LEONARD, issue 100, October-November 2022

auction calendar

OCT NOV DEC

Women Artists

Tuesday 4 October, 6pm / MELBOURNE

Island Life - A Palm Beach Home Monday 17 October, 2pm / SYDNEY

Fine Jewels & Timepieces

Monday 24 October, 6pm / MELBOURNE

Fine Art Tuesday 25 October, 6pm / MELBOURNE

Modern Design Monday 14 November, 6pm / MELBOURNE

Luxury

Tuesday 15 November, 6pm / MELBOURNE

Prints & Multiples

Wednesday 16 November, 6pm / MELBOURNE

Specialist Rugs

Thursday 17 November, 2pm / MELBOURNE

The Collector's Auction

Monday 28 November, 6pm / SYDNEY

Street Art Tuesday 29 November, 6pm / MELBOURNE

Decorative Arts

Monday 5 December, 12pm / MELBOURNE

Asian Works of Art Monday 5 December, 6pm / MELBOURNE

Important Jewels

Tuesday 6 December, 6pm / SYDNEY

Holiday Jewels Wednesday 14 December, 6pm / MELBOURNE

The Auction Salon

Furniture & Interiors – 10am Objects & Collectables – 10.30am Jewellery – 11am Art – 11.30am

Every Thursday / MELBOURNE

COVER & LEFT: Illustrations by Jeffrey Phillips

welcome

Welcome to this special edition of Leonard Magazine, our 100th issue!

To help celebrate this milestone, we've commissioned Melbourne illustrator Jeffrey Phillips to create a series of drawings representing our business, which we hope you enjoy as you flick through these pages.

Within this issue, our specialists share advice on how to style antique furniture in a contemporary setting, as well as how to accessorise with brooches in today's style.

We also take a look at artists to invest in, marvel at the jewels of Van Cleef & Arpels, discover recently unearthed treasures of the art world, and much more.

We hope you enjoy.

This Issue

FROM THE CHAIRMAN

3 100 Issues of Leonard Magazine

AUCTIONS

4 Important Jewels | A Statement in Style

6 Fine Art | What Makes the Market Value for an Artist’s Work Increase?

10 Fine Jewels | The Innovation of Van Cleef & Arpels

12 Timepieces | The Evolution of the Wristwatch

14 Sydney | Rediscovered Masterpieces

16 Decorative Arts | Antique Furniture for a Contemporary Lifestyle

18 Modern Design | The Bauhaus: Over 100 Years of Design Innovation

20 Luxury | The Big Three from France: Part III

21 Prints & Multiples | From Street Art to Printmaking

IN FOCUS

22 5 Minutes with John D'Agata

23 Brisbane | Summer Jewels

24 A Last Look

26 In Conversation: with Yvonne Shafir

30 Art Expert Series | How to Build a Creative Career with Jeffrey Phillips

32 22nd Report | As Wildlife and People Run Out of Space, We’re Creating Room to Roam

34 Arts Project Australia | Variations on Variations: Disability in the Visual Arts

JOIN US

36 Connect & Buy with Leonard Joel

37 Contact a Leonard Joel Specialist

100 ISSUES OF LEONARD MAGAZINE

Celebrating Collections. Since 1919.

For this special issue of Leonard, we decided to ask ourselves what the phrase that accompanies our logo means to us as auctioneers and valuers; “Celebrating Collections. Since 1919.” For me, it is not just an elegant phrase, it is a promise. Not just to present and promote a collection or beautiful object with a glossy catalogue and the flourish of an auctioneer on the rostrum, it is more than that. It is about honouring not just the property we are entrusted with, but also the memories and history that inhabit every collection, great and small.

From the client that never knew their box of costume jewellery hid the most precious natural pearl ever found in Australia, to the meticulous and sacred task of ensuring every personal item was found, identified, and recorded within Mirka Mora’s studio, this is how we honour the people, the property, and the provenance in every lot and in every auction. This, to me, is what celebrating collections really means; the passing of property from one individual to another, one family to another. In harmony. The cycle of collecting at auction, from sale to settlement, with property respected and history and memories intact.

Our Leonard magazine, now in its 12th year and 100th issue, forms part of the Leonard Joel promise to record and explore collections and the act of collecting. In every issue, we go on little journeys with people, objects, and periods. I say with pride, that very few fine auctioneers around the world have managed to create, evolve, and maintain a periodical of this quality, and for this long. This achievement is testament to all the specialists, contributors, and creators of Leonard, that every two months bring their passions and curiosity to the magazine. In the process, we honour, in a very personal sense, the collections that find their way to Leonard Joel.

And a special thank you to Daniel Callan, the Melbourne-based creative maestro, that after a conversation with me, conceived exquisitely the look, the feel and the style of Leonard magazine!

JOHN ALBRECHT Chairman / Head of Important Collections

OPPOSITE: The Magical Studio of Mirka Mora, 2019

ABOVE: This extraordinarily rare antique natural pearl sold for an Australian auction record of $146,000.

IMPORTANT JEWELS

Next Important Jewels Auction

Tues 6 Dec, 6pm

SYDNEY

OPPOSITE: Uma Thurman attends the 2016 Met Gala, wearing a vintage Cartier brooch / Alamy

TOP: Sapphire and diamond pendant brooch Sold for $30,000

BELOW: Tiffany & Co. diamond brooch Sold for $32,500

BELOW RIGHT: Tiffany & Co. diamond, sapphire and enamel 'Ladybug' brooch Sold for $6,000

A Statement in Style

Imagine an astonishing form of jewellery. Often encrusted with diamonds, precious stones, rare natural pearls and shimmering enamels of every hue. A form that stretches back to the Roman Centurions and encompasses some of the most spectacular examples of Victorian, Art Deco, modern and contemporary jewellery design. Imagine the craftsmanship attributed to these forms by the world’s most revered jewellers, Louis Cartier, Alfred Van Cleef, Joseph Chaumet, and Louis Comfort Tiffany. Worn by Maharajahs, Queens, Emperors, politicians, and movie stars alike, all whilst attending some of the most legendary society events in history. A form that is not limited to a wrist, finger, or ear – something that can adorn almost any part of the body.

What is this astonishing form of jewellery you may ask? Ladies and Gentlemen… the brooch.

In recent years, brooches have been making a steady comeback to the minds of jewellery collectors and fashion’s elite. No longer regarded as an adornment of an era bygone, the brooch has been triumphed by the style makers who continue to breathe new life through their daring and creative styling. Not only women but also men are at the forefront of championing the resurgence.

One can only look to the recent Met Gala, the mecca of fashion events, where Henry Golding (Crazy Rich Asians) meticulously styled his lapel with two David Yurman pieces, or Austin Bulter (Elvis) with his jabot pin by Cartier. Uma Thurman’s brooch styling made headlines around the world during her attendance of the event in 2016. A bird brooch made by Cartier in 1948 perched on her shoulder strap.

The bird measuring just over 20cm flew in just in time for the occasion from the Cartier Collection in Paris. Designed under the supervision of Creative Director Jeanne Toussaint, the platinum setting has almost 90 carats of diamonds covering the plumage.

Worn close to the heart and without inhibiting or directly ornamenting the body, brooches are often the statement jewellery of choice for contemporary and powerful women. The first female US Secretary of State, Madeleine Albright, first female Prime Minister of the United Kingdom, Margaret Thatcher, and of course Queen Elizabeth II, are all know to have worn brooches to convey their views, feelings or even hidden messages.

