Missouri - Landscape Paintings

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My wo...

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My wo...

Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington University, St. Louis, Missouri, and his Master of Fine Arts in 1983 from the ...

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My wo...

Miles Bair was born in New Castle, Pennsylvania. He studied art at Edinboro University and West Virginia University, and is the director of the School of Art at Illinois Wesleyan Uni...

Jill Opelka Lily Pads Oil on Canvas Year: 2023 Size: 11 x 14 inches Framed: 12 x 15 x 1.5 inches Signed COA provided Tags: Lily, Pads, Flowers, Waterscape, Green, Saturated *Framed in a black wooden frame - ready to hang ----------------- Upon entering Jill Opelka's home, her creative essence is unmistakable. Adorned with New Yorker Magazine covers, her dining room exudes a vibrant charm, complemented by quirky giant tortoises in the living room. The space is a reflection of Opelka's lively personality, evident in her central studio nestled within the bright breakfast nook. Embraced by natural light and captivating outdoor vistas, it's where her artistry thrives, even evident in intricate details like a practical denim quilt on her sofa, crafted from old jeans – a testament to her work and creativity. Descending to her lower-level gallery, her larger original pieces, each with personal anecdotes, take center stage. From a nostalgic converse painting symbolizing childhood choices to a rescued roadside goat immortalized on canvas, her stories are as captivating as her art. Jill Opelka's creations, drawing inspiration from her life's moments, offer a personal touch that adds warmth to any home. From customized shoe and teacup paintings perfect for gifts to commissioned portraits...

"Incoming Dusk on the River", Contemporary, Landscape, Painting, Framed Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed ...

Contemporary, Photorealistic, Framed, Oil Painting on Linen, Flowers, Nature Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington ...

Contemporary, Photorealistic, Framed, Oil Painting on Linen, Flowers, Yellow Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washington ...

Miles Bair was born in New Castle, Pennsylvania. He studied art at Edinboro University and West Virginia University, and is the director of the School of Art at Illinois Wesleyan Uni...

Contemporary Photorealistic Framed Oil Painting on Canvas, Flowers, Nature, Rose Jeffrey Vaughn, from Alton, Illinois, received his Bachelor of Fine Arts degree in 1978 from Washing...

Bai Ming, is a famous contemporary ceramic artist and painter born in September 1965 in Yugan, Jiangxi Province of China. •Director of the Department of Ceramic Art in the Academy of Arts & Design of Tsinghua University. •Executive Vice Director of the Art Museum in the Academy of Arts & Design, Tsinghua University •Member of the International Academy of Ceramics (IAC) of UNESCO. •Secretary-General of the Ceramic Art Council of China Artists Association (CAA). •Deputy Director of Ceramic Art Institute，China National Academy of Painting. •Member of China Oil Painting Society (COPS). •Art Director of China Ceramic Art Net •Executive Editor of Chinese Ceramist magazine. •Director of “Shangyu Celadon” Contemporary International Ceramic Art Center. In 1998, the organizers of the Taipei International Art Fair held the joint exhibition of Bai Ming’s and Picasso’s ceramic works named “Vallauris in France & Jingdezhen in China”. •In 2000, he was honored with the gold prize of The Invitational Exhibition of China Young Ceramic Artists. •In 2004, he was awarded for Contribution to Promotion of the Contemporary Ceramic Art of China in the Great Hall of the People. •Also in 2004, the book Jingdezhen Traditional Ceramic-Making Techniques which written by Bai Ming received the National Book Award. In 2010, at the invitation of IAC, Chinese Cultural Center in Paris and Confucius Institute of Poitiers University, he held the “Oriental Ceramic Story—Bai Ming Ceramic...

Joel Sager (1980) was born in Saint Joseph, Missouri, the son of a minister and a stay-at-home mother who fostered from an early age his love of drawing and painting. It was under the mentorship of prominent American illustrator Mark English...

Joel Sager (1980) was born in Saint Joseph, Missouri, the son of a minister and a stay-at-home mother who fostered from an early age his love of drawing and painting. It was under the mentorship of prominent American illustrator Mark English...

After months of isolation during the pandemic, Craig Albright and his 11-year-old daughter started a daily tradition of an afternoon drive. When online classes came to a close each d...

After months of isolation during the pandemic, Craig Albright and his 11-year-old daughter started a daily tradition of an afternoon drive. When online classes came to a close each d...

