Landscape Paintings

This fantastic Dutch Old Master marine oil painting is by noted Dutch marine artist Abraham Storck. Painted circa 1670 the composition is a number of ships heading out to sea, their sails billowing and banners and flags blowing in the wind. The sea is also choppy and clouds race over head. It is an ambitious, busy nautical scene and Storck has perfectly captured the energy and movement of the ships and smaller vessels. This is an excellent example of a 17th century Dutch Old Master oil painting. Provenance: Part of a private collection of Flemish & European paintings. Koller Auctions in Switzerland in 2011. Bonhams 2020. Condition. Oil on canvas, 25 inches by 24 inches and in good condition. Frame. Housed in an ornate 23 carat gilt carved Lely period frame with name plate, 32 inches by 31 inches and in excellent condition. Abraham Storck (1644-1708) was a Dutch painter, who enjoyed a reputation for his marine paintings, topographical views and Italianate harbour scenes. Storck was also an outstanding draughtsman. Storck was baptized in the Noorderkerk, a Protestant church in the Jordaan. His father was the painter Jan Jansz Sturck (or Johannes Storck) (1603-1673), from Wesel; his mother was Teuntje (Apolonia) Jacobs. The couple married in 1628. Storck had two brothers, who were also painters using the name Sturckenburch until c. 1688 after which they started calling themselves Storck or Sturck. It is likely they were all trained with their father in the family workshop and joined the local Guild of Saint Luke, otherwise it was impossible to sell any painting. Circa 1666 Storck established his workshop producing naval, harbor scenes as well as landscape paintings and city scapes. In 1670 he traveled with his brother Jacob and worked in Germany. In 1694, at age 49, he married the widow Neeltje Pieters van Meyservelt. At the end of his life he lived on Kattenburg near the harbour. Storck's marine and river scenes were influenced by the two Willem van de Veldes (the elder and the younger), Ludolf Bakhuizen...

Signed figures in landscape oil circa 1910 by French post impressionist painter Paul Madeline. This beautiful work depicts two small children on riverside path picking wildflowers fr...

Title: Mid-20th Century Post-Impressionist Mountain Landscape in Watercolour by Anne Marie Migette Perard (French 1902-1977) Medium: Watercolor on unframed paper Size: 11.25 inches (...

Rafael Duran Benet (1931-2015) - Amsterdam - Oil on canvas on board Oil measurements 33x41 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan painter,...

Title: Abstract Landscape with Cypress Trees and Pavilion - Contemporary Oil Painting Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 11 (height) x 14.25 (w...

Like every true master painter, André Bourrie had a unique, distinctive style - an inimitable blend of neo-impressionism and pointillism which, while dra...

View of Venice with the Island of San Giorgio Maggiore Follower of Canaletto (Venice, 1697 – Venice, 1768) Venice - 19th century oil on canvas 29 x 39 cm. - Framed 40 x 50 cm. Wel...

Jordi Curós Ventura (1930-2007) - Barcelona - Oil on burlap Oil measures 73x60 cm. Frameless.. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Cata...

A simply beautiful oil on canvas circa 1950 by French post-impressionist painter Jacques Martin-Ferrieres. The work is of a field filled with bright flowers in all shades of red, lil...

Luminous early 20th Century seascape of Capri on Amalfi Coast by Albert Wenk (German, 1863-1934), 1913. Signed and dated lower left corner. Cond...

French Landscape Impressionistic Riverscape Painting by Modern French Artist, Georges Charles Robin (1903-2003). View of the River Seine, France, during the snow melt. Oil on Canvas, Signed on the lower right (faintly). Presented in an authentic period frame with canvas slip. Art measures 29 x 23 inches Frame measures 36 x 30 inches (approx.) Born in Paris in 1903, Georges Charles Robin was a student of Paul Michel Dupuy...

A beautiful oil on canvas painting by the French artist Andre Franchet. He was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His work is...

French School of Francois Boucher (Paris, 1703 - 1770) Putti as Fishermen (Allegory of Water) 18th century Oil on canvas 65 x 146 cm. - In frame 77 x 157 cm. We present a splendid...

Landscape painting "Moonscape III" 44x44 by artist H.M. Saffer II. Painted in the style of pointillism, a series of tiny painted brushstrokes , this colorful oil painting depicts a ...

