Welcome to the August - September issue of Leonard Magazine.
Within this issue, we learn about the fascinating history of South Italian pottery, discover antique mirror styles, learn about the pioneering women of Australian abstract art, discover how watches got their nicknames, chat to the new Executive Director of Arts Project Australia, Liz Nowell, and more.
We hope you enjoy.
auction calendar
August–September 2024
features
Blue John: Britain’s Rarest Mineral Masters of Abstraction: The Enduring Influence of Australian Women Artists
Through the Looking Glass: A Guide to Antique Mirrors
The Case for Adding Brilliance to your Jewellery Collection
The Pottery of Magna Graecia & the Italiotes
Designer Spotlight: Poul Henningsen
Old is the New Black What’s in a (Nick)Name?
Australia’s Bold Prints: The History of Relief Printmaking
in focus
How to Expand your Appreciation of Contemporary Art, with Liz Nowell
The Davenport Desk: The R2-D2 of the Victorian Age 22nd Report: On a Mission to Restore Koala Habitat in Victoria Five Minutes with Wendy Carter A Last Look join us Connect Value, Sell & Buy
$6,000-9,000
Sabbadini diamond 'Bee' brooch
$5,000-7,000
Sabbadini gem-set and diamond 'Bee' brooch
$5,000-7,000
Important Jewels Auction 20 August, 6pm
below:
Paloma Picasso for Tiffany & Co. Pair of citrine and 18ct gold earrings
$10,000-15,000
Important Jewels Auction
20 August, 6pm
AUGUST –
SEPTEMBER 2024
September
Decorative Arts
Mon 5 Aug, 6pm
Melbourne
Sidney Nolan, Works from the Artist's Studio
Wed 14 Aug, 2pm
Melbourne
Important Jewels Tue 20 Aug, 6pm
Sydney
Fine Chinese and Asian Art
Sun 25 Aug, 11am
Melbourne
The Sydney Jewellery Edit Thu 5 Sep, 2pm
Sydney
An Important Single Owner Collection of Chinese Arts Mon 16 Sep, 6pm
Melbourne
The Collector's Auction Tue 17 Sep, 2pm
Sydney
Women Artists Mon 23 Sep, 6pm
Melbourne
The Auction Salon
Furniture & Interiors, Objects & Collectables, Jewellery, Art
Every Thu from 10am
Melbourne
Blue John: Britain’s Rarest Mineral
by john albrecht, managing director & head of important collections
imagine an amethyst meteorite colliding with a comparable one of lush cream and brown marble. The result, the blending of the two, would go some way to describing the extraordinary appearance of the striking Blue John. It is a porous and oh-so-delicate material, making the feat of successfully turning, carving, and mastering the stone significantly fraught. But the results, when they are on scale, are tantalising.
My first encounter with this material was at a Sydney antiques fair, more than two decades ago. Martyn Cook, the giant, impeccably dressed Sydney “antiques dealer to the stars” was proudly, but ever so understatedly, nursing an urn displaying these colourings in his big arms. As he roamed the fair, I recall asking him what it was. He explained it was Blue John, that he’d snapped it up at the famous Melbourne dealers John D. Dunn, and that he had “just the client for it”.
The classical urn shape, carved and refined from this visually complex stone was memorable for me but until this article I have thought little about this peculiarly English stone. Recently, I began thinking about it again, and that encounter at the antiques fair.
Castleton in Derbyshire is home to the two cave systems where Blue John is sourced, and nowhere else in the world, I might add, has it been found. The Romans mined lead there; a reminder of just how ancient the civilisation of the British Isles is, but it wasn’t until the 18th century that this “English Jade”, as I like to describe it, was discovered.
Treak Cliff Cavern, still jointly owned by two families and open to visitors to this day, and Blue John Cavern represent the two sources of Blue John. A small amount is still extracted from the sites, but tour guides are more occupied these days than miners, and while I have not been there myself, I’m told that both professions find themselves in the same individuals running these mines today.
I won’t dwell too much on the origins of the name of this material but the most plausible seems to be that it derives from the French expression “bleu et jaune”, while others suggest that the old mining name “black jack” is where its name derived. While Blue John is where it has settled, it is also known affectionately by locals as Derbyshire Spar.
There remains debate as to whether the French or the English first recognised and deployed this material into the hands of decorative artists, but what is beyond dispute is that by the late 18th and well into the 19th century the material gained favour with high artisans and aristocracy alike, both in the United Kingdom and abroad. Its earliest use has been documented in fireplace panels in the later 1700s, by artisans like Robert Adam, who worked the material to great effect.
There is no doubt that for Blue John, like so many materials, when it comes to styles and techniques, the late 18th - 19th centuries were its time. The great period of mass industrialisation, a burgeoning middle-class, and wealth upon wealth generated an explosion in the Decorative Arts, both timeless and fleeting, and Blue John enjoyed that too.
Matthew Boulton of Birmingham in the 1760s became synonymous as the great manufacturer of items for the formal home in this material. He became so enamoured with it, that he tried - unsuccessfully - to lease and control the entire output of Derbyshire, such was the demand for this stone that lent itself so well to the striking and elegant nature of fine ormolu metalwork.
No doubt Blue John’s scarcity, not just its look, drove its demand, with the stone’s delicate nature allowing a mere 6mm of turning per day. This almost excruciatingly slow rendering of the raw to the refined gives one a feel for how intricate and slow the process for production was, not to mention delicate, given how fragile and porous the stone was. What this has ensured is that Blue John is coveted to this day by connoisseurs, with a scarcity of fine examples available for purchase.
An understanding and appreciation of Blue John, like anything really, can only be acquired with context and a visual immersion into the subject matter. Just this morning I showed my wife her first piece of Blue John online, and, I must say, she was not remotely taken by it. I’m hoping as she sees more examples; more shapes, sizes, periods, and designs, that in time she will also be attracted to this awkwardly beautiful material.
opposite: Candelabrum ca. 1770, Matthew Boulton, British / Alamy
right: Blue John vase, The Natural History Museum / Alamy
far right top:
A slice of Blue John / Alamy
far right bottom: Inside the Blue John mine, Castleton / Alamy
Australian women artists have played a pivotal role in the evolution of abstract art, pushing the boundaries of artistic expression and influencing future generations.
by amanda north, art specialist
Masters of Abstraction: The Enduring Influence of Australian Women Artists
Helen Maudsley (born 1927), Our Dream. In the Darkened.
