Early 20th Century Landscape Paintings

William Anderson Coffin (1855 - 1925) Springtime Landscape, circa 1910 Oil on canvas 30 x 24 inches Signed lower right Landscape and figure painter William Anderson Coffin was born...

Golden Light in the English Countryside early 20th century, signed Albert Stanley? oil on board, framed framed: 11 x 14 inches board : 8 x 10.5 inches provenance: private collection,...

Jim’s of Lambertville is proud to offer this artwork. Signed lower left. Complemented by a hand carved and gilt frame. Illustrated in "Edward Redfield: Just Values and Fine Seeing" by Constance Kimmerle and the Pennsylvania Academy of the Fine Arts's Exhibition of Paintings by Edward Redfield (April 17 to May 16, 1909) brochure Edward Willis Redfield (1869 - 1965) Edward W. Redfield was born in Bridgeville, Delaware, moving to Philadelphia as a young child. Determined to be an artist from an early age, he studied at the Spring Garden Institute and the Franklin Institute before entering the Pennsylvania Academy from 1887 to 1889, where he studied under Thomas Anshutz, James Kelly, and Thomas Hovenden. Along with his friend and fellow artist, Robert Henri, he traveled abroad in 1889 and studied at the Academie Julian in Paris under William Bouguereau and Tony Robert-Fleury. While in France, Redfield met Elise Deligant, the daughter of an innkeeper, and married in London in 1893. Upon his return to the United States, Redfield and his wife settled in Glenside, Pennsylvania. He remained there until 1898, at which time he moved his family to Center Bridge, a town several miles north of New Hope along the Delaware River. Redfield painted prolifically in the 1890s but it was not until the beginning of the twentieth century that he would develop the bold impressionist style that defined his career. As Redfield’s international reputation spread, many young artists gravitated to New Hope as he was a great inspiration and an iconic role model. Edward Redfield remained in Center Bridge throughout his long life, fathering his six children there. Around 1905 and 1906, Redfield’s style was coming into its own, employing thick vigorous brush strokes tightly woven and layered with a multitude of colors. These large plein-air canvases define the essence of Pennsylvania Impressionism. By 1907, Redfield had perfected his craft and, from this point forward, was creating some of his finest work. Redfield would once again return to France where he painted a small but important body of work between 1907 and 1908. While there, he received an Honorable Mention from the Paris Salon for one of these canvases. In 1910 he was awarded a Gold Medal at the prestigious Buenos Aires Exposition and at the Panama-Pacific Exposition of 1915 in San Francisco, an entire gallery was dedicated for twenty-one of his paintings. Since Redfield painted for Exhibition with the intent to win medals, his best effort often went into his larger paintings. Although he also painted many fine smaller pictures, virtually all of his works were of major award-winning canvas sizes of 38x50 or 50x56 inches. If one were to assign a period of Redfield’s work that was representative of his “best period”, it would have to be from 1907 to 1925. Although he was capable of creating masterpieces though the late 1940s, his style fully matured by 1907 and most work from then through the early twenties was of consistently high quality. In the later 1920s and through the 1930s and 1940s, he was like most other great artists, creating some paintings that were superb examples and others that were of more ordinary quality. Redfield earned an international reputation at a young age, known for accurately recording nature with his canvases and painting virtually all of his work outdoors; Redfield was one of a rare breed. He was regarded as the pioneer of impressionist winter landscape painting in America, having few if any equals. Redfield spent summers in Maine, first at Boothbay Harbor and beginning in the 1920s, on Monhegan Island. There he painted colorful marine and coastal scenes as well as the island’s landscape and fishing shacks. He remained active painting and making Windsor style furniture...

Oil on panel by Alfred SAVIGNOL (1877-), Beginning of the 20th century, France. Port of Villefranche-sur-Mer (between Nice and Monaco). With frame: 68x 56 cm - 26.8x22 inches ; with...

Coastal Landscape by Joel B. Owen (British, signed and dated 1927) oil on canvas, framed framed: 18.5 x 26 inches canvas: 16 x 24 inches provenance: private collection, UK condition:...

