LEONARD, issue 106, October-November 2023

things to know about Françoise Gilot

Welcome to the new look Leonard!

There is a wealth of knowledge to be found within the Leonard Joel community. This issue, we speak to experts in their chosen fields to learn more about Japanese kokeshi, Scandinavian design, nonprofit arts organisations, the acoustics of the Sydney Opera House, and more.

Our own specialists share their expertise too, covering Arts & Crafts furniture, genre painting, provenance in jewellery, the life and work of Françoise Gilot, the transformative effect of a good frame, and more.

With sincere thanks to Mike Giesser, for translating 104 years of the Leonard Joel brand so beautifully into a new visual language.

October — November 2023

features

The Art of Framing

The Value of Provenance

Five Favourite Timepieces with Bruce Keebaugh

Slow Furniture: A Return to Mid-Century Craftsmanship

The Sydney Opera House ‘Doughnuts’

1001 Remarkable Objects

Genre Painting: The Furnishings of Daily Life

The Face and the Wood

Beyond Priceless: Barbara Hutton’s Jewellery Collection

Arts and Crafts: From the Ideal to the Egalitarian

Five Things to Know About Françoise Gilot

Does Size Meta?

in focus

How to… Support Charities and Nonprofits

in the Arts Sector with Sue Roff

Five Minutes with Kim Clarke

22nd Report: Policy & Spirit

Thinking of Selling?

A Last Look

join us Connect Value, Sell & Buy

cover:

Françoise Gilot (French, 1921-2023)

Stone Echoes: Original Prints by Françoise Gilot (part) lithograph in colours, on Lana 1590 paper, ed. 10/60 (4) 29 x 19cm (image)

$5,000-7,000

below:

Françoise Gilot, Vallauris, France.

Image: Gjon Mili/ The LIFE Picture Collection/ Shutterstock

AUCTION CALENDAR OCTOBER –NOVEMBER 2023

October

Sidney Nolan: Artworks from the Nolan Estate

Thu 5 Oct, 2pm

Melbourne

Timepieces

Mon 23 Oct, 4pm

Melbourne

Fine Jewels

Mon 23 Oct, 6pm

Melbourne

Fine Art

Tue 24 Oct, 6pm

Melbourne

November

Art For Goodness Sake

Wed 8 Nov, 6pm

Sydney

Modern Design

Mon 13 Nov, 6pm

Melbourne

Luxury

Tue 14 Nov, 6pm

Melbourne

Prints & Multiples

Wed 15 Nov, 6pm

Melbourne

The Sydney Jewellery Edit

Mon 20 Nov, 2pm

Sydney

Decorative Arts & Asian Art

Mon 20 Nov, 2pm

Melbourne

The Sydney Opera House’s Iconic ‘Doughnuts’

Tue 21 Nov, 2pm

Sydney

Furniture & Interiors, Objects & Collectables, Jewellery, Art

Every Thu from 10am

Melbourne

The Art of Framing

A visit to the Louvre last year provided me with - and this will be no surprise to anyone – a visual overload. Amongst that, I was struck by a double-sided painting housed within the most lavish gilt frame and mounted on a similarly extravagant base. It was Daniele da Volterra’s David and Goliath, and you simply could not miss it, placed central to one of the long corridors. It challenged the accepted notion that the frame is the mere functional necessity, the very poor cousin, to the artist’s work. This idea, and the history of frames, has been pursued by all sorts of researchers and academics. I’ve always wanted to write on frames, and our recent sale of Vu Cao Dam’s Le Cavalier jolted me into action. Its exquisitely painted frame, original to the work and by the artist no less, tied it inextricably to the painting’s completeness, its originality. Olivia Fuller, our Head of Art, agreed. This was one of those rare examples where the artist’s hand, and mind, had extended beyond the canvas and into its housing, its frame! The act itself by the artist is as good as padlocking the frame to the work for eternity. That at least would have been the intention and should also remain the goal of every owner of the work who wants to ensure that optimal value is maintained via a respect for this originality. Yes, the work could be swapped out, but if it were to be, it would unquestionably alter its status.

Why am I telling you all this? Because frames can harbour value in often less obvious, and rather simple ways. At the most basic level, they serve to protect the work from damage. We forget that the first function of the frame throughout history - grand and heavy religious commissions asidewas to protect artwork from falling or being dropped, and to make it easier to transport. Then, the frame’s purpose extends to the need to define the work on the wall and concentrate the gaze of the viewer. As the frame becomes more elaborate and imposing, its subtle competition with the canvas is driven by other intents. With portraits, it certainly seeks to make clear that the sitter is important, and with all other works, that the subject matter is important. In other ways, the frame’s artistry and complexity is not driven by ego or impact. Often it is that framers sometimes become artisans through their own passion. They decide that a frame can be more than just wood, gilt, or painted, and can speak with the painting, harmonise with it, and perhaps enhance it.

Just such an example is William Delafield Cook’s work Louis XV Chinoiserie Commode with a beautifully enhanced frame to reflect the detail of the commode. If you’ll allow me to move this conversation into the auction world, I remember vividly the late Graham Joel often exclaiming from the rostrum during the sale of a work, “the frame’s worth more than that!”

While the refrain lacked nuance, it certainly reminds me that so often we overlook the effort and artistry invested into these surrounds. Art specialists always look at the back of a painting for signposts of its history and ownership, but rarely do we dwell on the frame. Granted, a simple contemporary floating box mount doesn’t warrant contemplation, but when a frame does present complexity, I urge you to explore that, however brief that journey may be.

opposite: Daniele da Volterra (1509–1566)

David and Goliath

Musée du Louvre / Alamy

below:

Vu Cao Dam (Vietnamese, 1908-2000)

Le Cavalier 1978

oil on canvas

99 x 79.5cm

Sold for $118,750

right:

William Delafield Cook (1936-2015)

Louis XV Chinoiserie Commode, 1988

Leonard Joel Collection

Derived from the French word provenir, which translates as ‘to come from’, provenance refers to an object or artwork’s point of origin and subsequent journey through time.

