Recognized Dealers Landscape Paintings

A large, striking 1920s American Modern industrial scene painting by notable Wisconsin painter, Hans John Stoltenberg (Am. 1879-1963). Artwo...

A Captivating 20th Century Modern Urban City Nocturne of the Chicago El at Night. A compelling and finely painted unsigned canvas by a practiced, trained artist depicting the entran...

A large, compelling Social Realist tenement and city street scene, "Central Ward, NJ" by notable American Modern artist, Walter Nowatka (Am. born 1945). Artwork size: 36 x 24 inche...

A compelling 1950s Mid-Century Modern oil painting of City Apartment Rooftops. Signed illegibly upper left, (possibly reading Marcelle Blanchette? a Canadian woman artist from the er...

A striking Machine Age Modern industrial scene oil painting of a New York shipyard crane by notable American artist, Lessing Whitford Williams (1894-1989). A colorful, dynamic examp...

Circle of Charles-François Lacroix de Marseilles (c. 1700-1782) A mediterranean port Oil on canvas Canvas size - 26 3/4 x 34 1/4 in Framed size - 34 x 40 in Provenance With Norman A...

An Introspective, Post-War Modern Southwestern Landscape Painting of an Adobe House in New Mexico by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1990). A subtle tonal, archi...

Adam Silo (1674-1764) A Dutch Whaling Fleet off the Greenland Coast Oil on canvas No visible signature Canvas Size 16 7/8 x 24 3/8 in Framed Size 24 x 31 1/2 in Provenance With Fran...

A large, captivating 1950s Mid-Century Modern city street & construction scene by Pennsylvania Regionalist artist, George W. Mengelson (Born 1916). A wonderful example of Twentieth ...

A Colorful, Modern Maine Coastal Scene Painting, "White Boat in Harbor" by Famed Chicago Artist and Printmaker, Charles Turzak (Am. 1899 - 1986). The painting depicts a vibrant, sunlit autumn landscape painting most likely painted near the quiet rural harbor town of Penobscot, Maine. The painting is acrylic on canvas, dates from the 1950s and has a great visual appeal- a perfect complement to any New England coastal home or summer cottage in Maine. Artwork size: 20 x 36 inches, accompanied with the artist's original, hand-painted frame (Framed size: 21 3/4 x 36 1/2 inches). Signed "Turzak", lower left; titled on artist's label on reverse. Provenance: Estate of the artist. Charles Turzak was one of Chicago’s greatest printmakers of the Art Deco-era. Son of a coal miner, Turzak was born in Streeter, IL in 1899. In 1920, Turzak won the first prize a cartoon contest sponsored by the Purina company and he used his prize money to enroll in the Art Institute of Chicago. Best known as a print maker, in the 1920s & 30s, he created woodcuts of many of Chicago’s most notable buildings, including the Merchandise Mart, Palmolive Building and the Old Water Tower, among others. In 1933, he was commissioned to create woodcuts of many of Chicago’s most iconic buildings to illustrate a guidebook called “All About Chicago” by John and Ruth Ashenhurst” that featured the upcoming Century of Progress Exhibition in Chicago. During the 1933 World’s Fair...

American, 19th Century Winter Evening Possibly the original painted model for Nathaniel Currier’s lithograph of 1854, Oil on canvas, c. 1854 Unsigned Provenance: Partial old Kennedy...

