David Thimgan

Bark HESPER Unloading Lumber at San Diego

Dated 2002

One of the most exciting races between American clipper ships took place between October, 1852 and January, 1853. The vessels involved were the crack clippers FLYING FISH, JOHN GILPIN and WILD PIGEON. Departing New York, each a few days apart, the three ships met up off Cape Horn and proceeded, often in sight of one another, to fly up the west coast to San Francisco. The JOHN GILPIN gambled by heading farther west into the pacific where a strong northerly got her to San Francisco first. FLYING FISH and WILD PIGEON remained in sight of one another for most of the voyage in their dash up the coast. FLYING FISH arrived a day after GILPIN, but having left New York three days behind her adversary, was declared the winner. This view shows an excellent starboard view of the great FLYING FISH on her entry into San Francisco Bay. The water has superb light and reflection while the Marin headlands show as her backdrop, with the ever-present misty atmosphere of this important California port. A well captured moment of one of the fastest and most powerful 19th century great sailing ships created. Sight Size: 18 x 34 inches Vallejo Gallery...

This large and exciting scene features an American Revolutionary War battle in Chesapeake Bay. With great color and lively brushwork this painting was done at a large scale which captures a grand vista of the Bay along with many small vignettes to draw the eye. No less than ten other ships surround the two combatant vessels as they exchange cannon fire...

Artist Edward Cucuel and his wife Clara Lotte von Marcard spent their first two decades together in Germany, mostly in a villa on Lake Ammersee in Holzhausen near Munich. It is the works created in this period, mainly outdoor scenes of young women in fashionable attire of the day, that are most collected and appreciated among his works. It’s easy to see why- they capture an elegance and sense of calm and easy leisure- of long days in gardens or by the water.  This is one of those captured moments with a well-dressed woman watching the sailing yacht...

This impressive painting by Edward Moran does justice to the epic America’s Cup Challenge of 1885. Moran’s point of view captures the day’s enormity to the world’s yacht racers and designers. This account portrays PURITAN’s second and decisive victory of the match on the 40-mile course, 20 miles leeward from the Sandy Hook Lightship and back. PURITAN reached the line a scant 1 minute 38 seconds in front, the closest margin of victory to date. Well publicized and awaited on both sides of the Atlantic, the race held the public’s interest while knowledgeable yachtsmen waited to see if Boston’s Edward Burgess had innovated the centerboard sloop design to a degree capable of holding off the challenge of a true English cutter. GENESTA was designed by John Beavor-Webb, for her owner, Sir Richard Sutton...

Solent One Racers cut across the rolling waves in this striking work by master maritime artist Montague Dawson. These are racing on the Solent, the strait between the Isle of Wight and the English mainland. The Solent One Design was one of the first One Design classes created. 22 were built between 1896 and 1897 for members of the Royal Yacht Squadron and the Island Sailing Club. Here, there is a fair wind...

This large and epic battle scene commemorates one of the most unusual actions of the Napoleonic Wars. The British Honourable East India Company’s China...

Albert Benaroya (Israeli) Red Tulips oil on canvas 81x56 cm Born in Istanbul, Benaroya is an Israeli artist, a master of depiction in hyper - realism...

Albert Benaroya (Israeli) Red an Purple Orchids oil on canvas 81x56 cm Born in Istanbul, Benaroya is an Israeli artist, a master of depiction in hype...

Exceptional pair of paintings by Manon Cleary (1942-1911). Paintings are oil on canvas. Dated 1980 and signed in the front lower right corner and on reverse. Manon Cleary's work is ...

Photorealist oil painting by Manon Cleary (1942-2011). Painting is signed on reverse "Cleary". Painting is stretched on aluminum stretcher and dates to the 1990s. Manon Cleary had a remarkable ability to draw and paint with photographic fidelity, but she was also known as a charismatic teacher at the University of the District of Columbia and as a free spirit whose exuberant life may have been her most enduring work of art. Since the 1970s, Ms. Cleary had been at the center of a group of artists in Adams Morgan. She exhibited her meticulous artwork throughout the city and around the world, but she also became known for her striking presence, her colorful love life and the rats she kept as pets. As an artist, Ms. Cleary borrowed classical techniques from her deep study of Renaissance masters to create paintings and drawings memorable for their frank realism and sometimes disturbing themes. In addition to her many nude self-portraits, Ms. Cleary made erotically charged paintings of flowers. She took inspiration from a painful personal history in a series of works depicting the terror of rape and, in later years, of not being able to breathe without mechanical assistance. Critics considered her a leading figurative artist of the photo-realist school, in which painters render their subjects with camera-like precision. In fact, Ms. Cleary occasionally won awards for photography when adjudicators didn’t realize her works were free-hand creations. She was “widely acknowledged to be among the best, if not the best, of the city’s figurative painters,” Washington Post critic Michael O’Sullivan wrote in 2006. “There is a tension between the cool, clinical detachment of photography and painting’s warm idealization of form.” Ms. Cleary exhibited her art in galleries and museums from Moscow to Paris to Hickory, N.C., but Washington was her home for the past 42 years. In 1974, she settled in the decrepit Beverly Court apartments on Columbia Road NW, where a coterie of artists soon grew up around her. She painted her walls purple, and her fourth-floor apartment — even with the pet rats — became something of a bohemian salon. “She was a star,” painter Judy Jashinsky told the Washington City Paper in 2004. “She was stunning, beautiful; long, brownish–black hair; real thin; wore . . . little sundresses and sandals. She was just very cool, and there was always a crowd around her.” Ms. Cleary had a long list of male admirers, including several whose confrontational attempts at “performance art” led to their arrests. She had a brief marriage in 1981 to a Danish artist known as Tommy — “just Tommy,” Ms. Cleary said — whom she divorced in less than a year. As a kind of graphic homage to her various lovers, Ms. Cleary made a series of intimately revealing portraits that were featured years later on the HBO program “Real Sex.” She met her second husband after a gallery opening in Baltimore. By way of introduction, Kijek, a dancer, stripped naked at a crowded party, walked up to Ms. Cleary and said, “Wouldn’t you like me to pose for you?” They were married in 2001. In spite of her unconventional life, Ms. Cleary was more than a mere provocateur. After a day of teaching at UDC, she would return to her studio, with its windows painted over to block out sunlight, and work late into the night, with a bottle of Dr Pepper at her side. She took nude photographs of herself from every angle, then painstakingly created lifelike images that seemed alive with the warmth of human flesh. After studying in Rome in her youth, she developed what she called “an obsession” with Caravaggio, an iconoclastic painter who lived from 1573 to 1610. She often copied paintings at the National Gallery of Art and, in her own work, blended Renaissance styles with a distinctly modern sensibility. Manon Catherine Cleary was born Nov. 14, 1942, in St. Louis. Her father was a doctor, and her identical twin sister, Shirley Cleary-Cooper, is an artist in Helena, Mont. She was a 1964 graduate of Washington University in her home town and, for the rest of her life, was proud of having been a member of the Pi Phi...

A breathtaking oil painting by Israeli Born-New York based artist Yigal Ozeri. This hyperrealist portrait of a young girl staring back at her viewer, is a classic example of the arti...

Portrait of Lila, oil on canvas 47 3/4 in x 31 in 2015