Miriam Schapiro was born in 1923 in Toronto, Canada, to Russian Jewish parents, but she was brought up in Brooklyn, New York. One of her grandfathers was a rabbi and the inventor of the first moveable eyeball for dolls. His invention was used in the manufacture of “Teddy Bears” in the United States. Her father was an artist and industrial designer; her mother was a homemaker. Both parents encouraged Miriam to make art, and by age six she was well on her way.  She earned a BA at the State University of Iowa in 1945, an MA in 1946, and an MFA in printmaking in 1949. 

During her college years, Shapiro met and married Paul Brach (1924-2007), also a Jew and an artist.  During his service in the armed forces, Brach witnessed the horrors of the Theresienstadt ghetto and concentration camp in Czechoslovakia after it was liberated by the Russians in 1945. Schapiro’s Russian Jewish heritage certainly had an impact on her art.  Brach received a position as a painting instructor at the University of Missouri. Miriam did not.

Schapiro and Brach moved in 1951 to New York City where they met the Abstract Expressionists, rising stars of the art world. She was not included in the group since women were not considered serious artists.  She worked at the Parsons School of Design to earn money to pay for her son’s daycare in order to find time to paint. Her new paintings were large, like those of the men, and abstract with broad gestural brush strokes. The paintings were based on black and white photographs of the paintings of the Old Masters. Andre Emmerich selected one of her paintings for the inaugural exhibition at his new gallery in 1957.

Schapiro’s career began when she and Brach moved to California. She and Judy Chicago were employed in 1971 by the California Institute of Art in Valencia to establish the first Feminist Art Program. Woman House was an entire house given to the women. Each room was designed to reflect what women felt they needed to be and to do there. An entire book records the rooms and events that happened there. The results were outstanding. Schapiro’s work was developing in a new direction. She wrote in 1974, “I began to see myself as another kind of artist, as a woman artist, very much connected to those women who had made quilts, who had made samplers, who had done all of that women’s work throughout civilization, who are not honored, but whom I honor, and I honor them by continuing their tradition. The difference is that I don’t work with sewing; I’m a painter and I work on canvas, and I work in their tradition.”

“The Beauty of Summer” (1973-74)

Shapiro began to study the role of women in art over time. She created mixed media art with paint and fabric, quilting, embroidery, applique, lace, ribbons, photographs, even the color pink. The works would have in her words a “woman-like context” that “celebrates a private and public event.” “The Beauty of Summer” (1973-74) is an early collage that celebrates Summer. Flowers abound, and the garden is full, overflowing with joy. It is feminist and unique, and it is engaging.

She was a major force in the Women’s Movement along with Betty Friedan, Bella Abzug, Gloria Steinem, and others. The National Organization of Women (NOW) was created, and the College Art Associations authorized the Women’s Caucus for Art (WCA), both in 1972.

She challenged the existing male dominated concept of high art and low art by creating what she called Pattern and Decorative Arts. She called the works femmage, inspired by the “art out of women’s lives” and intended to validate “the traditional activities of women.” 

“Anonymous was a Woman” (1976)

Schapiro began with collages that paid tribute to such women as Impressionists Mary Cassatt and Berthe Morisot. She began her first Collaborative Series, working with nine women who were studio art graduates of the University of Oregon.  The group was a reflection of the traditional collaboration among women to make quilts and lace.  Each “Anonymous was a Woman” (1976) (30”x22”) (series of nine) was begun with an etched print of a hand-made doily. 

She was invited to lecture in several states, and she collected samples of items from women who attended. She and fellow artist Melissa Meyer wrote and published “Waste Not Want Not: An Inquiry into What Women Saved and Assembled” (1977-78) that listed assemblage, decoupage, photomontage, “traditional women’s techniques–sewing, piercing, hooking, cutting, appliqueing, cooking and the like….”

