LEONARD, issue 105, August-September 2023

auction calendar

The Modern Edit

Wednesday 9 August, 6pm / MELBOURNE

Important Jewels

Tuesday 22 August, 6pm / SYDNEY

Indigenous Art

Monday 28 August, 6pm / MELBOURNE

Specialist Rugs

Thursday 31 August, 2pm / MELBOURNE

Women Artists

Monday 18 September, 6pm / MELBOURNE

The Collector's Auction

Tuesday 19 September, 2pm / SYDNEY

Fine Jewels & Timepieces

Monday 23 October, 6pm / MELBOURNE

Fine Art

Tuesday 24 October, 6pm / MELBOURNE

The Auction Salon

Furniture & Interiors

Objects & Collectables

Jewellery Art

Every Thursday, from 10am / MELBOURNE

The Collector's Auction

Tuesday 19 September, 2pm Sydney

COVER:

Important Jewels Auction

Tuesday 22 August, 6pm Sydney

LEFT: A Le Verre Francais cameo glass vase in purple $1,800-2,400

Asprey 18ct gold garnet and diamond demi-parure $36,000-44,000

After almost 30 years at our South Yarra building, we are excited to announce that our flagship premises will relocate to a larger gallery in Hawthorn later this year. We'll be sharing our journey with you on social media and through our newsletter, so make sure to follow along.

Within this issue of Leonard, we learn the meaning of jewellery hallmarks, take a peek into a cabinet of curiosities, and discover three lesser known female artists. We also learn about why Harry Winston pieces are always a good investment, take a look at Postmodernism in film, talk all things antique jewellery with Jorge Chamizo, and understand how to collect ethical Indigenous art with Beverly Knight.

FROM THE CHAIRMAN

3 Established 1919, Re-established 2023

AUCTIONS

4 Important Jewels | Harry Winston: An Investment in Exclusivity

6 Indigenous Art | Australia’s Arts Centres

8 Women Artists | 3 Australian Women Artists You Should Know

10 Decorative Arts | Wunderkammer: The Cabinet of Curiosities

12 Sydney | French Art Glass and the Schneider Brothers

14 Fine Jewels | Understanding British Jewellery Hallmarks

16 Fine Jewels | Miniature Worlds

17 Timepieces | The Mystery of the Chronograph

18 Modern Design | Interiors in Film: Postmodernism

20 Luxury | High Society

21 Prints & Multiples | Prints: Important to all Art Collections

22 In Conversation | With Jorge Chamizo

24 Brisbane | A Day in the Life of Troy McKenzie

IN FOCUS

25 Art Expert Series | How to: Collect Ethical Indigenous Art, with Beverly Knight

26 5 Minutes with James Stanton

27 22nd Report | Orphaned Elephants Closer to Wild Life in Zimbabwe

28

5 Favourites with Deborah Symond O'Neil

33 Valuations | Thinking of Selling?

34 A Last Look

JOIN US

36 Connect & Buy with Leonard Joel

37 Contact a Leonard Joel Specialist

ESTABLISHED 1919, RE-ESTABLISHED 2023

Just off Glenferrie Road

I’m so excited to advise all our readers that after an exhaustive two-year search, we have found the new home for our Melbourne salerooms and gallery; our home for decades to come.

The beauty and the challenge of our business has always been managing so many departments in one space, and as we’ve grown, the challenge has become more pressing.

Our new premises at 1A Oxley Road Hawthorn will, after 104 years, provide our clients with the finest, largest salerooms in Melbourne and wonderful gallery spaces for our viewings, all informed by a contemporary sensibility with an eye to a future firmly tied to a blended in-room and online experience.

Studio Doherty, a celebrated local design team, have been engaged to realise our vision and the brief has been to deliver for our clients nothing less than the finest auction rooms in the country. Construction is underway and soon we will be sharing the designs with you all.

I look forward to welcoming you to our new home later this year.

JOHN ALBRECHT Chairman / Head of Important Collections

OPPOSITE: Leonard Joel's new premises at 1A Oxley Road, Hawthorn (Artist's impression)

IMPORTANT JEWELS

Important Jewels

Auction Tue 22 Aug, 6pm SYDNEY

OPPOSITE: Harry Winston exceptional diamond necklacebracelet combination, approximately weighing 53.0carats $360,000-450,000

TOP: Harry Winston 18ct gold and diamond bracelet, circa 1960, the diamonds together weighing approximately 2.52carats $20,000-30,000

Harry Winston: An Investment in Exclusivity

When it comes to luxury and sophistication, few brands can rival the timeless elegance and exquisite craftsmanship of Harry Winston. Renowned for its exceptional jewellery and prestigious timepieces, Harry Winston has captured the hearts of discerning customers worldwide. Whether you are a connoisseur of fine jewellery or a collector of important timepieces, here are several compelling reasons why buying Harry Winston is a worthwhile investment.

Heritage and Legacy: With a rich heritage dating back to 1932, Harry Winston has built a legacy that is synonymous with luxury and elegance. The brand’s founder, Harry Winston, was known as the “King of Diamonds” and was revered for his brilliant eye for rare and exquisite gemstones. Purchasing a Harry Winston piece means becoming a part of this storied legacy and carrying forward the brand’s timeless elegance.

Unparalleled Quality and Craftsmanship: Harry Winston is synonymous with uncompromising quality and impeccable craftsmanship. Each piece is meticulously crafted by highly skilled artisans, who bring together the finest materials and precision techniques to create true works of art. From flawless diamonds to rare gemstones, Harry Winston’s attention to detail and commitment to excellence ensure that every piece is of the utmost quality.

Prestige and Recognition: Harry Winston has graced the necks, wrists, and fingers of countless celebrities and aristocracy; from Marilyn Monroe immortalising him in the song “Diamonds Are a Girl’s Best Friend”, to Gwyneth Paltrow wearing a Harry Winston necklace when she accepted an Oscar for her role in “Shakespeare in Love”. Additionally, notable figures such as Princess Diana have chosen Harry Winston pieces for their significant occasions, further solidifying the brand’s association with royalty and prestige. These endorsements from celebrities and royalty only serve to enhance the allure and desirability of Harry Winston’s creations, making them the epitome of luxury and style.

Rarity: In addition to the allure of celebrity and royalty endorsements, another factor that contributes to the desirability of Harry Winston creations is their limited availability. Unfortunately, for those in Australia, the exclusivity of Harry Winston’s pieces is further heightened by the absence of boutiques in the country. This adds an extra layer of rarity to the brand’s offerings, making them even more sought after by collectors and enthusiasts.

The purchase of a piece of Harry Winston jewellery is a decision that goes beyond acquiring an astonishing piece of jewellery. It’s an investment in craftsmanship, heritage, and elegance. With its unparalleled quality, exclusivity, and timeless appeal, Harry Winston continues to be the epitome of luxury and remains a coveted brand for those who appreciate the finest things in life.

