Horizontal Interior Paintings

Canvas Size: 28 x 36" (71 x 91cm) Outside Frame Size 36 x 44" (91 x 111cm) It is signed on the middle right on the wooden window. This is a stunning painting of a racehorse signed and dated J F Herring Sen 1842. The horse is named above the water trough as Attilla. As Herring was a renowned painter of racehorses it is likely that this was done for a wealthy patron who owned several. Although he painted many of the winners of the St. Ledger Cup Attilla was not one of these. Free carriage worldwide John Frederick HERRING Snr 1795 – 1865 A sporting painter, born in Surrey of American/Dutch extraction. At first he was a sign and coach painter. He then worked as a stable boy and coachman in Yorkshire until with the help of patrons he was able to study with Abraham Cooper RA, the only art education he appears to have had. He specialised in racing subjects and his few hunting scenes are rare. Herring painted the start of the 1844 Derby, which became known as ‘the dirtiest Derby in history’. He sometimes collaborated with his three sons, J.F.Jnr, Benjamin Jnr and Charles. He also collaborated with James Pollard on a number of racing scenes inc. ‘The Doncaster Gold Cup’, 1838, ‘The Emperor of Russia’s Cup at Ascot’ 1845 and ‘The Dead Heat for the Doncaster Great St. Ledger’ 1849 Herring painted 33 successive winners of the St. Ledger and not surprisingly lived a large part of his life in the Doncaster area before settling in Newmarket in 1830 and then in London in 1835. He suffered serious financial difficulties after his move to London which, thanks to a great friend and patron William Taylor Copeland (1797 – 1868) head of the Spode Porcelain factory at Stoke on Trent, was resolved. He painted many pictures of the Copeland family, some of which were adapted and used as designs on the Spode china...

Still Life of a Vase of Red & White Flowers by 20th Century American Artist, Robert Cox (1934-2001) Art measures 24 x 20 inches Frame measures 29 x 25 inc...

Beautiful impressionistic bouquet of peonies is a wonderful wall decor, the painting is created in pleasant purple colours with blue background. The artwork is painted in the artist'...

In this piece, I aimed to capture the serene beauty of autumn, where the whisper of falling leaves and the soft, golden light create a peaceful retreat from the world. The lone figur...

The bird’s eye view and strong light on the mother-of-pearl of oysters and folds create this image. The medium used is oil on canvas, which captures the vibrant color, delicate textu...

Neutral Abstract, Muted Colours, Signed Oil Painting By French artist 'Jean Briant', 20th Century Signed by the artist on the lower right hand corner ...

Artist/ School: Swedish School, 20th century, indistinctly signed. Title: The cafe table. Medium: oil painting on canvas, framed Size: framed: 35...

A very beautiful large colorful abstract painting with many neon nuances, heavy relief textured with palette knife, vibrant and emotional. READY TO HANG - GALLERY QUALITY It's all ab...

The Card Players Flemish Old Master, 17th century based on a version (in reverse) of a painting by Cornelis de Vos (Flemish 1584-1651) oil on canvas, unframed Canvas: 39 x 62 inches ...

Rare early American fauvist interior scene. Great colors and composition. Oil on canvas. Nicely framed. Measuring 20 by 24 inches.

Whistlers Mother by Anonymous Artist Original Oil on Canvas 1924 Nicely executed painting after James McNeil Whistler of his mother by an anonymous artist (American, 19th-20th C.) I...

The Poor Poet German School, early 20th century after the original painting by Carl Spitzweg (c.1839) inscribed verso oil on board, framed framed: 15.5 x 17.5 inches board: 12 x 15 i...

The Young Puppy British School, 19th century indistinctly signed with a monogram oil on canvas, framed framed: 18.5 x 21 inches canvas: 14 x 16 inches provenance: private collection,...

Attributed to Antoine Felix Boisselier (19th Century) French 'Classical figures in a bed chamber Medium: oil on canvas, with inscription verso Size of pain...

These stunning spring narcissus are placed in a transparent vase. The bright yellow flowers create a vivid color contrast against the silvery blue background focusing the viewer's ey...