The Value of Provenance

much like other collecting categories, appraising a piece of jewellery is based upon several interconnected factors that contribute to value. Medium, rarity, market trends, condition, and precedence all contribute to establish the desirability and therefore the worth of an object. For the jewellery category, these value factors can include fineness of craftsmanship, quality of materials, unique and cohesive design, and rarity. One integral component in establishing an object’s worth can come by way of an enquiry into provenance.

Derived from the French word provenir, which translates as ‘to come from’, provenance refers to an object or artwork’s point of origin and subsequent journey through time. Histories can at times be colloquial; conversational accounts that are passed down through word of mouth over generations. Traceable lineages that come supported by documentation are most likely to contribute to ongoing market demand and value appreciation. These more concrete and desirable forms of provenance typically include ephemera such as receipts, a bill of sale or invoice, an appraisal or insurance valuation, an auction or museum exhibition catalogue, a catalogue raisonné, or a museum inventory number. With a dossier of documents supporting the lineage of an object, collectors can be assured that they have acquired a legitimate and genuine article rather than a forgery.

Throughout history, objects owned by and linked to the social elite and historical figures have been admired and coveted. In more recent history, this desire to have proximity and connection to the social elite has morphed into an admiration of pop culture icons. This is evidenced by

some of the most famous jewellery collections ever sold at auction, such as the Elizabeth Taylor collection sold by Christie’s New York in 2011, and The Duchess of Windsor Collection sold by Sotheby’s New York in 1987. These collections created enormous amounts of excitement amongst collectors and jewellery enthusiasts seeking connection to the previous owners and their lives.

I have recently had the pleasure of handling an emerald and diamond locket pendant with exemplary noble provenance. Set with an exceptionally beautiful emerald and presenting in excellent condition, it is the concrete lineage which makes this piece so fascinating. The locket at one time belonged to the 3rd Countess of Harewood, Lady Louisa Lascelles. The Countess married the 3rd Count of Harewood, Henry Lascelles, on the 5th of July 1823. An 1855 portrait of Louisa Lascelles by English painter George Richmond currently hangs in the dining room of Harewood House. It portrays the formidable matriarch in a black gown, accented with a red paisley shawl. In the scene, she gestures towards the impressive Italian style terrace that she commissioned Sir Charles Barry to design as part of the major 1840s Harewood House renovations. On her wrist is a bracelet which suspends the heart shaped emerald and diamond locket that has been treasured and passed down through generations to the current owner.

Our Fine Jewels & Timepieces Auctions will take place on Monday 23 October in Melbourne. For viewing times and to see the full catalogues please visit our website.

from the upcoming Timepieces auction…

Funnily enough, I collect pocket watches as my grandfather did, and this Marmaduke Storr circa 1740 is a rare find. I just love that during that era, time for most was seen via a central town clock; few had pocket watches like this.

I have collected Cartier watches all my life and the Tank Américaine is an absolute classic. First created in 1917, this more modern version is perfect for a black-tie event (of which I attend a lot!).

The Rolex Datejust in brown is a unique and stylish watch that many would shy away from, but I like that strength of colour and distance from the expected classic Rolex look.

The Baignoire is, I think, Cartier’s most elegant ladies evening watch, and whilst it comes in many iterations, this classic version is a very good day watch too (and perhaps even a gift for someone special!).

Panerai is my go-to everyday watch, but this Luminor 1950 limited edition takes it to another level. I love the rubber band against the gold hardware.

Hospitality entrepreneur Bruce Keebaugh is as well known for his sartorial style as he is for his extraordinary events. Who better to share his selection

Rebecca Stormont, our Modern Design specialist, chats to Great Dane Founding Director, Anton Assaad.

Slow Furniture: A Return to Mid-Century Craftsmanship

Tell me about what initially sparked your interest in Scandinavian Design?

I discovered and fell in love with vintage designer furniture in my late 20s but really struggled at the time to find pieces to buy here in Australia. When I was made redundant and given a small payout, I sat around for 12 months trying to work out what to do. It was at that point I thought why not import Danish furniture? So, I did… I imported my first container from photos and paid for all of it upfront. I really had no idea if the container would be empty or full as I had only spoken to the supplier over the phone.

I think I was drawn to furniture as my paternal grandfather, a retired CSIRO scientist, had made his own, and taught my brother and I how to use woodworking tools. What I didn’t realise at the time was that all his furniture was inspired by mid-century Danish design. I think it was just meant to be!

You have worked closely with several designers, delving into their archives to curate collections - any interesting stories you want to share?

My partnership with the esteemed Arne Vodder significantly shaped Great Dane. The collaboration was a dream, I couldn’t believe he was interested in working with us. Most of the Danish industry people thought he had passed away. We met and formed a great connection sipping limoncello in his apartment and discussing his days in the industry. The partnership certainly put Great Dane on the global map as a leader in mid-century Danish design and pushed me to work even harder to find more designers from that period.

What buying trends have you noticed recently in the Australian mar ket? Any advice for those looking to buy investment pieces? We say buy once, buy well. Our furniture is forever, not a fash ion or trend; we are slow furniture. It often takes us three years to get a design into production and onto the Great Dane floor. When deciding what investment piece to buy, consider how you live - it is your home, so

pick items that are classic that you feel you will love forever. We love it when clients come in years later and share how they still love what they purchased from Great Dane 20 years ago.

Great Dane recently held an exhibition on Nanna Ditzel, a truly remarkable figure of Danish mid-century design. How was the exhibition received and what were some highlights?

The exhibition’s resounding success was a heartfelt journey, allowing us to share Nanna Ditzel’s multifaceted career, spanning furniture, textiles, and jewellery design. Collaborating with Dennie Ditzel, Nanna Ditzel’s daughter and the CEO of Nanna Ditzel Design, was a very special experience. Dennie’s generous contribution of archival materials and her involvement in curating the furniture selections was truly memorable and something we won’t ever forget. Working alongside Georg Jensen to showcase Nanna’s jewellery creations was equally inspiring. Overall, the exhibition celebrated Nanna Ditzel’s remarkable legacy and created meaningful connections within the world of design.

