Leonard Joel has long celebrated the rare, the beautiful, and the extraordinary. This issue continues that tradition with stories of artistry, design, and remarkable treasures.
We explore the life of artist and collector Louis Kahan, the design history of the Tiffany family, and the striking work of Indigenous artist Makinti Napanangka. There’s also a focus on the creative potential of repurposing furniture and interiors, the bold style of 1970s jewellery, and the historical significance of jade and Queensland sapphires - and more.
We hope you enjoy.
cover:
A glass-topped Blackbean desk by Schulim Krimper
$30,000-40,000
Decorative Arts Auction
17 November, 6pm, Melbourne
below:
An 18ct gold triple calendar minute repeating huntingcased pocketwatch with moonphase and chronograph swiss circa 1910
$12,000-16,000
Timepieces Auction
auction calendar
October – November 2025
features
Australian Impressionism Commands
Strong Results at Leonard Joel
Louis Kahan: Creativity & Connection
A Tale of Two Easels
The Enduring Bond Between Jade and Chinese Culture
Artist Profile: Makinti Napanangka
The Gold and The Beautiful: 1970’s Jewellery Design
Designing with Soul: The Art of Reimagined Vintage
The Two Tiffanys: Father and Son, Two Passions of Design
Pressing Matters: Why Prints Are Stealing the Spotlight
In Conversation with Melissa Penfold
Timeless Sparkle: Why Natural Mined Diamonds Still Reign Supreme Put a Knowing Smile on Your Dial - the Discreet Glamour of Gemstone Watch Faces
Luxury in Melbourne: A Private Archival Collection
Queensland Gemfields
in focus
Five Minutes with David Price
22nd Report: Victoria’s Shameful Secret: The Hidden Crisis Facing Koalas A Last Look join us Connect Value, Sell & Buy
AUCTION CALENDAR
OCTOBER –NOVEMBER 2025
November
The Everest 2019 Trophy
Wed 1 Oct, 2pm
Brisbane
Luxury in Melbourne: A Private Archival Collection
Tue 14 Oct, 2pm
Melbourne
Timepieces
Mon 20 Oct, 4pm
Melbourne
Fine Jewels
Mon 20 Oct, 6pm
Melbourne
Fine Art
Tue 21 Oct, 6pm
Melbourne
Extravagant Collection of Bull & Stein Fruit Sculptures
Thu 23 Oct, 2pm
Melbourne
Important Chinese and Asian Art
Sun 2 Nov, 11am
Melbourne
Contents of a Toorak Property
Mon 3 Nov, 12pm
Melbourne
Chinese and Asian Art Online
Mon 3 Nov, 2pm
Melbourne
Specialist Rugs Thu 13 Nov, 2pm
Melbourne
Decorative Arts Mon 17 Nov, 6pm
Melbourne
Modern Design Tue 18 Nov, 6pm
Melbourne
The Collector's Auction
Tue 25 Nov, 2pm
Melbourne
The Auction Salon
Furniture & Interiors
Objects & Collectables
Jewellery
Art
Every Thu from 10am
Online Only
Brett Whiteley (1939-1992)
at Lavender Bay
Wendy Whiteley/
Outstanding results from the August auction of A Private Collection of Important Australian Art highlight the enduring appeal of Australian Impressionism and mark a significant moment for collectors and connoisseurs alike.
by john albrecht, managing director & head of important collections
Australian Impressionism Commands Strong Results at Leonard Joel
i’ll admit to feeling daunted when our vendor entrusted Leonard Joel with the sale of what is arguably the most significant collection of Impressionist art to come to market in decades. It brought back vivid memories of my early days at Leonard Joel, working under the guidance of Graham Joel in 1988, when we sold Rupert Bunny’s iconic Impressionist works.
It was an absolute thrill to present this entire collection in both our Sydney and Melbourne salerooms, welcoming over 1,000 visitors during the viewing periods. We felt that if ever a collection had been well exhibited at auction, this was it.
Auction night was as nerve-racking as it was exhilarating. In this post-COVID world, it was reassuring to see a full room of bidders. With 236 online participants and major lots being eagerly contested, it became clear early in the evening that we were witnessing something special.
With a 91% sale rate and realised total of $4,876,875 IBP, the results speak for themselves. Despite a sober prediction from the AFR prior to the auction, we were proud to demonstrate that beautiful pre-war art remains highly coveted. At Leonard Joel, our mantra is to celebrate collections - and in this case, I believe we did so successfully: for the owner of the collection, for the public, and now for the collectors who are enjoying these works in their new homes and environments.
The cycle of collecting never ends, and that’s what I find endlessly fascinating about our economy of beautiful things and interesting people. All credit to Wiebke Brix, Amanda North, Hannah Ryan, and the entire art team for the meticulous research and presentation that went into this historic Australian auction.
opposite left to right: Frederick
(1855-1917)
The Lime Tree (Yarra River
From Kensington Road, South Yarra) 1917
Sold for $1,500,000
Arthur Streeton (1867-1943) Ramparts Face the Ocean 1932 (also known as Southern Ocean)
Sold for $400,000
Frederick McCubbin (1855-1917)
Mount Macedon c.1910
Sold for $275,000
Emanuel Phillips Fox (1865-1915) (Promenade on the Beach) c.1909
Sold for $218,750
Mccubbin
top right:
Leonard Joel Melbourne saleroom viewing
bottom right:
Leonard Joel Sydney saleroom viewing
Recently, I had the pleasure of meeting Dena Kahan, the daughter of the well-known artist Louis Kahan. That conversation prompted me to revisit the life and work of an Australian artist who is both fascinating and, in recent years, somewhat overlooked. In my view, Louis Kahan made an important contribution to Australian art, one that deserves renewed attention. by
wiebke brix, head of art
Louis Kahan: Creativity & Connection
louis kahan ao (born Ludwig Kahan, Vienna 1905 – Melbourne 2002) was admired for both his artistry and his generosity. Born into a tailoring family in Vienna, he learned his craft in his father’s atelier, sketching performers and patrons who passed through. By the mid-1920s, Kahan had moved to Paris, working under fashion icon Paul Poiret, first as a tailor, then as a designer. Immersed in the creative scene in Paris he met some of the 20th century’s most influential artists, including Henri Matisse, Raoul Dufy and Josephine Baker.
When World War II broke out, Kahan joined the French Foreign Legion and served as a war artist in North Africa. He became known for sketching wounded servicemen on air letters, images later reproduced and sent to families, providing comfort and connection. In 1947 Kahan emigrated to Australia where he married his wife Lily Isaac in 1954. Lily was a lifelong supporter of his art and crucial in documenting his legacy alongside his two daughters.
Settling first in Perth, then Melbourne, Kahan flourished across multiple disciplines. He became celebrated for his drawings of Australian literary figures, published in Meanjin and The Age, praised for their clarity and psychological insight. In 1962 he won the Archibald Prize for his portrait of Patrick White, painted from life in the writer’s home, a work now in the collection of the Art Gallery of New South Wales.
In 1995 on his 90th birthday, Kahan was awarded the Australian Painters and Sculptors Medal in acknowledgement of his contribution to Australian art. Kahan was as generous with his time and encouragement as he was skilled with his pen and brush.
