Oils on paper, unsigned.

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

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”

English School, 1834

Oil laid down to panel

"The Cardinal" was an Irish horse (owned by a Mr. Miles) who won The Chester Cup in 1834

Painting: 10" x 14.25"
Frame:16" x 20"

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.

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).

Two Antique English miniature watercolors with printed borders.

Frame size: 7.5" x 8.5"

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).

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”

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"

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.

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"

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”

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.

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).

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”

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"

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.

Floral Still life with Tulips, Iris and Roses in a Glass Jar with Butterflies, Insects and a Shell

Oil on panel (slight warp)

Painting Size: 19.75” x 14.75”
Frame Size: 27 ” x 23”