Welcome to the holiday edition of Leonard magazine.
We hope you enjoy reading this issue over your summer break. For our cover, we chose the striking work of modernist photographer, Wolfgang Sievers. Inside, we share some of our top art exhibitions to check out across the country and our team of experts were given the daunting task of selecting a single favourite item they sold at auction. Finally, we look at iconic Japanese artist Yayoi Kusama's impact on luxury fashion, and the vast appeal of aquamarine stones, used by both sailors for protection and queens to adorn the grandest tiaras.
We hope you enjoy.
cover:
Wolfgang Sievers (1913-2007)
Gears for Mining Industry, Vickers-Ruwolt Burnley works in Melbourne 1967
$2,000 - 4,000
Wolfgang Sievers: Through the Lens 11 December, 12pm
below:
Property from a Private
Sydney Collection
Autore pair of Australian
South Sea pearl, pink diamond, diamond, ruby and pink sapphire drop earrings
$3,500-5,500
Important Jewels
Auction 3 December, 6pm
Sydney
features
Culture, Commerce, Community: A Few Days on 47th Street
Make a Splash in Aquamarine
Diving into Time
Curated for Summer: Exhibitions for your Holiday Itinerary Hollow Log Coffins – Burial Ceremonies in Arnhem Land
A Brilliant Escape: Jewellery Books to add some Sparkle to Your Holiday Reading Molto Bello
Wolfgang Sievers: Capturing Industry with a Modernist Lens Dot Dot Dot...
in focus
How to Appreciate the Curation of an Art Exhibition with Rodney James Five Minutes with Amanda North 22nd Report: Five Things We’ve Learnt in Five Years Since Black Summer A Last Look
AUCTION CALENDAR
DECEMBER 2024 –
JANUARY 2025
December
The Art Collector
Mon 2 Dec, 6pm
Sydney
Important Jewels Tue 3 Dec, 6pm
Sydney
Persian Bazaar Warehouse Sale Thu 5 Dec, 2pm
Melbourne
Art Deco Design: A Private Collection of Fine Furniture & Objects
Mon 09 Dec, 2pm
Melbourne
Wolfgang Sievers: Through the Lens
Wed 11 Dec, 12pm
Melbourne
Holiday Jewels Thu 12 Dec, 12pm
Melbourne
The Auction Salon
Furniture & Interiors, Objects & Collectables, Jewellery, Art
Every Thu from 10am
Melbourne
$50,000-60,000
Culture, Commerce, Community: A Few Days on 47th Street
by john albrecht, managing director & head of important collections
at first, i wouldn’t blame anyone for asking how I could possibly add two of these words to the title of this piece about one of the world’s most intense jewellery market experiences. But I think the title is apt. There’s much more to this New York street than just trade.
The New York Diamond District, to the first-time visitor is impossibly jammed, full of high security vans dispensing and receiving incredibly valuable jewellery for delivery to traders and clients. On the street and the footpaths is the sort of mash of people and professions you’d expect in New York City; professional traders, private buyers and sellers, and every form of “runner” known to man. From small-timers trying their chance at moving their first piece of jewellery for a margin to those that make a comfortable living doing nothing more than going between traders. This is unquestionably the Wall Street of jewellery, only very much resembling a market of old. Yes, technology has helped. But it is people and vans that move this jewellery from around the corner to around the world. They say 90% of the USA’s diamond market passes through here. It certainly seems plausible, even after standing amongst it for as little as a few minutes. It’s so competitive and busy that you’ll be asked to move on if you are blocking someone’s valuable window frontage for more than a minute. Yes, this has happened to me more than once!
The street’s mythology has made it into songs, novels, and various movies. Most recently, Uncut Gems, where Adam Sandler has a clever role as a high-risk-taking Jewish gem trader. The producers will tell you that the character is a blend of their fathers’ stories and tales of personalities past, and I will tell you that he brilliantly crystallises the banter and activities of dealers with big personalities. Every one of them is so full of one-liners, knowledge, and street smarts that they could just as easily write a very entertaining book or have their own segment on CNN - take your pick.
The extraordinary mass of expensive jewellery and timepieces, spiced with pave “rapper jewellery” of every imaginable scale and fussiness, belies how truly accessible this street is. Yes, you can buy unimaginably valuable diamonds, any size your heart desires and your wallet enables. But you can also have a lot of first-time fun. For instance, you can search for a tiny diamond or that semi-precious stone you have always wondered about. You can take that old watch for repair to watchmakers that are as comfortable dealing with you as they are with the finest of watch traders, or you can find an inexpensive piece of vintage jewellery to begin your collection. There are traders with counters full of the old and unwanted styles, right next door to retailers with a single counter containing comfortably $20,000,000 worth of stock. That’s USD by the way! The contrasts are stark, overwhelming, and enthralling at the same time. Yes, it’s addictive and I leave after even just a day, enthused and excited by this section of a street where, just like it’s city, everything feels possible and nothing feels possible, all at the same time.
It is also an excursion, to a large degree, into Jewish culture and history. The very orthodox to the very liberal bring their own verve and energy to the street and shops. Their stories of arrival in New York are inspiring and remind one that anything is possible in a lifetime. On this particular day, the travelling promotional bus of Rabbi Menachem Mendel Schneerson claims a couple of parking spots and begins its marketing and music. A few onlookers are interested but most, and many of that religion, go about their trading and valuing, their winning and their losing, and play their part in this intensely human pastime of trading in beautiful things found in the ground.
Aquamarines are a gemstone as blue as the ocean’s depths. Their name derives from the Latin words ‘aqua’ (water) and ‘mare’ (sea). Their hues span from the dark, mysterious greens of the sea to the light, sparkling blues of the shallows.
by hamish sharma, head of important jewels
Make a Splash in Aquamarine
Property from a Private Melbourne Collector
Tiffany & Co. Aquamarine and diamond pendant
necklace, circa 2017
$50,000-70,000
ancient mariners believed this spectacular gem possessed the power to calm storms and ward off evil spirits. Cherished for centuries as a symbol of hope, love, and protection, aquamarines have been likened to a sailor’s talisman, believed to calm the tempestuous waters of life, bringing peace and protection. More than just a gem, aquamarines are a symbol of the enduring power of the human spirit. They have also been linked to marital happiness and personal strength. Aquamarines are said to bring courage, kindness, and wisdom to their wearer.
