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"

Squally Day off the Coast with Lighthouse and Unloading the Fishing Boats

Oils-on-canvas, one signed lower left

Painting Size: 10"� x 14"
Frame Size: 16.5" x 20.5"

Born in Cork, Calvert first exhibited at the Dublin Society of Artists and the Hibernian Society in 1815. Upon moving to London in the 1820's, Calvert was became known as a painter of shipping and coastal scenes as well as a topographical watercolorist and engraver. Calvert exhibited at the British Institution and Society of British Artists from 1827-1844. In 1830 he published "Picturesque Views of Staffordshire and Shropshire", and he also worked for the "Archaeological Journal". His works are held by the Victoria and Albert Museum, the National Maritime Museum (Greenwich), and the Walker Art Gallery (Liverpool).

Sources:
Archibald, E.H.H. "Dictionary of Sea Painters"
Wood, Christopher. "Dictionary of British Art. Vol. IV, Victorian Painters"
Graves, Algernon, "Dictionary of Artists in the Principal London Exhibitions from 1760-1893"

Bridge in Washington

Oil on canvas, signed.

Painting size: 20” x 24” Frame size: 27.75” x 31.5”

A Washington, DC native, Walter was a respected designer, cartoonist, teacher and painter during his lifetime. After completing his studies at the Corcoran School of Art, he continued his training under the instruction of Charles Hawthorne, W. Lester Stevens, Richard Meryman and B. Baker.

Walter was member of the Society of Washington Artists; Landscape Club, Washington, DC; Washington Art Club; American Polar Society and Southern States Art League. His work was shown in numerous venues including: Harvard University, University of Iowa, Washington Art Club and various museum in the East and South. He also held a solo exhibit in New York City. He was awarded prizes for his work by the Landscape Club and US National Museum.

In addition to his busy painting and exhibition schedule, he completed a series of Arctic paintings for the Navy in 1946 and taught at the Abbott School of Art in Washington, DC from 1951-1954.

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

Standing Nude

A Bronze Figure, signed

Height: 16.5”

Born in England in 1888, Morley settled in New York and was a sculptor, craftsperson and teacher. She was a member of the Allied Artists of America and exhibited at the Pennsylvania Academy of Fine Arts. She is listed in Falk, Who Was Who in American Art.

Workshop of George Bullock, circa 1815.

Having a moulded cornice above a central recessed section with shelves flanked to each side by rows of small drawers behind scrolling grille-inset doors with columnar uprights; the conforming base with four paneled doors, two with columnar uprights and raised on a platform base.

The inverted breakfront cabinet design in the French/Grecian manner was introduced by George Bullock in the early 19th century. This cabinet incorporates a number of elements characteristic to known Bullock examples, such as the double-heart shaped brass grills and the use of the exotic gonçalo alves timber (similar to rosewood), both found on a pair of bookcases after a design for the breakfast room of the exiled Emperor Napoleon's residence at New Longwood House on St. Helena (See: Wainwright, George Bullock, Cabinet-Maker, p. 102, pl. 39.).

Height: 71"
Width: 62.25"
Depth: 22.75"

Oil on canvas, signed lower left and entitled on reverse.
Painting size: 24” x 18”
Frame size: 31” x 25”

American painter C. Myron Clark specialized in marine subjects and, like so many other artists, was drawn to Venice with its ongoing atmospheric shifts in the sky and sea. This work shows the church of Santa Maria della Salute, one of the city’s landmarks, at the end of the day. Clark captures the effects of the mellowing light which emphasizes the architectural details of the Baroque church and gives the surrounding buildings a soft, rosy glow. The dappled reflection of the buildings in the water animate the painting’s surface, creating a sense of energy as gondoliers navigate their small boats along the Grand Canal.
Santa Maria della Salute was built in the 17th century by the Venetians to thank God for the cessation of the plague that killed almost a third of the city’s population in 1630. Dedicated to the Virgin Mary as a restorer of health (salute) to the sick, the church is one of Venice’s most readily identifiable monuments. Clark’s rendering is quietly reassuring.
C. Myron Clark’s work is represented in the collections of the Peabody Museum in Salem, Massachusetts. He is listed in "Who Was Who in American Art" (Falk, 1999)

Japanese Landscape with Figures

Oil on canvas board, signed.