Karl Albert Buehr (1866-1952) Strolling in the Park Oil on canvas, relined, c. 1910 Unsigned Provenance: Gift of the Artist to his wife, Mary Hess Beuhr The artist's niece, daughter of Will Hess David Saltzman Robert Henry Adams Fine Art, Chicago, exhibited 1994 Karl Albert Buehr at Robert Henry Adams Fine Art, Chicago Exhibition dates The exhibition was held in 1994 at Robert Henry Adams Fine Art, 715 North Franklin Street, Chicago. Surviving provenance records describe it as the gallery’s first exhibition at its North Franklin Street location. Works documented as included include Woman on a Patio, Rocky Inlet (France), and apparently other paintings and studies acquired through David Saltzman from the family of Buehr’s wife, Mary Hess Buehr. The 1994 Karl Albert Buehr exhibition at Robert Henry Adams Fine Art represented an important act of historical recovery. Although Buehr enjoyed considerable recognition during his lifetime—as an exhibiting painter, prizewinner, and influential teacher at the School of the Art Institute of Chicago—his reputation had become less visible in the decades following his death. By bringing together paintings and works on paper that had descended through the artist’s family, the Adams exhibition helped restore Buehr to his proper position among the leading exponents of American Impressionism and the most important Chicago-trained painters working in France before the First World War. Giverny was crucial to Buehr’s mature development. American painters had been drawn to the Norman village since the late 1880s, attracted both by Monet’s presence and by the region’s gardens, river valleys, cultivated fields, and distinctive northern light. Buehr did not simply imitate Monet. His figure compositions remained grounded in the academic training he received in Chicago and Paris, but he enlivened that structure with broken brushwork, heightened complementary color, and an increasingly luminous palette. His characteristic compositions place elegantly dressed young women on terraces, beside windows, or within flowering gardens. These figures are neither conventional society portraits nor anonymous decorative accessories. They occupy a carefully balanced space between individual presence and pictorial harmony. Faces and gestures are often quietly observed, while dresses, parasols, flowers, foliage, and shifting sunlight become vehicles for color. Lavender shadows, rose and coral fabrics, emerald foliage, and brilliant passages of yellow or blue transform the garden into a chromatic environment surrounding the sitter. Works associated with the Adams exhibition illuminate the breadth of Buehr’s French production. The pastel Woman on a Patio, circa 1915, demonstrates his ability to translate Impressionist color into the immediacy of a dry medium. Pastel allowed him to place one hue directly beside another without losing intensity. The resulting surface possesses a soft atmospheric unity while retaining the energy of individual strokes. The work’s history—gifted by Buehr to Mary Hess Buehr and subsequently descending through her family—also gives it a particularly intimate character. Rocky Inlet (France) presents another aspect of Buehr’s practice. In place of the cultivated garden and poised female figure, the artist confronts a rugged coastal landscape. Yet his essential concern remains light acting upon color. Rock, water, and vegetation are constructed through abbreviated touches rather than continuous modeling. The small scale suggests direct observation, possibly an outdoor study made during Buehr’s travels in Normandy. Its provenance likewise begins with Mary Hess Buehr and passes through the family before reaching David Saltzman and Robert Henry Adams Fine Art. This family provenance was central to the significance of the 1994 exhibition. The works had not merely circulated anonymously through the market; many retained a direct association with the artist’s household. Such a group could include informal studies, experimental compositions, and personal gifts that Buehr elected to keep rather than send to public exhibitions. Together they offered a more private and exploratory view of his career. Condition: relined canvas and cleaned Image/Canvas size: 10 x 9 inches Frame: 16-3/4 x 15-3/4 x 1-3/4 inches Karl Albert Buehr (1866–1952): France and the Giverny Years Karl Albert Buehr—whose surname is sometimes misspelled “Beuhr”—was a German-born American painter and influential teacher associated with the second generation of American Impressionists working at Giverny. Although his artistic identity was rooted in Chicago, the years he spent in France transformed his palette, subject matter, and approach to painting. Born on February 14, 1866, in Feuerbach, near Stuttgart, Buehr immigrated with his family to Chicago, probably in 1881. After working briefly for a commercial lithographer, he enrolled at the School of the Art Institute of Chicago in 1888. He studied with John H. Vanderpoel and graduated with honors in 1894, after which the school invited him to