1930s Landscape Paintings

Paul Sample Hippo Signed lower right Oil on canvas 16 x 20 inches Provenance Chidsey Collection Private Collection (acquired from the above in 1980) Sample's attempt to impose a T...

Walter Farndon June Day at the Sound Signed lower right Oil on canvas 20 x 24 inches Living and working in an era of passionate and often controversial changes in the art world, Wal...

Artist: J. Rieser, Swiss or German XXth Century Title: Snowy Landscape Year: circa 1935 Medium: Oil on Canvas, signed lower right Size: 28 in. x 22 in. (71.12 cm x 55.88 cm) Frame Si...

Impressive early American modernist street scene oil painting. Framed. Oil on canvas. Very finely painted with excellent color and composition. Ready to hang.

Jules Cavailles French, 1901-1977 View from a Parisian window 1937 Oil on canvas 24 ½ x 20 ¾ inches (62 x 53 cm) Framed: 27 x 23 inches (86 x 76 cm) Signed lower right and verso: J...

Signed lower right: Hayley Lever

Frederick Lester Sexton White Horse Signed lower right Oil on canvas 25 x 30 inches Provenance Part of a Collection received from the Lyme Art Association. Frederick Lester Sexton received a lot of reviews and exhibitions in the 1920s, 1930s, and 1940s, when he was at the height of his career. Because it captured the personal view of many people's wish to ignore national issues and simply live their lives in their homes, his work was favorably welcomed. The rise of modernist styles like Abstract Expressionism, which started to take over the American art scene in the 1950s, also contributed to Sexton's fall in popularity. As collectors and regular spectators discover once more that realism is a valid component of American art because it speaks directly and clearly to the beauty they perceive in their surroundings, many artists, like Sexton, are experiencing a renaissance. Cheshire, Connecticut, was the birthplace of Frederick Sexton in 1889. His father, J. Frederick Sexton, was the Rector of St. Peter's Church in Cheshire and a well-known Episcopal clergyman. The mother, Mary Louise Lester, was an amateur painter and came from a pretty well-known Hartford family. Frederick was killed in an open-hearth fire when he was eighteen months old. His right hand was badly burned and was never to be opened again. The father kept the family together after his mother passed away when he was nineteen. Sexton's mother taught him art, and he went to public schools in New Haven. He received the prestigious Winchester Prize for a year of study in Spain while attending the Yale School of Fine Art, where he studied under Augustus Tack...

In his oil painting, “Birches in Autumn,” Carl Wuermer paints abrook running through a meadow and bordered by evergreens and birches displaying autumn color.

