ISSUE 97 APRIL – MAY 2022
APR
Modern Design Monday 4 April, 6pm / MELBOURNE Luxury Tuesday 5 April, 6pm / MELBOURNE Prints & Multiples Wednesday 6 April, 6pm / MELBOURNE The Kelton Collection - Indigenous Art at Leonard Joel Monday 11 April, 6pm / MELBOURNE Important Jewels Tuesday 12 April, 6pm / SYDNEY Specialist Rugs
MAY
Thursday 28 April, 2pm / MELBOURNE Centum Monday 9 May, 6pm / MELBOURNE Virtual Luxury Monday 23 May, 6pm / MELBOURNE
JUN
auction calendar —
The Collector's Auction Tuesday 21 June, 6pm / SYDNEY Fine Jewels & Timepieces Monday 27 June, 6pm / MELBOURNE Fine Art Tuesday 28 June, 6pm / MELBOURNE The Auction Salon Furniture & Interiors – 10am Objects & Collectables – 10.30am Jewellery – 11am Art – 11.30am Every Thursday / MELBOURNE
LEFT: Luigi Massoni Table Lamp
COVER LEFT TO RIGHT: Fancy Yellow
for Gussini $1,000 – 1,500
Diamond, Fancy Pink Diamond and Diamond Drop Earrings $15,000 – 20,000
Modern Design Auction Mon 4 Apr, 6pm
Coloured Diamond and Diamond Bracelet $45,000 – 65,000 Fancy Yellow Diamond, Fancy Light Yellow Diamond and Diamond Drop Earrings $28,000 – 34,000 Important Jewels Auction Tue 12 Apr, 6pm
welcome —
This Issue FROM THE CHAIRMAN 3 Autumn at Leonard Joel – AUCTIONS 4 Important Jewels | Here Comes the Sun 6 Important Jewels | Significant Diamonds 8 Sydney | Skulls, Lobsters & Geometry: Three Artists who
Welcome to the 97th issue of Leonard. With our Design Icons Auctions approaching, this issue we celebrate design over the centuries, from iconic Chippendale concept sketches and Leonardo Da Vinci's "designer bag", to the work of modernist pioneer, Aino Aalto. We also take a look at some of Cartier's most iconic watches, chat to renowned Interior Designer Mardi Doherty, and explore the closely entwined fields of fashion and art. Yellow diamonds dazzle ahead of our April Important Jewels Auction, and what better way to learn about these sunny gems than with the famous "Tiffany Diamond" necklace, a true masterpiece of design. We hope you enjoy.
Altered the Course of Fashion 10 Fine Art | Appropriately Appropriated 12 Fine Jewels & Timepieces | Choose your Cartier 14 Decorative Arts | Is There Such a Thing as ‘Chippendale Style’? 16 Modern Design | The Other Aalto 18 Luxury | Collaboration, Association, and the Designer Bag 19 Luxury | Speaking of Icons 20 Prints & Multiples | Women Leading the Way in Australian Contemporary Photography 21
Brisbane | Cartier: Making Sparks Fly
– IN FOCUS 22 In Conversation: with Mardi Doherty 24 5 Minutes with Paul Nicol 25 Valuations 26 A Last Look 28 22nd Report | Bringing Rhinos Back to Manas National Park – JOIN US 32 Connect & Buy with Leonard Joel 33 Contact a Leonard Joel Specialist
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— PROFILE —
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— FROM THE CHAIRMAN —
AUTUMN AT LEONARD JOEL Celebrating design in all its forms
This Autumn edition of Leonard is a feast of storytelling and imagery that speaks to an extraordinary round of forthcoming auctions, spanning both the old and new collecting categories. From 1-6 April in Melbourne, we have our always highly anticipated Design Icons series, three auctions that unashamedly push the collecting boundaries. I encourage you to pay a visit to this unique curation of limited-edition prints, design, and luxury, at our purpose-designed contemporary setting at University Place in Clayton and enjoy a coffee on us while you browse. Leonard Joel presents several notable collections over the next two months. The Kelton Collection of Indigenous Art on 11 April builds on our recent offerings in this space and with our new selection policy focusing on Arts Centre provenance, we look forward to building curated Australian Indigenous Art offerings into our calendar. Looking to Sydney, on 12 April we present our fifth Important Jewels auction, a category that never fails to reveal something spectacular. Within this catalogue, the word “spectacular” is certainly owned by the breathtaking 41.7 carat fancy yellow cushion cut diamond ring, with an estimate of $1,500,000 - $2,000,000. Quite simply, a ring of this colour and quality has never been seen before in an Australian auction room. May at Leonard Joel sees our third annual dedicated contemporary art offering, Centum. This carefully selected survey of 100 Australian artists has become a favourite in the auction calendar and will continue to evolve with the collecting directions and habits of our community. Leonard Magazine is not just about our calendar of auctions and results; it is also about storytelling. In between the imagery of this issue, I hope you take the time to indulge in an
OPPOSITE: ANATJARI TJAKAMARRA
(c.1930–1992) Snake Dreaming at Kantawarrany 1978 (detail) synthetic polymer paint on canvasboard 60.9 × 45.7cm $8,000 – 12,000 © Anatjari Tjakamarra /Copyright Agency 2022
article or two, and perhaps even suggest to us a subject you’d like to learn more about or put forward an individual for us to interview. JOHN ALBRECHT
Chairman / Head of Important Collections
The Kelton Collection - Indigenous Art at Leonard Joel Auction Mon 11 Apr, 6pm ABOVE: A 41.7-carat Fancy Yellow Diamond Ring
$1,500,000 – 2,000,000 Important Jewels Auction Tues 12 Apr, 6pm
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IMPORTANT JEWELS
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Here Comes the Sun Important Jewels Auction Tues 12 Apr, 6pm SYDNEY
When Beyoncé appeared alongside her husband, Jay-Z,
nitrogen in their composition. The nitrogen molecules
in the Tiffany & Co. About Love campaign last year, she
absorb blue light, making the stone a yellow shade.
became only the fourth woman in history to wear the
Depending on the amount of nitrogen, a yellow diamond
stunning 128.54 carat ‘Tiffany Diamond’. Her appearance
could range from light to dark. Different chemicals present
ignited an abundance of new interest in the sunny jewel.
during the diamond’s formation result in additional colours,
OPPOSITE: A 41.7-carat Fancy Yellow
Diamond Ring $1,500,000 – 2,000,000
Acquired by Tiffany & Co. founder Charles Lewis Tiffany in
This magnificent gem possesses a soft cushion-shaped silhouette with a modified cutting style. It’s even colour distribution, combined with a balanced saturation, tone and straight yellow hue, qualify the 41.71 carat diamond for the coveted ‘Fancy’ colour grading classification from the Gemmological Institute of America (GIA). 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 treasure.
radiant colour rather than for size. The finished diamond
1877, the 287.42 carat rough stone was cut to enhance its sparkles as if lit by an inner flame and on its rare public
such as the common brown or orange tint found with yellow diamonds. Due to the natural process necessary for a diamond to have a deep, intense yellow colour, these diamonds are very rare indeed.
appearances garners headlines around the globe. Originally
So which cut is favoured for these cheerful gems? World-
worn by Mrs E Sheldon Whitehouse to the 1957 Tiffany
renowned gemmologist, Peter Schneirla, whose experience
Ball, it was mounted for the occasion in a surround of white
includes working as the Chief Gemmologist at Tiffany & Co.
diamonds. Subsequently, it was reset in the now iconic
and Director of Education at the Gemmological Institute of
Ribbon Rosette necklace by Jean Schlumberger and most
America (GIA) recently explained to 1stDibs, “The popularity
famously worn by Audrey Hepburn in the 1961 promotional
of yellow diamonds surged after the invention of the radiant
photographs for Breakfast at Tiffany’s. While it never graced
cut in 1977. All of the facets on the shape, which range from
the neck of Audrey Hepburn in the film, its brief appearance
sixty-six to seventy, and the depth of it mean that light
TOP LEFT: Audrey Hepburn wearing
during Holly Golightly’s trip to Tiffany’s was iconic: “It isn’t
travels around within the stone and comes back to the eye
the 'Tiffany Diamond' in a promotional image for Breakfast at Tiffany's, 1961 / Alamy
that I give a hoot about jewellery - except diamonds, of
looking more saturated.” Cushion and oval cuts are similarly
course…[spotting the necklace]…like that!” The necklace
preferred for the same reason.
