ISSUE 93 AUGUST – SEPTEMBER 2021
LEONARD
AUGUST
Important Jewels Tuesday 10 August, 6pm / SYDNEY Fine Jewels & Timepieces Monday 30 August, 6pm / MELBOURNE Fine Art
SEPTEMBER
Tuesday 31 August, 6pm / MELBOURNE An Important Private Collection of Asian Works of Art Sunday 12 September, 2pm / MELBOURNE An Important Collection of Hermès Interiors Monday 13 September, 6pm / MELBOURNE A Private Collection of Vintage and Antique Jewellery Monday 20 September, 6pm / MELBOURNE The Collector's Auction Tuesday 21 September, 6pm / SYDNEY
OCTOBER
auction calendar —
Decorative Arts Monday 18 October, 2pm / MELBOURNE Asian Works of Art Monday 18 October, 6pm / MELBOURNE Women Artists Wednesday 20 October, 6pm / MELBOURNE Celebrating 40 Years of Jewellery Collections Monday 25 October, 6pm / MELBOURNE The Auction Salon Furniture & Interiors – 10am Jewellery – 10.30am Art – 11am Objects & Collectables – 11.30am MELBOURNE
LEFT: Surprise Egg, Victor Mayer
COVER: Dressoir à thè for Hermès Maison
for Fabergé $15,000-20,000
Collection $200,000 - 250,000
Fiine Jewels & Timepieces Auction Monday 30 August, Melbourne
La Chaise Sellier armchair for Hermès Maison Collection $6,000 - 8,000 An Important Collection of Hermès Interiors Monday 13 September, Melbourne
welcome —
This Issue FROM THE CHAIRMAN 3 From Hermès to Han AUCTIONS 4 Important Jewels | Argyle Pink Diamonds: Incredibly Rare 6 Fine Art | Romance & Theatre: The Work of Norman Lindsay
Welcome to the 93rd issue of Leonard. Within this issue, we explore several exciting private collections coming to auction at Leonard Joel. We take a closer look at the craftsmanship of Hermès pieces, from furnishings and decoration to handbags, decipher the meanings behind motifs in Victorian Jewellery, and explore beautiful Chinese ceramics from the Neolithic Period and Bronze Age through to the Qing Dynasty. We also discover more about extremely rare Argyle pink diamonds, get lost in the ethereal work of Norman Lindsay, chat to art dealer, advisor, and self-confessed auction devotee Sarah Fletcher, and solve a painting mystery. We hope you enjoy.
8 Fine Jewels & Timepieces | Meaningful Motifs in Victorian Jewellery 12 The Collector's Auction | Henri Le Sidaner 14 A Painting Mystery Solved and a Victorian Woman Artist Revealed 16 Asian Works of Art | An Important Private Collection 18 Important Collections | La Maison Hermès 22 Luxury | Hermès: Tradition and Innovation 23 Prints & Multiples | Barbara Brash: Colour & Gesture – IN FOCUS 24 In Conversation: With Sarah Fletcher 26 A Dedicated Brisbane Office in the Heart of Paddington 27 Welcoming Anthony Hurl, Leonard Joel’s South Australia Representative Specialist 28 A Last Look 30 5 Minutes with Lucy Lewis 31 22nd Report | The Truth About White Tigers 32 Valuations: Trusted Settlement Services for more than a Century – JOIN US 36 Connect & Buy with Leonard Joel 37 Contact a Leonard Joel Specialist
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— PROFILE —
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— FROM THE CHAIRMAN —
FROM HERMÈS TO HAN Two extraordinary auctions this Spring
Celebrating collections since 1919 is something we enjoy the privilege of practicing every month at Leonard Joel, from the single special object to the grand collection, and this Spring, two extraordinary collections have found their way to our salerooms in Melbourne. The first, as contemporary as it is extraordinary, is a private single-owner collection of Hermès furnishings and decoration. The collection, destined to decorate an entire private residence project in Melbourne, will be offered “as new”, each piece complete with its signature Hermès wrapping and packaging. The collection is a unique and world-first offering of hand-crafted pieces from La Maison Hermès, Paris. Some pieces within the collection are one of a kind, made-to order, while others are no longer available to purchase directly, promising to become the collectables of the future. This is collecting at its most contemporary and with Hermès, its most luxurious, and we are honoured to celebrate this collection with our community of clients. Spring will also see the presentation of the ancient alongside the new with an important private collection of Asian antiquities. Formed over decades in Melbourne, with travels to Beijing, Shanghai, Hong Kong, and Singapore, meticulously curated and documented, this collection of more than 200 objects presents a survey of porcelain, bronze and ceramic treasures that will represent one of the finest single-owner offerings of Asian Art ever to come to public auction in Australia. A bronze wine “Hu” from the Han Dynasty, with its pleasing faceted body and sharp edges, is just one of many pieces that speaks to me of wondrous trips to Hollywood Road, Hong Kong, and this collection will no doubt speak to other collectors, in different ways, as it passes to new hands. While both collections will be presented for physical display in Melbourne, they will now also enjoy promotion and connection with our expanded network of representatives in both Brisbane and now Adelaide, with the appointment of Anthony Hurl as Representative Specialist for South Australia. Anthony for many years represented
ABOVE: A Qingbai double gourd-form ewer
Sotheby’s in Adelaide and his appointment now provides Leonard Joel clients with a
Northern Song Dynasty (960-1127) $4,000-6,000
meaningful connection to that state. Anthony is renowned for the active role he has
An Important Private Collection of Asian Works of Art Sunday 12 Sept, Melbourne
we are delighted that his unique skill-set will form part of Leonard Joel's services.
