Early 20th Century Landscape Paintings

Ivan Summers: 1889-1964. Well listed and important American impressionist. He has had auction results as high as $6,670. He studied at the St. Louis Scho...

Robert Watson was an accomplished painter of Highland scenes depicting sheep or cattle. There was much demand for Watson’s work as Scottish scenes were extremely fashionable in late nineteenth century Europe, partly due to Queen Victoria’s extended summer visits to Balmoral Castle...

Signed oil on panel impressionist seascape circa 1920 by Paul Emile Lecomte. The work depicts the entrance to a busy port as the sun begins to set. The dying light is illuminating th...

HARRY DORR, 1872 - 1950 A Kettering-born landscape painter, founder member of the Kettering Art Society and Northampton Town and Country Art Society. He Also exhibited at the Notting...

Sweeping early 20th century landscape painting of mountains reflected over a California lake by an unknown artist. Circa 1915. Unframed. Image size: 20"L x 16"H.

Paris, Seine. 1918/19, oil on cardboard, 38x52 cm Signature located in bottom right corner Belay The certificate: M. Roland Souef at November 23, 2011 Pierre Savigny de Belay...

Le Pont Neuf by Rene Ligeron (French 1880-1946) signed lower left watercolour painting on paper, framed framed size: 6 x 7.75 inches Delightful French Impressionist painting capturi...

Beautiful impasto, oil on canvas. Contemporary custom frame. Unsigned, but very well executed painting.

An early twentieth-century, American Impressionist School oil landscape showing a sunlit view of a woman standing on a country road lined with eucalyptus trees. The work of an anonym...

Impressive early Italian impressionist seaside portrait painting. Oil on board. Framed. Measuring 7.25H by 10.75L.

Lydia Radda (1891-1967) Aquarium, circa 1935 Oil on panel Signed “Radda” lower right 13 x 16 inch Painter born in Corbeil-Essonnes in 1891, Julie Florent was active in Paris at the ...

Work on canvas Dimensions with frame : 57.5 x 74 x 5 cm This striking work captures a serene landscape, shrouded in a subdued light that evokes a meditative mood. Dominated by gray a...

Arthur Trevor HADDON 1864 - 1941 An excellent example of Haddon's work in its original frame. His finest pieces were painted during the time when he was living in Spain. Often they i...

Beautiful Brittany, France coastal landscape depicting a cottage and a lone farmer by A. Henry (French, 20th Century),circa 1920. Signed "A. Henry" lower right. Unframed. Image, 16"H...

'The Sacramento River, Rio Vista', California, Bohemian Club, White House, SFSD Signed lower left, 'J. E. Stuart' for James Everett Stuart (American, 1852-1941) ), dated 'Jan. 31, 19...

This superb, large and vibrant Modern British figurative landscape oil painting is by noted Slade School artist Franklin White. Painted circa 1920 it was exhibited at the New England...

Antique French Impressionist oil painting on panel by Paul Louis Poseler (XIX-XX), circa 1900. The painting depicts a scene o...

Stunning pointillist landscape oil on panel by French neo-impressionist painter Achille Lauge. The work depicts a path leading to the small village of Belveze du Razes in the South of France on a bright spring day. To the left are white blossom trees in bloom and the houses of the village can be seen in the distance. Signature: Signed and dated 1909 lower left Dimensions: Framed: 28"x36" Unframed: 21"x29" Provenance: We kindly thank Mme. Nicole Tamburini for allowing us to state that the work is included in the Catalogue Raisonne of the artist which she is currently preparing. A certificate of authenticity from Mme. Tamburini is available upon request. Achille Laugé...

This stunning, original signed landscape painting by Charles Partridge Adams (1858-1942) captures the breathtaking beauty of a Colorado sunset along the Front Range, near Denver. The...

Signed oil on canvas landscape by American impressionist painter William Samuel Horton. The piece depicts a view of the town of Gstaad in Southwestern Switzerland. The buildings and ...

