Early 20th Century Landscape Paintings

**PLEASE NOTE: EACH PAINTING INCLUDING THE FRAME MEASURES 17 INCHES X 20 INCHES** Godfrey Douglas Giles British, (1857-1941) Wild Boar & her Young in a Landscape & Pursuit of a Wild...

This superb vibrant Post Impressionist African landscape oil painting is by noted British artist Gerald Spencer Pryse. It was painted about 1925 when Pryse was visiting Morocco and N...

"Le Rouge Cloitre sous la neige" oil painting on canvas by Louis Clesse 20Th c. Wonderfull oil on canvas by Louis Clesse , Belgian School (1889 -1961 ). Clesse was a Belgian figurat...

“Herd of Horses in a Marshy Landscape” Frances Mabel Hollams (England 1877-1963) Oil on canvas on board 14 x 20 (24 x 30 frame) inches Signed “FM Hollams Private Collection Durham, E...

A stunning oil painting by noted Scottish artist John Reid Murray who exhibited with The Glasgow Boys in Europe. The painting depicts Loch Lomond in Scotland. Painted in an Impressio...

Robertson K. Mygatt (American, 1862-1919) Uplands Oil on panel, 5 1/4 x 6 5/8 inches FRAMED: 9 x 10 1/2 inches (approx.) Exhibition label on verso: "Salamagundi Club/Thumb-box Exhibi...

Early American impressionist landscape painting. Old Lyme school. Oil on board. Early 20th century. Unsigned. Please, contact Joseph Dasta Antiques for shipping options.

Here we have an original large painting by Louis Jambor (1884 - 1955) Depicts a California coast with two female figures One nude and one with Parasol Louis Jambor Circa 1929 Water...

This lovely British 20th century river landscape oil painting is by noted female artist Margaret Maitland Howard. The location may be Bath but needs more research. The composition is a tranquil river landscape with a man fishing from a boat in the foreground, a bridge and buildings beyond. A neo classical building stands on the right bank...

Oil on board. Signed in oil, lower left recto, and inscribed "no. 20" in watercolor verso. With the "Douane Centrale" ink stamp verso. Provenance: Private collection, Chicago.

Jim’s of Lambertville is proud to offer this artwork by: Antonio Pietro Martino (1902 - 1988) Signed and dated lower right. Complemented by a period frame. Antonio Martino was ...

This stunning Scottish Edwardian exhibited landscape oil painting is by noted Scottish artist John Campbell Mitchell RSA. The location is the Galloway hills and it was painted in 190...

This wonderful atmospheric Scottish Impressionist landscape oil painting is by much noted and exhibited Scottish artist William Stewart MacGeorge. Painted circa 1900 the view is of K...

Alexander Bower (1875 - 1952) Reflections, Motif No. 1, Rockport, Massachusetts Oil on canvas 22 x 18 inches Signed lower right; titled on the stretcher An American Impressionist, Alexande Bower was born in New York, studied at The Pennsylvania Academy of Fine Art, and was living with his wife in Cliff Island, Maine by 1914. Despite his urban upbringing, the coast and the sea fascinated Bower. A large portion of his paintings are seascapes, particularly scenes depicting the coast of Cape Elizabeth...

Ashley John is proud to offer this artwork by: John Fabian Carlson (1874/75 - 1945) John F. Carlson was one of the leading American landscape p...

Signed lower right, 'Rinaldo Cuneo' (American, 1877-1939) and painted circa 1925. Provenance: Private collection, Illinois. Previously in the collection of Frank E. Cummings. (accompanied by Butterfield & Butterfield documentation) A lyrical, early twentieth-century view of the Seine and this beloved Parisian landmark with laborers and pedestrians shown walking home beneath dramatic sunset clouds. Undated but likely painted between 1911-1913, when the artist was studying in Paris at the Académie Colarossi. Rinaldo Cuneo first studied at the Mark Hopkins Institute under Gottardo Piazzoni and Arthur Matthews. He subsequently furthered his studies in London and, later, at the Académie Colarossi in Paris. Cuneo exhibited with success worldwide, including at the Panama Pacific...

A native of Philadelphia, John Pierce Barnes began his artistic training at the Philadelphia School of Industrial Design. He then attended the Pennsylvania Academy of the Fine Arts, ...

Impressionist garden landscape oil on panel painting circa 1902 by French painter Marie Duhem. The work depicts a white ornate planter in the centre of ...

This beautiful American Impressionist oil painting depicts a stately willow tree along the bank of a stream. Artist Arthur Hoeber (1854-1915) used a colo...

A beautiful pointillist oil painting dated 1900 and signed Ford. Housed in a very unique and oddly complementary frame this work stands out in a crowd.

The Upland Road oil on canvas image is 12 x 16 unframed, 15.75 x 19.50 x 1.5 framed Salmagundi Club Exhibition Label. Painting is in as purchased condition. It was relined/clea...