“Barcelona Fan” (1979)

“Barcelona Fan” (1979) (72’’x12’) was inspired by the traditional hand-held   fan. Schapiro said the fan “reveal[s] the unfolding of woman’s consciousness,” serving as “an appropriate symbol for all my feelings and experiences about the women’s movement. That’s a very ambitious notion: to choose something considered trivial in the culture and make it into a heroic form.” At 12 feet across, the piece embraced the practice of men making large works.  

Fans have found their uses over time in many cultures. Women in the 19th Century used their fans to engage in discreet communication. The fan is an important element in flamenco dancing. Dancing was one of Schapiro’s passions. Areas of paint, fabric, and lace create a colorful and bold pattern divided into 24 radial sections, the whole divided into five semicircles.  

“Barcelona Fan” (detail)

This detail of the outer semicircle provides a closer view of one of Schapiro’s iconic images.

Schapiro in her studio, ”Black Bolero Fan” (1980) behind her, and ”Azerbaijani Fan” in front

‘Golden Robe” (1979)

The fabrics and layered construction of Japanese kimonos fascinated Schapiro. “Lady Genji’s Maze” (1972) (not shown) was followed by “Anatomy of a Kimono” (1976) (52 feet long) (not shown) was followed by the Robes Series. “Golden Robe” (1979) is an example of the larger than life-sized collage of rich fabrics and distinct parts of a Japanese kimono. Schapiro’s kimono, fan, house, and heart-shaped canvases are among her iconic images. 

“Four Matriarchs” (1983)

“Four Matriarchs” (1983) (80’’x30’’each) (acrylic) were designed for the Temple Shalom Community in Chicago. They represent the four Jewish heroines Sarah, Rebecca, Rachel, and Leah. The paintings were then made into stained glass windows for the Temple. Schapiro’s renewed interest in her Jewish roots also resulted in several works depicting Anne Frank and in particular Frida Kahlo, who referred to herself as Jewish, and with whom Schapiro identified as an artist.  Each of Schapiro’s painted Matriarchs wears a brightly colored patterned garment and a unique hair style. They are linked together by semi-circle arm patterns. This design was commissioned to be made into stained glass. 

Viewed in place, the Temple Shalom designs are brilliant. Schapiro’s strong interest in the patterns and colors of ancient Russian clothing come into play here. She has added to her depictions of women artists the Russian Avant Gard artists Popova, Goncharova, and Rozanova, and the French artist Sonia Delaunay. These women brought art into the modern age in the early 20th Century, alongside their male counterparts.

“I’m Dancin’ as Fast as I Can’’ (1984)

“I’m Dancin’ as Fast as I Can’’ (1984) is one of Schapiro’s autobiographical pieces. She worked hard to balance her various roles as a woman, mother, artist, historian of women in the arts, breadwinner, and challenger of male authority. When she was young, she took dance lessons, and her designs and patterns do have a sense of rhythm. She is the whirling dancer at the center of the composition, and the ballet dancer at the right side of the painting. Yet, a striding male figure leads the viewer out of the composition, leaving the women behind. He holds a cane and tips his hat. Miniature portraits of Goya and Van Gogh are included along with signatures of Rembrandt and Picasso on the blue back of his coat.  The red, black, and yellow umbilical cord that links the ballet dancer to the whirling female is a personal statement 

Schapiro danced as fast and as hard as she could, and among the many exhibitions and honors she received in her lifetime were four honorary doctorates and a Lifetime Achievement Award (2002) from the Women’s Caucus for Art.

“I talk about women’s traditional art, the art of women who decorated pots or did the weaving—the great Navajo weaving—the eye-dazzlers of the southwest. Most of the decorative art has been done by women throughout time and civilization. What happened long ago in art criticism was that a distinction was made between high art or fine art and low art or craft/decorative art. And all that craft/decorative/low art which needs a superb sense of color and design has been done primarily by women. So the patriarchal fix in criticism has always made that sexist distinction. What women did in the seventies was to reinvent pattern and decoration as an integral part of high art.” (Miriam Shapiro)

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.

