Landscape Paintings

Floating Between Wars, 2021 Oil on canvas 23 5/8 H x 19 11/16 W in. 60 H x 50 W cm The painting imagines a city in a continuous present in which elements of the past intertwine with...

Highway Derelict, May, 1939, oil on canvas board, signed upper right, 18 x 20 inches, exhibited 1) Society of Independent Artists, American Society of Fine Arts (Art Students League)...

A beautiful mid 20th century Modern British oil on canvas depicting a red house on Hampstead Haeath, by Arnold Auerbach. The work is signed upper right and presented in a painted wo...

Work on canvas Frame in plaster and molded and gilded wood 67 x 59.5 x 6 cm

Modernist landscape oil painting by Suzanne Schweig Langsdorf Martyl (1917/18 - 2013). Oil on board. Signed. Framed. Measuring 28 by 32 inches overall and 20 by 24 painting alone.

Modern impressionist style figurative painting of a family in a colorful park landscape “Park Spring” painted by William Clutz in 1996 60 x 50 inches in a natural wood floater frame Wire backing, signed lower right This figurative oil on canvas painting was made in 1996 by William Clutz as part of a series of works called "Crossings". These paintings were a study of NYC dwellers engaging in the simple, daily activity of crossing the street. In this piece, Clutz captures a joyful moment of a mother and father walking in a sunlit park landscape with their young child. Bright sunlight radiates through lush fall foliage and fills the scene with a soft orange light. With broad, expressionistic brushstrokes, he discovers the extraordinary in the ordinary, by emphasizing the effects of sunlight on the human form. The painting is in excellent condition and is framed in a natural wood floater frame. More about the artist: In New York in the early 50's and 60's, abstract expressionism was the orthodox approach to art at the time. However, Clutz was committed to his personal style that focused on abstracted human figures within urban tableaux. Working in a context of artists who challenged abstract expressionism's popularity in New York, Clutz established himself as a significant proponent of abstract figuration. His paintings focus on human figures within the urban environment, often exposing the transfiguration of his subjects as they travel through the complex light of city streets or summer parks, as shown in two of his early works. Clutz's interest in working from direct observation of urban life was influenced by a long-standing interest in German Expressionism, as well as artists like Henri Matisse, Arshile Gorky, and Nicholas De Stael...

Herbert THEURILLAT is an artist born in 1896 and died in 1987. His works have been sold at public auction 29 times, mainly in the Painting category....

English Farmhouse with Horses, Figures, Fields, Trees & Lake entitled 'Winters Morn' by 20th Century British Artist. Art measures 36 x 24 inches Frame measures 41 x 30 inches Ch...

Milton Derr Spring, 1982 Signed lower right; titled and dated verso Oil on canvas 26 x 28 inches Provenance Acquired by descent from the artist to the present owner Milton Derr wa...

Nocturnal is an original modern artwork realized by Giovan Battista Ferrari (1829-1906) in the end of 19th Century. Mixed colored oil painting. Includes frame. Good conditions.

Arabian Horse in Landscape British School, late 20th century oil on canvas, framed canvas: 25.5 x 37 inches framed: 31 x 41 inches the painting is in overall very good and sound cond...

Antique oil on board. Signed. Framed. Measuring 26 by 32 inches overall and 24 by 30 painting alone. In excellent original condition. Excellent condition, ready to hang and enjoy.

Work on watercolor paper

Abstracted landscape by an unknown artist (20th Century). The landscape is made up of patches of color, reminiscent of viewing agricultural land f...

The Blue Sea by Maria Tort Xirau (Catalan, 1924-2018) signed lower corner oil painting on canvas, framed canvas: 29 x 36 inches framed: 32 x 39.5 inc...

Rabbit Hunters, egg tempera on Masonite, 12 x 9 inches, 1947, signed and dated lower left, signed, titled and dated verso “Rabbit Hunters Egg Tempera Roger Medearis 1947,” exhibited at Medearis' solo show at Kende Galleries, New York, in 1949 (Medearis’ record book, a copy of which is held by Vose Galleries in Boston, MA, indicates this is painting “No. 23” and that is was completed in 1947 and sold via Kende Galleries (at Gimbel Brothers...

Annieo Klaas Only Pay if We Win (Yester Oaks and Montlimar) 2024 Oil on Wood Panel 12 x 12 inches (30.48 x 30.48 cm) Signed verso COA provided *Ready to hang Annieo Klaas’s Alabama...

Claude Sauthier was born in Geneva, Switzerland, in 1929 and passed away in the same city in 2016. He studied at the Geneva School of Decorative Arts and initially worked as a graphi...

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Titled "Old Church, San Miguel de Allende (Spanish Plaza)", the p...

