LEONARD, issue 104, June-July 2023

auction calendar

The Martin & Stein Fine Jewellery Collection

Tuesday 6 June, 2pm & 6pm / SYDNEY

Fine Jewels & Timepieces

Monday 26 June, 6pm / MELBOURNE

Fine Art

Tuesday 27 June, 6pm / MELBOURNE

The Sydney Jewellery Edit

Monday 10 July, 2pm / ONLINE

Modern Design

Monday 17 July, 6pm / MELBOURNE

Luxury

Tuesday 18 July, 6pm / MELBOURNE

Prints & Multiples

Wednesday 19 July, 6pm / MELBOURNE

Decorative Arts

Monday 24 July, 2pm / MELBOURNE

Asian Works of Art

Monday 24 July, 6pm / MELBOURNE

Important Jewels

Tuesday 22 August, 6pm / SYDNEY

Indigenous Art

Monday 28 August, 6pm / MELBOURNE

Specialist Rugs

Thursday 31 August, 2pm / MELBOURNE

The Auction Salon

Furniture & Interiors

Objects & Collectables

Jewellery

Art

Every Thursday, from 10am / MELBOURNE

$12,000-18,000

Modern Design Auction Monday 17 July, 6pm Melbourne

COVER:

Decorative Arts Auction Monday 24 July, 2pm Melbourne

LEFT: Hermès Apollo 24 celestial globe

A Lalique 'Bacchantes' frosted glass vase $2,000-3,000

With the forthcoming auction of the beautiful collection from the iconic Sydney jewellery boutique, Martin & Stein, it seemed the perfect time to look back on jewels through history. Within this issue, our specialists delve into the origins of the tiara, explore jewellery design from the Georgian era onwards, and look at early tool watches from the world's greatest makers.

We also preview some of the exciting pieces and collections coming to auction, chat to collectors and philanthropists

David Clouston and Michael Schwarz, learn about considering tax and superannuation when investing in art with Michael Fox, and more.

This Issue

FROM THE CHAIRMAN

3 The Simplest of Etruscan Earrings

AUCTIONS

4 Sydney Jewellery | Jewellery Periods of History

6 Sydney | A Royal History of Sèvres Porcelain

8 Fine Art | A Work in Progression: The Importance of Preparatory Works in an Artist’s Oeuvre

10 Fine Jewels | Fit for a Queen: A History of the Tiara

12 Timepieces | The Appeal of a Hunk of Steel –Why the Fascination With Tool Watches?

14 Decorative Arts | The Rayner Collection

16 Asian Works of Art | Japanese Modernist Studio Ceramics

18 Modern Design | A Life in Colour: Marion Hall Best

20 Luxury | The Luxury ‘In-Store’ Experience

21 Prints & Multiples | Insights from an Artist’s Home Interior

22 In Conversation | With David Clouston and Michael Schwarz

26 Brisbane | Jewellery Essentials with Troy McKenzie

IN FOCUS

27 Art Expert Series | How To: Consider your Tax and Superannuation When Investing in Art, with Michael Fox

28 5 Minutes with Paolo Cappelli

29 22nd Report | Elephants Flourish in Massive Zimbabwe Forest Reserve

30 Events | Champagne & Diamonds with Deborah Symond O'Neil

31 Valuations | Thinking of Selling?

38 A Last Look

JOIN US

40 Connect & Buy with Leonard Joel

41 Contact a Leonard Joel Specialist

THE SIMPLEST OF ETRUSCAN EARRINGS

Presenting the Martin & Stein Fine Jewellery Collection

More than a quarter of a century ago, I remember learning that at one point in the Queen Victoria Building’s history, demolition was contemplated. One walk of its perimeter and then its interior renders such a notion, for me anyway, breathtakingly outrageous. Thankfully, it never happened and the building flourishes with a myriad of traders from the practical to the luxurious.

One of the traders in the rare and the beautiful was Martin & Stein, where one would find the finest period gold jewellery as well as diamond and precious stone pieces that embraced Art Deco and the inter-war periods of design. In short, it was a veritable schatzkammer of jewels and its ever-changing collection was a regular on the shopping lists of discerning tourists not shy of a dollar and similarly minded Sydney-siders.

My impression from my visits was of welcoming character and humour. This was how James and Annemie Stein made me feel, as a young man with a few years of jewellery auctions under my belt. The stock remained overwhelming and created an intimidating but still attractive atmosphere. On one of my visits, I had the courage to call with my now wife, Joanne. All those years ago, Jo was looking for something; something little, something affordable. Not easy at Martin & Stein, but she found the simplest of Etruscan gold ball earrings from the Victorian era. She still wears and loves them today and like so many things we humans accumulate, they will always be tied to a place - Martin & Stein.

In Leonard Joel’s history, we have been engaged to manage the sale of every significant jewellery collection. They are rare events in a country the size of Australia and you would only need two hands to count how many opportunities there have been. To state the obvious, The Martin & Stein Fine Jewellery Collection Auction on 6 June in Sydney is a rare window for the lover of jewellery to bid for pieces at cost, and with the knowledge that each item’s last place of origin was one of Sydney’s great jewellers that never compromised on quality and always looked for the history in every piece they presented.

JOHN ALBRECHT Chairman / Head of Important Collections

OPPOSITE: The Queen Victoria Building, Sydney, former home of Martin & Stein (bottom right) / Alamy

ABOVE: Art Deco diamond double-clip brooch, Circa 1930

$15,000-20,000

The Martin & Stein Fine Jewellery Collection Auction Tuesday 6 June, Sydney

SYDNEY JEWELLERY

Jewellery Periods of History

Jewellery has been a symbol of human expression and adornment for thousands of years. The study of jewellery periods provides insight into the evolution of design and reflects the societal, cultural, and artistic values of the time.

GEORGIAN

The Georgian period, which spanned from 1714 to 1837, was named after and defined by the Hanoverian Monarchs of the United Kingdom. It was a time of Mozart, Gainsborough, and the decorative aesthetics of Rococo, Neoclassicism, and Romanticism. Gold alloys used during the Georgian era were typically 18 carat and higher. Every piece of sumptuous jewellery was meticulously handcrafted. Jewellery styles were designated based on the time of day they were worn. Evenings called for diamond rivière, made up of rose-cut and old mine-cut diamonds.

VICTORIAN

Named after Queen Victoria, this period can be divided into three eras: the Romantic Period (1837-1860), the Grand Period (1861-1880), and the Aesthetic Period (1880-1901). Victorian jewellery boasts a diverse range of motifs, yet it remains identifiable through the endless variations of romantic shapes and elaborate details. Pieces were often adorned with old mine-cut diamonds that were faceted by candlelight and set into silver-topped gold to enhance their brilliance. Transformable creations were popular, such as brooches that could convert to pendants, or tiaras that could be disassembled and worn as necklaces. Lot 647 from our forthcoming Martin & Stein Fine Jewellery Collection is an exquisite example of the Victorian period’s elaborate style.