groundbreaking figures like Grace Crowley, who brought the principles of cubism and abstraction from Europe to Australia, laid the groundwork for contemporary abstract art in this country. Yvonne Audette, with her bold compositions and textured surfaces bridged European avant-garde movements with Australian sensibilities, enriching the local art scene. Helen Maudsley, known for her intellectually rigorous and symbolically rich artworks, has continued this legacy, creating deeply layered compositions that challenge and engage art lovers. Together, these artists have not only expanded the possibilities of abstraction but have also established a rich, dynamic dialogue within the Australian art sphere, highlighting the vital contributions of women in shaping modern art as we know it today.
grace crowley (1890-1979)
Grace Crowley was an influential artist renowned for her pioneering contributions to modernism and abstraction in Australia. Born in New South Wales, Crowley studied under prominent artists in both Australia and Europe, including André Lhote and Albert Gleizes in Paris. Crowley became a key figure in the development of abstract art in her homeland, co-founding the Contemporary Art Society of Sydney in 1939. Crowley’s work is vibrant in her use of colour and geometric forms, reflecting her deep engagement with the principles of cubism and abstraction. Her impact on abstract art was profound; she was among the first Australian artists to fully embrace non-representational art, challenging traditional artistic norms and inspiring her contemporaries to explore new artistic expressions. Crowley’s legacy is celebrated for her role in advancing contemporary art, her innovative approach to abstraction, and her mentorship of future generations of Australian artists.
A selection of Grace Crowley’s works are now on display in the exhibition Grace Crowley & Ralph Balson at The Ian Potter Centre: NGV Australia, until 22 September.
yvonne audette (born 1930)
Yvonne Audette is a prominent Australian abstract artist whose innovative work has significantly influenced the evolution of abstract art in Australia. Born in Sydney, Audette studied at the National Art School before moving to Europe in the 1950s, where she immersed herself in the vibrant post-war art scene, particularly in Italy and Spain. Her exposure to European avant-garde movements profoundly shaped her artistic style, which is characterised by dynamic compositions, bold use of colour, and textured surfaces. Audette’s abstract works are celebrated for their emotional depth and technical prowess.
Returning to Australia in the 1960s, she played a crucial role in promoting abstraction, influencing a new generation of artists through both her practice and teachings. Audette’s contributions to this art movement are recognised for their originality and their role in bridging European and Australian artistic traditions.
helen maudsley (born 1927)
Helen Maudsley is known for her intricate abstract artworks. Born in Melbourne, Maudsley trained at the National Gallery School and developed a unique visual language using complex interplays of form, colour, and symbolism. Her paintings often explore themes of perception, memory, and the human experience, inviting viewers to engage deeply with the layered meanings and connections within her compositions.
Over her extensive career, Maudsley, who is ninety-seven years old, has had a significant influence on the Australian art scene, not only through her distinctive body of work but also as an educator and mentor to younger artists. Her contributions to abstract art are celebrated for their depth, originality, and enduring impact on contemporary artistic practice in Australia.
Our Women Artists Auction will take place on Monday 23 September in Melbourne. For viewing times and to see the full catalogue please visit our website.
left:
Yvonne Audette (born 1930), Into the Eternal Void 1965
$40,000-50,000
right: Installation view of Grace Crowley & Ralph Balson on display at The Ian
Potter Centre: NGV Australia from 23 May to 22 September 2024.
Photo: Tom Ross
Through the Looking Glass: A Guide to Antique Mirrors
by madeleine norton, head of decorative arts & art, sydney
Neoclassical Lecture at Drottningholm, 1779 / Alamy
ever since narcissus stared admiringly into a pool of water, people throughout the ages have been enchanted by their own reflections. Whilst historically sometimes referred to as looking glasses, today we know these objects as mirrors, derived from the Latin mirari, meaning ‘to admire’.
There is archaeological evidence of mirrors dating back to over 8,000 years ago, with the oldest surviving mirror found in Anatolia (modern-day Turkey) and crafted from obsidian, a type of dark volcanic glass. Throughout the globe in the following millennia, the mirror appeared again in many different forms. In Mesopotamia and Egypt from 4,000 BCE they were made from polished copper, and in Central and South America from 2,000 BCE they were made from polished stone. They also appeared in China and India made from bronze and copper around the same time.
Glass began to be used for mirrors in the 1st century CE, with early glass mirrors made of tiles cut from blown glass. Thus, they tended to be small, dark, and slightly curved. These glass tiles were affixed over cast lead with a thin layer of polished metal sheeting in between. It was a laborious and imprecise process resulting in a dim reflection, and only the wealthiest could afford such luxurious items.
It was the Venetians who created the modern method of mirror-making in the 15th and 16th centuries on the island of Murano which had until then been the glassmaking centre of the world. The Venetian craftsmen were able to achieve for the first time consistent, clear, flat and evenly thick glass which resulted in far superior and much larger mirrors. Venetian mirrors became so sought after that Venice turned into Europe’s leading exporter and Venetian guildsmen were sworn to keep the secrets of fabrication upon penalty of death. It wasn’t until the mid-17th century when France established the Manufacture des Glaces that mirror production eventually expanded into other countries and became more attainable by those other than royalty.
Below you’ll see some of the stylistic periods associated with mirror production and how these designs evolved over time.
rococo
The Rococo style first emerged in France during the 1720s and was often described as the final expression of the Baroque movement. It was an exceptionally ornamental and theatrical style developed by craftspeople and designers rather than architects. Rococo takes its name from the French word rocaille which means rock or broken shell. These motifs often feature in the designs of the heavy and ornate gilt frames of Rococo mirrors, along with fish, acanthus leaves and other natural forms.
neoclassical
The Neoclassical period began alongside the late Rococo period in the mid-18th century and was seen as a reaction to the opulence and excessive ornamentation used in the late Baroque designs. Permeating throughout Europe and the UK, designers such as Robert Adam from Scotland and George Hepplewhite from England opted for simple and elegant lines in their creations. Neoclassical mirror frame designs favoured symmetrical ornamentation and often featured simple scroll work or laurel garlands. It was during the Neoclassical period that we saw the rise to prominence of the ‘pier’ or ‘trumeau’ mirror which was a common decorating feature in reception rooms of grand houses. Pier mirrors were placed on a wall between two windows supporting an upper structure, this gave the visual effect of expanding and brightening the space. As such they are distinguished by their tall and narrow outline and were often designed in a similar style to the windows or spaces they occupied.
regency
The British Regency strictly lasted from 1811 to 1820 but the stylistic period is applied to architecture and design more broadly from years either side of this that reflect the same stylistic sensibility. Regency furniture typically possessed simple and elegant designs with limited ornamentation. Features included concave curvature, column-style supports and unbroken or flat facades. In mirrors the frames were often angular and simple, sometimes with architectural columns to either side. The Regency period also popularised the convex mirror which, although it had been around for centuries, became favoured for its ability to magnify and illuminate dark rooms. Convex mirrors were also known as butler’s mirrors as they could be placed in the dining room and allowed the butler to keep a discreet eye on the table. Convex mirrors were often ornamented with plant foliage, candle arms, bows, and feathers as part of their gilt frames.
