1950s Landscape Paintings

Work on wood Golden wooden frame 73 x 87 x 4 cm

Antique American modernist seascape signed oil painting. Oil on canvas. Signed on verso. Framed. Image size, 30L x 15H.

This lovely British Post Impressionist 1950's landscape oil painting is from a collection of Peter L Field paintings acquired from the family. The compos...

Huge late 1950's oil on canvas depicting a figure in an industrial landscape by Peter Freeth RA. The work comes with wonderful provenance, having originally been sold at the prestigi...

'The Seine in Winter' by Charles Gordon Harris. School of Paris, Tonalist, Snowy French Landscape, Mood ---- Signed lower right, 'Charles Harris', for Charles Gordon Harris (America...

Antique American modernist signed abstract oil painting. Oil on canvas. Signed. Framed. Image size, 36L x 31H.

Artwork sold with frame (135 x 166.5 cm) José Fabri-Canti was a French painter born in Nice to Russian émigré parents. He began exhibiting in Corsica in the 1930s before moving to P...

Wonderful mid century autumnal landscape of a miner's shack on Tuolumne River in Yosemite by N.C McNickle (American, 20th Century), circa 1950. Impasto adds extra texture and depth S...

Guy C. Wiggins (1883 - 1962) Locomotive Train in Snowstorm, 1957 Oil on paperboard 8 x 10 inches Signed lower left; signed and dated on the reverse Guy Carleton Wiggins is best known for his impressionistic snow scenes of New York in 1920's. Wiggins lived in Old Lyme and Essex where he operated an art school. The Connecticut country-side was conducive to his impressionist technique of plein-air painting and broken brushwork.  Ironically, although his work includes many fine Connecticut landscapes, he is best remembered for some snow scenes of New York City. Like many other American Impressionists, Wiggins had one foot in the city and the other in the country (Vermont Hillside, South Londonderry).  Wiggins was born in Brooklyn, New York, went to England with his family as a boy, received an English grammar school education, and traveled widely abroad. He was the son of a prominent artist, Carleton Wiggins, a painter in the Barbizon style who studied with George Inness and admired Anton Mauve and Dwight Tryon...

Rare and important large landscape painting by Paul Esteban (Pablo) O'Higgins (1904 - 1983). Oil on canvas. Signed lower right. Framed. Image size, 23.25L by 33.25H image size al...

Signed oil on canvas by Spanish post impressionist painter Emilio Grau Sala. The work depicts beachgoers in Deauville, France taking the last of the sun as it disappears beyond the horizon. The pale yellow light reflects on the sea, illuminating the water. Two horse riders gallop across the sand. The piece is painted in beautiful shades. Signature: Signed lower right and further signed and titled verso Dimensions: Framed: 27"x36" Unframed: 20"x29" Provenance: Private Collection - France Emilio Grau Sala studied at the fine arts school in Barcelona, where he became friends with Antoni Clavé. While still very young he began exhibiting at the Humourists Exhibition. In Paris he exhibited at the major annual Salons. He also exhibited at many international group exhibitions and in 1937 received an important award at the Carnegie Foundation International Exhibition in Pittsburgh. He showed collections of his work in many solo exhibitions starting in Barcelona in 1929 and 1930. His first solo exhibition in Paris was in 1937 and he went on to exhibit in Madrid, London, Buenos Aires and New York. After three trips to Paris he finally settled there in 1936. In Paris he was influenced by the paintings of Marcel Gromaire and especially Julius Pascin. He created theatrical sets and costumes for several plays including The Woman of Easy Virtue ( La Demoiselle de Petite Vertu) by Marcel Achard. He also illustrated many literary works including Madame Bovary by Flaubert, Bel-Ami by Maupassant, Colette's series of four Claudine novels, Marcel Proust's In Search of Lost Time ( À la Recherche du Temps Perdu), and works by poets including Baudelaire's Les Fleurs du Mal...

Lovely mid century fall landscape with rolling hills in beautiful autumnal tones by Anany Alexeevich Verbitsky. (translated) ( Russian, 20th Century), c.1950s. Signed in the lower le...

Antique American modernist abstract oil painting. Oil on canvas. Framed.

Antique American modernist abstract oil painting. Oil on canvas. No signature found. Framing is available.

Charming mid century landscape with Cecil Brunner roses, larkspur and foxglove titled "The Friendly Gate" by Lillian Mae Grooms Huebner (American, 1892-1976), circa 1950. Condition: ...