Auction Tue 6 Jun, 2pm & 6pm

EDWARDIAN

The Edwardian era was a period of unprecedented luxury and prosperity in England from 1901 to 1910. This lavish lifestyle was reflected in the ornate and opulent style of jewellery, heavily influenced by the Louis XVI style of the 18th century. Ribbon bows, hearts, and flowers were popular motifs, intricately woven into garlands and wreaths that draped across the neck or adorned the hair. Louis Cartier was a famous proponent of the Garland Style, which featured delicate and lightweight designs inspired by 18th century pattern books and the streets of Paris. The introduction of platinum was crucial in allowing jewellers to create intricate fretwork and lace-like patterns that were impossible to achieve with other metals, enhancing the beauty of diamonds and pearls, the preferred gemstones of the Edwardian era.

The end of World War I brought about a reaction to the years of suffering in the form of exaltation, creativity, and celebration. Pre-war traditions, fashions, and values were set aside and replaced with a new rule of freedom of expression, particularly in fashion. Jewellery designs changed to follow these revolutionary ideas, featuring more geometric and linear designs and bursts of primary colours taking the form of rubies, emeralds, and sapphires (Lot 530 from the Martin & Stein Collection) that triumphed over the all-white jewels popular in the Edwardian era. Interestingly, despite the change to simplicity in dress style, women of the 1920s loved to cover themselves in jewellery, with several bracelets stacked together and sautoirs draped over daring low backs. Art Deco jewellery was also influenced by the Far East and Middle East, using exotic designs, motifs, and materials such as jade and lapis lazuli.

RETRO

During the outbreak of war in Europe, jewellery production was again hindered as precious metals and stones became scarce. Jewellery designs during the 1940s featured large scrolls (Lot 518 is a prominent example), straps, and buckles made mainly of gold, smaller diamonds, synthetic rubies and sapphires, or multiples of smaller stones. Large precious stones were substituted for semi-precious ones such as citrine, aquamarine, amethyst, and topaz. Despite the scarcity of gold, the size of the jewels remained large and voluminous, but were made of thin sheets of metal and were highly decorative and innovative in their design. New alloys were developed to increase the percentage of copper used, resulting in the characteristic reddish tinge of the gold of the period.

OPPOSITE LEFT: A Georgian handpainted miniature Sold for $744

OPPOSITE RIGHT: Victorian diamond pendant/brooch $30,000-50,000

TOP: An Edwardian diamond pendant Sold for $6,750

MIDDLE: Diamond and sapphire brooch, circa 1910 $8,000-12,000

BOTTOM: Gold, diamond and ruby ring, circa 1940 $4,000-6,000

ART DECO

The Martin & Stein Fine Jewellery Collection

LAUREN BOUSTRIDGE / Senior Jewels Specialist, Sydney

SYDNEY

A Royal History of Sèvres Porcelain

In the 18th century, porcelain was one of the most highly prized commodities in the world. Only the extremely wealthy could afford objects made of this fragile material, which was often shipped at great expense from the Far East.

Developed in China around 2,000 years ago, the recipe for creating porcelain was a closely guarded secret. It was first brought to Europe from China by Marco Polo in the 14th century who called it porcellana. However, it was not until the early 18th century that Europeans discovered how to create porcelain for themselves. Johann Friedrich Böttger is most often credited with creating Europe’s first true hardpaste porcelain and in 1710 he brought it to market financed by Augustus the Strong, King of Poland and Elector of Saxony, and thus the Meissen manufactory was founded.

From here, the French were swift to follow, with softpaste porcelain being produced at Chantilly, St Cloud, and Vincennes from 1738. By 1756, the Vincennes premises were considered too cramped, and a new factory was built on the edge of the village of Sèvres, where technical developments and artistic achievements continued apace.

From the beginning, the Vincennes factory enjoyed a privileged status as Manufacture Royale among the porcelain factories, with royal patronage and financial support from King Louis XV and Madame de Pompadour. By 1759, the Sèvres manufactory was entirely owned by the monarch.

The factory employed some of the highest skilled artisans and professionals in Europe, enabling them to develop a softpaste porcelain which was whiter and purer than any other French factory. By the mid-18th century, they had become the leading producer of porcelain in Europe. Hard-paste or ‘true’ porcelain, containing the essential ingredient kaolin, was first made at Sèvres in 1769.

The Royal Collection, UK, contains the most important assemblage of Sèvres porcelain in the world. Much of it was acquired between 1783 and 1830 by George IV (17621830) who popularised the taste for French porcelain in Britain. George IV was an enthusiastic collector of Sèvres, which suited his taste for lavish and colourful decoration, particularly at his London residence, Carlton House. In 1783, at the age of 21, he made his first purchase from the factory, and he continued to buy as Prince of Wales, Regent, and King.

To this day, dinner services bought by George IV continue to be used for State Visits and ceremonial occasions. One of the highlights in the Royal Collection is a pot-pourri vase in the form of a ship which belonged originally to Madame de Pompadour.

As the factory of the French state, Sèvres was regularly called upon in the 18th and 19th centuries to produce diplomatic gifts and this resulted in the creation of some of its most famous porcelain dinner services, vases and plaques. Perhaps the most notorious porcelain dinner service produced by Sèvres was the 700-piece service commissioned in 1770 by Catherine the Great of Russia, which she gave as a gift to her secret lover, Prince Grigory Potemkin. The majority of this service is now in the State Hermitage Museum, St. Petersburg.

Today, several public collections are particularly renowned for owning large amounts of important Sèvres porcelain. These include the Rothschild Collection at Waddesdon Manor, Buckinghamshire; the Wallace Collection, London; the Louvre, Paris; the Victoria & Albert Museum, London; and the Metropolitan Museum of Art, New York.

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

OPPOSITE: Pieces from the Sèvres dinner service (1783-1793), at the Queen's Gallery, Buckingham Palace, London / Alamy

TOP LEFT: Doorway to the Sèvres factory c.1852 / Alamy

TOP RIGHT: The blue velvet room, Carlton House, London / Alamy

BELOW: A Sèvres Porcelain Jardiniere ('Cuvette Courteille', 2EME Grandeur) Sold for $137,500

The Collector's Auction

Tue 19 Sep, 2pm

SYDNEY

FINE ART

A Work in Progression: the Importance of Preparatory Works in an Artist’s Oeuvre

Fine Art Auction

Tue 27 Jun, 6pm

MELBOURNE

When a critic asked to view the post-impressionist artist Paul Gauguin’s sketchbook he quipped, “My drawings! Never! They are my letters, my secrets.”

Preparatory drawings can reveal an artist’s creative process, providing us with a visual guide for how they form their ideas, critique their own creations, and bring a concept to full fruition. Previously, a preparatory drawing may have been viewed as a minor work by an artist, however the market now values these as important documents, providing insight into the artist’s mind which can often be invaluable.

Let’s start with arguably the most famous artwork in the world – Leonardo Da Vinci’s Mona Lisa. Several years before this iconic portrait was created, Da Vinci produced the sketch Portrait of Isabella d’Este 1499-1500. In 1499, Da Vinci was invited to draw her portrait with the promise of a later painting. Although there is still mystery surrounding the Mona Lisa, this drawing reveals the experimentations of Da Vinci, specifically in the workings of the dress and placement of the arms which are a close resemblance between the two works.

