This issue is dedicated to all things Sydney! We are thrilled to celebrate 10 years since our first catalogue auction in Sydney. The journey from this first auction held at the InterContinental hotel, to the beautiful space we now occupy in Queen Street, is told through the stories of our Managing Director, John Albrecht and Jewellery Consultant, John D’Agata. Our experts share their favourite discoveries in Sydney, from unique and rare auction items to the perfect cultural day out. We speak with Anne Schofield about her treasure trove of jewellery pieces and learn more about Sydney visionaries like artist John Colburn, silversmith Alexander Dick and designer Marc Newson. We hope this ignites your interest in collecting and we encourage you all to stop by our Sydney showroom.
auction calendar
February – March 2025
features
A Decade of Discovery
Curtains of Legacy: The Artwork of John Coburn
Marc Newson
Once Upon a Time, a Department Store Housed
The Most Fashionable Gallery in Town
The Early Days of Leonard Joel Sydney
Art Out of Sydney - Yesterday, Today & Tomorrow
The Fame & Misfortune of Colonial NSW Silversmith, Alexander Dick
Collectors Corner: Anne Schofield
Expert Advice for Building an Asian Art Collection
One Giant Leap for Omega: How Did a Driver’s Watch
End Up on the Moon?
10 Decades, 10 Bags
A Day Exploring Sydney’s Cultural Heartbeat
in focus
How to Manage an Artist’s Estate with Sam Dickerson
Five Minutes with Lauren Boustridge
A Glittering History of Sydney’s Jewellery Icons
22nd Report: Animals Are Our Allies in Fighting Climate Change A Last Look
cover:
A Selection of Fine Jewels From Various Upcoming Auctions.
below: John Coburn (1925-2006)
The 1st Day: The Spirit of God Brooded over the Waters wool tapestry ed. 3/3
Furniture & Interiors, Objects & Collectables, Jewellery, Art Every Thu from 10am
Melbourne
Ettore Sottsass
'Holebid' coffee table for Memphis Milano
$5,500 - 7,500
A Decade of Discovery
by john albrecht, managing director & head of important collections
his past november marks 10 years since we conducted the first catalogue auction for our Sydney salerooms. It was a mix of Decorative Arts, Jewellery and Fine Art and it took place at the InterContinental Hotel in Double Bay. Our offices in Queen Street at the time, as lovely as they were, with their Art Deco aesthetic, were simply too small to hold an auction. Since then, at least one extraordinary auction event has taken place in Sydney each year. Unquestionably, the highlight for us was our appointment to manage the Decorative Arts Collection of the Late J.O Fairfax AC. The two visits to his Bowral property will stay in my memory forever. As will his two imposing Rhodesian Ridgeback dogs that protected the home and the English-inspired gardens most convincingly. I’ll never forget being served sandwiches there but only after the dogs were made to leave the room!
Not long after this a move to The Bond, across the road in Queen Street, provided salerooms and expanded our capacity. This enabled the establishment of a calendar of local auctions for our Sydney clients. Over time this evolved from mixed decorative arts offerings to what is now a well established offering of seasonal auctions across jewellery, art and decorative arts. The Collector’s Auctions, Important Jewels and now The Sydney Jewellery Edit, are part of the Sydney collecting calendar, peppered by the unpredictable arrival of single-owner collections throughout any year.
The Collection of the Late John Schaeffer AO, The Private Collection of Trevor Kennedy AM, and The Robert Compton Jones Collection, are just some of the named collections that we have had the pleasure of celebrating in our Sydney rooms and it remains every auctioneer’s delight, including ours, to wonder what that next collection or important single item might be that comes through our door, or these days, more often than not, our Inbox! Perhaps the discovery of another “lost painting” like our Madeleine Norton’s discovery of Jeffrey Smart’s E.U.R II, 1965 or the sale of a new record-breaking diamond like Hamish Sharma’s $1.3 million solitaire ring. Whatever presents, we like to think of our Sydney salerooms as flexible as they are adventurous, and this is ultimately what makes an auction room fascinating - dealing with all walks of life and all manner of collecting!
Today, a decade on, Leonard Joel Sydney is unquestionably the centre of the local jewellery auction scene, with 8 annual jewellery events and just as importantly, their unique take on decorative arts and art auctions, with its continued ability to reflect and blend old and new collecting habits. After all, what other auction house was open and playful enough to take on the sale and yes, celebration, of the design and history behind the Sydney Opera House ‘Doughnuts’. Every consignment, every visitor and every buyer has made this all possible and it remains our goal, in this second decade, to continue to reflect your collecting habits and tastes, wherever that might take us.
opposite: Concert Hall with Musica Viva, March 1973 photographs by Max Dupain. Credit_ Sydney Opera House Trust and Mitchell Library, State Library of NSW
left:
A Fine and Rare 9ct Gold Triple Swivel Fob Seal Sold for $25,000 The Private Collection of Trevor Kennedy AM
the sydney opera house, inaugurated on October 20, 1973, has long been celebrated as the cultural icon of Australia. Integral to its artistic identity are the tapestry curtains Curtain of the Sun and Curtain of the Moon, created by abstract artist John Coburn. These monumental works, accompanied by a series of related maquettes and screenprints, represent Coburn’s masterful integration of bold design, technical precision, and symbolic depth.
In 1969, architect Peter Hall, tasked with completing the Opera House following Jørn Utzon’s departure, commissioned Coburn to create two tapestries as theatre curtains. These were intended for the Opera Theatre (now the Joan Sutherland Theatre) and the Drama Theatre. Reflecting on this pivotal moment, Coburn recalled standing in the Opera Theatre, visualising his designs, “I could just see it and I couldn’t wait to get home to put my ideas down on paper. I designed the two curtains that night…”
The journey from initial concept to completed tapestry began with maquettes, detailed gouache studies that served as visual blueprints. Coburn’s maquettes balanced geometric abstraction and vibrant colour fields, ensuring that the final tapestries retained their intended visual impact at monumental scale.
To translate Coburn’s intricate designs into woven form, he collaborated with Pinton Frères in France. Over three years, Coburn and the weavers meticulously recreated the maquettes using Australian wool, ensuring that every detail was truly represented. The final tapestries, Curtain of the Sun and Curtain of the Moon, embody the rhythms of day and night. Curtain of the Sun radiates fiery tones of red, orange, and gold, interspersed with abstract representations of elemental forces. In contrast, Curtain of the Moon conveys serenity with cool blues, purples, and silvers, its design reminiscent of the night’s serenity and mystery.
The sheer scale of these works was monumental. Measuring 8 by 16 meters (Curtain of the Sun) and 5 by 17 metres (Curtain of the Moon), each tapestry required six men to carry them during the installation. Their presence completed the Opera House’s modernist architecture, reflecting the unity of artistic and architectural innovation.
The Opera House’s grand opening in 1973 was a defining moment in Australian cultural history. Presided by Queen Elizabeth II, and attended by dignitaries from around the globe, the event showcased the culmination of years of created and technical effort. Coburn’s tapestries played a significant role in the festivities, captivating audiences with their bold imagery and vibrant colours. These works became emblematic of the Opera House’s commitment to showcasing Australian art.
Coinciding with the Opera House’s grand opening, Coburn produced a series of screenprints in collaboration with his wife, and master print technician, Barbara Coburn. These works, Curtain of the Sun and Curtain of the Moon, were created as limited editions. By distilling the essence of the tapestries into smaller, more accessible formats, Coburn’s screenprints allowed a broader audience to experience the visual and thematic richness of his designs. They retained the bold forms and luminous colours of both the maquettes and tapestries, becoming coveted pieces among collectors.
Despite their prominence during the Opera House’s early years, the tapestries’ role as functional theatre curtains was short-lived. By the 1980s, concerns over their preservation in a live theatre environment led to their removal. However, their legacy endures. Carefully conserved, they are now occasionally displayed, allowing contemporary audiences to experience their grand presence. These curtains not only highlight the tapestries’ artistic significance but also underscore the Opera House’s dedication to preserving its cultural heritage.
Coburn’s works symbolise the transformative potential of art in public spaces, enhancing an experience for viewers. His maquettes, tapestries and screenprints remain a testament to Coburn’s vision and his ability to create works that resonate across time and space. Curtain of the Sun and Curtain of the Moon solidify Coburn’s reputation as one of Australia’s most celebrated abstract artists, ensuring his legacy remains intertwined with that of his iconic structure.