Painting size: 12” x 14”
Frame size: 17” x 19”

"Helen Wells Seymour (1878-1937) was educated in the Friends School in Washington, D. C. and she took special courses for two years in Columbia University and in the Doshisha Women's College, Kyoto, Japan. She spent several years of her life in Japan and China, was a collector of textiles and Japanese wall paintings, received diplomas in several Japanese arts, on which she lectured as a voluntary service, in the Women's College, Kyoto. She was a member of the Society of Women Geographers, of the Japan Society, the Society for Japanese Studies, and the Washington Club. She was a gifted painter of Japanese subjects and exhibited her work both in Japan and the United States. She left a rare and valuable collection of textiles, both Japanese and Chinese, and some fine wall paintings."
-David Lines Jacobus, "A History of the Seymour Family" (p. 40)

Seymour exhibited at the Society of Independent Artists in 1918. She also had an affiliation with the Pennsylvania Academy of Fine Arts as reported in Mallett, "Index of Artists Supplement", which also identified her as having a Washington, DC address. Seymour is listed in Falk, "Who Was Who in American Art" and Marlor, "The Society of Independent Artists".

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.

Bay Horse in a Landscape with a Castle in the Distance

Oil on canvas, signed lower right and retaining a paper label on reverse of stretcher from: “Findlay, Carver & Gilder, Glasgow”.

Painting size: 24” x 30”
Frame size: 32” x 37.25”

A painter of equestrian subjects, including hunting and steeplechasing scenes, Mitchell lived in Leamington, Warwickshire and most of his hunt scenes depict incidents in this county. He is also recorded as living in London in 1832 when he exhibited a painting at the Royal Academy. Mitchell exhibited one portrait at the Royal Birmingham Society of Artists in 1835. Additionally, Mitchell painted two horse and rider portraits that were engraved by the Hunts. Both engravings were later included in Moore’s "Celebrated Winners" series, hand colored engravings that commemorated many famous horses. Two prints made of Mitchell’s paintings were part of the Paul Mellon collection and are illustrated in Dudley Snelgrove’s "British Sporting and Animal Prints 1658-1874 in the Paul Mellon Collection" (1978)

Sources:
Mitchell, Sally, "The Dictionary of Equestrian Artists"
Wingfield, Mary Anne, "A Dictionary of Sporting Artists, 1650-1990"

Partridge with Worm

Height: 10.5”
Width: 6.5”

A lifelong Parisian, Léonard studied under Jacquot, Rouillard and Barye specializing in Animalier sculpture. He exhibited at the Paris Salon from 1851-1873. In addition to working in bronze, Leonard created works in plaster, wax and wax with a silver finish.

Leonard is listed in Dictionary of Western Sculptors in Bronze by Mackay and Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs by Bénézit.

March at Sunset or The Old Story

Oil on canvas, signed and retaining two labels on the reverse with titles.

Painting size: 12.25” x 21.25”
Frame size: 18.75” x 27.5”

Born in Warrington, Virginia in 1847, Richard Norris Brooke made significant contributions to the development and posterity of the art community in Washington, DC. From his days as an instructor at the Virginia Military Institute to his tenure as vice principal of the Corcoran School of Art in Washington, Brooke shared his talent and enthusiasm for art with those around him. To this day, the Washington community honors his legacy with works on exhibit in venues from the U.S. Capitol to the National Museum of American Art.

Brooke's formal art education spanned many years and the Atlantic Ocean. Beginning in Pennsylvania, Brooke studied at the Pennsylvania Academy of Fine Arts from 1865 to 1871 under the tutelage of Edmund Bonsall and James R. Lambin. From there he traveled to France but not before a slight detour as the Chair of Fine Arts at the Virginia Military Institute from 1871 to 1872. From VMI, he traveled to France as the U.S. Consul in LaRochelle from 1873-1876. Brooke returned for a year to the United States before traveling back to France to study with Leon Bonnat and at the Académie Julian, Paris under Benjamin Jean-Joseph Constant from 1877 to 1879.

