LEONARD, issue 108, February-March 2024 by Leonard Joel

New Porcelain Techniques Revealed at Great Exhibitions

No. 108 Feb –Mar 2024

ARTWORK: Eden Menta The Little Things We Fight For 2023 © Copyright the artist, represented by Arts Project Australia

No. 108

Welcome to issue 108 of Leonard Magazine. As we settle in to our new Melbourne home in Hawthorn, we thought we'd start this issue with a walking tour of the bustling arts precinct that surrounds us. We also discover what "RA" means after an artist's name, take a look at the role of the war artist throughout history, learn about intricate porcelain techniques, get to know our new Head of Fine Jewels & Timepieces, and more. We hope you enjoy.

auction calendar

March 2024

features

Hawthorn: A Walking Tour The History of the Royal Academy Beyond Priceless: Marjorie Merriweather Post’s Jewellery Collection The Role of an Official War Artist Welcoming Rebecca Sheahan All Aboard! The Intersection Between the Great American Railroad and Horology New Porcelain Techniques Revealed at Great Exhibitions Spotlight on: Afra & Tobia Scarpa Tough Stuff: Miuccia x Nylon The Art Market: The New Kid on the Block[chain] Visiting the John Nixon and Brent Harris Exhibitions

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in focus

How to Navigate the International Art Scene, with Mark Hughes Five Minutes with John Albrecht 22nd Report: 1,800 Kilograms of Ivory Destroyed in France Private Sales: Modern Relic Thinking of Selling? A Last Look cover: A Royal Worcester porcelain lidded sucrier, 1865 Estimate on Request The Andrew Morris Collection of Important Worcester and other Porcelain 25 March, 6pm below: Rolex Anti-Magentique Ref 4313 stainless steel and gold chronograph wrist watch circa 1945 $20,000-30,000 Timepieces Auction 18 March, 4pm

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join us

Connect Value, Sell & Buy

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AUCTION CALENDAR MARCH 2024

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 Sydney Jewellery Edit Mon 25 Mar, 2pm Sydney The Andrew Morris Collection of Important Worcester and other Porcelain Mon 25 Mar, 6pm Melbourne

The Auction Salon

LEONARD, No. 108

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

Harold Septimus Power (1878-1951) Untitled (Soldiers) (detail) oil on canvas laid on wooden panel 36.5 x 61.5cm $25,000-35,000 Fine Art Auction 19 March, 6pm

February – March 2024

Hawthorn: A Walking Tour by john albrecht, chairman & head of important collections

LEONARD, No. 108

but for our move to hawthorn, I would probably not be wandering, sampling food, and investigating this bustling area around the Hawthorn community precinct where Leonard Joel now finds itself. Just today, I walked the surrounds of our building at 1A Oxley Road, and clients will be delighted to know that parking surrounds us, from the large tree-filled - and I might say very pretty - Hawthorn Town Hall carpark opposite us to the generous bays behind us that serve the local tennis and bowls club as well as the local library. Our new surrounds are not just functional, they have a distinctly ‘arts and culture’ feel. A short walk from Leonard Joel, the Hawthorn Arts Centre lives and breathes within the beautiful 1888 Town Hall, offering a very complete and diverse calendar of events. I find myself surprised by the connections that are already presenting. As just one fun example, Australian jazz musician, Vince Jones, a regular at Leonard Joel in the late 1980s, is performing at the Arts Centre on May 3rd this year. I hope he pops into Leonard Joel almost four decades later! Beyond our immediate neighbours lies the truly bustling Glenferrie Road precinct of restaurants, cafés, and retail establishments. Much of its vibrancy during the weekdays is no doubt fed by the large population of adventurous students from nearby Swinburne University who I would suggest have gone a long way to encouraging the most splendid array of culturally diverse food offerings. Walk a little further into the area, glance sideways, and you also will find the charming line of period shops that grace the local railway station. A little further along Glenferrie Road you’ll find a major Readings bookstore in a grand two-storey 1920s building, its windows full of arts related subject matter. A little before that lies the vast Lido cinema and entertainment complex that no doubt generates another distinct theatre-going crowd.

On my walk I noticed two more businesses, Lawrencia Cycles and St Germain restaurant. Lawrencia Cycles is 86 years old and still running in the same location, under family ownership. I still remember seeing that label on so many bikes in the late 1970s, it seemed to me then that it was either a Lawrencia or a Malvern Star label on every bicycle in Melbourne. My last stop on this adventure was at a beautiful restaurant and wine bar that is providing Hawthorn with a little slice of Paris. The presence of snails and foie gras on the menu at St Germain goes to show how seriously they are taking their offering and experience. I can very much see it becoming one of those ‘locals’ that Leonard Joel clients will come to frequent after an evening auction. There is so much to investigate and so much time to get to know our new community, and I do hope all of our clients, who whether by car, foot, tram, train, or bus, make a visit to Leonard Joel in Melbourne, also wander through the streets of Hawthorn.

opposite: Hawthorn Arts Centre at the Town Hall right: Lawrencia Cycles, Glenferrie Road

February – March 2024

The History of the Royal Academy by madeleine norton, head of decorative arts & art, sydney

LEONARD, No. 108

the royal academy of art, currently housed in Burlington House, London, is arguably one of the most important cultural institutions in Britain, if not one of the most historically influential worldwide. Founded in 1768 by 36 artists and architects who sought permission from King George III, their aim was to establish a “society for promoting the Arts of Design”. One of the founding principles was to hold an annual exhibition that any artist could submit work for, and anyone could visit. Today, this exhibition is called the Summer Exhibition, and it has taken place every year since 1769, including during both World Wars. The Royal Academy schools are the oldest of their kind in Britain and have been an integral part of the Royal Academy since its foundation. Its programme of formal training was modelled on that of the French Académie Royale de Peinture et de Sculpture founded by Louis XIV in 1648. As the first school to provide professional training for artists in Britain, it has functioned not only to train young artists but also to govern the conduct and pricing of established masters, to mount exhibitions to display recent work, and to present lectures and catalogues to elevate public taste. Countless esteemed artists have studied there over the centuries, one of the most notable examples is John Everett Millais who at the age of ten was the youngest student ever admitted to the Royal Academy of Art Schools. Millais, affectionately nicknamed ‘The Child’, went on to become one of the most successful British artists in the 19th century and a founding member of the Pre-Raphaelite Brotherhood before he was elected President of the Royal Academy in 1896. Membership to the Royal Academy is composed of up to 80 practicing artists who are elected by ballot of the General Assembly of the Royal Academy and are known individually as Royal Academicians (RA). Whilst the number of prominent artists who have been elected RAs are too many to count, some examples include Thomas Gainsborough (founding member), J. M. W. Turner, Frederic Leighton, David Hockney, Sidney Nolan, and Tracey Emin.