Leona Turner (1929 - 2004) West Texas / Albuquerque Artist Image Size: 14 x 18 Frame Size: 21 x 25 Medium: Oil "Cottonwoods at Peralta" Biography Leona Turner (1929 - 2004) Leona Marie Turner was born and raised in West Texas, where she is well-known and her paintings are sought after. In Albuquerque, she taught classes to most every aspiring artist in New Mexico and many from Arizona, including Curt Walters. She was proficient with oil paints, watercolor and pastels, and her works hang in numerous important places in the Southwest. Many portraits were commissioned from Jackson Hole, Wyoming, to Amarillo, Dallas and El Paso, Texas. Internationally known artist Curt Walters commissioned a 40x60 oil portrait in 1990. Ms. Turner was a member of many art societies, including the National Portrait Society, National Water Color Society, New Mexico Watercolor...

Title: Woman with Pitcher Artist: Antoni Valls Bordoy (1909–1994) Medium: Oil on canvas Dimensions: 35 x 27 cm (13.8 x 10.6 in) Support: Canvas with Casa Teixidor (Barcelona) sta...

A charming 1956 oil on canvas board painting of a red brick house, titled "Corner of the Brick House with Last Snow Bank, Calais, VT" by artist Harold Haydon. The painting is framed...

Antique American modernist abstract oil painting by Adele Becker (1929 - 2021). Oil on canvas. Framed. Signed.

Original Painting Undersea Whale Life Mag Published 1953 Illustration Ocean Sea Antonio Petruccelli (1907 – 1994) Underwater Whale Life Illustration published, c. November 7, 1953 1...

Antique Canadian impressionist landscape signed oil painting. Oil on board. Signed. Framed. Image size, 20L x 16H.

Lawrence Rothbort Belt Parkway, circa 1950 Oil on canvas 48 x 48 inches Lawrence Rothbort was born March 1920 in Brooklyn, New York. He was a model from infancy for his father, Amer...

Oil on artist board mounted on wood panel. Tschacbasov sunset sets the trees ablaze in this beautiful painting done in the late 1950's while two small figures in the lower right side...

An American Female Artist in her late signature style depicts a Horse and a Colt in an abstract landscape. Ethel Magafan scapes the defining lines with a knife to add to the creative...

Emile Albert Gruppe (American, 1896 - 1978), "Morning, Gloucester", oil on canvas, signed lower left "Emile A. Gruppe", Canvas: 24 x 20 Inches Framed: 27.25 x 23.25 Inches Conditi...

Lionel Bulmer (1919-1992) 'The Edge of the Field' Signed c.1950s Oil on board 17" x 20" (43 x 51cm) Lionel Bulmer (1919-1992) attended Clapham art school before war intervened; after the war he started again at the Royal College of Art which had been relocated during the conflict to Ambleside in the Lake District. Here he met his lifelong partner Margaret Green...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Les Iles à Cantepie by Paulémile Pissarro (1884-1972) Oil on canvas 54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches) Signed l...

John Edward Costigan, N.A. American, 1888-1972 Bathers Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 20 by 24 in. W/frame 26 by 30 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing...

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

Painterly scene of boats and boats being built at the docks in old Pacific Grove, California by an unknown artist (American, 20th Century). Signed"WHM" lower left. Presented in a fau...

Antique American modernist abstract oil painting by Adele Becker (1929-2021). Oil on canvas. Framed. Signed.

Gorgeous Southern California spring landscape of adobe home with Sycamore and Eucalyptus trees in background by John Anthony Conner (American, 1892-1...

Antique American modernist abstract oil painting by Adele Becker. Oil on canvas. Framed. Signed.

Vintage American modernist landscape abstract painting. Oil on board, circa 1952. Signed. Image size, 21.5"L x 7.5"H. Housed in a period modern frame.

Mid Century River Birches Landscape Watercolor Gorgeous vibrant mid century watercolor on paper painting of river birch trees by artist Eva Collins Marks (American, 20th century),19...

Gorgeous mid century landscape of Villafranche Sur Mer overlooking Cap Ferret by G. Cunningham (American, 20th Century), 1957. Study of painting by Ladislav...

Landscape is an artwork realized by Alberto Gillani, in 1981. Oil on Canvas. 49 x 69 cm; 79 x 89 cm with frame. Handsigned in the lower margin. Very good conditions

Forest Oasis, Mid-Century Pool Under Redwood Trees Landscape Beautiful mid-century redwood forest scene by Vladimir Shkurkin (1900-1990), c.1950. This st...

