1930s Landscape Paintings

"Trois Pêcheurs" Louis Pastour (France, 1876-1948) Oil on board Signed l.l. 7 7/8 x 4 7/8 (8 1/8 x 11 1/8 frame) inches Louis Pastour was called the “...

Otto Lindberg (1880–1955) – Twilight Reflections, Söderhamn Archipelago Serene Twilight in Söderhamn’s Archipelago This monumental oil on canvas (measuring 65 x 120 cm) presents a s...

Lucien Neuquelman, French (1909 - 1988) - Spring Walk, Year: 1938, Medium: Oil on Canvas, signed and dated lower right, Size: 13 x 9.5 in. (33.02 x 24.13 cm), Frame Size: 20.5 x ...

Otto Lindberg (1880–1955) – Twilight Reflections, Söderhamn Archipelago Serene Twilight in Söderhamn’s Archipelago This monumental oil on canvas (measuring 65 x 120 cm) presents a s...

Beautiful sunset near Gilroy, California by the well known American artist James Everett Stuart. Signed, titled and dated verso 1939. Oil paint on wooden panel. Condition is very go...

Highway Derelict, May, 1939, oil on canvas board, signed upper right, 18 x 20 inches, exhibited 1) Society of Independent Artists, American Society of Fine Arts (Art Students League)...

This evocative landscape by Otto Lindberg captures the quiet beauty of a forest at dusk. The most striking feature is the luminous pink and violet glow of the fading sunlight, master...

Lanscape France,Ocean, France , grey, blue, azure, Normandy Henry Maurice CAHOURS (Paris, 1889 – Vence, 1974) He was born in Paris but spent his childhood and adolescence in Amiens...

Lucien Neuquelman, French (1909 - 1988) - Spring Walk, Year: 1938, Medium: Oil on Canvas, signed and dated lower right, Size: 13 x 9.5 in. (33.02 x 24.13 cm), Frame Size: 20.5 x ...

Rites of Winter, by 1939, oil on canvas, 32 x 40 inches, exhibited: 134th Annual Exhibition of the Pennsylvania Academy of Fine Arts, Philadelphia, PA, January 29 – March 5, 1939, no...

Impressive ashcan school modernist street scene painting. Oil on canvas. Rare ashcan school modernist street scene by Isabel Moncayo. In excellent original condition. Handsomely f...

Mediterranean Landscape II', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a view of a ...

⭐Landscape ⭐ Seascape from M Dubois probably born in XIX, was a plein air artist ⭐Structural Analysis :⭐ This composition is a rocky coast line in the west coast of France (Brittany...

Aerei ,rosso ,blu,carta di giornale -La Stampa - Siglato in basso a destra M. L'opera viene venduta con certificato di autenticità dell'archivio Michele Falanga - Messina - Italia M...

'Notre Dame de Paris II', gouache on paper, by Lucien Génin (circa 1930s). One of two paintings of Notre Dame by this artist held by our gallery, it is also an absolutely charming and now, historic depiction from the 1930s, of the most famous cathedral in France. This version uses more exaggerated brushstrokes with strong colours attesting to its expressionist roots. Notre Dame is one of the most widely recognised symbols of the city of Paris and the French nation. As the cathedral of the Archdiocese of Paris, Notre-Dame contains the cathedra of the Archbishop of Paris. Approximately 12 million people visit Notre-Dame annually, making it the most visited monument in the city. While undergoing renovation and restoration, the roof of Notre-Dame caught fire on the evening of 15 April 2019. Burning for around 15 hours, the cathedral sustained serious damage. The government of France hopes the reconstruction can be completed by Spring 2024, in time for the opening of the 2024 Summer Olympics in Paris. Unlike the actual cathedral, this artwork is in good condition, is newly framed and glazed and signed by the artist in the lower right hand corner. Upon request a video may be provided. About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

Water reflection with blossoms impressionist oil painting by Gorm Hansen Gorm Hansen, born in 1886 in Copenhagen, Denmark, and died in 1952, is a renowned Danish painter. He is prim...

