Early 1900s Landscape Paintings

Marin County Meadows and Pond with Oak Trees by Manuel Valencia Tonalist Pioneer A painter of California history and western landscapes, Manuel Valencia was born in Marin County, California in 1856 on the Rancho San Jose, the Valencia hacienda. The family received many land grants in the San Francisco area because of their ties to settlement history. Image 8"H x 11.5"W Frame, 14.5"H x 18.5"W x 2.75"D The central focus of the painting is a cluster of lush, verdant trees, likely deciduous, situated near a calm body of water, possibly a pond or slow-moving creek. With a faint outline of figures emerging into the meadow below the towering trees. The foreground features a grassy area with hints of wildflowers or textured ground cover, leading the eye towards the water's edge. In the background, beyond the main cluster of trees, there appears to be a smaller, indistinct structure, possibly a house or shed, suggesting a subtle human presence in the otherwise natural scene. The overall composition is balanced and serene, typical of Tonalist works seeking to evoke a peaceful mood rather than dramatic narrative. Color Palette and Light: The painting employs a subdued, Tonalist color palette, dominated by varying shades of greens, browns, and grays for the landscape elements, and a muted, possibly overcast or hazy sky in the upper portion of the canvas. The light source is diffused and soft, creating a gentle luminosity across the scene, particularly noticeable on the surface of the water which reflects the muted tones of the sky and surrounding foliage. This soft lighting emphasizes the atmospheric quality and quiet mood of the scene. He was a descendant of General Gabriel Valencia, the first governor of the state of Sonora, Mexico under Spanish rule. He was named for his grandfather, who arrived in California in 1774 and became administrator of the Presidio in San Francisco. As a Tonalist, Valencia primarily focused on variations in value and muted color palettes, often featuring greens, purples, blues, and grays. This emphasis on subtle shifts in tone, rather than sharp contrasts, allowed him to create smooth transitions between light and shadow, mimicking the soft, diffused light found in atmospheric conditions like mist, twilight, or moonlight. Valencia studied with artists including Jules Tavernier in the San Francisco area, where he lived his entire life, and attended what is now Santa Clara University. He also spent some time in Mexico where he was a member of the Esquela de Bellas Artes de Mexico. Early in his career, he was a commercial artist who designed calling cards. After the 1906 earthquake and fire, Valencia and his family moved to San Jose, but he commuted to his studio in San Francisco. There he was art editor of the "San Francisco Chronicle" newspaper under art patron M.H. de Young, for whom the museum in San Francisco is named. War Cry, the Salvation Army newspaper, also hired Valencia as its first illustrator. During the time he did illustration work in San Francisco, he kept studios in Monterey and Santa Cruz, did landscapes in Tonalist styles including moonlit scenes that were similar to those of Charles Rollo Peters and indicated he had an awareness of the poetic aesthetic of James McNeill Whistler. Around 1912, he began exhibiting in San Francisco galleries such as S & J Gumps and in New York at Macbeth Gallery and exclusive restaurants such as Delmonico's. President William McKinley, who purchased one of his Yosemite paintings...

Antique American or European mural study painting. Tempera, oil and mixed media on board. Framed. Measuring: 25 by 30 inches overall,. In excellent original condition. Handsomely fr...

➡️Vivid Landscape Le Mont Saint Michel⬅️ ⏩It is signed J Moreau, probably Jacques Gaston Moreau (1903-1994) ⏪ Jacques Gaston Moreau (1903-1994) was a French painter renowned for hi...

This tranquil view shows Öland’s rolling green heath at dusk, with grazing sheep and a lone windmill on the far horizon. The broad sky streaked with soft gold and blue underscores Kr...

➡️Landscape of the Pyrenees ⬅️ This lovely artwork is landscape painting...looks to a Vincent Van Gogh painting ⭐Structural Analysis⭐ The painting depicts a river flowing through...

William Edward Bloomfield Starkweather Bathing Hour, Belle-en-Mer, France, 1908 Signed lower left Signed, titled and dated on verso Oil on canvas 27 x 36 inches Provenance Estate of...

