This issue celebrates our feature auctions for April/May. Hamish Sharma examines the enduring allure of tiaras, from royalty to the MET Gala, their appeal is timeless. Our Centum Contemporary Art auction takes place in May, and we are thrilled to present a curated selection of important and leading contemporary artists to the market. We also look at the luxury brand Chanel, and their unique and offbeat limited editions, such as the Chanel surfboard offered in our next Luxury auction in April. We hope you enjoy reading about all our latest discoveries.
April – May 2025
features
Notes on Collecting and Hobbies
A Case for Contemporary Art at Auction
Q&A with Paul Kenny
Lightning Ridge Opals, Australia’s Pride and Joy Beyond the Canvas
Maria Callas: La Divina’s Diamond Legacy Spotlight on the Subversive The Golden Hour
Crowning Glory: The Enduring Appeal of Tiaras
From Sketch to Print: The Precision of Jeffrey Smart’s Lithographs
Art & Friendship: The Attilio Guarracino Collection of Art and Asian Decorative Arts
in focus
Five Minutes with Nadia Barbaro
22nd Report: Young artists inspire investment in conservation
Last Look
cover:
A selection of highlights from various upcoming auctions
featuring:
LINDE IVIMEY (born 1965)
Bride and Dowry 2012
steel armature, acrylic resin, cast and natural sheep, fish and chicken bones, woven vertebrae, dyed cotton, agates and sapphires
The Attilio Guarracino collection of Art and Asian Decorative Arts
Mon 19 May, 6pm
Melbourne
The Brisbane Edit
Wed 21 May, 2pm
Brisbane
Furniture & Interiors, Objects & Collectables, Jewellery, Art
Every Thu from 10am
Melbourne
Jewels
Sydney
Notes on Collecting and Hobbies
by john albrecht, managing director & head of important collections
after completing the podcast Presidential, in reverse order, I was fascinated to learn of George Washington’s concern and interest for how his surrounds should be decorated, what should be acquired and would it all look, well, “presidential” enough! It made me feel for just a moment that aesthetics were important if a statesman found the time for such contemplation. But that’s the end of that thread of thought, and where I start again is with the place the humble pinecone takes in design through the ages. One of my sons produced a short AI piece on this subject in all of five, yes about five seconds. It was neat, it was accurate, but it lacked personality. That’s when I realised my pinecone journey was infinitely more interesting. Well, according to me anyway! I first noticed them in any real sense driving around Red Hill and surrounding areas. They were everywhere and plentiful. If you were lucky enough to find a broken branch with pinecones still attached, before some other local had spotted and retrieved it, you had, in my opinion a natural work of art. Something that could grace a large table, a console or even a spot on the floor. Since then, I have made it my business to fossick for pinecones every year. More recently I discovered plentiful supplies in the various parks of East Melbourne. When I’m through admiring them or decorating with them, they make for the most spectacular small fire. And my interest in these perfectly formed cases for seeds, expands to their use as a motif.
More typically, in design, it’s deployed as a finial, in small and large format. It’s use, which will be obvious to many, is its decoration of walls and buildings to great effect. Drive anywhere and it won’t be long before you will find its use around someone’s home. Smaller examples can be found in the ormolu decoration of period furniture and to great effect I might add. Wherever I see it deployed, it is always pleasing, as if its form was literally destined to conclude elements of design and motifs through the ages. And I’m pleased to confirm for my readers that I am not the only collector of pinecones in Melbourne.
Well, I knew that, but I do get giggles from several of my friends and family about this pursuit of mine that I now refer to as “pine coning”. On a cold, rather peopleless, Melbourne afternoon I was collecting just opposite the Fitzroy Gardens when a man spotted me and pointed to my activity as if to enquire whether, what he also did from time to time, was what I was doing. I recognised him, introduced myself, shook his hand and told him I knew who he was. It was Mick Malthouse, on his way to a game at “The G”, and he explained to me his agreement that they made great fires. He pointed to a spot back within Fitzroy Gardens and advised I’d find plenty there. That was it. We said goodbye to each other and since then, I’ve visited that “spot” several times and it has always yielded beautiful examples, and a fire or two.
Working in an auction house offers a unique perspective on the art market.
by wiebke brix, head of art
A Case for Contemporary Art at Auction
unlike galleries, which typically represent a stable of 10 to 20 artists, the auction world exposes us to an extraordinary breadth of artworks, spanning different periods, movements, and media. Every day brings something new—an artist we have never encountered before, an unusual composition, or a piece with an intriguing provenance. And beyond the art department, there is always something fascinating from other categories, with colleagues eagerly sharing curious finds and passion for their category.
But the auction world is not just about beautiful and rare objects. It is also about people. The secondary market exists because circumstances change—whether through estates following a passing, sales due to divorce or financial necessity, or collectors refining their holdings. Each consignment carries a story, often tied to significant moments in people’s lives. This gives auctions a profound role in the circulation and redistribution of art.
The auction market is often viewed with skepticism by contemporary artists and gallerists, some fearing that sales results could devalue their work. However, I would argue that auctions present an opportunity rather than a threat. At Leonard Joel, for instance, we engage a broad audience— far wider than many galleries. Artworks in our sales are seen by thousands of collectors, art enthusiasts, and dealers, many of whom might never set foot in a contemporary gallery. Exposure at auction can introduce an artist to new collectors and, indirectly, stimulate interest in their primary market.
The introduction of the resale royalty scheme ensures that artists receive five percent of the resale price, a crucial acknowledgment of their ongoing stake in their work’s value. While this does not equate to a complete benefit from every transaction, it represents a key step in supporting artists beyond the first sale. As of August 2024, eligible artists have benefitted from a share of $15 million in royalties since the scheme’s implementation, of which 65 per cent are First Nations artists.
The primary market is a crucial space where artists, galleries and dealers work directly with artists, providing the essential support they need to develop their practice. Unlike the secondary market, which resells individual works, the primary market is dedicated to showing and selling new bodies of work. This allows artists the financial and creative freedom to explore new ideas, experiment with different media, and push their practice
in new directions. Without this support, many artists would struggle to take risks or evolve their work. The personal relationships between galleries and artists are fundamental—not just in terms of sales, but in fostering an artist’s long-term career. It is about mentorship, encouragement, and providing a platform for artistic growth. Auction houses focusing on secondary sales allow galleries to do just that, a focus on the promotion of new work. Ideally, we would see a more unified approach—one where artists, galleries, and auction houses bring works to a broader audience and work collaboratively to celebrate contemporary art. This is why we are the only auction house in Australia holding an auction dedicated purely to contemporary art: Centum. Centum explores a different space in the market, one that embraces the possibilities of a more open and fluid exchange of contemporary art.
