Landscape Paintings

This enchanting watercolor, measuring a mere 4.5 x 8 cm, offers a glimpse into the beauty of a serene autumn landscape overlooking Lake Möckeln, nestled between the municipalities of Degerfors and Karlskoga in the province of Värmland, Sweden. In this picturesque scene, the horizon reveals the serene outline of the distant shoreline, adorned with several small islands. The tranquil waters mirror the reflection of the trees on the land, creating a harmonious and captivating play of colors. In the foreground, a solitary birch tree stands tall, adding depth and perspective to this miniature watercolor. The level of precision achieved within this tiny format is truly remarkable, showcasing Fanny Hjelm...

Oil on canvas landscape signed by listed, French artist Achille- Émile Othon Friesz. Dated 1920. Carved and painted frame.

Here for your consideration is an early original oil on canvas painting of boats on Sebago Lake in Maine by the American artist, Thomas Elston Thorne. Signed lower right and dated 19...

Very finely painted American impressionist painting of Washington Square Park in New York City by Robert Wesley Amick (1879 - 1969). Framed. Oil o...

The Banks of the Lake by Marc Guillard (French b.1896) signed oil on board, framed Framed: 22 x 28 inches Board: 21 x 27 inches Inscribed Verso Provenance: Private collection, Loire ...

Rolf Stoll (American, 1892-1978) Spanish Seaside Village (Cadaques Catalonia) Oil on canvas Signed lower right 28 x 38 inches Exhibited: The 11th Annual May Show, Cleveland Museum of Art, 1929 Rolf Stoll, a painter of figure subjects, landscapes and floral still lifes, was an important member of the Cleveland art scene during the second quarter of the century. He was also an influential teacher, as well as one of Ohio’s foremost portrait painters. Rolf Stoll was born in Heidelberg, Germany, in 1892. As a boy, he attended a military academy, during which time he developed an interest in art. He received his early formal training at the Academy of Fine Arts in Karlsruhe and at the Academy of Fine Arts in Stuttgart. He emigrated to the United States in 1912, settling in New York City. A decade later, after studying at the school of the National Academy of Design and supporting himself by working as a commercial artist, Stoll decided to leave New York. Upon the recommendation of Warren Pryor, one of his teachers, he decided to move to Cleveland, Ohio. After arriving in Cleveland, Rolf Stoll continued to work as a commercial artist. However, in 1926, he joined the faculty of the Cleveland School of Art, where he taught drawing. Two years later Stoll was appointed head of the school’s portrait painting department. A talented portraitist, Stoll’s sitters included industrialists, community leaders and many prominent members of Cleveland and Ohio society, as well as over twenty faculty members from Case Western Reserve University. Stoll also gave portrait classes at the John Huntington Polytechnic Institute from 1926 to 1953. In his male portraits especially, he was admired for his ability to convey the dignity of his sitter’s professional position without sacrificing individuality. As noted by one contemporary reviewer, Stoll was a “master of rich color, a searching student of human types, a forceful portrayer of all that the face reveals of the mind and the soul.” In addition to his activity as a portraitist, Rolf Stoll painted figure subjects and floral still lifes. He was also known for his views of the Ohio countryside and Canada. Stoll also painted views of Spain and depictions of Spanish peasants, inspired by an extended trip to that country (1926), during which time he was entertained by the famous Spanish portrait painter, Ignacio Zuloaga. Moving easily between oil and watercolor, Stoll worked in an direct realist style, combining his characteristic firm draftsmanship with the use of simplified forms and decorative color. Rolph Stoll was a member of the Cleveland Society of Artists, the Cleveland Print Club...

This lovely Impressionist Colourist oil painting is a fine example of the work of noted Scottish landscape and animal artist George Smith. He was particularly known for his paintings...

This original 1926 signed oil painting by 20th cenutry artist Charles Ragland Bunnell (1897-1968) beautifully captures the expansive Colorado prairie landscape. Created while Bunnell...

Hungarian Harvest Courtship 1920s Well executed impressionist painting of a Hungarian countryside courtship vignette by a 19th-20th century Hungarian artist Pal Szlavik. some minor s...

Work on canvas

Francois Gueho (1881 - 1952) Board Size: 11 x 16" (28 x 41cm) Outside Frame Size: 17 x 22" (43 x 56cm) Oil on Board. Fully inscribed and titled on the reverse François Gueho was a ...