teach. He also served in the Illinois cavalry during the Spanish-American War and married Mary Guion Hess, one of his students and an accomplished artist in her own right. Early study in Europe Buehr’s European education unfolded in several stages. Around 1900 he settled in Paris and studied at the Académie Julian, principally under the French painter Raphaël Collin. Collin was known for idealized female figures placed in luminous outdoor settings, a combination of academic draftsmanship and Impressionist light that anticipated Buehr’s mature work. Buehr reportedly received a gold medal at the Académie in 1901. His early European paintings included portraits, landscapes, and scenes of rural labor. Visits to Holland exposed him to the restrained tonalism of the Hague School, while his travels in Italy—particularly Taormina, Sicily, during 1906 and 1907—encouraged a brighter response to Mediterranean sunlight. He also studied in London, where his contacts with Frank Brangwyn and the decorative currents of British painting strengthened his interest in broad design, rhythmic composition, and large arrangements of figures. A decisive factor in this extended European residence was the patronage of Chicago philanthropist Lydia Coonley Ward. From approximately 1906 until 1913, Ward provided Buehr with a monthly stipend, enabling the artist, his wife, and their children to remain abroad and pursue their work without the immediate pressures of the American market. Buehr at Giverny Buehr entered the Anglo-American artistic community at Giverny around 1909, probably through his friendship with Henry Salem Hubbell, another American figure painter supported by Lydia Coonley Ward. From approximately 1909 through 1912, Buehr generally spent winters in Paris and the warmer months at Giverny. In 1912 and the summer of 1913, the family reportedly lived at Sainte-Geneviève-lès-Gasny, close to Giverny. By this date Giverny was no longer merely the village in which Claude Monet lived. It had become an international artists’ colony, particularly attractive to American painters who admired Impressionist color but wished to retain firm drawing and carefully organized figure compositions. Buehr’s associates included Frederick Carl Frieseke, Richard Edward Miller, Guy Rose, Lawton Parker, Louis Ritman, Edmund Greacen, Karl Anderson, and Theodore Earl Butler. Buehr was especially close to the circle of Frieseke and Miller. These artists specialized in decorative paintings of fashionably dressed women reading, sewing, taking tea, or resting in sunlit gardens. Their figures were surrounded by flowers, patterned fabrics, parasols, and flickering passages of colored light. Buehr adopted this repertoire, but his paintings usually retained a stronger structural organization and a more assertive contrast between complementary colors. During his first months at Giverny, Buehr worked on a large decorative panel of dancing figures. The composition received an honorable mention at the Paris Salon of 1910, an important professional recognition. That summer, however, he increasingly turned toward intimate garden scenes and outdoor figure studies. The influence of Richard Miller can be detected in the decorative arrangement of the figures, while Frieseke’s example encouraged Buehr s use of brilliant sunlight, patterned surfaces, and saturated hues. Relationship with Claude Monet Claude Monet was Buehr’s artistic hero, but the extent of their personal relationship should not be overstated. Buehr’s children played with the children of Theodore Butler, Monet’s son-in-law, and they visited the Monet household. Buehr’s daughter Kathleen later recalled that Monet was gracious to the children. Nevertheless, the best available scholarship suggests that no close personal association between Buehr and Monet has been documented. Monet’s importance to Buehr was therefore primarily artistic. At Giverny, Buehr learned to regard colored light as a central subject rather than merely a means of describing objects. Shadows became violet, blue, or green; white dresses reflected the surrounding garden; and faces and arms were modeled through small strokes of warm and cool color. The enclosed garden also became a kind of outdoor studio in which human figures, flowers, fabrics, and sunlight could be orchestrated into a unified decorative design. The Giverny style Buehr became best known for paintings of young women seated or standing in gardens, often accompanied by colorful parasols. Works such as Springtime in Giverny, Under the Parasol, and related pictures of women reading or conversing exemplify his mature style. Although inspired by French Impressionism, these paintings are not spontaneous transcriptions of fleeting visual experience in the strict Monet tradition. They are carefully staged figure compositions. Buehr himself explained that the outdoor figure painter should concentrate upon the ensemble—grouping, arrangement, and color—rather than laboriously describing every feature. This principle helps distinguish his Giverny paintings...

