LEONARD, issue 102, February-March 2023

auction calendar

The Collector's Auction

Tuesday 21 February, 2pm / SYDNEY

Decorative Arts

Monday 6 March, 12pm / MELBOURNE

Asian Works of Art

Monday 6 March, 6pm / MELBOURNE

Fine Jewels & Timepieces

Monday 20 March, 6pm / MELBOURNE

Fine Art

Tuesday 21 March, 6pm / MELBOURNE

Modern Design

Monday 3 April, 6pm / MELBOURNE

Luxury

Tuesday 4 April, 6pm / MELBOURNE

Prints & Multiples

Wednesday 5 April, 6pm / MELBOURNE

Important Jewels

Monday 24 April, 6pm / SYDNEY

The Auction Salon Furniture & Interiors

Objects & Collectables

Jewellery

Art

Every Thursday, from 10am / MELBOURNE

Auction Monday 20 March, 6pm

Fine Art Auction Tuesday 21 March, 6pm

LEFT: Van Cleef & Arpels 18ct gold, 'Place Vendome' charm bracelet $8,000-12,000

Fine Jewels & Timepieces

COVER: DONALD BINNEY (1940-2012) Te Henga 1971 (detail) oil on board, 73.5 x 54cm $50,000-70,000

The next few months at Leonard Joel promise to be filled with interesting and rare jewels, antiques, and more. Within these pages, our specialists share previews of some of these pieces and explore their historical contexts - from a cavalry officer's presentation sabre to a life size bronze of Louis XIV.

We also chat to architecture and design expert Karen McCartney, and learn how to care for artworks with Sydney conservator David Stein.

This Issue

FROM THE CHAIRMAN

3 Overwhelmed in Miami

AUCTIONS

4 The Collector's Auction | French Decoration in the 17th and Early 18th Centuries

6 Decorative Arts | A Fine Regency Presentation Sabre

8 Fine Jewels | From Myth to Souvenir: The History of Coral as Adornment

10 Timepieces | Heuer’s First Place in Motorsport Timekeeping

12 Fine Art | Don Binney: New Zealand Modernist

14 Important Jewels | Diamonds for Every Dress Code

16 Modern Design | Partners in Craft: Influential Couples in Australian Mid-Century Pottery

18 Luxury | Lady Diana’s Enduring Style

19 Prints & Multiples | Artist Spotlight: KAWS

IN FOCUS

20 In Conversation: with Karen McCartney

22 Art Expert Series | How to Care for your Artwork with David Stein

23 Brisbane & Valuations

24 5 Minutes with Noelle Martin

25 22nd Report | Koala Habitat: Restoring to Connect and Connecting to Restore

28 A Last Look

JOIN US

32 Connect & Buy with Leonard Joel

33 Contact a Leonard Joel Specialist

OVERWHELMED IN MIAMI

Exploring one of the world’s largest jewellery fairs

A visit to the Original Miami Beach Antique Show is overwhelming - at least that was my first feeling. The name does not do justice to it being the finest and largest jewellery, timepieces, and precious stones offering anywhere in the U.S. at this time of year.

It is open to the public for five days and if one is seeking an immersion into this continent’s jewellery marketplace, then look no further. This year, it was held at the Miami Beach Convention Centre, bringing together hundreds of the greatest jewellery dealers. Spending time here is not just a lesson in collecting and commerce, it is also an insight into just how vast, multi-layered, multicultural, and sophisticated the buying, selling, and collecting of fine jewellery is in the U.S.

After coming to terms with the scale of the exhibition, my instinct was to walk every aisle at a considerable pace, concerned that I would never see it all if I didn’t. Then, realising this approach would simply leave me blurred, I accepted my fate that I probably couldn’t see it all. So, I flitted from one booth to another, in no particular order, but drawn to colour, the cabinets that seemed brighter, and the ones that were teeming with stock. Add to this the courtesy and enthusiasm that the American people bring to these events, and I found myself enjoying so many conversations that deepened my knowledge of just how complex the art of international jewellery dealing is.

If such a visit interests you, I have a few tips that might just make your visit a little more meaningful and complete. Firstly, I would suggest mapping, in your own way, how the various traders have inevitably clustered; the loose diamond dealers, the antique jewellery dealers, and the “big” jewellery dealers of signed pieces, just to name a few. Secondly, I would suggest committing to at least two full days at the fair, with a very thorough break in the middle, because put simply, there is just too much to take in. But finally, and most importantly, engage with these hospitable dealers and get ready for a journey of knowledge-sharing, storytelling, and anecdotes from traders with all levels of experience. It is not overstating it to say that these international fairs are time-limited travelling museums, full of character and curiosity. A visit to one, if the opportunity presents, will not disappoint.

JOHN ALBRECHT Chairman / Head of Important Collections

$18,000-24,000

OPPOSITE: Miami Beach Antique Show at the Convention Center / Alamy

ABOVE: 18ct white gold, tanzanite and diamond earrings

Fine Jewels & Timepieces

Auction Monday 20 March, 6pm

THE COLLECTOR'S AUCTION

French Decoration in the 17th and Early 18th Centuries

Interior decoration had its birth in 17th century France, and this concept of the civilised way of life was developed and refined at the court of Louis XIV, becoming the ideal for every ruler and the aristocracy of Europe.

Louis moved the court to Versailles away from Parisian intrigues, effectively creating a gilded cage for the nobility who were required to attend the elaborate and inflexible structure of court life that centred on the “Sun King”. These rituals - the “lever” and the “coucher” (getting up and going to bed) of the King, his audiences, and his meals all took place very publicly in the grand marble panelled salons and galeries of the chateau, where the only members of the entourage who were allowed to sit down were the royal family. However, this oppressive ceremonial had its reverse side with the development of elegant, comfortable, and luxurious retreats in the form of smaller private chambers at Versailles and the pavilions or maisons de pleasance in the gardens, where playfulness and informality was allowed, both in manners as well as decoration. These pavilions were the focal point of entertainments for the courtiers and overseas visitors, where ballets, feasts, firework displays, and other diversions created a more relaxed and light-hearted atmosphere.

