ISSUE 99 AUGUST – SEPTEMBER 2022
AUG
Decorative Arts Monday 8 August, 12pm / MELBOURNE Asian Works of Art Monday 8 August, 6pm / MELBOURNE Fine Art Monday 15 August, 6pm / SYDNEY Important Jewels Tuesday 16 August, 6pm / SYDNEY Indigenous Art Monday 22 August, 6pm / MELBOURNE
SEP
auction calendar —
Specialist Rugs Thursday 1 September, 2pm / MELBOURNE Luxury Icons Monday 5 September, 6pm / MELBOURNE The Collector's Auction Tuesday 13 September, 2pm / SYDNEY Scandinavian Design Thursday 15 September, 2pm / MELBOURNE Women Artists Monday 26 September, 6pm / MELBOURNE Geoffrey Hatty: A Life In Design & Decorative Arts Tuesday 27 September, 2pm / MELBOURNE The Auction Salon Furniture & Interiors – 10am Objects & Collectables – 10.30am Jewellery – 11am Art – 11.30am Every Thursday / MELBOURNE
COVER: Geoffrey Hatty
LEFT: A Tibetan Gilt Bronze
Densatil-style Support Circa 15th century $1,200 – 1,500 Asian Works of Art Auction Mon 8 Aug, 6pm
welcome —
This Issue FROM THE CHAIRMAN 3 A Greville Street Memory – AUCTIONS 4 Important Collections | Geoffrey Hatty: A Life in Design & Decorative Arts 8 Fine Art | 8-Bit Invasions
Welcome to the 99th issue of Leonard Magazine. Within this issue, we celebrate the extraordinary career of 20th century decorative arts dealer Geoffrey Hatty, as we prepare for the auction of his expansive collection. We also learn more about the work of Australian woodcarver and cabinetmaker Robert Prenzel, discover the history of the tennis bracelet, and step into the 8-bit world of Invader. We also introduce a new segment; the Art Expert Series. In each issue, we will chat to an industry expert to educate our readers on all things art - from investing to caring for your pieces. Who better to begin with than renowned gallerist, Michael Reid. We hope you enjoy.
10 Fine Jewels | The Jewels of Kilimanjaro 12 Timepieces | Why Panerai? 13 Sydney | Le Goût Rothschild 14 Decorative Arts | The Laidlaw Suite by Robert Prenzel in Context 18 Important Jewels | Game, Set, Match! A History of the Tennis Bracelet 20 Indigenous Art | Searching for Symbols 22 Luxury | The Big Three from France: Part II 23 Prints & Multiples | Del Kathryn Barton – IN FOCUS 24 In Conversation: with Daniel Agdag 26 22nd Report | UK’s Ivory Trade Ban in Force 27 Art Expert Series: How to Begin Your Art Collection with Michael Reid OAM 28 5 Minutes with Lucy Foster 29 Brisbane: Miniature Masterpieces | Valuations 30 A Last Look – 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 —
A GREVILLE STREET MEMORY The collecting journey
Celebrating collections means much more to us than simply their beautiful presentation, although undoubtedly this element is critical when it comes to the arts and decorative arts. Celebrating at Leonard Joel is as much about engaging with both our clients and their collections, on a journey. It often begins with the simple but still important task of how to physically manage a collection, through all the elements of a selling process, with the ultimate aim of a successful auction and a simple, timely settlement. I find the process has a wonderful educational element; from beginning to end one learns about the collection and its categories, while often learning more about your client and their collecting philosophy. I always remember one collector telling me they collect what “speaks to them and gives them joy”. I’m attracted to that philosophy. At the end of these journeys you emerge enriched for the process; you’ve connected with someone new - sometimes their family also - and you know more about your subject matter than you did at the beginning. Sometimes, an auction house is lucky enough to enjoy the constant contact of a passionate collector over decades and not just weeks. When I first began my Leonard Joel journey in the 1980s, the 20th century categories, the postwar categories, and the design categories were only just entering the broader collector consciousness, and indeed a dealer base that was previously completely preoccupied with the Victorian and surrounding periods. One rare Melbourne visionary who saw beyond high-polished mahogany was Geoffrey Hatty, who presented extraordinary things for collector consideration; things that were contemporary in design and philosophy. I always remember visiting his dealership in Greville Street, Prahran and it was unlike anything I’d seen in Melbourne. He was as generous then with his quiet knowledge as he is now, and some 40 years later we have the great honour of offering his entire collection in a career concluding auction with Leonard Joel. These are the journeys we love being on with our clients, and we look forward to celebrating with you, Geoffrey, and his collecting community, this compelling postwar survey of design objects and furniture. JOHN ALBRECHT Chairman / Head of Important Collections
OPPOSITE: Pieces from Geoffrey Hatty: A Life in
Design & Decorative Arts ABOVE: Gae Aulenti Ruspa Quattro Table Lamp for
Martinelli Luce $25,000 – 30,000 Geoffrey Hatty: A Life in Design & Decorative Arts Tue 27 Sep, 2pm Melbourne
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“I always start with just one thing, one piece, which drives the aesthetic decisions around the rest of the space.’’ GEOFFREY HATTY, THE ALCHEMY OF THINGS BY KAREN MCCARTNEY 4 | leonardjoel.com.au
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IMPORTANT COLLECTIONS
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— AUCTIONS —
Geoffrey Hatty: A Life in Design & Decorative Arts Geoffrey Hatty is widely regarded as one of Melbourne’s
What is your favourite piece in the upcoming auction?
Geoffrey Hatty: A Life in
most influential 20th century decorative arts dealers. He
A pair of Bauhaus ceiling lights designed by Marianne
Design & Decorative Arts
was born in Moama in 1957, growing up along the banks of
Brandt, model DMB26, acquired through a friend in Munich
Tue 27 Sep, 2pm
the Murray River. He lost his father at a young age and was
who originally purchased them from the famous German
MELBOURNE
raised by his mother and sister. Despite not being wealthy,
photographer, Herbert List.
his mother had a sophisticated influence on him, and a OPPOSITE: Geoffrey Hatty
modern aesthetic that emanated throughout their house.
Describe your home aesthetic. My home aesthetic is obviously very personal to me, each
TOP: GIO PONTI BAR CABINET
Geoffrey moved to Melbourne in the early 1980s to become
room has its own different theme. The most beautiful things
Pearwood, etched mirrored glass and brass. Internal shelving, slide out drawers with Gio Ponti bar service set in sterling silver. Italy c 1930s $60,000 – 70,000
a hairdresser, which in his own words "was simply to meet
are generally the ones nobody wants, and that is why I love
women". He moved within the alternative arts scene, living
them.
