1930s Landscape Paintings

Louis Bosa (Italian-American, 1905–1981) Island of the Monks, c. 1930 Oil on masonite Signed lower right 14 x 24 inches 23 x 33 inches, framed Born in Codroipo, a small village only...

Work on paper

Signed E. Martin Dimension with frame : 76 x 66 x 7 cm This lively oil painting on canvas by Eugène Martin, titled Jour de l’An and dated 1937, captures a festive winter scene in Geneva, likely set in the Jardin Anglais during New Year celebrations. The composition is animated by a dense crowd gathered along temporary fair structures, rendered with brisk, expressive brushstrokes that convey movement and communal energy rather than individual detail. The figures, reduced to rhythmic silhouettes, animate the foreground and lead the eye through the scene. In the background, the Ferris wheel rises as a focal point, symbolizing modern leisure and public festivity, while Swiss flags flutter above, clearly anchoring the scene in its national and geographic context. Martin’s handling of paint is confident and economical. The palette combines muted winter tones—grays, browns, and cool greens—with strategic accents of red and white that punctuate the crowd and flags, reinforcing the celebratory atmosphere. The architectural backdrop and distant landscape are simplified, allowing the human activity to dominate the visual narrative. Stylistically, the painting aligns with interwar European figurative modernism, blending urban genre painting with a painterly, impressionistic sensibility. Executed in 1937, the work offers a compelling snapshot of civic life in pre-war Switzerland, combining documentary value with artistic spontaneity. Signed and dated in the lower right, this painting is a strong example of Eugène Martin’s engagement with public life and urban festivity, and presents an appealing combination of historical context, recognizable location, and dynamic composition. Eugène Martin painting, Eugene Martin Swiss artist, Jour de l’An 1937, Geneva painting...

Jim’s of Lambertville is proud to offer this artwork: Signed lower right. Complemented by a hand carved and gilt frame. *Original Meltzer frame Arthur Meltzer (1893 - 1989) Arthur Meltzer was born in Minneapolis, but spent most of his life in Bucks and Montgomery counties where he was widely acclaimed as a landscape painter. He first received art training at the Minneapolis School of Fine Arts under Robert...

Jim's of Lambertville Fine Art Gallery is proud to present this piece by Richard Wedderspoon (1889 - 1976). Richard Wedderspoon was an important member of the New Hope Art Colony as both an Impressionist and Modernist painter. Wedderspoon was not only a respected painter, but also a teacher who spent summers at his Bucks County home and the school year at Syracuse University where he was Professor of painting. He was born in Red Bank, New Jersey and first studied art at the Carnegie Institute in Pittsburgh. He continued his studies at the Corcoran School of Art in Washington, and at age twenty four, he enrolled at the Pennsylvania Academy of the Fine Arts studying with Henry McCarter and Daniel Garber. While there his roommates were Charles Garner and Lloyd Ney. Wedderspoon began friendships with fellow artists, Charles Hargens, Clarence Johnson and Stanley Reckless...

Jim’s of Lambertville is proud to offer this artwork by: John R. Grabach (1886 - 1981) John Grabach was a highly regarded New Jersey artist, teacher, and author of the classic text...

5149 Antique French Impressionist oil painting landscape Signed lower left Image size 22x18"

Juan Gil y Gil (1900-1984) - Landscape with hermitage - Oil on panel Oil measurements 27x35 cm. Frameless Painter. He began his artistic training in Paris, which he later continued ...

1930s French Impressionist Barbizon School oil on panel view of a church in a bucolic landscape by Georges Guerin (1910-1984). The painting is signed bottom right and also signed top...

French Landscape with Silver Birch Trees in Dappled Light French Post-Impressionist, circa 1930's Oil on board, unframed Board: 19.5 x 24 inches Provenance: Private collection Condit...

Bellissima marina con bagnanti ,alba, barca a vela all'orizzonte 1930 ca Firmato in basso a destra Etichetta Galleria Pirra

Serene landscape of the Putah Creek Bridge (now submerged, also known as Monticello Bridge) by Frank Willson Judd (American, 1864-1940). The Putah Creeks flows beneath an old Closed-spandrel red stone arch bridge 1896-1957 submerged intact beneath Lake Berryessa in 1957. When built this bridge was reputed to be the longest stone arch bridge in California and quite possibly the largest West of the Rockies. Signed and dated "Frank Willson Judd 1937" in the lower left corner. Presented in an antique, distressed frame...

Early 20th Century Oil Painting Grand Canal Palazzos and Gondolas , Venice Italy (2-Sided) Peaceful and substantial romantic scene of a gondola alo...

"Landscape at Dawn" Piet Lippens (Belgian, 1890-1981) Circa 1930s Oil on canvas, signed lower right 19 x 15 (24 x 20 frame) inches Piet Lippens was a Post Impressionist painter fr...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899 - 1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon ...

Wonderful and rare early American modernist trompe l'oeil oil painting. Framed. Oil on canvas. Signed. Image size, 12H by 16L.

