Landscape Paintings

Signed lower right Sight size 10 x 14 inches Overall size with blue mat and walnut and gold liner frame 17.5 x 21.5 inches. Circa 1910

Vivid abstracted landscape of Monument Valley, Utah by N. Mallory (American, 20th Century), circa 1945. Signed lower left corner. Condition: Good: Some edge and corner wear consisten...

Lionel S. Reiss (1894 - 1988) Lobstermen in Gloucester, Massachusetts, circa 1943 Watercolor on paper Sight 17 1/2 x 23 inches Signed lower left Provenance: Private Collection, Las Vegas, Nevada In describing his own style, Lionel Reiss wrote, “By nature, inclination, and training, I have long since recognized the fact that...I belong to the category of those who can only gladly affirm the reality of the world I live in.” Reiss’s subject matter was wide-ranging, including gritty New York scenes, landscapes of bucolic Bucks County, Pennsylvania, and seascapes around Gloucester, Massachusetts. However, it was as a painter of Jewish life—both in Israel and in Europe before World War II—that Reiss excelled. I.B. Singer, the Nobel Prize winner for Literature, noted that Reiss was “essentially an artist of the nineteenth century, and because of this he had the power and the courage to tell visually the story of a people.” Although Reiss was born in Jaroslaw, Poland, his family immigrated to the United States in 1898 when he was four years old. Reiss's family settled on New York City’s Lower East Side and he lived in the city for most of his life. Reiss attended the Art Students League and then worked as a commercial artist for newspapers and publishers. As art director for Metro-Goldwyn-Mayer, he supposedly created the studio’s famous lion logo. After World War I, Reiss became fascinated with Jewish life in the ‘Old World.’ In 1921 he left his advertising work and spent the next ten years traveling in Europe, the Middle East, and North Africa. Like noted Jewish photographers Alter Kacyzne and Roman Vishniac, Reiss depicted Jewish life in Poland prior to World War II. He later wrote, “My trip encompassed three main objectives: to make ethnic studies of Jewish types wherever I traveled; to paint and draw Jewish life, as I saw it and felt it, in all aspects; and to round out my work in Israel.” In Europe, Reiss recorded quotidian scenes in a variety of media and different settings such as Paris, Amsterdam, the Venice ghetto, the Jewish cemetery in Prague, and an array of shops, synagogues, streets, and marketplaces in the Jewish quarters of Warsaw, Lodz, Krakow, Lublin, Vilna, Ternopil, and Kovno. He paid great attention to details of dress, hair, and facial features, and his work became noted for its descriptive quality. A selection of Reiss’s portraits appeared in 1938 in his book My Models Were Jews. In this book, published on the eve of the Holocaust, Reiss argued that there was “no such thing as a ‘Jewish race’.” Instead, he claimed that the Jewish people were a cultural group with a great deal of diversity within and between Jewish communities around the world. Franz Boas...

Nicely painted impressionist coastal view with a lighthouse. Oil on canvas. Framed. No signature found.

This is a lovely oil on canvas painting of a warm evening on a Surrey common. This original painting is circa the 20th Century and is by the English Artist D...

Signed lower right "H.V. Mook" (Dutch, born 1905) and painted circa 1925. A delicate, early-20th-century Impressionist oil landscape showing a pastel view of sand dunes sprinkled wi...

Wonderful 1940's Swiss winter scene with snow covered chalet in valley, by an unknown artist, c.1940's. Signature illegible lower right. Presented in period rustic frame. Image size...

Work on canvas Gilded wood frame 28,5 x 38 x 3 cm

Piero Sansalvadore (1892-1955) Chithurst Bridge Sussex Signed Sansalvadore. Titled to verso. Oil on wood panel 21.5 x 28cm (8.5 x 11 in) Provenance: Stacy-Marks Gallery, Eastbourne,...

French southern seascape oil painting on canvas By Michel Richard Putz Bio : Michel Richard-Putz was born in Ichitem, Belgium in 1868. He moved to Paris in the 1880's where he stud...