LEFT: Philippe Nigro Groom Valet for
encourage you to visit our offices and representatives wherever you are in the country
Hermès Maison Collection $28,000 - 36,000 An Important Collection of Hermès Interiors Monday 13 September, Melbourne
played in numerous private and public transactions across so many collecting fields and
So, whether your passion is for designer French furnishings or ancient bronzes, I because without you, our collectors, celebrating collections is simply not possible. JOHN ALBRECHT
Chairman / Head of Important Collections
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— AUCTIONS —
IMPORTANT JEWELS
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— AUCTIONS —
Argyle Pink Diamonds: Incredibly Rare Important Jewels Auction Tues 10 Aug, 6pm SYDNEY
ABOVE: A Very Rare Argyle Fancy
Intense Purplish Pink Diamond and Diamond Ring $480,000-620,000 Defined by its extraordinary brilliance, this diamond gem is an exciting opportunity for the seasoned diamond connoisseur or astute collector to acquire a truly unique Argyle treasure. OPPOSITE: An Impressive Sapphire,
Argyle Fancy Pink Diamond and Diamond Ring $150,000-180,000 BELOW: Platinum and 18ct Pink
Gold, Argyle Fancy Intense Purple Pink Diamond and Diamond Ring $140,000-180,000
For the jewellery connoisseur coveting extreme
Most Argyle diamonds are relatively small in size,
rarity and unparalleled beauty, highly saturated,
appearing in a breathtaking colour palette of tender
fancy coloured diamonds represent the ultimate prize.
peach, warm bronze, chocolate brown, lilac-tinged pink,
So rare are coloured diamonds that only one in 100,000
even violet, red and blue, in a kaleidoscope of tones,
diamonds qualifies as a ‘Fancy’ colour. The odds lengthen
hues, and saturations. They are often set to add accents
exponentially as the diamonds increase in size.
of visual excitement to white diamond jewellery as we
Across the colour spectrum, red diamonds are the most highly prized, whilst shades of the red hue, especially pink, are the most sought after. Before its closure last
can see in lot 73 of the August Important Jewels auction, or they may be used to create a striking contrast with coloured stones, as with a Sri Lankan sapphire in lot 55.
year, the Argyle Diamond Mine in Western Australia had
The allure and appeal of Argyle pink diamonds has been
been the most significant and consistent source of pink
enhanced by the company’s “chain of custody” protocols
diamonds in the world, producing stones of incomparable
covering provenance and traceability. Each year’s finest
brilliance, tone, and splendour. Prior to the Australian
and rarest stones - only 1% of all polished pink diamond
discovery in the 1980s, the supply of pink diamonds from
production - the vivid or intense pinks, purplish pinks,
India, Borneo, Brazil, and Africa had been intermittent
reds, purples, and blues, are offered in the annual sealed
and unpredictable.
bid ‘Tender’, to a group of some 150 invitation-only
Diamond crystals formed deep in the earth’s mantle some
buyers.
1-3.5 billion years ago. More recently, (tens to hundreds
The Tender stones are eagerly sought-after, particularly
of million years ago), they were carried to the surface by
the named ‘hero’ stones, the highlights of each Tender
deep-source volcanic eruptions. Scientists now believe
collection. According to Arnaud Soirat, a former CEO of
that the red and pink colours in diamonds are the result
Rio Tinto Copper and Diamonds, since the year 2000,
of a molecular distortion in the atomic structure of the
Tender stones have significantly appreciated in price,
crystals, caused by massive volcanic activity.
often outperforming other investments. With its closure in 2020, the Argyle Diamond Mine has cemented its place in gemstone history, having produced such extreme beauty born out of natural chaos. HAMISH SHARMA / Head of Important Jewels
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— AUCTIONS —
FINE ART
Fine Jewels & Timepieces Auction Mon 7 June, 6pm MELBOURNE OPPOSITE: Lot 105 -
AN ARCHEOLOGICAL REVIVAL GOLD AND JEWELLED ENAMEL DEMI-PARURE ATTRIBUTED TO EUGÈNE FONTENAY, CIRCA 1870 Designed as a collar applied with gold wirework, granulation and jewelled enamel bead trailing foliate detail, set at intervals with florettes with cable link chains suspending a fringe of detachable amphorae pendants decorated with stylised papyri and palmettes embellished in polychrome enamels, gold wirework and garnulation, to a concealed clasp; and a pair of pendant earrings, en suite, mounted in 18ct gold, the centre pendant with glazed compartment to reverse, necklace circumference approximately 350mm, earring length approximately 52mm, unsigned, accompanied by a fitted case Watherston & Son, Goldsmiths, Jewelllers and Silversmiths, 12 Pall Mall, East London $40,000 - $60,000
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— AUCTIONS —
Romance & Theatre: The Work of Norman Lindsay Fine Art Auction Tue 31 Aug, 6pm MELBOURNE
Norman Lindsay led a bohemian lifestyle in the early
watercolours are as gentle as they are dramatic.
1900s, enjoying theatre, live music, galleries, and the
Heavy with eroticism and sensuality, the precision in
bustling café society. In the interwar years especially,
which Lindsay has detailed his performers is mesmerising,
this romantic escape was far removed from the reality
with no detail left untended. While inherently softer in
of urban life.
colour, this work demonstrates astute restraint by Lindsay. Detailed areas, such as the subject’s garments, the texture
OPPOSITE: NORMAN LINDSAY
(1879-1969) The Performance 1921 watercolour on paper 55 x 52.5cm $30,000-35,000 ABOVE: NORMAN LINDSAY
(1879-1969) Garden of Felicity 1921 watercolour, 39 x 40 cm Art Gallery of New South Wales Gift of Howard Hinton 1927 © Estate of Norman Lindsay
After joining a dedicated circle of poets and writers
of the curtain, and the floral decorations contrast with the
who were committed to the classical revival in Australia,
lighter flesh tones and deep blue of the night.
Lindsay felt encouraged to explore mythological representations in his art. He was particularly focused
This soft and subtle exploration of secret pleasure is
on Bacchus, the Roman God of Wine, who celebrated all
comparable to works in the Art Gallery of New
things relating to pleasure. Lindsay was utterly fascinated
South Wales Collection such as A Roman Night 1916
with this new realm, finding he could combine the
and Garden of Felicity 1921, all demonstrating Lindsay’s
theatrical and poetic with the mythical - a dual focus that
superb ability and confidence utilising the medium
would follow him throughout the course of his career.
of watercolour and his clever restraint of colour and definition for dramatic effect.
This delicate watercolour, The Performance 1921, depicts a procession of female beauties gracing the stage, many
Attracting both praise and controversy, Lindsay’s handling
adorned in theatre costume as they emerge from beyond
of the watercolour medium is what enabled him to
the curtain. Anticipation grows for us, the audience, as the
produce imagery of such delicacy and immense detail.
curtain is drawn back and the performance unfolds. The
His mastery of the medium and creative imagination gave
narrative is direct from Lindsay’s imagination, revealing
him a vibrant pathway to become one of Australia’s most
a complex layering of theatre, romance and desire.
documented and discussed 20th Century artists.