Peter Monamy (London 1681-1749) Rough Seas Oil on canvas Signed lower right Canvas Size 18 x 24 in Framed Size 23 x 30 in Peter Monamy was an acclaimed British marine painter of the...

John Charles Maggs (1819-1896) A Cracking Pace signed and dated J. C. Maggs / 1873 lower left Oil on canvas Painting size 11 1/2 x 23 1/2 in Framed size 17 x 29 in John Charles Magg...

Brilliantly-colored oil on canvas depicting the French countryside, with "les flâneurs," (people strolling) along the bank of the river. The eye of the viewer follows the river past ...

A Charming 1940s Mid-Century Modern Watercolor of Pirate's Alley, New Orleans by Arlene S. Ezickson (Am. 1927-2003). Titled "Vieux Carre, New Orleans" the artwork is watercolor and ...

This minimalist abstract painting of a landscape offers a pop of the colour red. Canada’s Pat Service has enjoyed a decades-long career that granted her the title of one of Canada’s...

This contemporary abstract acrylic painting was inspired by nature. Sandra Goldie’s artwork has been praised by one of Quebec’s leading abstract artists. Leopold Plotek described th...

A striking Machine Age Modern oil painting of the historic Bronx Span, Triborough Bridge, New York City by notable American artist, Lessing Whitford Williams (1894-1989). Artwork ...

A vibrant, colorful Mid-Century Modern abstract harbor scene of Martha's Vineyard by notable Chicago artist, Francis Chapin (Am. 1899-1965). Depicting a bustling harbor scene with n...

Johann c. van der Hagen (1676-c.1745) A British Man O’War in distress on a rocky coast in a storm Signed 'J. vanderhagen' lower right Oil on canvas Canvas size - 38 1/2 x 51 in Framed size - 46 x 59 in Provenance The Collection the Most Hon. Marquis of Headfort at Headfort, Kells, Co. Meath; His sale, Christie's, Important Old Master Paintings, 29 November 1968, Lot 28; Private Collection, Oxfordshire Johann C. van der Hagen was a Dutch-born marine and landscape painter whose atmospheric depictions of ships, storms, and coastal scenes earned him recognition in Britain and Ireland during the first half of the eighteenth century. Although relatively obscure today, he was among the group of continental artists who helped shape the development of maritime painting outside the Netherlands during the late Baroque period. Born in The Hague in May 1676, van der Hagen trained within the strong Dutch tradition of marine painting that had flourished during the seventeenth century. Dutch artists of this era were internationally admired for their technical understanding of ships, changing weather conditions, and the dramatic effects of light upon water. Van der Hagen absorbed these influences early in his career, producing works characterised by animated seas, carefully observed rigging, and a keen sense of atmosphere. At some point in the late seventeenth or early eighteenth century, he moved to London, then one of Europe’s most important centres for maritime commerce and naval power. There he entered an artistic environment already shaped by celebrated Dutch émigré painters such as Willem van de Velde the Younger and his circle. Van der Hagen’s paintings reveal the influence of this Anglo-Dutch marine tradition, especially in his treatment of naval vessels and storm-driven seas. Contemporary records also suggest that his family became connected with artistic circles in London; one source notes that his daughter Bernada married the marine painter Cornelis van de Velde in 1699. Van der Hagen later settled in Ireland, where he appears to have been active from the 1720s onward. Dublin became his principal base, though he travelled widely and worked in several parts of the country, particularly in the south. During this period he established a reputation as a painter of landscapes and especially sea-pieces, which were admired by patrons for their lively handling and dramatic composition. Irish sources describe him as talented but somewhat eccentric and indolent, producing work irregularly and often only when financial necessity compelled him to paint. Among his documented activities was his employment in 1728 by the tapestry manufacturer Robert Baillie...

A Contemplative, Mid-Century Modern Neighborhood Scene of New York City. A quiet, autumn street view of city front steps and Brownstones, likely depicting a scene in Brooklyn, Green...

Karl Albert Buehr (1866-1952) Giverny Landscape Oil on board, c. 1910 Unsigned Condition: Excellent Image size: 5 7/8 x 7 1/8 inches Frame: 11-1/2 x 12-3/4 x 1-1/2" Provenance: Estat...

A large Mid-Century Modern oil painting, El Platform, New York City by notable American artist, Leo Villafana (1927-1991). Artwork size: 36 x 18 inches, oil on canvas (Framed size:...

A scenic, colorful Modern 1930s summer harbor scene of Saugatuck, Michigan by notable Chicago Modern artist, Francis Chapin. Depicting a lively summer harbor view of the historic S...