Kahan surrounded himself with fellow artists fostering friendships, offering support, and creating opportunities. His home became a meeting place for creativity, and his collection a living reflection of those relationships.
We are now privileged to be offering works from Louis Kahan’s personal collection, which he compiled in support of artists, some of whom were his close friends.
One in particular holds special resonance: Landscape with Figures (1973) by Robert Litchfield (Bob) Juniper. This remarkable work was a constant presence in the Kahan household. Dena Kahan, herself an accomplished artist, recalls it vividly. The layered landscape, with abstracted forms and quiet human presence, was as memorable part of her childhood environment.
Juniper’s Landscape with Figures blends the earthy palette and sweeping forms of the Australian environment with lyrical abstraction. This work shifts between landscape and dreamscape. This work in Kahan’s home was part of the family’s lived experience, quietly shaping a young artist’s eye.
Being patrons of the arts and having an appreciation of artistry in all forms, it is no surprise another highlight of the Kahan collection is a small selection of bespoke furniture made by Melbourne craftsman Schulim Krimper. The pieces were made for the Kahan family in the late 1950s and early 1960s including a drinks trolley, a nest of tables, and a cabinet. The most notable piece in the collection and the only piece not bespoke made is the rare glass-topped Blackbean desk pictured on our cover. The desk was purchased by Lily and Louis Kahan in the 1970s, from Krimper’s widow as being Krimper’s own personal desk. The desk is likely to have been made in the late 1950s and features in Terence Lane’s 1987 Krimper book.
The offering of these works is a window into a life lived in art, one where friendships, mentorships, and shared creative journeys matter. In presenting, we honour not only Kahan’s own extraordinary contribution, but also the community of artists he nurtured and celebrated.
The Fine Art auction will take place on Tuesday 21 October 2025 and the Decorative Arts auction will take place on Monday 17 November 2025 in Melbourne. For viewing times and to see both catalogues please visit our website.
by john albrecht, managing director & head of important collections
this is the tale of a search for a beautiful easel - an incredibly hard task. A tale of two cities, and the price-performance of identical items across different international auction markets.
To begin: I love easels, elegant ones. They are exceedingly hard to find. Leonard Joel once had two elegant Perspex ones, now missing. In our Sydney salerooms we have a rather refined one in black and with a restrained Edwardian feel. I love the way an easel can break out a single work of art and the interest it brings to a room. Any room.
Regularly I trawl Invaluable, the online marketplace, to enjoy, more or less, every auction offering in the world, in real time. Rarely do these searches result in finding an elegant easel. Until August 7th, when I secured an Angelo Lelli style easel at an auction in the USA. Not just an easel, but one with a picture light fitting - ideal for signage and a work of art. Before fees and charges my successful bid was $1,600 (USD).
Coincidentally, and this is a rarity, the exact same lamp appeared in a UK auction house. I couldn’t believe my luck! I thought two would pair wonderfully together at work for display purposes.
But what to pay?
I decided to leave the equivalent $1,600 (USD) as the live auction was taking place well into bedtime and, as I always tell my clients, there is an inherent discipline to the absentee bid. It is devoid of emotional risk – the kind that might lead one to get “carried away” and keep bidding, potentially paying too much (whatever “too much” means - to coin the then Prince Charles’s famously melancholy response to a reporter’s question about love: “Whatever ‘in love’ means”).
I left £1200 (GBP) thinking it would be ample. But I woke up to the news, via automated email, of course - that I had been outbid. It hammered for £1800 (GBP).
So, what did I take from this collecting exercise, conducted entirely online, traversing two continents, and all within roughly 144 hours. Well, several things.
Firstly, and pleasingly, my lamp had improved in value by almost 45% in 6 days!
Secondly, that identical items can realise different values in different settings. My easel was purchased in a straightforward auction, while the London one came from a named single-owner collection. Yet another small confirmation, for me, that the single-owner model almost always generates an uplift compared to a traditional mixed-vendor environment.
And finally, that I should have asked myself the question: Would I regret not being able to pair the easel, given how difficult it had already been to find even one lovely example? The answer, of course, is yes. I should have applied that filter - and bid more heartily.
But hindsight is a wonderful thing!
right:
The black Edwardian style easel in our Sydney office used during the viewing of A Private Collection of Important Australian Art
Jade (玉, yù) has been revered in Chinese civilization for millennia.
The earliest authoritative definition appears in the Shuõwén Jiêzì (《說文解字》), compiled by Xu Shen during the Eastern Han dynasty (circa 100 CE). Xu defines jade as: “玉，石之美者。” (Yù, shí zhī měi zhě.)
“Jade is the most beautiful of stones.” by luke guan, head of asian art
The Enduring Bond Between Jade and Chinese Culture
A rare and large Chinese jade dragon formed pendant, Shang Dynasty (1600-1650 BC)
$10,000-20,000
A rare and fine Chinese white jade "Dragon" disc bi, late spring autumn periodearly Warring States period, circa 570 - 400 BC
$8,000-12,000
A Chinese celadon jade "Dragon" disc, bi, midwestern Zhou Dynasty, circa mid-10th-mid-9thcentury BC
$6,000-8,000
this definition highlights jade’s aesthetic excellence and cultural prestige. The ancient character for 玉 depicts three pieces of jade strung together, reflecting its role as ornament and ritual implement. From the earliest records, jade was linked to propriety, status, and moral virtue.
Prehistoric to Early Dynastic: Belief and Ritual Origins
Jade use in China extends back over 8,000 years. In the Hongshan culture, jade dragons and huang pendants served as ritual symbols of leadership. The Liangzhu culture (~3300–2300 BCE) produced bi discs and cong tubes intricately carved with deity-animal masks, mediating between humans and the divine. During the Shang and Zhou dynasties, jade entered a formal ritual system—the “Six Ritual Jades” (liù ruì): bi, gui, cong, zhang, hu, and huang—each with defined ceremonial functions and political symbolism.
Spring and Autumn to Qin–Han: Moral and Imperial Symbolism
By the Spring and Autumn period, the ideal that “a gentleman compares his virtue to jade” became widespread. Jade’s luster, resilience, and purity served as metaphors for benevolence, righteousness, wisdom, courage, and integrity. Pendants signified scholarly status, uniting adornment with moral philosophy. In the Qin and Han eras, jade’s role expanded to funerary and immortality rites—lavish jade burial suits and ceremonial pieces reflected beliefs in jade’s protective and life-extending powers.
Wei–Jin to Tang: Secularization and Religious Integration
From the Wei–Jin through the Tang dynasty, jade shifted from ritual exclusivity to integration into daily and religious life. Belt plaques, vessels, and Buddhist figures became common. The Tang’s cosmopolitan prosperity encouraged artistic innovation, producing jade works of remarkable diversity and refinement.
Song to Qing: Literati Taste and Imperial Mastery
Song literati favoured refined scholar’s objects—seals, brush rests, and miniature carvings—valuing subtle form over ostentation. The Yuan introduced nomadic motifs, while the Ming and Qing saw the zenith of jade craftsmanship, especially with Hetian jade. Imperial workshops employed openwork, relief carving, and monumental forms to express political authority and cultural sophistication.