Infused a with Pre-Raphaelite like romanticism, Lindsay’s LUCY FOSTER / Art Specialist
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— AUCTIONS —
FINE JEWELS & TIMEPIECES
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— AUCTIONS —
Meaningful Motifs in Victorian Jewellery
A Private Collection of Vintage and Antique Jewellery Mon 20 Sept, 6pm MELBOURNE
TOP LEFT: 18ct Gold and
Diamond Interlocking Snake Ring, Birmingham, 1901 $1,000 - $1,500
Symbolism and allegory have formed an important part of personal adornment throughout history, and at no time was this more prevalent than during the Victorian era. Both overtly and covertly, symbols of love, mourning, loyalty, spirituality, and friendship were all incorporated into jewellery designs to navigate the social restraint and restrictions of the 19th Century.
The natural world was of particular interest to the Victorians, reflected in the jewellery of the period. Forget-me-nots, ferns, ivy, violets, butterflies, and doves were worked into designs in keeping with the Victorian preference for the elaborate and intricate. Ivy for example was frequently worked in gold as a symbol of friendship, whereas ferns were a means of showing sincerity. Flowers such as forget-me-nots were set into mourning jewellery in memory of a loved one. As gemstones were also used to communicate further meaning, the forget-me-not flowers were often detailed with seed pearls to represent
TOP RIGHT: 14ct Gold Onyx and
Seed Pearl Mourning Locket, 1890s $400 - $600
SNAKES & SERPENTS
OPPOSITE: 18ct Gold Diamond
Representing wisdom and eternity, snakes and serpents
and Ruby Snake Ring, Birmingham, 1858-9 $1,000 - $1,500
FLORA & FAUNA
have appeared in jewellery designs across various cultures since antiquity. With ancient civilisations being of particular interest to the Victorians, they translated the coiled snake motif into rings, bracelets, brooches, and pins. The motifs surged in popularity after 1839 when Queen Victoria’s husband to be, Prince Albert, proposed with a snake engagement ring. Embedded with the Queen’s birthstone (emerald), the coiled snake was thought to represent everlasting eternal love.
tears in these sentimental pieces. Birds such as swallows were also frequently featured in jewellery of the period, with swallow motifs becoming popular gifts for sailors and fishermen. As swallows were typically sighted near land, the talisman was gifted to those departing for travel with the hopes of guiding them home to land safely. Soon the swallow motif became associated with returning home, a tradition that continued well into the 20th Century. It was common for swallow brooches to be gifted by soldiers to their sweethearts before heading to abroad during World War I.
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— AUCTIONS —
HEART PADLOCK
CRESCENT MOON
One of the more overt symbols of love in Victorian
Referencing a feminine goddess in ancient cultures, the
jewellery is the heart padlock. Hanging from a curb link
crescent moon symbol surged in popularity during the
or gate link bracelet, these charming pieces rose in
Georgian and Victorian eras. During these periods, the
popularity during the mid to late 19th Century, reflecting
crescent represented change, cycles, and the ebb and
the highly regarded values of chastity and loyalty. They
flow of life. Brooches and necklaces were often gifted
were typically gifted to women by their beloved before
to the wearer in the hopes that a newly embarked upon
they travelled for an extended period, with the lock
relationship may result in marriage, turning the crescent
protecting their love for one another. The padlock could
moon into a full moon. Newlywed Victorian brides were
then be unlocked by the key held in his possession upon
sometimes gifted a ‘honeymoon’ brooch, with a crescent
his return.
moon cradling a flower or star.
A Private Collection of Vintage and Antique Jewellery Mon 20 Sept, 6pm MELBOURNE
TOP LEFT: 9ct Gold Curblink
Padlock Bracelet, A. Saunders, Circa 1900 $500 - $700 TOP RIGHT: 18ct Gold
An incredible single owner collection of over 200 lots of Victorian, antique, and vintage jewellery will be offered at Leonard Joel on Monday the 20th of September. BETHANY MCGOUGAN / Head of Fine Jewels
& Timepieces
and Diamond Swallow Brooch, Circa 1880 $2,000 - $3,000 OPPOSITE: 18ct Gold and Sapphire Snake Pin $300 - $500
18ct Gold and Diamond Interlocking Snake Ring, Birmingham, 1901 $1,000 - $1,500 9ct Gold Curblink Padlock Bracelet, A. Saunders, Circa 1900 $500 - $700
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— AUCTIONS —
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— AUCTIONS —
THE COLLECTOR'S AUCTION Henri Le Sidaner
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— AUCTIONS —
Early in Henri Le Sidaner’s career as an artist in late 19th
Le Sidaner characteristically sought to depict the feelings
The Collector's Auction
Century Europe, classical artistic training still consisted
evoked by ‘things’, rather than directly representing
Tue 21 Sept, 6pm
of the copying of artworks in the Louvre, academicism
those ‘things’ themselves. In particular, he became drawn
SYDNEY
still held sway, and the Impressionists had not yet won
to the effects of dusk and moonlight; the silent, mystic
the battle against classicism. However, as a 23-year-old
moments when the world is not yet completely shrouded
novice, Le Sidaner recognised the genius of the then-
in darkness. His efforts to capture the feeling of such
controversial Manet at the Paris Salon and resigned his
moments culminated in 1897 with his series of 34 works,
scholarship place at the highly prestigious École des
including Soir, exhibited in his first critically successful
Beaux-Arts. In 1885 he gave up his tutelage under the
private exhibition at the Galerie Mancini in Paris.
OPPOSITE: HENRI LE SIDANER
(French, 1862-1939) Soir 1896 oil on board signed and dated lower right: Le Sidaner/1896 23.8 x 33.5cm $20,000-30,000 ABOVE: Heure Recueillir (1896)
was exhibited alongside Soir at Galerie Mancini in 1897 and sold for 112,500 USD at Sotheby’s New York in 2013.
esteemed Belle Époque painter Alexandre Cabanel and retreated to the fishing port of Étaples to (in his own
Le Sidaner’s atmospheric works are rarely offered in
words), “find a cure in the open air and in nature” (Camille
Australia, with only one coming up at auction in recorded
Mauclair, Henri Le Sidaner, 1928, p. 3). Twelve years later,
history - Le Moulin Gris, Montreuil-Bellay (1914) – which
Le Sidaner would emerge from his solitary existence to
sold for $200,000 in 1998. Many of his works are found in
re-enter the global art world.
the world’s great museums including the Musée d’Orsay, The Tate, and the Art Gallery of New South Wales.
Soir was painted in the summer of 1896, during one of Le Sidaner’s visits to his sister Marguerite’s house in
We look forward to presenting this work within our
Montreuil-Bellay, on the Thouet river. It exemplifies his
September Collector’s Auction in Sydney.
masterful ability to paint a veil of velvety shadow over the world. Illuminated by a single burning lamp in a
MARCELLA FOX / Sydney Manager
window, the riverside scene demonstrates Le Sidaner’s preoccupation at that time with poetic silence and intimacy.