Albert Lebourg (French, 1849-1928) Rouen: La Seine, La Côte Sainte-Catherine, et L'Ile Lacroix, en Hiver signed 'A. Lebourg' (lower left); attributed on a presentation plaque; with t...

Signed figures in landscape oil on canvas circa 1920 by French post impressionist painter Lucien Adrion. The painting depicts people going about their daily lives on the streets of Paris, France on a sunny spring day with trams travelling along the boulevards. Signature: Signed lower right Dimensions: Framed: 33"x39" Unframed: 26"x32" Provenance: Galerie Vildrac - Paris (labels verso) Lucien Adrion was born May 25, 1889 in Strasbourg, France. He was was a French Post-Impressionist painter, draftsman, and printmaker known for his depictions of the French countryside and beaches, as well as Parisian life including landscape, still life, figure and landmark paintings. He began his initial studies in Strasbourg as a technical draughtsman. In 1907, at the age of eighteen, he left his hometown Strasbourg and traveled to Paris, where he found employment in a large drafting company to work as a fashion illustrator. Adrion changed his mind upon arrival and rather than working for a large company, he decided to peruse his artistic career by traveling to London, Munich and Frankfurt. As the World War broke out he had to go to Berlin, where he studied as an engraver with Hermann Struck, who was also the teacher of Marc Chagall. He remained in Berlin until the war ended and after the demobilization, Lucien would study engraving under Franz Ritter von Struck...

Julian Onderdonk (1882 - 1922) San Antonio Artist Image Size: 20 x 30 Frame Size: 29 x 39 Medium: Oil Dated 1910 "In The Land Of The Spanish Oak" Spectacular larger scene by Julian...

Rene Charles Edmond His (1877 – 1960) French Col de Villefranche, South of France Oil on canvas: 13x16 in. (Frame: 20x23in.) Signed& inscribed ...

The Scottish Highlands signed by F. E. Jamieson (British 1895-1950), signed with artists pseudonym oil on canvas, framed framed: 26 x 35 inches canvas: 20 x 30 inches provenance: pri...

Beautiful 1920's landscape of autumnal Northern California landscape with colorful oaks and mountains in the background by Sydney Lemos (Son of the artist William Lemos) (American, 1...

English Victorian Antique landscape, Figures gathering Primroses. Cowleigh Woods, North Malvern, UK John Bates Noel was born John Noel Bates in Worcester in 1870. He was the son of ...

Medium: Oil on Canvas Signature: Signed Lower Left Story illustration for “Toward the Millennium: When Adam Delved and Eve Span” by F. Britten Austin, published in The Saturday Even...

Signed oil on canvas nudes in landscape circa 1910 by Belgian neo-impressionist painter Georges Lemmen. The work depicts nude bathers on a sunny beach beside the sea. Signature: Signed lower left with the cachet of painter Dimensions: Framed: 23.5"x24.5" Unframed: 14.5"x15.5" Provenance: Olivier Bertrand (expert on the painter) has confirmed the authenticity of this work Georges Lemmen was the son of an architect and studied under Amédée Bourson at the academy in St Joost-ten-Node. He was invited in 1889 to join the Group of Twenty ( Cercle des XX) which had been launched in 1884 by Oscar Maus and had in the interim emerged as an influential force in Belgian artistic circles, not least by bringing to public and critical attention the work of such artists as Georges Seurat and Paul Signac. The Cercle des XX would be reborn in 1894 as La Libre Esthétique. In the early days of the Cercle des XX, Lemmen espoused a pointilliste technique. His earlier painting was clearly influenced by the Neo-Impressionists; over time, however, his style became more subtle and nuanced - recalling, perhaps, that of his compatriot Van Rysselberghe, another Cercle des XX member. With the group's rebirth as the Libre Esthétique, Lemmen's work became more intimiste in character, most notably in his portraits, nudes and still-lifes, where the influence of Bonnard and Vuillard is unmistakable, as is that of Renoir, particularly after Lemmen's travels in the Midi in 1911. From this point onwards, he would go on to make a major contribution to the renewal of the graphic and decorative arts in terms of his input to the new 'free' aesthetic and to Art Nouveau. Although his draughtsmanship retained its essential purity and elegance of line, his painting became more fleshy, imprecise and sensual, his compositions governed less by technical considerations than by the urgent need to express his emotions. Between 1889 and 1893, Lemmen exhibited at the Salon des Indépendants in Paris, aligning himself with the Neo-Impressionists. In 1893, Henry van de Velde invited him to participate in the Pour l'Art association that had been created in Antwerp. He travelled to the south of France in 1911. By this juncture, he had already exhibited solo on two occasions (in 1906 and 1908) at the Galerie Druet in Paris. A further solo exhibition in 1913, his first in Brussels, cemented Lemmen's reputation. Museum and Gallery Holdings: Bremen (Kunsthalle): Standing Nude Combing her Hair Brussels (Mus. royaux des Beaux-Arts de Belgique): Children's Room (watercolour); Reading; Couture; Young Girl by the Sea...

