James Pollard (British 1792-1867)

The London to Oxford Coaches at Mile Marker 24

Oil-on-canvas, signed lower right

Painting: 17” x 32”
Frame: 23 ½” x 38 1/4”

Pollard was an engraver and sporting artist noted for his coaching, fox hunting and equine scenes. As the son of Robert Pollard, a painter, engraver and publisher, James was encouraged to become a painter of horses. He was also tutored by his father’s friend, the engraver Thomas Bewick. Growing up in Islington, Pollard lived on a main coaching route which undoubtedly influenced his choice of coaching scenes as his primary subject matter. In 1821 he exhibited a large work at the Royal Academy “North Country Mails at the Peacock, Islington” and by 1825 he was successful enough to leave his father, marry and set up his own studio. He prospered with numerous commissions. With the demise of the mail coaches in the 1840‘s, Pollard expanded his subject matter to include racing, hunting, shooting and angling scenes. Pollard is also known to have collaborated with John Frederick Herring Senior on several racing pictures in which he painted the backgrounds and crowd scenes and Herring painted the horses.

Pollard exhibited at the Royal Academy between 1821-1839, the British Institution in 1824 and 1844, and at the Suffolk Street Galleries. Many of his works were reproduced in prints which were engraved by himself, his father and others.

Pollard’s work is noted for its historical accuracy, attention to detail and in evoking the spirit of the coaching age.

Sources:
Mitchell, Sally. The Dictionary of Equestrian Artists
Wingfield, Mary Anne. A Dictionary of Sporting Artists, 1650-1990
Wood, Christopher. Dictionary of British Art. Vol. IV, Victorian Painters

Slightly Bawdy Cut Sihoulette of dancing man and woman by Charles Handrup, signed and located "Paris" and dated "1909"

Sight Size: 6.5" x 8.5"
Frame: 13" x 14.25"

Handrup was a Danish Silhouettist who lived in London between the wars. For years he ran a Silhouette Parlour at D.H.Evans Department Store in Oxford Street. Handrup was awarded a silver medal at the Empire Exhibition at Londons Crystal Palace. Printed on the reverse of some of his poatcards is the statement: : " This Silhouette Portrait is executed entirely freehand by Handrup, who begs to observe that his likenesses are executed by the Scissors alone and are preferable to any taken by machines inasmuch by the Scissor process the passions and peculiarities of Character are brought more into action. Silver Medal awarded Festival of Empire Crystal Palace 1911. "

Dirk Ocker (Dutch, 1882-1958)

Blossoms and Bugs
Still Life with Flowers on a Marble Ledge

Oil-on-canvas, signed on reverse

Painting: 20 ¼” x 17 ¾”
Frame: 26 ¾” x 23” SAFA/11078

Theodore Hermann William Koppen (German, 1828-1903)

California Condors, Morro Bay

Oil on canvas, signed and dated: “1893”.

Painting size: 21.5” x 29.5”
Frame size: 30.25” x 38.75”

Koppen was born in Brake, Germany and died in Nymphenbourg. He was known for his paintings of marine and historical scenes, as well as portraits.

He is listed in Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Bénézit.

Dutch School, 19th Century

Floral Still life with Tulips, Iris and Roses in a Glass Jar with Butterflies, Insects and a Shell

Oil on panel (slight warp)

Painting Size: 19.75” x 14.75”
Frame Size: 27 ” x 23”

Benson Bond Moore (American,1882-1974)

Autumn in the Blue Ridge Mountains (near Emmittsburg, PA[sic]) 1955

Oil on board, signed lower left and dated “1955”. Titled on the reverse

Painting Size: 15.5” x 19.5”
Frame Size: 23.5” x 27.5”

** For other painting by artists from Maryland, Virginia or Washington DC, click on the "Regional Artists" button on our homepage

Benson Bond Moore, painter, etcher and teacher was born in Washington, DC. He studied at the Corcoran School of Art with Messer and Brooke , and also with Weyl . He continued his studies in drawing at the Linthicum Institute under Ballenger and learned painting conservation from his father.

Active in professional societies, he was a member and officer of the Landscape Club of Washington. He was also a longtime member of the Society of Washington Artists. He exhibited with both groups from as early as 1915 and continued through the 1930's. His work was also shown at the Corcoran Gallery of Art.

As an artist, he became well known and honored for his local scenes, many of which are in major public collections. His works are held by the National Museum of American Art; Historical Society of Washington, DC; Library of Congress; The White House; Bibliothèque National de Paris; Cosmos Club; National Museum of American History and the Los Angeles Museum of Art. Over his life, he was honored with numerous awards for his work.

Sources: Consentino, Andrew and Glassie, Henry, The Capital Image, Painters in Washington, 1800-1915
McMahan, Virgil, The Artists of Washington, D.C. 1796-1996

English School (ca. 1850-1870)

Two Antique English miniature watercolors with printed borders.

