Framed Landscape Paintings

"Cloud Composition 7" is a realistic capturing of a golden skyscape, created with oil paint on panel. This piece is framed at 9.5 x 9.5 inches and is ready to hang. Jesse Mangerson ...

Figures & Animals in Classical Landscape circle of Jans Frans Van Bloemen (Orizzonte 1662 - 1749), unsigned oil on canvas, framed framed: 28.5 x 42.5 inches canvas: 19 x 34 inch...

'Budge' Portrait of a Spaniel Dog (Springer spaniel?) by George Paice (1854-1925) British Artist *see notes below signed and dated 1920 oil on canvas, framed framed: 16 x 19 inches c...

An important and rare Royal quality Swedish capriccio landscape with classical architecture and figures by a fire, representing an allegory of winter, painted by the Swedish artist J...

An Introspective, Post-War Modern Southwestern Landscape Painting of an Adobe House in New Mexico by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A subtle tonal, archi...

Seascape with sailing boats and distant city at night. Probably Sweden, Signed "E.C" and dated 1920, oil on canvas. Mounted in a gilt wood frame. A coastal or maritime landscape with several sailing boats on calm water, viewed towards a distant town or harbour at evening. A tall beacon or lighthouse rises from the rocky shoreline at right, while further along the horizon a low cityscape is visible against the fading sky. The boats are distributed across the water, with the largest vessel in the foreground providing the principal point of focus. The painting is characterized by its restrained blue-green tonality and by the distinctive Nordic light, which remains visible across the night sky rather than giving way to complete darkness. Small warmer passages of ochre and red in the distant horizon and reflections provide contrast to the predominantly cool palette. The relatively broad and visible brushwork gives the surface an atmospheric quality while retaining the clearly defined forms of the boats, shoreline and distant buildings. The work is dated 1920, although the identity of the artist has not yet been established. The treatment of twilight and the lingering light of the northern sky places the work within a broader Scandinavian artistic interest that developed during the late 19th and early 20th centuries. Around the turn of the century, Swedish, Danish, Norwegian and Finnish artists repeatedly explored dusk, dawn and the transition between day and night. The Thiel Gallery has described this fascination with twilight and the particular Nordic light as a characteristic aspect of Nordic painting of the period, particularly among Symbolist and National Romantic artists. This interest was not restricted to a single style. Artists such as Nils Kreuger, Karl Nordström, Richard Bergh and Eugène Jansson...

Pierre de Clausade (French, 1910–1976). Mid-20th Century oil on canvas coastal estuary landscape. Signed in the bottom-right corner. Very good condition.

"Popeye and Bluto in Havana" Vintage Cuban Classic Car Cityscape Oil Painting. Oil on canvas. Signed. Measuring: 36.5 by 48.5 inches overall, and 36 by 48 artwork alone.

Franz Arthur Bischoff seascape Laguna Tide Pools oil/board signed LR in a gilt over red clay bole and gesso carved Arts & Crafts style frame. 13 x 19 unframed, 19.5 x 25.5 framed s...

Provenance Acquired by the gallery directly from the artist. UNFRAMED: 16" x 20" FRAMED: 20.625" x 24.625" x 1" Signed: Lower Right Artist Statement "This is the place near my ho...

➡️ Landscape Luminous Mediterranean ⬅️ ⏩It is signed Mieutaud⏪ ⭐Medium:⭐ Oil on canvas ⭐Technique: ⭐Impasto painting with expressive brushwork. ⭐Size:⭐46x55cm /18.1x21.7 inch w...

“Fusion des éléments II” is an original abstract landscape oil painting by French contemporary artist Sophie Dumont, created in 2026. In this intimate composition, Sophie Dumont con...

This piece is a pertinent example of Belgian artist Henri Joseph Pauwels ' sought-after works, depicting a view of a table set for tea in the garden by the shore on a serene summer a...

A beautiful oil on canvas painting by the French artist, Jean Salabet. Salabet was a Parisian painter known for his colorful cityscapes depicting the times of his generation. His wor...

Early 20th Century oil on board French fauvist landscape by Paul Guillaume. The painting is signed bottom left, Guillaume Paul, and presented in a patinated wood frame. This colourf...

JOHN JOSEPH ENNEKING American (1841-1916) Raining Pasture oil on canvas, signed "Enneking" lower right Framed dimensions - 15 x 18 1/2 x 2 1/4 inches 11 x 14 1/2 inches Provenance:...

