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May 15, 2025

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Arts Looking at the Masters

Looking at the Masters: Ruth Asawa

May 15, 2025 by Beverly Hall Smith Leave a Comment

Ruth Asawa was born in 1926 in Norwalk, California, and she died in San Francisco in 2013. Her parents were immigrants from Japan. They worked on a truck farm picking seasonal crops until 1942, when the family was placed in Japanese internment camps. Her father was interned in a separate camp. The family did not see him for six years. 

Asawa became interested in art in elementary school, and her third-grade teacher encouraged her. She won first prize in the school competition. She and her six siblings attended elementary school and Japanese school on Saturdays, where she learned calligraphy using brush and ink. At the internment camp, located at the Santa Anita Racetrack, Asawa studied drawing with three Walt Disney Studio artists, also Japanese.

Asawa and her family later were transferred to the Rohwer War Relocation Center in Arkansas, where she finished high school in 1943. She was awarded a Quaker scholarship to attend Milwaukee State Teachers College. She completed the course work; however, she was not allowed to student teach and Wisconsin withheld her teaching certificate because she was Japanese. The College finally awarded in 1998 the degree she had earned all those years ago.

Asawa attended Black Mountain College in Asheville, North Carolina, from 1945 until 1949.  Among her instructors were Merce Cunningham, John Cage, Jacob Lawrence, Willem de Kooning, Buckminster Fuller, and Joseph and Anni Albers, all major influencers on the direction of American arts, dance, music, painting, and sculpture after the War. 

Ruth Asawa Commemorative United States Postage Stamp (2020)

Ruth Asawa created wire sculptures beginning in the 1950’s. The Ruth Asawa Commemorative United States Postage Stamp (2020) is a depiction of a relatively narrow range of her looped wire sculptures. She did not name her pieces, only numbered them. Information about the dates and measurements is not readily available. This forever postage stamp provides ten examples of Asawa’s looped wire sculptures. The hanging pieces range in length from three feet to twelve feet.

In the summer of 1947, while on a trip to visit Joseph Albers during his sabbatical in Toluca, Mexico, Asawa was inspired by a crocheting technique used to make baskets with galvanized wire: “I was interested in it because of the economy of a line, making something in space, enclosing it without blocking it out. It’s still transparent. I realized that if I was going to make these forms, which interlock and interweave, it can only be done with a line because a line can go anywhere.” The sculptures are looped wire constructions and are numbered, not titled. At her first exhibition at the Peridot Gallery in New York City, Asawa described her sculptures as a “woven mesh not unlike medieval mail. A continuous piece of wire, forms envelop inner forms, yet all forms are visible (transparent). The shadow will reveal an exact shape.” Asawa’s childhood drawings were lines that repeated forms and were evocative of flowers and plants.

“Untitled” (Ruth Asawa on bed kneeling inside looped wire sculpture) (1957)

“Untitled” (Ruth Asawa on bed kneeling inside looped wire sculpture) (1957) (7.75”x7.5’’) is a gelatine silver print photograph by Imogene Cunningham, one of America’s best-known women photographers. Cunningham and Asawa met in 1950, and they became fast friends despite their 43-year age difference. Cunningham’s photographs add to the public’s understanding of Asawa’s process. She experimented with several types of wire, including the more common copper and brass, but also bailing wire. The looped wire sculptures were very large, very intricate, and required a major effort to construct.

Asawa married architect Albert Lanier in 1949, and they had six children. Her internment had taught her to persevere despite obstacles, as did the prejudice against the Japanese people when she was denied the degree she had earned. At Black Mountain College she had experienced equality of treatment on the campus, but not in the town. The newly married couple moved to San Francisco’s Noe Valley because interracial marriage was illegal in all states but California and Washington. Asawa triumphed. She was the subject of a feature article in Life Magazine in 1954. Her work had become a commercial success early in the 1960’s. 

“Desert Flower” (1962)

Asawa became interested in a new technique called tied wire sculpture in 1962, when a friend brought her a desert plant from Death Valley.  She tried to draw it: “It was such a tangle that I had to construct it in wire in order to draw it…I began to see all the possibilities, opening up the center and then making it flat on the wall, and putting it on a stand.” She experimented with new branching forms and with some of the Mexican wire crocheting forms. “Desert Flower” (1962) is geometric with a core at the center, similar to the Mexican star and sun patterns.  Asawa bundled multiple pieces of wire and tied them before shaping them into the branch forms. 

“Tied Wire Sculpture” (1960’s)

Asawa then became interested in cleaning the wire. She was turned down by several industrial plating companies because they considered her work to be insignificant and feminine. She recalled that C&M Plating “took pity on me and were willing to try new things.” After much experimenting, the company was able to electroplate the wire so that it would not rust or otherwise deteriorate. At the center of “Tied Wire Sculpture” (1960’s) is a star pattern. Asawa made the tied wire pieces to be hung on the wall. The diameters of the pieces vary from 36 inches to 60 inches or more, and the pieces extend several inches from the wall.

“Andrea” (1966-68)

Asawa extended her work in metal by experimenting with cast sculpture: “I am fascinated by the possibilities of transforming cold metal into shapes that emulate living organic forms.” She received her first public commission from the City of San Francisco to create a fountain sculpture in Ghirardelli Square.  “Andrea” (1966-68) (cast bronze) is a depiction of two mermaids, sea turtles and frogs. One of the mermaids nurses a merbaby. Controversy arose; the work was too feminist for public art. The architect who designed Ghirardelli Square called it a lawn ornament and demanded it be removed. Asawa responded to the criticism: “For the old, it would bring back the fantasy of their childhood, and for the young, it would give them something to remember when they grow old.” The women of San Francisco supported Asawa’s fountain, and it remains in Ghirardelli Square today.

“San Francisco Fountain” (1970-73)

“San Francisco Fountain” (1970-73) (cast bronze) was commissioned for the front of the Grand Hyatt Hotel on Union Square. Asawa recruited over 200 school children, friends, family members, and visitors to mold their images of San Francisco in simple baker’s clay. The molds were cast in bronze, and Asawa assembled them to create the fountain. The Apple Corporation built a new store nearby and wanted the fountain removed. Public outcry prevented its destruction. The fountain was shifted a few feet to accommodate the new building.