A large tonal, Mid-Century harbor scene with boats by French artist Georges Rocher. Artwork size: 24" x 30". Framed size: 31" x 36". Georges Rocher was born in Casablanca, Moroc...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

 Realized by Mustapha Yehya in the mid-20th century. Hand signed. In excellent condition, it includes a coeval wooden frame.

Impressive early American impressionist landscape painting by Will S. Taylor (Born 1882). Oil on board. Framed. Signed. Image size, 12 by 13 inches.

Artist/ School: French School, mid 20th century, follower of Henri Matisse Title: The Pink House. Medium: oil on board, framed Framed: 22.5 x 25.5 inches Painting: 15 x 18 inches...

Carl Schirm was a German painter of landscapes. Between 1880-1881 he made, together with Eugen Bracht, a long journey to Egypt, Palestine and Syria, at the end of which emerged lands...

Wayne Beam Morrell (American, 1923-2013) Untitled (Coastal Scene, Massachusetts), 20th century Oil on board 15 1/2 x 20 in. Framed: 24 x 27 1/3 in. Signed lower right Wayne Morrell ...

Mountain & Lake in Ireland Countryside - Oil Painting by Northern Irish Artist, Dennis Orme Shaw Art measures 12 x 10 inches Frame measures 18 x 16 inches Dennis Orme Shaw was b...

Louis Toffoli (1907-1999) Peru : Quiet Square Original oil painting Signed bottom right On canvas 65 x 92 cm (c. 26 x 36 inch) Presented in a golden wood frame 84 x 110 cm (c. 33 x ...

Signed oil on canvas landscape circa 1980 by French modernist painter Andre Hambourg. This beautiful piece depicts families enjoying a day out at the seaside in the height of summer....

Antique American school modernist landscape painting. Oil on canvas. Framed. Signed.

Antique American school modernist still life painting. Oil on board. Signed. Framed. In excellent original condition. Handsomely framed in a gold giltwood molding. Excellent c...

Contemporay English School signed oil painting on copper panel in impressive gilt frame framed: 13 x 14.5 inches panel: 8 x 10 inches provenance: private collection, England conditi...

View of a Port "59" French Modernist School Oil on canvas Illegibly signed. l.r., dated "59" 28 3/4 x 23 3/4 (30 x 25 frame) inches A positively brilliant, Modernist view of a French port...

Antique American modernist cityscape oil painting. Oil on canvas. Framed. No signature found.

Genevieve Hamel Soft & Fluffy Oil on Wood Panel Year: 2024 Size: 36 x 18 x 1.625 inches Signed by hand COA provided Ref.: 924802-2096 Soft & fluffy are the perfect words to describe...

Ernest Voegeli is an artist who has found his path through a combination of solid technique and a clear, insightful approach to color, form, and composition. While his work is primar...

Finely painted contemporary tropical landscape. Oil on canvas. Framed. Signed verso.

View over the Bay of Naples is an orginal old master artwork realized by Master of Northern Europe School of the second half of 19th Century. Mixed colored oil on canvas. Relined....

Oil on canvas. Framed. Signed.

Finely painted American modernist landscape by Anthony Toney (1913 - 2004) . Oil on board. Signed. Housed in a great vintage modernist frame.

Transport yourself to the heart of Paris during the enchanting 1940s with this exquisite original painting by the renowned artist Moura Chabor (1905 - 199...

Clean and modern still life against a landscape background by Kipp Stewart (American, b. 1928). The still life consists of a rose in a pitcher, two Native American baskets (Salish an...

Antique American modernist landscape pastel painting. Pastel on board. Framed in plexi box.

Vintage 1970's Harbour Scene with Moored Boats & Fishermen by British Artist, William Stockman (1935-2021). Art measures 31 x 15 inches Frame measures 36 x 20 inches Fishermen mend...

Landscape, c. 1930-40s, oil on panel, signed lower right, 16 x 20 inches Jeanette Maxfield Lewis was a California-based landscape painter and etcher. Born in Oakland, she spent much...

VIA APPIA Size: 51.5 x 61.5 cm (including frame) Oil on board A serene depiction of the historic Via Appia, one of Rome’s most storied ancient roads, painted by Swedish artist Eric ...

Impressive contemporary abstract expressionist painting by Stephen Heigh. Oil on canvas. Signed. Image size, 14H x 11L.