TOP RIGHT: Lady Gaga wearing the
'Tiffany Diamond' at the 91st Academy Awards, 2019 / Alamy
was later modified again for Lady Gaga to wear to the 2019 Academy Awards and remained in the same elegant setting
The love for these bright and optimistic gems appears not
for Beyoncé’s About Love campaign.
to be fleeting or bound to a fashion season but is timeless,
Natural yellow diamonds are scarce and extremely valuable.
Vogue’s October 2021 cover story that she had splurged
Even the major jewellery houses rarely create collections
on a yellow diamond ring by Bulgari, which writer Marisa
centred around yellow diamonds, as sourcing these special
Meltzer estimated to be “at least five carats, maybe six.”
stones is so challenging. Like other high-end items, yellow
The Dune and Euphoria actress divulged “This is my splurge,
diamonds, especially larger ones and those with a high
my treat-myself. It feels like it’s gonna be an heirloom, like
colour intensity, are a lot harder to come by. The yellow
one day I can give it to my grandchildren.”
diamond’s unique colour comes from the presence of
CHRISTEL REID / Important Jewels Consultant
spanning generations. Zendaya, 25, revealed in British
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Such is the current demand for, and allure of, these significant diamonds that Leonard Joel set no less than four Australian auction records in the last 18 months for the most valuable diamond auction sales.
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Significant Diamonds Important Jewels Auction Tues 12 Apr, 6pm SYDNEY OPPOSITE: An Important Diamond
‘La Principessa’ 25.82 carats Ring, Musson $1,100,000 – 1,500,000 BELOW: The four most valuable diamonds sold at auction in Australia:
After Leonard Joel first set and then subsequently broke
fascinating mix of diamond production houses, individual
its three auction records for the four most valuable auction
traders who travel the world with their stock, and brokers
sales of diamonds in Australia, I find myself no longer
who move diamonds between important private clients and
fielding emails of congratulations but questions from clients
commercial sellers. For us at Leonard Joel it is continuously
about what one needs to consider and how one should
all about sourcing diamonds at the best possible world-wide
go about securing a significant diamond, and perhaps also,
price before presenting the large diamonds to our clients
why?
and simultaneously providing the buyer with the unique
CONSIDERATIONS
advantage of a transparent margin on our hammer price.
To begin with, it is indisputable that the larger the stone
The liquidity of the diamond market is underpinned by the
(and I speak of quality stones) the rarer they are in nature
globally accepted independent certification that is available
and the more valuable they become. Stones larger than 5
through the Gemmological Institute of America (GIA) and
carats are a good starting point for those considering this
the concise manner in which every diamond is characterised
A Spectacular Platinum and Diamond Ring, 25.02 carats Sold for $1,125,000
alternative asset class and with stones above 10 carats, the
and quantified by a recognised standard for its cut, carat,
rarity factor becomes even more pronounced.
clarity, and the all-important colour.
An Extraordinary Diamond and Argyle Fancy Pink Diamond Ring Sold for $725,000
Once you have set, hopefully, not just your mind but your
At this level of transaction, it is understandable (and a
heart on such an acquisition you can also take comfort in
given) that prospective buyers would want to have a long
the fact that the market for diamonds has been a largely
conversation with an expert about understanding what
stable one for almost half a century, this is supported by its
underpins the pricing of their diamond of choice. Hamish
enduring and dominant status as the most desirable of the
Sharma, Head of Important Jewels in Sydney, is just such
precious stones globally and the one that enjoys the most
an expert with a lifetime of global experience in the world
developed regulatory and price monitoring environment. In
of diamonds and fine jewels and long conversations have
short, it is the obvious store of wealth if one is considering a
underpinned all our large diamond auction sales. I invite you
precious stone purchase.
to have such a conversation; both because it’s a fascinating
A Magnificent Solitaire Diamond Ring, 20.05 carats Sold for $1,625,000
A Platinum and Diamond Ring, 17.34 carats Sold for $575,000
THE “HOW”? In simple terms you have essentially four levels for sourcing. Direct from the cutting factory through a broker
insight into the international diamond trade and, like me, once armed with that knowledge you too will realise how reliable and comprehendible the market is.
intermediary, where one can expect to pay a “market” price
THE “WHY”?
with accompanying brokerage or sourcing fees; through
Apart from the obvious, that the wearer enjoys the glamour
a wholesale dealer where sellers’ margins are naturally
and magic of wearing a spectacular diamond, there are other
higher to account for the stock holdings and overheads,
drivers that gravitate individuals to valuable diamonds.
and then there is the retail marketplace with its numerous
The obvious one and a psychology familiar to those that
costs associated with design and manufacturing in addition
have endured war, or crisis or displacement, is that just like
to significant costs that come with a retail setting—rent,
rare coins or wristwatches it is an ideal store of portable
interest, insurance, staffing and marketing. And lastly, the
wealth. Add to this the unique beauty and sheer rarity of
secondary market largely represented by volume by the
these larger stones and you have a purchase that compares
auction industry wherein the previous add-on costs have
favourably, and arguably better, to that of other exotic and
been stripped away, and the value in such a transaction lies
collectable asset classes.
in the enduring value of the diamond itself and little to do with its prior primary market-place maker.
So, if you have wondered about a big diamond, my first
Our Important Jewels department based in Sydney,
in Sydney in April, Hamish Sharma is there for just such a
provides clients with a curated supply, unique to Australia,
conversation.
of large diamonds at “market” price; meaning they have been sourced from both primary suppliers (sometimes known as sight-holders that are converting rough to
advice is a long conversation with an expert and if you are
JOHN ALBRECHT
Chairman / Head of Important Collections
polished) and more generally sourced on the global secondhand marketplace for diamonds. This global market is a
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SYDNEY
Skulls, Lobsters & Geometry: Three Artists who Altered the Course of Fashion SALVADOR DALÍ
Schiaparelli and Dalí collaborated several times, producing
Spanish surrealist Salvador Dalí’s commercially minded
some of the most iconic and scandalous wearable pieces
approach to art, lifelong interest in costume, and mission to
of the era. Perhaps the most talked-about was their
subvert social norms led him to become hugely influential
Lobster Dress from 1937, worn famously by Wallis Simpson
in the world of fashion. With the ideological mission of
the Duchess of Windsor. The large lobster, a motif made
always creating something truly new, Dalí, through his many
famous a year earlier by Dalí’s Lobster Telephone sculpture,
partnerships with designers such as Coco Chanel, Christian
strewn amidst sprigs of parsley on white organdy was
Dior, and Italian haute couture designer Elsa Schiaparelli,
considered scandalous at the time due to its perceived erotic
altered the course of both art and fashion in the 20th
connotations. What was intended to be a two-page feature
Century.
in Vogue became a seven-page spread, and an international sensation. The only thing missing was the mayonnaise that Schiaparelli refused to allow Dalí to add to the dress…
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GEORGIA O’KEEFFE Next Collector's Auction
Dubbed “the mother of American modernism”, Georgia
Tues 21 Jun, 6pm
O’Keeffe’s artistic output was not limited to her canvases.