In contrast perhaps to the history of the French Académie, the Royal Academy in England showed a more open-minded approach to the institutional critique that evolved during the mid-19th century. It allowed artists who exhibited at alternate venues such as the Grosvenor Gallery, London, to still be exhibited at the Royal Academy. Whilst some may argue there are still elements of tradition that constrain the institution, it has maintained its reputation for hosting ambitious and contemporary exhibitions. Some notable examples from the 20th and 21st centuries include: A New Spirit in Painting (1981), which attempted to sum up the state of painting at that point, Sensations (1997), a group exhibition of the Young British Artists, Anish Kapoor’s solo exhibition in 2009, and David Hockney’s A Bigger Picture in 2012. For over 250 years, the Royal Academy has fulfilled its founders’ objectives of championing art and artists, not just promoting the appreciation and understanding of art but also its practice. The Collector's Auction will take place on Tuesday 5 March in Sydney. For viewing times and to see the full catalogue please visit our website.

left: Arthur George Walker RA (English, 1861-1939) Peleus and Thetis: The Spurned Embrace 1911 marble, on rotating pedestal signed and dated to base: AG WALKER 1911 Height 117cm Estimate: $80,000-120,000 Arthur George Walker, RA Schools student from 13 March 1883, elected RA 11 February 1936. right: William Powell Frith RA A Private View at the Royal Academy, 1881 (detail)

February – March 2024

Beyond Priceless: Marjorie Merriweather Post’s Jewellery Collection by lauren boustridge, senior jewels specialist

LEONARD, No. 108

marjorie merriweather post, an indomitable force of elegance and philanthropy, graced the world with her unwavering commitment to both style and substance. A pioneering businesswoman, Legion of Honor recipient, and one of the greatest jewellery collectors of the 20th century, Post’s legacy is woven into the fabric of American history. Born in Illinois in 1887, Marjorie was the only daughter of C. W. Post, and upon his death in 1914, at the age of 27 she became the owner and director of the rapidly growing Postum Cereal Company (renamed General Foods in 1929). Her immense wealth, paired with a sharp eye, led to a lifelong pursuit of collecting extraordinary and historically important objects, many of which were later donated to some of the world’s most important institutions. Considered to be one of the most significant American collectors of Cartier jewellery in history, Post amassed an incredible collection of creations by the Maison. The most famous piece is the emerald, enamel, and diamond brooch that she acquired though Cartier London in the 1920s, pictured in her portrait by Giulio de Blaas. Post loved pieces with connections to history, and this impressive brooch was no exception; six of the most prominent gemstones are said to hail from the 17th century Mughal Empire. Post was also a serious collector, avid student, and connoisseur of Russian art and objects. In 1926, Post purchased her first Fabergé piece, an amethyst and diamond set box. Five years later, her daughter Eleanor gifted her the Catherine the Great Egg (one of two Russian Imperial Eggs she would come to acquire). The craftsmanship and famous jeweller’s connection to the imperial family held great allure and she continued to collect in this area throughout her life, amassing close to 90 Fabergé pieces. Another famous acquisition was the Romanov Nuptial Crown, created in 1840 using stones taken from ornaments that belonged to Catherine the Great, and worn by Russian imperial brides. This and the designs by Fabergé remain part of the collection at Hillwood in Washington, D.C. Merriweather Post acted not only as a collector but as the temporary custodian of notable examples of 19th century French jewellery of royal provenance. She acquired them with the intention to donate them, ensuring that these significant objects were shared and treasured by people around the world. Some of the most remarkable pieces were by Etienne

Nitot et Fils of Paris, court jeweller to Napoleon Bonaparte. The Marie Louise Diadem was commissioned in 1810 and given to Empress Marie Louise on her marriage to Napoleon. The diadem was one piece of a parure that also included a necklace and earrings (now at the Louvre). Originally set with vivid green emeralds, the diadem passed down through direct descendants and was acquired by Van Cleef & Arpels. The emeralds were removed and replaced with turquoise, and the piece was purchased by Post in the 1960s. After wearing and enjoying it for a few years, she donated the piece to the Smithsonian in 1971. Another remarkable example within Post’s collection was The Napoleon Diamond Necklace, also made by Nitot for Empress Marie Louise. It was a gift to her from Napoleon in 1811 to mark the birth of his much-awaited son. Marie Louise bequeathed the necklace to her sister-in-law, Archduchess Sophie of Austria. Eventually, Harry Winston acquired the necklace and sold it to Post in 1960. Two years later, she donated it to the Smithsonian. Marjorie Merriweather Post not only defined an era with her impeccable taste and social grace but also left an indelible mark through her profound dedication to charitable causes. She was a visionary whose philanthropic endeavours continue to inspire generations to reach for the stars while keeping their feet firmly grounded in the service of humanity.

left: Catherine the Great Easter Egg by Fabergé / Hillwood Estate, Museum & Gardens Photographed by Bruce White right: Giulio de Blaas Portrait of Mrs. Hutton (Marjorie Post) and daughter Nedenia Hutton (Dina Merrill) 1929 / Hillwood Estate, Museum & Gardens, Photographed by Brian Searby

February – March 2024

During the First World War, Australia commenced The Official War Art Scheme, mirroring that of Britain and Canada. It was reactivated during the Second World War, and again for the Vietnam and Korean Wars, in the late 1990s through East Timor, and more recently across Afghanistan and the Middle East. by olivia fuller, guest contributor

The Role of an Official War Artist

LEONARD, No. 108

February – March 2024

the official war art scheme employs australian artists to document and interpret the experiences, people, and impacts of war through resulting artworks. Typically, they are deployed to various locations to observe the activities of war first-hand, from the confronting scenes of battle to the more routine processes involved in service. Their work provided Australians with an ‘inside look’ into the harsh realities of war that, at times, may have felt like a distant world away. The Official War Art Scheme was, and still is to this day, run by the Australian War Memorial (AWM). The first official Australian war artist was Will Dyson, whose reputation had been as a successful cartoonist. He was given the honorary title of lieutenant, and in December 1916 he travelled to the Western Front. His drawings produced on location did not aim to heroicise the efforts of war, but rather document the everyday hardships and endurance of the soldiers. His Australia at War (1918) volume remains one of the most significant and important tributes to Australia’s involvement in the conflict. The First World War also saw Harold Septimus Power employed as an official war artist. Between 1913 and 1914, Power, already an established artist, lived between England and Australia. When WWI broke out, he followed news of the Australians at Gallipoli and on the Western Front battlefields. On 3 September 1917 Power was appointed an official war artist, attached to the 1st division, AIF, given the honorary rank of lieutenant, and equipped with the required supplies for the job. For three months Power closely observed the daily life of the Australian soldiers in France. Some of his sketches were considered so impressive that he was asked to produce large-scale paintings for Australia’s planned national museum and memorial. He returned to France again in 1918 and 1920 to conduct further research, and many of the resulting paintings are now in the galleries of the Australian War Memorial with very few remaining in private hands. Following the outbreak of World War II in 1939, Murray Griffin was made an official war artist in October 1941. He observed his countrymen in action against the Japanese at Gemas and Muar in January 1942 and took part in the withdrawal to Singapore. After the Japanese captured the island on 15 February 1942, Griffin became a prisoner of war. For three and a half years while in Changi, Griffin retained his status as officer and was therefore exempt from forced labour, allowing him to continue his work as an artist. From inside the camp, Griffin produced over 100 artworks documenting the harrowing experiences of a POW, us-