“Origami Fountains” (1976)

The two “Origami Fountains” (1976) were placed in Buchanan Mall in San Francisco’s Japantown, their design based on the ancient Japanese paper folding art origami. San Franciscans called Asawa the fountain lady. She also designed “Aurora Fountain” (1986) along the Embarcadero waterfront, and the “Japanese-American Internment Memorial Sculpture” in San Jose (1994). 

Not only was Asawa the San Francisco fountain lady, she was a San Francisco artist through and through. Appointed in 1968 to the San Francisco Art Commission, she lobbied for the support of art programs for young children. She was co-founder of Alvarado Workshop for school children. By 1970, Alverado had become a prototype for projects funded by the U.S. Comprehensive Employment and Training Act to employ artists to create public works of art for cities. In 1972 Asawa became a board member of the California Arts Council and the National Endowment for the Arts. She served on Jimmy Carter’s Mental Health Commission in 1977. Governor Jerry Brown appointed her to the California Arts Council during this period. 

In 1982 she was one of the founders of the San Francisco School of the Arts, a public high school that later was renamed the Ruth Asawa San Francisco School of the Arta. The day of February 12, 1982, was declared Ruth Asawa Day to acknowledge her many contributions to the City as both an artist and a teacher. From 1989 until 1997 she was a trustee of the Fine Arts Museums of San Francisco. 

“Garden of Remembrance” (2002)

Asawa’s last public commission was the “Garden of Remembrance” (2002) at San Francisco State University. Nineteen Japanese San Francisco State students were removed from their classes by the United States military and taken to internment camps along with 120,000 others. There are 10 boulders placed on the lawn, each from one of the ten internment camps.

“Garden of Remembrance” (waterfall)

The waterfall represents energy and forward movement. Ruth Asawa said, “It was in 1946 when I thought I was modern. But now it’s 2002 and you can’t be modern forever.” She was a teacher, a sculptor, a painter, a printmaker, and did not stop working until she died in 2013. Since then, her work has been recognized in countless exhibitions. The United States Postal Service honored her with ten stamps.  Images of them are included at the beginning of this article.

“A child can learn something about color, about design, and about observing objects in nature. If you do that, you grow into a greater awareness of things around you. Art will make people better, more highly skilled in thinking and improving whatever business one goes into, or whatever occupation. It makes a person broader.” (Ruth Asawa)

 


 

Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Looking at the Masters

Design with Jenn Martella: The Tilley House Redux

May 15, 2025 by Jennifer Martella Leave a Comment

Graceful mansard roof showcases the home’s “Second Empire” architectural heritage.

This is the second opportunity for me to feature a project by Jones & Jones Properties. For the last four years, this talented brother and sister duo has specialized in the restoration of significant residential properties in Chestertown’s Historic District.  Together they develop a vision for a property; then Patrick as craftsman builder makes the vision a reality, assisted by Kathleen’s eye for design elements and finishes. Their first two ventures were the restoration/renovation of historic houses on Water and Cannon Streets and the latter was a previous House of the Week.

Today’s feature is their most ambitious project to date. As Owners and Builder, their restoration/renovation of “The Tilley House” was a labor of love for them. The house’s distinctive mansard roof identifies it as the “Second Empire” architectural style, with its steep lower roof pitch and low higher pitch. Popular from 1855-1885, the style’s name honors Napoleon III’s Second Empire. He retained Baron Haussman for a massive urban renewal project of Paris that created boulevards lined with apartment blocks with mansard roofs that are highly prized real estate today. 

Intricate dormers and bay projections highlight the home’s remarkable symmetry.

This property’s prominent site at the corner of High and Water Streets offers vistas to the Chester River  from both the front and side porches and many rooms. This photo shows the original part of the house where the mansard roof ended;  later additions had lower gable roofs. I admired the articulated front elevation with the main floor porch and its metal hipped roof, angled bay wall projections at the corner of both floors and the mansard roof’s dormer containing a double unit window. No detail was too insignificant; even the bars of the vents in the brick foundation wall pay homage to the ones in the historic Custom House across the street!  

Elevated porch offers serene views of the Chester River and nearby gardens.

The bay wall projects into the front porch to expand the view of the Chester River  from the living room. The rest of the porch floor is deeper to easily accommodate chairs. On the day of my visit, it was easy to linger enjoying both the garden of the property cattycorner to this property and the view of the Chester River. High Street slopes down to the waterfront and combined with the height of the porch floor above the brick sidewalk, this porch becomes a private outdoor room.

Restored staircase and arched openings create elegant transitions between spaces.

I first saw this house before renovation work began and I was amazed to see how splendid the spaces have been transformed.  The beautiful original staircase that rises to the third floor was restored and is now a sculptural element against a background of white. Jones & Jones decided to give buyers the option of selecting one’s choice of finishes so they created a list of allowances for buyers to choose finishes that fit their budget. What was formerly a wall behind the stairs is now an arched doorway to the dining room that also extends the perspective from the front door. Another wide wall opening in the stair hall leads to the front parlor.

Sun-filled bay nook complements the finely crafted fireplace mantel and floors.

The solar orientation of the corner living room casts sunlight deep onto the room’s beautiful wood floors that flow throughout the house. The angled bay is a delightful nook in this spacious room and the gas fireplace’s mantel was crafted to be in keeping with the period of the house. Throughout the house, the original window and door trim with rosette corners have been carefully restored.

Thoughtful layout blends classic proportions with sleek cabinetry and modern details.

Behind the parlor is the kitchen-breakfast area and the kitchen layout was carefully thought out around the long existing windows. The window next to the cabinetry is centered on a space that was sized wide enough to accommodate a breakfast bar at the higher countertop. The sleek cabinetry design with a mix of light gray and deep slate blue island should please any cook and the countertop material is another allowance item to suit a buyer’s own taste. I especially liked the design of the cabinet pulls that echoes the R/F door pulls and how the mix of glass and solid fronts of the upper cabinets rise to the underside of the ceiling to maintain the spatial volume. The  kitchen’s location in the middle of the main floor’s open plan layout makes it the hub of the house. 

Beadboard wainscot adds texture and defines the cozy dining space.