Really rare and well painted portrait by Christine Walters Martin (1895-1982). Oil on canvas. Framed in a nice modernist molding. Signed. Artist Bio: Christine Walters Martin (1895-1982) Born and raised in Brooklyn, Christine Martin majored in art at Columbia University/Teachers College. She spent summers painting at the Woodstock Art Colony under the tutelage of artists there and continued her art studies at the Art Student's League in New York City. Over the years, her teachers included John Sloan, Yasuo Kuniyoshi, Alexander Brook and John McFee. She also studied with Eugene Speicher, who recommended her for Portraits Inc, through which some of his own commissions came. Much later in life, in her 80s, Christine studied watercolor with Zoltan Szabo. Before marrying attorney George Martin in 1923, she taught art in the New York public schools for several years. During summers in the late 1920s, after having two daughters (Cynthia, 1924-2008, and Joan, 1927-2000), she went to Woodstock with her girls in tow, staying at the Hasbrook farm. In 1930, she and her husband purchased a stone house on Ohayo Mountain Road and lived there seasonally for 25 years. Among her closest artist friends in Woodstock were Emil Ganso, Florence Hardiman, Albert Heckman, Peggy Dodds, Joe Rollo, Henry Mattson, Mary Ellen Early, and Maud and Miska Petersham, along with Juliana Force (Whitney Museum). During many summers in Woodstock, Christine's daughters Cynthia and Joan kept up their serious piano studies under the tutelage of Vladimir Padwa and Inez Carroll. Known for portraits and landscapes, she was a member of the National Association of Women Artists and the National Arts Club, Gramercy Park, NY. Her work showed at the National Arts Club, Weyhe and Preston Galleries and the National Academy of Design in New York; the Pennsylvania Academy in Philadelphia; the Woodstock Art Association and Rudolf Galleries in Woodstock, Vermont's Dawson Grist Mill Gallery, and South Hampton College, among others. Her portraits, landscapes and still lives hang in hundreds of homes around the world. Information provided by Bunny McBride...

Alfred Juergens (American, 1866 - 1934) Signed: Alfred Juergens (Lower, Left) " Indian Creek " (Michigan) Oil on Board 14 1/2" x 19" Housed in a 3...

Venetian Canal, c. 1910-11 Tempera on board Signed lower right 24 x 30 inches 30 x 36 inches, framed Frank Nelson Wilcox (October 3, 1887 – April 17, ...

Dick Beer (b. London 1893 - d. Stockholm 1938) Title: Stormy Weather in St.Arnoult Dick Beer was born in London in 1893. His father, John Beer (1853-1906), was a Swedish painter from Stockholm who had a career mainly as a watercolour painter with motifs of horses from racetracks and fox hunts from the countryside. Barely fifteen years old, Dick Beer became an orphan and came to Sweden in 1907. Already in 1908-1909, he started at Althin's painting school in Stockholm. And later, at the Royal Academy of Arts from 1910-1912. His teachers were, among others, Gustaf Cederström, Oscar Björk and Alfred...

Tranquil Lochside with Highland Peaks by F. E. Jamieson (British 1895-1950) oil on canvas, unframed canvas: 20 x 30 inches provenance: private collection, UK condition: The painting ...

Work on cardboard Golden wooden frame 54 x 45 x 4.5 cm

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Once an order is placed we will arrange the VAT of 20% to be reduced to 5% Paysage de Provence by Moïse Kisling (1891-1...

The Old Mill by the River signed by F. E. Jamieson (British 1895-1950), signed with artists pseudonym oil on canvas, framed framed: 21 x 24.5 inches canvas: 18 x 22 inches provenance...

This painting depicts the Equestrian Statue of Henry IV by Pont Neuf, Paris, France. A colorful landscape scene with the view of the Seine River in Paris, and at the distance the ico...

Paul-Emile Pissarro French, 1884-1972 Le Vieux Saule au Bond de l’Orne Oil on canvas 21 ¾ by 25 ¾ in, w/ frame 30 ½ by 34 ½ in Signed lower left Paul-Emile Pissarro was born in Era...