SYDNEY
While her paintings of enlarged, velvety flowers, New York skyscrapers and Southwestern landscapes place her amongst
OPPOSITE: Duchess of Windsor, Wallis
the most significant artists of the 20th Century, her sartorial
Simpson, wearing the 'Lobster Dress', circa late 1930s. /Alamy
contribution to modernism was monumental. O’Keeffe’s
TOP RIGHT: Sonia Delaunay in her
did. As a young woman she rejected the standard feminine
studio, c. 1924. / Alamy
image helped her express her modernity as much as her art fashions for middle-upper class American women in the 1920s,
BOTTOM RIGHT: Georgia O'Keeffe and one of her skull paintings, 1931. Photo courtesy: Everett/CSU Archives
instead opting for simple loose shapes, natural fabrics and a
BELOW: Lobster Telephone by Salvador Dalí, 1936
Though her style was consistent throughout her life, she
restricted colour palette sans decoration or accessories.
did introduce subtle alterations when she moved to New Mexico after her husband Alfred Stieglitz’s death in 1946. Seemingly in response to the unique topography of the vast, harsh Southwest, O’Keeffe began to wear colours found in the landscape, introduced denim, and adopted her signature wide-brimmed vaquero hat. Her elegant, austere, and practical approach to life permeated every aspect of her surrounds – from the simple way she wore her hair to the sparse modern interiors she lived in. Never swayed by the ephemeral elements of fashion, O’Keeffe’s individualistic style was strong, recognisable, and enduring. Countless designers have referenced her monastic simplicity, for example Valentino’s Spring 2012 collection, or her favourite motifs such as the steer skull, which featured heavily in Gareth Pugh’s Spring 2015 collection.
SONIA DELAUNAY Ukrainian-born French artist and fashion designer Sonia Delaunay was one of the founders of the art movement Orphism, noted for its strong colours, geometric shapes, and use of pure abstraction in painting. When her properties in St Petersburg were seized during the Russian Revolution in 1917, Sonia began to design geometric textiles using the same approach to colour theory she used in her paintings to generate income. She designed costumes for the Ballets Russes’ Cleopatre and attracted wealthy clientele with her upmarket brand ‘Sonia’ such as American actress, producer, and businesswoman Gloria Swanson for whom she designed iconic pieces. Her designs were a celebration of liberation and a radical exploration of contrasting colour, taking in to account the practical requirements of dress for modern women who worked, danced, and played sport. For four decades she designed fabrics for Amsterdam luxury store Metz and Co. and for Liberty. Meanwhile, she championed mass and machine production, as in her mind they would democratise fashion and raise standards. So influential were her designs that we still see hints of her work permeating the world of fashion today in the work of brands such as Prada, Céline, Hermés, and Valentino. Her artworks are found in institutions around the world including the Tate, Centre Pompidou, and the Metropolitan Museum of Art. MARCELLA FOX / Sydney Manager
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FINE ART Appropriately Appropriated Appropriation involves the intentional repurposing of existing and often iconic imagery to create new meaning. Within Art History, appropriation has long been used as an artistic tool. From Andy Warhol’s soup cans and Barbara Kruger’s slogans, to Marcel Duchamp’s “L.H.O.O.Q.” and Yasumasa Morimura’s recreation of “Girl with a Pearl Earring”, artists have often turned to appropriation to highlight their message. It was first formally utilised by artists during the Cubist movement, finding new significance alongside the rise of consumerism. Today, it is a powerful tool that many Australian Contemporary artists choose to integrate into their practice. Here are 5 Australian artists, appropriately appropriating:
ANNE ZAHALKA Anne Zahalka’s body of work is diverse, but one of her most well-regarded images is “The Bathers” 1989/2008, in which she directly refers to Charles Meere’s iconic painting
Next Centum Auction Mon 9 May, 6pm MELBOURNE
“Australian Beach Pattern” 1938–40. Zahalka has used the same composition as the painting but has changed the characters to be more culturally diverse, thus altering the stereotypical view of Australian culture and challenging traditional representations of the beach.
TOP: ANNE ZAHALKA (born 1957)
The Bathers 1989/2008 c-type photograph ed. 9/12 printed by Colour Factory, Melbourne, 2008 93.5 x 110cm Sold for $8,750 © Anne Zahalka/Copyright Agency 2022 BOTTOM: TONY ALBERT
TONY ALBERT Tony’s latest series borrows from the mighty Margaret Preston, and her striking still life linocuts. Preston herself was considered progressive for her own views on a national Australian identity that acknowledged and incorporated Indigenous iconography (she was one of the first nonIndigenous Australian artists to do this). However, what resulted was the mass market appropriation of indigenous iconography for predominantly domestic objects, especially that which portrayed Indigenous Australia naively or stereotypically. Although this was unlikely to be Preston’s motive, a wave of ‘Aboriginalia’ resulted. Tony Albert collects examples of ‘Aboriginalia’, and in this series, “Conversations with Margaret Preston”, he used a selection of his own vintage fabrics to recreate her iconic still lifes through collage.
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Conversations with Preston: Fennel Flowers and Sturt’s Desert Pea 2020 acrylic and vintage appropriated fabric on Arches paper; 62 x 57 cm © Sullivan+Strumpf, Sydney and the Artist
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TOP: JOHN KELLY
Light 2006 oil on canvas 114.5 x 146.5cm Sold for $38,750 © John Kelly/Copyright Agency 2022 MIDDLE: JOAN ROSS
The Claiming of Things 2012 single-channel digital video animation, colour, sound © Museum of Contemporary Art, Sydney, Michael Reid, Sydney, and the Artist BOTTOM: RICHARD BELL
The Peckin Order 2007 acrylic on canvas 150 x 150cm © Milani Gallery, Brisbane and The Artist
JOHN KELLY Whilst not consistent across his entire oeuvre, appropriation has often found its way into the work of John Kelly. In 2006, Kelly produced a series called “Sun of Moonboy” - a play upon Sidney Nolan’s early work, “Moonboy” 1940. Nolan’s polarizing portrait did not altogether receive favourable artistic and critical opinion at the time. Kelly has often drawn upon these significant chapters in Australian history, reinventing characters and icons in his work. His “Sun of Moonboy” series also incorporated the circular sun icon from the Australia Council logo, used by Kelly in his long-standing protest against the Council and its art funding policies. Appropriation has gone one step further with this series, as Kelly permitted images from the series to be used on the labels for Tasmania’s Moo Brew beverages.
JOAN ROSS Joan Ross frequently utilises appropriation in her current work, specifically images and artworks from Colonial Australia. Her iconic digital animation, “The Claiming of Things” 2012, in the collection of the Museum of Contemporary Art in Sydney, takes a painting by John Glover as the backdrop and uses it as the stage for an enactment of colonisation. “I have started with one of my favourite John Glover paintings and have changed it around and added my own perspective on colonisation and what ‘being civilised’ is … I use fluoro as a metaphor for colonisation. I saw the influx of fluoro after 9/11 – in a way, fluoro represents a type of colonising, but also a type of fear.” (Joan Ross, 2012)
RICHARD BELL Richard Bell’s artworks aim to bring conversations around racism to the mainstream. Bell plays with the appropriation of abstract expressionism and pop art through artists such as Roy Lichtenstein, Jasper Johns, and Jackson Pollock. Modifying the text that accompanies each image is what reinvents the image to align with Bell’s politics. OLIVIA FULLER / Head of Fine Art
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FINE JEWELS & TIMEPIECES Choose your Cartier It’s a hard ask having to choose a Cartier wristwatch; rarely is one luxury maison responsible for so many classic designs. The brand’s relentless creativity can be summed up by Louis Cartier’s favourite saying: “Never copy, only create.” The wristwatches on the short list here perfectly embody the Cartier ethos and are the ones to know about.