Many clever people are also finding great pleasure in repurposing these beautifully constructed pieces into different forms of jewellery to best suit their individual style. Think Victorian crescent brooches converted into beautiful pendants, or Art deco plaques into fabulous dress rings.

So, reach into the depths of your jewellery boxes and bring these astonishing creations forth into the light, where they were always destined to be. Style them in your hair for a special occasion, or place multiples together in a cluster for a more modern look. Place them on belts, shoe buckles, or the cuff of a shirt. You are only limited by your own imagination.

LAUREN BOUSTRIDGE / Senior Jewels Specialist, Sydney

FINE ART

What Makes the Market Value for an Artist’s Work Increase?

The art market is full of highs and lows, but what factors can trigger an artist’s work to experience a rise in market value? This can arguably be analysed and scrutinised without any finite formula determined, but here are four examples we’ve seen demonstrated at auction in more recent years:

JORDY KERWICK

One of the swiftest rises in market value recently has been seen for Australian artist, Jordy Kerwick. Beginning painting in 2016, Kerwick has quickly become one of the most collectable contemporary artists around the globe. With sellout shows overseas, his primary market profile has grown from an original modest asking price of $1,500 AUD to some paintings now claiming in excess of $200,000 USD. At auction, his works have been doubling and tripling their estimates, with collectors scrambling to get a piece of the action. In June 2022, Leonard Joel was the first Australian auction house to present a work by the artist; the work achieved nearly quadruple its lower estimate.

Fine Art Auction

Tue 25 Oct, 6pm

MELBOURNE

OPPOSITE: JORDY KERWICK (born 1982)

Still Life 2018

oil, synthetic polymer paint and collage on canvas

75.5 x 60.5cm $30,000-40,000

TOP: MIRKA MORA (1928-2018)

Curlews in the Garden 1980 wool, cotton and lurex tapestry 176 x 241cm Sold for $200,000

RIGHT: CLARICE BECKETT (1887-1935)

Studley Park Footbridge c.1924

oil on board

25.5 x 35cm

Sold for $206,250

BELOW: CRESSIDA CAMPBELL (born 1960)

The Garden at St Kevins 1987 handcoloured woodblock print A/P

88.5 x 58cm Sold for $19,840

CLARICE BECKETT

Clarice Beckett has experienced more than one significant moment that directly increased the value of her works. In the 1960s, Rosalind Hollinrake salvaged her works from a shed in disrepair and began to exhibit and profile her pieces. Suddenly, an unknown ‘C. Beckett’ became one of the most accomplished tonalist artists of the 20th Century. Fast forward to early 2021 and the Art Gallery of South Australia’s landmark exhibition “The Present Moment” showcasing 130 paintings by Beckett, instigating her strongest market year to date. In fact, the auction market witnessed an 800% increase in annual turnover for her works in 2021 versus 2020 with her 9 highest prices all being achieved after the opening of the exhibition.

Mirka Mora has been written about and spoken of long before her passing in 2018, but her art practice was not always the hot topic. Leonard Joel was honoured to be entrusted with selling The Magical Studio of Mirka Mora here in early 2019 containing artworks and personal effects that opened the art world’s eyes to one of Australia’s most memorable artists. The frenzy that this exhibition and auction generated culminated in a soft sculpture doll, Good Morning Angel, selling for $76,136 IBP. The market demand has steadily maintained since then, including a record price for a Mirka Mora work at auction again with Leonard Joel in Important Works from the NAB Art Collection where a unique tapestry by Mirka sold for $200,000 IBP.

CRESSIDA CAMPBELL

Cressida Campbell’s career has strengthened over 40 years, with several notable factors influencing her rising market value. Whilst already a successful artist, a 2017 exhibition in Germany opened her work to the international market and Art Basel Hong Kong soon after saw a then record price for the sale of her work at $125,000. Since then, the market has seen a steady rise for Cressida Campbell. Her output of work has increasingly become smaller as the demand has become stronger, with her latest exhibition at Philip Bacon Galleries in Brisbane selling out weeks before opening with a waiting list 300 people long. Currently, her original woodblocks are selling in excess of $400,000 both on the primary and secondary markets. For Cressida, a small output has kept collectors desperately waiting to secure one and willing to pay increasingly more to do so.

OLIVIA FULLER / Head of Fine Art

MIRKA MORA

LEONARD MAGAZINE THROUGH THE YEARS

2011-16

“The pleasure of encountering and spending time with another person’s collection is the pleasure of entering the world of somebody whose personality and interests extend beyond the here and now - a person who is enjoying a quiet conversation with both the past and the future.”

David Parsons, Head of Decorative Arts, on celebrating collections

“Some are accompanied by sentimental or amusing tales, others have great historical and cultural significance–each piece has a story that is as fascinating to me as the physical object.”

Bethany McGougan, Head of Fine Jewels & Timepieces, on celebrating collections

Mon 24 Oct, 6pm

MELBOURNE

OPPOSITE: Van Cleef & Arpels, 18ct gold necklace $8,000-12,000

ABOVE LEFT: Van Cleef & Arpels rubelite and diamond earclips Sold for $27,500

ABOVE RIGHT: Van Cleef & Arpels diamond bracelet Sold for $90,000

BELOW: Elizabeth Taylor wearing the ruby ring gifted to her from Richard Burton, 1973 / Alamy

The Innovation of Van Cleef & Arpels

Early in their marriage, Richard Burton announced to Elizabeth Taylor “one day I’m going to find you the most perfect ruby in the world!” After four years of searching, he accomplished this mission and purchased the Puerta ruby at Van Cleef & Arpels. The stone was 8.25 carats of unheated Burmese origin ruby with a deep red hue, by all standards and exceptional stone. Taylor recalls opening her Christmas gift in 1968, saying “I couldn’t stop screaming… I knew I was staring at the most exquisite ruby anyone had ever seen.”

By the 1960s, Van Cleef & Arpels had indeed built a reputation for sourcing some of the most spectacular gemstones in the world.

Echoing this passionate gesture is the origin story of the house of Van Cleef & Arpels itself, which was born from the marriage between Estelle Arpels and Alfred Van Cleef in 1895. The union was romantic, but it also brought together two established French jewellery industry families. Estelle’s father had dealt in precious gemstones and Alfred’s father had been a lapidarist and diamond broker in France during the reign of Napoleon III, having trained in the workshops of Messrs and David et Grosgeat. Soon after the wedding, Alfred partnered with father-in-law Salomon Arpels to establish the business. Family involvement grew when Salomon passed away and Estelle’s three brothers joined the business, opening the flagship store at 22 Place Vendôme, Paris, in 1906. At this prestigious location, the house flourished, attracting a clientele seeking sophisticated jewellery creations.

When it came to innovative jewellery design in the 20th century, Van Cleef & Arpels were leaders. The complicated ‘invisible’ settings were one such innovation perfected and patented by the house in 1933. The technique, still used by the house today under the term ‘Mystery Set’, involves setting precious gemstones without the visibility of prong or metal element. An early example of the technique is the double holly leaf brooch the Duke of Windsor gifted Wallis Simpson for Christmas in 1936. Invisibly set with rubies and baguette-cut diamonds, the brooch achieved a staggering $806,000 USD at the Christie’s auction of the Duchess’ jewels in 1987.

