Modern Landscape Paintings

Lively Paris street. 1973. Oil on canvas. 54 x 73cm Hiro Yamagata was born near Kyoto, Japan, went to Paris to study art, and considers himself an American artist. In his Los Angeles studio, Yamagata paints minutely detailed scenes of Paris streets, cafes and parks. He captures the essence of the naif style by presenting life in simple terms, and the world in the happiest light. His creative synthesis of photorealist and neo-folk techniques has won countless admirers and collectors. Yamagata's vision is unequivocally cheerful and his imagery is endlessly inventive. He works from a palette of over 100 shades of acrylic paints, and renders in exacting detail with brushes with as small as two hairs. Serigraphs of some of Yamagata's most popular paintings...

Work on canvas

Vintage American modernist landscape oil painting. Oil on board. Framed. Signed. Measuring: 13 by 17 inches overall, and 9.5 by 13.5 painting alone. In excellent original condition...

Oil on wood sold with frame Total size with frame 54x72 cm Signed Morini Zolfanelli, Swiss artist unknown from the gallery Dated 1993

THE SHIFTING SKY Size: 62 X 93.5 cm (including frame) Oil on board A large and striking mid-century modernist abstract landscape composed in rich, geometric swathes of colour, execu...

George Gustav Adomeit (American, 1879-1964) Barn Scene Oil on canvas mounted to masonite Signed lower right 16 x 20 inches 21.5 x 25.5 inches, framed A major painter of American sce...

Grace Hill Turnbull Laughing Waters, 1925 Signed lower right, titled on verso Oil on canvas 26 x 37 inches Provenance The artist Catonsville Community College, Catonsville, Maryland...

AUTUMN STREETWALK Oil on board Size: 55 x 49 cm (including frame) A vibrant mid-century modernist street scene composition, executed in oil onto board. The artwork portrays a pathw...

Vintage American modernist dog portrait oil painting. Oil on board. Framed. Signed in monogram. In excellent original condition. Handsomely framed in a vintage molding. Excellent c...

Wonderful and dynamic western painting of two wild fighting stallions by listed artist Bernard Preston Thomas (American, 1918-1992), dated 1951. Signed and dated lower left corner and on verso. Image size: 28"H x 36"W. Presented in rustic painted frame size: 34"H x 41"W x 3"D. Originally from Sheridan, Wyoming, he loved football and art, giving up the sport to concentrate on a career in art. Thomas graduated from Woodbury College in Los Angeles with a Bachelor of Science degree, earning the Leo Youngsworth Award for outstanding senior art student at Woodbury. He became a camouflage technician at the outbreak of WWII and caught the attention of General Patton...

Harmonious Landscape by Bernard Labbe (French mid 20th century) original oil on artist paper size: 23 x 20 inches condition: very good and ready to be enjoyed Description: This impr...

Under The Sea Series Nº 24. Oil on paper. Fantasy underwater abstract landscape. Green color. Transparencies effect. Measurements: (H) 30 cm. / 1...

Modern Cubist inspired colorful desert landscape painting by the iconic Houston based artist David Adickes. The work features an abstract cluster of purple, coral, and yellow cacti s...

The Dancers by Maria Tort Xirau (Catalan, 1924-2018) signed lower corner dated 1999 oil painting on canvas, framed canvas: 36 x 55 inches framed: 41 ...

A charming, vibrant, early Mexican city street scene by famed Chicago Modern artist Francis Chapin (Am. 1899-1965). Depicting a bustling, picturesque view of the shaded, arched arcade of the Portal de Guadalupe in the historic city of San Miguel de Allende, the painting is oil on canvas and dates circa 1940. The towering pink spire of the majestic church, the Parroquia de San Miguel Arcángel...

Antique American modernist tropical landscape oil painting. Oil on canvas. Framed. Measuring: 24 by 28 inches overall, and 20 by 24 painting alone.. In excellent original condition....

Artwork sold with frame (48 x 35.5 cm ) Luce Brélaz-Jacquet was a Swiss painter born in 1915. Although biographical details about her life and career remain scarce, she is recogniz...