Austrian Landscape Oil on Linen 1905 Goetheanum Designer Hand Carved Wood Frame Historically significant wood work and wonderful landscape celebrating the Austrian landscape and for...

3919a Antique German oil painting river crossing in a gilt wood frame Image size 12x12"

Unknown Artist (Signed Illegibly) Untitled (Twin Trees at Dusk), early 20th century Oil on canvas Framed dimensions: 20.5 in. H × 25.5 in. W Presented in an antique gilded frame Thi...

Oscar Jansson, Arvika, Sweden Sunburst, 1906 (Swedish original title: Solbrytning) oil on canvas signed and dated OSCAR JANSON 1906 unframed: 99.5 x 120 cm (39 1/4 x 47 1/4 inches...

Striking watercolor of Sweden from 1904 exhibiting Birger Sandzén's characteristic style. Housed in a custom quarter sawn oak frame. Signed and dated lower right and catalogued at th...

Signed and dated oil on panel landscape by American impressionist painter William Samuel Horton. The piece depicts a view of the Tuileries Garden in Paris, France. It's a winter scen...

Robert Azensky Fine Art is pleased to offer original 1909 sketch study of oil painting "Homesteader Colorado Mountain" painting by Frank Tenney Johnson. It's always special to see the evolution of a painting through the plein air sketches ("studies") by the artist prior to its painting. Frank Tenney Johnson traveled throughout the Colorado Rockies sketching and painting western landscapes and native American and cowboy figurative art. Medium: Charcoal on paper Signature: Lower left corner Date: "1909" below signature Condition: Tonal aging and minor edge wear consistent with age and use. See images. Presented in black painted wood frame Mat size: 14"H x 11"W Paper size: 9"H x 6"W Image size (visible with mat): 8"H x 5.25"W Frank Tenney Johnson was born in Coucil Bluffs, Iowa, in 1874 not far from the Overland Trail. During his childhood, he saw the steady stream of people heading west in all forms of horse-drawn conveyance. This early exposure to the American West was critical in leading Johnson towards the Western landscape as an inspiration for his work. The resulting body of work is a moody and romantic depiction of a long-gone America, rendered in a style that has become practically a genre all its own. At the age of ten, Johnson moved from Iowa to Milwaukee, WI. There, he took an apprenticeship with F.W. Heinie, a prominent panoramic painter. After a year with Heinie, Johnson apprenticed for Richard Lorenz, a painter and former Texas Ranger who specialized in depictions of horses and western scenes. It was probably during his time with Lorenz that Johnson decided to focus on western subjects himself. He also started illustrating for regional papers and publications, in order to save money for further training. Further training, as with many of the artists who populated New Mexico in the early twentieth century, took place at the Art Students League in New York, where Robert Henri, William Merritt Chase, John Twachtman, Kenneth Hayes Miller and F. Louis Mora were in the process of teaching perhaps the last great batch of pre-modernists. Though highly stimulated by the training, Johnson was only able to stay for five months, after which he returned to Milwaukee to work and save money in an effort to return to New York. He was able to do so after a time and, upon returning, established an important professional relationship with Emerson Hough, the editor of "Field & Stream" magazine. At Hough's urging (and on Hough's dime), Johnson traveled to Hayden, Colorado, where he tagged along with a group of cowpunchers in order to sketch their way of life. Though primarily an artist, Johnson also wrote accounts of his time in Colorado for "Field & Stream." After Colorado came Cheyenne, Wyoming, where Johnson attended a "Frontier Days" celebration; after Wyoming, Johnson traveled to New Mexico, where he observed the Navajos and their threatened way of life. This trip changed Johnson from an academic artist with an appreciation for the west to a truly western artist. Of particular interest to him, in stark contrast to other western artists of the time like Frederic Remington and C.M. Russell, were the more quotidian scenes of the West. Specifically, Johnson focused upon scenes featuring horses, especially at night. Johnson painted a great number of pieces that featured horses tied up outside of saloons, inns or trading posts for the night, the moonlit night punctuated by the warm glow from the lamps inside. In this, he can be considered a pioneer, as his night pieces still serve as the archetype for such work in western art. Johnson became quite successful through his work for "Field & Stream." He was chosen to illustrate books by the prominent writer Zane Grey, and his gallery shows sold briskly. In fact, one particular show, at the Grand Central Art Galleries at the Biltmore Hotel in New York, sold out opening night. In fact, one man had bought out the entire show: Amon Carter. Having achieved financial security and comfort, Johnson followed his good friend Clyde Forsythe to Alhambra, CA, where the two established residency and shared a studio. California treated Johnson well. He and Forsythe founded the gallery at the Los Angeles Biltmore...