BELOW: DANTE BALDELLI ARCHERS VASE FOR ROMETTI UMBERTIDE Vase with majolica archers highlighted in gold and pewter (Novecento Ceramiche italiane) Vol 1 (#3581) Italy c 1930s $22,000 – 28,000
in shared houses where his love of decorating continued. “As long as I didn’t move my flatmates television, I could do whatever I wanted.” His first shop was on Carlisle Street in St Kilda, later to become the famous Galleon café where his painted pink and grey walls remain. He was soon invited to open another store on Greville Street Prahran, when the strip was buzzing with fashionable cafés, clothing boutiques, and record stores. By the late 90s, Geoffrey had established himself as a serious and respected Melbourne dealer. He took the standalone shop at 296-298 Malvern Road South Yarra. His initial business name, TCD (Twentieth Century Design), had unfortunately been registered by someone else, however “adversity turned to advantage, and what better way to sell, than with my own name”. For the next 27 years, Geoffrey Hatty Applied Arts became an institution for interior designers, collectors, and stylish clientele. He was renowned for his keen eye, and interest in design movements that were outside the box. His buying
What is your favourite design period? Modernism, from the 1920s - 40s, particularly the works of Josef Hoffmann and Gustav Siegel. Do you have a favourite auction memory, or purchase? Most of my purchases are special to me, I enjoy buying new items, things with some history to them or a story to tell; that’s sometimes as important as the item itself. I won’t buy anything I don’t personally like. Any advice for the new generation of collectors? Buy what you would like to have around you, even if you’re buying for investment, you still need to live with it. Is there something you sold that you wished you had kept? Probably lots of things. Back in the older days of Leonard Joel I purchased an Arts & Crafts sideboard with Christopher Dresser tiles… should have kept that. What is the biggest misconception about 20th century design? That everything manufactured is worth something.
trips overseas would see him return to Melbourne with
Spanning a career of over four decades, what are you most
elements of the Bauhaus, Arts & Crafts, and early Italian
proud of?
design, then a rare sight in Australia.
Surviving. And of course, getting better with age.
In the lead up to his career closing auction, we asked
ANNA GRASSHAM / Head of Modern Design
Geoffrey a few questions about life and design, and find out what has kept him inspired in an ever-changing industry for so many years. leonardjoel.com.au | 7
— AUCTIONS —
FINE ART
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— AUCTIONS —
8-Bit Invasions Anonymous urban artist Invader’s tile mosaics in the shape of
and visible locations such as above sidewalks, highways,
Fine Art Auction
8-bit video game characters (named ‘invaders’) can be found
shopfronts, and crossings, there are also more covert
Mon 15 Aug, 6pm
cemented and glued to building facades around the world -
locations in which one can discover a Space Invader, such
SYDNEY
more precisely in 80 cities across 20 countries, totalling 4056
as at the top of the Eiffel Tower. The highest located Space
invaders as of today. Beginning with the artist’s home in Paris,
Invader is found at the International Space Station (408km
‘invasions’ have been staged in waves over the past 20 years
altitude) and the lowest is found on the ocean floor of
from New York and London to Istanbul and Melbourne.
Mexico’s Cancun Bay, only accessible to experienced divers.
The anonymous artist, who only appears in public masked,
Invader estimates that about 15% of his artworks have been
was inspired by the 70s and 80s arcade games Space Invaders,
removed from public spaces, often by individuals hoping to
Pac-Man, and Super Mario Bros. His pixelated little creatures
sell them. To combat this, he has engineered defence tactics –
are freed from inside the games and installed in public
the type of tile he now uses breaks very easily, so if a passer-
spaces in an effort to decontextualise art and bring it to
by with malintent tries to deinstall a work they will be left
those who do not have access to institutions. He calls these
with broken pieces of tile rather than a complete work.
OPPOSITE: INVADER
(French, born 1969) Invasion Kit #06: Runner 2007 mosaic tiles ed. 65/150, 17 x 20cm $12,000 – 18,000 ABOVE: Space Invader, created
using a mosaic of tiles, Oxford Street, London / Alamy
creatures “the perfect icons of our time, a time where digital technologies are the heartbeat of our world”. 1 While the artist is a graduate of the École des Beaux-Arts, one of the most renowned schools worldwide and attended by greats such as Géricault, Delacrois, Degas, and Renoir, his artistic practice (which some term graffiti or a game) aims to break from such institutions which he considers to be confining. At the same time, Invader considers urban spaces and institutions to be “two very complimentary sources of energy” and since 2000
The artist began selling limited edition ‘invasion kits’ on his website to support his ‘invasion waves’. These ready-to-use tile kits are now in high demand on the secondary market as they present an opportunity to both own a Space Invader and participate in the worldwide invasion of these little critters. We are pleased to present Invasion Kit #06: Runner 2007 within our forthcoming Fine Art auction here in Sydney.
has created mosaics for many exhibitions worldwide 2.
MARCELLA FOX / Sydney Manager
While most Space Invaders are found in highly populated
1. The Official Website of Invader, About, https://mail.space-invaders.com/ about/ 2. Ibid.
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— AUCTIONS —
FINE JEWELS
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— AUCTIONS —
The Jewels of Kilimanjaro As far as precious gemstones are concerned, tanzanite is
Intriguingly, tanzanites display an optical phenomenon
a relatively recent discovery. A form of the mineral Zoisite,
called pleochroism. Depending upon crystallographic
tanzanite was discovered in 1967 by Manuel D’Souza in the
orientation, the mineral can absorb different transmitted light
Manyara region near Mount Kilimanjaro, Tanzania. Whilst
wavelengths. This means that the stone displays a change
only discovered in the 20th century, geologists suggest
of colour when observed from different directions or when
that the gemstone was likely formed over 500 million years
viewed through plane polarised light. As tanzanite is trichroic,
OPPOSITE LEFT TO RIGHT:
ago through immense heat combined with tectonic activity
Platinum, Tanzanite and Diamond Ring $2,500 - 3,500
it is possible to observe three different colours when viewed
around Mount Kilimanjaro during the Ediacaran Period.
from varying angles. Colours visible in tanzanite include violet,
14ct White Gold, Tanzanite and Diamond Ring $5,000 - 7,000
a marketing campaign that rebranded the new gemstone as
Next Fine Jewels & Timepieces Auction Mon 24 Oct, 6pm MELBOURNE
ABOVE: 18ct White Gold, Tanzanite and Diamond Ring $3,000 - 5,000 BELOW: Mount Kilimanjaro, Tanzania / Alamy
Originally referred to as ‘Blue Zoisite’, Tiffany & Co. launched ‘Tanzanite’ to reference the exotic geographical location of discovery. Since then, various international jewellery houses
blue, indigo, burgundy, purple, red, brown, green, yellow, and cyan. Due to these colour variations, it requires a skilled lapidarist to cut a tanzanite ensuring the most desirable colour is reflected through the table of the stone.
including Bulgari, Buccellati, and Cartier among others have
Along with high clarity and exceptional colour display, scarcity
incorporated this alluring stone into their designs. Some
and rarity remain a drawcard for gem collectors. Mines are
notable examples include the Chopard ‘Belle’ necklace
close to depletion, with geologists speculating that supply
inspired by Disney’s Beauty and the Beast, Harry Winston’s
could run out within the next 20 years. In terms of value,
1991 convertible ‘Peterson’ brooch in platinum, and the
a watershed moment will be when the mine is entirely
intricate ‘Queen of Kilimanjaro’ tiara centring a 242 carat
depleted, and tanzanite is considered a highly coveted
faceted tanzanite within a contrasting surround of diamonds
‘heritage’ stone.
and tsavorite garnets. Perhaps the most remarkable feature of tanzanite is the intense and unique colour. Often mined rough as a reddishbrown coloured stone, tanzanite is heated to remove these
The October 2022 Fine Jewels and Timepieces auction features several pieces of collectable tanzanite jewellery. BETHANY MCGOUGAN / Head of Fine Jewels & Timepieces
tones and reveal dominant violet hues. The process is much gentler than typical gemstone heating, with temperatures of around 500 – 800 degrees Celsius for up to an hour. This treatment is considered stable and permanent.
