Stock in showrooms, in storage and from our recently sold family home are now to clear.
Always best to make an appointment, but I’m usually in 11.30am til 4.30pm Mon – Sat.
Window signs supplied by Luke Signs, fantastic service as always, thanks Luke.
By Jan Kip and Leonard Knyff
1720
57 x 70cm
Johannes “Jan” Kip Amsterdam 1652 – 1722
Jan Kip was a Dutch draftsman, engraver and print dealer.
Kip and Leonard Knyff, made a speciality of engraved aerial views of English country houses and estates.
Personally, I find his work astounding and so ahead of his time.
Kip remains my favourite of all architectural artists.
*Maison du Seigneur
*Burlington House Pickadilly
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.[1] 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.
A fine and rare mid 18th Century Chinese Spinach green Jade Carved marriage bowl in quatrilobe form.
The everted rim, above low relief carving to the exterior of peony flowers with chrysanthemum carved handles, the leaves resting on the bowl, their bodies suspending loose ring handles.
Qianlong period 1736 – 1795
Remarkable workmanship. Perfect original condition.
Late 18th Century French fruitwood (cherry) centre/serving/sofa/hall/entrance table. AA1934
Of good deep proportions and fantastic overall faded colour and patination. The rectangular cleated top above a shaped frieze, housing three drawers, all the original turned handles and knotted elm drawer linings, resting on long slight shaped cabriole legs.
These natural shapes and colours blend with period furniture so well, whereas bright loud flowers can take the attention away from the piece or entire display.
Well, that’s how I see the scheme of things…
These are ‘Buddha’s Hand’
From East Asia.
They sit so well on 18th-19th century English pewter chargers and compliment my beautiful 18th century English country oak chest of drawers.
As well as the Mid 17th century hand coloured copper engraving ’pseudo struthium’ by Basil Besler 1640 (above).
Loving my time spent creating displays in my showroom.
18th Century English country oak and walnut X-banded chest of drawers AA2128
The rectangular walnut x-banded oak top, above two short, then three long walnut x-banded, cock-beaded drawers, having brass stuart-drop handles.
We recently restored this 19th century Italian terracotta amphora.
They rest on the 31st floor and a freak wind gust broke one into pieces.
Here’s a few after and during photos of our work.
The first photos were taken once back in place.
Restoring is certainly our bread and butter when it comes to business income.
Seeing the smile on a customers face when delivering a finished piece can be more rewarding than the payment…
BTW, the views from this outstanding building are the best I’ve seen in Melbourne.
Napoleon III in neo-Greek style, the central panel having animated characters enjoying the pleasures of life.
Supported by palm leaves, terminating on lion paw feet.
Signed F. Levillain
32 x 73cm
Note: Chains remaining to the rear to enable wall display.
