Early 1900s Landscape Paintings

Signed figures in landscape oil on board circa 1905 by Australian-American impressionist painter Richard Hayley Lever. The work depicts fishing vessels docked in the harbour in Douar...

Artist: John Parker Davis, American (1832 - 1910) Title: Cow Farm Landscape Year: 1905 Medium: Oil on Canvas, signed and dated l.l. Size: 12 x 18 in...

JULES-ALEXIS MUENIER (French, 1863–1942) Landscape Oil on canvas, 25 1/2 x 21 1/4 inches FRAMED: 34 1/2 x 30 (approx.) Signed and dated at lower right: “J. A. MUENIER/1908” Provena...

DANIEL HERNÁNDEZ Peruvian, 1856 - 1932 FAR AWAY THOUGHTS signed "Daniel Hernandez" (lower right) oil on canvas 27-1/2 x 19-1/4 inches (70 x 49 cm.) framed: 39-3/8 x 31-1/8 inches (100 x 79 cm.) Daniel Hernández Morillo...

A fine impressionist landscape along the Seine River in France by American artist Chauncey Foster Ryder (1868-1949). Ryder grew up in New Haven, Connec...

Oil Painting by William Howard "A Busy Quayside" 1879 - 1945 Painter of atmospheric British and continental townscapes, represented in the national maritime museum Greenwich and in R...

Frederick Vezin (1859 Torresdale Philadelphia - 1933 Düsseldorf), Autumn Landscape in the Sunlight, oil on canvas, mounted on cardboard, 32 x 41 cm (inside measurement), 44 x 51 cm (frame), signed and dates lower right "F. Vezin. [19]05". - Cardboard slightly curved, small inconspicuous retouch at the centre of the upper edge of the picture. About the artwork Although the painting appears to be a sketch, Frederick Vezin considered it to be a finished work of art, as evidenced by his signature on the lower right. And it is precisely this sketchy quality that leads to an understanding of the painting, which was certainly created in the landscape itself: the natural phenomena were to be depicted artistically at the moment of their observation. This is not done by meticulously sketching nature, but - and here Vezin follows the teaching of French Impressionism - by illustrating nature in its visual fullness. The artist's eye is, as it were, immersed in the visuality of nature, which is made visible by his hand. The painting is therefore not a reflection of the landscape, but its artistic intensification. This intensification also includes the fact that the foreground of the painting - corresponding to the field of vision - eludes a detail-oriented close-up view. Instead, the spatula-like application of paint, the vertical structure of which corresponds to the structure of the floral growth, has the effect of making nature tangible in its colourful substance. At the same time, the foreground, which remains indeterminate in its concrete objectivity, creates an atmospheric space that connects with the actual protagonist of the picture, the group of trees, which flares up in shades of red and brown. Here, too, the leaves are more speckled than clearly outlined. It is precisely this 'sketchiness' that opens up a visual experience that makes the landscape accessible in its visual fullness, thus revealing its essence. In addition to this abundance, the landscape is presented as a structure of order in that the composition of the picture makes the composition of the landscape visible. For example, the group of trees forms a distinct dark green shadow, which is repeated in the shadows cast by the trees behind it. A patterned diagonal axis is created in the picture, which is composed in this way by the landscape itself. Strictly speaking, this is a cultivated landscape: a fence at the bottom and a low stone wall at the top, running from left to right, are two elements that also have a strong compositional effect. And on the top of the hill, a stone house is embedded in the landscape as the brightest surface in the picture. Nature and culture here form a harmonious synthesis, giving the painting an Arcadian touch. In order to give the landscape as much space as possible, the horizon line is raised, but the design of the sky is also crucial. The clouds, combined with the shapes of the trees, create a bright blue sky. To the European eye, such a sky is reminiscent of a summer landscape. Accordingly, within the seasonal cycle, the blue sky is reserved for summer, and French Impressionism is also primarily an ode to summer. In Vezin's painting, however, the brilliant blue sky stands above an autumnal landscape, some of the trees even defoliated. It can therefore be assumed that the painting was made not in Europe but in the United States, and that it illustrates the proverbial Indian summer, making Frederick Vezin a pioneer of American landscape painting. About the artist Frederick Vezin was the son of a French immigrant to the United States and a German-born mother. This predestined him to promote artistic exchange between the old and new worlds. Having spent part of his schooling in Germany, in 1876, at the age of 20, he enrolled at the Düsseldorf Academy of Art, where he studied with Peter Janssen the Elder, Eduard von Gebhardt and Wilhelm Sohn, among others. He graduated in 1883, settled in Munich and returned to Düsseldorf in 1895, where he lived until his death in 1933. A native of the United States, he travelled to the country frequently and became a popular portrait and society painter. His artistic talent, however, was most evident in his landscape paintings. Trained in French Impressionism, he developed a virtuoso use of colour and a free brushwork that remained tied to the landscape motif, opening up the landscape itself in a new way. Frederick Vezin turned his attention primarily to the landscape of his homeland, becoming a pioneer of modern American landscape...