A Collector’s Journey: Thomas W.Y. Kwok
This 2nd of November, our Fine Chinese and Asian Art Auction presents 14 jade pieces from the estate of Hong Kong collector Thomas W.Y. Kwok. Born in Macau, Kwok studied architecture in Melbourne and built a four-decade career with Wong & Ouyang, shaping Hong Kong’s skyline. His collecting began with Japanese occupation stamps (1941–1945), issued during Japan’s wartime administration of Hong Kong and other territories. Gradually, his passion shifted to jade, inspired by visits to auction houses.
At the time, Hong Kong’s auction scene was emerging—Sotheby’s debuted in 1973, Christie’s in 1986. By the late 1980s, Kwok was attending smaller sales, joining the city’s first generation of serious collectors. His jade holdings embody not only technical excellence and cultural symbolism but also the personal evolution of a connoisseur whose interests bridged philately, architecture, and Chinese art heritage.
The Fine Chinese & Asian Art auction will take place on Sunday 2 November 2025 in Melbourne. For viewing times and to see the full catalogue please visit our website.
top:
An imperial Chinese incised and gilt spinach-green jade "Imperially composed record of ten complete victories" plaque, Qianlong period (1736 - 1795)
$6,000-9,000
A Chinese carved white jade phoenix washer, qing dynasty, qianlong period (1736 - 1795)
$3,000-5,000
A very rare and fine Chinese white jade carving of a foreigner riding a horse, Ming Dynasty (1368-1644) or earlier
$5,000-7,000
A rare and large Chinese pale white jade carving of Magu riding a pheonix, Jin/Ming Dynasty, 13th/15th century
makinti napanangka (c.1930–2011) stands among the most influential painters of the Western Desert movement and the Papunya Tula Artists cooperative. A senior Pintupi woman, she was central to the mid-1990s surge of women artist’s painting from Kintore and Kiwirrkura; momentum catalysed by the Haasts Bluff and Kintore women’s collaborative painting project of 1994. This significant project which included a series of major paintings that were exhibited at the Tandanya National Aboriginal Cultural Institute in Adelaide, represents the beginning of Pintupi women’s participation as independent artists in the Western Desert art movement.1
Makinti’s practice, grounded in ceremonial design and Women’s Law, redirected awareness to the aesthetics and authority of Pintupi women’s cultural narratives within Papunya Tula. Makinti refined a pictorial language that conveyed ceremonial motion as rhythm and colour, layering the canvases with paint, creating a sense of movement. This painting style is a contrast to the detailed and precise dotting that is typical of men’s traditional painting of Dreaming Law.
Makinti’s paintings centre on two related Dreamtime stories, the journeys of Kungka Kutjarra, the two ancestral women, and the rockhole site of Lupulnga, South of Kintore. The Kungka Kutjarra story is the focus for the 2001 artwork in our upcoming October Fine Art Auction. This work is rich in colour and texture; the pale swirling lines represent the handspan hair string skirts worn by women in ceremonial dance. These skirts, woven from human hair and spindle sticks, animate the canvas with looping banded forms applied over the orange ochre toned background. Makinti’s approach to painting is looser and more gestural than many of her contemporaries, offering a tactile and sensual experience that is immediate and energetic. The emphasis is on movement and cultural presence, differing to the precision of the dot work and geometric lines seen in traditional men’s paintings.
The Kungka Kutjarra narrative is significant to Makinti’s oeuvre, often entwined with sites around Lake MacDonald (Kaakuratintja) and the ceremonial rockhole of Lupulnga, over which she held custodial rights. Her paintings from the late 1990s through to the 2000s, pursue this story with increasing visual confidence. The concentric rockhole motifs from earlier works, give way to expanses of undulating lines, representing the string of the skirts worn in ceremonial dance. These flowing lines, which appear to extend beyond the edges of the canvas, create a sense of dynamism, emulating the movement of the dance. This repeated thematic focus, anchored in knowledge of the place and performed ritual, is central to Makinti’s authority as a cultural custodian, as well as to the artwork’s visual power.
In the early 2000s, Makinti began to experience greater recognition for her innovative and energetic artworks. In 2000, one of her works was included in the major retrospective exhibition ‘Papunya Tula: Genesis and Genius’ at the Art Gallery of New South Wales, Sydney, and in 2003, in the Clemenger Contemporary Art Award at the National Gallery of Victoria. In 2008, Makinti won the National Aboriginal and Torres Strait Islander Art Award with an untitled painting of Lupulnga which was an acknowledgement of both artistic achievement and cultural leadership. The career defining prize helped spotlight Papunya Tula women artists within national narratives of contemporary art, not merely as an adjunct to the creation stories of men.
The growing attention to Papunya Tula women artists over the past few decades is visible in exhibition programming and secondary market activity. Institutional and commercial art shows continue to spotlight Pintupi women’s painting as an evolving intergenerational practice; recent exhibitions have explicitly named these women as a ‘next generation’ which builds on the legacies of artists such as Makinti Napanangka and Wintjiya Napaltjarri. Meanwhile, auction results for key Kungka Kutjarra and Lupulnga works by Makinti from the early 2000s, demonstrate steady demand. These curatorial and commercial trends, reflect a broader reassessment of women’s contributions to Papunya Tula’s history and its present.
Artworks such as Untitled - The Travels of Kungka Kutjarra (Two Women), embody Makinti Napanangka’s synthesis of ceremonial design, narrative and a distinctive painterly language. The sweeping lines of the hair string forms in the painting do more than describe ceremonial adornment; they enact movement, combining place, ancestry and performance within a single canvas. In doing so, the artwork, like Makinti’s practice at large, illustrates why the paintings of Papunya Tula women artists have become a locus of sustained scholarly, curatorial and collector interest.
1. Perkins, H., ‘Tradition today: Indigenous art in Australia’, Art Gallery of New South Wales, Sydney, 2014
The Fine Art auction will take place on Tuesday 21 October 2025 in Melbourne. For viewing times and to the full catalogue please visit our website.
Napanangka
The 1970s marked a distinctive, but somewhat underappreciated turning point in the evolution of contemporary jewellery. by bethany mcgougan, head of jewellery & timepieces
The Gold and The Beautiful: 1970’s Jewellery Design
the 1970s were defined by profound cultural, political, and economic upheaval including the rise of second-wave feminism, the impact of recession and inflation, and a growing disillusionment with post-war ideals. These shifts were deeply reflected in the visual and material culture of the time, particularly in the field of jewellery design. Departing from traditional notions of luxury, jewellery designs of the 1970s were tactile, sculptural and deliberately expressive.
Unlike the restrained elegance of the 1950s or mod experimentation of the 1960s, 70s jewellery embraced bold and sculptural designs. Pieces from this period often appear more as wearable objects than conventional accessories. Rings wrapped over multiple fingers, pendants hung from thick torques, and cuffs enveloped the wrist like armour. Pieces moved away from the rigidity of formal gemstone settings and leaned into the expressive potential of raw materials such as gold. Yellow gold in particular, whether textured, brushed, crumpled, or even roughly cast, dominated the decade.