Today, the maquettes are held within the Opera House’s collection, a gift from the estate of Davis Hughes, the former New South Wales Minister for Public Works. The screenprints are seen within multiple public and private collections, continuing to celebrate the importance of John Coburn, and the Opera House’s tapestries.
right: John Coburn at work in his Paris studio designing two tapestry curtains for the Sydney Opera House / Alamy
Sydney Born Designer Marc Newson is one of the most influential designers of the modern era. His work is celebrated for its bold, futuristic aesthetics and innovative use of materials.
by rebecca stormont, modern design specialist
Marc Newson
Marc Newson, cloisonné
Blue Chair 2017, London and Beijing cloisonné enamel, copper.
Metamorphosis exhibition at the Art Gallery of South Australia , Adelaide featuring over 40 works and looks at themes of transformation and change in nature, the body and materials.
Credit: amer ghazzal / Alamy Live News
newson’s early projects, many of which were conceived and created in Australia, laid the groundwork for his illustrious international career.
Marc Newson studied Fine Art at The University of Sydney and with the aid of an Australian Crafts Council grant, he staged his first solo exhibition in 1986 at the age of 23. He began his career hand making furniture and timepieces in a workshop in Sydney, early designs included the Super Guppy Lamp, Pod of Drawers and Embryo Chair, the latter of which has been in production since its inception. Newson has an ability to create objects that are both practical and visually striking. The Embryo chair epitomized his interest in organic shapes and vibrant colors.
By the age of 25, Newson had created the Lockheed Lounge, a riveted aluminium chaise longue that has arguably become one of the most iconic contemporary design works. Solidified in the pop culture zeitgeist when featured in Madonna’s ‘Rain’ music video. The Lounge moves beyond both modernist and post-modernist principles and achieves a fluidity that is a triumph of contemporary design on three legs. The name of the Lounge references the famous American airplane manufacturer and it evokes the industrial era while being entirely contemporary. It has set four world record prices at auction for work created by a living designer. His design pieces are highly sought after on the secondary market.
In 1988 at the invitation of the Crafts Council of New South Wales, Marc Newson designed his Wood Chair for its travelling exhibition The House of Fiction: Domestic Blueprints in Wood. Alongside esteemed contemporaries such as Shiro Kuramata the task was to utilise Australian timbers in their designs. Initially constructed from steam-bent coachwood and maple, Newsons wood chair has seen a couple of iterations in pine and is now produced by Capellini in beech.
Throughout his career, Newson has maintained ties to Australia through collaborations with notable Australian institutions and companies. One of his most prominent partnerships has been with Qantas Airways. Marc designed the award-winning Skybed Business Class seat in 2003, then a few years later the interiors of the A380 suite. In 2007 his Qantas First Class lounge designs for the Sydney and Melbourne international terminals won multiple awards. Featuring aerodynamic futuristic forms and a colour palette referencing the Australian landscape.
Newson has left an indelible mark across various fields, from furniture and industrial design to aviation, timepieces, automotive and architecture. Now residing in the UK his connection to Sydney through his vast oeuvre remains strong.
Leonard Joel is always delighted to include pieces by Marc Newson in our seasonal Modern Design auctions with highlights in recent years including Embryo chair, Wood chair, Supper Guppy lamp and Orgone table to name a few.
Once Upon a Time, A Department Store Housed
The Most Fashionable Gallery in Town
by ronan sulich, senior adviser, sydney
on occasion, we find an auction purchase, whether it be a painting, bronze or a ceramic piece, that has a small tan sticker printed with the words “DAVID JONES ART GALLERY” encircling a coat of arms, discreetly applied to the base or rear of the work. A fascinating indicator of the work’s provenance, having come from the gallery that once was at the top of ‘the most beautiful store in the world’- David Jones, Elizabeth Street. Opened in 1928, this branch of the even then venerable retailer, initiated the shift in Sydney shopping. From its cluttered Victorian emporium origins on George Street, opposite the GPO, to uptown opposite Hyde Park and the newly opened underground train station of St James. A feature of the store, contributing greatly to its aura of quality and exclusivity, was a grand dining room and ballroom on the seventh floor with arched windows looking over the Park towards the east. Then in 1944 the David Jones Art Gallery opened on this floor, under the stewardship of the artist Will Ashton. The company chairman, Sir Charles Lloyd Jones wanted to promote Australian art and place “an Australian painting in every Australian home”. Over the following years other artists such as George Duncan and Marion Hall Best ran the gallery, but when Charles Lloyd Jones (grandson of the founder David Jones and son of Sir Charles) became chairman of David Jones Ltd. in 1958, he was determined to make it the finest commercial gallery in Australia.
In 1961 Jones appointed former NGV and Queensland Art Gallery Director Robert Haines to the role of Gallery Director and under his leadership the David Jones Art Gallery became the ne plus ultra of good taste in Sydney. His personal taste strongly influenced the exhibition program as he was interested not only in painting and sculpture, but also other objects that a person of culture might wish to acquire – furniture, textiles, and ceramics. Making use of his many international contacts from his state gallery days, he arranged exhibitions from Old Master dealers Agnew’s and the works of Modern British and French artists from Browse and Darby from London; Roman marbles from Italy, and exhibitions of bronzes from the Musee Rodin in Paris. The cultural elite of Sydney were not only treated to world class art but were also able to ‘charge it’ to their David Jones card!
At the same time, he also promoted contemporary Australian art and artists, from painters such as William Dobell, Sidney Nolan, Stanislaus Rapotec and James Gleeson, to sculptor Oliffe Richmond; furniture maker Schulim Krimper and potters Harold Hughan, Shoji Hamada, Peter Rushforth and Col Levy. As a decorator Haines was able to successfully mix old and new, rustic and refined and the gallery programme celebrated collecting on all levels, with the yearly exhibition of “Fine and Decorative Art” a chic melange of furniture, tapestries, glass and ceramics purchased in Europe.
The exhibitions were skilfully displayed in the elegant gallery space, which was entered through a huge and imposing Renaissance door that came from the Villa Giramonte, in Florence. The tan grass papered walls and the original parquet floor were the ideal neutral foil for the richness of the Louis XV fauteuils and canapés, Khmer deities, Aubusson tapestries, Degas pastels, Japanese lacquer, Roman reliefs and Frink and Rodin bronzes. A pair of Louis XV oak doors led to the office which was furnished with a desk and chairs by Krimper.
The buyers were the wealthy cognoscenti of Sydney, and the exhibitions led at least two major collectors, James Fairfax and William Bowmore, to collect European masters, many of which have been bequeathed as gifts to museums in Australia. The Bowmore collection of Rodin bronzes, many acquired from the Gallery are now part of the Art Gallery of South Australia collection.
David Jones Ltd acquired and ultimately donated the maquette for Rodin’s “Burghers of Calais” to the Art Gallery of New South Wales, as well as a superb Elisabeth Frink “Horse and Rider” from her 1986 exhibition at the David Jones Art Gallery.
The changing nature of retail saw the closure of the gallery in the early 1990s. The entire archive of the gallery is now kept in the library of the Art Gallery of NSW, so if you ever acquire a piece with the small sticker or an exhibition label you, you not only acquire a piece of Australian history, but you will also be able to find exactly which exhibitions it came from.
The Early Days of Leonard Joel Sydney
by john d'agata, senior jewellery consultant
my first experience curating a Fine Jewels & Timepieces auction for Leonard Joel was in the Spring of 2007. When I enquired about the auction budget, my brief from Warren and Kate Joel (the previous owners) was brief, “Just have an auction!” The department back then was in poor condition, and I was looked upon as the ‘Saviour’. The problem was, I had no idea what I was doing and why I had accepted the position as the Head of Jewellery. I had just left Kozminsky jewellers, which had been my introduction into the world of Jewellery and I was looking for a new challenge. My first week at Leonard Joel was a baptism of fire, but by the week’s end, I was full of adrenaline and hooked on auction land. l picked things up quickly and within no time, it seemed I was well and truly up and running like an auction superstar. With a change of ownership I was reunited with John Albrecht, formally of Kozminsky jewellers. This relationship endures, John as the visionary matched well alongside my pragmatic nature. A great new challenge was ahead of us…Sydney!
Accounts of how the Sydney Leonard Joel started vary, however this is my recollection. In 2013 I was in Sydney, with our regular viewing of the Melbourne jewellery and timepieces auction. To date, no one was offering the wide selection of jewellery that Leonard Joel had to offer. At the time, other auction houses were either high-end or offered manufactured trade jewellery, which was affordable, but not glamorous in any way. Leonard Joel filled this gap, with finely curated auctions that featured private, rare and beautiful pieces not seen on the Sydney market. It was on one of these trips that the penny dropped. Relaxing at the InterContinental bar after a busy day’s viewing with my infamous single malt whiskey, I called John Albrecht and asked the question, ‘Why don’t we have an office in Sydney’? To which he replied “I don’t know JD, why don’t you do it’? By the end of that year, we had secured a charming Art-Deco premise at 39 Queen Street Woollahra. We had made it.