Born in Shanghai, China, in 1977, Xu Zhen is an internationally known artist whose work is well-known in the East. He is an installation artist, photographer, painter, and performer. His work critiques the social and political conventions of both the East and the West. Xu’s works exhibit a sense of humor, sometimes black, and always inspire viewers to think about their meaning and application to current issues.

Xu received his art education at the Shanghai Arts and Crafts Institute. He was the youngest Chinese artist to show work at the prestigious Venice Biennale in 2001. His video, created in 1998, was titled “Rainbow.” In the video, a hand repeatedly slapped a man’s back until it became red.  At the Venice Biennale of 2005, he presented the video “Shouting,” also made in 1998. He explained, “This work was made at a time when people were not so individualistic. What fascinated me as an artist then was the relationship between the individual and society. The act of shouting in a crowd of strangers is a way of showing my own existence. I wanted to create a moment that said, ‘I’m here!’”

“ShangArt Supermarket” (2007)

Xu created “ShangArt Supermarket” (2007) for Art Basel in Miami. The installation was an entire supermarket with products familiar to both Chinese and American consumers. All the packages, created in detail including prices, were empty. Viewers were fascinated and were eager to purchase the empty containers. He set up the supermarket in China with the same results: his empty boxes were eagerly purchased and are now displayed in various locations.

In 2000, Xu founded the non-profit art center Bizart. His team created exhibitions and events to bring more art to the public. In 2009, he established MadeIn, an art creation company. The company’s name was a play on the common commercial label “Made in China.” MadeIn introduced in 2013 the brand name Xu Zhen, making him a product of the company. The following year the MadeIn Gallery was opened to introduce and promote international contemporary artists and younger talent.

“Poseidon” (2014)

In 2014, Xu began the series Eternity. “Poseidon” (2014) (79’’x87’’x16’’), exhibited here on the beach at De Haan, Belgium, duplicates the classical bronze statue of Poseidon by Praxiteles (460 BCE) discovered at the bottom of the sea off Cape Artemision in Greece. The original bronze statue is 81” tall.  When exhibited outdoors, the statue’s outstretched arms became resting places for pigeons. The birds are not pigeons; they are painted Peking ducks. Peking Duck is a popular dish in America and China. Special preparation includes inflating the duck skin for roasting, the result a crispy skin and tender meat. 

“European Thousand Arms Classical Sculpture” (2015)

“European Thousand Arms Classical Sculpture” (2015) (10’x48’x15’) also is part of the Eternity series. It is composed of reproductions of famous Greek sculptures lined up behind the Goddess Athena. She wears a Greek warrior helmet since she is the Goddess of War.  Her necklace is made of the snakes cut from Medusa’s head, and beside her is a large snake, mouth open, ready to strike. Behind her, lines of statues of Apollo, Zeus, Poseidon, Hercules, and other Greek heroes, many with their arms extended.

This work was influenced by the most popular Chinese Mahayana Buddhist figure of the Thousand-Hand Guanyin. She is a bodhisattva, one who delays entering Nirvana to remain on Earth in order to help others. Her thousand hands have eyes in their palms, representing her ability to see suffering and identify each person’s need. She is the bodhisattva of Compassion. The thousand arms of the classical figures are positioned in the manner of images of the Thousand-Hand Guanyin. East meets West, but the European lack of understanding of Chinese Buddhism, may lead to misunderstanding. For example, much of the male Greek sculpture may be interpreted as a massive fighting army to do great harm, not to fight evil and misery as Guanyin does. Xu hopes to promote understanding.  

“Heavenly Guardian, Sleeping Muse” (2016)

In “Heavenly Guardian, Sleeping Muse” (2016) (93’’x40’’x24’’), another image from the Eternity series, Xu combines a Chinese Tang Tomb Guardian figure from the 8th Century with the 20th Century sculpture “Sleeping Muse” (1910) by Brancusi. Tomb Guardians were powerful and ferocious looking. They were intended to frighten and defeat evil spirits who wanted to disturb the dead.