Several notable designers and houses helped to shape and define the era. Elsa Peretti’s designs for Tiffany & Co. introduced a refined minimalism, where fluid silver and gold forms followed the body’s contours. Andrew Grima, working in the UK, pushed boundaries with abstract, brutalist form and textured gold surfaces. Italian houses such as Bulgari embraced a more geometric and colourful approach, using hardstone inlay and architectural motifs to redefine glamour. Even Cartier, a house known for its finesse, began to play with scale and introduce a bolder palette to jewellery designs.
In recent years, jewellery from the 1970s has undergone a notable reappraisal as collectors, curators, and tastemakers increasingly recognise
the era not as a stylistic outlier, but as a pivotal moment in the evolution of jewellery. Elsa Peretti’s iconic Bone Cuff first released in 1970, recently embraced by a new generation of celebrities, fashion figures, and digital influencers, exemplifies the resurgence of interest in 1970s-era designs. Similarly, the revival of Cartier’s Juste un Clou bracelet first released in 1971 and Van Cleef & Arpels’ Alhambra collection from 1968 highlights a broader trend toward bold and symbolic designs inspired pieces that emerged during this transformative period. Renewed enthusiasm has also been reflected in the secondary market, with recent international auction results showing strong demand for quintessential 1970s works by designers such as Andrew Grima, Jean Schlumberger Kutchinsky, and Elsa Peretti, all of whom exemplified the experimental and sculptural aesthetics that defined the decade.
The striking 18ct gold and diamond collar, pictured on the previous page, encapsulates the key design principles of the 1970s. Composed of oversized, articulated gold panels set with graduated round brilliant-cut diamonds, the piece reflects the decade’s embrace of dramatic scale and overt glamour. It stands as a compelling example of a period in which jewellery functioned not merely as adornment, but as a medium for expressing personal identity.
The Fine Jewels and Timepieces auction will take place on Monday 20 October 2025 in Melbourne. For viewing times and to see the full catalogue please visit our website.
left: Ursula Andress models a magnificent set of jewellery designed by Andrew Grima, 1966 / Alamy
right:
A rare 18ct gold, peridot and diamond ‘Spring Ring Watch', No. 83 from the 'About Time Collection', for Omega by Andrew Grima, 1969. Sold for $33,750
Van Cleef & Arpels
rare 18ct gold and Lapis Lazuli 'Vintage Alhambra' longchain necklace, circa 1980
Sold for $115,625
Designing with Soul: The Art of Reimagined Vintage
by tali roth, guest contributor
at studio tali roth, vintage isn’t just a stylistic flourish. It is the cornerstone of how we design.
Our projects are often defined by the unexpected: a sculptural mid-century chair, an Art Deco console with a story to tell, or a quirky one-off from a New York flea market. These pieces don’t just appearthey’re the result of meticulous, intentional searching. We enjoy spending countless hours trawling auctions, design fairs, and warehouse sales - from Leonard Joel in Melbourne to obscure dealers in Brooklyn to online marketplaces that require scrolling and a discerning eye. The process of sourcing, restoring, and reimagining vintage furniture is slow and hands-on. And that’s exactly what makes it so special.
Not every vintage piece deserves a second life. When I’m on the hunt, I look first for structure - solid frames, elegant proportions, and craftsmanship that can endure another fifty years. Good lines are essential; the kind of silhouette that feels timeless but not predictable. Sometimes it’s a bold gesture such as a lattice back rest, a sweeping arm, an exaggerated leg, that captures me. Other times it’s a quiet detail, the sort of curve or joinery you almost miss, that makes a piece feel enduring. If the bones are right, it’s worth the investment of reupholstery and reinvention.
When I’m sourcing for clients, I work to a brief of scale, budget and style. The piece needs to fit seamlessly into a specific interior. It is a focused, disciplined search, guided by their project’s needs.
But when I’m sourcing for the studio, I have freedom. I can follow instinct, pick up a chair simply because I believe in its potential, and “glow it up” into something extraordinary. These are pieces chosen with less constraint and more imagination: classic shapes that aren’t too common, versatile enough to slip into many different spaces, yet distinctive enough to hold their own.
Reupholstery is where the transformation truly happens. I study the original fabric - its colour, texture, and style - and then decide whether to honour its history or push it somewhere entirely new. Sometimes I’ll choose a plain, stain-resistant fabric, knowing it will appeal to families and live comfortably in a high-use space. Other times, I’ll reach for something more obscure such as a richly textured wool, a directional jacquard, or a velvet so deep it feels sculptural. These fabrics aren’t just coverings; they’re the language that defines the chair’s new life.
This process is always a balance between pragmatism and whimsy. Some pieces are reimagined with durability in mind, designed to be lived with. Others are deliberately provocative - bold, tactile, statement-making objects that transform a room. I like the idea that each chair has its own destiny: some will ground a space, others will punctuate it, but all will bring something human and layered that new furniture rarely can.
I often think back to my grandparents’ 1960s home and a particular object that always captivated me: a cigarette dispenser in the shape of a soccer ball. You’d twist it, and it would flare out the cigarettes like petals. It was absurd and beautiful and strangely mesmerizing. That’s what I think great design can do - stir something in you, create a moment of wonder or joy, and leave a sensory imprint. These memory-anchored experiences stay with us - shaping how we feel in a space long after we’ve left it.
Ultimately, vintage isn’t about trend or even sustainability (though both matter). It’s about the soul. A reworked vintage piece carries history, narrative, and a kind of authenticity that can’t be mass-produced. It invites curiosity. It sparks conversation. It reminds us that design is not just about filling a room, but about shaping how we feel within it.
That’s the philosophy we bring into every project - to not just decorate, but to tell stories. To collect objects that carry both history and heart. To create spaces that feel expressive and lived-in, layered and deeply human.
With thanks to Tali Roth for her time.
Tiffany is a name long associated with American elegance and luxury, developed in turn by both Charles Lewis Tiffany and his son Louis Comfort Tiffany, pioneers in their own crafts.
by chiara curcio, head of decorative arts, design & interiors
The Two Tiffanys: Father and Son, Two Passions of Design
tiffany & co. was founded in 1837 by American jeweller and entrepreneur Charles Lewis Tiffany, together with his friend John B. Young, as Tiffany & Young. In its early years, the company traded primarily in stationery, statuettes, curiosities, and European-designed items such as fans, pottery, and furniture. Following their early success, in 1841 the pair brought on a third business partner, J.L. Ellis - marking the formation of Tiffany, Young & Ellis. This new partnership allowed the company to expand its inventory to include fine jewellery, setting it on a new trajectory.
In addition to their interest in gemstones, the firm built a reputation for retailing silver. Initially purchasing their silver from various silversmiths of the period such as Gorham, William Gale, John C. Moore and later his son Edward C. Moore. Such was the success of this collaboration that, by 1851, Moore and son were creating exclusively for the Tiffany company and within a few years of this new partnership Tiffany’s had forged themselves as the leading silversmiths in New York.