The interiors of these pavilions and smaller chambers were conceived as a deliberate contrast to the overpowering classical formality of the “rooms of parade” in the main chateau. In these places, a playfulness and informality could be allowed to reign. Many of the schemes were based on Chinoiserie themes and decorated with export porcelain and lacquer, others relied on elaborate draperies, sumptuous fabrics, and naturalistic gilt carvings of fruit and putti, furnished with comfortable upholstered chairs and daybeds. These developments paved the way for the “douceur de vivre” and relaxed elegance of the Rococo period.

In 1715 the Sun King was succeeded by his five-year-old great-grandson, Louis XV, and France was ruled by his grand-uncle Philippe, the duc d’Orleans, until 1723 giving this period its name, the Régence (Regency). From the mid-1720s, the budding Rococo style unfolded, came to full flower and eventually withered in the cool winds of neo-classicism in the last quarter of the century. The demise of the Sun King meant that society once again moved back to Paris and new maisons particuliers (private mansions) being built or decorated in the capital were designed not only with formal apartments for grand receptions, but also an arrangement of rooms that allowed for informal visits of friends and small parties and dinners. It was in these salons that the Rococo style can be seen at its finest. The sinuous naturalistic forms, the scrolls, shells, rocaille (rock work), swags of flowers, and cherubs were applied to all aspects of the decoration, from the candle branches, panelling, ceilings, textiles, and silver to the furniture.

Rooms decorated in this unified manner had an almost organic feel, the walls broken up by recesses and panelling, large reflective expanses of mirror glass, coved ceilings, and sinuous furniture, and would have seemed incredibly contemporary and unusual in contrast to the relatively severe, rectilinear, and architectonic forms of the previous century. Seen by candlelight, the effect of the flickering glow on gilded mouldings, mirrors, glittering brocades, ormolu, shiny marquetry, and marble surfaces must have been quite dazzling, as captured in the painter Jean-François de Troy’s scenes of the time.

The reaction against this opulent luxurious style began with the rediscovery of severe neo-classical design in the reign of Louis XVI, and the horrors of the French Revolution sealed its demise.

RONAN SULICH / Senior Adviser, Sydney

OPPOSITE: A French patinatedbronze equestrian figure of Louis XIV $50,000-80,000

TOP: Jean François de Troy, A Reading of Molière / Wikimedia Commons

BELOW: A set of nine engravings of the Gardens of Versailles by Demortain (3 of 9) $3,000-5,000

The Collector's Auction

SYDNEY

DECORATIVE ARTS

A Fine Regency Presentation Sabre

Mon 6 Mar, 12pm

In our forthcoming March Decorative Arts auction, we are delighted to be offering a fine Regency presentation sabre by John Prosser, presented to Thomas Potter Macqueen in 1819.

presented to Thomas Potter Macqueen

$5,000-7,000

ABOVE: A photographic reproduction of a mezzotint engraving after James Ramsay’s painted portrait of Macqueen

John Prosser was a Royal sword cutler, belt maker, and gunsmith of Charing Cross Road, London. He was principally a manufacturer, retailer and supplier of military arms and equipment. In addition to one patent for firearm manufacture, he also on occasion produced fine presentation swords, such as this example. Being one of the leading London craftsmen of the period, Prosser became sword cutler and gunmaker by Royal Warrant. He was appointed sword cutler and belt maker to King George III in 1795 and to George IV in 1827.

Examples of Prosser’s presentation swords and sabres can be found in important English collections including the National Maritime Museum and the Royal Collection, and occasionally on the secondary market. Most of these are of generally similar form and style, including such elements as an animal head pommel and gilt metal lockets and chapes to their leather scabbards. The richness of decoration on the Macqueen sabre is rare however, with its fully gilt hilt, fine cut steel blade, and intricate reticulated acorn and oak leaf design to the scabbard boldly set against a plush black velvet ground.

Thomas Potter Macqueen, Esp. M.P (1791-1854), born at Segenhoe Manor, Ridgmont, Bedfordshire, was a politician and colonizer. He represented East Looe in parliament from 1816-1826 and Bedfordshire from 1826-1830. During this period, English landowners were encouraged to acquire land in the young colony of New South Wales, to aid its development as a civil settlement. In 1823, after reading Commissioner John Thomas Bigge’s report on New South Wales, Macqueen acquired land from Governor Sir Thomas Brisbane and subsequently became a key figure in its

colonization. He contributed to the agricultural development of land in the Hunter Valley, ‘Segenhoe’, named after his birthplace; he influenced emigration of free settlers, particularly being responsible for the first shipment of free emigrants to New South Wales in 1824 and he aided the establishment of the Bank of Australasia and the Commercial Banking Co. of Sydney.

Before emigrating to New South Wales, Macqueen was Major Commandant of the Bedfordshire Yeomanry Cavalry from 1817 to 1820. It was during this tenure that the sabre was commissioned by the officers and privates of the Yeomanry and presented to him on July 3rd, 1819, just before his promotion to the rank of Lieutenant Colonel in 1820. The forte of the sword is engraved with a fulsome presentation inscription recording the corps’ sincere regard, affection, and esteem for Macqueen as their commandant.

In addition to its fine craftsmanship and design, the Macqueen sabre has excellent provenance, having remained within Macqueen’s family since its presentation to him 204 years ago, a rare advantage for any serious collector. The sabre retains its original mahogany case bearing Prosser’s engraved label and set with a bronze roundel engraved with Macqueen’s name, rank, and address. It is also accompanied by a framed photographic reproduction of a mezzotint engraving after James Ramsay’s painted portrait of Macqueen standing beside his mount in his full military regalia with the Prosser presentation sword at his hip.

We look forward to sharing this fine sword and its history with you in the coming weeks.

CHIARA CURCIO / Head of Decorative Arts, Design & Interiors

OPPOSITE & BELOW: A fine Regency Cavalry Officer’s presentation sabre,

Decorative Arts Auction

MELBOURNE

FINE JEWELS

Fine Jewels & Timepieces

Auction

Mon 20 Mar, 6pm

MELBOURNE

OPPOSITE: Van Cleef & Arpels

18ct gold, diamond and carved coral brooch

$25,000-35,000

Tony White, 18ct gold, coral and diamond earrings

$6,000-9,000

Van Cleef & Arpels, 18ct gold, coral and diamond brooch/pendant

$18,000-24,000

ABOVE: Platinum, coral, onyx and diamond brooch

$2,500-3,500

From Myth to Souvenir: The History of Coral as Adornment

According to Greek mythology, coral was formed after the slaying of the gorgon Medusa by the demigod Perseus. Perseus took the head of Medusa to the ocean so he could wash his hands, leaving the head facing the water. The monster’s petrifying stare, together with blood from the severed head leaked into the ocean, and turned algae and seaweed into hardened red coral.