Impressive early American impressionist landscape oil painting. Framed. Oil on board. Signed in monogram. Image size, 12H by 16L.

Storm (At Sea) Oil on board, c. 1908 Signed: L. O. Griffith lower left (see photo) Titled on label verso Image: 6 5/8 x 8 3/4" Frame: 10 x 12 x 1 1/2" Provenance: Estate of the Arti...

Signed oil on canvas still life painting circa 1909 by French impressionist painter Maxime Maufra. The piece depicts pink roses and fuchsias in a garden. Signature: Signed lower l...

Impressive early American portrait of a young girl by Edward S Annison. Oil on board. Framed. Measuring 11.5H x 8.25L.

Antique American impressionist landscape oil painting. Oil on canvas. Framed. Measuring 20 by 27 inches painting alone. In excellent original condition. Handsomely framed in a gold g...

A wonderful view of the heartbreakingly beautiful Fontainebleau/Barbizon region, which was home to some of the greatest painters of the 19th and early 20th Century. The particular spot presented here is the river Loing at Montigny-sur-Loing, where Cezanne and Sisley loved to paint. The village is just a short walk away from Grez-sur-Loing, where John Singer Sargent, Francis Brooks Chadwick, Robert Vonnoh, Edward Simmons...

This landscape painting by Swedish artist Fritz Lindström captures the tranquility of the Stockholm archipelago. "An Autumn Evening Study, 1901" is a stunning portrayal of a rural scene at dusk. The painting's delicate pink and purple sky envelops the landscape in a soft glow, hinting at the transition from day to night. In the middle ground, a farmer with his horse can be seen plowing a field, adding a narrative element to this peaceful scene. This work is one of several paintings Lindström created during this period, following his time in France and prior to joining the Rackstad group in 1903. BIOGRAPHY Fritz Lindström started his artistic journey as an apprentice in decorative painting under Carl Grabow, where he met fellow artist Björn Ahlgrensson. He later studied at the Artists' Association School in Stockholm with Richard Bergh (1892–1894 and 1895–1896) and at Valand Art School in Gothenburg under Carl Larsson (1894–1895). His studies continued in Copenhagen and Paris from 1897 to 1899. In 1900, Lindström returned to Sweden, drawn to Värmland by his friend and brother-in-law Björn Ahlgrensson. From 1903 onwards, he became part of the Rackstad group—a community of artists who saw the countryside as an ideal setting for artistic and spiritual work. This belief resonated with Lindström, and he remained dedicated to this lifestyle for over fifty years, living and working by Lake Racken. Lindström's early artistic focus was on the challenging art of human studies, which piqued his interest. Despite financial struggles and difficulty selling his paintings, he gained recognition mainly for his portraits, known for their well-constructed composition and deep psychological insight. Portrait painting became crucial for his financial stability. Interest in his landscape paintings grew when the director of the National Museum happened upon his landscapes during an exhibition opening...

Very impressive American impressionist landscape by Alexis Matthew Podchernikoff (1886 - 1933) . Great colors and nicely painted. Housed in a period giltwood frame. Oil on canvas....

Antique Canadian impressionist winter landscape oil painting by Joseph Archibald Browne (1862 - 1948). Oil on board. Signed. Framed. Measuring 15 by 19 inches overall and 10 by 14 pa...

Charles Warren Eaton Autumn, New England Signed lower right Oil on canvas 30 x 36 inches Provenance Private Collection, Connecticut A contemporary critic wrote that the paintings o...