LAUREN BOUSTRIDGE / Senior Jewels Specialist, Sydney

BELOW: Harry Winston emerald and diamond ring Sold for $12,500

INDIGENOUS ART

Australia’s Arts Centres

Indigenous Art Auction Mon 28 Aug, 6pm

MELBOURNE

OPPOSITE: Sally Gabori (1924-2015)

My Father's Country synthetic polymer paint on canvas

123 x 182cm

$18,000-25,000

BELOW: Sally Gabori (1924-2015)

Hunting Ground 2006

acrylic on linen

120 x 91cm

Sold for $5,456

This August we are proud to present a number of works from several regions and their respective arts centres. Naming just a few, I’ve highlighted key artists from the Balgo and Kimberley Regions, Arnhem Land, the Tiwi Islands, and the Central and Western Desert regions.

Taking up the paintbrush at the age of 81, Sally Gabori worked on an impressive body of work, devoting her output to the tradition of her people and the memories associated with her homeland, nature, and the landscape. Her contemporary landscapes are held in numerous public collections around Australia and internationally.

Transporting viewers into a world of vibrant colours and mesmerising forms, My Father’s Country serves as a visual gateway to the artist’s ancestral connection and the stories of her people. Associated with meaningful sites from a lifetime spent on Bentinck Island, Gabori dominates the composition with vibrant blues, reds, and burnt oranges. While the warm tones evoke the landscape of her ancestral country, the swirling forms and vivid blue is reminiscent of the waterholes and winding rivers of the Mornington Island region. This magnificent piece will be offered in our upcoming Indigenous Art auction in August.

In the Western Desert region, the Papunya Tula movement emerged in the 1970s, adapting traditional storytelling and ceremonial designs onto canvas whilst playing a crucial role in the development and success of the broader Indigenous art market. Signature geometric designs are seen across numerous artist’s work from Papunya Tula to this day. Artists including Warangkula Reid Napurrula, Warlimpirrnga Tjapaltjarri, and George Ward Tjungarrayi, all featured in this catalogue, have adapted these distinctive characteristics across their canvases.

Looking out towards the south-east Kimberley in north Western Australia, Warlayirti artists possess a distinct style infused with vibrant colours depicting the rugged beauty of the landscape. Ranging from earthy ochres and deep reds to vibrant blues, these pieces reflect the changing seasons and spiritual connections of their people. Early Warlayirti artist Johhny Mosquito Tjapangati captures the essence of the region in his piece Storm Dreaming at Kurtal 1992, depicting the Tjukurrpa (Dreamtime) which are conveyed through his geometric shapes, lines, and concentric circles, prominent characteristics seen throughout all the Warlayirti pieces on offer.

Heading into the far north, Maningrida Arts and Culture, an arts centre in the remote community of Maningrida in Arnhem Land, Northern Territory, is a vibrant hub that supports a wide range of artistic practices including painting, printmaking, weaving and carving. This art centre has regularly caught the attention of celebrities including David Attenborough, Elton John, and Pablo Picasso, producing high-quality artworks while preserving Indigenous cultural practices. Several beautiful carvings are featured in our forthcoming catalogue including an intricate fish trap by James Iyuna, and pieces by Peter Minygululu and Irenie Ngakinba.

This auction gives us another opportunity to celebrate this historic artform and bring awareness to the communities from which these stunning pieces have come from. The vibrancy and unique storytelling from each region highlight the diversity of Indigenous culture and we look forward to presenting the full exhibition and auction catalogue in August.

LUCY FOSTER / Senior Specialist, Fine Art

WOMEN ARTISTS

3 Australian Women Artists You Should Know

Women Artists

Auction Mon 18 Sept, 6pm

MELBOURNE

OPPOSITE: Isabel Hunter Tweddle (1877-1945)

Roses and Lilac oil on canvas laid on board, 45 x 40cm $1,000-2,000

ABOVE: Bessie Norris Tait (1878-1939)

Miniature Portrait of a Young Woman watercolour, 4 x 3.5cm $1,000-1,500

BELOW: Frances Derham (1894-1987)

Untitled 1949 oil on board, 34 x 24cm $2,000-3,000

ISABEL TWEDDLE (1877-1945)

Isabel Tweddle was born and raised in Deniliquin, New South Wales. Her family had a profound impact on the development of the town, establishing the building firm Hunter & Son which erected some of the town’s most notable structures. At 19, Isabel enrolled at the National Gallery of Victoria school where she studied drawing under Frederick McCubbin and painting under Bernard Hall for three years. During her time as a student, she formed lifelong friendships with fellow artists Ada May Plante, A. M. E. Bale, Margaret Preston, and George Bell.

Isabel’s subjects were diverse, ranging from still life to landscape and portraiture. She was one of the founding members of the Twenty Melbourne Painters Society, was active in the Victoria Artists' Society, the Contemporary Art Group, and the Women’s Art Club. In addition to being an artist herself, Isabel and her husband were great supporters and collectors of other artists’ work.

BESSIE NORRIS TAIT (1878-1939)

Bessie Norris Tait had her first drawing lessons, aged ten, from Jane Sutherland before studying under Frederick McCubbin and Bernard Hall at the National Gallery of Victoria School. She sent examples of her miniatures to London and was encouraged to go there to work and study in 1905. In London, she quickly became a darling of the art society, attracting a fashionable clientele. She was admired for breaking with the ‘chocolate-box’ method of miniature painting, and became a member of the Royal Society of Miniature Painters in 1907. She completed a number of portrait commissions in Australia, held exhibitions locally, and had her works acquired by the state galleries. She returned to London in 1911 and secured patrons including J. Pierpont Morgan and Queen Alexandra. In addition to her work being acquired by Australian state galleries, she was the first Australian woman artist to have a work purchased by an English gallery.

For her popularity at the time, she is relatively unrecorded in Australian art history. This is thought less to be due to her achievements largely being overseas, but rather by her decision to predominantly paint miniatures, an art form traditionally deemed too twee or ‘feminine’ for academic recognition.

FRANCES DERHAM (1894-1987)

Frances “Frankie” Derham was schooled in Dunedin and Belfast before her family returned to Victoria where she enrolled at the National Gallery of Victoria school.

Whilst an important part of her life was spent as an artist, she also advocated for the role of art in childhood development and worked as a teacher and lecturer. Her beliefs and teachings were considered highly progressive for the time, yet are enduring, with her practical guide "Art for the Child Under Seven" (1961) being widely used by parents and teachers through seven editions.

Additionally, Derham was a member of the Arts and Crafts Society in Victoria. Inspired by Baldwin Spencer in the 1920s, she began to incorporate Aboriginal motifs into her designs, particularly in her prints. This sparked a lifelong interest in Aboriginal art. In 1938, she visited the Hermannsburg mission in the Northern Territory following the encouragement of Rex Battarbee and anthropologist Charles Mountford to study the art of Aboriginal children. In 1948 she made a further trip to the Aurukun Mission in far North Queensland.

Despite regularly producing work, Derham never practiced full time as an artist, rarely exhibited, and gave much of her work away. A few of her own prints are in public collections, but most of her paintings and collages are held privately.