Winter Afternoon oil on canvas panel image is 12 x 16 Painting has been cleaned by PA Conservatory. BIO: Junius Allen, N.A. ( 1898-1962) was considered one of the most promising art...

Signed and dated post impressionist figure in landscape watercolour on paper by French painter Jean Dufy. The work depicts a view of a grand house behind a wall with a large gated en...

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 particular artist,this painting has cl...

A very fine panoramic landscape, possibly depicting North Wales by the English artist George Turner. Here the artist has captured a quiet valley with a lone figure at the river's edg...

Elizabeth Lamorna Kerr 1904 - 1990. Cornish painter of landscapes, still life and figurative subjects, the eldest daughter of Samuel John Lamorna Birch. She exhibited at the Royal Ac...

William Jean Beauley Great Kills, circa 1917 Signed lower right Oil on panel 40 x 50 inches Housed in its original Newcomb-Macklin gilt frame Pro...

A beautiful early 20th Century garden scene in oil showing a garden the height of Spring. The artist has signed and dated to the lower right and the painting has been presented in a ...

This artwork titled "Convict Lake, High Sierra" c.1920 is an oil painting on canvas by noted California artist Earl Graham Douglas, 1879-1954. It i...

Tree-Filled Valley and Mountains in West Brighton Staten Island Watercolor 1905 Detailed watercolor by W. Lund (19th Century). This piece depicts a valley with lush trees an greener...

Signed lower right: 'V. Qvistorff' for Victor Qvistorff (Danish, 1883-1953) and painted circa 1915. Born in Bredegaarde, Denmark, Victor Qvistorff first studied with Hans Andersen Brendekilde. Qvistorff then became a successful business-man and painted only part-time until 1931 when he dedicated himself full-time to his art. Although the author of a notable series of nude studies of his long-time model, Sally Philipsen, Qvistorff is known primarily for his marine scenes- particularly the jewel-like views of Copenhagen harbor...

A masterful oil painting depicting a figure in the village by British American artist John Clymer. As an Impressionist painter, he was known for his pastoral landscapes depicting sce...

An idyllic summer scene of a river glimpsed from a leafy river bank - more than likely the Seine as the artist lived and worked in Paris. Georges Moisaut (exhibiting early 20th Cent...

'Ferry of the Loaf' comes from the legendary tale of Thane of Fife, MacDuff, escaping the fury of MacBeth crossing the River Tay in the 11th century. The painting comes with a handw...

An exceptional impressionist oil painting of a bustling marketplace in New Orleans by American artist Paul Bernard King (1867-1947). King was born in Buffalo, New York, and after becoming an established printer, went on to study at the NY Art Students League with Henry S...

De tekst aan de achterzijde: “ in de Alblasserwaard” Gerard Delfgaauw (Monster 1882-1947 The Hague) ‘Dutch landscape with windmills’ Signed lower ...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

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A fresh Spring landscape by a very well noted French Impressionist and son of famed Henri Martin. Would bring a lovely window type view to any room as the colors are fresh. Brushwo...

Wilson Irvine French Landscape, circa 1908 Signed lower right Oil on canvas 29 x 36 inches A prolific Impressionist with a penchant for atmospheric scenes, Illinois native Wilson I...

This charming early 20th century piece is an excellent example of French impressionist landscape paintings at this time. Using a muted colour palette the artist has created a dynamic...

Antique American impressionist landscape oil painting by Charles Gordon Harris (1891 - 1963). Oil on board, circa 1920. Signed. Displayed in a period giltwood frame. Image, 11"L x...

Morgan's Wharf Maine 8 x 12 oil/masonite panel Paul Strisik (April 22, 1918 – July 22, 1998) was an American plein air painter. The painting and frame are in excellent condition but ...

Hugh Breckenridge’s artistic training began at the Pennsylvania Academy of the Fine Arts in 1887. The academic precision and attention to detail that mark his portraits and still lif...

Morris Kantor New York (1896 - 1974) Paris from the Ile St. Louis, 1927 (view of Eiffel Tower) Oil painting on canvas Hand Signed lower left. Provenance: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution ( bears label verso) Size: 20 3/4"H x 28 1/8"W (sight), 28.75 "H x 36"W (framed) Morris Kantor (Belarusian: Морыс Кантор) (1896-1974) was a Russian Empire-born American painter based in the New York City area. Born in Minsk on April 15, 1896, Kantor was brought to the United States in 1906 at age 10, in order to join his father who had previously relocated to the states. He made his home in West Nyack, New York for much of his life, and died there in 1974. He produced a prolific and diverse body of work, much of it in the form of paintings, which is distinguished by its stylistic variety over his long career. Perhaps his most widely recognized work is the iconic painting "Baseball At Night", which depicts an early night baseball game played under artificial electric light. Although he is best known for his paintings executed in a realistic manner, over the course of his life he also spent time working in styles such as Cubism and Futurism, and produced a number of abstract or non-figural works. A famous cubist, Futurist, painting of his "Orchestra" brought over 500,000$ at Christie's auction house in 2018 Kantor found employment in the Garment District upon his arrival in New York City, and was not able to begin formal art studies until 1916, when he began courses at the now-defunct Independent School of Art. He studied landscape painting with Homer Boss (1882-1956). In 1928, after returning to New York City from a year in Paris, Kantor developed a style in which he combined Realism with Fantasy, often taking the streets of New York as his subject matter. He did some moody Surrealist Nude paintings and fantasy scenes. In the 1940's he turned towards figural studies. Later in his career, Kantor himself was an instructor at the Cooper Union and also at the Art Students League of New York in the 1940s, and taught many pupils who later became famous artists in their own right, such as Knox Martin, Robert Rauschenberg, Sigmund Abeles and Susan Weil...