Pierre Coquet - Still life with red peppers Reference number F286 Framed with a natural oak wood floated frame. 51 x 60 cm frame included (46 x 55 cm wit...

Still Life with Fruit & Bread Rustic French Farmhouse Interior by 20th Century French Artist, Robert Chailloux (1913-2006). Art measures 29 x 23.5 in...

In this contemporary oil painting on canvas, a dining room interior scene is vibrant and colorful with an arrangement of flowers in a painted vase next to blue and white China teapot...

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...

Artist Sandra Batoni was born in Florence, Italy in 1953. Intrigued by art, she began painting at the age of fourteen. In 1973 she began to attend the ...

A bright and inviting interior scene with a still life arrangement of lemons in a blue and white painted fruit bowl beside a green, leafy plant in a blue and white vase on a striped,...

Impressive early American impressionist theatre interior painting. Oil on canvas. Framed. Signed. Image size, 30 by 36 inches.

Fashion is a term that is given to enhancing the personal style of clothing. People these days no longer want to dress up casually but they want to add an element of fashion in their...

Sargy Mann (1937-2015) Studio with standard lamp Signed, upper right Inscribed with title to the reverse Oil on board 48 x 60 inches Provenance: Cadogan Contemporary Private Collection Exhibited: Sargy Mann and Graham Giles, Christchurch Mansion, Ipswich, 1991 A truly beautiful work but also highly significant within Sargy's oeuvre. The painting dates to the late 1980s when Sargy and his family were living at 58 Lyndhurst Grove, SE15. Sadly by this time, Sargy's eyesight had greatly deteriorated to ‘“a very little, blurry, peripheral vision” in his left eye, (he was registered blind)....(he) found it a struggle to paint from direct observation and began to rely on short term memory and tape recordings. Working on a large scale, he taped canvas to the living room wall of the family home on Lyndhurst Grove, “rather as Bonnard had pinned primed canvas to his studio wall”’. The space depicted had initially been a dark, depressing attic space but this was transformed by the addition of some French windows. The painting has an almost abstracted quality with the two light sources creating pools of cool, luminescent energy radiating throughout the picture space. Peter Mann describes the paintings from Lyndhurst Grove as, ‘in some sense a precursor to the very late work, The little sitting room paintings...

Polidoro da Lanciano (Lanciano ca. 1515 - Venice 1565) workshop of - Madonna and Child with Saints John the Baptist and Catherine. 48.5 x 74.5 cm without frame, 65.5 x 90.5 cm with ...

Signed lower right, 'Dambourgez' for Edouard-Jean Dambourgez (French, 1844-1931), titled, 'Paris' and painted circa 1880. Titled with inscription, verso, on old backing, ''Taverne Pausset', grands boulevards a Paris". A fine and detailed, cabinet-size oil painting showing an elegant Parisian cafe and bar, the interior lit by luminous, floor-to-ceiling stained-glass windows and filled with fashionably-dressed patrons drinking and socializing beneath a haze of pipe and cigar smoke. A minor, period masterpiece, providing an animated view of the city's fin-de-siècle nightlife, and characterised by finely observed and fully-realized figures showing an unusual degree of both social commentary and psychological penetration. Edouard-Jean Dambourgez first studied with Jules Lefebvre and, subsequently, as an engraver and chromo-lithographer under Gustave Boulanger. In 1880, Dambourgez commenced exhibiting at the Salon des Artistes Français, and, in 1883, was elected a member of the Society. Throughout the 1880's, he exhibited frequently and with success at the major Paris salons including the Salon d'Automne, the Salon des Independants and the Salon des Champs-de-Mars. In 1884, he was commissioned by the Louvre to engrave all illustrations for the catalog to the Thiers Collection, recently bequeathed to the Museum. The recipient of numerous prizes, medals and juried awards, Dambourgez was awarded an honorable distinction by the Salon in 1888, and an honorable mention in 1891. In 1888, the critic Albert Wolff recommended his painting, 'A Cheese Shop', for inclusion at the Salon des Artistes Français. In 1891, the city of Paris bought his large canvas, 'The Cream and Cheese Market...

Purple lace of white peonies" realistic still life by Lilia Volskaya. Flowers are the ultimate delight in beauty, which is flawless. The slight curves of lines, tones and semitones, ...

