Henry Hobart Nichols, Jr. (American, 1869-1962)

Watercolor on paper, signed and dated: “1897”.

Exhibited at the Third Annual Washington Water Color Club, 1898.

Illustrated in McMahan, The Artists of Washington, DC: 1796-1996, p. 158.

Provenance: from the Estate of Virgil McMahan.

A painter and illustrator, Nichols was a member of quite an artistic family. His father, brother and wife were all professional painters as well.

He had diverse training beginning with instruction from Howard Helmick. He also attended the Art Students League of Washington before heading to Europe. In Europe, he studied at both the Froebel Institute in Germany and at the Academie Julian in France.

His early career (1889-1905) included a position on the Board of the Art Students League, as well as employ by the U.S. government. He worked as an illustrator for both the U.S. Geological Society and the Bureau of American Ethnology.

A member of the Washington Watercolor Club and Society of Washington Artists, Nichols favored subject was landscapes.

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

Sight size: 13” x 9.5”
Frame size: 21” x 17”

** For other paintings by artists from Maryland, Virginia or Washington DC, type “local” into the search box.

Misty Morning at Windsor Castle

Oil-on-canvas, signed lower left

Painting Size: 18.5”” x 29.5”
Frame Size: 31” x 42”

**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:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Creps, Bob, "Biographical Encyclopedia of American Painters, Sculptors &Engravers of the U.S."
Falk, Peter, ed. "Who Was Who in American Art 1564-1975"
Gerdts, William H., "Art Across America, Two Centuries of Regional Painting"

Portrait of a Woman in Lace Cap

Oil on panel.

Provenance: J. Davey & Sons, Manchester, England

Painting size: 8.5” x 7”
Frame size: 11.5” x 10”

The Art Critics

Oil-on-canvas, signed lower right, located “Meran” and dated “1906"

Painting Size: 39.5” x 31.75”
Frame Size: 48.25 ” x 40”

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:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Thieme-Becker, ed. "Allgemeines Lexikon der bildenden Künstler vonder Antike bis zu Gegenwart"

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”
Frame size: 16” x 14”

Woodland Fall Landscape

Oil on panel, signed in lower left corner, “JN White, R.I.”

Painting size: 6.75” x 10”
Frame size: 10.5” x 13.5”

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).

Men Resting and Family on Beach, a pair of paintings

Oils on masonite, signed.

Painting size: 6” x 9”
Frame size: 9.5” x 12.5”

Crooke began painting at the age of 17 when his war service in the Australian Air Force took him to Borneo and the islands north of Australia. After the war, he remained in the area for a number of years before seeking additional artistic training at Swinburne Technical College under Roger James and Allan Jordan. He began exhibiting in 1969 and his portrayal of island life gained him great popularity.

Although he lived for a time in Melbourne, the draw of the north proved too strong. He returned to North Qld and traveled extensively among the northern islands. In 1966, Crooke was appointed an official artist in Vietnam for the following three years.

His work has been shown in Australian galleries from Melbourne to Sidney, Brisbane, Perth and Adelaide. He has also had his work exhibited in the U.K. at the Tate Gallery and Leicester Galleries. The highest honor Crooke’s work has garnered is the Archibald Prize for his portrait of the writer George Johnston.

The National Collection, Canberra; all State Galleries and many regional galleries have his work represented in their permanent collections. He is also held in many private collections worldwide.

Crooke is listed in The Encyclopedia of Australian Art by McCulloch and Artists and Galleries of Australia and New Zealand by Germaine.

Man in a Cottonfield

Oil on board, signed lower left.

$16,500. Painting Size: 8.25” x 4.25”
Frame Size: 12.5” x 8.5”

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 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”

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"

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.

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)