Landscape Paintings

Work on paper Original silver wooden frame with glass window 52 x 66,5 x 1,5 cm

Artist/ School: Jill Jackson (British, contemporary) Title: Sun-Drenched Rolling Hills Medium: gouache on artist paper, unframed Painting : 14 x 20 inches Provenance: all the p...

Green landscape Huguette Ginet-Lasnier (French 1927-2020) inscribed verso framed signed oil painting on canvas framed: 13 x 11 inches canvas: 11 x 9 inches. All the paintings we have...

Oil Painting on board realized by Miloslava Vrbova (1909-1991) in the mid-20th century. Good condition, framed.

signed oil on canvas, unframed canvas: 9 x 11 inches inscribed verso provenance: private collection, France condition: very good and sound condition

Henry George Keller (American, 1869–1949) Shepherdess with Sheep and Dog, Munich, 1891 Oil on canvas Signed and dated lower left 19 x 24 inches 25 x 30 inches, framed Keller, a lead...

An original oil on canvas painting by American female artist Enid Smiley. Enid Smiley (1924-2004) American New York. Born as Enid Ginsberg and later the family name changed to Gilb...

Introducing "Northern Serenity" by renowned Swedish artist Per Julius (born 1951). This captivating painting captures a serene landscape from the northern r...

Otis Dozier (1904 - 1987) Dallas Artist Image Size: 30 x 40 Frame Size: 32 x 42 Medium: Oil Dated 1980 "In Flight" Biography Otis Dozier (1904 - 1987) Otis Marion Dozier is noted as a member of a group of Texas regionalist artists known as the "Dallas Nine". His style was characterized by brilliant colors and strong forms, often focusing on the plight of farmers affected by the Great Depression. Dozier was born in Forney, Texas in 1904. Raised on a farm in Mesquite, Texas with three siblings, his surroundings provided the materials that allowed him to cultivate a love for nature and wildlife. He once said, "youve got to start from where you are and hope to get to the universal." His surroundings became a primary focus for subject matter in his art. Other areas providing inspiration for his works would include the Big Bend and Gulf Coast areas of Texas, the Four Corners area of New Mexico, Arizona, and Utah, and the bayous and swamps of Louisiana. His earliest art training was in Dallas from Vivian Aunspaugh, Cora Edge, and Frank Reaugh when his family moved there in the early 1920s. Dozier became a member of the Dallas Artists League in the 1930s after becoming involved with a group of regionalist artists. He taught at the Dallas School of Creative Arts from 1936 to 1938, while at the same time studying the various works of European artists such as Picasso, Leger, and Matisse. His initial style included bright colors and dominant forms but later moved to the earthy tones of beige, green, brown, and gray. In 1940, Dozier married and together he and his wife contributed much to the Dallas cultural scene. Dozier attended the Colorado Springs Fine Arts Center in 1938 on a scholarship, studying with Boardman Robinson. For the next seven years he served as Boardmans assistant. While in Colorado, the Rocky Mountains became a favorite painting ground where he completed more than 3000 sketches of ghost towns and mountains. Influenced by Robinson, he developed a more fluid style and became an expert in the lithographic medium. Upon returning to Dallas, Dozier taught life drawing at Southern Methodist University from 1945 to 1948. From 1948 until 1970 he taught drawing and painting at the Dallas Museum of Fine Arts. He participated in sole exhibitions in the early to mid 1940s, as well as other major exhibitions at the Whitney Museum of American Art and the Metropolitan Museum of Art in New York City. Dozier completed murals at the Agricultural and Mechanical College of Texas (Texas A&M University) and at various post offices in Texas. He won many awards at various exhibitions, including the International Watercolor Exhibition in San Francisco in 1932; the Museum of Modern Art in New York in 1933; the First National Exhibition in New York in 1936; Allied Arts exhibitions in 1932, 1935, and 1947; and two Texas General exhibitions in 1946 and 1947. His works may be found in the permanent collections of the Museum of Fine Arts in Houston; the Archer M. Huntington Art Gallery at the University of Texas at Austin; the Modern Art Museum of Fort Worth; the Marion Koogler McNay Art Museum in San Antonio; the Dallas Museum of Art; and the Panhandle-Plains Museum in Canyon, among others. Dozier died of heart failure in 1987. Additional exhibition venues: Otis Dozier: A Centennial Celebration 1904-1987 The McKinney Avenue Contemporary, November 6 - December 10, 2004 OTIS DOZIER (1904-1987) Otis Dozier was born in Forney, Texas in 1904 and was raised on a farm in nearby Mesquite. Dozier enjoyed drawing and painting from an early age, and a visit to the Texas State Fair convinced him to pursue art as a vocation. Dozier recalled visiting the Fair’s rotunda and, there, seeing an early work by Mexican muralist Diego Rivera. Dozier did not understand the image but was fascinated by it, later recalling that looked like blood and buttermilk to him; he just looked and looked; the newspaper said it was so great and he was willing to learn but couldn’t understand why it was so great. Dozier’s family moved to Dallas at the beginning of the 1920s, and it was there that he would receive artistic training under Vivian Aunspaugh, Cora Edge, and Frank Reaugh. Dozier would study with Aunspaugh for two years. She introduced Dozier to art history and spoke highly of the Impressionists, although she was cooler towards the Cubists and Fauvists who represented France’s new vogue. Dozier became a member of the Dallas Artists League in the 1930s. He taught at the Dallas School of Creative Arts from 1936 to 1938 and was a significant member of the burgeoning Dallas art scene. Otis Dozier was a member of the cadre of Dallas artists known as the “Dallas Nine.” Though the disparate group of painters, printmakers and sculptors who composed the Nine could be broadly categorized as regionalists, they often displayed a decided fascination with the European avant-garde. This is especially true of Otis Dozier’s works, in which regionalist subject matter was often mingled with Surrealist and Cubist techniques. Starting in 1936, Dozier—as well as the other members of the Dallas Nine—began exhibiting their work at local, regional and national exhibitions. In 1936, Dozier, along with 713 artists from 47 states, attended the First National Exhibition of American Art at Rockefeller Center in New York. Dozier himself participated in numerous solo exhibitions during the mid-1940s and contributed to exhibitions in New York’s Whitney Museum of American Art and Metropolitan Museum of Art. In 1945, Dozier returned to Dallas. He had been invited by fellow artist Jerry Bywaters...