Antique French Impressionist oil painting on panel by Paul Louis Poseler (XIX-XX), circa 1900. The painting depicts a scene o...

Carl Frederick Gaertner (American, 1898-1952) Winter Rooftops, 1945 Oil on board Signed and dated lower right 9.5 x 13 inches 17 x 20.5 inches, framed Carl Gaertner was one of the g...

Nathan Hoffman Manhattan from the Rooftops, July 1, 1947 Signed, dated and estate stamped on the reverse Oil on board 15 3/4 x 20 inches Born in Russia...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

A charming painting of a quaint lake at night with the moon reflecting on calm waters. Bearing an Albright Knox Art Gallery "Art Week" label from 1941 t...

Here I’m selling a very interesting work by an Important female American impressionist painter Lee Lufkin Kaula (1865-1957). Painting has Four Different EXHIBITION Labels: 1. Boston Art Club Exhibition 2. Pennsylvania Academy Fine Arts 1907 Exhibition 3. Poland Spring Gallery Exhibition 1908 4. The Arts Student League Of New York I Purchased this painting a few weeks ago as an unsigned impressionist...

Antique American surreal abstract landscape painting Will Hollingsworth. Oil on canvas, circa 1940. Signed. Displayed in a period modernist fr...

Signed and dated figure in landscape oil on board by French impressionist painter Charles Lacoste. A truly stunning piece with depicts a nighttime view of a Parisian street with a single woman dressed in a black coat and hat standing in the centre of of dark square which is being dimly lit by the street lights overhead. The outline of trees and the city's buildings can be seen in the distance. Signature: Signed and dated 1904 lower right. Dimensions: Framed: 24.5"x31" Unframed: 18.5"x25" Provenance: Wildenstein & Co - New York "Charles Lacoste: A Forgotten Nabi" 2002 This work is accompanied by the catalogue published to accompany the exhibition “Charles Lacoste: A Forgotten Nabi” held at Wildenstein in New York from January 30 to March 2, 2002 The son of a Bordeaux accountant and a creole mother, he met in high school the future poet Francis Jammes and Gabriel Frizeau the legendary art collector. He taught himself to paint and from 1894 to 1897 he made several important contacts: André Gide, Arthur Fontaine...

Frank Waller (American, 1842-1923) House and Garden, Morristown, 1908 Oil on canvas, 18 1/2 x 12 inches Framed: 23 x 16 inches (approx.) Dated and inscr...

Shooting Gallery Mid 20th Century American Scene Social Abstract Realism Modern *William Kienbusch (1914 – 1980) Shooting Gallery, Sixth Avenue Post...

To see our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the artist you want. Clifford...

Antique American school winter impressionist landscape oil painting. Oil on board. Nicely framed. Signed. Image size, 16L x 12H.

Piero Sansalvadore (1892-1955) Queens’ College Cambridge Signed Sansalvadore. Titled to verso. Oil on wood panel 21.5 x 28cm (8.5 x 11 in) Provenance: Stacy-Marks Gallery, Eastbourn...

Antique American impressionist coastal painting by Clarence Braley (1854 - 1927). Oil on canvas, circa 1900. Signed. Displayed in a period modernist ...

"Twilight of History" is an original oil on board painting by Frederick Shane (1906-1992), created in 1947. This captivating piece depicts a powerful scene reflecting the "twilight" ...

Outsider Folk Art American Mid-Century Naive WW2 Self Taught WPA Depression Era "Victory for Now" Ralph Fasanella (1914-_1997) "Victory and After,” gouache on paper. Signed, titled...

Antique American modernist landscape painting by Marion D Freeman Wakeman (1891 - 1953). Oil on canvas. Framed. Signed. Image size, 26H x 20L

Summer Resort in Michigan is an exceptional work painted by the Chicago Modernist, William Schwartz. He studied at the Art Institute of Chicago shortly ...

