Interior Paintings

Vibrant contemporary still-life with bold primary colors of a red apple and blue mug on a yellow table cloth with a bottle of wine by E. Star (American, 20th century). Presented in a...

This charming ex Christie's Victorian Orientalist oil painting is by noted French exhibited artist Lucien Laurent Gsell. The painting dates to around 1900 and portrays a beautiful yo...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas cardboard. Work measurements 35x27 cm. Frame 40x32 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Spani...

Title: Modern French Oil Painting Still Life with Glass Bottles and Fruit in Blue Tones by Bernadette Kelly (French b. 1933) Unsigned Medium: oil painting on board, unframed Painting...

This fantastic British 1940's figurative interior oil painting is by noted artist Leonard Fuller. Painted circa 1940, the colourful composition is looking into a busy Woolworths stor...

Finely painted American modernist portrait painting by Louis George Bouche (1896 - 1969) . Framed. Oil on canvas. Signed verso. Image s...

Unfinished Problem, by 1953, oil on canvas, signed lower right, signed and inscribed verso on stretcher “Charles Goeller/1272 Clinton Place, Elizabeth, NJ...

This charming oil painting is by British female artist Agnes L Reid. Painted circa 1920 the painting is of a little boy playing on the floor with his train set, with balloons and a b...

Title: French Impressionist Oil Painting of Elegant Figures in a Park by Bernadette Kelly (French b. 1933) Unsigned Medium: oil painting on board, unframed Painting size: 4.75 inches...

Artist/ School: French School, signed lower left, circa 1970's Title: The Interior. Medium: oil painting, on canvas, framed. Size: frame: 25 x 41inches painting: 23.5 x...

Rene Genis (French 1922-2004) Acrylic on paper mounted on mat board. Image size is 7 1/2" x 6 3/4" laid down on mat board 24" x 16". Mat board could be resized to fit your frame. ...

Still Life with Fruit in Basket - Vintage Oil in Ornate Frame by British Artist Art measures 12 x 10 inches Frame measures 18.5 x 16.5 inches Roy Hodrien, born in Lancashire in M...

This mural study is part of our exhibition America Coast to Coast: Artists of the 1930s San Pedro Post Office: History of Writing Mural South, Preliminary Mural Maquette right panel...

Antique American modernist interior scene with two monkeys. Oil on canvas. No signature found. Framed. Image size, 39H x 26L.

Title: Modern French Oil Painting Figures at a Poolside with Pool House Interior by Bernadette Kelly (French b. 1933) Unsigned Medium: oil painting on board, unframed Painting size: ...

ARTIST: Guy Roddon (1919-2006) British TITLE: "French Cafe Street Scene" SIGNED: lower left MEDIUM: oil on board SIZE: 80cm x 70cm inc frame CONDITION: excellent DETAIL: Painter and teacher, born in London. After Bryanston School he studied at Goldsmiths’ College School of Art with James Bateman and Clive Gardiner, 1937–9, then at the Byam Shaw School of Drawing and Painting, 1939–40, with Ernest Jackson, and drawing at La Grande Chaumière, Paris. During World War II he served in Royal Engineers before transferring to the Camouflage Unit, which included Frederick Gore, Oliver Messel, Roland Penrose and Claude Rogers. Roddon spent part of the war stationed in the Old Assembly Rooms, Norwich, as a camouflage instructor alongside Messel and Penrose. From 1948–50, he taught at Goldsmiths’; from 1960–1 was commissioned to paint The Stations of the Cross and Resurrrection for St Thomas More, Patcham; from 1960–3 moved to Paris; rented Edwin John’s studio in Tite Street for 10 years; and began a series of portraits, sitters including the novelist L P Hartley, composer John Ireland...

Léon De Smet Ghent 1881 – 1966 Deurle Belgian Painter 'Still Life with Red Poppies' Signature: signed lower left and dated ’Léon De Smet 1921’ Medium: oil on canvas Dimensions: im...

Modernist artist studio scene. Framed. Oil and watercolor on paper. Signed. Image size, 22.5H by 17.5L.

Colourful Wild Flowers by Annie Faure (French 1940-2021) signed lower corner oil painting on canvas, unframed canvas size: 18 x 21.5 inches condition: overall very good, minor surfac...

George Luks An Actor Signed lower left Oil on canvas 18 x 24 inches Provenance Coe Kerr Gallery, New York, 1985 Manoogian Collection, Michigan Artist George Luks was one of a group...

Bold Still Life French Modernist, circa 1970-1980 period oil on canvas, unframed canvas : 22 x 29 inches Provenance: private collection, France Condition: very good condition Descri...

