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That’s what’s so special dealing in rare one off pieces of furniture and art.
Sometimes I repost sold items as they’re worth sharing.
Karl Blossfeldt’s photogravures 1929
Stock CGW381537-2
We are pleased to offer these superb photogravures from Karl Blossfeldt’s rare and beautiful work, Urformen der Kunst (Archetypes of Art), 1929.
17th century fish 1680. 1930 oil of Anne Bonney, an 18th century Irish pirate, painted by Raymond Lindsay (son)
One of collection of framed watercolours of birds 1827. Various nudes. Portrait of English gentleman, resembling Captain Cook.
Italian school portrait of a Roman dignitary. One of a collection of Picasso’s, Le Chat. One of many 17th century English maps. Victorian landscape by G Pillig 1940s.
Scottish highlands. A bright Margaret Tarrant. Napoleon hand coloured lithograph. 19th century NZ landscape.
Soldier 1607 – de Gheyn & Soldier 19th century.
Charcoal of a kitten by Mali Moir,
Exceptional Australian artist and close friend.
See more of her works on my website under Contemporary Art also many in Archives.
An exceptional 18th Century English Oak dresser base.
Having a boarded crossbanded top above a shallow central drawer above two short drawers, flanked by two deep drawers, all crossbanded.
With a shaped apron, raised on five attractive cabriole legs with applied side panels.
Note: Good overall faded colour
C.1780
H: 80 cm
W: 189 cm
D: 48 cm
Untitled Art by Bill Henson
Stock CGW381537-2
We are pleased to offer these superb photogravures from Karl Blossfeldt’s rare and beautiful work, Urformen der Kunst (Archetypes of Art), 1929.
Deco French Nude Photograph
‘Seated Woman’
Samuel Bernard Schaeffer 1891-1965
22 cm x 16 cm
Nus cent photographies originales – de Laryen ‘Photogranveres’ Published in Paris 1932.
A wonderful example of exotic, erotic and artistic nude photography from the early 20th Century. The sepia tones beautifully highlight the female form, quite risque for the time, but very French. The fine photography is complimented by the use of quality paper. Deco style frames in singular and groups of three and eight. Also several unframed.
Stock AA1046A
Deco – mid 20th Century French Nude Photograph
‘Seduction’
Studio Reiss
25, Avenue Lamballe,
25 Teleph. Aut. 73-55
Paris – 16
19.5 cm x 12.5 cm
Rosemary Laing Burning Ayer #6, 2003 Type C Photograph 110.0 x 224.0 cm number 6 from an edition of 10
Provenance Private collection, Melbourne Exhibited ‘one dozen unnatural disasters in the Australian Landscape (part 1), Gitte Weise Gallery, Sydney, 2003 ‘‘The unquiet landscapes of Rosemary Laing’, Museum of Contemporary Art, Sydney, 23 March-5 June 2005
Illustrated This work has been illustrated and the series has been written about extensively including: ‘The unquiet landscapes of Rosemary Laing’, Museum of Contemporary Art, Sydney, 2005, illus. p.62-63 Abigail Solomon-Godeau, ‘Rosemary Laing’, Piper Press, Sydney, 2012, illus. p.131
‘For Laing, one’s place as a white Australian artist is inescapably a locus of contradiction and difficulty insofar as the indigenous people have historically been displaced. Or replaced. We find her work is always provisional, tactful, and a self-conscious investigation of her own imperfect belonging to homeland.’ (A.Solomon Godeau, Rosemary Laing, Piper Press, 2012, p. 28)
This is a climactic scene from the series ‘one dozen unnatural disasters in the Australian landscape’ 2003. In the series, spectacularly staged ‘disasters’ disrupt majestic landscape panoramas and Laing’s interventions recast the acts of invasion and colonisation as unnatural disasters; emphatic opposites to natural disasters like bushfire or flood.
The mesmerising image of flames pouring upward from Wirrimanu country near Balgo in Western Australia, has been made in the image of Uluru, with the sacred monolith fashioned from IKEA furniture powder coated in the red desert sand. The funerary pyre of a would-be Ayer’s Rock hints at disaster beyond itself.
Burning Ayer #6 riffs on the postcard trade that promotes Uluru as the essential, ancient Australia to throngs of tourist crowds. Laing takes aim at this sort of de-contextualised, pristine scenic photography that nullifies the contentious history of the site.
Godeau has said that ‘even in her deployment of a medium that freezes time forever, (Laing’s artworks) are concerned with critically mobilising the history of the present.’ So intricately researched, planned and executed are her images that the photographs represent one facet of a much larger sociological process at work beyond the picture plane.