Landscape American Hungarian European Modernism 1938 Realism Long Island WPA era. The canvas measures 18” x 20". The artist signed the stretcher as well as the canvas. The scene depicts a spots in New York where Queens borders with Nassau county, Rosedale, which abuts the Five Towns. The border runs through Hook Creek, another painting we are currently offering. Stephen (Istvan) Csoka was born in Gárdony, Hungary on January 2, 1897 and died in New York in 1989. He is best remembered as a painter and etcher of portraits, nudes, landscapes, genre, and horses. Csoka studied at the Budapest Royal Academy of Art and his memberships include Associate of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the Society of Brooklyn Artists; and the Hungarian Etchers Association. Csoka's exhibitions and awards include a medal at the Barcelona International Exhibition in 1929; a prize at the City of Budapest Exhibit in 1930; prizes at the Society of American Etchers in 1942 and 1945; prizes at the Library of Congress in 1944 and 1946; a prize at the Society of Brooklyn Artists in 1944; a prize at the Philadelphia Watercolor Club in 1945; the Corcoran Gallery of Art in 1945; the Carnegie Institute in 1943, 1944, and 1945; the Art Institute of Chicago in 1944; the Los Angeles Museum of Art in 1945; the National Academy of Design from 1940 through 1945; one-artist shows at the Contemporary Artists in 1940, 1943, and 1945; and the Minneapolis State Fair in 1943. *Stephen continued to recieve awards and exhibit his work throughout his life. In 1997, Hofstra Museum sponsored a Retrospective/Centennial exhibition in honor of his birth. Collections representing Csoka's work are the Metropolitan Museum of Art, New York, NY; the Brooklyn Museum, Brooklyn, NY; the Museum of Fine Arts, Boston, MA; the British Museum, London, England; the Bezalel National Museum, Jerusalem, Israel; the Butler Institute of American Art, Youngstown, Ohio; Whistler House Museum of Art, Lowell, MA; the Cleveland Museum of Art, Cleveland, OH; Columbus Museum of Art, Columbus, OH; the Sheldon Swope Art Museum, Terre Haute, IN; the Mobile Museum of Art, Mobile, AL; the Frederick R. Weisman Art Museum, Minneapolis, MN; the Museum of New Mexico, Santa Fe, NM; the Budapest Museum of Fine Arts, Budapest, Hungary; Hungarian National Gallery, Budapest, Hungary, the Museum of the City of Budapest, Budapest, Hungary; the Library of Congress, Washington, DC; Carnegie Museums of Pittsburgh, Pittsburgh, PA; the Chrysler Museum of Art, Norfolk, VA; Georgia Museum of Art, Athens, GA; Hofstra Museum, Hofstra University, Hempstead, NY; Holocaust Museum, Glen Cove, NY; National Academy of Art, New York, NY; New Orleans Museum of Art, New Orleans, LA; New York Historical Society, New York, NY;New York Public Library, New York, NY; National Gallery of Art, Washington, DC; Peabody Museum, Cambridge, MA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Reading Public Museum, Reading, PA; Livingston Arts Center, Mount Morris, NY; Ball State Teachers College, Muncie, IN; City College, New York, NY; Fashion Institute of Technology, New York, NY; Hungarian Consulate, New York, NY; Hungarian Heritage, New Brunswick, NJ; Hunter College, New York, NY; IBM Collections; Princeton Print Club...

Antique American oil painting. Oil on canvas. Signed. Framed. Measuring 30 by 36 inches overall and 24 by 30 painting alone. In excellent original condition. Handsomely framed in a ...

Antique American modernist oil painting portrait. Oil on canvas board. Signed verso. Framed. Measuring 22 by 26 inches overall and 16 by 20 painting alone.

Margaretha E. Albers The Ordell, Brooklyn Bridge Signed LR Oil on artist board 12 x 16 inches Provenance Kennedy Galleries, New York Private Collection, New York St. Lifer Art, New...

Antique Italian modernist seascape painting. Watercolor on paper. Signed. Framed. Measuring 12 by 22 inches overall and 10 by 20 painting alone.

Artist: Wolf Rohricht, German (1886 - 1953) Title: German Landscape Year: circa 1935 Medium: Oil on Canvas, signed l.r. Size: 32 x 40 inches [81 x 101.5 cm] Frame Size: 38.5 x 46.5 ...

Antique modernist tropical street scene oil painting. Oil on canvas, lain to board. Signed. Framed. Measuring 25 by 26 inches overall and 23.5 by 24 painting alone.

Artist: Reginald Marsh, American (1898 - 1954) Title: Locomotive Year: 1932 Medium: Watercolor on Paper, signed and dated l.r. Size: 14 in. x 20 in. (35.56 cm x 50.8 cm) Frame Size: ...