Stunning and bright mid-century abstracted Sedona desert landscape of red bluffs and Seguaro cactus by unknown artist, 1957. Signed lower left illegibly and dated "June 1957" on vers...

Original oil on masonite painting by the Russian/ American artist, Nahum Tschacbasov. Signed lower right. Circa 1950. Unframed. Condition: Good. Provenance: Estate of the artist. Nahum Tschacbasov’s paintings are in the permanent collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Jewish Museum, the Philadelphia Museum, the Pennsylvania Museum of Fine Art, as well as numerous college and private collections. His work was shown at ACA Gallery in New York, as well as Perl’s Gallery and John Heller...

Vintage American modernist abstract Maine landscape painting. Watercolor and gouache on paper, circa 1960. Signed on verso. Image size, 30...

Ink painting of a traditional Balinese river scene attributed to Dewa Putu Lopid. Intricate and dynamic ink wash painting of a traditional Balinese river and village scene. In the f...

Wonderful modernist landscape painting. Francis Kelly was born in 1927 in St. Paul, Minnesota. He received his early education in Chicago and California. He served in the United States Navy from 1944 to 1948 when he entered the Art Center School, Los Angeles. During 1951 in 1952 he lived in Paris, attending the Academie de la Grande, Chaumiere. In 1953 he went to the University of Hawaii, Honolulu, and then to the University of California at Los Angeles, where he was graphic laboratory assistant to John Paul Jones. Awarded a Fulbright Grant in 1955 he came to the Graphic Department of the Central School, London. The St. George's Gallery first introduced his etchings in Britain. In 1958 Kelly was awarded the Stacy Grant for painting. His work has been shown at Royal Academy Exhibitions and he has traveled extensively. In 1966 he was appointed Art organizer for the U.S. Embassy "Festival of Arts in Humanities". His paintings were shown in the exhibition "Five American Artists in Britain". During 1976 he acted in a similar capacity on behalf of Windsor & Newton Ltd., who sponsored an exhibition of American artists commemorating the U.S. Bicentennial. He appeared in the film Science in Art. Kelly has studied painting conservation at the Courtald Institute. In 1967 he was sent to the Italian Art and Archives Rescue Fund to Florence to restore flood damaged paintings. In 1971 his book, Art Restoration, was published by David and Charles and in the U.S. by McGraw-Hill. His second book, The Studio and The Artist was published in 1975. Kelly's work has been shown at 24 museums in Great Britain and numerous galleries. Acquisitions have been made by many public and private collections, universities and educational services. During more than 40 years in Britain he has found a growing affinity with the countryside, observing less the well-known landmarks but rather more the timeless rural lanes and by-ways as yet still unspoiled by building and industry. A member of the group in Brighton preserving Brighton's West Pier, he has produced a series of works recording the ravages of time on this finest of Victorian structures.

Painter, vacation, summer, impressionism, picnic, 1950s Russia,Green

Approximate Date: 1954 Medium: Gouache on Paperboard Signature: Signed Lower Left Size: 26 1/8 x 20 in. Saturday Evening Post, October 9, 1954, cover illustration. Exhibited: Norman Rockwell Museum...

William Henry Innes (1905-1999) Innes first exhibited his work during the Second World War while he was in the Royal Air Force. He showed extensively at the Royal Academy, New Engla...