Vintage American modernist abstract landscape oil painting. Oil on canvas. Framed. Signed. Measuring: 14 by 21 inches overall, and 9 by 16 painting alone.. In excellent original co...

Abstract landscape painting of a gestural blue cloud over an olive green field "Hayfields" painted by David Konigsberg in 2015 oil on wood panel, 23 x 24 x 2 inches Ready to hang, s...

French Landscape by Bernard Labbe (French mid 20th century) original gouache on paper mounted in a card frame size: 25.5 x 21 inches condition: very good and ready to be enjoyed - wi...

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...

A beautiful American Impressionist oil painting of two Cypress trees upon a hilltop in Monterey, California by Virginia Shackles (American, 1921-2020...

GLORIA STUART (1910 – 2010) WATTS TOWERS, 1971 Oil on canvas, signed lower right, 24” x 50 ½”. Gloria Stuart, an Academy Award nominated actress was also a painter, illustrator and printmaker. She most recently portrayed Rose in the blockbuster film “Titanic”. She was a Santa Monica native. In 2013 The Los Angeles Museum of Art, LACMA exhibited a nearly identical painting looking from the south, the same size and frame. Last 5 photos show the example at LACMA. One shows theirs in a distant room with a major Thomas Hart Benton painting in the foreground A VERY IMPORTANT MULTI-LEVELED DOCUMENT OF LOS ANGELES AND HOLLYWOOD CULTURAL HSTORYi The following is from her obituary in the Los Angeles Times upon her death in September 2010 at the age of 100 Gloria Stuart, a 1930s Hollywood leading lady who earned an Academy Award nomination for her first significant role in nearly 60 years — as Old Rose, the centenarian survivor of the Titanic in James Cameron’s 1997 Oscar-winning film — has died. She was 100. .......She devoted much of her time to designing and printing artists’ books (handmade, letter-press printed books in limited editions, with her own artwork and writing). Her work is in the J. Paul Getty Museum in Los Angeles, the Metropolitan Museum of Art in New York City, the Victoria and Albert Museum in London and other museums. Stuart, a founding member of the Screen Actors Guild who later became an accomplished painter and fine printer, died Sunday night at her West Los Angeles home, said her daughter, writer Sylvia Thompson. Stuart had been diagnosed with lung cancer five years ago. “She also was a breast cancer survivor,” Thompson said, “but she just paid no attention to illness. She was a very strong woman and had other fish to fry.” In July the actress was honored at an “Academy Centennial Celebration With Gloria Stuart” at the Samuel Goldwyn Theater in Beverly Hills. “She was a charming and beautiful leading lady in the ‘30s, and I never understood why her career didn’t go further at that time,” film historian and critic Leonard Maltin, who interviewed Stuart on stage at the event, told The Times on Monday. As for Stuart’s high-profile comeback in “Titanic”: “She was thrilled by the attention that that performance brought her and really wanted to win that Oscar. I thought she hit just the right notes in that performance. She was wry and engaging.” As a glamorous blond actress under contract to Universal Studios and 20th Century Fox in the 1930s, Stuart appeared opposite Claude Rains in James Whale’s “The Invisible Man” and with Warner Baxter in John Ford’s “The Prisoner of Shark Island.” She also appeared with Eddie Cantor in “Roman Scandals,” with Dick Powell in Busby Berkeley’s “Gold Diggers of 1935” and with James Cagney in “Here Comes the Navy.” And she played romantic leads in two Shirley Temple movies, “Poor Little Rich Girl” and “Rebecca of Sunnybrook Farm.” But mostly she played what Stuart later dismissed as “stupid parts with nothing to do” — “girl reporter, girl detective, girl nurse” — and “it became increasingly evident to me I wasn’t going to get to be a big star like Katharine Hepburn and Loretta Young.” After making 42 feature films between 1932 and 1939, Stuart’s latest studio contract, with 20th Century Fox, was not renewed. She appeared in only four films in the 1940s and retired from the screen in 1946. By 1974, “the blond lovely of the talkies” had become an entry in one of Richard Lamparski’s “Whatever Happened to” books. Writer-director Cameron’s $200-million “Titanic” changed that. Stuart played Rose Calvert, the 100-year-old Titanic survivor who shows up after modern-day treasure hunters searching through the wreckage of the sunken ship find a charcoal drawing of her wearing a priceless blue diamond necklace. Stuart’s performance as Old Rose frames the 1997 romantic- drama that starred Leonardo DiCaprio as lower-class artist Jack Dawson...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