"Airplanes Dive Over Enemy Skies" Italian Futurism Futurist Transportation Plane Guglielmo “Tato” Sansoni (Italian, 1896 – 1974) "Airplanes Dive Over Enemy Skies (Aerei in Picchiata su Stabilimenti Nemici)," 20 x 28 inches. Oil on canvas. Circa 1930s. Signed lower right. Titled and signed verso. Guglielmo Sansoni...

A very beautiful signed and dated 1936 impressionist oil on canvas by Lelia Caetani depicting the river Seine in Paris. The artist is very interesting - please see biography below - she was an Italian...

Antique American impressionist oil painting. Oil on canvas. Framed. Signed verso. Measuring 33 by 25 inches overall and 32 by 24 painting alone.

Antique American modernist New York City dock scene. Oil on canvas. In excellent original condition. Handsomely framed in a period modern molding. Excellent condition, ready to...

Through The Redwoods - American Impressionist American Impressionist oil painting depicting a forest of California redwood trees. A giant red...

Carl Johansson, also known as "Ultramarin Johansson," was a Swedish artist born in 1863 and known for his distinctive blue-toned paintings. His work often depicted landscapes, seascapes, and cityscapes, capturing the beauty and essence of Sweden's natural landscapes. We are proud to offer one of his late works from 1935 for sale. This painting depicts a beautiful landscape from Nordingrå, a small village situated on the High coast of Sweden. The beauty of Nordingrå has captured many artists in the 19th-century, inspiring many famous painters, including Helmer Osslund...

Trees is a modern artwork realized by Jean Dreyfus-Stern in the 1930s. Oil on Wooden Panel. Good conditions.

Maurice UTRILLO Paris : Winter Day at Montmartre Original gouache painting Signed bottom right 40 x 32 cm at view (c. 16 x 13") Painted c. 1934-36 Presented in a golden wood frame ...

Oil on artist board Circa 1930 -1935 Signed verso and dedicated to JF (possibly John Folinsbee, fellow artist and neighbor). Overall size encased in custom 22K gold leaf frame wit...

Landscape, c. 1930-40s, oil on panel, signed lower right, 16 x 20 inches Jeanette Maxfield Lewis was a California-based landscape painter and etcher. Born in Oakland, she spent much...

Amazing early American surrealist nude male portrait landscape. Painted by Charles W St Clair. Oil on board. Framed. Image size, 24L x 30H. Super detailed and rare!

Arthur G. Nebra (1880-1955) Swiss. 'Lake in the Mountains' circa 1930's. oiil on canvas 54cm x 73cm including the original frame. Romantic Realism iso...

Signed lower left, 'Mogens Hertz' (Danish, 1909-1999) and painted circa 1935. This notable Impressionist first studied with the classically-trained Academician, Laurits Ring and, su...

WPA Landscape American Scene Social Realism Mid 20th Century Modern Farm Rural James McCracken (1875 – 1967) WPA Landscape 28 x 36 inches Oil on canvas, c. 1930s Signed lower right ...

A fine c.1935 oil on board by Rex Vicat Cole which depicts a pre-war view down Cloth Fair, close to West Smithfield and St. Bartholomews Hospital, in the City of London. John George Glover's engraving shop is on the corner with New Court, and the tower of Holy Sepulchre Church is visible in the distance. Rex Vicat Cole created a number of paintings of London streets for his one man exhibition ''London Old and New'' in 1935. These works now form an important record of London before the Second World War. Signed lower centre and with Christie's provenance. Artist: Rex Vicat Cole (British, 1870-1940) Title: Cloth Fair Medium: Oil on board Picture size: 16 x 12 inches (40 x 30 cm) Frame size: 20 x 16 inches (51 x 41 cm) Provenance: Christie's London, 29th July 1988, Lot # 51 Artist information Reginald (Rex) Vicat Cole was the son of the artist George Vicat Cole. He began to exhibit in London in the 1890s and was elected a member of the Royal Society of British Artists in 1900. He taught at King's College London with Byam Shaw and together they opened their own establishment, the Byam Shaw and Vicat Cole School of Art in Camden Street, Kensington in 1910. At the outbreak of the First World War Vicat Cole and Byam Shaw enlisted in the Artists Rifles...