The Duchess of Windsor was not only a buyer, but an influencer of mid-century Van Cleef & Arpels designs. In 1938, she suggested to creative director of the company and daughter of Estelle Arpels and Alfred Van Cleef, Renee Puissant, that the zipper be a motif in future designs. After years of experimentation and refinement with jewellery designer René-Sim Lacaze, the iconic zip necklace was released in 1950. The ultimate transformative piece is a testament to the innovative spirit of Van Cleef & Arpels, with the ability to be a sautoir style necklace or a ‘zipped up’ cocktail bracelet.

By the 1950s, the maison was well established as purveyors of exceptional jewellery, however there was an opportunity for further creative development. In a bold move, the house opened ‘La Boutique’, stocking a range of wearable ‘daytime’ fine jewellery inspired by nature, animals, couture fashion, and orientalism. Iconic creations from this range remain highly collectable, such as the ‘Chat Malicieux’ clip and the ‘Lion ébouriffé’ designs. Actress Grace Kelly was one celebrity who sported whimsical designs, including a sapphire, emerald and diamond duck clip. The Princess also owned pieces from the emblematic ‘Alhambra’ range, introduced in 1968. Whilst the house had experimented with using the stylised fourleaf clover motifs in designs as early as the 1920s, it was not until the 1970s that it was perfected. Reflecting the more casual cultural spirit of the time, the long necklaces set with quatrefoils of turquoise, malachite, lapis, and other bright precious stones were pictured worn by stylish celebrities such as Françoise Hardy, Romy Schneider, and of course Princess Grace. Having undergone various redesigns and reimaginings since the initial 1968 release, the signature design continues to be one of the most popular Van Cleef & Arpels ranges today.

The October Fine Jewels & Timepieces auction features several pieces of signed Van Cleef & Arpels pieces from the 1960s and ‘70s. Capturing the enduring innovative spirit of the maison, these are iconic additions to any jewellery collection.

BETHANY MCGOUGAN / Head of Fine Jewels & Timepieces

Fine Jewels & Timepieces Auction

TIMEPIECES

The Evolution of the Wristwatch

There are many staple items in our daily lives that we barely give a second thought to. Turn your mind for a moment to, say, a band-aid, a pair of reading glasses, a teabag, or a paper clip; they fade into the background until the moment they are needed, and then it would be unfathomable that they did not exist at all.

Fine Jewels & Timepieces

Auction

Mon 24 Oct, 6pm

MELBOURNE

OPPOSITE: Soldiers in France during World War One sychronising their watches with a clock mounted on a post in the camp / Alamy

ABOVE: IWC Fliegeruhr Mark XVI Ref 3255 a Stainless Steel Wristwatch With Date Circa 2007 $1,500–2,000

BELOW: Patek Philippe Ref 2554/1

A Platinum Wristwatch Circa 1960 $8,000–12,000

More often than not, as the old adage goes, it is necessity that is the matriarch of great inventions. This was certainly true for the birth of the 20th century horological mechanical marvel, the wristwatch. With its introduction, we gained the ability to track the passage of time through miniaturised personal devices that could be worn on the wrist. How inventive, liberating and hitherto inconceivable it must have seemed. In fact, we can go further than that; in the context of the battlefield, we could also describe it as ‘life saving’.

These days, we would not usually refer to a watch as a ‘wristwatch’ - we take it for granted that this is where it is worn. Yet, before the wristwatch became this ubiquitous object of modern daily life, it was necessary to specify where and how you might wear your timepiece. After all, watches had previously been worn on chains and usually deposited in pockets.

Such is the social and historical significance of the watch that many watchmakers have laid claim to being the ‘first’ to invent the wristwatch. Records from 1810 have credited Abraham-Louis Breguet as designing an ‘oblong shapedrepeater for wristlet’, for the Queen of Naples. Patek Philippe followed suit with their bracelet version in 1868 for a Hungarian Royal. Wristwatches - or “wristlets” as they were then known - reached the heights of women’s fashion in the second half of the 19th century. These delicate jewel encrusted wristlets served more as status symbols for upper class women than as instruments of accurate time telling –conveniently so seeing as these ladies of leisure needed not rely on time very much at all.

With wristlets now firmly ensconced in every fashionable lady’s wardrobe, the only masculine choice for the fashionable gentleman remained the pocket watch. It took World War I to change all that. During battle, it could prove costly for soldiers to tie up one hand in the operation of a pocket watch. Initially, the trend was for soldiers to strap their pocket watches to their wrists for easier and quicker access. Gradually, trench watches, designed to be worn on the wrist, became standard issue equipment.

Confined to use on the European battlefields and still in the midst of WWI, a New York Times article in 1916 decried “bracelet watches” as “more or less a joke” and a “silly ass fad.” However, as the war drew to a close, it was becoming increasingly apparent that this ‘fad’ was not going away. The wearing of wristwatches amongst soldiers returning home was spreading in popularity in civilian society. Wristwatches were now becoming reimagined symbols of masculinity and bravado, reflecting the spirit of a soldier, and spelling the end of widespread popularity for the pocket watch.

The wristwatch was here to stay, and whilst styles and technologies have come and gone, the essence of the wristwatch remains true to its genesis on the battlefield.

PATRICIA KONTOS / Senior Jewels & Timepieces Specialist

SYDNEY

Rediscovered Masterpieces

Why are some pieces lost to time? Whether it’s an artist re-using the same canvas likely due to a scarcity of materials, or pieces falling to custodians who are unaware of their inherent value, we take a look at three recently rediscovered masterpieces in Australia.

Frederick McCubbin’s Found

In November 2020, well into Melbourne’s covid lockdown, the head of conservation for the National Gallery of Victoria, Michael Varcoe-Cocks, decided to take advantage of the empty gallery by turning all the lights off and giving each piece on the walls a once-over with a flashlight. After casting his light upon Frederick McCubbin’s seminal painting The Pioneer, Varcoe-Cocks detected evidence of a painting hiding underneath. Further x-ray examination of the painting confirmed his suspicions with the brush marks detected perfectly matching up to those of an earlier painting by McCubbin which had been missing for over a century. Found, which depicts a life-size bushman holding a small child, was previously known solely through a small black-and-white photograph included in the artist’s scrapbook (pictured left). It is now confirmed to have been the genesis of the iconic large-scale triptych, The Pioneer, and lies hidden in plain sight in the collection of the NGV.

The Collector's Auction Mon 28 Nov, 6pm SYDNEY

OPPOSITE LEFT: Frederick McCubbin, Found National Gallery of Victoria, Melbourne Gift of Hugh McCubbin, 1960 This digital record has been made available on NGV Collection Online through the generous support of the Joe White Bequest.

The photograph found within the pages of the artist's scrapbook provides the only visual record of the painting.

