1910s Landscape Paintings

This charming British Edwardian oil painting is attributed to the circle of Tom Mostyn. Painted circa 1910 it is a wooded landscape with figures stopping to rest on a path bathed in ...

Work on cardboard

Signed impressionist gouache on paper figures in landscape circa 1910 by French painter Eugene Galien-Laloue. The piece depicts a street scene at the Quai de la Tournelle...

Herman Österlund (1873-1964) Sweden Ocean View from the West Coast, 1916 oil on canvas signed and dated Herman Österlund 1916 canvas dimensions 14.37 x 16.73 inches (36.5 x 42.5 cm...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

In the vast realm of art history, there are certain works that transcend time and space, transporting us to a world of beauty and serenity. One such painting is by the renowned Swedi...

Wilson Irvine Winter Landscape Signed lower left Oil on canvas 24 x 27 inches A prolific Impressionist with a penchant for atmospheric scenes, Illinois native Wilson Irvine began h...

Venetian Canal, c. 1910-11 Tempera on board Signed lower right 24 x 30 inches 30 x 36 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, ...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left Illustrated "New Hope for American Art" Fred Wagner (1861 - 1940) One of the earliest of the Pennsylvania...

Jim’s of Lambertville is proud to offer this artwork by: Robert Spencer (1879 - 1931) One of the rarest and most important artists among the New Hope School, Robert Spencer was bo...

This New York scene was painted as a study for a larger painting (also offered for sale). This study is unique in that it shows Riverside Drive in the winter. It was painted durin...

La obra va firmada por el artista en la parte inferior y fechada en Viena Se presenta enmarcada la obra con un marco del siglo xix El estado de la obra es aceptable Medidas obra: ...

Henry Charles Hannig (1883 - 1948) The Green Parasol Oil on canvas mounted on board 6 x 7 3/4 inches Provenance: R.H. Love Galleries, Chicago, Illinois Private Collection, Lake Orion, Michigan Hannig, born in Hirschberg, Germany on 27 February 1883, came to America with his parents at the age of seven. He attended school in the southwest suburbs before the family settled in Chicago. Young Henry enrolled in the Chicago Academy of Fine Arts where Lawton Parker became his mentor. He made ends meet by working in industrial design and illustration. By 1908 he was a pupil in the School of the Art Institute of Chicago where students followed the traditional European drawing curriculum, beginning with the copying of master engravings and drawing after plaster casts, then concentrating on the nude figure. Students worked toward the goal of winning various academic prizes. One of Hannig's fellow students was Louis Ritman...

Provenance Bonhams Skinner - Malborough, March 8, 1991, lot 226; Private collection, Pennsylvania, until 2022 A painter especially known for street and waterfront scenes of Boston, ...

A superb landscape oil painting on canvas by Sir James Lawton Wingate, President of The Royal Scottish Academy. This painting shows a windswept Scottish landscape and a "glimpse of t...

Work on canvas Beige wooden frame 63 x 85.5 x 6.5 cm

The Triumph of Bacchus, a large oil painting by Ferdinand Leeke Oil-on-canvas, German, 1918 Frame: height 175cm, width 227cm, depth 10cm Canvas: height...

Antique American school pointillist landscape painting. Oil on board, circa 1920. Unsigned. Displayed in a period impressionist frame. Image size, 14"L x 16"H.

Ferdinand Burgdorff (American, 1881-1975) Pantheum Moonlight, 1916 Oil on canvas Signed and dated lower right 16 x 24 inches 21.5 x 29.5 inches, framed Born in Cleveland, Ohio, Ferd...

Colin Campbell Cooper is perhaps best known for his marvelous urban depictions of New York and Philadelphia, which encapsulate the vibrant modernity of these street scenes and skyscr...

Here for your consideration is an outstanding oil on canvas painting by Max Silbert. Signed lower right. Circa 1915. Recently professionally cleaned with no restorations. The fra...

Stunning plein air California landscape of Natividad (part of unincorporated Monterey Country) in late afternoon by James Everett Stuart (American, 1852-1941), 1917. Signed, dated an...

Work on canvas

This lovely Scottish Stirlingshire Impressionist landscape is by noted artist Joseph Morris Henderson. Painted circa 1910 the composition is a river landscape with the river in the foreground and cows in the fields beyond. In the distance one can see some dwellings and hills beyond those, all beneath a summers sky. The impressionistic brushwork and colouring are just lovely. This is an excellent large example of Henderson's work and of Scottish landscape art...

Signed and titled oil on canvas riverscape by sought after French impressionist painter Pierre Eugene Montezin. The work depicts a view of a river in autumn. The trees that line the ...