To support the wide wall opening between the kitchen and dining room, slender offset columns and a corner post define the dining area. The windows are very close to the adjacent neighbor’s house so a window treatment of plantation shutters would add both texture, daylight and privacy. The beadboard wainscot around the perimeter of the space adds texture and an opportunity to add either an accent paint color or wallpaper.

Period-style doors enhance the flexibility of the family room’s design.

The doors at the corner of the family room lead to a full bath next to a closet facing the kitchen. The other door at the corner is another closet so this flexible space could be a family room with a sofa bed for guests who prefer a main floor bedroom. Throughout the house, the style of the new four-panel doors look like original period doors. 

French doors lead to a private deck and garden space ready for customization.

The pair of French doors and full sidelights overlooks a deck and the yard that is a blank canvas for a gardener to plan their private dream garden. Fences on either side of the yard provide privacy and creates a safe play space for young children and the family pet. At the end of the yard is a garage that can accommodate a single vehicle. The garage’s loft storage is a bonus. 

Arched passageways elevate transitions to the laundry and primary suite landing.

Beyond the gorgeous staircase at the second floor landing is another wide wall opening framed by a graceful elliptical arch leading to the laundry room and to the primary ensuite at the rear of the house. 

Gas fireplace and wide windows frame cityscape views from this tranquil retreat.

The sumptuous primary bedroom has a gas fireplace opposite the bed wall and views of the Historic District from the two windows. The door next to the fireplace leads to the primary bath and walk-in closet.

Smart compartmentalized design ensures function and flow in the ensuite bath.

The primary bath is compartmentalized with a walk-in closet at the rear corner opposite the dual lavatories. The door to the toilet compartment backs up to the shower-tub area under the window.

Herringbone tile and dual niches add sleek touches to the sophisticated shower space.

The tiled wainscot defines the location of the tub on axis with the window. I admired the dual recessed niches at the shower wall, the options of both a wall mounted and hand held shower heads and the herringbone pattern of the floor tile.

Bay window showcases treetop and river views in the guest bedroom’s sunny corner.

Lucky is the guest who gets to stay in the second-floor corner bedroom with a view of the roofs and treetops of the surrounding Historic District and the Chester River from the bay window and the single window!

Elegant tilework and warm tones evoke period authenticity in this refined bath.

Kathleen Jones has a flair for selection of finishes and I loved the leaf pattern and colors of the second floor bath’s shower wall. The size and color of the floor tile evokes the flooring found in Second Empire houses.  

Under the mansard roof, thoughtful design transforms full-height space into versatile rooms.

I love mansard roofs for the full height spaces they provide. The front part of the third floor tucked under the mansard roof is finished with two guest bedrooms/offices with the clever detail of the perimeter HVAC built out to form a ledge. Truly a breathtaking bird’s eye view!

Set prominently on two historic streets, the home’s renovation balances heritage and modernity.

The site aerial shows this corner property’s prominence on two of Chestertown’s Historic District’s earliest streets with the neighboring properties of Widehall and the Custom House, the latter of which was one of the original British Royal Ports of Entry to the Americas. The Tilley House was completely renovated last year, including all systems, kitchen and bathrooms. Original period details including the majestic wood stair that rises up three floors, many doors and molding were carefully preserved. The original layout of rooms connected by doors were creatively modified with graceful arches or wide wall openings supported by columns that opened up vistas between the rooms. Sunlight now penetrates deeply onto the beautiful hardwood floors. Instead of a mix of rooms, the main floor is now an open plan living room, kitchen, dining and family room with easy flow among the rooms. 

The front porch for interacting with neighbors on their daily stroll or simply relaxing to enjoy the tranquil view of the Chester River and the rear fenced yard that awaits your own garden design are semi-private and private outdoor rooms.  Other bonuses include the partially finished basement’s ideal temperature for wine storage and the one-car garage for off street parking. 

You can truly make this exquisite property your own by selecting finishes from the Allowances List. This is a rare opportunity to become the next steward of this unique property that combines both 19th century charm with 21st century conveniences that has been meticulously restored and renovated by one of Kent County’s renowned craftsman builders, Patrick Jones. Jones & Jones have set the bar very high for the Historic District and I eagerly await their next project—Bravissimmo and Bravissimma to this talented duo!   


For more information about this property, contact Murphy O’Neill at Coldwell Banker Chesapeake Real Estate Company, at 410-778-0330 (o),443-480-4275 (c), or  [email protected] .For more pictures and pricing, visit  www.easternshoreofmarylandrealestate.com “Equal Housing Opportunity”. 

Photography by JM real estate photos [email protected]

Upcoming Open Houses Dates: 
Saturday, May 17th from 9:30-11:30 
Sunday, May 25th, 11:00-1:00

Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Design with Jenn Martella

Spy Poetry: Room in Antwerp by Laure-Anne Bosselaar

May 10, 2025 by Spy Poetry Leave a Comment

Editor’s Note: How carefully and lovingly this room in Antwerp is observed—how the light plays on the walls and dust settles over everything, much the way time sifts silently down over our lives, dimming the past and the lovers we left there.

Room in Antwerp by Laure-Anne Bosselaar

Dust covers the window, but light slips through—
it always does—through dust or cracks or under doors.

Every day at dusk, the sun, through branches,
hits a river’s bend & sends silver slivers to the walls.

No one’s there to see this. No one.
But it dances there anyway, that light,

& when the wind weaves waves into the water
it’s as if lit syllables quivered on the bricks.

xxxThen the sun sinks, swallowed by the dark. In that dark
more dust, always more dust
xxxxxxxxxxxxxsettles—sighs over everything.

There is no silence there, something always stirs
not far away. Small rags of noise.

Rilke said most people will know only a small corner of their room.

I read this long ago & still don’t know how to understand
that word only, do you?

Where are you? I think of you so often
& search for you in every face that comes between me & dust,
me & dusk—first love, torn corner from this life.

