1960s Landscape Paintings

ITALIAN VALLEY Size: 38 x 49 cm (including frame) Oil on board A beautifully textured and expressive modernist style landscape composition, painted in oil onto canvas and dated 1967...

"City Harbor" Mid Century Modern Oakland Nautical Seascape in Oil on Linen Vibrant seascape by California artist Carol Sideman (American, b. 1925). Seve...

3944 Vintage acrylic on artist board Set in a period frame Image size 19.5x15.5" Signed

A stylized horse is depicted grazing in an abstract landscape. Most likely, the location is Woodstock, New York, where the artist lived. Signed Lower Right; Framed; Note: titled and signed on verso. Ethel Magafan (August 10, 1916 – April 24, 1993) was an American painter and muralist. Magafan was born in Chicago to Greek parents who had recently immigrated to the U.S. The family soon relocated to Colorado Springs, Colorado, and Magafan's artistic training occurred at the Colorado Springs Fine Arts Center under the tutelage of Peppino Mangravite, Boardman Robinson and Frank Mechau, who hired Magafan and her twin sister, Jenne, to assist on mural projects. In 1937, aEthel won the commission to paint a mural in the U.S. post office in Auburn, Nebraska, making her the youngest recipient of such a commission. It would be the first of seven government-sponsored commissions for the artist. Murals "Andrew Jackson at the Battle of New Orleans, January 8, 1814" E. Magafan, 1943 Under President Franklin Roosevelt's New Deal, several programs were created to employ Americans during the Great Depression. The Magafan twins worked under the New Deal's Section of Painting and Sculpture, a program that hired thousands of artists to paint murals in public spaces, particularly post offices. Ethel and her twin sister, Jenne Magafan, became widely known for their murals painted during the Great Depression. Ethel received her first of seven Government commissions when she was commissioned to produce a painting for the United States post office in Auburn, Nebraska, titled Threshing.Other murals commissioned by the US Government hang in the United States Senate Chamber, the Social Security Building and the Recorder Deeds Building in Washington, D.C., and in post offices in Wynne, Arkansas, titled Cotton Pickers in 1940; in Madill, Oklahoma, titled Prairie Fire in 1941; and Englewood, Colorado, titled The Horse Corral in 1942.Her final mural, entitled Grant in the Wilderness, was installed in 1979 in the Chancellorsville Visitor Center at the Fredericksburg National Memorial Military Park in Virginia, She was a member of the National Academy of Design. Magafan died April 24, 1993, in Woodstock, New York, at the age of 76. References "Collections National Academy Museum". Retrieved 2017-03-08. "Jenne Magafan". Retrieved 2017-03-08. Marlene Park and Gerald E. Markowitz, Democratic Vistas: Post Offices and Public Art in the New Deal. Philadelphia: Temple University Press, 1984. "Browse New Deal projects by State and City". Living New Deal. Retrieved 9 January 2015. "Ethel Magafan Passes Away". New York Times. No. Obituary. April 29, 1993. Opitz, Glenn B, Editor, Mantle Fielding's Dictionary of American Painters, Sculptors & Engravers, Apollo Book...

RED HOUSES IN NATURE Size: 30.5 x 40.5 cm (including frame) Oil on Board A serene and uplifting mid-century landscape painting, executed in oil onto board. The composition presents a captivating stretch of red houses positioned centrally, creating a beautiful contrast against the lush greenery that surrounds it. The background unveils a serene blue lake, mirroring the vast blue sky above. Beyond the lake, a row of green hills unfolds, extending into the horizon. The artist’s expressive brushstrokes as well as the overlaying of rich colours contribute to the overall sense of movement and energy within the painting, creating an uplifting atmosphere. This oil on board is housed in a stunning wide-profiled distressed champagne wood...

Antique American modernist street scene oil painting. Oil on canvas. Framed. Image size, 30L x 20H.

Antique American modernist street scene oil painting. Oil on canvas. Framed. Image size, 29L x 20H.

Mid Century Fauvist Swiss Lake Village Landscape Colorful mid century fauvist Swiss Village and Lake landscape by Central California artist R. Step...

Antique American abstract landscape painting. Watercolor on paper. Framed.

Artist: Shimshon Holzman (1907-1986) Title: Torah Scholar Year: 1962 Medium: Watercolor and graphite on wove paper Size: 13.75 x 19.75 inches Condition: Excellent Inscription: Signed...

THE GREEN JETTY Size: 60 x 75.5 cm (including frame) Oil on Canvas A very well executed semi abstract mid century modernist composition, painted in oil onto canvas and dated 63. D...

