View of Laguna Beach

Charles Ross Kinghan (American, 1895-1984)

Watercolor on paper, signed.

A painter and illustrator, Kinghan trained at the American Academy of Art and the Art Institute of Chicago. In addition to his studio work, Kinghan began a career as an art teacher. In 1937, he first offered private instruction. While that continued throughout his life, he also worked for a time at the American Art Academy which was followed by a position at the Huguenot School of Art. After leaving art academia, Kinghan worked for over ten years for various advertising agencies as a “sketch man”.

While busily employed in various capacities during his life, Kinghan also found time to participate in many exhibitions. His work was shown at the Art Institute of Chicago, Allied Artists of America, American Watercolor Society, National Academy of Design and many others.

In addition to winning two gold medals from the Allied Artists of America, in 1956 and 1964, Kinghan was a member of the association. He also held memberships in The National Academy, Academy Artists Association, American Watercolor Society and Hudson Valley Art Association. He served both the American Watercolor Society and Hudson Valley Art Association as vice president in 1969 and 1968, respectively.

He was a resident of Laguna Beach, CA at the time of his death.

Kinghan is listed in Who Was Who in American Art by Falk.

Sight size: 14.5” x 20.5”
Frame size: 22.25” x 28.5”

Etienne-Henri Dumaige (French, 1830-1888)

Dawn

Bronze Sculpture with a gold patina, signed

Height 25”, Diameter of Base: 11”

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

Kjellberg, P. "Bronzes of the 19th Century, A Dictionary of Sculptors", 1992

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

Large antique English brass candlestick with ring turned shaft and rectangular rounded corner base. Circa 1860, now wired as a lamp.

Height: 22” (to shade)

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

Height: 21.5"

George II Tea Caddy with Hidden Drawer; rectangular with stepped hinged top surmounted by a brass carrying handle, brass escutcheon and sliding side panel revealing a hidden drawer (slight warp to lid). Circa 1740.

One of the rarest of this form of tea caddy, the concealed drawer would have held your silver teaspoons.

Exhibited: “A Celebration of the Anniversary of the Boston Tea Party” at Doyles, Boston 2024

Height: 6”
Length: 9”
Depth: 6”

For other examples of this form, type "10145" or "10261" into the search box.

Charles A. Watson (American, 1857-1923)

Moonlight on the Chesapeake

Oil on canvas, signed lower right

Painting size: 12” x 10”

Frame size: 15.5” x 13.5”

** 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:
Falk, Peter, ed. Who Was Who in American Art 1564-1975

From the Estate of Antoinette Hughes, Catonsville, MD

Antique Continental Demilune carved and gilt wood wall bracket. Late 19th century.

Height: 11”
Width:12”

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
Frame Size: 12.25 ” x 10.25”

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.

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

Edward Henry Berge (American, 1908-1998)

A Painted Plaster Relief Plaque of Three Iguanas

Signed,lower middle

Size: 23” x 23.5” x 4.5” deep

Born and raised near Clifton Park in Northeast Baltimore, Mr. Berge was the son of the acclaimed Baltimore sculptor Edward Berge, who was best known for his studies of children. A graduate of Baltimore Polytechnic Institute, Mr. Berge studied at the Maryland Institute, College of Art for a year and then studied sculpture for 3 1/2 years at the Rinehart School of Sculpture in Baltimore under J. Maxwell Miller. Mr. Berge opened his first studio in 1929 on West Lanvale Street, where he worked for 25 years until he moved to Merrymount Road in Roland Park. "In his long career, Henry Berge created six sculptures for public spaces in Baltimore. That's a record rarely equaled in the city's history, and a notable contribution to the community." from the Baltimore Sun, December 3, 1998

Jose Rico y Cejudo (Spanish, 1864-1939)

Classical Figure with a Lyre

Oil on Panel, signed and retaining a paper label on the reverse

Painting: 14.5" x 8.5"
Frame: 20.5" x 15"

Jose Rico y Cejudo was born n Seville, Spain on March 27, 1864. He was the student of M. Ussel and J. Garcia Ramos at the School of Fine Arts in Seville. Eduardo Cano also played a role in the education of Cejudo as Cejudo would often pay visits to the artist'a studio. In 1888 he received a scholarship to study painting in Rome for seven years. While there, he made visits to the studios of his fellow countrymen Jose Villegas and Jose Gallegos. After his experiences in Rome, he returned to work in southern Spain. Cejudo taught art classes at the School of Fine Arts in Malaga from 1905. He exhibited his work and won various medals, such as a first place medal at Grenada in 1902, and a medal at the National Society of Fine Arts in 1910. Cejudo specialized in painting "anecdotal scenes from everyday life, often portraying his figures in gardens, patios and other intimate spaces. His paintings are characterized by a bright luminous palette." Some of his works are held in museum collections in Cadiz, Spain: London England and Madrid and Seville, Spain.

Sources:
Benezit, E., "Dictonnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Sothebys Auction Catalogue, 19th Century European Paintings and Sculpture (October 24, 1996)
Arnaiz, J.M. "Cien Anos de pintura en Espana y Portugal, 1830-1930"

Sketch of a Skye Terrier

by Edward F.D. Pritchard (British 1809-1905)

Ink on paper, signed. Paper Size: 3.5" x 5.5" (Unframed)

Pritchard was a marine, landscape and architectural painter living in Bristol and London, who exhibited at the Royal Academy, the British Institution, the Society of British Artists, Suffolk Street and elsewhere. He is listed in The Dictionary of Victorian Painters by Christopher Wood, and Benezit, E., Dictonnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.

This is from a sketchbook circa 1880.

American School, Early 19th Century

Carib Indians Around a Jungle Campfire, with a Piton in the Background

Oil on canvas, signed indistinctly on the stretcher. Mid 19th century carved wood, compo and gilt frame

Painting Size: 9.25” x 12”
Frame Size: 13.5” x 16.5”

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”

English mahogany tea chest of simple rectangular form. The beauty of this chest lies in its interior with its two silver plate tea canisters and matching silver plate sugar canister. Circa 1825.

Height: 6.25”
Length: 9.75”
Depth: 6.75”

Exceptional English Domed Top Tea caddy in harewood with satinwood stringing and brass carrying handles and interior fitted with compartments for teas and sugar bowl. Circa 1800.

Height: 6.75"
Length: 12"
Width: 5. 75"