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— AUCTIONS —
TIMEPIECES
Why Panerai? Next Fine Jewels & Timepieces Auction Mon 24 Oct, 6pm MELBOURNE
The Panerai wristwatch has always struck me as an impressive
the perspex crystal, in 1938 they introduced their massive
piece of horological machinery. Let’s delve a little deeper and
luminous sandwich dials, in 1940 came the integrated lugs
explore what makes these watches so distinctly wrist-worthy.
with spring bars as well as a movement with an 8-day power
The popularity of the Panerai watch can be traced back to the role they played in the Navy. Watchmaker Giovanni
BELOW: Giovanni Panerai outside his
watch store / Alamy ABOVE: Panerai Luminor PAM00372
a Stainless Steel Wristwatch With 3-day Power Reserve NOO29/3500 Circa 2011 Sold for $7,500
brought in their signature lever-activated crown lock.
Panerai (1825-1897) founded Officine Panerai in 1860. In the
So unfalteringly accurate and resilient were Panerai watches,
following years, Panerai’s grandson Guido Panerai (1873-
that during the Second World War, the Officine Panerai
1934) broadened the business to include the production
productions were not only standard issue tools for military
of mechanical engineering and high precision scientific
personnel of the Italian Navy frogmen but for the German
instruments.
Kriegsmarine as well. In the 1970s, Panerai supplied similar
Further innovations and developments followed, and in 1916,
instruments to the Egyptian Navy.
Panerai filed the patent for Radiomir, a radium-based powder
With their larger-than-life aesthetic matched equally by
that gave luminosity to the dials of sighting instruments and
their fascinating and important place in military history,
devices, which proved invaluable during military operations.
Panerai today retains all the immediately recognisable
Officine Panerai later changed this material to Luminor, which
features – the large crowns, minimalist style of dials, and large
had the same qualities as Radiomir but was not as dangerous
cases. Panerai’s distinctive characteristics were borne out
as the original radioactive material.
of naval necessity, yet their watches command a presence
Panerai was highly innovative in a relatively short period of time and many of the distinct features developed in the company’s early history are recognisable in some form or another in their models today. In 1936, they developed
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reserve to reduce wear on crown seals, and in 1950 they
and significance today, just as they have throughout their captivating and complicated history. PATRICIA KONTOS / Senior Jewels & Timepieces Specialist
— AUCTIONS —
SYDNEY
Le Goût Rothschild The name Rothschild is one that immediately suggests The Collector's Auction
wealth, opulence, and luxury. The famed banking family
Tues 13 Sep, 2pm
were at the centre of international high finance during the
SYDNEY
rapid industrialisation of Europe in the nineteenth century, being responsible for supporting many of the great railway
ABOVE: A Pair of Austrian Silver
schemes as well as complex government financing for massive
Candlesticks $5,000 – 7,000
infrastructure projects such as the Suez Canal. Originally
RIGHT: 'Pandora Gifted' by John
extensive households in London, Paris, Naples, Vienna, and
Flaxman / Alamy
from Frankfurt, by the end of the century the family had the Netherlands, and their great wealth, combined with their love of art, luxury, and fine living led to the creation of the expression le goût Rothschild – “the Rothschild taste”. These elegant Viennese silver candlesticks of neo-classical
It is likely that these candlesticks belonged to Salomon
design are dated 1805, the year that Napoleon’s army
Mayer von Rothschild (1774-1855). In 1820, Prince Metternich,
stormed through Europe, ultimately occupying Vienna after
Austrian Minister for Foreign Affairs, entered into negotiations
the December defeat of the Austrian and Russian armies at
with the House of Rothschild for a large loan that was to take
the battle of Austerlitz. The fluted urn shaped nozzles are
the form of a lottery. The complicated arrangements for this
supported by draped female herms suggesting the caryatids
enormous loan demanded the presence of a Rothschild in
(the sculpted figures serving in the place of columns) of the
Vienna and thus Salomon, who had been handling Rothschild
Erechtheion in Athens, and the overall design is of a pared
affairs with Austria, moved to the city and established a bank
back classicism close to the spare linear designs of John
there. Salomon’s close ties to Metternich were crucial in
Flaxman and a foretaste of Biedermeier. The base of each
earning for the family a stake in the restructuring of Europe
candlestick is engraved with the arms of the Rothschild family
after the Napoleonic wars.
and their motto: “Concordia, Integritas, Industria” (harmony, integrity, industry). This hereditary barony was granted to the five Rothschild brothers; Amschel, Salomon, Nathan, Carl, and James, by the Austrian Emperor Francis II in 1822.
We are pleased to offer these beautiful candlesticks in our forthcoming Collector’s Auction in Sydney. RONAN SULICH / Senior Adviser, Sydney leonardjoel.com.au | 13
— AUCTIONS —
“Robert Prenzel's suites form one of the most important bodies of work in earlier Australian furniture design.’’ DAVID PARSONS, HEAD OF DECORATIVE ARTS
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— AUCTIONS —
DECORATIVE ARTS
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— AUCTIONS —
The Laidlaw Suite by Robert Prenzel in Context Leonard Joel is honoured to offer the Laidlaw bedroom suite
Next was the Laidlaw suite of 1908, commissioned as a gift
Decorative Arts Auction
by Robert Prenzel (1866–1941) in our August Decorative Arts
to Thomas Haliburton Laidlaw, a prosperous auctioneer,
Mon 8 Aug, 12pm
auction.
station agent, and pastoralist, by his wife Margaret for ‘Kilora’,
MELBOURNE OPPOSITE (DETAIL): A Carved
Australian Blackwood Chest of Drawers by Robert Prenzel, Circa 1908 $20,000 – 25,000 BELOW: A Carved Australian
Blackwood Dressing Table by Robert Prenzel, Circa 1908 $20,000 – 25,000
The suite, made circa 1908, is one of five similar suites made by Prenzel between 1905 and 1910, all to commission for
their fine house in Hamilton for which Prenzel also provided architectural woodwork.
prominent Western District patrons, that, together, form one
The decoration of the Laidlaw suite is the richest and most
of the most important bodies of work in earlier Australian
exuberant of Prenzel’s 1905–1910 suites. The design and
furniture design. The suite has remained within the Laidlaw
carving of the Glenormiston suite is restrained even by
family since its creation and is perhaps the last of these suites
comparison with some of Prenzel’s earlier work, restraint he
to remain intact in original ownership.