Artists and galleries owe buyers a market that allows them to pass on their artworks when they need to deaccession their collection for personal reasons. Collectors who have supported artists in the primary market—by purchasing their works and supporting their careers—should not be left without an avenue to sell when their circumstances change. The secondary market is not only inevitable but essential; without it, buyers might hesitate to invest in contemporary art in the first place. Having a structured and reputable auction market provides collectors with confidence, knowing there is an option available when they need to resell.
I hope for an art market that fully embraces the role of secondary auctions, where galleries and artists come together to support the contemporary art auction space. Instead of seeing auctions as separate or adversarial to the primary market, I envision a future where they are viewed as complementary, as a platform that extends the visibility of artists beyond the dedicated but often small circle of collectors tied to a single gallery or artist.
Our Centum Contemporary Art auction will take place on Monday 5 May at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
previous page:
Del Kathryn Barton (born 1972)
Dawn 2009
synthetic polymer paint, gouache, watercolour, pen and ink on canvas
Madeleine Norton, our Head of Decorative Arts & Art in Sydney, chats to antique dealer, Paul Kenny.
Paul Kenny: A Storied Career in Antiques
Paul Kenny has a wealth of knowledge and experience when it comes to antique furniture and decorative arts. Having worked in the industry since 1957, he opened galleries in both Sydney and London during his prominent career as an antique dealer. Now retired and living in Queensland, Paul speaks with us about his career and his collecting habits in advance of his personal collection going up for auction in May with Leonard Joel, Sydney.
How did your journey into antiques first begin?
In 1957 I had a share in an Antiques Shop in Orange NSW. Buying locally in the Bathurst area and occasionally in Sydney I was able to establish a small and loyal client base.
Tell us about Paul Kenny Antiques and about your galleries in both Sydney and London.
My time spent working for a major engineering company, mainly concerned with aircraft refuelling, gave me the opportunity to travel frequently to the UK and France. Often the free time on weekends allowed me to purchase antiques and send them by wooden cases to Sydney (this was before containers became available). For many years I had a wholesale business supplying the top of the antiques trade as well as a few well-known interior decorators. My association with the wonderful Bill Bradshaw led to my appointment, together with Bill, to provide the whole of the furnishings for the Elizabeth Bay House. Ultimately this led to the refurbishment of Vaucluse House, Elizabeth Farm and Lyndhurst. Clive Lucas and Dr James Broadbent provided constant support during these years.
What areas of interest have shaped your personal collection over the years?
As an antique dealer, the lure of the chase is very important, and the selling or collecting becomes secondary to the actual ownership, most dealers are not serious collectors. The items that I have kept are much more items of sentimental value or items I have kept by way of remembering someone.
Many of the items in our auction come from renowned dealer and doyen of Australian Antique Dealers, Bill Bradshaw, can you tell us about your friendship with Bill?
I first met Bill in the early 1950s, he was living with his mother at his first shop in lower Market Street Sydney, before he moved to Queen Street Woollahra in 1957. I met him as a purchaser, but his encouragement and enthusiasm and mentoring changed my life. It was his support that encouraged me to leave my safe career (with my wife and children to consider) and become a full time antique dealer. I, like many others, remember Bill fondly for his extraordinary generosity.
As an antique dealer, what was it that you would typically look for when considering making a purchase?
Style and authenticity. It won’t be of great interest to me unless it is from the era known as the Golden Age, roughly from 1760 to 1830.
Is there a special piece you sold that you will always remember?
An important Regency bookcase that I bought and sold twice is my most memorable item of furniture. As the sale price in its home in America was nearly half a million dollars it is memorable not only for its quality, but it also remains the most expensive item of furniture I ever bought and sold.
Can you pick out a few special pieces in the auction that have an interesting story behind them?
The fabulous Bradshaw bookcase was purchased from me in the UK with Bill Bradshaw in 1974. He regarded this bookcase as one of the finest pieces of furniture he had ever owned. Sadly, it will not fit into my modern retirement house in Queensland. Also left to me by Bill is his very heavy gold curb watch chain, together with the gold seal and his gold watch, with its Sydney retailer on the dial. Another extraordinary lot is the long case clock made for Burne Jones. It has paintings on the trunk door that have not been attributed to Burne Jones but the fretwork on each side of the hood are of the initials E C B J putting it, to my mind, beyond doubt as his clock. Also, it has a three-train movement of very high-quality ringing on eight bells.
What would be your advice to budding antique enthusiasts when considering purchasing pieces at auction?
My advice has always been to buy because you will always be sorry you didn’t buy it. Don’t be forever looking back thinking of something you should have bought. Geoffrey Bennison sagely said “open the handbag now rather than waiting twenty years for another to turn up or spending twenty years regretting it.”
The Paul Kenny Collection will be offered as a timed online auction in Sydney with bids closing on Monday 12th of May.
Very few gems can match the mystique and allure of these precious jewels, with their dazzling kaleidoscopic of shifting colours, making them one of the most beautiful gemstones on earth. But what makes Lightning Ridge’s opals so unique?
by steven milonas, head of fine jewels & timepieces
Lightning Ridge Opals, Australia’s
Pride and Joy
why do international jewellery houses, like Dior, Louis Vuitton and Piaget, adore these stones? Let’s dive into the captivating history, geology, and artistry behind these treasures.
The History of Lightning Ridge Opals
Opals have long been admired for their otherworldly play of colour. However, the story of Lightning Ridge black opals first began in the late 19th century, when these extraordinary gemstones were first discovered. Settlers in the 1880s, stumbled across black opals whilst grazing sheep in the region. Initially, they didn’t suspect the value of what they had discovered, but by the early 1900s, the mining boom had exploded, in part as a result of Queen Victoria’s love of opals and their ethereal nature. This also paralleled the Art Nouveau movement and its appreciation of the natural world, as opals, unlike sapphire or emeralds, need very little to enhance their beauty. Their glorious hues only require a surface polish, mostly en cabochon, to display a galaxy of swirling colours. Lightning Ridge itself is named after a legend involving a shepherd, his flock, and a lightning strike—but the real electricity comes from the opals found beneath the surface. By the 1920s, Lightning Ridge had cemented its reputation as the world’s premier source of black opals, a title held to this day.