OLIVIA FULLER / Head of Art

DECORATIVE ARTS

Wunderkammer: The Cabinet of Curiosities

The term Wunderkammer, translating from German meaning ‘room of wonder’ or ‘cabinet of curiosities’, was born in 16th century Europe, being the collection of various items of interest to represent the physical embodiment of the wider world - natural and man-made. These collections started primarily in private rooms of rulers and monarchs. Later, in the 18th and 19th centuries, collecting items in this way became a popular habit of nobility, merchants, and gentlemen; being used as a symbol of the owner’s social status, wealth, and intellectual prowess.

The collection would be housed in an entire room, or sometimes just a corner or cabinet of a room, and feature an arrangement of items of interest covering various fields including taxidermy, natural specimens, antiquities, art, and scientific instruments; a visual representation reflecting the owner’s broad scope of knowledge of the world. Each object and the vastness of the collection as a whole would enhance the collector’s status with his peers, showcasing educational curiosities, scientific advancements, and souvenirs from expedition voyages as intellectual stimuli for visitors of the Wunderkammer.

Decorative Arts

Mon 20 Nov, 2pm MELBOURNE

TOP LEFT: Ferrante Imperato, Dell'Historia Naturale (1599), the earliest illustration of a Cabinet of Curiosities

OPPOSITE LEFT: Frans Francken II, A Cabinet of Curiosities 1619

OTHER IMAGES: Items sold over the years at Leonard Joel that would have been at home in a Cabinet of Curiosities.

Later examples would include blending naturally formed and man-made items, where nautilus shell, tortoise shell, amber, and ivory would be richly carved or elaborately applied into precious metal settings. An exemplary example of a large collection of this type still intact is the collection at the Green Vault in Dresden.

As an area of interest and discussion over its period of popularity, there is much literature about what components create a well-balanced Wunderkammer. The earliest work on this subject is by Belgian physician Samuel Quiccheberg, who served as scientific and artistic adviser to Albrecht V, Duke of Bavaria, who in 1565 published the first treatise regarding the value of the Wunderkammer, titled Inscriptiones vel tituli theatre amplissimi.

In Quiccheberg’s work, he details that the most important elements to feature can be defined by six categories: Naturalia (found in nature, naturally occurring, or artworks inspired by nature), Mirabilia (wonders of nature),

Ethnographica (man-made items from the wider world, tribal artefacts), Artificialia (man-made items), Artefacta (historically interesting items, antiquities) and Scientifica (Scientific instruments and discoveries).

Quiccheberg’s review of collections of this type focused on the importance of the collection in its entirety functioning as fundamental for research, eliciting thought, and scholastic value, and in fact the Wunderkammer was the precursor to the modern museum and was eventually superseded by public institutions in the 19th century.

For those who are curious, the Wunderkammer in the NGV’s current exhibition Rembrandt: True to Life, presents the artist’s very own Cabinet of Curiosities, recreated to show a time capsule of what a cultured 19th century gentleman would have collected.

CHIARA CURCIO / Head of Decorative Arts, Design & Interiors

SYDNEY

French Art Glass and the Schneider Brothers

Glass has been a beloved medium for artistic expression since ancient times, and France has a rich history of creating exquisite glass objects. Throughout the centuries, French artists have made significant contributions to the field, dating back to the Middle Ages when they adorned grand cathedrals with magnificent stained-glass windows.

However, it was in the late 19th and early 20th centuries that French glassmakers truly established themselves as world leaders. Renowned artists such as Emile Gallé, the Daum brothers, Gabriel Argy-Rousseau, René Lalique, and Charles Schneider emerged during this period and gained global recognition for their innovative work. Many of these artists drew inspiration from historical artefacts unearthed at archaeological sites and displayed in museums. One notable influence was the Portland Vase, a remarkable Roman cameo vase crafted between 1-25 CE. Its intricate design sparked a resurgence of interest in cameo glasswork, influencing glassmakers like Josiah Wedgwood, who recreated the cameo look in jasperware, Emile Gallé, who utilised the medium to create stylised floral and fauna decorations, and the Daum brothers, who introduced their cameo glassware at the Chicago World’s Fair in 1893.

At the turn of the 20th century, another pair of brothers, Charles and Ernest Schneider, began their artistic glassmaking journey in Epinay-Sur-Seine, a suburb of northern Paris. Younger than their contemporaries Gallé and the Daum brothers, the Schneider brothers initially worked for Daum but eventually ventured out on their own. In 1913, they reopened an old glasswork factory under the name Schneider Freres et Wolff, with the architectural assistance of Henri Wolff, a friend of Charles Schneider. Charles, a talented and versatile designer who had studied at the Ecole des BeauxArts in Nancy and Paris, held his first exhibitions in Paris in 1906. From 1913 to 1914, the company produced high-quality vases, ewers, bowls, and lamps. However, the outbreak of war disrupted their operations as their workforce was mobilised and they had to halt production for several years. In 1917, they resumed operations, focusing on producing glassware for hospitals and laboratories. To finance their return to the art glass market, they sold shares and renamed the company

Societe Anonyme des Verreries Schneider. Charles Schneider initially emulated the style of Emile Gallé but gradually developed his own distinct artistic approach. He employed a wide range of colours, combining them in subtle blends or striking contrasts, particularly in his cameo work. Schneider became renowned for seamlessly blending Art Nouveau and Art Deco elements, and his later designs played a significant role in shaping the Art Deco movement. His unique creations gained immense popularity not only in France but also overseas, particularly in the United States, where the fascination with all things French was growing. Throughout the 1920s, Schneider’s designs dominated the glass scene, and the company successfully marketed its glassware to prestigious retailers in Paris and abroad. Eventually, the Schneider brothers repurchased their shares and renamed the company Verrerie Schneider.

Most Schneider pieces bear distinctive trademarks, typically signed “Schneider”, “Charder” (a contraction of Charles Schneider), “Le Verre Francais”, or featuring a sketch of a twohandled ewer, a small glass cane of blue, white, and red, or a combination of these markings.

During the depression of the 1930s, the Schneider brothers faced a significant setback as their US market collapsed and their brilliantly coloured glass fell out of fashion in France. Moreover, their prolonged court battle against David Gueron (DEGUE glass) for plagiarism, though successful, drained the company’s finances. Tragically, in 1937 Ernest Schneider passed away. After 15 years of being synonymous with luxury and modernity, the Schneider glassworks filed for bankruptcy in 1939.

However, the Schneider name would later experience a revival through another pair of brothers. In 1949, Charles Schneider Junior and his brother Robert-Henri founded Cristallerie Schneider, establishing themselves as formidable competitors to Daum France in both style and quality. Although the factory ceased operations in 1981, pieces from Cristallerie Schneider are currently gaining favour among a younger generation of design enthusiasts.