The Tang figure is made of terracotta, as are many of the originals, and it is larger than most original tomb figures. Brancusi’s original “Muse” is cast bronze (6.5”x11”x8”). Xu’s is considerably larger and is raised high into the air by the tomb guardian. The combination of the figures represents the contrast between power and peace. The use of clay and bronze, represents a contrast between in the value of the materials. The “Sleeping Muse” is passive and meditative. The Tang figure is about force and protection. They initially do not seem to belong together, but they form a unique whole that inspires thought.

 Xu’s explanation makes sense: “When I play with cultural elements, they don’t carry the same weight as they do for others. It’s not a lack of respect but I feel I can be audacious with such forms because I have a greater distance from them.” 

“Hello” (2018-19)

“Hello” (2018-19) (stainless steel, Styrofoam, polyurethane, silicone, paint, and a robotic mechanism) is a toppled Corinthian column like those found in many Greek and Roman temples. Xu has not broken the shaft into pieces; they remain connected and curl around like the body of a snake. Snakes play a significant role in Greek mythology. They are symbols of knowledge, healing, and connection between the Earth and the underworld. The column’s capital, with its wide mouth, is mechanically engineered to follow the viewer. Surprise!  Xu explains, “Here, I’ve used a traditional thing and renewed it in some way. It also has a threatening aspect, like the imperial civilizations in the Greek tradition, of a power system over you, a bit like a shadow. It’s interesting because, in the West, such columns would be used in official buildings such as courthouses and banks, whereas they most often appear in front of public baths in China, or places where you can sing karaoke.”

“Hello” (2022)

“Hello” has been in several exhibitions. Stanford University commissioned in 2022 a fifteen-foot bronze piece for the inaugural exhibition of the Stanford Plinth Project, a new sculpture garden, located in Meyer Green, a 2.45-acre open space. “Hello” sits on a plinth among tall cedar trees, greeting visitors. 

“Alien I” (2017)

“Alien I” (2017) (31’x28’x47’) is composed of 28 kneeling figures in a wire caged prison setting. The pose of the figures in derived from Eastern Han Dynasty kneeling servant figures dating from c. 206 CE. The color of the robes immediately suggests today’s orange prison uniforms. The black head gear makes the figures anonymous and calls to mind the black head coverings worn by prisoners in detention centers.  The viewer is in some way the prison guard. Xu mentions the constant media coverage of such images today, and the desensitization of people about oppression.

“St Peter’s Basilica” (2023)

Xu began in 2023 a series of sculptures he called Tools. Using modern day commonly used commercial items, he created sculptures. “St. Peter’s Basilica” (71”x71”x41″) is one of several significant Catholic churches depicted in the series.  Filled hand sanitizer bottles replace the domes of St Peter’s. Viewers are encouraged to use the hand sanitizer. Xu combines the great items of history and art with one of the most commonly used products today. 

“Roman Columns and Meat Grinder” (2024)

In “Roman Columns and Meat Grinder” (2024) (35’x16’x12’) Xu uses once again a Roman Corinthian column, symbolic as the stabilizer of Western culture. Romans assimilated the knowledge of Greek philosophy, literature, and art into their system of law and administration, creating the core of Western culture. This time the column is put through a meat grinder which instead of mincing it into little pieces, produces multiple columns. 

In 2019 an interviewer asked Xu the question: “Many of your works walk a line between humor and darkness, between hope and threat. What draws you to this way of making?” Xu responded, “Perhaps it’s related to my own temperament. When I create a work, I’m always trying to find some kind of contradiction. I don’t like it to be completely white or black. When people look at my works, they sometimes try to find the black part or the white part. Through that, there’s a kind of democratic aspect, a kind of balance you can find in it. After creating work for twenty years, I wonder if it might also be related to the Chinese tradition of the yin and yang. While my work might appear direct, when you really try to understand it, I hope the meaning becomes a bit more blurry in the end.”

