Moresque lustre ware and the wares produced at Iznik and elsewhere in the Ottoman world in the sixteenth and seventeenth centuries, the techniques of all of which Ulisse carefully studied and recreated in his factory.

Ulisse’s timing was perfect: the English and American market for art pottery was booming, propelled first by Aestheticism’s taste for the artistic and exotic followed by the Arts and Crafts movement’s interest in traditional crafts. With this, and the large number of cultivated English and American tourists visiting Italy, Cantagalli thrived, opening outlets in Florence and Rome. Ulisse was as talented in capitalising on this interest and promoting his business as he was on its artistic side, especially in cultivating commercially advantageous relationships with influential taste-makers such as John Ruskin, William Morris, Liberty & Co., and most fruitfully with William de Morgan, the leading Arts and Crafts ceramicist, with whom he collaborated artistically. A glowing account of the Cantagalli business appeared in the New York Times in 1879. Following their marriage in 1880, Ulisse was joined in the business by his Scottish wife, Margaret Tod, who managed relations with British customers (and, after Ulisse’s death, successfully ran the business until 1934). With prize-winning success at international fairs in the 1880s and ‘90s, Cantagalli pieces entered important public and private collections.

All of the ingredients that made the Figli di Giuseppe Cantagalli so successful are well represented in a superb, large three-tile panel by the firm to be offered in Leonard Joel’s April Decorative Arts auction. Dating to around 1890 and finely decorated in a manner based on the istoriato style with a scene adapted from Benozzo Gozzoli’s 1459 fresco Journey of the Magi in the Palazzo Medici Riccardi, Florence, the panel remains in its original sixteenth century-style frame. Typical of Cantagalli’s clientele, it was acquired, probably when new, by a member of a wealthy Scottish family and has remained with his descendants until now.

The Decorative Arts Auction will take place on Monday 29 April in Melbourne. For viewing times and to see the full catalogue please visit our website.

left: Benozzo Gozzoli. Journey of the Magi, 1459. Fresco, tempera, and oil. Chapel, Palazzo Medici Riccardi, Florence.

A fine large tin-glazed earthenware panel by Cantagalli, manifattura Figli di Giuseppe Cantagalli, Florence, circa 1890 $10,000-15,000

An Introduction to Brazilian Modernism

BY REBECCA STORMONT, MODERN DESIGN SPECIALIST

brazilian modernism, a vibrant movement that emerged in the early 20th century, encapsulates a rich tapestry of art, architecture, literature, and design that reflects the country’s cultural diversity, socio-political landscape, and quest for identity. Although this movement evolved alongside its European and American counterparts, at its core, Brazilian Modernism sought to break away from European influences and embrace a distinctly Brazilian aesthetic, blending indigenous, African, and European elements into a unique cultural expression.

When you look at the architecture and furniture from this period in Brazil, specifically around the mid-20th century, you can’t miss their distinctive features. Even if you didn’t know it was Brazilian, the luxurious curves and natural forms often give it away, along with the choice of materials and design philosophy.

Oscar Niemeyer (1907–2012), hailed as a pioneering figure in modernist architecture, is celebrated for his innovative designs characterised by sweeping curves and fluid forms. His architectural vision often harmonises with nature, creating structures that seem to organically emerge from their surroundings. Niemeyer gained international acclaim through his collaboration with Le Corbusier on the design of the United Nations Headquarters in New York City. However, his most renowned project remains the civic buildings of Brasília, Brazil’s capital, which not only exemplify his distinctive style but also contributed to Brasília’s designation as a UNESCO World Heritage Site.

Lina Bo Bardi (1914-1992), an influential Italian-Brazilian architect, designer, curator, and activist, left an indelible mark on modern architecture and design, particularly in Brazil. Immersed in Brazilian cul-

ture and landscape, Bo Bardi seamlessly integrated modernist principles with local materials, techniques, and traditions. Her iconic São Paulo Museum of Art (MASP), completed in 1968, stands out for its innovative use of concrete and glass, creating a suspended structure that fosters public interaction and cultural expression—a testament to Bo Bardi’s belief in architecture’s societal role. Bo Bardi’s designs epitomise simplicity, functionality, and a profound understanding of spatial dynamics and human experience. Advocating for inclusivity and accessibility, she viewed architecture as a catalyst for social change. Beyond architecture, Bo Bardi ventured into furniture design, creating pieces that blend modern aesthetics with practicality and comfort. Often these furniture designs incorporated native Brazilian woods and leather.