Abstracted landscape by an unknown artist (20th Century). The landscape is made up of patches of color, reminiscent of viewing agricultural land f...

Original Southern California Seascape in Oil Paint on Canvas Beautiful seascape that captures the ruggedness and beauty of the Southern California coast by Nadine Pollard (American,...

Mid Century Modern French oil on board landscape of Beauce in France. The painting is signed and dated bottom left and presented in a plain period wood frame with light gilding. A l...

Artist/ School: Huguette Ginet-Lasnier (French 1927-2020), signed lower front Ginet-Lasnier, the wife of the painter Jean Lasnier, was born in the Seine-Maritime region of France an...

Very nicely painted American modernist harbor oil painting. Framed. Oil on board. Signed. Image size, 16H by 20L.

View of the Basilica of San Giovanni in Laterano, Rome, realized between the late 19th and the early 20th Century, probably after an older painting. Oil on canvas, framed. Not sign...

De Hirsh Margules (1899-1965). North on West Street , 1939. Watercolor on Arches wove paper. Signed and dated in pencil by artist lower margin. Sheet measures 15 x 22 inches. Framed measurement: 27 x 34 inched. Incredibly vibrant and saturated color with no fading or toning of sheet. Provenance: Babcock Galleries, NYC 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...

Leonard Creo (American, 1923-2019) Untitled, c. 1960s Oil on canvas 29 x 48 in. Framed: 30 1/8 x 49 1/4 x 1 1/2 in. Signed lower right: Creo Creo was bor...

Neighbors, 1939, oil on canvas, signed and dated lower right, 22 x 26 inches Norman Barr was an American Scene painter and muralist known for his poignant depictions of working-clas...

Patrick Hughes b. 1939 British Writ on Water Oil on panel Signed, titled, and dated “Writ on Water / Patrick Hughes / 2025” (en verso) In Writ on Water, Patrick Hughes transforms...

Claude Sauthier was born in Geneva, Switzerland, in 1929 and passed away in the same city in 2016. He studied at the Geneva School of Decorative Arts and initially worked as a graphi...

Late 20th Century oil on canvas view of a rural landscape down to the sea by Franco British artist Isabell Pardoe. The painting is not signed but came directly from the artist's atel...

Oil on canvas. Framed. Image size, 18H x 24L.

The Bathers by Jacques Courtade (French 1923-1994) studio stamped verso oil on canvas, unframed canvas: 26 x 32 inches Provenance: private collection, Paris Condition: very good cond...

HILLSIDE RHYTHM Size: 48.5 x 64.5 cm (including frame) Oil on canvas A vibrant mid-century modernist landscape composition that captures an undulating terrain rendered in bold, scul...

San Francisco’s Broadway Tunnel caught the eye of Japanese-born, Californian painter Jean Kalisch ((1912-1995). In this atmospheric cityscape, the street glistens under rainy wintery...

A small, vibrant 1950s Mid-Century Modern mountain landscape painting depicting Aspen, Colorado by famed Chicago artist Harold Haydon. Titled "Western Vi...

A large, delightful oil on Masonite, 1950s, Martha's Vineyard street scene painting by famed Chicago Modern artist, Francis Chapin. Depicting a picturesque and stylized view of Main...

Signed lower right, 'Maude Church' (American, born 1949) and dated 1986. Additionally signed and dated, verso, and titled 'Baghdad by the Bay'. Formerly ...

A beautiful American Impressionist oil seascape of the rugged Big Sur coast, Carmel California by Virginia Shackles (American, 1921-2020). The composition is pleasing with an interes...