What Makes Lightning Ridge Opals So Special?
Black or dark opals are the rarest and most valuable types of opal, and Lightning Ridge is the only place where they are mined in significant quantities. But why are they found here? The answer lies in the unique geology of the region. Around 100 million years ago, Lightning Ridge was part of an inland sea. As the sea dried up, silica-rich solutions filled cracks and cavities in the sandstone bedrock. Over time, this silica hardened into opal. What sets Lightning Ridge apart is this precise combination of geological factors, including the perfect balance of water, silica, and mineral impurities, which create the dark body tone that makes their opals so striking. Unlike white opals, which have a light or translucent base, black opals have a dark or black body tone that makes their colours appear more vivid and vibrant. This dark base acts like a canvas, amplifying the electric blues, fiery reds, and shimmering greens that dance across the stone’s surface.
The Science Behind the Play of Colour.
The term “play of colour” refers to the shifting rainbow of hues seen in opals. This phenomenon occurs due to the microscopic structure of the gem. Opals are made up of tiny silica spheres stacked in a grid-like pattern. When light enters the stone, it diffracts through these spheres, breaking into its spectral colours—similar to sunlight hitting a prism. In black opals, the darker background enhances this effect, making the colours appear deeper and more dramatic. Think of it like a fireworks display on a pitchblack night—the contrast makes the colours pop.
Opals in High Jewellery: The Dior Connection. The beauty of Lightning Ridge opals hasn’t gone unnoticed by the world’s leading jewellery houses. The creative director of Dior Fine Jewellery Victoire de Castellane, was a long-time muse for the late Karl Lagerfeld. Admired for her whimsical and organic approach, she uses black opals in her high jewellery collections, turning these Australian gems into masterpieces of wearable art. Her use of opals reflects her philosophy to create jewels that are both visually stunning and emotionally evocative. Victoire was also drawn to opals for their uniqueness, as no two gems are ever alike, as well as for their ability to tell a story through their colour combinations. For Dior and other luxury brands, black opals are more than just gemstones; they’re canvases. A single stone might evoke the shimmering waves of an ocean, the glow of a sunset, or the flicker of a galaxy. Paired with diamonds, sapphires, or even sculptural gold settings, these opals become the focal point of some of the most exquisite jewellery in the world.
There is undoubtedly something deeply personal about opals. Unlike other gemstones, which are prized for their uniformity, opals are celebrated for their individuality. Each one tells a unique story, with patterns and colours that seem to shift and change with the light—and the viewer’s perspective. This dynamic quality makes them endlessly fascinating and a true conversation starter.
left: Taylor Swift wearing Lorraine Schwartz opal earrings at the 77th Annual Golden Globe Awards / Alamy
right : A rare Australian opal Sold for $100,000
opposite:
Dior Haute Joaillerie, exhibits a magnificent selection of high jewellery pieces
steel armature, acrylic resin, cast and natural sheep, fish and chicken bones, woven vertebrae, dyed cotton, agates and sapphires
contemporary australian artists are increasingly pushing beyond the confines of traditional painting, embracing unconventional materials and techniques to create innovative, thought-provoking works. From digital processes to found objects and textiles, contemporary artists are challenging perceptions of art and its material possibilities. We are thrilled to present works by the following artists in our upcoming Centum Contemporary Art Auction.
Michael Staniak is known for his innovative approach to texture and materiality, blurring the boundaries between digital aesthetics and traditional painting. His artworks often resemble digitally rendered surfaces but are, in fact, meticulously crafted using layered pigments, casting compounds, and unconventional painting techniques. By incorporating materials such as acrylic, marble dust, pulverised DVDs and casting plaster, Staniak creates richly textured surfaces that evoke the pixelated quality of digital screens, while remaining deeply tactile. His practice explores the tension between the physical and virtual, responding to the way images are consumed in the digital age. The interplay of light and shadow across his relief-like surfaces further enhances their illusionistic depth, inviting viewers to question whether they are encountering a screen-based image or a painting.
Linde Ivimey takes a sculptural approach in her artistic practice, crafting hauntingly intricate figures from organic and found materials, including animal bones from birds, sheep and fish, skin, hair and fabric. Ivimey keeps the raw materials that she uses to create her works in neatly organised boxes and categorised on shelves, grouping the different types of animal bones, teeth, eggshells, fabrics and gemstones. These materials are highly personal to the artist and deeply connected to her life, as she uses bones from meals she has cooked and from animals she has raised, waxed hair and teeth she has been gifted. Ivimey’s sculptures are technically complex and highly detailed and she employs a variety of skills to form the pieces such as welding, cooking, weaving, wood carving and sewing. Whilst her work can be viewed as macabre and confronting, her sculptures carry a deep sense of narrative, often evoking themes of memory, mortality, and spirituality.
Rosalie Gascoigne redefined contemporary assemblage with her innovative use of alternative materials, transforming discarded objects into poetic visual compositions. Drawing inspiration from the Australian landscape, she repurposed weathered road signs and timber, corrugated iron, and linoleum, imbuing her works with a raw, yet lyrical sensibility. Gascoigne’s signature aesthetic of fragmented text, sun-bleached hues, and rhythmic arrangements, evokes both the beauty and desolation of the natural world. By elevating the everyday into art, she challenges traditional notions of medium and material, cementing her legacy as a pioneering force in Australian contemporary art.
Kristin Headlam is traditionally known as a painter, however, she expanded her practice into textiles, collaborating with the Australian Tapestry Workshop in the 1990s (formally known as the Victorian Tapestry Workshop) to translate her detailed, narrative rich compositions into woven form. Her largescale tapestries retain the painterly quality of her work, while engaging with the rich, labour-intensive tradition of weaving; translating her imagery into a tactile and dimensional form. Through this medium, Headlam challenges the boundaries of contemporary storytelling, demonstrating the enduring power of tapestry as a vehicle for both technical mastery and conceptual depth.
These artists exemplify a broader movement in contemporary Australian art, where material exploration is central to artistic expression. By stepping beyond conventional painting, they redefine what it means to create, challenging audiences to engage with art in new and unexpected ways.