Signed watercolour on paper landscape by American post impressionist painter Maurice Brazil Prendergast. The work depicts children playing on the beach in Saint Malo, France as boats sail in the blue sea and white clouds role through the sky overhead. This work has remained in the Prendergast family for 3 generations and depicts a rare view of Saint-Malo executed during Prendergast's visit to the french coastal town in 1907 Signature: Signed lower left Dimensions: Framed: 21"x22" Unframed: 13'x14" Proveance: The collection of Charles Prendergast (1863-1948) The collection of Eugénie Prendergast-Van Kemmel (1895-1994) -wife and inheritor of the estate of Charles Prendergast The collection of Henri Van Kemmel (Lille, 1903-1963) - cousin of Eugenie Prendergast
- Madame Henri Van Kemmel Maurice Prendergast came with his family to Boston in 1861. Working in a textile store, Maurice Prendergast was at first self-taught in painting, making souvenir cards and shop signs. He went to Britain in 1886, then to Paris in 1891 and registered at the Académie Julian with Jean-Paul Laurens, Benjamin-Constant, and Charles Blanc as teachers, working also with Gustave Courtois at the Académie Colarossi. More importantly he saw the Impressionists’ paintings and the Nabis at the Galerie Durand-Ruel. He returned to the United States in 1895, settling in Winchester (Massachusetts) and went frequently to New York. In 1898 he again went to Europe where he stayed until 1900, visiting Paris, Florence, Siena, Rome, Capri, and Venice, where he spent six months. Between 1907 and the beginning of World War I he went again four times to Europe but never returned there after the war. In New York where he finally settled, with William Glackens, Robert Henri, and John Sloan among others, Prendergast was one of the members ofThe Eight, gathered by Robert Henri to counter the pervading academicism. The group exhibited in 1908 at the Macbeth Galleries and took part in the Armory Show of 1913. After that Prendergast did not exhibit again with the group. In 1914 he left Boston definitively for New York. Prendergast was in his thirties before he began to devote himself to painting. In his late beginnings he painted in the open air as the Impressionists did, mainly in watercolours with clear brushstrokes and an elegant virtuosity recalling his then admiration for James Whistler and Claude Monet. Between 1892 and 1905 he carried out two hundred monotypes, a technique of which he was the undisputed master in America at that time and which expressed the influence of Japanisme. During his stays in France he painted views of Paris, but also Brittany and Normandy. In this period, in 1896, he was chosen to illustrate My Lady Nicotine by Matthew Barrie. During his third stay in Europe, from 1898 to 1900, he painted in Paris, at Saint-Malo, and mainly in Venice, where, influenced by Vittore Carpaccio he introduced brightly coloured banners into his animated compositions. In oils he painted slowly, touching up his paintings by superimposed brushstrokes, sometimes over several years. He chose to use the divided stroke in an early period, a technique which had similarities with Post-Impressionism. After his travels in Europe and his discovery of Paul Cézanne, he evolved in the direction of the neo-Impressionism of Georges Seurat, placing little dots of colours with a knife, then of the Nabis and even later Fauvism, painting large brushed surfaces in bright colours. After 1899, his Ponte della Paglia in Venice freed itself from strict divisionism, adopting the dense composition in vertically superimposed planes of the Nabis. Like the members of the group of eight, he took his subjects from the daily life of ordinary people, in scenes in the parks or on the beaches of New England, picnics or sometimes circuses. Nevertheless the happy vision that he had of the world separated him strongly from the evolution that led his companions to paint the most miserable and populous milieus, which gave them the name of The Ashcan School. His