Aquamarines are primarily sourced from Brazil, Nigeria, Pakistan, India, and Madagascar. They are also found in Kenya, Tanzania, Mozambique, Zambia, and the United States. In the early 20th century, aquamarines became increasingly popular in Art Deco jewellery. The geometric designs and bold colours of this era perfectly complemented the gemstone’s modern and sophisticated appeal.
One of the most famous aquamarine jewels in history is the Aquamarine Star of the East. This massive gemstone, weighing over 1,392 carats, was discovered in Brazil in 1910. It was cut into a rectangular shape with a pointed top and was eventually set in a platinum necklace. The Aquamarine Star of the East was once owned by the Maharaja of Patiala, India, and is now part of the Smithsonian Institution’s National Museum of Natural History.
Another celebrated attraction at the Smithsonian Institution is the 10,363ct (about 4.6 pounds) Dom Pedro Aquamarine – believed to be the largest faceted aquamarine in the world. Discovered in the Minas Gerais region of Brazil, a hotspot for fine gemstones, the rough stone from which it was cut weighed around 100 pounds and was masterfully cut by German gem artist Bernd Munsteiner in 1992. What makes the Dom Pedro even more remarkable is its unique shape. The gem is an elongated obelisk, cut using Munsteiner’s innovative ‘negative faceting’ technique, which allows light to pass through internal cuts in such a way that the stone appears to glow from within. This cutting style gives the gem an ethereal quality, reminiscent of cascading waterfalls.
Currently housed at the Smithsonian National Museum of Natural History in Washington, D.C., it is named after the two emperors of Brazil, Dom Pedro I and Dom Pedro II. This aquamarine not only represents the rich gemstone heritage of Brazil but also stands as a symbol of both the natural beauty of aquamarines and the artistry of modern gem cutting.
Aquamarine’s beauty and symbolism have drawn many notable figures to its allure. Queen Elizabeth Il was known for her extensive collection of aquamarine jewellery, including a stunning parure gifted to her by the Brazilian government. The actress Elizabeth Taylor was frequently spotted wearing bold aquamarine designs by Bulgari and Van Cleef and Arpels. Other notable celebrities who have been associated with aquamarines include Jennifer Lopez, Angelina Jolie, Kate Middleton and the late Diana, Princess of Wales.
Aquamarines have also featured prominently in Royal tiaras. These include, Princess Olga Paley’s 1912 Cartier aquamarine and diamond tiara, Queen Victoria Eugenie of Spain’s aquamarine and diamond loop Tiara, Princess Margareta of Sweden’s aquamarine and diamond Kokoshnik and Princess Alexandra of Hanover and Cumberland’s Fabergé tiara (1904), that sold in a Magnificent Jewels sale in Geneva in 2019 for 1,035,000 CHF (Swiss Francs).
From ancient talismans to modern-day fashion statements, aquamarines are an enduring gem that continue to captivate hearts and minds. Their serene colour and association with love and protection make them also a meaningful gift for a loved one. Whether worn as a necklace, bracelet or a ring, aquamarine jewellery can be a beautiful and timeless expression of love and affection.
Our Important Jewels Auction will take place on Tuesday 3 December in Sydney. For viewing times and to see the full catalogue please visit our website.
opposite:
Dom Pedro Aquamarine
Smithsonian Institution's National Museum of Natural History / Alamy
left:
HM Queen Elizabeth II wearing a Brazilian aquamarine set in scrolled diamond and platinum by Mappin and Webb. Worn with matching earrings, a coronation gift from the president and people of Brazil / Alamy
right:
Property from a Private Victorian Collector Aquamarine solitaire ring
$6,000-9,000
Diving into Time
by patricia kontos, senior jewels & timepieces specialist
with summer at our doorstep, I thought it might be apt to plunge into the depths of the most popular of the tool watches, the dive watch. From the outset, dive watches were companion life savers, vital tools in allowing divers to track time to survive. Today, diver’s watches top the list of the sports watch category, packing a punch for their distinctive design features and as polished statement pieces, whether worn bayside, countryside or about town. In Goldfinger, a dive watch is even paired with a tuxedo, quelle horreur! When James checks the time by the light of his cigarette lighter, he reveals a Rolex Submariner on his wrist. But hey, that’s James Bond, who has a licence to kill let alone defy sartorial style rules.
For many collectors the quintessential dive watch starts in 1953 with the launch of the Blancpain Fifty Fathoms and Rolex Submariner in 1954, but some water would pass under the bridge before we would see the shift from water-resistant to ‘waterproof’ in the dive watch sense of the word (as no watch on the planet is 100% waterproof.)
As early as the 17th Century, efforts were made to create bespoke water and dust resistant watches for scientific exploration and discovery endeavours during the Age of Enlightenment. By the 19th Century, standard diving dress divers were placing common pocket watches on the inside of their metal helmets and sealed hermetic cases, with the first patent by Gruen in 1919. This advance proved effective but impractical as the watch could not be adjusted or wound while inside, and the frequent unscrewing severely limited the life of the case. In 1926 Rolex revealed its revolutionary Oyster case, a streamlined and technically improved solution to water resistance. The case back, crown, and bezel - all chief points for water to enter the watch case - all screwed into a solid middle case and these remain signature features of Rolex watches today.
Even in the 1920s, shrewd marketing and Rolex were in lockstep. In an ingenious publicity stunt, the firm’s founder Hans Wilsdorf, asked Mercedes Gleitze, a stenographer vying to become the first British woman to swim the English Channel, to wear an Oyster on one of her attempts. Although not able to complete the distance, Gleitze emerged from the icy waters with a Rolex worn around her neck, ticking. You might say the feat went the equivalent of ‘viral’ and the Oyster was now synonymous with submergible watches, but the quest against water entry was not over yet.
In 1931 Rolex would release yet another innovation, it’s perpetual motion mechanism. The Oyster Perpetual could now ratchet its water resistance up a notch by autonomously and continually winding, as such the durability and security of its components were notably improved.
Continuous innovations in diving watches and the need to go further, deeper and for longer kept pushing the boundaries of what could be possible in the ocean’s alternate universe. It wasn’t long before Omega released the first dive watch, the Marine, for commercial use in 1937, the watch had a water-resistant rating of 135 meters. Their aptly named Seamaster followed in 1948, however, as legible and water-resistant as both were, they were not equipped with the features that truly defined a dive watch as a genuine, practical underwater tool. That was soon to change when in 1953 Blancpain released their Fifty Fathoms watch, with a game changing rotating bezel, distinct Arabic numerals and clear indications, technically laying claim to the first dive watch.