OPPOSITE BOTTOM LEFT: Frederick McCubbin, The Pioneer / Alamy

OPPOSITE BOTTOM RIGHT: Found lies underneath The Pioneer

TOP RIGHT: A Dutch still life attributed to Gerrit Willemsz Heda Photo credit National Trust (NSW)

A Dutch Still Life Attributed to Gerrit Willemsz Heda

Woodford Academy is the oldest complex of colonial buildings in the Blue Mountains, NSW, originally built as an inn in the 1830s. Since then, it has undergone a variety of identity changes including as a gentleman’s residence, guest house, boarding house, and from 1907-1936 an exclusive school. When the property was bequeathed to the National Trust in 1979 it was turned in to a museum. Earlier this year a selection of 36 artworks were sent to conservators including the Dutch still life which had been housed within the building for almost 150 years. It was thought it might date to the 17th century but they never dreamed it could be a masterpiece. Upon cleaning the painting and removing centuries-old varnish, the restorers discovered a tiny signature on the knife belonging to Gerrit Willemsz Heda, the son of famed artist Willem Claesz Heda whose paintings sell for millions of dollars. Further research is still being conducted but it’s thought that the painting could perhaps be a collaboration between father and son and dates from 1640 when the younger Heda was still a teenager. The full provenance of the painting is not known but the prevailing theory as to how it landed on Australian shores is that it was acquired in the 1870s by Alfred Fairfax who bought Woodford House and refurbished it as a gentleman’s country retreat and later an up-market guesthouse.

Tom Roberts' Rejection

In 2013 a small painting was listed for auction at Bamfords Auctioneers in the UK at an estimate of £60-£100. For sale from a private UK vendor, the painting bore the signature of Tom Roberts but had not been authenticated by the auction house. Joe and Rosanna Natoli from Maroochydore, QLD, took a gamble on buying the painting (and paying well over the modest estimate) to bring it back to Australia for further research in the hopes of successfully attributing it to the renowned Australian artist. Their hopes were dashed when an expert ruled it out as an authentic work and the painting sat in a cupboard for years. However, in 2017 a friend of the couple submitted the painting to the BBC television program Fake or Fortune and to their surprise it was accepted for investigation. The team flew out to Australia to conduct tests and research which uncovered some incredible evidence.

The painting was dated to the late 19th century, coinciding with the time Roberts studied at the Royal Academy of Arts, UK (1881-1884) as the first Australian to do so. Infrared technology showed an inscription and address on the back of the painting which aligned with records of Roberts’ address when he submitted paintings to the Royal Academy for exhibition. Original sketchbooks held in the Mitchell Library in Sydney showed a series of preparatory sketches with similarities in their compositions to the painting.

Finally, the painting was shown to Lisa Roberts, the artist’s great-granddaughter, and Mary Eagle of the Art Gallery of New South Wales, a leading authority on Tom Roberts. The painting was declared to be genuine, and its estimated value now sits between $500,000-700,000.

MADELEINE NORTON / Associate Head of Decorative Arts & Art, Sydney

BELOW LEFT: Tom Roberts, Rejection Public domain, via Wikimedia Commons

DECORATIVE ARTS

Antique Furniture for a Contemporary Lifestyle

Given that antique furniture and objects have long been a large part of Leonard Joel’s stock-in-trade, the reflective spirit of this one hundredth issue of Leonard, looking both backward and forward, seems a good one in which to ask: is there a place for antique furniture in the contemporary home?

For those who seek some richness, warmth, and character in their homes, I would say that the answer to that question should be ‘yes’ but that finding a place for antique pieces today requires imagination and creativity.

The traditional, often quite formal, way of furnishing with antiques by which pieces of generally the same period and style were put together to create uniform schemes that defined the character and function of particular spaces will be neither practical nor desirable for most today. Few of us now have the luxury of being able to set aside formal dining or sitting rooms or libraries, but perhaps even fewer would choose to do so even if they could. We entertain, raise children, and generally live in ways quite different from even the most recent generations. For antique furniture to have a place in this, the furniture must fit the lifestyle – not the other way around, as, arguably, was the case traditionally.

Next Decorative Arts Auction

Mon 5 Dec, 12pm

MELBOURNE

OPPOSITE: A English oak refectory-type dining table, second half 17th century

Sold for $9,375

ABOVE: A French Provincial oak cupboard, early 17th century

Sold for $1,375

BELOW: A Charles II oak joint stool, 1670s

Sold for $1,000

A further consideration is one of taste. For many in Australia, especially those who grew up with Victorian furniture during or soon after the height of its revived popularity in the 1980s and early ‘90s, ‘antiques’ will mostly mean showy and highly polished mahogany, cedar, and walnut furniture.

Much of this is, frankly, repetitive and characterless, while its inherent formality and need for particular care to preserve its polished surfaces is, again, generally not well-suited to most contemporary lifestyles.

Happily, there are better ways to enjoy antique furniture. The most pleasing of these, from both aesthetic and practical perspectives, has been the shift in interest to more earthy and robust furniture, particularly to English and European country furniture of the 17th to early 19th centuries, generally made of solid woods rather than veneered surfaces and therefore able to take a bit of punishment. Neither a heavy bump that would knock chips out of the veneer of a Victorian sideboard, nor a scratch or a wet mug that would spoil its French polish, would do much to a solid oak dresser and its ancient wax-based patina.

Importantly, earlier furniture also offers far greater variety and individuality than what is found in 19th century furniture. In design, colour, and patina, no two early pieces will be alike, even if of the same type, offering options for different tastes and settings – not something than can be said for its Victorian counterparts.

Another welcome development has been the rise of eclecticism as an approach to furnishing – rejecting the traditional single-style approach for one in which well-chosen key pieces of different periods and styles are thoughtfully fitted in and juxtaposed in a way that allows each element in the scheme to shine in its own way while also contributing to a stimulating whole of pleasing and still-coherent variety. Thus, say, the rich but mellow character of a well-patinated 18th century French buffet or English dresser will serve as the ideal foil for a bright contemporary artwork or a striking Australian indigenous canvas hanging above it. Or a rustic Georgian farmhouse table with cottage chairs will be an inviting counterpoint of warmth and texture in a sleek contemporary kitchen, dining, or living space.

Very pleasingly, these ideas for enjoying good antique furniture in contemporary lifestyles are percolating through the Leonard Joel community and beyond. Our August Decorative Arts auction, which included a rich and diverse offering of earlier furniture, objects, and art, was the best attended and most successful we have seen for some years, with many of the buyers we spoke with intending to enjoy their pieces in contemporary settings.

We look forward to others joining us in their own creative journeys with antique furniture.

DAVID PARSONS / Head of Decorative Arts

MODERN DESIGN

“The mind is like an umbrella. It is most useful when open.”

WALTER GROPIUS, FOUNDER OF THE BAUHAUS SCHOOL

The Bauhaus: Over 100 Years of Design Innovation

Modern Design Auction

Mon 14 Nov, 6pm

MELBOURNE

OPPOSITE: Interior decoration in the Bauhaus style, 1926 / Alamy

ABOVE: Karl Trabert Lamp for Schanzenbach & Co, Frankfurt Sold for $1,000

BELOW: German Postcard for the Bauhaus Exhibition in Weimar, 1923 / Alamy

The Bauhaus is regarded as the most important and iconic art schools of the twentieth century. Despite a relatively short life, lasting only from 1919 to 1933, over a century later the design movement still leaves its indelible mark on art, architecture, and design practices across the globe.

Founded by Walter Gropius in 1919, the school gathered students from diverse backgrounds and sought to unite practical skills and theoretical knowledge, along with new ideas and attitudes. Gropius set out to develop a different approach to teaching, and to the relationship between art, society, and technology.

Bauhaus, meaning ‘building house’ or ‘school of building’, was originally located in the German city of Weimar, before moving to Dessau in 1925, and finally Berlin in 1932. It was influenced by 19th century and early 20th century artistic movements such as the Arts and Crafts, and Art Nouveau and its many international incarnations, including the Jugendstil and Vienna Secession.