After a steady start, we came up with the auction concept of Jewels and Objets D’Art to match my talents and those of Robert Williams, our decorative arts specialist in Sydney. The first auction was viewed at our new office, which was an extremely tight squeeze, three hundred and ninety-five lots that we managed to put together. The auction itself was held in the Treasury Room at the InterContinental, Sydney. Three auction highlights come to mind when I think back on that inaugural auction today. The first, an art-deco Louis Vuitton Gentleman’s Valise Nescessaire, which sold for $4,800. I was quite proud of this as I had previously introduced ‘Luxury’ to the Leonard Joel speciality auction lineup in 2010.
The second highlight was An Impressive Bronze by Emile Antoine Bourdelle. The bronze was originally purchased in Sydney in 1982, however, we were not confident that we could meet the vendors expectations. It was then sent to Melbourne, where it was passed in at the next art auction. Re-offering it in our Sydney auction gave us a great boost of confidence for the strength of the market, selling for a staggering $43,200 on an estimate of $20,000 - $30,000. My personal highlight however, was a solid 18c gold, double row, Panthere de Cartier Cuff, the likes of which has not been seen at auction in Australia since. I had been negotiating with the vendor for almost a year and was jubilant they consigned this iconic piece with Leonard Joel Sydney. They were not disappointed either. When the hammer fell, the stunning Cartier cuff sold for $41,800. Needless to say, after this first auction, we knew that we were on the road to success.
Ten years on, Leonard Joel proudly lives on with a new dynamic team. After the establishment of the office, I turned my efforts back to the Melbourne jewellery market. However, after revisiting my roots running The Kozminsky Collection Auction and then the Schlager Collection, I decided it was time for a change of pace.
Spending more time in my country residence, I was looking for a way to transition slowly into a new life. In 2019 I formally stepped aside from my position to make way for the next generation of auction specialists. You never truly leave an institution like Leonard Joel and you’ll still find me here as Senior Jewellery Consultant, mentoring the new staff & taking care of my loyal established clients.
Today, I run my own Luxury Lifestyle Store, The House of Marcelle and Mr.John in Trentham Victoria. The shop is full of an eclectic mix of vintage and contemporary pieces with a focus on interiors. Established in 2020, we have gained an exceptional clientele in a short amount of time. It’s been fun putting together the range from items purchased locally and abroad. My buying criteria is simple, “Would I have this item in my own home?” It’s like I’ve packaged up all my experiences and knowledge into one great big parcel. Though my career I have been blessed with great mentors, given exceptional opportunities for which I am thankful. I have the support of a loving, long standing partner, and the best poodles this side of the Southern Hemisphere. Leonard Joel has been my backbone and life is good.
opposite:
Louis Vuitton, Gentleman’s Valise Nescessaire Sold for $4,800
left:
A rare Panther cuff by Cartier Sold for $41,480
right: Émile Antoine Bourdelle (French, 1861-1929)
Beethoven, Tête Monumentale (Study for the Metropolitan) 1902 Sold for $43,920
To mark Leonard Joel’s 10th anniversary in Sydney, I would like to highlight three Sydney-based artists whose work is well loved as much by art critics as by a broader art audience.
by wiebke brix, head of art
Art Out of SydneyYesterday, Today & Tomorrow
Gutman
Sullivan+Strumpf, Naarm/ Melbourne. Photography by Christian Capurro.
this is a personal selection of artists I feel have made, are making, and will make a significant contribution to Australian art out of Sydney.
PAST
It would not feel right to highlight Sydney-based artists without mentioning Brett Whiteley. Whiteley holds a major place in the hearts of Australians which is a testament to the intensity and passion with which he created.
Whiteley’s style is graphic and defined by his mastery of the drawn line. What set Whiteley apart was his relentless drive to create. His work was an exploration of his personal life, other artists, and historical events. It is the uniqueness of how he “diarises” his perception of the world that make his work stand out.
Whiteley’s creative journey was marked by curiosity and commitment to experiment with different media. His work remains distinct for its depth and the unique lens it offers. Inspired by artists like Francis Bacon, Whiteley wove influences into his own narrative, producing works that were deeply personal yet universally resonant.
In 1959, Whiteley won the Italian Government Travelling Art Scholarship, an important moment in his career. It allowed him to spend the next decade in Europe, showcasing his work in group exhibitions across major cities such as London, Paris, Amsterdam, Berlin and New York. These experiences enriched his artistic vision.
When Whiteley returned to Sydney, Lavender Bay became the focal point of his creativity. These works, arguably his most iconic, reflect his deep connection to the city. Whiteley’s art is a celebration of life’s beauty as much as its complexity.
PRESENT
Lindy Lee is well known for her iconic works in black and red, often depicting portraits of cultural significance and employing an artistic technique centred around photocopying.
Images are copied and layered with carbon, paint, and wax, creating textured grids that transform the depletion of the original image into a celebration of reinvention. Through repetition, Lee reclaims the power of the original, linking the layers of her photocopies to the history of the original. A practising Buddhist, Taoism and Zen Buddhism are a consistent influence on Lee’s practice. As a child of Chinese immigrants, her cultural heritage had a profound impact on her art. Lee’s artistic output bridges Eastern and Western traditions.
The artists most ambitious project Ouroboros, a reflective sculpture was unveiled at the Art Gallery of Australia to mark the gallery’s 40th anniversary. The artwork has become a striking landmark, embodying themes of infinity and interconnectedness. Made from recycled stainless steel with 45,000 perforations it symbolises cycles of creation and destruction.
FUTURE
The emerging artist Julia Gutman has chosen textiles as her medium. Her artworks are created in an experimental and unique process, using a sewing machine in which she layers fabrics and thread. Gutman has a background in painting which is eminent as she uses the thread as a painter would the pen. Her artworks are painterly as much as they are sculptural. Gutman depicts ‘ordinary’ young people capturing their vulnerability and wonder. The vintage fabrics she uses are often given to her, such as the clothing of a friend that sadly passed away. Her works inhabit a sense of history, memory and humanity and carry a shared history of what it means to be human.
In May 2023, Gutman received the Archibald Prize, becoming the youngest winner in over 8 decades. The previous year, she was one of six artists featured in Primavera 2022 at the Museum of Contemporary Art Australia in Sydney.
All three artists give a unique perspective on their view of the world. Each committed to mastering a unique medium and technique. It is this thought process materialising through media into an artistic expression, that creates the magic that art is.
left: Brett Whiteley in North Sydney house, c1970s, National Art Archive, Art Gallery of New South Wales, donated through the Australian Government’s Cultural Gifts Program by Louise Walker 2008, photo: Robert Walker
Estate of Robert Walker
top:
Lindy Lee's Ouroboros illuminated at night, 2024, National Gallery of Australia, Kamberri/ Canberra
bottom: Lindy Lee, holding a maquette of Ouroboros, in her studio, 2021
The Fame & Misfortune
Of Colonial NSW Silversmith, Alexander Dick
by chiara curcio, head of decorative arts, design & interiors
alexander dick was born in edinburgh, Scotland, circa 1800. Little is known about his early life, but he trained as a silversmith and acquired skills that would later make him one of most important metalworkers in colonial NSW.
Dick arrived in Sydney on the ‘Portland’ in October 1824, as a free settler, and within 18 months of arrival started his own business, advertising his services in the Sydnette Gazette in 1826. At the time, Sydney was a burgeoning town, and the demand for high-quality, locally crafted silverware was growing among the upper echelons of society, many of whom sought to assert their status through the acquisition of custom-made, finely crafted objects.
Prospering, as one of the premier silversmiths of early New South Wales, Dick was highly sought after for his craftsmanship, later employing two silversmiths, two jewellers and a servant, including silversmith and former convict Alexander Robertson, who later became a known silversmith in his own right. Dick’s work included fine dining pieces, cups, tankards, trays, and other domestic and ceremonial silverware. His style was influenced by British neoclassical designs, which were popular at the time, but he also infused elements of colonial Australian taste and sensibility into his works.
