LEONARD, issue 107, December-January 2024 by Leonard Joel

Upcoming collections at Leonard Joel

No. 107 Dec 2023–Jan 2024

No. 107

Welcome to the holiday issue of Leonard Magazine. As we say goodbye to our South Yarra saleroom after almost 30 years, we take a look back over the premises Leonard Joel has called home since our beginnings on Little Collins Street in 1919. Within this issue, we also delve into the intriguing world of art scandals, discover Eric Thake's series of much-loved Christmas cards, get cosy in comfortable luxury fashion, and more. We wish you a beautiful holiday season and look forward to welcoming you to our new saleroom and gallery in Hawthorn in January.

auction calendar

December 2023 — March 2024

features

Halfway Between Home and High Street Adopt a “Pet” Important Jewels Favourites with Terry Biviano Masterpieces and Mischief: The Intriguing World of Art Scandals Kenneth Tyler and the Course of Printmaking in Australia A Christmas Card in Every Home Strange Objects: Surrealism in Design Philip Gore's Tips for Antique Clock Maintenance Colori dell’Italia When is Appropriation Appropriate? Beyond Geneva: A Horological World Tour The Art of Dressing Down

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in focus

How to… Write About Art, with Louise Martin-Chew Five Minutes with Anthony Riepsamen 22nd Report: Five Years On: The UK Ivory Act 2018 Thinking of Selling? A Last Look

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join us

Connect Value, Sell & Buy cover: MIKE DARGAS (German, born 1983) Golden Girl 2015 oil on canvas signed and dated verso: M. Dargas / 2015 / MD 180 x 130cm $6,000-8,000 The Art Collector Auction 4 December, 6pm below: CJ Hendry (born 1988) King of Hearts pencil on paper signed lower right: CJHendry 101 x 103cm $20,000-30,000 The Art Collector Auction 4 December, 6pm

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AUCTION CALENDAR DECEMBER 2023 – MARCH 2024

December

The Art Collector Mon 4 Dec, 6pm Sydney Important Jewels Tue 5 Dec, 6pm Sydney Holiday Jewels Thu 14 Dec, 2pm Melbourne

February

Artworks from the Nolan Estate Mon 19 Feb, 6pm Sydney

March

The Collector's Auction Tue 5 Mar, 2pm Sydney Timepieces Mon 18 Mar, 4pm Melbourne Fine Jewels Mon 18 Mar, 6pm Melbourne Fine Art Tue 19 Mar, 6pm Melbourne

The Auction Salon

LEONARD, No. 107

Furniture & Interiors, Objects & Collectables, Jewellery, Art Every Thu from 10am Melbourne

MATTHEW QUICK (born 1967) Tangled Web 2011 (detail) oil on linen signed lower right: Quick 90 x 168cm $4,000-6,000 The Art Collector Auction 4 December, 6pm

December 2023 – January 2024

Halfway Between Home and High Street by john albrecht, chairman & head of important collections

LEONARD, No. 107

as we approach our move to new flagship premises in Hawthorn, I thought I would look back on Leonard Joel’s movements in Melbourne over the last century, noting some interesting evolutions along the way. While I certainly don’t recall our first salerooms at 362 Little Collins Street, (premises that Leonard Joel himself referred to as an “Art Salon”), I do recall a moment in the 1970s when my father took me from Kozminsky down the steep McKillop Street laneway in Melbourne to the second home of Leonard Joel at number 17. It was a period building, impossibly busy and with stock everywhere, in every sense the quintessential auction house. It was a time when everything happened in Melbourne’s CBD, when men, mostly from the antiques trade, dominated a saleroom. No telephone bidders, no internet, no international bidding. The market was made in a bricks and mortar environment, there and then, the only connection occasionally with the outside world would be a runner or a member of the antiques trade acting on behalf of an absent client. As business grew and a secondary market for art took shape in Australia, Graham Joel required more space. What emerged next were two sites. One was on High Street, Armadale, at number 1195 to be precise. This site was devoted to Fine Art and several times a year the Malvern Town Hall would be seconded, with the largest seasonal viewings and auctions of art conducted there. It was where Leonard Joel sold the first $1M painting (Rupert Bunny’s Une Nuit de Canicule) and where the irrepressible, highly successful art and antiques dealer, Danuta Rogowski would sit in the front row, bidding and commenting in real time, with a bravado all her own. The site to complement this one was situated at 174 Inkerman Street in St Kilda, and I will always remember Graham Joel explaining his strategy there. In his trademark no nonsense fashion, and with a touch of humour, he described how it was about halfway between his home and High Street. If it worked for him, it worked for his business! This was the place

where the Qintex collection was dispersed, and where the most fascinating “missed bid” dispute – possibly in Australian auction history – took place during a book auction. The auction was held in conjunction with Gaston Renard and two dealers were bidding exactly behind each other at the same time and both thought they had the bid, it was at $220,000! It was also where a young storeman – me – first met musician Vince Jones, who for a time enjoyed collecting with us. In the 1990s, Warren Joel, 3rd generation auctioneer, made the bold move to consolidate the business to 333 Malvern Road, South Yarra. It is a beautiful and imposing Gothic revival building that had been the old Hawksburn primary school, and while of no use to the developer of the area at the time, it clearly caught the eye of Warren. Here, so much auction history was made. The Magical Studio of Mirka Mora, the National Australia Bank Collection, and the Ron Barassi Collection were just some of the historic collections that were celebrated here. Fast forward to 2023 and we find ourselves to have outgrown here, and the culmination of a two-year search will see us relocated to unashamedly contemporary gallery and saleroom spaces in the heart of Hawthorn, just off Glenferrie Road, in the Hawthorn arts and community precinct. Beautiful tree-lined parking surrounds us, and when our clients might need some fresh air or a break from a frenzied auction, they can stroll to the Hawthorn Arts Centre on one side, the library on the other, or perhaps just observe a moment or two in a game at the Hawthorn Tennis Club or the charming MCC Bowls Club. From Leonard Joel’s dense and cramped beginnings in Melbourne’s CBD, full of people and no technology, we now find our business in a leafy suburb, full of space, and brimming with everything the modern auction goer could need. So much has changed, but so much remains the same.

opposite: Auction of Rupert Bunny’s (1864–1947) Une Nuit de Canicule in 1988, at the Malvern Town Hall. Can you spot John Albrecht? right: Leonard Joel's McKillop Street premises, 1983

December 2023 – January 2024

Envision having a cherished companion that requires neither daily care nor ongoing expenses. Dazzling with the world’s most exquisite gemstones and expertly crafted by the most prestigious jewellery houses, this friend arrives in the form of magnificent jewellery. by lauren boustridge, senior jewels specialist, sydney

