In this issue, we reflect on works by some of Australia’s most celebrated Impressionist artists, featured in the upcoming auction A Private Collection of Important Australian Art We journey from the minimalist architecture of Tadao Ando to the opulent interiors of Highclere Castle, and wander the quiet streets of Venice in winter.
We chat with restaurateur and avid collector Jason M Jones, delve into the Quiet Luxury trend, the enduring influence of Diana’s iconic jewels, and much more.
We hope you enjoy.
auction calendar
August – September 2025
features My Venice Light Lasting Impressions
Tadao Ando: MPavilion 10 Highclere Castle Unveiled In Conversation with Anna Mortley The Diana Effect: Three Jewels That Defined a Royal Icon
Bridget Riley: The Art of Seeing in Print A Day in the Life of Chiara Curcio In the Air Tonight
Love Story, Set in Stone Collector’s Corner
A Dialogue in Fashion, A Dialogue in Design Golden Fortunes
in focus
Five Minutes with Phoebe East 22nd Report: Saving the Super Tuskers A Last Look join us Connect Value, Sell & Buy
cover: Rupert Bunny (1864-1947)
The Sonata c.1910 (also known as La Sonate) 80 x 64cm
A Private Collection of Important Australian Art Auction 25 August, 6pm
below: A Chinese celadon white
jade carving of a Horse and a monkey, Qing Dynasty (1644 - 1911)
Fine Chinese and Asian Art Auction 11 August, 12pm
Fine Chinese and Asian Art
Mon 11 Aug, 12pm
Melbourne
AUGUST –
SEPTEMBER 2025
September
Sidney Nolan, Works from the Artist's Studio
Tue 12 Aug, 2pm Melbourne
California Dreaming, Treasure Hunting in the USA
Mon 18 Aug, 6pm
Melbourne
Sydney Jewellery Edit
Tue 21 Aug, 2pm
Sydney
A Private Collection of Important Australian Art
Mon 25 Aug, 6pm
Melbourne
Important Jewels
Tue 2 Sep, 6pm
Sydney
Specialist Rugs Thu 4 Sep, 2pm
Melbourne
The Collector's Auction
Tue 16 Sep, 2pm
Sydney
Women Artists
Mon 22 Sep, 6pm
Melbourne
The Auction Salon
Furniture & Interiors
Objects & Collectables
Jewellery
Art
Every Thu from 10am
Online Only
clockwise: Frederick Mccubbin (1855-1917)
The Artist’s Garden, South Yarra oil on canvas 49.5 x 59.5cm $80,000-120,000 Rupert Bunny (1864-1947)
My Venice Light
by john albrecht, managing director & head of important collections
walking the streets of Florence and Venice in the depths of winter - particularly in the late afternoon - gave window shopping, or simply window-gazing, an eerie feel. Period buildings with shop windows that respected their historic surroundings, often dimly lit, gave the appearance of displays fixed in time. It all added to just how wondrous it is to walk these ancient cities.
In Florence, I glanced at a most delicately constructed three branch light in a decorator’s window. It stood on a simple black square base with no cords to disturb its design and feel. To me, it looked like a miniature version of some elegant streetlight. I remembered that light in the window and could not get it out of my head. I began seeing it in other window displays. Focused on walking and exploring rather than shopping, I let it be. But its sleek brass lines, considered design and scale stuck with me.
A few days later in Venice, I stumbled upon what I would - despite limited experience - describe as the most beautiful boutique department store in the world, within the Fondaco dei Tedeschi. Once overseen and run by Bottega Veneta and then later DFS, it spanned multiple levels and offered gifts, clothing and homewares, all within a 400-year-old arched open-square interior. On a shelf toward the back sat my lamp! I asked a staff member if they had a new one in stock. She checked - no, it was the last. I briefly dithered, but my wife encouraged me to get over my concern about it being a display model, and I decided to buy it. They even found the original box, which fitted the lamp perfectly and set it up well to travel safely as carry-on-luggage.
It now sits in my living room, rechargeable with three light settings, and every time I turn it on it reminds me of the magic of those two cities: the dark walkways I experienced there and the joy of discovery. I call it “my Venice light” but it’s known as the Knokke table lamp, designed by Éric de Dormael and manufactured by DCW Editions. They describe it as ideal for a dinner table setting as the light recreates the soft effects of candles, but to me it’s more monumental than that, more architectural and reminds me of a model yet to be created in full scale. In my home it sits comfortably amongst the old and the new, and it is for me a perfect little example of how great contemporary design can blend effortlessly with period pieces. That is the story of “my Venice light”.
opposite:
John's 'Venice Light', the Knokke table lamp
right:
The Fondaco dei Tedeschi courtyard in Venice
below:
The Fondaco dei Tedeschi shopping center on the Grand Canal in Venice
A Private Collection of Important Australian Art
by wiebke brix, head of art
Lasting Impressions
Frederick McCubbin (1855-1917)
The Lime Tree (Yarra River from Kensington Road, South Yarra) 1917
i still vividly remember my first encounter with Frederick McCubbin’s The Pioneer, which was not long after I arrived in Australia. The monumental, deeply moving triptych that depicted for me, a very relatable reflection of the “migrant experience,” of what it means to adjust to an unfamiliar environment, to a new life. What struck me then, and still does now, is McCubbin’s ability to convey meaning through painting. This timeless and important work of art proves that true artistry is not defined to a time or place.
That memory returned to me immediately when I first encountered this collection of important Australian art, which we are privileged to present in August. Comprising of thirty-three works, including major works by some of Australia’s most celebrated Impressionist artists, such as Frederick McCubbin, Rupert Bunny, Emanuel Phillips Fox, Tom Roberts and Arthur Streeton. This private collection offers not only exceptional individual paintings but a poetic vision of an important era in Australian art.
It feels especially fitting to present these works in alignment with the French Impressionism exhibition at the National Gallery of Victoria, which explores the evolution of Impressionism and Post-Impressionism in late 19th-century France, spotlighting the pioneering artists who chartered new artistic territory. This exhibition serves as a parallel to Australia’s interpretation of light-drenched plein air painting, shaped by its vastly different landscapes and histories.
One of the highlights of this private collection is the momentous late work by McCubbin: The Lime Tree (Yarra River from Kensington Road, South Yarra), painted in 1917, the final year of his life. This luminous landscape captures the Yarra River as seen from the artist’s home, with the gentle atmosphere that defined his late style. It is fascinating to see this part of Melbourne through the artist’s eyes, captured before skyscrapers, roads, and cars transformed it into the modern city we know today. With provenance tracing back to McCubbin’s wife and a rich exhibition history in-
cluding the National Gallery of Victoria and National Gallery of Australia, it is a poetic work that closes a remarkable career, making it a significant piece of Australian art history.