ing both provided art supplies and improvised materials including soot, door panels, and sheets of ply from demolished buildings. Griffin is a unique official war artist; in that he is the only one to have shared the experiences of the thousands of Australian prisoners of war captured by the Japanese in WWII. In more contemporary times, where does the role of official war artist position itself ? Despite our ability to access content related to war with relative ease in most cases, the official war artist remains a pivotal role. These artists assist us in interpreting and responding to the various atrocities of war, to identify humanity in all its beauty and ugliness, and to remind us of the resilience of the human spirit. Megan Cope, for example, was commissioned in 2017 by the AWM to travel to the Middle East accompanying units participating in Operation Accordion. The resulting series of work, Fight or Flight, was primarily inspired by a ten-hour flight she took over the Middle East and took inspiration from maps akin to those from her childhood school years including the Sykes–Picot map of 1916. The Sykes–Picot map was the result of a secret agreement between Britain and France discussing the dissolvement of the Ottoman Empire after the First World War. The ramifications of this continue to influence conflict in the Middle East. In some of the works, Cope incorporates symbols associated with military communications and uses engine oil to mark specific locations on the maps to highlight some of the broader political issues surrounding modern conflict. Artists have the ability to delve deeply into an emotional dimension that can provide society with a voice to understand warfare more closely, which may not be able to be achieved through written histories, or documentary film. Their impact within the broader history of war should not be overlooked as they continue to cultivate meaningful commentary, reflection, and change that can alter the complex fabric of our society. Our Fine Art Auction will take place on Tuesday 19 March in Melbourne. For viewing times and to see the full catalogue please visit our website.

previous page: Murray Griffin, Changi prison camp, early days (detail), (1942, oil over pencil on wooden panel, 63.2 x 84.3cm) AWM ART24480 This work depicts members of the Australian Imperial Force, 8th Australian Division in Changi prison camp. Of this work Griffin noted; 'I started to paint the life around me. Men showering under the eaves of buildings in rain - it was fresher water than in the tongs. Men doing chores, men dragging trailers loaded with camp necessities, men doing the hundred and one things prison camp required'. It shows conditions prior to the prison camp being provided with any amenities. / Australian War Memorial

LEONARD, No. 108

left: Lieutenant Will Dyson (left), Australian official artist, sketching, in the 'Caterpiller', an intersection of two sunken roads. Two other men rest and smoke a cigarette. German lines were less than 500 yards from this point, and ten days before, Australians of the 6th Infantry Brigade had cleared a number of German machine gun posts in stiff fighting. 29 May, 1918, Picardie, Somme, Corbie Albert Area, Ville-sur-Ancre, France. Unknown Australian Official Photographer / Australian War Memorial AWM E02439

above: Harold Septimus Power (1878-1951) Untitled (Soldiers) oil on canvas laid on wooden panel 36.5 x 61.5cm $25,000-35,000

February – March 2024

We are delighted to welcome Rebecca Sheahan to the Leonard Joel team, bringing over 20 years of experience in the jewellery and luxury goods sectors. Here, we get to know our new Head of Fine Jewels & Timepieces.

Welcoming Rebecca Sheahan

LEONARD, No. 108

How did your love of gemstones begin? I have always worked in creative, design-based fields. I have been a professional photographer running my own studio and have managed an art gallery. I developed a fascination with jewellery 25 years ago. I enjoyed the science, beauty, and rarity of gemstones so I went on to manage and design for a boutique jewellery salon and then eventually to study gemmology, diamond grading, and valuing. What has been a proud career moment? While working as the General Manager of Holloway Diamonds, a retail and manufacturing jeweller, I was instrumental in establishing them as the first Australian company to pass the Responsible Jewellery Council (RJC) process. The RJC Code of Practices is the only independently verified sustainability standard for global jewellery covering the entire supply chain, from mine to retail. Their Code of Practices 2019 is aligned with the OECD Due Diligence Guidance and the UN Guiding Principles of Business and Human Rights. What do you love about auctions? The most exciting aspect of working at an auction house is that you never know what amazing pieces will come through the door, be it bespoke local jeweller creations made for special occasions or branded high jewellery. Working around jewellery is a happy thing as people use it to celebrate all kinds of milestones in their lives. I am looking forward to assisting our Leonard Joel clients to find that special piece.

What is something many people don’t know about you? I am a bit of a trivia nut; I have been known to appear on a couple of television quiz shows with my specialty subject – diamonds. Fun fact – most natural diamonds are between 1 billion and 3.5 billion years old! You’re invited to the Oscars, what jewels are you wearing? The Tiffany yellow diamond! The diamond has only been worn by four women during its lifetime; Mary Whitehouse, Audrey Hepburn, Lady Gaga, and Beyonce. Do you have a favourite jewellery designer/period? Cartier, from the King Edward VIII and Wallis Simpson era. In 1987, a collection of the Duchess of Windsor’s jewels went under the hammer at Sotheby’s fetching an eye-watering $50 million! 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: Rebecca Sheahan right: 18ct gold and gem-set brooch $3,000-4,000 far right: Lady Gaga wearing the ‘Tiffany Diamond’ at the 91st Academy Awards, 2019 / Alamy

February – March 2024

All Aboard! The Intersection Between the Great American Railroad and Horology by patricia kontos, senior timepieces specialist