Jose Vives-Atsara (1919-2004) San Antonio Artist Image Size: 30 x 40 Frame Size: 37 x 47 Medium: Oil on Canvas Dated 1954 "Atardecer" Acapulco, Mexico Biography Jose Vives-Atsara (1919-2004) His list of Pallbearers says it all. They were not just buyers of his art they were some of his closest friends. Pallbearers: E. Glenn Biggs, James M. Cavender, III, Tom C. Frost, Jr., James W. Gorman, Jr., George B. Irish, Joseph R. Krier, Robert L. Mooney and H. Bartell Zachry, Jr. Jose Vives-Atsara was born April 13, 1919, in Villafranca del Penedes near Barcelona, Spain. A native Spaniard, he developed a love of painting at an early age, and by age 11 had committed himself to becoming an artist. He studied at Colegio de San Ramon and had his first one-person show at age 14. The Spanish Civil interrupted his idyllic young life as he was forced to serve in the Communist Army, and then was imprisoned, suffering many hardships. Soon after the war he married Emilia Hill Domenech, and in 1947 set out to move with his wife and child aboard a tramp steamer to the United States. Unfortunately, immigration quotas did not allow them to move directly to the United States, and it was eight years before they achieved that goal. During this interim before obtaining temporary visas, he and his family lived first, in Caracas, Venezuela and then in Mexico City, Mexico. The family settled in San Antonio, Texas, where he had made friends on a previous visit. He and his wife and children gained citizenship in time for their first Christmas in the United States. He became such an exemplary immigrant citizen that officials of the U.S. District Court for the Western District Court regularly invited him to share his thoughts and advice for living in America with newly naturalized citizens Vives-Atsara also developed a close relationship with the Incarnate Word College, becoming, over the years, both a professor of art, and Artist in Residence. As a painter, he depicted many local scenes including San Antonio missions and the San Antonio River. For special guests such as Pope John Paul II, heads of state, and royalty from foreign countries, he was commissioned to provide paintings as gifts. His paintings were also commissioned for Frost Bank and the San Antonio Chamber of Commerce. For his vibrant oil paintings, he used only nine colors, mixed in a variety of ways. They have been described as both realistic and impressionistic. "Vives-Atsara believed that art is a reflection of the artist's soul, if this is true; his paintings reflect a beautiful, bright spirit." (Richardson) Jose Vives-Atsara died in San Antonio on January 13, 2004 and is buried there in Sunset Memorial Park Mausoleum. Jose Vives-Atsara was born in Vilafranca del Panades in the Catalonian region of Spain on April 30, 1919. As a small boy he loved to sketch with pencil and paper. He began painting at the age of eleven. His first one-man show came at the ripe old age of fourteen. From that time on, painting has been his love and his way of life. Jose studied art at Saint Raymond College and School of Fine Arts in Barcelona. He is quick to admit that his most inspirational teacher has been nature itself. Mr. Vives-Atsara came to San Antonio in 1956 where he has established his art career. His use of a palette knife in painting allows him to blend rich pure pigments to achieve his goal of creating a powerful statement of color directly on the canvas. This style is intended to produce works that are distinctively 'Vives-Atsara'. Vives-Atsara is represented in public collections including the Museum of Modern Art, Spain; Fort Worth Art Museum, Texas; His Royal Highness Juan Carlos...

Discover the vibrant world of Martin Saldana, a talented Mexican-American folk artist known for his captivating rustic and naïve style. This original painting, titled "The Train", wa...

Panthéon and Bridge 2 Charles Cobelle, French (1902–1994) Date: 1959 Watercolor on Paper, signed Size: 24 x 30 in. (60.96 x 76.2 cm) Frame Size: 31 x 37 inches

Artwork sold with frame (83 x 101.5 x 5 cm ) Josep Meneses Tapias (born 1930) is a Spanish painter recognized for his vibrant, impressionistic landscapes and urban scenes. Born in B...