Oil on board. Framed. Image size, 15H x 23L.

Vibrant autumnal impasto painting of the High Sierra mountains by Ruth Frymire (American, 20th century). Signed "Ruth Frymire" lower right. Unframed. Image size: 24"H x 48"W.

AL FRESCO BLUES Size: 52.5 x 63.5 cm (including frame) Oil on Canvas A charming and inviting mid-century painting, executed in oil onto canvas. In this composition, the artist cap...

Title: Island View Medium: Oil on canvas Size: 18"" x 26"" Frame Size: 22"" x 30"" Age: 1960s Signature: J. Senberg Jan Senbergs is active/lives in Australia. Jan Senbergs is...

Antique American modernist beach scene oil painting. Oil on board. Framed. Image size, 16L x 20H.

Lyne SEYBEL (1919-2009) Vieux Montmartre Oil on canvas Size: 61 x 50 cm Signed lower left In perfect state of conservation. Without frame Provenance: Family of the artist Painting...

Wonderful mid-century plein air impressionistic landscape of Vasquez Rocks by Paul Miram (German/American 1904-2001), 1964. Painted in loose, painterly style similar to famous South...

Jose Vives-Atsara (1919-2004) San Antonio Artist Image Size: 32 x 58 Frame Size: 40 x 68 Medium: Oil Applied by Palette Knife Dated 1960 "Paisaje de Texas" Texas Landscape Biography ...

This atmospheric 1960's oil on canvas by Arnold Beardsley depicts The Hesperus at sea under a moonlit sky. Hesperus was an iron-hulled, three-masted, passenger clipper ship that was...

Antique American modernist landscape painting. Oil on board. Framed. Signed.

RIDER ON THE ROAD Size: 42.5 x 64 cm (including frame) Oil on Board A richly coloured mid century modernist style composition, executed in oil onto canvas by the established Swedish...

Ángel Román Pina (XX) - farmhouse - Oil on panel Oil measures 24x24 cm. Frame measures 40x40 cm.

Mid Century Modern Abstract Landscape - San Francisco Hills in the Fog Beautiful mid-century modern abstract landscape evoking ...

FAUVIST FIELD Size: 43 x 73 cm (including frame) Oil on board A bright and vividly coloured mid century landscape composition, executed in oil onto board and dated 1963. Characteri...

Illegible signature. Frameless.

Sherry, William Grant (American, 1914-2003). ROCKPORT, MAINE, 1960. Oil on Canvas, signed lower right, and also signed, titled, dated, and inscribed on the verso "To my friends Shirl...