Dick was commissioned to create large ceremonial pieces for public events and individual celebrations, marking milestones in Australian colonial society. His silver works were often given as gifts during key occasions, such as the opening of new buildings or the founding of new towns. This included the foundation trowel from the new bridge at Parramatta in 1839 and it is also speculated that he made Australia’s first gold cup for the Sydney races in 1834. Most examples of Dick’s work that present to market are his flatware, shown with the example of this butter knife sold by Leonard Joel in 2024. Only a few larger presentation items of his work have survived, including this snuff box pictured, which is thought to have been made by the convict silversmith Joseph Forrester, who arrived from Scotland in 1829. Forrester worked for the well-known David Barclay firm in Hobart, Tasmania, and may have created this piece based on a design provided by Alexander Dick. It is believed that Dick traded silverware with Forrester’s employer, David Barclay, a leading figure in Hobart and a specialist in box-making. This snuff box now forms part of the Powerhouse collection.
Despite his success as a silversmith, Alexander Dick faced several misfortunes in his personal and professional life.
According to various biographical accounts of Dick’s life, the demands of his work later proved to be pressure points for Dick. When bullion were in short supply and he was unable to complete confirmed orders, Dick resorted to unsavoury means to keep up with business. On Christmas day 1826, Dick was accused of knowingly acquiring twelve dessert spoons by Thomas Jasper, stolen by persons unknown, from the residence of the Colonial secretary Alexander McLeay. Dick then restruck the spoons with his own marks and sold them to Thomas Hynde. In May 1829 Dick was indicted, followed by a lengthy trial, where Dick’s former employee and principal witness Alexander Robertson provided damning evidence which lead to his sentence of transportation to Norfolk Island for seven years. Dick was later pardoned in February 1833, and returned to Sydney to continue trading, however with much more care.
There has been speculation about this trial and whether Dick was rightfully prosecuted based on the the evidence provided and considerdations of how trials were conducted during this period, leading to the inability for the accused Dick to take the stand himself and provide his own account of the events. Silver historian, the late John Houstone published a notewrothy article in the Australiana magazine dated November 2001, which presents compelling information and speculation that Dick was likely not guilty and wrongly accused.
Another source of personal tragedy for Dick was the loss of two sons to scarlet fever in 1841, followed shortly by his own ill health, resulting in his death in 1843, after a long, drawn-out illness. Alexander Dick’s career as a silversmith is marked by both extraordinary success and unfortunate misfortunes. His exceptional skill in creating silverware helped elevate him to prominence in the colonial society of New South Wales. Nevertheless, his contributions to Australian craft and design continue to be recognized, and his legacy as a master silversmith lives on through the pieces he created.
Collectors Corner: Anne Schofield
by hamish sharma, head of important jewels
Anne Schofield, a dedicated collector and consultant, has profoundly influenced the field of decorative arts, focusing on antique jewellery and costume. From her early days in 1960s London, she built a renowned collection now held by the National Gallery of Victoria. Honored with the Order of Australia in 2003, Anne has contributed to major exhibitions and provided expert consultancy. Her store, Anne Schofield Antiques, remains a pivotal destination for collectors and enthusiasts of fine jewellery.
What sparked your interest in collecting, and how did you get started?
1 was always interested in historical costume and its accessories, so living in London close to Portobello Rd in the early 1960’s was most fortunate. I think of that time as my apprenticeship.
What is the primary focus of your collection, and why did you choose it?
The primary focus was always antique jewellery, from the 18th century to the 1950s. Later on, I became very interested in Ancient Carved Gemstones, intaglios and cameos.
What was the first item you added to your collection?
An early 19th century amethyst floral cluster ring was the first item, but it was stolen a few years later in London.
Do you have a favourite piece in your collection?
What makes it special?
My favourite piece is my late 18th century onyx cameo ring, with a profile of a Roman Emperor. I also love a rare blue agate cameo, with a scene from Ovid’s Metamorphosis.
What’s the rarest or most valuable item you own, and how did you acquire it?
The most rare item is a mid-18th century peacock blue paste parure - it is not of gemological value, but incredibly early and rare - a Museum piece! It has survived BECAUSE it is paste -had it been set with sapphires it would have been broken up for the gemstones. This is true of all 18th century and early 19th century paste jewellery.
Have you ever come across a piece that got away?
I once bought at Christies Geneva, a fantastic Chaumet aquamarine and diamond brooch, which I should have kept, but at the time I had to sell for financial reasons, it’s the one that got away!
Is there a story behind one of the pieces in your collection that stands out?
The cameo ring that I wear was stolen in a robbery at my house in the 1970s and I got it back!
How do you ensure the authenticity of the items in your collection? I’ve had 60 odd years experience in buying and selling, starting in London in 1964. I used to travel at times when I could go to lectures given by the International Society of Jewellery Historians. I have amassed a huge collection of jewellery reference books, and I have always valued my consultations with trusted colleagues.
Has your collection ever been featured in an exhibit or borrowed for public display?
My ancient and neo- classical jewellery was loaned to the Nicholson Museum at Sydney University in 2010 for an exhibition titled ‘Beauty and Betrayal’. The Powerhouse Museum exhibition in 2014 ‘A Fine Possession’ also featured 80 items loaned from my collection. Many of these items were displayed again in the 2023 Powerhouse exhibition ‘1001 Remarkable Objects’.
Our Head of Asian Art, Luke Guan, highlights some key pieces for those seeking to collect Asian and Fine Chinese Art.
by luke guan, head of asian art
Expert Advice For Building an Asian Art Collection
left to right:
A Rare and Fine Chinese
Ding White Glazed Vase, Song Dynasty (960-1279)
Sold for $37,500
A Rare and Fine Chinese Longquan Guan Celadon Glazed Vessel, Zhadou, Southern Song Dynasty (1127-1279)
Sold for $31,250
A Chinese Longquan Celadon Handled Cup, Southern Song Dynasty (1127-1279) Sold for $20,000
sydney has long been a cornerstone of Australia’s Asian art market, boasting a rich tradition of Asian art collecting. Each of our major Fine Chinese and Asian Art auctions have featured numerous remarkable and significant pieces sourced from Sydney’s most discerning collectors. As we celebrate the 10th anniversary of Leonard Joel’s Sydney office, I have selected four outstanding pieces sourced from Sydney in our most recent Asian Art auction (August, 2024). I am delighted to share these exceptional works with you and highlight why they are incredible items for collection.
A VERY RARE CHINESE IMPERIAL DOUCAI DISH, CHENGHUA SIX-CHARACTER MARK AND OF THE PERIOD (1465-1487)
SOLD FOR $100,000
The first item I would like to recommend for your collection is this imperial Chenghua-mark and period doucai small dish. Chenghua imperial wares are already extremely rare, and doucai porcelain pieces are even rarer. Doucai is an exceptionally intricate porcelain decorative technique that involves multiple steps: after the body of the vessel is formed, the decorative outline is first painted in underglaze blue, followed by the application of a transparent glaze and firing at high temperature. Subsequently, the design is filled in with overglaze enamels and fired again at a lower temperature. This technique is highly complex and has an extremely low yield of successful pieces. Doucai was first created during the Xuande period of the Ming dynasty and reached its peak during the Chenghua period. Later doucai pieces from subsequent dynasties have never surpassed the quality of those from the Chenghua period.
By the late Ming dynasty, Chenghua doucai wares had already become highly sought-after treasures among princes, aristocrats, and literati, with prices reaching astronomical levels. Today, they are even more valuable. For example, Sotheby’s Hong Kong auctioned a well-preserved Chenghua doucai cup in April 2014, which fetched HKD 280 million, approximately AUD 56 million at the time.
Although this Chenghua doucai small dish was broken and restored, it remains exceptionally rare and precious. Moreover, it boasts an outstanding provenance, having been part of the Raymond and Victoria Tregaskis Oriental Art collection. It was exhibited in their Seven Centuries of Chinese Porcelain exhibition from May 24 to June 16, 2000, and is published in the catalogue of the same exhibition.
A RARE AND FINE CHINESE DING WHITE GLAZED VASE, SONG DYNASTY (960-1279)
SOLD FOR $30,000
This Ding ware, white-glazed bottle vase is a standout piece that I highly recommend for collectors. Ding ware, celebrated as one of the Five Great Wares of the Song Dynasty (alongside Ru, Guan, Ge, and Jun kilns), originated from present-day Quyang, Hebei Province. Renowned for its exceptional craftsmanship, Ding wares were so esteemed that the imperial court regularly commissioned pieces for official use.
This vase exemplifies the refined simplicity admired by Song dynasty literati and scholar-officials. Its elegant, flowing curves and understated design reflect the aesthetic ideals of the time, while its glaze, as radiant as silver and as pristine as snow, showcases the unparalleled skill of Ding kiln artisans.