Impressionistic oil painting of a bouquet of pink and white flowers. Hass, a late Impressionist painter of the Munch school, was known for his sensitivity of color perception and lig...

A striking Machine Age Modern oil painting of the historic Harlem River Lift Span, Triborough Bridge, New York City by notable American artist, Lessing Whitford Williams (1894-1989)....

William Anderson (1757-1837) Marine shipping scenes A pair, Oil on panel Painting size 7 x 1/2 x 11 3/4 in Framed size 10 x 15 in Provenance The Parker Gallery, London. William An...

John Nost Sartorius (London 1759-1828) A gentleman on horseback, 16 miles to London Signed and dated 1796 Oil on canvas Canvas Size - 25 x 30 in Framed Size - 32 x 37 in John Nost ...

A Brooding, Compelling 1940s American Scene, Social Realist Oil Painting, "Tenement Ruins" by Notable Canadian / American artist Emil Weddige (1907-2001). Oil on canvas, dating from...

A Unique, Visually Striking, Surrealist Mid-Century Modern Abstract Beach Scene by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). Depicting an abstracted female bathers stan...

A large, expansive 1950s Mid-Century Modern Southwestern landscape painting of Sedona, Arizona by notable Chicago artist, Francis Chapin. Depicting a scenic, colorful view of Cathed...

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Depicting a quiet, picturesque view of the rooftops and cathedral...

A Vibrant, Colorful 1930s Modern, American Scene Painting of the Queesnboro Bridge, New York City by Notable Woman Artist, Lesley Buckland Crawford (Am. 1887-1963). A wonderful example of Crawford's Urban Realism practiced in the 1930s & '40s depicting a busy foreground of industrial dockworkers & laborers with the dynamic, overarching span of the Queensboro Bridge in the background. Artwork size: 18 x 22 inches, oil on canvas (Framed size 23 x 27 inches). Signed "Lesley Crawford", lower right. Born in 1887, Lesley Buckland Crawford graduated from Vassar College in 1908. Crawford attended the Art Student's league of New York City and was a former student of Kimon Nicolaides (1891-1938). The artist was active in New York, Summit, NJ and Springfield, Vermont. She was known for her Urban Realist inspired paintings, watercolors and lithographs, and colorful landscapes of Vermont. She traveled and painted in Guatemala, Italy and Greece. Crawford was one of the founders of the Miller Art Center in Springfield, VT in 1956. She was also associated with the Southern Vermont Art Center in Manchester, VT, and the Summit Art Association, Summit, NJ. A 1940s lithograph...

A Charming, 1950s Painting of Lisbon, Portugal by Famed Chicago Modern Artist Francis Chapin (Am. 1899-1965). Depicting a bustling, colorful view of Lisbon's historic Black Horse Sq...

A Large, Colorful 1950s American Modern, Social Realism oil painting of New York City, "East Harlem", by Notable Artist, Max Ginsburg (Am. Born 1931). Artwork size: 28 x 30 inches ...

This minimalist abstract landscape painting of a lake is by Pat Service. In the Canadian art world, the name Pat Service has long resonated as one of the country’s finest landscape...

"Cowboy Serenade", A Large, Cheerful Southwestern, New Mexico Landscape Painting by Notable Chicago Artist, Walter Burt Adams (Am. 1903-1...

An Intriguing 1991 Surrealist painting of downtown Chicago by artist James Mesplé. Oil and tempera on panel. Signed and dated "James Mesplé 1991", lower right; titled on label on ...

William Anderson (1757-1837) Marine scene - shipping off the harbour walls Oil on panel Painting size 8 x 12 in Framed size 12 x 15 in Provenance The Parker Gallery, London. Willi...

A Vibrant Mid-Century Modern Cubist Landscape Painting by Listed California & Arizona Artist, John Law Walker (Am. 1899-1965). Titled "Cook Out", the ...

Harbor Scene, Rockport, Massachusetts Oil on canvas, 36 x 30 inches (91.4 x 76.2 cm) Signed lower left: H.A. Vincent. Signed and inscribed on verso: H. A. Vincent A. NA / Rockport, M...