Artist: Reginald Marsh, American (1898 - 1954) Title: Locomotive Year: 1932 Medium: Watercolor on Paper, signed and dated l.r. Size: 14 in. x 20 in. (35.56 cm x 50.8 cm) Frame Size: ...

1930's Palm Springs Desert in Spring Landscape Original Oil Painting Gorgeous oil painting of Palm Springs desert landscape by Helen Wannop ...

Road Repairing, Lower Manhattan at Night, 1934, oil on Masonite, signed and dated lower right, 24 x 16 inches; original label verso has title and address Margit Varga was an artist,...

Work on canvas mounted on cardboard Brown wooden frame 41.5 x 54.5 x 4 cm

Red Barn Near Foothills - Landscape in Oil on Canvas A beautiful pastoral scene of a red barn near the foothills by Nellie M. Hodgson (American, 20th Century). A barn is nestled in ...

Oil on canvas sold with frame Total size with frame 58x67 cm Signed N. Busnelli, artist unknown from the gallery Dated 1935

P. L. Hohnstedt (Peter Lanz) (1872 - 1957) San Antonio, Comfort Artist Image Size: 12 x 16 Medium: Oil Circa 1930s "Texas Summer" Hill Country Biography P. L. Hohnstedt (Peter Lanz) ...

Stark and emotional depiction of a family after a natural disaster by Charles Kinghan (American, 1895-1984). This grayscale painting was created as an ...

Oil on wooden panel realized in 1930s. Good condition.

Whitehall Building, July 1939 - Harbor Seascape with Tugboat in Watercolor Detailed harbor landscape by Ernest Clegg (British, 1876-1954). The Whitehall Building towers over the sce...

Mountain View from Hålland, 1931 by Ante Karlsson-Stig We are delighted to present a painting titled "Mountain View from Hålland" by the Swedish artist Ante Karlsson-Stig. This artw...

E.L. Boone Elmer Boone (1883 - 1952) El Paso Artist Image Size: 20 x 30 Frame Size: 26 x 36 Medium: Oil on Board Circa 1930s Signed Lower Left "Franklin Mountains, Desert Sunset" Bi...

Maurice Asselin (1882-1947) The House of the painter, Neuilly signed lower left oil on canvas 55 x 46 cm Framed : 63 x 54 cm The subject of this painting is fairly easy to identi...

Cordray Simmons Ringling Brothers Barns, circa 1930 Signed lower right Oil on Masonite 24 x 30 inches Cordray Simmons was born July 10, 1888 in Jersey City, New Jersey. Christened ...

Charles Evans (1907-1992) Mediterranean Costal Town, 1932. Gouache and watercolor on paper. Sheet measures 8.5 x 10 inches; mounted in frame measuring 8.5 x 10 inches. Signed and dated lower left. Charles Evans was a modernist known for his abstract style of painting. He studied at New York's Art Students League and Parsons School of Design, and later in Paris with Fernand Lger at the Acadmie Moderne. In 1930, Evans and his wife spent a year living in what was Paul Cezanne's studio in Aix-en-Provence, France. The following year, Evans purchased the old silk mill in New Hope and became involved in the area's modernist movement, joining the Independents in 1932. By 1935, he began to work collaboratively with Louis Stone, whom he had met in 1929 while studying with Hans Hofman in Saint Tropez, and with Charles F. Ramsey, teaching art classes and working on the Cooperative Painting Project. Every week, the three were joined by the abstract painter, Lee Gatch, in discussions at Ledger's Inn in Lambertville. In 1948 Evans co-founded the New Hope Gazette with Walter M. Teller. The same year he created set designs for St. John Terrell's Lambertville Music Circus. He also designed sets for the Bucks County Playhouse and Philadelphia's Playhouse in the Park. He later served as Set Designer for the Fred Miller...

1930s French Impressionist Barbizon School oil on panel view a port by Georges Guerin (1910-1984). The painting is not signed but was acquired with a collection of other signed paint...

Original Period Frame Hayley Lever (1876 - 1958) Hayley Lever's exceptional career path took him from the shores of his native Australia to those of England, and then the United S...

"Great Neck Landscape" American Scene Social Realism Mid 20th Century Modern WPA PHILIP HOWARD EVERGOOD (1901 - 1973) Great Neck Landscape 12 x 16 inches Oil on board, circa 1935. S...

The Banks of the Lake by Marc Guillard (French b.1896) signed oil on board, framed Framed: 22 x 28 inches Board: 21 x 27 inches Inscribed Verso Provenance: Private collection, Loire ...

Work on canvas

Beautiful California landscape painting of a path to the beach by listed Berkeley, California artist Rowena R. Smith (American, 1881-195...

Simka Simkhovitch (Russian/American 1893 - 1949) This came with a small grouping from the artist's family, some were hand signed some were not. These were studies for larger paintin...

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...

