Artistic expression has always challenged conventions, and within this issue we celebrate some true creative pioneers, including Jeffrey Smart, Pablo Picasso, and contemporary Chinese artists like Xue Song and Gong Dong. Beyond the art world, fashion visionary, Tom Ford, and famed watch designer, Gerald Genta, have reshaped how we look at design and aesthetics today.
We also explore the beautiful art of cameo glassmaking, look at the breathtaking tiaras of Queen Mary of Denmark, discover how Japanese 'imperfection' transformed global ceramics, and more.
We hope you enjoy.
cover:
Jeffrey Smart (1921-2013)
Study II for Bus Terminus 1972-73 synthetic polymer paint and oil on canvasboard
The Evolution of Printmaking: Discovering the World of Old Masters
Unconventional Cutlery
in focus
How to Research Art, with Andrew Turley
Jeffrey Smart: Study II, Bus Terminus, 1972-73
22nd Report: Australian Governments Asked to Shut Down
Legal Ivory Trade
Five Minutes with Leila Bakhache A Last Look
November
Modern Design
Mon 14 Oct, 6pm
Melbourne
Timepieces
Mon 21 Oct, 4pm
Melbourne
Fine Jewels Mon 21 Oct, 6pm
Melbourne
Fine Art Tue 22 Oct, 6pm
Melbourne
The Sue Nudl Collection, Part II Thu 31 Oct, 2pm
Melbourne
The Sydney Jewellery Edit Thu 7 Nov, 2pm
Sydney
Sidney Nolan, Works from the Artist's Studio Mon 11 Nov, 2pm
Sydney
Luxury Mon 11 Nov, 6pm
Melbourne
The Online Collector Wed 13 Nov, 2pm
Sydney
Prints & Multiples Wed 13 Nov, 6pm
Melbourne
Decorative Arts Mon 25 Nov, 6pm
Melbourne
Furniture & Interiors, Objects & Collectables, Jewellery, Art Every Thu from 10am
Melbourne
The Auction Salon
15 memorable lots and moments that have stuck with me over the years.
by john albrecht, managing director & head of important collections
15 Years,
15 Extraordinary Lots
For the Ned Kelly story to find its way to public auction is beyond a rare event, and to offer this original image for auction, with Kelly descendants present, was more than surreal.
i have an ad hoc relationship with linkedin. Occasionally I use it to track someone down, often I forget about it, then a message pops up reminding me of someone’s birthday (a useful feature) and then I forget about it again and inevitably leave someone’s message sitting in there (whatever there means) unattended and apologetically respond weeks later. Its other useful feature is its work anniversary reminder, and it reminded me that this year marked my 15th with Leonard Joel as Managing Director.
So that is my long introduction to explain why I thought I would share with our readers 15 extraordinary lots, moments, and memories, that have stuck with me over this time.
The sale of something can be transformative. It’s most reward ing for me when I see it making a difference to someone’s life. So, I start my list with an item I have no quality image of. It was a rare, raw, and most authentic gold miner’s brooch, brought to me as a young man work
ing at Leonard Joel in 1988 by an elderly gentleman from Beechworth in Victoria who arrived by train and desperately needed to raise some funds. He duly produced from his clean handkerchief this brooch. At the time, we estimated it in the $1,000 - $1,500 range and it eventually sold for $13,200. I recall calling him straight after the auction. He cried on the phone with joy. That felt so very good. It would be around $35,000 in today’s money.
The experience of selling something extraordinary can be imbued with an insight into a moment in history, into human nature, or into the sheer rarity of something that was discovered or simply survived centuries intact. In this sense, every extraordinary thing we sell is to one degree or another nourishing. Yes, it enriches the auctioneer’s knowledge
Here are my other highlights!
This single, loose natural pearl lay in a box of costume jewellery for decades and it was a sheer miracle that it was never lost or discarded amongst that box’s contents.
Arguably one of our most important discoveries. This Maori weaving peg sat on a bookshelf as decoration; it’s importance and rarity a complete surprise to its owner.
This Sevres vase is the most valuable piece of porcelain ever sold by Leonard Joel. When age, maker, artist, condition, design, and sheer rarity are in perfect alignment.
These Gallipoli medals and diary of Lieutenant Colonel Robert Rankine 14 BN. A.I.F. arrived in a box amongst unremarkable objects and the descendant had no knowledge of how sacred and special they were.
Poetry by an emperor and the gift of an emperor. This box’s imperial pedigree set it immediately apart from boxes of similar quality.
When collectables have “soul”. This Rolex timepiece followed its wearer to the Vietnam War and back.
This tiny Chinese Imperial dish, measuring no more than 9cm in diameter, displays a remarkable quality and complexity of glazing and has survived intact for more than 500 years.
This extraordinary 20 carat diamond ring remains the first diamond to break the $1,000,000 mark at auction in Australia and still holds that record to this day.
The centre stone weighing 1.71 carats, this remains the only green diamond sold by Leonard Joel in our 105-year history.
To say that it was an honour to manage the sale of one of only three known Ashes urns in private hands, would be an understatement.
century, View of Mt Sturgeon and Mt Abrupt from the Crater of Bald Hill by Eugene Von Guerard lay quietly with one family in rural Victoria and was quite literally discovered in a farmhouse. It is
works of art depicting an auction scene and rarer still when the painting is by a celebrated artist. Edward Bird's The Auction remains the finest example of this subject matter ever to present in Australia.
In Australia, our artistic engagement often gravitates towards Western art traditions, with a predominant focus on European Old Masters and contemporary American art.
by wiebke brix, head of art
The Universal Language of Art
this orientation sometimes leads to the underappreciation of the rich art forms from our closer neighbours in the Asia-Pacific region. However, a collection recently consigned to our October Fine Art Auction by a Melbourne-based collector offers an opportunity to appreciate a unique selection of contemporary Asian art.
Included is the major work Visiting Fairlyland 2004 by artist Li Chen, part of his renowned Spiritual Journey through the Great Ether series. Li Chen is a renowned Taiwanese sculptor celebrated for his large-scale, spiritual, and often minimalist sculptures. His work is deeply influenced by Buddhist principles, and explores themes of serenity, balance, and the human spirit. Visiting Fairyland embodies Chen’s signature blend of Eastern philosophy and modern sculptural techniques. The series of works initiated in the early 2000s represents a turning point in his artistic career, marking a significant departure from traditional sculpture towards a more contemporary and personal artistic expression.
Racing Horses is a large-scale mixed media work on canvas, and a beautiful example of Chinese artist Xue Song’s output, incorporating the elements he is well known for. Song’s work is deeply rooted in the concepts of “deconstruction” and “reconstruction;”1 he uses materials like fire, ashes, and fragments of printed matter layered on his canvas. In this process, he creates facets of meaning, allowing him to traverse the boundaries between different forms of imagery and content.