This beautiful British Impressionist oil painting is by noted animal artist Arthur Spooner. Painted circa 1935 it is a superb painting of two working horses standing in the shade of ...

Laurent Lucien GSELL Picture Size: 19.5 x 24" (48.75 x 60cm) Outside Frame Size : 26.5 x 31 (66.25 x 77.5cm) Free Shipping This is a wonderful example of Gsell's impressionist work...

A wonderful tonalist cityscape of New York City at night by American impressionist artist Frederick (Frank) Usher De Voll (1873-1941). De Voll was born i...

THIS WORK IS CURRENTLY ON LOAN TO THE MUSEUM OF MODERN ART IN LE HAVRE AND IS BEING EXHIBITED IN THEIR ELECTRIC NIGHTS EXHIBITION 2020 A stunning oil on original canvas by Achile-Emile Othon Friesz depicting a night time view of the Pont Neuf bridge over the Seine, Paris. The painting shows deep blues and reds - richer than those of traditional impressionist paintings - and shows the transition into Fauvism. Signed and dated 1903 lower right. Framed dimensions are 24.5 inches high by 20 inches wide. Achille Friesz was the son of a family of sailors from Le Havre. From 1885 he often spent time in Marseilles visiting his maternal uncles. As a child he dreamed of going to sea, but from the age of 12 he developed a passion for art, and after secondary school he attended the École des Beaux-Arts in Le Havre. There, from 1896 to 1898, he studied under Charles-Marie Lhullier who had been a friend of Jongkind and whom, like Dufy and Braque, he remembered fondly throughout his life. Lhullier introduced his students to the work of Chardin, Corot, Géricault and Delacroix. After receiving a bursary from the local authorities in 1898, he went to Paris and, while his friends Matisse, Rouault and Marquet studied under Gustave Moreau, enrolled at the École des Beaux-Arts at the studio of Léon Bonnat, where he was joined by Dufy. However, he scarcely attended the studio, preferring to go to the Louvre and make copies of the works of Clouet, Veronese, Rubens, Claude Lorraine and Delacroix. He did his military service in Paris in 1902 but continued with his art. Around this time he met Camille Pissarro and sought his advice. As a young man he began to make frequent trips away, not necessarily travelling very far, but looking for subjects for his work, usually landscapes. Among the places he visited were the Creuse region around 1903, Antwerp in 1905, returning there with Braque in 1906, and La Ciotat, Cassis and L'Estaque in 1906-1907, again in the company of Braque. In Paris he frequently moved lodgings until 1914. He moved in with Henri Matisse at the Couvent des Oiseaux from 1905-1910, that is to say at the period when Fauvism was at its height. In 1908 he returned to his native Normandy to reimmerse himself in his early environment; he would return to the region throughout his life. He made a trip to Munich with Dufy in 1909, and visited Portugal in 1911-1912 and Belgium in 1912. In 1914 he was called up and assigned to technical services, not being demobilised until March 1919, although he did manage to maintain a certain independence. From 1914 until his death he lived in Paris at 73 Rue Notre-Dame-des-Champs, where he occupied Bouguereau's old studio. He made frequent trips to Cap-Brun near Toulon where, in 1923, he acquired a property called Les Jarres, as well as making numerous visits to Normandy and Le Havre. In 1925 he received the highest commendation at the Carnegie Prize in Pittsburgh for Portrait of the Decorative Artist Paul Paquereau. Also in 1925, at the same time as Matisse, he was made a Chevalier of the Légion d'Honneur, rising to in Officier in 1933 and