Apricots signed by Georges Bordonave (French contemporary) oil painting on board, unframed dated 1979 board: 18.5 x 21.5 inches condition: very good, a few minor scuffs to the edges ...

Bruce Kurland – Still Life with Decoy and Shells Oil on board, framed in antique gold leaf A master of intimacy and restraint, Bruce Kurland’s Still Life with Decoy and Shells is a ...

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...

Roses by Louise Alix (French, 1888-1980) *see notes below provenance stamp to the back oil painting on artist paper, unframed measures: 14.5 high by 12 inches wide condition: overal...

White Orchid by René GUINAND (French, 1892-1983), signed oil on canvas, in a wooden frame Framed: 33 x 25 inches Canvas : 32 x 24 inches Inscribed verso Provenance: private collectio...

Charming turn-of-20th Century interior painting that takes the viewer back to simpler times with grandmother, grandfather, mother sewing and a young girl playing with her greyhound a...

Nicely painted American modernist interior portrait oil painting. Framed. Oil on canvas. Signed. Image size, 28H by 22L.

The Artist at her Easel by Jean Dulac (French 1902-1968) signed oil on canvas, unframed canvas: 22 x 13 inches provenance: private collection, Lyon, France condition: very good and s...

French mid century oil on board of an interior by Léon Nancey. Though not signed the painting was acquired directly from the artist's atelier. This captivating painting depicts a b...

Still Life of Flowers in a Vase French School, mid 20th century signed oil on canvas, unframed canvas: 36 x 29 inches provenance: private collection, France condition: very good and ...

A mid century Expressionist oil on canvas of a man, child and cat in an interior with a cityscape beyond. The work is not signed but there are various notations to the top rear stret...

French Expressionist Still Life, oil on canvas by Jean Marie Gouttin. The painting is signed bottom left and presented in a fine carved wood and gilt frame. An intriguing compositio...

Manner of Emilio Greco, 20th Century oil on board, framed framed: 24 x 29 inches board: 16 x 20 inches provenance: private collection, England The painting is in very good and presen...

Interior Scene by Jacques COULAIS (1955-2011) oil painting on board unframed: 10.75 x 8.75 inches condition: excellent provenance: all the paintings we have for sale by this artist h...

Signed lower right, 'Find' for Ludvig Find (Danish, 1869-1945) and painted circa 1900. Ludvig Find first attended Copenhagen's School of Fine Arts and Kroyer's school (1888) before ...

Make an offer on the fabulous Figure Multiple painting by Giancarlo Impiglia, Italian/American (1940). Date: 1989 Oil on Canvas, signed, dated, and title...

