Interior Paintings

Oil Painting by Stephen Samuel Lewin "The Armada in Sight" 1848 - 1909 London painter of historical and domestic genre scenes. He exhibited at the Royal Academy and Royal society of British Artists. Oil on canvas. Signed and dated 1904 Dimensions unframed 24 x 32 inches Dimensions framed 32...

"Association Day" by Morakinyo Femi captures the essence of everyday life with remarkable finesse. In this captivating artwork, we see a woman with her ...

Discover a captivating piece of nature with this unique section of a vintage French herbarium. Crafted with meticulous care, this botanical press on p...

Rafael Duran Benet (1931-2015) - Still life of flowers - Oil on panel Oil measurements 27x22 cm Frame measurements 35x30 cm. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is...

This captivating British portrait oil painting is by noted exhibited and listed female artist Alice Mary Burton. Painted circa 1955, the painting is a portrait of a woman gazing out ...

A stunning portrait oil painting of Violet Ann Gilbert which was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A beautiful portrait of a young woman from the nineteen twenties. In excellent condition and framed in the original period frame. This is a fine painting by a noted listed artist and a great example of an early 20th century portrait painting. Signed lower left. Provenance. Exhibited at the Paris Salon 1929, labels verso. Condition. Oil on canvas in excellent condition, image size 40 inches by 30 inches. Housed in its original gallery frame, framed size is 47 by 37 inches. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne, third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates, he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery the next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

A charming oil painting depicting two brown horses inside of a stable, with details of the wooden structure and the hay on top of the floor. Done in a highly impressionistic manner w...

Gulf of the river. Oil on cardboard, 31,2x45,5 cm Albins Dzenis (1907.19. XII Riga –1998) 1935 – Graduating Latvian Art Academy, department of Decorative painting by guidance of J....

Anders Jönsson was a Swedish Impressionist & Modern sculptor who was born in 1907. He painted landscapes, marine scenes and flowers amongst many other various subjects always with a...

Work sold to benefit the CLEVELAND INSTITUTE OF ART Joseph B. O’Sickey (American, 1918–2013) Interior Still Life with Chair and Flowers Pastel and oil on green paper Signed lower ri...

The couple is a work of art realized by Giovanna Picciau (1977, Turin) in 1987. Oil on Canvas. Cm. 90x100. Very good conditions.

Oil on panel by Jules René HERVE, France, 1935-1940. "Maternity". Panel mounted on chassis. with frame: 39,5x34.2x5 cm - 15.6x13.4x2 inches - without frame: 27x22 cm - 10.6x8.7 inches. Signed lower left "Jules R Hervé...

Discover a captivating piece of nature with this unique section of a vintage herbarium. Crafted with meticulous care, this botanical press on paper c...

Leo Roth (1914–2002), also known as Lior Roth, was an Israeli painter, born in 1914 in Austria-Hungary. (later Poland) In 1920, Roth moved to Germany and, in 1933, immigrated to Palestine. He studied at the École des Beaux-Arts in Paris and completed frescoes in Italy and France in the 1950s. Roth first settled in Tel Aviv, then moved to Kvutzat Kinneret, then finally to Kibbutz Afikim where he remained until his death. He served as Director of the Art Academy of the Kibbutzim. In 1959, he was awarded the Jordan Valley Prize for Painting. Roth exhibited in the United States, Israel, Mexico, Spain, Holland, Sweden, and Denmark. He died in 2002. Education: 1930 School of Art, Duisberg-Hamborn, Germany, under Josef Doppelfeld Academy of Fine Arts, Hamburg, Germany 1951 Fresco and mural painting, Ecole nationale superiere des Beaux-Arts, Paris, France 1951 fresco in Italy Teaching: Director of Art Academy of the Kibbutzim Roth's work was influenced by Cubism and bears much in common with the work of compatriot painter Naftali Bezem. His colourful canvases contain biblical imagery and references to early Israeli pioneer culture. Selected Solo Exhibitions 2015 Home, Montefiore Art Gallery, Tel Aviv 2009 Kibbutz Machanayim Art Gallery 2000 Retrospective, Museum of Art, Kibbutz Ein Harod 1997 Oil paintings, Kibbutz Machanayim Art Gallery 1993 Solo Exhibition, Beit Yad Lebanim, Tiberias 1983 Oil paintings, ''Bet-Emanuel'', Ramat Gan 1980 Wilfrid Israel Museum, Oriental Art and Studies, Kibbutz Hazorea 1977 Tiroche Gallery, Old Jaffa 1976 Hatzrif Art Gallery, Be'er Sheva 1957 Oil paintings, Tel Aviv Art Museum 1950 Katz Gallery, Tel AvivSelected exhibitions 2000: Chaim Atar Art Museum, Ein Harod, Israel: The Works of Leo Roth: An Exhibition Selected Group Exhibitions 2014 Revelations, Jerusalem Print Workshop 2013 Group Exhibition, Yair Art Gallery, Tel Aviv 2008 The First Decade: Hegemony and Plurality, Ein Harod Art Museum 2000 Group...