Impressive early American exhibited pointillist still life oil painting by Katherine Kavanaugh Cahill (1884 - 1962). Framed. Oil on canvas. Signed. Image size, 20H by 24L. Art...

Large early 20th century French oil on canvas of tulips displayed in a confit jar. Signed Jean Julien to the bottom left and presented in a period frame. A rather charming and romantic impression of a tulip display. The colour palette is soft and gentle, light and airy and the artist has managed to impart to the whole painting a chalky texture which gives the impression of soft focus. The tulips are delicately painted but with great precision and attention to detail. The artist has thought carefully about both the scale and the shape of the image. The elongated rectangle is a perfect fit for the long ranging tulip stems. A thoroughly charming painting. Jean Pierre Louis Joseph Julien was a French painter born in Marseille on the 12th of May 1888. Julien was a member of the Salon des Artistes Français, friend of Marcel Pagnol, Fernandel, Raimu and Tino Rossi. Guy Dornand called him “the ambassador of Provence in Paris”. Between the wars, he stayed in Italy, travelled to North Africa and designed posters for tourism, murals and theatre sets, while remaining faithful to his hometown. He was a member of the 'Association des Marseillais de Paris.' along with his colleague Auguste Durand-Rosé. In 1933 Emmanuel Pontremoli, director of the École nationale supérieure des beaux-arts proposed a design project for a school in Rue Saint-Martin, Paris. Several artists were given the chance to compete for this opportunity. Jean Julien impressed and was given the task. Julien taught at the School of Fine Arts in Paris and was also a drawing teacher at the Polytechnic School. Jean Julien died in Sanary-sur-Mer on the 5th of September 1974.

French Post Impressionist, early 20th century, double sided, oil on panel still life of a group of Zinnias or Anemones by noted artist Louis Pastour. The subject is similar to the pa...

Constructive figurative oil painting on canvas in mixed technique with blue and violet tones. It is part of a series where I explore the relationships between animals and humans. It ...

Jack Russell Terrier Dogs English artist, signed and dated 1913 signed oil painting, framed framed: 15 x 18 inches painting: 12 x 15 inches Provenance: private collection, UK Condit...

In this vibrant tapestry of colors and forms, I've channeled my passion into every stroke, blending acrylics, oils, and colored pencils to craft a symphony of abstract energy. This p...

Artichokes, oil paint on paper on board ADDITIONAL INFORMATION: Kate Verrion [2024] Original painting Oil Paint on paper on board Complete size of framed work: 23.5 H x 28.5 W x 2 D...

Autumn Gift - Seasonal Harvest Still Life with Flowers by Albin Kern. This still life by Austrian-American painter Albin Kern (b. 1884, d. 1975) depicts a seasonal spread of gourds...

Impressive early American impressionist still life oil painting by Harriette Bowdoin (1880 - 1947). Framed. Oil on board. Signed. Image size, 18H by 22L.

Nadezda's beautiful new oil on panel painting "Smoking Lady" (2024) is an abstract portrait of a woman wearing a black dress smoking inside of her brightly colored house, she is stan...

In this very beautiful large colorful, bold, vivid abstract painting I inspired by my painter palette. The work have many neon nuances, many layers with heavy relief textured with pa...

Feeding Time, the Cottage Interior Scottish School, 19th century signed lower corner oil on board, framed framed: 19 x 24 inches board: 14.5 x 18 inches Provenance: private collecti...

A beautiful oil still life of a vase of assorted flowers, with two roses on the table. Unframed. Unsigned. Image, 16"H x 20"L.

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

"Ocean's Rhythm" – Original Oil Painting by Olga Nikitina This expressive oil painting by Olga Nikitina captures the dynamic essence of the underwater world, inspired by her persona...

Montisi Hilltop Signed by Minty Ramsey Medium: Watercolor on Paper Size: 11 x 15.25 inches Condition: Excellent, vivid colors, no damage Description: "Montisi Hilltop" is a tranquil...