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— AUCTIONS —
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— AUCTIONS —
A Painting Mystery Solved and a Victorian Woman Artist Revealed Recently, a client contacted me with a painting he had
Through some more online sleuthing I discovered that
The Collector's Auction
inherited from his father that he knew nothing about
a Rupert Bunny painting, Madame Melba (c. 1902)
Tue 21 Sept, 6pm
except that it was very old, likely “over 100 years”. He
currently housed at the National Gallery of Victoria and
SYDNEY
asked if I would be able to do some research on it and
painted during his time in London, happened to also
although I happily agreed, (I do love a good research
carry the same framing label. This led to what can only
project!) I must admit that my hopes of attributing it
be described as a deep rabbit hole of research which
to a particular artist were very low. Upon receiving a
began when I found out that Bunny had exhibited
photograph of the painting, I was immediately enchanted
several times at the Royal Academy in London and that
by the soft and delicate features of the central female
they have now digitised all their exhibition catalogues
figure who sat gazing longingly with hands clasped by a
dating back to 1769. Wondering if perhaps some of the
window. The scene reminded me of some of the works
artists who exhibited together used the same framers, I
by the Pre-Raphaelite Brotherhood, a group of English
started picking catalogues from the years Bunny was in
painters who were active in the second half of the 19th
London and trawling through the lists, over 70 pages per
Century and went on to influence a slew of other well-
catalogue, of every artist that exhibited in that year. In
known British artists well into the 20th Century. As such,
the catalogue from 1895, on page 16, I could not quite
I agreed to consign the painting and have it delivered to
believe my eyes when I found an artist listed by the name
our premises for more research.
of M. E. Kindon.
OPPOSITE: MARY EVELINA
KINDON (British, 1849-1919) Elaine with the Shield of Lancelot (detail)
oil on canvas signed lower left: M. E. Kindon $3,000-5,000 ABOVE: The label on the back of
artwork framed by R J Stannard, Picture Frame Manufacturer
When the work arrived, my first port of call was to look
Mary Evelina Kindon (1849-1919) was a British
more closely for that elusive signature and much to my
watercolourist and painter of genre scenes, urban
delight there were the vague remnants of red paint in the
landscapes, and domestic scenes. Her distinctive
lower left-hand corner which could just be made out to
signature, found often in red paint, and particular
read “M. F. K...” or was it “M. E. K…” either way, though
proclivity for painting women in white dresses gave me
the last name was illegible, it was a start. My second
no doubt that this painting could safely be attributed to
step was to examine the back of the painting where I
her. Although nothing is known of her personal life, she
found two paper labels adhered to the frame, one from
exhibited at the Royal Academy, the Suffolk Street Gallery
a framer and one which I’m sure would have given me
and the Institute of Painters in Watercolours in London
the information I was seeking had it not been so badly
as well as abroad at the Société des Artistes Francais,
blackened and damaged over time that it was no longer
Paris and the Paris Salon. Her work can be found in the
legible. The label from the framer was partly intact and I
Bushey Museum and Art Gallery, Bushey, UK, and now in
could just make out the company name, “R J Stannard”.
The Collector’s Auction on 21 September at Leonard Joel,
After a little online research, I found that R J Stannard,
Sydney!
Picture Frame Manufacturer, was active in London from 1854-1907, and this confirmed that the rough time frame
MADELEINE NORTON / Decorative Arts and Fine Art
I had placed on the painting was likely correct and that
Specialist, Sydney
this was the original frame the painting was housed in. As such, I allowed my hopes to grow, but only a little.
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— AUCTIONS —
ASIAN WORKS OF ART
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— AUCTIONS —
An Important Private Collection It is a rare occurrence these days to come across a
part of the Brake-Lau Ackerman Collection by Christies
fine, single owner collection of Chinese ceramics in the
in Melbourne in 1990, and was thence in the collection of
An Important Private
Melbourne art market. This particular collection was
the late Julian Sterling until 2007 when it was acquired by
Collection of Asian
formed over two decades and covers the Neolithic Period
the vendor.
Works of Art
and Bronze Age through to the Qing Dynasty, with many pieces having excellent provenance.
Sun 12 Sept, 2pm The ivory-hued porcelain censer was made in the Dehua
Personally, I am particularly taken with the earthy simplicity
charming rope-twist handles on either side and is in the
of a two-handled amphora from the Qijia Culture (2200-
form of an archaic ding (ritual cauldron), reminding us of
1600BC). This piece, although simple and unglazed,
the eternal Chinese fascination with archaic culture and
is historically interesting as it marks a transition point
bronzes. This censer was purchased from S. Marchant &
between earlier coil-building and usage of the potter’s
Son, from their ‘Exhibition of Blanc de Chine’ in 1985.
wheel, which became the dominant building technique for these vessels in China’s subsequent history.
MELBOURNE
kilns around 1640, in the Transitional Period. It has
The last piece hails from the early Qing Dynasty (16441912) and is a study of Kangxi Period ingenuity and
OPPOSITE: A Dehua tripod censer
Ming Dynasty (1368-1644) or Qing Dynasty (1644-1912), circa 1640 $2,000-3,000 ABOVE LEFT: A pottery two-handled
amphora Qijia Culture (2200-1600BC) $1,000-1,500
Moving into the Song Dynasty, the collection contains
technical advancement. It is a rouleau vase, featuring
ABOVE MIDDLE: A Longquan
a rare Qingbai double gourd-form ewer dating to the
three carp in iron-red enamel, playing in a stream
Northern Song. This ewer is of fine, even coloured bluish-
abstractly depicted by the ‘powder-blue’ ground, and
celadon ribbed jar and cover Yuan Dynasty (1279-1368) $3,000-5,000
white, and exhibits all of the grace and elegance of the
further embellished with gilding. The powder-blue
period, with sinuous lines to the spout and handle. This
enamelled glaze was developed in the Kangxi Period,
piece was purchased in 2007 from Roger Keverne Ltd of
through attempts to replicate a long-lost glaze of the
London, one of the great dealers of Chinese art in the
Xuande Period of the early Ming called ‘snowflake-blue’.
world, although now retired as of last year.
