Showing 97–112 of 185 results
Framed No. 37 – Promerops de la Californie Spetentrionale – Bee Eater of North California
Jean-Francois de Galaup, Compte de La Perouse (1741 – 1788)
La Perouse set sail from France in 1785 to continue discoveries of Captain Cook.
He was shipwrecked in 1788 but his narratives, maps and views survived and were published in 1797.
73 cm x 54 cm
Stock CMM500
Spear Lily Detail
Mali Moir
Mixed media (oil on low saturation printed canvas, the print simply acts as a sketch). The original watercolour painting is a life size depiction of an endemic Australian lily named Doryanthes Palmeri.
This painting won the Focus on Nature Purchase Award in 2006, the first Australian artist to do so. It is now part of a permanent collection of the New York State Museum, USA
50 cm x 150 cm
2011
A rare pair of 18th Century European pencil studies.
Very fine detail, probably done by an art student.
C.1780
97 cm x 77 cm
Edward. B. Luthrens
‘The Grampians N.B’
Scottish Highlands
Signed, Inscribed and dated 1886
Watercolour
71 cm x 95 cm
Common name: Lotus Green Magic
Scientific name: Nelumbo nucifera ‘Cochrane’s Green Magic’
Water colour on Lana 100% cotton paper
85 cm x 61 cm
129 cm x 99 cm unframed
$8,900
Note: This subject is painted life six from samples grown by Blue Lotus Nursery. This variety was bred by the owner from Chinese seed he himself collected and imported from China. The original painting includes an extra new leaf emerging on left side as seen in photo below.
Stock CMM500
Spear Lily Detail
Mali Moir
Mixed media (oil on low saturation printed canvas, the print simply acts as a sketch). The original watercolour painting is a life size depiction of an endemic Australian lily named Doryanthes Palmeri.
This painting won the Focus on Nature Purchase Award in 2006, the first Australian artist to do so. It is now part of a permanent collection of the New York State Museum, USA
50 cm x 150 cm
2011
Stock AAGW1005
A Rare Viu Collins – 19th Century guache/watercolour Italian rendition of Collins Street Melbourne
Stock AA1615
A 20th Century New Zealand watercolour of Lake Tepap (Tekapo)
Phyllis Jones
75 cm x 87 cm
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
Stock CGW381528-4
The Exercise of Armes by Jacob de Gheyn (Dutch)
An important and early work on military armes commissioned by Prince Maurice of Orange. Set of six.
1607
Stock AA1352
Three 18th Century monochrome engravings of armour designs
Commissioned by the Prince of Orange.
One dated 1778
Jan Kip – Hampton – A Rare Early 18th Century English Copper Engravings of Grand English Estates 1708
Birdseye Maple Frame
66 x 74cm
Johannes “Jan” Kip (1652/53, Amsterdam – 1722, Westminster) was a Dutch draftsman, engraver and print dealer. Together with Leonard Knyff, he made a speciality of engraved views of English country houses.
Kip was a pupil of Bastiaen Stopendaal (1636–1707), from 1668 to 1670, before setting up on his own; his earliest dated engravings are from 1672. In April 1680, at the age of 27, he married Elisabeth Breda in Amsterdam. After producing works for the court of William of Orange in Amsterdam, Kip followed William and Mary to London and settled in St. John Street in Farringdon, where he conducted a thriving printselling business. He also worked for various London publishers producing engravings after such artists as Francis Barlow (c. 1626–1704) and Caius Gabriel Cibber (1630–1700), largely for book illustrations. He made several engraved plates for Awnsham & John Churchill’s A Collection of Voyages & Travels (first published 1704). He signed the African scenes in volume V of the 1732 edition as “J. Kip”.
His most important works were the large fold-out folio illustrations for Britannia Illustrata, 1708; for the 65 folio plates he engraved for the antiquary Sir Robert Atkyns, The Ancient and Present State of Glostershire, 1712 (1st edition); and for Le Nouveau Théâtre de la Grande Bretagne ou description exacte des palais de la Reine, et des Maisons les plus considerables des des Seigneurs & des Gentilshommes de la Grande Bretagne, 1715, an extended reprint in collaboration with other artists.
CMA206