Leon Dolice (1892 - 1960) New York Harbor Skyline at Twilight (Searching), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower left Provenance: Spanierman Gallery, New York The romantic backdrop of Vienna at the turn of the century had a life-long influence upon the young man who was someday to be spoken of as showing promise of becoming "one of the greatest etchers of all time". Leon Dolice, born in Vienna on August 14, 1892, even as a young boy, preferred the lure of painting to the scholastic studies which his early years had expected of him. His father was a machinist, which exposed the boy to welding and metal crafts. However, his interest in art led him to abandon a secure future in the family business, and he spent most of his late teens and early twenties traveling through the capital cities of Europe studying the works of the Masters. As with many itinerant artists, he made his way in a variety of fashions metalworker, chef, designer somehow always managing to give vent to his creative instincts. Lured by the adventure of crossing the great Atlantic and by the freedoms of the New World, he came to America in 1920. There he was greeted by the turbulence of New York in the Roaring Twenties. Finding a retreat in the European Bohemianism of Greenwich Village, he picked the streets of this landmark neighborhood as his first subjects. With the encouragement of new found friends and artists such as George Luks and Herb Roth, he soon ventured out and devoted all his time to chronicling the architecture, back streets, dock scenes and other nostalgia that was fast disappearing from the face of Manhattan, mainly in copperplate etchings. A favorite subject for him was the Third Avenue El near one of his New York City studios on Third Avenue. He won accolades for his work, and although he traveled the East Coast recording landmarks in other cities including Washington DC, Baltimore, Chicago and Philadelphia, he always returned to his new home Manhattan. A decline in popular favor for etchings led him to put aside his plates in the late 1930's and devote some ten years to pastels, linocuts and painting. His subject matter was almost exclusively New York City street scenes, but figurative works, country scenes and even experiments with Abstract Expressionism at the height of its new found favor in the 1940's punctuated his career. In 1953, after learning of the forthcoming demise of the Third Avenue El, in the shadow of which he had maintained his studio for over a decade, he once again took to his plates and press and created a final series of Third Avenue and or other New York City landmarks that were then threatened with extinction. His work brings to light aspects of nostalgic New York that survives today only in small part, whether in architecture or in spirit. Dolice's works are in a number of notable museums and private collections, including the Museum of the City of New York; The New York Public Library Print Collection; The New York Historical Society; Georgetown University Lauinger Library; The Print Club of Philadelphia and others. In the past few years, his work has been exhibited at Hofstra Museum, Long Island, NY; with the Montauk...

Impressive early American modernist carnival scene oil painting. Framed. Oil on board. Image size, 14H by 18L.

Artist: Reginald Marsh, American (1898 - 1954) Title: The "Cannonball" Year: 1936 Medium: Watercolor on Paper, signed, titled, and dated l.r. Size: 16.5 in. x 22.5 in. (41.91 cm x 57...

Artist: Marcel Bouyeron, French (1890 - 1976) Title: Ruisseau a Maisangy (Yonne) Year: circa 1930 Medium: Oil on Canvas, signed l.l. Size: 18 in. x 21 in. (45.72 cm x 53.34 cm) Frame...

Antique American modernist surreal oil painting. Oil on canvas. Framed. Signed illegibly.

Reginald Marsh Tugboat at Dock, circa 1937 Signed lower right Watercolor and pencil on paper 13 3/4 x 20 inches Housed in a Lowy frame. Provenance: Sotheby'...

Antique American oil painting of a southern courtyard by Charles Baskerville Jr (1896 - 1994). Oil on canvas, circa 1950. Signed. Displayed ...

Leon Dolice (1892 - 1960) New York Harbor (Brooklyn Bridge), circa 1930-40 Pastel on paper 12 x 19 inches Signed lower right Provenance: Spanierman Gallery, New York The romantic b...

M Leonard Untitled, c. 1930 Oil on board 14 3/4 x 21 in. Framed: 21 1/8 x 27 1/2 in. Signed lower right: M Leonard

Guy Pene du Bois Seaside (Amagansett Beach), 1939 Signed and dated lower left; artist label on the reverse: "Seaside CAT No 192" Oil on canvas 16 x 20 inches Pène du Bois descended...

Vintage Swiss impressionist painting. Oil on board, circa 1940. Framed. Signed. Image size, 10L x 16H.

A precisionist painting of an industrial cityscape with a white bridge spanning between New Jersey and Pennsylvania.

Antique American modernist landscape signed painting. Watercolor and gouache on paper. Signed. Framed.