PANTHÈRE In an elegant merger of watch meets jewel, the Panthère remains one of the most distinctive Cartier watch designs. The jungle cat has long been associated with the brand, with origins tracing back as far as 1914. Since its release in 1983, the Panthère bracelet watch has gone on to be a best-seller in women’s watches. The sleek, supple design and clean lines
TANK To some people, all Cartier watches seem to be variations on the Tank, such is the measure of a model that is possibly the most recognisable and celebrated dress watch of all time. Andy Warhol said of the Cartier Tank: “I don’t wear a Tank
Timepieces Auction Mon 27 Jun, 6pm MELBOURNE
watch to tell the time. Actually, I never even wind it. I wear a Tank because it is the watch to wear!”
of construction find inspiration in its namesake. Presented
The Tank supposedly derived its name and design inspiration
as the ultimate dress watch, it was created with the stylistic
from the first tanks that appeared on the WWI battlefields.
intuition of the “jeweller of kings” to capture and reflect light
Since then, Cartier has released an array of variations -
on its multifaceted bracelet with every movement of the
Francaise, Americaine, Anglaise, Solo - but all share the same
wrist, in much the same way a precious gemstone does.
case design, where the case sides extend to the lugs, just like the tracks of a tank. It is somewhat poetic that a piece of combative military equipment would form the inspiration for a watch that is one of the all-time classic designs in watchmaking, and remains an emblem for an enviable list of movers and shakers to this day.
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Next Fine Jewels &
TOP LEFT: Cartier Advertising Poster
1993 / Alamy A Ladies Gold Cartier Panthere Wristwatch Sold for $4,960 TOP RIGHT: Cartier Advertising Poster
1983 / Alamy Cartier Tank Ref 2715 a Stainless Steel Wristwatch Circa 2015 $1,500 – 2,000
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PASHA
BALLON BLEU
The origins of the distinctive Pasha design hark to 1930s
Cartier watches are historically made up of square,
Marrakesh and the then reigning Pasha, Thami El Glaoui. It is
rectangular, cushion, and tonneau-shaped cases. A rich
believed that the Pasha commissioned Louis Cartier to make
heritage meant that the company’s design foundations could
A Cartier Santos Wristwatch Sold for $8,125
what was in essence a water-resistant sports watch, to keep
always be relied upon to proffer a new model that would be
pace with the Pasha’s sporting activities. Whilst there is no
innovative and distinctly Cartier. So, when in 2007 Cartier
A Cartier Ballon Bleu Diamond and Gold Wristwatch Sold for $27,280
concrete evidence of such a romantic collaboration, Cartier
announced its biggest ever launch of a round watch, it was
officially states the watch’s “name pays tribute to the Pasha
never going to be the usual, just any kind of ‘round’. The
of Marrakesh, a lover of fine watchmaking and a lifelong
name, form, and versatility of the Ballon Bleu recalls a floating
customer of Louis Cartier.”
a balloon which encompasses a circle within a circle, with the
TOP LEFT TO RIGHT: Cartier Miss
Pasha De Cartier Ref 3134 an 18ct White Gold and Diamond-Set Wristwatch Circa 2010 $ 12,000 – 15,000
A Cartier Crash 18 Carat Gold Wristwatch
In the mid-1980s, when Cartier was recognised for its dressy,
blue cabochon crown imaginatively nestled in the band.
slim, and elegant wristwatches, there was burgeoning shift to sportier watches, often in stainless steel. Cartier enlisted the creative services of master watch designer Gerald Genta, who came up with the distinctive Pasha design, featuring a robust round case, studded Vendôme lugs, and a cabochonset crown cap that screwed down and was secured with a
CRASH If you needed further evidence of the ground-breaking, dynamic design capabilities of Cartier, then you will find it in my personal favourite of all Cartier watches, the Cartier Crash.
small chain. Some refinements have come and gone since its
Released by Cartier London in the late 1960s, the asymmetric
inception, but the trademark Genta details have remained its
crushed shape of the Crash found its inspiration from a car
defining elements.
accident involving a Vice President from the Cartier London office. His Cartier Baingnoire melted in the wreckage, leaving
SANTOS Perhaps the most enduring of his legacies is the claim that Cartier created the first men’s wristwatch. It is said that in 1904, Louis Cartier was tasked with inventing a watch for his friend, the famous Brazilian aviator Alberto Santos-Dumont, who complained about the unreliability and impracticability of using a pocket watch while flying. Cartier ingeniously produced a square, flat watch of Deco inspiration intended to be worn on the wrist. The watch, named in the pilot’s honour, was worn on his wrist and allowed his hands to remain free
it in a surreal state akin to the melting clock in Salvador Dali’s ‘The Persistence of Memory’. In tribute to this tragic event, Cartier created the Crash wristwatch in which the asymmetry of the case appears as if the watchmaker had taken an oval watch and crashed it. Furthermore, the mechanical skill and ingenuity involved in bending, elongating and compressing the components of the watch so that it is fully functional whilst appearing wrecked is mind boggling, humorous, and avant-garde - showcasing Cartier at its creative best. PATRICIA KONTOS / Senior Jewellery & Watches Specialist
while flying. This solved the aviator’s gripe in a true historical “necessity as the mother of invention” moment. Since its launch in 1911 the small Santos-Dumont, with its exposed screws and square profile, has been the inspiration behind the model known today as the Santos, where timeless elegance meets functional practicality. leonardjoel.com.au | 13
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DECORATIVE ARTS
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Is There Such a Thing as ‘Chippendale Style’? The short answer to the question posed above is ‘no’. Next Decorative Arts & Asian Works of Art Auction Mon 8 Aug, 6pm MELBOURNE
OPPOSITE: Wilton House, Salisbury,
Wiltshire. Interior with Wilton Violin Bookcase by Thomas Chippendale, circa 1763 / Alamy ABOVE: Design for pierced and
carved back chairs, copper engraving from Thomas Chippendale's 'The Gentleman & Cabinet-Maker's Director,' London, England, 1762 / Alamy BELOW: A Pair of Queen Anne
Parcel-Gilt Walnut Side Chairs Early 18th Century (1 of 2) Sold for $4,750
Why, then, is the description ‘Chippendale style’ so often seen in auction house and dealers’ catalogues across the world? The answer to that question is, in short, clever marketing on Mr Chippendale’s part. Born into a woodworking family in west Yorkshire, Thomas Chippendale (1718–1779) was apprenticed as a joiner within his family. He moved to London in the 1740s, doubtless ambitious to share in the opportunities presented by the rapid growth at this time of both England’s cities and towns and its moneyed class. In the early 1750s he set himself up as a cabinet-maker in the artists’ and artisans’ district of Covent Garden. At this early stage, Chippendale was but one of many holding themselves out to furnish the homes – particularly the new country houses – of the fashion-conscious wealthy who would visit the district to shop around amongst firms before spending their money. In a market led by fashionable firms enjoying royal and aristocratic patronage, Chippendale was little known and without a significant commission to his name. Chippendale dramatically changed this situation in 1754 with an audacious move to stake his claim in the market that succeeded in elevating his name above all others and came to exert wide and lasting influence on furniture and design in England and beyond. In that year, with the financial backing of others, Chippendale published The Gentleman and Cabinet-maker’s Director. Being a Large Collection of the Most Elegant and Useful Designs of Household Furniture in the Gothic, Chinese, and Modern Taste. This magnificent folio work comprises 161 finely engraved plates, most of which illustrate designs for a range of furniture types from library book-cases down to wall brackets, all in a variety of styles.
