Showing 17–32 of 427 results

20th century French provincial farmyard oil on canvas.

By J P Vezzeos
49 x 57cm
I’m strongly considering re colouring the frame, or at least the oak mount, possibly gold touch the plaster frame.
Years ago I wrote an article “To Frame or not to Frame” for Period Style Magazine, you can see on my website under Media.
I often re frame, re colour existing frame or remove frame completely, as the painting doesn’t need anything to compete with its beauty.
Usually on 17th century art. That’s just my personal taste.
I was going to colour the oak mount to the same deep warm brown of the farm house.
Then see whether to highlight the plaster frame or leave?
 One customer earlier today said, looks perfect as is! Maybe this has become more of a habit..
Such beautiful greens in this painting. Matching the 18th century English hepplewhite side chair.
I often mix English chairs with French tables or vice versa.
This just made me think of another story to write soon..

Stunning mid century Italian Murano green and red Sommerso vase.

Couldn’t help taking them all home.

Mid century Italian Murano green and red Sommerso glass vase.
1955  30cm x 12cm

Unusual Italian retro style brass and glass ball cluster table lamp on marble base.

57cm x 44cm

The stylish 19th century botanical hanging to the rear,

‘Narcissus’ bursting from its Spatha.

Dr Robert John Thornton.

Hand coloured copper engraving

London August 1 1808

46 cm x 31.5 cm

Always loving being surrounded by such incredible beauty

Unusual late 19th century hand coloured lithographs of palms – Basil Besler.

After nearly two years of retirement sale and selling 2/3 of my entire stock at heavily reduced prices.

I was nearly at the end of trading, until my Son Charlie and daughter Allie informed me they would like to take over the family business.

This is very touching to me, I love their devotion to my business of 34 years. So SALE signs about to be removed pricing back to normal.

I’ll still live in Europe for part of every year, but will always help my children buying in Europe and returning twice every year..

My close friend and wonderful art supplier Glenn has sourced many rare, decorative botanicals of late and kindly offered to me.

So to celebrate the continuation of allpressinc, I purchased every one. From these .

50cm x 34cm unframed. Basil Beslers, 1st, 2nd & 3rd editions. 1613, 1641 & 1713. Many I’ve never had the pleasure of selling before.

22 perfect Elizabeth Blackwell’s 1730 15 19th century Japanese woodblock prints.

Never had these before. So I look forward to posting these over the next few days.

Arriving from Europe soon. Eight Beslers

See detailed description of his monumental work below.
Several of these I’ve never stocked before.
Type Besler into search on my website to see many examples I’ve sold over the years…
Prints from the first edition of Hortus Estettensis by Basil Besler.
Basil Besler (1561-1629) was a Nuremberg apothecary who had as his patron the Prince Bishop of Eicstatt (near Nuremberg).
While in charge of the bishop’s elaborate gardens, Besler, with the financial support of his patron, undertook his great project of botanical illustration, “Hortus Eystettensis” (Garden of Eicstatt).
Off and on for sixteen years he created drawings which, with the help of six skilled engravers, were turned into two large folio volumes of 374 plates, illustrating more than one thousand flowers.
The prints were arranged by seasons, with the plants shown whole and life size. The first edition of Hortus Eysttensis was published in 1613.
Besler’s monumental florilegium invites the use of superlatives when describing it. It was the most comprehensive as well as the largest early work of its kind.
It is also one of the most delightfully drawn and visually impressive every made.
Each plate is wonderfully designed with the rhythmic pattern of the roots and stems, as well as the calligraphic invention of the lettering fully developed.
These are truly joyous prints from one of the most outstanding works of botanical illustration of all time. Copper engravings with expert hand colouring.
Some with typical text showing through and minor spots.
Very good condition.
First edition 1613 second 1641, third 1713.

Redoute – A decorative framed arrangement of five early 19th Century hand coloured citrus engravings.

These wonderful rare hand coloured copper engravings hung in my home for many years.
Now too wide to fit into my apartment, I’m selling.

1830   H.77cm  W.175cm

Photography by Russell Winnell Photography

Pierre-Joseph Redouté, (10 July 1759 – 19 June 1840), was a painter and botanist from Belgium, known for his watercolours of roses, lilies and other flowers at the Château de Malmaison,

many of which were published as large, coloured stipple engravings.

He was nicknamed “the Raphael of flowers” and has been called the greatest botanical illustrator of all time.

In 1786, Redouté began to work at the National Museum of Natural History cataloguing the collections of flora and fauna and participating in botanical expeditions.

In 1787, he left France to study plants at the Royal Botanic Gardens, Kew near London, returning the following year. In 1792 he was employed by the French Academy of Sciences.

In 1798, Empress Joséphine de Beauharnais, the first wife of Napoleon Bonaparte, became his patron and, some years later, he became her official artist. In 1809,

Redouté taught painting to Princess Adélaïde of Orléans.

 

Continually changing art around in my apartment.

Today I added Mali Moir’s ‘Cape Warthog’ moving Lucinda Chambers ‘Long Distance Love’

above the Italian retro rosewood sideboard.

I’m also trying Martin Tighe’s ‘Still Water’

Keeping Lydia Ciconte’s ‘Bush Fire Burning’ in the entrance, above the mid 18th century

English oak low dresser.

Looking forward to Russell Winnell photographing all when completed very soon…

‘Bathers’ Oil by Gustav Michael Pillig

Oil on canvas

67x51cm

Gustav Michael Pillig

1877 Gelsenkirchen – 1956 Melbourne

Studied around 1900 in Stockholm.
From 1901 to 1908 at the Royal Academy in Berlin and alternately at the Düsseldorf Academy.
Several monuments, including gravestones by his hand in Aachen, Essen, etc.
Also the Hugo Schulze monument at the entrance to the miners’ school in Bochum.
1913 moved to Australia, exhibited in Sydney and Melbourne.
Died in Melbourne in 1956.

Countryside Landscape Oil by Gustav Michael Pillig

Oil on board

29x24cm

Gustav Michael Pillig

1877 Gelsenkirchen – 1956 Melbourne

Studied around 1900 in Stockholm.
From 1901 to 1908 at the Royal Academy in Berlin and alternately at the Düsseldorf Academy.
Several monuments, including gravestones by his hand in Aachen, Essen, etc.
Also the Hugo Schulze monument at the entrance to the miners’ school in Bochum.
1913 moved to Australia, exhibited in Sydney and Melbourne.
Died in Melbourne in 1956.

Dressing customers walls, first peices.

Last night after closing shop I visited my customers home, they recently purchased some beautiful art from me, as Julian Stafford, Picture Rail Systems hung them yesterday.

They look perfect for the spaces intended and Julian did a fantastic job!

He cleverly hung the 19th century Chinese lacquered screen from the tops, as the other side is unusually very decorative, so they can turn around when desired to change the look.
Very clever indeed.

The three framed 17th century Beslers , single Besler and three framed Elizabeth Blackwell’s perfectly placed.

If you ever require art or corner cabinets or anything hung, I highly recommend Julian.