What makes this work important? It's not that it's a commissioned artwork for a men's 60s pulp adventure magazine depicting the instant a soldier is shot. The big point of the painting is how brilliantly the formal elements are thought out, designed, and executed. John McDermott tells a story using a complex figural composition in an unexpected wide-angle vision. The work is as abstract as it is representation. His use of light is significant because it creates a high-contrast two-color style that bears the mark of its creator. This is a work done by a master artist/illustrator without peers compared to artists living today. If the contemporary art world gave awards for draftsmanship, painting technique, and graphic design .... John McDermott would win the highest accolades. Initialed lower left - unframed John McDermott (August 30, 1919 – April 20, 1977), also known under the pen names J.M. Ryan and Mariner, was an American illustrator and author noted for action and adventure illustrations.[1] McDermott worked as an in-between and effects animator for Walt Disney Studios and as a US Marine combat artist,before establishing himself as a cover illustrator for 1950s paperbacks and pulp magazines such as Argosy, American Weekly, and Outdoor Life. Under his J.M. Ryan pen name, he wrote the novels The Rat Factory (1971), a derogatory satire of Walt Disney and the Disney studio; Brooks Wilson Ltd (1967), on which the 1970 film Loving was based; and Mother's Day (1969) about Ma Barker. Under his own name, he novelized director-writer Bo Widerberg's screenplay for the 1971 film Joe Hill, which would be his final published book. Early life John Richard McDermott was born 30 August 1919 in Pueblo, Colorado, the younger of two sons of Henry McDermott, an oil broker. McDermott was a young child when his father committed suicide.[4] The family eventually moved to Los Angeles where McDermott's mother, Hazel, worked in a beauty parlor. He graduated from Hollywood High School in 1936. Although he had had no formal art education, he took a job as an artist at Walt Disney Animation Studios. Career Disney At Disney, McDermott worked as an in-betweener and effects animator on Brave Little Tailor, Pinocchio, The Reluctant Dragon and Fantasia. His experiences while working at Disney, particularly during the time of the 1941 Disney animators' strike, would later become the basis for his 1969 satirical novel The Rat Factory. McDermott left Disney to fight with US forces during World War II. US Marines McDermott World War II sketch titled "Buddy is Wounded" On September 29, 1942, McDermott enlisted with the US Marine Corps. He served as a "pistol and palette" combat artist assigned to the map-making section. As a sergeant with the III Amphibious Corps, McDermott was involved in battles in the South Pacific theater of war, documenting the Guam, Okinawa and the Guadalcanal Campaigns. McDermott considered his wartime years to be his art education. "In the Marines, as a combat artist, I traveled with the troops and for three years got all the drawing opportunity anyone could want. My work changed enormously during this time and I’m sure it was due to constant drawing, every single day, from life, just putting down what I saw around me. In a few instances it was a dangerous kind of scholarship." According to the Marine Corps history journal Fortitudine, McDermott was so prolific that his contemporary style pen-and-ink sketches became easily recognizable to both Marines, from published work in Leatherneck Magazine, and civilians, from glossy copies supplied by the Marine Corps to the nation's press.His wartime art appears in World War II history books and is displayed at the Pentagon and the National Museum of the Marine Corps. Illustration Following the end of World War II, McDermott moved from California to New York City to work as a freelance illustrator. McDermott made his reputation drawing modern action, war and adventure scenes. His work adorned the covers and inside story pages of popular pulp magazines of the 1950s such as Argosy, Adventure, Blue Book, Outdoor Life and American Weekly. McDermott's illustrations appeared on numerous covers of 1950s paperback novels published by Dell, Fawcett Gold Medal, Bantam Mystery and others. His action graphics were geared toward thriller and detective genres, such as Donald Hamilton's Matt Helm books Murderers' Row and The Betrayers. He also created covers for science fiction comic titles such as Voyage to the Deep[citation needed] and horror-themed paperbacks such as the classic 1955 science fiction novel The Body Snatchers...

Vintage American modernist surreal landscape dog and horse portrait painting. Oil on canvas, circa 1976. Signed. Framed. Image size, 19"L x...

Cavalli,Inverno,Slitta,Neve Luminosa scena invernali con Cavalli nella neve

As a student of Hans Hofmann (one biographer says she was one of his star pupils), Rothschild’s works reflect a woman who was immersed in the vanguard of abstraction in America at a...

Signed lower right, 'V. Rorup' for Viggo Julius Rorup (Danish, 1903-1971) and dated 1966. A large and lyrical spring landscape showing white apple-blossoms contrasted against a cora...

A beautiful signed and dated 1963 French cubist oil on canvas depicting Paris rooftops. Signature in bottom right corner is indistinct. A lovely painting in excellent condition. Art...

Mid Century Modern Abstracted Landscape in Oil on Masonite Bold abstracted landscape by Ray Oakvick (American, 1917-1993). Streaks of reddish brown and white create an abstracted la...

Jose Vives-Atsara (1919-2004) San Antonio Artist Image Size: 16 x 20 Frame Size: 25 x 29 Medium: Oil Applied by Palette Knife Dated 1967 "Farm Road, Spain" Biography Jose Vives-Atsar...

Bernard Buffet (French, 1928 – 1999) was a French painter, printmaker, and sculptor. An extremely prolific artist, he produced a varied and extensive body of work. His style was excl...