The motif of the carp in a stream alludes to the mythical
A pale bluish-green celadon ribbed jar and cover dates to the Yuan Dynasty (1279-1368) and marks the end of the glory days of the Longquan kilns. The striking vertical ribs along with the gently undulating rim of the lid alludes to a lotus leaf, and gives the jar a restful quality. These pieces were made in numbers both for the domestic market and
ABOVE RIGHT: A powder blue-
ground carp rouleau vase Qing Dynasty (1644-1912), Kangxi Period $20,000-30,000
journey of the yellow river carp up rapids and over the dragon gate, where they would transform into dragons. This story and its symbolism refer to the undertaking and passing of Imperial exams, and thus pieces with this symbolism were given to successful Imperial exam students.
also for trade to Southeast Asia, but examples of fine
We very much look forward to presenting this important
colour and condition are rare to find. This jar was sold as
private collection for auction on 12 September 2021, of which these pieces are just a small yet delightful selection. CARL WANTRUP / Asian Art Specialist leonardjoel.com.au | 17
— AUCTIONS —
LEFT TO RIGHT:
Philippe Nigro Cheval d'arçons bench for Hermès Maison Collection $8,000 - 12,000 Philippe Nigro Cabriolet armchair for Hermès Maison Collection $5,000 - 8,000 Pantograph desk lamp for Hermès Maison Collection $5,000 - 8,000 J.M Frank Cupboard Of Secrets for Hermès Maison Collection $16,000 - 20,000
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IMPORTANT COLLECTIONS
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“What is the future of Hermès?” Jean Louis-Dumas once answered this question with a single word: “Idea.”
La Maison Hermès Hermès is a brand that needs no introduction. With its
Italian designer Antonio Citterio began collaborating
An Important Collection
seamless success in ultra-premium luxury, it comes as
with Hermès Maison in 2010 and was paramount in
of Hermès Interiors
no surprise that in 2011, Hermès began to enter a new
the development and construction of the brand’s first
Mon 13 Sept, 6pm
market in home furnishings. Under the direction of Pierre-
ever furniture line, the Métiers Collection. The much-
MELBOURNE
Alexis Dumas, Hermès launched a collection of furniture,
anticipated release was showcased at the Milan furniture
lighting, and objects for interior spaces.
fair in 2011. Citterio rediscovered the distinctive features
ABOVE: Rena Dumas & Peter
Each piece within the La Maison Hermès collection
Coles Pippa folding armchair for Hermès Maison Collection $8,000 - 12,000
continues the brand’s exquisite craftsmanship, eye for detail, and high levels of quality through the entire
of everyday living furniture and the French word Matière (meaning matter) is reference to the pieces that matter in one’s home. All Citterio’s designs pay homage to the Hermès brand, with exquisite artistry throughout the
OPPOSITE:
manufacturing process. The company has taken
Le Coffre à chaussures cabinet for Hermès Maison Collection P.O.A
leading architects and interior designers, past and
It is with great pleasure that Leonard Joel
present.
announces a world first auction of pieces from the
La Chaise Sellier armchair for Hermès Maison Collection $6,000 - 8,000 Philippe Nigro Table à cachette for Hermès Maison Collection $6,000 - 8,000
inspiration for their new market from some of the world’s
Jean-Michel Frank (28 February 1895 – 8 March 1941), arguably one of the most influential French designers of the Art Deco period, was not alive to oversee the development of Hermès’ first interiors collection, however his work very much inspired the plain-lined, sumptuous designs. Frank’s belief in perfect taste resonates in the Hermès collection’s exotic patterns, veneers, and top of the range materials. Suffice to say, the French like to distinctly separate themselves from Italian design; perhaps it’s pride, or an
entire manufacturing process.
original Hermès Métiers Collection, in “An Important Collection of Hermès Interiors” on September 13, 2021. This most anticipated sale will feature over 70 lots from the iconic Hermès brand, never used, opened only for photography. Each piece is housed in its own handmade crate, with original Hermès dust cover and authenticity booklet. This truly is a once in a lifetime opportunity to acquire a piece of design history, from arguably the world’s most iconic luxury brand. ANNA GRASSHAM / Head of Modern Design
age-old tradition that both countries credit themselves as better than the other. However, one cannot argue that true talent has a way of infiltrating the forefront of design, whatever side of the river you are from. It is with this in mind that Hermès cleverly chose some of the top Italian designers to collaborate on the La Maison collections. leonardjoel.com.au | 21
— AUCTIONS —
Luxury Hermès: Tradition and Innovation — The Hermès story has always been one of innovation,
contemporaries. The Carré is one of the house’s most
Next Luxury Auction
yet it is tradition and confidence in their products that
popular lines today, boasting over two thousand designs.
Tues 9 Nov, 6pm
has kept the house successful over its 184 year history.
MELBOURNE
The Hermès horse and carriage logo is testament to this; created by Robert Dumas-Hermès in the 1920s, it still
ABOVE: A Birkin 35 by Hermès.
stands proud and is ‘to-the-minute’ as a symbol of quality
During the 1970s, Hermès went through a decline. This was partly due to their insistence of maintaining the costly high standard of their products, while other houses
Sold for $16,250
and prestige.
franchised or looked at cheaper means of production.
BELOW: Grace Kelly holding her
Many Hermès products have similar histories. In the early
of their luxury goods paid off. Under the directorship of
1900s, one of the first leather bags made by the firm was
Jean-Louis Dumas, the focus of the business was changed
the Haut à Courroies, specially designed for riders to
from an elderly person’s nostalgia to a young person’s
carry their saddles, and I might add, giving them style
dream. Few new products were created at this time and
and clout as they did so. The Haut à Courroies is still in
instead, traditional lines were reinvented to suit the times;
production today. The ultimate chic ‘man-bag’, it was
this is what Hermès does best. Hermès has also always
famously revamped to a smaller size in 1984 as the Birkin
been clever in limiting the supply of their popular lines
bag - possibly the most coveted bag in the world.
and increasing the demand, where other luxury houses
now iconic Hermès bag, with Prince Rainier III in Philadelphia, PA, 1956. Photo: Everett Collection Inc / Alamy
Another bag with a similar history is the Sac à Dépêches, created in 1935. It too had many makeovers and in the 1950s was redesigned and renamed ‘The Kelly’, for American actress and Princess of Monaco Grace Kelly.
increase production, flooding the market with their goods. In the following decades, company owned stores were increased worldwide making it one of the world’s most valuable luxury brands.
