LEONARD, issue 101, December 2022-January 2023

auction calendar

DEC FEB MAR

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 Thursday 15 December, 2pm / MELBOURNE

Scandinavian Design Thursday 2 February, 2pm / MELBOURNE

The Collector's Auction Tuesday 21 February, 2pm / SYDNEY

Decorative Arts Monday 6 March, 12pm / MELBOURNE

Asian Works of Art Monday 6 March, 6pm / MELBOURNE

Fine Jewels & Timepieces Monday 20 March, 6pm / MELBOURNE

Fine Art Tuesday 21 March, 6pm / MELBOURNE

The Auction Salon

Furniture & Interiors – 10am Objects & Collectables – 10.30am Jewellery – 11am Art – 11.30am Every Thursday / MELBOURNE

LEFT: AN IMPORTANT AUSTRALIAN STERLING SILVER CLARET JUG BY WILLIAM EDWARDS Melbourne, 1861, maker’s mark W.E between kangaroo and emu marks $20,000-30,000

Decorative Arts Auction Monday 5 December, 12pm

COVER: Verdura pink spinel and diamond ‘Wrapped Heart’ pendant/brooch $85,000-125,000

Important Jewels Auction Tuesday 6 December, 6pm

AUCTIONS

Decorative Arts | The Windsor Chair – Development of a Classic Type

Welcome to the 101st issue of Leonard Magazine!

As we close out the year and look forward to 2023, we explore iconic designs from lesser known jewellery houses, marvel at spectacles of the art world, "travel" the world's museums, discover famous watches now synonymous with their wearers, and much more.

From all of us at Leonard Joel, we wish you a very happy holiday season and look forward to welcoming you back in the new year.

Sydney | Four Private Collections you Need to Visit on your Next European Holiday

Modern Design | Hard Waste or Good Taste?

FOCUS

A WEEK IN LONDON

Discovering Auctions

Recently, I had the good fortune to spend a week in London, attending meetings, visiting auction houses, and meeting with industry peers. Auctionland, as I like to call it, in Australia is a very small pond. Visiting the London auction scene only reinforces that reality with literally hundreds of auction houses of all shapes, sizes, and histories offering specialist advice across every imaginable category.

So, coming from my “small pond” and after two years of lockdowns, I was keen to get a sense of what has changed, what hasn’t, and what might be new about salerooms.

A day walking between the viewings of the biggest auction houses in London revealed a few things. Firstly, I’m happy to report that viewings were buzzing with people, conversations, and a pronounced use of the iPhone as a camera and record of what appealed to the visitor in place of physical catalogues. More gimmick than useful, but still fun, was Christie’s presentation of Paul Allen’s Giacometti as a rotating hologram presumably because it was considered too delicate to transport across the pond. Did it bring me closer to the visceral connection one makes with a sculpture in the flesh? No. Was it fun to watch this inside what looked like a refrigerator with windows? Yes, indeed!

On another day I visited, again, a Big Three auction room on auction day. I was relieved and I guess also a little flat to observe a room full of chairs and very few spectators of the in-room kind. It was, like here now in Australia, all about the flourish of the auctioneer, a high-quality video camera streaming the whole event to computer screens in all parts of the world and, for good measure, still lots of telephone bidding. Auction day, in this sense, has changed forever and I would suggest, with very few auction event exceptions. It’s funny, I think, that it took something as extreme as two years of Covid for humans to realise they could do better things with their time than sit in an auction-room for hours on end waiting for one or two Lots to present for sale.

OPPOSITE: A Spectacular Colombian Emerald and Diamond Ring

$400,000-600,000

Important Jewels Auction Tuesday 6 December, 6pm

ABOVE: A Large Chinese Bronze Censer Qing Dynasty (1644-1912), Circa 17th/18th Century $2,000-3,000

Asian Works of Art Auction Monday 5 December, 6pm

One auction house used the phrase “Where Collectors Gather”. I remember loving the simple poetry of that but now, in a post-lockdown environment, it has so much more meaning and nostalgia associated with it. Every time I left an auction appointment what I noticed at all times of the day and night (except my walk along the Thames on a Sunday morning at 6am) was the teams of people everywhere, gathering, talking, walking, and enjoying themselves with such completeness, given the two years of heartache and sacrifice just endured by these Londoners. And while maybe never again in an auction day setting, that is the memory that will always endure from my most recent auction house field trip, the joy of people gathering again.

JOHN ALBRECHT Chairman / Head of Important Collections

IMPORTANT JEWELS

Important Jewels Auction Tues 6 Dec, 6pm SYDNEY

OPPOSITE: Verdura pink spinel and diamond ‘Wrapped Heart’ pendant/brooch $85,000-125,000

TOP: The mosaic of the Byzantine Empress Theodora in the Chapel of Ravenna / Alamy

RIGHT: Gabrielle 'Coco' Chanel wearing her Verdura Maltese cross cuffs / Alamy

In the Service of Love: Verdura

Duke Fulco di Verdura (1899-1978) began his career in the arts and fashion in Paris during the 1920s. The son of a duke and princess, Verdura was raised in splendour at his family 18th century estate, Villa Niscemi near Palermo, Sicily, surrounded by lush semi-tropical gardens and lavishly decorated rooms with bold fabrics and upholstery, artworks, chandeliers, and gilt. It was the site of extravagant costume parties and was frequented by European and American high society. These experiences shaped Verdura’s aesthetic. At the passing of his father, he inherited his title, but the family fortune was left to a cousin, leaving him to forge a new path for himself.

It was in Paris that he was introduced to Coco Chanel with whom he formed a lifelong friendship. Originally assisting her in designing textiles, he later branched into designing jewellery for her personal collection. Together they travelled to see the mosaic of the Byzantine Empress Theodora in the Chapel of Ravenna in 1930. The jewel-toned tiles and lustrous gold inspired them to create the now iconic Maltese cross designs. They countered the recognisably ‘Art Deco’ use of platinum and diamonds, masterfully combining bold, colourful, semi-precious jewels set in gold. The Maltese cross cuffs were a personal favourite of Coco Chanel’s and she wore them regularly.