Upon Brooke's return to the United States, he settled in Washington, DC. A year later, in 1880, he established his own Washington, DC art studio. From then forward, he became an active member of the Washington art community, exhibiting on a regular basis, and joining organizations dedicated to fine arts. Perhaps his most active role as a Washington artist came when he served as vice principal of the Corcoran School of Art from 1902 until 1917. Brooke kept a "Record of Work" for all his paintings, a copy of which is in the library of the Museum of American Art, Washington D.C., which includes a thumbnail sketch, title, location and date painted of most of his paintings. Unfortunately, c.1909, a fire in his studio destroyed many of his paintings, just prior to a major retrospective exhibition.

Brooke's many memberships included the Society of Washington Artists for which he served as both President and a member of the Executive Committee during his tenure. Additionally, he was the Vice President of the Washington Art Club from 1881 to 1884. The Washington Society of Fine Arts, Washington Watercolor Club and American Federation of the Arts, complete the list of associations of which he was a member.

With participation in exhibitions from the National Academy of Design (NYC) to the Atlanta Expo, Brooke's work found its way into many private collections. Brooke died April 25, 1920 in Warrington VA. where he also lived and worked.

Chestnut Hunter in a Stable

Oil on canvas, signed and dated: “1877”.

There is no known exhibition record of Harrowing’s work and little is known of his background other than that he is noted for his portraits of horses and dogs, particularly beagles, hunters, brood mares and coach horses. He is also known to have painted still lifes of game as well as various other farm animals. He is listed in The Dictionary of British Equestrian Artists by Sally Mitchell and The Dictionary of Sporting Artists by Mary Ann Wingfield

Painting size: 25” x 30”
Frame size: 30.25” x 35.25”

by Ernest David Roth (Am. 1879-1964)

Drypoint on Paper, signed in pencil and in the plate and dated: "1913"
Retains the original gallery label from Frederick Keppel & Co., New York, with title, artist and an inscription reading: "Proof Printed by the Artist. 70 Proofs Only"

A painter and etcher, Roth was educated at the National Academy of Design. He was a member of numerous art societies including: Washington Watercolor Club, Allied Artists of America, National Academy, and money others. Roth also exhibited widely winning prizes on numerous occasions. Among the venues at which he exhibited were the Salmagundi Club, Pennsylvania Academy of Fine Arts, Society of Independent Artists, and Corcoran Gallery. His work is held in the permanent collections of the NY Public Library, Boston Museum of Fine Art, Art Institute of Chicago and the Uffizi Gallery in Florence, Italy. Roth is listed in "Who Was Who in American Art" by Falk.

Plate Size: 9.25 x 8.75
Frame Size: 17 x 16

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”

James John Hill (British, 1811-1882)

Oil on canvas, signed and dated: “(18__)” and retainging its original gilt wood and gesso frame.

Painting size: 12” x 10”
Frame size: 32” x 42”

Ernest Bosch (German, 1834-1917)

Oil on canvas, signed lower left (behind frame).

Bosch was a pupil at the Academy of Dusseldorf under the instruction of K. Solm, T. Hildebrandt and Schadow. He was best known for his portrait and genre paintings. His genre paintings frequently included animals. Later in his career, he turned his focus more toward portraits of women. In addition to painting, Bosch was a skilled illustrator, etcher and lithographer. His works are held in the permanent collections of the Museum of Bremer and Museum of Hanover.

Bosch is listed in "Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs" by Bénézit and in "Allgemeines Lexikon der bildenden Künstler von der Antike bis zu Gegenwart" by Thieme/Becker.

Painting size: 22” x 25”
Frame size: 28.25” x 31.25”

James Curnock (British, 1812-1870)

Oil on canvas, signed.

A resident of Bristol, Curnock was best known for his portraits and figure subjects. He exhibited at both the Royal Academy and the Society of British Artists, Suffolk Street. His work is held in the permanent collection of the Bristol Art Gallery.

Curnock is listed in the Dictionary of British Artists, Vol. IV, Victorian Painters by Wood.

Painting size: 19” x 24”
Frame size: 25” x 31”

Charles Lanman (American, 1819-1895)

Oil on paper laid-down, signed.

Lanman is listed in The Artists of Washington, DC 1796-1996 by McMahan.

Painting size: 11” x 15”
Frame size: 16” x 20”