Luminous 1900 landscape of lake with mountains in background and stunning Aurora Borealis; a canoe rests on the shoreline by R. Briston (American, 20th Century). Signed lower left co...

ADOLF ARTHUR DEHN (American, 1895-1969) San Francisco Bay Area street scene, with Trolley, Streetcar, Cable Car with bay and Alcatraz Island in background. Hand signed LRC. Sight 19" x 15", overall 23" x 19". Adolf Dehn (November 22, 1895 – May 19, 1968) was an American artist known mainly as a lithographer. Throughout his artistic career, he participated in and helped define some important movements in American art, including regionalism, social realism, and caricature. A two-time recipient of the Guggenheim Fellowship, he was known for both his technical skills and his high-spirited, droll depictions of human foibles. Adolph Dehn was born in 1895 in Waterville, Minnesota. He began creating artwork at the age of six, and by the time of his death had created nearly 650 images. Dehn went to the Minneapolis School of Art (known today as the Minneapolis College of Art and Design), where he met and became a close friend of Wanda Gag. In 1917 he and Gág were two of only a dozen students in the country to earn a scholarship to the Art Students League of New York. He was drafted to serve in World War I in 1918, but declared himself a conscientious objector and spent four months in a guardhouse detention camp in Spartanburg, SC and then worked for eight months as a painting teacher at an arm rehabilitation hospital in Asheville, NC. Later, Dehn returned to the Art Students League for another year of study and created his first lithograph, The Harvest. In 1921 Dehn's lithographs were featured in his first exhibition at Weyhe Gallery in New York City. From 1920 to 1921 in Manhattan, he was connected to New York's politically left-leaning activists. In 1921, he went to Europe. In Paris and Vienna he belonged to a group of expatriate intellectuals and artists, including Andrée Ruellan, Gertrude Stein, and ee cummings...

Signature: Signed lower left and on the reverse Provenance: Shannon's Auctions D. Wigmore Fine Art Krushaar Galleries Christie's East October 3, 2000 Hand Carved Period Frame fr...

Urban Silence Among the Rooftops of Paris. Circa1920-1930. Dimensions: 100 x 81 cm • Period: 1920-1930 • French School Oil on canvas. In good original condition.       This ...

"Drama Teacher" 1938 WPA Mid 20th Century American Theatre Surrealism Modernism. 30 x 24 inches. Oil on Canvas. Signed land dated ’38 lower left. The photograph in the listing depicts the artist's friend who taught drama and about whom the painting is based Painter, printmaker and sculptor, Leon Bibel was born in San Francisco in 1913. He trained at the California School of Fine Arts and received a scholarship to study under the German Impressionist Maria Riedelstein. He worked in collaboration with Bernard Zackheim, a student of Diego Rivera, to create frescoes for the San Francisco Jewish Community Center and the University of California Medical School. In 1936 Bibel moved from California to join the Federal Art Project at Harlem Art...

Antique American modernist signed original oil painting. Oil on canvas, circa 1930. Signed illegibly. Image size 20L x 16H. Housed in a period giltwood frame.

Mount Hood From Clear Lake, Early 20th Century Large-Scale Panoramic Landscape Large-scale panoramic oil painting landscape of Mount Hood from Clear Lake by William M. Lemos (Ameri...

Work on canvas mounted on cardboard Silver wooden frame 45 x 50 x 4 cm Wildhaus (Toggenburg) mit den Kurfirsten

Arbre à l'Automne à Saint Paul Raymond Thibesart (France, 1874-1968) Circa 1920's Pastel on paper, signed lower left 12 x 9 inches Raymond Thibesart was born into an affluent famil...

Early 20th Century Oil Painting Grand Canal at Dusk, Venice Italy (2-Sided) Peaceful and substantial romantic scene of a gondolas along Venice's iconic Grand Canal at Dusk by Richar...

This superb marine oil painting is by noted Austrian artist Roland Strasser. Strasser was born in Vienna, studied art in Germany, spent time in Indonesia and finally settled in Amer...

A beautiful, moody & atmospheric summer landscape painting by South Carolina artist June Rutledge, ca. 1925. Artwork size: 24" x 30". Rutledge...

'The Olive Tree Behind the Stone Wall', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC 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...

Old House at Capistrano, Laguna Beach Figurative Landscape by California Pioneer Artist Daisy A. Newell Kearns Substantial and historic mid-1930's period...