In addition to this macabre tale, stories surrounding the power of coral have long captured the interest of cultures and societies globally. Strands of coral have been found in Egyptian burial tombs, the ancient Romans adorned children with coral beads and talismans for medicinal protection, whilst in Qing dynasty China, coral was a display of social status. As far back as the beginning of the first millennium AD, the natural gem has also been a trade commodity, with significant movement between the Mediterranean and India, documented by Pliny the Elder in his encyclopaedic text Naturalis Historia

Whilst the use of coral in jewellery extends over many centuries, the material became exceptionally popular in the late 17th to late 19th centuries in Britain and Europe, aligned with the popularity of ‘The Grand Tour’. Best described as an extended cultural and educational rite of passage for the British elite, The Grand Tour was propelled by a renewed interest in classics, Roman and Greek mythology, and ancient gems. Visitors sought out mementos and portable souvenirs to return home with, one of which was coral carvings and jewellery. Coral variety Corallium rebrum, displaying deep

red, orange, and soft pink hues, was found in abundance at the time off the coast of Italy in the Mediterranean Sea. Neoclassical inspired coral jewellery soared in popularity and swiftly became a marker of a cultured, sophisticated, and well-travelled individual.

The arrival of the Art Deco era saw fashion and design undergo significant change. With designs focused on geometric shapes, decadent details, and deliberate juxtaposition of colours, vividly pigmented coral was a popular material in the jewellery of the time. Cartier was one of the leading houses, pairing coral with glittering diamonds and silky onyx in designs showcased at the 1925 Paris Exposition Inernationale des Arts Decoratifs et Industraial Modernes Art Deco coral jewellery by international houses including Cartier, Boucheron, Van Cleef & Arpels, Templier, and Lacloche continue to command impressive prices at auction.

As the popularity of coral has extended over so many centuries, its future is sadly an uncertain one. Rising sea levels and pollution, paired with over mining have left coral deposits depleted and in the protection of environmental organisations. Thankfully, the availability of antique and vintage coral jewellery on the secondary market means that acquiring a piece can be entirely sustainable. The March Fine Jewels & Timepieces auction features a number of vintage coral jewels for discerning collectors and gem enthusiasts alike.

BETHANY MCGOUGAN / Head of Fine Jewels & Timepieces

TIMEPIECES

Heuer’s First Place in Motorsport Timekeeping

Fine Jewels & Timepieces

Auction

Mon 20 Mar, 6pm

MELBOURNE

$2,000-3,000

Thinking back to the 1980s and 90s, Tag Heuer was one of the most popular, sought after (and copied, think of the fakes hauled back from many a South East Asian holiday) watches seen on the wrists of collectors and buyers. In fact, Tag Heuer, which at the time was a major sponsor of elite sports such as sailing, golf, tennis, and auto racing became as much of a status symbol as a Rolex. The Tag Heuer model of this period was essentially a dive watch, it had 200 metre water resistance, a screw-down crown, a unidirectional bezel, and a double clasp on a steel bracelet which gave it a robust, luxurious yet sporty feel – a perfect accessory for those that cultivated the affluent, preppy look so popular in the eighties.

Rindt, Mario Andretti, Niki Lauda, Gilles Villeneuve and perhaps most notably Jo Siffert who the collecting community named the Autavia ref 1163T after. Heuer reigned supreme during this golden age of rallying and racing.

$3,000-5,000

Turn back the clock some 163 years and the name ‘Heuer’ without the ‘Tag’ (Techniques d’Avant Garde) prefix traces its origins to a small workshop in Saint Imier, Switzerland, where a 20-year-old Edouard Heuer first opened a small workshop. The marque went on to specialise in chronographs, stopwatches, and timers and in 1911, Heuer invented the 'Time of Trip', an on-board chronograph for installation within the instrument panels of cars and aircraft, and even on board the first Zeppelin, cementing itself as the first big name in motor racing as well as aviation.

From the 1960s onwards, the racing car profile of Heuer exploded, heighted by endorsement and association with motorsports. It was a visible brand on the wrists of Grand Prix greats such as the “King of Cool” Steve McQueen, Jochen

Of Heuer’s ‘Big Three’ - the angular Monaco, the sleek Carrera, and the classic Autavia - the chronograph considered the race car driver’s “race bred” timepiece was the third. An amalgamation of the words “automotive” and “aviation”, the vintage Heuer Autavia chronograph had a production run from 1962 - 1985. The watch was advertised for “those for whom life and a taste for adventure are one and the same”, with a bold design instantly legible to pilots and drivers in critical moments. Such has been the interest and desirability of these tool watches that since the sixties, Heuer has produced approximately twenty-five models and executions of this reference. Given the brand’s unparalleled motorsports heritage, the collectability pedal isn’t coming off the Autavia metal any time soon.

On offer in Leonard Joel’s Fine Jewels and Timepieces sale in March 2023 are two Heuer Autavia chronographs circa 1970. This reference replaced the screw-back, showcasing the cutting edge 60s technology of the compressor case. They were constructed so well that they can be used and enjoyed to this day.

PATRICIA KONTOS / Senior Jewels & Timepieces Specialist

OPPOSITE: Steve McQueen, Le Mans, 1971 / Alamy

ABOVE LEFT: Heuer Autavia Ref 7763 a stainless steel chronograph wrist watch, circa 1970

ABOVE RIGHT: Heuer Autavia Ref 7763 a stainless steel chronograph wrist watch, circa 1970

FINE ART

Don Binney: New Zealand Modernist

Donald "Don" Binney is one of New Zealand’s key modernists, emerging in the 1960s. His career spanned more than 40 years, producing an iconic body of work instantly recognisable to New Zealanders and collectors internationally.