Edward Hopper’s Nighthawks 1942 explores the loneliness of the big city, with three customers seated at a late-night diner opposite a server, all seemingly disengaged from one another. The placement and pose of each figure is crucial to the overall composition, so it is no surprise that Hopper produced numerous preparatory sketches to develop the final painting. In Study for Nighthawks, the majority of the composition appears unchanged, but when we look closely it is the subtleties of the figures that are modified. In contrast to the painting, the couple are faced inward to each other whilst the server is more focused on his task below eyeline. So, too, has the signage for the diner moved from the window glazing to the top exterior of the building, perhaps to accentuate our gaze upon these figures, as though in a display case. Hopper’s Nighthawks has forever intrigued the art world. We attempt to fill the void of uncertainty with our own interpretations

and find meaning, hence why these preparatory sketches are so important.

Our June Fine Art auction features an important sketch by Jeffrey Smart. In 1977-78 Smart produced two preparatory sketches for the resulting painting, Bus by the Tiber. The painting depicts a bright yellow bus flanked by graphic street signs, with a labyrinth area of road markings in the foreground. Small adjustments were made from the preparatory sketches to the final painting. By the following decade, Smart was still experimenting with this composition to produce one of his most recognisable images, The Waiting Bus 1986. The final image was to produce a lithographic print in collaboration with master printmaker, Neil Leveson. Jeffrey provided Neil with a preliminary sketch, illustrating the overall composition with notes for colour preferences. There are only minor changes from this sketch to the final lithograph – predominantly the yellow dashed line in the foreground of the road. As original paintings by Jeffrey Smart now achieve in excess of $200,000 these sketches and works on paper by the artist are highly attractive and attainable.

OPPOSITE: Jeffrey Smart (1921-2013) Drawing Study for The Waiting Bus c.1986, pencil on paper, 18 x 24cm $20,000-30,000

© The Estate of Jeffrey Smart

TOP LEFT: Edward Hopper (1882-1967), Study for Nighthawks 1941 or 1942, fabricated chalk and charcoal on paper © Edward Hopper/Copyright Agency, 2023

TOP RIGHT: Edward Hopper (1882-1967), Nighthawks 1942

BOTTOM LEFT: Leonardo da Vinci (1452-1519), Portrait of Isabella d’Este 1499-1500

BOTTOM RIGHT: Leonardo da Vinci (1452-1519), Mona Lisa 1503

OLIVIA FULLER / Head of Art

FINE JEWELS

Fine Jewels & Timepieces

Auction

Mon 26 Jun, 6pm

MELBOURNE

OPPOSITE: A Victorian gold, silver and diamond tiara

$8,000-12,000

ABOVE:

Fit for a Queen: A History of the Tiara

Favoured by the wealthiest and most influential members of society throughout history, the tiara has long been associated with elegance, power, and prestige. Derived from the Persian word ‘tyara’ which referred to a headdress worn by kings, it is an adornment that has endured considerable stylistic evolution aligned with the tastes of monarchs and noble classes.

The earliest tiaras were worn by the ancient Egyptians, Persians, Greeks, and Romans and were not reserved for sovereigns exclusively. The ancient Greeks for example took design inspiration from the natural world, creating foliate bands, ears of wheat and laurel, or myrtle wreaths to be gifted to athletes and warriors in honour of a victory.

As Christianity spread throughout medieval Europe, the wearing of classical style wreaths and circlets fell out of favour, and it was not until the 18th century that the tiara resurfaced as a display of affluence and social status amongst the aristocracy. The rise of Neoclassicism in the late 18th century saw naturalistic motifs re-appear in tiara designs. Emperor Napoleon’s creation of an Imperial court and Empress Josephine’s sartorial elegance heavily influenced stylistic trends of this period. Tiara designs were in keeping, with Greek-key patterns, spiral, and botanical motifs incorporated along with hardstone cameos and intaglios. During this period tiaras became the pinnacle of fine adornment, worn at court and official events as a marker of social cachet.

19th century designs continued to be influenced by monarchical tastes. Queen Victoria’s husband Prince Albert was a jewellery and precious gemstone enthusiast, commissioning a number of pieces for the Queen during his lifetime including ‘The Oriental Circlet Tiara.’ Designed as a series of lotus flowers and Mughal arches, set throughout with glittering diamonds, the piece was commissioned after Albert was inspired by Indian jewellery designs during his visit to the Great Exhibition of 1851.

The geometric leanings of the Art Deco movement brought about notable changes to jewellery designs throughout the 1920s and 30s. Bandeau styles worn flat on the head were preferred, abandoning the elaborate garland and floral motifs that dominated in previous eras. ‘The Bandeau Tiara’ worn by the Duchess of Sussex at her marriage to Prince Harry in 2018 is one such example, which was commissioned by the Queen’s grandmother, Queen Mary of Teck in 1932.

With significant societal shifts in the 20th century including periods of diminishing wealth, many tiaras held in family collections were dismantled and refashioned into smaller pieces of jewellery. As such, the rarity of tiaras in original condition contributes significantly to their popularity with collectors of antique jewellery. Leading the June Fine Jewels & Timepieces auction is an elegant and finely crafted diamond tiara with convertible necklace fittings from the Victorian era. Set throughout with 9.25 carats of old European and rose-cut diamonds and presented in the original fitted case, this is a rare opportunity for collectors to acquire a beautiful wearable ornament.

Meghan Markle wearing the Bandeau Tiara / Alamy

BELOW: Queen Elizabeth wearing the Oriental Circlet Tiara / Alamy

BETHANY MCGOUGAN / Head of Fine Jewels & Timepieces

TIMEPIECES

The Appeal of a Hunk of Steel –Why the Fascination with Tool Watches?

The term “tool watch” was originally conceived to describe watches that served as practical mechanical instruments which included functions that went beyond simply telling the time. A tool watch’s main objective in life was utility in service to its wearer, whether this function was a chronograph and tachymeter for racing car drivers, slide rule and GMT for pilots, bezel and helium release valve for divers, magnetic resistance for scientists, or tritium and fixed lugs for military service.

Today, with so many other instruments and technologies at hand, these watches are no longer the essential equipment they once were and at best may serve as a secondary back up in the course of a specific task. Defying their status as a relic from times past, their appeal is perhaps tied to the daring, ingenuity, endurance, and fearlessness associated with many of the endeavours these tool watches served a part in. With this specific utilitarian association in mind, the tool watch endures and serves as a captivating symbol that evokes an adventurous and exciting spirit of a wished for “alternative existence” where daring and determination knows no bounds.

Here, I’ve chosen five of the classic best, that to my mind capture and embody the form, function, and spirit of a tool watch:

The true name of this watch is the Seamaster 600 and its oversize proportions and fearsome and unmistakeable appearance make it the most distinctive watch ever made by Omega. The Seamaster 600 Plongeur Professionnel or Professional Diver, soon abbreviated to PLOprof by collectors was created by Omega in 1968 at the request of Comex, a leading company in deep sea diving. In response to the Comex commission for a diving watch that was able to withstand depths exceeding 400m, Omega created the PLOprof – a ‘monster from the deep’ with a higher water resistance than a submarine.