For centuries, jewellery has served as a silent language adorning our bodies and whispering tales of wealth, status, and personal style. But in a world increasingly dominated by neutrals and minimalist silhouettes, a vibrant shift is taking place: the resurgence of colour in the realm of fine jewellery.
by hamish sharma, head of important jewels
The Case for Adding Brilliance to your Jewellery Collection
$28,000-34,000
$6,000-9,000
$8,000-12,000
Pink tourmaline and diamond ring
Green tourmaline and diamond ring
once relegated to playful cocktail rings or statement pieces, gemstones in all their chromatic glory are reclaiming their rightful place as essential components of a sophisticated jewellery collection.
This embrace of colour transcends mere whimsy. It speaks to a desire for self-expression, a way to weave a unique story through the kaleidoscope of gemstones. A fiery ruby pendant speaks volumes about a woman’s inner strength, while a cascade of sparkling sapphires whispers of elegance and grace. A necklace adorned with an emeralds’ refreshing green can evoke feelings of springtime renewal, while a tourmaline bracelet in a spectrum of pink tones can inspire feelings of love and optimism.
Beyond personal expression, colour in jewellery offers a powerful tool for elevating one’s wardrobe. A well-placed emerald necklace can transform a simple black dress into a work of sartorial art. A pair of yellow diamond earrings can add a touch of sunshine to a neutral ensemble, while a strand of colourful pearls lends a whimsical touch to a tailored suit. Colour becomes the punctuation mark, the finishing touch that completes a stylish statement. The right pops of colour can bridge the gap between a well-dressed and a truly stylish individual, adding an unexpected flourish and a touch of artistry.
The benefits of colour extend beyond aesthetics. Studies have shown that colour can have a profound impact on our mood. Bright gemstones like rubies and sapphires can lift the spirits and inspire a sense of joy. A splash of amethyst with calming lavender hues can evoke a sense of serenity, while a burst of citrine can lend a touch of optimism. Donning a
piece of colourful jewellery can be a deliberate act of self-care, a subtle reminder to embrace the beauty and vibrancy that life has to offer. The right gemstone can serve as a daily reminder of joy, a silent pick-me-up tucked close to the heart.
This chromatic revolution isn’t a rejection of timeless elegance. Classic silhouettes and impeccable craftsmanship remain the foundation of fine jewellery. However, the incorporation of coloured gemstones allows for a deeper level of personalisation and emotional connection. It’s about injecting one’s unique energy into a piece, transforming it from mere adornment to a cherished talisman.
So, open your jewellery box to a spectrum of possibilities. Embrace the ruby’s fiery glow, the sapphire’s celestial serenity, the emerald’s verdant vibrancy. Let your jewellery collection become a canvas for self-expression, a symphony of colour that reflects your inner spirit and elevates your personal style. After all, a touch of brilliance is sometimes all it takes to transform the ordinary into the extraordinary.
Our Important Jewels Auction will take place on Tuesday 20 August in Sydney. For viewing times and to see the full catalogue please visit our website.
$48,000-60,000
$6,000-9,000
opposite
$165,000-200,000
far left : Chopard 18ct gold, gemstone and diamond 'Copacabana' sautoir necklace
left : Property of a private Sydney collector
David Webb honey topaz, crystal and diamond ring
left: Jean Schlumberger for Tiffany & Co. pair of tanzanite and diamond pendeloque earpendants, circa 2000
opposite right:
Eiza Gonzalez wearing an emerald and diamond necklace by Cartier at The Met Gala, Sleeping Beauties: Reawakening Fashion, The Metropolitan Museum of Art, 2024 Credit: Doug Peters / Alamy
From the 8th century BC, Southern Italy was occupied and colonised by the Greeks, and is referred to as Magna Graecia (a literal translation of ‘Great Greeks’ in Latin). This area was chosen as it occupied the coastlines and presented an advantageous geographical position for trade.
by chiara curcio, head of decorative arts, design & interiors
The Pottery of Magna Graecia & the Italiotes
A Lucanian pottery hydria by the Roccanova painter, circa
the greeks played their part as colonists ensuring the Panhellenic ideas and traditions were adopted, including the fashion of pottery decoration, being black figure and red figure designs which gained popularity during the 6th - 4th centuries BC. In the metropolis of Ancient Greece, the Attica area which encompassed Athens was established as an important site for pottery production and export. Up until the latter part of the 5th century BC, Greek colonists were exporting their pottery from Athens to the Italiotes (the pre-Roman, Greek-speaking inhabitants of the Italian Peninsula). After this point, production began in South Italy.
During the 18th, 19th, and 20th centuries AD, excavations in Campania, Apulia, and Sicily yielded quantities of vases, which ignited a reappraisal of the artistic merits of South Italian vases and promoted their correct identification. As a result of those discoveries, South Italian pottery is now distinctly understood to have been made locally upon original designs of Greece proper, based in five production areas: Lucania, Apulia, Campania, Paestan, and Sicily for local use. Enjoying great popularity, extraordinarily out of the documented 17,000-18,000 red figure vases discovered, less than 1% have been found in the South Italian region.
Attic black figure designs by contrast presented a slow decline starting with the great plague of 430 BC, and the prolonging of the Peloponnesian war, which slowed production and was associated with the disruption of the workforce. By 400 BC, black figure pottery became notably less imported to Magna Graecia, as a result of the defeat of Athens during the Peloponnesian war of 404 BC.
When comparing pottery from Greece proper and Magna Graecia, there are some distinct differences, most notably starting with the clay, as is common when firing clay in different areas. The colour and texture varied between Attica and the main regions of South Italian pottery. In Attica the black glaze was bright and brilliant, while the clay from Athens was iron rich, producing a deep red colour when fired. In Apulia and Lucania, the
fired clay is a deep shade of orange-red whereas in Campania and Sicily it is lighter and often a deep pink wash was applied to improve the overall appearance.
In addition to the variations of the clay, there was the difference of decoration. The South Italian vase painters were markedly more florid, and decorated with elaborate pattern work which was in stark contrast to Attic painters who adopted longstanding traditions of restraint.