Commandeur in 1937. He was also made Commander of the Swedish order of Vasa in 1934. Throughout his life, Friesz was a teacher: from 1913 at the Académie Moderne; from 1929 at the Académie Scandinave; and from 1941 until his death at the Académie de la Grande-Chaumière. Alongside his activity as a painter, he illustrated several works of literature, including: in 1920 Le Pacte de l'Écolier Juan by Jules Tellier; in 1924 Échelles de Soie by Jean Pédron; in 1926 Le Jardin sur l'Oronte by Maurice Barrès; in 1926 En Suivant la Seine by Gustave Coquiot; in 1929 Rouen by André Maurois; in 1931 The Song of Songs; in 1934 Poésies by Pierre de Ronsard; in 1945 Le Bouquet de la Mariée by Gabriel-Joseph Gros; in 1947 Paul et Virginie by Bernardin de St-Pierre; in 1949 Le Livre de Job by Pierre Poussard; in 1949 Petronius's Satyricon, and in 1949 a collection of 12 unpublished lithographs for Le Désert de l'Amour by François Mauriac. He also designed several pieces of decorative art: from 1906 to 1909 ceramics executed by Metthey among others; a façade for a private house in Le Havre; a china service for two for the Le Havre writer J.-G. Aubry; vases, dishes and plates; in 1912 four sets for La Lumière by Georges Duhamel, performed at the Odéon; in 1916 a screen for the Le Havre collector Léon Pédron; in 1918 panels for Pédron's dining room; in 1920 a mural entitled Children Dancing (Enfants Dansant); in 1920 Les Volières for the apartment of Vicomte Amédée de Flers; in 1935 Peace (La Paix), a Gobelins tapestry presented by France to the Palais des Nations in Geneva; in 1937 La Seine in collaboration with Dufy for the Palais de Chaillot, with each artist taking half of the river's course - From the Source to Paris by Friesz and From Paris to the Estuary by Dufy. The Fauves were producing Fauve paintings before they knew it: it was not until the critic Louis Vauxcelles saw their work at the Salon des Indépendants in 1905 and mockingly used the word Fauve to describe it that the term was born. It is known that Vlaminck and Derain worked together and that the École de Chatou was composed of just these two artists. Friesz was living with Matisse and after his first trip to Antwerp in 1905, he returned in 1906 with Braque. In 1906-1907 Friesz and Braque went to La Ciotat to paint and there they met up with Matisse. The paintings Friesz produced in Antwerp are Fauve inasmuch as they are painted in pure colours and are more or less free of the divisionism of the Impressionists, although the draughtsmanship is fairly standard; these works include The Port, The Escaut, The Canals, The Dock with Sailing Ships and The Red Slipway. Those of Braque the following year, in particular Terrace on the Escaut, show great similarities with those Friesz painted of the same subject. Friesz was already avoiding the hardness of pure flat tints by graduating them in thin glazes, allowing the whiteness of the canvas to penetrate the transparency, a technique that came to characterise his entire Fauve period. At La Ciotat Friesz and Braque adopted completely different Fauve styles, with Braque composing his paintings on horizontal and vertical orthogonals painted in small, regular, spaced-out touches, whereas Friesz developed his own personal rhythmical style of wide arabesques of colour in works such as The Bec-de-l'Aigle, Women Bathing and L'Estaque. Many of Friesz's Fauve works were produced in the south of France, and his Portrait of Fernand Fleuret also dates from this period. When he returned to Normandy in 1908 the period that he described as his 'return to form' began; with compromise paintings such as Entrance to