Binney first began painting Te Henga landscapes in the early 1960s and it was in 1963 that he had his first solo exhibition at Ikon Gallery in Auckland, whilst working as a teacher. It was during this period that he developed his hard-edged style imbued with symbolism. Most commonly focusing on birds and the landscape as his subject matter, Binney executes his paintings with sharp definition whilst maintaining fluidity of form.

Binney was interested in the relationship between the environment and its inhabitants, the symbiosis between them and how they impact each other. His approach to the landscape displayed a spiritual connectivity, and this further influenced his involvement with various environmental organisations and support for numerous environmental causes and conservation projects.

His landscapes focused on two main regions of New Zealand – the Waitakere Coast (where Te Henga is located), and the Marlborough Sounds. In Te Henga 1971, Binney focuses on two solitary trees amidst a placid landscape. The linear qualities to the background and sky exemplify Binney’s modernist approach for which he was so revered, whilst the textural brushwork and bold outline of the trees and foreground lend themselves to a more figurative approach.

Don Binney’s market has in recent decades seen a welldeserved uplift, commencing prior to the artist’s death when he was awarded an OBE for his services to the arts in 1995. In fact, Binney is one of only a handful of New Zealand artists to enter the “million dollar club” at auction, occurring in August 2022 when his painting Heron’s Departure, New Spring, Te Henga achieved $1,081,000 NZD.

Leonard Joel is delighted to be presenting Te Henga 1971 in our forthcoming March Fine Art auction, the first time the work has been presented for sale since its initial acquisition in the 1970s.

OLIVIA FULLER / Head of Art

OPPOSITE: DONALD BINNEY (1940-2012) Te Henga 1971 oil on board 73.5 x 54cm $50,000-70,000

TOP LEFT: Te Henga, Waitakere Coast, New Zealand / Alamy

TOP RIGHT: Marlborough Sounds, New Zealand / Alamy

Fine Art Auction Tue 21 Mar, 6pm MELBOURNE

IMPORTANT JEWELS

Mon 24 Apr, 6pm

Diamonds for Every Dress Code

The thought of a dress code or theme for an upcoming event can strike fear into the heart of even the most creative or sartorial minded among us. Established dress codes in particular settings are becoming more of a relic of the past as the balance of power shifts away from the institution and towards the individual. The idea of any establishment decreeing what is and is not appropriate dress, when dress is so deeply interwoven with personal identity, seems increasingly dated.

The last strongholds of the dress code generally fall into only a handful of categories; formal occasions such as weddings, workplace attire, and love it or loathe it, the themed party. A dress code for a particular event can create cohesion on the night and add a curated aesthetic to the photographs that are later circulated widely in print and most importantly online.

Of course, there is an effective solution to the dress code conundrum - accessories. The key to any great accessory is found within its versatility, and nothing is more versatile than jewellery.

Let us take for example a diamond bracelet, the foremost accessory to the stars of this year’s Golden Globes. This accessory can be understated enough to be worn every day with jeans and a shirt and with its ability to transition into corporate attire with ease, has become a staple in every jewellery collection. However, what if an invitation arrives and calls for black tie or even the more obscure white tie?

A diamond bracelet has you covered. For black tie, consider elevating your look by fastening the bracelet with a ribbon around your neck to create a diamond collar guaranteed to enhance the most reliable little black dress tucked within the

depths of the wardrobe. Worried about white tie? Contemplate the same bracelet configuration but this time placed on the crown of your head with the ribbon tucked into a sophisticated up do or alternatively across the forehead in the bandeau style, who needs a tiara! Simultaneously, you have the beginnings of a fabulous flapper costume for the ever-popular 1920s or Gatsby-era theme.

Accessories can be used also to create a mood or even enhance a theme. For instance, if the invitation calls for more playful themes, creative placement of whimsical brooches on a hat, belt, or even clustered together can be your nod to the required dress code. Pastels, a popular tonal theme, could be incorporated effortlessly by adorning your outfit with soft-hued gemstones such as aquamarine, morganite or even pink diamonds. Nothing says a 70s or 80s theme like a chunky necklace or a bold pair of statement earrings, more is more.

So just remember when the invitation arrives – its time to accessorise!

LAUREN BOUSTRIDGE / Senior Jewels Specialist, Sydney

OPPOSITE: Michelle Yeoh at the 80th Annual Golden Globe Awards, wearing diamonds by Moussaieff Jewellers / Alamy

TOP: Tiffany & Co. diamond 'Aria' bracelet Sold for $15,000

RIGHT: Jean Schlumberger for Tiffany & Co. diamond and gem-set grasshopper brooch Sold for $53,750

Important Jewels Auction

MODERN DESIGN

Partners in Craft: Influential Couples in Australian Mid-Century Pottery

There are few greater ways to escape the pressures of daily life or simply to express oneself artistically than through craft. Throughout the 1960s and 70s, pottery was a craft that artists could focus on to make an income and gain wider recognition for their skills. At the time, creative couples would often adopt a working relationship, allowing them to pursue their discipline in unison. The most popular mid-century Australian couple working with ceramics would no doubt be Betty & Gus McLaren.

Based in Warrandyte, the McLarens started creating works after Gus purchased a book on pottery and dug up some clay from the side of the road. With the help of other local potters, Gus and Betty began to create fanciful earthenware animals under the name of Regus, which later became Yarraridge Pottery.

After moulds of their animal designs were made, Betty learned how to slip cast which allowed them to produce their most recognised pieces in larger numbers. With Betty focusing on the production of their animals, Gus would work on unique stoneware ceramics, which were abstract, brutal, and textural. The one-off stoneware pieces of Gus were displayed in exhibitions all over Australia, with some at the National Gallery of Victoria and the Art Gallery of Western Australia.

Modern Design Auction

Mon 3 Apr, 6pm MELBOURNE

OPPOSITE: Iris Galbraith pottery horse, c 1960s Sold for $1,875

ABOVE LEFT: Betty McLaren, two bowls, 1960s (part) Sold for $312

ABOVE RIGHT: Gus McLaren horse Sold for $1,250

BELOW: Gus working on stoneware pieces for exhibition

Image courtesy: McLaren Pottery

In her own time, Betty would also design and produce pieces which she supplied to Victorian galleries and sold at markets. Betty focused on bowls and dishes which she often decorated with colourfully glazed animals like fish, owls, and chickens.