With a wealth of new material bringing to light the origin of the pottery and its decoration, the Morellian method, which focused on small details rather than overall composition, was undertaken to analyse the vase paintings and used to identify recurring formulae of a single artist’s technique or style. As these artists very rarely signed their works and there is no documented record of artists from this period, a name was often attributed to them as identification. An example of this is the Roccanova painter, who was operating in the Lucania region of Roccanova and who was characterised by his provincial painting style of youths and females, often depicted holding a mirror or a branch in one hand. An example of his work is a Lucanian pottery hydria, dating to the 4th century BC, decorated with his iconic repertoire of figures, and showing his distinct floral patterns with an inclination towards elaborate palmettes.
Within our forthcoming August 5th Decorative Arts offering we have an interesting collection of over 30 privately owned antiquities, including pottery with red and black figure subjects from South Italy and Greece, all sourced internationally by a discerning Melbourne collector.
The Decorative Arts Auction will take place on Monday 5 August in Melbourne. For viewing times and to see the full catalogue please visit our website.
opposite left:
An Attic black-figure trefoil oinochoe, circa late 6th century BC
$6,000-8,000
opposite right:
A Campanian pottery bell krater, circa 4th century BC
$3,000-4,000
top: Magna Graecia map by Richard William Seale
Designer Spotlight: Poul Henningsen
BY REBECCA STORMONT, MODERN DESIGN SPECIALIST
danish designer and architect Poul Henningsen is renowned for his groundbreaking work in lighting design, particularly through the development of the PH series of lights, the artichoke pendant, and rare discontinued variants. A design journey that began almost 100 years ago alongside manufacturing company Louis Poulsen has realised iconic pieces of design that still look modern and contemporary today.
Henningsen’s interest in lighting design was driven by a desire to address the harsh glare produced by incandescent bulbs prevalent in his time. An early PH configuration earned him a gold medal for modern lighting at the Paris 1925 International Exhibition of Modern Decorative and Industrial Arts. This iconic design featured multiple layered shades strategically positioned to reflect and diffuse light, thereby minimizing glare and creating a soft, even illumination. The PH lamp’s innovative use of reflective surfaces and careful consideration of light distribution set it apart from traditional lighting fixtures of the era.
Building upon the success of the PH lamp, Henningsen continued to refine his designs, introducing variations such as the PH 3/2 pendant and the PH 5 pendant. Each iteration maintained his core principles of glare reduction and uniform light distribution while adapting to different spatial requirements and aesthetic preferences. The PH 5 for example is designed to hang above a dining table reflecting light downward, while the PH Snowball Pendant creates a more uniform room-filling light distribution.
The model codes for these pieces consist of PH for Poul Henningsen, the first number refers to the diameter of the main shade with smaller shades following a 3:2:1 ratio unless indicated by a second number.
In 1958, Henningsen unveiled one of his most iconic creations, the PH Artichoke. Originally designed for the Langelinie Pavilion restaurant in Copenhagen, the pendant light featured a distinctive arrangement of ‘leaves’ that not only diffused light beautifully, concealed the light source from every angle, but also served as a striking sculptural element. Popular in domestic and commercial settings, the PH Artichoke was originally designed with copper leaves that were later replaced by brushed steel and white painted metal versions.
Central to Henningsen’s design philosophy was his deep understanding of optics and how light interacts with different materials. He experimented extensively with various metals and finishes to achieve optimal light reflection and diffusion. There have been around a thousand variants to the PH lighting system since 1925.
Poul Henningsen’s influence extended beyond Denmark, earning him international acclaim and recognition. His designs continue to be celebrated for their timeless appeal and innovative use of materials. The PH series remains highly sought after with limited production models such as The House for the Day After Tomorrow pendant (1959) and Spiral Ceiling Light (1942) for the University of Århus fetching hundreds of thousands through auction.
opposite:
Poul Henningsen PH Snowball pendant light for Louis Poulsen Sold for $2,750
top right:
Poul Henningsen 'PH5' ceiling light for Louis Poulsen Sold for $744
bottom right:
Poul Henningsen (sitting on the right) at Louis Poulsen's showroom in Nyhavn, Denmark, surrounded by his designs, 1939
Old is the New Black
by indigo keane, luxury specialist
eco-conscious design is now more important than ever. Influenced by social media, consumers are buying for trend, and with the rise of fast fashion comes the rise of waste. Some high-end luxury brands have used the parameter of sustainability to influence the way they craft and conceptualise their apparel. Although each individual process differs, there are some brands that have taken environmental stewardship and innovation to new heights, creating exceptional, covetable, and timeless garments that have started to redefine the luxury landscape.
Three experimenters championing this movement are Atelier Jolie, Chloé, and Marine Serre, who are pioneering the process of transforming waste materials into new, high-quality products, in their own unique ways.
Angelina Jolie’s Atelier Jolie is a beacon of sustainable luxury. Launched with a mission to democratise the fashion industry, the New York atelier focuses on self-expression, upcycling, and ethical practices from ground zero. Atelier Jolie collaborates with artisans around the world, using leftover fabrics and vintage materials to craft unique, oneof-a-kind pieces. Each garment tells a story, reflecting the rich cultural heritage and craftsmanship of the makers. Atelier Jolie invites consumers as collaborators, providing them with the agency to design new, or re-design old garments hand in hand with the tailor, single handedly destroying trend-driven fast fashion culture. The atelier also offers repair services and free take-home mending kits, prioritising the upcycling and repair of garments. Atelier Jolie fosters a sense of community and empowerment among its collaborators, from consumers to tailors and pattern makers. The result is a collection that is as sustainable as it is stunning, embodying Jolie’s vision of a more inclusive and environmentally responsible fashion world.
“Atelier Jolie can have an incredible positive impact on artisans who have often been unrecognised and undervalued—but we also have an opportunity to start conversations about workforce exploitation, pollution, and waste.” - Helen Aboah, Chief Operating Officer, Atelier Jolie
Chloé has set a new standard in the industry by becoming the first luxury fashion house to achieve B Corp certification. This prestigious designation recognises companies that meet high standards of social and environmental performance, transparency, and accountability. Chloé’s commitment to upcycling is a key component of its sustainability strategy. The brand has launched several initiatives to repurpose excess fabrics and materials into new designs, minimising waste and reducing its environmental footprint. By integrating upcycling into its core business model, Chloé is not only enhancing the aesthetic appeal of its collections but also paving the way for a more sustainable future for all high-end luxury brands.