Max Kuehne (1880 - 1968) Train Station, circa 1910 Watercolor on paper 8 1/4 x 10 1/4 inches Signed lower right Provenance: Private Collection, Illinois Max Kuehne was born in Halle, Germany on November 7, 1880. During his adolescence the family immigrated to America and settled in Flushing, New York. As a young man, Max was active in rowing events, bicycle racing, swimming and sailing. After experimenting with various occupations, Kuehne decided to study art, which led him to William Merritt Chase's famous school in New York; he was trained by Chase himself, then by Kenneth Hayes Miller. Chase was at the peak of his career, and his portraits were especially in demand. Kuehne would have profited from Chase's invaluable lessons in technique, as well as his inspirational personality. Miller, only four years older than Kuehne, was another of the many artists to benefit from Chase's teachings. Even though Miller still would have been under the spell of Chase upon Kuehne's arrival, he was already experimenting with an aestheticism that went beyond Chase's realism and virtuosity of the brush. Later Miller developed a style dependent upon volumetric figures that recall Italian Renaissance prototypes. Kuehne moved from Miller to Robert Henri in 1909. Rockwell Kent, who also studied under Chase, Miller, and Henri, expressed what he felt were their respective contributions: "As Chase had taught us to use our eyes, and Henri to enlist our hearts, Miller called on us to use our heads." (Rockwell Kent, It's Me O Lord: The Autobiography of Rockwell Kent. New York: Dodd, Mead and Co., 1955, p. 83). Henri prompted Kuehne to search out the unvarnished realities of urban living; a notable portion of Henri's stylistic formula was incorporated into his work. Having received such a thorough foundation in art, Kuehne spent a year in Europe's major art museums to study techniques of the old masters. His son Richard named Ernest Lawson as one of Max Kuehne's European traveling companions. In 1911 Kuehne moved to New York where he maintained a studio and painted everyday scenes around him, using the rather Manet-like, dark palette of Henri. A trip to Gloucester during the following summer engendered a brighter palette. In the words of Gallatin (1924, p. 60), during that summer Kuehne "executed some of his most successful pictures, paintings full of sunlight . . . revealing the fact that he was becoming a colorist of considerable distinction." Kuehne was away in England the year of the Armory Show (1913), where he worked on powerful, painterly seascapes on the rocky shores of Cornwall. Possibly inspired by Henri - who had discovered Madrid in 1900 then took classes there in 1906, 1908 and 1912 - Kuehne visited Spain in 1914; in all, he would spend three years there, maintaining a studio in Granada. He developed his own impressionism and a greater simplicity while in Spain, under the influence of the brilliant Mediterranean light. George Bellows convinced Kuehne to spend the summer of 1919 in Rockport, Maine (near Camden). The influence of Bellows was more than casual; he would have intensified Kuehne's commitment to paint life "in the raw" around him. After another brief trip to Spain in 1920, Kuehne went to the other Rockport (Cape Ann, Massachusetts) where he was accepted as a member of the vigorous art colony, spearheaded by Aldro T. Hibbard. Rockport's picturesque ambiance fulfilled the needs of an artist-sailor: as a writer in the Gloucester Daily Times explained, "Max Kuehne came to Rockport to paint, but he stayed to sail." The 1920s was a boom decade for Cape Ann, as it was for the rest of the nation. Kuehne's studio in Rockport was formerly occupied by Jonas Lie. Kuehne spent the summer of 1923 in Paris, where in July, André Breton started a brawl as the curtain went up on a play by his rival Tristan Tzara; the event signified the demise of the Dada movement. Kuehne could not relate to this avant-garde art but was apparently influenced by more traditional painters — the Fauves, Nabis, and painters such as Bonnard. Gallatin perceived a looser handling and more brilliant color in the pictures Kuehne brought back to the States in the fall. In 1926, Kuehne won the First Honorable Mention at the Carnegie Institute, and he re-exhibited there, for example, in 1937 (Before the Wind). Besides painting, Kuehne did sculpture, decorative screens, and furniture work with carved and gilded molding. In addition, he designed and carved his own frames, and John Taylor Adams encouraged Kuehne to execute etchings. Through his talents in all these media he was able to survive the Depression, and during the 1940s and 1950s these activities almost eclipsed his easel painting. In later years, Kuehne's landscapes and still-lifes show the influence of Cézanne and Bonnard, and his style changed radically. Max Kuehne died in 1968. He exhibited his work at the National Academy of Design, the Art Institute of Chicago, the Carnegie Institute in Pittsburgh, the Memorial Art Gallery of the University of Rochester, and in various New York City galleries. Kuehne's works are in the following public collections: the Detroit Institute of Arts (Marine Headland), the Whitney Museum (Diamond Hill...

This captivating work depicts a serene, bucolic landscape, enveloped in soft natural light. Green and ochre tones dominate, providing a harmonious contrast between the lush vegetatio...

Adrian Daintrey was born in Balham, London on 23 June 1902, the youngest of three children of Ernest Daintrey, a solicitor and his wife Lucy Mary (née Blagdon). He was educated at Ch...