Blancpain may have beaten Rolex to the true dive watch post, but Rolex would respond with a watch that had a capability in reaching depths over 300 meters (1,000 ft), the Submariner. Further developments in collaboration with DOXA saw an ‘improved’ Submariner version in the guise of the Sea-Dweller, the first watch to be fitted with a helium escape valve and a water resistance of 610 metres (2001ft). The Sea-Dweller would morph into the Deepsea Sea-Dweller with a case size of 44mm and depth rating increase to 3900m (12800 ft), ten times that of the original Submariner.
Today, we take water resistance for granted, with most watches being safe from accidental water exposure in everyday life. What has evolved has to go down as one of the great scientific marvels of the modern world, with these incredibly intricate, fragile, high precision instruments once cossetted in a waistcoat pocket now having the capabilities to plunge to depths that seem to defy not only logic but the imagination as well.
left: Deep Sea Diver / Alamy right: A Rolex Oyster perpetual submariner wristwatch Sold for $18,300
As summer approaches, art enthusiasts have a perfect opportunity to enrich their holiday plans with thought-provoking exhibitions.
by amanda north, art specialist
Curated for Summer: Exhibitions for your Holiday Itinerary
Radical Textiles, Art Gallery of South Australia.
Vivienne Westwood, fashion house, Wedding ensemble, 1993-94, London, National Gallery of Australia, Canberra, Gift of Vivienne Westwood 1994
curated for the season, these upcoming exhibitions offer a diverse range of artistic experiences, from contemporary art installations to historical retrospectives. Whether you are drawn to vibrant landscapes, immersive installations, or contemporary artworks, there is something for everyone. Here are my top recommendations to add to your summer itinerary.
YAYOI KUSAMA
15 December 2024 – 21 April 2025
National Gallery of Victoria, Melbourne
Yayoi Kusama is renowned globally for her distinctive use of pattern, colour, and symbols to create immersive, provocative and deeply personal artworks. Born in Japan in 1929, Kusama has influenced key art movements of the twentieth and twenty-first centuries, including pop art, minimalism, feminist art, and performance art. Celebrated for her playful and recognisable motifs; polka dots and pumpkins.
The exhibition at the NGV includes works that have never been seen in Australia and diverse displays of the artist’s immersive rooms. These include the most recent infinity mirror room, as well as a room which visually entangles viewers within 6 metre-high tentacular forms that are covered in yellow-and-black polka dots. Comprising over 180 works, the exhibition is the largest of the artist’s work in Australia, featuring painting, sculpture, collage, fashion, video, and installation, highlighting the breadth of Kusama’s multidisciplinary practice.
QUARANTINE ART FAIR
8 - 11 January 2025
Point Nepean, Portsea
The Quarantine Art Fair returns in January and will again be set within the Commanding Officer’s House and grounds at Point Nepean National Park in Portsea. This setting allows the public to engage with contemporary art, with a backdrop of stunning views of Port Phillip Bay, as well as providing an opportunity to learn about the history of Point Nepean as a quarantine station.
Established in 2021 by Jane Hayman and Luisa Bosci, the art fair shows a summer salon exhibition, creating a boutique experience for audiences to view paintings, sculptures, ceramics, textiles, and photography, with the added opportunity to acquire works. Previous contributing galleries included Kalli Rolfe Contemporary Art, LON Gallery, Murray White Room, Neon Parc, Sophie Gannon Gallery, Station Gallery, and THIS IS NO FANTASY.
ETHEL CARRICK
7 December 2024 – 27 April 2025
National Gallery of Australia, Canberra
Comprising of 140 artworks, this exhibition will be the first retrospective of Ethel Carrick’s (1872-1952) work for nearly fifty years. Born in Britain, Carrick lived and worked primarily in France and Australia, breaking new ground in the early twentieth-century art scene with her bold and vibrant post-impressionist style.
Though Carrick’s art is often contextualised alongside that of her husband, the Australian artist Emanuel Phillips Fox, their marriage lasted until ten years before his passing, and she continued to produce work for decades afterwards. This retrospective exhibition spans the entirety of Carrick’s career, bringing to light her diverse body of work from her extensive travels across Europe, India, and North Africa. The show offers a rare opportunity to fully appreciate Carrick’s unique contributions to art in Australia and abroad.
RADICAL TEXTILES
Art Gallery of South Australia, Adelaide 23 November 2024 – 30 March 2025 Artists and designers have long used textiles to reflect and respond to significant social upheaval and political disruption. Through tapestry, embroidery, quilting, and tailoring, textiles in art become expressions of tension, transformation, resistance, and activism. In the late nineteenth century, British artist and designer William Morris reacted to the mechanisation of the Industrial Revolution by creating handwoven tapestries with manually dyed thread, embodying an artisanal response to mass production. Today, artists are reimagining traditional textile practices to challenge the pace of the digital era.
Featuring works from over 100 artists, designers, and activists, this exhibition showcases AGSA’s international, Australian, and First Nations collections of textiles and fashion, complemented by sculpture, painting, photography, and moving image.
National Gallery of Australia, Kamberri / Canberra, purchased 1976
Hollow Log Coffins – Burial Ceremonies in Arnhem Land
by madeleine norton, head of decorative arts & art, sydney
throughout civilisation, humans have dealt with death in a myriad of different ways. However, the importance placed on funerary traditions and rituals is a commonality found across continents and ages. Indigenous people of Australia have varying burial practices according to their social group and these funerary practices are deeply ingrained in their culture.
In Arnhem Land, these rituals involve a ceremony known in English as hollow log or bone coffin ceremonies, and in indigenous languages as Dupun, Lorrkon, Larajeje, Djalumbu, Mudukundja, or Mululu ceremonies. The artefacts created and used in these ceremonies have similar varying names but you may have heard them referred to as a lorrkon, larrakitj, memorial pole or burial pole.
The purpose of the ceremony is to ensure the safe arrival of the spirit into the ancestral realm, and to reinforce the community’s deep connection with their ancestors and the land. After a person dies, their body is painted with totemic designs and mourned, then it is taken to the deceased’s clan land and left to decompose. Some months or even years later, the nomadic clan will return to retrieve the bones and perform the second part of the ceremony. A tree trunk (usually a Stringybark) naturally hollowed out by termites will be cut down, cleaned and painted with designs. The bones of the deceased are placed inside the log and after the ceremony the log is placed in a hole in the ground upright and left to the elements to decay over time.