the Port of Honfleur, Côte de Grâce Landscape, The 'Bains Marie-Christine' in Le Havre and the great compositions characteristic of this period - Autumn Labours, Spring, Fisherman on a Rock and Women Bathing. His draughtsmanship retains something of the rhythm of the Fauve period, his figures following the lines of the landscape and the colour remaining clear and resonant. In 1909 he painted the Cirque Médrano series: The Trapeze Artist, The Clown and The Horsewoman. In the south of France he also painted the Olive Trees series. He made a trip to Munich with Raoul Dufy resulting in Winter in Munich. This was also the year of his first trip to Italy. Boat in a Rocky Inlet of 1910 marks one of the pivotal points between a totally rhythmic drawing style of sensual curves typical of his Fauve period and a reduced palette of muted ochres, browns and blues. From 1910 onwards, the final traces of Fauvism become less and less apparent in his work. His use of colour follows the same course, towards the transcription of reality, with broken tones, ochres and browns. After his demobilisation, as well as in his studio in Paris, Friesz spent time in his house in Toulon, returned to Normandy and Le Havre and continued to make frequent, often local, forays in search of new subjects: in 1919 to Jura, producing the series Forests, Pine Trees, Road in the Snow and Invitation to Skate; in 1920 to Italy producing Piedmont Village, Florence Grape Pickers; in 1920 to Le Havre, producing The Étretat Cliffs, People Bathing at Étretat; in 1923 to his house in Toulon, producing View of Coudon, Women Bathing, Grape Harvesting, Jars; in 1924 he painted the Large Nude (which he exhibited at the Salon d'Automne the same year) and landscapes of Toulon; in 1928 he made a trip to Algiers, producing The Algiers Kasbah and its Phantoms; in 1931 to Annecy, producing Women Bathers by a Lake; in 1934-1935 to Dinan and St-Malo producing The Great Dinan Viaduct, The Dock with the Terre-Neuvas, After Bathing; in 1936 to Honfleur; in 1941-1944, remaining in Paris because of the war, he painted mainly still-lifes, including Studio Corner, Earthenware. In 1946 he returned to Honfleur; and in 1947 to La Rochelle producing The Port Tower, Tuna Boats, The Red Sail. Numerically Friesz's work is dominated by landscapes but it should be remembered that throughout his career he tackled more ambitious compositions and appeared to do so with great ease. These include Boat in a Rocky Inlet of 1910 with its frolicking women bathers, Allegory of War of 1915 executed in 24 hours, Invitation to Skate of 1919, numerous paintings of Women Bathing over several periods and much later Women beside a Pond of 1944, which clearly demonstrates his attachment to Cézanne. He exhibited at the Salon des Artistes Français from 1901 to 1903 and then at the Salon des Artistes Indépendants. From 1906 he exhibited annually at the Salon d'Automne, of which he later became a committee and jury member. In 1923 he took part in the founding of the Salon des Tuileries and became head of two of the Salon's sections. His work has been exhibited at countless group exhibitions all over the world. Among the most recent thematic exhibitions is Fauvism in Black and White. From Gauguin to Vlaminck, Fauvist Engraving and its Setting (Le Fauvisme en Noir et Blanc. De Gauguin à Vlaminck, l'Estampe des Fauves et son Environnement) at the Musée d'Art Moderne in Villeneuve d'Ascq in 2001. He also showed his work in numerous solo exhibitions in Paris: his first in 1904 at the Galerie des Collectionneurs and another the same year at the Société des Peintres du Paris Moderne...