After months of isolation during the pandemic, Craig Albright and his 11-year-old daughter started a daily tradition of an afternoon drive. When online classes came to a close each d...

The central Missouri, river-view studio of painter Gloria Gaus offers her contemplative solitude and direct access to the Midwestern landscapes featured throughout her body of work. ...

The central Missouri, river-view studio of painter Gloria Gaus offers her contemplative solitude and direct access to the Midwestern landscapes featured throughout her body of work. ...

A native of Kansas City, Josh George completed his BFA at the Kansas City Art Institute (1997), followed by an influential session at The Illustration Academy. His exhibitions and pu...

Eliza Barchus (American, 1857-1959) Mt. Shasta, California Signed Lower Left Titled Verso 11 x 14 inches 13.75 x 16.75 inches with frame Eliza Rosanna L...

Joel D. Sager (b. 1980) is a contemporary American painter of landscapes, still-life and portraiture. Often drawing on such standard subject matter with economy and singularity— a so...

Joel D. Sager (b. 1980) is a contemporary American painter of landscapes, still-life and portraiture. Often drawing on such standard subject matter with economy and singularity— a so...

JERRY BERNECHE Small Town No. 4 Watercolor on Arches 21.5 x 29.25 inches

JERRY BERNECHE Small Town No. 27 Watercolor on Arches 21.5 x 29.25 inches

JERRY BERNECHE Small Town No. 22 Watercolor on Arches 21.5 x 29.25 inches

JERRY BERNECHE Small Town No. 15 Watercolor on Arches 21.5 x 29.25 inches

JERRY BERNECHE Small Town No. 18 Watercolor on Arches 21.5 x 29.25 inches

JERRY BERNECHE Small Town No. 10 Watercolor on Arches 21.5 x 29.25 inches

JERRY BERNECHE Small Town No. 12 Watercolor on Arches 21.5 x 29.25 inches

JERRY BERNECHE Small Town No. 1 Watercolor on Arches 21.5 x 29.25 inches

Carol Shinn is a studio artist who lives in Fort Collins, Colorado. She is known internationally for photo-based machine-stitched images. She has taught many classes and workshops ac...

Channeling the Midwest and Western landscapes as sources for his mood-rich paintings, Bogosian has developed an extensive and breathtaking body of work. According to Bogosian, “My wo...

Carol Shinn is a studio artist who lives in Fort Collins, Colorado. She is known internationally for photo-based machine-stitched images. She has taught many classes and workshops ac...

Joan Parker (20th C.) "Straw Fields" Oil on Canvas Canvas Size: 10 x 20 inches Framed Size: 21 x 31 inches Joan Parker, is a Plein Air landscape painter and a native of California....

Joseph Orr (b. 1949) "The Home Place" Acrylic on Canvas Canvas Size: 9 x 12 Framed Size: approx 12 x 16 Joseph Orr, from Missouri, has been painting profes...

Ben McLaughlin Monday: 3 down, Method of removing hair roots (12), 2008 Oil on panel 6 3/4 x 4 1/2 inches (17.1 x 11.4 cm)

Joan Parker (20th C.) "Sunflower State of Mind" Oil on Canvas 10 x 20 Framed Size: 21 x 31 inches Joan Parker, is a Plein Air landscape painter and a native of California. Her arti...

Laverne Nelson Black (American, 1887-1938) "The Deer Hunters" Signed Lower Left Canvas: 24 x 22 inches Framed: 30.5 x 28.5 inches Born in Viola,...

Mad River, 1996 Julio Larraz (Cuban, 1944) Signed and Dated Lower Right 41 x 49 inches 43 x 51 inches with frame Provenance: Atrium Gallery, 1999 Accomplished painter, sculptor, and...

Edward Cucuel (American, 1875-1954) Summer Idle, 1918 Signed Lower Right 35 x 43 inches 43 x 51 inches with frame Born in San Francisco, Edward Cucuel was an Impressionist painter o...

The Old Courthouse, 1968 By. Charles Quest (American, 1904-1993) Signed and Dated Lower Left 32 x 44 inches 38.25 x 50.25 inches with frame Born in Troy, New York, Charles Quest was...