The Bauhaus abandoned many aspects of traditional and theoretical approaches. Practical crafts such as architecture, interior design, textiles, and woodwork were now placed on a par with sculpture and painting. The basis for lessons was supplied by wood, cardboard, fabrics and finds from everyday life. This hands-on approach sought to reunite creativity and manufacturing.

Many of the Bauhaus’s most influential and lasting achievements, aside from architecture, were furniture and utensil designs. Hungarian born Marcel Breuer was amongst

the youngest members of the original Bauhaus generation. His take on the classic 19th century tub chair, the Model B3, otherwise known as the Wassily chair, came to be his most famous design. Lightweight, easily moved, and easily massproduced, the chair met all the requirements of the school’s design philosophy.

Only about one third of the Bauhaus students were female, so for a woman to excel in a predominantly male school was uncommon. This was not the case of German born painter, sculptor, photographer, and metalsmith Marianne Brandt. Joining the Weimar school in 1923, Brandt became famous for her ceiling and desk lights, and perhaps most notably her teapot which now holds a place in the famous Museum of Modern Art in New York. The piece reduces an everyday object to a combination of elemental shapes, with pure geometric forms inspired by the constructivist aesthetic. In 1927, Brandt went on to become head of the Bauhaus Metall-Werkstatt in Dessaur, a true testament to her exceptional craft.

It’s hard to overstate the impact of the Bauhaus on the world of design; its legacy is as deep as it is complex. After the closing of the school in 1933 by the Nazis, its students and faculty dispersed around the globe, taking with them the Bauhaus aesthetics, philosophies, and ideas for a brave new world.

Together, these individuals and the institutions they went on to create changed the face of modern art, fashion, architecture, and industrial design for decades to come.

ANNA GRASSHAM / Head of Modern Design

Luxury

The Big Three from France: Part III

“Luxury must be comfortable, otherwise it is not luxury”

COCO CHANEL

In the last two issues, we covered the remarkable histories of Louis Vuitton and Hermès. Now, let’s look at our third French genius of design, Chanel.

Gabrielle ‘Coco’ Chanel created her own empire in an industry dominated by men. She knew that she could not be their equal and so succeeded to trump her male counterparts, beating them at their own game. Like Louis Vuitton and Thierry Hermès, Chanel came from humble beginnings and was brought up in an orphanage. It is said that this is where she learnt the art of sewing. At the age of 18, Chanel started her climb to success firstly as a cabaret singer of all things, and this is where she began to be known by the name ‘Coco’. She then became a milliner and opened her first store ‘Chanel Models’ at 21 Rue Cambon in Paris.

With a series of lovers came a series of successes. Coco made the most of her opportunities and built her empire.

By 1913, Chanel was selling avant-garde women’s clothing which eliminated the use of corsets. She designed and sported satin trousers which became very popular. With her reputation growing, in 1921, the Chanel No.5 perfume was launched. The famous two-piece suit with the raised hemline made its first appearance in the same year, and Chanel

expanded her retail store further along the Rue Cambon. Two iconic events took place in the 1950s; the classic two-piece took its form inspired by men’s suits giving absolute freedom of movement with a sharp female profile. The first bags also saw a change in this decade with a new piece that could be worn on the shoulder, thus the classic 2.55 model was born. Chanel revolutionised women’s fashion and it is no wonder that her adaptable fashions are still successful today.

Louis Vuitton, Hermès, and Chanel - the ‘Big Three’ - all gained dominance in the 20th century. In common they had vision, and created enduring, desirable products. Within all their ranges they have also given us many must-have classics that have stood the test of time. They continue to remain leaders for global luxury because of their foundations and the perseverance of their original creators. Whilst it seems that we are inundated with luxury brands, these three are certainly a hard act to follow.

JOHN D'AGATA / Head of Luxury

Luxury Auction

Tues 15 Nov, 6pm

MELBOURNE

TOP: Gabrielle 'Coco' Chanel / Alamy

LEFT: A Boy Bag by Chanel Sold for $5,625

Prints & Multiples Auction

Wed 16 Nov, 6pm

MELBOURNE

Street Art Auction

Tues 29 Nov, 6pm

MELBOURNE

TOP: KEITH HARING (1958-1990)

Silence

Sold

RIGHT: LUKE CORNISH (E.L.K)

Wake

Prints & Multiples

From Street Art to Printmaking

The origins of printmaking can be traced back to as early as the 13th century, yet it remains a medium that develops through the advancement of technology. Traditionally, printmaking refers to a hand processed technique, however it has now expanded to include multiple other media including sculptural works, street art, and even NFTs.

The status of street art has undeniably been on the rise for the past few decades. Street artists are finally being recognised for their talents and are receiving accolades from both art institutions and local governments. The artists have also experienced commercial demand, leading them to explore the printmaking process to sell their art.

Keith Haring, one of the most well-known street artists, brought this to the forefront of the art world in the 1980s. He would transform subway stations into his own personal canvases, eventually leading to public recognition of murals as a legitimate form of art. Haring’s editioned screen prints are some of his most iconic works. In July 2020, at Leonard Joel we held one of our triannual Prints and Multiples auctions featuring an important collection of street and pop art. Keith Haring’s Silence = Death achieved the highest result for an edition of this screen print in Australia, and almost equalled the world record held by Christie’s New York.

Haring and other international street artists have influenced some of our top creatives here in Australia. Influences of American graffiti culture of the 1980s are evident in the work of Reko Rennie, such as his edition I WAS ALWAYS

HERE (2016), and Message Stick (2011-2013). One of Australia’s most successful street artists, Rone, cites British artist Banksy as an influence. Whilst most of Rone’s commercial works are on canvas or are photographic editions, our November 2021 Prints and Multiples auction featured a rare stencil work. Applied directly to a timber cupboard door panel, this work is still considered a “multiple” despite its uniqueness, as there are other examples of Rone’s work with the same stencil.

These artists have been, and are still, major contributors to the expansion of the printmaking process, making it one of the most popular and globally recognised mediums in the current market. Furthermore, Australia has become a highly identifiable place for street art, with some of our most collectable artists such as Rone, Reko Rennie, E.L.K, and HAHA all beginning with a background in graffiti. Where once street art was destined for the streets alone, we are now seeing the aesthetic making its way into high-end editions and appearing in important institutional and private collections globally.

HANNAH RYAN / Art Specialist

Minutes with…

JOHN D'AGATA

For our 100th issue, we chat to John D’Agata, our Head of Luxury, who has been with us since the very first issue of this magazine yet has never done a “5 minutes with”… time to change that!

FAVOURITE AUCTION PURCHASE

I’d have to say that my favourite Leonard Joel purchase was my French Art-Deco dining suite. It was a nerve wracking buy because it was being sold in five separate lots and I wanted to buy the whole suite and keep it intact. I remember leaving super high absentee bids on all the pieces and am happy to say that I was successful on the whole suite. It’s really elegant and gives me much joy.

FAVOURITE WINE / COFFEE / COCKTAIL

It’s no secret that I enjoy a whisky. The smokier the better. God bless Scotland and the clever inventor of this satisfying brew. I’ve learnt to drink it neat and savour the flavour slowly. I often joke with my colleagues that certain information would cost a bottle of whisky. There’s at least one colleague who still owes me two cases.

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

I may look like I never get my hands dirty, however I’m an extremely practical person. My greatest achievement is my country garden, which I planned myself and designed by eye. No professional surveying tools were used at all. With the help of my partner, we have created something that is truly magnificent and are always busy maintaining and adding things along the way.