Chen Wen Ling’s sculptural works are characterised by a bold expression of human emotions and experiences. Through his sculptures, Wen Ling explores the intersection of personal identity and collective experience. Wen Ling’s work, Distracted, portrays a figure stripped of any concealment. This unpretentious presentation may stir a slight discomfort among viewers, yet it serves as a potent reminder of art’s ability to connect deeply on an emotional level.
Gong Dong is a contemporary Chinese artist and sculptor known for his minimalist and conceptual approach. Dong’s My Sky 2007 features a collection of sculptures that depict everyday men and women in rigid postures, each gazing skyward with expressions of detachment. This series draws from Dong’s personal observations of daily life, capturing the essence of modern individuals who are overwhelmed by their desires and the endless flow of information. Despite their active engagement with news and data, this intense absorption drains their energy and deprives them of peace, resulting in a sense of perpetual unrest and unfulfillment.
Being fascinated by this selection of works I asked the collector, who prefers to remain anonymous, how he came to acquire these pieces and what drew him to these artists. “Having moved to Hong Kong in 1983 as a young banker and spending the next 30 years in the Asia-Pacific, I had a chance to witness firsthand the transformational changes affecting pretty much all aspects of society; commercial, artistic and cultural life. These years saw incredible economic growth and rising prosperity in many Asian countries which also led to a proliferation of artistic expressions of a dawning awareness that this finally was going to be the Pacific century. Racing Horses by Xue Song and Gong Dong’s My Sky express the incredible vigour and vitality of modern China as it increasingly occupies a position of prominence and influence not only commercially but also artistically. Chen Wen Ling’s red sculpture of a young boy, aptly entitled Distracted, serves as a cautionary reminder of just how unsettling this rapid societal transformation must feel for many. A juxtaposition is Li Chen’s Visiting Fairyland, exuding a soothing calm with its rounded, matte body and contrasting glistening metallic head. These pieces, individually and together, strongly speak to the dynamism, force, and optimism that has come to characterise modern Asia.”
I greatly admire these artworks, as they all share a deep appreciation for history and the events that shape identity. Each of the mentioned artists have been widely exhibited around the world, marking them as significant figures in the international art community. Each piece is exceptionally crafted, demonstrating a respect for traditional techniques while embracing contemporary forms of expression. These works stand as significant contributions to art, bridging cultural divides and resonating across borders with their profound insights into our shared human experiences.
Our Fine Art Auction will take place on Tuesday 22 October in Melbourne. For viewing times and to see the full catalogue please visit our website.
1.Xue Song, Piercing through history and the fashions, A retrospective from 1988-2011, by Li Xu, Kwai Fung Art Publishing House, page 15.
left: Li Chen (Taiwan, born 1963)
top: Xue Song (born 1965)
Racing Horses 2010
mixed media on canvas
180 x 250cm
$50,000-70,000
The Tiaras of Queen Mary
Queen mary of denmark, originally born Mary Donaldson in Tasmania, Australia, has become renowned not only for her grace and philanthropic efforts but also for her impressive collection of jewellery. Since her marriage to Crown Prince Frederik of Denmark in 2004, Mary has amassed an array of jewels that combine both historic significance and modern style.
As a member of the Danish royal family, Queen Mary has inherited several historically important jewels. One of the most notable pieces is the Danish ruby parure tiara. This exquisite set, which includes a tiara, earrings, necklace, and brooch, originally belonged to Désirée Clary. Désirée had been engaged to marry Napoleon Bonaparte, but he ended this relationship upon meeting Joséphine de Beauharnais. Still part of Bonaparte’s inner circle, she wore the parure as she walked in his coronation procession at Notre Dame on 2 December 1804, carrying the new empress’s veil and handkerchief on a pillow. Through descendance it was left to Crown Prince Frederik of Denmark by Princess Ingrid of Sweden, earmarked for his future spouse. Mary debuted the parure for a gala dinner held three days before the royal wedding in May 2004.
Queen Mary’s collection also includes several pieces that were personal acquisitions or gifts. Among these is Mary’s wedding tiara. Composed of heart and fleur-de-lis motifs set with diamonds, it was a special gift from her new parents-in-law, Queen Margrethe II and Prince Henrik of Denmark. No information on this piece’s provenance has been released. It is rumoured that the piece was possibly purchased at auction as some members of the family including Mary have been known to acquire jewels from auction sales. In 2011, it was altered so that it could be worn with a row of pearls at the base
and larger pearls attached to the shorter elements. It can also be taken off its frame and worn as a necklace. As this was a gift, it remains Mary’s personal property and not that of the Crown.
Another tiara worn exclusively by Queen Mary is the ‘Midnight’ tiara. This tiara was designed by the renowned Danish jeweller, Charlotte Lynggaard, and the women of the Lynggaard workshop. Featuring delicate leaves crafted from oxidized silver and white gold, and adorned with diamonds and moonstones, the Midnight tiara is one of Queen Mary’s most frequently worn pieces. The tiara also has a coordinating brooch and pair of earrings designed with the Queen’s Australian heritage in mind; the leaves and berries have been made to resemble the Golden wattle. Unlike many of the more historic pieces available to her, the Midnight tiara reflects a contemporary aesthetic making it a versatile choice for various formal occasions. It is also interesting to note that this tiara is not owned by Mary herself or the Crown, Ole Lynggaard is the owner, with Mary having exclusive rights to wear it.
Queen Mary of Denmark’s jewellery collection is a fascinating blend of tradition and modernity, reflecting both her royal duties and personal tastes. From historic heirlooms like the ruby parure tiara to contemporary designs by Danish artisans, her collection tells a story of heritage, love, and style.
opposite:
The Midnight Tiara / Ole Lynggaard Copenhagen
right: Queen Mary of Denmark wears the Danish ruby parure before the royal wedding, 2004 / Alamy
In the summer of 1946, Pablo Picasso visited a small town in the south of France called Vallauris. It was here, at a craft exhibition, that he met husband and wife Georges and Suzanne Ramié who owned the Madoura pottery studio.
by madeleine norton, head of decorative arts & art, sydney
Everything to Know About Picasso Ceramics
Pablo Picasso (1881-1973) with his pottery, 1953 / Keystone Pictures USA, Alamy
picasso formed a long-lasting friendship and creative partnership with the Ramiés and they became fundamental to the ceramic production which would engage him for the rest of his career.
Vallauris had been an epicentre of pottery since Roman times, however, by the mid-20th century it held some 400-500 unemployed pottery workers. In 1948, Picasso exhibited original ceramic works he had made at the Madoura pottery studio at the Maison de la Pensée Française in Paris. The exhibition generated renewed interest in the pottery industry and employment for these artisans skyrocketed. Georges Tabaraud, editor of Le Patriote newspaper and friend of Picasso’s, commented, “after he showed his exhibition in the French capital, to the crowds that came to see it, you could have dug up the dead potters and found them work.”1
Picasso’s plentiful production of ceramics elevated this traditional craft to a fine art standing. Today, his ceramics are highly sought after objects with international appeal and make a considerable contribution to any art collection.