The Vegetable Seller Circle of Joachim Beuckelaer (Flemish 1534-1574) Oil on cradled oak panel Framed: 35 x 47 inches Canvas: 29 x 41 inches Provenance: Private collection, France. C...

Colorful blue and yellow architectural painting by renowned New Orleans based artist James Michalopoulos. Signed in the front lower left corner. Signed, titled, and dated on the reverse. Currently hung in a light wood frame. Dimensions Without Frame: H 28 in. x W 22 in. Artist Biography: James Michalopoulos began his journey in 1951, the son of a prominent modernist architect father whose designs helped reshape downtown Pittsburgh. One of six children, he was raised in a home full of art, including paintings by his uncle, the influential Abstract Expressionist painter William Baziotes. Despite the early artistic influences, Michalopoulos was drawn to science and economics and imagined a career in one of these fields. After graduation from Bowdoin College in 1974, he spent his postgraduate years consumed by work in the cooperative movement. He managed the Boston Food Coop and then founded and managed the Cambridge Cooperative, which became America’s largest storefront coop. Upon leaving the coop movement, he began his winding route to New Orleans by way of Washington, DC. While on the road, he began to sketch to fill the free time. A flirtation with art became an affair. Then a marriage. A strictly plein air painter, Michalopoulos was challenged to find a winter locale to continue his work. In 1979, he was drawn to New Orleans as the last bastion of hippie bohemian culture in America. The city and its “Culture of Celebration” held an intense appeal. He began sketching artists and musicians, houses and street corners. Fascinated with the duality of beauty and decay, the architecture of the city became his muse. His portraits of shotgun houses and Creole cottages, depicted in layer upon layer of thick impasto paint, brimmed with color and energy and captured the essence of his subject. This body of work established him as the most influential living artist in the region today. James worked as the Art Director for the House of Blues Productions for six years. Additionally, he art directed NBC’s “In Concert” series and the Nice Jazz Festival. His sets for the House of Blues have been called some of the most influential stage sets ever designed for televised music. During this time, he developed an abiding interest in musical imagery. His portraits represent all segments of the musical stratosphere and have been featured on the coveted New Orleans Jazz and Heritage Festival poster seven times, more than any other artist in the festival’s history. In the early years, his atelier printed the posters using a remarkable 36-screen hand-pulled process. In the early 1990s he maintained a studio in Lausanne, Switzerland and exhibited both there and in Geneva, London, and Berlin. During a trip to France in 1990, he fell in love with Provence and the Burgundy region and bought a home near Cluny. Today he divides his time between New Orleans and Burgundy. The French countryside—with its Roman era stone buildings and verdant fields—has become a large focus of his work. Not long after, he transformed a 150-year-old cotton gin into the first rum distillery in the continental US since prohibition, Celebration Distillation, which created the award-winning line of Old New Orleans Rum and Gingeroo. In Covington, Louisiana, he was an early force in the redevelopment of the historic downtown area, founding restaurant Etoile. After Katrina, Michalopoulos acquired the Old Union Brewery and converted it into the North Robertson Artist...

Artist: Rafael Durán Benet (Terrassa, 1931 – Barcelona, 2015) Title: Landscape with Farmhouse Date: 1973 Medium: Oil on canvas laid on cardboard Dimensions without frame: 22 × 27 cm ...

Winter Scene oil/canvas 20 x 24 image size, 23.75 x 27.50 framed signed LR Here is a very nice winter snow scene oil painting on canvas by Midwest American Artist Karl Rudolph Krafft...

Peter Bolckman (Gorinchem, Netherlands, 1640 – Turin, 1710) Fantastic view of a Mediterranean port with a market scene oil on canvas 88 x 119 cm. Contemporary gilded and lacque...

La obra va firmada en la parte inferior "Roig Soler" La obra se presenta enmarcada con un marco de la época de la obra en madera estucada y dorada (el marco presenta varias faltas y...

Sunlit Mediterranean Village Street – Spanish Impressionist Oil Painting Artist: Joan Gil i Gil (Barcelona, 1900–1984) Title: Sunlit Mediterranean Village Street Year: 1942 Medium: ...

Atmospheric 19th-century French river landscape attributed to Charles-François Daubigny (1817–1878), one of the leading landscape painters associated with the Barbizon School. The c...