LEONARD, No. 108

tragedy can be a harsh but important teacher. In Ohio, in 1891 the loss of nine lives from the Kipton trainwreck was down to a conductor’s watch being out by just four minutes. In the rail accident’s investigation in the weeks that followed, many important lessons would be learned. It was the late nineteenth century in America and the role of the railroad was to make a transformational impact on the nation’s industrialisation and the way new technologies, such as machine building and iron and steel production, advanced to meet the demands of railroad growth. The rail network opened the way for the settlement of the West, provided new economic opportunities, stimulated the development of towns and communities, and generally tied the country together. In fact, one could argue that the railroad even brought the democratic process to the people by enabling presidential candidates to meet and talk with their constituents in every state. The railroad was instrumental in forging the New World’s most successful democracy. During this transformative era, trains as a new technology would also determine the way people conceptualised time. Before time standardisation, a train conductor on one side of the state would set his time according to the sky as he observed it, with another on the opposite side of the state doing the same. By nature of the sky being different as you move East to West, the inaccuracy of a watch’s movement could exacerbate miscalculated scheduling. Adding to this potential railroad disaster tinderbox was that a single track was often shared by trains going in either direction with the ability to pass each other only at stations and designated sidings. Should a watch’s timing be even slightly out, tragic incidents similar to the one in Ohio could result. The close of the 19th century saw people transition from living by local time based on the sun to a calculated, mechanical time that was locally variable. In the United States, a new standard time system was implemented in 1883, instituting the time zones in use today. It replaced 49 different operating times and synchronised clocks within a geographical region to a single time standard, rather than a local mean time standard. The adoption of standard time and the railway tool watch would work hand-in-hand to transform rail freight and travel.

During the 1890s, nostalgically referred to as the “Gay Nineties” as a decade of prosperous comfort and progress, the railroad industry went to work with some of the biggest watchmakers of the time such as Ball, Hamilton, Howard, Illinois, Waltham, and Elgin to create watches unrivalled in quality and reliability. Any watch now being used in the rail service responsible for schedules was required to have a number of specifications including to be open-faced, size 18 or 16, have a minimum of 17 jewels, be adjusted to a least 5 positions, keep time accurately to a gain of only 30 seconds a week, be adjusted to temperatures, have a double roller, be lever set, have a micrometric regulator, have a winding stem at 12, and feature plain Arabic numbers printed bold and black on a white dial, with bold black hands. The railroad worker was required to use a timepiece more accurate than many scientific instruments. Standards for these watches evolved over time, right into the age of wristwatches, and these led to some beautiful, interesting, and mechanically impressive watches. Not only did these true tool watches contain some of the most accurate movements produced in their time – still accurate by today’s standards – the rich history of the railroad watch holds an almost mythical place in the rise, prosperity, and the uniting of the states of America. Our Timepieces Auction will take place on Monday 18 March in Melbourne. For viewing times and to see the full catalogue please visit our website.

opposite clockwise from left: Ball Watch Co. Cleveland, O. Hamilton Grade Official RR Standard a gold filled openface railroad grade watch $1,200-1,600 Ball Watch Co. Cleveland O. Official RR Standard a gold filled openface railroad grade watch $800-1,000 Elgin Watch Co. a gold filled openfaced railroad grade watch with winding indicator $1,000-1,500 Hamilton Watch Co. Lancaster, PA. Model 950 a 10ct gold filled openface railroad grade watch $1,000-1,500 right: A Delaware, Lackawanna and Western Railroad wagon at a level crossing, 1900 / Western New York Railroad Archive

February – March 2024

From the mid-19th century until the first half of the 20th century, many international fairs were held in England, America, Australia, and Europe, leading to the first ever worldwide fair of its kind; the Great Exhibition. by chiara curcio, head of decorative arts, design & interiors

New Porcelain Techniques Revealed at Great Exhibitions (1851-1937) 20

LEONARD, No. 108

Philip Gore in the workshop

February – March 2024

A Royal Worcester pierced/ reticulated porcelain Shape 871 $20,000-30,000

the great exhibition opened in london at Joseph Paxton’s Crystal Palace in 1851 with 14,000 exhibits, and had a staggering attendance of six million visitors, an extraordinary number for the period. Our own Melbourne hosted an exhibition in 1880, held at the Exhibition building, designed and created exclusively for the fair, with a recorded attendance of 1.3 million visitors and showcasing 16,000 exhibits. The fairs were designed to showcase the best examples of arts and industry, providing each exhibitor an opportunity to unveil innovations and advancements in various areas such as design, technology, manufacturing, and the arts, with fierce competition between nations to excel and to achieve the prestigious awards and medals of the fair. In the area of porcelain there were many innovations in glazing, design, and decoration, including George Owen’s intricate pierced porcelain technique and Thomas Bott’s innovation with enamel decoration in Worcester porcelain. George Owen (1845-1912) created wonderfully intricate pierced porcelain vessels for the Worcester factory and developed this technique without requiring a pattern, executed all by hand. This delicate decoration simulated a netted honeycomb effect and was shrouded in mystery as Owen was protective over his technique. He operated predominately alone and in secret with tools of his own design, never sharing his method with fellow decorators. Owen was celebrated for his attention to detail, with some porcelain vessels pierced with thousands of incisions, created slowly over a period of months. The pieces astonished visitors at his world fair debut. Although rare to market, our forthcoming auction, The Andrew Morris Collection of Important Worcester and other Porcelain, holds several pieces of Owen porcelain including a signed George Owen Persian shape vase. Inspired by Limoges enamels on copper, Thomas Bott (1829-1870) developed the application and decoration of Limoges enamel on porcelain,

exhibiting in both the Paris Exhibition Universelle of 1855 and the London exhibition of 1862. During the height of the Renaissance revival this 15th century enamel technique became very popular; it is like pate-sur-pate, however thinner and finer. It is credited to Bott licking his brush to form a fine point. Unfortunately, in creating his legacy, Bott also ensured his premature death from lead poisoning. Within the Morris collection are various examples decorated by Bott and previously exhibited at the world fairs including the Kerr & Binns porcelain chalice. This fine example of exquisite Limoges enamelling was featured in the 1862 London fair. A true treasure for any collector, the chalice is also accompanied by documentation; a chromolithograph from photographs supplied by the London photographic and Stereoscopic company of masterpieces of the Industrial Art & Sculpture at the International exhibition, 1862 (London). Exhibition pieces are rare on the public market and are predominately held in institutional collections. Our own National Gallery of Victoria holds works from some of the Great Exhibitions, partly formed from the bequest of Dr Robert Wilson, who had in turn originally acquired many pieces from Leonard Joel over decades. It is a pleasure to able to celebrate and offer these pieces to the public. The Andrew Morris Collection of Important Worcester and other Porcelain Auction will take place on Monday 25 March in Melbourne. For viewing times and to see the full catalogue please visit our website.

far left: The Crystal Palace opening in 1851, home of the Great Exhibition in Hyde Park, London / Alamy left: A Royal Worcester 'Limoges Enamels' decorated exhibition vase on pedestal Estimate on Request below: A staged publicity photograph of George Owen for an exhibition in London. The vase that George is “working” on is an already complete and fired piece. / Museum of Royal Worcester