Fruit and Flowers monoprint by Calman Shemi Calman Shemi, sculptor and painter, was born in Argentina in 1939. A graduate of the School of Sculpture and Ceramics in Mendoza, he studied under the Italian-Argentinean sculptor Libero Badii whom he credits with putting him on the right path. “He taught me principals, not only related to sculpture, but human and philosophic principals. Shemi also carefully studied the work of such masters as Pablo Picasso, Caravaggio, Frank Stella and Henri Matisse. “From each one of these great artists I learned something from observing them,” he says. In 1961, at the age of 20, Shemi immigrated to Israel and joined Kibbutz Carmia of which he was a member for twenty years. There he worked in agriculture and also as a sculptor working with wood and clay. Several of his large-scale fiberglass and polyester sculpture projects are situated in public buildings. He was a student of German-Israeli sculptor Rudi Lehmann, a pioneer of the artistic movement known as “Canaanism.” Canaanite art was an effort to create a direct relationship with the land, bypassing historic Jewish connotations—hence the land’s primordial name is used. Canaanite works, with an emphasis on the inter-action of simple shapes, bear a deliberate resemblance to the sculpture and ritual art of early civilizations of the Middle East prior to Judaism, always with an eye to the fusion of man and the land itself. Though sculpture dominated his early years as an artist, in the mid ’70s Shemi developed the idea of the “soft painting” medium. Beginning with a color drawing done to scale, Shemi layers onto the drawing irregularly shaped pieces of variously textured and colored fabrics. Using a threadless 9,000-needle sewing machine, the fabrics are meshed to one another and to the background, resulting in vibrant wool tapestry carpet compositions infused with exuberant color and explosive movement. Over the years, Shemi has continued to challenge himself with new artistic mediums, developing two more techniques of painting: “Lacquer paintings” and “window paintings.” He also works in monotype, lithograph and silkscreen techniques. He creates his Lacquer Painting by applying vibrant colors to wood or metal panel that has been gilded with gold or silver leaf, and sometimes both. After the oil paint has thoroughly dried, many layers of lacquer are applied to the surface giving it a glowing effect. Between each layer of lacquer the piece is hand-polished to give the surface its very shiny look. Shemi’s “lacquer” and “window” paintings are reminiscent of ancient techniques used centuries ago in Japan and China. Shemi concludes, “All of the art that I create is full of optimism and beauty. That’s all. Simple, very simple.” During the past eighteen years Shemi has held more than seventy one-man shows in the U.S., Japan, Germany, Spain, Belgium and Israel. His works can be seen in many public and private collections around the world. He is of a generation of contemporary Israeli artists, somewhat influenced by pop art that include Alex Pauker...

Discussing Ailments by ALEXANDER AUSTEN (1859-1924) signed with monogram oil on canvas, framed framed: 13.5 x 17 inches canvas: 9 x 12 inches Provenance: Private collection, Yorkshir...

This simple and elegant still life depicts a potted Geranium and a bowl of Oranges on a table decorated with a vase and a tablecloth. Clearly, the artist chose objets close to her he...

Up for sale is an antique original oil painting on canvas after Federico Mazzotta (Italian, 1839 - 1897) titled "Stealing a Taste". This painting depicts a warm domestic scene, ...