The Director was an immediate success. Chippendale issued a second edition in 1755 and, in instalments from 1759 to 1762, a third edition with new designs added, partly in response to rivals attempting to replicate his success with their own books. Through these, and copies of its plates, the Director’s designs – all of which bear Chippendale’s name as their ‘inventor’ – were widely disseminated and used in Britain and America. Anybody generally familiar with mid-Georgian furniture would immediately see a relationship between commonly seen designs and details of the period, such as the pierced and interlaced splat back of a ‘Chippendale chair’, and designs in the Director. It is here that the misconception of ‘Chippendale style’ arises for the connection between Chippendale’s designs and furniture of the period too readily obscures a critical point: that there is, in fact, very little in the Director that is truly original to Chippendale. Virtually all of what he presented in it – both the forms of furniture and the various mix-and-match ‘tastes’ in which it was styled, including ‘modern’ (meaning an English adaptation of contemporary French taste) – represented ideas that had been evolving and used in England by leading makers and others for some years before Chippendale adopted them in print. Chippendale’s real contribution – his master stroke – was in collecting up and promoting these ideas by presenting them in convenient pattern-book form as an array of alternatives for wide dissemination, an aim he implies in his preface to the Director. Chippendale was greatly successful in that intention. It earned him important commissions (resulting in the relatively small amount of fine furniture that can correctly be given his name), fame, and an undeniable place in furniture history. But no, he did not create the mid-Georgian style to which his name is so often attached. DAVID PARSONS / Head of Decorative Arts
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— AUCTIONS —
MODERN DESIGN Despite being less well known than her husband, Aino Aalto was an important part of the modernist design movement taking place in Finland in the early 20th Century. An active designer alongside her husband Alvar, both sit elegantly at the intersection of Nordic classicism and early functionalism, their work reflecting an understanding and appreciation for principles of lasting utility and beauty.
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— AUCTIONS —
The Other Aalto Aino was born in Finland in 1894. The industry was so male Modern Design Auction
dominated, that when she entered architectural studies at
Mon 4 Apr, 6pm
the Helsinki University of Technology, only 10 women had
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graduated from programs of architecture within Finland. She went on to work with Alvar at his studio, the two finding a
OPPOSITE: Aino Aalto Sitting on a
Paimio Chair. Museum: Alvar Aalto Museum / Alamy
perfectly complemented Alvar’s experimental buildings. Aino’s greatest contribution to 20th Century design was as creative director of Artek, a company she and Alvar founded in 1935 with their patron Maire Gullichsen
kinship in their love of design, and shortly after, each other.
and the art historian Nils-Gustaf Hahl. Their goal was
To the untrained eye it is very difficult to unpick Aino’s work
functionalism to improve everyday living. Establishing
to synthesise architectural design through the lens of
from Alvar’s, they cooperated closely on many projects,
Artek also gave the Aaltos the necessary framework for
Lounge Chair for Artek Sold for $2,980
and even competed in the same design competitions. Over
marketing and distributing their furniture locally, and
the course of her career Aino became known as a talented
abroad.
TOP RIGHT: Alvar Aalto '901'
draftswoman for the office of Alvar Aalto architecture and
TOP LEFT: Alvar Aalto '41 Paimio'
Tea Trolley for Artek Sold for $4,000 BELOW: Aino Aalto Drinking Set
for Iittala
monumental art, often translating Alvar’s sketches into technical drawings. Noted for her focused and humble way of working, she was no doubt a pioneering woman in the field, responsible for significant portions of the firm’s work, and author of the interiors and furniture designs of the
Aino Aalto died in 1949 at the early age of 54. Her death deeply shocked Alvar; she had been his true love, a key figure in everything to do with their shared work and their concept of everyday modern living. It was perhaps the passing of Aino that brought new depth
entire Aalto portfolio.
and monumentalism to Aalto's vision, for he went on
Aino focused on the practical aspects of design, while
20th Century Europe and America.
retaining a strong, sensitive nature. Some of her most famous solo works are the collections of glassware called Bölgeblick, inspired by the rings a stone makes when thrown into the water. Simple stacking glasses were created emanating the effect, and to this day they continue to be
to create some of the most significant buildings across
Aino Aalto’s contributions undeniably influenced all areas of Scandinavian design, as well as the subsequent worldwide modernist movement. She is now rightfully accredited alongside her husband, as he would have
manufactured by the company Iittala.
wanted.
The Aalto’s collaborated on interior fittings of their
‘Goodnight my sweet Aino, I miss you’
buildings including custom furniture, light fixtures, and textiles, with Aino assisting Alvar in the design process of every piece. One of the most notable was for his prizewinning Paimio Tuberculosis Sanatorium. Aino helped to
ALVAR & AINO AALTO’S PERSONAL LETTERS AND DIARY ENTRIES, AALTO DIRECTED BY VIRPI SUUTARI
ANNA GRASSHAM / Head of Modern Design
create bentwood and tubular-steel pieces, along with her own custom designs, showcasing a modernist approach that
leonardjoel.com.au | 17
— AUCTIONS —
Luxury Collaboration, Association, and the Designer Bag — The advent of the designer bag seems to have had its
à Dépêches’ to hide her pregnancy to husband Prince Rainer
origins in the 20th Century. Whilst bags, satchels, purses,
of Monaco from the flashing paparazzi. The bag became
Luxury Auction
and pochettes have been used throughout the ages as
synonymous with Grace and was renamed ‘The Kelly’, which
Tues 5 Apr, 6pm
practical items and fashion accessories, Leonard da Vinci
is just as well because its original name literally translates as
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could very well be considered the first to create a ‘designer
a ‘Dispatch Bag’. In contrast, Jane Birkin had a bag especially
bag’. When Leonardo’s 1497 drawings were discovered in
made for her and named in her honour.
1978, amongst them was a beautifully executed illustration of a handbag. The elegant design was possibly based on a dispatch rider’s purse of the period and was faithfully reassembled by Florentine fashion house Gherardini, who added a 20th Century touch with a neat leather top handle. Called ‘La Pretiosa’ the embossed calf leather bag with heavy top stitching was made in limited edition, somewhat like a postponed collaboration. Collaboration and association go hand-in-hand in designer circles, and it was in the first part of the 20th Century that this association started being made with ‘celebrity’. Known for their good taste and flamboyance, the Duke and Duchess of Windsor travelled in style and were famous for their array of Goyard travel bags and trunks which were commissioned between 1939 and 1986. They had so much panache that even their famous terriers and pugs enjoyed Goyard ‘Chic du Chien’ travel accessories!
