This barn guest house was designed by Carney Logan Burke Architects along with WRJ Design Associates, located near Jackson, Wyoming.

Heima is a series of trekking cabins, designed to be built in remote locations across Iceland. Iceland is defined by its diverse landscapes and unique weather phenomena. It is a place that is constantly shifting, both in the skies and underfoot. This design celebrates Iceland’s...

Nestled in the beautiful little suburb of Eaglemont in Victoria, Australia, this elegant private residence was designed by InForm with custom solutions that cater to the specific needs of the homeowners. Combining a hint of traditional charm with modern aesthetics, a series of single-pitch roofs in alternating direction ensure that each room of the house […]

Daisies, 1919, Henri Matisse

Timms Bach is a summer beach shelter that has been designed by Herbst Architects, situated on Kaitoke Beach, Great Barrier Island off Auckland New Zealand.

Hotelier Steve Wynn’s 4,500-square-foot house has a patio and pool overlooking the 18th-tee waterfall of Wynn Country Club’s golf course

Image 10 of 59 from gallery of Interior ILL / INT2architecture. Courtesy of INT2 architecture

Bee Breeders' latest competition tasked architects with designing a series of unique trekking cabins for Latvia's Amber Road, which would allow long-distance hikers to traverse the country, reaching from the Latvia-Lithuania border to the Latvia-Estonia border. The trekking cabins...

From national parks and untouched beaches to beautiful palaces and charming country towns, here are my top 10 favorite Riga day trips.

An original mid-19th-century graphite drawing, L.P., Italian Campagna Bridge with Figures. A picturesque Italianate composition. This picture is one of an interesting group of works that we have for sale which are the result of two ladies collecting through the 19th century. Emily Heath (b.1830), to whom the collection belonged from 1856, was daughter of a 'gentleman', James Hodsoll Gordon Heath (1794–1875) and his wife Sarah Deborah Pidding (1794–1887), who resided at Blackheath and later Tonbridge in Kent. The pictures originally belonged to Emily's aunt, Eliza, sister of James Hodsoll Gordon Heath. The collection comprises works acquired by both Eliza and Emily. Emily's brother was an artist and portrait painter, Albert Hodsoll Heath (1827–1863), and the family clearly had artistic and literary connections: one painting appears to be by a young Solomon Alexander Hart RA (1806–1881), and manuscripts in the collection include verses by the poet William Kennedy (1799–1871). The collection includes picturesque landscape and marine subjects, horses and dogs, a group of paintings on Chinese pith and three Baxter prints. There is also an interesting sectional drawing of a vertical steam engine, a fine portrait after Van Dyck and an exquisite painting of two girls reclining. In good condition for its age. The picture may have minor imperfections such as slight marks, toning, foxing, creasing or pinholes, commensurate with age. Please see photos for detail.