What do Picasso ceramics look like?
Picasso began making ceramic wares with the intention of creating functional objects for everyday use such as plates, bowls, and pitchers, some of which he used in his own home or gifted to friends. Eventually his experimentation led him to create more unique and creative designs, inspired by the Mediterranean landscape, bullfighting, Greek mythology, human faces, and animal forms. However, one of the most fundamental influences during this period was his second wife, Jacqueline Roque, whom he met at the Madoura Pottery studio in 1952. Roque was Picasso’s greatest muse and during their relationship he created over 400 portraits of her, more than any of Picasso’s other lovers.
What are ceramic editions?
Picasso produced over 4,000 original ceramic pieces; objects he personally designed and hand crafted. In addition to these unique pieces, he collaborated with Madoura artisans to produce over 600 editions based on his designs or ‘prototypes’. This concept was similar to the way he had previously collaborated with print studios to produce editions of his etchings and lithographs. The ceramic editions were numbered, stamped, or signed as authentic works by the artist. The size of the editions ranged anywhere from 25 to 500 pieces per design.
By producing editions of his ceramics, Picasso was able to fulfil his goal of making his art more accessible to a wider audience of buyers. While his paintings and sculptures were selling for large sums of money, the ceramics represented a more democratic way to serve all levels of his market.
What to consider when buying Picasso ceramics.
Condition is essential when buying any ceramic, however, it’s also important to consider the date and edition number. Earlier editions are less likely to be in perfect condition and the number that an item is within an edition can indicate its age as well. Often for the larger edition sizes, the pieces would be fired in groups and the next group would not be fired until the first had been sold, and so on. If you can’t view the item in person, you can always request a condition report from a specialist. It’s important to note that ceramic is a complex medium and there can often be small imperfections resulting from the production process – these unique characteristics can be part of the beauty of the final piece.
It’s also important to look for the markings on a piece. The signatures and stamps for the editions changed over the decades they were produced, however, the most common markings found on Picasso ceramics read: “Madoura Plein Feu”, “Edition Picasso”, “Empreinte Originale de Picasso”, and “d’Apres Picasso”. These all indicate the piece is an authentic limited edition.
Finally, one may wish to consider the relative value of the piece. Whilst many Picasso ceramics are available for under $20,000, some sell for much higher. The more coveted works are typically those of a larger scale, more decorative or ornate in design, and made in smaller edition sizes. People also tend to gravitate towards popular motifs such as the owl or pieces featuring Jacqueline.
The huge variety in the shapes, designs, and colours of these works has been part of their enduring appeal and shows that there is a Picasso ceramic for everyone.
1. Miguel Ángel García Vega, 11 January 2024, “The Market Heats up for Picasso’s Ceramics”, retrieved 21 August 2024 from https://english.elpais.com/culture/2024-01-11/the-market-heats-up-for-picassos-ceramics. html
Our Art Collector Auction will take place on Monday 2 December in Sydney. For viewing times and to see the full catalogue please visit our website.
right: Pablo Picasso (Spanish, 1881-1973) Dove Subject (A.R. 435) circa 1959 earthenware, glaze signed edition, Picasso 233 / 500, Madoura and with further impressed stamps to base 24cm length Sold for $3,172
left: Pablo Picasso in the Madoura Atelier / Alamy
Visage en Gros Relief 1959 earthenware plate, ed. 83/100
The concept of ‘art glass’ was conceived in the mid-19th century during the aesthetic movement and was founded on the idea of ‘art for art’s sake’, challenging previous beliefs that appearance followed function.
by chiara curcio, head of decorative arts, design & interiors
Beauty in Relief: The Art of Cameo Glass
during this period, cameo and art glass techniques were refined and perfected by acclaimed glass artists, achieving great prominence particularly in France and England.
The centre of the English cameo glass industry was the town of Stourbridge in the West Midlands. Among the artists working there, Thomas Webb & Sons stood out for their exceptional cameo glass creations. By the late 19th century, the company had expanded its repertoire to include decorative glass types such as Burmese, alexandrite, cameo, and satin glass. Cameo glass became extremely fashionable, and the demand taxed even the resources of the prominent company. Every available engraver was hired to work overtime and on Saturdays, and the team expanded until it included about 70 engravers. Some pieces used two layers of etched glass to create a three-colour effect, which remains the more desirable cameo from the factory. By 1889, Thomas Webb & Sons had patented their process, and later that year received a prestigious award for their exquisite coloured glass at the Paris Exposition
In France, Lorraine is the area synonymous with glass. French glass making traditions can be dated to a special edict issued by the Duke of Anjou in the 15th century to allow four glassmaking workshops in Lorraine. By the 16th century, the region was acquiring a reputation for artistry and skill both locally and abroad, with requests to send workmen to England to teach their skills.
The Franco-Prussian War of 1870-71 led to an influx of artists, industrialists, and patrons into Nancy, the capital of Lorraine, as they fled the German-occupied regions. This migration contributed to the founding of the ‘Ecole de Nancy’ in 1901, also known as the ‘Alliance Provinciale des Industries d’Art.’ The school aimed to organise exhibitions and workshops, promote reforms in artistic education, and adapt arts to industrial production methods. Its manifesto stressed that utility should be a primary consideration and that designs should draw inspiration from Lorraine’s natural flora. Key figures in this movement included Émile Gallé and the Daum brothers, who were instrumental in shaping the Art Nouveau movement, particularly in glass.
The Daum family were known for their adventurous approach to glassmaking, combining techniques such as acid etching with carving, enamelling, and engraving to create innovative pieces. Another notable technique was ‘martelé,’ or hammered glass, which involved creating a textured finish by cutting small pieces of glass to resemble a beaten surface.
Although techniques and glass types vary between the English and French, and from artist to artist, by the late 19th century the decoration of art glass was predominately predictable as botanical studies typical of the Art Nouveau movement. Naturalism was the main influence, the main characteristics being floriate ornamentation with sinuous lines.
Within our forthcoming November Decorative Arts auction, we feature a small private collection of art glass collected over 40 years, which includes examples by notable makers from England and France.
Highlights from the collection include a three-colour Thomas Webb cameo glass stem vase with flowering design carved and overlaid in translucent red and opaque white on a yellow glass ground, a Burgun & Schverer cameo glass vase by Désiré Christian, acid-etched, wheel-chiselled and gilded with a design of purple wisteria against a marbled blue and brown glass ground with martelé areas, the rim with a silver mount cast with fruiting vine, Schneider (Le Verre Francais) cameo glass vases in designs of stylised snails (escargots), stylised primrose flowers and foliage (primerolles) and stylised bell flowers and foliage (digitales), and lastly examples of Frères Daum glass in various shapes and techniques; a slender opalescent cameo glass vase, acid-etched, cut and gilded with a Plane tree design on mattetched ground, and the ‘Arnica’ pattern vase, etched and enameled, decorated with flowering arnica on cased colourless glass ground with white, yellow, green, and pink powder inclusions.