compositions are arranged in surfaces superimposed vertically, without depth; while the Impressionists and Post-Impressionists were influenced by the layout of Japanese prints, Prendergast was inspired more by Persian miniatures. The decorative elements and the build-up of characters in crowds are placed frontally, like garlands on a tapestry, particularly as he seeks a texture effect, covered entirely by the subject without any empty spaces. His attraction to colours caused him to research all the motifs that he introduced into these compositions: umbrellas, parasols, balloons, draperies. In 1911–1912, he experimented with pastel and treated new subjects, nudes and still-lifes. After 1913, in sympathy with the Symbolists, he put nude figures and everyday characters side by side in the same composition. In his last years, and above all in the watercolours, he discarded the divided stroke and applied larger brushstrokes, similar to the technique of Henri Matisse. Fidelity to the leisurely settings and elegant grooming of the period gave his works, apart from their artistic value, a charming sociological aspect. Singular, almost marginal in his time, his paintings stand out by the density of their composition, in form and colouring, characterised by the accumulation of detail, minutiae of scenery, the serried ranks of people that animate them, the chromatic polyphony of elegance, umbrellas, parasols, and flags. He is a complete painter, particularly generous, who would never be happy to provide only samples of his art. Following Whistler and Mary Cassatt, Maurice Prendergast is one of the most interesting and original Post-Impressionist American painters, and perhaps marks exactly the boundary between the 19th and the 20th centuries. He was considered to be an ‘old master’ from 1920 on, and his works appeared in very many exhibitions of modern American painting. He had his first solo exhibition in 1897 at the Chase Gallery of Boston, where his works were noticed by Madame Montgomery Sears, who made a collection, taking the advice of Mary Cassatt. In 1915 six paintings and watercolours exhibited at the Carroll Gallery of New York established his success and drew the great collectors to him, among whom were Albert Barnes and John Quinn. Group Exhibitions 1974, Ten Americans, Andrew Crispo Gallery, New York 1976, Art of Impulse and Color, University of Maryland Art Gallery, College Park (Maryland) 1982, American Impressionists, Smithsonian Institution, Washington, DC (also presented at the Musée du Petit Palais, Paris) 1999, Town and Country: American Artists, 1870–1920 (Ville et campagne: les artistes américains, 1870–1920), Musée d’Art Américain, Giverny 2002, Japonisme in America: Works on Paper, 1880–1930 (Le Japonisme en Amérique: œuvres sur papier, 1880–1930), Musée d’Art Américain/Terra Foundation for the Arts, Giverny 2007, American Impressionists: Painters of Light and the Modern Landscape, Phillips Collection, Washington, DC 2008, Coming of Age: American Art 1850–1950, Paintings from the Addison Gallery of American Art, Massachusetts, Dulwich Picture Gallery, London 2008, Portrait of a Lady: Paintings and Photographs of American Women in France 1870–1915, Musée des Beaux-Arts, Bordeaux Solo Exhibitions 1934, Maurice Prendergast Memorial Exhibition, Whitney Museum of American Art, New York 1938, Retrospective Exhibition of the Work of Maurice and Charles Prendergast, Addison Gallery of American Art, Andover, MA 1960, Maurice Prendergast, 1859–1924, Museum of Fine Arts, Boston 1990, Art Institute of Chicago 2009, Prendergast in Italy, Peggy Guggenheim Collection, Venice Museum and Gallery Holdings Andover, MA (Addison Gal. of American Art): At the Shore, St. Malo No. 1 and 2 (c. 1907, watercolour and graphite on wove paper, 2 works); Along the Cove (1910–1913, oil on canvas); seven sketches of Paris (1893, oil on wood) Chicago (AI): In the Park (1918–1919) Chicago (Terra Foundation for American Art Collection): Festa del redentore (c. 1899, monotype); The Opera Cloak...