What have been some of your favourite auction purchases over the years?

I recently found a home for a Snowball pendant light designed by Poul Henningsen for Louis Poulsen in 1958. I had carried this light around for 20 years! It was only recently that I found the perfect spot at our beautiful new home in Point Lonsdale – The Great Dane House (now available to book on Airbnb!). That was a very satisfying moment when it finally found its forever home. I also have fond memories of purchasing a 1960s Brazilian Percival Lafer leather sofa with a rosewood frame.

We speak with the Sydney Opera House’s Heritage Manager, Laura Matarese, about the iconic building, the decommissioned acoustic reflectors affectionately known as the ‘doughnuts’, and the Opera House’s upcoming 50th birthday.

The Sydney Opera House ʻDoughnuts’

What

is

your role and what do you love about it?

I’m the Sydney Opera House’s Heritage Manager. In my role I help take care of the World Heritage listed building and its collections. I love the Opera House because it’s both a work of art and a stage for it. The best way to see it come alive is to watch a performance and see this combination at work. I still get goosebumps every time I see the building. When I leave work, I love seeing people arriving to enjoy a show, families watching the sunset on the steps, and kids playing on the forecourt.

What are the ‘doughnuts’ that used to hang in the Opera House’s Concert Hall?

The ‘doughnuts’, as they’re often referred to, were the acoustic reflectors in the Concert Hall. The 21 Perspex rings were first installed in 1972 to improve the acoustics. What is now the Concert Hall was originally going to be the opera theatre. After Danish architect Jørn Utzon’s departure in 1966, there was a change in brief by the government and the venue became a Concert Hall. However, the height of the ceiling was too high for orchestral music, so the design solution was to install acoustic reflectors over the stage. This was the brainchild of Peter Hall, the Australian architect who completed the building after the departure of Utzon, and Danish acoustician Dr Vilhelm Jordan.

Why were they decommissioned?

The acoustic reflectors were brought down in 2020 to make way for the renewal of the Concert Hall. The upgrades were completed over a twoyear period, with acoustic improvements being a key goal. To achieve this, we replaced the doughnuts with state-of-the-art acoustic reflectors resembling petals, which have significantly improved the sound quality of the venue.

What has the Opera House done with them?

As significant items in the Opera House’s history, we developed a plan to manage the future of the doughnuts. We accessioned three into our heritage collection and offered them to the families of the designers and manufacturers. In November, the remaining doughnuts will be auctioned to the public through Leonard Joel. In 2022, we engaged director Angela Goh to create a film, The Concert, as a way to reimagine the acoustic reflectors. There is also an online exhibition on the Opera House’s Google Arts and Culture webpage.

What are some other nicknames for the Perspex rings?

Over the years, they have had various nicknames including giant ‘lifesavers’, and ‘calamari rings’, but ‘doughnuts’ has been the term of endearment that has stuck. When they were brought down in 2020, the team honoured the moment by eating Krispy Kreme doughnuts on stage.

The Opera House is celebrating its 50th anniversary this year. How can people get involved?

In October, the Opera House kicks off a month-long festival to celebrate 50 years. We have more than 50 events including contemporary art, theatre, music, and a new public artwork. This is a joyous occasion for our community to come together and celebrate five decades of this extraordinary building.

The auction of the Sydney Opera House’s iconic ‘doughnuts’ will take place on Tuesday 21 November in Sydney. For viewing times and to see the full catalogue please visit our website.

below:

Doughnut removal at the Sydney Opera House Credit / Daniel Boud

opposite: Concert Hall with Musica Viva March 1973, photograph by Max Dupain. Credit / Sydney Opera House Trust and Mitchell Library, State Library of NSW

1001 Remarkable Objects

Purchased 1951. Image ORDRE.

The decorative arts have always had a tremendous appeal for collectors, and perhaps the greatest collectors of all time have been the big museums that are to be found in every capital city of the world. Many of these public collections had their origins in royal or noble collections. In Australia, the Powerhouse Museum in Ultimo, formerly the Museum of Applied Arts and Sciences, was conceived in 1879 as a spin-off from the Sydney International Exhibition which had been held to great acclaim in the Garden Palace, a sort of antipodean crystal palace, sited in the Botanic Gardens. It presented displays of collections of indigenous artefacts from the earliest days of the colony, international wares, and local and interstate productions to much local acclaim. These wonders were all destroyed when on the night of 22 September 1882, the building burnt to the ground. One of the few surviving artefacts of the conflagration was an elephant from the Ceylonese (Sri Lankan) display that had been carved from graphite, and despite falling through three floors, survived.

The Powerhouse Museum’s latest exhibition, 1001 Remarkable Objects has this elephant on display along with one thousand more objects from its holdings of over 500,000. The exhibition curatorium was chaired by Leo Schofield AM whose stated aim was to put on a show that presented a snapshot of the incredibly eclectic holdings of the Powerhouse, but also to ensure that it had the broadest possible appeal to all visitors, from the youngest to the oldest, from seasoned museum goers to curious onlookers. Employing the skills of three different theatre designers, the presentation is designed to excite and enthuse. Entered through a huge triumphal arch decorated to one side with clouds and classical statuary and surmounted by a Marilyn Lips sofa, the exhibition is a wunderkammer presented in over twenty-five different rooms. The design of each room is inspired by the themes of nature, power,

movement, and joy, and the arrangement of the objects is deliberately quirky and at times eccentric, with unusual juxtapositions between objects from different eras or materials in fascinating dialogues.