Watercolour view of boats in a port, looking out to sea, by French Painter Jean-Paul Claveau. The painting is signed and dated bottom left and presented in painted wood frame, with c...

Artodyssey "Julita Malinowska's paintings belong to those, which once seen - are never forgotten. The open spaces, sometimes cool and bright, at other times heavily saturated with co...

A Vibrant, 1930s Chicago City Street Scene of the Old Town Neighborhood by Notable Chicago Modern Artist, Francis Chapin (Am. 1899-1965). Depicting a colorful, blustery, autumn view...

Artist: Charles Levier, French (1920 - 2003) Title: Le Bord de la Mer Year: circa 1970 Medium: Oil on Canvas, signed l.r. Size: 30 in. x 40 in. (76.2 cm x 101.6 cm) Frame: 36 x ...

Artist

Joan Gillchrest. English ( b.1918 - d.2008 ). Cornish Fishing Boats At First Light. Oil On Paper Mounted On Board. Signed Monogram Lower Right. Image size 26.2 inches x 22 inches ( 66.5cm x 56cm ). Frame size 35.8 inches x 31.3 inches ( 91cm x 79.5cm ). Available for sale; this original oil painting is by the Cornish artist Joan Gillchrest and dates from around the late 1980s. The oil painting is presented and supplied in a sympathetic new replacement frame (which is shown in these photographs) that suits the artwork’s color palette and behind non-reflective Tru Vue UltraVue® UV70 glass. This painting is in excellent condition and presents superbly. It wants for nothing and is ready to hang and display. The painting is signed with her monogram lower right. Joan Gillchrest is one of Mousehole’s and Cornwall’s most recognised and celebrated artists. Her vibrant art sits firmly alongside other great artists of the St. Ives School from the 1960s. She was born Joan Scott in London in 1918 into a wealthy and illustrious family. She was the third of four children. Her father was a pioneer of radiology – and a skilful caricaturist - and her Australian mother was an accomplished pianist. Sir George Gilbert Scott was her great grandfather, who designed the imposing Midland Grand Hotel at St. Pancras as well as countless parish churches. Grandfather, George Gilbert Scott Jnr, is remembered for three Cambridge colleges, Christ’s, Pembroke and Peterhouse. Her uncle Giles, (Giles Gilbert Scott) to whom Joan was close, is best known for his magnificent Anglican Liverpool Cathedral, Battersea Power Station and the iconic and ubiquitous red telephone box. Coming from such a long line of eminent architects it is not surprising that Joan always loved architecture and the churches and chapels of the Penwith peninsula feature prominently in her work. She said that buildings were “in her blood”. Her early childhood was spent at the family home in Buckinghamshire, but she was a difficult child – the family hired one nanny for her and one for the other three children- and at one point she was sent to Upper Chine School in the Isle of Wright to give her family some peace! She was however the apple of her father’s eye and he encouraged her obvious artistic talent. In 1934, aged only 15 but encouraged by her parents, she went to Paris to study art and learn the language. There she met Gwen John and studied in various studios, sometimes working as a model. In 1936 she enrolled at the Grosvenor School of Art and subsequently studied there under Iain McNab, whom she described as a marvelous teacher. Her early artistic career was very promising; she first exhibited at the Royal Academy when she was just 18 and showed works at the New England Art Club in 1937 and the London Group in 1938. When the Second World War broke out Joan was 21. She took a crash course in nursing and first aid and volunteered as an ambulance driver for Westminster Hospital. She later drove a mobile rescue unit. She was not able to paint much during the war but kept in touch with McNab; when the area around St Paul’s was blitzed, leaving the cathedral relatively unscathed, McNab got Joan and a few others to paint the scene. Her work, created with a thick paint and a palette knife, hung in