Adopt a “Pet”

LEONARD, No. 107

Highlights from the Important Jewels Auction 5 December, 6pm

December 2023 – January 2024

in the midst of the coronavirus pandemic, I, like many others, felt it was an opportune moment to welcome a new member into our family. After thorough research, meticulous planning, and numerous adoption applications, our perfect family addition arrived – Basil, the miniature dachshund. While the joy of pet ownership is undeniable, it comes with its own set of challenges, trials, and of course, expenses. These costs include insurance, food, toys, medical bills, and the inevitable wear and tear on our homes and belongings (with a notable personal example - a pair of Christian Dior shoes). What if I could offer you the ultimate solution? Envision having a cherished companion that requires neither daily care nor ongoing expenses. Dazzling with the world’s most exquisite gemstones and expertly crafted by the most prestigious jewellery houses, this friend arrives in the form of magnificent jewellery. The query that lingers is where to begin and how to discern which animal is perfect for you. Embrace your kindred spirit animal In 1913, Louis Cartier was captivated by Jeanne Toussaint’s vibrant spirit and exquisite taste. She was lovingly referred to as ‘Petite Panthère’ by Louis, due to her personal attributes that he believed resonated with the elusive feline. In 1933, she made history as the first woman to become the Director of Fine Jewellery at Cartier. Toussaint is the creative genius behind Cartier’s iconic Panthère collection. In 1948, the Duchess of Windsor commissioned the inaugural ‘La Panthère’ jewel. Collaborating with designer Pierre Lemarchand, Toussaint’s team crafted the renowned panther brooch in gold and enamel, adorned with an emerald cabochon. This masterpiece swiftly became one of Cartier’s most legendary designs, marking an iconic chapter in 20th century jewellery history. Discover a hidden meaning In the Victorian era, the snake motif bore a deep symbolic meaning of enduring love. When Prince Albert proposed to Queen Victoria, he offered her an engagement ring adorned with a snake featuring

exquisitely set emerald gemstones as its captivating eyes. The butterfly is another iconic jewellery motif, representing transformation, the release of old cycles, and the discovery of one’s true inner self. Mariah Carey famously wore a butterfly ring by Van Cleef & Arpels for over a decade. As a symbol of profound transformation, her 1997 album, also titled “Butterfly,” marked a pivotal moment in her career and represented a newfound sense of liberation as an artist. Embrace an exotic companion Allow yourself the extravagant delight of owning a lavishly bejewelled animal beyond your wildest dreams, such as a golden giraffe or a regal lion adorned with bold and colourful gemstones that mirror the rare beauty of these creatures. Capture the essence of the wild in the most luxurious and enchanting way. Add a touch of magic Whimsical jewellery is a delightful and imaginative genre that can bring a touch of playfulness and charm. These pieces often feature light-hearted, fanciful designs that evoke a sense of wonder. These adornments encourage self-expression and storytelling, making them popular choices for those who wish to convey their unique personalities and experiences through their jewellery. It’s a reflection of the wearer’s sense of humour and their ability to find joy in the little things. Whether it’s a playful frog brooch or a whimsical carousel-inspired necklace, these pieces often become cherished conversation starters, creating memorable connections and sparking conversations among admirers. Our Important Jewels Auction will take place on Tuesday 5 December in Sydney. For viewing times and to see the full catalogue please visit our website.

left: Jeanne Toussaint by Adolf de Meyer, 1920 below: Cartier 18ct Gold, Diamond and Gem-set ‘Panthère De Cartier’ Ring $10,000-15,000

LEONARD, No. 107

IMPORTANT JEWELS FAVOURITES WITH TERRY BIVIANO Exuding infectious energy, Terry Biviano is a socialite, former shoe designer, and star of Real Housewives of Sydney Season 2. Terry never puts a foot wrong in the style stakes, whether it's daytime chic or red carpet glamour.

3. cartier ‘maillon panthere’ necklace This stunning piece reminds me of my mother. Perfection worn under a white blouse or black evening gown.

December 2023 – January 2024

4. boucheron coral and onyx ‘serpent boheme’ pendant/brooch, circa 1970 I’m dreaming of wearing this with a black suit. The colours are divine.

1. harry winston earrings, circa 1975

2. a spectacular diamond line bracelet

I love rubies but you rarely see them. These earrings are at the top of my Christmas wish-list. An absolute masterpiece!

Quite definitely the most magnificent tennis bracelet I have ever laid eyes on!

5. cartier ‘panthere’ sautoir

6. hermès adage double ring

I adore this versatile piece which could be worn as a choker, trailing the décolletage, or cascading down the spine of a backless dress.

This ring is so modern and cool.

Within the esteemed confines of galleries and museums lies a captivating world of crime, controversy, and mystery. by lucy foster, senior specialist, fine art

Masterpieces and Mischief: The Intriguing World of Art Scandals

LEONARD, No. 107

the world of art is certainly not immune to a scandal, with many infamous stories over the course of history being translated into films and novels. Here are a few of my favourite movie-worthy tales: Theft is often the scandal that rocks the art world. The Scream by Edvard Munch, one of the most iconic artworks in history, has been the subject of theft not once but twice. Munch created four distinct versions of the painting. The first heist occurred during the 1994 Winter Olympics in Norway, when thieves broke into the National Gallery of Oslo. After the museum refused to pay a ransom, the Norwegian police and British detectives recovered the painting later that year. The second theft occurred in 2004, when another version of The Scream as well as Munch’s Madonna were stolen from the Munch Museum in Oslo. Masked gunmen stormed the museum in broad daylight, ripping the works from the walls and fleeing. Two years later, the police recovered both works. Picasso is no stranger to theft. His portrait The Weeping Woman was stolen from the National Gallery of Victoria in 1986, just one year after the gallery acquired it. A ransom note was left behind calling the then arts minister a “pompous fathead” and “a tiresome old bag of swamp gas”, demanding that he increase funding for young artists. Juan Davila

opposite: Which is the real Girl with a Pearl Earring? The one on the right is the original by Johannes Vermeer, the left is a forgery.