French designer Marine Serre’s eponymous label has become synonymous with pushing the boundaries of what is possible in fashion innovation. Known for her futuristic aesthetic and pioneering use of materials, Serre transforms discarded textiles and plastic bottles into high-fashion masterpieces. Her collections often feature patchwork designs made from recycled scarves, bed linens, and even carpets, creating a distinct look that is both eclectic and timeless. Serre’s commitment to sustainability extends beyond her materials to her production processes, ensuring that every step of her supply chain adheres to eco-friendly practices. Her approach to upcycling is not just about creating beautiful garments but also about challenging the fashion industry to rethink its relationship with waste and consumption.
The rise of mindful conceptualisation and acquisition within the fashion market signifies a profound shift towards sustainability and responsible consumption. Brands like Atelier Jolie, Chloé, and Marine Serre demonstrate that fashion can be groundbreakingly thoughtful, resulting in special and significant pieces that can last a lifetime, inspiring a new generation of consumers and designers to embrace sustainability, upcycling, and pre-owned luxury.
opposite:
Marine Serre SS20 runway, during Paris fashion week, 2019 / Alamy
right:
A custom gown, designed for artist and writer Suleika Jaouad by Angelina Jolie is 100% silk and made entirely of traceable and vintage materials / Instagram
From Paul Newman to Garry Kasparov, and a soft drink to superheroes, let's take a look at how a selection of famous watches got their nicknames...
by patricia kontos, senior jewels & timepieces specialist
What’s in a (Nick)Name?
left: Life Magazine advertisement for Heuer and Viceroy, 1972 / Alamy above:
Tudor Prince Oysterdate
Submariner 'Snowflake', a stainless steel wrist watch with date and bracelet, circa 1975 Sold for $12,187
right:
Rolex Submariner 'Kermit', a stainless steel wrist watch with date and bracelet, circa 2008 Sold for $20,000 far right:
Garry Kasparov, age 20, watches closely as his World Chess Championships semi-finals opponent, Victor Korchnoi, 53, makes a move during their game in London. / Alamy
like me, you’d probably be amazed and amused to discover that just as superheroes harbour secret identities - think Batman and his alter ego, Bruce Wayne - many watches too attract aliases that seem to capture the essence and spirit of what that timepiece is all about. In terms of a watch’s collectability, achieving nickname status only adds value. Interestingly, Rolex has the lion’s share of nicknames bestowed upon their watches, whilst Patek Philippe watches tend to be referred to by their 4-digit reference numbers - perhaps that works as a refined nickname of sorts.
Once a watch is out there in the watch-o-sphere, its nickname seems to find it unofficially and independently of the maker. These alternative monikers whimsically and wittily encapsulate design features, historical and sporting milestones, and famous identity references that elevate these watches from timekeepers to storytellers.
Personally, I am a fan of the nicknamed watch. Not only do I find it endearing in how they cleverly tap into popular culture, but on a practical level, when identifying a model, it’s far easier to remember a Rolex “Batman” than its official reference of 116710BLNR.
From the famous to infamous, here is a selection of endearing, quirky monikers that are as revealing about their watches as they are humorous:
batman and batgirl (rolex gmt-master ii ref 116710blnr and rolex gmt-master ii ref 126710blnr)
These watches got their nicknames for the colour pairing of the blue and black, reminiscent of the caped crusaders’ classic comic book colours.
kermit (rolex submariner ref 16610lv)
A nod to the genius of Jim Henson, this watch earned its label when Rolex fitted a never-before-seen green bezel on a dive watch.
the hulk (rolex submariner ref 116610lv)
This Submariner went into colour green overdrive when they added a matching green dial to the green bezel along with a heavier case. If full green is a bridge too far, relax, there’s always a Sprite (Rolex GMT-Master II ref 126720VTNR) in a lively green and black colour scheme as a refreshing option, just like the effervescent beverage itself.
the john player special (rolex paul newman daytona ref 6241)
In an interesting turn of events, this watch bears a nickname for an already nicknamed watch, the Paul Newman Daytona ref 6239. In the 1970s, the tobacco and cigarette manufacturer John Player Special sold their products in beautiful black and gold packaging. This luxurious colour scheme recalled the black and 14ct gold dial of the watch which would come to be known as the John Player Special, making it rarer and moresought after than most Paul Newman models.
sophia loren aka the fat lady (rolex gmt-master ref 16760)
Unlike Paul Newman, acting legend Sophia Loren never wore her namesake watch. Instead, this GMT-Master was nicknamed after Loren because of the bigger size and shape of its Oyster case and the bezel and crown guards. These sweeping, seductive curves recall the Italian actress, but perhaps less flatteringly, this GMT model is also referred to as the Fat Lady.
snowflake (tudor submariner ref 7016 and 7021)
So dubbed because of the off-beat aesthetic of the watch’s hour hand, in which collectors saw a resemblance to the six needles of an ice crystal.
viceroy (heuer autavia ref 1163v)
Another cigarette and watch association came in the cross promotional campaign between Heuer and Viceroy. Viceroy was seeking to attach its cigarettes to auto racing and more masculine activities to compete with Marlboro, and Heuer hoped to boost sales and reach through a promotional watch offer that included Viceroy cigarettes. The watch offered during this campaign became known as Viceroy.
kasparov (audemars piguet blue dial royal oak ref 25860st)
Who better to appreciate the importance of time than a chess player who not only competes with an opponent but against time itself - if it runs out, so does the game. The moniker Kasparov was given to the 39mm Royal Oak Chronograph introduced in 1997 which became the watch of choice of the Russian Chess Grand Master, Garry Kasparov, considered one of the greatest chess players of all time.
tuna can (seiko professional diver’s ref 6519-7010)
One thing I’ve learnt in my watch researching journey is to never underestimate Seiko. True to their philosophy of pursuing perfection and innovation, in 1979 they produced a dive watch for professional offshore divers. The Tuna Can was so nicknamed because of its cylindrical slab of lugless casing, a marvel of modern watchmaking. Its monocoque titanium case, L-shaped gasket, and unique shrouded design were all firsts in the industry and its impact on dive-watch design cannot be overstated.
Australia’s Bold Prints: The History of Relief Printmaking
by hannah ryan, prints & multiples specialist
when we talk about relief printmaking in Australia, we’re tracing a vibrant thread through the fabric of the nation’s art history. From the mid-19th century to today, this art form has seen steady engagement, with bursts of remarkable activity and widespread popularity.
In the latter part of the 1800s, wood engraving enjoyed a golden age. Before photography revolutionised pictorial reproduction, wood engravings were the go-to for book and newspaper illustrations. Back then, these prints weren’t celebrated as fine art. They were everyday objects, often featured in newspapers and rarely framed as artworks. Today, these engravings survive mostly in libraries, offering us a glimpse into the life and times of late 19th century Australia.