Importante studio per una grande opera dal titolo , Risveglio di metropoli sempre del 1930 L’opera è stata archiviata dall’archivi futuristi italiani CRALI TULLIO (1910 - 2000) Nel...

Artist: Antoni Llobet Aracil (Barcelona, 1910 - 1983) Title: Catalan Landscape with Masia Technique: Oil on board Dimensions: 13 x 16.1 in Support: Board Framing: Unframed Period: 19...

Lucien Neuquelman, French (1909 - 1988) - Women in Meadow, Year: circa 1938, Medium: Oil on canvas, signed lower right, Size: 9.5 x 13.75 in. (24.13 x 34.93 cm), Frame Size: 16.5...

Gorgeous mid century impressionist seascape of Southern California coastal rocks and waves by Georgia Crittenden Bemis (American, 1908-2008), 1939. Signed lower left corner and on verso. Presented in gilt-toned gesso frame of period. Image size: 30"H x 36"W. Framed size; 34"H x 40"W. Painting was exhibited at the San Diego Fine Arts Gallery, 1939. Georgia Crittenden Bemis was born in Delano, MN on Jan. 13, 1908. Bemis moved to San Diego, CA in 1928. She studied there at the Academy of Fine Arts and with Pauline DeVol, Charles Reiffel, Otto Schneider...

"Trois Pêcheurs" Louis Pastour (France, 1876-1948) Oil on board Signed l.l. 7 7/8 x 4 7/8 (8 1/8 x 11 1/8 frame) inches Louis Pastour was called the “...

3905 Impressionist French village colorful landscape gouache on laid paper Image size 16x11.5"

Importante studio per una grande opera dal titolo , Risveglio di metropoli sempre del 1930 L’opera è stata archiviata dall’archivi futuristi italiani CRALI TULLIO (1910 - 2000) Nel...

This beautiful large impressionist oil on canvas by French artist Charles Cermak was painted in the 1930's. The work depicts colourful sailing boats in a harbor on the Côte d'Azur, m...

Finely painted American impressionist coastal landscape painting. Oil on board. Framed. Signed verso. Image size, 13 by 16 inches.

Antique American impressionist coastal seascape oil painting. Oil on canvas. Signed. Framed. Measuring 30 by 36 inches overall and 24 by 30 painting alone.

Antique American impressionist winter cityscape oil painting. Oil on board. Signed. Framed. Measuring 20 by 24 inches overall and 16 by 20 painting alone. In excellent original cond...

Impressive American impressionist winter landscape oil painting. Framed. Oil on board. Signed. Image size, 9H by 11L.

The Flower Market French Post-Impressionist, circa 1930's oil on board, framed framed: 15.5 x 15 inches board: 14 x 13 inches provenance: private collection, Nice, France condition: ...

Signed lower right, 'Olga' for Her Imperial Highness, Olga Alexandrovna, Grand Duchess of Russia and painted circa 1935. Additionally inscribed in Danish, verso, 'Malet af Storfyrstinde Olga, Rusland der senere bosatte sig i Ballerup. Emma Davidsen' (Painted by Grand Duchess Olga...

Small Farm in the South of France by French Artist, Ely Laumonier (1895-1960) Art measures 24 x 18 inches Frame measures 28 x 22 inches (approx.) Antique Original Signed, Oil on ...

Finely painted American impressionist coastal landscape painting. Oil on board. Framed. Signed verso. Image size, 13 by 16 inches.

A gorgeous American impressionist painting of Gloucester Harbor. Unsigned but by a very skilled hand. The canvas is 20" x 16" housed in a period frame.

Antique American school seascape oil painting. Oil on canvas. Framed. Signed. Image size, 30L x 24H.

French 20th-century Impressionist harbor, with fishing boats at sea, with landscape beyond. 20th-century French impressionist harbor scene. The...

