He left for Paris 1899, and studied at the Académie Julian. He returned to America in October 1900, opening a studio in New York City where friends William Merritt Chase, Winslow Homer, and John La Farge also worked. He taught at the Berkshire Summer School of Art, the Montclair Museum School, the old Whitney Museum School, the Newark School of Fine and Industrial Arts, and the Pratt Institute. He considered art education key to improving society. He continued to teach and exhibit until his death at ninety-three in 1969.

While in Florence, he created a series of etchings that immortalized the spirit of Florence.  The director of the Uffizi Gallery was so impressed by Roth’s work that he purchased the etchings for the Uffizi print department.

Upon Roth’s return to the United States, he exhibited frequently throughout the country and won numerous awards, including First prize for Architectural Subject from the Chicago Society of Etchers and the J. Sanford Saltus Prize from the Salmagundi Club.  Clearly, as one critic noted, “Mr. Roth’s work has been welcomed in America as promising well for the future of the art.”

Member – Associate Member of the National Academy, National Academician, New York Water Color Society, American Water Color Society, Salmagundi Club, Chicago Society of Etchers, California Society of Etchers, New York Society of Etchers, Washington Water Color Club, Allied Artists of America, California Printmakers, The National Arts Club, Salons of America Exhibited – Boston Art Club, Pennsylvania Academy of the Fine Arts Annual, Pennsylvania Academy of the Fine Arts (gold medal), Corcoran Gallery biennials, Art Institute of Chicago, Philadelphia Print Club, Salmagundi Club, Chicago Society of Etching, American Fellowship, Panama-Pacific Expo, Society of Independent Artists, California Printmakers, Salons of America, Society of American Etchers, National Academy of Design, 1901, 1903-1905, 1909-1912, 1914-15, 1917-1923, 1925-35, 1937-38, 1941-42, 1944-45, 1947, 1949-50 Collection – New York Public Library, Boston Museum of Fine Arts, Library of Congress, Art Institute of Chicago, Newark New Jersey Public Library, Minneapolis Institute of Art, Uffizi Gallery, Florence, Italy, Burchfield-Penney Art Center, New York, Butler Institute of American Art, Ohio, Florence Museum of Art-Science-History, South Carolina, Frederick R. Weisman Art Museum, Minnesota, Michael C. Carlos Museum, Georgia, Mobile Museum of Art, Alabama, National Academy of Design Museum, New York, National Gallery of Art, Washington, D. C., Print Club of Albany, Saint Joseph College Art Gallery, Connecticut, San Diego Museum of Art, Carnegie Art Museum, California, The Mattatuck Museum of the Mattatuck, Connecticut, Historical Society, Connecticut, Nelson-Atkins Museum of Art, Missouri, University of Michigan Museum of Art, Washington County Museum of Art, Maryland, Wright Museum of Art, Wisconsin

After 1908, however, it seems that Valenkamph returned to the North Shore and began listing his address as Rocky Neck Avenue in East Gloucester. Contemporary reviews of his work lauded his ability to accurately portray his subjects and the feel of being on the ocean: Over swelling seas the old type of sail boat comes winging out of the past on full and spreading sails in the splendid marines of T. V. C. Valenkamph. So faithfully are they painted that those who know can tell if they be barque, brigantine or ship, for never a detail is missing. They are not, however, mere studies of old time sailing craft but strong and beautiful pictures by a man who knows the sea as only a sailor can.

– Vose Galleries

Member – Boston Gild of Artists, Concord Art Association

Exhibited – Boston, New York, Philadelphia, Washington DC, Detroit, Panama Pacific Expo San Francisco(bronze)

Posthumous Exhibitions – 1992 Butler Institute of American Art, 2000 Portsmouth (New Hampshire) Athenaeum, 2001 Guild of Boston Artists “A Woman’s Perspective”.
“The most surprising work on view is Alice Ruggles Sohier’s “Nude, Back View,” which also illustrates the catalog cover. Rather than being an erotic nude, this work superbly captures the play of light and shadow over skin. A second Sohier painting on display, “Old Rose and Black Lace,” portrays a young woman with a black lace veil that indicates mourning. The sitter’s downcast eyes suggest grieving reflection. She wears a shimmering deep rose blouse. In recent years, Sohier’s work has been relatively obscure. For example, she is not mentioned in the MFA catalog for the exhibition “A Studio of Her Own.” Yet, these two strong works indicate a woman having both substantial technical skills and the confidence to attempt difficult subjects.” – Bob Jackman, “Art and Antiques”

Collections – State House, Boston, Episcopal Theological School, Cambridge, Metropolitan Opera House, NYC

His early art training was at the National Academy of Design School, which he attended for five semesters. He first exhibited there in 1884, and his work was represented in 58 of the Academy’s exhibitions. Boston won a bronze medal at the Pan-American Exposition in Buffalo in 1901. In Brooklyn in 1902-03, he joined with William S. Barrett and other artists in the group called “The Brooklyn Ten”, later called “The Society of Brooklyn Painters”. These painters developed the Brooklyn New School of Art. Source: John Davis, “Joseph H. Boston”, Paintings and Sculptures in the Collection of the National Academy of Design, David Dearinger, Editor Member – National Academy of Design, Society of American Artists, Salmagundi Club, Allied Artists of America, National Arts Club Exhibited – Pan American Exhibition 1901, Brooklyn Institute of Art