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Snowy Mountain Country by Arno Lemke - 1950 Germany

$2,725.41List Price

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1920 Snowy Landscape by Kusche Alfred
Located in Vo', Veneto
Snowy Landscape – Kusche Alfred Opera size: 60 x 80 cm Dimensions with cornice: 78 x 98 cm Technique: oil on rigid cardboard Period: year ’20 Suggestive winter paesaggio, one of those favorites of this picture Kusche Alfred Graphic, pictore (21 April 1884 Karlsruhe 9 August 1984 Karlsruhe) Alfred Kusche...
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Snowy Landscape Oil On Canvas by Alex Weise - Dolomites 1930
Located in Vo', Veneto
Snowy Landscape – Alex Weise Work dimensions: 60 x 80 cm Measurements with frame: 64 x 84cm Technique: oil on canvas Period: 1930s One of this artist's favorite subjects: snow in t...
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Vintage 1930s Italian Art Deco Paintings

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Oil Painting, Alps, Snowy Landscape, 1920s
Located in Vo', Veneto
Snowy landscape Measures: 60 cm x 50 cm without frame - cm 70 x cm 60 with frame (the painting is sold with frame), oil on panel 1920s The small church of Einödsbach, in the...
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Vintage 1920s German Paintings

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Snowy Landscape Oil on Canvas – Hoppmann Hein
Located in Vo', Veneto
Snowy Landscape – Hoppmann Hein Work size: 70 x 60 cm Measurements with frame: 74 x 64 cm Technique: oil on canvas Period: circa 1950 Description: A horse-drawn sleigh is about to...
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Mountain Landscape with Lake, Oil on Canvas Paintings, Alps, 1920
Located in Vo', Veneto
Konigssee Measures: 30 cm x 40 cm (without frame) - oil on canvas, 1920s 11.8 in x 15.7 in (without frame). Painting depicting the Königssee, probably the most famous German alpine...
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Vintage 1920s German Paintings

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The Vajolet Towers, Walter Wellenstein Mountains Painting Oil on Board, 1965
Located in Vo', Veneto
Italian Dolomites - Torri del Vajolet 65 cm x 85 cm (without frame) - oil on board - 1965 25,6 in x 33,5 in (without frame) The Vajolet Towers - Dolomites Signed and dated lower right Walter Wellenstein (1898 Dortmund - Berlin 1970) He studied with Emil Orlik at the Berlin art school from 1918 to 1924. His early works are characterized by travel memories and views of the city. In the 1930s, he developed a passion for the representation of masks and artistic and bizarre characters. Many of his works show features of the grotesque - the artistic medium of Wellenstein to overcome the instability of time. In the 1950s Wellenstein was inspired by theatrical rehearsals and created theatrical scenarios in paintings with emphasized contours. These paintings often show influences from works by Karl Hofer...
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Vintage 1960s German Paintings

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Guido Borgianni was born in New York on June 11, 1915, to Florentine Roberto Borgianni, a leather merchant, and Sara Herreshoff, who belonged to one of the wealthiest families in the United States and became a legend in the construction of the racing boats that also participated in and won the America's Cup. Guido was not even a year old when, once his parents' marriage had foundered, his father brought him back to Florence. Of Guido Borgianni's extraordinary gifts as a draftsman and painter, Galileo Chini, his neighbor, noticed, and he worked to see that talent refined. Thus Borgianni attended the Academy of Fine Arts under Felice Carena, a strict teacher but one who knew how to appreciate the qualities of his pupils. In the first part of his life he signed his works in black. Then, when he became a pointillist, he began to use red. Among his great admirers were Alessandro Parronchi and Oskar Kokoschka, who was captivated by Borgianni's paintings during his Florentine stay in 1949. Soffici, Saetti, Malaparte, Montale, Pratolini, and Cesare Zavattini, the screenwriter of Vittorio De Sica and Italian neorealism, all liked him very much, finding him "as beautiful as a Corot." In 1946 he exhibited at the Quadriennale in Rome. After his marriage to Simonetta Avila in 1954, his activities were enlivened by travel: in 1955 to Venice, in 1957 to Paris, from 1958 to 1962 around Italy, in 1964 to Spain, in 1971 to New York and Barbados Islands. In 1950 he was awarded a prize at the Mostra Nazionale del Fiorino in Florence, and in 1956 he was appointed Academician of the Accademia delle Arti del Disegno in Florence. In 1957 he was awarded First Prize at the Portrait Exhibition at Dante's House in Florence. Upon his death, deep condolences were expressed by the president of the Florence City...
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German Landscape Painting of Alpine Mountain Waterfall by Guido Hampe
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GUIDO HAMPE German, 1839-1902 Alpine Landscape with Waterfall (1881) Oil on canvas signed lower right "G. Hampe '81" Item # 106QJY03C An incredibly powerful Romantic landscape of the Alpine mountains with a waterfall cascading into a valley, the river pouring over the rocks and curving around the bend, flowing past a pair of figures seated on a grassy noll with a transcendant unearthly lighting that creates a focal point of the couple. It is as if the clouds have opened up just to shine light on them, emphasizing the glorious day the man and woman are experiencing on this leisurely hike through nature. Painted by Guido Hampe in 1881, the painting was acquired by Charles S. Shultz, president of the Hoboken Bank in Montclair, New Jersey where it remained in his home until its deaccession from the home in 2021. The home was particularly interesting for its total originality, the interior looking almost identical throughout its entire life to how it appeared at its inception in 1896. Enclosed in the collection of images is a shot of the painting in situ over the living room fireplace as captured by the Montclair Magazine article on the home in 2020. The work is signed in his typical script lower right "G. Hampe / 81". It remains housed in the original and substantial giltwood frame, fully restored and a very powerful presentation. An article on the Charles S. Schultz home can be found by clicking here. Artist Listings & Bibliography: * E. Benezit Dictionary of Artists, Vol. VI, Gründ, 2006, p. 1105 Measurements: 32 1/4" H x 42 1/2" W [canvas]; 48 1/2" H x 58 5/8" W x 5 1/4" D [frame] Condition Report: A fine presentation ready to place: frame with minor wear/abrasion/loss; canvas with trace grime in the mountain tops and sky and all-over moderate craquelure. Surface bright and vibrant. Retains the original frame that we have had professionally restored with trace regilding and inpainting, some elements recreated; the restoration has preserved the antique nature of the frame and all restoration has been toned to match the aged aesthetic of the frame. Painting was acquired with its apparently first surface, an incredibly thick grime layer that significantly obscured the image - this was likely due to its placement above the fireplace in the Charles Shultz...
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