continued in the Mathias suite even with its introduction
Born and trained as a carver in Germany, Prenzel arrived in Melbourne in 1888. For the next thirteen years, he worked as a designer and carver of decorative elements for use on furniture and in architectural schemes, mostly in fashionable historically-inspired styles. Around 1900, Prenzel turned to new, seemingly disparate sources of inspiration; the European Art Nouveau and Australian fauna and flora, the latter reflecting the current of national pride in Australia surrounding federation in 1901. These interests are evident, usually separate from each other, in Prenzel’s work in the following years but came together in a more substantial and dramatic way in his 1905–1910 bedroom suites. The first of these was that commissioned
of Australian motifs, but Prenzel seems to have cast this restraint aside for the Laidlaws, in so doing reaching for the first time the full-blown style for which he is best known. More boldly carved overall in deeper relief than its predecessors, the Laidlaw suite is also richer in faunal decoration, including, most spectacularly, near-freestanding figures perched atop three pieces in the suite that are not found on any of the other suites. In its freedom, Prenzel’s work for the Laidlaws marks a high point among these suites. The last of these, the ‘Davies suite’ of 1910 for another part of the Black family, retains much of the character of the Laidlaw suite but at a more subdued level.
by Steuart and Isabella Black as part of a major renovation
It appears Prenzel made no further suites, turning instead to
of their historic Western District homestead ‘Glenormiston’.
producing the smaller works – stand-alone faunal panels and
The Glenormiston suite is, however, only partly a precursor
occasional single pieces of furniture – that are now the most
of the following suites for while it is generally similar to these
commonly seen of his work. Typically carved in deep relief,
in composition and design, its carved decoration is entirely in
and sometimes surmounted with figures carved almost in the
the Art Nouveau idiom with no Australian motifs at all.
round, these relate most closely to the particular manner of
The change was to come with Prenzel’s next bedroom suite,
the Laidlaw suite.
the ‘Mathias suite’ of 1906–1907, now in the National Gallery
Seen in this context, the Laidlaw suite may fairly be regarded
of Victoria. This was commissioned by Isabella Black’s visiting
as the fullest expression of what we now associate with
sister May, who, despite being Canadian, requested that her
Robert Prenzel.
suite be decorated with Australian fauna and flora. This suite attracted much attention in Prenzel’s Melbourne workshop
DAVID PARSONS / Head of Decorative Arts
before being shipped off and was replicated for another
Reference: Terence Lane, Robert Prenzel 1866–1941: His Life and Work
Western District patron (this latter suite now dispersed).
(National Gallery of Victoria, 1994)
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IMPORTANT JEWELS
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— AUCTIONS —
Game, Set, Match! A History of the Tennis Bracelet Important Jewels Auction Tues 16 Aug, 6pm SYDNEY OPPOSITE LEFT TO RIGHT:
Tiffany & Co. 'Tiffany Jazz' Bracelet $18,000 - 24,000
As the sun blazes down upon centre court, a thundering
At the news conference afterwards, reporters push Evert to
roar erupts from the crowd. It is a typically hot late summer
reveal the reason behind her mid-match antics. She waves
afternoon at the 1984 US Open, and Tennis great Chris
her arm showing the almost lost item, “This, my tennis
Evert has just won set point, continuing to cement her
bracelet!”, a response that will forever immortalise the
legacy as one of the all-time greats of women’s tennis
design in jewellery history.
history.
The tennis bracelet to this day remains a staple in the
This day, however, another star is born. Elegantly glittering
collection of all fashion forward women, an irreplaceable
Diamond Bracelet $32,000 - 48,000
on her wrist is a single line of diamonds. Popularly referred
addition to the art of sartorial dressing. The simplicity of
to as a ‘line bracelet’, the style dates back to the 1920s.
the design allows for layering with existing pieces. A popular
Diamond Tennis Bracelet $40,000 - $60,000
The pairing of the diamonds in a more causal setting had
combination today is stacking it together with creations of
gained traction in the mid-1970s, notably when Elsa Peretti
the same era, such as the iconic designs of LOVE and Juste
ABOVE: Diamond Bracelet
released her ‘Diamonds by the Yard’ collection for Tiffany &
un Clou by Aldo Cipullo for Cartier.
$70,000 - 90,000 BELOW: Chris Evert, 1981 French
Open / Alamy
Co. The ‘throw on and go’ mentality had seen diamonds no longer reserved exclusively for evening wear, but styled with jeans and t-shirts, or in Evert’s case, tennis whites. Suddenly, a hush moves across the audience - the star has dropped to her knees, an ill-fated injury perhaps? Or some new tennis ritual destined to be incorporated into a
On the induction of Evert into the Tennis Hall of Fame, she was presented with a scintillating tennis bracelet designed by Kwiat totalling over 8 carats; a gift truly worthy of a woman who altered the course of jewellery history. LAUREN BOUSTRIDGE / Senior Jewels Specialist
million amateur routines? The crowd leans forward straining to make sense of what they see on the court below, she seems to be frantically searching for something, but what? Her diamond bracelet of course. During a quick return the bracelet had come loose and fallen to the ground, suddenly diamonds are the priority. Play is halted, but Evert quickly finds her gleaming treasure and flashes her brilliant smile as play continues.
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— AUCTIONS —
INDIGENOUS ART Searching for Symbols in Australian Indigenous Art For appreciators, admirers, and observers of Indigenous Australian art, there is a vast array of visual information to absorb. In many situations, we seek a deeper understanding of the imagery. The Papunya Tula painting style, for example, is derived directly from the artists’ knowledge of traditional ceremony. As this imagery of a sacred nature was not necessarily intended for public broadcast, many artists developed conventional symbols with multiple meanings allowing them to describe their work without revealing sacred stories to those who don’t possess the rights to their significance.1 Here we take a look at five Indigenous paintings both recently sold and pending auction at Leonard Joel and the symbols, or ‘hieroglyphs’ as Geoffrey Bardon terms them, that act as affirmations of story or place:
Charlie Tarawa Tjungurrayi
Larry Spencer Jungurrayi
Frog Dreaming 1979
Wati (Men's) Dreaming at Yarripilangu 1989
Sold for $10,625 IBP on 11 April 2022
Sold for $2,750 IBP 11 April 2022
Corroboree men, as shown through the ‘U’ shapes, sit around
At the top of this painting, we can see the rockhole site
campfires in caves as shown through the circular forms in
shown through the concentric circles. Either side are two
seven different spots across the painting. The wavy lines
men, as shown by the two ‘U’ shapes. Coming from the
connecting them are the tracks of the Frog Spirit Beings
rockhole is snake vine, which was often used as rope or twine,
as well as the rain outside. In the upper right we see the
as shown through the wavy lines with branched endings.
waterhole shown through isolated concentric circles.
Flanking the painting either side are two straight lines, which are the sandhills.