Famously pictured on the front of Life Magazine, Kelly
For its 2014 Spring / Summer advertising campaign
popularised the bag and made it an icon. Little did the
Hermès used the slogan, ‘Everything Changes, Nothing
princess know at the time that she was creating a costly
Changes’. From its foundation in 1837, Hermès’s core
status symbol.
values were craftsmanship and quality materials. In a
The famous Hermès silk Carré were introduced in 1937. Like all products Hermès, production was overseen from start to finish, but the key to the success of the scarves was in the loom. The Chinese yarn is spun and woven into fabric twice as strong and heavier than most of its
22 | leonardjoel.com.au
Their defiance to respect their traditions and the quality
world of constant change, it is refreshing that the company remains true to these values today. JOHN D'AGATA / Head of Luxury
— AUCTIONS —
Prints & Multiples Barbara Brash: Colour & Gesture — Barbara Brash was part of a key generation of influential
Next Prints &
women artists who made a significant contribution to the
Multiples Auction
Modernist printmaking revival in the 1950s and 60s.
Wed 10 Nov, 6pm
Beginning her artistic career under the National Gallery
MELBOURNE
School’s first Modernist instructor, Alan Sumner in 1946, the analytical approach taught by the Gallery School assisted her to find her simplistic, rich, and dynamic style.
ABOVE: BARBARA BRASH
Her efforts and creative endeavours enabled her to
(1925-1998) Red Bridge c.1955 linocut titled and signed in pencil below image 15 x 20.5cm $1,000-1,500
enrol at the George Bell School, where she formed close relationships with fellow women artists such as Dorothy Braund and Evelyn Syme. The school proved to be a significant influence on her creativity, where she was able experiment with multiple mediums, enabling her to
LEFT: BARBARA BRASH (1925-1998)
become one of the most prominent printmakers of her
Harbour 1954 linocut 5/20 25 x 28cm Sold for $4000
generation. Throughout her career, Brash was consistently testing the boundaries of the printed medium and embracing the potential abstract forms through the use of colour, gesture, and texture in her impressions. Her work spans a variety of printmaking techniques. Her early examples largely focus on linocut and etching; techniques that are aesthetically within the classical Modernist tradition. The linocuts created during this period are arguably some of the artist’s best works and these examples can be seen
During the 1950s, Brash created some of her most powerful and desired linocut prints. Leonard Joel has been fortuitous to feature many of Brash’s works across the years including Harbour 1954, a wonderful example of the artist’s use of the linocut technique. HANNAH RYAN / Prints & Multiples Specialist
across many institutions and collections today.
leonardjoel.com.au | 23
— IN CONVERSATION —
In Conversation with Sarah Fletcher
We sat down with art dealer, advisor, and self-confessed auction devotee Sarah Fletcher at her eclectic, perfectly imperfect Melbourne home, to ask her how she approaches collecting, and what she is looking for next.
24 | leonardjoel.com.au
— IN CONVERSATION —
Could you tell us a little bit about your consultancy service Fletcher Arts?
What do you love about buying at auction? Of course, there is something of the chase, but there is
At Fletcher Arts, we connect artists with space, working
also the disappointment of a loss. On occasion, you see
with architects, property developers, interior designers
something in a work that no-one has spotted; much of
and private collectors to enliven their spaces with art. We
that is a personal connection which is not always logical.
sell the individual works of artists we believe in, which are current and of very high artistic merit. We charge an old school percentage on works, much less than commercial
Your home is a visual feast! Tell us a bit about your decorating process.
galleries, so that these artists can survive and continue to
It is something in continual movement. It is about living
work. This is very important to us.
with the works, it’s not a fixed museum but something
How do you approach selecting a piece of art for a space or client? The space itself often dictates this. I particularly like the
with a life of its own. What is one piece in your home that is particularly meaningful to you?
contrasting of periods. Placing a contemporary artwork
I am particularly fond of this Schneider glass lamp from
within a period space, for instance, creates extraordinary
the early 1900s that I discovered at Leonard Joel. It
dynamics. It brings a dialogue that makes one consider
appears to be a dolphin, but the form doesn’t matter, as
the vastness of time and difference, and yet displays the
an object - a lamp on my desk - it works for me. It has
qualities that each have in common. Time is not so much
lyrics, it is quiet, and it is beautifully made. To me, the key
the issue, only quality and depth. Each makes the other
is finding the right piece that can just relax into the right
shine.
space.
What is your approach to collecting - what do you look
Is there anything you are currently on the lookout for to
for when you add a piece to your home?
add to your collection?
I have never thought of it as collecting, as such. I follow
I would love a Hermès library ladder with studded leather
the Leonard Joel Auctions online and visit regularly.
binding - they pop up at Leonard Joel here and there.
Although I may think I need a chair, I may fall in love
They are so beautifully hand crafted and iconic, it is a
with a mirror. Artists, furniture makers, and all artisans
kick-yourself/why-didn’t-I moment that I know I am going
put their life into the making of their work. It is often
to have one day!
breathtaking what people have invested; they shred flesh to add something beautiful and meaningful to the world. In some ways, we respect that in acquiring their work and giving it a home. I like that idea.
OPPOSITE: Sarah at home,
surrounded by artworks including "Turban" by Carlo Golin, a painting by Mark Howson, a colourful sculpture by John Nicholson, a candlestick by Peter D Cole, and porcelain pieces sourced at Leonard Joel ABOVE LEFT: A stone angel sourced
at Leonard Joel alongside a collage by Carlo Golin and "Neon Cross" by Sanja Pahoki ABOVE MIDDLE: A chess set by
Peter D Cole and Richard Stringer's "Architectural element" ABOVE RIGHT: Sarah's Schneider
glass lamp sits on her desk alongside an armchair also sourced at Leonard Joel
What advice do you have for those looking to add new artworks to their collection? Trust yourself now. You will always change and grow but this cannot happen unless you sit with artwork and let it speak. leonardjoel.com.au | 25
— AUCTIONS —
BRISBANE A dedicated Brisbane office in the heart of Paddington
Eight months after the appointment of Troy McKenzie as Leonard Joel’s Queensland Representative Specialist, we are thrilled to have opened a permanent new Brisbane office in the heart of bustling Paddington. — ABOVE: Troy McKenzie,
Queensland Representative Specialist at our Brisbane Office BELOW: A Platinum Sapphire and Diamond Ring Sold for $40,000 Consigned in Brisbane
The space was chosen and designed by Troy himself, who
plaster ceilings and decorative pillars are complemented
brought his characteristic style and passion to the project
by artworks and objects d’art sourced from Leonard Joel,
from the start. We asked him to tell us a little bit about
including a fine 18th Century bureau plat that serves as
the space, and how it all came together…
my desk.