the art school for many years. Joan’s painting career stalled in the 1940s. In 1942 she married a barrister and Coldstream Guards officer Samuel Gillchrest, and they soon had a son, then a daughter. With a young family, she had little time to paint, and had to hide the work she did produce as her husband thought that work as an artist was beneath them. Sadly, the marriage broke down and in 1953 they divorced. In leaving a difficult marriage at this time, she forfeited money, security and her previous place in society. Despite the huge changes in her life, her overwhelming desire to paint remained constant. She ignored the disapproval of her friends and family and started to explore new ways of expressing herself on canvas. She moved to a studio in Chelsea, an area much favored by the artistic community. To support herself, her children and her painting she also found regular work as an artist’s model. She was tall, strikingly good looking and combined elegance with bohemianism. She also carried an air of mystery from her rich and privileged past, and so she became sought after as a fashion model. In the flat below hers lived an artist who had enjoyed some professional acclaim, Adrian Ryan...

oil paint on panel 12 x 12 inches This contemporary cityscape oil painting is painted on wood panel in a realistic style. The scene is of a Brooklyn skyline where old water towers...

Artist/ School: Jill Jackson (British, contemporary) Title: Sunlit Pathway Medium: oil on artist paper, unframed Painting : 23 x 16 inches Provenance: all the paintings we have ...

The beaches of Luigi Christopher Veggetti Kanku represent a pictorial exploration that goes beyond the mere representation of the subject itself. The artist seeks to convey a poetry ...

QUAYSIDE CONVERSATION Size: 54 x 65 cm (including frame) Oil on board A charming and serene mid-century modernist harbour scene by a coastal town, executed in oil onto board and dat...

The Group Portrait by Maria Tort Xirau (Catalan, 1924-2018) signed lower corner dated 1991 oil painting on canvas, framed canvas: 42 x 52 inches framed: 33 x 43 inches Very good condition. Provenance: from the artists estate, France Maria Tort Xirau ( Figueres , 26 May 1924 – 6 June 2018) was a painter and photographic and cinematographic editor from Emporda. She developed a long professional career in leading photographic studios, in films for The Walt Disney Company and also in advertising claims for companies such as Educa Borràs . The second half of her life was dedicated to painting, exercising a luminous, varied and nostalgic chromatic style in the techniques of oil and watercolor and with exhibitions of her work in Barcelona and Figueres. The Biographical Dictionary of Art Empordà defined Tort Xirau's work as "a painting that is characterized by the strength of the strokes, the vividness and brightness of the chromatic range and exudes mastery of the photographic technique. A mixture of nostalgia and tenderness is evident.". Tort Xirau's paintings were exhibited in the two towns where she spent her life: in 1992 she exhibited his work at the Caixa de Figueres Exhibition Hall. Two years later, she did it at Sala Conex in Barcelona and in 2007 and 2013 the Consortium of Sant Ferran Castle and the Figueres Town Council organized tribute exhibitions. In 2013, she ceded to the council of the city of Figueres her work Mercat de la plaça de l'Ajuntament , watercolored on paper around 1991, which is exhibited in the rest room of the building. On June 6, 2018, she died in Figueres at the age of 94, receiving the apostolic blessing . Two years after her death, part of her paintings were included in the exhibition Paint, create, live. Women artists in the Alt...

The Vineyard signed J. Bernd (French, 20th century) oil painting on board, unframed painting: 31.5 x 39.5 inches condition: overall very good

Artist/ School: Miguel Anibal (Chile, b. 1935), signed and dated 2013 'Paris'. Miguel Anibal is a painter, fresco artist and engraver born in 1935 in Chi...

