1930s Landscape Paintings

Up for sale here is a really impressive early 1900's oil painting by William Clarke Rice, Jr. (1875 - 1928). A great nocturnal view housed in a period giltwood frame. Image size, 2...

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...

Charming naive mountain landscape with bear and soaring eagle by R. Ramberg (American, 19/20th Century), 1933. Signed and dated center lower edge. Presented in rustic wood frame. Im...

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...

The Provencal Lane French School, circa 1930's oil painting on board, unframed 10.5 x 13.5 inches Double sided oil painting, both of the French countryside, one side is overlooking ...

This stunning work features Mr. Dumond's trademark green. Trout Rock Signed lower left: F. V. Dumond Titled on stretcher with artist's estate stamp: Trout Rock From a Texas Estate. Frank Vincent Dumond was an artist, illustrator, and painter of the Tonalist school...

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

Beautiful 1930's California seascape of the rocky Monterey coast, with numerous smooth stones on the water's edge depicted in great detail, by San Jose,...

Gorgeous large-scale pastel colored landscape of a Southern California grapevine valley by Eugene (Jene) Jackman (American, 1910-1970), 1937. Rolling hills sprawl across this vast la...

This work embodies a beautiful color scheme that is evident in the treatment of the sky and the huge cloud structure. that Signed and Dated lower right Original Period Frame On Vers...

Signed lower right, 'A. Delauzieres' for André Delauzieres (French, 1904-1941), dated 1936 and titled 'Bry-Sur-Marne'. Provenance: Collection of Ole...

Antique American modernist landscape oil painting . Oil on canvas board, circa 1930. Unsigned. Displayed in a period frame. Image, 20"L x 16"H.

Beautiful mountain road in vibrant tones, a watercolor landscape painting by Eva Ellen Dean (American, 1871-1954). Presented in a wooden frame. Signed "E...

Antique Expressionist Painting of Ibiza by the American Artist Martin Baer (1894-1961), 1935. Baer was born in Chicago and early in his career worked in Germany, North Africa, and Pa...

'Parc des Buttes-Chaumont' in Paris, gouache on art paper, by Lucien Génin (circa 1930s). A charming depiction of well turned out Parisians enjoying a day at the park. Boaters, strollers and swans all co-mingle around the peaceful lake. The reflection of the rocky bluff in the water is superbly treated by Génin. It's a cheerful and uplifting image of days-gone-by in 1930s Paris. The park takes its name from the 'bare hill' (chauve-mont) that once occupied the site. It became a place where gypsum was mined, and where the limestone was quarried to be used in buildings in Paris and the United States. Worse, though, it was a site that also became a dumping ground. Luckily, during the 19th-century renovation of Paris under Napoleon III, chauve-mont was chosen as a place for a large park, as part of the emperor's fascination with endowing Paris with green spaces. The artificial lake created at that time wraps around a hilly central island. The lake attracts waterfowl and other birds and is stocked with fish. The 19th-century planners cleaned up the site and added tons of soil to fill the pits left by a limestone mining operation. Then dynamite was used to "sculpt" the site into the craggy shapes seen today, including the 50-metre-high central hill with cliffs, an interior grotto, pinnacles, and arches. Up on top, overlooking the rest of the park - and depicted in this artwork - is a small, round belvedere, based on the Roman Temple of Vesta in Italy. From that spot you can see a lovely view of Montmartre and the white cupolas of the Sacre-Coeur. The painting is in very good condition. It has been newly framed and glazed with museum-quality glass (anti-reflective and UV protection) to preserve this significant artwork for decades to come. Dimensions with frame: H 62 cm / 24.4" W 76 cm / 29.9" Dimensions without frame: H 48.5 cm / 19.1" W 63 cm / 24.8" About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

Oil on board, signed and dated 38' in lower right. Measures 6.75" x 15.5" including the frame, also inscribed and signed on reverse. Nikolai Timkov is one of the best known Russian ...

Watercolor on paper painting of Cameron's Cove outside of Colorado Springs, Colorado by Charles Ragland Bunnell from the 1930s. Scenic mountain landsc...

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...

Rolla Taylor (1872-1970) San Antonio Artist Image Size: 24 x 30 Frame Size: 30.25 x 36.5 Medium: Oil Circa 1920s/30s "Bluebonnets" Biography Rolla Taylor (1872-1970) ...