This painting is part of our exhibition America Coast to Coast: Artists of the 1930s Jefferson Market Library (Courthouse), c. 1930s, oil on canvas, 30 x 24 inches, signed lower right; presented in a newer silver painted frame About the Painting Writing about an exhibition of Charles W. Adams’ work at the Eighth Street Art Gallery in the mid-1930s, Emily Grenauer observed in The World-Telegram that the artist’s paintings were “distinguished for their solid form, well organized design and sumptuous color” and the art critic for The Herald Tribune found Adam’s work “a strong, formal realization of his subject . . . he paints with vital emphasis on structure and composition.” Although we do not know which works these critics referenced, it is likely they were writing about paintings like Jefferson Market Library (Courthouse). With its carefully designed reality, strong angles, solid forms, and well-disciplined puffs of smoke in the background, Adams presents a highly structured version of the Greenwich Village landmark, the Jefferson Market Library, which was a courthouse at the time Adams completed this work. The Jefferson Market Library was a prized subject for downtown painters, including the Ashcan School painter, John Sloan, the modernist, Stuart Davis, and the precisionist, Francis Criss...

Marie Yvonne Picard-Pangalos [French Title Illegible], 1930 Oil on wood panel 25 1/2 x 19 in. Signed, dated, and inscribed lower left Exhibition label verso According to the 1999 "...

Porfirio Salinas (1910-1973) San Antonio Artist Image Size: 9 x 7 Frame Size: 18 x 22.5 Medium: Oil Circa late 1930s early 40s "Texas Hills & Valleys" Porfirio Salinas was a self-tau...

Georgina Klitgaard (1893 – 1976) The Ledge, by 1931, oil on canvas, signed lower right, 32 1/8 x 50 1/8 inches, exhibited: 1) 44th Annual Exhibition of American Paintings & Sculptur...

Venice from the Deck of the S.S. Orfod, 1931 oil on canvas 64 x 77 cm 25 1/4 x 30 1/4 in signed and dated Alexander Jamieson (1873–1937) was a Scottish painter renowned for his Impr...

Antique American school modernist still life painting. Oil on board. Signed. Framed. In excellent original condition. Handsomely framed in a gold giltwood molding. Excellent c...

Oil on canvas signed ROBJ, France, 1930s. Couple near the Pound. with frame - 134.6x107x7 cm - 53"x42"x2.75" ; without frame - 116x89 cm - 45.7x35 inches. 50F format. Signed "Robj" l...

In this gilt wood framed oil on canvas waterscape, American Impressionist artist Harry Hoffman depicts the last moments of a morning sunrise over a river in predominant hues of lavender, purple, pink and blue. The sky is reflected in the water below with a sandy brown beach and large green tree in the foreground. Harry Leslie Hoffman was born in Cressona, a small community in Pennsylvania’s Schuylkill Valley. His mother was an amateur artist who encouraged her son to pursue a career in the arts. In 1893, Hoffman entered the School of Art at Yale University and studied with John Ferguson Weir, the son of Robert Walter Weir. After graduation in 1897, Hoffman moved to New York to continue his studies at the Art Students League. He also traveled to Paris and took classes at the Académie Julien. In the summer of 1902, Hoffman attended the Lyme Summer School of Art, in the town of Old Lyme on the Connecticut coast. The school was headed by Frank Vincent Dumond and was located in a boarding house owned by Florence Griswold. The school eventually grew into an artists’ colony and a center for American Impressionism. When Hoffman first arrived as a student, he was not permitted to stay in the house which was designated for the professional artists only. However, his outgoing personality soon won him many friends at the colony. In 1905, Hoffman settled in Old Lyme and worked as a full member of the artist colony. He was particularly influenced by Willard Leroy Metcalf, an Impressionist also working in Old Lyme. Fellow artists later fondly recalled Hoffman’s antics at the Griswold house, which included playing the flute and banjo, tap-dancing, singing humorous songs, and performing magic tricks. In 1910, Hoffman married another Old Lyme artist named Beatrice Pope, and the couple had one child in 1921. Hoffman and his wife often escaped New England during the harsh winter months. In the winters of 1914 and 1915 he traveled to Savannah, Georgia with fellow Old Lyme artist William Chadwick...