MADELEINE NORTON / Head of Decorative Arts & Art, Sydney

OPPOSITE LEFT TO RIGHT:

Le Verre Francais cameo glass vase in pink

A Le Verre Francais cameo glass vase in purple

A Le Verre Francais cameo glass vase in violet $1,500-2,000

BELOW: The Portland vase, crafted between 1-25 CE

The Collector's Auction Tue 19 Sep, 2pm

SYDNEY

FINE JEWELS

Understanding British Jewellery Hallmarks

An understanding of jewellery hallmarks is essential for specialists and collectors alike, as they offer valuable information as to the origin, date, and composition of a piece of jewellery or objet d’art. The British hallmarking system, which has ensured rigorous and high-quality standards over hundreds of years, has meant English pieces continue to be coveted by collectors worldwide.

The hallmarking system as we know it today was established in 1327 when the Goldsmith’s company of London created a system of marks under the rule of Kind Edward I to regulate the purity of materials used in jewellery. These marks acted as a guarantee of quality and authenticity and an early version of consumer protection. Initially introduced as a rudimentary system of crude symbols, as the industry grew, the complexity of hallmarks developed to reflect the necessary changes in legislation. Hundreds of years and many changes later, the trade continues to be regulated through the Hallmarking Act of 1973.

A full traditional hallmark is composed of five marks - a Sponsor’s Mark, a Traditional Fineness Mark, a Millesimal Fineness Mark, an Assay Office Mark, and a Date Letter Mark. Only the Sponsor, Millesimal, and Assay Office marks are compulsory, so it is commonplace to find pieces with only three marks.

Fine Jewels & Timepieces

Auction Mon 23 Oct, 6pm MELBOURNE

LEFT: An Ingot pendant in 9ct gold, circa 1977, London hallmarks, 30gms. Sold for $1,062

BELOW: Die stamping hallmarks in a gold Assay office, London / Alamy

OPPOSITE: Hallmark examples. There are many different types of each mark, and they are worth looking into if you are curious, or have a stamped piece of jewellery that you would like to research.

SPONSOR’S MARK

The Sponsor’s Mark is typically a combination of letters reflecting the individual craftsman or company responsible for making the piece and submitting it to be assayed (determining the content or quality). An individual or company can only obtain a Sponsor’s mark through registration with an Assay office and it has to be a minimum of two and a maximum of five letters.

ASSAY OFFICE MARK

An Assay Office Mark identifies the Assay office responsible for testing and verifying the piece. The Assay offices were first established in seven major cities throughout Britain, the first being London (identified by the leopard head). The largest assay office in the world is based in Birmingham, identified by an anchor symbol. Today, the only remaining Assay offices are based in London, Birmingham, Sheffield, Edinburgh, and Dublin.

Finally, a Date Mark indicates the year of manufacture. First

Miniature Worlds

I’m not sure whether it started for me with rockpools by the beach, aquariums, and terrariums that my father encouraged me to keep, or little winter puddles with things in them that continue to catch my eye, but however it started, I continue to find Essex crystal beguiling.

Google explains Essex crystal as "formed from a rock crystal cabochon (polished domes of rock crystal with a flat base), an image or motif is then reverse carved into the flat base, and then painted, to give the impression of a three-dimensional object or image encapsulated in the cabochon when viewed from above.”

Often, this type of jewellery presents little natural worlds, animals, or scenes that appear almost alive amidst their rock crystal hemispheres. Perhaps this is because the rock crystal reminds me of a perfect droplet of water, a droplet nurturing its contents. I’d known of this type of jewellery since the 1980s, but it wasn’t until a flea market in New York in the 1990s that I chanced upon a very affordable pair of silver cufflinks with little black dogs within the crystal. They were

a gift from my now wife, to remind me forever of our dog of that time, and I wear them to this day. Much more recently, I stumbled across the most extraordinary gold bracelet, comprising a motif of gold horse-bits interspersed with Essex crystal equestrian scenes. It seemed fitting that it lay in the vintage display case of a Ralph Lauren store in the US. On 1stDibs as I write, there are currently 108 pieces available, and they range in price from $577 to $34,667 (AUD) so the price spectrum is welcoming for both the new and seasoned collector alike. From the collector’s point of view, the beauty with Essex crystal lies in the fact that while the technique is consistent, it finds itself in so many forms of jewellery and so it is one of those few jewellery specialities that both men and women can collect - from brooches, to cufflinks, to stick pins and everything in between – with equal abandon!

JOHN ALBRECHT Chairman / Head of Important Collections

ABOVE: John's Essex crystal cufflinks

BELOW: 20ct gold and Essex crystal pendant, circa 1870 Sold for $4,000

Auction Mon 23 Oct, 6pm MELBOURNE

TIMEPIECES

The Mystery of the Chronograph

Many are drawn to the look of a chronograph dial, and who could blame them? The sharp design of the watch’s specialty subdials, calibrated bezel, independent sweep seconds hand, and pushers provide mechanical complexity and a pleasing and purposeful symmetry, beyond an otherwise basic time only piece. Yet, I would think that there is many a collector wearing a chronograph watch who never makes use of this function, appreciating it purely for its visual appeal. This aesthetic draws mainly from the association of chronographs as instruments of professional motor sports and aviation. After all, the look of these dials and the knobs on the casing are strongly reminiscent of the gauges within an instrument cluster on a classic car or the instrument panel of an aircraft’s cockpit.

So, what is a chronograph watch? The term ‘chronograph’ comes from the Greek words ‘chronos’ or time, and ‘graphos’ which means to write/record. A chronograph watch has additional features above and beyond letting you know the time of day. At its most basic level, a chronograph is a stopwatch. You can use it to measure periods of time, it can stop, go, reset, and start again all whilst telling the time accurately. Although not a rare complication, integrating a stopwatch into a wristwatch is no easy task and is the reason why the function is considered a testament to horological craftsmanship and is still held in such high regard to this day.

Chronograph watches can come with up to three dials. But what do these dials do? Well, they typically function like

the hands on watches do; one measures the hours and one handles the minutes, the third is usually there for the seconds. Once the chronograph is activated, the seconds dial starts ticking, registering seconds, minutes and then hours if left on for a lengthier period.

When you need to track time for something as fast as Usain Bolt’s 100m sprint or Kylian Mbappe’s dribble across the Parc des Princes, the seconds dial works best. When calculating the best length of time to brew your perfect coffee, the minute hand is your go-to subdial. If you’re tracking your sleep patterns, you’d most likely employ the hours dial. All this with the convenience and immediacy of pressing the pushers on the watch right there on your wrist. Beyond the everyday application chronographs can have in our daily lives, these timepieces have been instrumental in life-saving NASA space missions, during exhilarating races at Daytona, and in the skies where keeping track of speed and distance travelled is vital to safety and survival.

So, whether you are captivated by the precision functionality or just like the sharp look of the specialty dials and features, the chronograph remains one of the most functional complications in the watch world and can be used to time literally anything - its use limited only to the way that you use it.

