Items Similar to Coastal Landscape - Large Mid Century Swedish Scandinavian Modernist Painting
Want more images or videos?
Request additional images or videos from the seller
1 of 9
Mid 20th Century Swedish SchoolCoastal Landscape - Large Mid Century Swedish Scandinavian Modernist Paintingc.1960
c.1960
About the Item
A beautiful mid 20th century modernist Swedish oil on canvas depicting a figure in a coastal landscape.
The work is painted in muted tones and radiates a relaxed and calming Scandinavian energy.
Signed with initials lower right and presented in a painted wood frame.
Artist: Swedish School, mid 20th century
Title: Coastal Landscape
Medium: Oil on canvas
Size: 23.5 x 38.5 inches (60 x 98 cm) including the frame
- Creator:Mid 20th Century Swedish School
- Creation Year:c.1960
- Dimensions:Height: 23.63 in (60 cm)Width: 38.59 in (98 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Sevenoaks, GB
- Reference Number:1stDibs: LU1955213020752
About the Seller
5.0
Platinum Seller
These expertly vetted sellers are 1stDibs' most experienced sellers and are rated highest by our customers.
Established in 2016
1stDibs seller since 2022
65 sales on 1stDibs
Typical response time: <1 hour
- ShippingRetrieving quote...Ships From: Sevenoaks, United Kingdom
- Return PolicyA return for this item may be initiated within 3 days of delivery.
More From This SellerView All
- Industrial Landscape - Huge Mid 20th Century Figurative Oil on Canvas PaintingLocated in Sevenoaks, GBHuge late 1950's oil on canvas depicting a figure in an industrial landscape by Peter Freeth RA. The work comes with wonderful provenance, having originally been sold at the prestigi...Category
1950s Modern Landscape Paintings
MaterialsOil, Canvas
- The Seine - French Post Impressionist Paris Landscape Oil on Canvas PaintingLocated in Sevenoaks, GBA beautiful 1925 post-impressionist oil on canvas depicting the banks of the river Seine in Paris, by Georges Pacouil. Excellent quality early work by this interesting French artist....Category
1920s Post-Impressionist Landscape Paintings
MaterialsOil, Canvas
- Under Cannon Street Bridge - London Thames River Side Oil on Canvas PaintingBy Trevor ChamberlainLocated in Sevenoaks, GBA fine oil on canvas by Trevor Chamberlain depicting the view under Cannon Street Bridge from the Thames river. The artist would have stood on the muddy banks of the river with his e...Category
1970s Landscape Paintings
MaterialsCanvas, Oil
- Vigil II - Snow Covered Winter Landscape Through Window Impressionist PaintingLocated in Sevenoaks, GBA beautiful oil on canvas by Glasgow based artist Belinda Gilbert Scott depicting a snow covered winter landscape viewed through a window. The work is titled ''Vigil II'' and is likely related to a series of paintings that the artist created capturing the view from the Meadowside Granary in Glasgow and then the Glasgow Science Centre. Signed, dated and inscribed on the reverse. Artist: Belinda Gilbert Scott (British, b.1961) Title: Vigil II Medium: Oil on canvas Size: 20 x 24 inches (51 x 61 cm) As artistic lineages go, Belinda Gilbert Scott's is both impressive and daunting. Her father designed the prestigious Guildhall Art Gallery in London while her grandfather was responsible for a plethora of important buildings including Battersea and Bankside power stations in London, Oban and Liverpool cathedrals, and the iconic red telephone box...Category
Early 2000s Impressionist Landscape Paintings
MaterialsCanvas, Oil
- The Fairground - 1950's French Expressionist Mid Century Oil Canvas PaintingLocated in Sevenoaks, GBA wonderful 1950's French expressionist oil on canvas depicting figures at a fairground, by Parisian artist André Beaucé. Excellent quality work painted...Category
1950s Expressionist Landscape Paintings
MaterialsCanvas, Oil
- Figures on a Beach - 19th Century French Impressionist Antique Oil PaintingLocated in Sevenoaks, GBA fine late 19th century French Impressionist oil in canvas depicting figures on a beach. Signed with a monogram and dated 1899 lower right. Artis...Category
1890s Impressionist Landscape Paintings
MaterialsCanvas, Oil
You May Also Like
- "Cityscape at Dusk"By John Bradley StorrsLocated in Lambertville, NJSigned Lower Right John Bradley Storrs (1885 - 1956) Born and raised in Chicago, John Storrs was a pioneer modernist sculptor known for his precisely executed, solid, non-objectiv...Category
20th Century Modern Landscape Paintings
MaterialsCanvas, Oil