Storm Sky, Palisades, 1908 Oil on canvas, 9 1/4 x 11 1/2 inches (23.5 x 29.2 cm) Framed dimensions: 17 1/8 x 19 1/8 inches Signed and dated lower left: -John Sloan – '08 Inscribed lo...

This contemporary abstract painting is by Sasha Rogers. White Light is a stunning example of Sasha Rogers masterful use of light, colour and texture. As an artist, she has been infl...

John Charles Maggs (1819-1896) A Halt at the Inn signed and dated J. C. Maggs / 1873 lower left Oil on canvas Painting size 11 1/2 x 23 1/2 in Framed size 17 x 29 in John Charles Ma...

Woodland Scene, 1885 Oil on canvas, 38 x 50 inches (96.5 x 127 cm) Framed dimensions: 49 3/8 x 61 3/8 inches Signed and dated lower left: W Bliss Baker 1885 Provenance Albert E Clue...

This contemporary abstract painting inspired by nature is by Pat Service. The allure of the open road has long been a favourite subject for this Canadian artist. And with that artis...

Charles Towne (1763-1840) A wooded landscape with a traveller on a path Signed "By CT" lower left Oil on canvas 23 1/8 x 19 1/2 in Provenance Private Collection, West Sussex Charle...

A charming 1950s Modern painting of a little red house, titled "Corner of the Brick House with Last Snow Bank, Calais, VT" by notable Chicago artist, Harold Haydon. Painted near the...

November, 2022 acrylic on canvas 78 47/64 x 106 19/64 inches 200 x 270 cm The painting by Alexandru Rădvan is about our moments of 'respiro' about the minutes/seconds when we noti...

John Ferneley Jnr (1815-1862) Lord Bentinck, on his grey hunter Signed with initials lower right Oil on panel Painting size 10 x 12 in Framed size 12 x 14 in Provenance The Collecti...

Francis Swaine (1725-1782) Shipping of Jersey Oil on canvas Painting size 8 1/4 x 20 1/2 in Framed size Provenance with The Parker Gallery. Francis Swaine (1725–1782) was one of t...

One of the best-known Brandywine Valley realist painters today, Peter Sculthorpe conveys the stillness of a winter evening in a rural landscape in The Breath of Winter, 2025. Having ...

Nashville at Sunrise Oil on canvas, mounted to archival resin board Signed by the artist lower left Provenance: Estate of the artist By decent A gorgeous Indiana Impressionist oil painting, done "plein air" (on location, outdoors) Born in Greencastle, Indiana, Griffith grew up in Dallas, Texas where Texas artist and teacher Charles Franklin Reaugh recognized young “Griff’s” artistic talent. At age 18, Griffith moved to St. Louis where he attended the St. Louis School of Fine Arts. In 1895, he moved to Chicago where he worked making color prints for the firm Barnes and Crosby. He attended the Art Institute of Chicago and during a brief stay in New York, the National Academy of Design. A successful commercial artist with a studio in the Chicago Loop, Griffith was a member and president of the Chicago Palette and Chisel Club. He made his first trip to Brown County...

A Compelling, Post War Modern Chicago Subway Scene by 20th Century Urban Realist Artist, Milan Kouba (American, b. 1947). Oil on canvas, dating from 1976. Signed lower right. Sign...

Fascinated by early American culture, Eric Sloane extensively wrote about and painted the built and natural features that characterize America. Among these, barns were a favored subj...

Point Lobos, California Oil on artist's board, c. 1925 Signed lower right: Wm J Edmundson (see photo) Condition: Very good condition Frame: Period McBeth Gallery style frame (see pho...

This golden light-filled contemporary painting is by Sasha Rogers. The Canadian artist is captivated by the effect of creating what appears to be a ‘horizon’ line in her work that di...

George Denholm Armour (1864-1949) Out Duck Shooting Oil on panel Painting size 10 x 14 in Framed size 15 x 19 in George Denholm Armour (1864–1949) was one of Scotland's most accompl...

Edmund Garvey (Kilkenny 1740-1813) A view of Bath Oil on canvas Canvas Size 20 x 28 in Framed Size 26 x 33 in Edmund Garvey (1740 – 28 May 1813) was an Irish landscape painter whose...