We are pleased to present a rare and remarkable work by Swedish artist Ture Ander (1881–1959), often referred to as "The Flower Painter." What makes this painting especially unique i...

A late 19th century American School two-sided landscape painting by an unknown artist, this oil on board has two decidedly different scenes that are each lovely to view. The most unu...

"In my oil painting, I was inspired by the vibrant splendor and calming beauty of the Rhine Valley." said Anna Shesterikova about this landscape painting. "My goal was to capture the...

Title: Mid-Century French Pastel of Colourful Garden Trees With Parasol and Villa by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Pastel on unframed paper, with ...

This artwork portrays a serene village landscape transitioning from winter to spring. The foreground features remnants of snow clinging to the rugged terrain, hinting at the season's...

Provencal Landscape by Louis Bellon (French 1908-1998) signed inscribed verso From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed me...

In this piece, the artist depicts his subject in an abstract and impressionistic way, capturing the Arc de Triomphe busy street scene from the 20th Century with much life. The artist...

This stunning British Old Master landscape oil painting, with excellent provenance, is by George Lambert. Lambert was a pioneer of British landscape in art for its own sake. Painted in 1744, the painting is entitled View of a Manor House and Cottages in Elizabeth Einberg's 63rd volume of the Walpole Society 2001 and is described as follows: In the foreground a road emerges from a wood to cross a ford and then leads up the hill to the right, towards a manor house seemingly built into the remains of a medieval or Tudor edifice. The main track, crowded with sheep and rustic figures, passes the massive square gateposts lower down the hill on the left. Further to the left is a thatched cottage with smoke coming out the chimney. In the distance is a wide coastal view. The main buildings, which are in the dead centre of the composition, represent almost certainly an as yet unidentified English view. The colouring and detail in the trees and foliage are superb. This is an excellent Old Master oil painting by one of the all time great British landscape artists with extensive provenance. Signed and dated 1744 lower left on rock in black. Provenance. Elizabeth Einberg, “Catalogue Raisonnè of the works of George Lambert” The Annual Volume of the Walpole Society, 2001 Vol. 63, page 149 no P1744, fig.71. Antonacci Efrati Antichità Rome Gallery. Burden sale, Parke Bernet, New York, 20-21, April 1938 (376 repr.) Robert E. Peters, Sotheby Parke Bernet, New York, March 1975 (41 repr.) Lit. Schnackenburg 1995, pp 83-84, cat. no.14 fig 13. Condition. Oil on canvas, 54 inches by 52 inches and in good condition. Frame. Housed in an ornate gilt frame, 64 inches by 62 inches and in good condition. George Lambert (1700-1765) was an English landscape artist and theatre scene painter. With Richard Wilson he is recognised as a pioneer of British landscape in art, for its own sake. Lambert was born in Kent and studied art under Warner Hassells and John Wootton, soon attracting attention by the quality of his landscape painting. He painted many large and fine landscapes in the style of Gaspar Poussin and Salvator Rosa. Many of his landscapes were finely engraved by François Vivares, James Mason (1710–1785), and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented to the Foundling Hospital in London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre, in London, under John Rich. When Rich moved to Covent Garden Theatre, Lambert secured the assistance of Amigoni, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known "Beefsteak Club" which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of William Hogarth and a member of the jovial society that met at 'Old Slaughter's' Tavern in St Martin's Lane. In 1755 he was one of the committee of artists who proposed a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with George Vertue, Hogarth, and John Pine (engraver, 1660–1756) in obtaining a bill from parliament securing artists a copyright on their works. Lambert's portraits were painted by Thomas Hudson, John Vanderbank (engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others), and Hogarth. Lambert's most famous painting is "A view of Box Hill, Surrey" (1733) which depicts a well-known beauty spot south of London. Hogarth considered Lambert a rival to the famous French landscape painter Claude Lorrain (1600–1682) with respect to his use of soft light to unify the scene in this painting. Though he never visited Italy he was inspired by the classical tradition of landscape painting. Lambert died on 30 November 1765 at his home on the Piazza in Covent Garden. His pupils included John Inigo Richards...

Provence Jean La Forgue (French 1901-1975) signed watercolour, ink on paper, mounted in a card frame inscribed verso card frame: 17 x 22 inches painting: 12 x 17 inches provenance: ...