- San Pedro HarborBy Paul SampleLocated in New York, NYIt is infrequent, to say the least, that a diagnosis of tuberculosis proves fortuitous, but that was the event, in 1921, that set Paul Starrett Sample on the road to becoming a professional artist. (The best source for an overview of Sample’s life and oeuvre remains Paul Sample: Painter of the American Scene, exhib. cat., [Hanover, New Hampshire: Hood Museum of Art, 1988] with a detailed and definitive chronology by Sample scholar, Paula F. Glick, and an essay by Robert L. McGrath. It is the source for this essay unless otherwise indicated.) Sample, born in Louisville, Kentucky, in 1896 to a construction engineer and his wife, spent his childhood moving with his family to the various locations that his father’s work took them. By 1911, the family had landed in Glencoe, Illinois, settling long enough for Paul to graduate from New Trier High School in 1916. Sample enrolled at Dartmouth College, in Hanover, New Hampshire, where his interests were anything but academic. His enthusiasms included the football and basketball teams, boxing, pledging at a fraternity, and learning to play the saxophone. After the United States entered World War I, Sample, to his family’s dismay, signed on for the Naval Reserve, leading directly to a hiatus from Dartmouth. In 1918 and 1919, Sample served in the U.S. Merchant Marine where he earned a third mate’s license and seriously contemplated life as a sailor. Acceding to parental pressure, he returned to Dartmouth, graduating in 1921. Sample’s undergraduate life revolved around sports and a jazz band he formed with his brother, Donald, two years younger and also a Dartmouth student. In November 1933, Sample summarized his life in a letter he wrote introducing himself to Frederick Newlin Price, founder of Ferargil Galleries, who would become his New York art dealer. The artist characterized his undergraduate years as spent “wasting my time intensively.” He told Price that that “I took an art appreciation course and slept thru it every day” (Ferargil Galleries Records, circa 1900–63, Archives of American Art, Smithsonian Institution, available on line). In 1920, Donald Sample contracted tuberculosis. He went for treatment to the world-famous Trudeau Sanitorium at Saranac Lake, in New York State’s Adirondack Mountains for the prescribed regimen of rest, healthful food, and fresh air. Visiting his brother in 1921, Paul also contracted the disease. Tuberculosis is highly contagious, and had no certain cure before the development of streptomycin in 1946. Even for patients who appeared to have recovered, there was a significant rate of recurrence. Thus, in his letter to Price, Sample avoided the stigma conjured by naming the disease, but wrote “I had a relapse with a bad lung and spent the next four years hospitalized in Saranac Lake.” The stringent physical restrictions imposed by adherence to “the cure” required Sample to cultivate an alternate set of interests. He read voraciously and, at the suggestion of his physician, contacted the husband of a fellow patient for instruction in art. That artist, then living in Saranac, was Jonas Lie (1880–1940), a prominent Norwegian-American painter and an associate academician at the National Academy of Design. Lie had gained renown for his dramatic 1913 series of paintings documenting the construction of the Panama Canal (The Metropolitan Museum of Art, New York; United States Military Academy, West Point, New York). Primarily a landscape artist, Lie had a particular affinity for scenes with water. His paintings, impressionistic, atmospheric, and brushy, never strayed from a realistic rendering of his subject. Sample regarded Lie as a mentor and retained a lifelong reverence for his teacher. Sample’s early paintings very much reflect Lie’s influence. ` In 1925, “cured,” Sample left Saranac Lake for what proved to be a brief stay in New York City, where his veteran’s benefits financed a commercial art course. The family, however, had moved to California, in the futile hope that the climate would benefit Donald. Sample joined them and after Donald’s death, remained in California, taking classes at the Otis Art Institute in Los Angeles. In Sample’s account to Price, “I couldn’t stomach the practice of painting a lot of High Sierras and desert flowers which seemed to be the only kind of pictures that were sold here so I got a job teaching drawing and painting at the art school of the University of Southern California.” Initially hired as a part-time instructor, Sample progressed to full-time status and ultimately, by the mid-1930s, to the post of Chairman of the Fine Art Department. Sample, however, did not want to wind up as a professor. “Teaching is all right in small doses,” he wrote, “but