Original oil on artist board painting by the Russian/American artist Ben Benn. Signed lower right and signed titled and dated in pencil verso. 1929. Overall in custom contemporary ...

Provence Landscape With Mountain View Artist signed lower right corner, Oil on canvas, late 1920's, size:23"25x 28"25 framed 30" x 35" GALE TURNBULL wa...

A delightful Impressionist scene of a road through a rural village by French painter Raymond Bernanose, painted in 1933. Rendered with confident daubs and strokes in a wonderful pal...

Very impressive impressionist coastal scene. Oil on canvas. Framed. No signature found.

Dick Beer (b. London 1893 - d. Stockholm 1938) Utsikt från fönster, View From a Window, 1920 oil on canvas 73 x 60.5 cm stamp signed painted 1920 Exhibi...

Partial signature, lower right, "..chel", for William (Wilhelm) Frederick Ritschel (German-American, 1864-1949) and painted circa 1925 (Graphite landscape sketch...

Georgina Klitgaard The Ledge, 1936-37 Signed lower right Oil on canvas 30 x 52 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity to assign artist...

Masterfully designed scene of an attractive young Redhead sitting by a canoe under a tree with hanging Spanish moss. It is rendered in a quick Arts and Crafts style that is as abstract as it is representational. The viewer can stare at it endlessly and still discover new pictorial relationships. Every brush stroke and every dap a paint is perfectly placed. Signed lower left. Most likely for Saturday Evening Post or Colliers. Louderback is a painter/illustrator of the Golden Age of Illustration...

Work on paper Green wooden frame and gold border with glass 43 x 51 x 2 cm

A beautiful large 1930's Modern British oil on board depicting a horse in an extensive farmyard. Excellent quality work, presented in a fine antique gilt frame. Artist: British Scho...

Compelling fauvist seascape with boldly colorful ocean waves and glowing sunset by Northern California artist John Ramm (American, 1879-1948), 1929. Impasto brush strokes add depth and interest to high voltage color palette. Signed lower right corner and dated on stretcher "29" . Condition: Good; minor edge losses professionally restored/in-painted. Signature slightly augmented to enhance readability. Image size: 22"H x 28"W. The son of German immigrants, John Henry Ramm was the son of German immigrants, and his father had been a Duke in his native land. Ramm moved to San Francisco in 1893 and worked as an apprentice to a photographer. He married Nettie Hoist in Sacramento and they lived in San Francisco. He was a close friend of painter Manuel Valencia...

Transport yourself to the picturesque landscapes of Golden, Colorado, with this breathtaking vintage oil painting on canvas by acclaimed artist Robert Alexander Graham. Dating back t...

'The Church in Billy' (Calvados Region Normandy), oil on canvas by André Lemaître (1936). Billy is a former commune in Normandy, France. This depiction ...

Morris Kantor, American, 1896-1974 Seaside View, 1930 Hand signed M. Kantor and dated 1930 lower right Oil on canvas 22 1/4 x 19 1/4 inches 24 1/2 x 21 (frame) Morris Kantor (Belarusian: Морыс Кантор) (1896-1974) was a Russian Empire-born American painter based in the New York City area. This is a beautiful boat scene with a river or lake probably on Long Island. Born in Minsk on April 15, 1896, Kantor was brought to the United States in 1906 at age 10, in order to join his father who had previously relocated to the states. He made his home in West Nyack, New York for much of his life, and died there in 1974. He produced a prolific and diverse body of work, much of it in the form of paintings, which is distinguished by its stylistic variety over his long career. Perhaps his most widely recognized work is the iconic painting "Baseball At Night", which depicts an early night baseball game played under artificial electric light. Although he is best known for his paintings executed in a realistic manner, over the course of his life he also spent time working in styles such as Cubism and Futurism, (influenced by the Art Deco movement) and produced a number of abstract or non-figural works. A famous cubist, Futurist, painting of his "Orchestra" brought over 500,000$ at Christie's auction house in 2018. Kantor found employment in the Garment District upon his arrival in New York City, and was not able to begin formal art studies until 1916, when he began courses at the now-defunct Independent School of Art. He studied landscape painting with Homer Boss (1882-1956). In 1928, after returning to New York City from a year in Paris, Kantor developed a style in which he combined Realism with Fantasy, often taking the streets of New York as his subject matter. He did some moody Surrealist Nude paintings and fantasy scenes. In the 1940's he turned towards figural studies. Later in his career, Kantor himself was an instructor at the Cooper Union and also at the Art Students League of New York in the 1940s, and taught many pupils who later became famous artists in their own right, such as Knox Martin, Robert Rauschenberg, Sigmund Abeles and Susan Weil...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Factory Worker, c. 1936, oil on canvas, signed lower right, 18 ¼ x 36 inches; exhibited in City ...