Spring landscape, green, 19th century Edgardo CORBELLI (Turin, 1918 - 1989) From the traditional composition of the 1930s, the painting of Corbelli leads to technical and expressive...

Oil on artist board painting by the American artist, Paul Wesley. Signed lower right. Titled and signed verso. Circa 1930. Condition: excellent. Provenance: A private estate, East ...

Swiss painter and designer born in 1880. Died in 1954. Work on canvas Golden plaster moldings frame 70 x 62 x 6 cm

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

Autumn landscape. 1930, oil on canvas, 40x60 cm

A fine impressionist oil of Chiswick Mall, by The Thames, London circa 1930's-40's by listed artist Josephine Matley Duddle later Matley-Duddle Ghilchik (1890-1981) oil on canvas la...

"Pacific Grove Moonlight", a striking and unique mid-century nocturnal landscape of the moon rising over the ocean as seen through trees on a beach, attributed to and in the style of...

Depression era account of working men and women. Philip Howard Francis Dixon Evergood (born Howard Blashki; 1901–1973) was a Jewish American painter, etcher, lithographer, sculptor...

Paul Schumann Has been professionally cleaned and framed. 1876-1946 Galveston Artist Image Size: 9 x 12 Frame Size: 13.75 x 16.75 Medium: Oil "Crashing Waves" Paul Richard Schumann (December 13, 1876 – April 29, 1946) was a Texas...

Beautiful ca. 1935 painting by American artist, Frank Stanley Herring (1894-1966). Watercolor on heavy rag handmade paper measures 14.5 x 19 inches, 23 x 28 inches in original vintag...

Leslie Ernest Parkinson 1903 - 2001 A Willow Tree Oil on board, initialled and dated 1930 top left Image size: 10 x 12 inches Handmade frame Parkinson was born in Islington in 19...

"Airplanes Dive Over Enemy Skies" Italian Futurism Futurist Transportation Plane Guglielmo “Tato” Sansoni (Italian, 1896 – 1974) "Airplanes Dive Over Enemy Skies (Aerei in Picchiata su Stabilimenti Nemici)," 20 x 28 inches. Oil on canvas. Circa 1930s. Signed lower right. Titled and signed verso. Guglielmo Sansoni...

Antique American oil painting of a southern courtyard by Charles Baskerville Jr (1896 - 1994). Oil on canvas, circa 1950. Signed. Displayed in a period frame. Image size, 18"L x...

French 20th-century Impressionist harbor, with fishing boats at sea, with landscape beyond. 20th-century French impressionist harbor scene. The artist has achieved a very decorati...

Paris roofs. 1930s. Oil on canvas, 60x80 cm

'Mediterranean Landscape', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a view of Prov...

Jim’s of Lambertville is proud to offer this artwork by: Charles Hargens (1893 - 1997) Carversville, Bucks County, Pennsylvania artist and illustrator Charles was born in Hot Springs, South Dakota. As a young boy he loved to draw cowboys, Indians and ranch buildings. By age ten, he was “a commercial success” selling drawings of neighbors’ barns and houses for $25. When he grew older, his parents consented to enroll him at the Pennsylvania Academy (1913-20) where he studied with Daniel Garber, Hugh Breckenridge, Henry McCarter, and William Merritt Chase. At Garber’s invitation, Hargens occasionally came to visit his Lumberville studio to paint with him. A lifelong friendship resulted. In 1915, the Pennsylvania Academy awarded Hargens its Cresson Traveling Scholarship and he went to Paris to study at the Academie Julian and the Academie Colarossi. Hargens was a fellow of the Pennsylvania Academy and a member of the Society of Illustrators, the National Cowboy Hall of Fame and the Philadelphia Sketch Club. He exhibited at the Art Institute of Chicago (1923 awards) and at the Pennsylvania Academy of Fine Arts (1915 prize, 1917 prize, 1918 award). By the early 1920s, he began to produce illustrations for book jackets, books, magazines and advertisements. His career took off and soon his illustrations of cowboys, Indians, Western life, Revolutionary War action and boy scout themes appeared in, or adorned the covers of The Saturday Evening Post, Collier’s, Liberty, McCall’s, Boy’s Life and Gentlemen’s Quarterly. His work also appeared on billboards and advertisements for Stetson hats and Coca-cola. It was conditioned by Hargens that all of his original art was returned to him after being published. His entire body work remained in his studio until his death in 1997; this is largely the reason his paintings have not yet commanded the high prices of his contemporary Saturday Evening Post illustrators (i.e. Rockwell, Leyendecker and N.C. Wyeth). At first he and his wife worked from their studio in Philadelphia. In 1940, they purchased a property at the intersection of Aquetong and Sawmill roads in Carversville. They commuted to Philadelphia regularly and stayed in South Dakota every summer. Eventually, he set up a studio next to his Carversville home. After moving to Carversville, Hargens began a lifelong friendship with George Sotter. Hargens’ Carversville home was the subject of many of George Sotter’s paintings long before and during the time Hargens lived there. Hargens also studied with Henry Rand...