Fighting Dogs French Provincial School, 18th century, unsigned oil on canvas, framed in period antique wooden frame (walnut?) Framed: 26 x 51 inches Canv...

Beautiful oil on fiberboard painting of fishing boats at the docks of Gloucester by the well known North Fork Long Island artist Caroline M. Bell. Circa 1945. Signed lower left by the artist. Condition is very good. Housed in its original silver leaf over wood frame in restored condition. Overall framed measurements are 20 by 18 inches. Provenance: Sarasota, Florida estate. Biography: Caroline M. Bell (1874 -1870) Caroline Bell was the leader of a group of artists known as the Peconic Bay...

"In the painting "Spring Joy 2" I depicted a bush that blooms every year in May in the place where my route runs when I walk with my dog." said Anna about this landscape painting. "T...

Title: Mid-Century French Pastel Beach Scene With Seated Woman Knitting and Parasols by Anne Marie Migette Perard (French 1902-1977) Medium: Pastel on unframed paper Size: 14.5 inche...

A beautiful oil on canvas painting by the French artist, Salvadore Demone. Deomne was a Parisian painter known for his colorful cityscapes depicting the times of his generation. This...

Artist: Édouard Léon Cortès (French, 1882-1969) Title: "Le Théâtre du Vaudeville (à Paris, France)" Series: Théâtre du Vaudeville *Signed by Cortès lower left Circa: 1950 Medium: Ori...

Monastic Ruins by a Stream French School, early 1800's oil on canvas, framed Framed 15 x 19 inches Canvas : 12.5 x 16 inches Provenance: private collection, France Condition: very go...

Roman painter (18th century) - Landscape with wayfarers. 43.5 x 34.5 cm without frame, 58.5 x 49.5 cm with frame. Antique oil painting on canvas, in a carved and gilded wooden fram...

Sunlit Forest French School, 1970's signed by J.Bredeche ( French School) oil on canvas, unframed Canvas : 21 x 25.5 inches Inscribed verso Provenance: private collection, Paris Cond...

This simply stunning large Old Master landscape oil painting is attributed to noted Dutch artist Adriaen van Diest. Painted circa 1700 this Mediterranean Italian landscape painting has everything; A really interesting landscape with land, river, sea and mountains, interesting figures and cattle and a wonderful sky with fading light. The details and the capturing of the light make this a really fantastic Dutch Old Master country house Grand Tour oil painting. Irresistible. Provenance. Dorset estate. Condition. Oil on canvas, 42 inches by 20 inches and in good condition. Frame. Housed in an English carved giltwood frame, 50 inches by 28 inches framed and in good condition. Adriaen van Diest (1655-1704) was born in the Hague in the Netherlands. Like his father and his brother, he pursued a career as a marine painter, that is, a painter of seascapes and sailing ships. In 1673, attracted by the thriving English market for portraits and marine paintings, he joined the exodus of Dutch artists leaving to work in England. It is thought that his master was Willem van de Velde the Younger...

Provencal Landscape by Louis Bellon (French 1908-1998) Signed and dated 1947 From a batch of similar work where most were dated 1942-1947 watercolour painting on paper, unframed mea...