Signed and dated oil on canvas riverscape by French impressionist painter Charles-Victor Guilloux. This beautifully painter piece shows a view from the Pont Neuf looking towards the ...

Signature bottom left - Edvard Alexander (Alexis) Ankarcrona (1825 - 1901), was a Swedish painter and military (this is one of the last works of the artist!). This artwork perfectly ...

Signed and dated oil on canvas riverscape by French impressionist painter Charles-Victor Guilloux. The work depicts a view of the houses of the commune Heblay-sur-Seine lining the ba...

Akseli Gallen-Kallela (Björneborg 1865–1931 Stockholm) View of a hill slope across a stretch of water; A View from Keitele or Ruovesi Signed and dated “AXEL GALLEN 1904” Oil on can...

Frank Myers Boggs Nogent-le-Roi Signed and titled lower left Graphite and watercolor on paper 13 1/2 x 10 1/4 inches The Impressionist Frank Myers Boggs spent his formative and mat...

Clarence Keiser Hinkle American, 1880-1960 Pont Neuf Bridge, France 1906 Oil on board 10 ¾ by 13 ¾ in, w/ frame 18 by 21 in Signed lower right An academy trained California painter...

Artist: John Parker Davis, American (1832 - 1910) Title: Cow Farm Landscape Year: 1905 Medium: Oil on Canvas, signed and dated l.l. Size: 12 x 18 in...

Signed and dated oil on original canvas by French post impressionist painter Paul Madeline. This beautiful work depicts a mill on the bank of a river - water cascading over the rocks...

Antique landscape oil painting with a blazing sunset. Oil on canvas-board, circa 1900. Displayed in a period giltwood frame. Image, 17.5"L x 11.5"H.

The painting depicts a tranquil forest landscape rendered in a realist style. In the foreground lies a still pond stretching across the base of the composition, its dark, glassy wate...

Antique impressionist painting of Castillo De Los Tres Reyes Del Morro in Cuba. Oil on canvas, circa 1908. Signed. Displayed in a period giltwood frame. Image, 18"L x 12"H, overa...

This charming early 20th-century English School oil painting depicts the Cannon Brewery at North End, Fulham, owned by John Lovibond Sons Ltd. Founded in 1867, the brewery was...

A beautiful signed and dated 1906 oil on panel depicting a sunset river landscape by the important Modern British artist Bernard Sickert. The work is in superb original condition and...

William Samuel Horton (1865 - 1936) La Seine Fumee bleu, Paris, France, circa 1909 Oil on canvasboard 17 x 21 inches Signed lower left A landscape painter, William Horton lived and ...

A fine tonalist landscape by American artist J. Francis Murphy (1853-1921). Murphy was born in Oswego, New York, he moved to Chicago in 1868, where his father was employed in the shipping industry. In Chicago, Murphy began working as a scene painter in a local theatre and was quickly promoted to lead his co-workers. Largely self-taught, his only training consisted of a few classes at the Chicago Academy of Design. There he became friends with Emil Carlsen and Theodore Robinson, and in 1873, Academy members elected him an Associate; a few weeks later, he became an Academician. His work was first exhibited at the National Academy of Design in 1876, where he was inducted eleven years later.He won numerous prizes, medals and honors for his landscape paintings, which are said to rank with those of George Inness, Alexander Wyant, and Homer Martin. Although his world was a limited one, his landscapes captured the forms of nature and the subtle nuances of the scene. Murphy was referred to as the "American Corot" because of his similarity to the painting style of Camille Corot (1796-1875), one of the original Barbizon...

May Lydia Ames (American, 1863-1943) European Landscape, 1908 Oil on canvas Signed and dated lower right 24.25 x 36.25 inches 27.75 x 39.75 inches, framed May Ames was born in Cleve...

Conditions : Frame in excellent Conditions, XIXth period with golden leaf. The painting show a signature on the lower right part " Pierre Sezille des Essarts" Minor retouching on th...

A fine impressionist oil painting of a woman sitting near a fence by American artist John Rutherford Boyd (1884-1951). Boyd was born in Philadelphia, PA, and attended the Pennsylvania Academy of Fine Arts, where he studied under American painter Thomas Anshutz...

Signed and dated oil on canvas landscape by French post impressionist painter Paul Madeline. This beautiful work depicts the Tournant bridge over the River Arques at the seaport in D...

BERKES, ANTAL (1874-1938) Well listed Hungarian artist. Active: Paris, Budapest, Munich, Vienna. Berkes studied at The Academy of Fine Arts between 1889 and 1894 in Budapest, Hungar...