Frame size: 7.5" x 8.5"

Henry Maidment (British, fl. 1889-1914)

Farm by a Pond

Oil on canvas, signed lower right

Painting: 24" x 30"
Frame: 30" x 42"

Maidment was a painter in oil of rural scenes and landscapes. He also used the pseudonyms of "R. Fenson" and “A. Wynn”. Dated examples of his work have been seen spanning from 1898 until 1914. The high quality of the painting and decorative subject matter have fueled an ever growing demand for Maidment’s work.

Source:
Wood, Jeremy. "Hidden Talents, A Dictionary of Neglected Artists working 1880-1950"

Ferdinand Leeke (German 1859-1923)

The Art Critics

Oil-on-canvas, signed lower right, located “Meran” and dated “1906"

Painting Size: 39.5” x 31.75”
Frame Size: 48.25 ” x 40”

A painter of historical, genre and allegorical scenes, Leeke studied at the Munich Academy under Johann Herterich and with the Hungarian genre and landscape painter Alexander von Wagner. Around 1889, Leeke was commissioned by Siegried Wagner, son of Richard Wagner to paint a series of scenes from his father’s operas to commemorate Wagner and his work. The series was completed in 1898.

This scene of two young country women gazing at an absent artist’s canvas is set in the south Tyrol above Merano, Italy, near the Austria/Italy border. We know this because of a similar view of the same cottage titled “Schwarzplatterhof oberhalb Merans” (Schwarzplatterhof above Merano). The area is now a famous resort and vacation area.

Sources:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Thieme-Becker, ed. "Allgemeines Lexikon der bildenden Künstler vonder Antike bis zu Gegenwart"

Benson Bond Moore (American 1882-1974)

"Incomimg Tide, Fort Lauderdale, FLA"

Oil on board, signed lower right and titled on the reverse

Painting: 10" x 14"
Frame: 17" x 21.25"

Provenance: The Estate of a Toms River Collector

** For other painting by artists from Maryland, Virginia or Washington DC, click on the "Regional Artists" button on our homepage

Benson Bond Moore, painter, etcher and teacher was born in Washington, DC. He studied at the Corcoran School of Art with Messer and Brooke , and also with Weyl . He continued his studies in drawing at the Linthicum Institute under Ballenger and learned painting conservation from his father.

Active in professional societies, he was a member and officer of the Landscape Club of Washington. He was also a longtime member of the Society of Washington Artists. He exhibited with both groups from as early as 1915 and continued through the 1930's. His work was also shown at the Corcoran Gallery of Art.

As an artist, he became well known and honored for his local scenes, many of which are in major public collections. His works are held by the National Museum of American Art; Historical Society of Washington, DC; Library of Congress; The White House; Bibliothèque National de Paris; Cosmos Club; National Museum of American History; the Houston Museum of Fine Art and the Los Angeles Museum of Art. Over his life, he was honored with numerous awards for his work.

Sources:
McMahan, Virgil. "The Artists of Washington, D.C. 1796-1996"
Consentino, Andrew and Glassie, Henry. "The Capital Image, Painters in Washington, 1800-1915"
Strass, Sephanie, "A Seasonal View - The Landscapes of Benson Bond Moore"

Follower of Barend Cornelius Koekkoek (Dutch, 1803-1862)

Landscape with Farmhouse and Sheep

Oil on canvas, signed lower left.

Painting Size: 11” x 14”
Frame Size: 16.5 ” x 19.5”

Koekkoek was a student of his father the artist Johannes Hermanus Koekkoek and of Schelfhout Van Os at the Academy of Amsterdam. He married the daughter of the painter J.A. Daiwaille. In 1845 the Dutch king commissioned numerous paintings from Koekkoek. He travelled around Belgium and frequently visited the environs of the Rhine and the Moselle. In 1841 he founded an academy of drawing in Clèves where artists such as Frederick Kruseman, Lodewijk Kliejn and Johann Bernard Klombeck came under his tutelage and gave rise to the school of landscape painting referred to as 'Cleves Romanticism'. He took part in Paris exhibitions and won medals in 1840 and 1845. He was a member of the Academies of Petersburg and of Rotterdam. His paintings reveal his careful study of Dutch 17th century painters and the romantic tradition of the Dutch masters.

Perhaps the artist of this painting studied at the Clèves academy as evidenced by his adherence to Koekkooek’s admonition to observe qualities of light and following Koekkoek’s example of painting rural environments with tiny figures.

Sources:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Thieme-Becker, ed. "Allgemeines Lexikon der bildenden Künstler vonder Antike bis zu Gegenwart"
Sheen, ed. "Lexicon Nederlandse Beeldende Kunstenaars 1750-1950"

Frederick Smallfield, (English, 1825-1915)

Genoese Flower Girl

Watercolor on paper, signed and titled on the reverse.