Antique American modernist signed still life oil painting. Oil on board. Signed. Framed.

This stunning, large British Edwardian Newlyn School interior portrait oil painting is by much noted and exhibited artist Walter Langley. Originally from Birmingham, Langley and his ...

Discover a captivating piece of nature with this unique section of a vintage herbarium. Crafted with meticulous care, this botanical press on paper c...

The Guildhall, Worcester English School, mid 20th century indistinctly signed verso oil on canvas canvas: 20 x 24 inches provenance: private collection, UK condition: very good and sound condition The Worcester Guildhall was originally built as a meeting place for Worcester merchants around 1227. As with many other guildhalls, it became the centre for civic administration, a role it maintained after the merchant guild had disappeared. The present Worcester Guildhall is a superb Queen Anne building, begun in 1722 by Thomas White, a pupil of Sir Christopher Wren. White was badly paid for his efforts, and he died in poverty in 1738, bestowing the money he was owed on the Worcester Royal Infirmary. The city finally paid its debt in 1753. The exterior of the Guildhall is brick, dressed with stone. White himself is said to have carved the figure of Queen Anne over the entry, as well as those of Charles I and II, a reminder of the city's long history of royal support. The interior is superb, boasting exceptional period decoration. The Tourist Information Centre is now located in the Guildhall. HISTORY In 1227 Henry III granted the citizens of Worcester a royal charter granting them the right to establish a guild of merchants. The guild was responsible for controlling trade in the city, but their meeting place gradually became the main centre of administration for city government and acted as a courthouse. So, in effect, the Guildhall was the town hall, and though the city guilds have long since vanished, the Guildhall name lives on. The medieval guild merchants would not recognise the building that faces onto High Street now. Their guildhall was a large timber-framed building, occupying the same site, with a piazza for shops fronting the street, courts of justice at each end, and a prison to the north of the building. Part of the prison was a cell called 'the peephole', which gained a notorious reputation. There was a gaoler's house, and attached to it an alehouse from which the gaoler sold ale at extremely high prices to any prisoner who could afford the cost. In 1717 the city administration decided on a new Guildhall, and they knew just who to call; upon to build it. Thomas White was not an architect in the way we think of it today, but a stonemason. In 1705 he had carved a statue of Queen Anne to stand in front of the medieval Guildhall and was made a Freeman of the City. The total cost of the fashionable new red-brick building was £3727. The Corporation only put forward £800, and the rest had to be raised by public subscription. The centre section of the new Guildhall was finished by 1724 and has remained almost unchanged since then. The central facade is a wonderful example of early Georgian style, with three bays flanked by Corinthian pillars. Over the entrance is a huge carving incorporating the Hanoverian royal arms. White's earlier statue of Queen Anne was placed in a niche over the door, and on either side were statues of Charles I, depicted holding a church, and Charles II, with an orb and royal sceptre. On the rooftop are figures of Labour, Peace, Justice, Plenty, and Chastisement. North and south wings were added within a few years of the central block. The south wing was used as a judge's lodging when the assizes were taking place, but throughout the rest of the year it housed a coffee shop. The most striking external feature of the Guildhall is a set of iron gates...

The painting is about a brand of popular portable audio players manufactured and marketed by Sony since 1979. The original Walkman was a portable cassette player and its popularity made "Walkman" an unofficial term for personal stereos of any producer or brand. By 2010, when production stopped, Sony had built about 200 million cassette-based Walkmans. The Walkman brand was extended to serve most of Sony's portable audio devices, including DAT players, MiniDisc players/recorders, CD players (originally Discman then renamed the CD Walkman), transistor radios, mobile phones, and digital audio/media players. Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity. About Artist Morakinyo Femi...

