Draakestein - 'Pua-tsjetti' - 1686

Draakestein – ‘Pua-tsjetti’ – 1686

‘Pua-tsjetti’

Hortus Indicus Malabaricus

Hendrik Draakestein

The first complete flora from the East Indies. A very fine example of hand coloured copper engraving.

Amsterdam

1686

[MAP] Ins Kleine gebrachte Karte von den Sud-Landern zur Historie der Reisen - CDS750

[MAP] Ins Kleine gebrachte Karte von den Sud-Landern zur Historie der Reisen – CDS750

Ins Kleine gebrachte Karte von den Sud-Landern zur Historie der Reisen Bellin, Jacques Nicholas [Leipzig], 1753.

Copperplate engraving, 205 x 275 mm, original folds, mild browning to left margin, otherwise fine.

The scarce German version of Bellin’s map of Australia, Carte reduite des terres Australes. The projected eastern coastline joins the charted territories on Van Dieman’s Land and Carpentaria.

First published in Prevost’s L’Histoire Generale des Voyages in the same year, editions in German, Danish and Dutch editions soon followed. Not in Tooley (although cf. Tooley 156/157/157a for French, Dutch and Danish editions); Clancy 6.28.

First half 19th Century French fruitwood dough bin/coffee table - AA1775

First half 19th Century French fruitwood dough bin/coffee table – AA1775

Stock AA1775

First half 19th Century French fruitwood dough bin/coffee table.

The well patinated cleated hinged top above four canted sides and a thick planked floor. The carcass having a richer patina due to less light and natural wear.

Once a dough bin, removed from stand and hinged the sliding top, clean and wax and great coffee table.

Note: can always be placed back to the base and back to original.

1790 – 1840

George III oak standing corner cupboard, having a shaped cornice above two slightly gothic style glass moulded doors

George III oak standing corner cupboard, having a shaped cornice above two slightly gothic style glass moulded doors

Stock UK1139

Late 18th Century, George III oak standing corner cupboard, having a shaped cornice above two slight gothic style glass moulded doors, retaining most of the original glass

Note: The horizontal mouldings disguise both shelves, flanked by canted sides.

The base same, except panelled doors concealing a shelved interior, resting on shaped bracket feet.

This piece is yet to be re-glued, cleaned and waxed. The end result will be fantastic.

C. 1800

H: 6′ 12″ – 212 cm

W: 3′ 10″ – 116 cm

D: 1′ 11 – 59 cm

Late 18th Century French chestnut and oak armoire

Late 18th Century French chestnut and oak armoire

Stock AA06641

Late 18th Century French chestnut and oak armoire

The shaped cornice above a slight floral inlaid top rail, with two book-matched chestnut cleated doors retaining the original escutcheons, lock and key. Having a shaped skirt, resting on plain cabriole shaped legs with triple panelled sides.

Note the matched inlay continues from the skirt through to the top rail.

Good overall colour and patination.

The interior houses two brass rails and can be readjusted to having one hanging rail and a center shelf below if preferred.

1780 – 1800

H: 7’ 4” – 223 cm W: 4’ 10” – 147 cm D: 1’ 9” – 54 cm

A rare pair of late 18th Century English chestnut country Hepplewhite side chairs

A rare pair of late 18th Century English chestnut country Hepplewhite side chairs

Stock AA1755

A rare pair of late 18th Century English chestnut country Hepplewhite side chairs.

The well pronounced arched stay rail and waisted back uprights supporting the exceptional vase shaped fret carved centre splate having slight leaf, floral and scroll carvings above the serpentine shaped upholstered seat, resting on square tapered front legs joined by an ‘H’ stretcher.

1790 – 1820

Note: Over my 33 years in the trade I have never seen a chestnut Hepplewhite period chair.

Carmel Jenkin - Back Pose - 2008

Carmel Jenkin – Back Pose – 2008

Stock CCJ502

‘Back Pose’

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.

2008

$2,500

100 cm x 75 cm

Carmel Jenkin - Standing Tall - 2008

Carmel Jenkin – Standing Tall – 2008

Stock CCJ501

‘Standing Tall’

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.

2008

$2,500

100 cm x 75 cm