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SUBCATEGORIES Featured Items (2)  A 20th Century Bizen Kogo Depicting A Reclining Sage or Monk
 Lacquer Named Kabuki Actor Portrait Box, Daihachi Role
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French School,
Late 19th/early 20th Century
Young Girl with Paper Dolls Oil-on-canvas, Unsigned
Oval: 19” x 14 ¼” This charming study of a young girl intent on cutting out paper dolls is reminiscent of works by Berthe Morisot, Mary Cassatt and Pierre-Auguste Renoir (his earlier works). She is beautifully captured with her rosebud lips, her hair tied up in a bow, a lacy pinafore over her navy dress and stockinged legs dangling. Set against a textured backdrop, her figure seems perfectly set apart, in her own world. Arthur Heyer (German/Hungarian, 1872-1931)
White Cat in the Tall Grass Oil on canvas, signed lower right Painting Size: 16” x 20” Frame Size: 22.5 “ x 26.5” 11117 Heyer was born in Haarhausen, Germany and studied at the College of Applied Arts in Berlin. In 1896 he moved to the village of Rakospalota near Budapest where he lived until his death. He began his career painting landscapes but soon began depicting animals and had a particular fondness for cats and kittens.
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Painting: 15.25" x 19.75" Aimé Barraud (Swiss 1902-1954) Trompe L’oeil of Grapes Oil-on-canvas, signed lower left
Painting: 18” x 13” Barraud was a painter of still lifes, flowers, portraits and landscapes. Charles, Aurèle, François and Aimé were four brothers who were artists, sons of an engraver of watchplates. In 1928 and 1929 Aimé exhibited two paintings at the Salon des Indépendants (Paris). Barraud was also an associate at the Société Nationale des Beaux-Arts as well as having exhibited at the Salon des Artistes Français. The four brothers had a joint exhibition in 1951 in Paris. Travelers in an Alpine Landscape
Swiss or German School, circa 1860. Oil on paper, with a gilt sand mat.
Painting Size: 6” x 4.5” Oval Three 18th-century English Landscapes
Oils on paper, unsigned.
Painting size: 3” x 4.5” (Approximately) The Pensive Shepherdess
(British School, 19th Century) Oil on canvas, Unsigned
Painting size: 30” x 20” This sweet genre painting of a shepherdess with her flock reflects the theme of the child-of-nature, a sensibility embraced by Victorians during the 19th century. The figure’s youth and comely face convey innocence, while her steadfast pose next to the goldenrod suggests that she is at ease in her environment.
J. Murday (British fl 1837-1911)
A Tri-aspect of a Topsail Trading Schooner off South Foreland (Cliffs of Dover) Oil-on-canvas; verso label: Wm. Blair, Ltd, Bethesda, Maryland
Painting: 24” x 36” Murday was an accomplished painter of ship portraits and shipping scenes whose works were often signed and dated in the second half of the 19th century. Regrettably, there is little biographical information available on this artist. His paintings are in the collections of the Greenwich National Maritime Museum, the Peabody-Essex Museum in Salem, MA, and the San Francisco National Maritime Museum. Some representative titles are: The Barque Bernard, The Schooner Ellen Gillman, and A Barque Among Icebergs off Cape Horn. Richard Redgrave (British, 1804-1888)
Resting Deer in a Forest Landscape Oil on canvas Provenance: Thomas McLean Gallery, London (retaining the original label on the back).
Painting: 20.75" x 36" Redgrave was a genre and landscape painter. For a time he worked with his father who was an engraver before entering the Royal Academy in 1825. He began by painting historical genre in 18th century costume but in the 1840s he was among the first to depict contemporary social subjects in contemporary clothing (“The Seamstress”, “Bad News from the Sea”, “The Governess”). In 1836 he finally gained wider audience with his painting of “Gulliver on the Farmer’s Table”. Redgrave was involved with the organization of the Government School of Design (1847) as well as the first keeper of paintings at the South Kensington Museum (now known as the Victoria and Albert museum). He was Inspector of the Queen’s Pictures and co-author with his brother Samuel of “A Century of Painters of the English School”, still a valuable book on English art. Redgrave exhibited some 175 works at the Royal Academy from 1824-1883, the British Institution, the Society of British Artists and others. Several of his paintings are in the Victoria and Albert museum, the National Portrait Gallery (London) and the Shipley Art Gallery (Gateshead). Retiring from his many offices in 1880 due to ill health, Redgrave’s later work was mostly painted while summering at his country house, primarily landscapes painted in a pre-Raphaelite style.