Beautiful and evocative oil painting by the great French school modern artist Moya Dyring specializing in marinas. It depicts a harbor with boats probably from the French Riviera painted with great intensity but giving, at the same time, a sweet sense of serenity. Moya Claire Dyring was born in Coburg, Victoria in 1909. She produced drawings, oil paintings and pastels. She was one of the first women artists to embrace Modernism and exhibit cubist paintings in Melbourne. For several years she was a member of the modern art community known as the Heide Circle, named after the home of art collectors John and Sunday Reed, and now the Heide Museum of Modern Art. Every item of our Gallery, upon request, is accompanied by a certificate of authenticity issued by Sabrina Egidi official Expert in Italian furniture for the Chamber of Commerce of Rome and for the Rome Civil Courts. Dyring then travelled to the USA and France, where she lived most her life. Her work is held in the Heide Museum as well as the National Gallery of Australia. One of her earliest works in cubist in style, Melanctha, 1934, was acquired by Sunday Reed. In 1934 Dyring also painted Portrait of Sunday Reed which went into the Reed's collection, along with a cubist style Portrait of a Woman from the same year. While her early works were figurative or cubist, in France she turned to landscape as she travelled to various towns throughout France. In her later years, unable to travel freely, she painted children against the backdrop of Paris. As time passed, she was largely glossed over and not included in major exhibitions of artists, especially women artists, of the 30s, 40, and 50s. In 2002, at the University of Melbourne, Gaynor Patricia Cuthbert delved into her life and work for a doctoral thesis, helping to bring back attention to her work. Collection The Heide Museum of Modern Art holds many paintings and drawings, some acquired through the John and Sydney Reed collection. The National Gallery of Australia, Canberra includes one drawing. The Art Gallery of New South Wales holds multiple works. Third child of Carl Peter Wilhelm Dyring, medical practitioner, and his second wife Dagmar Alexandra Esther, née Cohn, both Victorian born. Moya was educated (1917-27) at Firbank Church of England Girls' Grammar School, Brighton. After visiting Paris in 1928, she studied (1929-32) at the National Gallery schools, Melbourne, and shared fellow student Sam Atyeo's interest in artistic innovation. Classical modernism engaged her attention in the early 1930s. She painted at the George Bell school and studied under Rah Fizelle in Sydney; Mary Alice Evatt and Cynthia Reed were her colleagues. For several months in 1937 she took charge of Heide, the home and garden of John and Sunday Reed, at Bulleen, Melbourne. The Reeds were pivotal both to her sympathy for modernism and her belief in congenial fellowship. She enjoyed something of the intense relationship with Sunday Reed that the latter would subsequently extend to Joy Hester. In June Dyring held an exhibition, opened by H. V. Evatt, at the Riddell Gallery, Melbourne. Less enthusiastic than the Reeds and the Evatts about her art, Basil Burdett wrote of her 'somewhat incoherent interpretation of modern ideas', although he did acknowledge that her work had 'audacity of colour and a certain monumental feeling for form . . . qualities rare enough in Australian painting'. In August Dyring embarked for Panama whence she travelled by bus to New York, breaking her journey to view major galleries. She had intended to paint in the United States of America, but disliked the work of contemporary American artists and sailed for France. In 1938 she was based in Paris, taking advantage of Atyeo's contacts within the avant-garde. She studied at the Académie Colarossi, the Académie de la Grande Chaumière and with Andre Lhote, although by October she denounced him as a 'racketeer'. In 1939 Dyring and Atyeo settled on a farm at Vence, France; inspired by memories of Heide, they grew fruit and flowers. Sam accepted a commission to decorate a house in Dominica, West Indies, leaving Moya at Vence. Evacuated to Australia via South Africa, where she painted and searched for tribal art, she then journeyed to Dominica and married Atyeo. They were not happy, neither painted and Dyring was ill. Evatt offered Atyeo work and Dyring accompanied him to the U.S.A. She viewed art, painted occasionally and claimed to have exhibited in Washington in 1943. After World War II Evatt found Sam various postings, while Moya returned to Paris to pursue a full-time career in art. They were to be divorced in 1950. From about 1946 Dyring's art was more personal than innovative. She gained a considerable reputation among French regionalist and nationalist artists for her sympathetic appreciation of provincial scenes and life. Bernard Smith placed her in the French tradition of intimiste painters. In 1948 she leased and renovated an apartment on the Ile St Louis, which, as Chez Moya, became a centre for Australians who enjoyed her hospitality, cooking and practical assistance. She revisited Australia and exhibited in various cities in 1950, 1953, 1956, 1960 and 1963; the press carried her reports of Parisian cultural life. Dyring held a solo exhibition in London in December 1949 and was in close contact with expatriate Australians, among them Loudon Sainthill...

Marie-Lucie Nessi Valtat Horseman in Summer, ca. 1950 Oil on canvas mounted on board 10 2/3 x 13 3/4 in l 27 x 35 cm Frame size: 12 2/3 x 15 3/4 in. l 32 x 40 cm Marie-Lucie Nessi V...

'New Orleans Streetscape" is an original watercolor painting by William Collins. It features a view of a street in New Orleans,. Tall houses with large...

Impressive early American modernist abstract expressionist oil painting. Framed. Oil on canvas board.

Signed oil on board riverscape circa 1950 by French Post Impressionist painter Georges Charles Robin. The work depicts a view of the Dordogne riv...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Paysage d'Hiver by Paulémile Pissarro (1884-1972) Oil on canvas 54 x 65 cm (21 ¹/₄ x 25 ⁵/₈ inches) Signed lower ...

Antique American modernist street scene painting. OIl on board. Framed. Signed "Van Zandt 50". Really finely painted and an interesting subject as well!

Antique American modernist view of Venice by Enid Smiley. Oil on canvas. Framed. Signed.

A fine Impressionist oil, ' Young Friends by the Beach Watching Fishermen' circa 1950's. oil on canvas 43cm x 53cm Good quality gallery frame 52cmx62cm ...

Jean Salabet French, 20th Century Montmartre Jean Salabet was a School of Paris painter know for his colorful Parisian cityscapes. His work is comparable to those of Jules Herve, An...