PATRICIA KONTOS / Senior Jewels & Timepieces Specialist

ABOVE LEFT TO RIGHT: Rolex Cosmograph Daytona Ref 116503 a gold and stainless steel chronograph wrist watch with bracelet, circa 2019 Sold for $37,500

IWC Portuguieser ChronoRattrapante Ref 3712 a stainless steel oversize split second chronograph wristwatch, circa 2002 Sold for $10,000

Fine Jewels & Timepieces

MODERN DESIGN

Interiors in Film: Postmodernism

Modern Design Auction

Mon 13 Nov, 6pm

MELBOURNE

OPPOSITE: Ruthless People, Danny DeVito, 1986. © Buena Vista/ courtesy Everett Collection / Alamy

ABOVE: Women on the Verge of a Nervous Breakdown, 1988 / Alamy

BELOW: Nathalie Du Pasquier emerald sideboard for Memphis Milano Sold for $10,500

Postmodernism was a drastic departure from the utopian visions of Modernism, which had been based on clarity and simplicity. Vivid colour, theatricality and exaggeration; everything was a style statement. With its current resurgence, let's take a look back to two late '80s films with a very Postmodern look; Memphis excess in "Ruthless People", and Postmodern expression in "Women on the Verge of a Nervous Breakdown".

Women on the Verge of a Nervous Breakdown is a 1988 Spanish black comedy film written and directed by Pedro Almodóvar. Postmodern in mise-en-scène and storyline, it takes influence from screwball comedies of the 1930s. The living room of Pepa’s Madrid penthouse apartment is the space where most of the action takes place; it features interior design that reflects the vibrant and eclectic style of the film. It is full of colour, quirky decorative objects, and furniture that captures the chaotic and frenetic energy of the characters. Mixing patterns, asymmetry, and proportions, there are oversized lamps on columnar pedestals and lots of primary and pastel colours used throughout. Almodóvar is known for his use of colour to establish mood and create emotion.

Ruthless People is a 1986 American black comedy film starring Danny DeVito and Bette Midler as the Stones, whose Beverly Hills home is filled entirely with Memphis and Memphis inspired design. Barbara Stone clearly values style over comfort, a contrast to the modernist mantra of ‘form follows function’. In one humorous scene, DeVito attempts unsuccessfully to sit comfortably in a Lido chair designed by Michele De Lucchi. The exaggerated use of Memphis

furniture is symbolic of the Stones’ affluent and decadent lifestyle and the personality clash between husband and wife. The film takes place at the peak of the Memphis design movement's popularity in the mainstream. It's a very divisive design period characterised by bold, vibrant colours and geometric shapes, rejecting the notion of good taste.

Both films also feature fantastic title credits and promotional graphic design with collage animations and a slightly kitsch look.

I like to think that both protagonists, Pepa Marcos and Barbara Stone, would have loved browsing the seasonal Leonard Joel Modern Design catalogues looking for more distinctly Postmodern pieces to complete their interior design vision, from a Nathalie Du Pasquier Emerald Sideboard for Memphis Milano or perhaps a Circo Table Lamp by Linke Plewa for Brilliant AG.

REBECCA STORMONT / Modern Design Specialist

High Society

Luxury

To overcome these limitations, wood and cork were used in shoe design in the form of thick slabs, reducing the need for shoes to be frequently resoled. Originally associated with hardship, the wooden platform gained popularity sparking a 20th century platform renaissance, with iconic stars like Marlene Dietrich elevating and securing its status.

Luxury Auction

Tues 14 Nov, 6pm

MELBOURNE

From Balenciaga’s sky-high Crocs to Versace’s Aevitas 6 inch pumps, the platform shoe is well and truly present in fashion’s universal consciousness. While they may appear as an example of modern fashion design, platforms have a rich cultural significance. Throughout history, they served a practical purpose, protecting wearers from water and dirt.

From ancient Rome’s towering kothorni, to traditional Japanese okobo and Qing dynasty’s Manchu shoes; these functional designs evolved into fashionable attire; an example of this being the elegant chopines of Renaissance Europe which measured up to 20 inches. The higher the platform, the higher the social stature, allowing women to literally and symbolically tower over others.

In the late 1930s, Moshe Kimmel and Salvatore Ferragamo were credited with the reinvention of the modern platform. This revival was further influenced by factors such as rationing and the use of alternative wartime materials during World War II.

Vivienne Westwood’s 1985 S/S Rocking Horse Platforms attained cult status, exploring how the platform height informed the movement of the wearer. Her 1993 Super Elevated Gillie Heels, inspired by traditional Scottish Ghillie shoes, set a precedent for anti-fashion subcultures that challenged conventional taste, a configuration of the ‘ugly shoe category’ adopted by high fashion houses including Prada, Maison Margiela, and Molly Goddard.

Alexander McQueen, in his captivating S/S 2010 Collection, Plato’s Atlantis, reached new heights of platform architecture when he debuted his highly coveted Armadillo Boots. These distinctive platform shoes became one of the most valuable shoes on the resale market, with three pairs selling for a staggering $295,000 at Christie’s in 2015. Notably, Lady Gaga acquired these iconic boots, solidifying their status as a symbol of celebrity and fashion culture.

Platforms, from their historical origins, subversive creations, and oriental inspirations, continue to captivate the fashion world, blending style and functionality while making a bold statement of individuality.

You can learn a lot about a person by the height of their platform…

INDIGO KEANE / Luxury Specialist

TOP: Chopines 1550-1650, Italian

LEFT: The rainbow shoes created by Salvatore Ferragamo in 1938

Prints & Multiples

Prints: Important to all Art Collections

Printmaking is a category that has previously ranked second to painting and sculpture, but the past few years have seen the market for editioned prints experience a dramatic uptick. This may be due to the growing number of artists who have made editions part of their practice, such as Brett Whiteley and Tracey Moffatt, together with a surge of younger collectors whose tastes and budgets align with the medium.

Artists have long supplemented their practices by making prints in numbered editions, produced in collaboration with a print studio technician. For collectors intimidated by the price points of the art market, acquiring prints can often be more approachable. A painting from Brett Whiteley’s ‘Lavender Bay’ series may sell for $2million at auction, but his equally impressive prints from the same series can be more attainable at around $10,000.

Whilst some artists position prints as their preferred medium, there are many whose oeuvre is driven towards prints due to high demand. Representing Australia in the 2017 Venice Biennale, Tracey Moffatt remains one of Australia’s most prominent and celebrated contemporary artists, with a distinct and successful international presence. Throughout her career, Moffatt has consistently emphasised her practice as an image-maker and storyteller, rather than a specialist in any one medium. Moffatt’s versatile nature is evident in her experimental approach to various mediums, encompassing everything from 19th century photogravures to manipulated found images and long form cinematic narratives. For someone wanting to expand their contemporary photographic collection, her prints are powerful additions.

Prints are important to any art collection, whether you are an astute collector looking to diversify, or just beginning your art journey. Our Prints and Multiples auctions regularly feature important printmakers, across an array of values, making them available to every art enthusiast.