provided a copy to the gallery to display in the meantime, which was also stolen. Fortunately, the original was discovered 16 days later and returned, unharmed. Not so lucky was Picasso’s Le Pigeon Aux Petits Pois. While this crime was being investigated, the thief discarded the piece and it has never been found, further enhancing its purported value today. Art has also been entangled in murder. Caravaggio, known for his aggression and trouble with the law, killed a man in 1606 and had to flee Rome. While on the run, he painted some of his darkest works, full of regret and sin. Benvenuto Cellini, in the 16th century, also murdered an innocent person and was never punished due to his status as a famed artist. Like any luxury item, when there’s demand, counterfeits will inevitably emerge. In 1996, art historian Thomas Hoving suggested that as much as 40% of the high-end art market consisted of counterfeits. Thanks to modern-day technology, it has now become very challenging for forgers to succeed in their deception. In the case of Thomas Keating, he openly admitted to producing over 2,000 fake paintings and later leveraged his reputation by becoming a presenter on British TV where he shared insights into the techniques of renowned artists from the past. Wolfgang Beltracchi also successfully deceived the global art community for nearly four decades by creating and selling counterfeit paintings after early 20th century masters, amassing a significant fortune, and in 2014 a documentary film was produced chronicling his questionable endeavours. The art world has always been a fascinating realm, full of beautiful objects and people, greed, and desire. In such a world, it is no surprise that mischief and scandal would infiltrate. As Charles Baudelaire stated, “A work of art should be like a well-planned crime.” In the world of art, the allure of the shadowy and controversial continues to play a fascinating and enduring role and makes for engrossing dinner party conversation.

below: Pablo Picasso (1881-1973) Le Pigeon Aux Petits Pois, 1911, missing after theft from Musée d'Art Moderne de la Ville de Paris right: Edvard Munch (1863-1944) The Scream

December 2023 – January 2024

Kenneth Tyler and the Course of Printmaking in Australia by hannah ryan, prints & multiples specialist

LEONARD, No. 107

the technical nature of printmaking often necessitates collaboration and teamwork to successfully execute a print. The legacy of Kenneth Tyler's printmaking workshops stands as a testament to the transformative power of artistic collaboration. Spanning four decades, the workshops fostered an experimental atmosphere for artists to explore new techniques and publish the highest quality prints. A master of numerous printmaking techniques and an innovative, inspiring artist collaborator, Kenneth Tyler worked with artists to vividly illustrate the limitless possibilities of the medium. From 1966 until 2001, master printmaker Kenneth Tyler worked with some of the 20th century’s most influential artists on projects that categorically redefined the medium of printmaking, including Josef Albers, Helen Frankenthaler, David Hockney, Roy Lichtenstein, Robert Motherwell, and Edward Ruscha, to name a few. Tyler’s studio served as a space for innovation and experimentation; “Here is a workshop, there are no rules, do what you want to do.” He explained that when it comes to printmaking, “if you have all these ‘can’ts’ in there you change the nature of creativity.” 1 Tyler was looking to establish a new workshop to continue his collaborations with artists. Such an endeavor was costly and forced him to consider auctioning off his collection to raise the funds. Word began to spread of this upcoming sale and reached the founding director of the National Gallery of Australia (NGA), James Mollison. This was seen as an opportunity for Australia to gain a collection of modernist American prints. When discussing with the acquisitions committee, James Gleeson exclaimed that Mollison needed to “Buy the whole damn thing!” 2 In 1973, Mollison met Tyler in New York with the objective of purchasing the entire collection. Holding a collection of prints that no other gallery could replicate held profound significance for the recently

established NGA. Mollison envisioned it to present a comprehensive narrative of the transformative influence of American art within Australia. Mollison’s ambition was well received, and the gallery purchased 660 prints from the collection. He later wrote to Tyler, “The impact that the prints will make in this country is something I am sure you do not realise. Items which looked spectacular to us when we saw them in America have in isolation taken on a weight and importance.” 3 Over the years, their ongoing correspondence continued, with the NGA consistently expanding its collection with works from Tyler’s new venture, Tyler Graphics Limited. In 2001, the gallery made a significant acquisition that expanded the Tyler Collection to encompass more than 7,000 pieces. This expansion, featuring prints by many celebrated artists, continued to tell the story of the evolution of contemporary printmaking. In addition to the acquired artworks, Tyler generously donated his archive, complete with video footage and photos, to the gallery. The Kenneth Tyler Collection stands as an almost complete historical record of a pivotal juncture in the evolution of modern printmaking. Born from a collaborative partnership between Tyler and the gallery, and as Mollison foresaw, the Tyler Collection will affect the future course of printmaking in this country. 1. National Gallery of Australia, ‘The Big Americans’, 2003, accessed 23 October 2023: https://nga.gov.au/exhibitions/the-big-americans/ 2. ibid 3. Telegram from James Mollison, the National Gallery’s first director to master printer Kenneth Tyler, 30 January 1974. NGA file 73/4882-01

opposite: Lubliner, Malcolm "Stuart Henderson, Charles Ritt, Robert Rauschenberg and Kenneth Tyler inspect a printed collage element for transfer to the lithography stone for the work 'Hybrid' from the 'Stoned Moon' series at Gemini GEL" / National Gallery of Australia, Canberra Gift of Kenneth Tyler 2002 right: Roy Lichtenstein (1923–1997) Kiss V, 1964

December 2023 – January 2024

When Melbourne artist Eric Thake created his first linocut Christmas card in 1941, it’s quite unlikely he foresaw that he would continue producing annual editions for the next 38 years. by james stanton, art registrar, guest contributor

A Christmas Card in Every Home

LEONARD, No. 107

Eric Thake (1904-1982) Gallery Director or This way to Phar Lap 1954 National Gallery of Victoria, Melbourne Purchased, 1964 © Courtesy of the artist’s estate

receiving a christmas card in the mail is a novel concept in our modern world. For those of us who do receive one, we would likely keep it, sit it on a shelf for the festive period, and then eventually it would find its way into a recycling bin. When Melbourne artist Eric Thake created his first linocut Christmas card in 1941, it’s quite unlikely he foresaw that he would continue producing annual editions for the next 38 years. The response to his first card ‘The Itchy Owl’ was so positive and uplifting for its recipients during the dark days of World War II that he created another the following year, and so the tradition began. It is said that each year the recipient list would grow, as more people learned and became eager to be part of the Thake Christmas card club. Recipients ranged from close friends and family to fellow artists, academics, and directors of institutions. Even today, the cards are widely collected and fetch significant figures when presented to auction; a novel thing given their ephemeral nature. In Thake’s card for 1954, ‘Gallery Director’ or ‘This way to Phar Lap’, the then director of the National Gallery of Victoria, Daryl Lindsay, is seen pointing behind him to a glass case holding the taxidermied remains of Australia’s most famous racehorse. We see an expressionless Lindsay, wearing a bow tie, directing visitors past two unadmired artworks on the wall to a group of people genuflecting around Phar Lap. It’s said that Thake was referencing Lindsay’s frustrations about the hordes of visitors coming to the gallery on Swanston Street to view not art, but a horse. A quite reasonable interpretation no doubt, but Thake’s cards were never wholly cynical. In a sweet nod to tradition, the bowing guests have removed their hats as a sign of respect to the revered Phar Lap. Showing some cheek, Thake distributed a copy of this edition to Hal Missingham, the director of the Art Gallery of New South Wales.