The diversity on display is totally staggering, ranging from an electric car made in 1917, to an 18th century sedan chair; Venetian glass bought for the museum in the 1880s on display with amusing modern pieces that add a witty twist to the same aesthetic. Indigenous art from remote townships as well as urban practitioners sit happily with 1950s Italian art glass. A totally zany mousetrap making machine is on display next to the museum’s prized and incredibly rare 18th century Meissen bust of Schmiedel, the court jester whose tricks with the mice that dangle from his mouth and sit on his hat amused the King of Saxony. There are famous masterpieces like the Egyptian suite by Thomas Hope and other pieces never before seen by the public such as the Japanese okimono of monkeys playing with a netsuke and being stung by a wasp. The labyrinth of arched rooms opens out to the Joy section which is surmounted by one of the giant kewpie dolls from the Sydney Olympic Games closing ceremony, and has displays of costume and childhood memorabilia, as well as rarities such as the wind tunnel model of the Sydney Opera House and Kylie Minogue’s iconic Showgirl costume. Remarkable in every sense, this exhibition deserves to be seen more than once, indeed, it would be almost impossible to take it all in in one visitation. As someone commented on Instagram: “Run, don’t walk to 1001 Remarkable Objects… a wonderful wunderkammer of the museum’s treasures!”

1001 Remarkable Objects is on display at the Powerhouse Museum until 31 December 2023. Learn more at powerhouse.com.au

Genre painting broadly describes an art style that illustrates scenes of everyday life, both high and low.

Genre Painting: The Furnishings of Daily Life

genre painting emerged throughout holland in the 17th century, with exponents including Vermeer, and soon expanded throughout Northern Europe, rivalling more classical, biblical, or historical subjects. Genre painting became enormously popular in the Victorian age following the success of artists such as Sir David Wilkie whose style was more anecdotal.

The most typical subjects of genre painting of the 17th-19th centuries were scenes of peasant life, including labour, taverns, markets, courtship, and domestic interiors. At the founding of the French Academy in 1648, the hierarchy of subjects was already firmly entrenched. Mirrored in their placement on the gallery walls, still life ranked the lowest, with historical subjects at the top. In the middle rung was what we now term genre painting.

In the 18th and 19th centuries, artists elevated their scenes of everyday life, both through aggrandising their scale and idealising their subject matter. This was most popular for the artists of the later part of the 19th century. Francesco Beda (1840-1900) was one such artist, whose works are unashamedly grandiose, set in palatial interiors with aristocratic characters typically engaged in high society pastimes such as board games. Another key genre painter of the later 19th century was the Italian, Gaetano Chierici (1838-1920). In contrast to Beda, Chierici focused on more humble subjects although often with a sentimental or witty undertone.

Despite beginning as a landscape painter, Chierici earned an international reputation for his paintings of humble farming lifestyles

executed with exquisite detail. The sincerity in his genre paintings earned him the title ‘poet of the family’, as it was not just the objects and settings of his paintings that were of importance to him but also the interactions between his characters and the overall narrative that they translated. The Happy Family 1870 dates from the artist’s ‘descriptive period’, where the poor are represented as a happy community. The fireplace is often central and represents the source of their comfort, whilst also enabling Chierici to flex his brush in the balance of light and shadow. Great thought is given to the placement of every object in the scene, as well as the tattered clothing and smiling expressions of the figures with a father-figure noticeably absent. By the end of the 19th century, artists began to pivot to scenes of the new modern life around them in fast-growing metropolises such as London and Paris. The simple and sentimental genre scenes of the Victorian era were replaced by a new style of genre painting focusing on busy street and café scenes. Painters such as Gaetano Chierici and Luigi Scaffai represent, therefore, a moment in time where the ‘simple’ life reigned supreme amongst artistic circles.

Our Fine Art Auction takes place on Tuesday 24 October at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.

Japan Specialist Trevor Fleming sits down with Kirsten Albrecht, owner of Kozminsky Studio, collector, and author of the new book, Kokeshi Dreaming.

The Face and the Wood

What drew you to the world of kokeshi and inspired you to learn more about them?

My fascination with kokeshi in all their various forms began as a six-year-old girl. Wandering into a room and seeing a pair of kokeshi “kissing”, I instantly fell in love with their exotic simplicity. It was many years later, on my fiftieth birthday when I was gifted a fabulous creative ‘sosaku’ kokeshi, that my fire to collect was ignited.

What are kokeshi and what was their purpose or significance? Are they dolls in the Western sense?

Kokeshi are the iconic wooden dolls of Japan. Traditionally of turned wood, they stem from folk traditions but have evolved to be expressions of contemporary art. Whilst Japan may have a predominance of functional art, it is their refined aesthetic that touches me deeply, that of the day to day. I don’t refer to kokeshi as dolls, for me they are the enigmatic totem of my heart country, Japan. To call kokeshi ‘dolls’ is, I feel, to diminish them.

Are there specific regions in Japan known for producing different styles and designs of kokeshi? What are the common types or motifs you typically see?

The most well-known kokeshi are the ‘dento’ or traditional varieties from Japan’s north where the hot springs meet the snow. Twelve families and some sub-lineages make up the dento kokeshi. Of these, the ‘Naruko’ with its iconic face, chrysanthemum decoration, and happy disposition is a hugely popular design originating from the town of Naruko in Miyagi prefecture. There are many stores run by third generation craftspeople and if you get the chance, it is a fascinating place to explore and visit other kokeshi studios.

Have kokeshi inspired creative expression and are there any contemporary adaptations or interpretations of kokeshi art?

Yes, the dento kokeshi inspired the ‘sosaku’ or creative kokeshi which became important after the Second World War. The returning Japanese

soldiers needed employment and it was one way to provide jobs and a pathway back to society. Nowadays, kokeshi have influenced craftsmen and women in the West and I’m familiar with some working on contemporary versions, both in England and France.

On collecting, are there specific categories or types of kokeshi that collectors seek out and what factors influence their value? What is the price range?

One of the many reasons I love collecting kokeshi is that they are an affordable and egalitarian art form. One can begin with purchases around $50 and with further learning and discovery, there are so many paths to travel. I love watching the dento or traditional kokeshi families offered in the Leonard Joel Auction Salon. I imagine the lucky bidder beginning a home collection. On the higher scale, it is possible to pay thousands for a kokeshi however these are more one-off artisanal works by a master kokeshi maker. Irrespective of price, I do look very closely at the expression and painting of the face and the treatment of the turned or joined wood to get a sense of its maker.