Equally exceptional is Nue En Plein Air by Emanuel Phillips Fox, painted circa 1911 during his mature years in Paris. This work shows Fox’s fascination with the play of light on the human figure. The model, thought to be the artist Edith Susan Gerard Anderson, appears immersed in a private moment, bathed in sunlight. It is an outdoor nude of great elegance, beautifully executed by Fox. Rare to the market and published in Ruth Zubans’ seminal monograph, it is one of the most refined and sensuous examples of his modern plein air figuration.
Then there is our cover image, The Sonata by Rupert Bunny, a painting that captures the romanticism and optimism of his time. First exhibited in Melbourne in 1911 and later in Lyon at the Société Nationale des Beaux-Arts, the painting shows two female figures softly illuminated in a quiet room. With its gentle palette, rhythmic composition, and immaculate provenance, The Sonata is a masterpiece of mood and grace. It stands alongside major works in institutional collections and has been published in Bunny’s catalogue raisonné.
The collection, built quietly and with great consideration over decades, represents a passionate engagement with turn-of-the-century Australian painting. The collector, who wishes to remain private, has assembled an exceptional art collection. It is both a joy and an honour to present these paintings at Leonard Joel, marking a rare opportunity to engage with important Australian art of timeless beauty.
A Private Collection of Important Australian Art will take place on Monday 25 August 2025 in Melbourne. This collection will be on view in both Sydney and Melbourne. For viewing times and to see the full catalogue please visit our website.
Emanuel Phillips Fox (1865-1915)
Nue En Plein Air c.1911
oil on canvas
63 x 79cm
$80,000-120,000
Tadao Ando: MPavilion 10
by rebecca stormont, modern design specialist
since opening in 2023, MPavilion 10, designed by Tadao Ando, has become a well-loved space for reflection, gathering, and architectural curiosity. Following a decision by the City of Melbourne, the Naomi Milgrom Foundation has announced that, at the time of writing, the MPavilion 10 will remain in Melbourne’s Queen Victoria Gardens for another five years. Originally intended as a temporary installation, the decision to extend its stay has been met with great enthusiasm - particularly for the many supporters who signed a public petition calling for its preservation, myself included.
The idea of a seasonal architectural pavilion isn’t unique to Melbourne- London’s Serpentine Pavilion program, for example, commissions a new temporary structure each year that is later sold or relocated. Similarly, MPavilions in Melbourne are usually moved to new locations after their initial season, including sites at universities and public spaces around the city. However, Ando’s design presents a different challenge. Unlike many past pavilions built from lighter or modular materials, this one is made from cast-in-situ concrete, making it far less portable.
Ando’s MPavilion 10 stands out not just for its serene presence but also because it is the only structure he has designed in the Southern Hemisphere. Known for his refined use of concrete, Ando created a minimal yet powerful composition: a wide horizontal roof, a curved inner wall, and a surrounding shallow pool. Together, these elements offer a calming and meditative experience, both in and outside of scheduled events.
The decision also links Melbourne, in a small way, to one of Ando’s most significant and long-term projects: his architecture on Naoshima, a small island in Japan’s Seto Inland Sea. Over the past three decades, Ando has worked closely with the Benesse Foundation to create several museums and spaces on the island, helping to turn it into a destination for contemporary art and architecture.
Among these are the Benesse House, a hotel-museum hybrid, and the Chichu Art Museum, which is built mostly underground and uses natural light to illuminate works by artists Claude Monet, James Turrell and Walter De Maria. These projects reflect Ando’s interest in creating quiet, contemplative spaces that respond to their surroundings rather than dominate them.
In both Naoshima and Melbourne, Ando’s architecture encourages visitors to slow down, notice light and shadow, and engage with space in a more conscious way. MPavilion 10’s longer stay means more people will have the chance to experience that approach firsthand.
MPavilion 10, Melbourne, designed by Tadao Ando
The Antique Interiors of one of Britain’s Most Notable Estates
by madeleine mackenzie, head of decorative arts & art, sydney
Highclere Castle Unveiled
highclere castle, the distinctive setting of popular TV show Downton Abbey, is more than just a picturesque backdrop for a beloved television series. For enthusiasts of antiques and history alike, a visit to this magnificent estate offers a rare opportunity to step into a world where every room is adorned with period pieces that narrate the tale of its grand past.
The castle, currently owned by the 8th Earl and Countess of Carnarvon, is situated on 6,000 acres and located one hour west of London in the heart of Hampshire. The original structure was built in the 17th century, however, in the 1840’s the 3rd Earl of Carnarvon engaged the architect Sir Charles Barry to remodel it into its existing state. Barry was renowned for being the architect of the Houses of Parliament, and he re-designed the castle in a Jacobethan and Italianate style. The exterior features the golden-hue stone of Bath and the interiors contain over 200 rooms filled with period furniture, warm carpets, historic portraits, antique porcelain, a collection of Egyptian antiquities, and more.
THE SALOON
With its soaring 50-foot ceiling, the saloon serves as the grand entrance to Highclere Castle. Its walls are covered in 16th century embossed leather, brought over from Cordoba, Spain, by the 3rd Earl of Carnarvon. Dating from 1661, the leather was carefully painted, gilded and embossed before being brought to Highclere and partly trimmed to fit the space.
THE GREAT OAK STAIRCASE
The staircase is a magnificent feature of the castle, requiring nearly a year to carve and install from December 1861 to October 1862. Hanging near the bottom of the staircase is an 18th century Belgian tapestry depicting the story of Meleager.
THE DRAWING ROOM
The drawing room is decorated in the opulence of the Rococo revival style, featuring French green silk wall hangings, inspired by those in the Palace of Versailles. A notable portrait in the room is by Sir William Beechey, depicting the children of the first Earl of Carnarvon, above the mantelpiece.
THE LIBRARY
Designed by the renowned architect Thomas Allom, the library houses over 5,600 books with the earliest dating from the 16th century. Also in this room is a George III Carlton House desk, distinctive for its U-shape arrangement of drawers.