I have a horror of drifting into being a college professor and nothing more.” At the same time as he taught, Sample began to exhibit his work in a variety of venues at first locally, then nationally. Though he confessed himself “a terrible salesman,” and though occupied with continued learning and teaching, Sample was nonetheless, ambitious. In 1927, he wrote in his diary, “I am eventually going to be a painter and a damned good one. And what is more, I am going to make money at it” (as quoted by Glick, p. 15). In 1928, Sample felt sufficiently solvent to marry his long-time love, Sylvia Howland, who had also been a patient at Saranac Lake. The Howland family were rooted New Englanders and in summertime the Samples regularly traveled East for family reunion vacations. While the 1930s brought serious hardship to many artists, for Paul Sample it was a decade of success. Buttressed by the financial safety net of his teacher’s salary, he painted realist depictions of the American scene. While his work addressed depression-era conditions with a sympathetic eye, Sample avoided the anger and tinge of bitterness that characterized much contemporary realist art. Beginning in 1930, Sample began to exhibit regularly in juried exhibitions at important national venues, garnering prizes along the way. In 1930, Inner Harbor won an honorable mention in the Annual Exhibition of the Art Institute of Chicago. That same year Sample was also represented in a show at the Albright-Knox Gallery in Buffalo and at the Biennial Exhibition of the Corcoran Gallery of Art, Washington, D.C. In 1931, Dairy Ranch won the second Hallgarten Prize at the Annual Exhibition of the National Academy of Design, in New York. Sample also made his first appearances at the Carnegie Institute, Pittsburgh, and The Pennsylvania Academy of the Fine Arts, Philadelphia. In 1936, Miner’s Resting won the Temple Gold Medal at the Pennsylvania Academy’s Annual Exhibition. Always interested in watercolor, in 1936, Sample began to send works on paper to exhibitions at the Whitney Museum, New York. While participating in juried exhibitions, Sample also cultivated commercial possibilities. His first New York art dealer was the prestigious Macbeth Gallery in New York, which included his work in a November 1931 exhibition. In 1934, Sample joined the Ferargil Galleries in New York, after Fred Price arranged the sale of Sample’s Church Supper to the Michele and Donald D’Amour Museum of Fine Arts in Springfield, Massachusetts. In 1937, The Metropolitan Museum of Art purchased Sample’s Janitor’s Holiday from the annual exhibition of the National Academy of Design, a notable honor. As prestigious as this exhibition schedule may have been, by far Sample’s most visible presence in the 1930s and 1940s was the result of his relationship with Henry Luce’s burgeoning publishing empire, Time, Inc. Sample’s first contribution to a Luce publication appears to have been another San Pedro...Category
20th Century American Modern Landscape Paintings
MaterialsCanvas, Oil
- SanremoBy Filippo De PisisLocated in Wien, 9Filippo De Pisis, Sanremo, 1938, Oil on Canvas, 35.5 x 27 cm. Signed lower right.Category
1930s Modern Landscape Paintings
MaterialsCanvas, Oil
- The Old Monastery WallBy William S. SchwartzLocated in New York, NYSigned (at lower left): WILLIAM S. SCHWARTZCategory
Early 20th Century American Modern Landscape Paintings
MaterialsCanvas, Oil
- Figurative landscape oil painting- Red MemoryLocated in Beijing, CNDai Xiangwen was born in Hunan in 1991 and graduated from the Academy of Fine Arts of Jianghan University, He is a member of China Artists Association, China Designers Association, a painter of Li Keran...Category
2010s Modern Figurative Paintings
MaterialsCanvas, Oil
- Figurative landscape oil painting- VitalityLocated in Beijing, CNDai Xiangwen was born in Hunan in 1991 and graduated from the Academy of Fine Arts of Jianghan University, He is a member of China Artists Association, China Designers Association, a painter of Li Keran...Category
2010s Modern Figurative Paintings
MaterialsCanvas, Oil
Recently Viewed
View AllMore Ways To Browse
Mid Century Mid
20th Century Modern Art
Mid Century Modern Framed
Mid Century Artist
Vintage Swedish
Mid Century Modern Painting
Mid Century Modern Paintings
Midcentury Modern Painting
Midcentury Modern Paintings
The Mid Modernist
Vintage Midcentury Modern Painting
Mid Century Modern Framed Art
Framed Mid Century Modern Painting
Mid Century Modern Oil Paintings
Midcentury Modern Oil Paintings
Mid Century Wood Art Frame
Mid Century Modern Swedish Art
20th Century Oil Painting Woods