The Decorative Arts Auction will take place on Monday 25 November in Melbourne. For viewing times and to see the full catalogue please visit our website.
$3,000-4,000
below:
A Thomas Webb cameo glass swan scent bottle 19th century Sold for $14,640
opposite:
Thomas Webb & Sons' glass exhibit, Exposition Universelle, Paris, 1889 / The Keasbury-Gordon Photograph Archive, Alamy
left:
A Burgun & Schverer cameo glass vase by Désiré Christian, with silver mount, circa 1900
Tom Ford for What?
by indigo keane, luxury specialist
in the early 1990s, the House of Gucci was a name rapidly losing its lustre. Once synonymous with Italian luxury and craftsmanship, the house was hurtling towards irrelevance, marred by financial missteps and creative inertia. In 1994, the brand was on the brink of collapse. What followed wasn’t just a revival—it was an introduction of sex, glamour, irony, and drama, revolutionising the fashion industry in one fell swoop.
At the time, the fashion world was desperate, with the excesses of the ‘80s having faded, leaving consumers hungry for something more refined, fresh, and just a little dangerous. Enter Tom Ford: a relatively unknown Texan with a sharp jawline, a penchant for minimalism, and a revolutionary vision of what Gucci could be. Ford was a student of architecture and art history, with a passion for crafting an entire landscape through his art which also evolved into his work as a film director later in his career.
Before Ford, Gucci was a fading colossus lost in the throes of an identity crisis. With infighting among the Gucci family and a lack of clear creative leadership, the house had strayed far from its origins as a symbol of luxury, with conservative, understated, and traditionalist apparel created under the direction of Dawn Mello and Maurizio Gucci. By 1993, the brand’s direction had become erratic, and it teetered on the edge of financial disaster.
Although Ford had been with the house since 1990, his 1994 appointment as creative director signalled a turning point. Initially met with scepticism and creative tension, the teething process resulted in Ford’s 1995 collection which delivered a knockout punch to Gucci’s dated florals and dowdy silhouettes.
“Maurizio Gucci always wanted everything to be round and brown, and Tom wanted to make it square and black.” - Dawn Mello
The now-iconic collection featured velvet hip-huggers, unbuttoned satin blouses, low rise hipbone-baring sleek lines, and a sultry colour palette of smoky browns and deep crimsons. It was daring, provocative, and exactly what fashion needed. Ford’s Gucci woman was confident, sensual, and unafraid to command attention. And it wasn’t just the clothes—
the entire Gucci brand began to embody this new identity.
The FW 1996 collection was where Ford truly hit his stride. Gucci’s transformation was the talk of the industry, with Vogue describing the collection as “a fashion equivalent of a one-night stand at Studio 54”. The breakout pieces—a velvet tuxedo, the famous white, slinky jersey dress, and those barely-there heels—became instant classics. The collections flew off the racks, and suddenly, Gucci wasn’t just profitable, it was desirable in a way that hadn’t been seen in decades.
Tom Ford wasn’t just designing clothes, he was crafting a world around Gucci, creating fantasies steeped in indulgence. His high-gloss and high-voltage advertising campaigns, shot by the likes of Mario Testino and featuring supermodels like Kate Moss, were seductive masterclasses in branding.
Tom Ford’s impact on Gucci extended far beyond his collections. Under his leadership, Gucci went from a struggling house to a $10 billion empire. When Ford left Gucci in 2004, he departed as one of the most powerful men in fashion, having turned the house into a brand that still dominates luxury to this day.
But more than the financial success, Ford’s tenure at Gucci left a lasting mark on fashion. His unapologetic embrace of sex appeal, visionary approach to branding, and meticulous attention to detail have influenced designers across generations. Today, Gucci’s daring spirit and embrace of glamour are still present, a testament to the foundation Ford laid during his time at the helm. Even today, Ford’s Gucci era remains one of the most talked about periods in fashion history.
Our Luxury Auction will take place on Monday 11 November in Melbourne. For viewing times and to see the full catalogue please visit our website.
opposite: 1998 Gucci jeans ad / Alamy left: Georgina Grenville walks for Gucci, Milan, 1996 / Alamy
right: Tom Ford for Gucci, rare python
What do Le Corbusier, Jimi Hendrix, and Giorgetto Giugiaro have in common? It may not be immediately apparent but if you were to ponder what may seem a nonsensical question you might conclude that all these ‘disruptors’ forged a revolutionary new course in their respective design or musical fields, the reverberations of which are still felt today.
by patricia kontos, senior jewels & timepieces specialist
The Genius of Gerald Genta
another that would sit comfortably amongst such iconoclastic company is Gerald Genta (1931-2011), the watchmaker and artist whose influence on the Swiss watch industry really is the stuff of legend. Those with even a fleeting interest in horology will have come across a Gerald Genta design either unwittingly or purposefully; he is the man behind the designs of arguably the world’s most covetable watches: the Royal Oak, the Nautilus, and IWC’s Ingenieur, but his prolific and influential stamp on the watch industry doesn’t end there.
Known as ‘the Maestro’, Gerald Genta was active from the 1950s until he died in 2011. Born in Geneva in 1931, he began his watch designing career at Universal Genève where he would get his first break with the SAS Polerouter. At first glance the watch presents as a classic ‘50s gentleman’s watch but upon closer inspection some of the trademark Genta flair is starting to shine through; note the distinctively detailed chapter ring and hour markers, trapezoidal date window, and the twisted bombe lugs.
During this time, Genta would also form an association with Omega, submitting designs and refining their various models. Omega released its first Constellation in 1952, but in 1964 Genta’s breakthrough C-shape case was introduced, and it is this robust tonneau outline that would later inform the Royal Oak and Nautilus casings. Genta’s exploration into what form the strap would take also reminds us that this reference was a precursor to another of his signatures, the integrated bracelet.
By 1970, Audemars Piguet was looking for a lifeline. The maker, along with the entire Swiss watch industry, was facing an existential threat, namely the ‘Quartz Crisis’. The lifesaver would come in the form of the Royal Oak. AP’s brief was for something totally new and waterproof and when hidebound rules required breaking, Gerald Genta was the man for the job. In creating the case, Genta drew inspiration from an old-diving school helmet with exposed screws. This unconventional design would go on to define the sports/luxe watch oeuvre. Previously, luxury watches were slim, small, and crafted from precious metal. The Royal Oak was the antithesis of all that, it was bold and bulky with an industrial aesthetic, constructed from sturdy stainless steel. Yet remarkably, due largely to its superlative construction and hand finished detail, it retained a luxury look and feel.