THE MUSIC ROOM
The music room is decorated with Italian embroideries and a baroque ceiling which was painted in the 1730s by Francis Hayman. However, one of the most impressive pieces of history in this room, and one which was removed for safekeeping when Downton Abbey was filming, is a desk and chair by Jacob-Frères that once belonged to Napoleon Bonaparte. Under the arm of the chair is the date 1802 and the letter ‘C’ meaning that it was made when Napoleon was Consul, before crowning himself Emperor in 1804. Napoleon took the desk and chair with him into exile on the Island of St Helena after his defeat at Waterloo and it was acquired by the 3rd Earl of Carnarvon in 1821, after Napoleon’s death.
THE DINING ROOM
The dining room is a veritable art gallery, showcasing several 17th and 18th century oil paintings hung in the salon-style. Among these masterpieces is Anthony van Dyck’s monumental equestrian portrait of Charles I on horseback, c.1635. Apparently, this painting was discovered by the estate sometime after the death of Lord Protector Oliver Cromwell in 1658, rolled up and being used to prop open a barn door. As Cromwell was one of 59 signers to the death warrant of King Charles I, it was not considered appropriate to pay homage to Charles I during Cromwell’s reign. Other significant paintings in this room include portraits of the first Earl and Countess of Carnarvon.
EGYPTIAN EXHIBITION
The 5th Earl of Carnarvon was a passionate explorer and collector who along with Howard Carter discovered the tomb of King Tutankhamen. Throughout his several expeditions to Egypt, he amassed a large collection of artifacts. However, after his death, the Countess, Lady Almina, had to sell much of it to pay the inheritance taxes. Today Highclere has an Egyptian exhibition in the cellars featuring a 3,500-year-old sarcophagus of a noblewoman, jewellery, pottery, hieroglyphic stones, carved sculptures, Ptolemaic coins, and many more.
Highclere Castle opens to the public seasonally and offers tours throughout the year.
Photo: Jeff Gilbert / Alamy
top:
The Drawing Room, Highclere Castle, England
Photo: Jeff Gilbert / Alamy
right:
The Double Library, Highclere Castle, England / Alamy
Amanda North, Senior Fine Art Specialist, speaks with Anna Mortley, director of William Mora Galleries and manager of the Mirka Mora Estate.
In Conversation with Anna Mortley
left: Mirka Mora on chair smiling, Rankins Lane, Naarm, Melbourne, 1977
For those that do not already know, tell us about your connection to Mirka Mora and William Mora Galleries.
I grew up in Paris. When I arrived in Melbourne, I met Mirka and spent time with her during the last decade of her life. She was my motherin-law. Having a background in visual and performing arts, William (Mora) and I shared a strong connection in art which eventuated in us working together in the gallery quite early on in our relationship. In 2018, when Mirka passed away, we started the process of organising her Estate. For 9 months, I photographed and catalogued her works. We kept on finding hidden treasures -mostly works on paper in books, boxes, shelves... I will never forget this. It was both magical and daunting!
Mirka worked across different media, some of which will be highlighted in Leonard Joel's upcoming Women Artist Auction. Was she drawn to one medium more than others?
Mirka mastered many techniques. She allowed herself to break the rules. She would say, “I never follow the recipes.” In the Women Artists auction, you can see a selection of works on paper, canvas, soft sculptures, an embroidery, and some rare ceramics. She always had several things on the go.
Mirka’s textile works were made in the seventies and early eighties. As you will notice in this embroidery, the amount of work is incredibly detailed. Ports and Harbours is made of embroidery thread, beads, synthetic polymer paint on cotton and synthetic textile backing – a real testimony to Mirka’s devotion to her works. This embroidery is an ode to her beloved St Kilda beach; she describes the stars as “precious stones”.
Ultimately, I would say that Mirka was essentially a painter at heart, and every other medium she used really was to prepare for paintings or an extension of that. She fully committed to oil painting in her thirties. However, after her separation with Georges Mora in 1970, she claimed she was too sad to paint, so she started making dolls. “As a rule, I do not paint when I’m distressed, I like to have a clear mind.”
Mirka could easily go from one medium to another. You can see the thinking process in each piece. She drew all her life, and also wrote, leaving many journals. She just had this need to keep creating or “working” as she would have said.
Do you have a favourite artwork in the selection of works we are auctioning in the Women Artists sale?
I am very drawn to In the Valley of Love (2001), because of the colours and that sense of space that is created by the two green hills. There is something gentle and almost dreamlike about the way the faces hold the scene - a world you can escape into. This piece features a touch of
landscape, which is rare. Mirka once said: “I’m preparing myself to paint a landscape in my very old age, and it will be my Australian testament.”
The Estate of Mirka Mora has done an incredible job in preserving and sharing Mirka’s legacy. What does that work look like behind the scenes—from conservation to curation?
The work in the Estate is continuous, ongoing, and on all fronts at the same time. Mirka was prolific, to say the least, and a very hard worker. She has left behind many sketchbooks, notes, letters… The size of the collection requires constant attention.
I feel very fortunate to be working with Eleni Papavasileio - who curated the 2021 Mirka survey at the Jewish Museum of Australia - bringing her expertise to the Estate as we catalogue the archive and rehouse the works on paper. The tasks range from identifying what needs to be repaired so that we can attend to that, to creating a filing system that enables us to have fast access to the data to facilitate the curation or loans. We aim for the rehousing to take place using acid free and inert archival grade materials.
A couple of times a year, I select a group of works on paper and take them to the framers. The works are mounted and framed. This creates a robust layer of protection against external agents of deterioration such as dust and unnecessary handling, while allowing the works to exist in a microclimate, thus aiding their longer-term preservation.
What have become the most important aspects in managing the Estate and preserving Mirka’s art and legacy?
The most important aspects in managing Mirka’s Estate are ensuring that her art is well documented, kept in a safe environment, and accessible to the general public through regular exhibitions and partnerships with public institutions. It’s also vital to preserve the spirit of Mirka’s practice - her curiosity, and unwavering dedication to making - so that future generations can engage with her work in a meaningful way.
Finally, if there is one thing you would like people to take away from Mirka’s life and work today, what would it be?
I love the certainty in her work. Every piece shows how she embraced life - a combination of tenderness and fierce strength. I hope people are reminded that creativity can be both a form of resilience and a celebration of being alive.
With thanks to Anna Mortley for her time.
Our Women Artists Auction will take place on Monday 22 September at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.
The Diana Effect: Three Jewels That Defined a Royal Icon
by lauren boustridge, senior jewellery specialist
diana, princess of wales, was a global symbol of grace whose sense of style continues to inspire decades on. Her jewellery collection - part royal inheritance, part personal expression - captured both her status and her individuality. From heirloom tiaras to custom-designed pieces, these jewels became part of her legend. Here, we explore three of the most memorable, each reflecting a different facet of her extraordinary life.