Figures & Animals in Classical Landscape circle of Jans Frans Van Bloemen (Orizzonte 1662 - 1749), unsigned oil on canvas, framed framed: 28.5 x 42.5 inches canvas: 19 x 34 inches P...

In this piece, the artist depicts the eiffel tower and his subjects in an abstract and impressionistic way, capturing the busy Parisian street from the 20th Century with much life. T...

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

The Country Lane English School, circa 1830's period oil on panel, framed in period antique gilt frame framed: 19 x 17 inches board: 14 x 13 inches Provenance: private collection, En...

Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paints landscapes in different seasons and flowers. In 1970 the significant place...

Frederick Kitson Cowley (British, 1878–1943) Nantucket Beach Dated 1929 Oil on card Signed and dated on the reverse A charming and atmospheric beach scene by the British painter Fre...

Maritime Painting of a Tall Ship in the Harbour at Twilight by British Artist, Dion Pears (1929 - 1985) Art measures 36 x 24 inches Frame measures 39 x 27 inches A beautifully atmo...

ean-Luc Gérard Olive Trees, Côte d’Azur Circa 1930 Oil on Canvas Signed and inscribed on the reverse Presented in an ornate French-style frame This vibrant and richly textured lands...

This original vintage oil on canvas by Danish artist B. Johansen captures the dramatic beauty of a majestic full-rigged sailing ship navigating powerful open seas beneath an expansiv...

A wonderful summer sky in this picturesque Norfolk view. Geoffrey Chatten ( born 1942) Sea Palling/ Waxham/ Norfolk Signed and inscribed to the reverse Oil on board 8 x 10 inches e...

F. A. Fraser (British, 19th century) Autumn Woodland with Figure and Terrier Signed and dated 1881, lower left Oil on canvas Presented in a giltwood frame A finely observed and atmo...

Adam Silo (1674-1764) A Dutch Whaling Fleet off the Greenland Coast Oil on canvas No visible signature Canvas Size 16 7/8 x 24 3/8 in Framed Size 24 x 31 1/2 in Provenance With Fran...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

'On the Coe, Glencoe' Sunset Scottish Highlands Landscape by F. E. Jamieson (1895-1950) signed oil on canvas, framed framed: 20 x 28 inches canvas: 16 x 24 inches provenance: private...

This work explores the intimacy of everyday objects through a vibrant, expressive still‑life composition. By placing a patterned vase filled with bold, purple‑white blossoms at the c...

Evert Moll (Dutch, 1878–1955) Rotterdam harbor painting, a signed original oil on canvas: a steamship, tugboats and barges in Dutch Impressionist brushwork. Signed bottom left. A large steamship dominates the right of the composition, smoke drifting from its funnel through the rigging. Tugboats and a sailing barge work the choppy water around it, and a laden barge crosses the foreground. Beyond, the quays and buildings of the port of Rotterdam run along the horizon beneath a broad sky of white and grey cloud. This is the working harbor Moll made his own. It is painted with the quick, broken brushwork and touches of pure color that characterize his marine scenes, with orange, blue and green flickering across the water. The painting is undated. Moll became best known for his views of the port of Rotterdam and the shipping on the Nieuwe Maas painted in the 1920s and 1930s, and this harbor view probably dates from that period. The reverse confirms a pre-war date. The stretcher carries a label of Kunsthandel Gebroeders Koch giving the firm’s Rotterdam address on the Noordblaak, in the city centre which was destroyed in May 1940, alongside its Hague address on the Hoogstraat. The dealership also appears in the provenance of a Moll painting...

Oil Painting of Horses & Farmer in the English Countryside by 20th Century Modern British Artist, James Wright Art measures 24 x 18 inches Frame measures 29 x 23 inches Pres...

Impressionist Landscape by Claude Marin (French 1914-2001) signed oil on canvas, framed Framed: 19 x 22 inches Canvas : 13.5 x 16.5 inches Inscribed Verso Provenance: private collect...

3775 Surreal colorful oil painting on canvas in a black frame

"Les Trois Arbres (The 3 Trees)" Raymond Thibesart (France, 1874-1968) Circa 1920s Pastel on paper, signed lower left 12.5 x 9.75 (16 3/4 x 13 3/4 frame) inches Raymond Thibesart ...

Oil study by a lake and mountains during sunset by Edward Rosenberg (1858-1934). This is a an oil study for a larger painting that Rosenberg did. A te...