One of the pivotal figures in early Australian relief printmaking was Violet Teague. She was introduced to woodcut techniques overseas and upon returning home, she made history. At the Victoria Artists’ Society’s 1905 winter exhibition, Teague showcased ‘Nightfall in the Ti-tree’, an illustrated book she created with Geraldine Rede. This work featured the earliest known colour woodcuts in Australia.
In the early 1900s, Australian art schools didn’t offer much formal training in relief print techniques. Instead, artists who travelled abroad and studied brought back their knowledge to share. From the 1920s onwards, the magazine ‘Art in Australia’ began featuring articles on relief printmaking, highlighting local talents like Archibald Webb and Ethleen Palmer.
During the 1920s, the conservative art scene was dominated by a black-and-white tradition, heavily influenced by English styles. This was the backdrop against which Margaret Preston made her mark. Rebelling against the norm, Preston introduced boldly designed and roughly carved woodcuts depicting distinctly Australian subjects. Her approach was innovative, using simple, reduced forms in planar arrangements to create abstract representations rather than literal depictions.
Modernism arrived in Australia in tandem with its global emergence, profoundly influencing the culture. The Sydney Harbour Bridge stands as a crowning symbol of this era. Women particularly embraced modernism, incorporating its sleek designs into everyday domestic items
like soft furnishings, glassware, crockery, furniture, lighting, and clothing. Modern art began to adorn walls, with women not just as admirers but also as creators.
During the 1920s and ‘30s, women dominated the modern art movement. Social changes, including the loss of many men during WWI and the decreased profitability of artmaking between the wars, resulted in fewer male artists. Simultaneously, increasing social freedoms allowed more women to pursue artistic careers. Those with independent means travelled and studied abroad, bringing fresh perspectives back to Australia. The modern movement itself challenged traditional artistic mediums and embraced new subjects like urban environments, industry, and machinery. Relief printmaking flourished, with linocuts becoming particularly popular among women artists due to the affordability and simplicity of the technique.
Despite being once described as a ‘friendly little craft,’ woodcut and its sibling techniques, wood engraving and linocut, have had a robust presence in Australian art for over 150 years. As sophisticated commercial printing technologies emerged in the late 1800s, a purely artistic tradition of relief printing began to flourish. The interwar years marked a high point for the medium, with both prolific production and widespread popularity. Although the subsequent decades saw a dip in activity, the stature of relief printmaking has grown once more. Today, it stands proudly alongside other contemporary art forms, testament to its enduring appeal and adaptability.
From humble beginnings as ephemeral newspaper illustrations to being celebrated as significant art pieces, relief prints in Australia tell a story of innovation, resilience, and artistic exploration. Whether it’s the historic wood engravings preserved in our libraries or the bold, modern prints adorning gallery walls, this art form continues to capture the imagination and creativity of Australian artists and audiences alike.
opposite: Violet Teague, Geraldine Rede
Not Titled [Flirt tails and away! Three leaping rabbits] [part image] 1905 In Night fall in the ti-tree, by Violet Teague. Melbourne: Sign of the Rabbit, 1905 woodcut, printed in colour in the Japanese manner, from multiple blocks; letterpress text / National Gallery of Australia, Canberra Gift of K.G. Teague 1976
Margaret Preston at her home, Berowra, 1936
right: Ethleen Palmer (1906-1958) Kookaburra 1936 Sold for $9,375
left:
how to… Expand your Appreciation of Contemporary Art, with Liz Nowell
left: Liz Nowell
Photo: Natalie Piserchio
right: Ruth Howard ceramic works, Colour Is Enough, Arts
Project Australia Gallery.
Photo: Kate Longley, 2024
far right:
Arts Project Australia
artist Lisa Reid working in the studio
Photo: Kate Longley, 2023
This issue, we catch up with Arts Project Australia’s newly appointed Executive Director, Liz Nowell. Liz is an experienced curator and cultural leader in contemporary art and is passionate about creating inclusive and diverse spaces in the industry.
Tell us a bit about yourself and your background in art and culture. I’m a curator and executive leader who has spent the past 15 years working in Australian and international contemporary art. I was initially drawn to the arts because of a deep belief in its capacity to transform the way we think about the world and relate to one another. When I reflect on my career today, I can see how that continues to influence my work, which is very much informed by collaboration, relationality and the ethics of care. I’ve held leadership roles at several key institutions, including Adelaide Contemporary Experimental and the Contemporary Art Centre of South Australia. From 2019 to 2022, I served as Executive Director at the Institute of Modern Art (IMA) in Brisbane. Now, I am the Executive Director of Arts Project Australia, an internationally recognised gallery and studio that champions artists with intellectual disabilities. Given my work has always focused on creating platforms for diverse artistic practices, Arts Project really felt like it aligned with my values and interests.
How can institutions, galleries, and individuals work together to enable more diverse voices and practices in contemporary art?
There are countless ways we can build a more diverse art world, but it all hinges on one critical factor: we must learn to look differently. Whether you’re a collector, curator, or gallerist, all of us have been trained—formally or otherwise—to read art through a very narrow lens of history. That viewpoint is one that is deeply flawed because it has convinced us that good art is predominantly shaped and validated by powerful Eurocentric taste makers.
The onus is on everyone to reflect on their own bias, unlearn deeply engrained assumptions about art, and approach art and artists from a place of curiosity, questioning, and open-mindedness. I really believe this is the bigger task required if we are to make systemic change. Practically, this could begin with visiting exhibitions you wouldn’t normally see or engaging with artists who have been historically marginalised or overlooked.
Beyond that, institutions and galleries need to ensure that diverse
representation is the bedrock of their collections and artistic programs, rather than just something that is ‘tacked on’. Community engagement and partnerships are also crucial. By teaming up with advocacy groups, educational institutions, and cultural organisations like Arts Project, we can broaden our reach and impact.
Ultimately, it’s about shifting the way we see and understand art, breaking down the traditional, biased narratives, and making room for a broader spectrum of voices and practices in contemporary art.
When it comes to inclusivity in the arts, what do you think have been some recent achievements, and what would you like to see in the future?
I’ve been really inspired by the partnership between Creative Growth and SFMOMA, both based in the United States. Creative Growth is an organisation like Arts Project Australia, and for its 50th anniversary, SFMOMA acquired over half a million dollars’ worth of artworks by their studio artists. These works are now being presented as part of a major exhibition titled “Creative Growth: The House That Art Built.” This initiative is a historic moment for neurodivergent artists, showcasing their talent and value in a major museum context.