After eight years with Chanel, in the 1930s, Verdura emigrated to New York. Diana Vreeland introduced him to Paul Flato, “Jeweller to the Stars”, who hired him as head designer. Verdura would then go on to design pieces for Hollywood’s elite including Greta Garbo, Elsa Schiaparelli, and Katharine Hepburn. Perhaps the most enduring design of this time was the large curb-link bracelet and watch created for Garbo, who was regularly photographed wearing the pieces throughout her life.

As fate would have it, Verdura opened his Fifth Avenue salon in New York on the same day as war was declared in Europe. His first collection was received to great acclaim, as Americans accustomed to buying their fine jewellery internationally now had to look closer to home. It was during this period that Verdura’s most recognizable and beloved designs were created. The Wrapped Heart brooch dates to 1941 when Tyrone Power commissioned a cabochon ruby tied up in gold bow as a Christmas present for his wife, Annabella. 75 years later, Verdura’s iconic motif is still one of the jeweller’s most romantic creations.

He retired in 1973, selling his business to long-time associate Joseph Alfano. It was acquired in 1985 by Ward Landrigan, former head of the Sotheby’s U.S. jewellery division. Today, Verdura’s legacy continues through the combing of his rich archives of nearly 10,000 original sketches, less than half of which have ever been realised.

LAUREN BOUSTRIDGE / Senior Jewels Specialist, Sydney

DECORATIVE ARTS

The Windsor Chair – Development of a Classic Type

Decorative Arts Auction

Mon 5 Dec, 12pm

MELBOURNE

OPPOSITE: An Elm Windsor Chair

Mid-19th century $400-600

ABOVE: An Elm and Beech

Windsor Chair Second quarter 19th century $300-500

Among the more popular chairs that pass through Leonard Joel are those of traditional English country types – Windsor chairs, ladder-back and spindle-back chairs, and others related. The development and longevity of these types owes much to local, often vernacular, traditions, consistent with their rustic image in the popular imagination, but their history is not quite so simple.

Perhaps surprisingly given how unremarkable it is today, the presence of chairs in more modest households is a relatively recent development. While chairs of various forms are of great antiquity, they were, in all cultures, the preserve of those of higher status – rulers and senior officials and clerics (an historical association reflected in the fact that the Roman word for armchair – ‘cathedra’ – was originally associated with imperial authority and then adopted by the early Christian church as the seat of authority of a bishop). For everybody else, seat furniture, where it existed at all, was more rudimentary –stools and benches.

In England, chairs remained rare well into the seventeenth century, until demand from the developing professional and merchant middle class, combined with the arrival of craftsmen and fashions from Europe, began to broaden the market for furniture. For the first time, well-made chairs, visually appealing with turned and shaped parts, were becoming commercially available, albeit still influenced in form by grander chair types. While the connection might not be obvious, a few surviving examples of late seventeenth century comb-back chairs show that it was from the Dutch and French influenced turned oak and walnut chairs of this period that sprang the earliest comb-back and spindle-back chairs that would evolve into the classic English country types.

Perhaps also surprising, but reflecting the development of country chairs from more elevated forms, is the fact that the earliest Windsor-type chairs served not as humble cottage furniture but as less formal furniture for the well-to-do; lighter, more knock-about, and so often moved around as required, including for outdoor use. It is for this reason that Windsor chairs of the middle decades of the eighteenth century incorporated details drawn from more refined chairs, such as

elegantly shaped top-rails and splats and cabriole supports. Early Windsor chairs were often painted, quite different from the warmly-patinated elm and beech long since associated with the type.

It was not until later in the eighteenth century that the Windsor chair evolved further into the simpler form most commonly encountered today, with its hooped back and splayed turned supports. While little evidence survives by which to trace this evolution, it seems clearly to have been driven by the need to supply a rapidly expanding population through southern England and beyond. Smaller chair-making operations set up earlier in the century in Buckinghamshire, close to the beech and elm woods of the Chiltern Hills (across the Thames from Windsor), were now also able to take advantage of their proximity to both the London market and the main road heading north-west to Oxford, and Birmingham. Another resource the chair-making firms of the Chilterns also had close at hand were simple craftsmen supplying the parts for chairs, including those (later known as ‘bodgers’) who set up camp literally amidst the trees to shape and shave spindles and other parts from felled trees – making huge stacks in the woods of such parts – and turners working in their cottages to produce legs and other parts.

It is from the close combination of country craftsmanship working in vernacular traditions and reliance on natural resources close at hand that arises the popular image of the Windsor chair as a classic cottage type – some way removed from its origins. From the late eighteenth through to the early twentieth century, countless thousands of Windsor chairs were made in this way, sold far and wide throughout England and beyond, often combining with other local chair-making traditions to influence the development of regional Windsor types of particular character.

At auction today, good, solid late eighteenth and nineteenth century Windsor chairs can be had for just a few hundred dollars, ideal for adding a warm and useful rustic note to any interior.

PARSONS / Head of Private Estates

and Valuations

DAVID

FINE ART

Next Fine Art Auction

Tue 21 Mar, 6pm

MELBOURNE

OPPOSITE: Maurizio Cattelan, Comedian / Alamy

TOP: JMW Turner, Helvoetsluys, 1832 / Wikimedia Commons

BELOW: Banksy's artwork Love is in the bin which was formerly known as Girl with Balloon was shredded

The Art of the Spectacle

Armed with a wet paintbrush in hand, Joseph Turner marched through the crowd towards Helvoetsluys, the painting he'd entered in the 1832 Royal Academy Summer Exhibition, positioned next to John Constable’s 15-year long creation, The Opening of Waterloo Bridge, a flagship piece that was set to dominate that year. Aware of his competition, Turner approached his own work on the wall and without hesitation jabbed a small bright red mark in the middle, marking a red buoy in the waves of his sombre seascape. Outcry erupted throughout the room, with outraged viewers immediately accusing the artist of publicly defacing his own work, even prompting Constable to remark “he has been in here and fired a gun”. Turner’s act left the crowd wanting to witness the defaced masterpiece, marking the highest viewer attendance in the Royal Academy’s history.