Antoine Blanchard (French 1910-1988) "Avenue des Champs-Elysses, Paris" Oil on Canvas Signed approx 18 x 22 (site) approx 26.5 x 30 (framed) Antoine Blanchard (c.1910-1988) was a prolific and successful Neo-Impressionist painter who specialized in nostalgic scenes of Fin de Siècle Paris. Inspired by the subjects as well as the success of earlier painters of Parisian life like E. Galien Laloue (1854-1941), Edouard Cortès (1882-1969), Jean Béraud (1849-1935) and Luigi Loir (1845-1916), Blanchard painted hundreds of views of the “City of Light.” In the late 1950s, his street scenes were exported to the United States and the United Kingdom, where they were sold briskly to collectors. By the1960s, Blanchard paintings were bringing several hundred dollars in galleries, so while they were not inexpensive, they were affordable to collectors who loved Parisian scenes but who could not afford the works of Cortes or one of the other French painters known for their views of Paris in Belle Époque. Eventually Blanchard’s more delicate, feathery pastel-toned scenes of rain-swept Paris became sought after in their own right and, when he died, he was considered the last of what the dealers described as the École de Paris or “School of Paris” painters. The most salient fact about the life and career of the painter Antoine Blanchard was that he was actually born Marcel Masson, the son of a furniture maker who lived in the scenic Loire Valley, south of Paris, where the French nobility had their chateaus. The date that is usually given for Blanchard’s birth is November 15, 1910. However, there has been some speculation that he was born even later, perhaps in 1918, but some of the facts of his life have always been clouded by early biographies that claimed even earlier dates for his birth, so that he would seem to be seen as a contemporary of the famous Belle Époque painters rather than a post-war interpreter of Paris. Blanchard grew up in the hardscrabble years following the First World War. Because he was artistically talented, he was sent first to the nearby city of Blois, the capital of the Loir-et-Cher Département, for artistic training and then to the École des Beaux-Arts in Rennes, on the Brittany peninsula, where he received a classical art education. By some accounts Blanchard also studied in Paris, where the historic École des Beaux-Arts is located, but the depth of his study and the style of his earliest work will require further research. Marcel Masson was married in 1939, as war clouds gathered on the French horizon. He was drafted for service in the French Army and participated in the short and futile struggle against the invading German Panzers before returning to his family and his art during the Nazi occupation. A daughter, Nicole, was born in 1944 with a second daughter, Eveline, who eventually came to the United States, following in 1946. Masson’s early art career was interrupted, first by World War II and later by the necessity of keeping his father’s workshop running in the years after his death. By the late 1940s, though, Masson returned to his art and moved to Paris in order to further his career. Exactly when Marcel Masson adopted the pseudonym Antoine Blanchard is not known, nor are we aware of his motivations for adopting a nom de plume, but the practice was not unusual for French painters. In most cases a pseudonym was adopted because the artist had contractual obligations with more than one agent or dealer. Another motivation could be to obscure the scope of a sizable artistic production. Dealers in that era also liked to keep an artist under their thumb, so a pseudonym was a way for Blanchard’s dealers to tuck him away, out of the sight of their competitors. Like many painters before him Masson may have initially painted different subjects under different names. Marcel Masson neé Blanchard would have been well aware that the famous and prolific French painter E. Galien Laloue (1854-1941) painted under no less than four names – three pseudonyms in addition to name he was christened with – and so the adoption of another name was probably not seen as a liability to him. However, he apparently never took the step to register his pseudonym, which was possible in France, to legally restrict its use. In any event, by the 1950s Marcel Masson had become “Antoine Blanchard,” a painter of Parisian views. With the aging Edouard Cortès (1882-1969) as a model, Blanchard began to specialize in romanticized scenes of la ville des lumières, or the “City of Light.” However, instead of painting contemporary Paris, the crowded metropolis of his own time, which he may have felt was lacking in romance, he chose to look at the French capital through the rear-view mirror. So Blanchard became known for his depictions of the hurly-burly life of Paris in the Belle Époque. For inspiration, he is said to have collected old sepia-toned postcards of life in La Belle Époque (“The Beautiul Era”), the long period of peace and relative prosperity between the end of the Franco-Prussian War and the horrors of the Paris Commune in 1871 and the start of the mass bloodshed of the First World War in August of 1914. In addition, however, the paintings of Loir, Baraud, Laloue and Cortès could be found and studied in the flea markets of Paris as well as the auctions at the l’Hôtel Drouot. Reminders of the Belle Epoch were thus all around Blanchard, and of course the architecture that he painted had survived the Second World War intact, because Paris was spared bombing or a siege by the allies. Soon he was painting the horse-drawn omnibuses that took turn-of-the-century Parisians on longer trips throughout the city as well as the tradesmen, children and fashionably dressed ladies that populated Baron Haussmann’s Grand Boulevards. Blanchard’s early work was clearly modeled after the paintings of Edouard Cortès, but he was always his own man and never a slavish copyist. These paintings were darker in palette than the later Blanchard paintings most American collectors have become familiar with, and his red and blue tones were often bolder than those of Cortès. He never adopted the heavy “impasto,” the build-up of paint on the highlights of Cortes’ work, leaving that artistic trademark to the master. Blanchard’s brushwork was painterly, but the buildings in the paintings were always well rendered, for he had an excellent command of composition and perspective. By the late 1950s, agents began to purchase Blanchard’s paintings and then to export them to the United States, selling them to commercial galleries in far away Houston, Los Angeles, San Francisco, Chicago and New York. By the early 1960s, his work was already well known enough to be in reproduced by print publishers and the Donald Art Company published a number of popular prints that are now often mistaken for original paintings. By the end of the 1960s, Blanchard had begun to develop his own mature style by employing a lighter, brighter, palette and a deft, almost calligraphic style of brushwork. This helped him step out of Cortès’ shadow and become a sought-after painter in his own right. Blanchard worked through agents, essentially brokers, who purchased his work and created a demand for it in the United States and Canada. By the 1970s Blanchard’s paintings were being sold by galleries across the United States, and the American market absorbed virtually all of his work. In 1969, with the passing of Edouard Cortès, he became the last of the long series of prolific French painters of Parisian life. Blanchard’s later works were usually daylight scenes, with Paris seen awash in rain or with a mantle of soft snow, and so collectors no longer confused him with Cortes, whose Parisian clock seemed to always be set at twilight. These paintings were rendered in softer, pastel tones and he used his brush with a light touch. These qualities gave Blanchard’s work of the 1970s and 1980s a lighter, more decorative appearance. In the late 1970s, the French agent Paul Larde published a lavish book that was claimed to be an authorized biography of Antoine Blanchard by his “exclusive” dealer. Today, this book is almost impossible to find, because it was apparently the subject of a lawsuit in France. Some of the information in the Larde book was contested and found to be inaccurate and so it was withdrawn from publication. One claim that Larde made was that Blanchard’s production was extremely limited. While he was not as prolific as Cortès or Laloue, he was a hard-working painter who managed to supply a long list of galleries with his work. He produced thousands of paintings during his career. When the motivation for a monograph is marketing rather than art history, accuracy and detail can be swept aside by exaggeration, hyperbole and claims of exclusivity that were meant to discourage collectors or galleries from buying Blanchard’s from other representatives. Blanchard’s legitimate paintings were sold by several agents, who dealt directly with the artist, at least one of whom was American, one Austrian and a few French dealers. The details of Antoine Blanchard’s life are not well known because he never sought the limelight. He was content to work in his studio and ship his paintings to his agents who sold them abroad. Eventually both his daughters – Nicole and Evelyn – followed in his footsteps and became painters themselves. Evelyn (1946-2008) was savvy enough to adopt the Blanchard nom de plume, and she began painting street scenes that closely resembled her father’s later work. Antoine Blanchard passed away in 1988, leaving hundreds of paintings of Belle Époque Paris– the Notre Dame Cathedral, the Opera, the Arc de Triomphe and Place Concorde – as his lasting legacy. Notes on the Authentication of Antoine Blanchard’s Paintings: The vast majority of Blanchard’s paintings were smaller works, which were sent to the United States in tubes and stretched and framed by the galleries that sold them. Virtually all of these Blanchards were painted in European centimeter sizes, which convert to 13” x 18” or 18” x 21 1/2?, but on very rare occasions he painted much larger works in American sizes – such as 24” x 36” – on commission for dealers such as Howard Morseburg in Los Angeles or the dapper Wally Findlay, who had a chain of galleries. The first way to assess the authenticity of a Blanchard...

