Showing 689–704 of 840 results
A pair of first half 20th Century in 19th Century style, English cast iron horse heads. Originally fixed on top of posts for tying horse leads.
H. 28 W. 17 D. 24.5cm
19th Century English elm child’s Captain’s chair.
H. 53 W. 44 D. 35cm
Last quarter 19th Century English beech, bamboo stylised, child’s armchair.
1870-1890
A beautiful 20th Century French Deco light shade, with a lovely green tone.
H.39cm Dia.41cm
$1,250 each
A decorative pair of 19th Century Japanese torchieres, with traces of gilt decoration.
H: 82 cm W: 18 cm
An exceptional late 18th Century English elm country Chippendale occasional chair. The well shaped top rail having a long central shaped double scroll, terminating into unusually shaped scrolled ears. Flowing into a fret shaped central splat, joined to a bold shoe rail, with a drop in upholstered seat. Having Queen Anne style cabriole legs on pad feet.
C.1780
20th Century French Deco bronze, signed S. Melani, of a well toned Archer on a marble base.
1925.
Salvatore Melani (1902-1934).
H. 45 W. 60 D. 20cm.
A very rare 18th Century oak low dresser/dual chest. The ‘D’ shaped 2 plank moulded top above a double sided chest, 4 short then 4 long graduated drawers with 19th Century brass handles and escutcheons. Flanked by quarter circle columns and deep fielded panelled sides, resting on shaped bracket feet.
C.1770
H. 76 W. 170 D. 52cm
20th Century French bronze dog and frog.
A rare complete set of first half 20th Century, French ceramic spice lidded containers.
Comprising: 6 large containers, 6 small containers, vinegar and oil jars.
An attractive early 19th Century French walnut and fruitwood wine table. The book matched 2 plank top on a gun-barrel turned support on high slanted cabriole legs.
Note: Recently arrived from France, still needs leveling, gluing, waxing etc.
C.1830
H. 69 Dia. 65cm
First half 20th Century faux Walnut and steel coffee grinder by Peugeot Freres.
A pair of unusually tall 19th Century Imari vases. (A.F.)
H: 46.5 cm W: 23 cm
Stock CCJ503
‘Unravel’
Carmel Jenkin, Melbourne Artist
Ink, Acrylic on Canvas
There are no obstacles in Carmel Jenkin’s work. Her nudes are for: ‘getting emotion out there’ . To achieve this, she brings the nude right up to the picture plane, to directly involve the viewer with the subject. While there is an element of abstraction in her work, the female ambience, as if the artist’s eye got so close she could see the nude as emotion in a series of curved shapes. These works are raw and immediate and usually have a distorted and linear form. They may portray a sense of naked angst but, at the same time, show possession of a deeply spiritual soul. At the risk of exclusionism one wonders if these works, drawn by a woman, are a language to be read and pondered by other women. Either way, Carmel Jenkin is engaged in a passionate journey of artistic and life discovery through the female body.
2012
$1,600
51 cm x 51 cm
Robert Hague – Reel 2004.
Robert Hague has been a practicing sculptor for over three decades and during his career he has participated in solo and group exhibitions in Australia, New Zealand, China, Hong Kong and the United Kingdom. Robert was born in Rotorua, New Zealand and re-located to Australia in the mid-1980s.
In 1999 he was awarded ‘The Director’s Prize’ in Sculpture By The Sea, Sydney. In 2000 he received the ‘Waverley Art Prize’ for Sculpture Sydney, and in 2010 he won the Deakin University Contemporary Small Sculpture Award. Robert’s sculptural work is part of corporate and private collections in Australia, China, New Zealand, United Kingdom and the United States.
Robert is based in Melbourne working primarily with bronze and steel. He is fascinated by the radical asymmetry of his work, one that forces continued change in the work through rotation. He sees it as a revelation in the making that is constantly challenging his ways of creative thinking.
This work was inspired by a conversation with an American sculptor, about rotational symmetry. ‘I had argued against symmetry but decided to experiment with rotation after his comments on repetition’. In particular to the Orbis series, the internal cuts make reference to the Maori wood carvings he grew up amongst in Rotorua, New Zealand.
Painted metallised steel. H. 250 x 76 x 54 cm