The 1969 edition of Thake’s Christmas card is among his most iconic. Titled ‘Nuns on the Geelong Road’, the work depicts a car full of holy sisters, with one’s eyes visible in the rear vision mirror. To the inside of the card Thake notes ‘...Oil Sheiks to Bahrein’ followed by ‘the choice is yours’. An undeniably successful image largely due to its simplicity, Thake allows his recipients to decide if they are sighting a group of nuns en route to Geelong, or a trio of Sheiks in the Middle East. Having a remarkable ability to see things that others may not in everyday scenes and objects, this linocut emphasises that Thake saw the world differently to most Australians. Impressions of this card have travelled near and far. The British Museum holds the edition Thake sent to then director of the National Gallery of Australia, James Mollison. Leonard Joel offered another impression of ‘Nuns on the Geelong Road’ in our July 2023 Prints and Multiples auction with the work achieving $5,250 (IBP), the highest price for this print in Australian auction history. By the mid-1970s, Thake’s health, including his eyesight, was beginning to decline. He stopped producing linocut cards and replaced them with lithographs for the final five years of the series. That Thake was becoming more conscious of his own mortality is clear in the Christmas card he sent to the esteemed arts writer Ursula Hoff in 1980. This, the final card of his enduring series is titled ‘Airlines Resume’, an offset lithograph where he depicts a group of women sitting in a line waiting at a ‘TAA’ lounge. He inscribes, ‘Just a reminder that both I and the cards have reached the end of the line’, a short but moving note to his friend of many decades letting her know not only that his series had concluded, but like the ladies waiting at the airport, he too was waiting for one final flight.

left: Richard Beck, Portrait of Eric Thake, black and white silver gelatin photograph, 27.7 x 22.2 cm. Castlemaine Art Museum. Purchased with the assistance of the Victorian Regional Galleries Art Foundation Trust Fund and Jo Mann donation, 1993. below: Eric Thake (1904-1982) An Opera House in Every Home 1972 Sold for $6,875

LEONARD, No. 107

top: Eric Thake (1904-1982) Nuns on the Geelong Road 1969 Sold for $5,250 bottom: Eric Thake (1904-1982) Airlines Resume 1980 Image courtesy of Art & Collectors, Melbourne

December 2023 – January 2024

Strange Objects: Surrealism in Design BY REBECCA STORMONT, MODERN DESIGN SPECIALIST

LEONARD, No. 107

surrealism, a highly influential 20th century art movement, drew inspiration from the political theories of Karl Marx and Sigmund Freud’s psychoanalysis. The term Surrealism was first coined in 1917 by the art critic and poet Guillaume Apollinaire, and in 1924 it was used by the writer and theorist André Breton to describe a politically radical movement. This movement aimed to change perceptions of the world by exploring dreams, the unconscious mind, and the irrational. Surrealists employed “automatic” techniques, creating art without conscious thought to unearth unconscious imagery. “I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality, if one may so speak.” -André Breton, Manifestoes of Surrealism In the 1930s, Surrealism ventured into the commercial realm, with leading artists often engaging in commercial design, including advertising, graphics, theatre, and film, despite opposition from some Surrealists. Blending the old, the new, and the strange, Surrealists fashioned unique interior spaces, furniture, and objects that defied prevailing modern interior design trends. One of the most renowned domestic Surrealist interiors was Monkton House, owned by Edward James, a collector, poet, and patron of Salvador Dalí. In the mid-1930s, James transformed Monkton House into ‘a complete

Surrealist house,’ for which Dalí and James created the iconic ‘Mae West Lips Sofa.’ The house also featured 11 of Dalí’s famous lobster telephones. Architects and designers were also embracing Surrealist ideas and aesthetics. Le Corbusier was among the first, with a 1929 Parisian rooftop terrace design for Carlos de Beistegui, and in the late 1930s Carlo Mollino began creating Surrealist interiors. The Surrealist object was partly intended as a critique of consumer culture. However, in making the ‘fantastic real,’ by using commodities and directly engaging with the material world, they also highlighted the commercial possibilities of Surrealism and its application in the decorative arts. Swiss artist Meret Oppenheim designed the ‘Traccia’ table in 1939 and it has since been put into production by Cassina. The conceptually driven design that Surrealism helped to initiate has had continued influence, including on the Radical Design movement of the 60s and 70s, as well as contemporary design movements today.

opposite: The dining room at Monkton House with Dalí’s Mae West Lips Sofas / Alamy below: Meret Oppenheim (1913-1985) Traccia table manufactured by Gavina right: Guido Drocco & Franco Mello 'Cactus' Coat Stand for Gufram Limited Edition, 1303/2000 Sold for $5,952

December 2023 – January 2024

With the popularity of antique clocks on the rise, we paid a visit to the workshop of our antiquarian horologist Philip Gore, and asked him to share his top five tips on clock maintenance, drawing from his 40 years of experience handling and fixing clocks of all sizes and types. by chiara curcio, head of decorative arts, design & interiors

Philip Gore’s Tips for Antique Clock Maintenance 22

LEONARD, No. 107

Philip Gore in the workshop

December 2023 – January 2024

Details at Philip Gore's workshop

in today’s modern world, as we continue to move aspects of our lives from the analogue over to the digital, there exists also a sentimental desire to return to simpler origins. There are some commodities that remain treasured in their analogue formats, a primary example being clocks and timepieces. While functionality plays a large part in the collectability of clocks, there are other features that are desired when purchasing an antique clock, ranging from decoration of cases, condition, movements, and makers. Size is also important for some collectors who give preference to table, carriage, and bracket clocks, which occupy little room and are easily showcased on existing furniture or cabinetry. With the popularity of antique clocks on the rise, we paid a visit to the workshop of our antiquarian horologist Philip Gore, and asked him to share his top five tips on clock maintenance, drawing from his 40 years of experience handling and fixing clocks of all sizes and types.

wind, wind, wind

Consistency is key. Establish a regular winding pattern once a week - regular as clockwork. Overwinding is an old wives’ tale! Wind it fully until the end and remember to rewind the next week.

always move forwards

When setting the time, never wind the hands backwards - only forwards, stopping on hour, half hour, or quarter time where relevant to allow the clock to strike. This is crucial to avoid the clock going out of phrase and to avoid breaking the delicate hands.

trust the professionals

Professional maintenance is a must. Servicing is recommended as frequently as every five years, certainly no longer than ten. This keeps your clock in good order and ensures accurate timekeeping.