NOTE: Xu’s sculptures are composed of a variety of materials depending on the need. Among them are glass fiber, reinforced concrete, marble grains, limestone, chalk, artificial stone, sandstone grains, steel, and mineral pigments. The process includes scanning the original sculptures, working with 3D software, printing parts, and hand molding and casting. 

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.

Patricia Tobacco Forrester was born in 1940 in North Hampton, Massachusetts, and she died in 2011 in Washington, DC. When her grandfather, bearing the last name Tobczynski, arrived at Ellis Island, the authorities changed it to Tobacco. The family had a small farm where they raised asparagus, cucumbers, and tobacco. Patricia’s interest in art began early in life. She graduated (Phi Beta Kappa) in 1962 from Smith College in Massachusetts. She earned a bachelor’s degree in printmaking and sculpture. A teacher and major influence was Leonard Baskin (1922-2000), a well-known American sculptor and printmaker. She went on to earn a BFA (1963) and an MFA (1965) from Yale University. She married and divorced Alex Forrester in the 1960s.  

“Under Cypresses” (1967)

Forrester received a Guggenheim Fellowship in 1967 and produced a series of etchings. “Under Cypresses” (1967) (18”x24”) (etching) is in the collection of the Smithsonian Museum of American Art in Washington, DC. Beginning with her earliest works, she exhibited an interest in nature observed up-close and in minute detail. She was fascinated by the massive cypress trunk with its twisting branches, rough bark patterns, and the sea grasses growing around it. Her work would continue to show the amazing twists, turns, and textures of nature. 

She met and married Paul Ekman in San Francisco. Ekman became an international expert on body language, human emotions, and psychology. They traveled to Southeast Asia and the Pacific Islands. He studied the people, and she studied and painted the landscape. She continued to live in San Francisco after her divorce from Ekman in the late 1970s. In addition to making art, she served from 1972 until 1981 on the faculty of the Californian College of Arts and Crafts in Oakland. She then moved east, teaching at Kent State University in Ohio (1981) and the Art Institute of Chicago (1982). She resided in Washington, DC, in 1982 until her death in 2011.

Most of Forrester’s work covered in this article can be found in local museums and collections. 

“Monjas Blancas at the Volcana’’ (1988)

Forrester’s travels to exotic locations continued throughout her life. Her chosen medium was watercolor. Watercolor paintings in general tended to be small in scale. However, Forrester chose the unexpected size of 40” by 60” for her watercolors. They were a great success, bringing her recognition, exhibitions, commissions, and sales.

Her love of nature determined her subject matter, and her love of watercolor determined her media. “Monjas Blancas at the Volcana’’ (White Nuns at the Volcano) (1988) (40”x60”) (watercolor) was painted in Guatemala. Seated on the ground, with her large 40”x60” watercolor paper, she painted en plein air, a tremendously difficult feat that produced remarkable paintings. 

“Avila, Caracas” (1990)

“Avila, Caracas” (1990) (40”x60”) (watercolor) (Easton Museum of Art, Easton MD) was painted in Caracas, the capital of Venezuela, set in the Andes mountains.  At El Avila National Park the mountains rise 9072 feet above the City. With her usual attention to minute detail, Forrester painted a variety of flowering plants, grasses, trees, and shrubs, with rocky cliffs in the distance. Avila Park is a popular hiking destination. 

Forrester was elected in 1992 to the National Academy of Design in New York City as an associate member, and in 1994 she became a full Academician. The National Academy of Design is the premier professional honorary organization for American artists and architects.  Academy members nominate and elect their peers, and the number of members is limited to just 450. Artists cannot apply for membership.