Suzanne Roche, French signed and dated 1930 signed oil painting on canvas, unframed canvas : 21 x 28 inches provenance: private collection, France condition: overall very good

Under the Viaduct American Scene Social Realism WPA Era Mid-20th Century Modern Syd J. Browne (1907-1991) Under the Viaduct 22 x 30 inches Oil on canvas. c. 1930s Signed lower left ...

A charming & diminutive landscape, oil on paper painting, dated 1939 & titled "Alabama" by artist Harold Haydon. The painting is framed in a rustic, wood frame. Image size: 4 1/2"...

Gabriel Eduard HABERJAHN was an artist born in Switzerland in 1890 and died in 1956. His works have been sold at public auction 85 times, mostly in the Painting category. The oldest ...

Antique American modernist landscape abstraction. Oil on board, circa 1940. Signed. Image size 30L x 25H. Housed in a period modern frame.

The Woodshed or Woodshed, Woodstock, 1932, oil on canvas, signed lower left, 19 x 25 inches, exhibited Downtown Gallery, New York, NY, likely as part of the solo exhibition Dorothy ...

A very beautiful 1930's oil on canvas by French artist Jean Busquets depicting the garden of the Parc de Saint-Cloud on the outskirts of Paris. Excelle...

An antique American Woodstock school landscape painting in an original hand carved period wood frame. Unsigned but clearly done by a very masterful hand.

This painting of a classic nude at a pool, "Hilda at the Pool," is both a portrait and a landscape. Leon Kroll rejected Modernism to triumph in the beauty of Classicism. During his l...

René Martin, painting, landscape art, modern art, oil on canvas, signed and dated 1930s artwork, autumn, nature, decorative art, poetic landscape, warm tones, figurative painting, vi...

Vintage Swiss impressionist painting. Oil on board, circa 1940. Framed. Signed. Image size, 10L x 16H.

In artist's hand painted frame. signed and dated. Genre: Modern Subject: Landscape Medium: Oil Surface: Canvas Country: United States Dimensions w/Frame: 23" x 30.25" The imagery of Maurice Kish (1895-1987), whether factories or carousels, reliably subverts expectations. His vision hovers just around the unraveling edge of things, where what is solid and clear becomes ambiguous. He is fascinated, often delighted, by the falling apart. This unexpected, fresh perspective results in oddly affecting pictures of a now long-gone New York. Born Moishe in a town called Dvinsk, Russia (what is now Daugavpils, Latvia), Kish came with his family to New York when he was in his teens. The family settled in Brownsville, and for the rest of Kish’s life Brooklyn remained his home, though he moved from one neighborhood to another. He was close to his parents, who recognized his talent and supported his desire to become an artist. Kish attended the National Academy of Design as well as Cooper Union. His fellow students included many other immigrants and children of immigrants who were particularly receptive to the Modernism coming from Europe. As his career progressed, Kish himself applied different strains of Modernism to different purposes. For him, the story was held above all else. For years, Kish used the skills he acquired in art school to earn his living at a Manhattan glass...

Oil on canvas without frame One point of restoration Swiss artist of the 20th century

Brilliant 1930's landscape of the sunrise over the horizon illuminating a verdant scene around a body of water by listed artist Eloisa Schwab (American,1894-1990). Signed "Eloisa Schwab" lower left. Unframed. Image, 20"H x 24"W. Born in Havana, Cuba, Schwab studied at the Academy Julian in Paris and the Art Students League in New York with George Bridgman and Kenneth Hayes Miller and exhibited extensively from the mid 1920s to 1960s at venues including the Society of Independent Artists, the Salons of America, and the Pennsylvania Art...

Mid-20th century Impressionist scene, French landscape with cottage The painter was active around the middle of the 20th century, painting landscapes, portraits, and city scenes. ...

Oil on canvas signed This oil on canvas by Georges Darel, titled The Hunters and Billy) depicts a quiet rural roadside scene animated by understated human presence. The composition ...

Albert Rafols Cullerés (1892-1986) - Landscape of Mollet - Oil on cardboard Oil measures 25x32 cm. Frameless. Catalan painter formed the Llotja...

Vibrant California modernist industrial landscape by Erle Loran (American, 1905-1999). Signed and dated lower left "Erle Loran '37." Presented in a gilt wood frame, with faux suede liner, giltwood fillet and off white archival mat. Image, 15”H x 19”L. Erle Loran was born in Minneapolis, Minnesota. He studied at the Minneapolis School of Art under the direction of Cameron Booth...

Work on canvas Golden wooden frame 51 x 58.5 x 4.5 cm

Karl Fortess Beach Landscape Signed lower left Oil on canvas 8 x 10 inches Karl Fortess was born in Belgium, moving United States and studying at the Art Institute of Chicago, the ...

A dynamic 1930s, WPA era industrial scene watercolor of a steel mill and factory workers by notable Chicago Modern artist, Harold Haydon. A wonderful example of early Twentieth Cent...