Pastoral Landscape English School, late 19th century signed oil on board, framed framed: 19 x 25 inches board: 18 x 24 inches Provenance: private collection, UK Condition: the painti...

Parisian Café Terrace Street Street with Figures 20th Century Post-Impressionism by Italian Artist, Mario Passoni (Italian, born 1927) Art measures 20 x 16 inches Frame measures 30 ...

August Frederick Biehle American, 1885–1979 Landscape in West Virginia, 1922 Gouache, litho crayon and graphite on paper Signed lower right 19 x 17.5 inches 29.5 x 23.5 inches, frame...

Riverside Reflections Signed by Fanch Lel ( French School) Framed: 9.75 x 12.5 inches board: 6.5 x 9.25 inches Oil painting on cardboard, framed Condition: The painting is in good co...

This is a dense, multi-textured oil painting inspired by the flowers around my studio - roses, hibiscus and purple geraniums. It can allow the viewer to look deep into the painting a...

Dimensions with frame: 22 x 29,5 x 3,5 cm Signed "N. Diaz" in the lower left corner. A richly atmospheric 19th century Romantic landscape painting depicting an intimate woodland clearing animated by delicate figures and fluttering white doves. The composition unfolds beneath a dense canopy of trees, where dramatic brushwork and layered impasto create a sense of movement, mystery, and depth. At the center of the scene, small elegantly dressed figures appear gathered near the water’s edge, possibly engaged in a poetic or symbolic moment. The surrounding birds in flight add dynamism and luminosity, their pale forms contrasting beautifully against the deep greens, earthy browns, and golden highlights of the forest. The artist employs expressive, almost impressionistic brushstrokes, giving the foliage a vibrant, textural quality. Light filters through the trees, illuminating portions of the composition while leaving other areas in shadow, enhancing the romantic and slightly theatrical mood. Both mysterious and lyrical, this work evokes themes of nature, contemplation, and transcendence. It would make a compelling addition to a refined interior, particularly for collectors drawn to moody landscapes and narrative European painting of the 19th century. A compelling and atmospheric antique oil painting that beautifully captures the poetry of nature and the elegance of human presence within it. 19th century landscape painting, Romantic forest painting, antique woodland scene, European Romantic art, antique oil on canvas, atmospheric landscape artwork, forest clearing painting, figures in landscape, doves in painting, impressionistic brushwork, Continental school painting...

Godefroy de Hagemann (1820-1877) was a member of the Hanover dynasty, of German Princes. His full name was Godefroy Auguste Christian Volfgann baron de Hagemann, or Godefroy de Hagem...

This American Impressionist painting is by listed artist Bernhard Safford Good. The artist was born in England in 1893. He came to Canada in 1910, moving west to Manitoba to work on...

This beautiful painting, due to its very high quality of execution, style and era, can be referred to the great artist Warren Sheppard, who specialized in seascapes. Of great evocati...

Parisian Street Scene with Figures by British Artist Art measures 20 x 16 inches Frame measures 24 x 20 inches This atmospheric cityscape by Bennett captures the timeless romanc...

The Highland Bridge by F. E. Jamieson (British 1895-1950) signed with the artists pseudonym 'Graham Williams' oil on canvas, framed framed: 23 x 33 inches canvas: 20 x 30 inches prov...

The Highland Loch (Loch Lomond) signed by Prudence Turner, British b. 1930, signed. oil painting on canvas, framed. framed: 29.5 x 41 inches canvas: 24 x 36 inches Provenance: pri...

18th Century Style Giltwood Picture Frame English School, early 20th century decorative giltwood frame with former name plaque attached. Overall size: 28 x 24 inches Internal rebate...

Bold mid century impasto landscape of Mt. Rose in oil by Nancy Coe (American, 1932-1998), c.1968. This piece has evocative, heavy textures from the artist's use of a palette knife. Signed in pen in the lower right corner. Gallery label on back of frame. Presented in a copper-colored frame. Frame size: 27.25"H x 33.75"W Canvas size: 22"H x 28"W Nancy Patricia Coe (American, 1932-1998), was born in San Jose, California to Henry Surtcliff Coe and spent most of her life on Rancho San Felipe in a two-story, brick colonial residence, originally built by her father, on a commercial cattle ranch. With its weeping willow trees and picturesque red barn, it made for a happy home nestled in the heart of San Felipe Valley. Henry Coe...

Summer House by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on board, framed frame measures: 10.5 high by 14 inches wide board measure...