Jean Geoffroy was a unique, well-known, and successful French artist active in Paris during the last quarter of the nineteenth- and first-quarter of the twentieth-centuries. Geoffroy’s name (signed most often ‘Geo’) is synonymous with charming depictions of Breton children and Breton town life. Jean Geoffroy was born in 1853 to Jean Baptiste Geoffroy and Rosalie Dickinson in the Atlantic coastal town of Marennes. At age eighteen, Jean was apprenticed to the painter Eugène Levasseur. Shortly thereafter, having shown an immediate talent and discipline, Geoffroy entered the École des Beaux-arts in Paris. During his time in Paris, Geoffroy resided with Mr. and Mrs. Girard on rue de Faubourg-du-Temple, and spent his days in the ateliers of the celebrated academic painters Léon Joseph Bonnat, Eugène Adan and Eugène Bin. Though he was proficiently versed in numerous artistic media, including drawing, etching, watercolor, and oil; and most subject matter, Jean Geoffroy was most attracted to the study and depiction of children in everyday settings. The artist portrayed a myriad of situations, indoors and out, including: playing games; frolicking in the park; observing puppet or other traveling acts; at market, at the nursery, or attending school lessons. In most instances his subjects, though obviously young children, appear as miniature-versions of ladies and gentlemen. Jean Geoffroy never sought to idealize his subjects; rather, his aim for the picturesque was achieved through capturing spontaneity and clever points-of-view unique to childhood folly. His quick drawings and en plein air technique were precisely the techniques for depicting the moods of his subjects. Geoffroy’s works garnered the admiration and support of connoisseurs throughout Paris. He was frequently commissioned by well-to-do families to paint portraits of their little ones. In 1874, at the age of twenty-one, Geoffroy debuted at the official salon in Paris. Because of his work’s immediate appeal, the artist maintained an active and nearly continuous exhibition schedule. His career at the salon was rewarded with an honorable mention in 1881, bronze medal in 1883 and silver medal in 1886. A gold medal was presented to Geoffroy at the Exposition Universelle in Paris in 1900. During his lifetime, the artist was represented by the renowned art dealer Georges Petit. Early in his career, Geoffroy made the acquaintance of Pierre-Jules Hetzel, the celebrated editor of Jules Verne. With the encouragement of Hetzel, Geoffroy essayed the medium of illustration as well as the occasional authorship of children’s books. He earned recognition for the charming vignettes and was sought by not only Hetzel but the publishers Charles Delegrave and Louis Hachette. Publications such as Lecture pour Tous; Le Petit Francais Illustré; Saint Nicolas; Vie Moderne, and L’Université Moderne regularly carried his illustrations. The uneasy view of the future, and most evident, the political struggle between Adolphe Theirs’ Third Republic and the left-wing Commune, was a preoccupation of each and every member of the Parisian community. Suffering from the humiliating defeat to the Germans in the Franco-Prussian war, a brutal winter and mass starvation, many artists fled the city for Brussels and London. Those who stayed experienced possibly one of the most profound periods of French history when the victory of the Third Republic restructured and formed the base of French government until the 1940’s. Once sentiments surmounted the shocks caused by the loss of the Franco-Prussian war, the French turned their attentions to a championing of liberties against the Paris Commune and other oppressive industries. Focus was put upon elevating efforts such as the establishment of secular programs for the lower classes. Schooling, hospitals and other methods of charity geared at meeting the social needs of the time deeply affected Geoffroy and earned his patronage and the backing of other optimistic Parisians. As a display of his support, Geoffroy painted works for the hospitals of the children and other poignant settings of the Third Republic. More than ever, his paintings of children served as a relief to a public then seeking a sign of hope. Geoffroy’s efforts did not go unnoticed by his country. In 1885, he was accepted into the Légion of Honor and recognized by other honorable associations, such as the Société des Artistes Français, for his optimistic and sentimental interpretations of childhood. When interviewed by the journalist Henri Frantz in 1901, Geoffroy stated, “the first necessity for a great artist is to be of his time and to translate with the most fidelity possible the scenes that appear before his eyes. As he tries to redeem in each thing the element of beauty that it requires, the painter has to work in nature and he will remain faithful.”

white arkitekter proposes a 'network of moles' for travellers of the latvian coast winning the beebreeders amber road trekking cabin competition.