“Barbados” (1995)

“Barbados” (1995) (40”x60”) (watercolor) (National Museum of Women in the Arts, Washington, DC) is an example of why Forrester frequently called her work abstract because of the “accidental nature of watercolor.” Her images are not pre-planned but evolve as she paints.  Barbados, one of the many island nations off the north coast of South America, has a rich environment of tropical plants. A little bit of the sky and the blue waters of the Atlantic are included in the composition. The on-line images of the paintings by Forrester do not capture the complexity and uniqueness of her work. The following two details may help.

“Barbados” (detail lower left corner)

Forrester uses two different watercolor techniques. Dry watercolor applies paint to the dry surface of the paper, which results in crisper edges of images. Most notable here are the dark background areas on which the flowers are painted. The wet-on-wet technique requires the paper to be wet when the paint is applied. This is where surprises can occur, as the watercolor paint spreads uncontrolled across the wet surface. The effect can be seen in the soft edges of the paint on the large red blossom. Forrester appreciated the surprise effect, and she embraced the technique in her paintings.

“Barbados” (detail middle left)

In this detail, the light branches form an interesting crisscross composition, while patterns representing leaves and flowers dance in front of the dark background. The whole composition of the painting works, but often another composition is contained in a single detail of a Forrester painting. 

“Great Blue Divide”

A prolific painter and sometime printmaker, Forrester did not lack subject matter or commissions during the 29 years she resided in Washington, DC.  She found inspiration in the many parks, the National Arboretum, and other beautiful places nearby in Maryland and Virginia.  “Great Blue Divide” (40”x60”) (date unknown) was painted at Great Falls National Park, along the Potomac River in Fairfax County, Virginia.

Forrester traveled from Washing back to San Francisco and the Islands, particularly during the winter months. Her favorite destination was Costa Rica, where health issues developed that eventually led to her death. 

Forrester’s work can be found in Hillwood Estates Museum and Gardens, the White House, the Executive Office Building, the Washington Convention Center, the US Department of State, and private residences. She donated a large collection of her work to the Smithsonian Museum of American Art. Her work also is included in the collections of The Brooklyn Museum in New York City, the Art Institute of Chicago, and the British Museum in London, among others. 

Forrester once remarked about the National Arboretum, “I think I know almost every tree and flower there.”

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.

Symmetrical elegance and Federal-style details frame the iconic silhouette of “George.”

The streets surrounding Idlewild Park contain a variety of  house styles including this distinguished Federal style house on its deep corner lot. Elements of the Federal style that are found in this house include its five-bay symmetrical  arrangement of both horizontal and vertical rows of 6/6 windows and shutters surrounding the fanlight over the door in a shallow entry vestibule. The main house was built in 1948 and with a one-story sunroom at one side.  

Each week on my way to choir practice at SSPP Church, as I drove past this stately whitewashed brick house, I admired its setting with an ivy-covered iron fence along the Town sidewalk and the towering presence of the majestic “Grand Campion Pin Oak” of Talbot County. The Owners nicknamed the tree “George,” and the spread of his canopy extends over half of the street! At night, recently installed uplighting at the property’s front and back yards adds drama to the nocturnal facades.

Layered landscaping unfolds beneath the graceful canopy of “Martha,” embracing hardscaped geometry.

The deep rear yard contains both hardscape and landscape, including  a smaller Pin Oak the Owners named “Martha” for they imagined her arms were reaching out to “George” and a large crape myrtle whose summer blooms are not far away.  Gardeners would be enchanted by the plantings including irises and tulips, the fragrance of honeysuckle and the gentle sound of the koi pond’s waterfall.  On the day of my visit, I admired the shadows of the trees’ limbs that overlap the joints of the hardscape’s joints. The openness of the terrace’s outdoor room is balanced by the screened enclosure of the gazebo with its long vista over the garden to the house. The property’s bonuses are the storage outbuilding at the rear of the property and off-street parking for three cars, accessed from the side street. 

Behind the red front door, harmonious vistas and precise architectural flow through the center hall plan.