OMEGA PLOPROF

Fine Jewels & Timepieces

Auction

Mon 26 Jun, 6pm

MELBOURNE

OPPOSITE LEFT TO RIGHT: Omega Railmaster Ref. 2914-3 SC, an Extremely Rare and Very Attractive Stainless Steel Anti-magnetic Wristwatch, Circa 1958

Sold for $10,625

Breitling Chronomat Ref 769/217012

a Stainless Steel Chronograph Wristwatch With Bi-directional Inner Rule Scale 1940s

Sold for $5,500

Rolex Milgauss 40mm Oystersteel Wrist Watch / Alamy

IWC Big Pilot Le Petit Prince Ref

IW501002 a Stainless Steel Wrist Watch With Date and 7-day Power Reserve Circa 2021

Sold for $13,750

BREITLING CHRONOMAT

From its inception in the late 19th century, the firm of Leon Breitling specialised and excelled in producing chronograph tool watches. In 1932 with grandson Willy Breitling at the helm, they produced the wrist chronograph, a “tool for scientists, mathematicians, engineers, and businessmen” and applied for the patent of the Chronomat (derived from Chronograph for mathematicians) in August 1940 that added a logarithmic slide rule calculator to be worn on the wrist.

A smartwatch for the ages, this chronograph was used for complex calculations, multiplication, division, production timing, interest and exchange rates, rules of three and geometry calculations, and was hugely popular. So successful was it, that it inspired the birth of another of Breitling’s tool watches, this one created for the specific needs of pilots, the Navitimer.

ROLEX MILGAUSS

Tool watches are synonymous with Rolex; not only did they produce watches for the sea, land, and the air, in 1956 they created a watch for the power plant, medical facility, and research lab. That watch was the Milgauss, the first Rolex watch to shield a movement from magnetic fields and advertised as being “designed to meet the demands of the scientific community working around electromagnetic fields.”

Exposure to high magnetic fields used to damage watches worn by scientists and engineers, but the Milgauss could withstand magnetic fields of up to 1,000 gauss. In contrast to the Chronomat and Navitimer, the Milgauss was never a popular model for Rolex and due to its relatively low sales during the 1960s and 70s, it has become rare in today’s vintage watch market.

IWC FIRST BIG PILOT’S WATCH (1940)

IWC is probably the watch brand most often associated with aviation. Since their first Pilot’s Watch in 1936, IWC has remained a true pioneer in developing robust instruments for the cockpit. In this nascent time of aviation, pilots had to face the elements in unheated cockpits and under these conditions it helped that watch cases were large, with dials bold enough to be instantly legible, fitted with especially large crowns that were easy to grip so they could be wound and set by pilots wearing thick gloves and a padded flight suit.

The IWC Big Pilot’s Watch (ref. IW431) was supplied to the Luftwaffe (German Air Force) in 1940 in an edition of 1,000 pieces. This tool with its minimalist dial was designed to mimic easy-to-read cockpit instruments, had a large onion shaped crown, and a case diameter of 55mm which made it large enough to wear over the cuff of a bomber jacket.

ULYSSE NARDIN MARINE REGATTA

One might suggest that what IWC is to aviation, Ulysse Nardin is to ocean navigation, and it would not be far from the truth only that Nardin has maintained their intrepid ocean spirit from even earlier, since 1846. Before radio and GPS, ship captains relied on marine chronometers, highly accurate ship’s clocks which were an essential navigational tool and a contributing factor in the escalation of world exploration and international trade – it was said that whosoever commands the seas commands the world itself. Chronometers became a standard and a designation reserved for only the most accurate of watches, which Ulysse Nardin were renowned for.

In celebration of their remarkable high seas heritage, Ulysse Nardin released the impressive Marine Regatta, a tool watch for the serious sailing community complete with a regatta timer.

PATRICIA KONTOS / Senior Jewels & Timepieces Specialist

The tool watch endures and serves as a captivating symbol that evokes an adventurous and exciting spirit of a wished for “alternative existence” where daring and determination knows no bounds.

DECORATIVE ARTS

Decorative Arts

Mon 24 Jul, 2pm

MELBOURNE

The Rayner Collection

The Rayner Collection jointly encompasses the lifelong interests of husband and wife, George and Janice Rayner, with each facet of their respective collections reflecting their personal passions.

ABOVE: A Lalique crystal 'Ara' model of a cockatoo

$300-500

BELOW: George and Janice Rayner

Janice Rayner’s enthusiasm was sparked by a former physiotherapy patient of hers, who gifted her a René Lalique glass vase in 1956. From that point on, her collection grew through the romantic generosity of her husband, George, who would often surprise her with a new addition to the collection, including a rare and impressive ‘Vendome’ pattern ceiling light. Janice recalls that this appeared one day on the doorstep as an impromptu gift, and then illuminated the dining room of their next three family homes.

Although each piece was admired for its beauty and design, most of the collection, being vases, were used regularly for fresh cut flowers. The vases that received the most prominent placements were the Bacchantes, Actinia, and Ceylan designs.

René Lalique (1860 - 1945) was a French master craftsman and entrepreneur, with a legacy of artistic flair and diversity in his work, spanning jewellery, medals, and glass.

Janice’s collection features vases, perfume bottles, dishes, bowls, and stemware, in variations of opalescent glass and patinated colours, with most being period works by René Lalique.

From childhood, Janice had a love of birds, which we see reflected in her Lalique collection, in pieces like the Ceylan and parakeet vases. This interest is also seen in her and

George’s library, which includes good quality leather bound reprinted volumes of Ornithological works, including John Gould’s “Birds of Australia”.

George’s interests were concentrated on his library, which featured an array of expedition and voyage reference books, with a particular focus on Tasmanian historical reference. George was a prolific reader with a passion for Tasmanian history from 1642, which was of personal interest as George was a Tasmanian native whose paternal ancestor, William Rayner, was a convict on the second fleet, and on his maternal side was Tom Lucas, who reputedly raised the flag for Admiral Arthur Phillip.

Another area of expertise that George coveted was conchology, an interest that overtook the family house; with cabinets of shells lining the hallways. He was an avid collector, with packages still arriving in the mail right up to his passing in 2010. His collection of shells was considered to be one of the largest in the southern hemisphere.

George sold his significant shell collection some 20 years ago, however part of his shell reference library remains.

Janice’s collection of Lalique and ornithological items will be offered within our Decorative Arts auction on July 24th, and George’s library will be offered on Thursday June 22nd.

CHIARA CURCIO / Head of Decorative Arts

OPPOSITE: Highlights from The Rayner Collection

ASIAN WORKS OF ART

Japanese Modernist Studio Ceramics

Last year, a ground-breaking exhibition was held in the Art Gallery of South Australia titled “Pure Form: Japanese Sculptural Ceramics”. This exhibition, centered around the private collection of leading Australian collector Raphy Star, focused on modernist Japanese ceramics from the 1950s to the present day.

Japan has long been a country obsessed with ceramics, from pots and bowls made in the folk kilns for every-day use by the common people, to ceramics made for the elites for use in tea ceremony and kaiseki dining, and export products like those made in the Kakiemon kilns in the 17th century. It is commonly known that whatever Japanese craftsmen turn their minds and hands to, they excel at, and ceramic production is no exception.

Ceramics in Japan, despite their beauty and sometimes lofty status, have always been seen as utilitarian objects, made with a purpose – whether for eating, drinking tea, or

to decorate the household tokonoma alcove in seasonal displays. The word mingei (art of the common people) was coined by philosopher and aesthete Yanagi Soetsu (1889-1961) in the 1920s, and he went on the write a hugely influential book named “The Unknown Craftsman”. Mingei refers to folk crafts, however in a way more importantly it championed utilitarianism as the primary reason for an object’s being, eschewing art object status.