Laure-Anne Bosselaar was born in 1943. She grew up in Belgium and moved to the United States in 1987. Fluent in four languages, she has published poems in French and Flemish and translates American poetry into French and Dutch poetry into English. She is the author of These Many Rooms (Four Way Books, 2019); A New Hunger (Ausable Press, 2007); Small Gods of Grief (BOA Editions, 2001), which won the Isabella Gardner Prize for Poetry; and The Hour Between Dog and Wolf (BOA Editions, 1997). As an anthologist, Bosselaar edited Never Before: Poems About First Experiences (Four Way Books, 2004); Outsiders, Poems About Rebels, Exiles and Renegades (Milkweed Editions, 1999), and Urban Nature: Poems about Wildlife in the City (Milkweed Editions, 2000). She coedited, with Kurt Brown, Night Out: Poems about Hotels, Motels, Restaurants and Bars (Milkweed Editions, 1997). This poem was included in LATELY: New and Selected Poems from Sungold Press (2004) and is posted here with the author’s permission.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Spy Poetry, 3 Top Story

Chesapeake Lens: “Magothy Sunrise” By Louise Zeitlin

May 10, 2025 by Spy Desk Leave a Comment

 

Dawn breaks over the Magothy River, the promise of another spectacular day.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Chesapeake Lens, Archives

Looking at the Masters: Renoir

May 8, 2025 by Beverly Hall Smith 1 Comment

Pierre August Renoir was born in 1841 in Limoges, France. The town of Limoges was the center of the famous hand-painted porcelain works. Renoir’s parents were members of an active artist and artisan community. His father was a tailor and his mother a seamstress.  The family moved to Paris in 1845, and they lived near the Louvre. At age 15, Renoir served as an apprentice at the Paris Limoges Factory, earning enough money to help his parents buy their house. His initial training as an artist required mastery of intricate brushwork, attention to detail, use of rich colors, and a love of flowers.

In 1862, he attended the École des Beaux-Arts in Paris, where he became great friends with fellow students Sisley, Bazille, and Monet. Chaffing from the realism of the classic style, they searched for new techniques and subjects. They began in 1864 to work outdoors in the Forest of Fontainebleau. Discoveries about the effects of light on subjects from the development of photography spurred the artists to create what became their signature style: Impressionism.

“A Girl with a Watering Can” (1876)

In 1876 Renoir began to paint figure subjects along with landscape and flower paintings. “A Girl with a Watering Can” (1876) (39”x29’’) (National Gallery of Art, Washington, DC) is a portrait of a young girl who lived in his neighborhood. It illustrates Renoir’s fully developed Impressionist style along with lessons learned from porcelain painting. The charming, young girl is enjoying the sunny day. She holds a green watering can and two daisies. Her eyes are blue and her cheeks rosy. Her elegant blue dress is decorated with wide white bands that look like lace, the type of detail Renoir painted in Limoges. Her outfit is completed with a pair of matching blue shoes. The tops of her white stockings call attention to her lacey bloomers. Renoir used the color red to guide the viewer’s eye through the composition: red roses in the front, red lips, and red flowers in the background. The red bow in her hair draws the eye from left to right, to the group of red flowers behind her and the one red flower in the distance to her left.

Renoir used color dots of yellow, purple, red, pink, and blue, visible only up close, to portray the beige path that runs diagonally across the painting. He painted the lawn vibrant green, blue, and yellow, using visible but subtle brushstrokes. He used broader brush strokes to portray the leaves and flower petals of the plants in the foreground. In contrast, his brushwork on the flowers behind the girl does not attempt to create an individual flower or leaf. 

Renoir’s paintings of people are appealing. They also fulfill his desire to create a complex work of art. 

“La Promenade” (1876)

“La Promenade” (1876) (67”x43”) (Frick Museum, New York City) is a winter scene in a city park. The focus is on two young blond girls, who look as if they could be twins, and their older sister.  All are dressed in winter clothing. The eldest wears a blue velvet jacket with fur trimmed sleeves. The younger girls wear matching blue-green outfits trimmed with fur. One has a fur muff and the other carries a doll. Hats of flowers and fur are perched on their heads. White hose and leather boots complete their outfits.  Beyond them on the path, eleven other people are suggested.  Two black and white shapes on the path suggest playful dogs. 

Renoir grew up with a tailor and a seamstress as parents, and he fell in love and married a dressmaker. His paintings show an unusual amount of knowledge of and interest in depicting the fashion of the time.  “La Promenade” was in the second Impressionist Exhibition in 1876. Although the work did not receive much notice at that time, Renoir’s ability to present fashionable and delightful women and children eventually brought him international fame.

“Children’s Afternoon at Wargemont” (1884)

As a result of his earlier successes, Renoir gained patrons and friends from the new professional class. Paul Bernard, a banker and diplomat, became a friend and patron in 1879. “Children’s Afternoon at Wargemont” was one of his many paintings Bernard and his wife commissioned. The setting is the Chateau de Wargemont in Normandy, the Bernard’s second home outside Paris. In the painting the Bernard daughters Marguerite, Lucie, and Marthe enjoy a pleasant afternoon.

Renoir made several trips to Algeria and Italy beginning in 1881. On the trips to Italy, he studied the paintings of Raphael, Rubens, and the Rococo artists Boucher and Fragonard. Their work influenced Renoir to alter his style, and he entered what art historians call his “classical” period. “Children’s Afternoon at Wargemont” (1884) (50”x68”) is still full of bright sunlight, and the theme of a peaceful family day continues. Gone are the suggestive and flowing brushstrokes. They are replaced with precise details in clothing, furniture, wood floor, carpet and curtain patterns, wall paneling, and a pot of flowers. 

The two girls are dressed in the fashion of the time and in accord with their ages. The girl in the blue and white sailor dress holds onto her doll, and her eyes directly engage the viewer. Her sister is sewing, and her other sister, slouched on the nearby couch, reads a book. Renoir created a composition of blues and oranges, complementary colors, and complex designs.   

“Gabrielle Renard and Infant Son Jean” (1895)

Renoir suffered from arthritis beginning in 1881, and the disease became increasingly debilitating. He had the first attack of rheumatism in 1894. Renoir had married Aline Charigot, a seamstress and model he met in 1880. They had three sons, Pierre (1885), Jean (1894) and Claude (1901). “Gabrielle Renard and Infant Son Jean” (1895) (26”x21”) depicts Gabrielle, Aline’s cousin, who moved to the Renoir home in Montmartre at age 16 to act as Jean’s nanny. She often modeled for Renoir, and she helped him to paint when his hands became crippled by placing the brushes between his fingers. Renoir never stopped painting, but in his later works he necessarily returned to looser brush work. His love of his family is evident in this work and many others.