In an original Harer frame. Illustrated in "Daniel Garber Catalogue Raisonne" Vol. II, pg. 271, and in book titled "Blue Chips", pg. 33 Jim’s of Lambertville is proud to offer this artwork by: Daniel Garber (1880-1958) One of the two most important and, so far, the most valuable of the New Hope School Painters, Daniel Garber was born on April 11, 1880, in North Manchester, Indiana. At the age of seventeen, he studied at the Art Academy of Cincinnati with Vincent Nowottny. Moving to Philadelphia in 1899, he first attended classes at the "Darby School," near Fort Washington; a summer school run by Academy instructors Anshutz and Breckenridge. Later that year, he enrolled at the Pennsylvania Academy of the Fine Arts. His instructors at the Academy included Thomas Anshutz, William Merritt Chase and Cecilia Beaux. There Garber met fellow artist Mary Franklin while she was posing as a model for the portrait class of Hugh Breckenridge. After a two year courtship, Garber married Mary Franklin on June 21, 1901. In May 1905, Garber was awarded the William Emlen Cresson Scholarship from the Pennsylvania Academy, which enabled him to spend two years for independent studies in England, Italy and France. He painted frequently while in Europe, creating a powerful body of colorful impressionist landscapes depicting various rural villages and farms scenes; exhibiting several of these works in the Paris Salon. Upon his return, Garber began to teach Life and Antique Drawing classes at the Philadelphia School of Design for Women in 1907. In the summer of that same year, Garber and family settled in Lumbertville, Pennsylvania, a small town just north of New Hope. Their new home would come to be known as the "Cuttalossa," named after the creek which occupied part of the land. The family would divide the year, living six months in Philadelphia at the Green Street townhouse while he taught, and the rest of the time in Lambertville. Soon Garber’s career would take off as he began to receive a multitude of prestigious awards for his masterful Pennsylvania landscapes. During the fall of 1909, he was offered a position to teach at the Pennsylvania Academy as an assistant to Thomas Anshutz. Garber became an important instructor at the Academy, where he taught for forty-one years. Daniel Garber painted masterful landscapes depicting the Pennsylvania and New Jersey countryside surrounding New Hope. Unlike his contemporary, Edward Redfield, Garber painted with a delicate technique using a thin application of paint. His paintings are filled with color and light projecting a feeling of endless depth. Although Like Redfield, Garber painted large exhibition size canvases with the intent of winning medals, and was extremely successful doing so, he was also very adept at painting small gem like paintings. He was also a fine draftsman creating a relatively large body of works on paper, mostly in charcoal, and a rare few works in pastel. Another of Garber’s many talents was etching. He created a series of approximately fifty different scenes, most of which are run in editions of fifty or less etchings per plate. Throughout his distinguished career, Daniel Garber was awarded some of the highest honors bestowed upon an American artist. Some of his accolades include the First Hallgarten Prize from the National Academy in 1909, the Bronze Medal at the International Exposition in Buenos Aires in 1910, the Walter Lippincott Prize from the Pennsylvania Academy and the Potter Gold Medal at the Art Institute of Chicago in 1911, the Second Clark Prize and the Silver Medal from the Corcoran Gallery of Art for “Wilderness” in 1912, the Gold Medal from the Panama-Pacific Exposition in San Francisco of 1915, the Second Altman Prize in1915, the Shaw prize in 1916, the First Altman Prize in 1917, the Edward Stotesbury Prize in1918, the Temple Gold Medal, in 1919, the First William A...

Landscape with a river. 1947. Oil on cardboard, 50x72 cm Harijs Veldre (Bullis till 1947) (1927.8.III – 1999.6.V) Harijs Veldre learned in Riga school of appl...

Wonderful figures in night landscape oil on canvas circa 1904 by French impressionist painter and illustrator Andre Devambez. The piece depicts demonstr...

Josep Puigdengolas Barrella (Barcelona (1906 - 1987), was a Spanish landscape painter of the 20th century. The Marqués de Lozoya said of Puigdengolas that ...

Flowers in vase. Caltha. 1947, oil on plywood, 73x54 cm

GUSTAVO BACARISAS Gibraltian, 1873 - 1971 SAINT PETER´S SQUARE, ROME signed "G. BACARISAS. ROMA : 08" (lower left) oil on canvas 19-1/4 x 27-1/4 inch...