In contrast, the avante-garde art ceramic movement Sodeisha (“Crawling Through Mud Association”) was born in 1948 just after the second world war. Sodeisha was founded by potter and art philosopher Yagi Kazuo (1918-1979) to break free of the tradition of utilitarianism in ceramics, having been intensely inspired by the ceramic sculptures of Picasso and Isamu Noguchi. He also felt a need to break free of the traditional art world associations including the annual competitions, as he saw these as a constriction on artistic freedom. The Sodeisha group mailed out postcards with this motto in 1948:

Asian Works of Art Mon 24 Jul, 6pm

MELBOURNE

ABOVE: Yagi Kazuo carrying an unfired sculpture to the communal kiln / Image courtesy Yagi Akira

“The post-war art world needed the expediency of creating associations in order to escape from personal confusion, but today, finally, that provisional role appears to have ended. The birds of dawn taking flight out of the forest of falsehood now discover their reflections only in the spring of truth. We are united not to provide a ‘warm bed of dreams’, but to come to terms with our existence in broad daylight.”

Sodeisha artists created vessels either without mouths or with mouths so narrow that they could not be used to contain flowers or liquids, and so pottery as sculpture was born in Japan. Sodeisha was highly influential in subsequent Japanese art ceramics.

After the Japanese economic bubble collapsed in the late 1980s, Japanese art had been performing quite poorly, but over the last five years has begun to see a steady recovery.

Ceramics have been the slowest to recover, but thanks to exhibitions like “Pure Form: Japanese Sculptural Ceramics”, and promotion by specialist New York dealers like Joan Mirviss and Dai Ichi Arts, Japanese modernist post-war ceramics are beginning to rise again.

In our last Asian Works of Art auction in March, we offered an interesting group of these ceramics from two Australian private collections. Lot 246 was a very sculptural celadon vase by Miyanaga Tozan III (1935-), evincing his connection with Sodeisha. Lots 228 and 244 were by “Living National Treasures” Shimizu Uichi (1926-2004) and Kondo Yuzo (19021985). These works generally performed above their estimates, but still at prices well within reach, showing that 20th century Japanese ceramics are a fantastic opportunity to collect truly world-class art affordably in a world where important artists’ work is generally unreachable for the average collector.

CARL WANTRUP / Asian Art Consultant

ABOVE LEFT: A Japanese Modernist Vase by Miyanaga Tozan III (1935-) Heisei Period (1989-2019), Circa 1990 Sold for $8,125

ABOVE RIGHT: A Japanese Modernist Studio Vase by Kondo Yuzo (1902–1985) Showa Period (1926-1989), Circa 1970 Sold for $3,750

MODERN DESIGN

Modern Design Auction

Mon 17 Jul, 6pm

MELBOURNE

A Life in Colour: Marion Hall Best

Marion Hall Best (1905-1988) was an Australian interior designer and influential figure in the Australian design scene of the mid-20th century. She was born in Sydney and began her career as a window dresser at the Anthony Hordern department store in the 1920s. She later trained as an interior decorator and opened her own design firm, Marion Best Pty Ltd, in 1935.

Best was known for her innovative use of colour and pattern, and her ability to blend traditional and modern styles to create unique and eclectic interiors. She was unashamedly modern at a time when other interior designers preferred a subdued palette and period furniture. She often claimed that “gentle soft colours … are not restful, but dreary, sapping the energy and the mind”; by contrast, “bright clear colours challenge the mind”. In the early 1950s, Best said that people were often scared of colour but that “home decoration should be based on colour – one exciting colour stimulating other equally exciting shades”.

Best was also a champion of Australian design and worked to promote local talent throughout her career. She was a founding member of the Society of Interior Designers of Australia and played a key role in establishing the Australian Design Centre in Sydney. In addition to her design work, Best was a collector and patron of the arts, amassing a significant collection of Australian art and design and supporting emerging artists and designers through her gallery.

She sourced and stocked furniture from Australian designers such as Gordon Andrews, Douglas Snelling, Grant and Mary Featherston, and Clement Meadmore, as well as international names like Eero Aarnio and Harry Bertoia. Best was the first in Australia to offer iconic products from Herman Miller and Marimekko in her stores.

Best’s legacy continues to inspire and influence designers today. Her work was ahead of its time and her willingness to experiment paved the way for future designers. The Museum of Applied Arts and Sciences in Sydney held a retrospective of Best’s work in 2019, highlighting her contributions to interior design and her role as a promoter of Australian art and design.

OPPOSITE: The living room of Marion Hall Best's apartment in Sydney, taken around 1973 / Caroline Simpson Collection, Museums of History NSW / Photo © Rodney Weidland

ABOVE: Marion Hall Best / Caroline Simpson Collection, Museums of History NSW / Photo © Rodney Weidland

BELOW: Marion Hall Best in the courtyard of her home at The Grove Woollahra, Sydney, c1952 / Caroline Simpson Library

REBECCA STORMONT / Modern Design Specialist

Luxury

The Luxury ‘In-Store’ Experience

Whilst it’s not normally my style, I thought that it was timely to write about the change in retail practice by the major international luxury stores. It is no news that during the Covid pandemic, the major brands reported massive profits. It seems that no matter what, we couldn’t get enough of, or live without, our designer items. Post-pandemic, we experienced shortages all round and luxury goods were not exempt. This had a tremendous impact on the secondary market which thrived because of the situation. Then came the shot in the arm, as things adjusted to the ‘new normal’, prices for designer goods skyrocketed to an all-time high, and still the public kept coming back for more.

Even in pre-pandemic times, it was commonplace to see queues of potential buyers waiting outside luxury boutiques to see the latest and greatest goodies on offer. Now I feel it is all part of the marketing strategy. For those who are potentially serious clients, it is best to make an appointment with a client service assistant before you visit. This will allow you entry into your favourite store without the wait. For the stores, this also sorts out if the client is genuinely interested in making a decent purchase, which is the name of the game. For those who are undecided or just want to browse, it’s the back of the queue. Designer boutiques do not seem welcoming to those wanting to buy items at entry level, like a small accessory or fragrance, those buyers are directed online.

The mass marketing of entry point designer label items which began in the 1980s to lure in new clients has served its purpose. Will it backfire however, if clients do not get the chance of the in-store experience? As a secondary market seller of luxury goods, I hear many stories, and here is one example. Recently, a client came to the Luxury auction viewing wanting a particular Chanel double flap handbag. Whilst she was happy with what we had on offer, she said ‘John, I’d rather go into Chanel for the in-store experience’. After queuing for an hour and finally entering the store, the client was informed that there were no bags available and that they were not taking orders. Not really what you want to hear when you are trying to make a significant purchase. Happily, the designer double flap bag was purchased at auction and a new client relationship was made.

Don’t get me wrong, as I am a huge fan of luxury brands and the quality and prestige associated with owning something special. I just feel that potential buyers are being denied the in-store experience that creates future demand, and longterm clients who are devoted to particular designer houses.

As for me, I love the variety the secondary market offers; you won’t catch me in a queue.

JOHN D'AGATA / Head of Luxury

Luxury Auction

Tues 18 Jul, 6pm

MELBOURNE

TOP: Chanel, Jumbo Double Flap Handbag

Sold for $8,125

BELOW: Schiaparelli, pair of hinged cuffs Sold for $687

Prints & Multiples

Insights from an Artist’s Home Interior

A theme linking many artists’ still life works is the domestic interior. The artist situates the viewer as though they are there, at the kitchen table with a vase of flowers, or sitting on a sofa in the corner of a room – part of an intimate and personal setting. This everyday beauty is often overlooked, however there are artists that are inspired most by these humble surroundings.