An oil on panel signed and dated in the lower left depicting two riders on horseback sharing a drink outside a country inn. The painting measures 17.75" x 21.75" including the frame. Provenance: Private collection CT Bradbury Art and Antiques, Wiscasset, ME Heywood Hardy (25 November 1842 – 20 January 1933) was a British artist, in particular an animal painter and painter of horse riding scenes. He also painted landscapes and portraits, especially equestrian portraits. Horses and horse riding were the subjects of much of Hardy’s later work. His pictures of horse riding by the seashore...

Wilhelm Feldmann (1859 Lüneburg - 1932 Lübeck), Impressionist autumn landscape with lake, around 1905. Pastel on cardboard, 46 cm x 31 cm (inside dimension), 52 cm x 37 cm (frame), s...

Gorgeous turn of the 20th Century Mount Shasta landscape by Anna Carver Bingham (American, 1849 - 1924), 1901. Several deer gather around calm waters that...

This charming British Victorian landscape oil painting is by noted artist Henry Robinson Hall. Painted circa 1900 the setting is in Perthshire. In the foreground several highland cat...

Incredible and rare early American impressionist cityscape painting by Alice Y. Hirsh (1888 - 1935). Oil on canvas, lain to board. Framed. Signed. Image size, 8L x 10H.

Impressionist oil painting of Scotland's Pittenweem harbor at twilight, title 'Pittenweem Evening' East Neuk of Fife, by Scottish artist John McGhie. Signe...

“Tuareg Rider in the Desert, 1908” Paul Jouve (1878-1973) Oil on panel, signed lower right. 21 ¾ × 17 1/2 ( 27 ½ × 24 frame) inches Paul Jouve’s work has been celebrated and collect...

This charming British Victorian landscape oil painting is by noted artist Henry Robinson Hall. Painted circa 1900 the setting is Glen Sannox, Arran in the Scottish Highlands. Glen Sa...

Very finely painted early 1900s American impressionist beach scene. Oil on board. Framed. Signed verso. Great colors and very well painted. Excellent ready to hang condition.

Signed figures in cityscape oil on canvas circa 1905 by French impressionist painter Maximilien Luce. The piece depicts a view of Paris in France. In the foreground is a bustling st...

Impressive early American impressionist dog portrait landscape painting by James Henry Hagaman (1866 - 1946). Oil on canvas. Framed. Signed. Image size, 35 by 22 inches.

Signed figures in landscape oil on board by Australian-American impressionist painter Richard Hayley Lever. The work depicts brightly coloured sailing boats in the harbour of St Ives...

Original Oil Southern California Landscape C. 1930s -- The Eucalyptus Grove Vibrant, painterly Southern California landscape of iconic Eucalyptus trees by Andrew Boardo Lund (1877 ...

We are pleased to offer for sale an exquisite landscape by the Swedish artist, Nils Kreuger (1858–1930), titled "Landscape View from Öland, Sweden" executed around 1905. This work is...

Signed and dated impressionist oil on panel landscape by French painter Camille Roche. This beautifully coloured piece depicts a view of the River Seine in Paris, France on a bright ...

ALFRED JANSSON (1863-1931) – FOREST LANDSCAPE Oil on Canvas ⚜ Signed ⚜ Dated ⚜ Framed A STUNNING IMPRESSIONIST WOODLAND SCENE FROM 1909 This original oil painting by Alfred Jansson,...

Signed and dated oil on board figure in landscape by Austrian post impressionist painter Stefan Simony. The work depicts a woman in a field full of wildflowers with a view of the mou...

J.A.Terry, A scene of the London to Exeter Mail Coach and a road in a landscape. This charming oil painting of the iconic London to Exeter mail coach, by English painter J.A. Terry ...

Antique American impressionist landscape oil painting. Oil on canvas. Signed. Framed. Measuring 20 by 25 inches overall and 16 by 20 painting alone.

Francois Tattegrain This painting is named and listed in Benezit It was painted for the Paris Salon in 1911 and then sold in auction in 1919 (ref Benezit). For many years it hung i...

An outstanding example of the work by Henry Maidment Maidment was an English landscape painter form the latter part of the 19th century. He mostly painted English cottage landscapes often with ducks, sheep, and young people. He used a ward palette of color and this gave his paintings a very desirable warm glow. Henry Maidment was his real name and Robert Fenson...

A beautiful late 19th or early 20th century oil on panel by Baron Rodolphe d'Erlanger which depicts a market scene in Assouan, Egypt. The artist is very interesting - a French banki...

A beautiful antique impressionist painting by American artist Joseph Varga

This stunning romantic exhibited Scottish Edwardian Impressionist portrait oil painting is by noted Scottish artist James Wallace. Painted in 1908 with excellent provenance, the brus...