Dividing opinions and sparking debate, spectacles in the art world continue to excite and are often better remembered than the actual artworks themselves. In the 21st century, these events are often labelled as publicity stunts and can challenge the concept of freedom of speech. An excellent example of this is English artist Damian Hirst’s rise to fame early in his career, subjected to criticism for his use of dead animals. In 1991 he preserved a dead tiger shark in a tank of formaldehyde, enraging both animal rights groups and members of the public. Most recently, he produced a series of original paintings which sold to collectors, before offering them the option to choose between the physical painting or an NFT version with the original burned by Hirst himself. This

spectacle went viral online, with Hirst criticised for burning millions of dollars’ worth of art.

Maurizio Cattelan’s piece Comedian, was quite the talking point at the 2019 Art Basel, when he presented a duct-taped banana on the wall. This could be considered spectacle enough, however it escalated further when a bystander emerged, ripped the banana off the wall, and shoved it into his mouth. Shock rippled through the crowd armed with mobile phones to record the spectacle in action, resulting in a shut down due to health and safety concerns. Capturing the swift attention of the media, buyers flurried, with two further ‘editions’ selling for $120,000 before the price was raised for the third buyer paying $150,000 for a piece of the action.

Arguably, the biggest spectacle of the 21st century in the art world took place in a London auction room in 2018. As the hammer went down on the last lot for the night, the audience broke out in gasps as a Banksy painting slid through its elaborate gold frame and shredded itself, jamming halfway through. Conducted via a remote-controlled mechanism hidden in the frame, auction staff declared afterward that it had been “Banksy-ed.” The phenomenon went viral, making headlines around the world, with the now shredded work resurfacing on the market 3 years later, selling for 18 times the original asking price, leaving many asking, “why?”. Well, Love is in the Bin has something that Girl with Balloon never had, a spectacular story that perhaps is more famous than the artwork itself.

LUCY FOSTER / Senior Art Specialist

FINE JEWELS

Next Fine Jewels & Timepieces Auction Mon 20 Mar, 6pm

MELBOURNE

OPPOSITE: Paspaley, 18ct gold, South Sea pearl and diamond ring $2,800-3,800

Paspaley, 18ct gold, South Sea pearl and diamond 'Entwined' pendant necklace $2,800-3,800

ABOVE: Paspaley, 18ct gold, South Sea pearl and diamond ring $1,800-2,400

Paspaley South Sea Pearls

The lustre of pearls has fascinated mankind for thousands of years. The rarity of these organically formed precious gems propelled them to be a symbol of wealth and prestige throughout history. Favoured by royalty and ruling classes, the pursuit of these deep-sea treasures has led merchants and explorers to the ends of the earth.

Pearls continue to be desired gemstones today, with the most coveted being from the South Pacific Ocean, Indian Ocean, Timor Sea, and Arafura Sea, collectively known as South Sea pearls. Formed within the Pinctada Maxima oyster, which comes in both a silver-lipped and gold-lipped species, South Sea pearls are impressive in size with exceptional lustre. Naturally occurring pearls are formed accidentally when an irritating foreign particle becomes embedded within an oyster. The animal reacts by producing a hardened substance called nacre which forms in layers over the top of the irritant.

By the 20th century, the feverish search for naturally occurring pearls and subsequent harvesting of oysters decimated South Sea pearl producing regions to the point of near extinction. Thankfully by the mid-20th century, developments in cultured pearl technology were taking place in Japan with great commercial success, and soon the Australian pearl industry was revolutionised. The culturing method mimics the natural process of pearl formation as closely as possible. Firstly, oysters are selected and seeded with an irritant before being placed back onto the ocean floor and left for three years to develop a beautiful gem.

When it comes to South Sea pearls, perhaps the most exceptional and beautiful are harvested by Australian producers, Paspaley. With pearl beds based off the coast of the Kimberley region in Western Australia, Paspaley is known for selecting only the most high-quality and exceptional gems, admired for impressive size, shape, colour, lustre, and complexion. Whilst the combination of these factors is important in the grading of a pearl, it is lustre which is most closely examined. Referring to the interaction of light with the surface of the pearl as well as the concentric layers of nacre, lustre is considered excellent when reflections are uniform, bright, and sharp.

The March 2023 Fine Jewels auction features several Paspaley jewellery pieces designed using exceptionally high lustre South Sea pearls. The collection features a pendant necklace and ring from the 2021 ‘Dive’ collection inspired by the pearl diving process incorporating ropes, chains, and shipwrecks. Also featured is a ‘Kimberley’ strand set with South Sea pearls and sandalwood beads, inspired by the landscape of Australia’s North-west coast.

BETHANY MCGOUGAN / Head of Fine Jewels & Timepieces

TIMEPIECES

Five Watches Synonymous with their Wearers

Throughout the ages, wristwatches have been worn for many utilitarian purposes, but as time marches on it’s clear that there’s more to wearing a watch than just checking the time. Perhaps it shows that the wearer values dependability and reliability, that they have an intrepid sense of adventure, or perhaps wish to express their appreciation of horological design and craftsmanship. Let’s take a closer look at how this meaningful accessory came to be so inextricably linked to some of the most famous wearers as to have reached iconic status in watchmaking history.

BUZZ ALDRIN – OMEGA SPEEDMASTER

After anonymously outperforming a selection of other watches under extreme, harsh, and rigorous testing, the Omega Speedmaster was launched into space, thereby introducing it into the annals of horology as the most famous wristwatch not only our planet but on another astronomical body as well. On July 21 1969, Neil Armstrong may have been the first man to set foot on the moon, but it was Buzz Aldrin who wore the Omega during the moon walk. The Speedmaster would be associated with him and the flight to the moon for time evermore.