Artwork description by the museum (© Copyright - by Los Angeles County Museum of Art - Los Angeles County Museum of Art) Martin Johnson Heade (1819-1904) was one of the central figures in the American luminist movement, a late manifestation of the Hudson River school of landscape painting. During the third quarter of the 19th century, landscape artists such as Heade combined accurate, naturalistic detail with brilliant illumination and a sense of order and harmony to create timeless, silent images that seemingly defy their specificity. Among Heade’s most prized works are his views of the salt marshes around Narragansett Bay in Rhode Island, along the New Jersey coast, and in Newburyport, Massachusetts. Rhode Island Shore dates from the artist’s first stay in Providence, in 1858, when he initially turned to the theme. The site – Church Cove in Mount Hope Bay looking toward Mount Hope – was rich in historical associations. This was the place where King Philip, the chief of the Wampanoag Indians, died in 1676. Although his death marked a critical point in the subjugation of the Indians of southern New England by the European settlers, the landscape as it appeared in the mid-19th century offered no hint of this past conflict. Yet the 19th-century public would have been well aware of the site’s significance. The serenity of the scene also belied the actual turbulence of Heade’s own era. Through such hushed images as Rhode Island Shore as well as other placid harbor views and picturesque scenes of the Eastern coast, luminists offered the American viewing public a sense of order and clam at a time when heightening political, social, and economic tensions were erupting into a bloody civil war. Heade’s marsh scenes, of which Rhode Island Shore is the earliest known example, are panoramas of flat terrains punctuated by small mounds of hay. Most of the marsh scenes are small in scale, presented in a narrow, open-ended horizontal format. The sky, often in dramatic sunset hues, usually dominates at least half of the composition. All is meticulously painted, the brushstrokes barely discernible. Nothing is allowed to distract the observer from the simplicity and order of the tautly composed landscapes. Even humans are absent, although the haystacks signify the presence of an important industry derived from the marshy swamp area. The scenes gain their quiet power from the abstract relationships of horizontals and verticals, a limited vocabulary of harmonious contrasts. Although the views often appear airless, they are about light and atmosphere. Because Rhode Island Shore was the first of Heade’s marsh paintings, it does not strictly conform to his later, more characteristic haystack scenes but instead suggests affinities to the earlier Hudson River School aesthetic from which it emerged. Larger and squarer in format, the scene is also livelier and more atmospheric, with the view framed by a large dark tree on the right. Yet the elements that are the hallmark of Heade’s mature art and the quintessential luminist approach are already present. Through the generosity of the late Charles and Elma Shoemaker, the Los Angeles public can now enjoy Rhode Island Shore in all its delicate splendor, a gentle reminder of our nation’s nostalgic desire for tranquility. Structured table of the artwork Artwork name: "Rhode Island Shore" Artwork categorization: painting Art classification: modern art Artwork century: 19th century Created in the year: 1858 Approximate age of artwork: around 160 years Medium of original artwork: oil on canvas Dimensions of the original work of art: 20 1/4 x 32 1/4 in (51,44 x 81,92 cm) Museum / location: Los Angeles County Museum of Art Place of the museum: Los Angeles, California, United States of America Available under: Los Angeles County Museum of Art Artwork license: public domain Courtesy of: Los Angeles County Museum of Art (www.lacma.org) Quick overview of the artist Name: Martin Johnson Heade Also known as: Heed Martin Johnson, Heade, m.j. heade, Martin Johnson Heade, Heade Martin Johnson, Heade Martin J. Gender of the artist: male Artist nationality: American Jobs: painter, traveller Home country: United States Artist classification: modern artist Art styles: Realism Lifespan: 85 years Birth year: 1819 Hometown: Lumberville, Bucks county, Pennsylvania, United States Died in the year: 1904 Deceased in (place): Saint Augustine, Saint Johns county, Florida, United States The product specifications Article type: art print Method of reproduction: digital reproduction Production method: UV direct printing Provenance: made in Germany Type of stock: on demand Intended usage: gallery wall, wall décor Artwork orientation: landscape format Image ratio: 3 : 2 length : width Implication: the length is 50% longer than the width Materials: metal print (aluminium dibond), poster print (canvas paper), acrylic glass print (with real glass coating), canvas print Canvas print (canvas on stretcher frame) size options: 30x20cm - 12x8", 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Acrylic glass print (with real glass coating): 30x20cm - 12x8", 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Poster print (canvas paper) variants: 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Aluminium print (aluminium dibond material) size variants: 30x20cm - 12x8", 60x40cm - 24x16", 90x60cm - 35x24", 120x80cm - 47x31" Frame: please bear in mind that this art print does not have a frame Select your product material The product dropdown menu gives you the chance to choose the size and materialaccording to your personal preferences. You can select your favorite material and size between the subsequent choices: Print on glossy acrylic glass (with real glass coating): An print on acrylic glass, which is sometimes denoted as a plexiglass print, changes your favorite original artwork into gorgeous décor. Your work of art is custom-made with the help of state-of-the-art UV print machines. It creates impressive and rich color shades. With an acrylic glass art print contrasts as well as color details become exposed thanks to the subtle gradation. The poster print (canvas material): A poster is a printed cotton canvas with a slightly rough surface finish. It is qualified for putting your art print in a personal frame. Please keep in mind, that depending on the size of the canvas poster print we add a white margin between 2-6cm around the artwork, which facilitates the framing with a custom frame. Aluminium dibond print: An Aluminium Dibond print is a material with an impressive effect of depth, which makes a modern impression thanks to a non-reflective surface. The white & bright parts of the original work of art shine with a silk gloss but without the glow. The colors of the print are luminous in the highest definition, the details appear very clear. The canvas print: A printed canvas, not to be confused with an artwork painted on a canvas, is a digital copy applied on a canvas. In addition to that, a printed canvas makes a cosy and enjoyable effect. Your canvas print of your favorite work of art will let you turn your new art print into a large work of art like you would see in a gallery. Canvas Prints have the advantage of being relatively low in weight, which implies that it is easy to hang the Canvas print without the help of extra wall-mounts. Hence, canvas prints are suited for any kind of wall. Information In 1858 the painter Martin Johnson Heade made the piece of art "Rhode Island Shore". The 160 year-old version of the artpiece measures the size - 20 1/4 x 32 1/4 in (51,44 x 81,92 cm) and was painted with the technique oil on canvas. Nowadays, the artwork is part of the Los Angeles County Museum of Art's art collection in Los Angeles, California, United States of America. With courtesy of - Los Angeles County Museum of Art (www.lacma.org) (licensed - public domain).In addition, the artwork has the creditline: . Moreover, alignment of the digital reproduction is in landscape format with an image ratio of 3 : 2, meaning that the length is 50% longer than the width. The painter, traveller Martin Johnson Heade was a North American artist, whose style was mainly Realism. The North American artist was born in 1819 in Lumberville, Bucks county, Pennsylvania, United States and died at the age of 85 in 1904 in Saint Augustine, Saint Johns county, Florida, United States. Important legal note: We try to depict the products as precisely as it is possible and to display them visually on the different product detail pages. At the same time, the colors of the printing material and the print result can differ somehwat from the presentation on the screen. Depending on the screen settings and the nature of the surface, not all color pigments are printed as realisitcally as the digital version shown here. Considering that all our art reproductions are processed and printed by hand, there may also be minor differences in the motif's exact position and the size. © Copyright - intellectual property of | www.artprinta.com (Artprinta)