NYC Cityscape American Scene WPA Modern Realism Mid 20th Century Architectural Ernest Fiene (1894-1965) Cityscape 36 x 30 inches Oil on canvas Signed and dated 1930. lower right Provenance Estate of the artist. ACA Galleries, New York Exhibited New York, Frank Rehn Gallery, Changing Old New York, 1931. New York, ACA Galleries, Ernest Fiene: Art of the City, 1925-1955, May 2-23, 1981, n.p., no. 5. BIO Ernest Fiene was born in Elberfeld, Germany in 1894. As a teenager, Fiene immigrated to the United States in 1912. He studied art at the National Academy of Design in New York City from 1914 to 1918, taking day classes with Thomas Maynard and evening classes with Leon Kroll. Fiene continued his studies at the Beaux-Arts Institute of Design in New York from 1916 to 1918, adding classes in printmaking at the Art Students League in 1923. Fiene began his career as an artist in 1919 with his first exhibition of watercolors at the MacDowell Club arranged by his mentor Robert Henri. In 1923 the Whitney Studio Club mounted a large exhibition of his works. The following year he had an exhibition at the New Gallery in New York, which completely sold out all fifty-two works, including paintings, watercolors, drawings, and etchings. With the proceeds of sales from the New Gallery exhibition, Ernest Fiene and his younger brother Paul, a sculptor, built studios in Woodstock, New York in 1925. In the early Twenties Ernest Fiene painted mostly landscapes of Woodstock and both the Ramapo and Hudson River Valleys. The first monograph from the Younger Artists Series was published on Fiene in 1922. Published in Woodstock, the series went on to include Alexander Brook, Peggy Bacon, and Yasuo Kuniyoshi. The book reproduced 1 illustration in color and another 27 reproductions in black and white. Around 1925 Fiene became fascinated with the intensity, excitement, and opportunities for color harmonies New York City offered as a subject. His paintings shifted to urban and industrial themes with architecture, industry, and transportation becoming his subjects. By 1926 Fiene had attracted the dealer Frank K.M. Rehn, who gave him a one-man exhibition that year, which travelled to the Boston Arts Club. C.W. Kraushaar Galleries gave Fiene a one-man exhibition of urban, landscape, portrait, and still life paintings in 1927. Julianna Force, the director of the Whitney Studio Club and first director of the Whitney Museum of American Art, included two of Fiene’s paintings in a fall exhibition in 1928. The Whitney Studio Club showed Fiene’s paintings in a two-man exhibition with Glenn O. Coleman that year and acquired three of Fiene’s paintings. Also in 1928 Fiene became affiliated with Edith Halpert’s Downtown Gallery where he had an exhibition of 20 lithographs in the spring. Fiene sold his house in Woodstock in 1928 to spend more of his time in New York City. With so many successful exhibitions, Fiene returned to Paris in 1928-29 where he rented Jules Pascin's studio and studied at the Académie de la Grande Chaumière. In France, Fiene painted both landscape and urban subjects developed from ideas influenced by Cubist geometry and the use of flat areas of broad color. Upon returning to New York in 1930, Fiene used this new approach to continue to paint New York skyscraper and waterfront subjects, as well as to begin a series of paintings on changing old New York based on the excavations for Radio City Music Hall and the construction of the Empire State Building. Frank K.M. Rehn Galleries exhibited this series, titled “Changing Old New York,” in 1931. Fiene also has solo exhibitions at Rehn Galleries in 1930 and 1932. Fiene’s oil paintings are exhibited at the Chicago Arts Club in 1930 as well. Fiene was included in the Museum of Modern Art’s exhibition Painting and Sculpture by Living Americans in December of 1931. Visiting New York, Henri Matisse saw the exhibition and called Fiene’s Razing Buildings, West 49th Street the finest painting he had seen in New York. Fiene had two mural studies from his Mechanical Progress series exhibited at the Museum of Modern Art’s exhibition Murals by American Painters and Photographers in 1932. Fiene sent View from my Window which depicts Fiene working on a lithograph stone while looking out his window to the newly completed Empire State Building to the Carnegie International in 1931. In 1932 Fiene participated in the first Biennial of American Painting at the Whitney Museum and his prints were included in exhibitions at the Downtown Gallery and the Wehye Gallery. In the same year, Fiene was awarded a Guggenheim fellowship to further study mural painting in Florence, Italy. On his return from Italy in 1933 Fiene re-engaged himself in New York City life and won several public and private mural projects. Fiene resumed his active exhibition schedule, participating in two group exhibitions at the Whitney Museum and a one-man exhibition of recent paintings at the Downtown Gallery in January 1934. In 1933 he purchased a farm in Southbury, Connecticut, which added Connecticut scenes to his landscape subjects. This was also the year Fiene began to spend summers on Monhegan Island, Maine, where he painted seascapes, harbor scenes, and still lifes. Fiene’s landscape paintings attracted numerous commissions as part of the American Scene movement. Through the fall and winter of 1935-36, Fiene took an extended sketching trip through the urban, industrial, and farming areas of Pennsylvania and West Virginia. Most of the twenty-four Pennsylvania urban and rural paintings...