The Spencer Tiara
When Lady Diana Spencer walked down the aisle of St Paul’s Cathedral in 1981, all eyes were not only on her voluminous silk taffeta gown but also on the dazzling tiara that crowned her. Rather than selecting a piece from the royal vaults, Diana honoured her lineage by wearing the Spencer Tiara, a treasured family heirloom lent to her by her father, the 8th Earl Spencer. Its romantic, scrolling design - featuring stylised flowers, stars, and a heart-shaped central motif - was the perfect complement to her fairytale look.
Though best known as Diana’s wedding diadem, the tiara has a much longer history. Its origins date back to 1767, with additions made over time, culminating in a major remodelling by Garrard in the 1930s for Diana’s grandmother, Cynthia Spencer. It became the bridal tiara of choice for Diana’s sisters, and later, her niece Celia McCorquodale.
Now held by her brother, the 9th Earl Spencer, the tiara stands not only as a family treasure but also as one of the most recognisable symbols of Diana’s elegance.
The Sapphire, Pearl and Diamond Choker
Among the few “big” jewels Princess Diana continued to wear after her separation from Prince Charles, none was more emblematic - or eye-catching - than her seven-strand pearl choker with its striking sapphire and diamond clasp. Originally gifted to Diana by the Queen Mother as a brooch on the occasion of her wedding, the piece began its life pinned to elegant lapels, including during a 1982 royal visit to the Netherlands. But in a bold act of personal style, Diana later had the brooch transformed into the clasp of a bespoke choker - reimagining the heirloom into something entirely her own.
The choker quickly became one of her signature pieces, appearing at diplomatic receptions, charity galas, and, most memorably, at the White House in 1985, where she wore it with a midnight-blue velvet gown while dancing with John Travolta and President Ronald Reagan. Perhaps its most iconic outing came in June 1994, when Diana paired the choker with her now-legendary “revenge dress” - a bold, off-the-shoulder black number worn on the very evening Prince Charles publicly confessed to infidelity. The choker’s final public appearance came in 1996 at the Met Gala in New York.
The South Sea Pearl and Diamond Earrings
Though their provenance remains unknown, Princess Diana’s South Sea pearl and diamond earrings became a fixture in her jewellery wardrobe from the early 1990s onward. Featuring large detachable pearls suspended from scrolling diamond motifs, the earrings struck a balance between opulence and modernity, making them a fitting choice for both royal engagements and high-profile philanthropic events.
Diana first wore the earrings in November 1990 at the Enthronement Banquet of Emperor Akihito and Empress Michiko in Japan, pairing them with Queen Mary’s Lover’s Knot Tiara. Over the next several years, they became a signature piece, seen on tours to Pakistan, South Korea, Hungary, and at home in London. As she transitioned away from royal duties toward humanitarian work, the earrings took on new prominence - worn at events such as the Victor Chang Research Institute dinner in Sydney, a gala for cancer research in London, and a fundraising dinner for landmine victims in Washington.
Their final public appearance on Diana came in 1997, just weeks before her death. Worn without the pearl drops, they accompanied her to a performance of Swan Lake at the Royal Albert Hall. After remaining unseen for more than two decades, the earrings re-emerged in 2019 on Catherine, Princess of Wales, at the BAFTAs. Since then, they have graced numerous high-profile occasions, including the South African State Banquet, Remembrance Sunday, and the Coronation of King Charles III. These elegant heirlooms continue to honour Diana’s legacy - gracefully carried into a new royal generation.
opposite: Princess Diana wears a sapphire choker / Alamy
right:
Princess Diana wearing the Spencer tiara / Alamy
far right:
Princess Kate Middleton wearing south sea pearl and diamond earrings / Alamy
To encounter a Bridget Riley print is to be momentarily disoriented from one’s sense of visual certainty. Shapes appear to shift, lines flicker, and colours pulse across the surface in carefully controlled rhythms. What initially seems like a flat composition quickly becomes dynamic, an optical experience that is both precise and absorbing.
by hannah ryan, senior art specialist & manager of specialty auctions
Bridget Riley: The Art of Seeing in Print
Artist Bridget Riley with Nataraja
riley first gained recognition in the 1960s for her striking black and white compositions that challenged conventional perception. Often associated with the Op Art movement, her work explores the possibilities of optical engagement without relying on illusion alone. Riley’s practice has always been grounded in close observation of nature, rhythm, and the act of seeing itself. Her work is not about the illusion for its own sake, but about how the eye responds to a visual language, how we see, and how we physically and emotionally engage with form, contrast, and pattern.
By 1965, Riley had achieved international prominence. Her inclusion in The Responsive Eye at the Museum of Modern Art, New York, positioned her among the most influential artists of her generation. Three years later in 1968, she became the first woman to win the International Prize for Painting at the Venice Biennale, an important moment in the recognition of women artists on the global stage.
What is less widely known, but equally significant, is Riley’s long-standing engagement with printmaking. Since producing her first screenprint in 1962, she has treated the medium not as a means of reproduction, but as a central part of her artistic practice. Prints have allowed her to distill, refine, and test compositional ideas that inform her larger paintings.
Her early prints from the 1960s focused on monochromatic geometry of spirals, stripes, and repeated forms that created visual tension and spatial depth. Untitled (Based on Movement and Squares) (1962) remains one of her most iconic works from this period and is widely regarded as a landmark of both Op Art and post-war abstraction.
By the 1970s, colour became a central tool in her practice. Not just for aesthetic interest, but as a tool of visual orchestration. Riley used colour to explore harmony, optical interference, and rhythm. The screenprinting process gave her control over pigment, layering and contrast, making the technical process an essential part of her practice.
What stands out across Riley’s career is her consistency. While her work has evolved from sharp black and white compositions to undulating waves of colour, her core concerns have remained unchanged – how the eye sees and how the body feels in response. Even her most vibrant and expansive colour prints are rooted in the same principles that she explored in her earliest works.
Today, Riley’s prints are highly collectable. With just over 100 editions produced across her career, compared to nearly 700 paintings, they offer collectors a focused and accessible entry point into her practice. They are also recognised not as supplementary to her paintings, but as standalone contributions to her oeuvre.
Whether drawn to the structured rhythm of her early black and white prints or the colour complexity of her later works, Riley’s prints offer an extraordinary blend of precision, feeling, and visual intricacy. These works continue to hold attention, and like the best art, they continue to surprise long after you first encountered them.
