"Stream in Autumn, near Bethesda MD."

Oil on board, signed lower left and titled on the reverse

Painting: 12" x 16"
Frame: 17" x 20.75"

SAFA/10945 Provenance: The Estate of a Toms River Collector

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; the Houston Museum of Fine Art 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"
Strass, Sephanie, "A Seasonal View - The Landscapes of Benson Bond Moore"

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

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”

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"

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

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"

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”

Caught Napping

Oil on canvas, signed and dated: “1867”

Painting size: 15.5” x 26.5”
Frame size: 22.5” x 33”

A student of Scots artist, Scott Lauder, John Burr studied at the Trustee’s Academy in Edinburgh. He moved to London in 1861 with his brother and fellow painter, Alexander Burr. Upon his arrival Burr began exhibiting at the Royal Academy. He continued to exhibit there until 1882. In addition, he exhibited at Suffolk Street and the Old Watercolour Society. Burr is known for his genre paintings involving small children and domestic scenes.

Source:

Wood, Christopher. Dictionary of British Art: Victorian Painters. (1995).

Harris, Paul and Julian Halsby. The Dictionary of Scottish Painters. (1990).

Oils on paper, unsigned.

Painting size: 3” x 4.5” (Approximately)
Frame size: 7” x 8.5” (Approximately)

Bethesda

Oil on canvas, signed lower left and titled on the reverse.

Painting size: 20” x 24” Frame size: 25.5” x 29”

** Please Note - This painting came directly from the Estate of Mr. O’Brien. For other examples, type “O’Brien” into the search box.

** For other paintings by artists from Maryland, Virginia, Washington DC or North Carolina, click on the “Regional Artists” button on our Homepage.

Born in Newtonville, Massachusetts, O’Brien exhibited a love of drawing and painting from a very early age. As a high school student, he took all possible elective courses in art and technical drawing. He supplemented this study with evening courses at M.I.T. Following his move to Washington, DC as a young man, he enrolled in the Washington Workshop of the Arts. WWA, like the Art Students League in New York City, was a school in which all the classes were taught by a rotating roster of professional artists.

During WW II, his technical artistic training served his country well when he was put to work as a map maker. In the final year of the war, O’Brien married. On his honeymoon in New York City, he found time to paint the rooftop view from his hotel room window. This initiated a lifelong pursuit of city painting (his family was inclined to call it an obsession).

Starting with the founding of Federal Graphics, a commercial art firm he launched with a partner in 1947, he pursued a commercial career for the majority of his life. However, he always considered painting his “real” work, and his dedication to this vocation was apparent in a myriad of ways. He helped to found the Montgomery County Art Association and held memberships in the Arts Council of Montgomery County and American Art League.

Throughout his life, he exhibited widely, both as an individual and in group shows. The Arts Club of Washington, Corcoran Gallery of Art, Brooklyn Museum of Art, Montgomery College, and the Rehoboth Art League were a few among the many venues at which his works were shown. In addition, he exhibited in several private galleries.

During the course of his painting, O’Brien noticed that the paints on his palette sometimes mixed into designs as interesting as those more deliberately created. From this observation arose the text, Design By Accident, first published in 1968. The book became widely used by art teachers following very favorably reviews by newspapers and magazines. It was even reviewed by Scientific American from a technological-aesthetic.

A draftsman, illustrator, writer and most importantly painter, O’Brien was fortunate to have his work recognised and appreciated during his life. He won awards from The Montgomery County Art Association, Rehoboth Art League and American Art League. Even art critics praised his work with the most succinct calling his paintings, “familiar scenes, fresher and lighter than life”. (Florence Berryman of The Washington Star)

O’Brien believed that the “creative urge” was something all children have. However, as adults, that impulse falls victim to ever growing demands and responsibilities. He maintained that artists are able to keep alive the childlike ability to see beauty and mystery in commonplace things.

Thanks to his sense of wonder, he left us deeply in his debt. His paintings remind us that every day that Washington, DC is full of inspiring sights that fall outside of the traditional “glamour” views depicted by most artists.

Oil on panel, signed and dated: “1865.”

Painting size: 9” x 6.75”
Frame size: 14.5” x 12.5”

Petrus Theodorus Van Wyngaerdt (also spelled Wyngaerdt or Wijngaerdt) was born in Rotterdam. A student of J.H. Van de Laar, he painted genre scenes and portraits, as did his older brother, painter Anthonie Jacobus Van Wyngaerdt.

In "Eavesdropping", Van Wyngaerdt depicts a well-known theme from popular 19th-century French and Dutch prints-- a Roccoco figure listening at a door while a private conversation (or event) is underway. The women’s yellow skirt, pink bodice and lacy cap suggest that she is a lady (of sorts) and her plump arms, pretty features and sly expression suggest what may be going on behind closed doors.

Van Wyngaerdt’s work can be found in the collections of the Haarlem Museum. He is listed in Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs (Bénézit, 1999).

California Condors, Morro Bay

Oil on canvas, signed and dated: “1893”.

