Mixed Media Round Abstract Painting - With Miami Vibes

A modern mixed media work on wood. Round disc shape with two hooks on the back - ready to install! Paint with impasto that has been manipulated to create various patterns and texture in the surface.  

Piece is signed but text is illegible. 

Size: 48" diameter

Price: $625.00 (plus tax)

Delivery: COST TBD 

Local delivery (fee based upon location) or free pick up encouraged. This can not be shipped by box. If not local Washington, DC area, these would transport by truck. 

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

 

Contemporary “Blue Floral” Abstract Landscape Painting

Contemporary “Blue Floral” Abstract Landscape Painting

Depicting a blue swirling and raining underwater landscape with multi-colored red flowers and foliates.

Colors of cobalt blues, black, white, red, orange, purple, yellow and green,

Acrylic on canvas.

Unframed

Size: 40” x 40”

American, circa 2015

Exhibited: Georgetown Art Show, Washington, D.C. 2015.

Price: $1,500.00

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

Louis XVI Style Upholstered Chair with New Geometric Fabric

 

A funky contemporary textile to reimagine an antique chair. Black background of the fabric and black gimp to match. 

Recently upholstered.

Frame is likely a carved fruitwood, stained to a dark mahogany color, circa late 20th century

30" deep x 32" wide x 42" high

Price: $1,200.00 (plus tax)

Delivery: COST TBD 

Local delivery (fee based upon location) or free pick up encouraged. This can not be shipped by box. If not local Washington, DC area, these would transport by truck. 

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

A Pair of Baltimore Painted Fancy Chairs, 19th Century

 A Pair of Baltimore Fancy Chairs 

Concave tablet-form crest rail with applied half-round molding on reverse at top; concave rectilinear stay rail; turned stiles; T-shaped outer side seat rails; front seat rail with rounded profile; caned seat; wheeled and turned legs; turned box stretchers. 

Painted decoration consisting of gilt stencils with extensive freehand ornamentation of classical floral motifs. Brown painted body with lighter stripes and touches to imitate rosewood. Yellow caned seats.

Made of tulip poplar and maple. Gilt and painted body

Baltimore, Maryland, circa 1830

The chairs have been sympathetically restored to include having all the timber slightly cleaned, paint touched up, and a new clear coat to prevent wear and add luster. The frames have been checked and secured as required. The seats were re-caned in November 2022 by a local expert craftsman. 

The chairs have two holes in the side "wheels" and are likely missing a carved or gilt decoration - similar to the chairs at Riversdale Plantation. Riversdale, Maryland (see image below).

The top crest was restored / painted prior to my acquisition. These have been in a private collection since the 1970s. 

Price: $3,250.00 (plus tax)

Delivery: COST TBD 

Local delivery (fee based upon location) or free pick up encouraged. These can not be shipped by box. If not local Washington, DC area, these would transport by truck. 

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

A Pair Gilt and Gesso Mirrors, in the French Style

Pair of America Antique Gold Leaf Mirrors

A lovely pair of mirrors in the French style. Square with concave form framing, with corner garlands of sunflowers and peony or rose flowers with foliates. Classical fluting on the concave section of the frame that terminates to floral strapwork on the edges. 

Constructed of wood, plaster, and gold leaf. 
American, likely 1930's

Heavy in weight - 30 pounds each, with French cleat and iron hanger hardware on back. The cleats are easy to move - horizontal or vertical, due to the wooden backs.

Condition: Good, with some loses to the plaster work, in some places this has been covered with gold paint. No major loses to corner florals and garland. 

Price: SOLD

For inquiries and questions, please email us at HoneywoodStudio@gmail.com 

A Highly Carved Decorative Center or Console Table in the Louis XIV / Baroque Style

The table is carved on all four sides with identical designs – the two sets of legs on the outer most side are carved in the round (on all four sides).  This attention to detail and finishing indicate that the furniture maker was highly talented and showcasing their craftsmanship. The whole design and decorative motifs appear to be inspired by grand 17th century French furniture. 

Both fronts and sides are intricately carved with aprons with scrolls and acanthus within floral designs. All carvings are hand painted in gold. The eight carved and gilded shaped legs sit on fluted bun feet and are all all conjoined with a center stretcher centered with a fluted bun. The wooden top is veneered in a four section matchbook design which displays an arrow design converging to the center of the top. 

The table would be ideally located in the middle of a room or hall, showcasing its four-sided decoration and design. It could also be used as a console table. 

Unidentified wood (likely pine) as the carcass with veneered carvings and a walnut veneer matched book top

American, possibly east coast made, circa 1930s

Dimensions: H:30” W:66”  D:21”

Condition: 

The table has been sympathetically restored improving its color and hand painted details. The feet and aprons have had some attention to ensure they will not split or fall off over time. The overall construction is sturdy and solid. 

Frank Lloyd Wright for Schumacher, Imperial Peacock, 

Tokyo, Textile Tapestry

Frank Lloyd Wright for Schumacher Tokyo Imperial Hotel Geometric Textile Frank Lloyd Wright for Schumacher Imperial Peacock Textile. 

18" w x 46" h x 1" d. Fabric wrapped on board. Circa 1986

Cotton / Linen blend with various shades of blue, pink, tan, periwinkle, coral, red, and lavender.

Price: SOLD

Wright originally designed this pattern in the 1920’s for his Imperial Hotel, Tokyo where the pattern was featured throughout the now demolished building. Large rugs, curtains, stained glass panels, and cast stone architectural details featured this pattern. He translated the design for his collaboration with Schumacher in 1955.  

Wright's masterpiece was demolished in 1968 and replaced by a gleaming, ultra-modern four-star edifice. All that remains of the “Wright” Imperial nowadays is the hotel’s front facade, preserved today at Meiji Mura, the outdoor architectural museum near Nagoya that hosts a large collection of Meiji era architectural art.

   

“The greatest success of the Imperial Hotel was the boldly monumental spaces Wright contrived to create despite restraints posed by the earthbound profile of the building with its purposely lowered center of gravity … It was valued for the opportunity it presented to distinguish building types by displaying a building’s character through a distinctive combination of ornament and plan.

  “The design of the Imperial Hotel is proof of this state of affairs, in terms of which Wright hoped, as he always did, to rehabilitate and redefine architectural Truth. “… In the Imperial Hotel, the hierarchy of ornament was thus matched with a hierarchy of spatial arrangement … The effect was charming and unusual, as many still alive will not hesitate to attest.”

  – The Making of Modern Japanese Architecture (1868 to the Present), by David B. Stewart, 1987

  “Undoubtedly the Imperial Hotel is one of the world’s finest structures in point of character, which is all its own. It is not difficult to recognize the genius which conceived such a poem in stone and brick, and due praise must be spontaneously offered to the brilliant engineering talent which adhered to strictly straight lines and flat arches throughout the entire building.

 “The only fair comment that can be advanced is that the building is probably a hundred years ahead of the age in its architectural features and fifty years behind in many things which make for the comfort of its patrons. [Frank Lloyd Wright] sacrificed everything to his art, raising a monument to his genius and bequeathing to the Japanese the difficult task of making it a financial success.”

  – “Architecture and the Buildings of New Tokyo”, The Far Eastern Review, June-July 1925.