Vintage American modernist winter mountain landscape oil painting. Oil on board. Signed. Framed. Provenance from a Sag Harbor, NY collection. Measuring: 14 by 17 inches overall. Han...

Modernist landscape oil painting by Suzanne Schweig Langsdorf Martyl (1917/18 - 2013). Oil on board. Signed. Framed. Measuring 28 by 32 inches overall and 20 by 24 painting alone.

Winter in the Village by Ben George Powell, British contemporary artist signed oil on canvas, unframed canvas: 32 x 40 inches provenance: private collection of this artists work, UK ...

Abstract cityscape painting of Hudson, NY rooftops with accents of pink, magenta, green, yellow and teal "Rooftops Power Lines and Five & Diamond," by Hudson, NY based artist, Ricardo Mulero 12 x 6 inch oil on wood panel, Painted in 2021 Excellent condition, ready to hang as is Signed, lower left Ricardo Mulero is fascinated with capturing the brilliance of light and the contrast of natural beauty with utilitarian landscapes. Here, he abstracted the city skyline of Hudson, NY. Buildings and rooftops in shades of magenta, teal, and green are segmented in the foreground and cropped with black power lines. A soft yellow sky is layered with thin strokes of gesturally applied pale blue paint, furthering abstracting the city landscape. The piece is in excellent condition and ready to hang as is. The sides are painted a very dark, warm magenta so framing is not necessary. About the Artist: Growing up in Puerto Rico, I observed how people and nature could co-exist in harmony. Today, that principle guides my design and artistic work. My paintings are expressions that draw upon my life experiences, traditions, and surroundings. These unique environments inspire my oil paintings: Puerto Rico, where I grew up, New York City, Fire Island Pines...

Marcel MOULY Italy : Mediteranean Seascape, 1959 Original Oil on canvas Signed and dated bottom right Signed, dated and dated on the back On canvas 46 x 55 cm (c. 18 x 22 in) With b...

Joaquín Mir Y Trinxet Spanish, 1873-1940 Coastal View Oil on board 11 ¾ by 16 in, w/ frame 25 ¼ by 29 ¼ in Signed lower right Joaquín Mir Trinxet was a Catalan Spanish artist. Livi...

A Charming 1940s Watercolor of Mexico with Cathedral and Rooftops by Noted Chicago Artist, Rudolph T. Pen. Most likely completed during the artist's trip to Mexico in 1944 after rec...

French Village in Winter by Jacques Pergel, French (1924–2023) Date: 1965 Oil on Canvas, signed lower left Size: 24 x 36 in. (60.96 x 91.44 cm)

NATURE DWELLINGS Size: 42.5 x 68 cm (including frame) Oil on Canvas A brilliantly executed semi-abstract composition, painted in oil onto canvas and dated 1967. In this abstract nature landscape...

Antique American modernist abstract signed oil painting by Anne Sharp. Oil on canvas. Signed.

A large tonal, Mid-Century harbor scene with boats by French artist Georges Rocher. Artwork size: 24" x 30". Framed size: 31" x 36". Georges Rocher was born in Casablanca, Moroc...

COTTAGE AMONG GREEN HILLS Size: 34.5 x 43 cm (including frame) Oil on canvas An expressive and dynamic mid-century landscape painting scene of houses nestled in rolling green hills,...

A lovely small oil on canvas painting in the style of the legendary artist Fernando Botero ( Columbian, 1932) showing people in large figures, "Boterismo...

Albert Roca (1945) - Sailor playing the accordion oil on board painting Medidas óleo 62x46 cm. Medidas marco 73x57 cm. Painter of landscapes and figures, ...

WHISPERS OF WINTER Size: 39 x 75 cm (including frame) Oil on canvas A serene mid-century semi-abstract landscape painting, executed in oil onto canvas. A snow-covered countryside i...

Artist/ School: French School, mid 20th century, follower of Henri Matisse Title: The Pink House. Medium: oil on board, framed Framed: 22.5 x 25.5 inches Painting: 15 x 18 inches...