FAVOURITE BOOK

I love biographies, especially those of entertainers and their rise to fame, and sometimes fortune. Lately however, I’ve taken an interest in alternative books that delve into spiritual and metaphysical philosophies of life. My go to is an easy read by Florence Scovel Shinn called ‘The Magic Path of Intuition’. It has recently been released from an unpublished manuscript. Staying true to yourself and being positive in life is a virtue. I find the straightforward text soothing and inspiring especially in these troubled times.

YOUR IDEAL DAY IN MELBOURNE

Am I allowed to have an ideal day in Melbourne & Glenlyon as well? I love the bay, so I would have to say that walking the dogs (who aren’t really dogs because they are poodles) along the beach and stopping for a drink or two just taking in the atmosphere is fabulous. In the country I’m known as the hermit because I rarely leave the house. I enjoy being outdoors with my partner and the poodles, then a shower and feet up for an evening whisky and dinner by an open fire…blissful!

Fine Jewels & Timepieces

Auction

Mon 24 Oct, 6pm

MELBOURNE

Viewing in Brisbane

Sat 8 Oct 10am-4pm

TOP: 18ct gold bracelet

Sold for $8,125

RIGHT: 18ct gold and coral ring, Italian $1,500-1,700

Brisbane

Summer Jewels

Think summer days at the beach, relaxing around the pool, parties, festive celebrations… I immediately think of beautiful pearls in all shapes and sizes, coral, and coloured gems like aquamarine, topaz, peridot, amethyst, citrine, and turquoise with its magical colour reminiscent of the Mediterranean.

Renowned jewellers David Webb and Bulgari have both embraced the mix of colour with a fun and whimsical style in many of their collections.

Whether it be the iconic David Webb Zebra bracelet, multi coloured Bombe rings, or the colorful Allegra collection from Bulgari, bright jewels like these are sure to be a talking point and most certainly feel-good pieces to add to any collection.

bangle bracelets in an array of colours and texture variations, highly collectable and extremely desirable. Worn as a standalone piece or as a stack in various colours, they are much loved and sought after by many of the stylishly chic, including Jackie Kennedy who regularly adorned her wrist with them.

Pearls of any length, whether it be a shorter classic strand, a longer flowing strand, or a layered look mixed with gold and colourful gemstones are sure to add that extra little bit of pizazz and fun, suitable for any occasion, morning, noon, or night.

TROY MCKENZIE / Queensland Representative Specialist

Sold for $250,000

Important Jewels, August 2022

A Last Look

Sold for $62,500 Decorative Arts, August 2022

The beautifully carved Laidlaw bedroom suite by cabinetmaker Robert Prenzel (1866-1941) sold for a combined total of $300,625 IBP, far exceeding the estimate. His suites form some of the most important works of earlier Australian furniture design, and the Laidlaw suite may fairly be regarded as the fullest expression of the style we now associate with Prenzel. The suite, made circa 1908, is one of five similar suites made by Prenzel between 1905 and 1910, all to commission for prominent Western District patrons. It had remained with the Laidlaw family until the auction.

BILL WHISKEY TJAPALTJARRI (c.1920-2008) (Pitjantjatjara Language Group) Rockholes Near The Olgas 2006 Sold for $40,000 Indigenous Art, August 2022

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

A CARVED AUSTRALIAN BLACKWOOD WASH-STAND BY ROBERT PRENZEL Circa 1908

Pair of Spectacular Diamond Ear Studs

Sold for $109,375 Important Jewels, August 2022

Louis Vuitton, Limited Edition Race Petite Malle Bag Sold for $3,750 Luxury, July 2022

Rolex, Rare Sterling Silver Table Box Sold for $5,500 Luxury, July 2022

Modern Design, July 2022

HOWARD ARKLEY (1951-1999) Nick Cave © The Estate of Howard Arkley. Licensed by Kalli Rolfe Contemporary Art Sold for $4,250 Prints & Multiples, July 2022

NORMAN LINDSAY (1879-1969) Shipwreck With Sea Nymphs Sold for $47,500 Fine Art, Sydney, August 2022

An Impressive Diamond Ring, weighing 10.04 carats

D'este & Zane Murano Art Glass Sold for $1,500 Modern Design, July 2022

A Chinese Imperial Edict Relating to Jueluo Changlin Qianlong Period (1736-1795), Dated 1785 and of the Period Sold for $62,500 Asian Works of Art, August 2022

In Conversation

with Yvonne Shafir

Yvonne Shafir describes her vivid home as a bit like “an overgrown garden”. Stepping into her Spanish Mission house in bayside Melbourne, this rings true, in the best way. All available space has been thoughtfully occupied...

Your home is a visual feast! Tell us about how it all came together.

When I first moved in, there was a lime green carpet in most areas and the walls were white. In the five years since, Leonard Joel has been instrumental in converting a sort of MCM aesthetic into a surrealist, botanical, totemic, animistic, decorative arty, camp collection that happens to house me, my two cats, and the occasional boarder. I like to tell stories with my art, objects, and furniture. I do this by constantly reshaping the collections I own, through a kind of manic curation.

What was your first Leonard Joel purchase?

A dark lavender velvet tufted bedhead. It became the masthead of my office over the lockdowns… and beyond.

Can you tell us about some more recent purchases?

I’ve bought quite a few lights from Leonard Joel. You could say they have been lighting my way, really. There are the two lamps in the study, the art deco desk lamp with the bakelite lavender stem and apricot glass shade. And then the red Foscarini standard lamp that you are no longer able to find at Space Furniture in that colour. Not to mention the Murano chandelier in the entry way which, as many a Leonard Joel lamp purchaser has done, I cradled in my lap as a cautious nephew drove me home.

You mentioned a few purchasing mishaps...?

Buying online, without really reading the description... and imagining things to be a different size. Such as the gigantic toadstool I bought thinking it was a few centimetres high, or the hall console, whose footprint was a few shoe sizes too big.

Sometimes the mishap is missing out; one particularly painful memory is eyeballing an Italian fifties porcelain panther in a Tel Aviv storefront over a period of months and then finally going in to purchase it and it was gone. You snooze you lose! Luckily, I did end up getting an Italian fifties ceramic panther at Leonard Joel, much larger than the one I saw on Dizengoff Street all those years ago, and it now overlooks my kitchen.

How did your time in New York influence your personal style and collecting aesthetic?

I moved to New York when I was 24 and stayed until I was fifty. I did a PhD in Comparative Literature (no, it didn’t take 26 years!), went to the Metropolitan Opera and the New York City Opera (alas, no longer extant), the hallowed nightclubs like the Palladium, Danceteria, and Limelight, and met all sorts. One of my addresses was down the road from an auction room called Doyle’s. I’d go out to buy a coffee and come home with piece of Galle glass.

So, to answer the question, I suppose New York was learning about breaking down boundaries: between high and low, art, not art, celebrity and public. The French department of Columbia University oversaw an explosion of post structuralism into theory and art practice. My personal interests had me exploring parts of town and environments that were quite far from the ivory tower uptown, but equally educational.

You spoke about your love for surrealism, how does this tie into your space?

I fell into Surrealism when I was awarded a book by William Gaunt as dux prize for being a study nerd. I was captivated by the idea of a magical unseen world underlying our existence;

enamoured by the Surrealist project of turning reality into dream. Creating an interior that feels dreamlike, was certainly a design principle. No doubt for many, my interior might represent a nightmare, but that’s a response I accept.