SIR EDMUND HILLARY – ROLEX EXPLORER

By being the first person to set foot on the summit of earth’s tallest mountain, Everest, “roof of the world”, Edmund Hillary carved his name indelibly into history. In the 1950s, Rolex was one of a number of watchmakers that were developing watches that not only looked nice but were in fact “tool watches” that could keep accurate time in the most extreme environments and conditions on the planet. When mountaineers Edmund Hillary and Tenzing Norgay were preparing for their historic climb of Mount Everest in 1953, Rolex, keen for their brand to build an association and reputation of extreme ruggedness and reliability provided the mountaineers with a prototype to wear on their expedition. That watch was the Rolex Explorer, now synonymous with Edmund Hillary, whose life epitomised the spirit of adventure and continues to inspire generations of explorers.

Next Fine Jewels & Timepieces Auction Mon 20 Mar, 6pm

MELBOURNE

ABOVE LEFT: Buzz Aldrin, Apollo 11 Astronaut, 1969, wearing his Omega Speedmaster watch / Alamy

Omega Speedmaster Ref 145022.76st, a stainless steel chronograph watch with bracelet circa 1975 Sold for $7,500

ABOVE RIGHT: 1960s Rolex advertisement based on Sir Edmund Hillary’s expedition / Alamy

A Rolex Explorer oyster perpetual wristwatch Sold for $4,464

TOP: Paul Newman wearing his Rolex Daytona, 1973 / Alamy

A Rolex Cosmograph Daytona Wristwatch Sold for $49,600

MIDDLE: Albert Einstein wearing his gold Longines wristwatch / Alamy

BOTTOM: Andy Warhol / Wikimedia Commons

Cartier Tank Ref 2715 a Stainless Steel Wristwatch Circa 2015 Sold for $3,000

PAUL NEWMAN – ROLEX DAYTONA

Apart from being one of the most bankable movie stars in the world, Paul Newman was an auto racing enthusiast. He first came to own the now famous ref. 6239 Rolex Daytona after his wife Joanne Woodward bought it for him as a gift. Newman became famous for wearing the model throughout his time as an actor and racing competitor, leading to the particular dial configuration becoming immortalised as the ‘Paul Newman’ Daytona. Testament to Paul Newman’s star power is that this once $200 sports chronograph recently sold for $17.8 million USD, making it the most expensive wristwatch sold at auction.

ALBERT EINSTEIN – LONGINES CURVEX

Albert Einstein needs no introduction other than, genius, legend, household name, E = mc2. As far as we know, Einstein owned two pocketwatches and one wristwatch in his lifetime, two of which were manufactured by Longines. In 1921, Einstein won the Nobel Prize for Physics and suddenly his fame and success skyrocketed. Upon travelling to America in 1931 as a now world renowned and celebrated physicist, he was gifted a 14ct gold Longines Curvex, the elegant tonneau shaped design very much in keeping with the prevailing Art Deco style of the time. It is somewhat ironic that a Longines watch with the simple, sober inscription “Prof. Albert Einstein, Los Angeles, Feb 15, 1931” to the reverse, was worn on the wrist of the man whose theories revolutionised our perception of time.

ANDY WARHOL – CARTIER TANK

What drew Andy Warhol, King of Pop Art, to wear a Cartier Tank? If we’re to go by his own declaration that “I don’t wear a Tank to tell the time. Actually, I never even wind it”, it certainly wasn’t for the purposes of time keeping. It turns out the art giant was an avid collector of watches and for Warhol, who had an astute and hyper honed eye for design, the Tank with its ‘less is more’ aesthetic likely appealed to him for its inherent qualities as an enduring iconic object of 20th century design. And if anyone could pick a design classic, who better placed than a subversive, pioneering artist critical of luxury and consumption, Warhol himself.

PATRICIA KONTOS / Senior Jewels & Timepieces Specialist

Next Collector's Auction

Tue 21 Feb, 2pm

SYDNEY

TOP: Gardens in the Van Loon Museum, Amsterdam / Alamy

DORIA PAMPHILJ GALLERY, ROME

Housed in the Palazzo Doria Pamphilj in Rome, this incredible collection of art, furniture, and statuary belongs to the Doria, Pamphilj, Landi, and Aldobrandini families now united through marriage and descent. The collection began in the 1500s and with additions over the centuries it has now grown to be one of the largest private collections in Rome. It includes works by renowned artists such as Velázquez, Bernini, Caravaggio and Raphael amongst many others.

MUSÉE NISSIM DE CAMONDO, PARIS

This elegant French house of decorative arts was built in 1911 by the Comte Moise de Camondo, with the architect Renê Sergent, to display his impressive collection of 18th century French furniture and objets d’art. Some highlights include impressive Aubusson tapestries, items previously belonging to Marie-Antoinette, paintings by Renoir and Le Brun, a collection of Sévres porcelain and furniture made by cabinetmakers Riesener and Oeben. Following Camondo’s death in 1935 the house and its contents were bequeathed to Les Arts Décoratifs and opened as a museum in 1936.

MUSEUM VAN LOON, AMSTERDAM

This impressive residence was built in 1672 by the architect Adriaen Dortsman and the interiors still evoke the splendour of the Dutch Golden Age. The first resident was the painter Ferdinand Bol, a pupil of Rembrandt, however, the museum is named after the Van Loon family who were the last occupants and the founders of the museum. The canal side house not only displays the extensive art collection from the Van Loon family, but is also home to historic objects, archival photographs, and a beautiful garden.

SIR JOHN SOANE’S MUSEUM, LONDON

The historic house and library of architect Sir John Soane displays his vast collection of antiquities, furniture, sculpture, architectural models, and paintings. Kept just as it was at the time of his death in 1837, the three buildings can at times feel crowded and chaotic. However, the busy arrangement of the full interiors was one of Soane’s favourite pastimes, he enjoyed constantly arranging and rearranging the collection. Four years before his death Soane negotiated a private Act of Parliament to preserve his house and collection and to keep it open and free for inspiration and education.

MADELEINE

NORTON / Associate Head of Decorative Arts & Art, Sydney

OPPOSITE: Galleria Doria Pamphilj, Rome / Alamy

MODERN DESIGN

Hard Waste or Good Taste?