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Portrait of the British Schooner "ESTHER"
Oil on canvas, 19th century Signed indistinctly lower right "Wm Mc *****" and dated
Painting: 21" x 28.5" Ship portraits, such as this, were commissioned by the new owner often time itinerant artists who traveled around different boat builders looking for work. They documented exactly what the ship looked like with full sails, flags and rigging so if a boat was lost at sea the portrait could be presented to their insurance agent.
Eavesdropping
Oil on panel, signed and dated: “1865.”
Painting size: 9” x 6.75” Petrus Theodorus Van Wyngaerdt (also spelled Wyngaerdt or Wijngaerdt) was born in Rotterdam. A student of J.H. Van de Laar, he painted genre scenes and portraits, as did his older brother, painter Anthonie Jacobus Van Wyngaerdt. In "Eavesdropping", Van Wyngaerdt depicts a well-known theme from popular 19th-century French and Dutch prints-- a Roccoco figure listening at a door while a private conversation (or event) is underway. The women’s yellow skirt, pink bodice and lacy cap suggest that she is a lady (of sorts) and her plump arms, pretty features and sly expression suggest what may be going on behind closed doors. Van Wyngaerdt’s work can be found in the collections of the Haarlem Museum. He is listed in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs (Bénézit, 1999).
Gian Simonetti
(Italian, 19th Century)
Fishermen in the Venetian Lagoon at Daybreak Oil-on-canvas, signed lower left
Painting: 16” x 20” There is little biographical information on Simonetti, and it has been suggested that it is a pseudonym for Gian Gianni who was one of the last of the view painters of Italy. Gianni worked mostly in watercolor and produced views of Naples and Venice for people who were making the Grand Tour. The advent of photography soon took the place of these painters.
Jaume Muxart I Domènech
(Spanish, 1922-2019)
Bullfight Acrylic on panel, signed Painting: 13 ¾” x 19 ½” Muxart was a Catalan painter, part of the Grup Taüll of avant-garde artists. His work shows a strong expressionist character with structured figurative motifs. Muxart was of a generation of artists that developed during the years of the Franco regime. In 1948 he got a grant to study in Paris, where he met Picasso and decided to devote his life to art. A grant in 1952 saw him travel to Rome. When Muxart returned home, he helped set up the Grup Taüll with six other artists (Marc Aleu, Modest Cuixart, Josep Guinovart, Jordi Mercadé, Jaume Muixart, Antoni Tàpies and Joan Josep Tharrats) in 1955. Yet, as an artist, Muxart was something of a free spirit, a value he passed on to his students at the Fine Arts faculty in Barcelona University, where he taught and would later become dean. Muxart never stopped exhibiting his work, both in Spain and abroad. In fact, his work was displayed all over the world in exhibitions in cities that included Cairo, Stockholm, London, Sao Paulo, Copenhagen, and New York. Johannes Marinus Ten Kate (Dutch, 1859-1896)
Working the Field Oil on canvas. signed lower right
Painting17" x 24 3/4" Ten Kate was known for his landscapes, beach scenes and genre paintings. Born in Amsterdam, he was the son of Johannes Mari ten Kate, under whom he most likely studied. He lived and worked in the Hague and was a member of the Hague Artists’ Society and the Pulchri Studio (latin:"for the study of beauty"), a Dutch art society, art institution and art studio based in the Hague. The countryside around the coastal town of the Hague provided a rural environment and an unspoiled landscape which attracted many young artists of the nineteenth century eager to escape the strictures of academic art guilds.
Henry Maidment signing as R. Fenson
(British, fl. 1889-1914)
Stepping Stones Oil on canvas, signed
Painting size: 9” x 12” Maidment was a painter in oil of rural scenes and landscapes. He is variously catalogued as Robin or Robert Fenson but usually just signed “R. Fenson” in red, often with a date. This was a pseudonym for Henry Maidment who also was known to have signed “A. Wynn”. Dated examples of his work have been seen spanning from 1898 until 1914. The quality of his paintings and the decorative subject matter have fueled an ever growing demand for Maidment’s work.