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...

Signed: Nissen (Lower, Right) " Frederiksborg Castle ", circa 1930s Oil on Canvas 18" x 26" Housed in a 3 1/4" Frame Overall Size: 23 1/2" x 31 1/4" Minor ware to frame and ca...

"Market in Paris" is a European townscape and market Scene by American Impressionist painter Albert Van Nesse Greene, featuring towns people at a busy outdoor market. The painting i...

An outstanding oil painting executed with thick use of paint capturing a luminous sight of the Locks at Devon England with the speckling water glistening...

Emanuel Aage PETERSEN (1894 - 1948) Polar bear in a snowstorm Oil on canvas H. 70 cm; L. 100 cm Signed lower left Emanuel A. Petersen studied to...

Gorgeous early 20th Century Palm Springs landscape by Edward Marion Langley (American, 1870-1949), 1913. Signed lower right corner. Titled "Palm Springs" and dated "'13" on verso. Unframed. Condition: Very Good; Previous restoration included relining; newly cleaned and retouched. Image size: 18"H x 22"W. Born in London, England on March 27, 1870. When quite young Langley was abandoned by his parents in Australia. Making his way to Canada, he traveled alone by canoe down to the Gulf of Mexico. In Chicago he worked with Wm Selig in developing the motion picture camera and became a U.S. citizen in 1904. Before that he had played trumpet in the Illinois State Guard for many years. Sometime before 1917 he came to Hollywood, CA with Selig where they produced the pioneer epic, 'The Spoilers." A few years later Langley became art director for the Fairbanks Studio on such films as "Thief of Bagdad...

Work on canvas Golden wooden frame 73 x 56 x 3.5 cm

"Portsmouth Harbor, New Hampshire" Seascape in Watercolor on Heavy Paper Serene harbor landscape by Adele Jones. The viewer looks out across the wat...

Attributed to Hortense Mattice Gordon (Canadian, 1886-1961) and painted circa 1925. Attribution based on similar style, composition and subject matter of McGill University's 'Old Country Store, Ontario' (1925) by the artist (see last image). An exceptionally fine, early twentieth-century, Post-Impressionist oil showing a view of a rustic village with cottages dramatically dappled by the shade of large trees. Hamilton artist Hortense Crompton Mattice Gordon was one of Canada’s earliest non-representational painters, embracing abstraction in the 1930s. She was also an active member of Canada's first English-speaking abstract group, Painters Eleven. A scholarship recipient, Hortense Mattice first attended the Hamilton Art School and, subsequently, moved to Chatham, Ontario. Initially focusing on porcelain painting, Mattice quickly began building a portfolio of oils and, from 1908, was exhibiting both her porcelain and landscapes at what is now the Chatham Cultural Centre (1908) and the Art Gallery of Ontario (1909). During this time, Mattice frequently traveled to the United States and, in 1915, visited the National Gallery of Art in Washington, DC, where she would have seen early works by important modernists including Picasso and Matisse. She started her teaching career in Chatham but, having received a job offer from the artist John Sloan Gordon, returned to Hamilton to teach at the Hamilton Art School in 1918. The two artists married in 1920. In 1922, Gordon and her husband took a study trip to France and, inspired by the fervent of Modernist ideas in Paris, expanded her own approaches to art, developing an increasingly soft, loose paint handling style. It was not until the 1930’s, after a few more trips to France and her discovery of Piet Mondrian’s work, that elements of abstraction began to appear in Gordon’s work. After the death of her husband in 1940, Gordon attended the Cranbrook Academy of Art and studied with Hans Hoffmann (1941-1945) whose influence and friendship pushed her to explore non-objective painting. After her training with Hofmann and in Cranbrook, Gordon began to exhibit regularly and with success in both Canada and the United States including at the Riverside Museum (New York, 1947), Creative Gallery (New York, 1952), in Ann Arbor (Michigan, 1952), Phillips Gallery (Detroit, 1952), the Flint Institute of Arts (Michigan, 1952), Mount Allison University (New Brunswick, 1952), the Galerie Agnes Lefort in Montréal and Art Gallery of Hamilton (retrospective, 1960). She was a member of the Contemporary Artists of Hamilton (honorary president in 1948), the Ontario Society of Artists, the Hamilton Women...

Amazing and rare early American impressionist street scene oil painting by Reynolds Beal (1866/67 - 1951). Framed in a period giltwood Whistler impressionist frame. Oil on canvas....