Oscar E. Berninghaus (American, 1874-1952) "Winter Pasture" Oil on Canvas Unframed: 20 x 24 inches Framed: 25.5 x 29.5 inches Provo: Noonan-Kocian Gallery, St. Louis, Missouri, Dec. 23, 1954 (Copy of Original Receipt Included) * Will be included in Kodner Gallery's upcoming Oscar E. Berninghaus Research Project on the artist We guarantee the authenticity of this painting and would be pleased to provide you with a formal, certified insurance appraisal. "Winter Pasture" was originally purchased from one of the Oscar E. Berninghaus' principal dealers, Noonan-Kocian in St. Louis, and the painting retains its original 1954 invoice along with a signed affidavit from the grandson of the original owner (see images). As with many artists of the period, Berninghaus sometimes created works intended for reproduction in calendars, books, or advertising. He completed commissions for Brown & Bigelow, the prominent Minneapolis-based calendar and publishing company, which often requested that works remain unsigned for reproduction purposes. This practice explains the absence of a visible signature on certain compositions. ------------------- A founder in 1898 of the Taos Society of Artists, Oscar Berninghaus excelled at drawing animals and figures in contemporary garb in Southwestern landscapes. Many of his early paintings were Impressionistic, "suffused with color and light". (Gerdts 254) He was born in St. Louis, Missouri and developed an interest in art through his family's lithography business. He attended night classes at the St. Louis School of Fine Art. In 1898, he was on an illustration assignment for "McClure's" magazine, which took him for the first of many times into New Mexico and Arizona. He had heard of the special beauty of Taos and there met Bert Geer Phillips, who was already a resident, and Phillips invited him to return. This visit began a tradition of spending the winter months in St. Louis and the summers in Taos. He remained active in both communities, and for many years designed the costumes and floats for the Veiled Prophet parade, a famous annual event in St. Louis. He also did a series of western scenes commissioned by the Anheuser-Busch Brewing Association to promote a manly, ruggedness theme in their products and to enhance their image as good Americans, an image that was being attacked by suffragettes. In this capacity and without visiting the area, Berninghaus did a painting titled "Old Faithful, Yellowstone" in 1914, which was used as a calendar illustration in the series. Berninghaus was a sketch artist for the Denver and Rio Grande Railroad to depict landscape of Colorado...