Michael Staniak (born 1982)
Kristin Headlam (born 1953)
Maria Callas: La Divina’s Diamond Legacy
by lauren boustridge, senior jewellery specialist
left: Maria Callas, opera singer applying bracelet, Milano, October 1957 / Alamy
maria callas was not only one of the greatest voices in operatic history, but also a style icon. Born in New York in 1923 to Greek immigrant parents, she spent her early years in Athens, where she fine-tuned her musical talents. Her professional career begun in 1941 with a small role in Ponchielli’s La Gioconda, but it was her performance in Bellini’s Norma at Milan’s Teatro della Scala in 1947 that established her as a leading dramatic soprano. With her powerful voice and deep emotional expression, she redefined roles in the operas of Verdi, Puccini and Donizetti. Beyond her musical talents, Callas captivated audiences with her unique personal style, in which jewellery played a significant role.
Callas’ jewellery collection was not just an accessory to her glamorous persona—it was deeply intertwined with her career and personal life. Her first husband, Giovanni Battista Meneghini, gifted her exceptional pieces to mark milestones in her career. In his memoir Callas, Mia Moglie, Meneghini revealed that he commemorated each of her major premieres with jewellery named after the operas she performed. For Lucia di Lammermoor, he gifted her a diamond set comprising a necklace, bracelet and ring. For La Traviata, she received an exquisite set of emeralds, while Medea inspired a striking set of rubies and diamonds that echoed the opera’s intense drama. These pieces were more than just luxurious gifts; they were symbols of her success and artistic achievements.
One of the most treasured pieces in Callas’ collection was a diamond brooch with a scroll design and a rigid tassel, given to her by Meneghini to celebrate her Italian stage debut at the Arena di Verona. This brooch symbolised her transformation into La Divina, the opera world’s ultimate icon.
As her career flourished, Callas expanded her collection with pieces from renowned jewellery houses such as Cartier, Van Cleef & Arpels and Harry Winston. A particularly famous piece in her collection was the 11.71-carat marquise diamond ear clips, likely from Harry Winston. In 1971 she also acquired an iconic Cartier panther brooch crafted in gold with emerald eyes sitting atop a carved white chalcedony, which became one of her signature pieces.
In 1959, after parting ways with Meneghini, Callas began a passionate relationship with shipping magnate Aristotle Onassis. Onassis showered her with extravagant jewellery, particularly from Van Cleef & Arpels. She famously told author Peter Evans in an interview “Ari’s total understanding of women comes out of a Van Cleef & Arpels catalogue”. Among his most notable gifts was the Cinq Feuilles brooch, a dazzling arrangement of five ruby-centred leaves encased in diamonds that she enjoyed wearing on her evening gowns.
Even after Onassis left her to marry Jackie Kennedy, Callas remained loyal to Van Cleef & Arpels, purchasing several exquisite pieces for herself. She frequently wore a Van Cleef & Arpels three-stranded pearl sautoir featuring a regal lion motif and a lavish tassel, a piece some interpreted as a representation of her fiery personality.
Callas’ jewellery collection continues to captivate enthusiasts and collectors. In 2004, an auction of her pieces fetched record-breaking prices, demonstrating the ongoing fascination with her legacy. More recently, Angelina Jolie, who portrays Callas in Pablo Larraín’s biopic, paid homage to the diva by wearing her Cartier panther brooch on the red carpet at the Venice Film Festival. The same brooch is featured in the film, emphasising Callas’ enduring influence on fashion and style.
Maria Callas’ jewels were more than just beautiful ornaments; they were symbols of her triumphs, her passionate relationships and her transformation into a legend. Just as her voice lives on in the recordings that continue to mesmerise opera lovers, her jewellery remains a testament to her status as one of the most enigmatic and captivating icons of the 20th century.
left: Cartier a dazzling 18ct gold, diamond and emerald 'Panthère de Cartier' pendant/ brooch, circa 1985 Sold for $100,000
right:
Angelina Jolie at the 81st Venice International Film Festival for the premiere of the film Maria / Alamy
In the extensive Chanel secondary market, there are no shortages of rare objet d’art to discover and captivate even the most discerning luxury collector.
by indigo keane, luxury specialist
Spotlight on the Subversive
A model wears a Chanel shopping basket creation by Karl Lagerfeld in the set of a Chanel Shopping Center in the Grand Palais in Paris, 2014. / Photo: Hendrik Ballhausen/ dpa -NO WIRE SERVICE/KEIN BILDFUNK-/dpa/Alamy Live News
from the novelty 1993 Chanel quilted hot water bottle holder, to the appetizing 2015 quilted Chanel Menu clutch, each collectible is a testament to the brand’s innovative spirit and commitment to unparalleled luxury. In particular, Karl Lagerfeld’s tenure with Chanel produced some of the most offbeat, unique, and tongue-in-cheek collectors’ items, and his visionary approach and playful spirit resulted in some of the most iconic pieces on the secondary Luxury market. We have selected a few highlights to keep your eyes out for.
Chanel Brasserie Gabrielle Menu
With the Grand Palais transformed into a Parisian Bistrot for the 2015 Chanel Spring/Summer show, the corresponding Menu Clutch became a must-have offering. In the shape of a Bistrot Menu, this piece was punctuated with Chanel’s iconic front flap, and a Mademoiselle turnlock closure, making this a functional yet mouthwatering accessory.
The Philip Barland Limited Edition Surfboard
In 2016, acclaimed film director Baz Luhrmann created a Chanel No.5 short film, featuring supermodel Gisele Bündchen in a custom wetsuit with an exclusive Philippe Barland Limited Edition surfboard, produced in collaboration with Chanel. Offered in extremely small quantities, this rare and unique piece showcases Barland’s artistic vision combined with Chanel’s timeless elegance. We are delighted to feature a Chanel surfboard in our upcoming Luxury auction in April.
Chanel XXL Shopping Basket
The Chanel 2014, Autumn/Winter show, saw the Grand Palais transformed once again into a purpose-built Chanel Supermarket. A testament to Chanel’s ability to transform the mundane into the extraordinary, the XXL Shopping Basket from this collection elevated an everyday object, to a chic accessory, dangling stylishly from the arms of top models, as they collected CC stamped essentials like Panettone, Ketchup, Champagne and laundry powder. The Chanel Supermarket goes down in history as one of Largerfeld’s most iconic and subversive creations, making the Chanel XXL Shopping basket a true collector’s item.