Source: Jose Rico y Cejudo (Spanish, 1864-1939)
Classical Figure with a Lyre Oil on Panel, signed and retaining a paper label on the reverse
Painting: 14.5" x 8.5" Jose Rico y Cejudo was born n Seville, Spain on March 27, 1864. He was the student of M. Ussel and J. Garcia Ramos at the School of Fine Arts in Seville. Eduardo Cano also played a role in the education of Cejudo as Cejudo would often pay visits to the artist'a studio. In 1888 he received a scholarship to study painting in Rome for seven years. While there, he made visits to the studios of his fellow countrymen Jose Villegas and Jose Gallegos. After his experiences in Rome, he returned to work in southern Spain. Cejudo taught art classes at the School of Fine Arts in Malaga from 1905. He exhibited his work and won various medals, such as a first place medal at Grenada in 1902, and a medal at the National Society of Fine Arts in 1910. Cejudo specialized in painting "anecdotal scenes from everyday life, often portraying his figures in gardens, patios and other intimate spaces. His paintings are characterized by a bright luminous palette." Some of his works are held in museum collections in Cadiz, Spain: London England and Madrid and Seville, Spain.
Sources: John White
(English, 1851-1933)
Woodland Fall Landscape Oil on panel, signed in lower left corner, “JN White, R.I.”
Painting size: 6.75” x 10” Known for his rustic genre paintings and landscapes, White attended the Royal Scottish Academy. By 1877, he moved to Devon and exhibited regularly at the Royal Academy, the Society of British Artists, Suffolk Street and the New Watercolor Society. On this landscape, White painted the initials “R.I.” after his name, indicating that he was a Member of the Royal Institute of Painters in Watercolors. Although this work is in oil, White’s scumbled brushwork has the immediacy of watercolor and creates the atmospheric haze of a fall afternoon. John White was also a Member of the Royal Institute of Painters in Oil-Colors. He is listed in The Dictionary of British Watercolor Artists up to 1920 (Mallalieu, 1976) and the Dictionary of British Art, Volume IV Victorian Painters (Wood, 1995). John Syer, (British, 1815-1885)
Two Views of the West of England A pair of oils on canvas, retaining Frost and Reed Gallery labels.
Sight Size: 10.25" x 13" Born at Atherstone, Warwickshire, England on May 17th, 1815, Syer studied with J. Fisher, a miniaturist, and settled in Bristol. Syer was one of the prime favorites of the Victorian era. He painted landscapes and coastal scenes with figures, often in Devon and Wales, of which he was regarded as a specialist and commanded high prices. He was a member of the Royal Institute of Painters in Water-Colours, and for some years he belonged to the Royal Society of British Artists, but resigned his membership in 1875 after his election to the Institute. He also exhibited 19 works at the Royal Academy of Arts, London, 11 at the British Institute and 63 at the Royal Society of British Artists as well as at the Grosvenor Gallery. Examples of his paintings and drawings are in the Leeds Gallery, the Birmingham Gallery ,the Bristol Gallery, the Leicester Art Gallery and the Sheffield Art Gallery.
Source: John Henry Smith (British, fl.1852-1893)
An Artist at Work Oil-on-canvas, signed lower left and dated “1863”
Painting Size: 22.25” x 18” This charming portrait of a young woman artist at work is a wonderful depiction of the painter and her tools. Her subject of a vase of flowers with fruit sits on a table to her right. The sturdy adjustable easel has a shelf where she has laid out her tubes of pigments. She is using a mahl stick to create a bridge across the canvas which supports her painting hand to avoid touching the surface. An artist’s apron lays across her lap to protect her skirt. Her full concentration is on the canvas in front of her which is nearing completion. J. Henry Smith was a painter of genre, landscapes and animals, living in London, Brixton and South Lambeth who exhibited extensively from 1852-1893 at the royal Academy, the British Institution, the society of British Artists and elsewhere. Titles exhibited at the Royal Academy included “Where the Shoe Pinches” (1882) and “A Book is the Best Solitary Companion in the World” (1885).
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