Once, all bags and luxury items were designed by inhouse designers. With the growth of the industry and an insatiable demand for new product, designer collaborations became popular. Many say that it was Karl Lagerfeld who put Chanel back on the map with his designs in the early 1980s, and Jean Paul Gaultier as creative director for Hermès in the early 2000s that helped them lose their conservative reputation (however we may never forgive him for the ‘Shoulder Birkin’!). Considered a pioneer of modern collaboration, Louis Vuitton has made an art of specialty luxury goods and has broadened its popular range with updated styling by popular designers. Designers such as Takashi Murakami sensationalised the range in 2003 with the launch of the ‘Multicolore’, a colourful play on the monogram design. Equally, Yayoi Kusama reimagined many of the brands iconic bags such as the Speedy, Neverfull, Papillion, Lockit and Pochette Accessoires into colourful, abstract works of art. And Steven Sprouse, a Vuitton favourite
Less obvious is Queen Elizbeth II who has always preferred
best known for his colourful graffiti designs, ranks as one of
Launer fashion accessories and bags. The late Queen Mother
Vuitton’s best associations.
initiated the trend when she gifted a Launer bag to her daughter. Elizabeth became a devotee as it complemented her ‘no fuss’ style. In a different association, Grace Kelly found herself on the front cover of Life magazine when in 1956 she held her ‘Sac
18 | leonardjoel.com.au
The growth and demand for luxury goods remains higher than ever. Through celebrity associations, designer collaborations, and a growing appetite for Luxury goods both new and preloved, the future seems to have endless possibilities. JOHN D'AGATA / Head of Luxury
ABOVE: Leonardo Da Vinci's 1497
drawing BELOW: A Limited Edition Race
Neverfull Mm Bag by Louis Vuitton $1,500 – 2,000
— AUCTIONS —
“Fashion passes, style remains.” - GABRIELLE 'COCO' CHANEL
Speaking of Icons — Chain lined hems, quilted lambskin, camellia flowers; when
Virginie Viard at the 2020/21 Chanel Métiers D’art, set in the
Coco Chanel (1883-1971) at work in 1937 / Alamy
we think of Chanel, the list could go on with iconic motifs
halls of the Château de Chenonceau.
BELOW: A Single Flap Handbag
The pioneering Chanel brand began as a quaint millinery in
ABOVE: French fashion designer
by Chanel $3,000 – 5,000
that mark this luxury fashion house with eternal iconic status. 1910, at the tobacco-stained fingers of a young Viche club singer, born into poverty and orphaned at the age of 11. One of the founding mothers of modern dress, the selfinvented Gabrielle ‘Coco’ Chanel opposed suffocating social conventions and went on to become the monarch of Parisian Haute Couture, enduring criticism, recession, and a turbulent reopening after the second world war. Even now, long after her death in 1971, with a net worth of approximately $9 billion
Gabrielle had an affinity with the 16th Century queen consort Catherine de’ Medici. Against all odds, Catherine became one of the most powerful political forces in Europe, so it would make sense if Gabrielle’s emblem had been modelled on the intertwined CCs of her monogram. The CC emblem has also been said to have been inspired by the romanesque knots bordering the stained-glass windows of the Cistercian Aubazine Abbey in which Gabrielle lived during the late Belle Époque.
U.S. dollars, the spirit of Chanel is still ever present in the
In 1909, Gabrielle met the man frequently described as the
fabric of what we wear today, personified by the famous
love of her life, English aristocrat Arthur “Boy” Capel. Capel
CC logo.
was said to have inspired Chanel’s love of jersey, introduced
Designed by Coco in 1921, it was Karl Lagerfeld who transformed the CC signature from a trademark to one of the most internationally recognised logos in history. This wasn’t a first for Lagerfeld, a master of transforming fashion houses into globally renowned luxury brands, as he was also responsible for the Fendi Zucca logo in 1965. Lagerfeld’s tenure at Chanel began in 1983, when he revived the Chanel
her to the fashion industry, and lent her the finances needed to open her first boutique on the Rue Cambon. In 1919, amidst the throes of the nine-year love affair, Capel was tragically killed in a car accident on his way to meet Coco for a Christmas gathering. Grief stricken, Chanel said that in losing Capel, she lost everything. The CC has been reported to be a homage to Chanel and Capel.
brand, which was starting to disintegrate after the death of
Often described as an unreliable narrator, Chanel’s inspiration
Coco Chanel. Lagerfeld turned the mirrored letters into a
for the iconic CC could be any, all, or none of these legends.
central feature of Chanel’s marketing and outputs, adorning,
Nevertheless, through the endless incarnations of her life, and
embroidering, and stamping it onto their products.
tales of fact and fiction surrounding the infamous CC, what we know for sure is that this logo and the house it represents
The Chanel logo origin is shrouded in mystery and debate.
have stood the test of time; an ever expanding symbol of
First used on the stopper of a CHANEL N°5 perfume bottle,
Gabrielle ‘Coco’ Chanel’s revolutionary contributions to
the interlinked Cs have many meanings beyond the initials of
modern dress, effortless style, and empowering women the
the trailblazer. Gabrielle revered women of the renaissance,
world over.
“Her taste for lace ruffs and the aesthetic of certain pieces of her jewellery come from there. Deep down, this place is a part of Chanel’s history”, explained Chanel’s creative director
INDIGO KEANE / Jewellery & Luxury Assistant leonardjoel.com.au | 19
— AUCTIONS —
Prints & Multiples Women Leading the way in Australian Contemporary Photography — From a once male dominated arena, female photographers have been at the forefront of Australian contemporary
Prints & Multiples Auction
photography for decades. Their work often explores the
Wed 6 April, 6pm
internal, physiological, and intimate aspects of life, love, and
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loss. Here are four such photographers whose works would be well placed in your contemporary art collection.
TOP: POLIXENI PAPAPETROU
(1960-2018) Beating Drums 2003 c-type print, ed. 5/6 $2,500 – 3,500
PAT BRASSINGTON In smotheringly close, or odd angled views, Pat Brassington’s images are seemingly innocent. Her images open like a flower
LEFT: PAT BRASSINGTON (born 1942)
and then morph into a physiological rorschach test. The
Starlight 2001 pigment print $1,200 – 1,800
narratives are provocative yet ambiguous, an arousing beauty emphasised by its exquisitely loaded connotations, leaving
BELOW: PAT BRASSINGTON
interpretation in the eyes of the viewer.
(born 1942) Dress Hang 2002 pigment print, ed. 1/6 75 x 62cm Sold for $2,750
PETRINA HICKS In their composition and form, Hicks’ photographs adhere to a purist aesthetic. Against a flawless surface, her subjects float like classical marble sculptures. A strong advocate for females in photography, Hicks portrays the interior world of young women, more so than their exterior world. Her practice frequently draws inspiration from art historical references, archetypes, and myths. POLEXENI PAPAPETROU Polexeni Papapetrou’s practice began by exploring carefully constructed stage-managed worlds; those of drag queens, wrestlers, and Elvis look-alikes. It was only after the birth of her daughter that Papapetrou began to create new worlds with her biggest muse, Olympia. During this pivotal period, Olympia was photographed in fantastical settings, reflecting a limitless world of imagination and storytelling. 20 | leonardjoel.com.au
ANNE ZAHALKA In the realm of photography and portraiture, Anne Zahalka addresses issues relevant to cultural diversity, gender, and class. Collating inspiration from tourist brochures collected on her travels, Zahalka explores the peculiar notion that travellers experience the natural world as a spectacle, whilst addressing the absence of a realistic picture through a play on art-historical motifs and signifiers. HANNAH RYAN / Art Specialist
— AUCTIONS —
Brisbane Cartier: Making Sparks Fly — Though tobacco has been around for thousands of years,
The firm’s clients included everyone from Edward, Prince of
Luxury Auction
consumption underwent a rapid transformation in the early
Wales, to Hollywood film stars, and Indian Maharajas. The
Tues 5 Apr, 6pm
twentieth century; the age of the cigarette had begun.
eternally stylish Jackie Onassis’ favoured gold cigarette lighter
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Smoking became so popular that in the mid-1900s, around
created by S.T Dupont, Paris, was auctioned at Sotheby’s in
half of the population of industrialised countries were
1996 for an enormous sum, with bidders desperate to acquire
lighting up, with much higher numbers in some countries
such a personal item from the former First Lady.