Percival Lafer (born 1936), a distinguished Brazilian furniture designer, gained renown for his pioneering modernist creations that seamlessly merge functionality with artistic flair. Initially trained as an architect, Lafer began making furniture in 1961. His preference for premium materials such as leather, hardwood, and metal underscores his commitment to quality and durability. He sought to create lasting designs that were accessible. Among his iconic creations is the MP-123 Modular bench, one of which sold last year through Leonard Joel for $6,250. We are delighted to be including a three-piece MP-091 lounge suite in the April Modern Design auction.

Our Modern Design Auction will take place on Monday 8 April in Melbourne. For viewing times and to see the full catalogue please visit our website.

opposite top: Percival Lafer MP-123 Modular Bench for Lafer MP Sold for $6,250

opposite bottom: The Latin America Memorial in São Paulo, Brazil. The architectural setting, designed by Oscar Niemeyer, is a monument to the cultural, political, social and economic integration of Latin America.

Dive into the avant-garde realm of Comme Des Garçons, a fashion powerhouse that has reshaped the industry’s very fabric since its inception in 1969 under the visionary Rei Kawakubo. by indigo keane, luxury specialist

Comme As You Are

far

left: A museum employee adjusts the Balenciagainspired women's ensemble, polyurethane leather dress by Rei Kawakubo for Comme des Garçons, Tokyo, 2016. / Alamy

right: Rei Kawakubo, founder of Comme Des Garçons and Dover Street Market.

right: Dress by Rei Kawakubo on display in the exhibition Rei Kawakubo/Comme des Garçons Art of the In-Between at the Metropolitan Museum of Art, 2017.

embracing radical designs that challenge conventional notions of shape and structure, the Japanese label Comme Des Garçons is synonymous with deconstruction, asymmetry, and daring silhouettes, constantly pushing the boundaries of creative expression. With operational hubs in Paris and Tokyo, boasting over 20 diffusion lines and pioneering conceptually groundbreaking runway spectacles, Comme Des Garçons continues to captivate the fashion elite with its unyielding commitment to artistic integrity, compelling onlookers to reconsider contemporary ideals of beauty and artistry.

Among the label’s most coveted collections is the provocative 1997 “Body Meets Dress, Dress Meets Body” collection, which caused controversy among fashion media with its daring exploration of exaggerated forms and unconventional textures, challenging societal norms of femininity. Recent auction successes include Kerry Taylor Auctions presenting a momentous opportunity for enthusiasts to acquire a dark navy gingham ‘Body Meets Dress’ ensemble which fetched upwards of $27,000. 2018 saw the $40,000 sale of Jean-Michel Basquiat’s iconic Comme Des Garçons overcoat, which underscored the brand’s interwoven and culturally significant ties with the art world, a piece of sartorial history imbued with the artist’s avant-garde spirit. Basquiat’s affiliation with the renowned Japanese fashion house adds an extra layer of significance to this simple yet rare garment, which fetched considerable attention and admiration from collectors, further solidifying the brand’s status as a cult fashion spearhead.

Comme Des Garçons remains at the forefront of impeccable innovation, guided by Rei Kawakubo’s unwavering commitment to creativity and artistic expression. From groundbreaking collections to transformative retail concepts, the allure of Comme Des Garçons extends beyond the runway and into the realm of luxury resale. The brand’s collectability has elevated the concept of pre-owned luxury, with boutiques solely dedicated to buying and selling the rich archives, including Melbourne store ‘Dot Comme’, serving as sanctuaries for fashion aficionados, offering access to the brand’s rarities. This approach not only shines light on fashion’s potential

to move towards a sustainable future, but also honours the brand’s innovative heritage allowing consumers to engage with iconic pieces in fresh ways.

Kawakubo’s influence also transcends the confines of traditional retail, revolutionising the shopping experience into an immersive journey through fashion history. The boutique, Dover Street Market, with its meticulously curated spaces blending vintage treasures with contemporary creations, epitomises Kawakubo’s visionary approach to both new and pre-owned fashion. It inspired a global trend in highly curated and second-hand luxury consumption.