Rene Charles Edmond His (1877 – 1960) French 'A Church on a Hill' A View of Villefranche, South of France Oils on canvas: 13x16 in. (Frame: 20x2...

This early 20th century oil on canvas depicts a nautical scene with a view of St Michaels Mount beyond. Although as yet, not attributed to a parti...

Antique American impressionist landscape oil painting . Oil on canvas, circa 1910. Signed. Displayed in a period giltwood frame. Image, 16"L x 20"H.

We are pleased to offer a captivating small oil painting by the Swedish artist Georg Stoopendaal. Despite its modest dimensions of 14 x 18.5 cm, this piece exudes a powerful presence...

Antique landscape post impressionist oil painting on board in its original frame signed by the artist in the bottom right, Jean Colin (1881-1961). An authentic/original oil on board...

James Floyd Clymer (1893-1982), ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. James Floyd Clymer ( 1893-1982 ) known for his Regionalist st...

5-2519a Oil on artist board displayed in a painted wood frame Image size 10x12.5"

The Highland Loch signed by F. E. Jamieson (British 1895-1950) indistinctly titled verso, most likely a loch in the Trossochs region of Argyll. oil painting on canvas, unframed canv...

Signed and dated impressionist landscape oil on canvas by French painter Jean Baptiste Armand Guillaumin. This simply stunning piece de...

Daniel Sherrin Picture Size: 20 x 30" (50 x 76cm) Outside Frame Size: 29 x 39" (72 x 98cm) An original, antique framed painting in oil' It is in excellent, age-appropriate condition ...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by John Fulton Folinsbee (1892 - 1972). One of the finest painters to embark upon the New Hope Art Colony, John...

This captivating painting by Charles Cardale Luck, titled Winter Twilight, showcases the artist's remarkable ability to capture the ethereal beauty of a Nordic winter. The scene depi...

"Couple on Bench at the Beach" is an original pastel drawing on paperboard by Francesco Spicuzza. The artist signed the piece in the lower left. This drawing depicts two figures sitting on a bench in front of a body of water. The artist used mostly pastel colors for this piece. 6 7/8" x 9 7/8" art 18 1/2" x 21 3/8" frame Francesco J. Spicuzza, born in Sicily on July 23, 1883, came to America at the age of 8. He supported himself as a fruit peddler until a newspaperman gave him $4 a week to go to school. He attended classes at the Milwaukee Art Students League, where he studied under Alexander Mueller. There he learned to paint in the then-fashionable "Munich School" technique, with detailed realism in heavy browns and grayed-out hues. Spicuzza completed eight grades in four years, and then in 1911, three businessmen advanced him enough money to allow him to study in New York under artist and teacher John Carlson. It was during this time that Spicuzza changed his style of painting, developing an impressionistic use of color, form and atmospheric renditions. After a period of grinding poverty, one of Spicuzza's pictures won a major New York competition. It was the first of 60 wins, both in the U.S. and Paris. He became a fashionable painter, and many of the leading collections have his work. Spicuzza's typical works were beach scenes, still life, landscapes and portraits done in pastels, oils, ink, charcoal and watercolors. Much of his work traced the history of Milwaukee in the early 1900s. He was probably best known for his scenes of women and children splashing in the waves...

This 20th century oil painting of mare and two foals is set in an idyllic landscape with mature old tree, stone well and cottage in the background; by Robert Alexander, signed and da...

A mountainous landscape painted by Hilding Elof Nyman (1870 - 1937). Oil on panel. The motif is probably from Dalarna in Swedens north part were he spent periods of his life. Nyman ...

Johann Berthelsen and one of New York city’s best known artists along with Guy Wiggins, depicting the streets, parks and skyline of New York. This is a romantic and atmospheric work ...

Artist/ School: F. E. Jamieson British, signed verso Title: The Ancient Castle in the Scottish Highlands Medium: Oil on canvas, framed Size: framed: 22.5 x 30.5 inches canvas : 16...

Joseph Schippers 1868 – Antwerp – 1950 Belgian Painter 'Sunset at Sea' Signature: signed lower right and dated 1936 'Jos. Schippers 1936’, signed and dated on revers 'Jos. Schipper...

Cliffs English School, early 1900's original watercolor painting on artists paper, unframed overall paper size: 7.75 x 11.5 inches From a large private collection of English water...

Signed lower left John Steuart Curry was born in Dunavant, Kansas, and, after training at the Chicago Art Institute, the Kansas City Art Institute and Paris’s Academie Julian, major...

