Late in life, Frampton turned to landscape — primarily the Lake District, the Channel Islands and the South Downs — where grand scenery inspired some of his most poetic and symbolist visions. Several painters turned to the English countryside during the First World War, as if to remind themselves and their audiences of what was worth fighting for.

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.

(The Studio, 1923)

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 possesses 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.

(The Connoisseur, 1924)