Gustav VERMEHREN (Copenhagen 1863 – Copenhagen 1931) Rest Oil on canvas H. 72 cm; W. 79 cm Signed lower right and dated 1911 (twice) Exhibition: 1963, F...

Here for your consideration is a light filled oil on canvas painting by the American artist, David Clark. The meandering path, apple blossoms. the first ...

Signed oil on panel circa 1910 by sought after French post impressionist painter Pierre Eugène Montezin. The piece depicts a view of Rue des Hussiers in Neuilly sur Seine, France. Bl...

Ruth Anderson Municipal Building, Manhattan, circa 1918 Oil on canvas 25 x 19 inches Ruth A. Anderson was born in Carlisle, Pennsylvania in 1891 and die...

A fine Maine coastal landscape by American artist Edward Meriam Stetson (1872-1953). Stetson was born in New Bedford, Massachusetts, educated at Friends University and also attended ...

Antique American school modernist circus scene by Ann Taube Goodman (Born 1905). Oil on canvas, circa 1925. Signed. Displayed in a modernist fra...

Signed oil on canvas nudes in landscape circa 1910 by Belgian neo-impressionist painter Georges Lemmen. The work depicts nude bathers on a sunny beach beside the sea. Signature: Signed lower left with the cachet of painter Dimensions: Framed: 23.5"x24.5" Unframed: 14.5"x15.5" Provenance: Olivier Bertrand (expert on the painter) has confirmed the authenticity of this work Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation. Museum and Gallery Holdings: Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea...

This superb Edwardian Impressionist oil painting by Scottish listed artist James Campbell Noble RSA. Painted circa 1910 the composition is a harbour scene with trees to the right, nu...

Alexander Bower (1875 - 1952) Portland Harbor, Maine, 1910 Oil on canvas 27 x 33 inches Signed and dated lower right An American Impressionist, Alexande Bower was born in New York, studied at The Pennsylvania Academy of Fine Art, and was living with his wife in Cliff Island, Maine by 1914. Despite his urban upbringing, the coast and the sea fascinated Bower. A large portion of his paintings are seascapes, particularly scenes depicting the coast of Cape Elizabeth...

Orientalist School Attributed to Émile Willaey (1880-1963) Title View of Istanbul – Golden Horn and Süleymaniye Mosque Date 1910 Medium Oil on canvas Dimensions 50 × 89 cm (canvas)...

Signed lower right, 'F. Coburn' for Frank Coburn (American, 1862-1938); additionally titled, verso, 'Henry, Ill., June, 1918' and titled, 'The Old Mill'. Framed dimensions: 30 x 1.75...

Carl Johansson (1863-1944) Sweden Vangforsen, Ramsele, 1915 oil on canvas signed and dated Carl Johansson 15 unframed: 50 x 65.5 cm (19 5/8 x 25 3/4 in) framed: 68 x 83 cm (26 3/4 ...

'The Sacramento River, Rio Vista', California, Bohemian Club, White House, SFSD Signed lower left, 'J. E. Stuart' for James Everett Stuart (American, 1852-1941) ), dated 'Jan. 31, 19...

signed lower right

Doesn't this scene just make you want to be there, in this cottage in the country? I liked this painting enough that I actually put some money into it with a restorer to get it into ...

Philip Leslie Hale New England Autumn, 1910 Pastel on canvas 25 x 30 inches Provenance: Estate of the artist Sotheby's New York, American Paintings, Drawings and Sculpture, May 24, 1990, Lot 125 R. Anne McCarthy Rose Art Museum, Waltham, Massachusetts (gift from the above) Private Collection, Massachusetts Exhibited: Philadelphia, The Pennsylvania Academy of the Fine Arts, Tenth Annual Philadelphia Watercolor Exhibition, November 10 - December 15, 1912, no. 13. Painter, teacher and writer, Philip Leslie Hale is recognized for his decorative paintings of the female figure and for his interior scenes with figures as well as for his progressive approach to painting. However, his career went through several phases that included sporting scenes, figural studies of women including nudes, portraits, and allegorical works reflecting the overwhelming forces of nature. Of the Boston painters of his time, he seemed the most fully committed to Impressionism, and his technique suggests the influence of French impressionist Edgar Degas. In most of his paintings, the landscape was more important than the figure. He was a prolific writer in local newspapers and periodicals about the contemporary art scene, discussing the work of his Boston colleagues. He also wrote numerous books on art and art history including a study of Vermeer that was published in 1913. Among his writings are 1892 newspaper columns for Arcadia Magazine titled "Letters from Paris", art criticism for the Boston Herald from 1905 to 1909; and art criticism for the Boston Evening Transcript. He argued for the Boston School of Art as led by Edmund Tarbell whose style was based on Impressionism with elements of Realism, especially figure painting. Hale was born in Boston in 1865, the son Reverend Edward Hale, a Boston clergyman and a relative of Nathan Hale. He studied with Ellen Day Hale, his sister, and Edmund Tarbell at the Boston Museum School, with J. Alden Weir at the Art Students League in New York City, and then went to Paris for further studies at the Academie Julian and the Ecole des Beaux-Arts. He remained in France for fifteen years, returning to America about 1895. During that time, from 1888, he spent summers at Giverny, France with his good friend, artist, Theodore Butler, and became well acquainted with Claude Monet. Traveling throughout Europe, Hale visited the major museums, and copied the works of Ingres, Vermeer, Watteau and Michelangelo. Hale married Lilian Westcott Hale...