Joaquín Mir Y Trinxet Spanish, 1873-1940 Coastal View Oil on board 11 ¾ by 16 in, w/ frame 25 ¼ by 29 ¼ in Signed lower right Joaquín Mir Trinxet was a Catalan Spanish artist. Livi...

Well painted late 19th century/early 20th century English Impressionist landscape oil painting. Ernest Charles Walbourn was born on 16 February 1872 at Dalston, Middlesex. The secon...

Signed oil on canvas seascape circa 1920 by French naive painter Camille Bombois. This work depicts workers out at sea on a large sail boat with a few ...

An excellent example of Doragh's best work. The scene is believed to be New Castle, Delaware circa 1920. The painting has been professionally restored. The ...

Venetian painter (early 20th century) - View of Venice with canal and gondolas. 70 x 50 cm unframed, 81 x 61 cm with frame. Oil on canvas, in a gilded wooden frame (minor marks and...

Artist/ School: Leon Hatot (French 1883-1953) Title: Impressionist oil painting Medium: signed oil painting on thick paper, stuck on board unframed. Size: signed painting: 12 x 2...

Beautiful lanscape painting by American artist, James Floyd Clymer (1893-1982). Newfoundland, ca.1930. Watercolor and pencil on paper measures 14 x 20 inches. Signed lower margin. SHIPS ROLLED. James Floyd Clymer ( 1893-1982 ) known for his Regionalist style of land, sea and cityscapes, created paintings with an emphasis on color and form. His works possess a clear and simple style, easily understood by the masses. Born in Perkasie Pennsylvania, 20 miles north of Philadelphia, Clymer was the youngest of seven children. Losing his mother during childbirth, he was raised by his eldest sister. He attended Drexel University in Philadelphia, studying Art and Architecture and worked as an Architect in the years following World War I. During this time, Clymer met the artist Gwenyth Waugh, daughter of the renowned marine painter, Frederick Judd Waugh. His thrust then changed from Architect to Artist. Together, the couple travelled to destinations such as Spain and Newfoundland, where they gave birth to their only daughter. In the early 1920's, Clymer and family settled in Provincetown, MA and quickly became associated with notable artists such as Helen Sawyer...

The Close of Day Scottish Highland Loch at sunset with cattle watering British School, early 20th century signed initials lower left corner oil on board, unframed board: 7 x 10 inche...

Signed Lower Right Cyprien-Eugène Boulet (1877 - 1927)

Coastal Seascape Paul Molinard 19/20th Century French Artist signed oil on board, unframed board : 10.5 x 14.5 inches Inscribed verso Provenance: private collection, France Conditio...

Signed lower left: Vasily (Wilhelm) Filippovich Levi (1878 - 1954). The uncommon view of Venice was depicted by gifted artist in even more modernism manner than his other works of same period. IMO this one worth special acceptance being very rare and highly desired masterwork. The scorching sun gilds the sparkling expanse of the canal with its rays. At this hour the city is empty. Calm waves gently lap against the keel of the gondola. The artist perfectly transferred to the canvas the atmospheric idyll and romantic magic of old Venice. Oil painting on wood, signed, framed. Size app.: 47 x 64 cm (roughly 18.5 x 25.2 in) and beautiful antique frame ca 64.5 x 81 cm (roughly 25.4 x 31.9 in). Very Good condition, ready to hang condition, age wear (just minor wear to frame finish). Please study good resolution images for overall cosmetic condition. In person actual painting may appear darker or brighter than in our pictures, strictly depending on sufficient light in your environment. Weight of app. 3.2 kg is going to measure some 5 kg packed for shipment. V. F. Levi - lawyer, collector, and also an artist. He spent his childhood in Riga, studied at the Alexander Gymnasium. He graduated from the 1st Kharkov Gymnasium (1899) and the Faculty of Law of Kharkov University. In 1916 he moved to Terijoki, built a house there and decided to devote himself to art. In 1918, on the advice of I. I. Brodsky, he showed his works to I. E. Repin and received his approval. After some time, he became Repin's confidant: during 1919-1930, he organized more than 50 Repin exhibitions in Helsinki, Prague, The Hague, Hamburg, Nice, Cannes and other European cities. In 1930-1939 he lived in Paris. In 1930 he participated in the Exhibition of Paintings by Russian Masters...