Signed lower right, "C. Stilling" for Carl Conrad Stilling (Danish, 1874-1938) and inscribed 'Hyères'; dated lower left, '1928' and titled in Danish, verso...

Carl Wuermer Winter Silence Signed lower left Oil on canvas 25 x 30 inches Known for serene, realistic landscapes, he was a widely exhibited painter who won numerous awards includi...

Antique American impressionist oil painting by Felicie Waldo Howell (1897 - 1968). Oil on board, circa 1928. Signed. Displayed in a period giltwood frame. Image, 12"L x 6"H.

Manuel Isidor Valle Micolau (1874-1959) - Spanish village landscape - Oil on cardboard Oil on cardboard 11.5x19 cm. Frame measures 22x28 cm. Photographer and artist from Lleida trai...

This oil on canvas painting was done by the American artist, Warren Sheppard. Signed twice lower left. One signature over another. See signatures photo's. Circa 1920 to 1930. Recently lightly cleaned and gold leaf frame custom made for the painting. Overall 27 by 37 inches. Some craquelure; mainly in sky. Otherwise, good condition. A student of Dutch marine artist, Mauritz de Haas, Warren Sheppard built two successful careers around his love of the sea: marine painting and yacht designing. He was born in Greenwich, New Jersey, a town on the Delaware River below Philadelphia, which has been associated with ships and shipping since the earliest Colonial times. His father was a sea captain and the young Sheppard took many voyages with his father to make artistic studies. He learned perspective drawing at Cooper Union in New York City in addition to his studies with de Haas. In 1879, he spent four months sketching Mediterranean port cities including Gibraltar, Genoa, Naples and Messina in Sicily. Between 1888 and 1893, he also studied painting in Venice and Paris. By the time he was in his mid-thirties, he had established himself as a successful illustrator and painter. The yachts he painted were the most lavish of his day, owned by the wealthiest of men. He was an expert in the design and rigging of ships of present and earlier times. His work was highly regarded for its authenticity as well as its artistic merit.Sheppard was also an expert navigator and sailed a number of famous yachts in races. Twice he was to command Tamerlane when it won the New York to Bermuda run. His book, Practical Navigation, was used for many years by the United States Naval Academy...

Jim’s of Lambertville is proud to offer this artwork by: William Langson Lathrop (1859 - 1938) Deemed the “Father of the New Hope Art Colony”, William Langson Lathrop was born in Warren, Illinois. He was largely self-taught, having only studied briefly with William Merritt Chase in 1887 at the Art Students League. Lathrop first moved east in the early 1880s and took a job at the Photo-engraving Company in New York City. While there, he befriended fellow employee, Henry B. Snell. The two men became lifelong friends and ultimately, both would be considered central figures among the New Hope Art Colony. Lathrop’s early years as an artist were ones of continuing struggles. His efforts to break through in the New York art scene seemed futile, so he scraped enough money together and traveled to Europe with Henry Snell in 1888. There he met and married an English girl, Annie Burt. Upon returning to New York, he tried his hand at etching, making tools from old saw blades...

Signed figures in landscape oil on canvas circa 1920 by French post impressionist painter Lucien Adrion. The painting depicts people going about their daily lives on the streets of Paris, France on a sunny spring day with trams travelling along the boulevards. Signature: Signed lower right Dimensions: Framed: 33"x39" Unframed: 26"x32" Provenance: Galerie Vildrac - Paris (labels verso) Lucien Adrion was born May 25, 1889 in Strasbourg, France. He was was a French Post-Impressionist painter, draftsman, and printmaker known for his depictions of the French countryside and beaches, as well as Parisian life including landscape, still life, figure and landmark paintings. He began his initial studies in Strasbourg as a technical draughtsman. In 1907, at the age of eighteen, he left his hometown Strasbourg and traveled to Paris, where he found employment in a large drafting company to work as a fashion illustrator. Adrion changed his mind upon arrival and rather than working for a large company, he decided to peruse his artistic career by traveling to London, Munich and Frankfurt. As the World War broke out he had to go to Berlin, where he studied as an engraver with Hermann Struck, who was also the teacher of Marc Chagall. He remained in Berlin until the war ended and after the demobilization, Lucien would study engraving under Franz Ritter von Struck...