Oil Painting by Maurice Levis "Le Moulin de Jarcy" S.F.A 1860 - 1940 French painter of landscapes and town views, pupil of Harpignies and member of the French Artists where he was a...

RIVES Antony (19th Century) Landscapes with characters in pair Two Oils on wood panels signed lowright and left Annotation on the back : " Banks of the Aude River near Carcassonne in August 1904" Stamp from Senelier, famous hardware dealer settled in Paris Framed by Gault (Paris) DIm wood panel (each) : 24 X 33 cm Dim frame : 38 X 47 cm RIVES Antony (19th Century) French 19th Century born in Carcassonne Painter of Landscape Antony Rives was a pupil of Jean Jalabert and Adolphe Yvon...

Oil painting Pair by Alfred Kedington Morgan “Village High Street”. Alfred Kedington Morgan A.R.E 1868-1928. Landscape, portrait painter and etcher. Art master at Rugby School...

Wonderful early 20th-century oil on canvas depicting a view of the Scottish highlands and the River Usk. Sidney Yates Johnson was an active painter during the late Victorian period ...

Robertson K. Mygatt (American, 1862-1919) Uplands Oil on panel, 5 1/4 x 6 5/8 inches FRAMED: 9 x 10 1/2 inches (approx.) Exhibition label on verso: "Salamagundi Club/Thumb-box Exhibi...

A charming painting of a boy and girl walking down a country lane. Wonderful rendering of the trees and sky. The painting has two repairs (I have included a photo of the patches on t...

Jim’s of Lambertville Fine Art Gallery is proud to present this piece by Daniel Garber (1880 - 1958). One of the two most important and, so far, the most valuable of the New Hope Sc...

Wilhelm von Gegerfelt Swedish, 1844-1920 Moonlight Over the Promenade Oil on canvas 27 by 45 in. W/frame 39 by 57 in. Signed lower right Wilh...

Here I’m selling a very interesting work by an Important female American impressionist painter Lee Lufkin Kaula (1865-1957). Painting has Four Different EXHIBITION Labels: 1. Boston Art Club Exhibition 2. Pennsylvania Academy Fine Arts 1907 Exhibition 3. Poland Spring Gallery Exhibition 1908 4. The Arts Student League Of New York I Purchased this painting a few weeks ago as an unsigned impressionist...

Oil Painting by Josiah Clinton Jones "In the Conway Valley"

A wonderful oil on canvas circa 1908 by French post impressionist painter Henri Liénard de Saint-Délis depicting a boat docked at the harbour in the harb...

The image shows a captivating early 20th-century Scottish river landscape painting by Joseph Henderson, a renowned Scottish artist celebrated for his evocative depictions of nature, ...

Corwin Knapp Linson Frawg Hollow, West Virginia Signed and titled lower left Oil on canvas 24 x 28 inches Provenance The artist Artist's family by descent Corwin Knapp Linson was ...

Oil Painting by J Laslelles "A Scene in Epping Forest" flourished 1895 -1920 London painter of atmospheric landscapes in his soft impressionistic style. Oil on canvas. Signed title o...

Henry Mosler Woman Resting Beneath a Tree, circa 1900 Signed upper right: Henry Mosler Oil on canvas 12 1/2 x 10 inches Mosler was born in Tropplowitz, Silesia, Prussia (present-da...

Walpi Hopi Village, Arizona First Mesa Landscape by Marion Kavanaugh Wachtel. Significant southwestern painting of Hopi at Walpi Mesa in Arizona...

Le Jardin de Lagny Provenance: Arthur Tooth, London Radon Gallery, NY This beautiful evocation of a lyrical French landscape is a fine example of of Po...