Another seminal collaboration was to follow when IWC sought a revamp of their antimagnetic watch created for scientific professionals, their 1950s Ingenieur. In his 1974 design submission, the Ingenieur was treated to some quintessential Genta touches: a rounded tonneau case, a five-screw bezel with recessed plots, a patterned dial, and the integrated bracelet. This ref 1832 may not have proven a popular release for IWC at the time, but its impact would be felt in subsequent models, firming up the invaluable ‘Genta cred’ derived in having had the Maestro on their books. If it wasn’t enough that Gerald Genta had by now secured his place at the pinnacle of watch design, in 1974 he would go on to send the watch world into a spin when he created the Nautilus. The design again drew its inspiration from the nautical world and was named as a tribute to Captain Nemo’s submarine in Jules Verne’s ‘20,000 Leagues Under the Sea’. According to Genta, “I designed the Nautilus while observing the people from Patek eating!... It was a sketch that I completed in five minutes.” The result was a watch that embodied the perfect balance between sport and elegance.
The Royal Oak and Nautilus have rightly earned an untouchable position at the top end of the market - after all, they inspired a revolution that redefined luxury in the modern horological era. But Genta was incredibly prolific and would go on to design for Cartier, Bulgari, Van Cleef & Arpels, and Seiko, culminating in his own eponymous brand in 1984. So influential, so expansive, and so unconventional was Gerald Genta’s stamp on the watch industry that there really is very little to add, except to wonder whether that ‘holy grail napkin’ containing Genta’s Nautilus blueprint will
opposite:
Gerald Genta at work / Gerald Genta Heritage
right:
An iconic Audemars Piguet
Royal Oak Chronograph
In the 1850s, after over 200 years of self-imposed isolation, Japan opened its borders to the world. Almost instantly, Japonisme took hold.
by kyle walker, guest contributor
The World in a Tea Bowl
Bernard Leach Gallery, St Ives / Alamy
japanese woodblock prints inspired French Impressionist painters, and the Japanese veneration of nature and ‘the handmade’ formed the basis for the Art Nouveau movement. But a quieter, yet equally transformative revolution was taking place. The Japanese reverence for a sort of refined imperfection would permanently alter and expand our notions of what is beautiful and admirable in the world of ceramics.
This ‘imperfection’ centres on the concept of wabi sabi: wabi being an austere, imperfect beauty and sabi being the rustic patina that comes from age. Wabi sabi acts as an aesthetic framing tool for living, teaching us to accept the fundamental Buddhist truth of impermanence. It is the material manifestation of the transitory nature of the world.
To achieve this refined ‘imperfection’ when making, we must ‘let objects speak’, a sentiment grounded in Japan’s indigenous Shinto belief of a spirit inhabiting all things. Accidents and chance occurrences during the creative process are embraced with an emphasis on allowing materials to do what they do. All of this is a sort of meditative mediation, an attempt to reduce oneself in the creative act as a means of developing a oneness with our materials and processes. But there is also a refinement to this ‘imperfection’ informed by the austerity and rigor of the strict religious lives and practices of Zen monks.
Best exemplifying this is the humility and naturalism of the tea bowl. At the centre of traditional Japanese tea ceremonies, tea bowls are hand-built of unrefined stoneware and low-fired in wood burning kilns. In the kiln, glazes are allowed to move across surfaces unevenly and imperfections like cracks are celebrated. For over 400 years, across many generations, the Raku lineage of potters studied, refined, and constantly reinterpreted this ‘imperfection’ through the sole form of the tea bowl.
In the late 19th century, the Art Nouveau movement advocated for a return to nature and the handmade in response to the dehumanising effects of industrialisation. No doubt inspired by the Japanese stoneware exhibited at the 1878 Exposition Universelle in Paris, Ernest Chaplet (18351909), began making stoneware that emulated the naturalness of form and surface typical of traditional Japanese ceramics. In the kiln, Chaplet’s pots would bend and the glazes would shift in organic ways. To orchestrate this feat, Chaplet controlled all aspects of production including building, decorating and firing, becoming the first of many studio potters in Europe. Meanwhile in the United Kingdom, the Arts and Crafts movement advocated for a ‘truth to materials,’ paralleling the Japanese notion
of ‘letting objects speak’. Adherents believed in making simple, well-crafted, functional objects from natural, humble materials like oak, copper, and stoneware. Its leader, William Morris (1834-1896), advocated for the ‘craftsman-designer working by hand’. This ethos then formed the basis for the Mingei movement in Japan, where a new appreciation and development of traditional Japanese arts blossomed.
Born into both the Arts and Crafts and Mingei movements, Bernard Leach (1887-1979), led the British studio pottery movement into Modernism. Raised for a time in Japan as a child, he returned to the country from 1909 to 1920, meeting with Japanese makers and thinkers including Mingei founder Yanagi Soetsu (1889-1961). In 1920, Leach moved back to England and established Leach Pottery with Japanese potter Shoji Hamada (1894-1978), building the first traditional Japanese climbing kiln outside of Asia. From these experiences, Leach argued for the creation of beautiful but utilitarian ‘ethical pots’ in the simple Japanese stoneware style.
Leach’s ethos had tremendous influence on the next generation of post-war studio potters including Australian potter Milton Moon (19262019). Deeply influenced by Zen Buddhism, Moon believed pottery to be ‘a fundamental expression of life’s forces.’ In 1974, Moon spent a year in Japan studying Zen meditation, visiting historical kilns and meeting with Shoji Hamada. Moon’s ceramics have an elemental quality, are mostly hand-built, and are often scratched or painted on the surface in a spontaneous way not unlike the calligraphic ink paintings done by Zen monks.
Today, Japanese ‘imperfection’ continues to influence studio ceramics across the world. Hiroe Swen (b. 1934) was born and trained in ceramics in Kyoto and emigrated to Australia in 1968. Swen’s work speaks to Japanese tradition with earthy glazes on stoneware, hand-built asymmetricity and refined naturalistic forms, often with calligraphic decoration.
With each new generation of potters, traditional Japanese aesthetics—and especially its reverence for a refined imperfection—inspires anew. As the world evolves ever more rapidly, we are continually reminded of the impermanence of things and as a means of encountering this truth gracefully, Japanese ‘imperfection’ allows us access to something elemental, a sort of freedom in nature and a oneness in this shared experience of being and making.
October – November 2024
top: Black Raku Tea Bowl Momoyama period (1573–1615) early 17th century, Japan / Metropolitan Museum of Art Collection, Rogers Fund, 1917
The Evolution of Printmaking: Discovering the World of Old Masters
by hannah ryan, prints & multiples specialist
below left:
Rembrant van Rijn (Dutch, 1606-1669), Jan Lutma, Goldsmith, etching, engraving and drypoint, first state
below right:
Rembrant van Rijn (Dutch, 1606-1669), Jan Lutma, Goldsmith, etching, engraving and drypoint, second state
when we think of old masters, our minds often drift to the grand canvases of Rembrandt van Rijn, Albrecht Dürer, or Francisco de Goya. But did you know that these artists were also pioneers in the world of printmaking? Old Master prints, created by European artists between the 14th and early 19th centuries are more than just images on paper, they are remarkable works of art that offer a glimpse into the minds of some of history’s greatest artists. These prints, crafted with meticulous care, represent the evolution of printmaking.