De Hirsh Margules (1899-1965). Christopher Street, 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15.5 x 20 inches. Window in matting measures 15 x 19 inches. Framed measurement: 23 x 30 inched. Bears fragment of original label affixed on verso. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC Exhibited: The American Federation of Arts Traveling Exhibition. From the facade of The Waverly at Christopher is depicted One Christopher Street, the 16-story Art Deco residential building erected in 1931. It is not a casual coincidence that the structure appears in this cityscape: 1 Christopher Street is the subject. The original intention of this project was to transform the neighborhood, bring a bit of affluence and make a bid to rival the Upper West Side. Margules, a sensitive aesthete, understood how a massive piece of architecture such as One changes a neighborhood. Sound, scale and focal points are forever altered. A pedestrian's sense of depth and distance becomes pronounced. All of these factors contribute to the intent behind this image. Tall buildings disrupt the human scale, change the skyline and carve up space. In this piece, negative space conforms to the man-made geometries. Clouds become gems fixed in settings. De Hirsh Margules (1899–1965) was a Romanian-American "abstract realist" painter who crossed paths with many major American artistic and intellectual figures of the first half of the 20th century. Elaine de Kooning said that he was "[w]idely recognized as one of the most gifted and erudite watercolorists in the country". The New York Times critic Howard Devree stated in 1938 that "Margules uses color in a breath-taking manner. A keen observer, he eliminates scrupulously without distortion of his material." Devree later called Margules "one of our most daring experimentalists in the medium" Margules was also a well-known participant in the bohemian culture of New York City's Greenwich Village, where he was widely known as the "Baron" of Greenwich Village.[1] The New York Times described him as "one of Greenwich Village's best-known personalities" and "one of the best known and most buoyant characters about Greenwich Village. Early Life De Hirsh Margules was born in 1899 in the Romanian city of Iași (also known as Iasse, Jassy, or Jasse). When Margules was 10 weeks old, his family immigrated to New York City. Both of his parents were active in the Yiddish theater, His father was Yekutiel "Edward" Margules, a "renowned Jewish actor-impresario and founder of the Yiddish stage." Margules' mother, Rosa, thirty-nine years younger than his father, was an actress in the Yiddish theater and later in vaudeville. Although Margules appeared as a child actor with the Adler Family[11] and Bertha Kalich, his sister, Annette Margules, somewhat dubiously continued in family theater and vaudeville tradition, creating the blackface role of the lightly-clad Tondelayo (a part later played on film Hedy Lamarr) in Earl Carroll's 1924 Broadway exoticist hit, White Cargo. Annette herself faced stereotyping as an exotic flower: writing about her publicist Charles Bouchert stated that "Romania produces a stormy, temperamental type of woman---a type admirably fitted to portray emotion." His brother Samuel became a noted magician who appeared under the name "Rami-Sami." Samuel later became a lawyer, representing magician Horace Goldin, among others. A family portrait including a young De Hirsh, a portrait of Rosa and Annette together, and individual photos of Rosa and Edward can be found on the Museum of the City of New York website. At around age 9 or 10, Margules took art classes with the Boys Club on East Tenth Street, and his first taste of exhibition was at a student art show presented by the club. By age 11, he had won a city-wide prize (a box camera) at a children's art show presented by the department store Wanamakers. As a young teenager, Margules was already displaying a characteristic kindness and loyalty. Upon hearing that two friends (one of them was author Alexander King), were in trouble for breaking a school microscope, the nearly broke Margules gave them five dollars to repair the microscope . Margules had to approach a wealthy man that Margules had once saved on the subway from a heart attack. Margules