An Edo period kake-suzuribako (scroll calligraphy box). Iron hardware all in place. Lock face and key but lock works mostly gutted. Original tray with liner retained. Wood surface naturally distressed from use but with expected, even patina with all the accompanying charm. A smoothly finished zelkova (keyaki) may be used for the primary wood, and sugi (cedar) for the aromatic secondary wood. Length, 14 1/4 inches. Depth, 9 1/2 inches. Height, 9 3/4 inches.

A well made Empire period dressing or shaving mirror. Carved mahogany and mahogany veneer with acanthus shaped feet and bellflower form mirror supports. Style transitional to Art Nouveau. American, 19th century. Good, serviceable condition with expected patina and checking of original wood surface. Probably original glass. Height, 25 1/2 inches. Width at widest, 27 inches. Depth, 12 5/8 inches.

Soon to be introduced for availability of inspection at The Antique Center at Historic Savage Mill, Maryland

A well made and complex burl keyaki wood box of drawers and compartments. Compartments and drawers well suited to hold inkstone, colors, paper, brushes, works and accessories. Nice, handmade hinges and drawer hardware. Painted decoration of Shishi among peonies - nicely done in a charming, mingei (folk art) manner and likely by a previous owner of this kodansu. Late Edo period. There is expected wear from use, movement and checking of wood, and minor losses to the polychrome lacquer decoration. Otherwise an attractive and intriguing furnishing in serviceable condition. Length, 13 3/4 inches. Height, 10 inches. Depth, 8 inches.

Chippendale mahogany reverse serpentine (oxbow) slant front desk. Ball and claw feet. Circa 1770. Good, old surface. Relined drawers. Original back and bottom show the age and oxidation of some original, untouched secondary surfaces. Replaced drawer brasses. Some loose, smaller pulls for slant front slide supports and interior gallery drawers retained. A locksmith need be retained to loose the top drawer. Otherwise good condition. Massachusetts, probably Boston. Height, 44 1/2 inches. Width, 41 1/2 inches. Depth, 27 inches (add another 1.5 inches for convex drawer fronts and foot returns). A rare opportunity to acquire, enjoy and conserve as steward a beautiful specimen born with our country.

This desk may be inspected at The Antique Center at Historic Savage Mill, Maryland

Federal mahogany pembroke table. Nicely proportioned with spacious, shaped top. Line inlay decoration on top, drawer, case and legs. New England (probably Massachusetts), early 19th century. Good, serviceable condition. One leg restored. Refinished, nice light tone. Later drawer pull. Height, 29 inches. Length, about 33 inches. Width, 21 1/4 inches.

An appointment would be necessary to inspect this table

A Hepplewhite manner server. Having the form and proportions of a sideboard but of much smaller size. Stringing, banding, fan inlay and figured drawer fronts grace the elegant, minimalist shape. Would serve nicely in a small dining space or handsomely in any space as an occasional, writing or dressing table. With mahogany and satinwood veneer over nicely oxidized striped pine (not to mention shape and proportion), we lean toward an English, late George III period attribution - early 19th century. Good, serviceable condition with minor veneer losses and later pulls. Height, 31 1/4 inches. Length, 42 1/2 inches. Depth, 15 1/2 inches.

An appointment would be necessary to inspect this server

A Hepplewhite mahogany shield back chair. Carved wheatsheaf motif splat. The frame of the back, and the supporting stiles, are scribed inside the edges. The work of an able furniture maker of the late 18th century to earliest 19th century, made in the popular manner of Hepplewhite. We favor an American Federal attribution. Secondary wood is a darkly oxidized hardwood with hand kerfs and planing. Peeling back the under lining more wouldn’t help us with identification. Good condition with old surface and with no losses or restoration. Expected movement and minor stress of the wood. A strongly made, handsome and serviceable chair, complementary to any period interior. Back height, 36 1/4 inches. About 17 1/2 inches to the upholstered seat. Seat depth about 17 inches. Seat width about 18 1/2 inches at the front.

An appointment would be necessary to inspect this chair

A nicely proportioned, elegant Sheraton cellarette. The case joined to the framed base, raised on turned legs. Escutcheon with associated lock but no key. Bottom of the case interior fitted with 4 1/2 inch high dividers for eight bottle positions. Old finish. Appears to be white pine secondary with a red paint wash and quite oxidized on the underside. Looking at our picture of the underside, one board from the back of the supporting frame can be discerned as a replacement. Also from that image, an illegible (to us) maker’s scrawl, large across the bottom of the case, is observed. We believe this cellarette is American Federal rather than English late Georgian. Circa 1820. Good condition. Easily holds champagne and other 750ml bottles. An easily placed size at 26 1/2 inches high, 20 inches wide and 11 1/4 inches deep.

An appointment would be necessary to inspect this cellarette

This Federal lift-top chest with lower drawer reminds of southern American sugar chests. With proportions being comparable, this low-height chest is more formal with mahogany, on the small side and without a divided top compartment. With yellow pine secondary wood, the frame is raised on french feet. Sourced from Middleburg, Virginia. The line of inlay across the front of the lift-top is old but not original (old hinge marks showing that the top was reversed back to front at some point). The other inlay was replaced by us to fill routing where inlay (probably also added later) was missing. The front pulls were added to replace cheap Chippendale style brasses which weren’t appropriate. We’ve used it as a cellarette. Wine bottles fit perfectly in the drawer (as you can see from one of our pictures). Other practical uses may have been as a silver chest or a campaign chest. The top compartment with lift top is likewise well proportioned to take accessories, wine bottles on their side and other, smaller bottles standing upright. Good, restored condition. Height, 27 7/8 inches. Width, 23 3/16 inches. Depth, 17 1/16 inches.