IKEA is now recognised globally as a supplier of space saving and cost-effective furniture and homewares. It would be hard to find someone who hasn’t spent an afternoon assembling a cabinet or coffee table with a single Allen key, not without the use of a profanity or two.

Undoubtedly more convenient and easier on the pocket than some alternative options, IKEA certainly exists as a one-stop-shop for furnishing our abodes. Unfortunately, IKEA’s products are now viewed as disposable, without the ability to retain their value on the secondary market.

Founded in 1943 by Ingvar Kamprad, IKEA began with direct imports and mail orders of mainly watches and pens, with furniture not making its debut until 1951. The brand’s lower sale prices angered competitors, to which IKEA responded by designing their own merchandise. Due to the significant growth and demand for the company’s products, Kamprad had to find a way to reduce the size and cost of their goods, whilst also bolstering the speed of production. In answer to this, in 1956 IKEA began to introduce flat-packed furniture. Highly functional at the time, the consequence of the pack down furniture was that it began to introduce inferior materials and restricted some designs.

Next Modern Design Auction

Mon 3 Apr, 6pm

MELBOURNE

OPPOSITE: Knut Hagberg Kromvik daybed for IKEA Sold for $1,625

TOP: The 1980 Klippan sofa, on the 1985 catalogue cover

MIDDLE: Niels Gammelgaard pair of Jarpen chairs for IKEA Sold for $1,500

BOTTOM: Niels Gammelgaard Moment table for IKEA Sold for $1,375

In an ever-changing and environmentally conscious world, IKEA now faces mounting pressure to substitute its fast-furniture practices for something more ethical. This raises the question, could the brand perhaps look back to their earlier years when they collaborated with notable international designers to produce items of a quality, that were built to last?

In 1964, an independent magazine compared the quality of some of IKEA’s products to that of more expensive Swedish and Danish equivalents, and the results noted that the products by IKEA boasted a construction quality that was similar, if not superior to that of its dearer rivals.

Up until the mid-1980s, renowned designers such as Vico Magistretti, Verner Panton, Joe Colombo, and Niels Gammelgaard all worked to design and release furniture under the IKEA banner. The pieces released with these designers displayed a construction and material quality that is a far cry from the products offered by IKEA today.

Certain pieces of early IKEA furniture are now being recognised for their design and style, many of which have been selling on the secondary market for considerable prices. In 2021, a Cavalli chair designed in 1958 by Bengt Ruda for IKEA, sold for an equivalent of $16,725 USD via a Swedish auction house. According to an IKEA museum article, the astonishing price for the Cavalli chair may be due to its limited production number, which was only five. Nonetheless, even some of IKEA’s more mass-produced pieces have realised prices at auction which aren’t anything to laugh at. In 2021, Leonard Joel sold a Kromvik daybed designed by Knut Hagberg for IKEA in the 1980s for $1,625 AUD. In the same year, a Moment table and a pair of Jarpen chairs both designed by Niels Gammelgaard for IKEA in the ‘80s sold for $1,375 and $1,500 AUD respectively.

Ultimately, it is up to us as consumers to make informed decisions when we make a purchase, particularly if it is brand new. In future it might be refreshing for IKEA do a re-release of some of their fun designs that debuted between the ‘60s and ‘80s. For those of you with some vintage IKEA furniture sitting around at home, consider selling it instead of throwing it out, as you never know just what it may be worth.

PAUL NICOL / Modern Design Assistant

Luxury

A Royal Warrant

I thought that it was poignant to end the year and start the new one with an article on the British royals and their contribution to the world of luxury and fashion. Earlier in the year I wrote about Queen Elizabeth II, and her association with Launer handbags. King Charles III, whilst not associated with any specific luxury houses, is regarded in sartorial circles as one of the world’s best dressed men.

Launer, established in 1940, would have appealed to the young Queen Elizabeth II as a contemporary luxury house that she could call her own. Only 150 Launer bags are made each year. Each one takes eight hours to construct, hand made from start to finish by a single craftsman. During her reign, the Queen had accumulated around 200 bags mostly made to her specifications. Each of them were top-handle bags with especially elongated handles so that she could comfortably wear them on her arm, allowing easy access to their contents whilst allowing her to shake hands with guests and dignitaries with ease. Additional features of the Queen’s Launer handbags included a mirror, sometimes an extra zip pocket on the back, and always an inner coin purse. So much for the rumour that the Royals never carry money.

While most of us have grown up with King Charles III, it may not have been obvious that Charles had created a style of his own, be it very British, from a very young age. Charles, who is an avid environmentalist, steered clear of being associated with luxury fashion and has always maintained a true British sartorial look.

Dressed by Anderson and Shepard as well as Gieves and Hawke, Charles accessorises with his own subtle flair, creating a distinctive look. With true elegance, a flower is worn in the buttonhole of his lapel. King Charles III always wears monocolours in both suiting and shirts. The shirts may feature a subtle pattern, but he is never seen in plaids or loud stripes. Double cuffs are de rigueur, naturally with complementing cufflinks. Colour is added in his accessories, such as pocket squares and ties, which are often described as ‘cheerful’. His shoes and bespoke lasts are made by Tricker’s, who have held the Royal Warrant since 1989. Without exaggeration, Charles is dressed fittingly for a King, with the image of a nation placed firmly on his shoulders.

Both the late Queen Elizabeth II and King Charles III have demonstrated personal flair in their timeless style and typically British looks; the Queen with her famous Launer accessories and the King with his impeccable dressing style.