It’s a powerful example of how museums and cultural organisations can meaningfully invest in artists with disability, and its sets a precedent for other museums and galleries worldwide.
What is your vision for the future of Arts Project Australia?
Looking ahead, I’d like to see Arts Project Australia artists recognised in the same way. There is absolutely no reason why they shouldn’t be. The work that is created here at the studio is as moving, interesting, and challenging as anything else I’ve ever seen. And not only do Arts Project Australia artists make incredible work, but they are also bold, unapologetic and completely authentic in the way they approach their art making. That is the hallmark of a truly courageous artist, and a quality that deserves recognition.
With thanks to Liz Nowell. See more at artsproject.org.au
THE DAVENPORT DESK:
THE R2-D2 OF THE VICTORIAN AGE
by john albrecht, managing director & head of important collections
Compact, Complex and… Cute.
I’ll confess, I do not own a Davenport desk, but I have observed them at auction for almost three decades. So why am I writing about them? Firstly, they are another searing example of the vast distinction that can exist between a price at auction and an item’s actual value. Secondly, they are often feats of design complexity, and finally, it’s because they deserve a re-appraisal.
To me, these compact desks with their inclined lifting tops are the R2-D2s of the Victorian age, (though there are earlier examples); a period when anything and everything seemed to be up for design, construction, and elaboration.
A quarter of a century ago, a quality Victorian Davenport would comfortably realise $2,000 and beyond at auction. Since then, this moment in English furniture history has fallen victim to a taste that has lost its connection with the rich and polished woods of mahogany and walnut, and the lavish designs associated with the Victorian aesthetic.
Would you perhaps reconsider a Davenport for your home, not simply because they are small and easy to place, but because to remake one now would cost north of $10,000, if it could be made at all?
That is my simple value proposition. The aesthetic and utility arguments are more challenging ones. Woods and period design, and indeed the necessity for storage at all, are severely challenged by minimalist interiors with a preoccupation for the built-in over the furniture solution, the slimline over the substantial. But if one is to embark upon a brief survey of Davenport design - as I’m doing right now on a train to Birmingham (date stamp: 11.37am 100524) - and start looking for refinement, one will find examples that stand out, particularly the pre-Victorian ones.
At this moment on Invaluable, I can find six earlier examples for sale in the world at auction. They are not all to my taste, but I am taken in by the simple lines, (though retaining the “Davenport-awkwardness”), of one Georgian example, its straight lines and sliding, rather than fixed and sloped, desktop giving a very square, balanced, and restrained feel. I could imagine finding numerous spots for it in a larger home and still quite a few spots in a small apartment. And once placed, boy, would it pack a punch!
Multiple drawers, real and faux. Various compartments, both simple and sometimes pop-up, with the more exquisite examples enjoying concealed candle-rests and other intricacies, are just some of the elements that make these pieces often as exquisite as they are interesting.
Search beyond auction offerings and you will find a plethora of examples for sale around the world, but more typically in the United Kingdom, where the idea for a compact, campaign-style, writing solution was conceived by one Captain Davenport and was realised by the famed furniture maker Gillows of London and Lancaster in the 1790s.
While the sales-spiel accompanying some of these online offerings pleading the usefulness and relevance of these pieces in a modern world feels a little desperate, there is still substance to the claim. The Davenport does lend itself perfectly to manage the holding and centralisation of the technology we now depend on. The laptop, the iPad, and perhaps even a pair of small Bluetooth speakers that could find new purpose for the candle slides that you’ll see in some examples, all lend themselves to finding both a home and purpose in a Davenport. And while this form of desk may not be ideal to sit at for a day of remote work, it would certainly provide a more character-filled way to jump on a video-call or tap out a few emails.
When the desk isn’t in use, you can be sure that it can grace a small space and bring some history and character at the same time.
Image:
A small Milanese bone-inlaid walnut desk in the manner of Adriano Brambilla, last quarter 19th century. Sold for $1,375
by ifaw
On a Mission to Restore Koala Habitat in Victoria
for the first time in decades, koalas have been spotted on a historic sheep-grazing property in Victoria which had thousands of trees planted on it to bring the species back.
The International Fund for Animal Welfare (IFAW) teamed up with partner Koala Clancy Foundation in mid-June to plant around 8,000 trees on the property which sits along the Moorabool River in Victoria. Over 30 volunteers, aged 6 to 80, helped plant a variety of native trees and shrubs making it a truly koalaborative effort. This is in addition to 3,618 trees planted in June 2023, bringing it to a total of over 11,000.
The region was once some of the best koala habitat in Victoria but was cleared for farming years ago—leaving koalas with 20% of what they used to have. This is compounded by climate change which is pushing koalas further south as they try to escape the heat and dryness.
Early signs of koalas returning to the area were confirmed when, in early June, a koala was spotted on the property - the second sighting since trees were first planted in 2023. Audio recordings have also picked up sounds of koalas on the property in the past year.
“Hearing and seeing koalas so soon after we planted the first trees is such a promising sign. It’s proof that if you build it, they will come,” IFAW Wildlife Campaign Manager Josey Sharrad said.
“Every tree planted is a lifeline for koalas and other wildlife. To see individuals dedicating pockets of their land to this iconic species gives us hope for the future of Australian wildlife.”
Koala Clancy Foundation President Janine Duffy said it had been 100 years since koalas had habitat on this riverbank, and these new trees would be the first step in giving the land back to wildlife.
“After years of no koala sightings, we were so heartened to hear koalas nearby after our 2023 planting, and then to find two on the property was icing on the cake,” Ms Duffy said.
“We’ve now increased the planting area to give these two koalas and hopefully others more habitat.”
The owners of the 459-hectare property are former farmers passionate about restoring koala habitat. Liz and Ross Wilkie are hopeful the recent sightings are just the beginning.
“We wanted to dedicate part of our property to koalas because there has been a marked decline of koalas here in the past 20 years. Knowing koalas have already been spotted since last year’s planting gives us even more hope the population will bounce back while also improving the surrounding ecosystem for other native wildlife,” Ms Wilkie said.
With the majority of koala habitat occurring on private land, private landholders hold a key to the species’ survival.
Koala Clancy Foundation plants trees for koalas, creates new habitat, educates the community, supports scientific research and advocates for protection of wild koalas and their forest habitats. The organisation has planted 95,854 koala trees beside rivers on Melbourne’s Western Plains and in East Gippsland, Victoria and plans to plant 300,000 koala trees on the Western Plains by 2030.
The Foundation is one of many wildlife groups IFAW supports around Australia with habitat restoration, to ensure a full-circle approach to conservation in Australia. Not only does it help native animals to thrive in the wild, it also works to ensure any animals that need to be rescued and rehabilitated can be released into a secure and sustainable environment.