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— AUCTIONS —
Indigenous Art Auction Mon 22 Aug, 6pm MELBOURNE
Paddy Nelson Tjupurrula Water (Ngapa) Dreaming at Waturlpunyu 1988 Sold for $3,750 IBP 11 April 2022 This is a painting of the Ngapa (rain/water) Dreaming for Tjupurrula at Waturlpunyu and is associated with the Jardiwarnpa (Snake Dreaming) ceremonies. The concentric circles represent rockholes, within which lives Warnayarra, a large watersnake. The trees are shown through the larger straight lines whilst the wavy and curved lines represent the water as well as the paths of the creation ancestors. The small straight lines are small clouds.
Susie Bootja Bootja Napangardi Wanayarra, Kurtal, South of Yaka-Yaka 1990 From the National Australian Bank Art Collection, forthcoming auction, 22 August 2022 At the centre of this painting is the waterhole (kurtal), home to many ceremonies. Wanayarra, the Rainbow Snake, lives inside it and is called upon when water is needed in the drought. Either side we see the two goannas who were here in the Dreamtime and held ceremonies here, and the sandhills as the wavy lines at the top and bottom.
Elizabeth Nyumi Nungurrayi Minyilli, Near Kiwirrkurra, Western Australia 1997 From the National Australian Bank Art Collection, forthcoming auction, 22 August 2022 Elizabeth here depicts the site where her grandfather died. She shows a number of waterholes in the top right, as well as one that has dried out in the middle with the black centre which is where bush tomato (pura) can be collected. We see a campsite with the fire upper left and a digging stick (wanna) sitting horizontally next to it. In the bottom left we see a large coolamon, which is a wooden dish, full of food. 1 Caruna, W., Aboriginal Art, Thames and Hudson, Singapore, 1993, p.109-110
OLIVIA FULLER / Head of Art
leonardjoel.com.au | 21
— AUCTIONS —
Luxury The Big Three from France: Part II — In the last issue, we delved into the influential vision of Louis Vuitton. Now, we take a look at the next of our three French
Next Luxury Auction
luxury giants; Hermès.
Tues 15 Nov, 6pm MELBOURNE
Hermès, timeless yet innovative, opened its doors in 1837 along the Grands Boulevards quarter of Paris as a harness
TOP: A Birkin 35 Handbag by Hermès
workshop servicing the elite of Europe. It was founded by
Sold for $15,000
Theirry Hermès, who like Louis Vuitton came from humble
LEFT: Hermès advertisement, 1929
beginnings. After Thierry’s death, in 1880, his son Charles-
/ Alamy
Emile Hermès took over the management of the business, and things started to change for the brand. Expanding the business, the workshop moved to 24 Rue Faubourg Saint-Honore, laying a solid foundation, as the Hermès headquarters still stand there today. The company continued to focus on international sales throughout Europe, Russia, North Africa, Asia, and the Americas, primarily as an artisan saddler. With an affluent clientele established, the 20th century introduced a range of products synonymous with the house today. In 1900 the 'Haut à Courroies', a saddle carry bag, was created - the predecessor of the desirable Birkin, by the way. Handbags were introduced formally in 1922, and in 1935 the ‘Sac à Dépêches’ came along. It would take the fashion world by storm when it was renamed 1956 as the ‘Kelly’. The first women’s ready couture collection was launched in 1929. The famous silk scarves were added to the offering in 1937, and in 1951 the first fragrance ‘Eau d’ Hermès’ was launched. The company continued to reinvent and add new
22 | leonardjoel.com.au
products to its range right through the 20th and into the 21st centuries. Hermès stays true to its artisan values with limited stock across some lines, and is proud to be still family owned. Stay tuned for the next issue of Leonard Magazine, in which we’ll look at Chanel, our third French trailblazer. JOHN D'AGATA / Head of Luxury
— AUCTIONS —
Prints & Multiples Del Kathryn Barton — Del Kathryn Barton is widely recognised as one of Australia’s Next Prints & Multiples
leading figurative painters of her generation. She is a two-time
Auction
Archibald Prize winner, a position only shared with one other
Wed 16 Nov, 6pm
female artist, Judy Cassab. Her winning 2008 self-portrait
MELBOURNE
with her children ‘You are what is most beautiful about me, a self-portrait with Kell and Arella’, and the 2013 portrait of
TOP: DEL KATHRYN BARTON
Australian actor Hugo Weaving, have propelled her to local
(born 1972) That’s When I Was Another Tree 3 2007 105 x 76cm Sld for $8,750
and international distinction.
RIGHT: DEL KATHRYN BARTON
veins in leaves to the strands of hair. Our eyes travel across
(born 1972) Girl 2004 watercolour, gouache and ink on paper with padded fabric border 80 x 60cm Sold for $9,375
Looking at Del Kathryn Barton’s works, we are instantly captivated by the intricacy of her delicate marks, from the the works, drawn to the powerful opulent imagery and lost in their complexity. The detail of her works is further heightened through collage, with Barton adding unusual mediums from glitter to embroidery to her pieces. Beyond the canvas and drawn from one of her inspirations, the artist’s fantasy world led her to create a 14-minute
‘That’s when I was another tree 3’ shows the meticulous
animated adaption of Oscar Wilde’s work ‘The Nightingale
detail that the artist is known for. Each strand of hair weaves
and the Rose’ in 2015 with filmmaker Brendan Fletcher.
together to create a foliage-like pattern, as though traced
“When I first discovered Oscar Wilde’s radical fairy story ‘The Nightingale and the Rose’ as a teenager, it seemed to me that the character of the Nightingale breathed with the energy of a true artist” (The Artist)
from nature. A rhythmic line extends across and down the sitter’s body, also drawing parallels with nature. Del Kathryn Barton has also included an ode to ‘The Nightingale and the Rose’ with a sparrow perched on her shoulder. It is prints like this that make her one of the most collected and sought-after
Her lithographic prints, whilst not using the range of mediums
artists today.
seen in her paintings, still gather sharp market attention.
HANNAH RYAN / Art Specialist
The intricate use of colour and manipulated texture give the appeal of either a watercolour or oil on paper, and close inspection reveals a superb level of detail.