HANNAH RYAN / Prints & Multiples Specialist

TOP: Brett Whiteley (1939-1992) Lavender Bay Wharf 1978 etching, ed. 43/90 Sold for $11,875

RIGHT: Tracey Moffatt (born 1960) Scarred for Life I 1994 complete suite of photolithographs (9), edition of 50 Sold for $17,500

In Conversation with Jorge Chamizo

For this issue, we sat down over a glass of wine and some tapas to chat to Jorge Chamizo, a Spanish jewellery expert and designer who has lived and worked all over the world. Currently residing in Melbourne and working on a series of Georgian inspired jewels, Jorge has a passion for discovering and sharing one-of-a-kind pieces.

You’ve lived in Spain, New York, and Hong Kong, have just returned from the USA, and are heading overseas again in three days' time; how have your travels inspired your jewellery tastes and designs?

Travelling, finding, and sharing pieces with clients is the lifestyle I have chosen to live. I’m very curious by nature. I like the more casual approach to jewellery that Americans and Australians have, and I love the deep appreciation for craftsmanship and rarity from my Asian clients. I try to combine both concepts and offer fine, collectable pieces that one can also enjoy wearing.

What do you love about antique and vintage jewellery?

We use jewels to adorn and also to express ourselves; I believe that vintage and antique jewels tell a story about their context in history, but also about their keepers and wearers. With so much craft and knowledge lost in modern times, I love the sense of rarity and how irreplaceable these little works of wearable art can be.

Your recent work has incorporated miniature painted eyes reminiscent of 18th century “Lover’s eye” pieces. It’s a relatively little-known but fascinating trend of Georgian jewellery design, could you tell us about it and why you were drawn to it?

Originally, these pieces were given as a token of love, until we could see each other again - your lover watching over you while spending time apart. I am always attracted to the sentimental aspect and the language of jewellery. These

pieces carry and express strong feelings of love, joy, and remembrance. I met the amazing portrait artist Robyn Rich through a common friend soon after moving to Melbourne, just before the pandemic. We did not even meet in person for quite a long time, which brought even more sentiment to this project. We made each piece remotely. People would send us a picture of their loved one’s eye, Robyn would paint the portrait, and my workshop would make the jewels that framed it. It is a project that gave me so much joy in times when we were all apart. I cherish Robyn’s work and each piece we made together.

Lover’s eyes, acrostic charm bracelets, locks of hair encased in gold; antique jewellery seems so much more romantic and sentimental than the designs of today. How do you think the role of jewellery has changed, or stayed the same, since those days?

I think the expressions of love, celebrations, and memories created when acquiring a jewel remain the same. Sentimental jewellery might be a “niche” market but in the end, it is an expression of the same human feeling. Today’s diamond engagement rings are yesteryear’s lover’s eyes brooches; an expression of love and commitment, perhaps even expressed in a more poetic way.

Some of your work involves transforming antique pieces into new jewels that can be worn different ways, like the lariat you’re fashioning a clasp for out of a mid-century Sputnik ring, or the lacquer bangles that offer another way to wear Art Deco double clip brooches. What inspires these transformations?

I love jewellery on the body. Wearable jewels. Sometimes a brooch can be elevated into a more wearable piece by incorporating it onto a bangle, it adds so much more flexibility. This idea is nothing new, it has been done for centuries, adapting old styles to new times. I really enjoy this process. I treat every component as I did when I was making important diamond rings in NYC. I work with artisans that understand how to “mount” or transform these elements into an entirely new jewel. I can’t wait to show you the finished 1970s lariat necklace with the 1950s sputnik clasp.

What’s one antique jewellery look that you’d love to see back in fashion today?

I am enjoying the current tastes for unique vintage jewels of any period, as opposed to the more minimalist and cleaner look of the 1990s. For instance, I love how modern women wear bold ‘60s and ‘70s gold pieces and not just the more classic “pretty diamond jewels”. I like bold looks - jewellery with an impact.

See more of Jorge's work at @artsinternational.inc and follow Robyn at @ robynrichartist on Instagram.

OPPOSITE & ABOVE: Jorge at home with some of his jewellery designs, including lover's eye pieces created with miniature painter Robyn Rich.

A Day in the Life of Troy McKenzie

6.00am. My four-legged buddy is begging for his morning run, not to disappoint him we aim for a 6km run in my local area. It’s a cherished time that I use to gather my thoughts and plan the day ahead.

8.00am. Time to check my inbox and respond to important emails. Then to organise my appointments and make my home visits be in as much of a geographically arranged order as possible.

9.00am. Hit the road on my way to the first appointment of the day. Today, it’s an extensive art collection, with various works that need appraising prior to arranging delivery to our South Yarra office for inclusion in one of our upcoming Fine Art Auctions or Salon sales.

11.00am. Back to the office in time for a jewellery valuation appointment, with divine Art Deco pieces, stunning sapphires, and a few luxury handbags in the collection! It’s always fascinating to hear the history of where the pieces originated and who owned them; were they family pieces, jewels collected on an exotic holiday, or a legacy from a jewellery lover with an astute eye?

12.00pm. A bite of lunch, then confirm the afternoon appointments. A coffee too - I can’t go without my daily latte!

1.00pm. A flying visit to meet my next client at their safety deposit box to appraise a family collection. This one includes an assortment of watches and diamond jewellery for the upcoming Fine Jewels & Timepieces Auction in Melbourne.

3.00pm. On my way back to the office, I make a brief stop at a local picture framer to collect a recently restored artwork that has been in my client’s family for generations. It will be perfect for the Women Artist’s collection in September.

4.00pm. The late afternoon is my admin time – I always use this time to ensure all phone calls have been returned, all text messages replied to, and follow up on any further research that may be required from the day.

6.00pm. It’s time to take the dog for a walk and reflect on the day, making sure all the boxes have been ticked and that I am mentally prepped for the next day and what it might present.

7.00pm. Dinner is always family time at the table to discuss and share events of the day that was.

10.00pm. That’s a wrap!

ABOVE: Troy McKenzie, Queensland Representative Specialist

BELOW: Hardy Brothers exceptional diamond and Argyle pink diamond ring, discovered in Queensland and sold for $97,500

How to... Collect Ethical Indigenous Art

WITH BEVERLY KNIGHT

We speak with Beverly Knight, an art connoisseur and founder of the Alcaston Gallery, who has dedicated her life to promoting Indigenous art and bridging cultural gaps throughout her exhibitions...

While ethics and provenance are clearly of key importance, how crucial is it for the collector to understand the storytelling and cultural significance behind each piece?

To buy art because it is an exceptional visually significant work without knowing the artist’s intentions or “story” is fine! Many art lovers begin to research First Nations history after their first purchase. Many artists prefer to keep their knowledge personal and private whilst others use their work to describe their inner thoughts or political history. Art is in the eye of the beholder as general rule. The title of a work can alert you to a significant place were the artist spiritually was born and bound in, but it can also be ‘untitled’ due to the artist preferring the viewer to just look and wonder.