The provenance of this piece further enhances its significance. It was acquired in 2002, by the prominent Reid Family of Sydney, obtained from the distinguished Australian Asian art dealers Raymond and Victoria Tregaskis Oriental Art. In addition, it was loaned for to the Art Gallery of New South Wales in 2003, cementing its status as a piece of historic and artistic importance.
A
Doucai Dish, Chenghua
A CHINESE IMPERIAL BLUE-GROUND SILK ‘DRAGON’ ROBE, JIFU, QING DYNASTY, 19TH CENTURY
SOLD FOR $10,000
This mid-Qing dynasty, imperial blue-ground, silk ‘dragon’ robe (jifu), is an exceptionally beautiful piece, making it a rare treasure for collectors of traditional Chinese garments. The deep blue ground piece, adorned with five-clawed dragon motifs, signifies that this robe was worn by the emperor during heavenly rituals.
The robe features nine, five-clawed dragons, masterfully embroidered in couched gold thread. Two dragons on the front and back are depicted clutching flaming pearls, while the others are shown reaching for them amidst ruyi-shaped clouds. These are interspersed with the symbolic attributes of the Eight Daoist Immortals and bats, all set above a terrestrial diagram and lishui (wave) stripes, separated by additional clouds and rolling waves. The intricate patterns continue on the borders, collar, and cuffs, creating a harmonious and majestic composition.
One distinctive feature of this robe is the six embroidered peonies on the lishui stripe along the front hem, a detail rarely seen in similar garments. The robe is crafted from premium materials, with vibrant colors and finely executed embroidery that remain remarkably well-preserved. This piece is not only an outstanding example of Qing imperial textiles but also holds significant historical, cultural, and artistic value, making it an exceptional addition to any collection.
A RARE CHINESE BRONZE SEAL IN THE FORM OF A BUDDHIST LION, LATE MING -EARLY QING DYNASTY, 17TH CENTURY
SOLD FOR $7,500
This exceptionally rare, early Qing dynasty bronze seal is masterfully cast, depicting a lion twisting its head with its flowing mane cascading over its flank, playing with a brocade ball while seated on a pierced square base. The gilt seal face is inscribed with eight characters in both Han Chinese and Manchu scripts: ‘Jun Zi Dao Zhang, Qi Xuan Yuan Ji’. This phrase, drawn from the I Ching, translates to: ‘A gentleman must constantly introspect and remain vigilant throughout the day to gather auspiciousness and avoid misfortune.’
The appearance of both Manchu and Han Chinese scripts on the same seal is extraordinarily rare, signifying its high status. The gilt surface of the seal face further indicates its significance, suggesting it may have been a personal leisure seal (xianzhang) of an early Qing emperor.
This seal originally belonged to the esteemed Dick and Lillian Diamond Collection, having been passed down through their family from a relative who served in the British Navy around the time of the Boxer Rebellion. The Diamonds themselves later served in the diplomatic corps in Beijing during the early 1950s.
Interestingly, when discovered by Raymond and Victoria Tregaskis, the seal had been repurposed as the knob of an English hardwood cigar box lid. Upon carefully removing it from the box, they uncovered the gilt seal face with its dual inscriptions, revealing its true historical and cultural significance. This seal is not only a testament to extraordinary craftsmanship but also holds immense historical, cultural, and artistic value.
A Chinese Imperial Blueground Silk 'Dragon' Robe, Jifu, Qing Dynasty, 19th Century Sold for $12,500
One Giant Leap for Omega: How Did a Driver’s Watch End Up on the Moon?
by patricia kontos, senior jewels & timepieces specialist
the only watch with the honor to have been worn on the moon, the Omega Speedmaster, may well be the world’s most famous watch. Famous in the same way that the Mona Lisa is the world’s most famous painting, or Pele the most famous soccer player, Levis the most famous jeans and so on... Being famous implies something is a household name, and that regardless of who you are you’d likely be aware of that object’s existence and its iconic status. I think this terminology can safely apply to Omega’s flagship, the Speedmaster, which has the title of being the first watch worn on the moon. NASA was instrumental in taking what was a standard model, straight off the production line chronograph, launching it to the moon and landing it safely back to earth transformed into the “Moonwatch.”
Let’s take a step back to the late 50s and 60s when the political rivalry between the superpower allies, the United Sates and the Soviet Union was at high octane levels. Each of these ‘super-states’ possessed weapons of mass destruction and were capable of annihilating one another. Nevertheless, there was very little use for weapons on the battlefields during the Cold War era and what started as an Arms Race developed into a Space Race. The hostilities between the East and West were palpable but continued to be waged mainly on political, economic and propaganda fronts which lasted for decades to follow. It was against this backdrop, that a technological advantage (demonstrated by spaceflight achievement) was seen as necessary by both the United States and the Soviet Union for national security. This also became a strong part of the symbolism and ideology of the time.
Omega introduced its Speedmaster during this period, the first in 1957 the reference CK2915, it was the first chronograph to feature the tachymeter scale on the bezel and not on the dial, an influential innovation that would see many brands emulating this design feature in chronographs to come. It was also the first Speedmaster to use the Omega in-house 321 calibre movement, well regarded as a robust and accurate movement, precisely geared for race track use.
Prior to being selected as part of the official NASA astronaut kit, the high precision, water resistant, and easy to read Speedmaster had already travelled to space twice: in 1962, worn by astronaut Walter Schirra during the Sigma 7 mission, and in 1965, worn by astronaut Ed White during his spacewalk during the Gemini IV mission. As the space race gathered momentum, US president John F. Kennedy asked the US Congress to commit to the goal of “landing a man on the Moon and returning him safely to the Earth” before the end of the decade.
It was deemed vital to equip the astronauts with a timepiece that could support their extravehicular activities and endure the extreme, and literally out-of-this world challenging conditions, that awaited them in space. Watches from ten brands were submitted and put through their paces, but only three were shortlisted, Rolex, Longines, and Omega. These watches underwent a series of gruelling tests, including severe temperature fluctuations, shock tests, high and low temperatures, and decompression simulations. Leaving its competitors in its wake, the Speedmaster emerged unscathed, demonstrating a level of resilience that made it the perfect candidate for space missions. On March 1 1965, NASA announced the Speedmaster as the official hardware for its astronauts.
The moon landing broadcast drew a record 650 million viewers around the globe. Both astronauts had been issued ref 105.012 Speedmaster models, but Neil Armstrong had been forced to leave his behind in the command module, piloted by Michael Collins, as a backup for a failing electronic timer. That left Buzz Aldrin’s Speedmaster, wrapped firmly around the outside of his bulky spacesuit, to become the first watch to be worn on the moon.
That day, the course of history and human achievement forever changed, and the fame of the Omega Speedmaster was justly earnt. Making it the most inspiring and historically significant story behind a watch of all time. It left for the Moon as a Speedmaster and retured safely to the Earth as the ‘Moonwatch’ forever more.
right: Omega Speedmaster a Stainless Steel Chronograph Wrist Watch With Bracelet Sold for $21,250
We look back over the past 10 decades to the handbags that defined each era.
by indigo keane, luxury specialist
10 Decades 10 Bags
Poster advertising Chanel with Lindsey Wixson in paper magazine from 2014 / Alamy
fashion trends have always defined each era, reflecting historical movements as well as societal and economic changes with every passing decade. We can look to the ultimate accessory, the handbag, to characterize these periods. From the classic Chanel 2.55 to the grunge era of the Balenciaga City, we have selected 10 bags from the last century that have stood the test of time, inspiring countless imitations and cementing their enduring legacy.
1930s
Louis Vuitton Speedy
Introduced in the 1930s, the Louis Vuitton Speedy reflected the rise of interest in international travel. Functional design mirrored the growing demand for stylish yet practical travel accessories. Designed as a smaller, more practical version of the brand’s larger travel bags. It reached iconic status in the 1960s when ‘It Girl’ Audrey Hepburn was spotted carrying one, elevating the bag to instant stardom.
1940s
Gucci Bamboo top handle bag.
The iconic Gucci handle was created out of necessity, during post-war leather shortages in Italy. Designer, Guccio Gucci, designed the bag handle using bamboo imported from Japan, with the Florentine artists in their atelier patenting a technique, using an open flame, to soften and shape it into a handle. It has been worn by Ingrid Bergman in the 1950s to more recently by Harry Styles.