Jim’s of Lambertville is proud to offer this artwork by: Robert Spencer (1879 - 1931) One of the rarest and most important artists among the New Hope School, Robert Spencer was bor...

George Henry Leonard, Jr. (1869 - 1928) La Marre de Soire Oil on canvas 15 x 21 3/4 inches Signed lower right A landscape painter--primarily using a late impressionist loose stroke as his main mode of expression--Leonard drew not only upon French influences, but also the American school of impressionism characterized by Frank Boggs...

Signed lower right, 'A. W. Kerr' for Alexander Kerr (Australian, 1875-1950) and painted circa 1920. Inscribed on original frame, 'Menam River, Bangkok, ...

Signed lower right. Complemented by a period frame. William L. Lathrop (1859-1938) Deemed “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 Photoengraving Company in New York City. While there, he befriended a 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 struggle. His efforts to break through in the New York art scene seemed futile, so he scraped enough money together to travel to Europe with Henry Snell in1888. 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...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

A substantial, early twentieth-century oil showing two children, wearing period summer dress and posed beside a well, with a view beyond across lush green lawns...

"Houseboats in Moon Light", a rare early 20th century tonalist nocturnal harbor landscape scene at Greenbrae Boardwalk, San Rafael, California by Charles Rollo Peters (American, 1862-1928), 1912. Inscribed "Charles Rollo Peters Greenbrae, 1912" in the lower left corner. Presented in an antique giltwood frame. Image size: 19.5"H x 25.25"W Auction record high for this noted Nocturnal and Tonalist artist is $58,000. Rare works like this one range $30,000-$35,000. (Note: the photos showing the inscribed signature have been adjusted to show contrast and the artists inscribed signature in other photos enhanced by acrylic over inscription in the oil paint for visibility). Although not noted on verso, the title is taken from two others done the same year at Greenbrae Boardwalk near San Rafael, California. Charles Rollo Peters (American, 1862-1928), called "The Poet of Night", is best known for his Tonalist landscapes, especially nocturnes, with much of his subject matter being scenes around his home in Monterey, California. James McNeill Whistler, who promoted the Tonalist aesthetic in Europe, was a major influence on his painting, and "is reported to have said that Peters was the only artist other than himself who could paint nocturnes." (Gerdts) As Peters matured, his life became increasingly tumultuous, but the one stable part of his existence was his painting. He continued to pour his emotions into his work, creating lonely, mysterious nocturnes with a palette of deep blues and blacks. The scenes were invariably dotted with a speck of light emanating from the moon or a lighted window. His landscapes usually displayed a more prominent sky view and often included a winding path or road trailing off in the distance. Peters was born in San Francisco in 1862 to a wealthy family, and in San Francisco attended Bates Private School for Boys and the City College, where his talent for sketching and painting became obvious and was encouraged. After graduation from the College, he spent time as a commercial artist, but this pursuit did not hold his interest. In the mid 1880s, he began to study privately with Jules Tavernier and also attended classes with Virgil Williams and Christian Jorgensen at the California School of Design. During this period, he painted Bay-Area scenery. In 1886, he began a four-year period of study and travel in Europe, enrolling in Paris at the Ecole des Beaux-Arts and the Academie Julian. His teachers were Jean-Leon Gerome and Fernand Cormon. In San Francisco, where he returned in 1890, he met and married Kathleen Mary Murphy, and the couple immediately departed for an extended trip to England and France. Peters painted the countryside and produced numerous landscape paintings, especially moonlit views of Brittany and Paris---his first nocturnes, encouraged by the aesthetic of Whistler, whose influence was pervasive in England and France. Upon his return to California about 1895, Peters held a large show in San Francisco and was able to sell many of his works. Soon after, he and his family relocated to Monterey, California where Peters became interested in California adobe ruins and missions as subjects for his paintings. Night paintings with rich blues highlighted by moon light became his signature work. Like most Tonalists, he painted in his studio. It was written of him that Monterey residents often saw him "wandering about in the semi-darkness, taking down notes here and there, studying the different phases of light, and creating a vivid mental picture of the scene he wished to paint." (Lowrey 158) In 1899, he made a tour with his collection of paintings through Chicago, Maine, Long Island, and New York City where he held a solo exhibition at the Union Club and received very favorable publicity. One reviewer of the Union Club work wrote: "The artist has studied the atmospheric effect of the night to good purpose, and in the representation of the silvery gray of moonlight he has arrived at singular proficiency." Peters returned to Monterey in 1900, and purchased thirty acres of land where he built an estate. He exhibited in the annual exhibitions of the San Francisco Art Association and the Bohemian Club. Along with William Keith, Xavier...