What are Old Master prints?
Old Master prints refer to any printed image created in Europe from the inception of printmaking to the late 18th or early 19th centuries. This broad category encompasses a variety of printmaking techniques and includes works by many of history’s most celebrated and renowned artists. The era is considered to conclude with the work of Francisco de Goya (17461828), who is described as the last Old Master and first modern artist.
How were the first Old Master prints made?
Old Master prints emerged in Europe during the 14th century and were produced using the woodcut technique, a method that was already well-established in China. This process involved carving an image into a wooden block, leaving the surfaces to stand while the background was carved away. The raised areas were inked, and the block was pressed onto paper to transfer the image. This technique marked a significant development in European art, enabling artists to produce multiple copies of their work. Initially employed for religious texts and illustrations, woodcuts quickly became a common medium for detailed and expressive images.
How did Old Master printmaking techniques evolve over time?
As printmaking evolved, artists explored new techniques beyond the traditional woodcut. Engraving emerged across the several decades that followed, where images were meticulously incised onto metal plates using a burin. Ink was then rubbed into the grooves, and the plate was pressed onto paper, resulting in finely detailed and intricate prints.
By the 16th century, etching had gained popularity, offering a more fluid approach. Artists coated a metal plate with wax, drawing into it, then used acid to bite and create the image. This technique was embraced by Rembrandt, allowing him to create his distinctive dramatic lights and shadows.
How can the age of a print be determined?
Determining the age of an Old Master print is a nuanced process. One of the primary indicators is the quality of the impression – how rich, clear, and strong the impression appears. Early prints, especially those made during the artist’s lifetime, tend to be richer, clearer images. Another crucial aspect is the ‘state’ of the print, referring to the different versions produced as the artist made changes to the plate. Rembrandt’s 1656 portrait, Jan Lutma, Goldsmith, originally had a mostly blank background. Rembrandt later added a window to the plate and printed additional impressions, creating a new state. Examining these states can reveal the sequence and timing of a print’s creation. The paper used can additionally offer further clues. Watermarks embedded in the paper, such as the Bull’s Head watermark in Dürer’s prints, which he used until 1520, or the Foolscap in Rembrandt’s works, serve as significant signs that help experts date and authenticate a print.
Why are Old Masters important today?
Old Master prints hold immense value, not just for their historical significance, but also for their rarity and the insight that they offer into the artistic practices of the time. These prints are considered more accessible than paintings, carrying the same level of craftsmanship and artistic intent. As many of these prints were produced in limited numbers and have survived centuries of wear and tear, their scarcity adds to their allure and value. The careful preservation and study of these works allows us to connect with the rich artistic legacy of the Old Masters.
right: Francisco de Goya (Spanish, 1746–1828)
Plate 31 of "La Tauromaquia": Banderillas with firecrackers Etching, burnished aquatint, drypoint, burin
Unconventional Cutlery
by rebecca stormont, modern design specialist
left: Mono Zeug cutlery set / Mono Germany, photo by Fabian Frinzel
opposite left: Zlin cutlery set designed by Jan Kaplicky of Future Systems for Alessi / Museum of Design in Plastics
opposite right: Claude Lalanne, Iolas flatware set
eating utensils have existed since ancient times, evolving over centuries to take on the forms we recognise today. From primitive tools made of bone, stone, or wood, utensils gradually developed into more refined and functional implements. Over time, Western flatware, particularly the dinner knife, fork, and spoon, have taken on relatively recognisable and standardised forms. These utensils, while often stylistically diverse, are designed primarily with functionality in mind.
Except for unique niche utensils designed for very specific purposes, the basic trio of knife, fork, and spoon serves most dining needs. These tools are more than just extensions of the hands; they are integral to the dining experience, enhancing both the practicality and the aesthetic of a meal. As accessories for the table, they not only serve a functional role but also convey the stylistic choices of the host. In addition to their practical uses, utensils can create new rituals around the eating experience. They shape how food is presented, consumed, and enjoyed.
From the exceptionally ornate to pared back references to the origins of utensils, here are some of my favourite examples out of the ordinary:
Far from the fiddle and thread pattern that might come to mind when thinking of silver cutlery, the Iolas flatware set designed by Claude Lalanne in 1966 is Baroque and surreal with beautifully detailed interlacing leaves and crustaceans. These impressive pieces of cutlery, made for the gallery owner Alexandre Iolas, are perhaps not the most functional examples, but are very sought after with six figure auction results.
The stainless steel Mono Zeug set was designed by Michael Schneider in 1995. The inspiration for the shapes were the primitive tools of prehistoric man. The knife was inspired by a hand axe and the thin fork is reminiscent of early spit tools.
Danish designer Karin Schou Andersen created Couvert Select in 1976 with the needs of people with arthritis or injury in mind. The set is very stylish, with curved handles and a knife set at a 90-degree angle. It features in the collections of various institutions such as MoMA and The Centre Pompidou.
The style of the early 2000s is having a resurgence and the ‘Zlin’ cutlery set by Jan Kaplicky of Future Systems seems very of the moment. Designed for Alessi in 2010, the set is made from moulded green or yellow thermoplastic. Named after Czechoslovakian fighter planes, they were intended to be used as aeroplane cutlery.
Whether choosing minimalist designs or ornate patterns, utensils become part of the dining ritual, contributing to the overall atmosphere and experience. The evolution of these tools highlights their enduring importance in daily life, a balance between practicality and expression.
how to… Research Art, with Andrew Turley
Andrew Turley in gorilla country, Uganda. He strapped on his boots and followed in Nolan's footsteps across Uganda, Ethiopia, Tanzania and Zanzibar.
opposite left: The soon to be released Nolan’s Africa: a history written so readers can enter a mid-century moment, walk beside the artist and climb inside his paintings.
opposite right: Andrew Turley with Sidney Nolan's Man and Monkey (1963)
left:
Andrew Turley is a researcher, writer, curator, and authority on iconic Australian artist Sidney Nolan. He has dedicated the last twelve years to unearthing the unknown histories of the artist’s culturally significant mid-20th century works, including Auschwitz, the Adelaide Ladies and now Africa. Andrew’s latest book, Nolan’s Africa, will be published on the 19th of November and is a richly illustrated monograph following the artist’s thematic journey from Auschwitz to the African continent, and beyond.
We have a lot of clients who would like to know more about their own art collection and begin their research journey that way. How were you first drawn to it?
The same way as your clients. A thunderbolt hit my partner, Rachael, when she saw a painting hanging high on an auction room wall. No one could tell us about it, and little was written in the catalogue. Yet when we had it taken off the wall there were notes, labels and place names across the back. That’s where it all started. A Sidney Nolan painting we loved and unanswered questions. Twelve years on, having tracked Nolan across three continents, we know it is a painting that was exhibited privately to Queen Elizabeth with an exhibition history that spans the world, and a creation story stretching from the crematoria of Auschwitz to Julian Huxley’s founding of the World Wildlife Fund.