Cressida Campbell has solidified her place as one of Australia’s most important contemporary artists. Her paintings and prints explore aspects of her world through the hyper-focused lens of still life and interior views within her Sydney home and garden. Bedroom Nocturne 2022 conveys the intimate and tranquil mood of a private space, encompassing a harmonised array of objects. She has simplified the bedroom’s surfaces into stylised patterns - the unmade bed bursting with line and texture as though you can almost reach out to touch it, the flickering light and shadow transparent through the rattan chair, shadowing onto the floor below, along with the ambient light of the paper lamp against the wall. These elements harmoniously work together to transport the viewer into Campbell’s

An inspiration to Campbell’s oeuvre and friend to the artist is Margaret Olley. Olley’s legacy as a significant still life and interior artist is wildly recognised. Like Campbell, her inspiration came from her surroundings, including her home, studio and collected everyday objects. Yellow Tablecloth with Cornflowers 2007 depicts a table setting with an arrangement of flowers and fruit, positioned amidst pottery; the draping of the tablecloth ensures that the objects do not appear staged.

The warmth of this print transports you to that table setting in Olley’s home, as though you were about to pick up the knife and cut the apple.

Dorrit Black’s The Pot Plant 1933 is considered a masterpiece of modernist composition, whilst maintaining the traditions of still life imagery. This petite print is barely contained to the sheet’s edge, releasing a contrast of green and brown hues, impeccably embodying the pot of gum leaves. Throughout this arrangement, there is an oddly satisfying newness of where the shapes move and lines meet.

Still lifes offer insights into an artist’s perception of beauty through everyday objects and domestic interiors. Cressida Campbell, Margaret Olley, and Dorrit Black are amongst many others that have found inspiration in their everyday surroundings, creating works that transport the viewer into their private spaces. Campbell’s Bedroom Nocturne, Olley’s Yellow Tablecloth with Cornflowers and Black’s The Pot Plant all showcase the mastery of composition, using form and line to place objects into perspective and harmonise the works.

These depictions continue to inspire and enthrall the viewer, serving as a reminder to cherish the beauty that surrounds our daily lives.

HANNAH RYAN / Art Specialist

private home.

TOP: Margaret Olley (1923-2011) Yellow Tablecloth and Cornflowers 2007

In Conversation

with David Clouston and Michael Schwarz

This issue, we chat to Melbourne collectors and philanthropists David Clouston and Michael Schwarz about assembling a collection over many years and giving back to the Australian art community.

How did you first become interested in collecting Australian contemporary art?

We have always been interested in art, but really started to collect it when we formed an art collecting group in 2003, the Acacia Collection. With the group, we would visit commercial and public art galleries most weekends, as well as artist studios, interstate and international galleries, curatorial art talks, and art fairs. It was this high level of engagement that led to so many acquisitions. We started off with paintings, but now find ourselves surrounded by ceramics, photographs, and textile works as well.

Tell us about the process of curating the pieces in your home, how do you decide where each new piece will go?

Early on, the works were brought home and put up wherever they would fit, including behind and above doors, over cupboards, and sadly, sometimes under the bed, awaiting their moment. These days, with the house completely full, there is very little movement, but we do swap around some works.

Michael, could you tell us about your work with Arts Project Australia (APA) and why the organisation is important to you?

Having a disabled older brother and working in mental health, I was always keen for the inclusion of ‘voices rarely heard’. I have been affiliated with APA for many years – previously as a board member and now as a volunteer. I love the enthusiasm, creativity and passion of the artists and staff. Whenever I am asked to recommend an art purchase, I always suggest the APA website.

Is there one APA artist that you think every art lover should know about?

The works of the APA artists are extremely diverse and it is impossible to select just one artist. Recently, we seem to have collected many soft sculptural works. I particularly like Mark Smith’s text-based art (some of which are currently in ‘Melbourne Now’ at the NGV), Chris O’Brien’s buildings (his Chrysler Building is extraordinary), and Terry Williams’ ability to create anything as a soft sculpture.

Which contemporary artists are you excited about right now?

At the moment, Bronek Kozka! We have just bought a photograph from his “The best years of our lives” series (2009) at a recent Leonard Joel auction. The tension that he has captured in a suburban domestic scene is incredible. Locally, there are so many artists we admire and follow, but we are very pleased that Adam Lee has been included in ‘Melbourne Now’. Sam Martin is another highly talented artist who we feel is under-appreciated.

What are you looking for next to add to your collection?

Nothing! The collector’s journey is one of accumulation over many years and then facing the hard decisions of what to do with the collection. These days, we are more interested in dispersing the collection, mainly through donations to institutions through the Australian Government’s Cultural Gifts Program. We have donated over 70 works so far. We are particularly pleased that the Art Gallery of Ballarat is currently considering a donation of 35 works. We have sold a few works with Leonard Joel recently. Unfortunately, in the same auction, there was a fabulous Lyndell Brown & Charles Green duroclear which we bought, so it sort of defeated the purpose.

OPPOSITE: Brook Andrew Black and White Special Cut with Benjamin Armstrong Gertrude edition (front) and David Noonan Wayang (bottom left).

ABOVE LEFT: Terry Williams soft sculptures (2 on sofa), Peter Stephenson Piano Grid (behind) and Lena Yarinkura Tree with Bush Mice (left).

ABOVE CENTRE: Michael and David with their dog Marty and Caleb Shea sculpture (behind).

ABOVE RIGHT: Jenny Watson Bottled Memories (behind) with ceramics by Brendan Huntley (front left) and Jodie Noble The Thinker (front right).

NEXT PAGE: Works on bookshelves, from left to right, by Sarah Contos, Tritian Chant and Judi Singleton. In the corner stands Chris O'Brien's soft sculpture Chrysler Building

I love the enthusiasm, creativity, and passion of the Arts Project Australia artists and staff. Whenever I am asked to recommend an art purchase, I always suggest the APA website.

MICHAEL SCHWARZ

Brisbane

Jewellery Essentials with Troy McKenzie

It’s so important to choose jewellery that you feel comfortable in and that reflects your personal style, but there are a handful of enduring pieces that every modern woman should include in her collection. Here are a few of my personal jewellery essentials…

DIAMOND STUD EARRINGS

Classic and timeless, diamond stud earrings add a touch of sophistication to any outfit and are the perfect choice for any occasion; the true all-rounder.

DIAMOND PENDANT

A delicate necklace is another essential item that can be worn daily. It adds a subtle touch of elegance and can be paired with other necklaces to create an eclectic layered look.

STATEMENT EARRINGS

For special occasions or when you want to make a statement, a pair of bold, eye-catching earrings can add just the right touch of glamour and drama. For bonus value, opt for a detachable pair that can double as a more understated stud.

WATCH

A classic watch is a practical and stylish accessory that every modern woman should own. Whether it’s a simple timepiece with a leather strap or an oversized statement accessory, the right watch will complement any outfit. The world of watches is fascinating and once you start researching, I am certain you won’t stop at one.

COCKTAIL RING

The easiest way to add a splash of colour or an extra little bit of sparkle to your party outfit.