George Sotter Bucks County Landscape, 1908 Signed Lower Right: Sotter 08; signed on the reverse: G. W. Sotter Oil on artist board 12 x 9 inches Born in Pittsburgh in 1879 to Nicholas and Katherine Sotter, George William Sotter painted the rivers and mills of that city in his early youth. He apprenticed with several stained-glass studios there prior to becoming a partner in the studio of Horace Rudy in Pittsburgh around 1901. He took leave from the studio and came to Bucks County in 1902, to study at the Pennsylvania Academy of the Fine Arts as well as with Edward W. Redfield, the premier painter of the New Hope School. In 1903, he participated in the annual exhibition at the Pennsylvania Academy of the Fine Arts. He continued his studies at the Academy from 1905 – 1907 under William Merritt Chase and Thomas Anshutz. George William Sotter lived in Holicong, Pennsylvania, near New Hope, in a converted 19th Century stone barn. There, in his studio, he painted landscape scenes of Bucks County, which link Sotter to the New Hope School of American Impressionism...

Classical Portrait Oil Painting signed oil on canvas, framed French artist, indistinctly signed dated 1900 Framed: 28 x 24 inches Canvas: 22 x 18 inches Provenance: private collectio...

Signed impressionist oil on canvas riverscape by French modern painter Auguste Herbin. The work depicts a view of the Pont Royal bridge over the River Seine in Paris. The shadowy fig...

Work on cardboard Molded frame in plaster and gilded wood 33 x 40.5 x 4 cm This captivating landscape presents a serene waterside scene, where the horizon subtly merges with the clou...

Antique American landscape oil painting. Oil on board, circa 1900. No signature found. Displayed in a period frame. Image, 14"L x 10"H.

The image shows a captivating early 20th-century Scottish river landscape painting by Joseph Henderson, a renowned Scottish artist celebrated for his evocative depictions of nature, ...

Antique American impressionist landscape oil painting by Edward S Annison. Oil on board, circa 1910. Signed. Image size, 8L x 12H. Housed in a per...

This superb British Edwardian figurative landscape oil painting is by noted animal artist Edwin Noble. Painted in 1904 it is a large and detailed painting of a young man, kneeling in a grassy thicket with his two dogs, a lurcher and terrier. He is restraining the dogs whilst his ferret goes down a rabbit hole in the hedgerow. Two dead rabbits are already lying on the grass beside them. Beyond is a county landscape of fields and trees. The young man in his stripped shirt and waistcoat and the two white dogs really stand out in the mass of greenery around them as do the white wild flowers at their feet. The detail and brushwork are superb. This is an excellent example of Edwin Noble's work as an animal painter in the Edwardian period and also depicts country pursuits. Signed and dated Edwin Noble 04 lower right. Provenance. From the collection of Derek Parker and Peter Wynne Morris, Interior designers, antique dealers and collectors over sixty years. Condition. Oil on canvas. Image size 50 inches by 40 inches and in good condition. Frame. Housed in a complementary frame, 54 inches by 44 inches and in good condition. John Edwin Noble (1876-1961). Painter and illustrator who worked as Edwin Noble. He was the son of the artist John Sargent Noble...

This small watercolor by well known and listed artist Hartwell Leon Woodcock is most likely a scene in the Bahamas. Woodcock was born in Maine in 1853 and spent most of his life the...

A large American Western, Native American oil on canvas landscape, by Frank Paul Sauerwein (1871-1910), "The Captive", 1901. This large oil on canvas depicts a Native American brave captively tied to a tree stump and being viewed by a rival tribe, who are evidently deciding his fate. Behind the collected tribe of elders, braves and children are a pair of conical tipi dwellings, to the background are grazing horses and another group of native people in a tree lined setting. The painting is indistinctly signed lower left, condition is good, the painting is housed in the original frame with a giltwood rabbet, the painting at sight is 40" x 26". Provenance; From a lifelong collection of 19th & early 20th Century Western Art, Portland, Oregon. Frank Sauerwein was a respected painter of western landscapes, Indian portraits, Indian genre scenes, and California missions. His promising career was cut short by his death of tuberculosis at age thirty-nine. The son of European-trained artist, Charles D. Sauerwein, Frank took his first art lessons from his father before studying at the Philadelphia School of Industrial Art, the Pennsylvania Academy of Fine Art, the Art Institute of Chicago and, finally, the Philadephia Museum School of Art. In 1891 he moved to Denver in hope of improving his health. In 1893, Sauerwein accompanied the artist Charles Craig on a trip to the Ute reservation in southwestern Colorado. This began Sauerwein's unyielding fascination with the Southwest and its Native inhabitants. After a trip to Europe, he returned to the American West, visiting Taos in 1899 and Santa Fe in 1900. That same year, Sauerwein visited the Navajo reservation, becoming good friends with trading post entrepreneur, Lorenzo Hubbell. He also spent time at Keam's Canyon on the Hopi reservation where he sketched local inhabitants. Sauerwein moved to Los Angeles in 1901, and then to Pasadena in 1902, but he maintained his contacts in the Southwest with Summer trips to the Grand Canyon, New Mexico Indian Pueblos, Taos, Santa Fe and Albuquerque. He especially loved the Grand Canyon which is the subject of a large number of his paintings. Rendered in a tight, academic style, Sauerwein's paintings clearly show the influence of German...