leonardjoel.com.au | 23
— IN CONVERSATION —
In Conversation with Daniel Agdag
This issue, we chat to Melbourne based artist and filmmaker Daniel Agdag, whose delicate, inventive, and bewilderingly intricate architectural sculptures take the humble medium of cardboard to completely new heights. Your subject matter and visual style are instantly recognisable, what inspires your work? I’m predominately inspired by the built world, from machinery to architecture. I’m intrigued by the myriad of hidden systems behind closed doors or utilitarian hatches. I find myself absorbed by the designed details of elements made for very specific purposes and functions, from ducting systems in the streets of Tokyo to the now defunct levers and pulleys of the canal bridges in Amsterdam. Every part and fixture has a story and person behind it. Somebody, somewhere, devoted time and effort to solve a problem by creating it and I’m fascinated and in awe of that. I want to understand why something is shaped a certain way or why it needs to be where it is. This is what I explore in my work. What do you hope people take away from your work? I hope people find within the work some contemplation, I hope they see more revealed on every view. Your work is so intricate, how long does it take you to finish a piece? (And how’s your eyesight?!) So far so good regarding my eyesight. Very grateful for that! The length of each piece can vary quite a bit depending on the idea and its execution. One of my smaller works can take up to three months. Because I work intuitively without drawings or detailed plans, I can find myself making and then remaking elements of the work multiple times on occasion which can take time. The journey of this process of sometimes reworking something to fit in a place it was unintended to go or as an afterthought leads me to weird and wonderful outcomes aesthetically. We loved your work for Hermès, what was it like to work with the brand? It was very exciting and a very special experience. Whilst I’ve collaborated with Hermès previously, this was the first time I was introduced to their atelier, petit h. 24 | leonardjoel.com.au
— IN CONVERSATION —
Every four years, petit h produce a bespoke arrangement of
Most of the items are small enough to be contained in tiny
unique limited-edition items to showcase in a Hermès store
boxes, which I purpose build for their storage. One day I
for a limited time. For this event, they engage with an artist
envision an exhibition of these items being displayed inside
to become the scenographer, and for this occasion I was
their boxes – or maybe it just happens that I like collecting
the selected artist. This was the first time it was presented
boxes!
in Australia, to celebrate the opening of the new store in Sydney.
seen it!) Do you have plans to make another stop motion animation?
essence of my studio in my beloved medium of cardboard
Thank you. Sitting in a darkened room, in front of a stage, and
throughout the store. There was an in-store workshop where
carefully lighting a composition of a shot is one life’s most
guests and clients were invited to make flying machines,
wonderful pleasures for me. Whilst I have no immediate plans
created using my designs, in Hermès fabrics.
in development, I’m almost always thinking about film. The I make. Each work holds within it a section of story hermetically
incorporated other materials into my work, and I found it
sealed in a moment in time. It’s only a matter of time before
challenging and very rewarding - it definitely took me out of
I collect enough sections to put them in sequence for a film.
were absolutely magical and I could channel the petit h spirit of making into my own creations. Their philosophy regarding the act of making was very much akin to mine, and they couldn’t have been more encouraging and sympathetic to my
Tell us about your home, is it reflective of your work? I’d say my studio is somewhat reflective of my work – organised chaos and clutter – but my home is very simple. I need the simplicity to create the complexity.
process. The team both in Sydney and Paris were extremely
What are you working on next?
dedicated and amazingly supportive to work with so it was an
My next project is a secret at the moment, I can be
absolute pleasure for me.
superstitious like that. I feel when I’m creating, it’s still so
Do you collect anything? I would say I collect a lot of things. Not everything I collect is something worth displaying, and the items that are suffer from my lack of space to display them. I have a particular
sculptures and works in progress in the studio
narrative nature of filmmaking informs every sculptural work
to form new creations. It was the first time I have ever
my comfort zone but the materials I was sent to work with
TOP LEFT TO RIGHT: Daniel's
‘Lost Property Office’. (Readers – Google that if you haven’t
their environment creating. They managed to capture the
an artist’s journey of reappropriating objects and materials
studio
We were blown away by your award-winning short film
The concept was an immersive embodiment of an artist in
I was commissioned to produce five short films showcasing
OPPOSITE: Daniel in his Melbourne
unmade in inside my mind, nothing has been determined yet even whilst the idea is there. I can say that it’s very large in size, and it will be going to New York City, to be installed permanently.
penchant for any vintage office or filing system paraphernalia;
Daniel is represented by MARS Gallery in Melbourne
quirky machinery, punch cards, stamps, various stationery.
and Messums London. View more of Daniel’s work at
Anything procedural or system related.
publicoffice.com.au and on Instagram at @thepublicoffice
leonardjoel.com.au | 25
— ART EXPERT SERIES —
22
ND REPORT
UK’s ivory trade ban in force after long-fought campaign to protect endangered elephants — A few months ago, IFAW (International Fund for Animal
In Australia, a similar waiting game has played out with the
Welfare) celebrated a significant step forward for the
former federal government committing to close down the
protection of elephants. On June 6, three and a half years
country’s domestic ivory and rhinoceros horn markets more
after the United Kingdom government passed legislation to
than two years ago. While legal domestic markets anywhere
ban elephant ivory sales, it finally announced that it will begin
in the world remain open, a green light to continue supplying
enforcing the ban.
the demand for ivory is driving elephant poaching across both
From now on, it is illegal to trade in ivory items in the UK, except for very limited exemptions. The UK’s world-leading
Africa and Asia, and there are serious concerns that elephants may become extinct within just a few decades.
Ivory Act is one of the toughest bans on elephant ivory sales in
But, with a new government now leading Australia comes new
the world, with some of the strongest enforcement measures.
priorities, and IFAW hopes the implementation of this ban
Those who break the law now face prosecution and a fine of
will be one of them. While we wait for this legislation, IFAW
up to £250,000 or up to five years’ imprisonment.
continues to advocate the voluntary adoption of policies by
James Sawyer, IFAW UK Director, said: “It is a good day for elephants. IFAW campaigned long and hard for the ivory ban to be passed so that the UK could play no further part in the
Australian auction houses, following the lead of Leonard Joel, who has had a voluntary policy not to sell rhino horn or ivory pieces since 2016.
bloody ivory trade. After welcoming the passing of this vital
It’s now Australia’s turn to play its part and move from words
piece of legislation in 2018, we and the many others who want
to action and legislate the domestic ivory trade ban. The iconic
to see elephants safeguarded for future generations were
elephant’s conservation status cannot afford any further delay.
frustrated by the delays to it coming into force.
Elephants are intelligent and social animals that also play
“With thousands of elephants poached every year for ivory
an important role in the ecosystem, and even help combat
trinkets that nobody needs, this ban could not have come a
climate change by enabling greater carbon capture in the
moment too soon. It is now vital that the ban is effectively
landscapes they inhabit. They are often referred to as
enforced and that those who attempt to circumvent it face
‘ecosystem engineers’ as they help modify landscape as they
the full force of the law. This was promised as world-leading
feed and move through it, creating new clearings and space for
legislation and must be shown to be so, but this is a day to
other species to grow and thrive, as well as dispersing seeds.
celebrate for elephant conservation and we hope it will also
To protect elephants and the communities who live alongside
inspire other countries to close their own domestic ivory
them, IFAW also endeavours to secure land for safe pathways,
markets.”
providing elephants with room to roam.
Sawyer added: “IFAW believes ivory should only be valued
To find out more about IFAW’s work on ending the Australian
on a live elephant and the overwhelming public support for
domestic ivory trade, visit this website: https://www.ifaw.org/
banning the trade shows the majority of people feel the same.
au/projects/australia-wildlife-crime-prevention
Legal ivory markets have long provided a smokescreen for illegal trade, putting endangered elephants in further jeopardy. Ivory trading in the UK has now rightly been consigned to the history books and everyone who has played a part in this important conservation victory should be proud.”