From the 1950s these hollow logs began to be crafted for artistic endeavours and were made specifically for exhibition and to be sold. Those made for display purposes were never used in funerary ceremonies nor did they at any time contain bones. Elders supported the creation of these burial poles as artworks as well as their inclusion in a number of important exhibitions. Most significant is The Aboriginal Memorial, conceived for the 1988 Sydney Biennale and since then housed on permanent display in the National Gallery of Australia, Canberra. The Memorial is an installation of 200 hollow log coffins created by artists from Central Arnhem Land and installed in a formation that mimics the course of the Glyde River estuary. The piece was curated by Djon Mundine OAM, who at the time was the art advisor in Ramingining, Central Arnhem Land.
The Memorial is considered one of Australia’s most historically significant artworks, created in response to the Bicentenary of Australia, marking 200 years of European settlement. Many indigenous Australians felt there was little to celebrate and the Bicentenary provoked widespread boycott and protest. Prompted by this political climate, Mundine said “I thought that absence – boycotting things – would not be noticed internationally. I thought we had to have a presence, but on our terms.”1. Mundine was inspired by a documentary by John Pilger called The Secret Country in which Pilger says “in a land strewn with cenotaphs which honour the memory of Australian servicemen who have died in almost every corner of the earth, not one stands for those [first Australians] who fought and fell in defence of their own country.”2 The Aboriginal Memorial became the nation’s first artistic memorial to indigenous Australians, representing final rites for all Aboriginal people who have been denied a proper burial.
The Memorial originally intended to include ten artists in its creation, however, interest in the local community was so intense that 43 artists contributed to the project. These were both male and female artists from Ramingining and it’s surrounds in Central Arnhem Land, most of whom were professional bark painters, sculptors and weavers. One of these artists was Djardie Ashley (b.1950) who contributed five hollow logs to the artwork. Ashley worked for most of his life as a stockman all over the Northern Territory and Arnhem Land before focusing on painting. His work is characterised by sophisticated interlocking triangular designs, each representing the spearheads associated with the Wagilag Sisters’ story, an important Aboriginal creation myth. Djon Mundine commissioned a number of hollow logs for the project and selected 200 to represent one for each year of European settlement from 1788-1988. One of Ashley’s hollow logs commissioned for the project, but not incorporated in the final artwork, will be included in The Art Collector auction in Sydney on the 2nd of December. It is remarkable to have such an important piece of Australian history available to the private market at auction and Leonard Joel is honoured to be offering such a significant work of art.
1. (Jon Mundine 2018, cited in “The Aboriginal Memorial”, National Gallery of Australia, 31 May 2022, accessed 8 October 2024, <https://nga.gov.au/stories-ideas/the-aboriginal-memorial/>)
2. (John Pilger, 1985, cited in “The Aboriginal Memorial – History”, National Gallery of Australia, accessed 8 October 2024 <https://nga.gov.au/first-nations/the-aboriginal-memorial/history/>)
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.
opposite: Several hollow log coffins made by Aboriginal people inside Ian Potter Centre NGV Australia in Melbourne / Alamy
right:
Djardi Wodalpa Ashley
far right:
The Aboriginal Memorial National Gallery of Australia, Canberra
A Brilliant Escape: Jewellery Books to add some Sparkle to Your Holiday Reading
by lauren boustridge, senior jewels & timepieces specialist
as the end of the year approaches, the time for rest and relaxation draws near. For many of us, this is the perfect opportunity to unwind and immerse ourselves in the books and stories we have been meaning to explore. If you’re anything like me, the holiday period offers a rare and precious chance to settle down with a good read, uninterrupted, and truly savour the experience from cover to cover. And if I’m being honest, it also serves as the perfect excuse to gracefully retreat from some of the more energetic pursuits of my ‘active relaxer’ family members. For those who share my passion for jewellery, I’ve curated a list of books that will inspire, educate, and captivate you during those quiet holiday moments. So, if you’re ready to indulge in some glittering reads, here are a few that will make your summer shine even brighter.
For the Scholars
Understanding Jewellery by David Bennett & Daniela Mascetti
Understanding Jewellery is often hailed as “the jewellery bible,” written by two of the most respected experts in the field, David Bennett and Daniela Mascetti. First published in 1989, it has remained in continuous print, serving as an indispensable reference for beginners, enthusiasts, and specialists alike. This comprehensive guide delves into 19th and 20th-century jewellery, offering historical context on shifts in design and craftsmanship, along with the methods for identifying, dating, and valuing pieces. Packed with a wealth of expertise, it offers deep insight into the captivating world of jewellery.
Far from a light read, Understanding Jewellery is a substantial hardback—perfect for leisurely browsing during a holiday at home, or as a thoughtful gift for the jewellery lover in your life. I received my copy from my father when I first expressed an interest in jewellery as a young teenager, and it has journeyed with me from New Zealand to Europe and now resides with me in Sydney. Even after reading it cover to cover many times, I still find myself reaching for it nearly every month.
For the Historians
The Cartiers: The Untold Story of the Family Behind the Jewelry Empire by Francesca Cartier Brickell Francesca Cartier Brickell, the great-granddaughter of Jacques Cartier, was rummaging through her attic one day in search of a bottle of champagne, when she stumbled upon some old trunks. Inside, she uncovered a treasure trove of letters that vividly detailed the lives and histories of her ancestors, the Cartiers. Driven by curiosity, she embarked on a global journey to research her family’s legacy, tracking down individuals connected to her relatives and piecing together long-lost fragments of the story along the way. The Cartiers is the fascinating chronicle of a jewellery dynasty spanning four generations, from revolutionary France to the 1970s. At the core of the tale are the three Cartier brothers, united by their motto, “never copy, only create,” who propelled the family firm to international fame in the early 20th century through their exceptional, complementary talents. Louis, the visionary designer who revolutionised men’s watches by creating the first wristwatch for an aviator friend, Pierre, the brilliant dealmaker who famously acquired the New York headquarters on Fifth Avenue in exchange for a double-stranded natural pearl necklace, and Jacques, the expert gemmologist who travelled extensively to India, securing access to the world’s finest rubies, emeralds, and sapphires, which inspired Cartier’s iconic Tutti Frutti collection.