Digital PDF Book Instant Download. 26 Victorian American Architecture Building Plans 96 pages By PALLISER, PALLISER & Co. ARCHITECTS Showing a Variety of Designs for Model Dwellings; FARM-BARN AND HENNERY, STABLE AND CARRIAGE HOUSE, SCHOOL HOUSE, MASONIC ASSOCIATION BUILDING, BANK AND LIBRARY, TOWN HALL AND THREE CHURCHES. TOGETHER WITH A LARGE AMOUNT OF MISCELLANEOUS MATTER, MAKING IN ALL A VERY VALUABLE BOOK FOR EVERY ONE WHO CONTEMPLATES BUILDING. If you have any interest in Victorian American Architecture then this is a great book to have in your collection. The original edition of this Rare Book was printed in 1878 ****====================================================**** This book is also available in one of our 5 x Book Discount Collection Sets Here: RARE Victorian Architecture House Plan Books Collection #1 https://www.etsy.com/listing/471526020/new-collection-of-5-x-rare-victorian ****====================================================**** My Personal 100% Guarantee To You If you Buy this Book and after reading it, You feel that You did not get Your Money's worth from it, Message me and I will cancel your purchase and Refund Your Money. And You Can Keep The Book as My Personal Gift To You. ****====================================================**** The genius of the Architect, in his practice, unlike that of the Sculptor and the Painter, which may be manifested in their highest forms almost single handed, and within the four walls of the studio, deals with sterner materials, and has to wield not only the intractabilities of matter, but the even greater intractabilities of men's adverse wills, and to move the apathy, and frequently the ignorance, of ill-constituted public opinion. Sir M. Digby Wyatt. CONTENTS Hints on Building. Employment of Architects, Responsibility of Architects. Cottage at Scooba, Miss. " Birmingham, Conn. " Chelsea, Mass., and Newport, Ohio, " West Stratford, Conn. " Litchfield, Conn. Residence of R. R. Henry, Tazewell, Va. " Albert Trinler, New Albany, Ind. " Dwight Hotchkiss, Sharon, Conn. " N. Carpenter, Sterling, 111 " W. Coe, Stratford, Conn. " F. Egge, Bridgeport, Conn. " Rev. Dr. Marble, Newtown, Conn. " W. W. Woodruff, Mount Carmel, Conn. " Silas W. Gardiner, Lyons, Iowa Pair of Houses near New Haven, Conn. Residence of a Country Physician, Pair of Houses at Bridgeport, Conn. Residence of Frank H. Underwood, Tolland, Conn. Farm-Barn and Hennery, Stable and Carriage-House, School-House, Masonic Association Building, Bank and Library, Town Hall, Episcopal Church, Catholic " Congregational Church, ====================================== This scarce antiquarian book is part of our Reference Books Digitized Series. In the interest of creating a more extensive selection of rare historical books, we have chosen to Digitize this title even though it may possibly have occasional imperfections such as missing and blurred pages, missing text, poor pictures, markings, dark backgrounds and other Digitizing issues beyond our control. Because this work is culturally important, we have made it available as a part of our commitment to protecting, preserving and promoting the world's rare works of literature that would not normally be available. ====================================== This Book is intended for education and informational purposes only. Our modification and restoration process of this book, has resulted in our creating a new work (restored or annotated or improved work), that gives us a clear and novated copyright to this modified version. ====================================== Please note. This ebook is in PDF. file format. You can read it on your iPad or Tablet with iBooks. You can read it on your computer with Adobe Acrobat Reader If you do not have Adobe Acrobat Reader installed in your computer, you can download it from Adobe. It's completely FREE. ====================================== Shipping is FREE via Instant Digital Delivery: This is a digital item. Once Payment is received, your book will be available in your etsy purchases to download directly to your iPad, Tablet or Computer.