One way of creating a new reality, or surreality, is by juxtaposing random objects. There’s the famous Surrealist line about the chance meeting of an umbrella and a sewing machine on an operating table. Combining objects that might not seem to connect, yet when they are put together, create a whole new experience.

These two principles have guided my collection a little, which, elsewhere, I quipped, ought not be called “eclectic” if you wanted to keep me happy. Now, I don’t really care - call it what you will. A fine line between important and kitsch? Good and bad taste? No line?

Finally, after all these decades, I have understood that even if you put a sewing machine and an umbrella, two seemingly very different objects, together, on yet another seemingly obscure locus, you will find connections, and many, if you look hard enough. It is redefining the way that we see things that I think we can appreciate in the Surrealists.

What’s your most memorable reaction when someone has visited your place for the first time?

Good question… a baby (whose was it?) that came in and just didn’t know where to look, because basically there is sensory overload in here, at least on a visual and tactile sense. So many colours and patterns. Shiny things. Most people who come here do have a reaction of some kind. I hope it puts them in a happy place. Or a visual coma.

Thank you to Yvonne for welcoming us into her home and chatting with us.

OPPOSITE: The lounge room, with a painting by Ali Miller, and pink man lion by Sergio Bustamente

TOP LEFT: Yvonne’s first Leonard Joel purchase, a velvet bedhead

TOP RIGHT: The Italian ceramic panther, covered in artwork by Hiromi Tango

NEXT PAGE: Yvonne’s study featuring lamps and artwork sourced at Leonard Joel (Beacon Tower 2022 by Christopher McVinish)

LEONARD MAGAZINE THROUGH THE YEARS

2017-22

“Collections can be truly multi-faceted, revealing the inner thoughts, tastes, and desires of the collector, often in ways they themselves don’t realise. Being able to be the custodian of someone’s collection and present it to auction to be appreciated by others, is a truly unique experience.”

Olivia Fuller, Head of Art, on celebrating collections

“Every collection is different, yet the same treasured experiences apply. We get to celebrate other people’s journeys, what they loved, and at times, get an insight into how they saw beauty in the world.”

Anna Grassham, Head of Modern Design, on celebrating collections

TOP RIGHT:

How to... Build a creative career

Phillips

WITH JEFFREY PHILLIPS

What do you wish you knew when you were starting out in the creative industry?

I wish I believed in myself a little more. I always felt that in order to be successful, I had to be more like artists that I looked up to. Which I think works really well when you’re starting out, but eventually you find that you can’t follow them forever. It’s like they give you a little tow at first, but eventually you’ve got to start rowing the boat yourself.

What did you enjoy most about working on the illustrations for Leonard Joel?

I have been a fan of Leonard Joel Auctions for some time now. I look forward to browsing the weekly catalogue for interesting, unusual, or wildly expensive items. Occasionally they make their way into a drawing. Getting the opportunity to reference some of the many wonderful objects tucked away in the Leonard Joel back catalogue was incredibly fun to say the least.

How do you balance the commercial work while staying true to your own style?

I try not to think about staying true to a style – style is the expression of how I’m feeling in the moment. For example, if I feel playful then my work is playful. So, it’s really about staying true to who I am, and the style just follows from there.

Commercial work sometimes aligns with this but there are typically a host of other factors that you need to consider too. I think the best work finds a happy medium between what you want to do and what the client needs the work to do for them.

We love your sketches of people on the street, do you have a favourite spot to people-watch and draw?

I love to park myself at a cafe or near a thoroughfare where there is a lot of activity. The GPO cafe is a great spot. So is any busy patch on the Merri creek trail.

I just returned from my first trip to Italy – that was such an incredible place to draw! I think drawing while travelling is especially fun because you’re constantly bombarded with unfamiliarity which supercharges your ability to notice and observe.

Of course, in familiar surroundings, like at home in Melbourne, you have to work a little harder to notice something interesting happening. But it can often be more rewarding because of that extra effort to look past the obvious.

Discover more of Jeff’s work at jeffreyphillips.com.au and follow him on Instagram @jeff_the_peff

Jeffrey Phillips is represented by The Jacky Winter Group

It was a pleasure to work with Melbourne illustrator Jeffrey Phillips for a series of drawings, seen throughout this issue. Here, we get to know Jeff and find out what advice he has for other creatives.

PATRICK

JULIE RRAP DRAWNOUT,

single-channel video,

Courtesy the artist, ARC ONE Gallery, Melbourne and Roslyn Oxley9 Gallery, Sydney

22ND REPORT

As Wildlife and People Run Out of Space, We’re Creating Room to Roam

— Today, more than 150,000 elephants roam across increasingly fragmented landscapes of Eastern and Southern Africa. More than 60% of their range lies outside of formal protection, exposing them to threats and human-wildlife conflict. Climate change compounds the threat of broken landscapes, with animals like elephants risking their lives and traveling further than ever to seek essential water and food for survival.

But IFAW (International Fund for Animal Welfare) sees an ambitious yet actionable solution.

IFAW believes every species and every habitat has the ability to bounce back. To thrive, elephants need safe routes to roam freely through countries, over borders, and at a distance from humans. They need access to healthy habitats for food and water, and the natural space to stabilise and thrive.

To achieve this, IFAW has a new and visionary approach to conservation—Room to Roam—which is backed by more than 20 years of science, fieldwork, and true engagement with local communities. Room to Roam is an ambitious approach, and an urgent one. It will ensure the persistence of viable and stable elephant populations long into the future. Through connectivity, secure habitats, and by bringing people together, we will create safe passages for elephants and other wildlife to move freely within their home range of Eastern and Southern Africa.

The long-term approach to achieving Room to Roam is protecting connected and secure landscapes across Eastern and Southern Africa, allowing elephants and people to thrive together in the face of perilous threats like climate change. This network of resilient landscapes is critical for wildlife

populations to persist over time and to prevent a large-scale and irreversible biodiversity crisis in Africa.

It’s a vision I lead for IFAW, but it’s not something we can do alone.

It’s about forging partnerships with communities, traditional leaders, governments, private sector actors, and other NGOs as part of the collective capacity to reconnect critical landscapes and allow wildlife to flourish.

And there’s more. Room to Roam doesn’t just help elephants and other wildlife—it also opens new opportunities for local communities to enhance their well-being and co-exist with wildlife. Land outside of national parks belongs to communities and private landowners, including traditional leaders, conservancies, and land trusts. By working directly with traditional leaders and communities in Africa, we’re empowering local people to be directly involved in planning and implementing long-term solutions.

The result is greater biodiversity and a natural resilience to climate change that leads to greater stability, and a future where animals and communities harmoniously coexist.

Connectivity isn’t just important to African landscapes, but Australian too. Similar to our efforts to give elephants room to roam, we have been working to restore and connect critical wildlife habitats along Australia’s east coast. This has been more important than ever with climate change continuing to increase the frequency and intensity of disasters, further fragmenting and destroying habitats already broken by land clearing and development.

ABOVE: Photo credit: © Donal Boyd

OPPOSITE: Room to Roam map © IFAW

Jimmiel will be talking about the importance of connectivity in conservation at the Connecting People, Connecting Nature conference hosted by our partners at the Great Eastern Ranges on October 18 and 19. Find out more at the above QR code.