The significance of Tiffany’s contribution to American silversmithing is perhaps best exemplified in 1852, when Tiffany introduced the English .925 sterling silver standard to the United States for its silver products, later influencing assaying standards subsequently adopted by the US government.
In 1853 Young and Ellis both retired, and Tiffany obtained sole control of the firm, which was thereafter known as Tiffany & Co.
After John C. Moore retired, his son Edward became chief designer and head of the Tiffany company silversmithing workshop, revolutionizing their designs and techniques. During the 1860s and 1870s, Tiffany began to design and manufacture various new cutlery designs such as the ‘Japanese’ pattern, which was created in 1871. The pattern symbolizes the influence of Aestheticism and Orientalism during this period of the 19th century, creating beautifully functional objects and reflecting the opulent tastes of the Victorian era, with each handle having a design of birds amongst flowers and foliage, contrasted by the blades and prongs engraved and partial gilt in various designs.
Although born into the Tiffany & co. legacy, and destined to take the reins from his father, Louis Comfort Tiffany shared his father’s appreciation of beautiful things but was more interested in forging his own path. With beginnings as an artist at the tender age of 18 and moving in circles with like-minded individuals, Louis was exposed to the Aesthetic movement and Arts and Crafts period. By 20, Louis set out on a grand tour of sorts, enjoying all the connections afforded to him by his father’s company but with the freedom to travel as an artist unencumbered by responsibility, moving throughout Europe, the Middle East and North Africa for a twoyear period. This ‘grand tour’ would later influence his creative direction, as he became enamoured with the colours and designs he encountered in fabrics and architecture- a striking contrast to America during the same period. During his time abroad, he was exposed to the stained-glass windows of European medieval cathedrals, as well as Roman and Syrian glass. The iridescent sheen of these ancient vessels would go on to inform his enduring fascination with the glass medium.
By the 1870s, painting no longer satisfied his creative drive, so he turned to a wide range of artistic and decorative mediums. He designed and oversaw the production of leaded-glass windows, mosaics, lighting, glassware, pottery, metalwork, enamels, jewellery, and interior designs through his studios.
Although skilled in many disciplines, Louis became especially renowned for his innovative glasswork. In addition to his celebrated leaded-glass windows and lamps, Louis pursued extensive experimentation with glass. Despite surviving several devastating furnace fires, he remained undeterred, and in 1894 developed his signature ‘Favrile’ glass - a groundbreaking innovation in which metallic oxides were fused into the glass during production. The result was a shimmering, iridescent surface, with a distinctive lustre that revealed shifting hues depending on how the light struck the piece.
Both father and son forged their own paths, excelling in their own creative fields, and rightly receiving awards as Chevalier of the Legion of Honor in Paris in Paris Exposition Universelle in the same year, 1900.
The Decorative Arts auction will take place on Monday 17 November 2025 in Melbourne. For viewing times and to see the full catalogue please visit our website.
previous page: Tiffany & Co, parcel gilt sterling silver ‘Japanese/ Aubusson’ pattern fruit service, pattern no. 1871, 1871-1895
$3,000-4,000
opposite: A gold Favrile ‘Leaf and Vine’ glass vase by Louis Comfort Tiffany, circa 1900
$1,200-1,500
Pressing Matters: Why Prints Are Stealing the Spotlight
by hannah ryan, senior art specialist
left: Eveline Syme (1888-1961) Sydney Tram Line 1936 linocut ed. 10/25 Sold for $35,000 Auction record for this print
the print market has long been a place where connoisseurship meets accessibility, a space where thoughtful collecting intertwines with the thrill of artistic discovery. Right now, it is undergoing a quiet revolution. In Australia, prints have stepped out of the shadow of painting and taken centre stage.
Margaret Preston’s bold woodcuts and George Baldessin’s experimental etchings reveal the diversity and inventiveness of the medium. Together, these artists highlight the full scope of Australian printmaking - from pioneering figures to today’s boundary-pushing innovators. It offers an inviting entry point for new collectors, and a deeply rewarding space for those with a seasoned eye and a genuine love of art. This is a category rich with nuance, history, and opportunity, where significant works by leading artists can be acquired without breaking the bank.
Prints are often misunderstood as “reproductions”, but that couldn’t be further from the truth. In traditional printmaking, each impression is an original artwork, the result of a meticulous, hands-on process. Whether etched into copper, carved from a woodblock, or pulled through a press, every step bears the artist’s touch.
Unlike paintings, which exist as single works, prints invite variation. Small shifts in inking, paper choice, or plate tone make each impression subtly unique. Printer’s proofs, trial proofs, and inscriptions provide further insight into the artist’s creative process, making the medium as much about discovery as presentation.
The Australian print market has been steadily gaining strength for decades, both in volume and value. Artists including Margaret Preston, Fred Williams, and Eveline Syme are now fixtures in the secondary market, not just for their distinct styles, but because their prints represent some of the most important contributions to Australian art history.
Contemporary artists are also expanding the possibilities of the medium. Jon Campbell’s playful compositions, Emily Floyd’s graphic precision, and Mike Parr’s brooding etchings show how artists are working closely with master print technicians to produce works that connect with their broader practice yet stand apart as highly collectable.
Public collections across Australia have increasingly turned their focus towards prints, particularly as part of efforts to diversify their holdings. The National Gallery of Australia began acquiring contemporary editions in 1977 and today prints make up more than 90% of their works on paper collection.
As major exhibitions and retrospectives spotlight the medium, whether featuring Brett Whiteley or John Nixon, collector interest naturally follows. These events celebrate the achievements of individual artists while also highlighting printmaking’s ongoing ability to capture new audiences.
Printmaking has always thrived on partnership, the dialogue between artist and master print technician. Often, the printer’s technical expertise encourages the artist to experiment with approaches that might not emerge in other mediums. Mike Parr’s large-scale etchings and John Nixon’s varied graphic works are two examples where collaboration becomes a central part of the artwork’s story, adding another layer of interest for collectors.
Our Prints & Multiples auction is an excellent place to explore the full spectrum of the medium, from bold, statement-making works to quiet, intricate pieces - each a testament to decades of innovation and artistry. Each print carries a story of process, intent, and the unique collaboration between artist and printer. Printmaking is one of the most dynamic and rewarding categories in the art world, and the momentum shows no signs of slowing.
The Prints & Multiples auction will take place on Wednesday 3 December 2025 in Melbourne. For viewing times and to see the full catalogue please visit our website.
Madeleine Mackenzie, Head of Decorative Arts & Art, Sydney speaks with Melissa Penfold, Author of Natural Living By Design
In Conversation with Melissa Penfold
Melissa, your latest book highlights the connection between interior design and quality of life, featuring eco-friendly and “healthy” homes. Tell us about where your interest in this topic came from and what some major influences were for the book.
Having written about the interior design industry for the past four decades, I understand the effects an interior can have on your sense of well-being. Our homes wield enormous power. They shape the way we live, influencing our health and happiness. In a world that has become just so stressful, complex, and exhausting—and environmentally threatened—I believe our homes can and should be our refuge.