LEONARD, No. 108

A Kerr & Binns Worcester enamel-decorated exhibition chalice $15,000-20,000

October ––November February March 2024 2023

Spotlight on: Afra & Tobia Scarpa BY REBECCA STORMONT, MODERN DESIGN SPECIALIST

LEONARD, No. 108

afra & tobia scarpa were influential Italian architects and designers who made significant contributions to the fields. Born in 1937 and 1935 respectively, Afra and Tobia met while studying at the Venice University Institute of Architecture. They later married and formed a dynamic partnership that spanned several decades. Early in his career, Tobia, son of the modernist architect Carlo Scarpa, worked as a glass designer at the Murano glassworks of Venini. In 1960 the couple established their design office in Montebelluna. One of their first collaborative commercial designs was the Bastiano sofa (1962) for Gavina which comprised loose cushions within a timber frame; and has gone on to be endlessly popular. The couple collaborated with a number of high-end design companies to launch their collections. Their designs were informed by a deep understanding of materials and empathy for traditional Italian craftsmanship. In the realm of lighting, their work for Flos is extremely interesting with such a broad scope of materials used. The Fantasma lamp (1961) utilised a material called ‘Cocoon’ developed by the United States during WWII. The spray on polymer replicates the work of a silkworm, hence the name. The Biagio lamp (1968) is crafted from a single piece of Carrara marble. In metal and glass, the Papillona floor lamp (1977) is an elegant example of design that could easily have emerged from the 80s or 90s. Back to furniture, the very sought after Soriana sofa (1970) created for Cassina exemplified their commitment to combining comfort with modern aesthetics. The Soriana sofa, characterised by its modular and organic form, became an iconic piece of Italian design, reflecting their ability to blend innovation with timeless elegance winning the Compasso d'Oro prize. The Maxalto B&B Italia Artona series designed in 1975 is an example of high-end timber craftsmanship.

opposite: Fantasma lamp, at The Triennale collection of Italian design objects, The Triennale di Milano museum hosted inside the Palazzo dell'Arte, Milan, Italy / Alamy right: Afra & Tobia Scarpa four seat Bastiano sofa for Knoll Sold for $5,625

The couple had various architectural projects throughout their careers including a collaboration with Benetton which spanned over 30 years. These projects demonstrated their ability to adapt to different contexts while maintaining a consistent design ethos. Afra Scarpa’s untimely death in 2011 marked the end of a remarkable partnership, but Tobia continued to contribute to design and architecture. The Scarpa duo’s influence is not confined to Italy; their work has left an indelible mark on the global design landscape. Afra and Tobia Scarpa’s legacies endure as a testament to their unwavering dedication to craftsmanship, innovation, and a holistic approach to design that transcends time and trends. In the tapestry of design history, Afra and Tobia Scarpa’s contributions remain vibrant threads, weaving together tradition and modernity in a harmonious celebration of the art of living. Our Modern Design Auction will take place on Monday 8 April in Melbourne. For viewing times and to see the full catalogue please visit our website.

“[Nylon] challenged, even changed, the traditional and conservative idea of luxury. I am still obsessed with it.” - Miuccia Prada by indigo keane, luxury specialist

Tough Stuff: Miuccia x Nylon

LEONARD, No. 108

before 1984, when one considered nylon, images of parachutes and camping equipment likely came to mind. However, today, the association with nylon has undergone a profound transformation. Armed with a PHD in political science, the Piccolo Teatro student of mime, member of the Italian Communist Party, and active feminist, Miuccia Prada, has transformed the Prada family business into a symbol of global fashion excellence. Miuccia’s ammunition lies in challenging the status quo, as she intertwines diverse design elements to redefine the perception of luxury and challenge traditional beauty standards. Her innovative incorporation of nylon into high fashion transformed conventional fashion trends, reinventing the utilitarian material into a symbol of luxury. Commonly used in functional workwear due to its durability, nylon was initially manufactured by Dupont as a silk substitute, introduced into the fashion landscape for stockings during the 1940s. During World War II, nylon became the most widely utilised fabric for war materials resulting in widespread stocking shortages, culminating in a shopping frenzy upon their triumphant return to the shelves in 1946. A pivotal moment in the evolution of both nylon and Prada occurred almost a decade after Miuccia Prada assumed control of the family business in 1975. At a time when the Italian ‘Sex-Bomb’ aesthetic was flourishing, Miuccia consistently defied popular trends by crafting an anti-fashion aesthetic, creating garments that subverted traditional notions of attractiveness while making a bold statement about individuality. This resulted in a groundbreaking move that would leave a lasting mark on the fashion landscape; the introduction of the Vela backpack, crafted from army-grade nylon. This innovative creation swiftly attained icon status within the fashion realm. Renowned for its durability, functionality, and distinc-

tive look, the Vela backpack became more than just a fashion accessory - it became a symbol of Prada’s forward-thinking design philosophy. Prada transformed the perception of this robust material originally associated with practicality into a symbol of high fashion, consistently elevating the fabric’s status as it was integrated into their collections. From July 2023, Prada introduced ‘Re-Nylon’ - a regenerated nylon that can be indefinitely recycled without affecting the quality of the fabric. This transformation to recycled nylon cemented Prada’s commitment to adapt and grow within social and environmental changes without compromising their design and quality. In a fashion landscape often dominated by logos, Prada’s nylon has emerged as a distinctive signature, synonymous with the brand’s identity, arguably more recognisable than the iconic Prada logo. This choice of material formed the very DNA of the Prada brand, shaping its aesthetic and design ethos. Miuccia Prada’s bold decision to embrace nylon set her brand on a trajectory to redefine and shape the industry for decades to come. Our Luxury Auction will take place on Tuesday 9 April in Melbourne. For viewing times and to see the full catalogue please visit our website.

opposite: Miuccia Prada walks the runway during the Prada Resort 2020 Collection, New York / Alamy right: Prada, Multi-Pochette Sold for $2,500

February – March 2024

Whether it impacts the way art is made, displayed or sold, technology is changing the game in the art world. One example of particular interest is the implementation of blockchain into the art market and how key industry players are adapting. by noelle martin, art salon manager, guest contributor

The Art Market: The New Kid on the Block[chain] 28

LEONARD, No. 108

An AI-generated image that was given the prompt (by Beeple) "a mechanical dove by Beeple, low camera angle, cute aesthetic, pastel, high octane render, glossy textures, 8K, trending on artstation, --ar 5:7 --uplight", July 2022