Mid-day, Zuni Village, 1897 By. Frank Reed Whiteside (American, 1866-1929) Unframed: 20" x 30" Framed: 28" x 38" Frank Reed Whiteside, born in Philadelphia on 20 August 1867, became a student of Thomas Anshutz at the Pennsylvania Academy of the Fine Arts (1888-92). He already began exhibiting there during his student years (1887-98). In 1893, he enrolled in the Académie Julian in Paris where he received instruction from Jean-Paul Laurens and Benjamin Constant. After his French academic training, Whiteside taught art in Philadelphia high schools. He took frequent trips to the Southwest between 1890 and 1928 to live with and paint the Zuni Indians. Whiteside depicted ceremonial dances, Zuni buildings, and other genre scenes, usually in blinding afternoon sunlight. He carefully observed the effects of light on vibrant color, using a finely crafted impressionist technique. He was fond of broad areas of color, subtle combinations of hues, and simplified shapes and silhouettes. Whiteside continued to exhibit at the PAFA (1905-15), at the Art Institute of Chicago (1896-1916), at the Carnegie International (1905 and 1907) and at the Corcoran Gallery (1907). He was a member of Philadelphia art societies and beginning in 1909 had a summer studio in Ogunquit, Maine, where he took part in Hamilton Easter Field's discussion groups. Frank's wife, Clara Walker Whiteside, who published Touring New England in 1926, was active in the Ogunquit Art Association. Like Stanford White, Frank Reed Whiteside was the victim of murder, on 19 September 1929, but Whiteside's case remains unsolved. One night, the sixty-three year-old painter answered the doorbell. Two witnesses...

Seagulls (Birds in Flight), 1982 By. Jim Palmer (American, b. 1941) Signed and Dated Lower Right Unframed: 32" x 36" Framed: 37" x 42.5" Born in 1941 in Columbia, South Carolina, Jim Palmer attended the University of South Carolina in 1960 before going on to study at the Atlanta School of Art in 1964. In 1966 he and his wife moved to Hilton Head Island, the second artist to do so during the Island's early years. Since living here, he designed the cover of the Chamber of Commerce' Islander Magazine, has been a contributing artist to the Island Events Magazine, and has painted many Low Country scenes that grace homes and businesses throughout the country. Palmer was the illustrator for two books written by local authors: A Corner of South Carolina and Moonshadows. His work has been included in exhibits at the Hunter Museum in Chattanooga, TN; Mint Museum, Charlotte, NC; Southeastern Artists Exhibition, Atlanta, GA; Greenville County Art Museum, Greenville, SC; Callaway Gardens, Pine Mountain, GA; and Bay Hills Club, Orlando, FL. His paintings are part of the private collections of C&S National Banks in Columbia and Hilton Head Island; Banker's Trust Tower, Columbia, SC; Palmetto State Bank, Bluffton, SC, among others. Several paintings are also included in the collections of former Presidents Jimmy Carter and Dwight Eisenhower, former South Carolina Governor Robert McNair and singer John Denver.