A red door signifies welcome, safety and prosperity and this house’s red door opens to multiple vistas from the entry vestibule that clearly define the center hall floor plan for  easy flow among the rooms. On either side of the door are newly installed custom closets with wood doors, crown molding and the sisal stair runner. The light gray walls and crisp white trim are discrete backdrops for the Owners’ furnishings of antiques and other pieces.

Refined symmetry meets warmth with bespoke millwork and the timeless charm of a wood-burning hearth.

The wide wall opening at one side wall of the foyer frames the view of the spacious living room that spans the full depth of the house. I admired how the furnishings’ upholstery picked up colors from the beautiful Oriental rug over the refinished original wood floors. The working wood burning fireplace adds ambiance during winter evenings between the bespoke millwork for one’s display of family photos, books, collectibles, etc. The French door leads to the adjacent family room. 

Grasscloth walls, wide windows, and rich brick ground this cozy retreat in its history

Since the family room’s exposed foundation was brick and the wall cladding is siding, this room might have originally been an open porch with a brick floor. Now the earth tone of the grasscloth wall covering creates a cozy spot for watching TV or for unwinding after one’s workday. The plantation shutters over the wide windows provide privacy or filtered sunlight.

Glass-paneled views lend versatility to this space for games, dining, or endless garden gazes.

The rear wall of the family room has a glass paneled door with steps to the rear landscaped and hardscaped yard. The table and chairs can be an informal dining space or space for board games, cards or my fave, puzzles.  As I stood in front of the wide window opening in the original brick wall of the house, I savored the long vista through the living room, past the powder room, and ending at the kitchen.

Antique grace meets architectural precision beneath the glow of a crystal chandelier.

I made my way back to the foyer to its other wide wall opening into the exquisite dining room filled with antiques including the graceful oval wood table and Queen Anne chairs below the period crystal chandelier. Another large and beautiful Oriental rug anchors the tables and chairs. 

Mahogany details shine against brocade-inspired walls, echoing timeless elegance for gatherings.

I especially admired the dining room’s stunning mahogany breakfront with silver pieces glistening behind the glass doors. The wood wainscot and the Thibaut wallpaper whose pattern resembles brocade wraps around the room to create an elegant setting for memorable meals. The finishing touches of the custom window treatments blend into the wallpaper for a unifying look.

Sleek granite countertops and stainless appliances redefine this historic kitchen for a gourmet future.

Previous Owners had remodeled the kitchen with tile flooring, wood cabinets and granite countertops. The dual ovens, gas stove, island cooktop and stainless appliances are ready to please the next gourmet cook. The side door opens into a short hall past the powder room to the living room.

Thoughtfully contrasted cabinetry frames functional beauty with garden views.

The island’s color contrasts with the other wood cabinets and the overhang at the edge provides space for breakfast or snacks. The window over the sink overlooks the landscaped side yard.

A pet-friendly entrance harmonizes mudroom utility with backyard vistas through French doors.

At the rear of the kitchen is a cozy area with a half French/half paneled  door with a view of “Martha”. The pet door insert for the family dogs allows them to freely access the large fenced back yard for their daily exercise. The door is also the primary access from the parking area so the space is a combo mud room/breakfast room with a wall mounted rack for jackets and coats and a chest of drawers for storage. The wood table and bentwood chairs creates a restful spot for that second cup of morning coffee. Opposite this area is a wet bar/coffee bar, conveniently located  for outdoor entertaining. 

Vintage charm and period-inspired design transform the first-floor powder room into a refined functional corner.

The main floor’s powder room has privacy from its location on the hall between the living room and the kitchen. The vintage pieces of both the nightstand that has a new life as a lavatory and the towel rack, the white wainscot and light blue walls create a delightful period -inspired space. 

A sunlit nook creates architectural utility with scenic views over lush landscapes.

The combo of the stairs that lead to the second floor and the hall width to the guest bedrooms creates a wide nook with a window overlooking the rear yard’s landscaping. The nook has myriad uses but this mini-office is perfect for a household that needs two office areas.