Artist: Reginald Marsh, American (1898 - 1954) Title: Brooklyn Bridge and Lower Manhattan II Year: 1938 Medium: Watercolor on Paper, signed and dated l.r. Size: 14 in. x 20 in. (35.5...

"Cellar with Horseshoe" WPA American Scene Modernism 20th Century NYC Industrial Joseph Solman (1909-2008) "Cellar with Horseshoe," 16 x 20 inches, oil on canvas circa 1938, initial...

Bumpei Usui Backyard, Staten Island, 1933 Signed lower right Oil on canvas 20 x 24 inches Provenance: The artist's estate Salander O'Reilly Galleries, New...

Oil on board. Great color and thick impasto. Signed illegibly. Framed. Image size, 17.5L x 14.5H

Hook Creek Hungarian American European Modernism WPA 1935 Long Island Canal Boat Oil on canvas board 12” x 15". The framed size is 18 x 21. In addition to this painting, we will include and etching of this scene.. The Print measures 3 1/2 x 6 inches and the sheet, 6 1/2 x 8 1/2 inches. It is signed: S. Csoka, 1943. Stephen (Istvan) Csoka was born in Gárdony, Hungary on January 2, 1897 and died in New York in 1989. He is best remembered as a painter and etcher of portraits, nudes, landscapes, genre, and horses. Csoka studied at the Budapest Royal Academy of Art and his memberships include Associate of the National Academy of Design in New York City; the Society of American Etchers in Brooklyn, NY; the Society of Brooklyn Artists; and the Hungarian Etchers Association. Csoka's exhibitions and awards include a medal at the Barcelona International Exhibition in 1929; a prize at the City of Budapest Exhibit in 1930; prizes at the Society of American Etchers in 1942 and 1945; prizes at the Library of Congress in 1944 and 1946; a prize at the Society of Brooklyn Artists in 1944; a prize at the Philadelphia Watercolor Club in 1945; the Corcoran Gallery of Art in 1945; the Carnegie Institute in 1943, 1944, and 1945; the Art Institute of Chicago in 1944; the Los Angeles Museum of Art in 1945; the National Academy of Design from 1940 through 1945; one-artist shows at the Contemporary Artists in 1940, 1943, and 1945; and the Minneapolis State Fair in 1943. *Stephen continued to recieve awards and exhibit his work throughout his life. In 1997, Hofstra Museum sponsored a Retrospective/Centennial exhibition in honor of his birth. Collections representing Csoka's work are the Metropolitan Museum of Art, New York, NY; the Brooklyn Museum, Brooklyn, NY; the Museum of Fine Arts, Boston, MA; the British Museum, London, England; the Bezalel National Museum, Jerusalem, Israel; the Butler Institute of American Art, Youngstown, Ohio; Whistler House Museum of Art, Lowell, MA; the Cleveland Museum of Art, Cleveland, OH; Columbus Museum of Art, Columbus, OH; the Sheldon Swope Art Museum, Terre Haute, IN; the Mobile Museum of Art, Mobile, AL; the Frederick R. Weisman Art Museum, Minneapolis, MN; the Museum of New Mexico, Santa Fe, NM; the Budapest Museum of Fine Arts, Budapest, Hungary; Hungarian National Gallery, Budapest, Hungary, the Museum of the City of Budapest, Budapest, Hungary; the Library of Congress, Washington, DC; Carnegie Museums of Pittsburgh, Pittsburgh, PA; the Chrysler Museum of Art, Norfolk, VA; Georgia Museum of Art, Athens, GA; Hofstra Museum, Hofstra University, Hempstead, NY; Holocaust Museum, Glen Cove, NY; National Academy of Art, New York, NY; New Orleans Museum of Art, New Orleans, LA; New York Historical Society, New York, NY;New York Public Library, New York, NY; National Gallery of Art, Washington, DC; Peabody Museum, Cambridge, MA; Pennsylvania Academy of the Fine Arts, Philadelphia, PA; Reading Public Museum, Reading, PA; Livingston Arts Center, Mount Morris, NY; Ball State Teachers College, Muncie, IN; City College, New York, NY; Fashion Institute of Technology, New York, NY; Hungarian Consulate, New York, NY; Hungarian Heritage, New Brunswick, NJ; Hunter College, New York, NY; IBM Collections; Princeton Print Club...

