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As you can see, I’ve used this for my 16th to 19th century unframed engravings over the years,
As closing soon, have no more use.
Drawer sizes vary, divided (x8): W.38cm D.51cm / full length (x5): W.78cm D.51cm
H.89cm W.90cm D.69cm
Above: A 19th Century carved French walnut mantle/wall mirror.
Retaining the original, well aged bevelled mirror.
H.115cm W.108cm
Australia : Farm and sheep washing
Anon (for Working Men’s Educational Union)
London
The Working Men’s Educational Union, King William Street, n.d. [circa 1860]. Coloured lithograph wall hanging printed on calico, 880 x 1200 mm, the lower left hand corner stamped Working Mens Educational Union. King William St, Trafalgar Square, London, and numbered 124 below; verso with contemporary manuscript caption at upper edge: Australia – Farm and sheep washing; original brass eyelets at each corner with original sewn in linen loops for hanging; original fold lines (three horizontal and three vertical);
the banner is in a remarkably good state of preservation, the colours still strong and vibrant.
A philanthropic organisation founded in London in 1853, the Working Men’s Educational Union provided free education for the working classes through public lectures at different venues across the city.
The wall hanging with colonial rural scene which we offer here would have been used as part of a display illustrating a lecture on the Antipodes. The rugged mountain rising abruptly from the plain in the background is reminiscent of the volcanic landscape of the Western District of Victoria,
a major sheep farming region from the 1840s onwards. The graphic is almost certainly after a published lithograph, possibly one which appeared in a journal such as the Illustrated London News. Although the original artist is unidentified, it seems reasonable to speculate that this homestead was nestled somewhere at the foot of the Grampians in western Victoria.
The National Library of Australia holds twelve similar lithographic wall hangings commissioned by the Working Men’s Educational Union (Rex Nan Kivell Collection, NK801) which illustrate gold mining subjects.
However, this particular scene of sheep washing appears to be unrecorded.
The Alexander Turnbull Library in New Zealand holds four lithograph wall hangings bearing the Working Men’s Educational Union stamp. These depict scenes titled Panning for gold; Missionary distributing Bibles to Taranaki Maoris; Interior of Otaki Church (after Charles Decimus Barraud), and War dance before the pah of Ohinemutu, near Rotorua Lake (after George French Angas; in turn, after Joseph Jenner Merrett).
88 cm x 120 cm
Mercel Vertes
‘Jive’
One of 12 original lithographs printed in colours 1925. Each signed in pencil. From the edition of 300. Issued by Gustave Pellet Paris 1925 signed, dated, dedicated by Vertes in pencil. Excellent strong fresh impressions with unfaded colours. On pale cream ware paper. If Lautrec and Steinlen were the chronicles of society night-life in the 1890’s so then was Vertes the archetypal artiste-rapporteur of the era of the 1920’s. At this period, his drawing had a wit and style which ideally reflects that era, both its panache and its excesses. These colour lithographs, commissioned by Pellet, who had issued Lautrec’s Elle’s scenes of lithograps in the 1890’s includes what are probably Vertes finest prints. It is extremely rare to have a complete set of Vertes Les Dancing prints.
Corrobory Dance
The Working Men’s Educational Union, King William Street.
Coloured lithograph wall hanging printed on calico, the lower right hand corner stamped ‘Working Mens Educational Union, King William St, Trafalgar Square, London, and numbered 129 below; verso with contemporary manuscript caption at upper edge: Australia – Corrobory dance; original brass eyelets at each corner with original sewn in linen loops for hanging; original fold lines (three horizontal and three vertical); the banner is in a remarkably good state of preservation, the colours still strong and vibrant.
A philanthropic organisation founded in London in 1853, the Working Men’s Educational Union provided free education for the working classes through public lectures at different venues across the city. The spectacular design on the wall hanging depicting a nighttime Aboriginal corroboree, would have been used as part of a display illustrating a lecture on the Antipodes.