Expansive dimensions accommodate antique craftsmanship, defining serenity within elegant simplicity.

The second floor also contains three bedrooms and two baths. The corner primary bedroom spans the full depth of the house. The room’s spacious size easily accommodates the scale of the antique furnishings and I especially admired the beautiful bed frame with its four posts with an arched headboard. The door at the corner leads to a walk-in closet next to the primary bath at the front of the house. This buffer from traffic on the street creates a serene space for sleep.

Delicate toile wallpaper and carefully chosen repurposed pieces elevate this space with a designer’s touch.

I loved the primary bath’s designer toile wallpaper with its pattern of flying dragonflies that stretches the space. A former sideboard now has a new life as a stylish lavatory and the tile flooring’s color complements the wallpaper. The plantation shutters’ slats can be adjusted for sunlight or privacy. 

Dual-purpose design captures open views across the lush greenery of the rear yard.

The rear corner guest bedroom also overlooks the rear yard landscaping and is currently furnished as a home office. The two windows offer panoramic views of the neighborhood.

Tranquil light green walls complement tailored furnishings for guest-centered comfort.

The front corner guest bedroom has everything a guest requires- soothing light green walls, colorful floral bedspread with matching valances over the windows, highboy, desk with a computer, and a TV strategically placed opposite the bed.    

A vintage porcelain sink sublimely enhances this compact, sunlit retreat.

This compact hall bath’s spatial volume feels larger than it is due to the light colored walls and to the white vintage porcelain lavatory’ s legs, instead of a cabinet on the floor. The wide window provides ample light and the plantation shutters’ slats can be adjusted for sunlight or privacy. 

Sloped ceilings and high knee walls create inviting architectural charm under the gable ends.

Another staircase leads to the third floor hall with two guest bedrooms, one bath and a large storage closet. The two spacious guest bedrooms are tucked under the gable ends at each side of the house, which creates delightful interior architecture with high knee walls and sloped ceilings to the underside of the framing above. The wide doors at the knee walls open into storage areas. The other bedroom has a single wide window at the gable wall. 

Storage solutions blend seamlessly with cozy nooks for bird’s-eye views of rooftops and treetops

Each third floor bedroom has identical charming nooks at the rear wall that create mini-dressing areas with wide closets. The top of the built-in seating is hinged for more storage. What a marvelous space to stretch out and enjoy the bird’s eye views of the landscape below and the rooftops and treetops of Easton! 

This stately house’s numerous amenities begin with its prime location on a deep corner lot with views of Idlewild Park and the house’s landscaped rear yard, off-street parking, classic Federal architecture and mimimal hall space that creates a compact floor plan with easy flow among the rooms. Spacous living room and formal dining room, cozy family room, gourmet kitchen, primary ensuite on the second floor and two other bedrooms, one of which is a spacious office, two other guest bedrooms on the  third floor tucked the gable walls create a home for family living. The beautiful wood floors, high ceilings, moldings and trim, custom plantation shutters, stair runners, window and wall treatments are a gracious backdrop for the next Owner’s furnishings.  There is abundant storage on every floor, including a dry basement, with both interior and exterior access, that contains a laundry and many storage racks. Outdoor rooms of the fenced rear yard’s large stone terrace and screened gazebo for relaxing to the soothing sound of the koi pond’s waterfall, and off-street parking from the side street. The Owners have meticulously maintained and improved the house and grounds so it is move-in ready- Bravo!

For more information about this property, contact Tiffany Cloud with Meredith Fine Properties at 410-745-8060 (o), 570-751-8637 (c), or [email protected]. For more photographs and pricing, visit www.meredithfineproperties.com, “Equal Housing Opportunity.”  Tiffany Cloud is both the Owner and the MD licensed Listing Agent.

Photography by JM Real Estate Photography, www.jmrealestatephotos.com , [email protected] , 410-971-0027

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.