Landscape By Mark Kaplan (Russian, b. 1950) Signed Lower Right Unframed 7" x 9" Framed: 20.25" x 16.25" Mark Kaplan was born in 1950 in Saint Petersburg ...

Searching for Clams with the Horse Cart By. Gerhard Munthe (German, 1875-1927) Signed Lower Left Unframed: 11" x 14" Framed: 19" x 23" Born in Dusseldo...

Village Under the Snow By. David Schulman (Dutch, 1881-1966) Signed Lower Right Unframed: 15.5" x 23.5" Framed: 23.5" x 31.5" David Schulman was a Dutch self-taught painter, draftsman and watercolorist. He was born in the city of Hilversum, in 1881. Schulman's father Lion was a painter himself and was known to be come an art dealer in subsequent years. Apart from this, he sold painting...

Wooded Landscape with Cattle By James Desvarreux-Larpenteur (American, 1847-1937) Unframed: 22" x 18" Framed: 27.5" x 31.5" Signed Lower Right Born i...

Children at the Seashore By Josef Israels (1824-1911) Unframed: 9" x 15" Framed: 17.5" x 23.5" Signed Lower Left Born in Groningen, Holland, in 1824, Josef Israels was brought up in the traditions of the Jewish faith and destined for the rabbinate. His interest in drawing grew stronger with age however, and in 1840 his father finally relented, sending him to Amsterdam. There he spent his days working in the studio of Jan Kruseman and his evenings painting at the Royal Academy under Jan Pieneman, both leading portrait painters. In Paris, Israels studied a short time with the historical painter Francois Picot...

Sun Mountain, Adobes, Santa Fe, New Mexico By Julius Lars Hoftrup Unframed: 20" x 20" Framed: 26" x 26" Hofterup in Skane was the birthplace of J. Lars Hoftrup. Hoftrup immigrated to a farm in New York in 1881 but left to study at Cooper Union Art School and later made study journeys to paint landscapes in Canada, France, and North Africa. His work has been shown in exhibitions at the Phillips...

Old Miner's House, Santa Fe, New Mexico By Julius Lars Hoftrup (1874-1954) Unframed: 20" x 20" Framed: 26" x 26" Hofterup in Skane was the birthplace of J...

The Little Red Lighthouse, New York By Gustave Wolff (1863-1935) Signed Lower Right Unframed: 14" x 19.25" Framed: 20.25" x 25.25" Painter Gustav Wolff ...

Bean Picking, New Jersey, 1890 By. Frederick Rondel (1826-1892) Signed Lower Right Unframed: 21.5" x 35.5" Framed: 32" x 46" Frederick Rondel, born in Paris in 1826, came to America...

Beach at Playa Del Rey California by Louis Carl Hvasta (1913-1993) Signed and Dated Lower Left Unframed: 21" x 34" Framed: 28.25" x 41" Frame was Hand made by ...

Little Village by Louis Carl Hvasta (1913-1993) Signed Lower Left Unframed: 9" x 11" Framed: 16" x 19" Frame was Hand Made by the artist himself A local Californian Artist, Hvasta i...

Chimney Pots and Roof of Paris by Louis Carl Hvasta (1913-1993) Signed and Dated Lower Left Unframed: 24" x 28" Framed: 34" x 37" Frame was hand made by the artist. A local Californ...

Framed Size: 21 x 26 inches *This work has been authenticated by Nicole Verdier Provenance: Johnson Gallery, Chicago IL, circa 1967/1968 Cortès was born in Lagny, France on April 26, 1882. During his early lifetime, Paris was the center of the art world. Artist from across the globe traveled there to study and paint it's beautiful countryside and cities; views of Paris, or as it became known 'the City of Lights', were in great demand by both collectors and tourists. Édouard Cortès, along with other artists like Eugene Galien-Laloue (1854-1941), Luigi Loir (1845-1916) and Jean Beraud (1849-1936) answered their call. Specializing in Paris street scenes, each of these artists captured the city during its heyday and continued with these scenes well into the 20th century.Édouard was the son of Antonio Cortès - the Spanish Court painter - who was himself the son of the artisan André Cortès...