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SUBCATEGORIES Featured Items (14)  Mahogany Bow Front Chest of Drawers, Maryland ca 1800, ex Cushing
 Set Five Ko-Imari Kakiemon Style Polychrome Enamel Cups
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STUDIO ANTIQUES & FINE ART, INC.
$35,000 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" August H.O. Rolle (American 1875-1941)
River Birches Oil on Canvas, Signed lower right and titled and signed on reverse
Painting: 20" x 24" ** For other paintings by artists from Maryland, Virginia, Washington DC or North Carolina, click on the “Regional Artists” button on our Homepage. August Herman Olson Rolle, painter, printmaker and graphic artist, dabbled in many activities before turning his focus to art. Born in Sibley County, MN, in 1875, his first path toward adulthood led him to Red Wing Seminary. Service in the Spanish-American War, eventually lead him to Washington, DC where he became a forestry expert for the Census Bureau. Once in Washington, Rolle studied at the Corcoran School of Art under Messer, Brooke and Moser beginning in 1905. His specialties were landscapes and seascapes in oil and watercolor, but he also executed dryprints, woodblock prints, monotypes and etchings. Following the tradition of his day, Rolle was active in many art societies. In addition to helping found the Landscape Club of Washington in 1915, he served as its president for many years. That was just one among a number of affiliations which also included the Sculptors and Gravers Society of Washington, the American Federation of Arts, and the Arts Club of Washington. Rolle also exhibited at the Corcoran Gallery of Art, the old National Gallery, the Maryland Institute and at the Greater Washington Independent Exhibition of 1935. He had a joint exhibition of prints with fellow artist Benson B. Moore at Venable's Gallery in 1924. Rolle died in Washington, DC in 1941. Today, his work is represented at the Corcoran Gallery, the Historical Society of Washington, DC, and the Arts Club of Washington. A retrospective of his work was held at the Corcoran's 1982 "Washington on the Potomac" and at the National Museum of American Art's 1984 show "The Capitol Image."
Sources: 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.
Sources: Alfred Wordsworth Thompson (American 1840-1896)
Lake Scene in Western Maryland Oil-on-canvas, signed lower right and dated “1861”
Painting Size: 8 ½”” x 16” Thompson was a landscape, historical and portrait painter, born in Baltimore where he studied law with his father. In 1859 Thompson decided to become and artist and opened a studio in Baltimore. During the first year of the Civil War (1860) he worked as a combat artist for Harper’s Weekly and the Illustrated London News, primarily illustrating battles in Virginia. In 1861, the year this painting is dated, he left to study in Paris at the École des Beaux Arts with Gleyre, Lambinet and Pasini. He also traveled to Italy and Germany before establishing his studio in New York City in 1868. He made several return trips to France, Spain, North Africa and the Mediterranean. In addition to his travel landscapes, many of his exhibited works were of colonial revolutionary subjects. Thompson was a founding member of the Society of American Artists and a member of the National Academy of Design. He exhibited extensively including at the Paris Salon, the Pennsylvania Academy of Fine Art, the Paris Expo of 1878 and the National Academy of Design.
Sources: ** For other paintings by artists from Maryland, Virginia, Washington DC or North Carolina, click on the “Regional Artists” button on our Homepage.
Peter Paul Duggan (Irish/American 1810 ? -1861)
Macbeth Oil on artist board Provenance: Sycamore Farm, Portsmouth, VA (Estate of Robert Vick and Charles Sibley) Note: Listed in "The National Academy of Design Exhibition Record 1861-1900" page 249, number 482.
Painting Size: 6 ½” x 6 ½” Born in Ireland, Duggan was brought to the United States as a young child, probably around 1810. He was a student at the National Academy of Design from approximately 1842-1849. He was a frequent exhibitor at the National Academy as well as at the Pennsylvania Academy of Fine Art. Duggan was known to have exhibited works at the Academy (1844-51) which were religious and historical in nature although he was admired by his contemporaries as a portraitist in charcoal and crayon - undoubtedly the source of his livelihood. Later works exhibited (1855-56) were portraits only. He also sculpted several medals for distribution by the American Art-Union. In the late 1840’s Duggan was a professor of drawing at the Free Academy of New York (later the City College of New York). Duggan suffered from tuberculosis and retired in 1856 at which time he went to live in London with relatives. In the spring of 1861 he went to Paris for what was intended to be an extended stay but was there only until October when he succumbed to his illness.
Sources: Georges Brasseur (Belgian, 1880-1950)
Morning Light Oil-on-canvas, signed lower left
Painting Size: 19.75” x 25.5” 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: 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).