This Western Landscape by New England Impressionist painter Richard Edward Miller is a 12.5 x 23.5 inches, oil on board painting from 1931. A plein-air and impressionist painter as ...

Gorgeous California landscape titled, "Sunrise on Tin Mountain, Death Valley" with Oak in foreground and mountains and Eucalyptus trees in background by Edward Langley...

The Old Tree French Post-Impressionist artist, circa 1930's oil painting on board, unframed painting: 13.75 x 10.5 inches provenance: private collection, France condition: basic good...

Victor Mikhail Arnautoff (1896 - 1979) Motion (Mile Rocks Lighthouse), San Francisco, 1939 Oil and tempera on board 60 x 40 inches Signed lower left Provenance: The artist California School of Fine Arts (CFSA) John & Lynne Bolen Fine Arts, Huntington Beach, California Exhibited: New York, World's Fair, Exhibition of Contemporary American Art, 1939. San Francisco Museum of Art, 1962. Literature: American Art from the New York World's Fair 1939, Poughkeepsie, 1987, no. 11, p. 41, illustrated. Robert W. Cherny, Victor Arnautoff and the Politics of Art, Urbana, Illinois, 2017. The lighthouse in the distance is the Mile Rocks Lighthouse in San Francisco Bay, built in 1906 after many shipwrecks made the lighthouse necessary. In 1962 the lighthouse was reduced in size to make room for a helipad. Arnautoff was the son of a Russian Orthodox priest. He showed a talent for art from an early age and hoped to study art after graduating from the gymnasium in Mariupol. With the outbreak of World War I, he enrolled in the Yelizavetgrad Cavalry School. He went on to hold military leadership positions in the army of Nicholas II and the White Siberian army. With the defeat of the Whites in Siberia, he crossed into northeastern China and surrendered his weapons. Arnautoff remained in China for five years. He again tried to pursue art, but was impoverished and took a position training the cavalry of the warlord Zhang Zuolin. He met and married Lydia Blonsky and they had two sons, Michael and Vasily. In November 1925 Arnautoff went to San Francisco on a student visa to study at the California School of Fine Arts. There he studied sculpture with Edgar Walter and painting with several instructors. His wife and children joined him, and they all continued to Mexico in 1929, where, on Ralph Stackpole...

Antique American impressionist landscape oil painting. Oil on board. Stamped verso. Framed.

Mountain Reflections "Ben Venue" by John Copland a Kirkcudbright Scotland painter (Scottish, 1854-1929). Painting of Loch Achray and Mt. Ben Venue in Scotl...

Lake Street, c. 1920 -30s, oil on board, 12 x 9 inches, signed lower right and verso, titled verso About the Painting At the center of Oscar Daniel Soellner’s Lake Street, we see the stairway leading to an elevated railway station on what is now Chicago’s Green Line route. When its first section opened in 1893 as the second permanent elevated rapid transit line in Chicago, this route was known as the Lake Street Elevated Railroad. Chicago’s “L,” like the New York subway and rapid transit system, played an instrumental role in the development of the urban economy and the overall look and feel of the city. The formal aspects of urban railroads and the role they played in efficiently moving large number of everyday citizens across America’s growing metropolises were catnip for many American Scene painters during the first half of the 20th Century. Here, Soellner uses the techniques of the impressionists and the palette of the Ash Can School, to convincingly depict a classic Chicago scene...

An original Spanish/Catalan early twentieth century Impressionist oil by Antonio Ross Y Guell. This painting depicts a wooded landscape glade. The location is Tardor Breda. It is a stunning and fresh landscape with a river or pool beside the trees which are reflected. The Impressionist palette and bold colouring is typical of his work. A super Impressionist painting. This is an very good example of an early circa 1920 Spanish...

Harald Julius Niels Pryn, or Pryene, was born in 1891 in Frederiksberg, Denmark. He was a well-known Danish landscape painter. His specialty and main subjects were light-filled sea...

Kenneth R. Nunamaker paints a small community of homes on a snowy day with mountains in the background in his artwork entitled, “Snowy Winter Landscape on the Delaware.”