26 | leonardjoel.com.au
CHRISTINA PRETORIUS / IFAW
ABOVE: A stock of illegal ivory
destroyed by the French government. Photo © IFAW
— ART EXPERT SERIES —
How to... Begin your art collection
WITH MICHAEL REID OAM Having a decade of arts industry experience already with Christie’s in London and Australia, Michael Reid OAM cemented his reputation as an arts journalist, commentator, and then gallery owner with the establishment of his first gallery in inner Sydney over twenty years ago. Since then, he has expanded with multiple gallery spaces in New South Wales including an Art Bar, as well as a gallery in Berlin. We ask him to share his advice for those just starting their collections. TOP: Adam Cullen (1965-2012)
Portrait of Michael Reid, 2009 BELOW: Adam Cullen artwork against
a wall at Bobadil House
What steps would you advise a new collector to take before
What is the most common error you feel new collectors
making their first purchase?
make, and how can it be avoided?
An art collection is not a mere assemblage of objects, and by
Social media has emboldened and empowered people to
that, I mean it is not the acquisition of one thing after another
make decisions for themselves. This is good. However, such
to make a horde. An art collection is a body of works that
empowerment has also witnessed, to some significant degree,
visually speak to you and amongst each artwork to tell a tale.
the death of connoisseurship. Drunk on their own snap
It is a grouping of artworks that says something about the
opinions, new collectors will often neglect the expertise and
world we live in and/or the person who curates the gathering.
wisdom of those who have long been in the field that they as
So, start by considering what you would like to visually say or
a newbie are only now just dabbling in. So, use social media
have the art say to you. What is the story that you want your
to see and learn, but be astute enough to ask questions of
collection to tell? This does not have to be highfalutin. But if
specialists. It is, now more than ever, highly important to
you start out as you intend to end up, be aware that major art
combine learnings.
collections all tell some facet of a bigger art story. What, if any, changes have you noticed lately in the art market that have influenced collectors?
As a collector yourself, what do you think is the most rewarding thing about buying a piece of art? Touching, holding, and seeing what engages you, every day.
Instagram is from God. This visual tool allows the professional
I suggest you place your favourite artworks in kitchens and
and art interested individual alike the enormous opportunity
bedrooms; in those spaces that we pass through and inhabit
to see worldwide.
constantly, not just the “better” rooms. Art is to be enjoyed, not worshipped. Discover more at michaelreid.com.au
leonardjoel.com.au | 27
— PROFILE —
Minutes with… LUCY FOSTER
This issue, we spend five minutes with Lucy Foster, our knowledgeable Art Specialist… FAVOURITE AUCTION PURCHASE Some years ago, I was eyeing off a landscape work in
LEONARD JOEL STAFF ALL SEEM TO HAVE A SIDE PROJECT OR TALENT. WHAT'S YOURS?
the Salon that reminded me of North Queensland.
I started a baking apprenticeship when I was in my last
It featured a crumbling structure with palm trees in the
years of school with the hopes of becoming a pastry chef.
breeze, reminiscent of a tropical cyclone aftermath. A small,
After working out that for me it was more of a passion
competent work which packed a punch with vivid blues
than profession, I pursued the arts. No skills went to
and creamy whites. Our dear client and friend, the late
waste; learning the fundamentals set me up for a lifetime
Mr. Abazi, was also keen on the work but encouraged me to
of good baking, and an appreciation for French pastry.
go for it. After I won it, he told me that he deliberately held
I thoroughly enjoy baking crazy, colourful cakes for
back on bidding after learning I liked the piece. I’m reminded
birthdays and bringing baked goods in for the team, there’s
of this warm gesture every time I look at the work, it hangs
something so humbling about baking for the people you love.
prominently in my dining room with other tiny paintings. FAVOURITE / COCKTAIL
FAVOURITE BOOK “Ninth Street Women” by Mary Gabriel. A deeply researched
It’s never too cold (or early) for a margarita! After travelling
and enlightening account of five women who pursued their
to Mexico, it wouldn’t be extreme to say that I’m obsessed
artistic careers during the post-war era of the 20th century.
with their culture, music, food, and drinks! Every time I have
These overlapping biographies include artists Lee Krasner,
a margarita and smell the fresh lime, I feel like I’m on holiday.
Elaine de Kooning, Grace Hartigan, Joan Mitchell, and Helen
The best ones are home-made, all you need is a nutri-bullet
Frankenthaler - women who dared to take on the male-
or mixer, ice, limes, good quality tequila and cointreau, and
dominated world of Abstract Expressionism in New York. It’s
yes, salt is a MUST. Whip up some guacamole and chips and
an essential read for anyone in the arts industry!
Hey Presto! You’re on holiday!
YOUR IDEAL DAY IN MELBOURNE Packing the car and heading to the snow! My dear husband bravely taught me how to snowboard some years ago and now it’s our winter ritual getaway! My ideal day/weekend would be booking a lodge at Mount Hotham and hitting the slopes - for as long as my legs will hold up! After a day of playing out in the cold, mulled wine and hot chips by the fire with your loved ones feels like sheer indulgence. It’s the small
28 | leonardjoel.com.au
things in life!
Brisbane Miniature Masterpieces — Decorative Arts Auction Mon 8 Aug, 12pm MELBOURNE RIGHT: AN ITALIAN MICROMOSAIC
PAPERWEIGHT DEPICTING THE PANTHEON, ROME Mid-19th century $3,000 – 5,000
Micromosaic is a special form of mosaic that is created
speaking community in Rome were also avid collectors, with
through a laborious process performed by talented craftsmen
the firm catering to Elizabeth Barrett Browning, Henry James
using many tiny pieces (tesserae) of opaque vitreous glass in
and other celebrated expatriate clients. The passion for
a multitude of colours to make small images. The inspiration
micromosaic jewellery was not just limited to Italy - pieces
for the practice can be traced back to the renewed interest
were exported to England, Germany, Russia, and France, and
in large-scale Early Christian and Byzantine mosaics, which
inspired versions were created by the great, London-based
had started to attract amateur archaeologists and antiquarian
jewellers Carlo Giuliano and Robert Phillips.
scholars in the late eighteenth century. Micromosaic jewellery reached the height of popularity in the 1840s-1870s when small, vivid images of religious subjects, ancient Roman ruins, animals, and flowers were inset into imposing gold-mounted necklaces, bracelets, and brooches.
Today, opulent and striking examples of micromosaic jewellery are much prized and sought-after by collectors, especially in the form of demi-parure matched sets. I am please to have discovered in Brisbane a locally sourced
Among the great practitioners of the art were the Italian Castellani family (Fortunato Castellani and his sons Alessandro and Augusto), whose opulent and expensive jewels were prized as souvenirs by wealthy ‘grand tourists’. The English-
micromasaic plaque being offered in our Decorative Arts sale in August. TROY MCKENZIE / Queensland Representative Specialist
— AUCTIONS —
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. — Contact our Head of Valuations, David Parsons at 03 8825 5638 or email david.parsons@leonardjoel.com.au leonardjoel.com.au | 29
— 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...