GOLD BRACELET

A fabulous gold bracelet is just so chic and can elevate an outfit anywhere, anytime. These are not going out of style anytime soon.

These essentials will take you anywhere, morning, noon, or night, with a modern look of style and ease. A great jewellery collection evolves over time, so don’t be afraid to mix and match styles to create your own individual look.

TROY MCKENZIE / Queensland Representative Specialist

TOP: Tiffany & Co. pair of 18ct gold and amethyst pendant earrings, circa 1992 Sold for $4,500

RIGHT: Dior rose quartz and diamond 'Rose Dior Pré Catelan' ring, circa 2016 Sold for $8,000

BELOW: A spectacular pair of diamond ear studs Sold for $87,500

How to... consider

your tax and superannuation when investing in art

WITH MICHAEL FOX

Michael Fox is the Principal of Michael Fox Arts Accountant & Valuer and the Director of Fox Galleries. He is a certified accountant, fine art valuer and art collector. Michael is a member of the Auctioneers and Valuers Association of Australia (AVAA) and is a Fellow of the Institute of Public Accountants.

How does the purpose behind a purchase impact the relevant tax? For example, if it was bought for investment, business, or personal?

The starting point is art bought for personal reasons, which is how many people first come into the art market. This means the buyer is not seeking a tax concession. If the artwork becomes valuable over time, art bought privately may be donated to a museum and the value of that gift could be deductible under the cultural gifts program. Private purchases under $500 will also be exempt from capital gains tax and over $500, held for more than a year, will qualify for the capital gains discount.

Business purchases are those that are made in connection with operating a business. Since 2020, as a result of the COVID-19 pandemic, most businesses can purchase art and receive a 100% tax deduction, as long as the requirements for display and meetings are met. The concessions for cultural gifts and capital gains, do not apply to art bought for business.

Art bought for investment can be made individually, by a partnership or through a trust, company or superannuation fund. Capital gains concessions do apply to these types of art purchases, however you cannot gift artworks to museums once you classify them as investments.

What factors should a business owner consider if wishing to purchase art for their business?

The legal structure of their business and GST registration are important factors, assuming the requirements for display

and client meetings are met. A professional in practice with a marginal tax rate of 47% will receive a rebate of 23.5% from the ATO on top of a GST refund if the artist or gallery are registered for GST, depending on when the art is bought. If the business is operated by a company the tax rebate will reduce to 12.5%.

What is one of your top tips that you have for a collector, come EOFY?

So far, I have only discussed tax concerns, but my top tip for collectors, including those wanting to buy art before EOFY is to seek advice from professionals in the art market, to guide their purchases.

In the secondary market, specialists at auction houses can tell you the artists for which there is growing demand. You should consider upsides against downsides in pricing, particularly the higher the sale price is.

In the gallery market, you should be looking at artists with consistency of practice, who are winning awards and whose work may be more affordable than at auction. Joanna Gambotto, for example, is a young, fearless painter whose work harks back to the golden age of Australian port-modernism. Her most recent series of paintings are in fact based on the studio of Margaret Olley, with lively brushstrokes and beautiful hushed tones bringing a vibrancy to the objects depicted. There is very little downside to the pricing of a skilful painter like Gambotto at this stage of her career.

Learn more at https://foxmichael.com.au/

ABOVE: Joanna Gambotto, ‘Break of Dawn’ 2023, Oil on canvas, 76cm by 50cm

TOP: Michael Fox with Al Poulet ‘Untitled (Action)’ 2023, Acrylic and aerosol on canvas, 200cm by 198cm, in background

Minutes with…

PAOLO CAPPELLI

FAVOURITE ARTIST/DESIGNER

It is very difficult for me to select just one favourite artist, but if I had to choose one artwork to bring with me to a desert island, it would be the “Primavera” by Sandro Botticelli (I might need some help as it is 2x3 metres!). Since living in Melbourne, every year when I return home to Florence, one of my first stops is at the Uffizi Gallery and the room dedicated to Botticelli. This masterpiece is the first important artwork I remember seeing as an awe-struck six-year-old. More than 40 years and countless visits later, I can still say that it has the same effect on me today.

FAVOURITE COCKTAIL

A Negroni, which legend has it, was created in Florence in 1919 for Count Camillo Negroni by his friend and bartender, Fosco Scarselli. A good place in Melbourne for a Negroni is The Everleigh on Gertrude Street, Fitzroy.

FAVOURITE AUCTION PURCHASE

A wonderful black and white print of Robin Williams by the celebrated film star photographer Mark Seliger, in which he has depicted the actor as Toulouse Lautrec. In this almost comic image, Seliger has managed to capture the comedy, vulnerability and drama of both Williams and Lautrec.

FAVOURITE BOOK / MOVIE

A book that I love is “Ask the Dust” by John Fante which I read for the first time in my early twenties. It is a semi-autobiographical novel and relates the struggles of the main character Arturo Bandini, an Italian-American writer, as he navigates unrequited love and poverty, subsisting on pennies and oranges in a depression-era Los Angeles.

And as for the movie, my vote goes to “Out of Africa”, directed by Sidney Pollack and starring Meryl Streep and Robert Redford. The screenplay, cinematography, and soundtrack by John Barry make this film a “capolavoro”.

YOUR IDEAL DAY IN MELBOURNE

As I live in Southbank, my ideal day is to escape the city with my wife and drive to the Mornington Peninsula. After lunch at the pub in Sorrento, we like to explore the coastal walks around Point Nepean National Park.

This issue, we asked our senior photographer, Paolo Cappelli, to step out from behind the camera...

22ND REPORT

Elephants Flourish in Massive Zimbabwe Forest Reserve

Elephant numbers are on the rise at Zimbabwe’s Panda Masuie Forest Reserve, which is quickly becoming a haven for the region’s iconic and endangered wildlife.

A recent wildlife census in the reserve counted 512 savanna elephants, up from 285 observed in last year’s census—a 79% increase. There were also 212% more warthogs and 25% more kudu in the reserve compared to 2021.

Panda Masuie is co-managed by Wild Is Life and the Forestry Commission of Zimbabwe, with support from IFAW (International Fund for Animal Welfare). Since this partnership began, significant time and resources have been invested to protect and restore the forest by tackling key conservation challenges, including poaching and wildfires. As a result of these efforts, elephants, lions, zebras and other species can now roam freely through the reserve, safe from human threats.

“Panda Masuie is becoming a stronghold for many species of animals,” says Jos Danckwerts, Conservation Director for the IFAW-supported Panda Masuie Release Project.

The 85,000-square-acre reserve is located within the Kavango Zambezi Transfrontier Conservation Area (KAZA TFCA), the world’s largest terrestrial transfrontier conservation initiative, spanning an area more than twice the size of Germany and Austria combined.

Within KAZA TFCA, elephants are highly mobile. They’re also highly perceptive to the threats and disturbances around them and tend to migrate to the safest areas.

The new counts indicate that elephants are using Panda Masuie as a safe refuge, says Danckwerts, likely due to the high level of protection from poaching and forest fires that the reserve offers.

The annual waterhole game census is conducted every October at the end of the dry season, during the full moon. Rangers and volunteers observe waterholes throughout Panda Masuie for 24 hours straight, counting wildlife as they arrive to drink.

The counts provide an important baseline to monitor how the wildlife populations in the reserve are faring, and to inform the planning and management of elephants and their habitat.