1950s
Chanel 2.55
The Chanel 2.55, created by Coco Chanel in February 1955, revolutionized handbags, with its iconic quilted leather design, long chain strap and Mademoiselle closure. Reshaping the future of the luxury market. Chanel’s aim was to free women from the constraints of the ‘top-handle’ bag, allowing them to be hands-free whilst in turn reflecting defiance, power and practicality. Despite the dramatically exponential price increase over the years, the 2.55 remains a timeless classic and steadfast Chanel staple.
1960s
Gucci Jackie
Rarely seen without one tucked under her arm, the Gucci Jackie bag, introduced in 1961, became synonymous with Jackie Onassis. The bag’s simple yet elegant design, with its curved shape and signature horsebit closure, epitomized sophistication. The Jackie bag became an enduring symbol of timeless and classic style, and still remains one of Gucci’s most iconic pieces, loved for its understated luxury and enduring appeal.
1970s
Bottega Intrecciato bag.
The brands signature style, ‘Intrecciato’, literally means woven or braided. It’s bohemian, handcrafted spirit reflects the fashion trends of the 1970s when it was first created. It was cemented in cinema history by Lauren Hutton in the 1980s film American Gigolo and is now worn by those wanting understated luxury.
1980s
Hermès Birkin (1984)
Named after Jane Birkin, the Birkin bag debuted in 1984 and quickly became a symbol of prestige and exclusivity. Inspired by a chance meeting between Birkin and Hermès’ CEO/Artistic Director Jean-Louis Dumas, the bag combined craftsmanship with functionality, featuring a spacious interior and durable leather. Today, the Birkin remains one of the most coveted handbags in the world, with its association to the bohemian actress adding an aura of glamour and nostalgia.
1990s
Fendi Baguette
The Fendi Baguette, introduced in 1997, became a cultural phenomenon, largely thanks to Sex and The City’s Carrie Bradshaw. Known for its compact size, unique shape, and signature “FF” logo, the bag embodied the fashion-forward, logo-centric style of the late ‘90s. The Baguette’s ability to be evolved in countless materials and colors made it a versatile statement piece, ensuring its place in fashion history as a symbol of modern luxury.
2000s
Balenciaga City Bag
The Balenciaga City Bag, first released in 2001, became synonymous with the effortless, grungey, rebellious style of the early 2000s. The slouchy logo-free silhouette, distressed leather, and studded hardware made it a favorite among street style aficionados. Although initially a cult favorite, the bag has surged back into popularity each decade since its conception, cementing its place as a piece of fashion history.
2010s
Stella McCartney, Falabella bag
This bag holds the title of the first vegan luxury bag, crafted from vegan leathers. It reflects the brands ethos of sustainable and ethical materials, as well as the slouchy style reflecting the bohemian spirit of the brand.
Now
Miu Miu, Arcadie bag
We predict Miu Miu’s charming Arcadie bag as a future classic. It’s unique retro inspired shape, soft leather and range of colours make it a versatile and fun piece for your collection.
1930s
A Day Exploring Sydney’s Cultural Heartbeat
by madeleine norton, head of decorative arts & art, sydney
known for its natural beauty, Sydney hasn’t always been considered the country’s cultural capital. But in my opinion, the only thing better than wandering through galleries, public art, markets, live music and market stalls is having a beautiful backdrop in which to do so.
When I decided to leave the hustle and bustle of the New York art world in 2019, to return to home to Australia. I was faced with the conundrum that many an expat before me has contemplated: Sydney or Melbourne? As I had always worked in the arts many assumed that Melbourne would be a natural fit, but what had I moved back to Australia for if it wasn’t for the sunshine, beaches and relaxed lifestyle? After five years in Sydney, I can happily say that I’ve been fulfilled in my career, interests and lifestyle, so I want to share with you some of my favourite spots in Sydney to soak up a little culture. Disclaimer: having only lived in the bubble of the Eastern suburbs, this list doesn’t even attempt to break ground on the hipsters of Newtown, the beer fiends in Marrickville or the beauty of the Northern Beaches, let alone what you find when you step outside of the city limits.
An Early Morning Walk Along the Graffiti Wall at Bondi Beach
A walk along the promenade at the iconic Bondi Beach might sound like a cliché but most tourists go for the beach, not the art. The graffiti wall has evolved since the 80s into a long line of public art murals, which are constantly changing to reflect current concerns and events. The morning is the quietest time to visit and whilst you’re there you might want to check out what’s happening at the recently renovated pavilion. There might be a yoga class, a lunchtime music concert or a life drawing class to join.
Lunch at the Art Gallery of New South Wales Nestled into the AGNSW you’ll find Matt Moran’s concept restaurant Crafted by Matt Moran, serving up delicious food alongside floor to ceiling views of the city. One of the highlights of a visit is to browse through one of the nation’s oldest art collections. Established in 1871, the AGNSW’s permanent collection is a treasure trove of art that is often rotated throughout the galleries and free for the public to view. My personal favourite is the elegant Grand Courts galleries, which houses great historic works from 1400-1900, such as Sir Lawrence Alma-Tadema’s A Juggler, Frederic Lord Leighton’s Wedded and Edouard Detaille’s imposing Vive l’Empreur!
Public Sculpture by Nigel Helyer
After a long lunch, you may need be in need of stretching of your legs. I would suggest wandering down to Woolloomooloo Bay, not only for the water views but also to see the large steel sculptures that form Dual Nature by Nigel Helyer. Referencing the maritime history of the area as well as that of nearby Garden Island, the imposing structures are semi-submerged at the water’s edge and include hidden solar-powered audio systems that broadcast the Ebb and Flow soundscape.
Potts Point, Kings Cross & Elizabeth Bay
Whilst we’re in the area, these three suburbs are worth a mention here too. Sprinkled with gorgeous Georgian, Victorian and Art Deco architecture; a stroll through the streets can be a vibrant melting pot of history and culture. You might walk by the Macleay Regis apartment building known for its Art Deco detailing, the Federation house of Heatherdene, built in 1903 or the rows of Victorian terraces on Kellett Street.
Artspace
Nearby, Artspace is an independent, not-for-profit and non-collecting contemporary art centre. It presents works for exhibitions that have been commissioned or are on loan from artists, cultural institutions, or private collections. Their program is diverse, ambitious, and collaborative, and is deeply rooted in support for and engagement with the community.
Government House
Designed in 1834 by William IV’s architect, Edward Blore, the stunning Gothic Revival building is free to visit and regularly hosts live jazz concerts in the gardens each month. An iconic part of Sydney’s history, the building has been depicted by local artists throughout the centuries and many early examples of these can be found just down the road in the State Library of NSW.
The Library Bar
Speaking of the State Library, it has a great little bar open on Wednesday-Saturday evenings. Tucked away on the rooftop, you get an open-air view of the Harbour and Sydney skyline from the top of Australia’s oldest Library.
opposite: Exterior of Artspace in The Gunnery, featuring new commission by David M Thomas, Shapes We Haven’t Seen Before, 2024. Photo: Katherine Lu
left: Main entranc, Macleay Regis flats taken for Mr Christmas right: Art Gallery of NSW, 2022
how to…
Manage an Artist’s Estate with Sam Dickerson
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.
Robert Henry Dickerson AO was one of Australia’s most recognised modern figurative artists. A former member of the Antipodeans group, which also included Charles Blackman, Arthur Boyd, David Boyd, John Brack, John Perceval and Clifton Pugh, his work has become highly influential for generations of Australian artists. His youngest son, Sam Dickerson, runs the Dickerson Gallery, next door to Leonard Joel on Queen Street in Woollahra. Established in 1992 Dickerson Gallery deals in emerging, mid-career and major Australian artists. As Managing Director, Sam not only curates and manages the program for the gallery but also takes responsibility for continuing to promote and support the art of his father. Sam kindly speaks to us about what’s involved in managing an artist’s estate.
What have become the most important aspects in managing the estate of your father’s art and his legacy?
When my father Robert Dickerson died in 2015, he was 91 years old, and he left behind 300 plus artworks. Managing his (and any artist’s) estate is about preserving legacy and maximizing value. It requires a blend of legal, financial, and creative expertise. Having been an art dealer for 25 years before my father died, I was fortunate to have a little bit of each of these. In developing a plan for his estate, my key aims were to honour his legacy and ensure his work continues to inspire future generations.
What are some of the main responsibilities involved in managing an artist’s estate?
The most important part is understanding the estate. First and foremost, it’s important to gather a comprehensive understanding of the works and where they sit in terms of the artist’s output. This includes creating an inventory of works, cataloguing them all, including unfinished pieces, notes, and drafts, and documenting their condition. We have destroyed many unfinished (or half-finished) works as they do nothing for the legacy of the artist’s output. We always ask what would Bob do? He would burn the bad ones. Be ruthless!