"In Glacier Park," an original oil painting by renowned artist Nellie Augusta Knopf, captures the serene beauty of Glacier National Park in Montana. This stunning piece depicts a pea...

Artist/ School: Leon Hatot (French 1883-1953) Title: Impressionist oil painting Medium: signed oil painting on thick paper, stuck on board unframed. Size: painting: 12 x 20 inche...

Work on canvas Beige wooden frame 47 x 53 x 4.7 cm

Signed in Cyrillic "F. Zakharov" (lower right) and signed again and inscribed "Fedor Zakharov/Football" (on reverse) Oil on card laid down on panel Undoubtedly, football, or socc...

Artist/ School: Leon Hatot (French 1883-1953) Title: Impressionist oil painting Medium: signed oil painting on thick paper, stuck on board unframed. dated 1944 Size: painting: 1...

Signed and dated oil on canvas riverscape by French impressionist painter Charles-Victor Guilloux. This beautifully painter piece shows a view from the Pont Neuf looking towards the ...

Wright BARKER Exhibited 1885 - 1935 Canvas Size: 20 x 26" (50 x 65cm) Outside Frame Size: 29 x 35" (72.5 x 87.5) He was a figure and animal painter who was based originally in Bradford, where he lived until 1885, when he moved to Edwinstowe, near Mansfield, Nottingham. In 1901 he moved to Hampstead and then back north to Harrogate where he stayed until his death. In his later years he became a picture dealer, but in his will he referred to himself as ‘animal painter’. Barker became a member of the Royal Society of British Artists in 1896. Although he called himself an animal painter he is also known to have painted ‘Roman Maidens...

George Howell Gay (American, 1858-1931) Untitled Seascape, c. late 19th-early 20th century Watercolor on board 12 x 17 3/4 in. Framed: 16 1/4 x 22 1/4 in. Signed lower right: Geo Howell Gay George H. Gay was well known for his watercolor landscapes, seascapes and paintings of rivers and ships, mostly along the shores of New England. Gay also painted snowscapes, but these are scarcer. It is unusual to find an oil painting by this artist, as he worked mainly in watercolor. Some of his works display a tonalist aesthetic. He was born in Milwaukee, Wisconsin on July 2, 1858, and lived in Chicago and then in 1889, settled in Bronxville, New York. Gay was a pupil of Paul Brown and Henry Elkins in Chicago. He is known to have exhibited at the National Academy of Design in 1890; Boston Art...

Japanese Artisans - Japanese Woodblock Print J Japanese woodblock depicting six women, all wearing vibrant kimonos, working on crafts by Tosa Mitsuoki (Japanese, 1617-1691). Japanese,c. 1600. Handcraft depiction (dye works).Section from a painted screen with presentations of handcraft.Kita-in, Saitama. Stamped lower left. Presented in a white mat and giltwood frame. Frame: 19"H x 14"W Mat: 18.25"H x 13.25"W Image: 14.5"H x 9.5"W Tosa Mitsuoki was a Japanese painter, reinvigorating the Yamato style of classical Japanese painting. Yamato-e originated from interest in reproducing early Tang dynasty paintings, and was later reinvented and further refined to fit Japanese cultural perceptions in the late Heian period. Yamato, sometimes referred to as wa or kazu had become synonymous with the Tosa-ha by the Muromachi period as a way for Japanese artist to distinguish their works from those of mainland Chinese paintings, kara-e. Yamato-e incorporated various visual and literary techniques for establishing narrative. Works were not always accompanied with text and may rely on heavily on period specific visual motifs, icons, and symbols to relay a story or theme. Tosa style by the time of Mitsuoki focused heavily on depicting themes of plants and nature, famous places, meisho, the four seasons, shik, bird-and-flower, kacho. Many of these popular symbols and icons from mimicking Chinese practices, treating the original Chinese masterwork as a sort of prototype to improve upon. Popular formats for Mitsuoki's pictures were wall scrolls kakemono, or handscrolls that would be read from right to left with the accompanied story, sliding doors fusuma and folding screen panels byobu that featured up to six panels. Mitsuoki's style incorporated the depth and calligraphy techniques of ink wash brushwork similar to Song dynasty and Yuan dynasty Chinese court paintings...

Work on canvas Beige wooden frame 63 x 85.5 x 6.5 cm

Medium: Oil on Paper Mounted to Board Signature: Signed Lower Right, Signed Again and Dated August of 1904 on Reverse The Rawhide Part III, 'He swung himself into the saddle and rode...