Impressionist winter landscape painting by Walter Sacks (1901 - 1961). Oil on board, circa 1930. Signed. Displayed in a vintage frame. Image size, 12"L x 10"H.

Oil on panel by French impressionist painter Henri Duhem depicting a man in a small boat on the river, with trees and reeds on the bank in the foreground. Signed lower left and dated...

This early work by American artist Sylvia Spicuzza is an excellent example of Regionalism: in the foreground, a farmer in blue stands before a herd of cattle. Beyond the fence of the...

Mediterranean Landscape II', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a view of a ...

1930s Zeppelin Over San Francisco Landscape Bright and evocative 1938 painting of burning Zeppelin by Ethel Grace Arpin Harlo Lynn (American 1881-1960). This was original painting w...

Signed lower right, 'W.H. McConnell' (American, 19/20 century) and dated 1936. Framed dimensions: 34 H x 43.5 W x 2 D Inches. A member of the Association of United Scenic Artists in Hollywood, W.H. McConnell worked as a backdrop painter of stage scenery...

Beautiful post-impressionist style oil on hardboard from the 30's-40's depicting a night landscape with a flamboyant sunset road. The work is signed lower right by the artist but it ...

A vintage watercolor capturing a daily scene in the Spanish colonial town of Taxco, Mexico by Theodore Ernest Langguth (German-American, 1861-1952). Titled, dated and signed lower ma...

Jim’s of Lambertville Fine Art Gallery is proud to offer this piece by Walter Emerson Baum (1884 - 1956). Born in Sellersville, Pennsylvania, Walter Baum was one of the only members...

Post Impressionist Beautiful watercolor representing the Pont Neuf in Paris by Fernand Herbo. The work is titled and dated 1930 and signed Fernand Herbo at the lower left. The waterc...

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

Gorgeous 1930's seascape of Pebble Beach by M.C. Richardson (Late 19th/Early 20th Century), 1932. Attribution on verso with notes of exhibition (Legion of...

View of Bou°_Sada. Oil sketch on cardboard. Signed and titled on the back. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. J...

This wonderful impressionist Vermont winter scene with a winding river and the Green Mountains as a backdrop was painted by American artist Aldro Thomps...

Vibrant California modernist industrial landscape by Erle Loran (American, 1905-1999). Signed and dated lower left "Erle Loran '37." Presented in a gilt wood frame, with faux suede liner, giltwood fillet and off white archival mat. Image, 15”H x 19”L. Erle Loran was born in Minneapolis, Minnesota. He studied at the Minneapolis School of Art under the direction of Cameron Booth...

The Town Park - Mid Century 1930's Landscape Charming mid-century oil painting of a small town park by Fresno, California artist Gladys M. Harper (American, 20th century). Signed an...

Elm trees in autumn at the edge of Salt Creek, Illinois, by Mary H. Brubaker (American, b. 1891). Signed and dated "Mary H. Brubaker 35" in the lower left cor...

Cesar Villacres   Ecuador, 1880–1941 Flower Seller, Paris Cesar Villacres was an Ecuadorean artsit that worked in South America & Paris. He exhibited i...

Medium: Oil on Canvas Signature: Signed and dated lower right: Frank E. Schoonover / 33. Inscribed on the reverse: Chapter 6 127 / 1967 The Crimson Cutlass interior book illustratio...

Herbe was a Dutch painter from the early 20th century. He painted landscapes and seascapes mostly in oils. His work was exhibited in London during the 1930s-50s with Mitchell’s the i...

From the estate of the artist.

A good large post impressionist/expressionist Landscape oil circa 1938 oil on canvas 75cmx90cm Gallery frame 87cmx102cm Fields with a small dwelling painted in expressive impastoed b...