“The Artist’s Family” (1896)

“The Artist’s Family” (1896) (68”x54”) is Renoir’s largest portrait with life-size figures. The setting is the garden of the family home, Château des Brouillards in Montmartre, where the family moved in 1890. Aline stands at the center with their eleven-year-old son Pierre, standing next to her. Aline’s hat is a remarkable fashion creation of the time, and a red coat with a fur collar are draped over her arm. Pierre leans in affectionately, holding onto his mother’s arm. 

Gabrielle kneels down to support young Jean as he stands for the painting. Jean’s elaborate white bonnet and dress are certainly fashionable. The composition of the family forms a triangle that Renoir creates with Aline’s light hat and blouse at the top, the sailor suit and black skirt in the middle, and the white clothing of Jean and Garbielle at the bottom. The protruding edge of Gabrielle’s black skirt anchors the triangle. Necessary to balance the composition is the young girl in red, one of the neighbor’s children. Her red dress and pose, direct the viewer’s eye to Aline. The black sash on her dress and the black ribbon on her hat also carry through the dark elements of the composition. She carries a ball with red, yellow, and green stripes. The ball is a simple device that connects the touches of beige and yellow, and the green landscape in the distance. Renoir kept this painting for the rest of his life. 

The Renoir family moved in 1907 from Montmartre to Cagnes-sur-Mer, near the Mediterranean, to enable Renoir to take spa treatments and for better weather. Renoir tried sculpture as another outlet, but he never stopped painting no matter how disabled he became. He died in 1919. His last words were “I think I’m beginning to learn something about it.”

His painting and his family were his passion. He described his thoughts on his art: “The work of art must seize upon you, wrap you up in itself, carry you away. It is the means by which the artist conveys his passion; it is the current which he puts forth which sweeps you along in his passion.”

Happy Mother’s Day


Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Looking at the Masters, Spy Journal

House of the Week: Go Dutch Colonial!

May 8, 2025 by Jennifer Martella Leave a Comment

Charming Dutch Colonial style with symmetrical elegance and unmatched curb appeal.

Several of my friends have very fond memories of growing up in this neighborhood off Goldsborough with its long blocks, wide streets with parking on both sides of the streets and rear alleys. This house on a corner lot has been well maintained and it is now being offered for the first time in forty years. Its Dutch Colonial architectural style with its signature gambrel roof maximizes the sizes of the second floor rooms. The symmetry of the front door and windows, exterior color palette of the charcoal gray architectural roofing shingles, light yellow lap siding and white shutters in a mature landscape creates great curb appeal.

Distinctive gambrel roof framed by stately trees and enhanced by modern extension.

The massive deciduous trees provide shade in the heat of summer but now their bare branches frame the distinctive shape of the side elevation’s gambrel roof. A later addition with a low sloped roof and a wide bow window expanded the living space. The high wood fence surrounds the rear yard for total privacy.  

Architectural harmony of roof dormers and extended living spaces creates the perfect corner for poolside lounging

This view of the house shows the distinctive shape and shallow depth of the roof dormers in the steep pitch of the lower portion of the gambrel roof. The low slope roofed addition of a family room and the pitched roof addition of a sunroom overlook the pool area. From the sunroom, sliding doors open onto a  wrap-around deck. 

Adding a picnic table and grill to the poolside patio allows for al-fresco evenings 

The large deck has a picnic table and grille awaiting al-fresco dinners by the pool. Two one-car garages at each corner of the property are accessed from the alley.

Ample storage solutions with dual garages and a dedicated garden shed.

Between the two garages is a small shed for lawn and garden maintenance. The large pool will soon provide hours of fun in the sun!

Serene and spacious living area, bathed in natural light through tall windows

The front door opens into the living room with its serene palette of neutrals accented by the Oriental rug, footstool, pillows and the red splash of the throw over the sofa. The pale color of the window treatments and the valances placed directly below the ceiling blend into the wall so the room feels larger than it is. Tall windows provide ample sunlight. 

Originally a dining space, this room has been repurposed thanks to its position between the living room and the elegant staircase.

The rooms flow easily from one to another since they are connected by doors instead of a hall. This room next to the living room was originally the dining room with the stairs at the rear wall leading to the second floor. Sunlight from the front window is projected deep into the room.

Efficient kitchen design with crisp white cabinetry to brighten and elongate the space

Another door leads to the kitchen at the other corner of the house and the layout is divided into two work areas. This area contains the sink, cooktop and island with a butcher block countertop. The row of cabinetry behind the island contains the R/F that creates a compact work triangle. The white cabinetry with upper cabinets rising to the ceiling blend into the white walls and maintain the spatial volume.

Cozy breakfast nook snuggles perfectly between the dual kitchen workspaces.

The vista from the former dining room’s door is to the charming breakfast table and pair of Windsor chairs that separates the two areas of the kitchen. The wall behind the table contains the wall ovens. Recessing open shelving into the wall was a clever way to provide extra storage.

Additional cabinet area enhances functionality with a second sink and comfortable vinyl flooring.

The second length of cabinetry also contains a second sink for extra prep space or space for crafts. The easy care vinyl flooring is also easy on the feet!

Bright and private main-floor bathroom showcases distinctive floor and wall patterns.

Between the kitchen and the rear sunroom is a full bath opposite the short hall to the family room. Plantation shutters provide both sunlight and privacy. The white background and the green chamfered corners of the floor pattern are reversed in the green background and white diagonal strips of the wallpaper

Delightfully cozy family room washed in sunlight streaming from bow and rear windows.

The long family room is accessed from both the living room and the hall from the kitchen to the sunroom. The sunlight from the wide bow window and rear window TV area balances the cozy feel of the seating around the fireplace.

Architecturally vibrant sunroom with total indoor/outdoor harmony and adjustable lighting.

Since the sunroom is a one-story space, opening up the ceiling to the underside of the roof’s framing gives it architectural character and the pairs of wide sliding doors around the perimeter give the space total transparency for easy indoor/outdoor flow. The white wicker furnishings with colorful cushions create areas for seating and dining. The track lighting can be adjusted for ambient lighting as needed.

Sunny second-floor bedroom offers warm wood furnishings and charming architectural details.