We are currently consigning for our December 2025 Prints & Multiples auction.
left: Bridget Riley
born 1931)
above:
Bridget Riley (British, born 1931)
Edge of Light 1981 - 2003
screenprint, ed. 13/85
$15,000-20,000
As Head of Decorative Arts, Design and Interiors, here is a glimpse into a typical day in my working week. Considered one of the busiest departments, after 15 years at Leonard Joel, I still find great joy in the day-to-day tasks – especially in discovering treasures and ensuring they find good homes with new custodians.
A Day in the Life of Chiara Curcio
9AM: ON THE ROAD
Most days, I am on the road visiting clients to sight house contents and provide general advice for auction. Offsite appraisals are a regular part of my working week, and I typically complete one-two visits per day. These appointments vary greatly in content, volume and duration. A standard house visit usually lasts around three hours and the item inventory listing can vary from 60 - 200. I travel all over Melbourne, however most of my time is spent within 5 kms of the office, in suburbs such as Malvern, Toorak, Hawthorn, Camberwell, Brighton and surrounding areas.
The most exciting collection I have seen this year was featured in our July 7th Decorative Arts auction. Highlights included a wonderful collection of Britannia and sterling standard silver, including early examples, and a fine diamond framed miniature portrait of George IV, attributed to Richard Cosway.
11AM: ONLINE VIRTUAL APPRAISALS
Once back in the office, I set aside time in my diary each day for virtual appraisals. I began offering virtual appraisals during the COVID lockdowns, and due to their popularity, have continued conducting them. While not suitable for all collections, they can be useful for general advice on voluminous collections or when prompt advice is required for small collections.
On average, I schedule four – five virtual appraisals per week. As with an offsite appraisal, the content and volume can vary greatly between each appointment, however most virtual appraisals are thirty minutes in duration, and can vary from a 20 -80 item inventory listing. The most exciting item I have ever discovered in a virtual appraisal is a Māori turuturu (weaving peg), which sold for $243,750 IBP, setting a record for highest selling Māori artefact ever sold in the Southern hemisphere.
2PM: INVENTORYING AND CATALOGUING
As I send out various appraisals, which are then consigned for sale, I often oversee the inventory of each consignment. Frequently, items from a collection are suited to specialist auctions, and as I approach the end of an auction consignment cycle, there are often last-minute entries submitted just before the cut-off date. I schedule time to catalogue these additions before I finalise the lotting of the sale.
Cataloguing requires a thorough inspection of each item prior to it being lotted for sale, to ensure accurate descriptions and correct attribution of age and maker, where applicable. The country of origin, material, and form are recorded, along with any other relevant information, such as provenance or catalogue notes, particularly when dealing with items of historical significance. The latter often involves detailed research and careful due diligence to ensure each lot is presented to the highest possible standard.
4PM: SEASONAL PRINT CATALOGUE LAYOUT
Lotting and catalogue layout, in collaboration with our design team, is an important task I personally oversee. Our specialist auctions occur three times a year and cover a broad range of categories including furniture, silver, porcelain, sculpture and art. Curation is important to the success of a sale, so I ensure the flow of the auction is harmonious – paying particular attention to the presentation of single owner capsules and ensuring multi-vendor stock is grouped into complimentary sections.
If you have a piece or collection you are thinking of selling, visit the ‘How to Sell’ page on the Leonard Joel website for more information.
In the Air Tonight
by patricia kontos, senior timepieces and jewels specialist
left:
Jaeger-Lecoultre Atmos 568 by Marc Newson, a Baccarat crystal Atmos clock with month and moon phases.
opposite left: A Jaeger-lecoultre Atmos clock.
Sold for $5,700
opposite right: A Jaeger Le Coultre 'China' Chinoiserie Atmos clock. Sold for $1,730
when you discover that an ingenious clock winds itself on air alone, your instinctive reaction may well be to exclaim, Oh Lord! The horological marvel in question is Jaeger-LeCoultre’s patent of an atmospherically pressured and temperature change powered clock, the mystical Atmos.
The idea of a clock powered by perpetual motion, without regular reliance on human intervention, was first brought to bear by Dutch engineer Cornelis Drebbel as early as the 17th Century. From there, the concept evolved through modifications and alterations by successive visionary clockmakers and engineers. Fast forward a few centuries, and the Beverly Clock stands out as a notable example in the pursuit of a mechanism driven by daily variations in temperature and atmospheric pressure. This namesake clock, installed in the Department of Physics at the University of Otago, Dunedin, New Zealand has been running continuously since Arthur Beverly constructed it in 1864 - despite never having been manually wound.
1928 was a breakthrough year for wind power (of sorts) as Swiss engineer Jean-Léon Reutter also yearned for his own version of a working, dependable clock that would run forever through perpetual motion – no manual winding intervention. His creation was a non-commercial prototype, which predated the Atmos name, but is now known unofficially as Atmos 0. The Atmos 0 relied on a more sophisticated mechanism than the previous single diaphragm that expanded and contracted with temperature changes to wind. Reutter’s design included a special device that would power his clock independently, using a substance that would react to the most sensitive changes in temperature and atmospheric conditions. The secret potion behind perpetual motion lay in that toxic, silvery, shiny chemical element: mercury. He encased the quicksilver in a long metal cylinder called the bellows. This bellows acted like a lung for the clock, expanding and contracting with minuscule atmospheric and temperature fluctuations. In doing so, it created a gentle rocking motion that powered the clock as needed, allowing it to keep time safely and reliably. Reutter achieved his lofty goal, a revolutionary design that ran on thin air which surely appeared to defy logic - one would have been forgiven for believing horological sorcery was at play here.
Yet far from being an overnight sensation, this early 1930s prototype (the Atmos 0) was met with a lukewarm reception, and Reutter’s production remained limited to small numbers. It was a chance encounter by a manager from the venerable Swiss watchmaking company LeCoultre that would alter the legendary Atmos clock’s trajectory. The story goes
that, while on display in a Parisian shop window, the Atmos caught the discerning eye of the manager. Being an horological man, he was naturally mesmerised by the Reutter Atmos and purchased it from the shop merchant. That serendipitous, impulsive buy would eventually lead to a deal being struck. Reutter sold both the licence and the patent to the LeCoultre Watch Company.
Coincidentally, during this period, LeCoultre was engaged in collaboration and talks of a merger with Parisian watchmaker Ed Jaeger. In 1935, the two companies pooled their resources, knowledge, and expertise to form what would become the powerhouse often referred to today as the “Watchmaker of Watchmakers”, Jaeger-LeCoultre. JLC poured considerable investment, collective research and development into Reutter’s Atmos Clock.