Congratulations on the book! Tell me about the journey of writing it. Thank you, Trevor, it is a labour of love. I began writing more than fifteen years ago, and life got in the way. Japan is my heart’s home and I express this love in part through my kokeshi collection. It is a visual celebration of my collection. The words are important, but it is the photographs by Bronwyn Kidd and Jacqui Henshaw, along with Keith Smith’s visual genius that bind it together. It takes a village.

Kokeshi Dreaming will be released mid-October 2023 and available to purchase via www.kozminsky.com With thanks to Kirsten Albrecht for her time.

Beyond Priceless: Barbara Hutton’s Jewellery Collection

in the bustling heart of new york city, 1912 marked the birth of a jewellery legend, Barbara Hutton, forever remembered as the "Million Dollar Baby." She was the cherished only child of Edna Woolworth and the illustrious granddaughter of Frank W. Woolworth, the iconic retail tycoon. Her life story would unfurl as a captivating narrative of immense wealth, a string of seven marriages, and a legendary jewellery collection that continues to captivate us today.

On Barbara’s 21st birthday, her inheritance stood at a staggering $42 million, an astronomical sum that, when translated to today's currency, would equate to nearly 2 billion dollars. This wealth granted her access to a world of opulence and luxury that was beyond the wildest dreams of most.

Her jewellery collection was an unparalleled treasure trove of unique, commissioned masterpieces by the most sought-after jewellers including Cartier and Van Cleef & Arpels. Yet, her passion transcended the confines of high-end jewellery; she held a particular fascination for royal and noble jewels.

Among the jewels of nobility in her collection were the Grand Duchess Vladimir’s emeralds, an extraordinary set of stones that she entrusted to Cartier for a stunning 1947 transformation into an Indian-inspired tiara. The resulting creation was nothing short of breathtaking. Cecil Beaton, the famous photographer, immortalised her in an iconic image where she wore this tiara alongside the Pasha diamond, once owned by King Farouk. However, as circumstances would have it, the tiara later changed hands as Barbara endeavoured to finance one of her divorces. Van Cleef & Arpels took possession of the tiara, recognising the extraordinary value of the emer-

alds. They were subsequently sold individually, with some eventually becoming part of the iconic emerald necklace worn by Elizabeth Taylor.

During her marriage to Prince Alexis Mdivani in June 1933, Barbara's father gifted her an extraordinary single-strand natural pearl necklace, believed to have once graced the neck of Marie Antoinette. Barbara held this necklace dear, often running the French Queen’s pearls through her fingers. It found a new home in 1993 when it was auctioned at Christie's, fetching an astonishing 2,203,500 Swiss Francs.

Another gift from the same marriage would come to be known as the most iconic piece of jadeite jewellery in history; the Hutton-Mdivani Jadeite Necklace. Dating back to the late Qing period and comprised of 27 beads with magnificent green hues and exceptional translucency, this necklace was a masterpiece without equal. In 2014, it left the world awe-struck by setting records at auction, selling for over 27 million US dollars. The necklace found a fitting residence in the Cartier Collection, an acknowledgment of its breathtaking beauty and historical importance.

Barbara Hutton's jewellery collection was more than just a display of wealth; it reflected her impeccable taste, style, and the extraordinary life she led. Each piece held a story – of opulence, love, and an unyielding quest for beauty.

Our Important Jewels Auction takes place on Tuesday 5 December at 6pm in Sydney. For viewing times and to see the full catalogue please visit our website.

For its early leading lights, what came to be known as the Arts and Crafts movement was the practical pursuit of political and philosophical beliefs.

Arts and Crafts: From the Ideal to the Egalitarian

william morris and others of similar socialist bent such as Charles Robert Ashbee were concerned that the increasing industrialisation of work and production witnessed in England through the nineteenth century was harming not only the bodies, souls, and communities of working men and their families but also traditional artisan trades and crafts. The vision they advocated to counter this, much inspired by their romantic view of working and community life in England in earlier centuries, was a return to craft-based production on a smaller, more local scale, with fellow artisans working co-operatively close to each other in a way that would both reconnect men (and women) with the fruits of their labour and perpetuate traditional trades and crafts.

In partnership with fellow artists and designers, Morris put his vision into practical effect in 1861 with the firm that later became Morris & Co., producing mediaeval-inspired domestic furnishings made by hand using traditional methods. Following the considerable success of Morris & Co. through the 1860s and ‘70s and the broadening of its range of styles, the Arts and Crafts movement began in earnest in the 1880s with the formation of several small co-operative enterprises of furniture designers and craftsmen, several of these calling themselves a ‘guild’, emphasising their pre-modern inspiration and collegial style. Some of these more closely followed Morris’s original ideals, such as the Guild of Handicraft founded by Ashbee to foster craftsmanship in London’s impoverished East End and the Homes Arts and Industries Association for craftsmen and women working from home. Most, however, were founded by men who had trained as architects in the leading practices of the day and were generally less interested in philosophical ideals than in pursuing the creative possibilities inspired by looking anew at traditional craftsmanship and materials and integrating this within complementary architectural schemes.

The finest furniture pieces by the leading English Arts and Crafts designers and craftsmen – Philip Webb (Morris’s principal furniture de-

signer), William Lethaby, Ashbee, C.F.A. Voysey, M.H. Ballie Scott, Ernest Gimson, and the Barnsley brothers, amongst others – were prized in their day as exemplars of strong original design using simple materials (solid oak and other native woods with hand-made fittings) coupled with high craftsmanship. What these pieces were not, however, was accessible to all. Some were unique, made for a particular interior scheme, but even those pieces that were made in some number for commercial sale (in London’s Mayfair and Oxford Street showrooms) were the preserve of a relatively small educated and wealthy class – somewhat at odds with Morris’s and others’ ideal that well-designed and made furnishings should be accessible to all.