For
the Dreamers
The Jeweler of Stolen Dreams by M.J Rose
The Jeweler of Stolen Dreams is a spellbinding tale inspired by the real-life legend of renowned jeweller Suzanne Belperron. Told through the first-person perspective of the protagonist and entries from Suzanne’s diary, this novel weaves a mesmerising narrative of magic, mystery, romance, and revenge. It follows the lives of two fiercely passionate women, separated by decades but connected by a shared vision. One is Suzanne Belperron herself, struggling to protect her jewellery business while attempting to save the man she loves. The other is a young auctioneer with extraordinary abilities, whose discovery of a hidden secret threatens her very existence.
opposite:
Blanche Augustine Camus
(French, 1881-1968)
in the Garden
Rebecca Stormont, our Modern Design specialist, chats with Heide Gallery curators, Kendrah Morgan and Laura Lantieri about their current exhibit Molto Bello: Icons of Modern Italian Design.
Molto Bello
We spoke with Heide Gallery's Molto Bello curators, Kendrah Morgan and Laura Lantieri about the upcoming exhibit.
Tell us about your current exhibition Molto Bello.
Molto Bello: Icons of Modern Italian Design, tells the remarkable story of how Italian design became admired throughout the world, combining Italy’s rich craft tradition, with technological advances, creativity, wild experimentation and new inventions. The exhibition brings together more than 180 objects, spanning a sixty-year period, from the first Milan Triennale in the 1930s to the Memphis Group of the 1980s. Held across Heide’s Main Galleries and Heide Modern, it celebrates key figures in the industry and their enduring contributions to global culture. Visitors can see, for example, the dynamic work of early architect–designers such as Gio Ponti and Carlo Mollino. Ingenious and stylish creations by Gae Aulenti, Anna Castelli Ferrieri, Joe Colombo, and the Castiglioni brothers. Quirky and provocative Radical Design pieces from the 1970s, and iconic objects by Ettore Sottsass, Michele de Lucchi, Nathalie Du Pasquier, Gaetano Pesce, and many others.
What sparked the initial concept?
There’s been a resurgence of interest in Italian design recently and Heide is located in an area with a rich Italian heritage. This exhibition presented an opportunity to engage with our local community on a subject that speaks to the moment. Developing Molto Bello has been challenging as it is one of the most ambitious projects that Heide has undertaken, and we are small team with modest resources. We are very grateful to have an Italian company, Webuild, as our Presenting Partner, as well as support from the Italian Australian Foundation, the John and Rose Downer Foundation, and Bed Bath N’ Table. It’s also been wonderful to have a talented exhibition designer working with us on the project; Peter King, who has created a visually exciting and immersive audience experience.
Are all the objects sourced locally from Australian collectors and enthusiasts?
Yes, everything in the exhibition has come from within Australia, from both public institutions and generous private lenders. When we set out to curate Molto Bello we were very fortunate to have the guidance and assis-
tance of a number of passionate collectors and researchers who shared their connections. We’ve been hugely impressed by the amount of fabulous and, in some instances very rare, Italian design objects that we were able to source locally through word-of-mouth. It really reflects the high level of interest in the subject. We should add that Leonard Joel staff have been incredibly helpful in facilitating loans from private collectors who have acquired items at past auctions. Wherever possible, we’ve sought to include vintage pieces. We’ve also worked with major design brands who have kindly lent re-editioned examples to ensure the breadth of Italian design has been represented in the exhibition narrative.
What are your favourite pieces from the exhibition? Anything you would love to take home?
As curators it is always difficult to pick favourites! In selecting objects for the exhibition, we were drawn to pieces that have aesthetic quality, originality, high production values, an embrace of technological advancements and fascinating stories behind them. One of our personal favourites is Gaetano Pesce’s UP5 chair. Affectionately known as ‘La Mamma’ because of its voluptuous feminine form and its round ‘baby’ ottoman, connected by a cord. The original version was made of a new type of foam and came flat packed in a PVC envelope which self-inflated when taken out. Legend has it that Pesce’s initial idea for the chair came from compressing and releasing a shower sponge.
Other exhibition highlights for us include Cini Boeri’s ethereal Ghost chair of 1987, made of a single sheet of glass. As well as a rare folding screen, based on a 1917 drawing by the futurist artist Giacomo Balla, produced by the design entrepreneur Dino Gavina in 1971. The Balla screen is a stunning orchestration of vibrant geometric forms suggesting the essence of forms in movement.
We’d also both love to take home some of Ettore Sottsass’s ceramics, or any of the incredible lamps in the exhibition, such as Achille and Pier Giacomo Castiglioni’s famous Arco of 1962. Also, Tobia Scarpa’s Fantasma resin standing lamp of 1961, or Gae Aulenti’s remarkable Pipistrello of 1965, which echoes the shape of a bat’s wings. One would be very happy to take home the vintage Vespa as well!
opposite:
Gaetano Pesce for B&B
UP5 Chair (La Mamma)
polyurethane foam covered in stretch fabric Armchair 103 x 120 x 130cm Ottoman 57cm (diam.)
Wolfgang Sievers, an icon of modernist photography, brought a unique vision to Australian industry and architecture, creating powerful images that elevated these subjects to the status of fine art.
by hannah ryan, prints & multiples specialist
Wolfgang Sievers: Capturing Industry with a Modernist Lens
through sievers’ lens, heavy machinery and corporate architecture gained a new sense of dignity and grandeur. Born in Germany in 1913, Sievers’ upbringing laid the foundation for his distinct visual language. His father, an art historian, and his mother, a talented painter, immersed him in the art world from an early age, exposing him to theatre, music, and fine art. This not only instilled in him a strong sense of composition but also an appreciation for art as a vehicle for social commentary. At the age of 12, Sievers received his first camera from his parents, a pivotal gift that would shape his career.
As a young man, Sievers was influenced by the Bauhaus movement. He studied at the Contempora School for Applied Arts in Berlin under the Bauhaus ethos; that art, design, and industry should exist in harmony, supporting a vision of modernity that was accessible and functional. In 1938, as the Nazi influence grew in Germany, Sievers emigrated to Australia, bringing with him not only an advanced skillset but also a vision to use photography as a tool for showcasing the beauty of industry.
Upon arriving in Australia, he established a career with commercial clients, particularly excelling in industrial photography for companies like Vickers Ruwolt. Sievers didn’t just document the machinery, he created images that gave these massive constructs a sense of order, strength, and beauty. His photographs became iconic, portraying industrial machinery as monumental achievements in engineering.