Rei Kawakubo’s steadfast dedication to creativity over commerce has proven timeless, exemplified by her prohibition of the sales team’s creative input to safeguard the brand’s distinctive edge. The brand’s timestamped archives have not only ignited a worldwide luxury resale trend but have also heralded a transformative phase of artistic innovation within the fashion sphere. In essence, Comme Des Garçons stands as a testament to Kawakubo’s fearless pursuit of artistic excellence, transcending trends to redefine the very essence of fashion. With each collection and runway spectacle, the brand reaffirms its status as a beacon of creativity, inspiring generations of designers and consumers alike.

Our Luxury Auction will take place on Tuesday 9 April in Melbourne. For viewing times and to see the full catalogue please visit our website.

Through photography, artists share a diverse history through portraiture, photojournalism, and documentary. Here are four of my personal favourite photographers, all featured within our forthcoming Prints & Multiples auction.

by hannah ryan, prints & multiples specialist

Through the Lens: Four Notable Photographers

manuel álvarez bravo

Mexican artistic photographer, Manuel Álvarez Bravo, was an influential figure in 20th century Latin American art. Victor Blasco, a prominent curator of photography, recounts Álvarez Bravo’s connection to the surrealism movement whilst speaking specifically to his notable photographic work, La Buena Fama Durmiendo (Good Reputation Sleeping). According to Blasco, in 1939, while waiting for his pay check at the academy, Álvarez Bravo received a call from someone representing the French poet and writer André Breton. They were requesting a photograph for the cover of the International Surrealist Exhibition catalogue, which was scheduled to be published in January 1940. Álvarez Bravo, prompted by a strange instinct, contacted his friend Dr. Francisco Arturo Marin, and requested bandages for his model. The doctor, believing there had been an accident, rushed to the scene. Meanwhile, Álvarez Bravo directed Alicia, one of his models, to ascend to the roof, while a porter was dispatched to locate a cactus at a neighbouring market. After assembling all the components on the roof in the midday heat, Álvarez Bravo composed one of his most famous photographs.

david moore

David Moore developed a distinct photographic sensibility over the course of his career, demonstrating an ability to capture moments of serendipity and coincidence in his work. Using the visual plane perspective, he connected seemingly unconnected subjects.

The aerial shot, Sisters of Charity, taken in 1956 from the mezzanine level of Washington National Airport, captures a truly serendipitous moment. It depicts a group of nuns in traditional wimples; at first glance, the hats could be mistaken for origami boats or birds. Moore's great sense of design, composition, and form are captured in this rhythmic shot, which reflects his fascination with the ambiguous nature of photography. His expansive negative archive bears witness to his lasting influence in portraiture, fine art, and documentary photography.

arnold newman

American photographer Arnold Newman, often regarded as the creator of environmental portraiture, was best known for his photographic work of politicians and artists. As he explained, “I didn’t want to make a

photograph with some things in the background. The surroundings had to add to the composition and the understanding of the person. No matter who the subject was, it had to be an interesting photograph. Just to simply do a portrait of a famous person doesn’t mean a thing.”1

The most well-known example of Newman's spectacular portraiture is his image of Russian composer and conductor, Igor Stravinsky, whose ballet and orchestral work, the Rite of Spring, premiered in Paris in 1913 and sparked one of the most intense riots in musical history due to the score’s avant-garde nature and the unconventional choreography. The portrait is heightened by its nearly monochromatic tonality, accentuating the stark contrast between the white wall and the black piano. Newman purposefully integrated the open lid of the piano into the composition, likening it to the shape of a musical flat symbol – forceful, linear, and aesthetically resonant, mirroring Stravinsky’s artistic essence.

max dupain

Max Dupain was widely regarded as the pioneer of modernism in Australian photography, which marked the departure from the sentimental style of soft-focused, nostalgic imagery and moved towards an embrace of an aesthetic typified by light contrasts, sharp focus, angles, and new compositions. The photograph on our cover, Jean with Wire Mesh, depicts Jean Lorraine, a cherished model and close confidant of Dupain and his first wife Olive Cotton, assuming a captivating pose in front of the lens.

Shot from an elevated angle, she appears ensconced in introspection, her upper body mostly obscured by the mesh that envelops her. Her forehead, hair, and upper arm, however, are exposed to uninterrupted light, so that movement appears to sweep upwards and out of the frame. The mesh, rendered disorderly by the effects of light, delicately veils her curves while simultaneously highlighting them, resulting in a composition that exudes both sensuality and opulence.