Oil on canvas by Henri-André Martin (1918-2004), France, ca.1980s. Les Baux de Provence. With frame: 71x98 cm - 28x38.6 inches. Without frame: 65x92cm - 25.6x36.2 inches. 30P format. Signed lower right "Henri A Martin" (see photo). Located and dated 1961 on the back (see photo). Can be matched to make a pair with another painting by Henri-André Martin that we offer on 1stdibs whose title is "Henri-André Martin Olive Tree Field in the Alpilles, Provence, Oil on Canvas". Born in Lyon in 1918, the child and the adolescent Henri-André Martin spent his youth in Saint-Étienne, his father, Edme Martin, first installed as a practicing doctor in Lyon, having been appointed doctor of the anti-tuberculosis dispensaries of the Loire. During his first years of studying medicine in Lyon, he nevertheless enrolled in the Beaux-Arts. Appointed hospital intern upon his return from captivity in 1942, he ended his medical career as director of the otolaryngology university clinic at Édouard-Herriot hospital. But painting was his passion. Painting was for Henri-André Martin the way of expressing his feelings. By nature very reserved and of an extreme modesty that many took for coldness, it was what allowed him to express his strong artistic sensitivity and, his pictorial periods are as many reflects of his anxieties, of his hopes, of his joys. At every period of his life, wherever he goes and whenever he has a moment, he paints gouaches, often of small size, but sometimes of larger size. He also paints beaches that have been compared to those of Boudin. Their invoice shows, however, that this figure is only appearance and that in fact, these beaches made of water, sky and sand, readily dispense with the motif, the work of the material seeming to have more importance. as the subject. Despite the fact that until the 1970s he painted "on the ground", his canvases remain far removed from the anecdote. Often harsh like the landscapes of Provence, the Parisian walls which express concern, or the railways, the switch tracks which suggest, in ocher and black, all the embarrassment of choice. We find the same nostalgic gravity in the canvases of the carcasses of boats which, as his friend Louis Pons later wrote, "seem to die of immobility" or in the canvases of Venice, or the landscapes of Eygalières. In the following years, his painting became simpler, more synthetic, such as these landscapes with tortured almond trees, black and gnarled olive trees, plane trees standing out against the ocher sky of the dawn of Provence, in winter. These are also the canvases of Hamburg in the dough becomes heavier, the colors darken, marking all the gravity of the port landscapes. Workshop work gradually takes precedence over motif painting. The pivotal period coincides with that of his work on the olive tree, during which he leads the realization of the "Trunks", a collection of six lithographic plates, of the book L'olivier comprising many lithographs and serigraphs, but also texts. poetic and numerous paintings. He then became passionate about everything related to the olive tree (literature, painting, traditions, history), but also to the tree itself, its thousand-year-old history, its poetry, its symbols, but also its culture, its size. oil production...

Jose Vives-Atsara (1919-2004) San Antonio Artist Size: 9 x 12 Frame: 14.5 x 17.5 Medium: Oil Applied by Palette Knife Dated 1967 "Flowers" Biography Jose Vives-Atsara (1919-2004) San...

Ralph Burton, Canadian, 1905-1983 Late Autumn, 1967 Oil on board 10 x 13 in Signed lower right Signed, dated and titled verso framed

Mid-century large framed painting of two twin trees in warm earthy tones and textured details. The work is first sculpted in plaster and then painted. It has an illegible signature.

3838 Impressionist oil on board of a woman sitting by turbulent sea Oil on board framed

Bertoldo Taubert (1915-1974) Paysage Provencal" Modernist Abstract Landscape 1966 Oil on canvas 25 x 36 unframed

Oil on canvas by Paul Clement (1906-), France, 1967. Bories-en-Provence near Gordes. Measurements : with frame: 106x87 cm - 41.7x34.25 inches, without frame: 100x81 cm - 39.4x31.9 in...

Vintage modernist seascape oil painting. Oil on board. Framed. Signed verso.

Boats. 1958. Cardboard, oil, 53.5x70 cm

This stunning Scottish oil painting is by noted landscape artist Douglas Falconer. Painted circa 1960 the composition is of a seated golden eagle in a mountainous highland landscape....

Original oil painting on canvas, 1962. Size: 48 x 28 inches. Signed, recto; signed, titled, dated on verso. Provenance: A rare early Abstract Expressionist painting by founding Photo...

Original oil on canvas painting of the Arc de Triomphe du Carrousel by the Dutch born artist Johannes Schiefer. The Eiffel Tower appears in the distance. A whimsical take on Paris....

Muriel Archer was born on June 25 1911 - she died just before her 100th birthday, fond of drawing and painting from an early age, she did her first drawing when she was four years ol...

Agustín Úbeda (1925-2007) - Landscape with Spanish village - Oil Oil on paper glued to board Oil measurements 34x44 cm. Frameless. Origin: Family of the artist. Includes certificate of authenticity from Galeria Sastre Agustín Úbeda (Herencia, December 1, 1925-Madrid, November 27, 2007) was a Spanish painter. Due to his pictorial style, halfway between figurative expressionism and surrealism, he has been framed within the so-called School of Madrid and School of Paris. He began his artistic training in 1944, at the San Fernando Superior School of Fine Arts, in Madrid, where he was a disciple of painters such as Daniel Vázquez Díaz, Eugenio Hermoso...