In terms of legal obligations, it is important to ensure that the artist’s copyright registrations are in order. All the main auction houses are very compliant when it comes to the legality of works for sale and their copyright requirements. As a result, we always deal with the main auction houses exclusively.
In terms of a financial overview, it is important to be able to fund the work that goes into managing an estate long term. Review the financial status of the estate, including debts, royalties, and ongoing revenue streams. Legal expertise is crucial to navigating aspects such as copyright and intellectual property. This might involve renewing copyright registrations or handling infringements. Again, this is usually only an issue with the smaller operators - which is why dealing with reputable and established auction houses and dealers is so important.
Effective financial management is an underrated but vital aspect of managing the estate, as careful planning can maximize the estate’s value and ensure ongoing revenue.
What is your relationship like with secondary market sales of your father’s work, such as auction houses and other galleries?
With financial management comes a correct valuation of works and professional appraisals to determine the value of the artist’s works. Having bought and sold numerous works by many artists over the years, this was very straightforward for me. But for anyone managing a collection of 5 works (through to over 300 plus like we had), being able to access professionals (like Leonard Joel) is so important. Works go up and down in popularity and value. Not everything goes up, which surprises new art buyers!
Estate management also demands flexibility – a capacity to be fluid with the collection. Selling works that don’t ‘fit’, as well as buying works that do, is all part of the process. Even sourcing works that are personally important to me is part of the experience. Beyond the actual paintings there are other issues like keeping track of royalties from various sources, such as sales, exhibitions, and licensing, as well as permissions to reproduce artworks that also come into play. Always keep an eye on the direction of the collection.
How involved are you with institutional exhibitions of your father’s works?
Very. After consulting with the director of the National Gallery of Australia, Director Nick Mitzevich, we were fortunate enough to donate 40 paintings to the Newcastle Regional Art Museum for their permanent collection. This exhibition was called Off the Canvas, and it was as much about the story of the artist’s career as it was about the paintings. This enabled us to make sure that beyond the sales process, we got to truly honour Bob’s legacy in a way that will make the works available for future generations.
right: Robert Dickerson (1924-2015)
FIVE MINUTES WITH LAUREN BOUSTRIDGE
In this issue we get to know Senior Jewellery Specialist, Lauren Boustridge.
favourite auction purchase
My most treasured auction purchase is my engagement ring. I had been looking for an original Art Deco ring for many years that ticked all the boxes. My partner, knowing how particular I am about jewellery, was terrified to make a decision without my input, yet still wanted that element of surprise. It was love at first sight when I saw this ring, and many (not so subtle) hints were dropped that this was the one. To his credit, he feigned indifference superbly and on the night of the auction I thought all hope was lost. At the last moment, just minutes before the ring was due to go under the hammer, he strolled into the auction room, picked up a paddle and won the ring in front of me. Talk about a surprise!
your ideal day in sydney
It would most definitely start with a sleep-in, it could never be an ideal day for me without this most critical factor. Living so close to Centennial Park a leisurely stroll to get coffee with the love of my life Basil (my Dachshund) is of course a must. This would be followed by a long lunch with my closest girlfriends. Despite being an expat, I am lucky to have some of my oldest and closest friends living in Sydney. From here, no perfect day in Sydney could be complete without an afternoon out on the harbour, glass of champagne in hand.
what are you currently reading/streaming/ listening to?
Currently, my go to podcast is “If Jewels Could Talk” by Carol Woolton. Jewellery really is my passion and whether it’s through reading or listening, I love learning the rich tapestry of jewellery history, where there is always something new to discover. My guilty pleasure podcast is Casefile True Crime, I am embarrassed to admit I have listened to over 200 episodes.
favourite wine / cocktail / coffee
A French 75! Champagne, gin and a twist of lemon – perfection!
favourite movie
I love British period dramas; without a moment of hesitation my favourite movie is Pride and Prejudice (2005). The soundtrack, the cinematography, the cast... everything about this movie I adore. I watch it at least annually and it never fails to brighten my mood.
by lauren boustridge, senior jewellery specialist
A Glittering History of Sydney’s Jewellery Icons FOUNDED IN SYDNEY
FAIRFAX & ROBERTS
Fairfax & Roberts is one of Sydney’s oldest jewellery houses. Founded in 1858 by English jeweller Richard Lamb and Alfred Fairfax, a member of the renowned Fairfax newspaper family. The business began in 1836 when Lamb arrived in Australia and set up a shop as a jeweller and optician on George Street, Sydney. He soon partnered with Fairfax to import fine silver and established a jewellery business together.
In 1876, after Lamb’s tragic death in a sailing accident, Fairfax brought in investor Oscar G. Roberts, which led to the company adopting the name Fairfax & Roberts, a title it still holds today.
The brand quickly established itself as a symbol of luxury, creating treasured possessions and heirlooms for Princes, Governors and many of Australia’s leading families. Fairfax & Roberts is responsible for important commissions such as the sterling silver kangaroo presented to the Prince of Wales in 1920, the Central Station clock tower in Sydney, and the gold trowels used for the foundation stones of Canberra.
Fairfax & Roberts operates from its flagship Castlereagh Street boutique, remaining a symbol of timeless elegance and quality. With over 160 years of history, the brand is celebrated for preserving its heritage while crafting unique pieces that continue to captivate generations of clients.
MUSSON
For over half a century, Musson has been operating with a dedication to provenance, beauty, and craftsmanship. The story begins with Robert and Kerry Musson, who opened their first store in Crow’s Nest, Sydney. Starting in a small arcade, they relocated in 1974 to Willoughby Road, transforming a former butcher’s shop into a celebrated jewellery destination. In 1983, Musson expanded into Chatswood Chase, where their boutique remains one of the centre’s original tenants. Later, they launched a boutique in Sydney’s iconic Queen Victoria Building.
Musson’s reputation for excellence quickly gained global recognition. They became Australia’s first distributor for Cartier and garnered numerous accolades. The longstanding relationship with the Argyle mine further elevated their status, making Musson one of just 30 Argyle Select Ateliers worldwide.
The legacy continues with sons Olivar and Damien, who joined the family business and earned prestigious awards, including the Diamond Guild Australia Design Awards. In 2018, Olivar’s design, ‘Aella’ received the Supreme Award for Design Excellence. Today, Musson remains a family-led symbol of expertise and elegance in Australian jewellery.
CERRONE
Born in Lanciano, Italy, Nicola Cerrone immigrated to Australia at the age of 12, where his passion for jewellery was sparked during an apprenticeship with a master jeweller in Sydney. In 1972, he opened his first store in Leichhardt, Sydney, and gained recognition for his craftsmanship. His workshop grew from two to twenty employees, making it the largest handmade jewellery workshop in Australia at that time.
Cerrone’s reputation soared with memorable creations like the ‘Million Dollar Necklace’ in 1991, commissioned by the Argyle Diamond Mine, featuring 230 carats of diamonds. In 1998, he won the prestigious De Beers Diamonds International Award for the Elizabethan Ruff, a breathtaking piece set with 559 diamonds.
In 2008, Cerrone had the distinct honour of designing three sacred vessels for His Holiness Pope Benedict XVI, used during the closing mass on World Youth Day. The Chalice, Paten, and Ciborium were crafted to reflect native Australian flora, incorporating Australian cognac and pink diamonds into their design. This project marked a significant milestone in Cerrone’s career. The following year, he expanded his presence with a new retail store in Sydney’s Martin Place, and in 2011, he reopened his Castlereagh Street store, further establishing his brand.
These achievements highlight Nicola Cerrone’s unwavering dedication to craftsmanship and innovation, solidifying his legacy as one of Australia’s foremost jewellery designers.
Image: Pair of Musson Fancy Coloured Sapphire Earrings. Sold for $2,000
Animals Are Our Allies in Fighting Climate Change
Landscapes around the world are suffering due to the fragmentation of habitat and land use changes. Resulting in the places we, and wildlife call home, becoming more vulnerable to the effects of climate change. This has been evident across Australia for years; Black Summer was a strong message that we needed to make big changes urgently, but not enough has been done and challenges continue.
With rising temperatures jeopardising the survival of up to one million species of wildlife, it’s easy to view animals as purely victims of the climate crisis. But what if we also viewed them as our allies in addressing it? We know we need to rapidly reduce our greenhouse gas emissions, and investing in green energy and more sustainable infrastructure is important. However, nature-based solutions are powerful, crucial - and often overlooked.