Artist/ School: Jill Jackson (British, contemporary) Title: Sunlit Garden Path Medium: gouache on artist paper, unframed Painting : 25.5 x 18 inches Provenance: all the painting...

XX ° century painter Work on canvas Gilded wood frame 53 x 75 x 6 cm

Edward Avedisian ( 1936-2007 ) Gouache or oil on paper, 3 guys around a car, hand signed in paint lower left, Measures 30"x 22.5" Edward Avedisian (June 15, 1936, Lowell, Massachusetts – August 17, 2007, Philmont, New York) was an American abstract painter who came into prominence during the 1960s. His work was initially associated with Color field painting and in the late 1960s with Lyrical Abstraction and Abstract Expressionism. He studied art at the School of the Museum of Fine Arts, Boston. By the late 1950s he moved to New York City. Between 1958 and 1963 Avedisian had six solo shows in New York. In 1958 he initially showed at the Hansa Gallery, then he had three shows at the Tibor de Nagy Gallery and in 1962 and 1963 at the Robert Elkon Gallery. He continued to show at the Robert Elkon Gallery almost every year until 1975. During the 1960s his work was broadly visible in the contemporary art world. He joined the dynamic art scene in Greenwich Village, frequenting the Cedar Tavern on Tenth Street, associating with the critic Clement Greenberg, and joining a new generation of abstract artists, such as Darby Bannard, Kenneth Noland, Jules Olitski, and Larry Poons. Avedisian was among the leading figures to emerge in the New York art world during the 1960s. An artist who mixed the hot colors of Pop Art with the cool, more analytical qualities of Color Field painting, he was instrumental in the exploration of new abstract methods to examine the primacy of optical experience. One of his paintings was appeared on the cover of Artforum, in 1969, his work was included in the 1965 Op Art The Responsive Eye exhibition at the Museum of Modern Art and in four annuals at the Whitney Museum of American Art. His paintings were widely sought after by collectors and acquired by major museums in New York and elsewhere. He has been exhibited in prominent galleries, such as the Anita Shapolsky Gallery and the Berry Campbell Gallery in New York City. Edward Avedisian was known for his brightly colored, boldly composed canvases that combined Minimalism's rigor, Pop art exuberance and the saturated tones of Color Field painting. Roberta Smith of the NYT writes of Avedesian: "Edward Avedisian helped establish the hotly colored, but emotionally cool, abstract painting that succeeded Abstract Expressionism in the early 1960s. This young luminary harnessed elements of minimalism, pop, and color field painting to create prominent works of epic proportions that energized the New York art scene of the time." In 1996 Avedisian showed his paintings from the 1960s at the Mitchell Algus Gallery, then in SoHo. His last show, dominated by recent landscapes, was in 2003 at the Algus gallery, now in Chelsea. Selected Exhibitions: Op Art: The Responsive Eye, at the Museum of Modern Art, Whitney Museum’s Young America 1965 Expo 67, held in Montreal, Canada. Six Painters (along with Darby Bannard, Dan Christensen, Ron Davis...

"Parterre at Casa de Mateus," Acrylic on Paper over Wood Panel, Tom Fawkes (1941- present), painted 2007. This painting is so wonderfully detailed & depicti...

“Summer Joy” is a vibrant original encaustic painting by Maine-based artist Marcia Crumley, measuring 24 x 24 inches. Created with layers of molten beeswax and richly pigmented color...

Vintage Oil Painting of the Cullin Hills - the iconic Mountain Range on Isle of Skye in the Scottish Highlands, by 20th Century Artist, Roger Gallaher Art measures 20 x 16 inches ...

Genevieve Hamel You are my Light Oil on Wood Panel Year: 2024 Size: 12 x 12 x 1.5 inches Signed by hand COA provided *wired and ready to hang Genevieve Hamel’s passions for design...

Signed lower right, 'Patricia Cunningham' for Patricia Stanley Cunningham (American, 1907-1984) and painted circa 1965. The first woman to serve as president of the Carmel Art Assoc...

Artist/ School: Jean-Pierre Rousseau (French, b. 1939), signed and dated 1963. Title: The Vintage Car Driver Medium: signed oil painting on canvas, framed and inscribed verso. f...

Circa 1930 American school winter impressionist landscape painting. Oil on board. Framed. Signed verso. Image size, 16 by 20 inches.

Work on canvas Wooden frame 74 x 61.5 x 4 cm

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

River Landscape with Boat and two Figures, realized by an artist active in italy in the mid-17th Century. In very good condition, it includes a gilded coeval wooden frame.