Artist: Marcel Bouyeron, French (1890 - 1976) Title: Neige en Cantal Year: circa 1930 Medium: Oil on Canvas, signed l.r. Size: 9.5 in. x 13 in. (24.13 cm x 33.02 cm) Frame Size: 16 x...

Ernest Fiene Along the Kanahawa River, West Virginia, 1936 Signed lower right Oil on canvas 26 x 36 inches Fiene made a series of paintings, drawings and lithographs which are based on his travels through Pennsylvania and West Virginia during the winter of 1935-36. The industrial areas of Pennsylvania and West Virginia are represented in numerous oils, among which are some of his most well-known. Fiene wrote of the trip, "The increasing snow and atmospheric conditions [in the Kanawha River valley} enhanced this mountainous coal mining country with a majestic beauty." Winter on the River is Fiene's only American Artists Group print and there were only two lithographs produced from the West Virginia trip. The American Artists Group (AAG), under the direction of Carl Zigrosser, who was then working at New York's famed Weyhe Gallery, published ninety-three prints by over fifty artists in 1936 and 1937. Zigrosser's goal was to popularize contemporary American art through original prints offered at the low price of $2.75. The project was also a means to provide income for impoverished artists during the Depression. The prints were featured in many of the leading print exhibitions and publications of the period. The lithograph produced from this image is now in the collection of the Amon Carter Museum, Baltimore Museum of Art, Cleveland Museum of Art, Philadelphia Museum of Art, Pensacola Museum of Art, San Francisco Fine Arts Museum, Syracuse Museum, Yale University Art Museum. Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings from this trip were featured in an exhibition held at the First National Bank in Pittsburgh in October of 1937 by the Pittsburgh Commission for Industrial Expansion. Fiene said of these works that he formed rhythm, opportunity for space and color, and integrity in the Pennsylvania mill and furnace paintings. Fiene received the silver medal for one of the Pittsburgh paintings...

Bumpei Usui Shanties in the Bronx, 1933 Signed lower right Oil on canvas 14 x 20 inches Provenance: The artist's estate Salander O'Reilly Galleries, New Y...

Aaron Bohrod, 1907-1992 Barbecue Stand, circa 1935 Gouache on board Signed Lower left: “Aaron Bohrod” Inscribed and signed on verso Bohrod-1 Provenance: Private estate, Rhode Island...

Eugène Galien-Laloue (1854–1941) was a French artist renowned for his gouache works that vividly depict urban life in late 19th and early 20th-century Paris. Known for his unique abi...

A watercolor painting by Charles Burchfield from 1935. An impressionist landscape of green foliage and a grassy hill in soft earth tones. Signed and dated in the lower right, beautif...

1,000 piece Museum Quality Collection of Art & Objects from NYC 1939 Worlds Fair is available for sale. This sculpture, "Riders of the Elements," is the original 7' plaster maquette from the NYC 1939 World's Fair by Chester Beach...

1,000 piece Museum Quality Collection of Art & Objects from NYC 1939 Worlds Fair Harry Lane (1891-1973) "1939 World’s Fair Construction," 30 x 40 inches, Oil on canvas, signed lower...

1,000 piece Museum Quality Collection of Art & Objects from NYC 1939 Worlds Fair. Ilya Bolotowsky (1907-1981) "1939 World’s Fair Mural Study for the Hall of Medical Sciences...

A watercolor painting by Charles Burchfield from 1931. A still life botanical painting of a skunk cabbage in natural setting. Signed and dated in lower right, beautifully matted and framed in gold ornate frame. The painting has an excellent provenance through top New York Galleries including DC Moore...