Sources: 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: 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” William Richardson Tyler (American 1825-1896)
Misty Morning at Windsor Castle Oil-on-canvas, signed lower left
Painting Size: 18.5”” x 29.5” **Please Note: This item is not currently on view in our gallery. Please call at least 48 hours in advance if you wish to see it. Tyler is known to have lived and worked in Troy, NY during the 1850‘s and 60‘s where, aside from Abel Buell Moore, he was Troy’s best known artist. According to William Gerdts “Troy was a prosperous industrial and commercial city. It was also a major center of education in the 19th century. Tyler had gone to Troy to work for the carriage company of Eaton and Gilbert. In 1858 Tyler opened his own painting studio (and he) painted the local landscape but was more drawn to the sea. He specialized in scenes off the coast of Long Island and Massachusetts.” It is apparent from the record of his works that he traveled extensively in Europe painting scenes in Venice and scenes in England such as this luminist view of Windsor Castle. Tyler also painted the landscapes of the White Mountains (NH) and the Keene Valley in the Adirondacks of New York. Tyler exhibited at the National Academy of Design (1862-1867 and 1878) and his work “Breezy Day Off Boston Light” is held by the Troy Public Library. Sources: English School, early 19th century
Portrait of a Woman in Lace Cap Oil on panel. Provenance: J. Davey & Sons, Manchester, England
Painting size: 8.5” x 7” 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” 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: 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” 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).
STUDIO ANTIQUES & FINE ART, INC.
$14,500 William Aiken Walker (American, b. c.1838-1921)
Man in a Cottonfield Oil on board, signed lower left.
$16,500.
Painting Size: 8.25” x 4.25” A lifelong artist, Walker exhibited his first painting at the age of twelve and continued to paint until his death 71 years later. In the 1860’s Walker traveled to Dusseldorf for artistic training and remained for several years. Returning to Charleston, he joined the Confederate Army and served as a cartographer. At the conclusion of the war, Walker moved to Baltimore where he had spent a portion of his childhood. Until 1876, Walker split his residence between Charleston and Baltimore. However, on a visit to New Orleans in that year, he fell in love with the city and spent the next 29 years, calling it home. Best known for his genre scenes of African Americans in the post Civil War South, Walker is listed in numerous references including Who Was Who in American Art by Falk and Art Across America by Gerdts. He has also been the subject of several monographs. William Aiken Walker was born in Charleston, South Carolina, on March 11, 1839. He had an artistic bent at a very early age; he exhibited his first oil painting at the South Carolina Institute in 1850 when he was 11 years old. The first known still life by Walker was produced in 1858. Animal and fish portraits followed, along with a few portraits and landscapes. During the Civil War, Walker served as a private in Charleston's Palmetto Regiment of the South Carolina Volunteers. He was given a medical discharge in August 1861. He continued to serve as a volunteer draftsman in the Confederate Engineers Corps. When Charleston was decimated in a great fire in 1861, Walker recorded the resultant ruins. In 1863 Charleston was shelled by Union troops; Walker recorded that event too. In 1864 Walker created perhaps the most collectible of all decks of American playing cards. Sixteen of the cards carried miniature paintings, ranging from the bombardment of Fort Sumter to portraits of Jefferson Davis, Robert E. Lee, P.G.T. Beauregard, and Stonewall Jackson as kings. What Walker did between 1866 and 1868 remains a mystery, but by the latter year he had settled in Baltimore. He visited New York and Cuba but was back in Baltimore by 1871, when he began the series of paintings that would capture the attention of present-day collectors. Walker's Gathering Herbs, 1871, depicted an African-American woman at the herb garden, a basket in her arms, and another on her head. The depictions of what would be later known as "The Sunny South" had commenced. Although he painted scenes depicting Anglo-Saxon citizens and landscapes, it would be the African-American scenes that would come to be recognized as Walker's seminal body of work. He traveled extensively in the South, from South Carolina to the Blue Ridge Mountains of North Carolina, to Florida, to New Orleans, and wherever he traveled, he painted. The focus of his energy from the early 1880's to the mid-1890's was the cotton trade. Walker was fortunate in many ways, not the least of which is the fact that his paintings were collected and sold during his lifetime. Major paintings sold in the $70 to $100 range while he still was alive. By the time Walker had reached his sixties, he returned to landscapes and still life subjects, though his bread-and-butter work was still the genre scenes of the Old South. Walker died on January 3, 1921, just two months shy of his 82nd birthday.
Charles A. Watson (American, 1857-1923)
Moonlight on the Chesapeake Oil on canvas, signed lower right
Painting size: 12” x 10” ** For other paintings by artists from Maryland, Virginia, Washington DC or North Carolina, click on the “Regional Artists” button on our Homepage. Watson was born in Baltimore, MD. He studied with A. Castaigne, E.S. Whiteman and D. Woodward. A founding member of the Baltimore Charcoal Club, he was also a member of the Baltimore Watercolor Club. Watson exhibited at the Pennsylvania Academy of the Fine Arts Annual Exhibition in 1906. He is noted for his Tonalist marine paintings where the softly dawnlit skies blend with the pale ocean waters, often with a bare outline of a sailboat. Source: From the Estate of Antoinette Hughes, Catonsville, MD 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 Follower of Barend Cornelius Koekkoek
(Dutch, 1803-1862)
Landscape with Farmhouse and Sheep Oil on canvas, signed lower left.
Painting Size: 11” x 14” 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:
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