Pathway in Provence by Andre Guilou (French 1925-2017) signed and dated 2000 oil on canvas, unframed canvas: 24 x 29 inches provenance: private collection, France condition: very goo...

A lovely scene adeptly painted by listed American artist and illustrator Jan Nosek (1876 - 1966) who was active in the late 19th and early 20th Century. This scene created in the ea...

Winter in the Village by Ben George Powell, British contemporary artist signed oil on canvas, unframed canvas: 32 x 40 inches provenance: private collection of this artists work, UK ...

Abstract cityscape painting of Hudson, NY rooftops with accents of pink, magenta, green, yellow and teal "Rooftops Power Lines and Five & Diamond," by Hudson, NY based artist, Ricardo Mulero 12 x 6 inch oil on wood panel, Painted in 2021 Excellent condition, ready to hang as is Signed, lower left Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, he abstracted the city skyline of Hudson, NY. Buildings and rooftops in shades of magenta, teal, and green are segmented in the foreground and cropped with black power lines. A soft yellow sky is layered with thin strokes of gesturally applied pale blue paint, furthering abstracting the city landscape. The piece is in excellent condition and ready to hang as is. The sides are painted a very dark, warm magenta so framing is not necessary. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Colorful urban street scene of Brooklyn Bridge, NYC City Landscape Painting by William Clutz "Roebling's Dream, The Great East River Bridge", 1990 oil on canvas 40 x 70 inches, 41 3/...

Horizontal photo-realist still life painting on canvas of green lotus leaves on a light grey background 'Lotus Number Fifteen' by Frank Depietro, made i...

Abstract landscape with colored plots in a dominant green. The landscape evolves in modulations with blurred contours, to suggest volumes more than to draw a precise pattern. The pal...

Signed and titled with Yiddish inscription verso. 9 X 12 inches board size. beng sold unframed. Painter, New York, N.Y. Samuel David Lev-Landau was born in Warsaw, Poland and emigr...

French Landscape by Bernard Labbe (French mid 20th century) original watercolour on artist paper, unframed size: 11.75 x 8.25 inches condition: very good and ready to be enjoyed. p...

Leopards by Ben George Powell, British contemporary artist signed acrylic on board, unframed board: 20 x 24 inches provenance: private collection of this artists work, UK The paintin...

My interest is to convey elements of the classical arcadian landscape paintings of the 17th and 18th century, inviting the viewer to reflec...

Artwork on canvas Golden wooden frame 51 x 62 x 2.5 cm

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...

Mid Century Bay Area Mountains Autumnal Landscape Oil Painting Beautiful plein air oil painting of Bay Area mountains in autumn by Charles Eades (A...

Landscape painting "Harvest Patterns" 30x24 by artist H.M. Saffer II. Painted in the style of pointillism, a series of tiny painted brushstrokes , this colorful oil painting depicts...

Camille Hilaire Seascape : Waves on the Coast Rocks Original oil on canvas Signed bottom left Signed and Titled on the back On canvas 33 x 46 cm (c . 13 x 18 in) Presented in golden...

Pair of romantic Bavarian paintings is an old master artwork realized in 1889 by the master Karl Adolf Wilhelm Chelius (1856-1923). Mixed colored oil panting on...

"Cruise Ship Rolls In" Mid 20th Century American Contemporary Modern Realism This is one sensational painting. And we can even identify the artist, but can't find anything about the...

Riverside Landscape (50) John F. Leonard American (1921–1987) Date: circa 1965 Oil on Board Size: 14 in. x 18 in. (35.56 cm x 45.72 cm)

Beautiful mid century plein air figural landscape of Laguna Niguel, California by an unknown artist (American, 20th Century). The morning sun gli...

A small, colorful Modernist landscape painting by Harold Haydon, depicting "View NW from Sun Deck, Aspen, Colo, Ajax Mt.", dated 1955. This painting com...

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...

The River Afon Dysynni at Abergynolwyn Mountains in the Snowdon Range by D. E. Nightingale, 1977. signed oil painting on board, framed inscribed verso framed: 21 x 25 inches canvas:...

Genevieve Hamel Love Bubbles Oil on Wood Panel Year: 2024 Size: 12 x 12 x 1.5 inches Signed by hand COA provided *wired and ready to hang Genevieve Hamel’s passions for design and...

Artist/ School: Jill Jackson, British contemporary Title - Lady on steps. Medium: oil on canvas, unframed Painting : 20 x 16 inches Provenance: all ...