Painting size: 16” x 10”
Frame size: 26.75” x 20.5”

Smallfield was a painter of genre scenes in oil and watercolour. He was a student at the Royal Academy Schools in the late 1840s with the members of the Pre-Raphaelite Brotherhood, but he was probably not close to them then, for he is not mentioned in their diaries. However by the late 1850s his works display a distinct Pre-Raphaelite influence. "Early Lovers", an oil painting now in Manchester City Art Gallery, is the best known. It shows a young couple against a meticulously observed background of flowers and leaves, a Pre-Raphaelite format first used in John Everett Millais’ popular "Huguenot" of 1852. In 1858, Ruskin praised Smallfield's watercolours in Academy Notes. Smallfield became best known as a watercolour painter, although he continued to exhibit occasional oils at the Royal Academy until the late 1870s. He was elected Associate of the Old Watercolour Society in 1860 and chiefly exhibited there although he also sent works to the Royal Academy, and the Grosvenor Gallery. In 1862 he contributed illustrations to Willmott's Sacred Poetry and Passages From Modern English Poets, but these were his sole contributions to the illustration revival of the 1860s. No less than three of his children became artists and exhibited from the 1880s onwards. Smallfield is still a little known artist, and there is no substantial printed study of his work. Sources:
"Frederick Smallfield, 1825-1915." The Victorian Web: An Overview. Web. 15 Mar. 2012.
Morgan, Hilary and Nahum, Peter. Burne-Jones, The Pre-Raphaelites and Their Century. London: Peter Nahum, 1989.

Georges Brasseur (Belgian, 1880-1950)

Morning Light

Oil-on-canvas, signed lower left

Painting Size: 19.75” x 25.5”
Frame Size: 24 ” x 30”

Brasseur was a painter and designer who specialized in religious art as well as genre scenes, portraits and nudes.He was a student at the Saint-Luc School in Schaerbeek where he spent his last year as a scene painter. He adopted a Neo-Gothic style, typical of that school. Brasseur also produced copperplate engravings and stained glass windows. Among others, he worked with the Beyaert firm of Bruges and with the stained glass artist J. Osterrath.

Sources:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
"Le Dictionnaire des Peintres Belges du XIV Sicle du XIV Siècle à Nos Jours"
Piron, Paul , "De Belgische Beeldende Kunstenaars uit de 19de en 20ste eeuw"

Exceptional Grand Tour Micro-mosaic plaque with an extremely fine oval micro-mosaic image of the Pantheon in Rome: on a cartouche shaped black marble ground, with an oval malachite surround. Italian circa 1860.

4" x 3"

Harriette F A Sutcliffe (British, fl.1881 - 1922)

Beauty and the Beast

Oil on canvas, signed with monogram and titled on the reverse

Exhibited: The Royal Academy, 1899

Miss Suitcliff was a Hampstead painter of genre and portraits who exhibited at the royal academy from 1881-1899 and elsewhere.

Source:

Christopher Wood, The Dictionary of Victorian Painters

Painting Size: 16" x 20" Frame Size: 24" x 28"

Tabletop Still Life with Glass Vases

Henri Dominique Roszezewski (French, 19th/20th century)

Oil on panel, signed.

A painter of landscapes and still lifes, Roszezewski studied under Maillard. He made his debut at the Salon de Paris in 1868 and was particularly noted for his still life paintings.

Roszezewski is listed in Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Bénézit. Painting size: 8.5” x 6.25”
Frame size: 16” x 14”

A By-path

Henry Hobart Nichols, Jr. (American, 1869-1962)

Watercolor on paper, signed and dated: “1897”.

Exhibited at the Third Annual Washington Water Color Club, 1898.

Illustrated in McMahan, The Artists of Washington, DC: 1796-1996, p. 158.

Provenance: from the Estate of Virgil McMahan.

A painter and illustrator, Nichols was a member of quite an artistic family. His father, brother and wife were all professional painters as well.

He had diverse training beginning with instruction from Howard Helmick. He also attended the Art Students League of Washington before heading to Europe. In Europe, he studied at both the Froebel Institute in Germany and at the Academie Julian in France.

His early career (1889-1905) included a position on the Board of the Art Students League, as well as employ by the U.S. government. He worked as an illustrator for both the U.S. Geological Society and the Bureau of American Ethnology.

A member of the Washington Watercolor Club and Society of Washington Artists, Nichols favored subject was landscapes.

Nichols is listed in Who Was Who in American Art by Falk.

Sight size: 13” x 9.5”
Frame size: 21” x 17”

** For other paintings by artists from Maryland, Virginia or Washington DC, type “local” into the search box.

Ethel M. Stilson (American)

Hayfield in Summer

Oil on canvas, signed and dated: ‘1905’.

Stilson was an Ohio artist and member of the National Association of Women Artists and the Cleveland Woman’s Art Club. She is listed in Falk, Who Was Who in American Art.

Painting size: 15”x19”
Frame: 23.5”x27.5”