Another couple that produced pottery during the same period were Iris & Victor (Vic) Galbraith. Based near Cessnock in New South Wales and heavily inspired by their children, the pair made highly figurative and sculptural works which often resembled animals. Iris and Vic initially sold many of their works through an old Church gallery in Pokolbin, but their works have since developed a following and can now be found across Australia.

With the help of her children and her husband Vic, Iris would produce her slip-clay pieces by hand or via the use of wheel-throwing techniques. Before being fired in their home built oil-fired kiln, the Galbraiths would finish their works in an experimental fashion, using multiple glazes and different clays. Their pieces bear interesting textures and patterns, which would become synonymous with their style. Most of the pieces produced by Iris were signed with her name or impressed with an ‘IG’, however Victor, and the couple’s children, would also produce pieces individually, with their own styles.

The beauty and value of the works of the McLarens and the Galbraiths has not been lost to time, with enthusiasts scouring auction houses, country town markets, and second-hand selling platforms to find another piece to add to their collection. Collectors are drawn to the whimsical qualities of Iris’s works, and the earthy and natural qualities seen in Gus’ most impressive pieces. Some of Iris and Vic’s children have created platforms for enthusiasts to affectionately post images of their pieces and have open discussions with fellow collectors.

The works of Gus and Betty McLaren sell for as little as $20 to as much as $1,000, with a few exceptional pieces selling for well above that amount. Their works regularly appear at auction houses and are typically signed or stamped. Their pieces can be a fun and accessible gateway into collecting Australian mid-century pottery.

The influence that the McLarens, Galbraiths, and others of the same period have had on the potters of today cannot be underestimated. The works of both the McLarens and the Galbraiths are joyous and dramatic, and could find a suitable space to live in any home.

PAUL NICOL / Modern Design Assistant

Luxury

Lady Diana’s Enduring Style

Step aside Princess Grace ‘Kelly’ and Ms Jane ‘Birkin’ - style icon Lady Diana has no less than three bags named after her, with their sales still going strong.

Following on from my articles on the late Queen Elizabeth II and King Charles III and their contribution to the fashion world, I felt that I should start the year with a tribute to the biggest royal style icon of them all. Even in her ‘Shy-Di’ days, Lady Diana Spencer, Princess of Wales, showed a flair for fashion. Looking at some of those early images, we may now cringe at the bright colours and loud floral designs, however as those of us who were around at the time know, this was the fashion of the day. We saw her blossom as she adapted her look to the protocols of the palace and then created a chic style of her own. As part of the departure from the conservative co-ordinated look of the other royals, Diana chose to wear European fashion brands, and the foreign houses loved her for it.

An early favourite in the accessories department was Salvatore Ferragamo. Diana couldn’t get enough of their handbags. Her choice was a classic calf-skin with a gold-tone Gancini clasp and chain shoulder strap which she sported in an endless array of colours. The bag became so sought after that it was retrospectively named the ‘Lady D’. With designers clambering to dress the Princess, her bag wardrobe included Dior, Versace, Chanel, and Gucci to name a few. Diana even called upon Anya Hindmarch to create a series of clutch bags for her, nicknamed the ‘cleavage clutch’, which she held on

her chest to avoid any tasteless paparazzi images. Dior hit the mark with their ‘Chouchou’ bag, which can be roughly translated as ‘teacher’s pet’, a common phrase in France. Diana received the bag in 1995 from Bernadette Chirac, the wife of the then president. Styled in cannage leather with twin top handles and signature Dior charms, it was quickly rebranded as the ‘Lady Dior’ and is still one of the most popular bags in the Dior range.

In 1997, Diana asked her friend Lana Marks to design a top handle bag for her. Called the ‘Princess Diana’ handbag, it ended up being one of her favourite accessories and is now one of the brand’s most coveted bags, produced in a variety of applications and colours.

Diana has left a legacy of style, and her influence on luxury and design lives on to this day.

JOHN D'AGATA / Head of Luxury

Luxury Auction

Tues 4 Apr, 6pm

MELBOURNE

TOP: Dior, Lady Dior top handle bag

Sold for $3,250

LEFT: The Princess of Wales with her Dior handbag / Alamy

Prints & Multiples Auction

Prints & Multiples

Artist Spotlight: KAWS

American artist and designer KAWS’ (Brian Donnolly) motifs and appropriations began to appear throughout the streets of New York in the early 1990s, with an apparent intent of “subvertising” images to deflect from common commercial and public advertisements. KAWS’s publicly accessible works were imbued with humour, humanity, and an affection for the times.

In 1999, KAWS visited Japan after being approached by Bounty Hunter, the cult toy and streetwear brand. Collaborating with the company, he went on to produce his first three-dimensional form, Companion. Defined by the artist’s trademark skull-and-crossbones with X-eyes, these vinyl figures have ensured KAWS’ global appeal and have become a recognised international sensation. As an edition of five hundred, the figure sold out soon after its initial release, and Companion became a recurring figure across KAWS’ oeuvre.

One of KAWS’ most prominent recurring characters is Chum, an adaption of the Michelin Man. Chum is not only appealing, but the playful character also speaks to a wider audience across generations. Chum started appearing in 2001 as a suite of five distinct colour ways, along with Chum Clear in an edition of 1000. Once again, these editions sold out almost immediately, further cementing KAWS mania and a cult following.

In 2012 the artist created Resting Place Companion, a play on the original 1999 Companion vinyl figure. An iconic and monumental appropriation, Resting Place Companion slouches carefree in a moment of pensive stillness, with its body intersected, revealing a colourful cartoon rendering of its anatomy.

KAWS’ vinyl figures have been adapted across multiple mediums, such as in print, object, or life-sized sculptural form. Resting Place Companion and Chum continue to inspire a growing, dedicated following from all corners of the world.

In 2020, the artist took over the National Gallery of Victoria in Melbourne with his cartoonish, exuberant, and instantly recognisable sculptures. As part of this exhibition the NGV commissioned its own work, Gone. Standing at a colossal 7 metres tall, this is the largest bronze KAWS piece ever created and will be the centrepiece for the new Fox Contemporary gallery, set to open in 2028.