didn't reveal the source of the five dollars to King until twenty-five years later. In his late teens, Margules studied for a couple of months in Pittsburgh with Edwin Randby, a follower of Western painter Frederic Remington. Thereafter he pursued a two-year course of studies in architecture, design and decoration at the New York Evening School of Art and Design, while working as a clerk during the day at Stern's Department Store. He was encouraged in these artistic pursuits by his neighbor, the painter Benno Greenstein (who later went by the name of Benjamin Benno). Artistic career In 1922, Margules began work as a police reporter for the City News Association of New York .Margules then considered himself something of an expert on art, and the painter Myron Lechay is said to have responded to some unsolicited analysis of his work with the remark "Since you seem to know so much about it, why don't you paint yourself?" This led to study with Lechay and a flurry of painting. Margules' first show was in 1922 at Jane Heap's Little Review Gallery. Thereafter Margules began to participate in shows with a group including Stuart Davis, Jan Matulka, Buckminster Fuller (exhibiting depictions of his "Dymaxion house") in a gallery run by art-lover and restaurateur Romany Marie on the floor above her cafe. Jane Heap, left, with Mina Loy and Ezra Pound During the 1920s, Margules traveled outside of the country a number of times. In 1922, with the intent of reaching Bali, he took a job as a "'wiper on a tramp steamer where [he] played nursemaid to the engine." He reached Rotterdam before he turned back. He would return to Rotterdam shortly thereafter. In 1927, Margules took a lengthy leave of absence from his day job as a police reporter in order to travel to Paris, where he "set up a studio in Montmartre's Place du Tertre, on the top floor of an almost deserted hotel, a shabby establishment, lacking both heat and running water." He studied at the Louvre and traveled to paint landscapes in provincial France and North Africa. Margules also joined the "Noctambulist" movement and experimented with painting and showing his artwork in low light.Jonathan Cott wrote that: the painter De Hirsch Margulies sat on the quays of the Seine and painted pictures in the dark. In fact, the first exhibition of these paintings, which could be seen only in a darkened room, took place in [ Walter Lowenfels'] Paris apartment. Elaine de Kooning remarked that studying the works of the Noctambulists confirmed Margules' "direction toward the use of primary colors for perverse effects of heavy shadow." It was also in Paris that Margules initially conceived his idea of "Time Painting", where a painting is divided into sectors, each representing a different time of day, with color choices meant to evoke that time of day. In Paris, his social circle included Lowenfels, photographer Berenice Abbott, publisher Jane Heap, composer George Anthiel, sculptor Thelma Wood, painter André Favory, writer Norman Douglas, writer and editor George Davis, composer and writer Max Ewing, and writer Michael Fraenkel. Upon his return to New York in 1929, Margules attended an exhibition of John Marin's paintings. While at the exhibition, he "launched into an eloquent explanation of Marin to two nearby women", and was overheard by an impressed Alfred Stieglitz. The famous photographer and art promoter invited Margules to dine with his wife, the artist Georgia O'Keeffe, and his assistant, painter Emil Zoler. Stieglitz thereafter became a friend and mentor to Margules, becoming for him "what Socrates was to his friends." Alfred Stieglitz Stieglitz introduced Margules to John Marin, who quickly became the most important painterly influence upon Margules. Elaine de Kooning later noted that Margules was "indebted to Marin and through Marin to Cézanne for his initial conceptual approach - for his constructions of scenes with no negative elements, for skies that loom with the impact of mountains." Margules himself said that Marin was his "father and ... academy." The admiration was by no means unreciprocated: Marin said that Margules was "an art lover with abounding faith and sincerity, with much intelligence and quick seeing." Stieglitz also introduced Margules to many other artistic