We often get asked “Where do I begin?” Do you have some advice you can share with budding art enthusiasts who aren't sure where to start?
I always say ‘start with your painting’. It is a moment trapped in time and a definitive point from which you can work forward, researching its exhibition and ownership history, or backward, unearthing the artist’s motivations for painting it. Look at it forensically: scrutinise the subject, signature, back, frame and mount. Search for any and all inscriptions, labels or pencil marks. Find every reference point. Then you can definitively say ‘this I know’ and ‘this is what I want to know’. Next, place it in its context. If you discover it was exhibited, find the catalogue and look to other works from the same exhibition, they will be your best record of how the artist’s brain was working. Alternately, group it with other works the artist produced in the same time period. Look for and identify associated palettes, patterns, subjects and themes.
What skills would you say are required to be a successful researcher?
The skills are transferable. Anyone can be a successful researcher and writer. I began life as an Army Officer, clearing mines in Cambodia. That has helped me be clinical in my process, look for patterns, consider every possible scenario, and be certain before taking another step forward. Research is about singularity of purpose in the pursuit of information: focus, tenacity, and passion. You need the ability to focus on a clear and achievable objective, committing time and effort. Tenacity means you won’t let a dead-end stop you. All information exists somewhere, it is a matter of finding it, and a good researcher is always asking questions without being embarrassed about not knowing the answers. Passion is the most important quality of all. If you love a painting, or an artist, no one will be more passionate or committed to finding answers than you.
Can you share with us a special discovery you have made during the twelve years you were working on this book?
There are so many. Sidney dodging testicle-collecting tribesmen in Ethiopia, how he was mixed up in the deadly Congo Crisis and why some critics were confused by his coded messages. But the most dramatic has to be the discovery of Nolan’s Auschwitz. There was no knowledge of the event in the masses of work written on him, no comprehension that a large group of Auschwitz paintings existed, no record of him travelling to the concentration camp in January 1962 nor his documenting of the trip in haunting black and white photographs, and no understanding of its substantial impact on him. The discovery means a radical revisionism of his post-1961 work is due. The symbolism and thematics have been invisible to historians and critics, but they are everywhere if you know where to look. Particularly in the layers of his African paintings.
Details on Andrew’s new book, Nolan’s Africa, can be found on the Melbourne University Publishing website.
JEFFREY SMART
by dr christopher heathcote
Study II, Bus Terminus, 1972-73
Jeffrey Smart challenged artistic conventions. Not for him sentimental views of a sun beaten rural landscape, the stuff of nationalist cliché. Instead, he looked to the increasingly urbanised world for his subject, portraying aspects of a post-war construction boom he found in travels across Western Europe. ‘I want to paint this explicitly and beautifully,’ he explained at the outset.1 Smart was positively in his element painting the ultra-modern utopia going up all around—the new highways, traffic interchanges, car parks, bridges, airport tarmacs, industrial buildings, and high-rise housing estates.
Study II, Bus Terminus is among several early 1970s compositions he based upon bus depots and railway stations seen in Italy. Besides its considerable strengths as a unified work of art, this superb study illuminates just how the artist crafted his pictures—because it is a full first draft for Bus Terminus of 1973, a major work now in the collection of the Art Gallery of NSW. The creative decisions Smart took in designing that work are laid out here, just awaiting an attentive viewer to read them off.
Smart’s canvases are renowned for their strong pictorial design. In this he was indebted to two great artists. Introduced to Fernand Léger’s work as an Adelaide art student, Smart subsequently studied under this cubist pioneer when he visited Paris in 1949. Besides soaking up how Léger portrayed modern cities, workshops and factories, when working in the master’s atelier the young Australian sharpened his design skills. Through pictorial geometry Léger had set modern art on a rational foundation, and in his teaching he introduced students to important compositional methods, including the ‘golden section’, impressing upon them the role in great art of underpinning measure, proportion and balance.
Léger decisively shaped his outlook, although Jeffrey Smart placed the Renaissance master Piero della Francesca above other artists. If you were a guest at Smart’s house in rural Tuscany, a visit to view Piero’s great frescos over at Arezzo and Sansepolcro was mandatory. He would take you to the towns by car, greet the clergy as a friend upon entering each church, then, with a proprietorial air, he discussed the works with reverent enthusiasm. Piero wrote three essays on geometry, and Smart so enjoyed pointing out how the master applied his rules in each fresco. He knew those values by heart.
The legacy of both artists is evident in this picture’s insistent geometry. Smart has arranged Study II, Bus Terminus into three horizontal bands, comprising a large rectangle of sealed roadway, then a row of parked buses positioned above it, and then a thin blue strip of clear sky across the top. That grey bitumen roadway is in turn divided at an angle by a hatched pedestrian crossing which runs up and across at a 30 degree incline from lower right to upper left. As well, the artist uses a traffic sign to run a neat vertical line down one side, the distance of its supporting pole from the right edge matching the width of the upper horizontal band of buses and sky. Lesser talents would struggle to
calculate then accurately plot out this design, let alone the complex highway markings curving up it, but the handling here is effortless.
Of course, Jeffrey Smart was known as an inveterate puzzle maker. He liked to use in pictures both serial motifs and tricky visual sequences. We can see this playfulness shaping the row of buses in Study II, Bus Terminus. Take the traffic sign. Running one’s eye along the upper part of the picture, it is apparent that the centre of the circular sign is actually the vanishing point for those orthogonals used to set perspective across the parked buses.
Scrutinising Study II further still, those buses are arranged, like musical notes, in a chromatic pattern: orange, yellow, purple, green, plum, scarlet. Sequentially, this is a chromatic transition from warm to cool then back to warm again. And that bald man looking toward us as he stands, with hands in pockets, before the yellow bus exactly balances the sign over on the right. Even his dark suit and cotton shirt parody the black and white striping patterns around the composition. Nothing delighted Smart more than inserting these sight games into pictures, ready for attentive viewers to spot.
Study II, Bus Terminus also reveals how the artist developed a pictorial idea. When driving with Jeffrey Smart, he would sporadically have the car pull over so he might make a precise drawing or two in his pocket sketchbook of roadside minutiae, an architectural detail, or whatever caught his ever-active eye. Later he carefully went through these visual notes and selected what he needed, then assembled a moody scene from them: ‘My pictures are completely synthetic,’ he told the curator Barry Pearce, ‘in that I move things around relentlessly, change the heights of buildings, the colours, to get the composition right.’2 We can certainly observe how he ‘moves things around’ by comparing Study II with the final canvas Bus Terminus. Smart makes several adjustments to the picture, choosing to reverse the design; to leave out the standing figure at the top; to change road markings and have some curve; to add a row of traffic cones; to change the buses’ colours, and add another vehicle; to change the sky to grey; and to darken lighting overall, thereby giving the now shadowy scene a brooding ambience. So using this preliminary picture we identify the creative decisions Smart made in crafting a major work.