“Having accurate and reliable figures helps us to make longterm and informed decisions about the landscape and the wildlife resources,” says Phillip Kuvawoga, IFAW’s Director of Landscape Conservation.

Kuvawoga adds, “The thriving elephant population and the increase in other wildlife in the forest reserve is by no means an accident; it is a result of long-term, deliberate interventions aimed at habitat restoration and ensuring persistence of viable populations in healthy ecosystems. We are extremely delighted that our collaborative efforts and investments are now paying off.”

Panda Masuie offers safe habitat for KAZA TFCA’s 330,000 plus savanna elephants—the world’s largest contiguous elephant population—as they roam across the Transfrontier Conservation Area.

It also operates as a release site for orphaned elephants who have been rescued and cared for at the Zimbabwe Elephant Nursery (ZEN). When the elephants reach three to five years of age at the Wild is Life-run facility, they are often ready to be transferred to the IFAW-ZEN release site in the Panda Masuie Forest Reserve. It’s here where they learn about the wild. They feed, explore, and meet with wild elephants.

After a few years at the release site, the hope is for each orphaned elephant to complete their journey by permanently joining a wild herd.

We hope to bring you news of a few orphaned elephants taking their first steps from ZEN to life back in the wild at Panda Masuie soon.

Protecting and restoring the reserve is critical to the success of IFAW’s Room to Roam initiative—an ambitious plan to secure and connect habitats, creating safe passages for elephants and other wildlife in East and Southern Africa.

PHILLIP KUVAWOGA / IFAW Landscape Conservation Director

ON

ABOVE: Elephants enjoying a watering hole at Panda Masuie.

Photo: Michele Fortmann / © IFAW

BELOW: Scan the QR Code to see more.

22 MARCH 2017, THE FIRST INDUSTRY BRIEFING BETWEEN IFAW (INTERNATIONAL FUND FOR ANIMAL WELFARE) AND AUCTIONEERS AND ANTIQUE DEALERS FROM AUSTRALIA TOOK PLACE, WITH THE VIEW TO ENDING THE AUCTION AND ANTIQUES TRADE IN RHINOCEROS HORN AND IVORY. THAT SAME YEAR, LEONARD JOEL INTRODUCED A VOLUNTARY CESSATION POLICY AND WE ARE PROUD TO NO LONGER SELL THESE MATERIALS. IN THE "22ND REPORT", IFAW SHARE THE LATEST NEWS ON THEIR CONSERVATION PROJECTS AROUND THE WORLD.

Champagne & Diamonds with Deborah Symond O'Neil

FOR APRIL 2023 IMPORTANT JEWELS, LEONARD JOEL SYDNEY

TOP TO BOTTOM:

Diamond pendant necklace Sold for $40,000

Tiffany & Co. pair of diamond 'Victoria mixed cluster' ear studs Sold for $15,000

Tiffany & Co. diamond and tsavorite garnet brooch, circa 2005 Sold for $87,500

Hardy Brothers exceptional diamond and argyle pink diamond ring

Sold for $97,500

Event Images by Jack Henry

Thinking of Selling?

With astute local market knowledge and extensive global experience, Leonard Joel offers the broadest range of specialist expertise in Australia.

Discover the value of your piece or collection with a complimentary online valuation at the QR code below, book an appointment with one of our specialists, or join us at one of our regular valuation days.

IMAGES: Ross O’Meara Untitled & Jacob Cartelli Fish, both 2022. ©Copyright the artists, Represented by Arts Project Australia.

ISSUE 42 OUT NOW

DELIVERING ONLY THE HIGHEST QUALITY SERVICES, ACCOMPANIED BY AN EXTENSIVE RANGE OF CHAMPAGNE, WINE AND COCKTAILS AVAILABLE, SOAK IS NOT YOUR AVERAGE BEAUTY SALON. WITH AN INCREDIBLY INTIMATE AND CONTEMPORARY SPACE, SOAK IS SURE TO BE YOUR FIRST CHOICE FOR PAMPERING.

WWW.SOAK.BAR

Vale William Mora (1953-2023)

William Mora was an icon of the Melbourne art scenegallerist, dealer, and son of the late Mirka Mora. After helping his father, Georges, run Tolarno galleries, William opened his own gallery in 1985 showcasing some of the nation’s best emerging and established modern and contemporary artists. Despite the achievements of his parents, William forged his own path. His gallery was a pioneer in the Australian art scene and was one of the first galleries to hold a solo exhibition for an Indigenous artist.

A passionate supporter of the arts, William was involved with organisations including the National Gallery Society and the Art Committee for the Council of Adult Education.

In 2019, Leonard Joel was honoured to work with William Mora on “The Studio of Mirka Mora” auction. William’s warmth, wit and enthusiasm left a lasting impression on many of our staff and clients.

OLIVIA FULLER / Head of Art

“We will cherish our memories of William over the years. I personally will always remember the ease with which he would make me feel comfortable, take me into his extraordinary world of Melbourne art history and memories and make me feel the richer for the conversation.”

JOHN ALBRECHT

A Last Look

The “Bird on a Rock” brooch was designed in the 1960s by Jean Schlumberger for Tiffany & Co. These brooches are crafted from platinum or gold, ornamented with diamonds, and feature a glittering bird perched atop an enormous precious gemstone. The design has recently been spotted adorning many a celebrity lapel on the red carpet; Michael B Jordan wore both a pink morganite and green tourmaline example at the 2023 Academy Awards, Jay-Z wore an amethyst piece at this year’s Grammys, and Lewis Hamilton sported another at the Baftas.

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

(New Zealander, 1940-2012)

(1887-1935)

Jean Schlumberger for Tiffany & Co. Citrine, Ruby and Diamond 'Bird on a Rock' Brooch Sold for $62,500 Important

An

Sold for $200,0000

Important Jewels, April 2023

Venus

Sold for $10,625

The Hermann & Inge Thumm Collection, April 2023

Sold for $1,375

Luxury, April 2023

Sold for $11,875

A

Dining Table for Up & Up

Sold for $11,875

Modern Design, April 2023

Lavender Bay in the Rain 1987

Sold for $23,125 Prints & Multiples, April 2023

Brett Whiteley (1939-1992)

European School 19th Century

Crouching, Marble

Pier Alessandro Giusti & Egidio Di Rosa Brugiana

Garrard & Co. 12ct Gold and Diamond Bar Brooch

Single Owner Collection of Antique & Vintage Jewels, March 2023

Gucci, Bamboo Top Handle Nailhead Flap Bag

Extraordinary Bulgari 18ct Gold, Fancy Coloured Sapphire and Diamond 'Rosette' Suite, Circa 2005

Connect

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.

Discover more at our website 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

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.

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 | chiara.curcio@leonardjoel.com.au

MODERN DESIGN

Rebecca Stormont, Specialist 03 8825 5637 | rebecca.stormont@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

Angus McGougan 03 8825 5640 | furniture.manager@leonardjoel.com.au

JEWELLERY

Indigo Keane 03 8825 5621 | jewellery.manager@leonardjoel.com.au

OBJECTS & COLLECTABLES

Dominic Kavanagh 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 Paolo Cappelli, Senior Photographer & Videographer Adam Obradovic, Photographer & Videographer

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

Twin-stone Ruby and Diamond Ring Sold for $50,000 Important Jewels Auction, April 2023

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