"Duality" Abstract Oil Painting 31.5" x 39" inch (1969) by Zaccaria Zeini Medium: oil on canvas Signed and dated Comes in old original frame Zaccar...

This most charming oil painting is attributed to the circle of noted British Impressionist artist Philip Wilson Steer. Painted circa 1900 this lovely Edwardian Impressionist paintin...

Henri Lucien Joseph BURON This is potentially Henri Buron's premier work of art. It was exhibited in the Salon des Artistes Française in 1934 having been painted in 1933. The revers...

Classical Still Life of Flowers French School, early 20th century oil on board, framed framed: 12 x 8.5 inches board: 11 x 8.5 inches provenance: private collection, France condition...

A young woman with a chinon in profile studies seated at a donkey's desk. The light falls from an attic with paintings and plants. The rest of the room is rather dark. The scene is ...

An original, circa 1970, oil on canvas painting by listed Northern artist Harry Rutherford. A fine example of a Modern British portrait. In fine untouched condition and framed in a p...

Daugava river near Kraslava. 1986, canvas, oil, 66x81 cm

This superb British Interior Camden Town School portrait oil painting is by Slade School artist Geoffrey Hamilton Rhoades. Painted in 1932, the sitter is the artist's aunt. The composition is a seated half portrait of Rhoades aunt, sat at a table with bookshelves, paintings and ornaments behind her as she looks at a paper. It is a sympathetic portrait suggesting his fondness for his aunt and an excellent example of a Slade School portrait interior. Signed and dated RHOADES 32 lower right. Provenance. Alfred Stiles and Sons label verso. Also signed on stretcher. Condition. Oil on canvas, 18 inches by 14 inches and in good condition. Frame. Housed in a complementary frame, 25 inches by 21 inches and in good condition. Geoffrey Hamilton Rhoades (1898-1980). Rhoades attended Dulwich College where his education included drawing from classical casts. After Dulwich he spent two years at Clapham Art School under L C Nightingale. He served in the Marines from 1917 to 1919. Rhoades then studied at Slade School between 1919 and 1924 under Tonks. he socialised with fellow artists Albert Houthueson, Percy Horton, Charles Mahoney and James Laver. Rhoades then spent two years at Christopher Turnor's country house painting family portraits, some murals, landscapes and making many drawings. In 1928 Rhoades taught at the Working Man’s College in Crowndale Road, London. In 1929 Geoffrey followed Percy Horton as the art master at Bishop’s Stortford College, remaining in this post for fifteen years. He was a friend and coleague to Walter Strachan. In 1934 Rhoades married Joan Jenner and they lived in London and had a son, Peter who also became an artist. In 1935 the Tate (Britain) bought his “Winter Afternoon, Chalk Farm” landscape. After the onset of the Second World War blitz, they moved house to Stebbing in Essex. They lived near to Great Bardfield where the very prestigious artists’ group including Edward Bawden, Eric Ravilious, Michael Rothenstein and a number of other distinguished artists had collected away from London. Rhoades and his wife were intimate members of this creative community throughout the course of the war. Their final move was to Seven Stars, Cuddington on the Buckinghamshire and Oxfordshire border to be nearer to Oxford. Percy Horton was appointed Ruskin Master of Drawing at the Ruskin School, University of Oxford and Joan became his secretary. Horton employed Geoffrey as a tutor at the School and this began a very long relationship with the Ruskin, which was then housed in the Ashmolean Museum, and Oxford for both of them. Joan was a secretary to Percy Horton, then Richard Naish and in 1974 Philip Morsberger...

William Schock (American, 1913–1976) The Fisherman, c. 1955 Oil on canvas Signed lower right 26 x 40 inches 34 x 48 inches, framed William Schock was...

Sylvie by Paul-Louis Bolot (French 1918-2003) signed & dated 1981 signed oil on canvas canvas: 22 x 15 inches original oil painting condition: very good an...

"Seclusion I" Abstract Oil Painting 31.5" x 39" inch (1974) by Zaccaria Zeini Medium: oil on canvas Signed and dated Zaccaria El Zeini (1932 - 1993)...

A superb oil on panel nude portrait by the noted Scottish artist Sir Robin Philipson PRSA. A fabulous painting painted circa 1970, the composition three women in various states of un...