Chanel XL Hula Hoop Bag
Although Coco may have rolled in her grave in horror during the Chanel Spring/Summer 2013 collection, the Chanel Hula Hoop Bag holds a strong case for “the bigger, the better”. This oversized wheel shaped bag, with its plump and luxurious quilted lambskin and leather-wrapped handles, is a must-have for collectors who appreciate Karl Lagerfeld’s more tongue-incheek idea of practicality. The man-size bag was never intended for sale however, but for display as part of the collection, making it a collector’s dream if you can get your hands on one.
Chanel Reissue Anklet Pouch
The Chanel, 2008 Spring/Summer show, featured the Chanel Anklet Pouch, which may just be the nod to Lindsay Lohan that everyone needed. Styled as a mini lambskin 2.55, this compact, hands-free pouch, is perfect for carrying a card, key and lipstick, and embodies the brand’s commitment to both style and efficiency (when travelling light!).
The Chanel secondary market is a treasure trove of collectible and rare items that you simply won’t find in a Chanel boutique. Each unique piece, whether it’s a pair of Chanel Ice Skates or a Chanel Tennis Racket, reflect not only the brand’s luxurious heritage but also the creative spirit instilled by the visionaries of the time. For collectors and enthusiasts alike, delving into this vibrant marketplace offers the chance to discover exceptional items that encapsulate the essence of Chanel’s legacy over time, making it an invaluable resource for those seeking to curate a truly distinctive collection.
Our Luxury auction will take place on Tuesday 15 April at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
$22,000-30,000
Luxury Auction 15 April 2025
opposite left:
A model displays an anklet bag creation by German designer Karl Lagerfeld for Chanel, 2008
Photo by Khayat-NebingerOrban-Taamallah / Alamy
opposite right:
A runway hula hoop bag by Chanel
below:
A model walks the runway, with the Chanel menu bag.
Photo by Antonio de Moraes Barros Filho / Getty right: Chanel, Philippe Barland Surfboard
The Golden Hour
by patricia kontos, senior timepieces specialist
How the World’s Most Beautiful Element Shaped Watch Design and Desire
Universally, even before recorded history, gold has reigned supreme as the most valuable, most precious, most coveted metal in human perception, in all its forms from mineral, to commodity to precious object. Yet in watch collecting circles, certain sectors are divided, even averse, to the chemical element (atomic number 79), sitting anywhere near their timepieces. Some would posit that gold is inappropriate, even in poor taste, except on a true dress watch, preferring to pay for the precious skills of watchmaking rather than the precious metal of gold. Just to be clear: zero presence of gold unless it’s in the rotor.
Gold watches as we think of them today tend to take form primarily as elegant, luxurious and expensive yellow and white gold bracelet watches, popular in the 50s through to the 70s, befitting of an era considered a golden age for economic growth in the West. Gold watches were seen as obvious status symbols, exuding wealth, success and sophistication. Wearing an all gold watch was not only a fashion statement, it was an economic indicator often attached to a certain persona that enjoyed a privileged, materially successful lifestyle with status and position, perhaps as a winning company man. I’m thinking the Mad Men era, where even Don Draper is seen wearing a gold dress watch, in his case an Omega De Ville.
As the seventies drew to a close, we saw a spike in the rise of individuality and in an anti-conformist casual chic, aligned to an overall societal casualisation and loosening of strict social norms. A trend emerged that drew people away from wearing the formal, obvious, perhaps even gaudy, wealth and status symbols. New technologies generated higher standards bringing advances and efficiencies in mass production and pared back processes. Opulent excess was just no longer considered “cool man” and alongside other unorthodox design materials such as plastics, vinyl and chrome, we also saw an ascendancy in silver in luxury fields across the board. Enter too the ascendancy of interest in the tool watch, in effect instruments which had been utilised
decades earlier by astronauts and deep-sea divers, aviators and explorers. Distinctive, rugged and reliable, these watches were composed of ready-to-work utilitarian metal, stainless steel, and would rise to become ‘holy grail’ watches. Certain sought-after stainless steel models, especially those from premier makers such as Patek Philippe and Audemars Piguet, commanding prices that not only rival but surpass those of the similar reference in gold.
Yet in tracking the constant ebb of movements in the watch collecting world what has been steadily flowing is a piqued interest in gold watches, these bracelets that wear like a second skin speak of a bygone era of chic elegance, luxury and sophistication and now it seems everyone wants a piece of this vintage action and charm. Whereas ingenuity and craftsmanship may have long been considered the purview of stainless steel, I’d argue one would be hard pressed to find any watch that rivals the artistry and creativity of a gold Polo bracelet watch, by way of example. The Polo may once have been worth less than its scrap value, but today these models well and truly transcend their gold weight value. Perhaps you didn’t think to associate creativity with gold watches, the sheer ingenuity of the Corum gold ‘time is money’ coin watch puts pay to that. What of innovation? It is little known that Rolex beat the AP Royal Oak to the mark when in 1964 it released a sapphire crystal, fully integrated bracelet watch, sculpted from a block of solid 18ct gold aptly named the King Midas it was indeed fit for a king– speaking of which, Elvis was known to wear one.
Today, the notion that the place of gold bracelet watches is in the sphere of jewellery, not the horological world is as outdated as the idea that gold bracelet watches are little more than frivolous ornaments. More than merely a statement in style the resurgence of gold bracelet watches have reclaimed their position at the forefront of the watch connoisseur’s radar. Alluring in equal parts investment value, elegance, refinement and innovation, you can hardly be blamed for lusting after one.
opposite:
Vintage Omega
Constellation watches / Alamy
right:
Patek Philippe Ellipse Ref 3748-001 an 18ct gold bracelet watch, circa 1983
far right:
Omega Deville an 18ct gold bracelet watch, circa 1970
Tiaras have captivated society for millennia, serving as powerful emblems of status, divinity, and refinement.
by hamish sharma, head of important jewels
Crowning Glory: The Enduring Appeal of Tiaras
their origins can be traced to the ancient civilizations of Greece, Egypt, and Rome, where rulers and deities adorned their heads with simple diadems or wreaths as symbols of power. The Greeks honoured their gods, heroes, and victorious athletes with laurel wreaths which were later crafted into gold, whilst Roman rulers and high-ranking officials donned these sacred symbols at weddings and banquets.
During the Middle Ages and Renaissance, tiaras became a prominent feature in European courts, evolving into increasingly elaborate designs. By the 18th and 19th centuries, they had become essential accessories for aristocratic women, worn at grand events and royal gatherings. The rise of esteemed jewellers like Chaumet, Cartier, and Fabergé in the 19th and early 20th centuries elevated the tiara to an art form, incorporating exquisite diamonds, pearls, and gemstones into intricate, nature-inspired motifs—laurel leaves, shells, waves, wheat sheafs, roses, and lilies.