Across the auction market, KAWS is within the top five of the best-selling Contemporary artists of the 21st century, with over 2,000 auction results from 2019 – 2022. With one foot in the future, KAWS delivers a universally popular iconography seen and admired within today’s pop culture scene.

HANNAH RYAN / Art Specialist

TOP: KAWS (American, born 1974) Resting Place Companion (Brown) 2012 painted cast vinyl, with original product box 22 x 19.5 x 29.5cm $2,000-3,000

RIGHT: KAWS, Gone 2019 at the NGV / Alamy

Wed 5 Apr, 6pm

In Conversation

with Karen McCartney

For this issue, author, columnist, curator, editor, and all-round design and architecture expert, Karen McCartney, welcomes us into her Sydney home. Set amongst native bushland overlooking the water, Marshall House is an iconic piece of Australian architecture…

What drew you to Marshall House?

With the Marshall House, (1967) by architect Bruce Rickard, it was love at first sight. I didn’t know anything about the pedigree, the architect or its significance – I just knew that I loved it. It sits, hidden away, on a battle-axe block with a great view over the Spit Bridge on Sydney’s Northern Beaches. He encouraged his clients to plant natives around the house and we are benefiting from those decisions made over 55 years ago. The house is constructed from enduring materials – recycled brick, Australian hardwood timbers, stainless steel benches and slate bathrooms. It is an unassuming house – honest, modest in scale but big on atmosphere, connection to nature and an overall sense of well-being.

How did you first become interested in design?

I had long had an interest in design and when we lived in London, we started to collect vintage Danish furniture, particularly Hans Wegner chairs, buying from auction houses – we wish we had bought even more as it is now so collectable. I was writing for Elle Decoration UK and was good friends with photographer Martyn Thompson who always had the best taste. He was (and is) a big influence.

What was your first Leonard Joel auction purchase, and where is it now?

When my grandfather died (at 99 so he had a good innings) he left me 800 pounds. I spent half on a labradoodle who we called Bing - after my grandfather who was a Bingham – and with the other half I bought a pair of grey pearl earrings from Leonard Joel. They are an enduring jewellery piece that I continue to love. Of course, since then I closely monitor all sales and most recently bought some favourite pieces from the Geoffrey Hatty sale including a spectacular Pol Chambost vase. It is something I am very proud to own both because it is beautiful and quirky and reminds me of Geoffrey every day.

What does "good design" mean to you?

Good design is such a moveable feast and beauty often is in the eye of the beholder. In every genre there are pieces which are well executed and resolved, have a certain quality, concept or execution that makes them special or unique. You don’t have to like everything for it to be good!

What advice do you have for young design enthusiasts and collectors?

My advice is a combination of head and heart. Respond to what you love, but also research and be informed so that you buy well with a view to the long term. Buy less but buy the best in show.

Are there any places that you’ve visited on your travels that have been particularly inspirational when it comes to design?

Travel is gold when it comes to design and inspiration. Because you have this shift in mindset, and hence perception, when you are in new places you see things that pique your interest everywhere you look; a particular door design, a ceramic at Paul Bert Serpette in Paris, an oil painting in an Italian cheese shop. Last year I did a design report from Milan Design Week for est_living so that was a rush of great design concentrated into a short period of time.

Do you have any exciting projects in the pipeline that you can tell us about?

My ‘job’ is not singular but rather I have a number of hats that all intersect around design and architecture. I act as an editor, an advisor, a writer, a curator of design talks, a procurer of furniture and lighting for interior projects, so there is never a dull moment and all of the above are on the cards for 2023. My main thing is to collaborate with people I like and admire and that way it feels much less like work.

Thank you Karen for chatting with us! For more design insights and travel highlights, follow her on Instagram at @mccartneyk

TOP LEFT: A Hans Wenger Shell Lounge Chair sits adjacent to an Ildiko Kovacs painting showcased on a brick wall.

TOP MIDDLE: An impressive 1930s Pol Chambost vase bought from the Leonard Joel Geoffrey Hatty sale, sits on an integrated desk alongside a Jason chair from the 1950s.

TOP RIGHT: Eames side storage unit sits in front of a 3-D artwork by Alison Coates.

Photography: Michael Wee

How to... Care for your artwork

WITH DAVID STEIN

David Stein has over 30 years of experience maintaining, preserving, restoring, and conserving artworks and collections. His Sydney studio, David Stein & Co., is the largest private conservation practice specialising in Paintings Conservation in Australia and the Asia Pacific region. Here, David shares some of his wisdom...

What general advice do you have for caring for your artworks?

Light and humidity are the two hidden enemies of art. High light levels will contribute to adverse changes including fading and discolouration, especially more sensitive mediums such as photography, watercolours, prints and drawings and of course fabrics and textiles. Keep artworks away from damp and moisture. Unventilated damp areas can cause mould and mildew which can irreversibly damage artworks. Beware when you are moving, handling, and hanging art. For moving and hanging works of value, my general advice is to call a professional!

From torn canvas and mould to foxing and stains, much can befall a work of art. When is it time to see a conservator?

If you see anything that does not look right on the artwork, then that is the time to call a conservator. Sydney is humid and works of art can become mouldy, foxed, dusty and insect affected, particularly in the warmer months. I recommend monitoring your collection for change and if there is anything abnormal then contact a conservator. In the thirty years that I have been in private practice, technology has made advances and made life easier. You don’t have to “call” a conservator, you can email a conservator with photos in the first instance. It’s so easy to get an opinion and its free! Just don’t expect a quote, you need to have the work seen to by a conservator for that in most cases.

How can restoration impact the value of a work?

Generally speaking, good conservation will improve the value of an artwork. Presenting an artwork as close to the intention of the artist is a fundamental goal of the conservation profession. The other is that of reversibility. Everything we do to an artwork can be undone, now and in the future. Good conservation is about the care of the artwork that preserves its integrity and therefore its value.

What questions should a collector ask about caring for a work before considering purchasing it?

Condition! Always check the condition of an artwork prior to purchase. If you would like to have the confidence of an independent conservation condition report, engage a conservator for a condition check and perhaps to outline some treatment options and approximate costs.