Louis Aston Knight (French/American, 1873-1948) Signed: Aston Knight (Lower, Right) " River in France ", circa 1920 Oil on Canvas 21 3/4" x 18" Housed in a 3 1/2" Ornamented Fra...

Georgina Klitgaard Johnny Walker’s Place, circa 1929 Signed lower right Oil on canvas 34 x 42 inches Georgina Klitgaard’s art has sometimes gotten lost in the critical propensity t...

Antique Autumn Fall Landscape Pumpkin Harvest by Andrew Dwight Kennedy. Framed. Signed.

This delightful large-scale study depicts a quaint cottage on the river's edge with small fishing boats in the foreground. Signed to the lower right. Presented in a substantial gilt ...

FRAMED: 18.25" x 21.625" x 1.375" UNFRAMED: 12" x 15.25"

This lovely large Victorian landscape oil painting is by noted British artist Daniel Sherrin. Painted circa 1900 the painting is entitled Close of Day. The composition details a land...

Antique American impressionist ashcan school pastel painting. Pastel and gouache on paper. Signed. Framed.

Antique American impressionist landscape oil painting by George Ames Aldrich (1872 - 1941). Oil on canvas, circa 1910. Signed. Displayed in a period impressionist frame. Image size,...

Signed and dated oil on original canvas by French post impressionist painter Paul Madeline. This beautiful work depicts a mill on the bank of a river - water cascading over the rocks...

Nicely painted early American impressionist view of Brooklyn and the Hudson River by Martin Petersen (1866 - 1956). Oil on board. Framed. Signed verso.

Philip Leslie Hale New England Autumn, 1910 Pastel on canvas 25 x 30 inches Provenance: Estate of the artist Sotheby's New York, American Paintings, Drawings and Sculpture, May 24, 1990, Lot 125 R. Anne McCarthy Rose Art Museum, Waltham, Massachusetts (gift from the above) Private Collection, Massachusetts Exhibited: Philadelphia, The Pennsylvania Academy of the Fine Arts, Tenth Annual Philadelphia Watercolor Exhibition, November 10 - December 15, 1912, no. 13. Painter, teacher and writer, Philip Leslie Hale is recognized for his decorative paintings of the female figure and for his interior scenes with figures as well as for his progressive approach to painting. However, his career went through several phases that included sporting scenes, figural studies of women including nudes, portraits, and allegorical works reflecting the overwhelming forces of nature. Of the Boston painters of his time, he seemed the most fully committed to Impressionism, and his technique suggests the influence of French impressionist Edgar Degas. In most of his paintings, the landscape was more important than the figure. He was a prolific writer in local newspapers and periodicals about the contemporary art scene, discussing the work of his Boston colleagues. He also wrote numerous books on art and art history including a study of Vermeer that was published in 1913. Among his writings are 1892 newspaper columns for Arcadia Magazine titled "Letters from Paris", art criticism for the Boston Herald from 1905 to 1909; and art criticism for the Boston Evening Transcript. He argued for the Boston School of Art as led by Edmund Tarbell whose style was based on Impressionism with elements of Realism, especially figure painting. Hale was born in Boston in 1865, the son Reverend Edward Hale, a Boston clergyman and a relative of Nathan Hale. He studied with Ellen Day Hale, his sister, and Edmund Tarbell at the Boston Museum School, with J. Alden Weir at the Art Students League in New York City, and then went to Paris for further studies at the Academie Julian and the Ecole des Beaux-Arts. He remained in France for fifteen years, returning to America about 1895. During that time, from 1888, he spent summers at Giverny, France with his good friend, artist, Theodore Butler, and became well acquainted with Claude Monet. Traveling throughout Europe, Hale visited the major museums, and copied the works of Ingres, Vermeer, Watteau and Michelangelo. Hale married Lilian Westcott Hale...

George Ennis The Humber River Signed lower left Oil on canvas 20 x 24 inches Ennis studied at Washington University in St. Louis and at the Chase School. He was a member of the Fed...

Louis Aston Knight (French/American, 1873-1948) Signed: Aston Knight (Lower, Right) " Risle at Melleville ", circa 1920 Oil on Canvas 21 3/4" x 18" Housed in a 3" Ornamented Fra...