Then again, this fully cohesive work is certainly more than a dress rehearsal. Study II, Bus Terminus offers an alternate, more upbeat version of the transport scene. Gone is that shady loneliness, for a man casually stands here in warm sunlight falling from a clear blue sky. The palette is now bright and breezy, while Smart has set in the visual elements with such pleasing brushwork. His paint application is agreeably looser, and rather tasty. Carefully designed then impeccably executed, Study II, Bus Terminus surely amounts to a minor masterpiece.
1 Jeffrey Smart, w, XII.5 (May 1968). p.47.
2 Quoted in Barry Pearce, Jeffrey Smart: A Retrospective, Art Gallery of NSW, Sydney, 1999, p.178.
by rebecca keeble, regional directoroceania at international fund for animal welfare (ifaw)
Australian Governments Asked to Shut Down Legal Ivory Trade
It’s been six years since IFAW’s report, Under the Hammer, revealed the extent of ivory trade through Australian auction houses. It prompted a 2018 Parliamentary Inquiry and a recommendation that Commonwealth, states, and territories work together to implement a ban on Australia’s domestic ivory trade.
These governments made that commitment, but so far none have followed through. Meanwhile many other countries such as China, the UK, and France closed their domestic ivory markets.
In response to the Under the Hammer report, Leonard Joel worked with IFAW on a policy that would effectively ban the sale of rhino horn and ivory products through its rooms. Leonard Joel Managing Director, John Albrecht, said at the time “It is simply but profoundly a decision to play our part in disrupting the “value” of these items so that we can be sure in our minds that we no longer contribute to the slaughter-origin and so that our hearts are not of the cold connoisseur but rather that of the conservationist.”
Unfortunately, not all auction houses followed their progressive lead. While trade in ivory across international borders has been banned, domestic, unregulated markets continue to stimulate and legitimise demand for ivory and rhino horn. This potentially creates loopholes for illegal ivory and rhino horn to be traded legally within our borders and pushes those species closer to extinction.
African elephants lost 96 per cent of their populations and rhinos have crashed from 500,000 to 27,000 over the last century. The western black rhino and northern white rhino are now extinct in the wild.
On World Elephant Day in August this year, IFAW, together with the Humane Society International Australia and the Born Free Foundation renewed calls for the federal, state and territory governments to shut Australia’s domestic trade in ivory and rhino horn.
Each state and territory environment minister has been asked to take The Elephant Pledge, which entails:
1. Giving the Australian Government the power to enact national legislation that ensures a consistent and comprehensive ban on domestic trade in ivory and rhino horn.
2. Developing legislation in that minister’s jurisdiction to sup-
3. Working to deliver a comprehensive national domestic tradegust 2025.
The Federal Environment Minister, The Hon Tanya Plibersek, has also received the letter.
IFAW has worked towards disrupting supply and demand chains in ivory and rhino horn for decades and was instrumental in developing legislation and calling for policy change in markets that banned the trade, such as the UK, China, and France, among others.
We also work to reduce poaching in our Room to Roam campaign, which protects elephants and rhinos and empowers local human communities. Key players in the project are the rangers and community scout teams who protect wildlife from poachers. Through them, and their communities, we are able to strengthen the way animals are protected at grass-roots level, and work from there up to government and international legislation.
We know that 75 per cent of Australians support the call to shut down trade in ivory and rhino horns. It’s time Australian governments stepped up.
There are two things you can do:
1. Scan this QR code to sign The Elephant Pledge to show your state government your support.
2. Don’t sell ivory. To dispose of it, contact the Department of Climate Change, Energy, the Environment and Water or email wildlife.seizures@dcceew.gov.au
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 LEILA BAKHACHE
This issue, we get to know our Jewellery Salon Manager, Leila Bakhache.
favourite designer
Bigger is better, in my opinion. The common theme of my favourite jewellery designers is their knack for big bold designs; David Webb, Marina B, Joel Arthur Rosenthal (aka JAR) are some of my favourites. The contemporary and whimsical feel they bring to the fine jewellery world is what keeps it interesting for me.
favourite movie
Though this truly changes on a weekly basis, a wholesome classic for me is Moonrise Kingdom by Wes Anderson; it’s a perfect example of a movie where nothing really happens but is just beautiful the entire way through. You can also never go wrong with a good Tarantino; Kill Bill Vol 1 (amazing soundtrack), Reservoir Dogs (heist movies are a favourite), and Inglourious Basterds (I love Brad Pitt) are some of the first to come to mind.
favourite cocktail
Simply, an extra dirty Vodka martini. Preferably Grey Goose, preferably three olives.
favourite auction purchase
Small but mighty, my favourite purchase is a gold pinky ring I bought in a Salon Auction in my first year here at Leonard Joel. It was a birthday gift to myself, my first ‘real’ piece of jewellery. I am rarely without it and cannot see myself ever parting with it.
favourite book
Shamefully, I am not and have never been a reader. I am desperately trying to change this and have set myself a challenge as such. My latest read was “My Year of Rest and Relaxation” by Ottessa Moshfegh, which I really quite enjoyed. It’s a bit ridiculous, depressing, and weird but it stewed in my mind long after I finished it. I still haven’t found a favourite book yet - but am always open to a recommendation!
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October – November 2024
Ariana Papademetropoulos Domesticated Cat (detail), 2024 oil on canvas
116.8 × 78.7 cm
Courtesy the artist
THE BALLETS RUSSES, LEIGH BOWERY, PAT BRASSINGTON, NICK COLLERSON, TARRYN GILL, JAMES GLEESON, BRENT HARRIS, FELIX KELLY, RENÉ MAGRITTE, DUŠAN AND VOITRE MAREK, ARIANA PAPADEMETROPOULOS, SCHIAPARELLI, NICOLA SCOTT, SANA SHAHMURADOVA TANSKA, CECILIA VICUÑA & MORE
REKOSPECTIVE THE ART OF REKO RENNIE
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.
It was an honour to be selected by the Winchester Foundation to manage the dispersal of a significant and beautifully formed jewellery collection. These fabulous and finely detailed Etruscan Revival earrings were one of my personal favourites. / Troy McKenzie, Queensland Representative Specialist
An Attic black-figure trefoil oinochoe, circa late 6th century BC Sold for $37,500 Decorative Arts, August 2024
Cartier Santos 100, a fine and rare 18ct white gold and diamond-set automatic wristwatch with cream dial
Sold for $20,000 Important Jewels, August 2024
A pair of gold Victorian drop earrings Sold for $4,500 A Queensland Estate Jewellery Collection, July 2024, a white glove Auction
Aquamarine and diamond ring
Sold for $35,625 Luxury, July 2024
Sold for $35,000 Important Jewels, August 2024
A very rare Chinese Imperial Doucai dish, Chenghua sixcharacter mark and of the period (1465-1487)
Sold for $125,000 Fine Chinese and Asian Art, August 2024
Meret Oppenheim Traccia table for Simon Gavina
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