“When Leonard Joel asked me to set up an office
This lovely space is now ready to receive existing, new,
in Brisbane, the first challenge was to find the
and prospective clients. I am delighted to be able to offer
perfect location. By a stroke of good luck, a friend
valuations in our Paddington location, or home visits by
recommended I look at the premises at 201 Latrobe
appointment. Leonard Joel Brisbane can assist with all
Terrace in Paddington, a charming building with street
aspects of buying and selling jewels, timepieces, fine art,
frontage, accessible parking and located in a vibrant
decorative arts, luxury pieces, and more.”
neighbourhood surrounded by cafes, boutique shops and antique stores. I knew instantly that it was the perfect place for Leonard Joel to call home in Brisbane. The building now has an elegant elephant-grey façade, and inside, the ornate
To schedule an appointment with Troy, please call 0412 997 080 or email troy.mckenzie@leonardjoel.com.au We look forward to welcoming you to our new Brisbane office at 201 Latrobe Terrace, Paddington. TROY MCKENZIE / Queensland Representative Specialist
26 | leonardjoel.com.au
— AUCTIONS —
ADELAIDE Welcoming Anthony Hurl, Leonard Joel’s South Australia Representative Specialist
We are delighted to announce that Anthony Hurl has been appointed as Leonard Joel’s Representative Specialist for South Australia. — OPPOSITE: Anthony Hurl,
South Australia Representative Specialist BELOW: An Australian Goldfields Brooch Sold for $8,680 Consigned in Adelaide
Anthony has extensive fine art and antiques auction experience as a previous long-standing representative for Sotheby’s, later Sotheby’s Australia since 2008, then becoming a specialist until Sotheby’s left Australia at the commencement of 2020. Anthony has been in the antique and art business his entire life and has managed numerous important private and public transactions. With a passion for both Australian and international collecting across many categories, he is also the owner of Tusmore Antiques, a respected dealership in Adelaide. As a Partner in Giordano & Partners, a luxury real estate business, he brings a unique set of skills to Leonard Joel’s single-owner collections services for South Australian clients. Having sold numerous important objects to galleries within Australia and overseas, Anthony also provides advice to both the Federal and State governments, corporate and private clients and these curatorial and advisory skills can now be enjoyed by clients of Leonard Joel. Anthony is an accredited valuer under the Cultural Gifts Program, provides advice to the ATO under the Philanthropy program and is an accredited valuer for the Australian Customs Service. He is a Master Member of the Society of Auctioneers and Appraisers (SA) Inc., Member of the Australian Antique Dealers Association and C.I.N.O.A. and sits on various charitable and arts related boards. For auction and valuation enquiries in Adelaide, please contact Anthony at anthony.hurl@leonardjoel.com.au or on 0419 838 841. ANTHONY HURL / South Australia Representative Specialist
leonardjoel.com.au | 27
— AUCTIONS —
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...
ROBERT HUNTER (1947-2014) Untitled No. 3 2001 synthetic polymer paint on plywood 122 x 244cm Sold for $50,000 Centum Auction, June
Our June Centum Auction delivered fantastic results and three new auction records, including for Robert Hunter when 'Untitled No. 3 2001' sold for $50,000 IBP against an estimate of $20,000-25,000. Robert Hunter is one of Australia's greatest minimalists and modernists. His white geometric paintings are part of his own unique visual language, one that has become pivotal in the dialogue of contemporary Australian abstract art. We are thrilled to be the auction house to set a new record price for his work in the public domain.
ATTRIBUTED TO MIKHAIL LARIONOV (Russian, 1881-1964) A Still Life of Flowers in a Jug and a Pear c.1940 oil on canvas 27cm x 35cm Sold for $62,500 A Connoisseur's Collection, East Melbourne, July
We were thrilled to announce a White Glove result for A Connoisseur's Collection, with 100% of pieces sold. The auction presented the contents of the beautiful three-level Victorian town house at 16 Berry Street, East Melbourne to discerning collectors eager to acquire the unique art, objets d’art, and fine furniture collected over a lifetime.
28 | leonardjoel.com.au
— AUCTIONS —
AN ENAMEL, DIAMOND AND PEARL PENDANT, LUCIEN FALIZE, FRENCH, LAST QUARTER OF THE 19TH CENTURY Sold for $47,500 Fine Jewels & Timepieces Auction, June
JOHN COBURN (1925-2006) Carnival of Birds acrylic on card 49.5 x 72cm Sold for $32,500 The Collector's Auction, June
A FRENCH BRONZE AND ORMOLU ELEPHANT CLOCK Sold for $9,375 The Collector's Auction, June
A MAORI TURUTURU (WEAVING PEG) LATE 19TH/EARLY 20TH CENTURY Sold for $243,750 Decorative Arts Auction, May
A GOLD COIN VINAIGRETTE Sold for $21,875 Fine Art & Objet D'Art Formerly From The Estate Of Graham Joel, May
CLEMENT MEADMORE (1929-2005) Meditation 1974 bronze ed. 2/10 31cm (height, excluding wooden base) Sold for $32,500 Fine Art Auction, June
A RARE CHINESE TIANQI LACQUER DRUM-FORM SWEETMEAT BOX QING DYNASTY (1644-1912), 19TH CENTURY Sold for $21,250 Asian Works of Art Auction, May
leonardjoel.com.au | 29
— PROFILE —
Minutes with… LUCY LEWIS
If you have called or emailed our Client Services team you may already know Lucy Lewis, one of our friendly client liaisons. We spend five minutes with Lucy to find out more about how she spends her downtime…
FAVOURITE MAKER / ARTIST I recently purchased an artwork by Manyjilyjarra woman
Post lockdown, supporting local has become more
Kumpaya Girgirba. I love the vibrant colours Kumpaya
important to me than ever, so my ideal day would be
uses to depict her ngurra (home country).
spent walking and enjoying my neighbourhood. Starting
FAVOURITE PIECE OF JEWELLERY
with coffee and croissants for breakfast from Le Café Flo, a movie at the Thornbury
I can’t resist vintage cocktail jewellery! My favourite piece
Picture House, drinks at
is a 60s gold turquoise snake ring I picked up in the
Carwyn Cellars and finishing
Auction Salon earlier this year.
with dinner and martinis at
FAVOURITE WINE/COFFEE I am from the Adelaide Hills so have a soft spot for the wines of the region, specifically the grüner veltliner coming out of Hahndorf at the moment, which is delicious. FAVOURITE BOOK The Wind-Up Bird Chronicle by Haruki Murakami. An unconventional detective story which walks the fine line between reality and fantasy in classic Murakami style.