Arts and Crafts designers and makers had different views as to the extent, if any, that use of machines might have in making their furniture but the general presumption against it limited production and demanded high prices. Much less precious on this question was Ambrose Heal who saw no difficulty (other than in getting enough craftsmen to meet demand) in using machines while maintaining high standards of design and construction with his Plain Oak Furniture and Simple Bedroom Furniture, as his catalogues called it. With his unassuming commercially-minded approach, Heal did as much as anybody from the 1890s into the early twentieth century to bring Arts and Crafts furniture into the homes of those of more modest means. In this, and with Arts and Crafts design being promoted widely in journals and catalogues, Heal was soon joined by other firms in England and further afield producing Arts and Crafts furniture that continues to be appreciated today for its strong but unpretentious character, quality of construction, and versatility in a range of settings from the traditional to the contemporary.

Our Decorative Arts & Asian Art Auction takes place on Monday 20 November in Melbourne. For viewing times and to see the full catalogue please visit our website.

left: An important Arts and Crafts oak high dresser by Ernest Gimson, 1910s Sold for $18,750

opposite: Sir Ambrose Heal by Walter Benington, for Elliott & Fry chlorobromide print on tissue, 1930s © National Portrait Gallery, London

Five things to know about Françoise Gilot

Françoise Gilot, acclaimed artist and author, left an undeniable mark on the world of art and culture before passing away earlier this year at the age of 101. While many headlines memorialise her as “Pablo Picasso’s Muse” or “the only woman to leave Picasso”, it is essential to recognise that her life and artistic journey was far more than this. In focusing on her incredible achievements, here are five things you should know about Françoise Gilot, without Picasso.

1. Françoise Gilot knew she wanted to be an artist from childhood.

As an only child, she was born into a ‘haute bourgeois’ family in Paris. Her father was an agronomist, and her mother a ceramicist. As a child, Gilot turned to her parents and said, “I want to become a painter”. This simple declaration marked the beginning of a long journey of artistic exploration.

2. She studied extensively before turning her full attention to her artistic practice.

Following the wishes of her father, Gilot pursued a career in law, graduating from the Sorbonne University with a Bachelor’s degree in philosophy at the age of just 17. In 1939 she enrolled at law school. However, her life took a dramatic turn during World War II when the Germans invaded France. Reflecting on the impact of this experience, she said “after (the invasion), I thought, well, you know, I don’t know how long we will remain alive. So, I’m

3. Contrary to common belief, she was formally inspired by Henri Matisse.

Matisse had exerted the most enduring influence on Gilot’s art, most obviously seen in her use of highly saturated colour. In 1946, she met

Matisse who was instantly impressed by this young, confident, and intelligent woman. As Gilot commented, “Matisse was my God. I’m a French artist, that’s for sure. I am colour-orientated and what you might call a composer. I am not pouring my guts out; I keep them inside.”2

4. Françoise Gilot was also a successful author and poet. Another dimension of Gilot’s creative work that is often overlooked is her tremendous skill as a writer and poet, addressing concerns of humanity, especially issues affecting women, in her numerous books and essays. In 1964, she published ‘Life with Picasso’, much to the dismay of Picasso and numerous critics. Despite this, the book became a bestseller and has recently been reissued.

5. Françoise Gilot considers printmaking to be an integral part of her creative oeuvre.

Her introduction to printmaking was in 1935, at the age of 14. In 1951, Gilot began her journey of lithography at the Mourlot workshops in Paris, under the acclaimed printmaker Fernand Mourlot. Her colour lithographs are a force of her relentless persistence as an artist.

1. Smith, H., ‘Francoise Gilot, Celebrated Artist, Writer and Muse to Picasso, dies at 101’, The Washington Post, 6 June 2023, accessed 4 September 2023: https://www.washingtonpost. com/obituaries/2023/06/06/francoise-gilot-dead-picasso-muse-dead/

2. Kazanjian, D., ‘From the Archives: Francoise Gilot on Life After Picasso’, Vogue Magazine, 7 June 2023, accessed 4 September 2023: https://www.vogue.com/article/life-after-picasso-franoise-gilot

A collection of Françoise Gilot lithographs will be featured in the upcoming Prints and Multiples auction, taking place on Wednesday 15 November at 6pm in Melbourne.

opposite: Françoise Gilot, Vallauris, France.

Image: Gjon Mili/ The LIFE Picture Collection/ Shutterstock

right:

Françoise Gilot (French, 1921-2023)

Stone Echoes: Original Prints by Françoise Gilot (part) lithograph in colours, on Lana 1590 paper, ed. 10/60 (4)

29 x 19cm (image)

$5,000-7,000

going to do what I want.”1

The luxury market has shaken the confines of the physical, marking a transformative moment in consumer culture where digital and conceptual goods challenge conventional value.

by indigo keane, luxury specialist

today, in an era where consumer interaction with commodities is increasingly digital, re-defining ‘luxury’ can be considered crucial for some brands to survive in a world shaped by technology and social media.

From Victorian miniature mesh chatelaine purses to Jacquemus Le Sac Chiquito bags, fashion history tells us that we have been getting closer to total material evaporation for quite some time. However, in June 2023, the goal posts well and truly shifted, changing our definition of the ‘micro’ bag forever.

Selling for $63,000 USD through Pharrell Williams’ latest venture, Joopiter Auctions, MSCHF’s reproduction of the iconic Louis Vuitton OnTheGo tote has been described as ‘narrow enough to pass through the eye of a needle’, measuring up at just 0.03 inches in width. The minute polymer resin masterpiece is decorated with intricate Louis Vuitton monogram detail, however it has no official connection to the brand. However, not everything requires a microscope for consumers to want in. The OnTheGo tote was not the first time that Brooklyn art collective MSCHF provoked and subverted the luxury market, with the collective releasing their own line of ‘Birkinstock’s’ in 2021. These Birkenstock sandals were crafted out of authentic exotic leather Birkins, with a price tag of $34,000 - $76,000, yielding immense social media response.