This captivating work is a remarkable canvas depicting a serene landscape, where nature is the main protagonist. The painting depicts a majestic view of a mountain range reflected in...

Antique American impressionist oil painting of a fall landscape. Oil on canvas, circa 1900. Apparently unsigned. Displayed in a period giltwood frame. Image size, 50"L x 30"H, ov...

Johan (John Kindborg) (1861-1907) Sweden Nordic Winter Twilight, 1901 oil on canvas signed and dated Kindborg 01. unframed: 48.5 x 33 cm (19 1/8 x 13 in) framed: 58 x 43 cm (22 7/8...

Robertson K. Mygatt (American, 1862-1919) Uplands Oil on panel, 5 1/4 x 6 5/8 inches FRAMED: 9 x 10 1/2 inches (approx.) Exhibition label on verso: "Salamagundi Club/Thumb-box Exhibi...

Boys Swimming Industrial Landscape WPA Mid 20th Century Social Realism Modernism Henry Schnakenberg (1982 - 1970) Boys Swimming Industrial Landscape 11 1/2 x 15 1/2 sight Oil on Canvas Signed lower left 14 1/2 x 18 1/2 inches, Framed Bio In many cases, American artists visited the Armory Show in New York in 1913, and returned to their studios to react to or against what they saw. However, for Henry Ernest Schnakenberg it was much more life altering. Prior to visiting this important exhibition of American and European modernist art...

Antique landscape oil painting with a blazing sunset. Oil on canvas-board, circa 1900. Displayed in a period giltwood frame. Image, 17.5"L x 11.5"H.

Artist: Stephen Enoch Hogley, British (1842 - 1927) Title: Mountain Landscape Year: circa 1900 Medium: Oil on Canvas, signed verso Size: 16 x 26 in...

Original 1940s grayscale watercolor painting by American artist Charles Ragland Bunnell, capturing a semi-abstracted view of the Golden Cycle Mill in Colorado Springs, Colorado. Painted in subtle shades of black and gray, this unique WPA-era landscape combines industrial subject matter with expressive, modernist style. A striking piece of American regionalist art from the mid-20th century. The work is presented in a custom black frame. Framed dimensions: 18" H x 19 ½" W x 1 ⅜" D Sight size: 8 ⅛" H x 9 ⅝" W The Golden Cycle Mining and Reduction Company, depicted in this piece, was a major part of Colorado's mining boom in the early 20th century. Located in Colorado City (now part of Old Colorado City), the mill played a significant role in the region’s gold production and industrial development. About the Artist: Charles Ragland Bunnell (1897–1968) Charles Bunnell was a pivotal figure in Colorado’s 20th-century art scene. He worked across multiple styles—from representational landscapes to fully abstract compositions—and was one of the few artists in Colorado to successfully embrace the evolving trends of Modernism, Surrealism, and Abstraction after WWII. Bunnell studied under notable artists at the Broadmoor Art Academy, including Ernest Lawson and Birger Sandzén. His early works, including regional landscapes and mining scenes like this one, showcase a mix of American Scene painting and semi-abstract structure. He later became known for his bold experimentation with color, form, and geometry, producing both expressive oils and ink-watercolor series such as Black and Blue. He participated in multiple New Deal art...

Signed and dated oil on original canvas by French post impressionist painter Paul Madeline. This beautiful work depicts a mill on the bank of a river - water cascading over the rocks...

Artist: Margaretha E. Albers, American (1881 - 1977) Title: South Street, New York Year: circa 1940 Medium: Oil on Canvas, signed l.r. Size: 20 in. x 16 in. (50.8 cm x 40.64 cm)

Naturalistic painting of a mare and foal as they travel down a dirt path near the seaside. Signed and dated in the front lower right corner. Currently hung in a vintage gold frame D...

Eugène DESHAYES (1868 – 1939) View from Algéria Coast Oil on canvas signed low right Frame gilded with gold leaves Dim canvas : 82 X 116 cm Dim frame : 107 X 141 cm DESHAYES Eugène François...