ABOVE: Mirdidingkingathi Juwarnda

Sally Gabori (c. 1924 – 2015)

Dibirdibi Country 2012

Synthetic polymer paint on linen

151 x 196cm

© The Estate of Sally Gabori and Alcaston Gallery, Melbourne

Ginger Riley Munduwalawala (c. 1936 – 2002)

The Limmen Bight River - My Mother's Country 1993

Synthetic polymer paint on linen

190 x 191cm

Many First Nations artists’ work is undoubtedly influenced by their history, culture, and Country - for some artists, it is a means of passing down cultural knowledge to younger generations; however, it is not the onus of the collector or art buyer to gain total understanding of another person’s culture - nor should the buyer be driven by this notion. The artist might not reveal their true ‘culture’ onto the canvas; but rather, a representation of their cultural influences.

How important is it to purchase ethically, and what sort of impact is buying a work from a not-for-profit arts centre making on the artist and their community?

Purchasing art through ethically known galleries representing art centre artists can ensure fair dealings for artists and enable them to make a living. Provenance is traced and archives are kept. Not for profit organisations including art centres receive funding from government bodies and provide a safe creative environment for artists to create work and share ideas with fellow artists and members of the community.

Apart from the ethical side of buying, what other elements should a buyer consider?

I always look for trailblazing artists - artists that are unique in how they view their world. I seem to have an uncanny ability for discovering emerging artists who paint from ‘the mind’s eye’.

Don’t be afraid of colour. Colour can also be a way of authenticating some First Nations art! It is in their mind; the desert, the east coast of Australia, and the far north all give glimpses of the mind’s eye in colour.

Be diverse - everyone loves paintings, but artists are doing wonderful work in sculpture, weaving, and ceramics.

Be savvy - art investments made now and sold at auction say in 20 years, whilst not guaranteed, can reap remarkable asset gains.

And lastly, buy what you love!

© The Estate of Ginger Riley and Alcaston Gallery, Melbourne

TOP: Beverly Knight

RIGHT: Installation view: Alcaston Gallery at Sydney Contemporary 2022

Photo: Simon Strong

Minutes with…

JAMES STANTON

ABOVE: Vincas Jomantas (1922-2001)

Girl With Birds 1958/1976

© Laima Jomantas (wife of Vincas Jomantas)

Sold for $45,000

TOP RIGHT: Eric Thake (1904-1982)

Nuns on the Geelong Road 1969 linocut

14.5 x 21cm

Sold for $5,250

FAVOURITE ARTIST

This is a hard one, but let’s go with Australian artist and printmaker, Eric Thake. Largely forgotten, Thake was most well-known for his annual ‘Christmas card’ which he designed as a linocut print and sent to a growing list of family and friends each year. Thake was a master of creating designs that were slightly surrealist, humorous, touched on a topical subject of the year, and were always undeniably ‘modern’. I’ve been collecting Thake linocuts and drawings for several years, and hopefully by the end of my life I will have acquired an impression of each of his Christmas cards.

FAVOURITE MOVIE

Il Sono Amore (I Am Love) is undoubtedly my favourite film. It centres around an elegant Italian industrialist family and their incredible 1930s home in the centre of Milan. Think Marisa Berenson, Tilda Swinton, Raf Simons for Jil Sander clothing, Damiani jewels, and Hermès leather goods all set in my favourite home in the world, the Villa Necchi Campiglio in Milan. ‘Chic’ doesn’t begin to cover it.

WHAT’S ON YOUR SAVED FAVOURITES LIST FROM LEONARD JOEL AT THE MOMENT?

In our department’s June Fine Art sale, we had an incredibly important bronze sculpture by Vincas Jomantas which was deaccessioned from the National Gallery in Canberra. Incredible provenance, an incredibly well resolved artwork and in an edition of only two - the other still retained by the National Gallery. Hot stuff!

FAVOURITE AUCTION PURCHASE

Probably a signed (and dedicated) edition of the French memoir of Prince Felix Yusupov, a Russian aristocrat who fled the Bolsheviks during the revolution. It’s said he was far wealthier than the Tsar and his family, owned more land and Palaces than the Romanovs, and had the most incredible collection of art, decorative objects, and jewels, slowly selling things to support his wife and family in Paris after they fled. His main legacy is that he was one of the men who killed Rasputin but he was far more interesting than that grisly detail.

YOUR IDEAL DAY IN MELBOURNE

Definitely starts with a slow breakfast and coffee with my partner at one of our favourite cafes, followed by a trip to our favourite bookstore in Albert Park or a trip to the tailor. In the afternoon a film at Palace Cinema, preferably a French or foreign film of some kind, and maybe a gander at the NGV. In the evening if laying low, a nice dinner at home followed by a film on the sofa, or if going out, dinner at Il Bacaro or France Soir, all wrapped up in bed by 10pm!

This issue, we spend (sadly only) five minutes with our Art Administrator and Registrar, James Stanton…

Orphaned elephants closer to wild life in Zimbabwe

BELOW: To

Seven orphaned elephant calves rescued years ago from traumatic circumstances have moved 1,100 kilometres closer to freedom after their translocation across Zimbabwe. Aged between three and 13 years old, the elephants have all been rescued and raised by the team at the IFAW (International Fund for Animal Welfare)-Wild is Life (WIL) elephant nursery in Harare. Some were saved as newborn calves, and all received intense care after losing their mothers and herds, mostly from human-made causes.

Each rescued elephant has survived despite immense challenges—all have suffered great emotional trauma from the loss of their mothers and herds and, in some cases, terrible injuries. They have received hands-on care at the nursery ever since. The elephants were transported by truck on an arduous 20-hour journey by road from Harare to the Panda Masuie Forest Reserve on Zimbabwe’s western border. This second rehabilitation stage is vital to reintroducing the elephants into the wild, where they can integrate and eventually join established wild herds. This is done by elephants either forming their own herd or by integrating into an established wild herd migrating through the area.

Unfortunately, Moyo, a female elephant and the first elephant calf rescued by WIL over nine years ago, suffered some injuries en route and is under veterinary treatment and well on the way to full recovery.

The elephants are the third group translocated by IFAW and WIL to the IFAW-supported release facility in Panda Masuie. The 85,000-acre² habitat protected area forms part of the Kavango Zambezi Trans frontier Conservation Area (TFCA) and provides a haven for rescued and wild elephants.

The IFAW-WIL project is Zimbabwe’s only elephant rescue, rehabilitation, and release scheme for elephants. It is part of IFAW’s Room to Roam initiative forming an integral role in securing landscapes and maintaining connectivity for elephants and other wildlife.

Managed by WIL conservation manager and project manager Jos Danckwerts, elephants at the Panda Masuie release site regularly interact with free-roaming herds, sometimes spending extended periods with wild elephants.

