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.

Antique Black Forest Tea Caddy in the form of a dog house with a mounted bronze of a dog, carved on all sides and back and with a trick latch to open. German, circa 1870 . 8.5" x 7.5" x 7" tall

Victor Spinski (American, 1940-2013)

A Piece of Cake

Ceramic, Signed and dated: "(19)97"

6 3/4" Diam. x 4" H

Spinski was a leading figure in the avant-garde ceramics movement of the 1960’s and 70’s. Throughout his career, Spinski experimented with many different materials, forms and techniques, becoming most well-known for his tromp l'oeil clay sculptures, which often incorporated humor.  In a 1983 article in the New York Times, art historian Helen A. Harrison described Spinski's works as being "technically sophisticated and fascinating in their imitation of nonceramic objects, such as metal cans filled with garbage. His "fountains," including an overflowing sink full of dirty dishes and a pile of beer cartons that have sprung a leak, are both cleverly conceived and beautifully realized."  Spinski participated in many historic solo and group exhibitions during his lifetime, including "Clayworks: 20 Americans" and "Coffee, Tea and Other Cups" both held in 1971 at the Museum of Contemporary Crafts in New York City. 

Exceptional 18th Century Inlaid Sewing Box on later stand, having a rectangular hinged lid opening to a fitted interior, brass carrying handles and top and front with extensive exotic wood inlay and banding.

English, circa 1790

Box 14" x 12" x 6.5 "Overall Height: 30.5"

James Francis O’Brien (American, 1917-1996)

Bethesda

Oil on canvas, signed lower left and titled on the reverse.

Painting size: 20” x 24” Frame size: 25.5” x 29”

** Please Note - This painting came directly from the Estate of Mr. O’Brien. For other examples, type “O’Brien” into the search box.

** For other paintings by artists from Maryland, Virginia, Washington DC or North Carolina, click on the “Regional Artists” button on our Homepage.

Born in Newtonville, Massachusetts, O’Brien exhibited a love of drawing and painting from a very early age. As a high school student, he took all possible elective courses in art and technical drawing. He supplemented this study with evening courses at M.I.T. Following his move to Washington, DC as a young man, he enrolled in the Washington Workshop of the Arts. WWA, like the Art Students League in New York City, was a school in which all the classes were taught by a rotating roster of professional artists.

During WW II, his technical artistic training served his country well when he was put to work as a map maker. In the final year of the war, O’Brien married. On his honeymoon in New York City, he found time to paint the rooftop view from his hotel room window. This initiated a lifelong pursuit of city painting (his family was inclined to call it an obsession).

Starting with the founding of Federal Graphics, a commercial art firm he launched with a partner in 1947, he pursued a commercial career for the majority of his life. However, he always considered painting his “real” work, and his dedication to this vocation was apparent in a myriad of ways. He helped to found the Montgomery County Art Association and held memberships in the Arts Council of Montgomery County and American Art League.

Throughout his life, he exhibited widely, both as an individual and in group shows. The Arts Club of Washington, Corcoran Gallery of Art, Brooklyn Museum of Art, Montgomery College, and the Rehoboth Art League were a few among the many venues at which his works were shown. In addition, he exhibited in several private galleries.

During the course of his painting, O’Brien noticed that the paints on his palette sometimes mixed into designs as interesting as those more deliberately created. From this observation arose the text, Design By Accident, first published in 1968. The book became widely used by art teachers following very favorably reviews by newspapers and magazines. It was even reviewed by Scientific American from a technological-aesthetic.

A draftsman, illustrator, writer and most importantly painter, O’Brien was fortunate to have his work recognised and appreciated during his life. He won awards from The Montgomery County Art Association, Rehoboth Art League and American Art League. Even art critics praised his work with the most succinct calling his paintings, “familiar scenes, fresher and lighter than life”. (Florence Berryman of The Washington Star)

O’Brien believed that the “creative urge” was something all children have. However, as adults, that impulse falls victim to ever growing demands and responsibilities. He maintained that artists are able to keep alive the childlike ability to see beauty and mystery in commonplace things.

Thanks to his sense of wonder, he left us deeply in his debt. His paintings remind us that every day that Washington, DC is full of inspiring sights that fall outside of the traditional “glamour” views depicted by most artists.

Benson Bond Moore (American 1882-1974)

"Early Autumn Near Bedford PA."

Oil-on Board, signed, and titled on the reverse

Exhibited: The Washington County Museum of Fine Arts, Hagerstowm MD: A Seasonal View - The Landscapes of Benson Bond Moore, September 1 - October 27, 1996

Provenance: The Estate of a Toms River Collector

Painting: 14" x 18"
Frame: 18.25" x 22.5"

** 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; 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"

Fine pair of Antique French Louis XVI style ormolu candlesticks with circular bases with laurel leaf decoration and tapered, fluted shafts with applied laurel swags. Late 19th-century, now wired as lamps.