After a few false starts, and once confident that all compromises in precision had been eliminated, major production was given the go ahead. In 1939, the newly revamped Atmos Clock was launched under the Jaeger-LeCoultre name exclusively. Production began in earnest, and the legend we know today was born. Since then, the intrigue surrounding this technical horological jewel has only grown - not simply as a timeless precision instrument, but also as a symbolic object, often gifted by the Swiss government to dignitaries, presidents, and popes. Over the years, JLC has introduced a variety of models each reflecting shifting aesthetic tastes in design- from the classic to the minimalist and including limited editions featuring artistic collaborations. The latest version of the Atmos, known as the 568, is an ice-cold reimagining of the icon by Australian designer Marc Newson.
The term “design icon” is bandied about liberally these days, but in the case of the Atmos clock, it is no exaggeration. With its enduring ingenuity and elegant proportions - underpinned by a sure and silent mechanism - this timepiece has charmed its way into our psyche and senses since its debut. Finding a clock as singularly unique as the Jaeger-LeCoultre Atmos? I dare say you’d “be waiting for this moment, all your life…”
A Love Story, Set in Stone
by hamish sharma, head of important jewels
left: Magnificent diamond solitaire ring weighing 8.15 carats
in an age defined by fleeting trends and ever-changing tastes, the diamond engagement ring endures as an unparalleled emblem of lasting love. It is more than a luxury adornment; it is a deeply personal artifact. Through personalisation, our ring may embody sentiments, stories, memories, sensibilities and lifestyle.
A diamond engagement ring is more than a symbol - it holds deep sentiment. A ring once worn by a grandparent might be lovingly reset for a grandchild, carrying with it emotional value and family history. Diamond rings become heirlooms not simply because they last, but because they mean something. They hold stories. They transmit memories.
Design, too, plays a pivotal role in chronicling our lives. From the timeless round brilliant cut with its unrivalled sparkle, to the clean modernity of a princess cut or the vintage elegance of an emerald or Asscher, every shape tells a story. Pear-shaped stones exude romance and individuality, while marquise and cushion cuts speak to boldness or antique charm. These aren’t just aesthetic preferences; they are powerful vehicles for personal expression. Indeed, we are living in an era of personalization. The ring must resonate. It must feel intentional, curated, and entirely one’s own.
Personalization elevates a ring from beautiful to meaningful. A custom design might hide an engraving known only to the couple. It may include a small birthstone beneath the main setting or incorporate a stone passed down from a loved one. It may be designed in homage to a favourite architectural period or reflect cultural and familial heritage.
There is also a practical sophistication to custom design. It ensures that the ring fits the wearer’s sensibilities and lifestyle. Someone with a minimalist aesthetic may opt for sleek, clean lines - perhaps a radiant cut set in platinum. A romantic might gravitate toward a cushion cut in warm-toned gold. Even the number of prongs, the taper of a band, or the inclusion of hidden halos can be subtly adjusted to enhance comfort and durability.
Importantly, technology has democratized this process. Couples no longer need to walk into a boutique to create something one-of-a-kind. Virtual consultations, 3D modelling, and interactive platforms allow them to collaborate with designers across borders and time zones.
In 2025, this emphasis on customization has reached a new zenith. According to industry insights, the appetite for bespoke design is steadily growing.
When Zendaya took to the Golden Globes carpet this year wearing a very large and very sparkly engagement ring, the internet was soon abuzz. The 5.02-carat east-west cushion-cut diamond in a slightly quirky Georgian-style setting captured exactly what today’s couples are seeking: something personal, expressive, and utterly unforgettable.
right: Zendaya (Tom Holland engagement
detail)/ Alamy
Collector's Corner: With restaurateur and avid collector, Jason M Jones.
What do you most enjoy collecting?
Over the past couple of years, I’ve been wholeheartedly devoted to building a beautiful collection of comprehensive dinner sets and Christofle cutlery, and my passion has only continued to deepen. There’s just something magical about the artistry of fine crockery; it transforms an ordinary table into a stage for unforgettable moments.
From the timeless elegance of Bernardaud and Limoges to the heritage beauty of Wedgwood and Royal Worcester, each piece we collect tells its own story of craftsmanship and celebration. Today, we proudly have a collection of more than twenty dinner sets - each chosen with love, and each making its own quiet but striking difference to the dining experience. Setting the table has become an art form in itself - a ritual that my partner, Brahman Perera, embraces with so much grace and care. Every plate, every glass, every polished Christofle fork reminds us: it’s not just about dining, it’s about creating beauty, memory, and meaning around the table.
Do you have a favourite piece in your collection?
What makes it meaningful to you?
Amongst the many treasures we’ve gathered, one collection holds an especially dear place in my heart - a beautiful 1930s Myott, Son & Co Bonnie Dundee set that I recently discovered at Leonard Joel. I absolutely fell in love with it the moment I saw it; it felt as though the past had reached out to me. I was lucky enough to have passed onto me a small set of Bonnie Dundee that once belonged to my great-great-grandmother - a connection to family, to history, to a simpler, more elegant time. So, when I stumbled across this rare, comprehensive collection, I nearly died with excitement and knew without question it had to come home with me no matter the price!
Adding to the joy, a beautiful Bonnie Dundee teapot arrived just last week, shipped lovingly all the way from London. To sip and dine using these pieces - so rich with memory, craftsmanship, and soul - is pure happiness. It’s a reminder that true beauty lives not just in grand gestures, but in the quiet rituals: a tea poured from a cherished pot, a table laid with love, a gathering of those who matter most.
What is the rarest item in your collection, and how did you acquire it?
Without a doubt, one of my most treasured recent acquisitions is a magnificent Steinway & Sons Model D Concert Grand Piano - a true masterpiece of craftsmanship and history. Originally the centrepiece of the
Adelaide Town Hall throughout the 1980s and 1990s, this extraordinary instrument carries with it decades of music, memory, and magic. When the opportunity arose to become its custodian, I knew it was something far greater than simply acquiring a piano - it was preserving a legacy. After an extensive and loving restoration, this majestic instrument has been brought back to life, perhaps even better than new, ready to sing for another hundred years and beyond. Its gleaming black frame, the richness of its tone, and the sheer gravitas it brings to a room is nothing short of awe-inspiring. It is far from just a beautiful piece of furniture. It is a living, breathing part of our home in Lyonville. Many a night you will find us gathered around the piano, with friends, plenty of laughter and a lot of wine, singing show tunes into the early hours. It is joy, it is memory, it is connection - all strung together by eighty-eight shimmering keys and a little bit of magic.
