Attributed to Pieter van Bloemen (Flemish, 1657-1720)

Military Encampment

Oil-on-canvas.

Painting size: 23” x 32”

Frame size: 31” x 40”

Born in Antwerp, van Bloemen was the brother of Jan-Frans and Norbert van Bloemen. His master was the battle painter, Simon van Douw. In 1673 van Bloemen was a master in Antwerp, but he did not stay there long. He is believed to have spent 20 years in Rome and it is known that he was working there in 1688. In 1694 he returned to Antwerp where he had eight students in an atelier. Van Bloemen is noted for his paintings of horses, Italian landscapes, battle scenes and market places. His works are in the collections of many European museums.

Source:

Benezit, E. Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs

Exceptional George III Serpentine Chest of Drawers or Commode in the French Manner having a moulded edge serpentine top with overhanging sides above two over three conforming drawers, rounded front corners and bold bracket feet. The drawer sides and bottoms are mahogany which is unusual since it was the most expensive wood during the 18th Century. Brass pulls may be original, escutcheons replaced.

English, Circa 1760.

Top: 42" wide
Case: 37" wide
Height: 37"
Depth: 23"

Lina Krause (German,1857-19)

Old Master Style Still Life

Oil on Panel, signed

Provanance: Noortman Master Paintings, Maastrick

Painting: 9.75" x 7.25"
Frame: 16" x 13.75"

John Charles Maggs.(British,1819 - 1896 )

The London to Bath Coach Pulling up to the Spaniards Tavern, Bath, England in 1884

Oil on Canvas, signed, and dated l.r.

Painting: 14: x 26"
Frame: 20.5" x 32.5" (outer frame later)

A newly discovered gem from one of England's best coaching painters.

John Charles Maggs (1819–1896) was a painter best known for his coaching scenes. He was born in Bath, England in 1819, his father being a furniture japanner there. John painted a series of famous coaching inns, and also a series of 80 metropolitan inns, in which he exploited the picturesque and historical aspect of his subject, to which his talent was best suited.

Other subjects he painted include Newmarket Races, Robbing the Mails, The News of Waterloo, The Market Place at Bath. The period he illustrated spans about two centuries; from the days before Hogarth, to the end of the reign of William IV.

His work enjoyed great popularity at a time when there was much interest in such vivid reconstruction of the 'romantic past'.

John Maggs' father, James, is recorded as an artist at Bath 1837–1841 and his uncle as a portrait painter 1846–1848. His daughter also assisted at his studio, known as the Bath Art Studio. Maggs lived in Bath his whole life, and died there on 3 November 1896, aged 77.

THE SPANIARDS TAVERN The Spaniards Inn is a historic pub on Spaniards Road between Hampstead and Highgate in London, England. It lies on the edge of Hampstead Heath near Kenwood House. The pub is believed to have been built in 1585 on the Finchley boundary, with the tavern forming the entrance to the Bishop of London's estate—an original boundary stone from 1755 can still be seen in the front garden. Opposite it there is a toll house built in around 1710. would lead to more and faster traffic.

Dick Turpin is thought to have been a regular at the Inn, as his father had been its landlord.What is certain is that highwaymen frequented this area and likely used the Inn to watch the road; at that time the Inn was around two hours from London by coach[citation needed] and the area had its fair share of wealthy travellers. Records from the Old Bailey show that on 16 October 1751 Samuel Bacon was indicted for robbery on the King's Highway and was caught 200 yards from the Spaniards

In 1780 rioters involved in the Gordon Riots, opposed to the relaxation of laws in England that restricted Catholicism, marched on Hampstead intent on attacking Kenwood House, the home of William Murray, 1st Earl of Mansfield. The landlord of the Spaniards at the time is reported to have given them free drinks, keeping the rioters occupied, until the local militia arrived, thus saving the house.

The pub has been mentioned in Dickens's The Pickwick Papers and Bram Stoker's Dracula, and has been frequented by the artist Joshua Reynolds and the poets Byron and Keats. According to the pub, Keats wrote his Ode to a Nightingale in the gardens, and Stoker borrowed one of their resident ghost stories to furnish the plot of Dracula.