Landscape. 1937, oil on cardboard, 34x40 cm Reinhold Kasparsons (born 13/9/1889 in Cēsis, died 14/1966 in Riga), painter. Born in a craftsman's family. Studied at Nītaure school, a...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 35x27 cm. Frame size 40x32 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Mid 20th Century oil on canvas portrait of a mother and child by the noted Franco Spanish artist Pere Modesto Luis Creixams. The painting is signed bottom left and presented in a very fine patinated wood frame. This vibrant painting portrays an intimate moment between a mother and her child, capturing the depth of their bond. Creixams employs a dynamic palette of blues, greens, and warm earthy tones, creating a harmonious contrast that emphasizes the tenderness of their connection. The mother, clad in a vivid, multi-hued garment, appears to be in motion, her gentle gaze focused intently on the child cradled in her arms. The child, painted with delicate brushstrokes, mirrors her affectionate expression. The background features abstract floral and geometric shapes, adding depth and complexity. The expressive use of brushwork and colour conveys emotion, movement, and warmth. This painting stands as a timeless celebration of maternal love and the nuances of human emotion. Its captivating composition invites viewers to engage with the serene yet dynamic energy of the scene. Pere Créixams (9 November 1893 – 1965) was a Spanish painter and illustrator. A figurative and self-taught painter, his work reflects both the sources of the School of Paris and Catalan painting. Throughout his life, he divided his time, between Spain, his native country, and France, his adopted country. Pere Créixams began his studies at the Escuela Moderna (the Modern School). He travelled in 1917 to Paris, in Montparnasse. He made his debut with François Bernouard, at La Belle Édition in 1917. The meeting with the writer Florent Fels was decisive. He introduced him to all of intellectual Paris: the poet, art critic and writer André Salmon who nicknamed him Pierre the Printer, the Swiss writer Blaise Cendrars, Max Jacob, André Malraux, Raymond Radiguet, André Salmon and the painter Amedeo Modigliani. Creixams continued his art under the advice of the painter Othon Friesz and it was the time of his first successes. He exhibited in 1921 at the Café du Parnasse and at the Galerie Montaigne in Paris. His portraits of women are marked by the style of the illustrious representative of the School of Paris, Amedeo Modigliani. Florent Fels introduced him to the famous Parisian art dealer Paul Guillaume, who was located at 39, rue La Boétie. The latter offered to sign a contract to commit to delivering all his artistic production to him from November 1921 to June 1922. Creixams' paintings are exhibited alongside those of André Derain, Pablo Picasso, Maurice de Vlaminck, Henri Matisse and Amedeo Modigliani... Subsequently, Creixams worked with the gallery owner Pierre Loeb with whom he signed a contract in 1925. Located at the corner of Rue de Seine and Rue des Beaux-Arts, the famous Pierre Gallery which, from 1927 to 1963, represented many artists who marked the twentieth century (Braque, Klee, Chirico, Derain, Dufy, Gromaire, Léger, Miro, Pascin, Picasso, Soutine, Masson, Man Ray...) In painting, he turned to his Spanish ancestors, El Greco, Francisco de Goya, Diego Velázquez in order to affirm their artistic heritage. His admiration for Pablo Picasso was also felt in his production of the 1920s and he learned the lesson of the painter of the poor, the acrobats and the guitarists. From 1922, he settled in Montmartre and frequented the former members of the Bateau-Lavoir such as Pablo Picasso, Max Jacob, André Salmon. His friends in Florent Fels' literary circle supported him and Creixams then became friends with writers. The painter became an illustrator and collaborated with the writer and publisher duo Pascal Pia and René Bonnel on the unpublished poem by Charles Baudelaire, published from the original manuscript, which he adorned with eight etchings. In 1928, he exhibited at the Salon d'Automne and also took part in the Salon des Indépendants and the Salon des Tuileries. Creixams made a name for itself by exhibiting in Parisian galleries and salons. (Salon des Indépendants, Salon d'Automne, Salon des Tuileries). In Paris, he befriended Catalan artists, like him exiled, or staying in the French capital, such as Joaquín Torres García, Eugenio d'Ors and Joan Miró. In Barcelona, in the same way, Creixams maintained friendships. His meeting with the critic and painter Rafael Benet opened the doors to the Barcelona artistic world. Creixams was a total success: he was presented in the city's avant-garde galleries, in salons and his works attracted the eye of collectors (Galeríe Dalmau, Sala Parés, Syra Art Galleries). He exhibits his works regularly at the Exposició de Primavera [Spring Exhibition], Saló de Montjuïc. Creixams' painting was first inspired by the Catalan noucentista. This movement, which began around 1906 and lasted until the beginning of the civil war in 1936, was artistic and political and proposed a renewal of society. Eugenio d'Ors, the theoretician of this new aesthetic, wanted an artistic regeneration in Catalonia. Then Creixams quickly evolved towards a popular and direct realism claimed by the new generation of artists called Generació del 17. His landscapes are very constructed, geometrized, the result of a great admiration for Paul Cézanne. Creixams' attachment to his country was manifested in regular visits to Catalonia throughout his life. The summer period was privileged and the small fishing village of Tossa de Mar welcomed the artist during many stays. These returns to Catalonia bring Creixams a new inspiration and a more personal style. Tossa, a haven of peace and a site of great beauty, became a real artistic and intellectual centre under his leadership. Creixams and Benet brought with them their Catalan friends: Emili Bosch Roger, Francesc Camps Ribera, Josep Gausachs, Francesc Domingo, Josep Mompou, Manuel Humbert, Emili Grau Sala, Enric Casanovas. But the attraction went beyond the Catalan borders thanks to the knowledge of the artist who invited his Parisian friends, writers, led by Florent Fels, Georges Charensol, Georges Duthuit and artists such as Albert Marquet, Roger Wild, Georges Kars and Marc Chagall. After spending the summer of 1934 in Tossa in the company of many artists, Creixams did not return to Paris and remained in Catalonia until 1937. In fact, he was appointed professor at the Escola Superior de Paisatge d'Olot. Then came the year 1937, marking a historical and political turning point for Catalonia and Spain. Creixams is artistically committed to the Republicans. It was at that time that the Catalan government chose him to illustrate a propaganda work published by the Commissariat de Propaganda de la Generalitat. He experienced the first armed clashes in Barcelona, but finally, as the situation deteriorated, he returned to live in Paris on February 20, 1937. He left Catalonia in the middle of the civil war and only returned after an eleven-year exile. Following his committed drawings, in 1939 he produced canvases illustrating the Retirada depicting the flight to France of thousands of Spanish Republicans. This return to France, during the Second World War, and the period of the Occupation were difficult. But Montmartre once again welcomed him with open arms and Creixams met up with his friends from the Butte, writers, painters and songwriters. He then became an essential figure in Montmartre alongside Marcel Aymé, Pierre Mac-Orlan, Gen Paul among others. The traditional party atmosphere that reigns in Montmartre suits the bon vivant character of Creixams perfectly. The distance from his native country for several years resulted in a painting with deep Spanish accents. Creixams,in 1938, again participated in the various Parisian salons. In addition, he exhibits as a Montmartre artist in group exhibitions but also alongside his Catalan compatriots. Regular solo exhibitions are devoted to him by Parisian galleries. (Delpierre Gallery, Petridès Gallery, Élysée Gallery, Charpentier Gallery...) Around 1940, Creixams met Nana de Herrera (1905-1991) and from their love was born a child, Ramon de Herrera. Nana de Herrera, a major figure in Parisian social life during the Roaring Twenties, is a Spanish classical ballet dancer. She was the model for Max Ponty for his design of the famous Gitanes cigarette packet (from the Seita). She also played a few film roles, both before and after the war. It is famous, among other things, for the portrait made by Tamara de Lempicka...