Is there a dream piece you hope to one day add to your collection?
A comprehensive setting of Christofle silver-plated cutlery for twelve - a masterpiece of craftsmanship and timeless elegance. There’s something about Christofle that simply speaks of luxury, sophistication, and opulence. The moment you hold each piece, you feel its beautiful weight, the perfect balance of form and function, and the undeniable artistry in every curve and detail. This isn’t cutlery reserved only for grand dinner parties or special occasions - it’s part of everyday life, woven into the simple pleasure of a beautifully set table, whether for a quiet breakfast or a long, laughter-filled supper. Because true beauty, we believe, should be lived with daily - not hidden away for rare moments. Christofle brings that little touch of Parisian elegance into every meal, and we wouldn’t have it any other way.
What advice would you give to someone just beginning their collecting journey?
Buy what you love. Use what you buy. Be eclectic. Don’t wait for that exclusive dinner party to use what you buy or hide it away. Buy collections that you can add to when you see them for sale at auction or faraway. LOVE THEM.
With thanks to Jason M Jones for his time.
OPPOSITE: Jason Jones
Photography by
Lillie Thompson
@lillie_thompson
RIGHT:
A DIALOGUE IN FASHION, A DIALOGUE IN DESIGN
by julia gueller, luxury specialist
From Quiet Luxury to Iconic House Codes
Luxury doesn’t need to be quiet to be thoughtful, and it doesn’t need to be loud to be heard. Somewhere in between lives a kind of elegance that knows exactly what it’s saying.
In recent years, the rise of quiet luxury has shifted fashion’s volume dial. Logos faded into tone-on-tone palettes, silhouettes sharpened into architectural restraint, and a new language of status emerged: one rooted in craftsmanship rather than branding. But luxury has never been a monologue. Alongside this whisper-soft minimalism lives a louder, though no less refined, tradition: the house code. The monogram, the clasp, the stripe. Not noise, but recognition. These are the visual signals that speak not only to what you own, but what you understand.
Quiet luxury doesn’t need a name stitched on the outside. It’s in the feel of a material, the precision of construction, the restraint in design. Brands like Loro Piana, The Row, Jil Sander, Bottega Veneta, and Max Mara speak in subtleties through fabric, silhouette, and intention. These are pieces that favour tactility over trend, purpose over performance. There’s a quiet confidence in their construction. A kind of elegance that asks to be felt rather than flaunted. This is the kind of piece that doesn’t just rest on your shoulder. It lingers with you, soft to the touch and, in the case of Loro Piana, infused with the clean, earthy scent of cashmere and suede. Utterly unforgettable.
At the other end are the icons. The instantly recognisable signatures of the fashion houses: monograms, motifs, hardware, heritage. House codes that have transcended trend cycles to become cultural currency. Think the curve of the Dior Saddle, the interlocking Gs, the LV canvas, the Chanel chain. Their power isn’t just in their look. It’s in what they represent.
Designers have long moved between these poles. Tom Ford’s Gucci embodied the seductive, logo-forward glamour of the early 2000s. Philo’s Celine rejected overt branding entirely, opting instead for intellectual minimalism. Jean Paul Gaultier built his legacy on theatrical silhouettes and recurring cultural motifs that became house codes in their own right, long before quiet luxury entered the conversation.
Some, like Hermès, blur the line. The Birkin and Kelly began in the world of quiet luxury: subtly branded, understated, and crafted for those who understood heritage without explanation. Designed with function in mind - the Kelly for equestrian elegance, the Birkin for travel - they were once symbols of discretion. But over time, rarity gave way to recognition. Their quiet craftsmanship became louder not by design, but by demand.
Proof that true luxury doesn’t have to speak. Eventually, everyone starts listening.
This duality is what makes fashion, and collecting, so compelling. The Max Mara Whitney “A Decade” Edition, for example, leans into clean lines and architectural influence. A sculptural tote that whispers design integrity. In contrast, a bold Marc Jacobs era Louis Vuitton Speedy carries colour, playfulness, and a clear connection to cultural memory. They serve different purposes and moods, yet both belong in the same wardrobe. The best wardrobes, like the best collections, move confidently between minimalism and statement, anonymity and recognition, design purity and legacy.
Luxury doesn’t need to be loud to be relevant. And house codes don’t need to be quiet to be meaningful. What matters is the intention behind the choice and what that piece makes you feel. Because the best pieces never stay silent. They speak to you.
GOLDEN FORTUNES
by steven milonas, guest contributor
How soaring gold prices and Iconic Maison’s are shaping auction success
In an era marked by economic uncertainty and geopolitical tensions, gold has reaffirmed its status as a safe-haven asset, with prices reaching unprecedented heights. This surge has not only impacted bullion markets but has also influenced the auction world, particularly in the realm of fine jewellery. At Leonard Joel the influence of escalating gold values and the enduring allure of renowned Maison’s - such as Cartier, Bulgari, Tiffany & Co., and Van Cleef & Arpels - has led to remarkable auction outcomes.
Gold prices have experienced a notable ascent, driven by factors such as inflation concerns, currency fluctuations, and global economic instability. This upward trajectory has heightened interest in gold jewellery, not merely for its aesthetic appeal but also for its intrinsic value. Collectors and investors alike are recognizing the dual benefits of acquiring pieces that are both beautiful and financially prudent.
The enduring popularity of jewellery from iconic houses is evident in recent auction results. These brands, synonymous with craftsmanship and heritage, continue to captivate bidders. Leonard Joel’s recent auctions underscore the market’s robust appetite for high-quality gold jewellery. Noteworthy sales include an 18ct gold and diamond ‘Flutter’ clasp/ pendant by Paspaley, which achieved $31,250 IBP, and a platinum and diamond ring that commanded $137,500 IBP. These results highlight the strong demand for pieces that combine precious materials with exceptional design.
The current market dynamics illustrate a compelling intersection between art and investment. As gold prices climb, so does the value of jewellery that embodies both material richness and artistic excellence. Collectors are increasingly viewing these pieces as tangible assets that offer both aesthetic pleasure and financial security.
The synergy between rising gold prices and the timeless allure of iconic jewellery houses has invigorated the auction market. Leonard Joel’s recent successes exemplify this trend, demonstrating that in times of economic flux, the combination of intrinsic value and artistic merit holds enduring appeal. For collectors and investors, the current climate presents a golden opportunity to acquire pieces that are as financially sound as they are beautiful.