Smoke Tree Southern California High Desert 1966 Detailed desert scene on linen by Southern California Plein Aire painter Dorothy L. Wolters (American, early 20th C) Image 16"H x 20"W Frame 19.5"H x 23.25"W x 1.25"D Dorothy was a well known artist during the 19060s-1980s painting central and Southern California landscape. She exhibited in a one woman Show Riverside California March Air Force Base 1965, Fontana Art Association 1967, Fontana International Art Festival 1968, Lompoc Art Association Juried Show 1971 & 1974 1st place. She painted in a characteristic style and studied with a number of other Southern California artists, such as Paul Grimm and Sam...

Oil on canvas of a Italian Rural scene by this well known and much exhibited artist. Cetaldo In The Rain catches the atmosphere of a gentle rain on a hot summers day. Anna Hornby (1914 - 1996) studied art in Florence with landscape and flower painter Aubrey Waterfield in 1934, and later that year enrolled at the Byam Shaw School of Art in London where she studied under Francis Ernest Jackson...

Oil on canvas by Henri-André Martin (1918-2004), France, ca.1960. Notre-Dame de Paris. With frame: 79.3x 60.3 cm - 31.2x23.7 inches. Without frame: 54x 73 cm - 21.3x28.7 inches. 20P format. Signed lower left "Henri A. Martin" (see photo). Born in Lyon in 1918, the child and the adolescent Henri-André Martin spent his youth in Saint-Étienne, his father, Edme Martin, first installed as a practicing doctor in Lyon, having been appointed doctor of the anti-tuberculosis dispensaries of the Loire. During his first years of studying medicine in Lyon, he nevertheless enrolled in the Beaux-Arts. Appointed hospital intern upon his return from captivity in 1942, he ended his medical career as director of the otolaryngology university clinic at Édouard-Herriot hospital. But painting was his passion. Painting was for Henri-André Martin the way of expressing his feelings. By nature very reserved and of an extreme modesty that many took for coldness, it was what allowed him to express his strong artistic sensitivity and, his pictorial periods are as many reflects of his anxieties, of his hopes, of his joys. At every period of his life, wherever he goes and whenever he has a moment, he paints gouaches, often of small size, but sometimes of larger size. He also paints beaches that have been compared to those of Boudin. Their invoice shows, however, that this figure is only appearance and that in fact, these beaches made of water, sky and sand, readily dispense with the motif, the work of the material seeming to have more importance. as the subject. Despite the fact that until the 1970s he painted "on the ground", his canvases remain far removed from the anecdote. Often harsh like the landscapes of Provence, the Parisian walls which express concern, or the railways, the switch tracks which suggest, in ocher and black, all the embarrassment of choice. We find the same nostalgic gravity in the canvases of the carcasses of boats which, as his friend Louis Pons later wrote, "seem to die of immobility" or in the canvases of Venice, or the landscapes of Eygalières. In the following years, his painting became simpler, more synthetic, such as these landscapes with tortured almond trees, black and gnarled olive trees, plane trees standing out against the ocher sky of the dawn of Provence, in winter. These are also the canvases of Hamburg in the dough becomes heavier, the colors darken, marking all the gravity of the port landscapes. Workshop work gradually takes precedence over motif painting. The pivotal period coincides with that of his work on the olive tree, during which he leads the realization of the "Trunks", a collection of six lithographic plates, of the book L'olivier comprising many lithographs and serigraphs, but also texts. poetic and numerous paintings. He then became passionate about everything related to the olive tree (literature, painting, traditions, history), but also to the tree itself, its thousand-year-old history, its poetry, its symbols, but also its culture, its size. oil production...

Oil on canvas by Michel Jouenne, France, Early 1960s. Village of France. Measurements : with frame : 38.7x28 inches - 98.3x71 cm, without frame : 36.3x25.6 inches - 92.2x65 cm, Forma...

This stunning abstract expressionist oil on canvas is by artist Helen M Hale. Painted in the 1960's this abstract landscape has strong brushwork and blocks of colour. Labelled verso...

Oil on canvas by Jallais, France, 1960s. Boats in port. In its pretty dark brown wooden frame. With frame: 68x58 cm - 26.8x22.8 inches, without frame: 61x50 cm - 24x19.7 inches. 12F ...

Signed impressionist oil on canvas cityscape circa 1960 by French painter Edouard Leon Cortes. The work depicts figures in the flower market at the Place de la Madeleine in Paris, Fr...

This superb oil painting of horses is by Scottish female artist Doris Zinkeisen. Painted circa 1960 the composition has six horses in a landscape. There is great impasto and brushwor...