February – March 2024

buyers are typically faced with two major questions when purchasing art: is it real and does the current owner have the authority to sell it? Due to the confidential nature of the art world, sometimes answering these questions can be tricky. Blockchain’s ability to act as a digitized ledger, tracking and time stamping all previous and future transactions relating to a single artwork, may provide the answers to both of these questions and relieve hesitant buyers. Christie’s paved the way in exploring blockchain at their inaugural Art + Tech Summit in 2018. Since then, they have become the first global auction house to implement the use of blockchain in an auction. That same year, the house joined forces with Artory, a blockchain-based art registry service. By doing so, interested buyers could log onto their database and view a complete transactional history of all works featured before the sale. Once sold, the new sale record is then added to the registry and the buyer is provided with a digital certificate of the transaction. In 2022, the auction house took one step further and launched a new platform dubbed ‘Christie’s 3.0,’ their in-house platform developed to facilitate non-fungible token (NFT) sales on the Ethereum blockchain network from start to finish. In the last few years, we have seen an increased number of blockchain-based companies dedicated specifically to the needs of the art world. Art Basel’s parent company, LUMA Foundation, recently funded one such company dubbed Arcual. Similar to Artory, Arcual uses blockchain to digitize smart contracts for artists, galleries, museums, and collectors. This includes tracking provenance and sales agreements, allocating artist royalties, and issuing digital certificates of authenticity. Other blockchain-based startups such as Maecenas Fine Art focus on the removal of intermediaries in the sale of an artwork. This way, artists can

create an inventory of their works and buyers can purchase them in fragments ultimately lowering the overhead costs and creating greater transparency in the sales process. Many artists are also incorporating blockchain into their practice, which can range from digital art to physical artworks exploring blockchain as subject matter. Simon Denny, a New Zealand artist based in Berlin, has been exploring the relationship between art and technology throughout his practice. In much of his work, he often attempts to give physical shape to formless occurrences, such as blockchain and Bitcoin. Other artists are creating digital artworks that are logged into a blockchain-based network, such as Ethereum. A popular example known as CryptoKitties is one where buyers can buy, collect, and breed various types of virtual cats. These types of artworks are also gaining traction in the for-profit art space. In 2021, Christie’s successfully sold the first digital-only artwork on the secondary market for $69 million (Beeple's Everydays: the First 5000 Days). Many leading experts have heavily debated the effects blockchain may have on the industry. Those who argue against its use claim to have issues with the potential threat of theft, privacy, and the purity of stored data. Those in favour claim it to be a solution to data inconsistencies which in turn could foster a more transparent marketplace for new buyers and investors, who may feel more secure to participate. Will blockchain prevail? It seems that the jury is still out!

opposite: Beeple (b. 1981) Everydays: the First 5000 Days Non-fungible token (jpg) 21,069 x 21,069 pixels (319,168,313 bytes) Minted on 16 February 2021. Sold for $69,346,250 at Christie's / Christie's Images Ltd. 2021 left: Simon Denny (b. 1982) Blockchain Future State Fintech Gamer Case Mod Deal Toy: 21 Application Programming Interface (API) Marketplace (2016) / Image courtesy of the artist and Petzel, New York.

LEONARD, No. 108

February – March 2024

Visiting the John Nixon and Brent Harris Exhibitions by hannah ryan, prints & multiples specialist

LEONARD, No. 108

with an impressive roster of exhibitions over the summer, from the extraordinary survey of Emily Kam Kngwarray at the National Gallery of Australia to Know My Name: Australian Women Artists at the Mornington Peninsula Regional Gallery, we have been spoilt for choice. Alongside these exhibitions, two other standouts are John Nixon - Four Decades, Five Hundred Prints at Geelong Gallery, and Brent Harris: Surrender & Catch at the TarraWarra Museum of Art. john nixon - four decades, five hundred prints A captivating exploration of Australian abstract artist John Nixon’s legacy is presented in Four Decades, Five Hundred Prints, thoughtfully curated by Sue Cramer and now showing at Geelong Gallery. This showcase not only delves into Nixon’s entire artistic journey in printmaking but reveals a fascinating array of techniques, ranging from woodcuts and potato prints to screenprints and etchings. Sue Cramer’s curation adds a unique layer to the experience, guiding visitors through Nixon’s artistic evolution with thoughtful pairings and creating a setting that mirrors the intimacy of the artist’s studio. The decision to leave some prints unframed enhances the immediacy of the encounter, allowing for an intimate engagement with each piece as they lie flush against the walls. John Nixon’s fearless approach to pushing the boundaries of printmaking is evident, with the inclusion of collage and prints on everyday objects like paper bags and newspapers. The experimental spirit gives the exhibition a dynamic edge, inviting viewers into a world where art transcends conventional confines. As you explore the exhibition, the recurring use of the colour orange, a signature element in Nixon’s work, weaves a vibrant thread through the collection, linking commercially produced posters to experimental pieces. This exhibition is an immersive invitation to witness an artist’s daring experimentation and evolution over time. Step into this unique experience and let Nixon’s prints take you on a journey beyond the expected. John Nixon - Four Decades, Five Hundred Prints is on view at Geelong Gallery until March 11, 2024.

and prints. Curated by Maria Zagala and co-presented by the Art Gallery of South Australia, the exhibition offers a comprehensive look at Harris’ stylistic shifts, thematic explorations, and the evolution of his printmaking practice. Central to the exhibition is the evolving narrative of Harris’ printmaking; the viewer is taken on a privileged journey of refinement and innovation. The Stations 1989, a 14-part series of aquatints, is Harris’ response to the AIDS crisis, and serves as a testament to his ability to evoke deep emotions through simple black and white execution. The Appalling Moment 1995 series introduces playful screenprints, where repeating circles resemble eyes or portals into the artists view, while the Swamp series from 1999-2001 exhibits a unique interplay of subtle grotesqueness and organic structures, created in both screenprints and aquatints. Where a single exhibition of Harris’ may open one’s eyes to his practice, the variety and diversity of his styles, influences, materials, processes, and themes in this retrospective provide the viewer with a unique opportunity to truly see the world through the artist’s eyes. The exhibition is not just a visual experience and an intellectual journey, it offers a profound understanding of Harris’ oeuvre. Surrender & Catch stands as a testament to the enduring power of Harris’ art, beckoning audiences to surrender to its emotional resonance and catch the nuanced layers of meaning within each carefully crafted piece. Brent Harris: Surrender & Catch is on view at the TarraWarra Museum of Art until 11 March, before touring to the Art Gallery of South Australia from 6 July – 20 October 2024. Our Prints & Multiples Auction will take place on Wednesday 10 April in Melbourne. For viewing times and to see the full catalogue please visit our website.

brent harris: surrender & catch Brent Harris’ artistic journey is unfurled in the chronological exhibition Surrender & Catch at the TarraWarra Museum of Art in Healesville. The surrealist painter and master print maker’s prolific 40-year career is explored across more than 100 works, encompassing paintings, drawings, studies,

opposite: John Nixon - Four Decades, Five Hundred Prints Photographer: Andrew Curtis / Image courtesy Geelong Gallery right: Brent Harris (born 1956) Swamp (No. 8) 2001 screenprint P/P © The artist Sold for $4,750