The purpose of my latest book is to help you create a healthy home that looks beautiful, contributes to your quality of life, and is kind to the planet.
In your chapter on ‘timelessness’ you advise that to be forward-thinking we must also have one eye on the past. I thought this was such a poignant remark and one that anyone in the auction industry will be able to relate to. Can you provide us with a favourite example where new style trends have effectively referenced the past?
Good design is timeless—and deeply personal. Whether you prefer a minimalist or maximalist style, stay true to it in all your design decisions, and you will derive lasting pleasure from your home.
There is more beauty in interiors that are authentic, and in a world of AI, it is nice for homes to feel warm and personal with pieces that have a history. Maybe it’s not exactly a trend, but I do think that there is a general movement away from sameness, towards uniqueness itself which appears to be having a moment as one of the interior design trends for 2025. We want to see more rooms with personality. It’s about mixing pieces that tell stories about the people who live in the spaces. It takes a lifetime of collecting to finish a room. What stands out in today’s interiors is freedom of expression, originality, rich eclecticism, and spirit—rooms filled with all kinds of pieces, whatever their provenance or value.
Your suggestions to reuse, repurpose and be resourceful feel so prescient in current times and of course at auction we are always encouraging our clients to do this. What are some simple steps anyone could follow to start incorporating existing possessions into their home decor?
To achieve a timeless look, there’s no need to constantly buy new or expensive furnishings. How much you spend is less important than how well you channel your inner curator and mix things from different eras.
Periodically assess your belongings and make executive decisions about whether to showcase them or toss them. Consider rearranging your objects and furniture and see how uplifting it can be to enter what feels like a new room. Experiment with your layout, sometimes the simple act of aligning things that have gone askew can instantly restore order, calm, and flow to a room.
I know a lot of people, myself included, love the look of styling the old with the new but it can be a hard balance to find. Do you have any top tips on how to get started recreating this aesthetic at home?
Your interior should be 70 per cent classic foundational pieces, 30 per cent trends and fun modern updates. I think that’s the best ratio for ensuring your rooms are both timeless and up-to-the-minute. Don’t skimp on the staples. Think of furniture foundational pieces as being like fashion’s little black dress: the simpler and more classic they are, the more you can vary them with accessories. Unify vintage and new pieces by grouping them by colour hues and choose one or two standout pieces. A small room benefits from a clear focal point; hero pieces help anchor a room and give it purpose. Beware of matching ensembles of furniture, all matching furniture creates character-free rooms, however upmarket. The most effective and affordable approach is to mix one-offs and hero pieces with modern updates and go for contrasts.
You yourself are an advocate of buying at auction, what are some of your favourite finds from over the years?
Design trends constantly change, and prices will reflect this. At the moment, dark wood furniture – mahogany and oak – is out of fashion, which is a good thing because it means you can pick up beautiful Georgian and Regency antiques for a bargain. Clocks are also a good buy right now. I’ve bought a few timepieces such as stately Empire-style gilt bronze designs, and depending on the size, they can easily be moved from room to room. Think of them like a piece of jewellery for your interiors. Seek out great-value antique pieces and make the most of the opportunity as they’ll be back in style soon.
opposite far left:
Melissa Penfold
Photograph by Kristina Soljo
opposite left:
Natural Living by Design by Melissa Penfolds (Vendome Press)
right:
The handmade papiermâché–paneled walls at Casa Gusto, an antiques store in West Palm Beach, Florida, provide a rich, textured backdrop that enhances the furnishings and looks like it has always been there.
Photograph by Charles Peed
Timeless Sparkle: Why Natural Mined Diamonds Still Reign Supreme
by hamish sharma, head of important jewels
left:
Audrey Hepburn wearing a diamond necklace in Breakfast at Tiffany's, 1961 / Alamy
in the ever-evolving world of fashion and luxury, trends come and go, but some things remain eternal. Among them is the allure of the natural mined diamond - a gem that has captivated hearts, symbolized love, and defined elegance for centuries. As the industry buzzes with talk of labgrown alternatives, it’s time to revisit the enduring charm and irreplaceable value of nature’s most dazzling creation.
Natural diamonds are more than just beautiful stones; they are geological miracles. Formed over billions of years under intense heat and pressure deep within the Earth’s mantle, each diamond is a testament to time, transformation, and resilience. Their journey from the depths of the Earth to the sparkle on a finger is nothing short of extraordinary. This origin story imbues natural diamonds with a rarity and authenticity that no laboratory can replicate.
Through the prism of style and luxury, natural diamonds are the ultimate statement of sophistication. They have graced the necks of royalty, the red carpets of Hollywood, and the runways of Paris. Think of Audrey Hepburn’s iconic look in Breakfast at Tiffany’s, or Rihanna’s dazzling diamond ensemble at the Met Gala - these moments are etched in fashion history, and they were made possible by the unmatched brilliance of natural stones.
Beyond aesthetics, natural diamonds carry emotional and cultural weight. They are heirlooms passed down through generations, each one holding stories of love and legacy. Moreover, the natural diamond industry has made significant strides in ethical sourcing and sustainability. With
initiatives like the Kimberley Process and increasing transparency in the supply chain, consumers can now choose diamonds that are responsibly mined and contribute to the economic development of local communities. Many mining operations support schools, healthcare, and infrastructure in regions where diamonds are found, making each purchase a step toward positive global impact.
In the realm of luxury, authenticity matters. Just as we value handcrafted couture over fast fashion, natural diamonds represent a commitment to quality, rarity, and heritage. They are not mass-produced- they are discovered, cherished, and celebrated. Their imperfections, formed over millennia, are what make them truly unique.
So, while lab-grown diamonds may offer a budget-friendly sparkle, natural mined diamonds remain the gold standard of glamour. They are the embodiment of timeless beauty, the cornerstone of meaningful moments, and the crown jewel of fashion’s most iconic looks. In a world that often rushes toward the next big thing, natural diamonds remind us to pause, appreciate, and celebrate the wonders that only time and nature can create.
by patricia kontos, senior timepieces & jewels specialist
there’s little doubt an unusually configured watch dial has caught your eye at some point – whether through an asymmetric layout, idiosyncratic hour markers, the absence of fancy hands, skeletonization, or enamel detailing. Yet outshining all these phenomenal features is the moment where the watchmaker’s craft meets nature: the gemstone dial. And while timepieces that use slithers of gemstones for dials such as tiger’s eye, lapis, onyx, malachite and so on have been on the market since the 1960s, the return to prominence in the past five or so years has been largely due to the surge of interest in vintage Piaget gemstone timepieces, which have led the charge.
The hard stone cut dial may well have remained a horological fantasy had it not been for Piaget’s daring and rebellious spirit (it was after all, the Sixties). Often, the most groundbreaking innovations have their roots in technology combined with vision and this was certainly the case at Piaget. For a maker that started from relatively modest origins in 1874 as a producer of high-precision watch components, their development of a near paper thin calibre enabled the arrival of some of the most audacious and striking dial designs the industry had ever seen.