Jim’s of Lambertville is proud to offer this artwork. Signed on Verso. Complemented by a hand carved and gilt frame. Nancy Maybin Ferguson (1872 - 1967) A native Philadelphian, Nancy Ferguson was a highly regarded member of The Philadelphia Ten. After graduating from Philadelphia High School for Girls, she embarked on a rewarding period of study, first at the Philadelphia School of Design for Women under Elliot Daingerfield, and then at the Pennsylvania Academy of the Fine Arts under Chase, Breckenridge, Hawthorne, Carles and McCarter. She won an impressive five fellowships including the coveted Cresson Traveling Scholarship for travel abroad from the Academy in 1909. While her permanent residence was in Philadelphia, she fell in love with the picturesque village of Provincetown, Massachusetts, where her former teacher, Charles Hawthorne conducted a summer school. For most of her adult life, she divided her time between the two locations. She preferred to paint street scenes portraying a lot of activity. Her Philadelphia scenes of Rittenhouse Square and Fairmont Park are well known as are her many views in and around Provincetown. Ferguson’s earlier work is often compared to that of Maurice Prendergast. In fact, Dr. Albert Barnes purchased one of her works for his collection and used it for comparison to Prendergast in his art appreciation course. Today, it remains in the permanent collection of the Barnes Foundation. Her later works from the mid-1920s and 1930s take on a more modernist style. These usually depict the tightly clustered architecture, winding roads and crowded harbors of Provincetown. In addition to exhibiting with The Philadelphia Ten (1923-27, 1930-38), Ferguson was invited to exhibit at many prestigious salons, including the Pennsylvania Academy of Fine Arts, the Corcoran Gallery of Art, the Philadelphia Sketch Club, the National Association of Women Painters and Sculptors, the Woodmere Art Gallery, the Philadelphia School of Design for Women, the National Academy of Design, the Carnegie Institute, the Art Institute of Chicago and the Paris Salon, among others. Sources: New Hope for American Art by James M. Alterman

Небольшой частный дом расположен в живописном месте в 30 км от Риги. Участок граничит с лесом и расположен недалеко от Рижского залива.

ArtsyFactoryCo. 2022 | ★★★★★ (4,9/5) | 2,000+ CUSTOMERS 📢 Important: Our selections offers frameless canvases 🎨 Overview of the art: In the early 1860s, genre painter Eastman Johnson embarked on several journeys to Maine from his New York residence to gather inspirations from the maple sugar camps, sketching the laborious yet picturesque life of men and women engaged in sugar production. His goal was to create a monumental genre painting that could match the grandeur and ambition of history paintings. Despite his efforts, Johnson was unable to complete this grand project and abandoned it in 1865. "On Their Way to Camp" draws from these early sketches, capturing a moment distinct from the bustling activity of sugar production that had initially captured his interest. Instead, this painting focuses on a serene yet lively scene of two boys pulling a sled loaded with a sap barrel through a snowy forest, accompanied by a third, younger boy who sits atop the barrel, clutching a wooden bucket. The surrounding trees, marked by taps for collecting maple sap, frame their journey, with a wooden lean-to and the warm glow of a fire visible in the distance. Signed "E. Johnson/1873," "On Their Way to Camp" stands as the sole completed and fully realized painting from Johnson's sugar-making series. Not only is it a charming and successful piece on its own, but it also holds a special significance within Johnson's body of work, marking a poignant exploration of theme, setting, and the American experience. ✅ Our canvases boast superior quality, featuring: 280G Professional Canvas for unmatched durability. A fine, smooth fabric surface with waterproof and sun protection. Full color with fine texture detail for a lifelike appearance. High tensile strength, ensuring durability. Environmentally friendly inks for vibrant, lasting colors. A protective varnish layer for a lifetime of beauty without fading, fraying, or cracking. Easy maintenance with a damp white cotton cloth without compromising image quality. Guaranteed image resolution and quality over time. Our Classic Canvas, crafted from the highest quality canvas material, ensures longevity and durability, making it a lasting addition to your collection. With every canvas designed to withstand the test of time, your spaces will retain their charm and elegance for years to come.

