Clark Marshall (American, 1862-1944)

Summer Landscape

Oil on canvas, signed lower right

Painting size: 14.5” x 22.5”
Frame size: 19” x 27”

A native of Talbot County on Maryland's Eastern Shore, Marshall became a highly regarded landscapist, painting mainly in the impressionist manner. Solo exhibitions of his work were held at the Peabody Institute and at The Baltimore Museum of Art. A student at the Corcoran School of Art in Washington, he later exhibited at the Corcoran Gallery of Art. Around 1918, Marshall turned to the ministry with charges in Cecil and Caroline Counties as well as in Delaware. Throughout the latter part of his life, he continued to paint, favoring evening and moonlight views of his native Eastern Shore.

Source:
The exhibition catalog: “Maryland Artists from the Collection,1890-1970” The Baltimore Museum of Art, 2002

** For other artwork by artists from Maryland, Virginia or Washington DC, click on the "Regional Artists" button on our homepage

Ray Austin Crooke (Australian, b. 1922)

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.

John White (English, 1851-1933)

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).

Tabletop Still Life with Glass Vases

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”

Richard Alan Schmid (American, b.1934)

Nude

Conte crayon on paper, signed and dated: “1969” and titled, signed: “Richard Schmid, Gaylordsville, Conn” and stamped copyright “Richard Schmid 1969” on reverse of original backing paper.

Sight Size: 4.75” x 9.5”
Sheet Size: 7.5” x 14.75”
Frame Size: 13.5" x 18"

Schmid received his artistic training from William H. Mosby at the American Academy of Art in Chicago. He has participated in many group exhibitions under the auspices of such notable institutions as the Allied Artists of American, NY; Art Institute of Chicago, Chicago; Pennsylvania Academy of Fine Arts, Philadelphia; American Watercolor Society, NY and others. In 2005, he was awarded a Gold Medal from the Portrait Society of America.

Ferdinand Leeke (German 1859-1923)

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"

Tabletop Still Life with Fruit A lithograph by C.H. Crosby & Co., 1874, in a folk art carved frame.

Print size: 5.25” x 7.5”
Frame size (max): 10.5” x 12.5”

English School, early 19th century

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”

William Richardson Tyler (American 1825-1896)

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"

Rare Chester County Pennsylvania Spice Chest in walnut having a moulded cornice above a raised panel door opening to an arrangement of ten small drawers (one replaced) and raised on straight bracket feet. Secondary woods include: poplar, oak, walnut and beech. There is a faint inscription on one of the bottom drawers. Pennsylvania, circa 1760-80.

Spice boxes or chests were a status symbol in colonial America. Only a household that was well furnished and fairly prosperous had a spice box. Spice chests were popular among the Quakers of the Delaware Valley during the late seventeenth and throughout the eighteenth centuries, remaining fashionable in Pennsylvania long after falling out of style elsewhere. The boxes, fitted in the interior with banks of small drawers, were often displayed in the public rooms (not the kitchens) of homes, functioning as both a repository for small valuables, such as spices and silver and jewelry items, and as a symbol of the family’s prosperity.

18"W x 9.75"D x 22" tall

Antique English Umbrella or Cane Stand made from an oval brass bound barrel with oak staves. Now fitted with a divided top and interior tin drip tray. 18th/19th Century.

16" x 13" x 24.5" tall

Fine Pair of French Brass Urns with two handles, raised relief of floral sprays on the sides, and with rouge marble bases. Late 19th century.

Height: 12”
Diameter of Marble base: 5”

A By-path

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.

Santa Maria della Salute, Venice

by C. Myron Clark (American, 1876-1925)

Oil on canvas, signed and dated: "1906"

Painting: 16" x 12"
Frame: 21.5" x 17.5"

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. The Peabody Museum in Salem, MA has five of his works in the permanent collection. He is listed in Who Was Who in American Art by Falk and Dictionary of Sea Painters by Archibald.

Fine George III Octagonal Cellarette or Wine Cooler in mahogany with brass banding, having a hinged lid opening to a tin liner, slightly tapered body with brass carrying handles and the original stand with four champfered legs. English, circa 1780.

Originally used in the dining room to hold wine brought up from the cellar for the meal, the tin liner would have protected the wood from the condensation from the bottles. Now often used as an occasional or end table.

Top: 19.25" x 19.25"
Height: 27"

Jean-Baptiste Germain (French 1841-1910)

Primavera

Bronze, signed.

Height: 33”

Known as a sculptor of classical and allegorical figures, Germain was a student of Dumont and Gumery. He worked with his brother Gustave in producing classical and historical statues and groups. Germain exhibited at the Paris Salon from 1866 to 1879 and later at the Salon des Artistes Français where he became an Associate in 1889. His bronzes include various images of Joan of Arc, Dido and Aeneas, The Harp Player, the Young Flutist and an Arab on his Camel.

Sources:
Benezit, E. "Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs"
Mackay, James. "The Dictionary of Western Sculptors in Bronze"

Antique Carved Oak Statue of a Monk holding a book and seated on a curved bench. Probably American, circa 1880.

9" x 9" x 14" tall

Dutch School, 19th Century

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”