ABOVE & BELOW: A Collection of
Lighters by Cartier (3 of 32) $4,000 – 6,000
like the UK.
Whilst smoking is, quite rightly, no longer held in the
Cartier, always setting the tone for elegance and style,
same regard - the accompanying objects remain eminently
embraced the trend and provided the world with a variety
collectable works of art, beautiful in their own right.
of tobacco accoutrements. The unsurpassed craftsmanship, materials, and designs, elevated Cartier lighters beyond their function to coveted status symbols and objects of luxury. Similarly, Cartier cigarette cases became some of the most extravagant accessories and iconic symbols of the era. Cartier cigarette lighters and cases from the 1930s and 40s
At Leonard Joel, we are pleased to offer a private collection of Cartier pieces consigned here in Queensland, including a wonderful assortment of gold, silver, and enamel cigarette lighters, to be presented within our Luxury Auction on 5 April. TROY MCKENZIE / Queensland Representative Specialist
were sleek and glamorous, crafted from gold and silver, and often adorned with gems and brightly coloured enamel, showcasing levels of skill and artistry that rivalled even Fabergé.
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— IN CONVERSATION —
In Conversation with Mardi Doherty
We chat to Mardi Doherty, director of Melbourne interior design practice Doherty Design Studio. Her house is, not surprisingly, full of interesting items, with some destined for the family home currently under renovation.
22 | leonardjoel.com.au
— IN CONVERSATION —
How did you first discover Leonard Joel?
What is your favourite Leonard Joel acquisition?
I discovered Leonard Joel in my early 20s while studying
Our B&B Italia Seven dining table designed by Jean-Marie
Interior Design at university. My sister and I spent many
Massaud, which we purchased during lockdown in 2020.
nights at the auction house, and many nights squealing when
I also love these large, coloured glass sculptures, retrieved
we were the successful bidders. We would hurtle around in
from a Salvador Dalí perfume launch.
my yellow convertible Volkswagen picking up our purchases. I have a strong memory of collecting an art piece that was
Where does your own home fit in with your aesthetics?
way too big for my car, with my sister in the back seat holding
We are currently renovating a run-down Queen Anne/
on to it for dear life, as it flapped around in the wind driving
Federation brick home in Prahran, a real diamond in the
down Malvern Road!
rough. It has a beautiful tower and square multi-coloured
One of our favourite projects of yours is the home by renowned Australian architect Peter McIntyre, can you tell us a bit more about your approach to this project? (And did you get to meet Peter?!) Thank you, it’s one of our favourite projects also! Respecting the home’s 1980s architecture was paramount, and many of
TOP MIDDLE & RIGHT: Malvern
residence originally designed by Peter McIntrye, with interiors re-crafted by Doherty Design Studio
finishes, and a wallpapered living room ceiling await! What advice would you give to someone embarking on their own decorating journey?
percolate. When we start a project, we often like to start,
triangular glass atrium and a suspended bridge that connects
then step away, and take some time for ideas to generate
the upper-level rooms. Part of our scope was to re-plan the
before we launch back into it. Time away from your project
internal spaces to suit our client’s needs. Being sympathetic
is also a valuable time to open your mind, review what’s
to (and understanding) the original home’s influences also
possible, and become brave!
home that were being retained.
lamp for Kosta Boda and discovered at Leonard Joel. Artwork by Ronnie Tjampitjinpa.
which I’m excited about. Lots of beautiful colours, reflective
Start with what you love and allow yourself time for ideas to
positive about the changes being made and the areas of the
TOP LEFT: Mardi's Baskerville table
seeds for the design. It will be one of our bolder projects,
(to meet current Australian standards), including a large
Peter McIntryre before construction started, and he was
B&B Italia Seven dining table and Salvador Dalí sculptures discovered at Leonard Joel. Artwork by Evi O.
stained-glass windows throughout, which have formed the
the original features were retained, expressed, and improved
informed our approach to this renovation. We did speak to
OPPOSITE: Mardi at home, with her
Any exciting projects on the cards for 2022 that you can tell us about? Yes, we are working on some great projects, ranging from a renovation to a large Arts & Crafts home in Toorak, built in 1908, to a playful renovation of a kooky 1950s home in Beaumaris. We are also looking forward to working on some retail and hospitality as the industry starts to re-open. leonardjoel.com.au | 23
— PROFILE —
Minutes with… PAUL NICOL
Get to know Paul Nicol, our new Modern Design Assistant. "It is an absolute game changer having Paul in the assistant role, he is an enthusiastic hands-on worker, who has a true passion for all things design." ANNA GRASSHAM, HEAD OF MODERN DESIGN
FAVOURITE MAKER / DESIGNER / ARTIST Prior to working for the Modern Design department at Leonard Joel I really liked the work of Australian mid-century designers such as Fred Lowen, Michael Hirst, and Grant Featherston. While I still love their designs, I’ve found that since working under the head of modern design, Anna Grassham, I’ve developed a real appreciation for different materials like perforated and powder coated metals, glass, tubular steel, and coloured plastics. I couldn’t narrow it down to one designer as my favourite but any piece that I’d feel equal parts comfortable showing off as I would to use, normally takes my fancy. FAVOURITE AUCTION PURCHASE I went on a bit of a purchasing spree last year and picked up two items which I really love; a Charlotte Perriand designed “Cocotte” lamp for Philips which now has pride-of-place on my work desk, and a mid-century tiled top coffee table with a magazine rack underneath it. The reason I like the coffee table so much is because I can’t figure out who it is by. One day hopefully I’ll be able to discover that it is by someone of significance. FAVOURITE WINE / COFFEE / COCKTAIL I don’t know nearly enough about wine to name a variety I enjoy but I am an avid coffee drinker. I’m yet to settle on a 24 | leonardjoel.com.au
favourite café but I normally keep my order simple and get a latte. Over the course of 2021 I managed to painfully wean sugar out of my coffees entirely, however I’m yet to stop myself from purchasing the odd baklava or custard slice alongside my caffeinated drink of choice. FAVOURITE BOOK / MOVIE Without a doubt my favourite movie is The Grand Budapest Hotel by Wes Anderson. It is an absolute rollercoaster of a movie but it’s full of some incredible interiors, some totally unique buildings, many brilliant actors, and of course that typical Wes Anderson sense of humour. If you haven’t already done so, please set aside a time to watch it. YOUR IDEAL DAY IN MELBOURNE I’d start early with a coffee and large meal from a local café before going to sport where I’d somehow manage to avoid injuring myself. My ideal day would be warm, so I’d like to fit in a trip to the beach for a quick dip. To wind the day up I’d go somewhere which I’ve never been to before with friends, ideally Vietnamese or Japanese cuisine. A post dinner walk would be on the cards so dinner would likely be on Chapel Street or Brunswick Street, which both coincidentally have a few ice-cream shops situated centrally on them. After scoops and a couple of kilometres of walking I’d try and fit in a movie at Cinema Nova in Carlton, and then somehow make it home before too late.