One of Sievers’ most famous works, Gears for Mining Industry 1967, exemplifies his ability to turn mechanical components into powerful, almost mythic symbols. In this photograph, Sievers carefully staged a gigantic gear, arranging the lighting to empasise its grand scale. He positioned an engineer scaling the gear’s teeth, a lone figure seemingly ascending a mountain of metal. This image was fully orchestrated, with the gear hoisted by a crane, the engineer added to provide scale, and shadows cast with Sievers’ own lights to isolate the gear against a darkened background.
While Sievers’ photographs celebrated the marvels of machinery, he never lost sight of the workers who operated them. In his images, Sievers
often juxtaposed workers with machinery, capturing moments where human skill complemented industrial precision. It is a theme prominent in works like Ropemaking, Miller Rope, Melbourne 1962, where he focused on the worker’s hands as they guide the thick, twisting ropes into form.
Parallel to his industrial work, Sievers documented modern Australian architecture, collaborating with some of the country’s most prominent architects of the time. His photographs feature works by Frederick Romberg, Robin Boyd, Harry Seidler, and David McGlashan, showcasing designs characterised by sleek lines and minimalist forms. His photographs of the Heide House designed by McGlashan, capture the geometric purity and open-space philosophy of modernist architecture. These works not only celebrated architecture’s functional beauty, but also connected Sievers with his Bauhaus ethos where form followed function and spaces were crafted to embody ideals of progress and innovation. His images reveal elements with a clarity that often feels timeless, framing buildings in a way that suggests they could exist in any modernist metropolis, be it Berlin or Melbourne.
Wolfgang Sievers was awarded an Order of Australia (AO) in 2002 for ‘service to the arts as a photographer, and for recording Australian cultural life and heritage through the visual documentation of Australian industry and architecture of the twentieth century’. Sievers’ legacy endures as a testament to his belief that the worlds of art, architecture, and industry are not separate, but interconnected in the continuous evolution of modern life.
We are pleased to present An Important Collection of Wolfgang Sievers Photographs and Studio Objects in November.
The Wolfgang Sievers: Through the Lens timed online auction will take place on Wednesday 11 December in Melbourne. For viewing times and to see the full catalogue please visit our website. previous page: Wolfgang Sievers (1913-2007) "Stanhill", Architect: Frederick Romberg 1959 $400 - 600 left: Wolfgang Sievers (1913-2007) Ropemaking, Miller Rope, Melbourne 1962 $400 - 600
top: Wolfgang Sievers (1913-2007)
The Reed's "Heide", Architect:
David McGlashan 1968
$400 - 600
You may have noticed the striking, coloured polka dots splattered across Louis Vuitton's Speedy bags, and wondered, who was responsible for these arresting designs?
by indigo keane, luxury specialist
Dot Dot Dot...
the artist behind these creative disruptions is Yayoi Kusama, an iconic, 95-year-old Japanese artist known for her whimsical polka dots and immersive installations. She began her iconic fashion collaboration with Louis Vuitton under their former Creative Director, Marc Jacobs, in 2012. The collaboration was inspired by Jacobs’ visit to the artist’s Tokyo studio in 2006, where she gifted him a Louis Vuitton Ellipse bag decorated in her hand painted signature dots.
Kusama, who has resided at the Seiwa Psychiatric Hospital in Tokyo since 1977, began to create art as a therapeutic escape, allowing her to channel her inner landscape into tangible forms. The artist’s long and plentiful artistic journey began when she began experiencing vivid hallucinations at just ten years old. These visions, characterised by repetitive patterns, evolved into a fascination with infinity, sparking her polka dot obsession and shaping her distinctive artistic motif that manifests through immersive installations, paintings and sculptures. The creative process for Kusama often begins with her signature polka dots, which she refers to as “infinity nets” or “infinity dots”. These dots seem to extend endlessly, mirroring her perception of the universe. She meticulously applies these patterns in various forms, with the repetitive action acting as a meditative practice for her, helping to alleviate an occasionally tumultuous inner world.
Collaborating with a fashion powerhouse like Louis Vuitton allowed Kusama to expand her artistic expression to a new medium, transforming the luxury brand’s signature pieces into canvases. The partnership was revived in 2021, marking a significant milestone, as Kusama’s work continues to resonate with a new generation of art and fashion enthusiasts. Louis Vuitton re-introduced her iconic polka dot and pumpkin motifs,
blending them with innovative designs and modern sustainable practices. The collection featured not only ready-to-wear pieces but also accessories ranging from handbags to sneakers, all echoing the spirit of joy and wonder that Kusama encapsulates in her art.
The collaboration has also been punctuated with immersive customer experiences, including jaw-dropping exhibitions and innovative installations in Louis Vuitton’s retail stores. This included the takeover of the house’s Champs-Elysées flagship store, where a gigantic sculpture that resembled Kusama was erected on the exterior of the building, to appear as though she were painting dots on the facade. These events allow patrons to experience her art in a multisensory way, bonding the voyeur or consumer to the art and product.
Yayoi Kusama’s collaboration with Louis Vuitton blurs the line between art and fashion and celebrates the beauty of disruption, neurodivergence and individuality. We continue to witness the evolution of the luxury market, with Kusama’s cheerful yet philosophical imprint on the luxury fashion house forever embossed on popular culture, and reminding us that great art can transform the practical into something truly magical.
Large inflatable mannequin depicting Japanese artist
Yayoi Kusama on store front of Louis Vuitton shop, Paris / Alamy
A rare limited edition Yayoi Kusama X Louis Vuitton, Neverfull bag
$3,000
top:
Yayoi Kusama X Louis
Vuitton, Cotteville 40 Trunk 2023 / Alamy
how to…
Appreciate the Curation of an Art Exhibition with Rodney James
left: Robert Herdman
A fern gatherer - West Highlands (1864) oil on canvas
70.2 x 60.0 cm
National Gallery of Victoria, Melbourne.
Purchased by the Commissioners of Fine Arts for Victoria, 1864.
Rodney James is an art consultant, valuer, curator, and author with extensive expertise in 19th and 20th-century Australian art. Through his research, Rodney has illuminated the vital part that art critics play in shaping the understanding of Australian art and its artists. James is currently curating a major exhibition for the Gippsland Art Gallery on the pervasive 19th and 20th century fascination with ferns – called Pteridomania. Pteridomania (Petribo, Latin for ferns) was a Victorian craze that saw the rise of an obsession with ferns, from collecting and foraging the live plants, to depictions across fine art and decorative motifs in the home.
What inspired you to curate an exhibition centred around the historical fascination with ferns in art and design from the 19th and 20th centuries?