1. All About Photo, ‘Arnold Newman’, https://www.all-about-photo.com/photographers/ photographer/1280/arnold-newman (accessed 21 February 2024)

Our Prints & Multiples Auction will take place on Wednesday 10 April in Melbourne. For viewing times and to see the full catalogue please visit our website.

opposite: Arnold Newman (American, 1918-2006) Igor Stravinsky, New York City 1946 silver gelatin print $4,000-6,000

left: David Moore (1927-2003) Sisters of Charity, Washington DC, USA, 1956 silver gelatin print $6,000-9,000

© Lisa, Michael, Mathew and Joshua Moore.

right: Manuel Álvarez Bravo (Mexican, 1902-2002)

La Buena Fama Durmiendo (Good Reputation Sleeping) c.1938 silver gelatin print, printed

how to… Support Emerging Artists with Amber Creswell Bell

Amber Creswell Bell is an art curator, author, lifestyle writer, speaker and all-round creative. With a passion for art, Amber is recognised for championing and educating emerging and unrepresented artists. She is currently the Director of Emerging Art for Michael Reid galleries, curating both the emerging art and ceramics programs. In 2021, Amber established the Morgans Financial National Emerging Art Prize (NEAP) in collaboration with Michael Reid.

What are some of the qualities you look for when discovering talent in emerging artists?

I am always looking for artists who demonstrate a strong sense of who they are and what their style is. In the arts there is always a sense of being ‘inspired’ by other artists, but what I am looking for is an artist who is doing something fresh, with confidence and, importantly, consistency.

What is some advice you would give to artists who are still in the early stages of their career and are looking to ‘break through’?

Pace yourself and keep practicing every day. A lot of emerging artists are still experimenting with their work but are also very keen to be discovered. I think it’s important not to strive to ‘break through’ before you are really ready for it. As I always say, if you are doing something really great, you will be discovered! In the meantime, keep creating, visit lots of galleries, familiarise yourself with the landscape of other artists, styles, and prices, and know the business of being an artist and your place in that world. Also, it is a very valuable exercise to enter art prizes, I would try entering at least one every year.

If you’re a collector wanting to support emerging artists, where should you start?

What I have come to realise is that there are way more emerging artists than there are ever going to be galleries to show them! But they are out there, producing some wonderful work. Being an artist is precarious and cost prohibitive. Materials are expensive, as is the cost of living, so buying work from emerging artists is very important. They often sell directly from their websites, and most can be found on Instagram. Do a good deep dive here! Also, look out for art school graduate shows which are great sources of new and exciting work, as are art prize exhibitions. And of course, the Morgans Financial National Emerging Art Prize.

What are some of the positive changes you’ve seen in the emerging art world within Australia since establishing NEAP?

I think a lot more commercial galleries are really embracing emerging creatives and integrating them into their stables of artists. The art world has become increasingly decentralised in recent times with more small, niche, and regional galleries opening. Another positive change is the ability for artists to promote themselves online, and sell work directly to collectors. One of the main spin-offs that I have seen from NEAP is very emerging artists being discovered, and their work championed by other artists, press, galleries, and collectors.

Who are some of the artists you’re excited to see during the Sydney Biennale this year?

I think that Elyas Alavi (Hazara, Afghanistan/Australia) and Satch Hoyt (UK/Jamaica) are very exciting and thoughtful artists. Also, the beautiful woodblock prints of Sachiko Kazama (Japan).

Are there any female artists or artists from underrepresented backgrounds who you are interested in right now?

I am currently very into the work of Caroline Zilinsky! Not only is her oeuvre completely unique, her narratives and wit are razor sharp.

With thanks to Amber for her time. See more at www.ambercreswell.com and follow her on Instagram at @ amber_creswell_bell

opposite: Amber Creswell Bell

Photographed by Jodie Barker

right: Exhibition at the Morgans Financial National Emerging Art Prize

FIVE MINUTES WITH APRIL CHANDLER

This issue, we spend five minutes with April, the manager of our busy Furniture Salon…

It would have to be a Ricketts and Thorp modernist buffet that I bought to use as a record cabinet. The best part of this cabinet is the doors, they open completely around so they sit on the sides of the cabinet. It’s great to have them open while listening to records. I love the simple and clever design.

leonard joel staff all seem to have a side project or talent, what’s yours?