— VALUATIONS —
Valuations Leonard Joel is the only auction house in Australia with a dedicated Valuations department, enabling us to offer a broad range of specialist expertise for the valuation and auction of single items and entire collections. — COMPLIMENTARY VALUATIONS IN MELBOURNE, SYDNEY, BRISBANE, & ADELAIDE
ONLINE VALUATIONS To submit items for complimentary appraisal online, simply
We offer complimentary verbal valuations in our salerooms
complete the form on our website and a Leonard Joel
across Australia by appointment.
specialist will contact you within 10 working days.
We also host a Valuations Evenings in Melbourne on the first
NON-MARKET VALUATIONS
Wednesday of every month from 5pm, with no appointment necessary.
If you require an assessment for the purposes of family division or probate, or you would like to arrange an offsite or written valuation for insurance, superannuation, or matrimonial, please contact our Head of Valuations, David Parsons at 03 8825 5638 or email david.parsons@leonardjoel.com.au
leonardjoel.com.au | 25
— A LAST LOOK —
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...
MIRKA MORA (1928-2018) Curlews in the Garden 1980 wool, cotton and lurex tapestry 176 x 241cm Sold for $200,000 Important Works from the NAB Art Collection, February 2022
Leonard Joel is thrilled to announce a white glove result for “Important Works from the NAB Art Collection” on 23 February 2022, with 100% sold by lot, 225% sold by value, 29 new artist records set, and $1,952,900 raised for the philanthropic work of the NAB Foundation. Notable results included the exciting sale of this large scale tapestry by Mirka Mora, which sailed past the estimated range and sold for $200,000 IBP to a delighted bidder on the telephone. Demand for Mora’s artwork has exploded since Leonard Joel held the auction of her studio in 2019; her top five prices have all been achieved since that pivotal auction, with this one now taking the lead.
GREG JOHNS (born 1953) At The Centre (There is Nothing) 2009 corten steel initialled and dated at base: GJ 2009 130 x 130cm (excl. plinth) Sold for $93,750 Important Works from the NAB Art Collection, February 2022
Another highlight from "Important Works from the NAB Art Collection” was this sculpture by Greg Johns, which was a maquette for the even larger version at McClelland Sculpture Park.
26 | leonardjoel.com.au
— A LAST LOOK —
HAROLD SEPTIMUS POWER (1878-1951) The Bullock Team c.1914 oil on canvas laid on board signed twice lower left: H. S. POWER 111 x 178.5cm Sold for $100,000 Important Works from the NAB Art Collection, February 2022
LOUIS POULSEN 'MUSHROOM' TABLE LAMP FOR VERNER PANTON Acrilic, plastic, and metal. Denmark, c 1970s Sold for $$1,190 Scandinavian Design, February 2022
Two Rare Worcester (Barr, Flight and Barr) Porcelain Armorial Monogrammed Plates From 'The George III Service', Circa 1807-1813 Sold for $42,500 Decorative Arts, March 2022 NEILS MOLLER SET OF SIX 'MODEL 71' DINING CHAIRS Solid teak and teak veneer, black vinyl seats. Denmark, Designed 1958 Sold for $3,500 Scandinavian Design, February 2022
A Rare Chinese Doucai 'Crane' Bowl Yongzheng Mark and of the Period (1722-1735) Sold for $47,500 Asian Works of Art, March 2022
A French Louis XVI Style Mahogany Sideboard By Maison Gouffé, Paris, Mid 20th Century Sold for $13,750 Decorative Arts, March 2022
leonardjoel.com.au | 27
22
ND REPORT
Bringing Rhinos Back to Manas National Park —
LEFT: In July 2015, a rehabilitated and
released rhino named Ganga—who was rescued and rehabilitated at the Center for Wildlife Rehabilitation and Conservation (CWRC) in Assam, India—gave birth to a healthy male calf in the wild. She is the first released rhino in Manas to successfully reproduce and has given birth to three calves since her release. Photo: Bhaskar Choudhury / © IFAW/WTI BELOW: On April 9, 2021, an expert
team from the International Fund for Animal Welfare (IFAW) and the Wildlife Trust of India (WTI) loaded three rehabilitated greater onehorned rhino calves into individual crates for translocation and release in Manas National Park. Photo: Madhumay Malik / © IFAW-WTI BOTTOM: Animal keepers at the
In the 1990s, the greater one-horned rhino was on the verge
IFAW and WTI decided to rehabilitate orphaned rhino calves
of local extinction in India’s Manas Landscape. Today, an
from Kaziranga and then release them into Manas when they
estimated total of 54 rhinos roam and thrive in the area and
are two or three years old, an age at which they are more able
the population is steadily growing.
establish their own territory.
Nearly 50% of this population is thanks to the work of the
In 2002, IFAW, WTI and the Assam Forest Department
International Fund for Animal Welfare (IFAW) and the Wildlife
established the Centre for Wildlife Rehabilitation and
Trust of India (WTI). A leading factor in the incredible success
Conservation (CWRC) near Kaziranga National Park. It’s the
of this project is the close partnership between IFAW and
only facility in India that rescues, hand-raises and rehabilitates
WTI—a partnership that’s been going strong for 20 years, a
animals such as one-horned rhinos and Asian elephants. Since
milestone we celebrated in 2021.
it was established the CWRC has rescued more than 5,500
Manas National Park is home to diverse wildlife, including
animals and released 3,500 back into the wild.
tigers, Asian elephants, one-horned rhinos, golden langurs,
On average, CWRC rescues around three rhino calves each
swamp deer and clouded leopards. Civil unrest in the 1980s
flood year (one year, the team rescued four rhino calves in
and early 1990s left the landscape vulnerable to poaching,
one day). Orphaned calves are rehabilitated and raised until
deforestation and fragmentation. Wildlife populations were
they can be moved to a soft-release facility in Manas before
severely impacted and nearly all of the park’s existing rhino
returning to the wild.
population was wiped out.
The partnership between IFAW and WTI has made huge
As the region stabilised, IFAW began working with WTI and
progress in ensuring that rhinos and other wildlife have a safe
the Assam Forest Department to repopulate the park and
and secure habitat. Together we were instrumental in getting
re-establish it as one of the most exceptional wildlife parks in
the Manas National Park expanded by 350 square kilometres
the world through our Greater Manas Recovery Project.
in 2016. In 2021 together we helped add another 422 square
Re-establishing rhinos is a priority as they act as a keystone species in the landscape and their recovery will benefit
kilometres of protected land to the Greater Manas Landscape with the designation of Raimona National Park.
the grassland ecosystem and maintain ecological balance.
“With teamwork, consistency and incredible supporters,
However, rebuilding the population is especially challenging
positive change is within our reach. The challenges we face in
because rhinos are very territorial and adults moving from one
our world today are urgent, complicated and, often, resistant
habitat to another often fail to thrive. IFAW and our partners
to change. But the story of this project and the success of
looked for a new approach.
our long-term partnership with WTI proves that together we
The Kaziranga National Park, in the same northeast Indian state of Assam, is home to the world’s largest population of greater one-horned rhinos. Rhino calves sometimes get separated from their mothers in this area, often during biannual flooding that forces animals to seek higher ground.
can make a difference for animals and people in our world,” said Meredith Whitney, an Animal Rescue Program Manager at IFAW. MELANIE MAHONEY / IFAW
Center for Wildlife Rehabilitation and Conservation (CWRC) bottle-feed two rescued Indian rhino calves at the center, which is located near Kaziranga National Park in Assam, India. Photo: Subhamoy Bhattacharjee / © IFAW-WTI
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Robert Owen photographed by Angela Connor.
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A Spectacular Fancy Yellow Diamond and Diamond Ring, weighing 10.33 carats Sold for $143,750 Important Jewels Auction, December 2021
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