The dazzling gemstone dial is largely synonymous with the maker because in 1957 Piaget developed the secret ingredient that made them possible. As a pioneer in the creation of ultra-thin movements, their manual 9P and automatic 12P movements were respectively the thinnest in their category in the world in 1957 and 1960. It was this technological breakthrough that underpinned and paved the way for the gemstone as the centrepiece and not merely as accent.
What we see with women’s watches through to the 1960s is that they were predominantly small and elegant with inherently miniscule dials. The designs were largely dictated by the fashions of the times, they eschewed complications, there was no need for them to perform as tool watches, and they were ‘time only’ timepieces. Jaeger-LeCoultre prided itself in producing small women’s watches, their breakthrough moment came in 1929 when they lay claim to producing the smallest watch in the world with the development of their microscopic Duoplan calibre 101. But with the calibre 9P, Piaget would create the thinnest movement in the world. The 9P calibre was not only slim, providing for more creative liberty, it was also wider in diameter which meant that in turn the dial, hitherto an unutilised decorative space, was redefined from being an entirely utilitarian feature to a decorative one as well.
The process of employing gemstones as dials was fraught, and in its experimental stages it came at a cost. To make a dial out of hardstone, the lapidarist needs to not only cut and polish an incredibly thin and precise layer but a section of stone of that captures the pattern they want the dial to display - a dexterous combination of artistry and technique. Numerous dials ended up in pieces on the workbench during the machining process or at the stage of the hands setting. Even today, many an experienced horologist will steer clear of servicing a watch with a gemstone dial such is the daring delicateness of the 1mm hardstone slither. Yet, for all the wastage, cost and heartache a select few forged on with persistence and for Piaget, it paid off and catapulted their 60s and 70s watches to an elite collectors’ class.
The decision to retain the gemstone dial was all the more adventurous as the use of elegant materials during the 1980s gradually diminished. During the Quartz Crisis there was a surge in the stainless-steel sports bracelet watch and a shift to affordable quartz watches - think Swatch. There was many a casualty with prominent brands falling by the wayside, being bought out, or merged. The stone dial was becoming a costly old hat, yet some brands persisted and managed to fashionably cross over. Cartier being a notable brand that flourished through their Must de Cartier line, with several of their quartz powered watches displaying stone dials. Rolex, another, with their Cellini range and Audemars Piguet too made a name for themselves in their distinctive use of exotic dials.
For an industry that is characterized by constant evolution, watchmakers today continue to display their mastery of precision and persistence to embrace lesser-known hardstones with notable manufacturers even branching into minerals such as meteorite. But looking back to where it all started, gemstone dials for me are imbued with a vintage glamour, to an elegant era when watches entered the realm of precious objets d’art, and in our digital world of today, I feel they have become all the more precious, just like time itself.
The Timepieces auction will take place on Monday 20 October 2025 in Melbourne. For viewing times and to the full catalogue please visit our website.
Luxury in Melbourne: A Private Archival Collection
by julia gueller, luxury specialist
left: A model walks the runway for Saint Laurent in Paris, 2014. Photo by Laurent Zabulon/ABACAPRESS. COM / Alamy
opposite: A model displays a creation by designer Olivier Rousteing in Paris, 2014. Photo by Alain Gil-Gonzalez/ ABACAPRESS.COM / Alamy
long before vintage became the language of fashion, one of Melbourne’s most discerning fashion eyes was assembling a collection that charted its future. More than a personal pursuit, her instinct helped shape the city’s understanding of luxury itself, introducing daring ideas and global influences that would leave their mark on Melbourne’s fashion identity. Where others followed magazines, she treated them like maps. On trips to Europe she would stop in Singapore, raid the Changi airport bookstore for British, American and French titles, and carry them home in stacks. Pages would be torn out and marked, not as fleeting inspiration but as guides to what mattered next. Fashion, in this sense, was never about impulse. It was instinct, discipline, and discovery.
Her taste was unwavering. The conviction that something truly special was recognisable at a glance defined her choices from the beginning, and it never left.
Luxury in Melbourne: A Private Archival Collection spans decades of bold choices and singular vision. It is not a conventional wardrobe but a body of work that reflects shifts in fashion itself. Thierry Mugler’s sculptural tailoring, Tom Ford’s sensual Gucci, and early Nicolas Ghesquière for Balenciaga are all represented, each a reminder of when fashion was driven by ideas rather than algorithms.
What makes the archive compelling is not just the labels. It is the way pieces were chosen to embody their era: the broad shoulder of an 80s jacket, the precision cut of a 90s dress, the futuristic flash of a 2000s silhouette. Together, they map the rhythm of change.
The archive also speaks to the fragility of innovation. True breakthroughs often come from young, independent designers, yet these voices are too often absorbed into the machinery of the major houses. Their originality is fleeting, swallowed into a cycle of repetition where shoulders grow broad, then narrow, skirts lengthen then shorten, and heels swing between high and low.
That same tension, between safety and risk, repetition and originality, is what makes vintage resonate so strongly today. In a landscape where big houses recycle their own archives, individuality is increasingly found in the past.
Vintage offers both protection and permission. A bold cut or unusual print that might feel “too much” when new is softened by its age, contextualised as history. In that sense, this collection feels prophetic. It anticipates the current hunger for authenticity, rarity, and narrative.
Some pieces in the archive serve as milestones of fashion history. A sharp-shouldered Balmain blazer from the 2000s captures the bold power dressing of its era, while Tom Ford’s Gucci and Mugler’s architectural tailoring embody moments of pure theatricality.
The archive also nods to what may be next. With its sharp tailoring, brass buttons and disciplined silhouettes, military style is poised for a resurgence. A range rich in structured blazers and precise cuts anticipates that shift. It reminds us that great fashion does not just reflect history, it forecasts it.
Accessories tell the story just as powerfully. The Bleu Jean Hermès Birkin, playful yet timeless, reflects the house’s mastery of craft, while a gold crocodile embossed Chanel Classic Flap, rare and radiant, stands as a symbol of enduring glamour. These are not simply luxury items, they are cultural markers, objects that hold their value because they embody both artistry and aspiration.
What links it all is instinct, the ability to see beyond trend to what endures. It is that same instinct that makes this archive not just private but cultural.
In the end, this archive is not only a record of what was worn but of how fashion itself has shifted: the audacity of Mugler, the sensuality of Ford, the sharp precision of Balenciaga, the opulence of Hermès and Chanel. It is a reminder that the most enduring pieces are those chosen by conviction, not by consensus.
And whilst the future remains uncertain, with designers endlessly swapping houses in a kind of musical chairs, the past remains fabulous, daring, and worthy of celebration.
The Luxury in Melbourne: A Private Archival Collection auction will take place on Tuesday 14 October 2025 in Melbourne. For viewing times and to see the full catalogue please visit our website.
QUEENSLAND GEMFIELDS
by troy mckenzie, head of private collections, Queensland
A Rich Legacy
Tucked away in Central Queensland lies one of Australia’s most historically rich and geologically significant regions: the Gemfields, comprised of small towns such as Rubyvale, Sapphire, and Emerald.