The stairs to the second floor rise against the rear wall to a hall connecting the two corner bedrooms and the third bedroom in between. The front wall high knee wall at the spring line for the  gambrel roof adds charming interior architectural character and a comfortable sense of enclosure. I  admired the color palette of this lovely bedroom with the gold bedspread and plaid bed skirt and the design of roses on the pillows and window treatments. Three windows provide ample sunlight and the wood furnishings of the pencil post bed and other pieces add warmth.

Clever bathroom design makes the most of angled knee wall space.

The width of both the stairs and the hall creates space for the bathroom at the end of the hall. The white fixtures stand out against the butter yellow walls and the foot of the tub is set against the high knee wall so the shower head is against the high wall. 

Serene guest room with ample daylight and complementary color scheme.

The other corner bedroom mirrors the other corner bedroom’s interior architecture of the high knee walls, dormer window in the front gambrel roof and a side window for ample daylight. Blue and gold are complementary colors and here the color scheme creates a serene space for any guest.

Great in-town corner lot location close to the Rails to Trails and the amenities of Easton’s Historic District. Lovingly maintained by its Owner for forty years, it awaits another Owner’s individuality. Charming Dutch Colonial architecture, main floor with a living room, family room and sunroom for relaxing with family and friends. Both the living room and the family room have fireplaces and the sunroom is aptly named for its exterior walls are infilled with wide sliding doors for easy flow to the deck and in-ground pool and hot tub area. The two separate garages off the alley are a unique plus as well as the large pool and deck with outdoor lighting. For the gardener, there is small shed  to maintain the lovely gardens. Great family home!

For more information about this property, contact Mary Haddaway with Benson and Mangold at 410-745-0415 (o), 410-924-8574 (c), or 

[email protected]. For more photographs and pricing visit  www.bensonandmangold.com,  “Equal Housing Opportunity”.

Photography by Greta Clopper

 

Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Design with Jenn Martella

Spy Poetry: Fearless by Tim Seibles

May 4, 2025 by Spy Poetry 8 Comments

Editor’s Note: I have tried and failed many times to tame the earth’s green, to be the arbiter of which kind of green prevails. Daffodils, yes. Dandelions, no. Despite my interventions, the shoots keep shooting, wanted or not, the season’s “green will” joyously asserting itself across my yard. 

Fearless by Tim Seibles
    
for Moombi

Good to see the green world
undiscouraged, the green fire
bounding back every spring, and beyond
the tyranny of thumbs, the weeds
and other co-conspiring green genes
ganging up, breaking in,
despite small shears and kill-mowers,
ground gougers, seed-eaters.
Here they come, sudden as graffiti

not there and then there—
naked, unhumble, unrequitedly green—
growing as if they would be trees
on any unmanned patch of earth,
any sidewalk cracked, crooning
between ties on lonesome railroad tracks.
And moss, the shyest green citizen
anywhere, tiptoeing the trunk
in the damp shade of an oak.

Clear a quick swatch of dirt
and come back sooner than later
to find the green friends moved in:
their pitched tents, the first bright
leaves hitched to the sun, new roots
tuning the subterranean flavors,
chlorophyll setting a feast of light.

Is it possible      to be so glad?
The shoots rising in spite of every plot
against them. Every chemical stupidity,
every burned field, every better
home & garden finally overrun
by the green will, the green greenness
of green things growing greener.
The mad Earth publishing
Her many million murmuring
unsaids. Look

how the shade pours
from the big branches—the ground,
the good ground, pubic
and sweet. The trees—who
are they? Their stillness, that
long silence, the never
running away.

Tim Seibles was born in Philadelphia in 1955. He received a BA from Southern Methodist University in 1977, after which he taught English at the high school level for 10 years. He received an MFA from Vermont College in 1990. Seibles is the author of seven poetry collections including Voodoo Libretto: New & Selected Poems (Etruscan Press, 2022); and One Turn Around the Sun (Etruscan Press, 2017). He was a finalist for the 2012 National Book Award and a winner of both the Theodore Roethke Memorial Poetry Prize and the PEN Oakland/Josephine Miles Award for Poetry. His poem “Fearless” appeared in Buffalo Head Solos. Reprinted with permission of the author.

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Filed Under: Spy Poetry

Chesapeake Lens: “The C & O Canal” By Lee Goodwin

May 3, 2025 by Spy Desk Leave a Comment

 

The Chesapeake Bay watershed comes in all shapes and sizes. Meander down this portion of the canal near Great Falls, Virginia.

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Filed Under: Chesapeake Lens

Looking at the Masters: Mizue Sawano

May 1, 2025 by Beverly Hall Smith

Mizue Sawano, born in Osaka, Japan, in 1941 became interested in making art at age five. She now lives in New York City. Her father was a novelist and journalist for the Asahi newspaper. After World War II, her family had to move often. They lived in the beach town of Oiso from 1949 until 1958. Mizue walked the dunes and observed the effects of the wind on the movement of water and plants. She always carried a palate and paint. She won the Gold Prize in the competition for Contemporary Students Oil Painting Exhibition in 1953 at the Tokyo Metropolitan Museum. After she moved to Tokyo in 1959, she attended both Hiratsuka Municipal Konan High School and Tokyo Metropolitan Mita High School. She went on to earn a BA (1965) and an MA (1969) from the Tokyo National University of Fine Arts and Music. With a two-year scholarship from the French Government, she studied at École Nationale Supérieure des Beaux-Arts in Paris. Sawano moved to New York City in 1969 with a US merit scholarship to support her studies the Art Students League. 

 

“Water Lilies” (1976)

Mizue Sawano’s “Water Lilies” (1976) (10’x27’) was selected for the Waldorf Astoria Backdrop Competition by stage designer Oliver Smith.  Sawano’s subject matter of choice had been and would continue to be water lilies and cherry blossoms. She is an Impressionist. Her paintings glow with pastel colors and with just enough energy in her brush work as she stated to enter “engagement and dialogue with nature.” Sawano remained connected to Japan and in 1974 won the Gold Prize as Artist of the Year in the Mitsukoshi Department Store competition in Tokyo and Osaka.