Painting size: 21.5” x 29.5”
Frame size: 30.25” x 38.75”

Koppen was born in Brake, Germany and died in Nymphenbourg. He was known for his paintings of marine and historical scenes, as well as portraits.

He is listed in Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Bénézit.

“On the qui vive” (The Smuggler)

Oil on canvas , titled, signed and dated on the reverse

"QUI VIVE" (A French phrase meaning long live who? (a sentry’s challenge), used to mean a state of alertness or watchfulness.)

Painting: 30" x 25"
Frame: 36.5" x 31.5"

One of the best-known painters working in north-east England during the early nineteenth century Henry Perlee Parker specialized in pictures of marine subjects and smugglers and came to be known as "Smuggler" Parker. He was a leading artist in Newcastle in the 1820s and 1830s, a member of the Northumberland Institution, and a co-founder (with T.M. Richardson) of the ill-fated Northern Academy of Arts. He died penniless in Shepherd's Bush in 1873. There was an exhibition of his work at the Laing Art Gallery, 1969-1970.

See Wiikpedia entry for a more complete biography

Schooner off the Atlantic Coast

Watercolor on paper, signed lower left and dated “1896”

Sight Size:13" x 26"
Frame Size: 23.25" x 36"

Lewis was born and died and Philadelphia where he studied with Paul Weber from about 1850-55. According to Peter Falk ("Who Was Who in American Art"), “he was one of the most popular landscape painters of Philadelphia during the late 19th century. His early works were chiefly scenes of the Lehigh, Susquehana, and Wissihickon Rivers of Pennsylvania, and were in great demand. Before 1860 he also exhibited landscapes of New York and New England and even some Cuban scenes. By the mid 1870’s he turned increasingly to shoreline views with yachting scenes, painting prolifically in watercolor from Cape May, NJ to Narragansett, RI. Wealthy and admired, he entertained in a grand style in his opulent Philadelphia home surrounded by an extensive collection of antique furniture, china and decorative arts.”

Young Busker With His Monkey

Oil-on-canvas, signed lower right

Painting Size: 24.5” x 20”
Frame Size: 35 ” x 30.25”

Thomsen was an artist adept at painting many different subjects: landscapes, portraits, genre scenes, mythological subjects and religious scenes. He was a student at l’Académie des Beaux-Arts in Copenhagen. He painted numerous altar pieces for the churches of Copenhagen as well as the country churches of surrounding area. This sensitive painting depicts a young street musician with his hurdy-gurdy slung over his back, his monkey tucked under his arm and his outstretched hand with his hat ready to receive coins.

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

Young Boy With Doll and Clay Pipe

Oil on board, signed lower left and dated "1872"

Painting Size: 10.5” x 8.25”
Frame Size: 15.5 ” x 13.25”

Mrs. Cloud was a painter of domestic genre scenes and is recorded as having exhibited at the Royal Academy, Suffolk Street and other galleries in England. A title of one of her paintings was “The Connemara Postman”. Little seems to be known of her painting career, but she wrote several articles for “Harper’s New Monthly Magazine” (Harper & Brothers, NY) which are all about her travels as a single woman in the 1870’s and 80‘s in Ireland. Her charming pen drawings illustrate rural life and scenes in Ireland for each article. Titles include: “A Lone Woman in Ireland”(1873), "The Connemara Hills" (1879), “An Irish Fishing Village” (1880) and “Ireland - The Arran Islands” (1881)

Sources:
Graves, Algernon, "Dictionary of Artists in the Principal London Exhibitions from 1760-1893"
Wood, Christopher. "Dictionary of British Art. Vol. IV, Victorian Painters"
"Harper’s New Monthly Magazine"

Extensive Woodland Landscape with Stream

Oil on canvas, signed.

Painting size: 20.25” x 26”
Frame size: 31.25” x 47.25”

Decker received his art training from R. Swain Gifford. His first important recognition occurred when he was thirty-six when the the National Academy of Design exhibited one of his paintings. That same year, the Brooklyn Art Association also exhibited one of his works. He went on to become a well known exhibitor in Brooklyn and exhibited at the National Academy of Design from 1883 to 1898 . He was also a professionally successful artist during his life with a record of sales to numerous affluent patrons. He was a member of the Brooklyn Art Club and Society of Brooklyn Artists.

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

Rene Clarot (Belgian, 1882-1972)

Oil on canvas, signed: “Clarot R” and dated: “1907”.

A post-impressionist painter of marines and landscapes, Clarot worked in oils, watercolors and pastels. He was a student at the Academy of Brussels from 1896-1905. Upon completion of his studies, he traveled frequently to France and Germany. He eventually became well known for his numerous paintings of the ports of Brittany.

He exhibited extensively and was considered a member of the “L’essor” circle. In 1967, the gallery l’Escalier in Brussels devoted an exhibit to a retrospective of his work.

Clarot is listed in in Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs by Bénézit.

Painting size: 12” x 23.75”
Frame Size: 17” x 28.75”