Many 19th-century tiaras were designed for versatility, allowing them to be worn in multiple ways. While they served as elegant headpieces for grand occasions, many could be converted into necklaces for less formal events like operas or black-tie gatherings. Some were even crafted with detachable elements that transformed into brooches, hairpins, earrings, or bracelets, offering a more understated way to wear these exquisite jewels in everyday settings. Lot 62, a Belle Époque diamond tiara to be offered in the Important Jewels auction in Sydney on April 8th features a detachable pendant necklace and earrings
Following World War II, tiaras re-emerged as the hallmark of royalty, Hollywood starlets, and high society, making notable appearances at royal weddings, such as most recently at the ceremonies of the Duchess of Cambridge, the Duchess of Sussex, and Princess Eugenie. An enduring tradition of handmade craftsmanship connects the crowns of foliage used to worship ancient gods to the glittering headpieces worn by modern monarchs. Queen Victoria received a series of tiaras designed by Prince Albert, many of which passed into the custody of Queen Elizabeth II, who owns the largest collection of tiaras in the world.
Today, tiaras remain among the most coveted collector’s items, valued for their rarity, craftsmanship, and storied histories. They serve as tangible links to generations of European aristocracy, reflecting both past opulence and future legacy. Whether worn at weddings, state banquets, or high-profile galas, tiaras continue to symbolize elegance and grandeur.
With their timeless elegance and rich symbolism, tiaras continue to transcend trends, embodying both history and enduring sophistication.
TIARA TERMINOLOGY
The term “tiara” broadly encompasses various styles of ornamental headpieces, including:
Diadem
Originally used in ancient Greece to describe a bound head ornament, the term later referred to a decorative band worn by monarchs.
Circlet
A tiara that encircles the head completely or nearly so.
Bandeau
A sleek, low-profile headpiece, often worn across the forehead, particularly fashionable in the early 20th century.
Kokoshnik
Inspired by traditional Russian headdresses, this style features a wide, elevated design, often resembling a fringe of diamonds or a solid chevron-shaped panel. Jewellers like Fabergé popularized kokoshnik tiaras in the 19th and early 20th centuries.
Aigrette
A decorative piece worn above the forehead, designed to hold a plume of feathers or resemble a feather motif, drawing its name from the egret bird.
Coronet
A small crown, typically worn by lesser nobility and peers. The number of decorative elements, such as pearls or balls, denotes the wearer’s rank.
Our Important Jewels auction will take place on Tuesday 8 April at 6pm in Sydney. For viewing times and to see the full catalogue please visit our website.
far left:
Amanda Seyfried wearing Melodie Nacree diamond and white gold tiara by Chaumet. Attending the Metropolitan Museum of Art Costume Institute
Benefit Gala 2024 in New York, USA / Alamy
left:
Elizabeth Taylor wearing the Mike Todd Diamond Tiara, at the Golden Globe Awards, 1958 / Alamy
right: Ivan Kramskoi's portrait of Mari Fyodorovn, Empress of Russian wearing a diamond Kokoshnik Tiara, circa 1880 / Alamy
From Sketch to Print: The Precision of Jeffrey Smart’s Lithographs
by hannah ryan, senior prints & multiples specialist
jeffrey smart (1921-2013), one of Australia’s most celebrated painters, built his reputation on meticulously composed urban landscapes – scenes of stark geometry, bold colour, and an unsettling stillness. Whilst best known for his paintings, Smart also explored printmaking, collaborating with master printer Neil Leveson (1948-1992) at the Australian Print Workshop (APW) in the 1980s. The resulting lithographs reflect his characteristic precision, offering a fascinating insight into how Smart adapted his vision for a new medium.
By the time he arrived at the APW, Smart was a firmly established artist, having spent decades refining his distinct aesthetic. His decision to create prints was not a casual experiment but a carefully considered extension of his practice. Central to this transition was his collaboration with Leveson, a master print technician who helped translate Smart’s compositions into the language of printmaking. Known for this meticulous creative process, Smart did not approach printmaking spontaneously, instead he developed preliminary sketches and detailed studies that mapped out every element of the final outcome. These sketches served as blueprints for the final print, allowing Smart to refine perspective, balance, and spatial relationships before the final process of printing.
Smart’s paintings are defined by their crisp edges and smooth surfaces, elements that do not easily lend themselves to the natural forms of lithography. Unlike oil painting, where layers can be altered and refined over time, lithography requires precise planning from the beginning. His preliminary sketches played a crucial role in this process, helping to ensure that each piece of the puzzle was carefully structured before it reached the printing stage, and with Leveson’s technical guidance, Smart translated these sketches on to lithographic stones. The process required multiple proofing stages, with Smart making adjustments to tonal and line aspects, along with spatial depth to achieve the clarity and precision that he was seeking.
The Last Train (1989) exemplifies Smart’s structured approach. The preliminary sketches show his drafting process, with the composition carefully plotted before the final prints were produced. The print itself presents an empty railway station at dusk, bathed in artificial light. The stark stairs leading into the platforms, angular structures, and a lone figure on the stations edge, enhance the sense of solitude and quiet anticipation. As with his paintings, every element in The Last Train is precisely positioned, demonstrating Smart’s ability to create tension through his artistic language.
Jeffrey Smart’s collaboration with Neil Leveson at the Australian Print Workshop resulted in a small but significant body of prints that stand as testaments to his artistic discipline. The preliminary sketches, the meticulous proofing process, and the seamless transition of his vision into print all reinforce Smart’s reputation as a master of stillness. Even in print, he remained an artist of precision, discipline, and quiet intensity – his cityscapes and structures forever frozen in perfect, geometric balance.
Our forthcoming April Prints & Multiples auction presents an important edition of The Last Train, accompanied by three preliminary printers sketches from the Estate of Neil Leveson.
Our Prints & Multiples auction will take place on Wednesday 16 April at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
Art & Friendship: The Attilio Guarracino Collection of Art and Asian Decorative Arts
by chiara curcio, head of decorative arts, design & interiors
attilio guarracino had an enduring and infamous friendship with Australian Artist and writer Donald Friend (1915-1989). The pair first met in Attilio’s birthplace of Ischia, Italy in 1951, forming a romantic, but short partnership with Attilio, as both his lover and model. Despite the brevity of their romance, they remained very close companions until Friend’s death in 1989. Their relationship matured into a platonic relationship, and though Attilio held various positions after arriving in Australia he eventually become Friend's art agent in Australia from 1968-1976.