An appointment would be necessary to inspect this chest

A Federal sewing table of elegant form. Mahogany legs and mahogany veneered skirt - both with string inlay. Stylized, bentwood stretchers with mahogany veneer bracing the graceful, tapering legs. The top a later replacement and the key escutcheon without a lock mechanism. Early 19th century and later. Refinished. Serviceable condition. Height, 31 1/4 inches. Width 18 5/8 inches. Depth, 14 3/8 inches.

This table may be inspected at The Antique Center at Historic Savage Mill, Maryland

A George III mahogany table. The pie crust tilt on turned pedestal with three legs terminating on slipper feet. The form and style generally known by reference to Chippendale. The size between what might be used for wine or for tea. 18th century. Fair and serviceable condition with an old repair to the base of the column and to one foot. Height, 27 inches. Diameter, about 24 1/8 inches.

This table may be inspected at The Antique Center at Historic Savage Mill, Maryland

Federal card table. Figured mahogany single board top leaves and legs. Crotch mahogany veneered skirt. The shaped top leaves with reeded edges. The skirt frame conforming in shape, joined legs with carved flower head decoration within rectangular reserves over tapering, reeded legs on turned feet. Probably Philadelphia based on the form and feeding. Circa 1815. Good condition with some minor veneer loss along the skirt edging. The top with minor stressing of the wood. Height, 29 2/2 inches. Width, 35 1/2 inches. Depth, 17 3/4 inches.

This table may be inspected at The Antique Center at Historic Savage Mill, Maryland

Coastal View of a City

by Julius Montalant , American. (1823-1878)

Oil on Canvas, signed.

Ptg.: 11" x 18"
Frame: 18" x 25"

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. Montalant appears to have been a peripatetic artist, for during his decade of exhibition in the United States, he listed his addresses as Philadelphia, Rome, Italy, and Europe. He was a friend of the sculptor E. S. Bartholomew. After painting in southern Italy for several years, he returned to New York City in mid-1859.

He exhibited at the Pennsylvania Academy of the Fine Arts from 1851 to 1861. He exhibited two New Hampshire paintings at the Pennsylvania Academy of the Fine Arts in 1855 – Mount Washington and View from Mount Kearsarge. He exhibited at the Paris Salon in 1861 and 1863.

Lee Lufkin Kaula

Lee Lufkin Kaula

Oil on Canvas, signed

Painting:21.50" x 17.50"
Frame: 28.5" x 24.5"

Born in Erie, Pennsylvaniain 1865 , Lee Kaula became an impressionist painter Lee Lufkin is best known for her portraits and figures and is considered a member of the "Boston School of Impressionism". She had a wealthy family, so she did not have financial worries. She first studied with Charles Melville Dewey in New York and then she and a friend, Claire Shuttleworth, went to Paris in 1894, and Kaula studied with Edmond Aman-Jean at the Academie Colarossi. Charles Gruppe also gave her encouragement.

In 1902, she married artist William Jurian Kaula (1871-1953), whom she had met in Crecy, France, and they were the first artists to have studio space in the Fenway Studios in Boston at 30 Ipswich Street. Painting together, they lived in one space and used the other for a studio. They spent summers painting in Bank Village, near New Ipswich, New Hampshire, and became known there for their spectacular flower gardens.

She was a member of several Boston art associations including the Copley Society, the Guild of Boston Artists and the Boston Society of Watercolorists. She exhibited at the Paris Salon in 1897 and 1898; the 1901 Pan-American Exposition in Buffalo, New York; and the 1915 Panama-Pacific Exposition in San Francisco. From 1897 to 1913, she exhibited 14 times at the Art Institute of Chicago, and in 1928 at the Pennsylvania Academy of the Fine Arts. From 1901 to 1922, she was in five annual exhibitions at the National Academy of Design.

Sources:
Paul Sternberg Sr., "Art by American Women"
Jules and Nancy Heller, "North American Women Artists of the 20th Century"
Pettys,"Dictionary of Women Artists"

Very Fine English Sunderland Table in figured mahogany having two drop leaves supported by turned swing legs and with open fretwork decoration.

Attributed to C. & R, Light, circa 1880

Open: 23" x 24" x24" tall
Closed: 6.5" wide

Extremely Rare if not unique, 18th C. Georgian Tea Caddy with cut glass mirrored panels on three sides and the top and with striped inlay on the lid and zebra striped edging. The hinged lid opens to three divided compartments. Circa 1760.

8.5" x 5" x 4.5"tall

Henri Charles Antoine Baron (French 1816-1885) La Rapetasseuse et son Chat

Oil on Panel, signed

Ptg. : 12.65" x 9.5"
Frame: 16" x 13"

Born 1816 in Beancon, he was a pupil of his compatriot Jean Gigoux. Baron first exhibited in 1840 with two Salon paintings. Théophile Gaultier describe them as "full of feeling and color." He obtained third class medals in 1847, 1855 and 1867 (at the World Expo), the medal 2nd class in 1848 and was made a Knight of the Legion of Honour in 1859.

He was known as a lithographer and illustrated many works in the romantic spirit. He specialized in the realization of friendly and happy scenes evoking the Italian Renaissance and the gallant eighteenth century in the direct line of the festivals of Watteau, Pater and Lancret, and the representations of fabrics and drapes. He was associated with the Chantilly castle decor of the Duke of Aumale. Baron died in 1885 in Geneva

Antique Silverplated Tea Caddy by the Pairpoint Company, New Bedford, MA; rectangular with a lifting lid surmounted by a seated Chinese figure with a fan, all over cast decoration in the Chinese taste and with ball form feet.

Late 19th C. (etched initals on lid,lacquered)

5.5" x 3.75" x 5.5" tall