It was late in life that Frampton renewed his interest in landscape, and chose to paint primarily in the Lake District, the Channel Islands and the South Downs, where the resplendent scenery inspired some of his most poetic visions.

The essentially decorative quality of Frampton’s work, which characterised his most important figurative subjects, now became evident in his lyrical and delicate treatment of landscape. Hills of the Land and Sky: Cumberland  illustrates perfectly his innate feeling for form and line, used to convey the monumental grandeur of the undulating and mountainous vista, the ‘curling sweep, or the mottled pattern, of cloud in the spacious reaches of the sky.’ (R Dircks, The Studio, 1923, p 9)

In Frampton’s late landscapes, reality and ideality, detail and simplicity are inextricably mingled, evoking a mysterious and dreamlike atmosphere of sublime serenity. Such landscapes express above all, the power of his poetic imagination and the ethereality that imbued his subjective interpretation of nature; ‘there is much of Reginald Frampton’s work, both in figure subjects and landscape, that possess a rare and peculiar beauty of its own. Undoubtedly talented in the technical side of his profession, he also possessed the rarer faculty of imagination.’ (Connoisseur, 1924, p 242)