Could you share a particularly memorable restoration, perhaps one that has uncovered something interesting?

I would dearly love to, but I would have to kill you first, as the saying goes. I have four decades of memorable and amazing stories, fakes and fortunes and everything in between. Everything that goes on in our wonderful conservation studio is highly confidential as you can imagine.

Learn more at David Stein & Co. www.artrestoration.com.au

TOP: David Stein at work

ABOVE: Removing discoloured varnish from an artwork, at David Stein & Co.

Rolex Datejust: A Classic for Every Day

With its timeless aesthetic and appeal, the Rolex Datejust was launched in 1945 to celebrate the watchmaker’s 40th anniversary. A true innovation, it was the first self-winding waterproof chronometer wristwatch and featured a revolutionary calendar design, displaying the date in a small window at 3 o’clock on the dial. Previously, watches had indicated the date by a hand pointing to markings around the edge of the face. A separate window was visually cleaner and easier to read, and it quickly became the standard date display on watches.

Whilst maintaining a classic and distinct shape, the Datejust has undergone several refinements over the years. The first example had an acrylic crystal face which could easily scratch, so in later years was replaced with a more durable sapphire crystal face. In 1953, Rolex added the distinctive cyclops lens over the date window to provide 2.5x magnification.

It was originally released with the Jubilee bracelet, but today is available with the option of the Oyster bracelet instead, as well as offering many other design choices; gold, two tone gold, or stainless steel, and with sizes including 28mm, 31mm, 34mm, 36mm and 41mm.

With so many variations available, there is a Datejust for everyone, and it remains one of the brand’s most popular models.

TROY MCKENZIE / Queensland Representative Specialist

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.

Minutes with…

NOELLE

FAVOURITE ARTIST/DESIGNER?

As I am not originally from Australia, working at Leonard Joel has really opened my eyes to the scope of the Australian art market. At the moment, I am absolutely loving Cressida Campbell’s woodblock prints. I am a sucker for a painting of a painting and the minutiae of Campbell’s pieces is always just spectacular.

FAVOURITE COCKTAIL / WINE / COFFEE

All of the above! A scotch-based penicillin, a pet nat, and a strong oat flat white – in that order.

FAVOURITE TRAVEL DESTINATION

I have a Vietnamese friend who wanted to go to Vietnam for the holidays and was lucky enough to get to join her! I spent just over two weeks there and it was incredible. The food, the people, and the variety of landscapes you get between the North and the South was just so wonderful. I would highly recommend it if anyone is on the fence about visiting.

FAVOURITE BOOK

I studied English Literature at university, so I’ve been through most of the classics, but despite it I’ve always been a bit of a slow reader. During one of the many lockdowns, I got very into Fantasy Romance novels. I thought I should just go in the complete opposite direction of the books I usually read, and I ended up tearing through one in under two days. One of my favourites is Sarah J. Maas’ A Court of Thorns and Roses series. I’ve managed to get the whole Art Department reading them!

YOUR IDEAL DAY IN MELBOURNE

A slow Sunday in Melbourne is the best. I love to start my day with a yoga or pilates class, followed by a trip to the local Farmers Market for some fresh produce and bread, followed by a late brunch with friends.

This issue, we spend 5 minutes with Noelle Martin, our Art Assistant in Melbourne…

ABOVE: Cressida Campbell, Bedroom Nocturne, 2022 © Cressida Campbell

Koala habitat: restoring to connect and connecting to restore

Australia and Africa: Two continents, many thousands of kilometres apart, both grappling with the same question—how people and wildlife coexist and thrive in a changing climate.

I recently visited Australia, where our team has been restoring and connecting wildlife habitats along the country’s east coast. This has become more important than ever with climate change increasing the frequency and intensity of disasters, further fragmenting and destroying habitats already broken by land clearing and development.

I couldn’t help but see parallels between that work and IFAW’s Room to Roam initiative in Africa, where we aim to protect and secure a connected network of key savannah elephant habitats in East and Southern Africa to ensure their populations persist.

Just as the elephant is an icon of Africa, the koala is an icon of Australia. Both face the impending risk of extinction as humans encroach on their habitats. And on both continents, IFAW works to create safe passages for these animals to help them coexist with people.

The impact of habitat fragmentation is something the IFAW veterinarian team at Friends of the Koala in New South Wales (NSW) experiences daily. They are seeing a significant increase in koalas being struck by vehicles. As we knock down their habitat for development, koalas are forced to cross busy roads to reach their destinations.

The veterinarian team rehabilitates these koalas, but they still need to be released into safe areas where they can thrive. To that end, through our partnership with Bangalow Koalas, we have planted thousands of trees in NSW that koalas and other native wildlife can use.

Our work in Australia relies on collaboration with communities, Indigenous groups, governments, the private sector and other NGOs. At Ngunya Jagoon Indigenous Protected Area in Wardell, NSW, we are leaning on the expert knowledge of the Jali rangers who are stewards of this biodiversity and cultural hotspot. This landscape was significantly impacted by the Black Summer bushfires and catastrophic floods. We’re collecting and analysing koala scat to learn about the post-fire health of this koala population, in collaboration with government and

our partners at Friends of the Koala and the University of the Sunshine Coast’s Detection Dogs for Conservation. Similarly, Room to Roam relies on local rangers working on the frontlines, promoting citizen science and sustainability.

Innovation is needed too, and I saw this in action at Two Thumbs Wildlife Trust Sanctuary in southern NSW. This once-biodiverse hotspot was destroyed by the Black Summer bushfires. Many hollow-dependent animals that once inhabited this 700-plushectare property now have nowhere to go.

I learned natural hollows take up to two centuries to develop in a eucalypt tree. To help the animals that rely on them, our partners at Habitat Innovation and Management developed Habitech nest boxes that mimic natural hollows and provide a ready-to-move-in home for endangered animals like the greater glider and the gang-gang cockatoo. Together, we’re offering safe spaces for threatened species to return to the area and thrive.

With our partner Great Eastern Ranges (GER), we’re helping build community and wildlife resilience against future disasters. I witnessed this resilience during my visits to project sites impacted by fires and floods in the Lockyer Valley of Southeast Queensland. I was touched by the life-threatening experiences of landholders during the fires and their spirited resolve to “build back better” for nature protection and habitat restoration.