Friend was publicly known for living a bohemian lifestyle, and as an avid traveler, spent many years abroad roaming between England, Africa, Greece and Italy. During this time, he practiced different art forms, ranging from painting, drawing, lost wax bronze casting, and writing. Friend’s writing extending from published books, as he was known for his diaries, which were donated to the National Library of Australia, on the proviso they would only be published upon his death. His diaries intimately chronicle his complex life in over two million words. As a leading figure in early Australian Modern Art, this remarkable historical account of his life includes relationships with significant artists and figures such as Margaret Olley, Jeffrey Smart, Barry Humphries, Mick Jagger and Gore Vidal, as well as his time as a gunner on the Australian Imperial Force during World War II.
Despite his full and busy life, a strong and enduring theme throughout his diaries is his life-long friend, Attilio Guarracino. Friend’s diaries document the pairs friendship and many adventures, starting from Guarracino’s move to Australia in 1951, as well as their travels abroad together, including their time spent apart, always followed by a recount of their reunion. Upon Friend’s death, Guarracino was gifted a large part of Friend’s estate, which was housed in his Hawthorn property and consisted of works the pair had collected throughout their travels. In 2013 a portion of the collection was offered for auction with Deutscher and Hackett. The successful first offering had strong international interest, with a third of the sales sent to overseas buyers, with the auction grossing $1.17 million IBP.
Many of the works retained by Guarracino will be offered in our forthcoming auction, celebrating the duos friendship, life story and travels. The eclectic collection can be segregated into four collecting categories, Art, Asian ceramics, furniture and various Asian Decorative Arts. The art component encompasses various artworks by Friend, and other artists such as S.T. Gill, Russell Drysdale and William Dobell, showcasing Friend’s contemporaries and influences. The furniture, ceramics and other Asian arts, were all collections formed during the pairs travels, including a large collection of blue and white porcelain, Indo-colonial furniture and various artefacts from Indonesia, including a documented hardwood carving by 20th century Balinese artist I Nyoman Cokot (Tjokot). Amongst the many works by Friend, there are dedicated works inscribed to Attilio, such as ‘Gods Visit the Self Portraitist (Flora, Amor, Bacchus and Faun), 1954 and ‘St Sebastian’, inscribed “verso Skyros, Greece, for Attilio, 1968”.
It is a rare privilege to have an intimate insight into an artist’s personal memories and items, outside of the artwork they produce. In an exert from Friend’s diary entry in December 1974, Bali, he states… “Attilio came soon after Christmas, so once again I feel the assurance I need. Of course we’ve so far done nothing but sit talking and talking….And of course much time in the museum where the porcelain is his especial interest. We selected a number of pieces- (Soong and Ming for the most part) for his collection in Melbourne. Blue and white is his first interest….but now he begins to find the simpler and subtler celadons and white Soong and Mings bowls more to his fancy. And of course, I get great pleasure from his appreciation of these things- an appreciation devoid of precocity”.
We look forward to offering this important Australian collection to market and celebrating a significant friendship.
The timed online auction will end on May 19th, with limited in person viewings on the 17th-18th of May at the Hawthorn property.
The The Attilio Guarracino collection of Art and Asian Decorative Arts will be offered as a timed online auction in Melbourne with bids closing on Monday 19th of May.
opposite:
Donald Friend (1915–1989)
Gods visit the Self-Portraitist (Flora, Amor, Bacchus and Faun) oil on canvasboard
35.5 x 45.5cm
$12,000-18,000
left: Donald & Attilio with their first Land Rover, Hill End, circa 1950
right:
Donald Friend (1915–1989)
St Sebastian oil and gold leaf on pine panel
18 x 19cm (irregular)
$1,400-2,000
FIVE MINUTES WITH NADIA BARBARO
Our Leonard magazine
Editor is in the hotseat this month.
what is your favourite auction purchase?
Several lots of almost complete collections of 1980s, 1990s and 2000’s Vogue magazines, a combination of British, American and Australian Vogues in perfect condition.
if money were no object, what would be your dream auction purchase?
The ruby slippers from The Wizard of Oz, anything belonging to Marie Antoinette, and a costume from the Golden Age of Hollywood, from Adrian or Edith Head.
what are you currently streaming/listening to?
I love audio books, I’m listening to Anthony Bourdain, Kitchen Confidential. A podcast I really enjoy, which is gossipy and silly, is Significant Lovers, the hosts research into the timeline of various famous couples in history, from Cleopatra to Jude Law and Sienna Miller, it’s really well researched and fun to listen to.
what is your favourite movie?
So many movies that I love. My childhood favourite film was Return to OZ, my teens were all about Tim Burton films and then later on anything Sofia Coppola. Right now, I've just discovered Powell and Pressburger, from the 1940s and 50s, and love their films.
leonard joel staff all seem to have a side project or creative hobby, what’s yours?
It’s a bit of a nanna hobby, but I do love to embroider, when I get the time!
22ND REPORT
by international fund for animal welfare (ifaw)
Young artists inspire investment in conservation
A painting titled ‘Witness’, which depicts a scene of deforestation reflected in the eye of an owl, has taken the top prize in the World Wildlife Day 2025 International Youth Art Contest.
The work of United States artist Keira Cheng, 18, was chosen from more than 3,400 entries covering 140 countries and sovereign areas, in a competition that highlighted exceptional talent and dedication to wildlife conservation.
This year marks the seventh annual contest hosted by the International Fund for Animal Welfare (IFAW), in partnership with the Secretariat of the Convention on International Trade in Endangered Species of Wild Fauna and Flora (CITES) and the United Nations Development Programme (UNDP).
The theme for this year, “Wildlife Conservation Finance: Investing in People and Planet,” highlights the urgent need for innovative funding solutions to protect wildlife and their habitats for future generations.
Ms. Cheng was recognised as the overall winner and for the 1518 age bracket as part of today’s official United Nations World Wildlife Day celebration in Geneva, Switzerland. “Best in Age” winners were also recognized including:
• Muthumuni Saven Diniru, Age 6, Democratic Socialist Republic of Sri Lanka, Ages 4-6
• Levi, Age 7, Republic of South Africa, Ages 7-10
• Bethel Wendo, Age 14, Republic of Kenya, Ages 11-14
This year’s finalists represent Thailand (two finalists), Australia, Sri Lanka, China, South Africa (two finalists), Bangladesh, Ghana, Kenya, the United States, and Kazakhstan. Their artworks celebrate a diverse array of species, including hippos, koalas, elephants, puffins, pangolins, rhinos, cheetahs, giraffes, and birds.