Let's gain a higher perspective! Circa 1900 Oil on canvas 82 x 59 cm No signed

Turn of 20th Century Spanish-American War Coast Guard Cutter with Cannons Original Oil Painting A fine example of maritime ship portraiture oil painting of a Coast Guard Cutter with cannons under sails during the Spanish American War by renowned Nautical British/American painter Captain William Lindsay Challoner (British/American 1852-1901), 1901. Auction values Luminous and striking painting with seaman unfurling sails heading into rough waters. Challoner served as captain of a naval vessel (Coast Guard Cutter) during the Spanish-American War. Here he is depicted on the deck of the ship while seamen scramble aloft on the rigging during a gale. The captain stands tall before the cannons at the ready to fend off intruders. His paintings are rare and highly prized by museums and Nautical collectors alike. Signed: Lower right corner "W. Challoner" Not framed Dated: "1910" Provenance: A local Monterey Bay area estate find. Condition: Professionally restored (conservation report available) Image size: 27.75"H x 47.38"W William Lindsay Challoner lived the peripatetic life of a mariner, spending much of his time at sea, and in ports such as New Orleans and San Francisco, California. He was born in Bedminster, England, and attended the York Naval Academy. In 1880, Challoner married Mary Cadogan. That same year, the couple immigrated to Argentina and then New Orleans. They had one son, William Lindsay Challoner, Jr. Lloyd’s Lists record Challoner as master aboard J.P. Macheca, a “Clipper Schooner” running bananas from Jamaica during the mid-1880s. The clipper also raced at the Southern Yacht Club in New Orleans. As is often the case, Challoner’s middle name is misspelled as “Lindsey” in J.P. Macheca & Co. records. He is also said to have served as captain for vessels in the Morgan Line. Painting was at first an avocation for Challoner, but his draftsmanship and handling of paint suggest academic training. He may also have learned to make precise topographical drawings at the York Naval Academy. Many of his ship portraits are in the English tradition, notably followers of Samuel Walker, a leading English maritime artist in the 1850s. Like his Liverpool counterparts, Challoner used receding linear and atmospheric perspective to focus on the crisp portraits of specific ships. At their best, his canvases are highly finished, a style that imitates the Venetian tradition of topographical city views associated with Giovanni Antonio Canal, also known as Canaletto. However, Challoner’s restrained bravura paint handling also may bear witness to the influence of the French Impressionists. Challoner seems to have arrived in New Orleans about 1880. He advertised in the press and exhibited at the Creole Art Gallery and Grunewald’s Music Store in New Orleans. In 1887, Challoner moved to San Francisco, where he exhibited his maritime scenes at the Mechanic’s Institute and became a U.S. citizen. He may have been back in New Orleans after 1891, and served as captain of a naval vessel during the Spanish-American War. His art clients tended to be men involved in the shipping industry—ship owners and commission merchants, along with professional clubs and maritime benevolent societies. Challoner’s principal competition in New Orleans was August Norieri, a talented ship portraitist and painter of marines. While Norieri lived hand-to-mouth, Challoner drew a handsome salary working as a ship captain, presumably until shortly before his death at the age of 49. Securing the commission for painting the newly founded New Orleans Yacht Club suggests that Challoner was held in higher regard as an artist than Norieri. The two artists together met the market demand for ship portraiture and marine views in the port city, as had Edward Arnold and James Guy...

View of Venice. Inscribed indistinctly with signature lower left and painted circa 1900. Additional inscriptions, verso, in graphite. Framed dimensions: 10H x 1.25D x 16.5W inches. ...

signed "A. Lepère" at lower left

This is a lovely oil on canvas painting of a warm evening on a Surrey common. This original painting is circa the 20th Century and is by the English Artist D...

Eugène Galiany aka Eugène GALIEN-LALOUE (1854-1941) A delightful pastoral Normandy landscape by the master of this genre Galien-Laloue. Signed E Galiany and presented in a walnut ...

"Inundation" after Carl Fredrik Kiörrboe - Dogs During a Flood Oil on linen painting of a family of dogs in a flood by an unknown artist, unsigned, after an engraving of the painting...

Urban view with sunset Technique: oil, acrylic, ink on wood frame 40x40cm / 15,7x15,7inch ⏩》R E A D Y -- T O -- H A N G《⏪ 🟢 → Original signed work. Certificate of authenticity i...

The painting we are offering for sale, executed by Swedish artist Erik Tryggelin on May 3, 1907, presents a striking and atmospheric view of Sankt Matteus Church in Stockholm. It sta...

Work on wood Golden wooden frame 41.5 x 50 x 4.5 cm

GUSTAVO BACARISAS Gibraltian, 1873 - 1971 SAINT PETER´S SQUARE, ROME signed "G. BACARISAS. ROMA : 08" (lower left) oil on canvas 19-1/4 x 27-1/4 inch...

Gustaf Fjaestad (Fjæstad) (1868-1948) Sweden Study of Tufts signed "G. A. Fjaestad," both recto and verso. oil on artist's sketching board (Wilhelm Becker, Stockholm) unframed 32.7...

A cabinet-sized oil on panel showing a lively view of Venice with figures in gondolas on the Bacino San Marco and with the Basilica of Santa Maria della Salute rising in the backgrou...

Bretonne sous un Arbre by LUDOVIC-RODO PISSARRO (1878 - 1952) Oil on board 33 x 41 cm (13 x 16 ⅛ inches) Signed and dated lower right, Ludovic Rodo 1903 Provenance Private Collecti...

Signature: Bottom right Provenance Galerie Marie Bruyer, France Private collection, NY Literature Antoine Laurentin, Ferdinand du Puigaudeau, Catalogue raisonné de l’œuvre peint, V...

A Bit of New England Oil on canvas,, 1908 Signed lower left corner: L. O. Griffith Condition: Excellent Canvas size: 26 x 38 inches Frame size: 33 3/8 x 45 1/4 inches Note: origi...