JOHN D'AGATA / Head of Luxury

Next Luxury Auction Tues 4 Apr, 6pm

MELBOURNE

TOP: Cartier, 18ct gold 'Just Un Clou' pin Sold for $1,625

LEFT: Queen Elizabeth II with her Launer handbag / Wikimedia Commons

Prints & Multiples

Sculpture Editions

Next Prints & Multiples

Auction Wed 5 Apr, 6pm

MELBOURNE

TOP: JOCK CLUTTERBUCK (born 1945)

Small Extrapolated Landscape 1984 cast iron and enamel coating 45 x 38 x 24cm Sold for $3,750

RIGHT: GEORGE BALDESSIN (1939-1978)

Emblems & Chair 1974 etching and aquatint, ed. of 25 90.5 x 60cm Sold for $11,250

Sculpture is one of history’s oldest art forms, dating back as far as 30,000 BCE. In ancient Greece, sculpture became the pinnacle of artists’ expression, presented in free form or often as an architectural element. In modern times, a range of moulding materials are used that have changed the nature of sculpture production. The traditional materials of wood, marble, clay, and bronze are still frequently utilised. However, with technological advances, new materials including PVC and stainless steel have provided further creative possibilities whilst inventions such as 3D printers have eased the production processes for editioned sculptures. Although sculpture is an art form in its own right, many sculptors work across both print making and sculpture to explore their concepts. Here are two of my favourite Australian artists who work across both disciplines:

George Baldessin’s radical figurative style came about when abstraction was dominant across both aquatint etchings and sculpture. His critically acclaimed sculpture Pear – version number 2 1971-72 (the Collection of the National Gallery of Australia, Canberra) is one of the artist’s most recognised works. The moulds for this sculpture were made of polystyrene foam, or otherwise known as the lost foam method. Each body of the pear was cast in two halves from top to bottom using Corten steel, specifically used to achieve an even rich, russet colour. The pear iconography, seen repeatedly across Baldessin’s print and sculptural mediums, conveys a sensuality

of form and femininity. Whether through the smooth bronzed texture of his sculptures, or the sharp and bold outline of his etchings, Baldessin manages to create a harmony between both 2D and 3D representations.

Jock Clutterbuck has actively been creating prints and sculptures since the 1960s. Using aquatint etching as his primary printing process, his prints have a sophisticated and rhythmic style that is often replicated within his sculptures. Traditionally a copper sheet is used, however Clutterbuck uses magnesium - a very light and reactive material that can be etched using orange acidity. This allows Clutterbuck to create a sensitive soft ground etching, with a light yet defined line. This focus on line is replicated in his sculptures, incorporating multiple mediums from polyester resin to sheet aluminium. Cast iron and meticulously applied enamel paint are his most used mediums, with forms replicated across both print and sculpture.

HANNAH RYAN / Art Specialist

In Conversation

with Hannah Ward

For this issue, we sat down with designer Hannah Ward, whose love of jewellery and antiques led her to start Trove, a collection of jewellery boxes inspired by the past.

What do you love about jewellery?

What’s not to love?! It is a form of self-expression and a powerful way to tell a story. There is a permanence to jewellery, and I am fascinated that vintage pieces may have been worn by three or four people before me. Jewellery is an intriguing historical source providing insight into art and culture. There is just so much to learn when you start to think about the narrative that accompanies your collection.

How would you describe your style of adornment - what jewels are you drawn to?

Modern jewellery, and lately a 60s and 70s brutalist aesthetic. I love to mix it all up. I am not so much about stones. Instead, I like pieces that explore shapes and form. Depending on the day I may wear very little jewellery or layer it on heavily. I’m the complete opposite of my mum who has worn the same pair of Nanna Ditzel earrings and necklace everyday of her life. They are such a part of her identity, almost an extension of her, which I love and admire too.

What inspired you to start to make your own jewellery boxes?

I have always loved antiques and began collecting jewellery boxes almost by accident when I wanted to find something perfect to store my jewellery in. When I couldn’t find anything suitable, I felt compelled to design my own collection. I thought others would also enjoy the gorgeous experience of storing jewellery in a beautiful box.

How did you come up with the look of the brand and the boxes?

I wanted the pieces to be something that my Grandmother could have owned and so the core styles in the collection – our Trunk and Mini Trunk – are based on my own antique box from around 1890. It has a beautiful functionality and would have been owned by somebody who most likely had

a precious collection at that time. I am drawn to lacquerware too which is a medium synonymous with jewellery boxes. I was fortunate to work with an amazing graphic designer, Pete Johnson from CIP, so it was a team effort by so many friends and family to get the designs just right and continues to be so.

Could you share a favourite Leonard Joel purchase?

Probably my very simple Cartier dome ring. It just has the most pure, lovely form. It was manufactured in the late 1990s which were also my teenage years, so I love that too!

When it comes to layering jewellery, what’s your advice for the novice?

As with everything in life, jewellery that has meaning and authenticity will almost always look good. I love when people wear pieces that tell a story of their life, to me it’s so exciting. I’m also inspired when they know about the design or heritage of a piece. I’m rarely interested in the value or design provenance. Beyond that, I always love when I see mixed textures and scale in gold jewellery, particularly if it has a 60s or 70s vibe to it!

What are you coveting next?

A bold statement necklace. Either a vintage Tubogas style or something from Prasi, a brilliant Brazilian brand. I have also just discovered an Australian designer named Sophie Zamel who does the most beautiful and modern take on a diamond huggie.

What are some jewellery staples that you believe everyone should own?

A great cocktail ring always elevates an outfit, an everyday gold chain, and the best earrings your budget will allow.

Thanks to Hannah for chatting with us and showing her jewellery collection! Discover more at https://trove.store/ and on Instagram at @trove.box

single ring box in Royal red OPPOSITE: Hannah Ward

TOP LEFT: Hannah with her vintage and Trove jewellery boxes

TOP RIGHT: In her element, playing with jewellery

Minutes with…

MARCELLA FOX

This issue, we spend five minutes with Marcella, the manager of our Woollahra saleroom…

FAVOURITE ARTIST/DESIGNER?

While I will always be entranced by a perfectly calm still life painting, I am currently loving the work of British painter Flora Yukhnovich who is bringing Rococo back.

FAVOURITE COCKTAIL

A perfectly mixed Aperol Spritz takes me back to working in Venice and finishing the day watching the sunset with an Aperol in hand!

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

In my spare time I have fun learning to code!

FAVOURITE BOOK

Not only is the cult classic film The Princess Bride such an entertaining watch (even the tenth time around), the book by William Goldman is just as good or even better. Fairy tale, adventure, and romance, all in one rollicking satire.

