Fine George III Octagonal Cellarette or Wine Cooler in mahogany with brass banding, having a hinged lid opening to a tin liner, slightly tapered body with brass carrying handles and the original stand with four champfered legs. English, circa 1780.

Originally used in the dining room to hold wine brought up from the cellar for the meal, the tin liner would have protected the wood from the condensation from the bottles. Now often used as an occasional or end table.

Top: 19.25" x 19.25"
Height: 27"

Fine Large Pair of Regency Wood and Brass Candlesticks with fluted shafts and turned, circular bases. English, 1800-1820

Height: 21.5"

Fine Pair of French Brass Urns with two handles, raised relief of floral sprays on the sides, and with rouge marble bases. Late 19th century.

Height: 12”
Diameter of Marble base: 5”

Fine Pair of Grand Tour Bronze and Ormolu Candlesticks in the Empire style with fluted baluster shaped shafts , with acanthus decoration on gilt-bronze sections and paw feet raised atop tripartite bases. These would have been brought home as a souvenir by someone who had made the Grand Tour. France or Italy, circa 1870.

h: 11 in.

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.

18th Century Bottle or Cutlery Box on later stand, having a shaped gallery surmounted by a brass carrying handle and with a divided interior. English, circa 1780.

14" x 9.75"x 22"tall

LATE GEORGE III W.&T.M. BARDIN 18-INCH TERRESTRIAL GLOBE ON STAND 
additions to 1807, dedicated to Sir Joseph Banks, the globe in etched brass frame resting on a corona with months and zodiac on turned support with tapering downswept legs with brass casters

Dimensions: Height: 41 in. (104.1 cm.), Diameter: 24 in. (61 cm.)

This terrestrial globe is supported on a wooden tri-pod pedestal, surrounded by a wooden horizon circle, and it is equipped with a brass meridian . The cartouche in the Pacific Ocean displays a seated female figure of Britannia, a seated woman holding an astronomical quadrant, and a small portrait of Joseph Banks. The text below reads: “To the Rt Honorable / SIR JOSEPH BANKS, BART K. B. / This New British Terrestrial Globe / containing all the latest Discoveries and Communications, from the most / correct and authentic Observations and surveys, to the year 1798 / by Captn Cook and more recent Navigators, Engraved on / an accurate Drawing by Mr Arrowsmith Geographer / Is respectfully dedicated / by his most obedient hble servants / W. & T. M. Bardin / 230” A text below reads: “Manufactured & Sold Wholesale & Retail by W. & T. M. BARDIN / 16 Salisbury Square Fleet Street London”

William Bardin (fl. 1730-1798) was a London artisan who began making globes around 1780. Ten years later, now partnership with his son, Thomas Marriott Bardin (1768-1819), he began trading as W. & T. M. Bardin. The 18-inch globes, their most ambitious, were introduced in 1798, and remained in production, by successor firms, for a half century.

Similar globe is in the collection of National Museum of American History

George III Hanging Wall Shelves; of rectangular form with two upper shelves flanked by pierced and shaped sides over a base with two short drawers with brass bail pulls . English. circa 1780. (ink stains to some shelves)

h:30 w:26 d:6.50 in

Antique Regency Music or Reading Stand in mahogany, having an adjustable sloped top above, supported by a turned shaft with adjustable height and ending in three down swept legs with replaced ebonized ball form feet.
English, circa 1810

Height closed: 29.5", raised:42.5" Top:12"x 15" (minor scratches to top)

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"

Gilt Bronze of Caillope,

by Henry Etienne Dumaige(1830-1888)

6.5" x 6" x 18.5" tall

Born in Paris in 1830, Dumaige studied sculpture under Féuchère and Dumont. He exhibited his sculptures depicting groups, statues, and busts at the Salon from 1862-1877. . He sculpted a large number of busts, groups and statuettes in marble, plaster and bronze, including statuettes of Desmoulins and Rabelais. He died at St-Gilles-Croix-de-Vié in 1888.


 References Thieme-Becker, "Allgemeines Lexikon Der Bildenden Künstler Von Der Antike Bis Zur Gegenwart"

MacKay, J. "A Dictionary of Western Sculptors in Bronze", 1976

Berman, H. "Bronzes- Sculptors and Founders", 1987


Forrest, M., "Art Bronzes", 1988
K

jellberg, P. "Bronzes of the 19th Century

A Dictionary of Sculptors", 1992


Bénézit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs", Gründ, 1999.

KALLIOPE (Calliope) was the eldest of the Mousai (Muses), the goddesses of music, song and dance. She was also the goddess of eloquence, who bestowed her gift on kings and princes. In the Classical era, when the Muses were assigned specific artistic spheres, Kalliope was named Muse of epic poetry. In this guise she was portrayed holding a tablet and stylus or a scroll. In older art she holds a lyre.

*Please note: This is an original antique bronze, not a modern re-strike, and is so guaranteed.

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"

Set of Four Hammered and Silvered Bronze Arts and Crafts Candlesticks, Early 20th Century, Unmarked. 13" high.

Model of a Royal Carriage, realistically detailed with an ebonized carved wood and gilt decorated coach with one working door. Resting on a working metal suspension undercarriage and wheels, one removable trunk.

Late 19th/Early 20 C

H 13 in. x W 41 in. over all, coach 28 in. x D 9 in.

Julius Montalant, American 1823-1878.

View of a Harbor

oil on canvas, signed l.l.

Painting: 11 x 18.
Frame: 18 x 25.

Provenance: The Lowell/Putnam Estate

Born in Virginia, probably Norfolk, Julius Montalant is known for his drawings and paintings inspired by his travels on board navy ships.

Attached to the USS St. Louis around 1844-45, he sketched ports of call he visited, including Brazil, Chile, New Zealand, Australia, and China.  Many of his works are held in the Museum of the U.S. Naval Academy.  Navy records indicate his rank as 'C. Clerk', which may mean that he held a civilian position.

During the 1850s he lived in Philadelphia, and in 1851-61 he exhibited at the Philadelphia Art Union and the Pennsylvania Academy of the Fine Arts.  Included were paintings of North America, Greece, China, France, Italy, and South America. The 'tropical' scenes were apparently based on sketches done on board the USS St. Louis.

In 1858 he traveled to Rome, and is recorded to have studied with J.B. Durand-Brager in 1864.  He made Rome his base until his death in 1878.

Source: Peter Hastings Falk, Editor, Who Was Who in American Art

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"