February – March 2024

how to… Navigate the International Art Scene, with Mark Hughes

left: Mark Hughes / Photographed by Tony Amos right: Mark at a Nicolas Party exhibition, Hauser & Wirth, NYC / Photographed by Callan Butler far right: Visiting the Antony Gormley exhibition, Rodin Museum Paris 2023

LEONARD, No. 108

With more than three decades of experience in the art world including over ten years in New York, Mark Hughes has an extensive knowledge of local and international contemporary and modern art. Regularly traveling abroad to visit art fairs, exhibitions, and events, Mark’s knowledge of the international art scene is intertwined with his contributions to the Australian sector through his roles as a former Trustee of the Art Gallery of New South Wales Foundation, a member of the Advisory Board for the Sydney Contemporary Art Fair, and an Ambassador for the Museum of Contemporary Art. What advice would you give to someone who’s wanting to start dipping their toe into collecting international art? There is an endless amount of art ‘out there’, so initial research is very important. One of the best places to do this is at an art fair. Regional international fairs are only a short plane ride away; Auckland, Tokyo, Singapore, Taipei, and Hong Kong all offer annual art fair experiences. If travel is not an option, go online to explore the galleries showing at these fairs and then deep dive into their websites.

What’s unique about the Australian art scene that you think differentiates it from the rest of the world? The most unique visual voices we have are those of both the traditional and non-traditional contemporary Indigenous artists. Their work is specific to Australia and yet speaks with clarity to international audiences. Interest continues to grow both in the primary and secondary market internationally. The stories told are unique to Australia but connect far and wide. What are three of your favourite museums and galleries around the world to visit? Not including my beloved institutions in Australia, my three favourites would be the Metropolitan Museum of Art in New York, Glenstone in Maryland DC, USA, and the Beyeler Foundation in Basel, Switzerland. It is impossible to leave any of these institutions with disappointment in either the art on show or the experience. See more at markhughesart.com and follow Mark on his travels at @markhughesart on Instagram.

How hard is it to buy and import works from other countries? It isn’t hard, but it can be expensive. Art shipping isn’t cheap, and there are taxes and duties applicable when art arrives in Australia. Always get a couple of quotes, use reliable shippers recommended by the gallery selling the work, and always include insurance. How important are the international art fairs these days? Should we still be planning our calendars around them? Art fairs locally and internationally are very important for the art market ecology. Many galleries do a good percentage of their business at fairs, and they are excellent places to see art in person, make brief but meaningful connections with gallery staff, and to share your experience and thoughts with other collectors. They also offer an introductory but important education around the work of artists from all over the globe.

February – March 2024

FIVE MINUTES WITH JOHN ALBRECHT Not content with just five questions, our Chairman and Head of Important Collections has gone for six… the bar has been raised, team! favourite artist

favourite cocktail

Unquestionably my favourite painter would be Edward Hopper. While conscious that so much of his iconic imagery has been commercialised and distorted over the decades, his original visions of American mid-20th century domestic life I find haunting and beguiling.

As I am now in Febfast fundraising mode (yes, that’s a plug for new donors!) I thought I would share with you my top three suggestions for “grown-up” non-alcoholic drinks. There is only so much lemon lime and bitters one can drink so my go-tos are mineral water with a dash of Bisleri chinotto (not easy to find), same again with a dash of dry ginger ale, and same again with lots of cucumber. And all with helpings of lemon or lime and of course, ice.

leonard joel staff all seem to have a side project or talent, what’s yours? I discovered gardening more than a decade ago and I’m proud to say that I can advance and speed up the training of Boston ivy and Virginia creeper, in my humble opinion, better than anyone. For the ivy, I use thin slivers of masking tape and for the creeper I use a wonderfully soft and thin green coated electrical wire! I believe I’m the best at this in Melbourne but that’s about as handy as I get.

favourite auction purchase This would be my wife’s purchase for me, and a surprise, of a wonderfully complete and figurative painting on board by Elaine Haxton. It is the closest I will ever come to enjoying the abstraction of Picasso in my own home and I simply love it and never tire of it.

your ideal day in melbourne Walking Melbourne aimlessly with my dog Buddy and taking in the shop windows, especially on empty days when many people have left this city, a breakfast with my wife somewhere, and then perhaps a drive around without purpose. I have always loved driving with no destination in mind.

favourite book/movie I’m not sure if I have a favourite book and I’m embarrassed to say that I’m no longer a good reader. The last book I read was “A City so Grand” by Stephen Puleo. It charts the rise of Boston, the first city I fell in love with. It was gifted to me by a sister-in-law and I knew she would ask me about it so on my first holiday I divided the number of pages by my nights away and stuck to that discipline of completing the book by the end of the vacation. It kept a poor reader on track and I enjoyed the book! I do have favourite movies though; I can’t help going back to “The Godfather Part II” for its perfect representation of 1950s American gangster culture.

LEONARD, No. 108

22ND REPORT by ifaw

1,800 Kilograms of Ivory Destroyed in France the international fund for animal welfare (ifaw) and French Office for Biodiversity (OFB) organised a large-scale ivory destruction to stem the trade and raise awareness of the trafficking responsible for the deaths of thousands of elephants every year. In 2015, IFAW launched the ‘I’m surrendering my ivory’ campaign in France to encourage people to hand in ivory items such as tusks, trinkets, or jewellery for destruction. The campaign was a great success, and many people are still looking for places to dispose of their unwanted ivory. Through this collaboration, law enforcement recognises the importance of responding to private individuals wanting the option of disposing of their ivory objects. Since 2015, hundreds of pieces of ivory have been received by IFAW, OFB and French customs mainly via surrenders from individuals, but also through seizures. The decision was then made to destroy this stock to ensure that these items could never be reintroduced into the commercial circuit. During the most recent destruction on November 28, 2023, 1,800 kilograms (1.8 tonnes) of ivory were destroyed which represents about 180 elephants, whose tusks were coveted for making decorative items. “The exponential demand for collecting these objects since the first collection in 2015 demonstrates the real need to offer private individuals a solution to divest themselves of their ivory. Whether out of ethical conviction or because they are unable to sell it legally following the latest changes in regulations,” said Mia Crnojevic-Cherrier, Campaigns Officer at IFAW. “The ivory trade remains a major threat to elephant populations. Thousands of elephants are poached every year in response.” The last destruction operation in 2018 destroyed one tonne of ivory, drying up the market and sending a strong message to traffickers. Today, there are 400,000 elephants left in Africa – a decline of 70% compared to the 1970s (1.3 million individuals), mainly due to poaching. Within a century, elephant populations have fallen by more than 90%. Historically, the European Union (EU) has been one of the world’s largest exporters of legal ivory. The persistence of legal domestic markets for ivory in the EU and elsewhere has enabled criminals to launder illegal ivory from poaching. It places the burden of proof of this illegality on the police and has created confusion among consumers as to whether the available ivory is of legal or illegal origin.