location is key

Choose your clock location well. Veer towards mantelpieces or larger furniture and make sure it’s on a level and stable surface. Avoid small side tables and pianos, as the pendulum may stop moving if affected by vibrations and movement. With thanks to Philip Gore for his time.

mind your movement

When redecorating, be mindful of moving your clock, as clocks are sensitive to shifts. If you must move the clock, it is strongly recommended that you remove the pendulum, which sits on a delicate suspension spring that can be damaged or broken if not handled correctly. Alternatively, for large and heavy clocks, it is recommended to have these moved and set up in the new location by a professional horologist.

left: A Louis XIV-Style Bracket Clock in the Martinot Manner Sold for $7,500 below: Philip Gore in the workshop

LEONARD, No. 107

October – November December 2023 – January 2023 2024

Colori dell’Italia by bethany mcgougan, head of fine jewels & timepieces

LEONARD, No. 107

on a trip to italy earlier this year, I was mesmerised by the vibrant palette of the landscape and towns of the Amalfi coast. The contrasting hues of the steep mountain cliffs, azure blue waters, lush forests, and colourful towns are both unique and spectacular. Vibrant colour seems to have touched every aspect of Italian culture, from food, dramatic renaissance art, eclectic fashion, and of course jewellery design. An appreciation of colour was cemented during the Roman empire when jewellery was characterised by a use of vibrant gemstones and coloured glass. With extensive reach over Europe and North Africa, the Romans had access to various imported coloured jewels including garnet, jasper, lapis lazuli, emerald, amber, sapphire, and moonstone. These colourful gems were used in abundance, and at the height of the Empire, gemstones were considered more valuable than precious metals. Influenced by large scale Greek and Roman mosaics is the variegated micro mosaic technique. Aligned with the 19th century interest in ancient Rome and Greece, the technique emerged in the Vatican City with the creation of miniaturised versions of iconic mosaics at Italian landmarks such as Saint Peter’s Basilica. The technique itself is laborious, using tiny fragments of coloured glass or enamel called tesserae that are carefully arranged to create a miniature scene. Demand for the artform peaked in the 19th century, with pieces featuring landscapes, floral motifs, and historical scenes. Steeped in Italian tradition, several contemporary jewellery designers have reimagined and revived the distinctive micro mosaic process, including Ravenna based company Sicis. The house produces flamboyant jewellery creations that have a unique kaleidoscopic effect. Using a technique called malmischiati, which blends colours within glass, the house also incorporates precious minerals such as gold, sapphires, and diamonds amongst the miniature tiles to create a vast array of colour and optical delight. It is impossible to discuss the use of colour in Italian jewellery design without mentioning Bulgari. Whilst early 20th century pieces primarily utilised platinum and diamonds, Bulgari designs exploded with

colour in the 1960s coinciding with the economic boom of the La Dolce Vita period. Focus shifted towards surprising and deliberate contrasts of colour, with gemstones, enamel, and differing gold tones carefully juxtaposed with dazzling chromatic effect. Experimentation with gemstone cuts emerged, with the house selecting smooth cabochon cuts to emphasise colour in stones. Traditionally the cabochon cut had been reserved for lower value gemstones, however Bulgari experimented with ruby, emerald, and sapphire cabochons with exuberant chromatic effect. Use of adventurous and highly pigmented materials such as coral, jasper, and malachite continued through the 1970s, cementing the brand’s interest and commitment to colour in their designs. Attracting the most illustrious clientele including Elizabeth Taylor, Sophia Loren, Ingrid Bergman, and Gina Lollobrigida, these extravagant and colourful designs are coveted by vintage jewellery collectors worldwide. Traditions of bold and colourful jewellery design continue to be a driving force for contemporary Italian jewellery house Pomellato. In 2001, the brand launched the iconic Nudo range, utilising jewel-coloured precious stones decisively. Rebelling against the ubiquitous white gold and diamond jewellery so popular at the time, the range embraced large stones, bold colour, and vibrancy. Despite the rich colours, the simple settings of these pieces give them a sense of everyday wearability. Designed to be worn as stacks of rings set with stones in contrasting colours, they take inspiration from colours of the Italian landscape as well as pop culture and contemporary art. Our Fine Jewels & Timepieces Auctions will take place on Monday 18 March in Melbourne. For viewing times and to see the full catalogues please visit our website.

opposite: Atrani, on the Amalfi Coast near Naples in Southern Italy. right: Bulgari, 18ct Gold, Topaz, Citrine and Diamond 'Elisia' Ring Sold for $5,000

December 2023 – January 2024

Copy, replica, imitation, reproduction; whichever term you use, the practice of replicating work by another artist has been consistently utilised throughout centuries of art history. by madeleine norton, head of decorative arts & art, sydney

When is Appropriation Appropriate?

LEONARD, No. 107

CJ Hendry (born 1988) King of Hearts pencil on paper signed lower right: CJHendry 101 x 103cm $20,000-30,000

December 2023 – January 2024

going back to the romans who made masterful copies of Greek sculptures, the exercise of replicating artworks continued throughout the Renaissance period as an educational tool and into the 17th and 18th centuries when to possess one’s own version of a great artwork was considered a point of pride. Today, the market for a reproduction Old Master remains strong with these paintings sometimes fetching high sums at auction. In contrast, the perception of the replica in contemporary art has often been seen with much lower regard and at times associated with a lack of originality or moral ambiguity. However, the continuation of the practice of imitation within modern and contemporary art has been responsible for making great advancements in originality and resulted in the creation of new artistic movements. Take Edouard Manet’s Olympia for example, the Readymades of Marcel Duchamp, and ‘Appropriation Art’ which came to prominence in the 1980s but can be traced back to the Cubists. In an age where mechanical reproduction has greatly reduced the time, cost, and labour of copying, the creativity of the artist’s imagination has not diminished the visual impact that reproductions can have. One only needs to look at the work of Andy Warhol to see the revolutionary impact that his ‘reuse’ of imagery produced. Warhol’s art blurred the boundaries between public and private property, questioned ideas of authorship and set a precedent for generations of artists to follow. His most famous works reproduce images of celebrities and commodities, often surpassing the original in both popularity and recognition. One of the most interesting examples of Warhol’s ‘borrowing’ of imagery was his use of Albrecht Dürer’s Praying Hands (1508) which adorns his tombstone. Dürer was the first recorded artist who pursued legal action