YOUR IDEAL DAY IN SYDNEY

Controversially, I do enjoy a rainy day - browsing the shelves at Berkelouw books, choosing a new read and settling in for a coffee, then browsing the boutiques in Paddington and finishing my afternoon at one of the many wine bars in Darlinghurst.

Important Jewels Auction Tues 6 Dec, 6pm

SYDNEY

RIGHT: Solitaire Diamond Ring

Claw-set with an old European-cut diamond weighing approximately 4.00 carats, mounted in 18ct white gold, size N1/2.

$20,000-25,000

Property from a Private Queensland Collection

Brisbane

The Charm of Old Cut Diamonds

Old cut diamonds are certainly having a resurgence in popularity with the modern jewellery connoisseur. They date back to the 18th century when all diamonds were measured and cut by hand, following the natural shape of the stone. These diamonds have an alluring charm and timeless attraction and are cherished by many.

Thanks to the manual process, these beautiful stones are full of character. Their shape is often not exact, and they typically possess a high crown and small table with large “chunky facets” and an open culet that may not be completely centred. While they don’t have quite the sparkle of a modern brilliant cut, with old cut diamonds it’s more about the subtle refraction and warm glow. The old mine cut, designed to sparkle in candlelight, is the predecessor of the modern cushion cut, and the old European cut, slightly different in proportions to the old mine cut, is the predecessor of today’s brilliant cut.

These stones have been collected and worn as adornment by royalty, maharajas, women, and men for centuries. Some iconic old cut diamonds include the “Le Grand Mazarin” 19.07ct pink diamond, which has decorated the crowns of French royalty for more than 200 years. Another famous example is the “Wittelsbach-Graff Diamond”, 31.06 carats of deep blue diamond (originally 35.56ct prior to Laurence Graff having it recut), and let’s not forget the famed 45.52ct “Hope” blue diamond.

Anyone who manages to acquire an old cut diamond holds a piece of quiet beauty and subtle extravagance.

TROY MCKENZIE / Queensland Representative Specialist

Valuations

Contact our Head of Valuations, David Parsons at 03 8825 5638 or email david.parsons@leonardjoel.com.au

How to... Navigate the art market

WITH CATHERINE ASQUITH

Catherine Asquith is an arts professional, an AVAA Certified Practicing Valuer, a member of The Association of Women in the Arts (London), a member of the City of Melbourne’s external assessment panel (visual arts), as well as the host of her own podcast aptly titled “Navigating the Art Market”.

ABOVE: COEN YOUNG

Untitled (Mirror Painting)2 2022

Acrylic, enamel, silver nitrate on paper

141 x 121 x 9 cm (framed)

In situ, Sydney Contemporary, September 2022

Kronenberg Mais Wright

The word ‘navigate’ implies that there is more than one pathway a person can take through the art market. What advice do you give your clients about how they should choose to navigate the Australian art market and how do you guide them through?

The art market can appear on first reading, complex and opaque, with the sectors seemingly operating at odds or in competition with one another. But there is a baroque logic to it; in an ideal world I like to chaperone clients through museum collections, commercial galleries, auction previews and art fairs, all as a means of providing an overview and context and to show how these markets in fact, interconnect.

Fundamental to any advice is to encourage a preparedness to learn, to contemplate, and be patient in acquiring new knowledge; to look at art, and importantly, actually experience the artwork; certain aesthetics, composition, genres, palette, and subject matter will start to evoke an emotional or ‘gut’ response. Working in concert with the client, we will start to hone in on these responses which will inform the parameters for more formalised acquisitional guidelines, the latter of which will be contingent with the aims and objectives of the collection.

What questions should a collector ask themselves before any art purchase?

In the primary market, review the artist’s CV and look for consistency in exhibition history, gallery representation, participation in curated institutional exhibitions, national and potentially international profile development, representation at art fairs, and inclusion in public and corporate collections.

In the secondary market, in addition to the above, review the provenance, look for stability or better yet, an increase in auction results, ask for a condition report, determine if the estimate is in line with the work on offer, and ask if it is a good example of the artist’s oeuvre.

With any artwork purchase, you should be seeking a work which has artistic integrity, an inherent enduring quality, and market longevity.

TOP: Catherine Asquith

TOP: DEL KATHRYN BARTON

Openly Song, 2014 Acrylic on French linen 244 x 183

Exhibited: “The Highway is a Disco”, ARNDT, Singapore, 1st November to 6 December 2015

Auctioned: Lot 33, Australian & International Fine Art & Sculpture, Menzies, 27 February 2020

BOTTOM: BILL HENSON

Untitled 1/5, 1990-91 from the series Paris Opera Project type C photograph 127 x 127 cm; series of 50 Edition of 10 + AP 2

You work across both the primary and secondary art markets regularly. Do you believe a collector should consider acquisitions across both sectors?

Not necessarily, but on occasions there will be a need to source works from another market, particularly with regard to in-demand artists from the primary market. For the most part, your clients’ objectives will determine which market you source works from. That said, there is a newly developing collector profile which is now interested in both markets, if for only as a reference point; for example, the focus may be on selecting works from the primary market, but the client will also be seeking an understanding of that artist’s secondary market profile and values.

In your experience in the industry across 25 years, do you find the behaviours, tastes, and drives of a collector have changed with time?

Yes, absolutely. The art world has become far more visible to the broader public, and via numerous platforms, some of which ‘feed’ into mainstream social media. This has clearly had an impact on changes in collector behaviour; DMs and real-time communications via social media can commence the negotiation or transaction in lieu of more formal means.

We have also witnessed expanding markets across the globe. Fervent competition for choice works and highly coveted artists – whether via the galleries or auction houses – has increased demand. An impressive, confident new breed of collector has entered the field; they are well educated, welltravelled, and have ample discretionary funds available to acquire any artwork at pretty much any price.

There is also an unabated drive for the ‘next new thing’, and this is particularly apparent in the London, New York, and Hong Kong markets as evidenced in the at times unfathomable and clearly unsustainable prices achieved for the ‘under 30 years’ artists coming to auction.