Still Life with White and Yellow Floral Arrangement Original Oil on Canvas Vibrant still life with thick impasto by Didi Fernandez (Filipino, 20th Century). A floral arrangement has...

Very impressive mid 20th century modernist interior view. So well painted with great color and bold expressive strokes. Signed illegibly. Housed in a period modernist frame. Oil ...

The Artist's Apartment Mid-Century Fauvist Interior Scene Original Oil on Canvas Vibrant interior scene by Santa Cruz California artist Frances Rinaldo (American, b. 1943). A bright...

Rima (English, 20th century) *see notes below signed oil on board, unframed board: 31 x 24 inches provenance: UK collection The painting has some scuffs and scratches but is essentia...

Rustic Orange Bouquet by Fanch Lel (French b. 1930) Size: 10.5 x 8.75 inches Oil painting on cardboard, unframed Condition: The painting is in good condition, with minor signs of agi...

Ernest Crichlow Portrait of a Woman, 1968 Signed and dated lower right Oil on canvas 55 x 40 inches Provenance Private Collection, Hempstead, New York Estate of the above A Harlem...

Bold use of chiaroscuro techniques and rich gold, green and red colors dominate this early painting, The Clientele, by California artist Christian Vincent...

Signed figures in interior oil on canvas circa 1910 by sought after French impressionist painter Edouard Leon Cortes. This charming and nostalgic work depicts a family enjoying dinner in a typical Breton kitchen scene. A man and lady are seated at the table while a woman serves them from a steaming pot. The light of an overhead oil burner illuminates the room. Signature: Signed lower right Dimensions: Framed: 26"x23" Unframed: 18"x15" Provenance: This work will be included in the supplement to Tome III of the Catalgue Raisonne of Edouard Cortes under preparation by Mme. Nicole Verdier This work is accompanied by a photo certificate from Mme. Nicole Verdier under reference EC221203/HT/GEO-241 Edouard Leon Cortes, the son of the painter Antonio Cortès, was sent to the front during World War I to sketch enemy positions. In civilian life, his base was in Lagny in the former studio of Cavallo-Peduzzi. Although he travelled extensively in France. Notably in Normandy, Brittany, the Champagne region and Savoy painting...

Red Tulips in a Vase by René GUINAND (1892-1983) dated verso oil on board, unframed Board: 20 x 16 inches Provenance: private collection, France Condition: couple of minor scuffs bu...

Mid 20th Century still life oil on canvas by noted French artist Jean Arène. Signed bottom middle, presented in fine wood frame with gilt filet. A very cha...

Artist/ School: French School, first half 20th century. Indistinctly signed to the lower corner. Title: Still Life of Flowers on a window sill, looking outside. Medium: oil paintin...

Signed lower right, 'Karl Larsen' (Danish, 1897-1977) and dated 1968. A substantial and vibrant Post-Impressionist oil still-life by this well-listed Danish modernist, winner of the...

G. Howard Hilder 1866-1935 Beautiful watercolor with many still life moments. A young family takes time for a quiet moment. The light in the painting is pleasant and calming. A yo...

Algerian women in an interior. Oil on panel. Signed. This work will be recorded in the catalogue raisonné of the work of the artist currently in preparation. Jules Van Biesbroeck w...

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

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...

Oil on board realized by Emile François Rouseau in 1910. Hand signed, dated and dedicated by the author. Includes a coeval gilded wooden frame.

Michael Frary (1918 - 2005) Austin Artist Image Size: 16 x 20 Frame Size: 17.5 x 21.5 Medium: Oil "Still Life Fruit" Biography Michael Frary (1918 - ...