Over the years, I’ve encountered many fine sapphires, but there’s something distinct about those from the Queensland Gemfields. Unlike the vivid blues of Sri Lanka or the velvety tones of Kashmir, Queensland sapphires are complex and varied- featuring natural inclusions, colour zoning, and sometimes even multiple hues within a single stone.
Parti sapphires, with their natural blends of green, yellow, and blue, have become a signature of the region. Once overlooked, these stones are now leading a revival in bespoke jewellery design, admired for their individuality and ethical provenance.
International attention was drawn to the Queensland Gemfields with the discovery of the 202-carat Stonebridge Green sapphire in Rubyvale in 1938 by gem miner Frederick Max Stonebridge, who refused to cut the stone and exhibited it often. Today, the stone is held in the Richardson Collection, owned by a gem miner in Anakie whose great-grandfather, Archibald Richardson, discovered sapphires in the region in the 1880s.
That same year, in 1938, a 12-year-old named Roy Spencer kicked what he thought was a lump of coal that, once cut, turned out to be a 733-carat black sapphire. The family used what is now known as The Black Star of Queensland as a doorstop for ten years before its value was discovered. For many years, it was considered the world’s largest star sapphire. As interest in Australian-made and ethically sourced gemstones grows, the Queensland Gemfields are experiencing a quiet renaissance. Designers, buyers, and collectors are seeking out these stones not just for their beauty, but for their traceability and uniqueness. And perhaps most wonderfully, in the Queensland Gemfields, you never quite know what you’ll discover next.
left:
A sapphire and diamond ring, centrally set with an oval faceted parti sapphire of 3.00cts
Sold for $2,730
above:
Drone aerial view looking down over sapphire mine diggings in central Queensland Australia/ Alamy
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FIVE MINUTES WITH DAVID PRICE
In this issue we get to know Operations, Delivery & Logistics Manager, David Price.
favourite auction purchase
An adorable painted portrait of eight kittens, side by side. Ridiculoussounding, I know - but it brings me joy.
what is your ideal day in melbourne?
It would start with a little sleep in. Then brunch at one of my local Elsternwick favourites. The sun would be shining so it would be rude not to have a couple of afternoon adult beverages. Then head to a gig to see some live music.
if money were no object, what would be your dream auction purchase?
My dream piece would be an original furniture piece made by Charles Rennie Mackintosh.
favourite wine/cocktail/coffee
I am partial to both options. Firstly, coffee would be a fresh hot filter coffee. Cocktail would be a Negroni.
favourite movie
D2 : The Mighty Ducks “Ducks fly together”
22ND REPORT
by ifaw oceania wildlife campaign manager josey sharrad
Victoria’s Shameful Secret: The Hidden Crisis Facing Koalas
More than 120,000 people have joined the International Fund for Animal Welfare’s (IFAW) calls for an urgent parliamentary inquiry into the welfare and ecological crisis facing southwest Victoria’s koalas.
This crisis has been unfolding in the region for decades.
Koalas were hunted to near extinction in the 1900s for their fur, with millions of pelts shipped to the US, UK, and Canada to make hats and gloves. The trade only stopped when the US banned koala fur imports in 1927.
Queensland and NSW populations never recovered, and habitat loss kept numbers low. In 2012, koalas were listed as vulnerable; by 2022, they were uplisted to endangered.
Victoria’s koalas faced a different challenge. As agriculture expanded, native eucalypts were cleared, forcing koalas into small patches of forest. Overcrowding led to food scarcity and over-browsing. Misinterpreting their visibility as over-abundance, authorities implemented translocations, culls, and fertility controls—ignoring the real issue: the lack of koala feed trees and habitat connectivity.
In the 1990s, blue gum plantations replaced farmland, offering fast-growing trees for paper production. The region now bears thousands of hectares of blue gum plantations.
Every year, about two million tonnes of wood chip are shipped to pulp and paper manufacturers in China and Japan. These paper products are then traded internationally, including to the US and Australia, to unsuspecting consumers. Most buyers are unaware of this shameful secret that taints paper production.
No-one could have predicted that koalas would move into these plantations on the scale they did.
As their native habitat disappeared, koalas faced a housing crisis. So, when blue gum saplings grew into tall, skinny trees, they offered an attractive sanctuary for thousands of koalas seeking refuge. For a time, koalas thrived. But this utopia was soon shattered when harvesting machines cut down the trees they had made their new homes. Koalas are notoriously hard to spot with the human eye. They blend into the gum trees’ silver foliage, which inevitably leads to injuries and deaths.
Wildlife rehabilitator Tracey Wilson from Mosswood Wildlife started seeing animals with horrific injuries including broken limbs, impact wounds, severed arms, and dead koala mothers with joeys still alive in pouches.
She appealed to the government and the plantation industry, to no avail. In 2012, at a national koala conference, she told her story to a stunned room of fellow rehabilitators and researchers. Since then, IFAW has supported Tracey in her mission to expose and address this travesty.
The story made national and global headlines in July 2013 after concerned blue gum workers blew the whistle with damning footage of koalas being killed and injured. Then in 2014, IFAW co-drafted a code of conduct for koala management in forestry plantations. Guidelines were adopted in 2015, but they weren’t mandatory. In 2017, IFAW called on its global supporters to put pressure on the Victorian government to protect koalas in blue gum plantations. Over 60,000 emails were sent to the environment minister—finally prompting progress.
The government introduced regulations, including mandating that koala spotters identify koalas on-site prior to harvests. But this is not foolproof, as koalas are notoriously hard to spot even by trained professionals. It also only addresses half the problem, failing to require companies to retain or provide habitat for koalas to live in once their trees are cut down.
The harvesting industry must take some responsibility. They have a moral obligation to offset the damage they are causing by investing some of their lucrative profits into providing permanent habitat and corridors, so these koalas can live and move freely.
The government must also strengthen and enforce welfare regulations. We need a radical approach: protect land, replant trees, and build corridors for koalas to move freely. This is the key to a future of peaceful coexistence with these animals.
That is why we are calling on you to take action and sign our petition by scanning the QR code).
Image: Blue gum Koala
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.
SUZANNE ARCHER, JACK BALL, MERRIC BOYD, CRAIG & KARL, DORRIT BLACK, YUSHI DANGAMI, MAX DUPAIN, KALDOR PUBLIC ART PROJECTS, KIRSHA KAECHELE, BETTY KUNTIWA PUMANI, BENJAMIN MILLEPIED, MAN RAY, JOTARO SAITO, ARCANGELO SASSOLINO, ANN SHELTON, JARROD VAN DER RYKEN, CERITH WYN EVANS & MORE
Installation view ARCANGELO SASSOLINO in the end, the beginning (detail), 2025
Photo: Jesse Hunniford
Courtesy the artist and Museum of Old and New Art, Nipaluna/Hobart
UNTIL 26 JAN BOOK NOW
Martin Grant, Paris (fashion house) and Martin Grant (designer) Look 23, dress 2010, from the spring–summer collection 2010.
Sidney Nolan, Works from the Artist's Studio, August 2025
18ct gold necklace Sold for $11,250
The Sydney Jewellery Edit, August 2025
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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
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Luke Guan
Head of Department 0455 891 888 luke.guan@leonardjoel.com.au