Antique American modernist oil painting by William Edward Starkweather (1879 - 1969). Oil on board. Framed. Signed lower right.

A French Impressionist view of an interior, oil on canvas, by Theo Arpen. The painting is signed bottom right and dated. Presented in a carved and gilt wood frame. A very charming a...

Antique American modernist interior scene oil painting. Oil on canvas. Framed.

Blue Flowers, Purple Table by Helen Greenfield (British 20th century) oil painting on board, unframed board: 20 x 14 inches condition: overall very g...

Genre: Impressionist Subject: People Medium: Oil Surface: Panel Frederick Serger (given name Frederick Bedrick Sinaberger) was born in 1889 to a family of Jewish manufacturers in the village of Ivancice near Brno Moravia, a province of Czechoslovakia. Showing artistic talent at a young age, he attended art schools in Brno, Vienna, and Munich. During World War I, Serger joined the Austrian Army...

The artwork measures 18" x 24", and the frame 25" x 29.5" x 1.75". Upon request a video clip of this work may be provided. About this artist: Julio De Diego crafted a formidable per...

Roses in Glass Bowl by A. Nikolsky signed oil on canvas, framed dated 1976 framed: 25 x 35 inches canvas: 20 x 30 inches provenance: private collection, England condition: very good ...

ARTIST: Sonia Mervyn (1893-1977) British TITLE: "Still Life of White Peonies" SIGNED: lower right MEDIUM: oil on board SIZE: 65cm x 55cm inc frame CONDITION: excellent DETAIL: Studied under Ralph Todd at Regent Street School Of Art London. Exhibited at all the leading London galleries, including Beaux Arts and Leicester Galleries, RA, NEAC and had pictures toured by AB and Arts Council GB. Her work drew admiring letters from Sir Alfred Munnings, Sir Stanley Spencer, Dame Ethel Walker...

A quaint interior scene of clothes hanging & drying by artist Harold Haydon. Harold Emerson Haydon was born in Fort William, Ontario, Canada in 1909. Haydon came to Chicago with h...

"Garden Roses" in a Vase Still Life by Masayoshi Himeno Beautiful still life oil painting on canvas of a vase of multicolored Garden Roses sitting upon a table with a background in hues of green and red by Masayoshi (Masara) Himeno (Japanese/American, 19th-20th century). A green vase is the focal point as it sits upon a table with red, pink and yellow roses in full bloom. The artist uses a oil wet brush technique similar to a watercolor artist. Masayoshi a possible San Francisco Bay area artist who emigrated to America form Japan. Signed "M. Himeno" lower right. Presented in a giltwood frame. Image: 19" W x 23"H. Frame: 26"W x 30"H. Signed on verso, artists label, Japanese Kanji...

Stamped, verso, with estate stamp for Victor Di Gesu (American, 1914-1988) and painted circa 1955. Winner of the Prix Othon Friesz, Victor di Gesu first attended the Los Angeles Art...

Studio Interior Scene Mid 20th Century American Modern WPA Still Life Realism The painting measures 10 x 12 inches. Framed, the work is 13 1/4 x 15 1/...

The Reclining Model French School, mid 20th century signed Labat oil on canvas, unframed board: 18 x 24 inches provenance: private collection, France condition: very good and sound c...

Frederick McNamara Evans (English, 1859-1929) Signed: F.M. Evans (Lower, Left) " A Game of Patience ", circa 1900 (Titled in pencil on verso and original label.) Watercolor on pape...

STILL LIFE WITH LAMP Size: 61 x 72.5 cm (including frame) Oil on canvas A beautifully textured and very expressive still life composition, executed in oil onto canvas and dated 1959...

Texas artist John Cook paints with a passion, compelled to capture Impressionist images on canvas or watercolor paper. ''I see beauty in God' s creation, and I strive to capture a gl...

A large scale 1950s French society portrait by Anne-Marie Joly. The painting is signed and dated bottom right. Presented in a magnificent carved wood...

This charming Edwardian Scottish full length portrait oil painting is by noted Scottish portrait artist George Fiddes Watt. Painted circa 1910, the sitter is Muriel Sutherland, daugh...

"Moulid Ya Donia" Abstract Oil Painting 29.5" x 37" in (1991) by Zaccaria Zeini Medium: oil on canvas Signed and dated Zaccaria El Zeini (1932 - 1993) was raised in the popular di...