Artworks from 12 semi-finalists were selected by a panel which included representatives from IFAW, CITES, UNDP, the Jackson Wild creative forum, and lifestyle brand, Munchkin. Guest judges included celebrated syndicated cartoonist Jim Toomey, and last year’s art contest winner, 5-year-old Isaac Lam from Hong Kong SAR People’s Republic of China.
IFAW CEO & President Azzedine Downes said art has the immense power to both inspire and ignite change.
“In addition to displaying their incredible talent, this contest allows young people to showcase their unwavering commitment to a future where both wildlife and people thrive together. By investing in conservation, we are ultimately able to invest in communities and local economies, as well as in the very foundation of life on our shared planet.”
CITES Secretary-General, Ivonne Higuero said that we must ensure the survival of plant and animal species in the wild, for the good health and existence of our planet, our own good health and existence, and the livelihoods and food security for millions of people around the world.
“This contest reminds us that the next generation understands the importance of conserving nature—and that innovative solutions, including sustainable financing, are essential for lasting impact.”
“Protecting wildlife is an investment in a sustainable, livable future, according to Midori Paxton, Director of the Nature Hub, United Nations Development Programme.
“These young artists have captured the beauty and urgency of conservation, and seen through the eyes of the next generation, their art also offers a powerful reminder that the lives, hopes and opportunities of children today depend on decisions that ensure both people and planet can flourish.”
The winning artworks will be featured in Geneva and other high-level events around the world to celebrate World Wildlife Day, reinforcing the powerful link between art, youth engagement, and the future of wildlife conservation.
Thinking of selling?
Art Jewellery Luxury Decorative Arts Modern Design +
With astute local market knowledge and extensive global experience, Leonard Joel offers the broadest range of specialist expertise in Australia. Scan the QR code and discover the value of your piece or collection with a complimentary online valuation, book an appointment with one of our specialists, or join us at one of our regular valuation days.
ISSUE 49 OUT NOW
MARINA ABRAMOVIĆ, TONY CLARK, ETHEL CARRICK & ANNE DANGAR, MIKALA DWYER, STEPHEN JONES, FRIDA KAHLO, MARK MANDERS, WURRANDAN MARAWILI, DHAMBIT MUNU GURR, LISA REIHANA, HENRY ROY, CARLA SOZZANI, MARK STEVENSON, PRITA
ROSE WYLIE Ballet Backdrop, 2024 oil on canvas in four parts 366 x 304 cm (overall).
In this feature, we revisit a handful of beautiful and extraordinary pieces that have passed through our doors since the last issue.
“This is one of the many highlights from a single owner collection that resulted in two white glove sales. All proceeds were donated to a wonderful cause, The Winchester Foundation, that provide educational scholarships to youth in regional areas. ” / Troy McKenzie, Queensland Representative Specialist
AN ART DECO STYLE DIAMOND, EMERALD & RUBY RING
Sold for $7,500
A Queensland Estate Jewellery Collection Part II, November 2024
Achille Castiglioni 'Taraxacum 88' for Flos
Sold for $4,750
Modern Design, February 2025
An Important and Rare Chinese Blue and White and Iron Red Ground Square Double-gourd "Eight Musical Instruments" Vase, Longqing Six-character Underglaze Mark and of the Period(1567—1572)
Sold for $200,000
Fine Chinese and Asian Art, March 2025
“This overwhelmingly iconic vintage Tom Ford for Gucci Horsebit handbag, doesn't need to rely on a logo to make a statement. With its orange enamel, contrasting pink silk, bamboo metal chain strap and oversized horsebit - it's no wonder why this piece caused an absolute bidding war! ” / Indigo Keane, Luxury Specialist
Sold
“Li Chen's Visiting Fairland 2004 is a large-scale bronze in an edition of 8, and an exceptional work by an internationally significant artist. It is rare to see international art of this caliber come to market in Australia. I love the sense of balance and serenity in Li Chen's work, the way it combines traditional aesthetics with contemporary form. Having the opportunity to offer such a unique and important sculpture was exciting.” / Wiebke Brix, Head of Art
LI CHEN (Taiwanese, born 1963) Visiting Fairyland 2004
Sold for $150,000 Fine Art, October 2024
TOM FORD FOR GUCCI, HORSEBIT CONVERTIBLE CLUTCH
for $3,000 Luxury - The South Yarra Edit, November 2023
GABRIEL CORNELIUS VON MAX
(Austrian, 1840-1915)
Nerita
Sold for $7,500
The Collector's Auction, March 2025
A Diamond Necklace Sold for $37,000
The Lilian Rollason Collection, March 2025
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.
browse
Browse our online auction catalogues or view in person at one of our salerooms.
bid
Create an account online and use it whenever you bid. You can also receive Lot alerts tailored to your interests.
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.
now delivering
Get your auction purchases delivered straight to your door with Leonard Home Delivery (Melbourne only), our convenient, fast, reliable delivery service managed by our in-house team. Please visit our website for more information or contact delivery@leonardjoel.com.au
connect
Subscribe to our email newsletter through our website to stay up to date with news on upcoming auctions, special events, and industry insights. website leonardjoel.com.au instagram @leonardjoelauctions facebook facebook.com/leonardjoelauctions youtube youtube.com/user/leonardjoel1919
thank you to our leonard magazine partners
The Hughenden Boutique Hotel, Soak Bar + Beauty, Mrs Banks Boutique Hotel
VALUE, SELL & BUY
Contact a Leonard Joel Specialist
managing director & head of important collections
John Albrecht 03 8825 5619 john.albrecht@leonardjoel.com.au
Auction Specialists
important jewels
Hamish Sharma
Head of Department, Sydney 02 9362 9045 hamish.sharma@leonardjoel.com.au
fine jewels & timepieces
Steven Milonas
Head of Department 03 8825 5645 steven.milonas@leonardjoel.com.au
fine art
Wiebke Brix Head of Department 03 8825 5624 wiebke.brix@leonardjoel.com.au
Amanda North
Senior Fine Art Specialist 03 8825 5644 amanda.north@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