That’s why we’ve combined forces with the Great Eastern Ranges (GER) to promote community collaboration in landscape conservation by restoring habitats and creating wildlife corridors and helping to increase connectivity among landscapes and communities. Together, we’re determined to enhance habitats, restore and connect the places wildlife call home — so animals and people can have a better chance of surviving and thriving together.

Just like koalas could become extinct by 2050 if we don’t protect and restore their habitats, we could lose Africa’s elephants in the next 40 years if rates of habitat loss combined with deaths from poaching continue.

Human populations are increasing, but our health, happiness, and survival depend on those we share this planet with. Now, more than ever, we must find successful ways to co-exist with and protect our wildlife and give them the room they need to roam.

JIMMIEL MANDIMA / IFAW Vice President for Global Programs

Art Guide Australia Podcasts

Listen to conversations with creatives

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

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

Listen on Apple Podcasts

on Spotify

BELOW: Jordan Dymke, Untitled 2018

BOTTOM: Mark Smith, Ugly / Beautiful 2015

Variations on Variations: Disability in the Visual Arts

A few questions…

What are the purposes of our major art institutions?

Indeed, what is the purpose of art? Google suggests a variety of answers; but some common ones are to understand our World better, to inspire others, to better humankind and to increase empathy in others.

How are any of these possible when our collections represent mostly white, male artists?

The percentages range from mid-seventies to high eighties, while around half the population does not identify as male. Furthermore, most represented artists are able-bodied. We want diversity in the leadership of our arts, media and creative organisations.

A good question to ask an art curator is “why this kind of show now?”

In 2017, the Australia Council for the Arts found that around 9% of practising artists identify with disability and that the majority of these artists say that disability affects their creative practice at least some of the time.

So why have I focused on disability?

I’m trying to redress the balance! Hence, the title I chose for the original exhibition was Variations, something I believe is sadly lacking in the major art world.

It is important for me to acknowledge that I too have disabilities, so the narrative voice is someone who is coming from a similar place. My aim is to not only present the work of disabled artists, but to also represent how the artists see themselves, thereby giving them agency, voice and empowerment.

The focus of the exhibition touches on the relationship between the disabled artist, their lived experience and their choice of artistic expression. I chose this particular theme to advocate for disabled artists, as they are generally underrepresented, and often lack a say in how they are presented. Their work is rarely placed front and centre. Often their inclusion is a token gesture toward equality.

It is important to me that the artists have had some input into the works that were chosen, as well as a voice to complement their works. Also, it is important that all the work I chose was based on artistic merit. The fact that the artists

are disabled is not the point. Instead my aim is to shine a light on a certain part of the spectrum of humanity that is too often put in the shade. I believe this can enrich our lives.

In looking across the work of the artists, similar themes emerged – the representation of the body and the environment it inhabits, the use of words and the appropriation of art history. This is often done with a playful attitude.

Much of Jordan Dymke’s work is an interrogation of what is a perfect body. In Vitruvian Man II he appropriates Leonardo da Vinci’s Vitruvian Man, but Dymke, who has cerebral palsy, challenges this view of perfection, asking us does such a thing even exist? Also included were portraits of his affected upper torso and of his hand, presented as a motif for his disability.

Life-affirming is what comes most to mind when looking at the work of Mark Smith. Disabled due to a car accident after completing VCE, Smith discovered the cathartic applications of art. His style is directly a result of this one life-changing event, with lack of coordination of his fingers resulting in his distinctive thumbprint.

He works frequently with words, across the media of soft sculpture, ceramics and video, and leaves his work deliberately ambiguous. However, the words he has chosen, like Contribute and Nevertheless, especially when seen together, suggest that he feels he can “nevertheless contribute” to society.

In Smith’s work, Ugly/Beautiful, the artist’s hands and feet, as well as some innards, come bursting out towards the viewer. There is this joyful feeling of “This is me! Take it or leave it! I really don’t care!”

MICHAEL CAMAKARIS / Arts Project Australia Artist

During 2019 - 2020 Michael Camakaris undertook a traineeship at Leonard Joel. In 2021 he also undertook a curatorial mentorship at Blindside Gallery under the supervision of Artistic Director, Martina Copley. The result was the digital exhibition Variations involving four artists, Jordan Dymke and Mark Smith from Arts Project Australia (APA), plus Darcey Bella Arnold and Kieren Seymour. The exhibition was accompanied by Michael’s curatorial essay, of which this is an abridged version. All of the artworks and the original essay can be viewed at blindside.org.au/program/variations. Various works by these artists will be exhibited at APA’s Collingwood Yards gallery 1 - 30 October 2022.

Connect

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

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Browse our online auction catalogues or view in person at one of our salerooms.

Bid

Create an account online and use it every time you bid. You can also receive Lot alerts tailored to your interests.

Bidding is easy 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.

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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Subscribe to our email newsletter through our website to stay up to date with news on upcoming auctions, special events and industry insights, and follow us on social media.

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

Value / Sell / Buy

Contact a Leonard Joel Specialist

CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS

John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au

CHIEF EXECUTIVE OFFICER

Marie McCarthy 03 8825 5603 | marie.mccarthy@leonardjoel.com.au

Auction Specialists

IMPORTANT JEWELS

Hamish Sharma, Head of Department, Sydney 02 9362 9045 | hamish.sharma@leonardjoel.com.au

FINE JEWELS & TIMEPIECES

Bethany McGougan, Head of Department 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au

FINE ART

Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au

DECORATIVE ARTS

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

MODERN DESIGN

Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au

LUXURY

John D'Agata, Head of Department 03 8825 5605 | john.dagata@leonardjoel.com.au

PRINTS & MULTIPLES

Hannah Ryan, Art Specialist, Manager of Speciality Auctions 03 8825 5666 | hannah.ryan@leonardjoel.com.au

SYDNEY

Ronan Sulich, Senior Adviser 02 9362 9045 | ronan.sulich@leonardjoel.com.au

Madeleine Norton, Associate Head of Decorative Arts & Art 02 9362 9045 | madeleine.norton@leonardjoel.com.au

BRISBANE

Troy McKenzie, Representative Specialist 0412 997 080 | troy.mckenzie@leonardjoel.com.au

ADELAIDE

Anthony Hurl, Representative Specialist 0419 838 841 | anthony.hurl@leonardjoel.com.au

PERTH

John Brans, Representative Specialist 0412 385 555 | john.brans@leonardjoel.com.au

The Auction Salon Specialists

ART Amanda North 03 8825 5630 | art.manager@leonardjoel.com.au

FURNITURE

Nick Bastiras 03 8825 5640 | furniture@leonardjoel.com.au

JEWELLERY

Hannah Sass 03 8825 5621 | jewellery.manager@leonardjoel.com.au

OBJECTS & COLLECTABLES

Rebecca Stormont 03 8825 5655 | objects.manager@leonardjoel.com.au

Valuations

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

Marketing & Communications

Blanka Nemeth, Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au

Maria Rossi, Graphic Artist Adam Obradovic, Photographer Paolo Cappelli, Photographer

Sale Rooms

MELBOURNE

333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333

SYDNEY

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

Leonard Magazine

EDITOR

Blanka Nemeth, Marketing & Communications Manager

Tourmaline and Diamond Ring, weighing 34.20 carats Sold for $20,000 Important Jewels Auction, August 2022

This document has been produced to international environmental management standard ISO14001 by a certified green printing company.

PROFILE