and intellectual figures in New York. With the encouragement of Alfred Stieglitz, Margules in 1936 opened a two-room gallery at 43 West 8th Street called "Another Place." Over the following two years there were fourteen solo exhibitions by Margules and others, and the gallery was well-respected by the press. It was in this gallery that the painter James Lechay, Myron's brother, exhibited his first painting. In 1936, Margules first saw recognition by major art museums when both the Museum of Modern Art and the Museum of Fine Arts, Boston purchased his works. In 1942, Margules gave up working as a police reporter, and apparently dedicated himself thereafter solely to an artistic vocation. "The Baron of Greenwich Village"[edit] Margules made his mark not only as an artist, but also as an outsized personality known throughout Greenwich Village and beyond. To local residents, Margules was known as the "Baron", after Baron Maurice de Hirsch, a prominent German Jewish philanthropist. Margules was easily recognizable by the beret he routinely wore over his long hair. Writer Charles Norman said that he "dressed with a flair for sloppiness." He was said to "know everybody" in Greenwich Village, to the extent that when the novelist and poet Maxwell Bodenheim was murdered, Margules was the first one the police sought to identify the body. Margules' letters show him interacting with art world figures such as Sacha Kolin, John Marin and Alfred Stieglitz, as well as with prominent figures outside the art world such as polymath Buckminster Fuller and writer Henry Miller. Most of his friends and acquaintances found Margules a generous and voluble man, given to broadly emotionally expressive gestures and acts of kindness and loyalty. In 1929, he exhibited an example of this loyalty and fellow-feeling when he appeared in court to fight what the wrongful commitment of his friend, writer and sculptor Alfred Dreyfuss, who appeared to have been a victim of an illicit attempt to block an inheritance. The Greenwich Village chronicler Charles Norman described the bone-crushing hugs that Margules would routinely bestow on his friends and acquaintances, and speaks of the "persuasive theatricality" that Margules seemed to have inherited from his actor parents. Norman also wrote about Margules' routine acts of kindness, taking in homeless artists, constantly feeding his friends and providing the salvatory loan where needed. Norman also notes that Margules was blessed with a loud and good voice, and was apt to sing an operatic air without provocation. The writer and television personality Alexander King said I think the outstanding characteristics of my friend's personality are affirmation, emphasis, and overemphasis. He chooses to express himself predominantly in superlatives and the gestures which accompany his utterances are sometimes dangerous to life and limb. Of the bystanders, I mean. King also spoke with affectionate amusement about Margules' pride in his cooking, speaking of how "if he should ever invite you to dinner, he may serve you a hamburger with onions, in his kitchen-living room, with such an air of gastronomic protocol, such mysterious hints and ogliing innuendoes, as if César Ritz and Brillat-Savarin had sneaked out, only a moment before, with his secret recipe in their pockets." Margules was such a memorable New York personality that comic book writer Alvin Schwartz imagined him at the Sixth Avenue Cafeteria in a risible yet poignant debate with Clark Kent about whether Superman had the ability to stop Hitler. Margules' entrenchment in the Greenwich Village milieu can be seen in a photograph from Fred McDarrah's "Beat Generation Album" of a January 13, 1961 writers' and poets' meeting to discuss "The Funeral of the Beat Generation", in Robert Cordier [fr]'s railroad flat at 85 Christopher Street. Among the people in the same photograph are Shel Silverstein...

A beautiful 1930's French impressionist oil on canvas depicting a landscape in the Haute Loire region with hay bale and hilltop village, by René Aubert. ...

Antique American impressionist coastal seascape oil painting. Oil on canvas. Signed. Framed. Measuring 30 by 36 inches overall and 24 by 30 painting alone.

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