A decorative antiqued visual montage of the artists favourite objects.
The pretty girl has gathered a pomegranate and auricula flower from the display.
Inspired by 18th – 19th century New England naive portraiture art.
In foreground
Auricula flowers in full bloom
A wooden jardinier with overflowing magnolias
A delftware blue and white urn and pomegranates.
Finished with an antiqued glaze.
107 x 101 cm
Oil on canvas 2022
Below,
An unusual 19th Century French Fruitwood, Burr Elm and Oak Dough bin
Resting on a Wide Kilim Hall Rug. ‘Ardabil’
North East Iran
Wide Kilim Hall Rug
First half 20th Century
In good sound condition
4.8m x 1.36m
Unusually large 18th Century blue and white,
Dr Wall Worcester jug.
I purchased this privately over 30 years ago. I’ve had in my private collection and used in many displays and advertisements over the years.
A decorative 19th century English acanthus leaf styled stoneware jug.
Unusually large 19th century Masons Ironstone mug (my private collection)
Early 19th century English Masons Ironstone jug.
Dated 1813.
I visited nearby customers today, to see the framing Vicki Hutchins
did for the three 18th century Elizabeth Blackwells I sold them.
While there I enjoyed some of their other pieces, including the decorative
18th century French walnut panetiere and petrin/dough bin/jardinier.
Three beautiful Botanicals, newly framed.
Elizabeth Blackwell (nee Blachrie) was among the first women to achieve fame as a botanical illustrator.
She was born in Aberdeen in about 1700, but moved to London after she married. She undertook an ambitious project to raise money to pay her husband’s debts and release him from debtors’ prison.
Her project was a book called ‘A Curious Herbal’.
She learned that physicians required a reference book which documented the medicinal qualities of plants and herbs. In order to develop the publication she examined and drew specimens of plants available in the Chelsea Physic Garden. Sir Hans Sloane provided financial support to publish ‘A Curious Herbal’.
Elizabeth Blackwell is notable for being one of the first botanical artists to personally etch and engrave her own designs. This saved the expense of hiring a professional engraver. In total, the enterprise took Blackwell six full years to complete and in the end she was able to release her husband from prison. ‘A Curious Herbal’ was published between 1737 and 1739.
The book contained the first illustrations of many odd-looking, unknown plants from the New World.
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.
The first complete flora from the East Indies. A very fine example of copper engraving.
My favourite botanical master of the 16th, 17th, 18th and 19th centuries.
1686 ‘Hortus Indicus’ was published in Amsterdam.
To me, he was the master. Posted are several of his more attractive florals.
My showroom always boasts at least six Draakestein’s.
Also, in my apartment I have one, but once completed hanging, I’m sure I’ll place at least one more.
On top of his distinctive style, he wrote the name of each subject to the top right of each page in, Latin, Malaysian, Indian and Arabic.
Truly fascinating.
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.
An exceptional watercolour by Mali Moir.
In my opinion one of Australia’s most exceptional versatile artists. From botanicals to charcoals to portraits in any medium.
It’s always wonderful working with and selling for her
Her Kind explores 19th century Spiritualism and its influence on the mystical renaissance of the 1960’s. Yardley’s small monochromatic paintings are reminiscent of the earliest forms of photography and its reproduction in postcard format. Suggestions of paranormal activity refer to the Spirit photography invented by William Mumler in 1860 where unexpected lights and apparitions of presumed ghosts sit alongside the living sitters. However, rather than appearing in Victorian costume Yardley’s figures resemble the free living characters of the 1960’s; the hippies, beats, nudists and New Agers. The paintings draw on print material and cinema of the 1960’s occult revival exemplified in the films of Kenneth Anger and Roman Polanski. Figures and scenes emerge luminous out of the inky sepia coloured oil paint paying homage to the paintings and etchings of the Symbolists such as Eugene Carriere and Fransisco Goya.