In 2022, digital artist Mason Rothschild was sued by Hermès for trademark infringement when creating and selling a series of ‘MetaBirkin’ non fungible tokens to the luxury lovers of the Metaverse. This collection came off the back of Rothschild and Eric Martinez’s $23,500 ‘Baby Birkin’ NFT; a digital transparent Birkin illustration featuring a growing foetus inside the body of the bag. Hermès had no connection to the transaction, and took action in attempts to reclaim their signature, drawing further attention to the internet sensation.

We have recently seen high end brands take the ‘if you can’t beat them, join them’ approach with designers such as Balenciaga and Gucci trading in digital fashion. As luxury conglomerates begin to adapt to new ways of engaging consumers, the market is swiftly evolving into a landscape that is no longer solely defined by traditional notions of prestige, but limitlessly expanding opportunities for consumer engagement.

Our Luxury Auction takes place on Tuesday 14 November at 6pm in Melbourne. For viewing times and to see the full catalogue please visit our website.

how to… Support Charities and Nonprofits in the Arts Sector with Sue Roff

Sue Roff has decades of experience working within the public art sector working with the Australia Business Arts Foundation, the Public Galleries Association of Victoria, and is currently the outgoing Executive Director of Arts Project Australia (APA). Over her 13 years in this role, she has firmly cemented APA as a leading Victorian arts organisation.

How would you briefly describe Arts Project Australia to a collector who has never heard of it?

Arts Project Australia is a leading Australian supported studio and gallery that represents and supports artists with intellectual disabilities, promotes their work, and advocates for their inclusion in the contemporary art sector. A vibrant creative social enterprise, our busy art studio in Northcote has over 150 artists develop their unique practice each week, while our public gallery at Collingwood Yards showcases APA artists’ work in a range of exhibitions throughout the year. As well as this, APA artists are exhibited in many prestigious galleries both nationally and internationally, and have work housed in a wide variety of private collections.

Reflecting on your extensive experience representing and supporting art galleries, why do you think organisations like APA are so important to the arts and disability sectors?

Artists with an intellectual disability have historically been underrepresented in Australian art despite the vibrancy and originality of their work. Over years of sustained advocacy, APA artists are now invited to exhibit and participate in galleries, museums, and art fairs across the world. When APA artists are recognised and valued within the community it opens a positive conversation about creativity and neurodiversity. Organisations like ours play a vital part in not only supporting artists with disabilities, but also in driving inclusion across the visual arts sector.

What advice would you give to a collector who is looking to support a charity or non-profit in the arts sector?

Just do it! The best way to support an artist is to buy their work and the second-best way to support an artist is to buy their work. Small independent organisations that support artists all need help to survive – whether that’s buying a unique piece for your collection or donating directly to the organisation – support at the grass roots is crucial.

Who is an artist on your watch list right now, and why?

Daniel Pace is an APA artist whose practice is growing and flourishing, particularly his ceramic sculptures. His series of ceramic trophies that serve as homages to entertainment icons like Shirley Temple and Mickey Mouse sold extremely fast at Spring 1883 and there is a magnificent ceramic chess set in our stockroom that any collector would love.

See more at www.artsproject.org.au

We wish you all the best for the future, Sue!

WITH

Leonard Joel’s Client Services Manager is no stranger to questions, but this time it’s personal…

favourite cocktail

Without hesitation, a vodka martini with olives.

favourite auction purchase

My absolute favourite purchase is a still life by Richard Siemens called ‘Time for a Glass’. As soon as I saw it, I knew it would be mine, like I had owned it in a past life. A close second is a pair of gold Robert Clergerie mules. They are perfect.

your ideal day in melbourne

Firstly, it’s always winter. I’d start with an early morning walk or drive before anyone else is awake, take lots of photos and have a coffee somewhere. Last night’s pizza for breakfast while watching an episode or two of X Files or MacGyver. Walk to a pub that has a fireplace for lunch, followed by a nap. I’d end the day with a dinner party (not at my house) or dinner at a restaurant. My current favourites are Lilac Wine, Don's, a booth at Lagotto, and Bar Savarin.

favourite movie

I can’t choose just one, so my top five are as follows; Overboard, 1987 version, obviously (for fun), Bladerunner (on a rainy day), Bridges of Madison County (if you want to cry), Il Mare (if you aren’t done crying) and The Fabulous Baker Boys (just because). Special mention also goes to Dragon: The Bruce Lee Story and either Terminator 1 or 2. Watch them all depending on your mood and tell me I’m wrong.

leonard joel staff all seem to have a side project or talent, what's yours?

Far from a side project or a talent, I very much enjoy taking photos. Mostly of flowers, sunsets, moody streets, and food, much to the annoyance of those around me.

POLICY AND SPIRIT –

Champagne Flutes, Colonial Cabinets, and Skulls

when we set about creating and adopting our policy on the cessation of elephant ivory and rhinoceros horn trade at Leonard Joel, I really had no experience of what this might mean for our business. The comfort I personally find in clarity and simplicity led me to the view that once adopted it would be a simple process of application, but we soon realised that even with a policy as simple in wording as ours, nothing is ever really that straightforward! No doubt that’s why some policy documents gather dust and get thrown into the “too hard basket” while others remain active and, as I’ve learnt, develop a spirit and direction all their own.

I’m pleased to say that here at Leonard Joel, and with much credit to our specialists that are managing categories where organic and animal material presents, our policy has fallen into the latter category; it is in every sense active and evolving. What we’ve learnt is that a policy like this can challenge our thinking and, in the process, extend the nature of its influence, in a positive fashion, over an organisation. A few examples, from the straightforward to the more complex, will illustrate.

As recently as June this year, I was in discussion with one of our specialists about a set of silver champagne flutes with worked ivory stems and whether they complied with our policy. Our policy states that firstly, the ivory content must not constitute more than 10%, by value or volume, of the entire piece (what we refer to as our de minimis standard) and secondly, that it must be manufactured circa 1920 or earlier. The cups were much later than 1920 in manufacture and so could not be sold by Leonard Joel, and they would likely not have met our 10% threshold either. This was a relatively simple case of our policy working practically and currently.