Signed post impressionist landscape oil on panel by popular French painter Georges D'Espagnat. The piece depicts the beach at Belle Ile, an island off the coast of Brittany in France, at sunset. An exceptional early painting by D'Espagnat which shows the precursor influence of Fauvism which was to dominate his paintings in the following few years. Signature: Signed lower right Dimensions: Framed: 23"x26" Unframed: 15"x18" Provenance: Private French collection A certificate of authenticity from Mr. Jean-Dominique Jacquemond is available upon request. This work will be included in the catalogue raisonne of Georges D'Espagnat under preparation by Mr. Jacquemond From the beginning of his career, it was a constant concern of Georges d'Espagnet to assert his originality. His studies at the École des Arts Décoratifs, Paris, did not last very long, for he wanted immediate independence and decided to follow courses in the private academies of Montparnasse. In about 1900, he became acquainted with Maurice Denis, Bonnard and Vuillard, and his collaboration with Denis led to a renewal of religious art in France. In 1903, d'Espagnet was one of the founders of the Salon d'Automne, and was appointed professor in charge of studios at the École des Beaux-Arts, Paris, in 1934. He illustrated a number of books: Rémy de Gourmont's Evil Prayers ( Oraisons mauvaises) (1896), The Saints of Paradise ( Les Saintes du paradis) (1898), Simone (1907), Sistine ( Sixtine) (1922); Alphonse Daudet's The Immortal ( L'Immortel) (1930); André Gide's The Pastoral Symphony ( La Symphonie pastorale); Francis Jammes' Clearings in the Sky ( Chairières dans le ciel) (1948). D'Espagnet belongs to the group of artists who made the Courrier Français so successful. The drawings of his which are published in it are strongly expressive and some bear comparison with the designs of the great Renaissance masters. He also contributed to L'Image. He often placed cheerful nudes in a landscape, reminding us that, though he moved away from the Fauves, he retained their freedom of colour and arabesque. He painted many portraits, including those of Albert André, André Barbier, Victor Boucher, Déodat de Séverac, Albert Marque, André Marty and Albert Roussel. He also painted mural decorations, including a wall for the Palais de la Découverte (1937), the ceiling of the Victor Hugo Room in the Palais du Luxembourg (1939), a decorative panel for the Palais de Justice, Toulouse (1941) and interior decorations for private houses. His landscapes are Impressionist in inspiration, and work for a certain sobriety, an intimacy, both in their composition - one, two or three sketched figures and large open spaces - and in the choice of colours and treatment with the special hazy brushstroke that marks his style. D'Espagnet took part in a number of annual Parisian exhibitions, including the Salon des Indépendants, the Salon de la Société Nationale des Beaux-Arts, the Salon d'Automne (from 1903 to 1949, except in special circumstances), the Salon de la Libre Ésthétique, Brussels (1899, 1901), the Berlin Secessionists (1940). He also exhibited at the first Salon de la Société de la Gravure sur Bois. Among other exhibitions were 1912, A Century of French Art ( Centenaire de l'art français), St Petersburg; 1916, Kunstverein, Winterthur; 1918, 1926, Galerie M. Bertheim, Paris; 1930, Contemporary French Art...

A beautiful large late 19th or early 20th century impressionist oil on canvas depicting a wooded landscape with pond and outbuilding, by Theodore Casimir Roussel. Roussel was one of...