Japanese Hill and Pond Garden

The Japanese Hill and Pond Garden opened in 1915 in the Brooklyn Botanical Gardens. Her first visit there was in spring 1975. Every spring Sawano takes small canvases to the garden daily, rain or shine, to paint the water lilies and cherry blossoms as studies for her large-scale oil paintings. 

“Rain Growing” (1991)

“Rain Growing” (1991) (58”x96”) emphasizes the circles created by raindrops on the surface of the lily pond. Circles of sunlight spread as the raindrops hit the blue water in the pond. Sawano described her reaction: “In the light of the sun, in the light of the moon, in the winds and in the rain, my heart always touches nature and trembles. I think plants are sexy, be it a flowering plant or a tree. I am attracted strongly to the way sexual things survive. I want to hold them tightly for their vitality. However, I am aware that I cannot possess them. In this world, my hidden passion and desire that are extremely controlled will be moved on with time before they are fulfilled. Unbearable loneliness forces me to pick up my painting brush. I release the pent-up emotion in my body into a form on canvas, praying the universe stays in peace forever. All reality dies. I want to set life force and beauty that last forever on canvas to establish themes immortal. Water circles the earth transforming to clouds and rain. A ripple spreads widely, and the light of the lines extends infinitely. I want to use the scenery that comes into me through my eyes, and I want to give life to my paintings with hopes and love, the energy of the earth and the world of beauty that nobody can see.”

 

“Water Lilies in the Rain” (1994)

“Water Lilies in the Rain” (1994) (48”x84’’) is an example of one of Sawano’s unique artistic devices: diagonal lines cross the composition indicating the falling rain. She uses diagonal and crisscrossed lines to indicate wind in other paintings. Her color choices are vibrant pinks, soft greens and blues, and the colors of the 19th Century Impressionists. Her paintings remind viewers of Monet, but they maintain Sawano’s vision and originality throughout. Sawano is one of the unique artists who finds endless meaning and beauty in a few themes.  She never tires of painting them, always seeing and finding something new and exciting.

“Burst of Spring” (1997)

“Burst of Spring” (1997) is a depiction of the trunk and branches of a cherry tree.  The trunk is painted in multiple colors, including dark green, brown, red, and purple. It is similar to the work of the Impressionists, who painted nothing black that was not naturally black. The pink and yellow blossoms of the tree in the distance are suggested. The white blossoms in the foreground have distinct petal edges and shapes. The spring breeze is suggested by the white angled lines passing through the trees.

“Through the Blossoms”

“Through the Blossoms” depicts another of Sawano’s favorite views, looking up into the branches and blossoms of a tree. Although by Sawano, the work is not dated and no dimensions were found. Even if there were no title, the painting would have the same presence and beauty. 

“Hope 1”

“Hope I” (20’’x30’’) (oil on linen) is a small painting of cherry blossoms. The title “Hope 1” suggests there are more paintings with this title. Unfortunately, dates are often hard to find on her paintings, and no other works with this title surfaced in research for this article. 

Sawano’s work is popular internationally. Beginning in 1992, solo exhibitions of her work have been presented every four years by the Takashimaya Art Gallery. In 1998 a solo exhibition of her painting was presented by the National Museum of Women in the Arts, Washington, DC. The 100th Anniversary of Tokyo’s original gift of 3000 cherry trees to Washington, DC, “as a living symbol of friendship between the Japanese and American peoples,” was celebrated in 2012. The celebration included an exhibit of fifteen Sawano oil paintings. Since 2000, she has been invited on a regular basis to present solo exhibitions and create murals for the International d’Assilah in Morocco. The Japanese-American Association has recognized her for her donations of several works of art over a period 20 years, benefitting New York Japanese communities. 

 

Sawano Exhibition announcement (2016)

Sawano designed exhibition posters for the Brooklyn Botanical Gardens. This 2016 poster, also made into a postcard, is a depiction of various plants reflected in water moved by a gentle breeze. Cherry tree branches hang over the water. Sawano’s brush work is as fluid as the water. 

Duck (detail)

Every aspect of a Sawano painting represents her love for her subject and her hope for peace.

 


 

Beverly Hall Smith was a professor of art history for 40 years. Since retiring to Chestertown with her husband Kurt in 2014, she has taught art history classes at WC-ALL and the Institute of Adult Learning, Centreville. An artist, she sometimes exhibits work at River Arts. She also paints sets for the Garfield Theater in Chestertown.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Looking at the Masters

House of the Week: Captivating Craftsman Bungalow

May 1, 2025 by Jennifer Martella

Graceful gables and textured siding create timeless Craftsman curb appeal.

When I began my search for this week’s feature, I looked no further than this Craftsman Bungalow, since I am besotted with bungalows in general and this one in particular! I coveted it when it was on the market before and I enjoyed my tour to reacquaint me with its many charms. This bungalow has the classic design elements of its style: one-and-a-half stories, compact building footprint, gabled roof with overhanging eaves, shed dormers at the front and back, large windows, connecting rooms instead of hallways and natural materials.

The textures of the red brick chimney, the smooth creamy yellow bands that separates the lap siding from the scallop pattern under the eaves and the beams for the porch’s openings, along with the sage green of the façade creates an irresistible curb appeal!

The porch’s robust columns and layered masonry embody handcrafted charm.

My fave feature of this Craftsman Bungalow is the large, covered front porch with its tapered columns resting on a solid railing. I especially admired the mix of materials and textures used for the house and porch’s  foundation. At the porch, alternating layers of rusticated concrete masonry units to simulate stone, running bond brick, brick laid to create square openings for ventilation at the porch’s railing, and a topping of concrete like icing on a slice of torte wrap around the porch. Finials mark the beginning of the solid railing at the sides of the steps. 

Functional and flexible—a rear deck primed for expansion or creative reuse.

The rear elevation’s deck and steps with a shed roof supported by brackets has the potential to be infilled with walls to become a mud room/laundry. The shed also has potential as an office, studio or a potting shed. The majestic crape myrtle will add color in the summer.

Natural stone terrace and lush greenery invite backyard relaxation.

The terrace formed by random stones has grass instead of mortar between the stones and its irregular shape blends into the deep rear yard. Behind the shed are garden beds and at the end of the property is the original garage that would be just right for my Ford Focus!

Screened serenity with heritage details, from slat ceilings to blue hues.