The work IFAW and GER are doing to help these communities and landscapes heal is contributing to the overarching aim of improving connectivity, which is also a key aim of Room to Roam. This was the theme of the GER Connecting People, Connecting Nature conference that I participated in during my visit, which IFAW proudly sponsored.

The take-home message from the conference, and the entire trip, was that IFAW’s ambitious goals to connect habitats for wildlife in both Australia and Africa will only be accomplished by connecting people—those in government, Indigenous people, local communities, and members of the private sector. By working collaboratively, we can ensure animals and people thrive together into the future.

JIMMIEL MANDIMA / IFAW Global Programs Vice President

ABOVE: IFAW Global Projects Vice President Jimmiel Mandima with Bangalow Koalas President Linda Sparrow looking at the wildlife corridor IFAW is supporting through various tree plantings. Photo © IFAW

A Last Look

2017

Sold for $375,000

Important Jewels, December 2022

A pair of Sèvres porcelain vases ('vase étrusque')

Sold for $81,250

The Collector's Auction, November 2022

Sèvres was the Royal French porcelain manufactory and produced pieces of the highest quality for the king, nobles and as gifts for foreign dignitaries. Pieces such as these were incredibly labour intensive and involved many different processes and firings to reach the desired end.

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

Bulgari diamond 'La Via Della Seta' high jewellery pendant necklace, circa

Christian Dior, Lady Dior white & multicolour flower embellished handbag Sold for $6,875 Luxury, November 2022

LESLIE VAN DER SLUYS (1939-2010) Australian Darter and Blue Lotus 1996/97 Sold for $3,750 Prints & Multiples, November 2022

A Chinese painting of gibbons by Chen Wen Hsi (1906-1991) circa 1970s Sold for $30,000 Asian Works of Art, December 2022

DEMÉTRE CHIPARUS (1886–1947) 'Vedette' Sold for $30,000 Decorative Arts, December 2022

Gerrit Thomas Rietveld Roodblauwe Stoel chair for Cassina Sold for $5,875 Modern Design, November 2022

Verdura pink spinel and diamond 'Wrapped Heart' pendant/brooch Sold for $106,250 Important Jewels, December 2022

Remembering Geoffrey Hatty

1957-2023

Connect

Browse Now Delivering

Browse our online auction catalogues or view in person at one of our salerooms.

Bid

Create an account online and use it every time you bid. You can also receive Lot alerts tailored to your interests.

Bidding is easy and you can do so in person, online, by phone or by leaving an absentee bid. Our team is always on hand to guide you.

Get your auction purchases delivered straight to your door with Leonard Home Delivery (Melbourne only), our convenient, fast, reliable delivery service managed by our in-house team. Please visit our website for more information or contact delivery@leonardjoel.com.au

Connect

Subscribe to our email newsletter through our website to stay up to date with news on upcoming auctions, special events and industry insights.

Discover more at our website and follow us on social media:

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

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

Value / Sell / Buy Contact a Leonard Joel Specialist

CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS

John Albrecht 03 8825 5619 | john.albrecht@leonardjoel.com.au

CHIEF EXECUTIVE OFFICER

Marie McCarthy 03 8825 5603 | marie.mccarthy@leonardjoel.com.au

Auction Specialists

IMPORTANT JEWELS

Hamish Sharma, Head of Department, Sydney 02 9362 9045 | hamish.sharma@leonardjoel.com.au

FINE JEWELS & TIMEPIECES

Bethany McGougan, Head of Department 03 8825 5645 | bethany.mcgougan@leonardjoel.com.au

FINE ART

Olivia Fuller, Head of Department 03 8825 5624 | olivia.fuller@leonardjoel.com.au

DECORATIVE ARTS

Chiara Curcio, Head of Department 03 8825 5635 | chiara.curcio@leonardjoel.com.au

MODERN DESIGN

Rebecca Stormont, Specialist 03 8825 5637 | rebecca.stormant@leonardjoel.com.au

LUXURY

John D'Agata, Head of Department 03 8825 5605 | john.dagata@leonardjoel.com.au

PRINTS & MULTIPLES

Hannah Ryan, Art Specialist, Manager of Speciality Auctions 03 8825 5666 | hannah.ryan@leonardjoel.com.au

SYDNEY

Ronan Sulich, Senior Adviser 02 9362 9045 | ronan.sulich@leonardjoel.com.au

Madeleine Norton, Associate Head of Decorative Arts & Art 02 9362 9045 | madeleine.norton@leonardjoel.com.au

BRISBANE

Troy McKenzie, Representative Specialist 0412 997 080 | troy.mckenzie@leonardjoel.com.au

ADELAIDE

Anthony Hurl, Representative Specialist 0419 838 841 | anthony.hurl@leonardjoel.com.au

PERTH

John Brans, Representative Specialist 0412 385 555 | john.brans@leonardjoel.com.au

The Auction Salon Specialists

ART

Amanda North 03 8825 5630 | art.manager@leonardjoel.com.au

FURNITURE

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

JEWELLERY

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

OBJECTS & COLLECTABLES

Dominic Kavanagh 03 8825 5655 | objects.manager@leonardjoel.com.au

Valuations

David Parsons, Head of Private Estates and Valuations 03 8825 5638 | david.parsons@leonardjoel.com.au

Marketing & Communications

Blanka Nemeth, Manager 03 8825 5620 | blanka.nemeth@leonardjoel.com.au

Maria Rossi, Graphic Artist

Paolo Cappelli, Senior Photographer & Videographer

Adam Obradovic, Photographer & Videographer

Sale Rooms

MELBOURNE

333 Malvern Road, South Yarra, Melbourne VIC 3141

Telephone: 03 9826 4333

SYDNEY

The Bond, 36–40 Queen Street, Woollahra, Sydney NSW 2025

Telephone: 02 9362 9045

Leonard Magazine

EDITOR

Blanka Nemeth, Marketing & Communications Manager

Mondial Solitaire Fancy Vivid Yellow Diamond Ring, weighing 4.92 carats

Sold for $137,500

Important Jewels Auction, December 2022