“The dire situation for koalas and other native wildlife is not something that can be fixed by one individual or group, which is why we work with local groups and volunteers on the ground to bring together communities to be a part of the solution,” Ms Sharrad said.
If you are a landholder and interested in regenerating your property or if you would like to volunteer at a future planting day contact koalaclancyfoundation.org. Read more about IFAW’s habitat regeneration projects at IFAW.org/au
Image: Louisa Jones Photography
On 22 March 2017, the first industry briefing between IFAW (International Fund for Animal Welfare) and auctioneers and antique dealers from Australia took place, with the view to ending the auction and antiques trade in rhinoceros horn and ivory. That same year, Leonard Joel introduced a voluntary cessation policy and we are proud to no longer sell these materials. In the 22nd Report, IFAW share the latest news about their conservation projects.
FIVE MINUTES WITH WENDY CARTER
This issue, we get to know our new General Manager at Leonard Joel, Wendy Carter.
favourite designer
Christian Dior; an icon of 20th century fashion who epitomises impeccable tailoring and timeless elegance. Interestingly, in his era, he was a revolutionary thinker who revitalised the fashion industry, reigniting the spirit of haute couture in France with glamour aimed at the younger generation. I admire Dior’s ability to harmonise and unite masculine and feminine elements of style, creating pieces that are not only elegant but also easy to wear. It’s amazing that his legacy continues to resonate strongly in contemporary fashion.
favourite wine
Champagne, of course. When I was first introduced to ‘bubbles’ while living in New York, it graced special occasions. Since then, I’ve come to embrace its versatility and firmly believe that champagne is always a good idea. Madame Bollinger’s sentiment resonates: “I drink champagne when I’m happy and when I’m sad. Sometimes I drink it when I’m alone. When I have company, I consider it obligatory. I trifle with it if I’m not hungry and drink it when I am. Otherwise, I never touch it - unless I’m thirsty.”
favourite book/author
I love reading and am a member of two book clubs. Our most recent read, “Going Infinite,” was written by my favorite author, Michael Lewis. He has an incredible talent for taking a trending business, financial, or economic topic and creatively weaving it into an engaging story. I first discovered his work through his debut book, “Liar’s Poker,” during my time working in New York, which provided a fascinating glimpse into the world of Wall Street. Since then, I have devoured nearly all 20 books he has published. It is impossible for me to choose a favourite, as each one has captivated me in its own unique way.
leonard joel staff all seem to have a side project or talent, what’s yours?
Trying to keep up with 3 teenage kids!
your ideal day in melbourne
Planning where to go for dinner on a Friday or Saturday night is a highlight of my best days. As a self-professed foodie, I love exploring Melbourne’s diverse culinary scene, whether it is discovering hidden gems tucked away in alleyways, indulging in fine dining, or hosting an intimate dinner party for friends at home. Date night with my husband, Paul, is always special, but what warms my heart is seeing our three children reach an age where they delight in joining us for these culinary adventures, creating cherished memories over delicious meals together.
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August – September 2024
YVONNE AUDETTE, CHRISTOPHER BASSI, LYNDA BENGLIS, MIKE BROWN, PUUNI NUNGARRAYI BROWN, MARIO CRISTIANI, ELLEN DAHL, JEFFREY GIBSON, SIMRYN GILL, BRETT GRAHAM, ROCHELLE HALEY, FREDDY MAMANI, RON MUECK, ANNA PARK, LEE SALOMONE, DAVID WALSH & MORE
Jeffrey Gibson, THE SHAPES OF THE THINGS IN THE SPIRIT, 2023, acrylic on canvas, vintage beaded elements, glass beads, acrylic felt and nylon thread in a custom painted frame, 178.4 x 153 x 6.7cm.
Installation view of Grace Crowley & Ralph Balson on display at The Ian Potter Centre: NGV Australia from 23 May to 22 September 2024. Photo: Tom Ross
MAJOR PARTNER
A LAST LOOK
In this feature, we revisit a handful of beautiful and extraordinary pieces that have passed through our doors since the last issue.
A day in the life of a Leonard Joel specialist is never boring, and the day I was presented with a fabulous military watch collection was no exception. As well as a complete Dirty Dozen, a Tudor Black Bay, and several other collectable pieces, there was also this Rolex Submariner ‘FAP’ in the selection. The name refers to a special version of the Rolex Submariner made for the Peruvian Air Force. These watches were issued to pilots and officers and can be distinguished by their distinctive markings and unique modifications for military use. / Troy McKenzie, Queensland Representative Specialist
Margaret Olley is one of Australia's most significant still life and interior scene painters. Amongst her many accomplishments, she had over 90 solo exhibitions in her lifetime and drew inspiration from her home, studio and the beauty of the everyday objects she gathered around her.
Margaret Olley (1923-2011) Geleznowia and Apples c.1990
Sold for $75,000 Fine Art, June 2024
A Meissen porcelain Schneeballen vase and cover Sold for $8,125
A Derby blue and white plate, circa 1760 Sold for $1,375 The Collection of the late Patricia Begg OAM, June 2024
An 18ct emerald and diamond pendant Sold for $15,000 Fine Jewels, June 2024
With regular auctions in Fine Art, Jewels & Watches, Decorative Arts, Modern Design, Luxury and more, there’s something
to suit every taste at Leonard Joel.
browse
Browse our online auction catalogues or view in person at one of our salerooms.
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Create an account online and use it whenever you bid. You can also receive Lot alerts tailored to your interests.
Bidding is simple and you can do so in person, online, by phone or by leaving an absentee bid. Our team is always on hand to guide you.
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VALUE, SELL & BUY
Contact a Leonard Joel Specialist
managing director & head of important collections
John Albrecht 03 8825 5619 john.albrecht@leonardjoel.com.au
general manager
Wendy Carter 03 8825 5603 wendy.carter@leonardjoel.com.au
Auction Specialists
important jewels
Hamish Sharma
Head of Department, Sydney 02 9362 9045 hamish.sharma@leonardjoel.com.au
fine jewels & timepieces
Rebecca Sheahan
Head of Department 03 8825 5645 rebecca.sheahan@leonardjoel.com.au
fine art
Wiebke Brix
Head of Department 03 8825 5624 wiebke.brix@leonardjoel.com.au
decorative arts
Chiara Curcio
Head of Department 03 8825 5635 chiara.curcio@leonardjoel.com.au
asian art
Luke Guan Head of Department 0455 891 888 luke.guan@leonardjoel.com.au