30 | leonardjoel.com.au
YOUR IDEAL DAY IN MELBOURNE
1800 Lasagna (if you know, you know!).
22
ND REPORT
The truth about white tigers —
A white tigress named 'Joella' rescued from a closing facility in Arkansas and moved to the Turpentine Creek Wildlife Refuge. Photo IFAW
As a Global Ambassador for the International Fund for
Their practices, claims, and sadly, the messages they
Animal Welfare (IFAW), I’ve known for years that there are
deliver to the public day in and day out, are fraught
more tigers in captivity in the United States than remain
with dangerous messages that only continues the cycle
free in the wild today. Hearing this stunning fact never
of suffering for these captive animals. A true sanctuary
fails to shock me.
values the well-being of the animal and ensures its
I’ve had the privilege of seeing two white tigers up close during my time with IFAW. Upon my first encounter, I was
complete separation from the public and often from the animal’s keepers as well.
struck by their beauty and recall thinking these were the
Let me be clear. The tiger cubs you see on Instagram
most magnificent animals I had ever seen. When I learned
often being fed from a bottle or posing for a photo
the truth, I was both heartbroken and infuriated. White
were not “rescued from the wild”—rather, they are likely
tigers are not a distinct subspecies at all, nor are they
products of speed-breeding, where animals are bred in
actually found in the wild.
unnaturally short periods of time to maximise profit and
These tigers are specifically the result of inbreeding and are often born with severe deformities and health conditions that lead to a lifetime of chronic pain and suffering. The reason you don’t often see them on
cub numbers. Atop that, they are constantly mistreated in other ways as well, including being deprived of food or ‘formula’ to ensure they will suckle at the right moment. In short, it is reprehensible.
popular big cat Instagram accounts is because they are
IFAW continues to rescue big cats in need across the
often euthanised or hidden away.
United States and is working to rein in the United States
If you visit a facility or animal display that is marketed as a “sanctuary,” but which allows you to physically interact in some way with a tiger, lion or other dangerous feline – that is not a true sanctuary. These businesses will claim close ties to conservation. The reality however is that they do nothing to assist in that conservation—they do
trade in captive exotic felines by advancing the Big Cat Public Safety Act - federal legislation that would end the private ownership of big cats. We’re also asking people across the globe to pledge to take safe selfies that respect animals, not endanger them. MINKA KELLY / Actress and IFAW Global Ambassador
nothing to help their animals’ counterparts in the wild.
leonardjoel.com.au | 31
— VALUATIONS —
Trusted settlement services for more than a century Whether you are selling a single precious object or an entire collection, at Leonard Joel we are committed to managing and celebrating your transaction with you expertly and robustly. — We can state with confidence that Leonard Joel offer
For all valuation enquiries whether it is for probate,
the most secure arrangements of any auction house
market or insurance please contact:
in Australia. Clients of Leonard Joel enjoy settlement services with a client trust account and rapid 7 day settlement for eligible collections.
32 | leonardjoel.com.au
CAROLINE TICKNER / Head of Valuations caroline.tickner@leonardjoel.com.au
AUSTRALIA AT THE VENICE BIENNALE BY KERRY GARDNER AM
— PROFILE — 1999 Howard Arkley The Home Show Howard Arkley Floriated Residence 1994 synthetic polymer paint on canvas 203 × 153 cm The Vizard Foundation Art Collection of the 1990s. On loan to the Ian Potter Museum of Art, the University of Melbourne Image courtesy of the Ian Potter Museum of Art, Melbourne ©️The Estate of Howard Arkley, courtesy of Kalli Rolfe Contemporary Art
With works from Sidney Nolan, Howard Arkley and more, this richly illustrated work by chair of Australia at the Venice Biennale, documentary film maker and friend of Leonard Joel, Kerry Gardner, illuminates the untold stories and origins of the most important event of the art world. The book is now available through Melbourne University
2003 Patricia Piccinini We Are Family
Publishing as a hardcover publication or an ebook at www.mup.com.au
Patricia Piccinini in 2019 with part of The Young Family, 2002 Photograph: Hilary Walker Image courtesy of the artist, Tolarno Galleries, Melbourne and Roslyn Oxley9 Gallery, Sydney
leonardjoel.com.au | 33
— PROFILE —
34 | leonardjoel.com.au
— PROFILE —
Australasian Art & Culture
ISSUE 34 OUT NOW
SUBSCRIBE NOW AND RECEIVE YOUR COPY OF VAULT MAGAZINE FIRST
AUS $24.95 NZ $29.95
CONNIE AUGOUSTINOS, MIA BOE, KEVIN O’BRIEN, THERESA CHROMATI, GEORGE EGERTON-WARBURTON, JAMES DRINKWATER, SHAUN GLADWELL, CAMILLE HENROT, BILL HENSON, JO LLOYD, DANIE MELLOR, KENT MORRIS, OSCAR PERRY, IMOGEN TAYLOR, SALMAN TOOR, IRIS VAN HERPEN & MORE ISSU E 34 · M AY to J U LY 2021
Connie Augoustinos, Mia Boe, Kevin O’Brien, Theresa Chromati, George Egerton-Warburton, James Drinkwater, Shaun Gladwell, Camille Henrot, Bill Henson, Jo Lloyd, Danie Mellor, Kent Morris, Oscar Perry, Imogen Taylor, Salman Toor, Iris van Herpen & more
SUBSCRIBE NOW VAULTMAGAZINE.COM
SALMAN TOOR Car Boys, 2019 oil on plywood 50.8 x 61 cm
leonardjoel.com.au | 35 Courtesy the artist and Luhring Augustine, New York © Salman Toor
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Contact a Leonard Joel team member or stop by a saleroom if you have any questions.
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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 — PRIVATE COLLECTIONS John Albrecht, Head of Department 03 8825 5619 | john.albrecht@leonardjoel.com.au 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 5618 | 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 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, Decorative Arts and Fine Art Specialist 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
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 — Caroline Tickner, Head of Department 03 8825 5638 | caroline.tickner@leonardjoel.com.au
Marketing & Communications — Blanka Nemeth, Head of Department 03 8825 5620 | blanka.nemeth@leonardjoel.com.au Maria Rossi, Graphic Artist Adam Obradovic, Photographer Henry Murphy, 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, Head of Marketing & Communications 03 8825 5620 | blanka.nemeth@leonardjoel.com.au
An Exceptional Platinum and Diamond Ring Sold for $275,000 April Important Jewels Auction
This document has been produced to international environmental management standard ISO14001 by a certified green printing company.
— PROFILE —
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