February – March 2024

In May 2018, over 90 Members of the European Parliament called for a total ban on the import and trade of ivory in the EU. An initial public consultation launched by the European Commission showed that over 90% of the 90,000 people surveyed were in favour of a ban on the trade in ivory in the EU. The UK banned ivory trade in December 2018, effective from June 2022. On December 16, 2021, the European Commission revised its regulation, adopting new guidelines, and severely restricting the ivory trade. The new measures are the strongest ever taken by the EU. The new EU guidelines significantly restrict domestic trade in ivory and imports and re-exports of raw and worked ivory. There are only a few exceptions for antiques and specific musical instruments. IFAW France is also committed to planting one tree in Zimbabwe for every kilo of ivory received to help restore the habitat of elephants, the destruction of which is one of the leading causes of the ongoing erosion of biodiversity. The destruction operation is carried out with the support of the Ministry of Ecological Transition and Territorial Cohesion, the Command for the Environment and Health (CESAN), the Ministry of Justice and IUCN France. French Customs also involved its stock of ivory in this operation. In Australia, following recommendations made by the Parliamentary Joint Committee on Law Enforcement, the former federal government committed to closing the country’s domestic ivory and rhinoceros horn markets in 2019. However, this is still yet to be implemented. While legal domestic markets anywhere in the world remain open, a green light to continue supplying the demand for ivory is driving elephant poaching across both Africa and Asia, and there are serious concerns that elephants may become extinct within just a few decades. Image: Sarah Sabry of IFAW loading ivory. Photo: Elisabeth Perotin / © IFAW

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.

MODERN RELIC by jessica murtagh, words by john albrecht

Private Sales my first encounter with the great cameo glass artisan Thomas Webb was at Leonard Joel in 1988 when I learnt that Graham Joel was an avid collector. I was dazzled by the combinations of translucent colours combined with the sheer precision and execution of the designs. A Webb piece, in my opinion, is unmistakable in its quality and it is this craftsmanship that sets these pieces apart from other artists and companies that also sought to replicate and reinterpret this ancient technique. Fast forward to one of my numerous walks during a Victorian lockdown, when I decided to walk a back way with my wife through Cremorne and towards the Richmond bridge overpass. There, in a row of street posters was what looked like a modern-day reinterpretation of a classic Webb vase. It was Jessica Murtagh’s, and I was hooked! I immediately snapped an image and sent it to my friend and aesthete Sarah Fletcher and she too, I think, was beguiled. Now represented by Sarah’s Melbourne gallery, works by Murtagh have sold privately and to public institutions, who also recognise her uniqueness on the contemporary Australian decorative arts landscape. Jessica’s arts practice leans heavily on illustration, using sand carving and engraving techniques to create imagery and narratives on glass. Her narrative work is inspired by antiquities from past societies such as the ancient Athenians. Her fascination with history and ancient relics has led to exploration of what future artefacts could be, and to question what our contemporary culture will one day leave behind.

I was thrilled when my wife surprised me with a commission from Murtagh via Sarah’s gallery, and when I look at it every day on my fire surround, I feel nourished both visually and in the knowledge that artisans are alive and well in Australia. We are delighted to be offering this monumental and unique piece from Fletcher Fine Arts for Private Sale. Please contact us for enquiries.

LEONARD, No. 108

Image: Jessica Murtagh Modern Relic: The Twelve Herculean Tasks of Adulthood, Tasks I, II and III Created in 2023 Dimensions: 48 x 27 x 27cm Blown glass, sandblasted and engraved Available for Private Sale

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February – March 2024

A LAST LOOK

Tiffany & Co. Gem-Set and Diamond Feather Brooch, Circa 2008 Sold for $106,250 Important Jewels, December 2023

In this feature, we revisit a handful of beautiful and extraordinary pieces that have passed through our doors since the last issue. Following a roadshow trip to Noosa last year, our Queensland Representative Specialist, Troy McKenzie, was delighted when presented with a vintage Hermès Kelly handbag, in pristine condition. This iconic bag, originally known as Sac a Depeches, was renamed after Grace Kelly, after her association with the bag catapulted it to fame. A much-loved accessory of the actress, she even used it to conceal her early pregnancy from the paparazzi. The timeless design and association with an icon of style has contributed to this bag’s enduring popularity in the world of high fashion.

Sally Gabori & Dawn Naranatjil (1924-2015, 1935-2009) (Language Group: Kayardild) Makarrki 2007 Sold for $27,500 © Sally Gabori & Dawn Naranatjil 1/Copyright Agency, 2023 The Le Pley Collection of Indigenous Art, November 2023

Hermès, Vintage Kelly 32 Handbag, circa 1986 Hermès, Vintage Kelly Sold for $8,750 32 Handbag, Circa 1986 Luxury: The South Yarra Edit, Sold for $8,750 November 2023 Luxury Auction, November 2023

LEONARD, No. 108

This rare and exquisite Central Italian painting dates from around 1450, and would have been painted as an object for religious devotion. Its small size suggests that it was made for a private chapel.

A Japanese Silvered Bronze Model of a Hawk By Akasofu Gyokko, Meiji Period (1868-1912) Sold for $21,250 Asian Art, November 2023

February – March 2024

Central Italian School First Half 15th Century The Virgin and Child Enthroned and Crowned by Two Angels, With St Francis and St Anthony Abbot Sold for $106,250 Decorative Arts, November 2023

Marc Newson Wood Chair Sold for $10,000 Modern Design, November 2023

George Baldessin (1939-1978) Pears (Yellow Version) 1972 Sold for $10,000 Prints & Multiples, November 2023

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LEONARD, No. 108

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VALUE, SELL & BUY Contact a Leonard Joel Specialist

chairman & head of important collections John Albrecht 03 8825 5619 john.albrecht@leonardjoel.com.au

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

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

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

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fine jewels & timepieces Rebecca Sheahan Head of Department 03 8825 5645 rebecca.sheahan@leonardjoel.com.au

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

furniture April Chandler 03 8825 5640 furniture.manager@leonardjoel.com.au

fine art Georgina Lewis Acting Head of Department 03 8825 5624 georgina.lewis@leonardjoel.com.au

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

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Auction Specialists

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February – March 2024

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

art Noelle Martin 03 8825 5630 art.manager@leonardjoel.com.au

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