Top: Bulgari, diamond and gem-set collar, circa 1995 Sold for $75,000
right:
Jean Schlumberger for Tiffany & Co., 18ct gold, platinum and diamond 'Four Leaves' ring Sold for $8,125
FIVE MINUTES WITH PHOEBE EAST
In this issue we get to know Jewellery Salon Manager,
Phoebe East.
favourite auction purchase
So far, it would have to be my very first Leonard Joel jewellery purchase; a gorgeous 70’s pearl cocktail ring in 18ct gold.
if money were no object, what would be your dream auction purchase?
A manor house straight from the pages of Country Life UK
favourite movie
Romeo + Juliet (1996)
This was the first film that really made an impression on me. I love the chaotic juxtaposition of Shakespeare in a modern setting and how this literary cornerstone was so vividly reimagined for the contemporary era.
leonard joel staff all seem to have a side project or talent, what is yours?
Before moving into gemmology and the auction world, I owned and operated a biodynamic flower farm, Alchemilla. While the farm is no longer in existence, I still write a lunar planting almanac annually which is published around the Winter Solstice- the New Year of the natural world. I’m currently finalising the 2025/26 edition, to be released digitally in July.
favourite wine/cocktail/coffee
A good scotch never goes astray!
22ND REPORT
Saving the Super Tuskers
The transboundary landscape of Northern Tanzania, bordering Kenya, is a conservation jewel that is home to the world famous Amboseli National Park - a UNESCO World Heritage Site and Biosphere Reserve (places recognised for their significant conservation value and potential to drive sustainable development).
Amboseli is known for three things: majestic herds of elephants, breathtaking views of Mt Kilimanjaro in neighbouring Tanzania, and big tuskers.
With tusks so long they almost drag on the ground as he roams through the East African savannah, Craig is one of the most famous elephants in the park: renowned as a ‘Super Tusker’, he is one of the last few of his kind still alive.
These older male African savannah elephants have been hunted for centuries, diminishing their population to fewer than 30 today.
Poaching poses a threat to all elephants but Super Tuskers like Craig are sought out for their impressive ivory, fuelling an illegal trade network funded by international criminal networks exploiting a global demand for ivory and other products.
Not only does this trade cost the lives of individual elephants, but it sends ripple effects throughout entire ecosystems.
Super Tuskers lead the way
At 53 years old, Craig has survived longer than many other elephants. He is less aggressive than most males—which explains why his tusks are in pristine condition; he hasn’t broken them in combat.
Like other Super Tuskers, he plays a crucial social role in his all-male bachelor herd, helping keep unruly, younger elephants in check, controlling their aggression and teaching them survival skills.
A ripple effect
Both male and female elephants are slaughtered for their tusks, but when females are killed, the tragedy is heightened—often, they leave behind calves, many of which fail to survive.
The bulls, active males in their reproductive prime, are critically important for breeding and spreading vital genetic diversity to their offspring. Killing Super Tuskers threatens the genetic integrity of populations, jeopardising their future existence.
It also reduces the ability for elephants to perform their necessary functions as ecosystem engineers—dispersing seeds, fertilising the soil, creating food and water sources for other animals, and sequestering carbon from the atmosphere.
Last year, two more Super Tuskers were killed in the transboundary landscape of Northern Tanzania. Hunting elephants for trophies is still allowed in Tanzania but prohibited in Kenya. Fortunately, Craig doesn’t usually roam past the border. But nature doesn’t see national boundaries and other elephants haven’t been so lucky.
The killings also pose a threat to Kenya’s wildlife tourism industry, a key sector in the country’s economy that provides sustainable livelihoods for about 1.6 million people.
That’s why the International Fund for Animal Welfare’s (IFAW’s) Room to Roam initiative embraces community involvement as the key to conservation success. We work with people closest to the animals and habitats we strive to protect, and develop and implement case-specific, co-designed strategies that promote human-wildlife co-existence.
IFAW’s experience clearly shows that when communities are engaged as key stakeholders, they are more likely to participate in wildlife protection programs benefitting their daily lives, even if those benefits are only indirectly linked to wildlife. For example, one of the ways we support those communities involves developing skills and promoting alternative, sustainable livelihood practices that do not solely rely on exploiting wildlife.
Our aims with programs such as Room to Roam are to increase biodiversity, build natural resilience to climate change, and create a future where animals and people can coexist and thrive.
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.
DIEDRICK BRACKENS, ISABELLA DUCROT, JACKSON FARLEY, MARTIN GRANT, JULIA GUTMAN, KLÁRA HOSNEDLOVÁ, PATRICK & TAMSIN JOHNSON, MARIE-CLAIRE MESSOUMA MANLANBIEN, MARIA MADEIRA, EDWINA MCLENNAN, MIRKA MORA, LILIANA PASALIC, JAHNNE PASCO-WHITE, THE PACIFIC SISTERS, MARGARET RARRU GARRAWURRA & MORE
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.
Leonard Joel Brisbane achieved outstanding success in our May auction, The Brisbane Jewellery Edit. This marks the third consecutive white-glove auction in Brisbane - a testament to both growing client confidence and curatorial expertise. With a 100% sale rate, numerous items exceeded expectations. A standout was a yellow gold mounted amethyst & garnet cocktail ring, which sold for $10,000 IBP, far surpassing its $400-$600 estimate. / Troy McKenzie, Queensland Representative Specialist
A yellow gold mounted amethyst & garnet cocktail ring
Sold for $10,000
The Brisbane Jewellery Edit, May 2025
Rolex Daytona Oysterflex
Ref 116519LN a white gold chronograph wrist watch with diamond-set numerals
Sold for $67,500 Timepieces, June 2025
Clifton Pugh (1924-1990)
Study for Portrait of Barry Humphries 1959
Sold for $45,000
Barry Humphries - Artist and Collector, June 2025
Sold for $5,000
Marjorie
Sold for $31,250 Fine Jewels, June 2025
Sold for $50,000 Fine Art, June 2025
Sold for $52,500 The Collector's Auction, June 2025
Paspaley, 18ct gold and diamond 'Flutter' clasp/ pendant
Gulumbu Yunupingu (1943-2012) Garak natural earth pigments on bark
Mirka Mora (1928-2018) Metamorphosis 1998
A Chinese Qingbai Vase and Cover, Yuan Dynasty (1271-1368)
Ho and the Legacy of East and West Art, June 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
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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
Bethany McGougan
Head of Department 03 8825 5645 bethany.mcgougan@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
