William Johnstone Wall Decorations

William Manners (1860–1930), Pair of Autumn Hunting Scenes, 1890 There is a quiet stillness to these two small paintings. Painted in 1890 by British artist William Manners, each dep...

Impressionistic oil painting idyllic autumn landscape signed. 20th Century. Oil on canvas landscape in autumn. 20th Century wooden frame gilded. Si...

PAINTING "Autumn landscape" Author - Danish painter Finn Wennerwald (1896-1969) Oil on a wooden board. dimensions: Frame: height 61 cm; width 80.5 cm depth 5 cm Image: height 46...

Very large and impressive oil on linen landscape painting depicting a scene of orange autumn trees before a backdrop of hazy mountains under a soft blue sky. Signed Rhui in lower rig...

Oil on canvas painted landscape in autumn, 20th century. Wooden frame partially gilded. Signature illegible. (S-197).

William Henry Chandler (1854-1928) Pastel, a cottage in an autumn landscape, signed "Chandler" on lower right. Pastel on paper in period mahogan...

Signed in lower right, but unidentified. This luminous autumnal woodland scene captures a winding country path that cuts gently through a dense canopy of trees, their foliage ablaz...

Oil painting by Karl Kaufmann (signed B. Lambert (1843-1901)) Autumn landscape (forest scene) with river The outer frame measures 92 x 45cm. The actual picture is 82 x 35cm big. Go...

Oil painting by Kal Kaufmann (signed B. Lambert (1843 - 1901)) Autumn landscape (forest scene) with river The outer frame measures 92 x 45cm. The actual picture is 82 x 35cm big. S...

Gouache painting on paper of farmers tilling and sowing a field, by Ton Yan Kui. Unsigned with label from A.M. Adler Fine Art, NY. Comes framed.

Signed William Sheldon Horton impressionist landscape painting. This "Plein Air" artist has majestically captured the purple desert canyons of California. This substantial canvas is ...

Exceptional 19th century landscape painting by Important American artist William Keith. Titled "Harvest". Barbizon School oil on canvas painting featuring figures at harvest with cart and oxen. Amazing luminescent sky. Signed lower left corner "W. Keith '96". Retains original museum quality gilt frame. Canvas measure 30"H 50"W. Accompanied with period correct Stereograph black and white photograph depicting actual painting in a parlor with handwritten pencil title "Parlor, Berkeley, Cal. '97". This is a museum quality work of art. William Keith (1838-1911) William Keith became in the late 19th and early 20th centuries a leading Northern-California landscape artist. In fact, he was so well known that he is referred to as the "Dean of California painters" and "California's Old Master." Born in Aberdeenshire, Scotland, Keith came to New York with his family and, apprenticed to a wood engraver. In 1859, he moved to San Francisco where he worked for an engraver and later set up his own engraving business. Studying with Samuel Marsden Brookes in 1863, he determined to become a painter. He married artist Elizabeth Emerson and did watercolor painting with her guidance. In 1868, he became a full-time painter, and that same year was commissioned to paint scenes along the Columbia River including Mount Hood. By August 1869 he had sold enough paintings to finance an extended journey to the East Coast and Europe including Dusseldorf, Germany throughout most of 1870, studying with Albert Flamm. After a visit to Paris, he expressed great admiration for "the modern school of French landscape painting including the Barbizon School. During the winter of 1871-1872, the Keiths lived in Boston where they shared a studio with William Hahn. Keith's work received critical acclaim there and in New York at the National Academy of Design. In 1872, he returned to San Francisco. A friendship with naturalist John Muir exposed Keith to many remote places and in-depth knowledge of nature. During the 1870s, he painted several "epic" eight by ten-foot High Sierra views. He also visited Alaska, and his paintings of Alaska were exhibited upon his return to San Francisco in a show at the Bohemian Club, titled 'Dreams of Alaska'. Keith's Alaska works are significant because they are not close transcriptions of actual scenery, but rather are fantasies inspired by Alaska. They are important as they represent a major break from the documentary tradition in landscape painting of Alaska, as they show an interest in capturing its spirit versus just the topography. In 1891, he shared his studio for several weeks with East Coast Tonalist George Inness, Sr. [1825-1894]. Both men painted in a similar style and were followers of the mystical teachings of Swedenborg. Among the locations where Inness and Keith painted together were Monterey and Yosemite, and it was reported they discussed art from every possible angle. Under Inness' influence, Keith painted more than ever in a Barbizon-influenced vein with many sunset and twilight scenes. Keith’s first wife died in 1882, and in 1883, he married Mary McHenry, the first woman graduate of Hastings Law School. They soon went to Europe, and Keith studied portrait painting in Munich with consultations from J. Frank Currier...