Delos Palmer Jr. Tree in Winter Signed lower left Oil on Masonite 10 x 8 inches Delos Palmer, Jr. was born January 26, 1890 in New York City. His father was Dr. Delos Palmer, a socially prominent Park Avenue dentist. His mother was Jennifer Emma Banta. His parents were both born in NYC, where they married in 1880 and had five children. There had three sons and two daughters. He was the fourth born. They lived in a private townhouse at 48 West 50th Street, with a cook, a waitress, and a nurse to assist in his father's dental practice on the ground floor. They lived a privileged life and the children all went to the best private schools. He graduated high school in June of 1908. He studied at The Art Students League from 1911 to 1915 with the renowned American Impressionist, George Bellows. According to the artist, "Bellows was a good influence on me. He taught me how to paint what I see and what I feel!" In 1916 Palmer moved to the historic Holbein Studios at 139 West 55th Street. He worked there until 1920, when he moved to the more fashionable Greenwich Village, where he became a successful society portraitist. He was 27 years old during the Great War, so he was not selected for military service. In 1923 Palmer began to sell interior story illustrations to Metropolitan Magazine, The Saturday Evening Post, and Liberty. In 1924 he married Helen Smith Romme and moved to Stamford, CT, where they raised a daughter and two step-sons. The fateful market crash of 1929 ended Palmer's high society portrait business, but he soon found work through his contacts at Liberty magazine's MacFadden Publishing, which also produced several crime and detective magazines such as Master Detective and True Detective. He then began to paint pulp covers for Dime Mystery, Clues, Frontier Stories, Action Stories, Western Trails, All Star Adventure, Complete Western Book...

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, ...

Antique American impressionist landscape oil painting of :"The Drive, University of Minnesota". Oil on canvas, circa 1920. Signed in monogram...

Here we have a beautiful period 1921 charming oil painting by Emile Ancelet. Painting depicts a mother and child in a landscape. Painted almost Like a ...

A delightful oil study of a path winding through a woodland landscape. The artist captures the first signs of autumn and the leaves start to fall from the trees. Signed and dated to ...

Gordon Osborne Signed lower left Overall in 3.5 inch gold leaf modern frame 24.5 x 34.5 inches

"Wintertime forest landscape" oil painting on canvas by Louis Clesse 20Th c. Wonderfull oil on canvas by Louis Clesse , Belgian School (1889 -1961 ). Clesse was a Belgian figurative...

FOUQUET Armand (1904-nc) Paris view around 1930 - Flower Bank and Conciergerie Oil on canvas Signed low left Frame gilded with gold leaves Dim canvas : 61 X 50 cm Dim frame : 87 X 75 cm FOUQUET Armand (1904-nc) French painter born 1904 Lived and active in France and USA in the first part of 20th Century. Post-impressionist Parisian daily street scenes, Beach “Belle Epoque”, Orientalism Armand FOUQUET...

Daniel Sherrin (1868-1940): Born in Brentwood, Essex in 1868, Daniel Sherrin was the son of John Sherrin and, later, the father of R. D. Sherrin, both wel...

Charles Vezin Factories on The River Signed lower right Oil on canvas board 12 x 13 15/16 inches After spending half his years as a partner in a highly profitable wholesale dry-goo...

An original Scottish Impressionist oil by John Henderson. This fine painting dates to circa 1910 and is an oil on canvas in a stunning and fresh palette. The wooded moorland stream l...

Frank Nelson Wilcox (American, 1887-1964) Frosty Dawn, Upstate New York, c. 1916 Watercolor and gouache on board Signed lower right 21 x 30 inches Frank Nelson Wilcox (October 3, 1887 – April 17, 1964) was a modernist American artist and a master of watercolor. Wilcox is described as the "Dean of Cleveland School painters". In 1906 Wilcox enrolled from the Cleveland School of Art...

Mt. Tamalpais and Stream in the Spring circa 1900 Stream above Lake Bon Tempe with Mt. Tamalpais in the background. A warm spring day in Northern California and the Bay Area. Excelle...

This is a woman impressionist artist who studied with John Twachtman. Ann Crane was educated in Europe and was a student of the French academic painter Luc-O...

Work on canvas Gray wooden frame 46 x 58.5 x 5.2 cm This work of art beautifully captures the essence of a peaceful, bucolic landscape. The trees, painted with vigorous brushstrokes,...