Other more nuanced and challenging situations present. Recently, we were offered an extraordinary 19th century rosewood cabinet on a chest. It was intricately inlaid with ivory and relative to the overall volume of rosewood, would likely have met our de minimis standard. It met our dateline criteria too. A multilateral discussion ensued between several of us. Yes, it met our criteria, but “did it feel right”? The panelled doors were resplendent with ivory, not mere incidental detailing but a celebration of workmanship and the material, the ivory. On this basis we decided against offering it. We never considered “spirit” when we adopted our policy with the International Fund for Animal Welfare (IFAW), but we have learnt that any policy worth its weight will develop such an element when it’s being interpreted and applied; something like what the common law refers to as “the golden rule”. I like the notion that at Leonard Joel we are taking this approach.

Then, there are examples beyond the scope of our policy. Recently, we were offered for consignment a hippopotamus skull, a valuable

item by the cold hard standards of an auction house. Was it legal to sell such an item? Yes. Did it breach our existing policy? No. Was the species endangered? No. But did it feel right for us? The answer lay in the sincere chatter that ensued between several of our staff on what our position should be in this instance. It was clear that our policy did not extend beyond elephant and rhinoceros material. What else would or should be excluded, we asked ourselves, if we went down this path? We decided, again, that the spirit of our policy should dictate an aversion to such an offering, and we declined to consign it.

We declined it with the knowledge that our policy is not perfect and that it will evolve and expand over time, both in its wording and its spirit. In the meantime, striving to apply and interpret our policy with sincerity is perfect enough.

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.

ESTABLISHED 1919

RE–ESTABLISHED 2023

Thinking

Art

A LAST LOOK

Art Deco jewellery is known for its emphasis on geometric shapes, bold lines and intricate designs. Characterised by elegance and glamour, Art Deco rings are highly sought after by collectors and individuals who appreciate the aesthetic of this period. Troy McKenzie, our Queensland Representative Specialist, was delighted when presented with this 2.30ct old European cut diamond ring with baguette shoulders and open work detailing in pristine condition. With a low profile that delicately wraps around the finger, and perfect balance and proportions to showcase the stone, we knew this ring would be a sure hit.

In this feature, we revisit a handful of beautiful and extraordinary pieces that have passed through our doors since the last issue.

The 1920s witnessed a remarkable emergence of modernist women artists, with Margaret Preston shining brightly among them. She played a pivotal role in shaping Australian

browse

Browse our online auction catalogues or view in person at one of our salerooms.

bid

Create an account online and use it whenever you bid. You can also receive Lot alerts tailored to your interests.

Bidding is simple and you can do so in person, online, by phone or by leaving an absentee bid. Our team is always on hand to guide you.

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Get your auction purchases delivered straight to your door with Leonard Home Delivery (Melbourne only), our convenient, fast, reliable delivery service managed by our in-house team. Please visit our website for more information or contact delivery@leonardjoel.com.au

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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.

VALUE, SELL & BUY

Contact a Leonard Joel Specialist

chairman & head of important collections

John Albrecht 03 8825 5619 john.albrecht@leonardjoel.com.au

chief executive officer

Marie McCarthy 03 8825 5603

marie.mccarthy@leonardjoel.com.au

Auction Specialists

important jewels

Hamish Sharma

Head of Department, Sydney 02 9362 9045 hamish.sharma@leonardjoel.com.au

fine jewels & timepieces

Bethany McGougan

Head of Department 03 8825 5645 bethany.mcgougan@leonardjoel.com.au

fine art

Olivia Fuller

Head of Department 03 8825 5624 olivia.fuller@leonardjoel.com.au

decorative arts

Chiara Curcio

Head of Department 03 8825 5635

chiara.curcio@leonardjoel.com.au

modern design Rebecca Stormont Specialist 03 8825 5637 rebecca.stormont@leonardjoel.com.au

luxury Indigo Keane Specialist 03 8825 5605 indigo.keane@leonardjoel.com.au

prints & multiples

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

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

Madeleine Norton Head of Decorative Arts & Art, Sydney 02 9362 9045

madeleine.norton@leonardjoel.com.au

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

adelaide

Anthony Hurl

Representative Specialist 0419 838 841 anthony.hurl@leonardjoel.com.au

perth

John Brans

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

The Auction Salon Specialists

art

Amanda North 03 8825 5630 art.manager@leonardjoel.com.au

furniture

Shawn Mitchell 03 8825 5640 furniture.manager@leonardjoel.com.au

jewellery

Indigo Keane 03 8825 5605 jewellery.manager@leonardjoel.com.au

objects & collectables

Dominic Kavanagh 03 8825 5655 objects.manager@leonardjoel.com.au

Valuations

David Parsons Head of Private Estates and Valuations 03 8825 5638 david.parsons@leonardjoel.com.au

Marketing & Communications

Blanka Nemeth

Senior Marketing Manager 03 8825 5620

blanka.nemeth@leonardjoel.com.au

Maria Rossi

Graphic Artist

Paolo Cappelli

Senior Photographer & Videographer

Adam Obradovic Photographer & Videographer

Sale Rooms

melbourne 333 Malvern Road, South Yarra, VIC 3141 03 9826 4333

sydney

The Bond, 36–40 Queen Street, Woollahra, NSW 2025 02 9362 9045

Leonard Magazine editor Blanka Nemeth

graphic design

Mike Giesser

Maria Rossi

melbourne 333 Malvern Road, South Yarra, VIC 3141 03 9826 4333

sydney

The Bond, 36-40 Queen Street, Woollahra, NSW 2025 02 9362 9045

brisbane 201 Latrobe Terrace, Paddington QLD 4064 0412 997 080

adelaide 429 Pulteney Street, Adelaide SA 5000 0419 838 841

perth 0412 385 555

info@leonardjoel.com.au leonardjoel.com.au

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