in reaction to what would now be seen as copyright infringement. The first copyright statute in relation to visual works of art was passed much later by the British Parliament in 1735 and is colloquially referred to as Hogarth’s law (after the painter William Hogarth). The effects of copyright laws have been two-fold; they have both protected and hindered artistic practice. The number of legal battles in recent times revolving around copyright have been plentiful and the justice system has fallen on both sides of the argument. Currently amid this conundrum is the artist Richard Prince for his Instagram series. However, it’s not the first time Prince has been in hot water for appropriation of imagery; in the mid-1970s his Untitled (Cowboy) series consisted of rephotographed images from Marlboro cigarette advertisements. These works now sell at auction for millions of dollars. Another contemporary artist who turned the tables on copyright infringement is Australian artist CJ Hendry. In 2018, Hendry drew six Warhol polaroid photographs by hand, photographed them, crumpled them up and then re-drew them. These crumpled drawings were printed onto t-shirts intended for sale until the artist was contacted by the Ali foundation (one of the images was of the boxer Muhammad Ali) who threatened legal action if they did not cancel the sale and dispose of the t-shirts. In an innovative move, CJ Hendry used her expansive social media network to ‘dispose’ of the t-shirts in red boxes labelled “COPYRIGHT INFRINGEMENT – TRASH ONLY” over the course of two days in New York; recording photos and videos for her followers as she went - the exercise turned into a real-life scavenger hunt. Hendry’s artistic practice of hand-drawing (a labour-intensive process) copies of existing material from photographs reverses the trend of the 20th century whereby modern technology allows us to copy and disseminate imagery at the drop of a hat. In doing so, one could argue that Hendry creates her own new ‘original’. In an age where viewers are bombarded with the visual image and the ‘copy’ is prevalent everywhere, originality of thought in the creative process can be rewarding. The Art Collector Auction takes place on Monday 4 December in Sydney. For viewing times and to see the full catalogue please visit our website.

left: Albrecht Dürer (1471–1528) Praying Hands, 1508 below: Andy Warhol's tombstone, with Albrecht Dürer's Praying Hands

LEONARD, No. 107

Edouard Manet's (1832-1883) Olympia (above) takes inspiration from Titian's (1488/90-1576) Venus of Urbino (right)

December 2023 – January 2024

Beyond Geneva: A Horological World Tour by patricia kontos, senior timepieces specialist

LEONARD, No. 107

it is almost a given that when a mechanical timepiece bears the words “Swiss Made”, it will carry with it superlative craftsmanship, design, and prestige, and for some, it’s either Swiss made or nothing. With few exceptions, the world’s most coveted and revered watch brands hail from centers throughout Switzerland, Geneva being home to the headquarters and production of the two titans of Swiss watchmaking; Rolex and Patek Philippe. So, although it cannot be refuted that Swiss made watches dominate the industry, horological innovation, craftsmanship, and design are not exclusive to the Swiss. Below, I make a case for why some of the non-Swiss makers deserve to be considered: A. Lange & Söhne, Germany Close on the heels of Switzerland’s top watch making position is Germany, another home to fine European horology. Arguably the most prestigious non-Swiss maker and considered a worthy rival to Patek Philippe is A. Lange & Söhne. The design language of Lange watches is unlike the traditional Swiss ones and their distinctive approach and feel is part of their appeal. Boasting an identifiable Glashütte style in appearance and design, Lange watches appear closer to the classic British style and recall the fuss-free Bauhaus philosophy which makes a Lange watch “a complete work of art”, or in other words, the definition of mechanical poetry in motion. Bremont, Britain Bremont has contributed to reinvigorating the glory that was once British watchmaking in the 18th and 19th centuries. It’s astounding to think that in 1800, half of the world’s watches, around 200,000 pieces a year, were produced in Britain. With the exception of George Daniels and his signature coaxial escapement invention, British watchmaking had languished for most of the 20th century. Enter Bremont, a luxury aviation-themed British watchmaker that has celebrated its tradition producing watches that draw on the country’s strong aviation and seafaring heritage. YEMA, France YEMA is a brand I stumbled across while trawling the internet for dive watches and it immediately caught my eye not only for being a more affordable option but because its rugged, vintage inspired tool design stood out from the competition. Founded in 1948 by French watchmaker Henry Louis

Belmont, YEMA has a rich heritage to draw on, from the 1960s through to the ‘80s it accomplished feats like having motorsports legend Mario Andretti wear its Rallygraf chronograph on the track as well as producing the first French watch worn in space. If you needed any further evidence of the quality of their tool watches, YEMA has been chosen as the official partner of the French Air Force and French Navy. Habring2, Austria I was first introduced to this brand when handling an example for a former auction house, and I have to say when I first picked it up the watch just felt exclusive to hold, it was all flair, it exuded quality. As Austria’s answer to exquisite timekeeping, this small independent watchmaking company headed by husband and wife team Maria Kristina and Richard Habring, specialises in small releases of technically inventive timepiece showcases. Richard Habring began his career at IWC and played a major role in the development of the double chronograph. Since 2004 this dynamic duo has been producing their own range of innovative and complicated watches of the highest quality through their traditional signature manual work practices. Seiko, Japan Innovator, disruptor, and stayer are powerful words, but all apply to our last brand on the list. I would posit that the name Seiko would almost go head-to-head for brand recognition with Rolex. A brand success story, the company was founded in 1881 by 21-year-old Kintaro Hattori and rose to become the biggest watch company outside Europe. If that colossal feat was not enough in itself, Seiko nearly singlehandedly brought down the Swiss mechanical watchmaking industry when it introduced the world’s first quartz watch in 1969. They were also the first Japanese brand to unveil a chronograph and diver’s watch during the 1960s. Today Seiko remains true to its name, (the word means ‘exquisite’ in Japanese) and strives to uphold its position as a solid competitor to Swiss watches worldwide. Known also for their incredibly accurate chronographs, the brand has been the chosen timekeeper at the Olympic games. The fact is that for much of the later 20th century and right up to the present day, Seiko has been a pioneer in the watch industry and really is all the proof you need that you don’t have to be Swiss to make an impressive watch.

opposite: As the chosen timekeepers for the Tokyo Olympics in 1964, Seiko deployed a total of 36 models, 1,278 timing instruments, and 172 staff members to support the success of the games / Alamy right: An A. Lange & Söhne Wristwatch Sold for $26,040

December 2023 – January 2024

Sneakers, sweatpants, hoodies, oh my! Yes, Christian Dior would probably turn in his grave if he came across some of the trends being sported by fashion icons today. by indigo keane, luxury specialist