The porch was originally open but when the porch was screened, solid wood paneling covered the ventilation spaces in the railing’s brickwork at the interior of the porch. The solid railing offers seated privacy and the wood slat ceiling is painted in the traditional pale blue color. This color selection is rooted in the Gullah people’s belief that spirits would not cross over water and painting ceilings blue to resemble water would ward off evil spirits. 

A breezy corner nook perfect for porch swings and peaceful afternoons.

The front porch’s NW orientation provides cooling breezes during the warm months. The entry door is centered in the porch to define spaces for sitting or dining and the Craftsman style light fixture is the perfect touch. I would spend Sunday afternoons on the porch swing reading a book with my cat in my lap!

Elegant columns frame the flow between spaces with timeless Craftsman design.

The front door opens into a foyer and the stairs. The typical Craftsman detail of separating rooms with columns and bases with hinged doors for storage always provided great vistas between adjacent rooms. I imagine at one time the woodwork and stair balustrade were stained wood but the white color does lighten the space. The white risers accentuate the stained wood of the stair treads and the beautiful wood floors flow through the main rooms.

Sunlit and spacious, the living room highlights bold window trim accents.

The spacious living room spans two-thirds of the house’s depth and the long windows cast sunlight deep into the room.  The craftsman style window trim is accentuated by rosette corners that project slightly past the top and side of each window for emphasis. 

Contrasting green-washed fireplace bricks create a cozy focal point in this open living space.

The green color of the exterior palette becomes lighter green walls in the spacious living room. The side wall’s fireplace between two long windows is simply detailed with deeper green brick and a wood mantel. At the rear wall, a wide wall opening infilled with a pair of French doors leads to the den.

Rich wood paneling and outdoor access make this a cozy corner retreat.

The den at the corner of the house has high wood wainscoting and an exterior door to the covered deck overlooking the rear yard. The short hall past the adjacent full bathroom leads to the kitchen at the other corner of the house.

Checkerboard floors and black accents bring a sophisticated vintage vibe to the bath.

I admired the bathroom’s black and white color scheme with the checkerboard tile floor and white tiled walls with accents of black. The full bath’s soaking tub could be removed for use in a second floor primary bath. The pedestal lavatory is opposite the lavatory but it could easily be relocated next to the toilet to create more floor space. 

Craftsman updates include sleek granite counters and glowing natural light.

Removing the wall between the kitchen and the dining room created an open plan with windows on the three exterior walls. The current Owners updated the kitchen with craftsman style wood cabinets, granite countertops, tile backsplash, farmhouse sink and stainless steel appliances.  The high counter facing the dining room creates a spot for a breakfast bar. The double-unit windows over the sink and the single window at the rear wall add to the ample sunlight from the dining room’s windows. 

Generous proportions complemented by a pendant fixture echo historic style.

The spacious dining room could easily accommodate family dinners or larger celebrations and the period pendant fixture is the perfect touch. I surmised that instead of a single door opening in the wall to the foyer was not original.  That portion of the wall probably matched the Craftsman style opening to the living room. Since the framing probably is hidden in the wall, opening up the foyer wall would create great vistas and easier flow between the rooms. 

Classic balustrades lead upstairs, illuminated by a charming window in the hallway.

The stairs to the second floor lead to a hall with a window for daylight. The side by side washer and dryer are located in the corner but with a little creative space planning, the appliances could be relocated to a closet. The door opposite the stairs opens into the centrally located full bath.

Triple dormer windows brighten this tucked-away bath with thoughtful details.

The full bath is tucked under the shed dormer with triple windows for sunlight and privacy. The wood wainscot highlights the white fixtures and lavatory cabinet. Opposite the windows is the tub/shower.

Soft northern light filters through dormer windows in this welcoming space.

Although this room is not labeled as the primary bedroom, this bedroom in the center of the floor plan would be my choice for its charming interior architecture from the wide shed dormer infilled with triple windows. Since the windows face north, soft daylight with no glare would be a plus.

Potential meets practicality with gable storage and ensuite opportunity.

At each side gable walls are the other two bedrooms with storage rooms at the front and back of the house. Since two closets would not be necessary, making one of the front rooms a bath for the shed dormer bedroom would be my choice for to create a primary ensuite.

Expansive proportions make this versatile bedroom ideal for shared use or play

At the other gable end of the house is the third bedroom that spans the full depth of the living room below. This bedroom could easily be shared, or could also be a bedroom with a play space for a child. I imagine the square window with its sill at floor level would be claimed by the family pet for his/her sleeping space!Charming Craftsman Bungalow on a desirable and deep corner lot location, only four blocks from the center of St. Michaels’ shops and restaurants along Talbot St. After crossing Talbot St., Railroad Ave. becomes Cherry St., which ends at the pedestrian bridge to the Chesapeake Bay Maritime Museum and the harbor restaurants are nearby. At the other end of this street is a park and the entrance to the Rails to Trails. The bungalow’s compact floor plan with minimal halls maximizes the room sizes and creates easy flow among the rooms with abundant sunlight from the long windows. Original Craftsman details, especially the millwork between the foyer and the living room, stair balustrade, moldings and beautiful hardwood floors set the scene for gracious in-town living. The screened porch that spans the full length of the house and the rear stone terrace overlooking the yard are great outdoor rooms for relaxing with family and friends. I am so grateful for having the chance once again to become captivated by this charming bungalow! 


 

TTR Sotheby’s International Realty at 410-745-2596 (o), 410- 310-0225 (c), or [email protected] . For more pictures and pricing, visit monicapenwell.sothebysrealty.com “Equal Housing Opportunity”.

Photography by Eve Fishell, Chesapeake Pro Photo LLC, 443-786-8025, www.chesapeakeprophoto.com, [email protected]

Contributor Jennifer Martella has pursued dual careers in architecture and real estate since she moved to the Eastern Shore in 2004. She has reestablished her architectural practice for residential and commercial projects and is a real estate agent for Meredith Fine Properties. She especially enjoys using her architectural expertise to help buyers envision how they could modify a potential property. Her Italian heritage led her to Piazza Italian Market, where she hosts wine tastings every Friday and Saturday afternoons.

The Spy Newspapers may periodically employ the assistance of artificial intelligence (AI) to enhance the clarity and accuracy of our content.

Filed Under: Design with Jenn Martella

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