Beautiful impasto, oil on canvas. Contemporary custom frame. Unsigned, but very well executed painting.

Autumn Landscape Oil on relined canvas, c. 1915 Signed lower right corner: "Royal H. Milleson" Condition: Excellent Canvas size: 14 1/2 x 20 3/8 inches Frame size: 19-1/4 x 25-1/4 x 2-1/2 inches Clearly among the artist's finest paintings! Provenance: Private Collection, Greencastle, Indiana Ray H. French Collection (1919-2000) Martha A. French Trust Royal Hill Milleson...

Signed impressionist oil on canvas landscape painting by French painter Maxime Maufra. The piece depicts people rowing boats through the flooded streets in Paris. Signature: Signed...

This lovely Scottish exhibited seascape oil painting is by noted Scottish artist Patrick Downie. It was painted in 1914 and exhibited at the Glasgow Institute of Fine art that year e...

Henry Ward Ranger (1858 - 1915) Stony Cove and Headland, 1910 Oil on canvas 28 x 36 inches Signed lower right Provenance: McDonough Gallery, New York William Macbeth Galleries, New York American Art Association, The Completed Pictures Left by the Late Henry Ward Ranger, 1917, Lot 72 A key person in the establishment of the Old Lyme, Connecticut art colony in 1899, Henry Ward Ranger is regarded as the leader of the Tonalist movement in America and was a leading painter in this country in the late 19th and early 20th-centuries. He was born in Geneseo and raised in Syracuse, New York, and in 1873, enrolled in the College of Fine Arts at Syracuse University, where his father was a professor of photography and drawing. Two years later, he became a re-toucher of paintings in his father's studio and did not earn a college degree. He also spent much time in New York City, where he was a writer of music criticism and visited galleries, where he had his first exposure to French Barbizon painting...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Martha Walter (1875 - 1976). Born in Philadelphia in 1875, Martha Walter attended Girls’ High School followed by the Pennsylvania Academy of the Fine Arts. It was at the Academy that Walter’s artistic talent was discovered. An admiring instructor by the name of William Merritt Chase took young Martha under his wing, giving her both inspiration and direction. She additionally enrolled with Chase at his summer school in Shinnecock, Long Island and in 1903, was awarded the Cresson Traveling Scholarship by the Pennsylvania Academy. This sent Martha Walter on travels to France, Italy, Spain, and Holland, where she attended the Grand Chaumiere and the Academie Julian in Paris. Afterwards, she established a studio on the Rue De Bagneaux in France with several other American women artists...

Olive Brack San Antonio River (1890-1957) San Antonio, TX Image Size: 12 x 18 Frame Size: 15.5 x 21.5 Medium: Oil on Canvas Dated 1912 "Lilly Pads" Biogra...

This superb, large and vibrant Modern British figurative landscape oil painting is by noted Slade School artist Franklin White. Painted circa 1920 it was exhibited at the New England...

Paul Aubin (1890 - 1914) View of Martigues, South of France 1913 Oil on canvas 33,5 x 58,5 cm Signed and dated on lower right

Nicely painted early American impressionist view of Brooklyn and the Hudson River by Martin Petersen (1866 - 1956). Oil on board. Framed. Signed verso.

An outstanding example of the new-impressionist work of Rodolphe Wytsman . This large canvas depicts a tranquil summer day on the Meuse river near the town of Dave. Wytsman painted a number of landscapes in this area between 1910 and 1911 at the height of his artistic career. The use of colour and neo-impressionist execution are testament to his position as one of the finest Belgian painters of this period alongside Van Rysselberghe, Claus, Montigny and Georges Morren...

John Maclauchlan Milne (1886-1957), became a post impressionist artist in the Scottish Colourist tradition. His work has been exhibited in the Royal Scottish Academy. and in New Yor...