Provenance: from the collection of Ron Van Swerengen

Height to Shade: 25.5”

Fine Antique English Canterbury in Walnut, having four pierced partitions with “C” scroll carved decoration above a single drawer and raised on turned ball form feet with brass casters. Circa 1850-1870

Originally designed for sheet music, these are now used primarily as magazine racks. To see other examples, type "canterbury" into the search box.

Height: 20”
Width: 20.5”
Depth: 14.5”

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

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”
Frame Size: 31.25 ” x 27.25”

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).

Sources:
Johnson, J. and A Greutzner. "The Dictionary of British Artists 1880-1940"
Wood, Christopher. "Dictionary of British Art. Vol. IV, Victorian Painters"

Manuel Robbe (French, 1872-1936)

Nocturne (ou Le Flirt)
[Merrill Chase, no. 63]*

Aquatint with etching in colors, circa 1906, on wove paper, signed in pencil in the image lower left. From the edition of about 100, with minor staining in the margins, not examined out of the frame.

Image Size: 13.5" x 17.5"
Frame Size: 24" x 27.5"

Robbe was a painter of genre scenes, a watercolorist, pastellist, engraver, designer and illustrator. He studied both at the Académie Julian and the École des Beaux Arts in Paris where he was mentored in etching and aquatint methods by Eugene Delâtre. He exhibited in Paris regularly at the Salon des Artistes Français and was awarded a bronze medal in 1900 at the Exposition Universelle in Paris. Leaving that salon in 1905, Robbe became a member of the Salon de la Société Nationale des Beaux-Arts. He chiefly worked in the medium of colored aquatint engravings in which he had become quite accomplished. He was an innovator of the experimental “à la poupée” process of printing many colors from a single plate which gave his prints a startling subtlety, each print having its own uniqueness. Robbe’s favorite themes were of scenes of Paris life, scenes of streets animated by young parisiennes of the Belle Époque and young women and children engaging in the social activities of the day. His prints were designed to be framed and hung on the wall just like oil paintings.

Source:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"

*Manuel Robbe's works are catalogued and described by a series of soft covered books published by Merrill Chase Galleries in 1978, 1979, and 1980. These books serve as the recognized catalogue raisonné for Robbe.

Exceptional Pair of Italian Bronze and Ormolu Candlesticks with nicely detailed foliate decoration and with good patina and fine castings. Having a removable ormolu drip pan above a bronze candle cup and supported by a turned and foliate decorated column with a tripartite scrolling ormolu base and mounted on a tripartite bronze plinth. These would have been brought home as a souvenir by someone who had made the Grand Tour. Italy, circa 1870. 5" x 5" x 13"tall

Antique Dutch Turned Mahogany Peat Bucket having tapering staved sides with molded and ring turnings and with brass liner and carrying handle. Holland, circa 1820 Height to Rim: 12.5" Diameter: 12.5"

Hendricks A. Hallett (American 1847-1921 )

Sailing Vessels at Sunrise

Oil-on-panel, signed lower right

Painting: 20” x 16”
Frame: 25” x 21”

Born in Massachusetts, Hallett studied in Antwerp and Paris. He is best known for his paintings of ships, notable marine events, and seascapes, many along Boston Harbor. He also painted in the White Mountains of New Hampshire, and on Mount Desert Island in Maine.  Hallett worked outdoors, sketching with pencil, making color notes, and translated his sketches into oils in his studio.  He and his wife Florence, also an artist, spent eighteen months studying art in Europe. The Halletts shared a studio at Fenway Studios from1907-1918. Hallett exhibited regularly at the Boston Art Club between 1877 and 1918. He was a member of the Boston Society of Watercolor Painters, as well as the Boston Art Club, and exhibited at the Massachusetts Charitable Mechanic Association, the Eastman Chase Gallery (Boston), Poland Spring Art Exhibitions, and the Pennsylvania Academy of Fine Arts.

Benson Bond Moore (American 1882-1974)

"October Afternoon, Soldiers Home, Wash. D.C."

Oil on board, signed lower right and dated "1955" and titled on the reverse

Painting: 12.25" x 10.75"

Frame: 18.5" x 17"

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 Max 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"

Rare Pair of Regency Upholstered Footstools, of square inverted trapezoidal form with a rosewood base and carved mahogany scroll form feet. Circa 1800. (losses to needlework covering)

6.5" x 16.5" x 6.5" tall

The Pensive Shepherdess

(British School, 19th Century)

Oil on canvas, Unsigned

Painting size: 30” x 20”
Frame size: 36.25” x 26.5”

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.

Rare Red Lacquer Tea Chest of bombe shape with cut corners having a hinged steppedlid opening to two engraved pewter caddies,t he whole with gilt decoration and raised on dragon form feet.

Chinese,circa 1850

9.5" x 7"x 5.5" tall