Are there any artists in the Australian art market that you either personally like, or are worth watching at the moment?

There are many! But in the interests of brevity, I like Del Kathryn Barton for her consistent and impressive output; Coen Young’s youthful intellect, Daniel Boyd’s international profile, similarly, Atong Atem’s drive, Marion Borgelt’s finesse, Bill Henson’s elegance, Yhonnie Scarce’s extraordinary talent and important narrative, and the painterly, gestural colour of Makinti Napanangka’s paintings.

22ND REPORT

Why gender equity is crucial to conservation in Kenya

At IFAW (International Fund for Animal Welfare), we recognise the unique challenges faced by women, and we work to make their voices heard in conservation. UN Sustainable Development Goal (SDG) #5 calls to end all forms of discrimination against women and girls. The targets include eliminating violence against women, recognising and valuing unpaid care and domestic work, and ensuring women have equal access to decision-making, public life, and resources. Though it might not be obvious, all of these targets are closely connected to conservation.

Wildlife rangelands often overlap with rural areas, where women providing for their families tend to interact with wildlife more than men. Actions like collecting water, harvesting crops, and collecting firewood for cooking put women at greater risk of dangerous encounters with animals like elephants, buffaloes, crocodiles, and hippos.

Danger aside, however, these experiences also mean women have more opportunities to observe and learn from animal patterns and behaviours. That knowledge is critical when it comes to solving conservation dilemmas. As primary caregivers at home and in their communities, women are also uniquely positioned to share their deep knowledge of local wildlife.

The future of conservation needs local women in leadership positions. When women have opportunities for education and professions, their economic livelihoods improve, their communities thrive and human-wildlife conflict plummets.

Here are some of the ways we are supporting women in Kenya:

• Since 2014, IFAW has offered education scholarships to more than 120 students studying at various levels of secondary, college, and university. We seek to create opportunities for women and girls to access education and employment opportunities and take on leadership roles in their communities, especially with regards to natural resource management.

• Since February 2019, IFAW’s Team Lioness has been protecting wildlife in Amboseli’s vast community lands. So far, this

specialised unit is made up of 16 female rangers, all drawn from the local community. Most members are the first in their families to have formal employment, which provides economic freedom to them and their families. The women also serve as role models, providing social empowerment to other women from the local community.

Several members of Team Lioness are mothers. That’s why IFAW, in collaboration with the German-based Margarete-Breuer Stiftung (MBS) Foundation, has constructed a nursery where babies of Team Lioness members are cared for during the working day, giving the women peace of mind that their children are safe as they go about their daily work duties.

• IFAW has also partnered with the MBS Foundation to finance 60 local community women with vocational training in hairdressing and beauty therapy, food and beverage production, plumbing, garment making, and information technology. The training will support these women with the professional skills and knowledge they need to start small businesses, reducing their dependency and interactions with nature and giving wildlife Room to Roam in their habitat.

• IFAW has contracted the Esiteti Osotua women’s community-based organisation in Amboseli, Kenya to provide monthly supplies and rations to more than 80 community wildlife rangers. The financial returns are split two ways: an agreed portion goes to the women’s savings bank accounts; the other portion is given to each of the 179 women to cater to the needs of their families, such as paying school tuition fees and purchasing groceries.

At IFAW, we engage with the people living closest to the animals and habitats that we strive to protect. We aim to ensure positive and sustained change. We believe that protecting critical habitats drives long-term benefits for both wildlife and people. By creating new alternative sources of income that generate stability and leadership, women in Kenya are helping their communities create peaceful coexistence with wildlife.

STACEY HEDMAN / IFAW

To find out more about IFAW's Room to Roam initiative, scan the QR code.

ABOVE: Photo: Karel Prinsloo / © IFAW

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

Listen on Spotify

artguide.com.au/podcasts

ISSUE 40 OUT NOW

ROBERT

Photo: Kalory Photo & Video

A Last Look

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

MARGARET OLLEY (1923-2011)

Pomegranates 1965 Sold for $32,500 Women Artists, October 2022

Margaret Olley remains one of Australia's most beloved painters. Her still lifes, in particular, are each a considered construction of light and colour. In the artist's own words, "The subject matter is not important, it is the shape, the placement and the pictorial relationship which concerns me."

(Margaret Olley, March 1989)

Formerly Property of Patricia Lady McCaughey 18ct white gold, platinum, sapphire and diamond double clip brooch, retailed by Hardy Brothers Sold for $37,500 Fine Jewels & Timepieces, October 2022

Ceiling

Geoffrey

Yngve Ekstrom Lamino low back easy armchair for Swedese Sold for $940

Scandinavian Design, September 2022

ALBERT NAMATJIRA (1902-1959)

White Gum c.1947

© Namatjira Legacy Trust/Copyright Agency, 2022. Sold for $78,125 Fine Art, October 2022

Louis

Luxury

An Ancient Greek head of a Prince Sold for $17,500

The Collector's Auction, September 2022

Patek

Manufactured in 1940

Sold for $32,500 Fine Jewels & Timepieces, October 2022

A

Sold for $1,000 Collectables, September 2022

Philippe Ref 431 a fine and large 18ct gold wristwatch retailed by Tiffany & Co.

light for Seguso Sold for $8,125

Hatty: A Life in Design & Decorative Arts, Melbourne, September 2022

Vuitton, Twist Toucan MM shoulder bag Sold for $2,500

Icons - the Spring Edit, September 2022

Leica II camera in original leather case N.7642 with a Leitz Elmar F/3.5 50mm lens

Johann Lintl Tischlermeister cabinet Sold for $15,000 Geoffrey Hatty: A Life in Design & Decorative Arts, Melbourne, September 2022

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

Browse Now Delivering

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

Connect

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.

Leonard Joel partners with Art Money to make it easier for you to purchase work at auction. Find out more at artmoney.com/au/partner/leonardjoel

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

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

Chiara Curcio, Head of Department 03 8825 5635 | chiar.curcio@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 Private Estates and Valuations 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

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