The Art of Dressing Down

LEONARD, No. 107

from post war cultural shifts to the covid pandemic, we have seen an evolution of big brands embracing “athleisure”. This year alone, we have encountered men’s suit jackets cut in sweat fabric on the Vetements SS23 runway, Ancuta Sarca’s high heeled sneakers, and the high fashion rebirth of the 2010s most hated accessory - the legging. Chemist Joseph Shivers invented the first Lycra leggings in the late 1950s, a decade marking the beginnings of ‘casual dress’ as young people began to challenge traditional formalities, opting for comfort in the form of denim, shorts, and trousers for women. The following decades witnessed the emergence of athletic fashion trends with the founding of brands such as Adidas and Nike, the advent of aerobics, and Lady Diana rocking the famous bike shorts and baggy jumper combination. The increase in media exposure from the 1980s to the early 2000s saw sports stars become fashion influencers, notably David Beckham’s partnership with Adidas, Serena Williams’ Puma endorsement, and Allen Iverson’s collaboration with Reebok. No alliance was more legendary however, than Michael Jordan’s 1985 collaboration with Nike, which revolutionised the luxury market with the dawn of the Air Jordan. The introduction of limited editions and celebrity advocacy began to establish the idea of collectability, laying the pavement for the convergence of luxury and the mammoth sporting market. Streetwear appeared on the scene in the 1990s, originating in urban subcultures such as the graffiti culture of Los Angeles and the hip hop and skate scenes of downtown New York, often considered as outlaws by high society. Supreme championed this sense of upper class rebellion through humble beginnings as a cult skateboard store in SoHo and developing into a global luxury brand exuding an effortless sense of cool. Increasingly out of touch fashion brands encountered a momentary disrup-

tion but swiftly pivoted by jumping on the bandwagon. Some stakeholders viewed the trend as the gentrification of urban culture with once affordable attire often being commodified at high prices and therefore rendering them inaccessible. Some luxury brands have approached streetwear with sensitivity and genuine appreciation for the origins, championing designers and artists through brand collaborations and partnerships, whilst others have not (think Guess X Banksy). Adidas, a forerunner in the sports-luxe movement, pushed the boundaries of innovative design when partnering with Japanese designer Yohji Yamamoto to create Y-3 in 2003. Through an experimentation with high performance fabrics, this venture introduced a minimalist, monochromatic ‘chic’ to leisurewear that consumers had not witnessed before. Copious collaborations followed suit (or should I say sweats) with recent partnerships including Gucci and Adidas, Gucci and North Face, Fear of God and Ermenegildo Zegna, Supreme and Louis Vuitton, Puma and Jil Sander, Chanel and Cyril Kongo… just to name a few. A new era for leisurewear was ushered in in 2020; a year of Zoom meetings, long walks, and too much alone time. Stretch, softness, and comfort were introduced to fashion staples all over, seamlessly transitioning attire between corporate, workout, and evening wear. As the global landscape eases into a post-pandemic era, the impact of athleisure is stronger than ever before, becoming exceedingly appropriate from one occasion to the other. As designers continue to incorporate ‘lifestyle’ elements into their collections, brands endorse a whole new way of living, inviting a broader audience to participate in the ever-evolving dialogue, expanding the athletic aesthetic market two-fold.

opposite: A young Michael Jordan models the Air Jordan I in Beaverton, Oregon, USA / Nike right: A look from Vetements FW22 / @vetements_official Instagram

December 2023 – January 2024

how to… Write About Art, with Louise Martin-Chew

LEONARD, No. 107

Based in Brisbane, Louise Martin-Chew has been writing about art for over 25 years, producing written works for commercial and regional galleries. Louise also writes regularly for national art magazines, catalogues, books, and newspapers. Her biography Fiona Foley Provocateur: An Art Life (2021) won Best Book (joint prize) in the AWAPA awards from the Art Association of Australia and New Zealand in 2022. How do you get started on articles or essays for publication? Ideally, I start by talking to the artist (when possible). One question I like to ask an artist is how they got started, and what drives them to make. Sometimes it emerges from their biography but so often artists are from unexpected and unlikely backgrounds. I find that compelling. Are there any genres, subjects, or perspectives you feel are currently under-acknowledged within the dialogue of Australian art? So many! In recent years we’ve heard from incredibly diverse voices which is wonderful. Currently I am writing about art prizes (for the 2024 Art Prizes Planner) and that is an untapped area ripe for research. Annually, Australia awards some $6 million in prize money, yet there is little research about its impact. Commercial galleries are also crucial in brokering contemporary art into the broader landscape, but their methods and approach are often unrecorded. Lastly, artists themselves. The State Library of Queensland holds the James C. Sourris AM collection of artist interviews, with artists speaking about their practices in detail. These are incredible and make me look for more of that microhistory.

Do you have a favourite written work about art? Often, it’s what I’ve read most recently, but there are some standouts. Robert Hughes (1938-2012) of course (The Art of Australia, 1966, Shock of the New, 1991), and currently John McDonald (Sydney Morning Herald) - he is always authentic. Gertrude Langer (1908-1984) was crucial to the maturation of Brisbane. Alison Croggan is more about literature and writing, but her pieces for The Monthly this month express so well why we continue to do creative work. Her second article traces the increasing vulnerability in arts and culture with the drift in government support and its need to cover increasing breadth highlighting the obstacles to a sustainable creative life. Raising the flag is important; this is analysis we rarely see. What would you like to write about next? I loved developing the Fiona Foley biography and am planning to pursue the biographical genre further. I am currently developing an idea focusing on creative women, with the idea of a book of shorter biographical pieces - mainly contemporary but also from history (there are so many untold stories)! How important is good writing to the success and appreciation of the visual arts? It is crucial to encourage interest and engagement with the art of our time. Broadcaster Daniel Browning told me recently (for an interview published in Art Edit #37) that “artists show us where to look”. It is so true. With thanks to Louise Martin-Chew for her time.

What is your top tip for any budding arts writers? I feel as though a focus on the art is the best place to start (leaving yourself at the door). Ultimately, you need to earn your reader’s respect, and honour the artist or subject first. Much of what I have seen from new arts writers recently is in the first person, and includes the writer climbing the stairs, or chasing their child around the gallery…

opposite: Louise at an exhibition by Jo Lankester, taken at Onespace Gallery. Photograph by Louis Lim.