In the last couple of years I’ve started gardening. My garden isn’t large or well-planned but I really enjoy watching things grow and tending to the garden. It feels nice to slow down and be attentive to the small changes around me. It also feels nice when the neighbours tell me how good my garden is looking, that’s an added bonus.

favourite cocktail

Espresso Martini - the perfect way to start or end the night.

your ideal day in melbourne

It would definitely be in summer, before it gets too hot. I would start by getting some late breakfast from Zaatar in Coburg, bring it home and eat it in my courtyard and end up staying there for most of the day reading or working on a project. Then a drink in the afternoon at any beer garden in Melbourne, if I had to choose then I would go to Little Foot in Footscray. I love the atmosphere and the owners are so friendly, it was the first place I felt at home in Melbourne.

favourite book

I Love Dick by Chris Kraus. I read this book in my second year of art school and I’d never read a book that had such an effect on me before. The book itself is obsessive, it is mostly written in the form of letters to a man the author met briefly and became infatuated with. It wasn't about the man at all though, he was a device for the author to write about her life similarly to the way a master painter used a muse to create great art. I think about this book often.

favourite auction purchase

by ifaw wildlife campaigns manager josey sharrad

Sanctuary Destroyed by Black Summer Recovering from the Ground Up

on 23 january 2020, the world changed for James Fitzgerald when a megafire tore through his wildlife haven on Ngarigo country in southern New South Wales (NSW). He lost his home and life’s work.

In a double tragedy, the water bomber fighting to protect Two Thumbs Wildlife Trust Sanctuary crashed, killing all three US crew, Captain Ian McBeth, First Officer Paul Hudson, and flight engineer Rick DeMorgan Junior.

The scale of devastation and enormity of loss was overwhelming. Most native animals perished and those that survived were struggling with no food or shelter. An estimated 80% of koalas were lost from this important population—one of only two that is recovering in the state. We deployed IFAW x UniSC koala detection dog Bear to help find koala survivors.

Since then, IFAW and our friends Habitat Innovation and Management have been bringing the sanctuary back to life. We’ve been providing new homes for wildlife, planting native grasses and trees, and undertaking soil erosion control and fencing to aid landscape recovery. Thousands of old hollow-bearing trees that animals rely on were destroyed. As a result, surviving hollow-dependent animals were left homeless. The forest floor was charred and ground-dwelling animals like dunnarts, antechinuses, echidnas, and reptiles also lost their homes.

Small hollows for feathertail gliders and pygmy possums take over 100 years to form naturally. Larger hollows for glossy black cockatoos and greater gliders can take up to 400 years or more to form.

The animals of Two Thumbs can’t wait for nature to take its course. This is why IFAW is giving nature a helping hand by installing innovative, ready-to-move-in Habitat modular nest boxes.

These aren’t run-of-the-mill timber nest boxes. They have been cleverly designed to mimic natural hollows. Some can even house different non-competing species such as birds and microbats who would naturally co-habit in the same tree.

They are already providing a much-needed lifeline for many animals including three species of glider, crimson rosellas, and possums. Proof that if you build, they will come.

We’ve also set up homes for ground-dwelling animals such as echidnas and small marsupials including dunnarts, antechinus, and spotted-tail quolls.

In a world-first innovation, we installed 20 of these Habitat marsupial dens. The bespoke dens look like up-turned mini-submarines with fin-shaped air vents. They have a ‘mezzanine’ level for smaller critters to take refuge off the ground from predators. We covered them with rocks, sticks, and branches for camouflage and insulation.

Within days, a host of different animals came to inspect the new

digs, including echidnas, a Cunningham’s skink, brushtail possums, antechinuses, and a common dunnart. An eastern pygmy possum, which is a threatened species, also showed interest.

In a bid to attract important apex predators back to the sanctuary, we constructed five raptor nesting platforms. Mimicking how birds like wedge-tailed eagles, little eagles, and brown falcons build their nests in nature, we picked the right tree in the right location and used dead branches to construct a large platform with easy fly-in access (and a priceless view).

While there is still much to be done, the recovery efforts give us hope as we look to further restore and protect this very special sanctuary and the people and animals that call it home.

The hollow deficit at Two Thumbs is indicative of the larger housing crisis Australian wildlife is facing. The Black Summer dealt a deadly blow to the already dwindling number of suitable trees left for animals to live in.

When old hollow-bearing trees are burned or cut down, they won’t regrow in our lifetimes. Many animals depend on these trees, including threatened species like the glossy black cockatoo and greater glider.

We cannot continue on this path, particularly with climate change fueling more frequent and intense fires. We need to stop cutting down native old-growth trees and do everything we can to protect our forests and the animals that call them home.