This piece came from the collection of the Bezalel Art Gallery on the Lower East Side of New York City. Emmanuil Snitkovsky is an internationally known artist, sculpture and poet. Emmanuil Snitkovsky was born into a family of artists and scholars from the Odessa Art College in Russia. Immersed in the traditions of Russia art, he approaches form, line, space and color with relentless vision and impeccable technique. Two highly successful artists, the husband and wife team of Emmanuil and Janet Snitkovsky have exhibited a selection of eight large Judaic paintings at the Chabad Chassidic Art Institute (Chai Gallery) in Crown Heights. Three of those paintings are truly singular visions of Jewish Art that cause us to stop and reassess our preconceptions about the meaning and importance of their subjects. Emmanuil and Janet Snitkovsky were both born in the Ukraine in the 1930′s. Emmanuil was trained in Odessa in public monument art, and Janet majored in fashion at the Lvov Decorative Art Institute. After both narrowly survived the devastation of the Second World War in Stalin’s Russia, they began to collaborate on state sponsored art works in 1962. For ten years, they worked on grandiose public sculptural projects to commemorate the fallen Russian heroes of the Second World War in Moscow, Kiev, Tula and Kazan. They were exemplary Soviet Realists working for the Soviet regime. Eventually, this career became untenable for them, both as artists and as Jews, when they clashed with Soviet officialdom over a commission to commemorate the Babi-Yar massacre. The Soviets refused to acknowledge this massacre of 100,000 Jews and eventually suppressed the memorial. In 1978, Emmanuil and Janet arrived in New York and began to recreate their artistic lives. In the ensuing 25 years, they have been quite successful, exhibiting widely in the United States and Europe. They have nurtured a hybrid style of painting and sculpture called “Renaissance Revival” combining contemporary and classical subjects in a stylized realism that evokes both the American regionalist Thomas Hart Benton and the Italian Renaissance master Sandro Botticelli. The works are highly proficient, polished, and commercial productions in a quirky decorative style. They have continued to accept sculptural projects that have not shied away from kitschy realistic sculptures of Charlie Chaplin as “The Kid,” The Little Tramp” and Buster Keaton as “Cameramen.” In some ways, they have appropriated American culture just as they once accepted Soviet culture. Janet, a graduate of the Lvov College, was invited- by virtue of the high honors she achieved there- to matriculate at the Lvov University of Art. Such an opportunity is extremely rare for anyone, particularly for someone of Jewish descent. Their works of art are included in collections of the Japanese Imperial Family...

COASTAL ROAD Size: 47 x 70 cm (including frame) Oil on board A large mid-century modernist landscape painting that captures a serene coastal scene where a quiet road runs parallel t...

Annieo Klaas Daydream No. 1 2024 Oil on Canvas 30 x 24 inches (76.2 x 60.96 cm) Signed lower right COA provided *On stretcher frame - gallery wrapped - ready to hang Annieo Klaas i...

A large, dynamic Mid-Century Modern summer landscape painting with standing female bathers by noted Chicago artist, Rudolph Pen. A wonderful example of the artist's uniquely express...

Theodore Waddell Midnight Angus Drawing #3 (Midwest, Cattle, Mid-Century, Prairie, Blue) Oil on Paper Year: 1990 Sheet Size: 30 x 40 inches (76.2 x 101.6 cm) Mat Size: 33.5 x 43.5 in...

Jean-Jacques RENÉ Garden Under the Snow Original oil painting on canvas Hansigned 61 x 50 cm (c. 24 x 20 inch) Excellent condition

Oil on canvas. Framed. Image size, 18H x 24L.

White Sands New Mexico, Mid-Century Southwest Desert Landscape by Vannerson Gorgeous desert scene by award winning, self-taught artist Dr. Lucien C. Vannerson (American, 20th Centur...

Vintage American school modernist painting. Oil on canvas, circa 1940. Unsigned. Image size, 30L x 24H. Housed in a period frame.

Elizabeth Dailey Untitled, c. 20th Century Oil on board Sight: 19 1/2 x 23 1/2 in. Framed: 21 x 25 x 1 in. Signed lower right: Elizabeth Dailey This lovely painting by an American a...

Mid Century California Oak Tree Original Oil Painting by Louise Cunningham Iconic California Oak tree during summer with golden tones and olive green foliage by Santa Cruz, California artist Louise H. Grosset Cunningham (American, 1881-1983) circa 1960. Displayed in a new carved giltwood frame. A gem of a California landscape painting by one of the six Monterey Bay area distinguished women artists. Medium: Oil paint on canvas Signed lower right "Louise Cunningham" Condition: Excellent Presented in new, gold gilt-toned wood frame Image, 16"H x 20"L. Framed size: 22"H x 26"W x 2.50"D A painter / architect/ pasteli, Louise Cunningham was born in Berkeley, California on May 4, 1881 of French parents. (Her uncle, Jules Jacques, was a distinguished Paris artist and a member of the French Royal Academy.) Louise Grossett began her art studies at age eleven at the Mark Hopkins Institute in San Francisco a program run by UC Berkley. She then spent most of her life as a resident of California, Berkley, San Francisco, Mt Lassen, Yosemite and then retired to Felton CA in 1955, She ran art classes from her studio on Lazy Woods Rd. She was the wife of Robert Cunningham...