JORDY KERWICK (born 1982) Still Life 2017 synthetic polymer paint on canvas 40 x 30cm Sold for $52,500 Fine Art, June 2022
Australian painter Jordy Kerwick has been in the rare position to see a swift and significant rise in his market in the last few years alone, attracting international attention. Leonard Joel was honoured to be the first Australian auction house to present a work by Jordy Kerwick for major public auction.
AN ALBUM OF JAPANESE WOODBLOCK PRINTS, UTAGAWA HIROSHIGE (17971858), Edo period (1615-1868) Sold for $93,750 The Collector's Auction, June 2022
Our Sydney specialists were thrilled to consign an album of vibrantly coloured woodblock prints by Japanese master printmaker Utagawa Hiroshige (1797-1858) to our recent Collector's Auction. The album, containing a complete set of 55 oban yoko-e (horizontal) prints, sold to a determined telephone bidder for $93,750 IBP, a fantastic result for the rare collection of works.
30 | leonardjoel.com.au
— A LAST LOOK —
PLATINUM AND DIAMOND RING Sold for $87,500 Fine Jewels & Timepieces, June 2022
ISSEY MIYAKE IN-EI MINOMUSHI FLOOR LAMP FOR ARTEMIDE Italy / Japan, Designed 2010 210h x 58d Sold for $8,125 Contemporary Collections, May 2022
TIM STORRIER (born 1949) The Scattering 2003 oil on canvas Sold for $118,750 Fine Art, June 2022
HERMÈS, KELLY SELLIER 28 HANDBAG Sold for $37,500 Luxury Icons, May 2022
Formerly Property of The Estate of Count John Francis McCormack PATEK PHILIPPE A RARE PLATINUM WRISTWATCH CIRCA 1930 Sold for $50,000 Fine Jewels & Timepieces, June 2022
leonardjoel.com.au | 31
Like a Wheel That Turns: The 2022 Macfarlane Commissions 2 July – 4 Sept 2022
Nadia Hernández Lucina Lane Gian Manik Betty Muffler Jahnne Pasco-White Jason Phu JD Reforma Esther Stewart
Australian Centre for Contemporary Art 111 Sturt Street Southbank, VIC 3006 Melbourne Australia acca.melbourne
Presenting Partner:
Exhibition Partner:
Media Partner:
Government Partners:
32 | leonardjoel.com.au v
Art Guide Australia
— PROFILE —
Podcasts
Listen to conversations with creatives The Art Guide Podcast delves into engaging, insightful, and humourous conversations with creatives and artists including Robert Owen, Patricia Piccinini, John Wolseley, Gareth Sansom, Yvette Coppersmith, Alexie Glass-Kantor, Louise Weaver and many, many more. Listen back to these conversations on Spotify, Apple Podcasts or Simplecast, and subscribe to the Art Guide Podcast to keep up-to-date on new episodes as they’re released.
Listen on Apple Podcasts Listen on Spotify artguide.com.au/podcasts
DELIVERING ONLY THE HIGHEST QUALITY SERVICES, ACCOMPANIED BY AN EXTENSIVE RANGE OF CHAMPAGNE, WINE AND COCKTAILS AVAILABLE, SOAK IS NOT YOUR AVERAGE BEAUTY SALON. WITH AN INCREDIBLY INTIMATE AND CONTEMPORARY SPACE, SOAK IS SURE TO BE YOUR FIRST CHOICE FOR PAMPERING. WWW.SOAK.BAR
leonardjoel.com.au | 33
— PROFILE —
34 | leonardjoel.com.au
SEX ISSUE 38 OUT NOW TROY-ANTHONY BAYLIS, ROBERT ANDY COOMBS, ROBERT CRUMB, JOHN CURRIN, GERWYN DAVIES, TOM OF FINLAND, JENNA GRIBBON, LOIE HOLLOWELL, SANNÉ MESTROM, HELMUT NEWTON, JULIA ROBINSON, AIKO ROBINSON, EJ SON, MICHELLE USSHER, PAUL YORE & MORE
SUBSCRIBE NOW VAULTMAGAZINE.COM
Jenna Gribbon Comment section (detail), 2021 oil on linen 50.8 x 40.6 cm
leonardjoel.com.au | 35 Courtesy Fredericks & Freiser, New York
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Contact a Leonard Joel team member or stop by a saleroom if you have any questions.
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— PROFILE —
Value / Sell / Buy Contact a Leonard Joel Specialist CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au CHIEF EXECUTIVE OFFICER Marie McCarthy 03 8825 5603 | marie.mccarthy@leonardjoel.com.au
Auction Specialists — IMPORTANT JEWELS Hamish Sharma, Head of Department, Sydney 02 9362 9045 | hamish.sharma@leonardjoel.com.au FINE JEWELS & TIMEPIECES Bethany McGougan, Head of Department 03 8825 5618 | bethany.mcgougan@leonardjoel.com.au FINE ART Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au DECORATIVE ARTS David Parsons, Head of Department 03 8825 5638 | david.parsons@leonardjoel.com.au MODERN DESIGN Anna Grassham, Head of Department 03 8825 5637 | anna.grassham@leonardjoel.com.au LUXURY John D'Agata, Head of Department 03 8825 5605 | john.dagata@leonardjoel.com.au PRINTS & MULTIPLES Hannah Ryan, Art Specialist, Manager of Speciality Auctions 03 8825 5666 | hannah.ryan@leonardjoel.com.au SYDNEY Ronan Sulich, Senior Adviser 02 9362 9045 | ronan.sulich@leonardjoel.com.au Madeleine Norton, Senior 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 PERTH John Brans, Representative Specialist 0412 385 555 | john.brans@leonardjoel.com.au
The Auction Salon Specialists — ART Amanda North 03 8825 5630 | art.manager@leonardjoel.com.au FURNITURE Nick Bastiras 03 8825 5640 | furniture@leonardjoel.com.au JEWELLERY Hannah Sass 03 8825 5621 | jewellery.manager@leonardjoel.com.au OBJECTS & COLLECTABLES Rebecca Stormont 03 8825 5655 | objects.manager@leonardjoel.com.au
Valuations — David Parsons, Head of Department 03 8825 5638 | david.parsons@leonardjoel.com.au
Marketing & Communications — Blanka Nemeth, Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au Maria Rossi, Graphic Artist Adam Obradovic, Photographer Paolo Cappelli, Photographer
Sale Rooms — MELBOURNE 333 Malvern Road, South Yarra, Melbourne VIC 3141 Telephone: 03 9826 4333 SYDNEY The Bond, 36–40 Queen Street, Woollahra, Sydney NSW 2025 Telephone: 02 9362 9045
Leonard Magazine — EDITOR Blanka Nemeth, Marketing & Communications Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au
A Remarkable Fancy Intense Bluish Green Diamond and Argyle Fancy Pink Diamond Ring Sold for $600,000 Important Jewels Auction, April 2022
leonardjoel.com.au | 37 This document has been produced to international environmental management standard ISO14001 by a certified green printing company.
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