The graphic is almost certainly after a published lithograph, possibly one which appeared in a journal such as the Illustrated London News. Although the original artist is unidentified, the archaic spelling of the word ‘Corrobory’, employed by artists such as John Glover (Natives at a corrobory, 1835); Alfred T. Agate (Corroborry, New South Wales) and S.T. Gill (A corrobory or native dance, early 1850s) suggests the lithograph could have been based on a considerably earlier work. The form and painted design of the shields depicted in the lower left foreground are typical of a Southeastern Australian broad shield, a fact which would eliminate Western Australia, Tasmania, Queensland and northern New South Wales as potential locations for the original drawing.
The National Library of Australia holds twelve similar lithographic wall hangings commissioned by the Working Men’s Educational Union (Rex Nan Kivell Collection, NK801) which illustrate gold mining subjects. However, this particular corroboree scene appears to be unrecorded.
The Alexander Turnbull Library in New Zealand holds four lithograph wall hangings bearing the Working Men’s Educational Union stamp. These depict scenes titled Panning for gold; Missionary distributing Bibles to Taranaki Maoris; Interior of Otaki Church (after Charles Decimus Barraud), and War dance before the pah of Ohinemutu, near Rotorua Lake (after George French Angas; in turn, after Joseph Jenner Merrett).
London 1860
88 cm x 120 cm
Australia: Arrival at Sydney
Anon (for Working Men’s Educational Union)
London : The Working Men’s Educational Union, King William Street, n.d. [circa 1860]. Coloured lithograph wall hanging printed on calico, 880 x 1200 mm, the lower left hand corner stamped Working Mens Educational Union. King William St, Trafalgar Square, London, and numbered 123 below; verso with contemporary manuscript caption at upper edge: Australia – arrival at Sydney; original brass eyelets at each corner with original sewn in linen loops for hanging; original fold lines (three horizontal and three vertical); the banner is in a remarkably good state of preservation, the colours still strong and vibrant.
A philanthropic organisation founded in London in 1853, the Working Men’s Educational Union provided free education for the working classes through public lectures at different venues across the city. This wall hanging, which would have been used as part of a display illustrating a lecture on the Antipodes, depicts newly arrived passengers being rowed from ship to shore in Sydney Harbour, with Government House and Fort Macquarie on the right. The immigrant ship is under both sail and steam (the first steam ship to arrive in Sydney was the Sophia Jane in 1831). Although the original artist is unidentified, the graphic is almost certainly after a published lithograph, possibly one which appeared in a journal such as the Illustrated London News. The dress of the passengers in the foreground suggests the original drawing would have been made around 1850.
The National Library of Australia holds twelve similar lithographic wall hangings commissioned by the Working Men’s Educational Union (Rex Nan Kivell Collection, NK801) which illustrate gold mining subjects. However, this particular grand scene of Sydney Harbour appears to be unrecorded.
The Alexander Turnbull Library in New Zealand holds four lithograph wall hangings bearing the Working Men’s Educational Union stamp. These depict scenes titled Panning for gold; Missionary distributing Bibles to Taranaki Maoris; Interior of Otaki Church (after Charles Decimus Barraud), and War dance before the pah of Ohinemutu, near Rotorua Lake (after George French Angas; in turn, after Joseph Jenner Merrett).
88 cm x 120 cm
Mercel Vertes
‘Tango’
1453 Vertes, Marcel; Drag Club, coloured lithograph, lower right in pencil and edition number, Plate No. 7, Edition No. 300, 1925
Provance: Vertes
‘et les Dancings’
One of 12 original lithographs printed in colours 1925. Each signed in pencil. From the edition of 300. Issued by Gustave Pellet, Paris 1925 signed, dated, dedicated by Vertes in pencil. Excellent strong fresh impressions with unfaded colours. On pale cream wove paper.
If Lautrec and Steinlen were the chronicles of society night-life in the 1890’s so then was Vertes the archetypal artiste-rapporteur of the era of the 1920’s. At this period his drawing had a wit and style which ideally reflects that era, both its panache and its excesses. These colour lithographs, commissioned by Pellet, who had issued Lautrec’s Elle’s scenes of lithograps in the 1890’s includes what are probably Vertes finest prints. It is extremely rare to have a complete set of Vertes Les Dancing prints.
37.5 cm x 56 cm