One such example is the story of Jack the elephant who was translocated from Harare to the IFAW-WIL Panda Masuie Release Project near Victoria Falls in 2021. Just weeks after Jack moved to Panda Masuie, he left the safety of the boma and joined a wild herd. A satellite collar enabled his movements to be tracked daily. For months the herd were content to roam the Panda Masuie Forest Reserve, Zambezi National Park, and Victoria Falls National Park. Then, in January 2022 almost six months to the day after he joined the wild elephants, Jack and his adopted herd left for Botswana. In 24 hours they walked 90 kilometres, almost in a straight line.

Since then, the elephants have wandered back and forth across Botswana and Namibia—both countries are part of the vast Kavango–Zambezi Transfrontier Conservation Area, which covers parts of Zimbabwe, Zambia, Angola, Namibia, and Botswana.

Jack’s story is a remarkable example of how it’s possible to rescue, rehabilitate, rewild, and release orphan elephants to live their lives in freedom. Jack was rescued by WIL in 2018. He was about two years old when ZimParks rangers found him stuck in a muddy waterhole in Hwange National Park, Zimbabwe. He had been badly mauled by hyena and required intense care by the team at the IFAW-WIL nursery in Harare to recover.

In 2021 he was one of six rescued calves moved from Harare to Panda Masuie, where the rescued herd spend their days roaming in the forest reserve and regularly interacting with wild herds of elephants. They are monitored daily by the WIL handlers and Forestry Department Rangers.

“This is why we do the work—to see wild animals rescued and successfully rehabilitated to take their first steps back to where they belong in the wild,” said Neil Greenwood, Wildlife Rescue Director at IFAW.

“Years of knowledge, experience and work have been devoted to creating a successful project for orphaned elephant calves to gain the strength and skills needed to thrive independently.”

IFAW

ABOVE: Bumi, Sally, Coco, Unity, and Sienna eat vegetation in the boma immediately after arrival at Panda Masuie. Photo: Tyson Mayr © IFAW

learn more about IFAW's rescued elephants and Room to Roam initiative scan the QR code.

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

Favourites with…

I love the opportunity to have fun with my jewellery and styling, which is why the Asprey floral necklace and matching earring set stands out so much to me.

This is the perfect pairing to make a serious statement and the stunning flowers and garnet detailing would look incredible with an elegant modern white gown or a beautiful summer day dress.

Iconic to Cartier and exuding strength and elegance, I am so drawn to the incredible Cartier diamond and 18ct white gold panthere ring. I love statement rings when stacked with simpler styles to create a luxurious and layered look.

3.

I am always drawn to aquamarine, not only because it's my birthstone but also because the colour is so eye-catching. The combination of aquamarine and tourmaline in these bright and beautiful earrings makes them stand out as well as making them the perfect pairing with gorgeous tones of greens, blues, denim, or neutrals. These are a maximalist's dream, and would be so versatile and playful to style.

This incredibly layered and statement setting is unlike any I have seen before, and I adore the way different diamond shapes have been combined to create the most eye catching and elegant hoops. These are the type of earrings you can wear for both every day and elegant evenings out. They're spectacular!

5.

This scalloped setting feels so feminine and chic, and I love the unusual and incredibly striking design. This ring deserves to be worn on the hand alone, or layered with fine rose gold touches paired with a streamlined, modern fashion silhouette. The August Important Jewels Auction takes place at the Leonard Joel Woollahra salerooms on 22 August.

Ahead of our Important Jewels auction on 22 August, we welcomed Mode Sportif founder and taste maker Deborah Symond O'Neil back to choose her favourite pieces...

1. Asprey Garnet Demi Parure

2. Cartier Panthere Ring

Aquamarine and Tourmaline Earrings

4. Graff Diamond Earrings

Diamond and Gold Ring

Leonard Joel’s flagship premises and Melbourne salerooms will relocate to a larger gallery later this year. We look forward to welcoming you to our new salerooms at 1A Oxley Road, Hawthorn soon.

Do you have historic Leonard Joel catalogues at home?

If you are clearing out your bookshelves and find old auction catalogues you no longer need, please consider returning them to us - our goal is to complete our catalogue archives dating all the way back to 1919.

For enquiries, please contact blanka.nemeth@leonardjoel.com.au

leonardjoel.com.au

Thank you to the client who dropped off this collection of catalogues dating back to the 1960s, complete with handwritten realised prices in the margins!

ISSUE 42 OUT NOW

A Last Look

The Tube Station c.1932

Sold for $68,750

Fine Art, June 2023

Celebrated for his contributions to the Grosvenor School of Modern Art, Cyril Power was a founding member of the Claude Flight group, revolutionising the linocut print medium in the early 20th century. Other examples of this print are held in the collections of the Metropolitan Museum of Art, New York; National Gallery of Victoria, Melbourne; Auckland City Art Gallery, Auckland; and the Art Gallery of Ontario, Ontario.

Sold for $23,750

Fine Jewels & Timepieces, June 2023

Sold for $200,000

Fine Jewels & Timepieces, June 2023

This astonishing fully skeletonised Royal Oak combines cutting-edge technology with a contemporary reworking of the revolutionary design Gerald Genta introduced to the world in 1972. Integrated into this watch’s movement is the sophisticated horological feature of a double balance wheel designed to increase rate stability and accuracy over time.

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

Cyril Power (British, 1872-1951)

Audemars Piguet Royal Oak Double Balance Openworked

Pink Gold Skeletonised Wrist Watch With Bracelet Circa 2018

Gold, Silver and Diamond Tiara/Collier, Circa 1890

A Rare Sèvres Porcelain Reticulated Vase (Vase Cornet) Sold for $212,500 The Robert Compton Jones Collection, May 2023

Sidney Nolan (1917-1992) Notes for Oedipus (III) 1975 Sold for $37,500 Sidney Nolan: Myths, Legends, Landscapes, May 2023

A Chinese Gilt-Bronze Figure of Amitayus Sold for $25,000 The Collector's Auction, May 2023

Sam Leach (Born 1973) Landscape With Macaw 2019 Sold for $52,500 Centum, May 2023

Australian South Sea Pearl Necklace With Gem-Set Clasp and Emerald and Diamond Pendant, Circa 1880 Sold for $16,250 The Martin & Stein Fine Jewellery Collection, June 2023

Connect

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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.

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

Value / Sell / Buy Contact a Leonard Joel Specialist

CHAIRMAN & HEAD OF IMPORTANT COLLECTIONS

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

CHIEF EXECUTIVE OFFICER

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

Auction Specialists

IMPORTANT JEWELS

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

FINE JEWELS & TIMEPIECES

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

FINE ART

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

DECORATIVE ARTS

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

MODERN DESIGN

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

LUXURY

Indigo Keane, Specialist 03 8825 5618 | indigo.keane@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, Head of Decorative Arts & Art, Sydney 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

Shawn Mitchell 03 8825 5640 | furniture.manager@leonardjoel.com.au

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

OBJECTS & COLLECTABLES

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

Valuations

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

Marketing & Communications

Blanka Nemeth, Senior 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, Senior Marketing, Media, & Communications Manager

Twin-stone ruby and diamond ring Sold for $50,000 Important Jewels Auction, April 2023

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