Colette Pope Heldner and her husband Knute Heldner were legendary New Orleans painters, most known for painting swamp scenes of south Louisiana. Their bright colors and loose Expressionist brush strokes distinguish their paintings; there's a strong similarity between them. This painting is ultra-typical of Colette's -- and as so many of them, is titled "Swamp Idyl" (sic). It features a swamp shack, Cajuns in pirogues and mossy oaks, all iconic in south Louisiana. The Heldners are a household name among Louisiana art collectors and lovers of New Orleans. With frame, 22" x 40". Without, 18" x 36". Proudly presented by Guy Lyman Fine Art, New Orleans, with our firm guarantee of satisfaction. The following information was submitted to AskArt in June of 2006 by Cornelia C. Moynihan of Moynihan Fine Art: Colette Pope Heldner (1902-1990) was married to the noted Swedish-born artist Knute Heldner (1877-1952). He had been established in Duluth, Minnesota, before they settled in New Orleans in 1923, residing on St Peters Street in the French Quarter (Vieux Carre). She was known for her Impressionist style, painting scenes of the city's picturesque courtyards and favorite haunts of the local artists and musicians, plus darker atmospheric landscapes of the surrounding countryside, sometimes with figures included but not predominant. A number of her works bore the title "Swamp Idyl - Louisiana Bayou Country" but were varied in content, some with a small dwelling or boat or dock, others composed only of cypress trees in the waters of a bayou. These are not numbered or dated. Besides her full three-name signature, some early works were signed only "by Colette". Colette Pope Heldner has received renewed critical acclaim in recent years, in such retrospective exhibitions as "In a New Light: America's Brush with Impressionism", held March through May 2005 at the Morris Museum of Art in Augusta, Georgia, -- where her work was included with that of about thirty luminaries such as Wm J Glackens, Wm Merritt Chase, and Ernest Lawson. A number of public and private collections own works of hers, including the LSU Museum of Art, the Ogden Museum of Southern Art, the Mr. and Mrs. Amon Carter Evans Collection in Columbia, Tennessee, and others. Presented by European Art Underground in association with your online source for great New Orleans and Louisiana art, New Orleans Art Exchange.

William Adam (1846-1931) is a British painter that moved to Northern California in the late 19th century. This oil on board landscape painting titled “Pacific Grove,” is consistent with many of his works as Pacific Grove was the area of the Monterey Peninsula in which he resided. This piece shows a beautiful and vibrant garden nestled just near the coast, a picturesque setting which was just as breathtaking in reality. This oil painting measures 14 x 18 inches unframed, and measures 18 x 22 x 2 inches framed in an original gold Vandeuren Frame. The piece is signed in the lower left and is in excellent condition. William Constable Adam, originally born in England in 1846, was known in his town of Pacific Grove, California, as “Professor” Adam. He taught art lessons to his students in his own cottage at 450 Central Avenue. He is best known for his bright, colorful oil paintings of local Monterey area scenes and subjects, including gardens, sand dunes, and cottages. He was a member of the Boston Art Club, having lived there prior to his settling in Pacific Grove. His paintings have been exhibited at the Historic Del Monte Art Gallery in Monterey (1907-1912), various California State Fairs, and at the Berkeley Art Association in 1908. His works can be found in the collections of the Santa Cruz City Museum, the Silverado Museum in St. Helena, California, and the City of Monterey Collection.