December 2023 – January 2024

FIVE MINUTES WITH ANTHONY RIEPSAMEN This issue, we asked our Shipping & Logistics Manager, Anthony Riepsamen for five express deliveries… favourite movie I don’t have a single favourite (as that’s impossible) but here’s a list that speaks for itself, make of it what you will! I’m going with Goodfellas, Total Recall, Last of the Mohicans, Blade Runner, Casablanca, Last Crusade, Godfather 2, The Thing, Heat, Empire Strikes Back, Alien, and Chinatown. All unimpeachable bangers.

leonard joel staff all seem to have a side project or talent, what’s yours? I love building computers. I’m in the middle of building a PC that will be dedicated to playing classic games from as far back as the early arcade and Atari days up to the SNES, Mega Drive, and early DOS days. The next project will be making a custom arcade cabinet to house it in, but I need to find some space at home first. Not sure if that’s a talent or just a good way to spend money.

your ideal day in melbourne It does say ‘ideal day’ so I’m going to pretend I’ve got magical reserves of energy and no chores to plough through. I’m starting the day with coffee with my wife outside in the sun in our garden, a bit of kissing would be nice. Next is coaching my daughter’s basketball team (go Eagles!). From there we are taking Smithy (our kelpie) to the dog park with the whole family. A banh mi for a late lunch (an almond croissant wouldn’t go astray either). Some family time next would be great, most likely we are playing board games or getting some shots up at the park. I’m finishing the day back home BBQing something and then a combination of Street Fighter (I’m an E-Honda main in SF6), table tennis, darts, and poker with the boys.

favourite book For books I’ll keep it a bit briefer, you give me anything by Elmore Leonard, Ross Thomas, or Bernard Cornwell and I’m in.

favourite cocktail I’ll order a whisky sour if I’m out and about feeling frisky, otherwise it’s a neat bourbon and I’m getting on with my afternoon.

LEONARD, No. 107

22ND REPORT by john albrecht, chairman & head of important collections

Five Years On: The UK Ivory Act 2018 the passing of the uk ivory act 2018 was both momentous and important. Momentous because finally a significant nation state was taking a comprehensive legislative interest in the topic of ivory trade cessation and important because it has added great weight to the global conversation and drive to eliminate the trading markets that inspire the poaching in the first place. Several years on, its worth reflecting on what impacts this legislation has had, and what challenges remain with this pressing conservation cause. To begin with, five more species are set to be included within the act in an effort to stamp out the trade in the tusks and teeth from them. The hippopotamus, walrus, narwhal and two types of whale will enjoy the protection of the UK Ivory Act 2018. Authorities have acknowledged that these additional species have been used by smugglers and traders as both a replacement for lost ivory trade and as a substitute to misrepresent as ivory. It is a depressing example of markets adapting but it is heartening that the UK has seen fit to respond to this development with expanded provisions within the act. But legislation is one thing and action is another, as Elliot Doornbos and Angus Nurse point out in their recent piece, “UK ivory trade ban extended to five more species – here’s why we think it will be ineffective” published in “The Conversation”. They remind us that there are several key challenges that must be appreciated and dealt with if we are to ensure that this type of conservation-minded legislation realises its goals of eradicating the trade and consumption of these materials. Firstly, a truly coordinated and unified global response to the protection of elephants and their ivory is still lacking. Yes, we have CITES, the Convention on International Trade in Endangered Species, that came into effect in 1975, but there remain signatories that have done just that – signed, but with no further action to their commitment and often when a framework for enforcement is attempted it is bedeviled by a lack of resourcing and/or a will to succeed. Doornbus and Nurse identify other state-level pieces of the enforcement puzzle that will remain key to ensuring legislation like the UK act can bring about real impact. Regulation is different from prohibition. While regulation is often the forerunner to efforts at prohibition, there remain numerous states that allow the continued trade in existing ivory stocks and the objects created from them. In turn, this further confounds enforcement agencies in their efforts to identify and focus on the illegal trade that can still seek cover within legitimate markets. While ambitious, the goal should be a unified approach across all nation states and ideally, an almost complete prohibition in trade along the lines of the UK model.

December 2023 – January 2024

Where are the police? Any legislation is only as good as its resourcing and enforcement. Research into the UK’s enforcement revealed a lack of enthusiasm for the subject matter of the legislation combined with a knowledge gap when it comes to understanding the ivory market and its ongoing direct connection to the elephant poaching crisis. And if it wasn’t enough of a challenge already for police to have to contend with the oversight of the general population’s interactions with ivory trade and all its nuances, add to this organised crime’s active involvement in the material, and police work becomes even more complex. The challenges identified are not new, but they do remind us that legislative acts like the UK one require an activation of stakeholders at every level of the community, from government, to antique dealers and auctioneers, through to the conservation-minded citizen on the street who is unsettled by the sight of ivory in a shop window. Acts like these are good and they are unquestionably the foundation stone of any state-sponsored effort to eliminate such trade but the act itself has no effect unless people, money, and time are devoted to providing a sustainable framework of surveillance, detection, seizure, and penalties. It is my hope that the UK act continues to provide a reference point of inspiration for the practical eradication of ivory and related trade and while real-impact challenges will always remain, I think the addition of five more species to the ban is a very real sign that the legislation and its intent is inspiring expanded action and that the UK at least is developing a fluency in the important task at hand. References: Doornbos, E. and Nurse, A. (2023) UK ivory trade ban extended to five more species – here’s why we think it will be ineffective, The Conversation.

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.

JORDAN WOLFSON Body Sculpture (detail), 2023 Courtesy the artist Photo: David Sims Post Production SKN

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With astute local market knowledge and extensive global experience, Leonard Joel offers the broadest range of specialist expertise in Australia. Scan the QR code and discover the value of your piece or collection with a complimentary online valuation, book an appointment with one of our specialists, or join us at one of our regularDecember valuation2023 days.– January 2024

Art Jewellery Luxury Decorative Arts Modern Design +

A LAST LOOK

Rolex GMT-Master II Ref 116758 an 18ct Gold, Diamond and Sapphire-Set Dual Time Wrist Watch With Date and Bracelet, Circa 2007 Sold for $137,500 Timepieces, October 2023

In this feature, we revisit a handful of beautiful and extraordinary pieces that have passed through our doors since the last issue. A North Italian Cream and Polychrome Painted Dressing Table Sold for $6,875 The Collector's Auction, September 2023

LEONARD, No. 107

A Meissen Group of 'The Indiscreet Harlequin' Sold for $81,250 The Collector's Auction, September 2023

In 1890, Fuller painted this portrait of little Hilda Ball playing ‘mother’ at a dolls’ tea party. Although Hilda was only about 5 years old at the time her portrait was painted, she too became a woman of great accomplishments. This painting had been in the collection of Hilda’s family since leaving the artist’s studio.

18ct White Gold and Diamond Brooch Sold for $10,000 Fine Jewels, October 2023

A Bronze Figure of 'The Archer' by Ernst Moritz Geyger (1861-1941) Sold for $10,000 The Collector's Auction, September 2023

December 2023 – January 2024

Florence Fuller (1867-1946) The Dolls' Tea Party 1890 Sold for $37,500 Women Artists, September 2023

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December 2023 – January 2024

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