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.
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.
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.
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.
A confident version of its finer cousins in mahogany. This table with well proportioned cabriole legs was undoubtedly the product of an experienced cabinet-maker who probably also used fine timbers for his upmarket range. The well grained five plank oval dropleaf top above attractive ogee shaped ends, resting on beautifully proportioned cabriole legs a slight noof pad foot.