Protecting and restoring wild animals and their habitat could account for over a third of the carbon capture needed to mitigate the worst effects of climate change; in fact wildlife enables natural ecosystems to absorb and store more carbon. By safeguarding wildlife on land and in our oceans, we not only address biodiversity loss but also tackle climate change head on.
One of the main ways in which carbon sequestration can occur is through biological sequestration. This refers to the CO2 that is captured and stored by animals, plants and the soil. Much of this sequestration occurs in carbon sinks—natural features that absorb large amounts of CO2 such as forests, the ocean, and swamps (wetlands and peatlands).
Experts have found that strong, healthy populations of just nine different types of animals, including sea otters, grey wolves, and whales, could lead to the capture of 6.41 gigatons of CO2 every year. This represents 95% of the CO2 that needs to be removed from the atmosphere to ensure global warming remains below 1.5°C.
There are many ways in which animals contribute to carbon sequestration: Their natural behaviours increase ecosystems’ carbon storage capacity. Many animals perform carbon-sequestering roles as a part of their day-to-day lives. In particular, large vertebrates can increase an ecosystem’s carbon storage capacity by up to 250% through behaviours such as trampling, burrowing, and foraging.
They support the growth of carbon-sequestering trees and plants. Many herbivore species disperse seeds in their faeces after eating plants, facilitating the growth of carbon-sequestering trees and plants. Others, like elephants, trample or eat the vegetation that would otherwise rob those trees of space and nutrients. This frees up room for carbon-sequestering vegetation to grow and means they do not have to compete with other foliage.
They keep the ecosystem in balance. The ecosystems of the world are all finely balanced and keep themselves in check. Predators prey on herbivores that, without predation, might adversely impact essential fauna. This, in turn, ensures that carbon-sequestering plants can thrive at the correct levels in the environment.
For example, whales feed phytoplankton—tiny, plant-like organisms that float in the water—with their faeces and help them thrive. Through photosynthesis, these phytoplankton capture roughly 37 billion tonnes of CO2 per year, equivalent to 40% of the total CO2 capture on the planet.
That’s why at IFAW we not only rescue animals (many of which need help because of the effects of climate change) but we also strive to protect the places they call home. We do this by growing and linking habitats, fostering a sense of stewardship and empowering communities to care for their local ecosystems, and advocate for policy changes that give our wildlife a chance to thrive.
Nature-based solutions don’t just protect wildlife; they also make people and the planet more resilient to the changing climate. We owe it to future generations to make our planet a home where animals and humans thrive together.
Image: Amboseli Comms Summit
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.
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With astute local market knowledge and extensive global experience, Leonard Joel offers the broadest range of specialist expertise in Australia. Scan the QR code and discover the value of your piece or collection with a complimentary online valuation, book an appointment with one of our specialists, or join us at one of our regular valuation days.
February – March 2025
JOHN PULE Ai Manako Au Ke Nofo He Haau
A Tau Miti Tukulagi (detail), 2023 oil, varnish, ink and enamel on canvas, 200 × 200 cm
Our favourite Sydney auction highlights of the past 10 years.
This playful and colourful ring from Pomellato, combines vibrant gemstones with a beautifully sculpted form, showcasing the brand's signature Italian craftsmanship. Its bold yet elegant design makes it a striking statement piece, perfect for adding personality to any outfit. / Lauren Boustridge, Senior Jewels & Timepieces Specialist, Sydney
As a Queensland based specialist for LJ, I am always looking for the rare, the beautiful & the extraordinary. I was delighted when presented with this amazing watch for our Sydney Important Jewellery Sale. / Troy McKenzie, Queensland Representative Specialist
Cartier Ref 2700, a Fine 18ct White Gold and Diamond-Set
'Santos Demoiselle' Quartz Wrist
Watch With Silvered Dial
Sold for $6,250 Important Jewels, December 2023
Alphonse Augis, a French jeweller, created the iconic "Qu’hier Que Demain" pendant in 1907, inspired by a line from Rosemond Gérard's 1889 poem, L’Eternelle Chanson. The pendant symbolises enduring love with a diamond ‘plus’ and a ruby ‘minus’ and the engraved French phrase "Qu’hier Que Demain," meaning "More than Yesterday, less than Tomorrow." The piece became a classic romantic token, often gifted for special occasions, and remains a timeless example of sentimental jewellery. / Lauren Boustridge, Senior Jewels & Timepieces Specialist, Sydney
Diamond and Ruby Pendant, France
Sold for $2,000
The Sydney Jewellery Edit, September 2024
This rare example of French-Mauritian artist Henri Le Sidaner's famously seductive nocturne paintings was a sight to behold in the Queen Street showroom. This poetic riverside scene represents a turning point in the artist's career where he discovered how to successfully capture the atmosphere and mysticism of gloaming light. Originally exhibited in Paris in 1897, this beautiful impressionistic painting somehow found its way to Australian shores and was understandably much sought after when we offered it as part of The Collector's Auction in 2021. / Madeleine Norton, Head of Decorative Arts & Art, Sydney
The peacock feather is a symbol of beauty, luxury, and power. Tiffany & Co.'s modern interpretation of the Peacock Feather Brooch, an iconic 1897 design by Louis Comfort Tiffany, is a testament to the house's skill in design and craftsmanship. / Hamish Sharma, Head of Important Jewels
Pomellato 'Iconica' Ring
Sold for $5,000
The Sydney Jewellery Edit, September 2024
Henri Le Sidaner (French, 1862-1939) Soir 1896
Sold for $81,250
The Collector's Auction, September 2021
Tiffany & Co. Gem-Set and Diamond Feather Brooch, Circa 2008
Sold for $106,250 Important Jewels, December 2023
This rare Sevres vase was one of many highlights in the incredible porcelain collection put together by Robert Compton Jones in 2023. Another vase of this same model and size can be found in the collections of the Duke of Bedford, Woburn Abbey, UK, making this piece especially sought after. / Madeleine Norton, Head of Decorative Arts & Art, Sydney
This Bulgari, Fancy Coloured Sapphire and Diamond 'Rosette' Suite, is a symphony of exquisite craftsmanship and timeless elegance, that captures the infinite beauty of sapphires in a single breathtaking masterpiece. / Hamish Sharma, Head of Important Jewels
This beautiful woodblock album was a gift to the owner who had taken many years to come to the decision to part with it. I worked on this proposal together with Trevor Flemming, our Japanese Art consultant, and we were both delighted to have the opportunity to offer this rare example of the entire set of 55 prints of the Tokaido Road series. / Madeleine Norton, Head of Decorative Arts & Art, Sydney
of
Bulgari’s 'La Via Della Seta' pendant necklace is a timeless jewel that embodies the essence of luxury and sophistication. / Hamish Sharma, Head of Important Jewels
This unique silver mounted claret jug in the form of a southern rockhopper penguin was one of many wonderful discoveries in the over 6000 objects from the Private Collection of Trevor Kennedy AM. Housed in the heritage listed Rawson Hall, the collection had an incredible breadth. Following the acquisition by the National Museum of Australia of a large portion of the collection, Leonard Joel offered the remaining 1,284 lots at auction over two days in 2020. / Madeleine Norton, Head of Decorative Arts & Art, Sydney
A Victorian
The
Sterling Silver Mounted Claret Jug
Sold for $45,000
Private Collection of Trevor Kennedy AM, November 2020
An Extraordinary Bulgari 18ct Gold, Fancy Coloured Sapphire and Diamond 'Rosette' Suite, Circa 2005 Sold for $200,000 Important Jewels, April 2023
Bulgari Diamond 'La Via Della Seta' High Jewellery Pendant Necklace, Circa 2017 Sold for $375,000 Important Jewels, December 2022
An Album
Japanese Woodblock Prints, Utagawa Hiroshige (1797-1858), Edo Period (1615-1868) Sold for $93,750
A Rare Sevres Porcelain Reticulated Vase (Vase Cornet) Sold for $212,500 The Robert Compton Jones Collection, May 2023
With regular auctions in Fine Art, Jewels & Watches, Decorative Arts, Modern Design, Luxury and more, there’s something
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Contact a Leonard Joel Specialist
managing director & head of important collections
John Albrecht 03 8825 5619 john.albrecht@leonardjoel.com.au
Auction Specialists
important jewels
Hamish Sharma
Head of Department, Sydney 02 9362 9045 hamish.sharma@leonardjoel.com.au
fine jewels & timepieces
Steven Milonas
Head of Department 03 8825 5645 steven.milonas@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