Image: The IFAW and Habitat Innovation and Management teams with one of the raptor platforms at Two Thumbs Wildlife Trust Sanctuary. Photo © IFAW

P.S Have you seen the new Amazon serie, Poacher? It features our good friends at Wildlife Trust of India and is based on one of the biggest elephant poaching cases in India in 2015. Watch the trailer at the QR Code below.

On 22 March 2017, the first industry briefing between IFAW (International Fund for Animal Welfare) and auctioneers and antique dealers from Australia took place, with the view to ending the auction and antiques trade in rhinoceros horn and ivory. That same year, Leonard Joel introduced a voluntary cessation policy and we are proud to no longer sell these materials. In the 22nd Report, IFAW share the latest news about their conservation projects.

Thinking of selling?

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Head of a statue of Thutmose III wearing the white crown (detail) 18th Dynasty, reign of Thutmose III c. 1479–1425 BCE, Karnak, Thebes, Egypt © The Trustees of the British Museum

MELBOURNE WINTER MASTERPIECES ®

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.

This fabulous pair of pink sapphire and diamond cluster earrings are a stunning example of Edwardian era jewellery. Featuring a pair of bright pinkish red coloured sapphires with a combined weight of 4.50 carats and surrounded by a further 8.00cts of old European cut diamonds, these add the perfect bit of pizzazz. With exceptional craftsmanship and attention to detail, these earrings reflect the elegance and luxury associated with Edwardian jewellery and will make the perfect family heirloom.

Sold

The

March 2024

Sold

The Collector's

March 2024

An Italian White Marble Statue of the Medici Apollo (Apollino)

Sold for $9,375

Auction,

Jessica Hayllar (British, 1858 - 1940) Sunshine 1884

for $87,500

Collector's Auction,

Pair of Pink Sapphire and Diamond Earrings, Circa 1900, Composite

for $9,500

Important Jewels, December 2023

With regular auctions in Fine Art, Jewels & Watches, Decorative Arts, Modern Design, Luxury and more, there’s something to suit every taste at Leonard Joel.

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Bidding is simple and you can do so in person, online, by phone or by leaving an absentee bid. Our team is always on hand to guide you.

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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

Rebecca Sheahan

Head of Department 03 8825 5645 rebecca.sheahan@leonardjoel.com.au

fine art

Wiebke Brix

Head of Department 03 8825 5624 wiebke.brix@leonardjoel.com.au

decorative arts

Chiara Curcio

Head of Department 03 8825 5635 chiara.curcio@leonardjoel.com.au

asian art

Luke Guan Head of Department 0455 891 888 luke.guan@leonardjoel.com.au

modern design

Rebecca Stormont Specialist 03 8825 5637 rebecca.stormont@leonardjoel.com.au

luxury

Indigo Keane Specialist 03 8825 5605 indigo.keane@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

Head of Decorative Arts & Art, Sydney 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

Noelle Martin 03 8825 5630 art.manager@leonardjoel.com.au

furniture

April Chandler 03 8825 5640 furniture.manager@leonardjoel.com.au

jewellery

Rebecca Sheahan 03 8825 5645 jewellery.manager@leonardjoel.com.au

objects & collectables

Dominic Kavanagh 03 8825 5655 objects.manager@leonardjoel.com.au

Valuations

David Parsons

Head of Private Estates and Valuations 03 8825 5638 david.parsons@leonardjoel.com.au

Marketing & Communications

Blanka Nemeth

Senior Marketing Manager 03 8825 5620 blanka.nemeth@leonardjoel.com.au

Maria Rossi Graphic Artist

Paolo Cappelli Senior Photographer & Videographer

Adam Obradovic Photographer & Videographer

Sale Rooms

melbourne 1A Oxley Road, Hawthorn, VIC 3122 03 9826 4333

sydney

The Bond, 36–40 Queen Street, Woollahra, NSW 2025 02 9362 9045

Leonard Magazine

editor

Blanka Nemeth

graphic design

Maria Rossi

melbourne

1A Oxley Road, Hawthorn, VIC 3122 03 9826 4333

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025 02 9362 9045

brisbane

54 Vernon Terrace, Teneriffe, QLD 4005 0412 997 080

adelaide

429 Pulteney Street, Adelaide, SA 5000 0419 838 841

perth 0412 385 555

info@leonardjoel.com.au leonardjoel.com.au