The splendour of the tragic sea Francesco Guardi and maritime painting in Venetian art No Venetian painter was a stranger to the sea. After all, Venice was not only one of the most prominent ports of the Mediterranean, but indeed a city literally submerged in the ocean from time to time. Curiously however, the famous Venetian school of painting showed little interest in maritime motifs, favouring scenes from the iconic architecture of the city rather than seascapes. That is why this painting is a particularly interesting window into not only the painter Francesco Guardi himself – but to the significance of the element of water in art history, in absence as well as in the centre of attention. Whether it be calm, sunny days with stunning views of the palaces alongside the canals of Venice or – more rarely – stormy shipwrecking tragedies at sea, water as a unifying element is integral to the works of painter Francesco Guardi (1712–1793). During his lifetime, Venetian art saw many of its greatest triumphs with names like Tiepolo or Canaletto gaining international recognition and firmly establishing Venice as one of the most vibrant artistic communities of Europe. While the city itself already in the 18th century was something of an early tourist spot where aristocrats and high society visited on their grand tour or travels, the artists too contributed to the fame and their work spread the image of Venice as the city of romance and leisure to an international audience, many of whom could never visit in person. Still today, the iconic image of Venice with its whimsical array of palaces, churches and other historic buildings is much influenced by these artists, many of whom have stood the test of time like very well and remain some of the most beloved in all of art history. It was not primarily subtility, intellectual meanings or moral ideals that the Venetian art tried to capture; instead it was the sheer vibrancy of life and the fast-paced city with crumbling palaces and festive people that made this atmosphere so special. Of course, Venice could count painters in most genres among its residents, from portraiture to religious motifs, history painting and much else. Still, it is the Vedutas and views of the city that seems to have etched itself into our memory more than anything else, not least in the tradition of Canaletto who was perhaps the undisputed master of all Venetian painters. Born into his profession, Francesco lived and breathed painting all his life. His father, the painter Domenico Guardi (1678–1716) died when Francesco was just a small child, yet both he and his brothers Niccolò and Gian Antonio continued in their fathers’ footsteps. The Guardi family belonged to the nobility and originated from the mountainous area of Trentino, not far from the Alps. The brothers worked together on more challenging commissions and supported each other in the manner typical of family workshops or networks of artists. Their sister Maria Cecilia married no other than the artist Giovanni Battista Tiepolo himself, linking the family to the most renowned Venetian name of the time. During almost a decade, Guardi worked in the studio of Michele Giovanni Marieschi, sometimes simply known as Michiel, a painted similar in both style and motif. Canaletto is, however, the artist Guardi is most often compared to since they shared a mutual fascination for depicting the architecture and cityscape of Venice. During the course of his career, Guardi tried his hand in many different genres. He was as swift in painting landscapes, Vedutas of Venice, sacred motifs, interiors and architectural compositions as he was in a number of other motifs. His style is typical of the Venetian school but also distinct and personal once we look a little closer. There is an absolute certainty in the composition, the choice of which sometimes feels like that of a carefully calculated photograph – yet it is also very painterly, in the best sense of the word: fluid, bold, sensitive and full of character. The brushwork is rapid, intense, seemingly careless and extraordinarily minute at the same time; fresh and planned in a very enjoyable mixture. His interiors often capture the breath-taking spacious glamour of the palaces and all their exquisite decor. He usually constructed the motif through remarkably simple, almost spontaneous yet intuitively precise strokes and shapes. The result was a festive, high-spirited atmospheric quality, far away from the sterile and exact likeness that other painters fell victim to when trying to copy Canaletto. The painting here has nothing of the city of Venice in it. On the contrary, we seem to be transported far away into the solitary ocean, with no architecture, nothing to hold on to – only the roaring sea and the dangerous cliffs upon which the ships are just moments away from being crushed upon. It is a maritime composition evoking both Flemish and Italian precursors, in the proud tradition of maritime painting that for centuries formed a crucial part of our visual culture. This genre of painting is today curiously overlooked, compared to how esteemed and meaningful it was when our relationship to the sea was far more natural than it is today. When both people and goods travelled by water, and many nations and cities – Venice among them – depended entirely on sea fare, the existential connection to the ocean was much more natural and integrated into the imagination. The schools and traditions of maritime art are as manifold as there are countries connected to the sea, and all reflect the need to process the dangers and wonders of the ocean. It could symbolize opportunity, the exciting prospects of a new countries and adventures, prospering trade, beautiful scenery as well as war and tragedy, loss of life, danger and doom. To say that water is ambivalent in nature is an understatement, and these many layers were something that artists explored in the most wondrous ways. Perhaps it takes a bit more time for the modern eye to identify the different nuances and qualities of historic maritime paintings, they may on first impression seem hard to differentiate from each other. But when allowing these motifs to unfold and tell stories of the sea in both fiction and reality – or somewhere in between – we are awarded with an understanding of how the oceans truly built our world. In Guardi’s interpretation, we see an almost theatrically arranged shipwrecking scene. No less than five ships are depicted right in the moment of utter disaster. Caught in a violent storm, the waves have driven them to a shore of sharp cliffs and if not swallowed by the waves, crushing against the cliffs seems to be the only outcome. The large wooden ships are impressively decorated with elaborate sculpture, and in fact relics already during Guardi’s lifetime. They are in fact typical of Dutch and Flemish 17th century ships, giving us a clue to where he got the inspiration from. Guardi must have seen examples of Flemish maritime art, that made him curious about these particular motifs. One is reminded of Flemish painters like Willem van de Velde and Ludolf Backhuysen, and this very painting has indeed been mistakenly attributed to Matthieu van Plattenberg...