Early 20th century Impressionist still life of flowers in a Faïance tureen. Signed bottom right by the artist but as yet undeciphered. Presented in a period painted wooden frame. A ...

Wonderful English Abstract scene of an interior with still life, landscape and table top. William Yates painted exciting colorful vibrant scenes often of interiors and abstract fig...

"Domicile I" Abstract Oil Painting 28" x 39" in (1966) by Zaccaria Zeini Medium: oil on canvas Signed and dated Comes in old original frame Zaccaria El Zeini (1932 - 1993) was ra...

Large scale mid 20th Century French, oil on board, still life, tablescape, interior view, by Claude Barthélémy. Signed bottom left, presented in fine carved wood and gilt frame, with...

Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina in the dressing room, 1924. Pastel on painting cardboard, 65 x 45 cm, 77,5 x 59,5 (frame), signed lower left "Stohner" and dated "[19]24". Behind glass in gold stucco frame of the time. - Painting cardboard slightly warped, in the lower area minimally stained, frame with age patina and traces of abrasion. - The Naturalness of Artificiality - We see a ballerina putting on her right ballet shoe while the left one is still lying on the floor in front of her. It is precisely the casualness of the scene that gives it its intimacy: the blonde young woman is completely absorbed in the activity of getting ready for the dance, oblivious to us, while we are positioned right in front of her in the dressing room, inaccessible to the audience, watching her dress. Even though she does not yet perform a dance step, there is a graceful elegance in the action shown that seems quite natural in contrast to the rehearsed art form of dance. The young woman is not presenting herself to an audience in a perfectly formed movement, but is performing an everyday action, unaware that she is being watched. Concentrated, almost devotional, she pulls the ballet slipper over the verses, not noticing that one of the straps of the tutu has slipped off her shoulder, reinforcing the erotic moment of the scene. Inspired by Edgar Degas, Karl Stohner has painted the scene in strong pastel tones. The dominant blues and turquoises give the scene a magical, mysterious quality and, like the pink of the stockings and ballet slippers, are borrowed from Degas's dancers. Degas's colors, however, are cooler tempered, which is particularly evident in the light impasto applied incarnate. This is where the vividness of Auguste Renoir comes into play, making the dancer seem entirely flesh and blood. Karl Stohner, who has studied the pastels of Degas and Renoir intensively, combines the two artists here to create his own pictorial language. He has laid out the background in broad layers of strokes, ranging in color from white to turquoise to dark blue. The result is a dynamic, pattern-like structure that contrasts with the woman's calm, inward-looking posture. The fund anticipates the dynamics of the choreography of the dance for which the ballerina is preparing. At the same time, the broad pastel line in the background is an adequate means of painting to depict the soft, flowing elegance of the dancer. About the artist Against the wishes of his wealthy parents, Karl Stohner decided to become a painter. His talent was discovered by the director of the Mannheim Art Gallery, Fritz Wichert, who supported him from then on, including financing study trips to Paris. There he discovered the art of Degas, Cézanne and Renoir, which inspired his work. GERMAN VERSION Karl Stohner (1894 Mannheim - 1957 Paris), Ballerina im Ankleideraum, 1924. Pastell auf Malkarton, 65 x 45 cm, 77,5 x 59,5 (Rahmen), unten links mit „Stohner“ signiert und auf „[19]24“ datiert. Hinter Glas im Goldstuckrahmen der Zeit. - Malkarton leicht verzogen, im unteren Bereich minimal fleckig, Rahmen mit Alterspatina und Abriebspuren - Die Natürlichkeit der Kunstform - Wir sehen eine Ballerina, die sich den rechten Ballettschuh anzieht, während der linke noch vor ihr auf dem Boden liegt. Gerade aus der Beiläufigkeit der Szenerie speist sich ihre Intimität: Die blonde...

Interior, Girl, 1962, we send the work anywhere Shipping included OLGA BOGAEVSKAJA (Moscow, 1916 – St. Petersburg, 2000) Works by Olga Bogaevskaja can be found in various private c...

"Madam Suburbia #III - Doing Dishes" Figurative in Oil on Canvas African-American woman at her kitchen sink by Patricia Gren Hayes (Canadian/American, b....

Very well painted late 20th century oil on canvas of impressionist flowers. The artist was a painter of flowers, interiors and figure subjects. His work is always very interestin...