A fine impressionist oil painting of a woman sitting near a fence by American artist John Rutherford Boyd (1884-1951). Boyd was born in Philadelphia, PA, and attended the Pennsylvania Academy of Fine Arts, where he studied under American painter Thomas Anshutz...

"Time Remembered" Mid 20th Century NYC Modern American Scene WPA El Railway 1940 A view of the Third Avenue El (elevated railway) at 28th Street, New York. Signed lower left. Titled verso. c. 1940. oil on board c. 1940, 27.875 h × 21.75 w inches. BIO Staats Cotsworth...

Artist: Josef Hallberg (Austrian, Born in 1912- ) Title: The Ploughman Medium: Oil on Panel Dimensions: Framed 14” x 12”, Unframed 9” x 7” Description An oil painting of an Aust...

Let's gain a higher perspective!

"Figures, Boats, and House - Cape May Point, NJ" is a Pennsylvania Beach Scene by American Impressionist painter Albert Van Nesse Greene. The ...

La obra va firmada por el artista en la parte inferior La obra se presenta enmarcada con un marco de la época de la obra Medidas obra: 15 cm. altura x 29 cm. ancho Medidas obra: 3...

EDUARDO LEÓN GARRIDO Spanish, 1856- 1949 PLACE CLICHY signed "E. L Garrido" (lower right) oil on canvas 24-1/8 x 19-3/4 inches (61 x 50 cm.) framed: 33-1/4 x 28-7/8 inches (84 x 73 cm.) PROVENANCE Private Spanish Collector Fresh and bright view of Clichy Square, Paris, where Leon Garrido offers us his most impressionistic and innovative technique. The work has a pyramidal composition, from where monument to "Mariscal Moncey" on an 8 meter high pedestal and decorated with bas-reliefs that dominates the entire square. The florist occupies a central place, from which distinguished figures appear around her. Its delicate and smooth chromaticism in gray and pearly dark almost black and a touch of red. Eduardo León Garrido (Madrid, 1856 - Caen, 1949) was a Spanish painter. He began his training at the Higher School of Painting in Madrid and as a disciple in Vicente Palmaroli...

Medium: Oil on Canvas Signature: Signed Lower Right Du Pont Safety Calendar, 1941, June # 2270 in the Catalogue Raisonné, 2009

This vintage 1940s original oil painting beautifully captures the essence of Boulder Canyon, showcasing the stunning Colorado landscape with majestic mountains and vibrant Aspen trees in their autumnal glory. The piece highlights the rich fall colors of gold, orange, and red as the Aspen leaves turn, reflecting the serene beauty of Colorado's mountainous terrain. Presented in a custom gold frame, the outer dimensions are 25 ¼ x 21 ¼ x 1 ½ inches, while the image size itself measures 22 ¼ x 18 ¼ inches. About the Artist: Irene Fowler (1884-1969) was an influential figure in the development of Denver's art scene. Born in Illinois, she moved to Denver where she became a public school teacher and a founding member of the Denver Artist’s Guild (now the Colorado Artist’s Guild). Throughout her career, Fowler painted stunning landscapes in oil and watercolor, most often working en plein air to capture the natural beauty of Colorado's diverse scenery. Known for her landscapes of Colorado, Fowler expertly depicted the unique features of the region: towering mountains, quaking Aspen trees, and rustic mining towns. Her work is marked by an exceptional understanding of the thin mountain air and luminous sunshine that make Colorado’s landscape so striking. Fowler was a prominent figure in the Denver art community, exhibiting her works at major venues such as the Schlier Gallery, Chappell House, the University Club...

Wonderful 1940s figurative of paper boy reading the comics by Louise Miller Clark (American, 20th Century). Signed "Louise Miller" lower right. Unframed. Im...

Untitled (Houses and Railroad Tracks), c. 1940s, oil on canvas board, signed lower right, 16 x 20 inches, presented in a newer frame This work is part of our exhibition America Coas...

Oil Painting by J Laslelles "A Scene in Epping Forest" flourished 1895 -1920 London painter of atmospheric landscapes in his soft impressionistic style. Oil on canvas. Signed title o...