There is a painting in the National Gallery of Victoria (NGV) by Scottish academic Robert Herdman entitled A fern gatherer - West Highlands (1864). It is a prime example of Victorian-era sentiment and the fascination with all things fern-related. Having been purchased by the Commissioners of Fine Arts for Victoria, Australia, in the same year that it was made, works such as this got me thinking about the nature and spread of pteridomania and how this phenomenon manifest in places like Australia and New Zealand. A few years back, I also noticed that many contemporary artists were focusing on ferns as subjects for their work and thus set about trying to understand and reveal the relationship (and gaps) between then and now.
Gippsland Art Gallery was the logical choice given its location and proximity to old growth rainforests, as well as its innovative exhibition program that combines historical and contemporary manifestations of the natural world.
Can you elaborate on the process of collaborating with institutions like the NGV and the Powerhouse Museum.
The NGV and the Powerhouse Museum hold incomparable collections, including intriguing fern related material and ranging from paintings, drawings, photographs, and prints through to silverware, furniture, fashion, jewellery and ceramics. In order for Fernmania to reach its full potential we needed to be able to access these collections more fully, so we (myself and Gippsland Art Gallery staff) approached each institution for permission to collaborate more closely with the curators and exhibition managers.
Through the encouragement of Director Tony Ellwood AM, the NGV is working with Gippsland Art Gallery to present this major partnership exhibition. Currently we are looking at borrowing around 40-50 pieces, providing a strong backbone to the exhibition, and including their star pieces as well as the lesser-known gems. This sort of partnership is something that the NGV is doing more and more of – increasing access to the state collection – seen recently with the Baroque exhibition at Hamilton Gallery (2023-24) and in 2025, supporting Gippsland Art Gallery as a major lender to present its landmark exhibition Turner & Australia.
How did you approach the task of integrating contemporary commissioned works with historical pieces to create a cohesive narrative for the audience?
The exhibition is divided into two separate components, beginning with Fernmania, which concentrates on the 19th through to the late 20th centuries, allowing an in-depth look at how fern-derived subjects and motifs evolve and undergo subtle shifts and permutations. The second component, Lush, is a complementary exhibition that includes major recent or newly commissioned works by 10 or so contemporary artists including William Robinson, Rosemary Laing, Mary Tonkin, and Danie Mellor. The idea is to focus on the feeling of being immersed in a rainforest, surrounded by large single works or clusters of smaller ones, with the scene set as you enter the main gallery space.
By interspersing select contemporary works with the 19th and 20th century component, we also hope to provide a visual and thematic continuity between old and new and set up interesting questions and dialogues.
What were some of the challenges or unexpected discoveries in curating such a large, multifaceted show that involves private collectors and institutional loans?
Its still a work in progress, so wonderful things are turning up each week! I was surprised to learn that there is an Australiana collection administered on behalf of the Australian Government that includes incredible things such as decorated emu eggs and silverware with fern motifs. There is the challenge of fitting such a treasure trove of items into the space, and the need to be selective and choose specific stories or objects to talk about in-depth. In particular, Australia’s participation in the 1862 Intercolonial Exhibition is such an important story to share, headlined by the inclusion of a major painting by Eugene von Guerard. This is the time when fern motifs first became conspicuous, maintaining popularity until the 1930s and beyond.
The role of auction houses, including Leonard Joel, in identifying key works in private collections is significant. Then we just have to convince the collectors to part with their most prized possessions for a three-month period – thankfully, I am always amazed by the generosity of custodians and their willingness to share for the edification and enjoyment of others!
How do you hope the exhibition will resonate with your audiences?
We are expecting a truly diverse audience, from plant lovers through to die-hard art afficionados. My hope is that the exhibition is informative, enjoyable and challenging – a chance to see older favourite works in new contexts and to encounter a range of nationally and internationally recognised artists, all concerned in some way with the environment and the preservation of our shared histories and ecology.
Visit ‘Fernmania // Lush’ at Gippsland Art Gallery from 6 June - 23 August 2026. Special exhibition/accommodation packages will be available closer to the time. Rodney James’ book ‘Letters to a Critic: Alan McCulloch’s World of Art’, Miegunyah Press, 2023, is available directly through the bookstore on Rodney’s website: rodneyjamesart.com.au
Type Letters50 into the discount code to receive $10 off the RRP.
FIVE MINUTES WITH AMANDA NORTH
In this issue we get to know Art Specialist, Amanda North’s favourite things.
favourite auction purchase
In my first year of working at Leonard Joel, I curated a feature in the Art Salon with paintings by Anne Marie Graham (who is 99 years old!) and instantly fell in love with her work 'Our Fountain,' which subsequently was passed in at
favourite movie
I have a soft spot for art movies...some of my favourites are Mona Lisa Smile, The Monuments Men, Woman in Gold, Midnight in Paris and The Best Offer.
favourite wine / cocktail / coffee
Oat flat white during the work week, matcha latte on the weekend and Campari Spritz or bubbles after hours!
leonard joel staff all seem to have a side project or talent, what's yours?
I spend most summer holidays with family on the Mornington Peninsula. From about 15 years of age, I have spent time snorkelling, collecting seashells, sea glass and crockery from shipwrecks in the bay and turning them into artworks and decorating mirrors with the treasures I find. More recently, I have been collecting old fishing lures and repurposing them into garden sculptures.
22ND REPORT
by international fund for animal w (ifaw)
Five Things We’ve Learnt in Five Years Since Black Summer
In December 2019 the sky went black in many parts of Australia. In the following weeks, unprecedented bushfires killed 33 people, destroyed thousands of homes, and decimated approximately three billion animals and 24 million hectares of habitat.
Reflecting back over the five years since, we now know much more about what works and what doesn’t when it comes to saving animals and people, and the places they call home.
1. The importance of proactive preparedness.
In the wake of the fires it was apparent that many people were not prepared for such a disaster, including the wildlife sector. We learnt that bushfire preparedness and response cannot be achieved by one individual or sole group, which is why we now serve as a conduit between rescue groups and government agencies across the country. We help build capacity by facilitating free emergency evacuation workshops for wildlife rescue groups and carers, and create stronger networks to share learnings and resources. When we all work together we can strengthen a well-coordinated emergency response plan for wildlife across multiple levels of government, in regional networks, and priority regions.
2. The value of individual animals.
Individual animals matter in conservation. When populations (let alone species) approach a tipping point, as was the case with koalas after the fires, saving one animal can mean the difference between existence and extinction. We also believe every single animal has sentience, dignity, and intrinsic worth and as such is worth rescuing. Nature is inter-connected; if animals thrive, so do we.