The royal coat of arms of the United Kingdom, or the royal arms for short, is the official coat of arms of the British monarch,[1][2] currently Queen Elizabeth II. These arms are used by the Queen in her official capacity as monarch of the United Kingdom.

Late 1800s

12.5 "tall 24" wide 2.5" deep, mounted on an ebonized wood base

Carved Wood Bank in the form of a Victorian Mailbox. Carved from a solid piece of mahogany(?) with a slot at the top and a hinged door opening to a cavity (no key)

Height:14"

Portrait of the British Schooner "ESTHER"

Oil on canvas, 19th century Signed indistinctly lower right "Wm Mc *****" and dated

Painting: 21" x 28.5"
Frame: 27" x 34.25"

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.

Benson Bond Moore (American 1882-1974)

Old Willow in Winter, Anacostia

Oil-on-artist board, signed lower right and titled on reverse

Painting: 11” 14”
Frame: 17” x 20”

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

Antique Carved Wooden Angel, holding a crown and a septer.

Probably English, 18th Century

15.75"tall, Oak

Joseph Mortimer Lichtenauer, Jr. (American, 1876-1966 )

Moods

Oil on canvas, signed and dated lower left corner “Lichtenauer 1904.”

Painting: 28” x 40”

Frame:

Born in New York City, Joseph Mortimer Lichtenauer studied at the Art Students League with Mowbray before moving to Paris where he entered the Académie Julian. There he studied under Merson and Laurens. Additional years of travel and study in Florence, Italy no doubt influenced his tastes, evidenced by this idyllic painting of classicized female figures romping in a sunny field. The image is reminiscent of the fanciful landscapes of Romantic painter, Puvis de Chevannes.

A muralist as well, Lichtenauer painted the ceiling of the Shubert Theater in New York City and created murals for the Adelphi Theater. His work has been collected by the Metropolitan Museum of Art and the Smithsonian Institution. Lichtenauer was also a member of the Salmagundi Club and the American Federation of the Arts.

Lichtenauer is listed inWho Was Who in American Art (Falk, 1999) and the Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs (Bénézit, 1998)

Portrait of a Woman Wearing a Painted Miniature Brooch

Oil-on-canvas, unsigned

Mid 19th Century

Painting: 20 ¼” x 16 ½”
Frame: 24 ¼” x 201/4”

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.

Boris Riab (French, 1898-1975)

Setter with Woodcock

Watercolor on Paper, signed

Sight size:17.75" x 12.75
Unframed, Mat size: 23" x 18"

Biography:
Boris Riab (Born November 1, 1898 Boris Riabouchinsky, in Moscow, Russia. Riab died in 1975 in Saint Vincent du LorouÃr.)
Due to his families finances, Riab studied at many different art schools in Moscow.
In 1917, Riab's family fled Russia after the Bolshevik Party gained power. Pursuing hunting and sport, he traveled through out the world before he settled in France in 1927. It was then he changed his last name from Riabouchinsky to Riab.
Riab mostly painted watercolors of hunting dog portraits and wild fowl. He also printed limited edition engravings of studies of setters, spaniels, retrievers, ducks, pheasants, pointers, partridges, snipes, and woodcocks.

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.

French School, Late 19th/early 20th Century

Young Girl with Paper Dolls

Oil-on-canvas, Unsigned

Oval: 19” x 14 ¼”
Frame: 25 ½” x 20 ¾”

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.

Rare George III Wine Stand in mahogany having a circular top with molded lip on a shaped pedestal with tripod legs on slipper feet. English, circa 1760.

*Most tables of this form described as "wine tables" are actually candlestands. This is a true wine table, which would have been placed next to the host's chair after dessert was served and the servants withdrew so there could be private conversation.

h: 21 x dia: 10.75 in.

Classic Antique English Child's Windsor Armchair in various woods with a hooped back, shaped seat and turned legs joined by an 'H' stretcher. Circa 1870.

Seat height: 12"
Back height : 28.75"

Small George III Writing Table in mahogany with a rectangular, hinged ratcheting top, two candle slides and a removable book rest on a turned, adjustable height pedestal base with tripod legs and slipper feet ending in brass castors. English, circa 1760

h:29 w:22 d:18.75 in.