This stunning Neo Classical French 19th century landscape oil painting is by acclaimed French artist Jean Victor Bertin. He was also an early proponent of sketching out doors and dir...

Carnival in Rome in Piazza Colonna Roman school of bamboccianti (mid-17th century) - workshop of Michelangelo Cerquozzi (Rome 1602 - Rome 1660) Oil on canvas 74 x 96 cm. - Framed 88...

Title: Mid-20th Century French Ink Drawing of Trees and Stream With Cottage by Anne Marie Migette Perard (French 1902-1977) Signed: Yes Medium: Ink and pencil on unframed paper Size:...

This post-impressionist painting is signed, titled and dated 1955 by the artist, but the signature is difficult to decipher. It is oil on masonite board and is titled “Les Coquelico...

"Sunset Over the Lake" by Carl Kjellin is a Nordic Light painting capturing the ephemeral beauty of a lake at sunset. The vibrant canvas, dominated by a b...

The Old Town, Nice Tony Minartz (French, 1873 - 1994) signed lower corner watercolour on artist paper painting : 16.5 x 13 inches Provenance: private collection in the South of Fr...

Large, impressive seascape of rolling surf pounding the rocky shore of Capri. Signed lower left by the Italian artist Guido Odierna. Circa 1975. Conditi...

In this piece, the artist depicts his subject in an abstract and impressionistic way, capturing the Cafés busy street scene with the moulin rouge portrayed in the distance. The arti...

This is an original work by Andre Kohn. Growing up near the Caspian Sea, Kohn's received a formal art education from the University of Moscow where he studied with members of the la...

Green Forest View by Gilbert Pelissier (French born 1924) signed and dated 79' on verso oil painting on canvas, unframed canvas size: 24 x 20 inches condition: overall very good, a ...

In this vibrantly textured oil painting, I explore the jubilant essence of autumn's splendor. Each brushstroke represents a joyful dance of leaves, swirling in the brisk air, encapsu...

Mid-century figurative seascape with boats by Henryk Dzienczarski, (Poland, b-1917). Signed "H. Dzienczarski" lower right. Displayed in a wood fra...

Provence by Max Toutain (1935-2006) oil painting on canvas, unframed canvas : 24 x 29 inches Provenance: all the paintings we have by this artist have come from the artists estate in...

Parisian Street Scene signed by Regine David (female French artist, 1910-2018) gouache painting on artist paper, unframed panting: 20 x 12.5 inches inscribed verso condition: This pa...

Italian painter (19th century) - Satirical allegory of the papacy and Austrian empire. 28.5 x 24 cm without frame, 32 x 26.5 with frame. Oil on panel, in gilded wooden frame. Cond...

This large superb British Old Master horse portrait oil painting is by noted artist John Boultbee. Painted circa 1790, the composition is a beautif...

Summer Village by Max Toutain (1935-2006) oil painting on canvas, unframed canvas : 24 x 20 inches Provenance: all the paintings we have by this artist have come from the artists est...

This superb 17th century French Old Master oil painting is attributed to Jean Francois Millet. Painted circa 1670 it is a classical landscape with figures by a bend in a river in the...

A powerful scene of a harbor depicting several colorful sailing boats with rich color tones and bold brushwork. An oil on canvas impressionist painting with much attention to detail....

The Flower Market French Post-Impressionist, circa 1930's oil on board, framed framed: 15.5 x 15 inches board: 14 x 13 inches provenance: private collection, Nice, France condition: ...

A fine 20th Century Modernist figurative oil painted by Christian Pedersen Bellinge (1897-1984) oil on canvas 60cm x 70cm painted wooden frame 68cmx 78cm A good late work by the well...

“We will remember” The painting "We Will Remember" was created as a continuation of the theme of memories tied to the city of Mariupol. Why this city in particular? It was devastat...

The Luberon Hilltop Perched Village French Impressionist artist, signed lower corner, inscribed verso dated 2016 oil on canvas, unframed canvas: 32 x 39.5 inches provenance: private...