3. A holistic approach is vital.
Rescuing wild animals from disasters such as Black Summer is one thing, but what is the point of supporting them through extensive rehabilitation programs, when there is nowhere to release them where we know they will thrive? The value of a truly integrated approach became more apparent after the fires; one that incorporates rescue, rehabilitation, release, securing habitat, and subsequent monitoring and research of both animals and habitats. A vital part of this cycle is empowering the local community to increase their resilience to climate change effects. To that end, over the last five years IFAW has helped plant almost 100,000 trees, creating more than 60 hectares of habitat with 31 partners across 21 communities. In addition to supporting several in-depth research projects into how flora and fauna recover from fire.
4. Protecting our flora and fauna requires a joint effort. Australia’s unique nature contributes significantly to our national economy; some estimates place half our GDP as reliant on nature-related activities. Yet, when it comes to protecting our native animals and the places they call home, charities and volunteer organisations bear much of the workload, relying on donations which are drying up as the memory of Black Summer fades. As part of Places You Love, a national alliance of conservation organisations, we continue to lobby the Australian government to pass stronger nature laws. Across many states, we are helping build specialist veterinary capacity to treat injured wildlife, while also providing critical infrastructure, equipment and supplies –the lack of which was sorely evident during the fires. Through the notion of ‘caring for carers’, we help volunteer wildlife carers take better care of themselves and their animals. Government support for these activities is thin on the ground, despite the value of the sector’s contributions to protecting the species that define our country.
5. We can’t ignore climate change warnings.
Black Summer thrust Australia into the global spotlight as a dire example of what can happen when climate change warnings are ignored. Despite their intensity, we still haven’t done enough to heed those warnings. We need to embrace that nature is part of the solution. We’re still lobbying government to save old-growth forests that absorb carbon and are more fire-resistant than plantations. We’re still fighting to protect animals who improve the environment through foraging and fertilising. By saving nature, we can help save ourselves.
Alongside the losses of Black Summer we gained valuable insights and the opportunity to collaborate with an expanded network of people committed to the environment, including the traditional custodians of our land. We still face huge challenges, here and globally, but we can all contribute to solutions with actions as simple as volunteering for a tree planting event or signing petitions to protect nature, and work together for the health of our country and planet.
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.
Image: Noosa National Park Sunshine Coast Queensland. Peregian Bushfires, Bear Koala Detection Dog, First Deployment
Thinking of Selling?
Art
Jewellery
Luxury
Decorative Arts
Modern Design
+
15 DEC 2024 – 21 APR 2025
Installation view of Yayoi Kusama's The Hope of the Polka Dots Buried in Infinity Will Eternally Cover the Universe 2019 at Kusama's solo exhibition Yayoi Kusama: All About Love Speaks Forever at Fosun Foundation, Shanghai.
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
A LAST LOOK
In this feature,
we asked our experts to select a treasured auction item they have sold.
It was an honour to be selected by the vendor to auction this world class diamond on behalf of the family. It was very personally satisfying getting them a wonderful outcome / Hamish Sharma, Head of Important Jewels
I was thrilled to discover this beautiful work in North Queensland by one of my personal favourite artists, Nora Heysen. Among her other accomplishments, she was the first woman to win the Archibald Prize. / Troy McKenzie, Queensland Representative Specialist
My personal highlight for 2024, was researching and cataloguing a private collection of antiquities for our August Decorative Arts auction. The pièce de résistance of the collection was this wonderful Attic black-figure Oinochoe, dating to the 6th century BC. It is incredible to imagine the multitude of custodians this piece has had over its long life, and it is a privilege to be part of its journey into its new home. / Chiara Curcio, Head of Decorative Arts, Design & Interiors
Not only does this timepiece carry the legacy of being probably the world’s most famous dive watch, but it was also bestowed with the honour of being a watch of choice of the Peruvian military forces. / Patricia Kontos, Senior Timepieces Specialist
Nora Heysen (1911-2003)
Sea Shells With Spring Flowers 1955 Sold for $20,000 Women Artists, September 2024
An Attic black-figure trefoil Oinochoe, circa late 6th century BC Sold for $7,500 Decorative Arts, August 2024
Rolex Submariner 'Fap' Ref 1680 a stainless steel wrist watch with date and bracelet made for the Peruvian Airforce, circa 1974 Sold for $45,000 Timepieces, June 2024
Magnificent diamond solitaire ring weighing 8.15 carats. Sold for $425,000 Important Jewels, April 2024
I was really excited to consign this print, as Helen Ogilvie is one of my favourites. The print was originally sold with Leonard Joel in 2005, under a different title. I found another example of it illustrated in a book and was able to confirm the original title. Like many female artists of her time, her works are now becoming more recognised and appreciated by avid collectors. / Hannah Ryan, Prints & Multiples Specialist
I’ve chosen an ancient Egyptian stone palette, thought to be from Old Kingdom, c. 2649-2130 BCE. Not only is the carving incredibly fine, but the provenance was exceptional. It was purchased by the vendor's father in The Garrett Chatfield Pier Collection of Egyptian Antiquities auction in New York in 1936! / Madeleine Norton, Head of Decorative Arts and Art, Sydney
Named after the traditional fishing boats used in Northern Brazil, this Jean Gillon 'Jangada' chair and footstool sailed off to a new home with the auction result exceeding estimate and vendor expectations. / Rebecca Stormont, Modern Design Specialist
I have chosen this exquisite gem-set snake necklace as my personal standout for its rarity, and the intricate high quality of the workmanship. The symbolism of this piece is also an integral part of its appeal, as it is a mourning piece of jewellery, representing eternal love, loyalty and in this case transformation. It is no wonder that it doubled its $8,000-$12,000 estimate selling for $23,750 IBP. / John D'Agata, Head of Jewels & Timepieces
Helen Ogilvie (1902-1993)
Wattle Trees 1940
Sold for $5,500 Women Artists, September 2024
Jean Gillon Jangada Armchair and Ottoman for Italma Woodart
Sold for $9,375 Modern Design, April 2024
18ct gold, turquoise, diamond and garnet mourning suite Sold for $23,750 Fine Jewels, June 2024
An Egyptian stone palette with oryx heads, possibly Old Kingdom, circa 2649–2130 B.C.E
Sold for $18,750 The Collector's Auction, September 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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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
John D'Agata Head of Department 03 8825 5645 john.dagata@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