Richard Andres (American, 1927-2013) Untitled, c. 1949 oil on canvas 18 x 32 inches Richard Andres was born in Buffalo, New York in 1927. A graduate of the Cleveland Institute of Art in 1950, he was immediately drafted and served for two years in the army as a mural painter. He received his Master of Arts from Kent State in 1961. A frequent exhibitor at galleries and museums and winner of multiple May Show prizes, Andres taught art in the Cleveland Public Schools for 28 years, as well as teaching the University of Buffalo, the Cleveland Institute of Art and the Western Reserve University. Very little in Richard Andres’ childhood would have predicted his love of classical music, mid-century-modern architecture and certainly not his lifelong passion for art and in particular abstract art. Richard’s father, Raymond, had no more than a third-grade education, and his mother, Clara, was one of thirteen children – only three of whom lived into adulthood and none of whom attended high school. They lived, when Richard was a boy, in a dingy area of Buffalo, NY in a walk-up apartment situated above a tavern. Raymond and Clara supplemented the income from their factory jobs in the bar downstairs with Raymond playing ragtime on the piano and Clara serving drinks. This often left Richard and his two older brothers at home alone to fend for themselves. The two older boys, Raymond and Russell, were - unlike Richard- rather rough and tumble and entertained themselves with stickball, boxing and the like. Richard, on the other hand, from a very young age liked to draw, or better yet even, to paint with the small set of watercolors he received for Christmas one year. Paper, however, at the height of the depression, was hard to come by. Luckily, Clara used paper doilies as decoration for the apartment and Richard would contentedly paint and then cut up doilies, gluing the pieces together to create collages. At eight-years-old, he discovered the Albright-Knox Museum (then known as the Albright Art Gallery) and spent several hours a week there studying the paintings. He was particularly fond of Charles Burchfield‘s landscapes, enamored with their ‘messiness’ and thinking that they somehow captured more ‘feeling’ than works he was previously familiar with. For his tenth Christmas, he asked for and received a ‘how-to’ paint book by Elliot O’Hare. Through this self-teaching, he assembled the portfolio needed for acceptance to Buffalo Technical High School where he studied Advertising Arts. In his Junior year, he was encouraged to enter a watercolor painting, “Two Barns,” in the national 1944-45 Ingersoll Art Award Contest and was one of twelve grand prize winners – each one winning one hundred dollars. More importantly the painting was exhibited at the Carnegie Institute Galleries, which resulted in his winning a national scholarship to the Cleveland School of Art (The Cleveland Art Institute). He flourished at the art school under the tutelage of faculty members such as Carl Gaertner, as well as that of visiting artists such as William Sommer and Henry George Keller. He would say in later years that Gaertner, in particular, influenced his attitude toward life as well as art. “Gaertner,” Andres said, “believed that there was no need to be a ‘tortured artist’, that an artist should rather enjoy beauty, family, and life in general.” Free to spend his days as he chose, he wandered the Cleveland Art Museum for most of the hours he was not attending classes or painting; the remaining time was spent drinking coffee at a local hangout with art school friends – which is where he met fellow Henry Keller scholarship winner, Avis Johnson. Richard was immediately smitten with Avis, but being rather shy, it took him the entire summer of 1948 to build up his courage to ask her out. Over that summer he ‘thought about Avis’ and worked in a diner to save money. He also used the hundred-dollar prize money won in High School to visit the first Max Beckmann retrospective in the United States at the City Art Museum in St. Louis. Over a half century later he spoke of that exhibit with a reverence usually reserved for spiritual matters, “I walked in and it was like nothing I had ever seen before... the color...It just glowed.” Returning to campus in the Fall, the first thing he did was go to the coffee shop in hopes of finding Avis. He did, and she, upon seeing him, realized that she was also smitten with him. They quickly became known as ‘the couple’ on campus, and a year later, with Richard being drafted for the Korean war, they were quickly married by a Justice of the Peace, celebrating after with family at Avis’s Cleveland home. As a gift, faculty member John Paul Miller designed and made the simple gold wedding ring Avis wore for their 65 years of marriage. During those 65 years neither wavered in their mutual love, nor in the respect they shared for one another’s art. The couple lived in a converted chicken coop in Missouri while Richard was in boot camp. At the camp, he would volunteer for any job offered and one of those jobs ended up being painting road signs. His commander noticed how quickly and neatly he worked and gave him more painting work to do - eventually recommending him for a position painting murals for Army offices in Panama. Until her dying day, Avis remained angry that “The army got to keep those fabulous murals and they probably didn’t even know how wonderful they were.” In Panama, their first son, Mark, was born. After Richard’s discharge in 1953, they moved back to the Cleveland area and used the GI bill to attend Kent State gaining his BA in education. The small family then moved briefly to Buffalo, where Richard taught at the Albright Art School and the University of Buffalo – and their second son, Peter, was born. Richard had exhibited work in the Cleveland May Show and the Butler Art Museum during his art school years, and during the years in Buffalo, his work was exhibited at the gallery he had so loved as a child, the Albright Art Gallery. In 1956, the family moved back to the Cleveland area and Richard began teaching art at Lincoln West High School during the day while working toward his MA in art at Kent State in the evenings. Avis and Richard, with the help of an architect, designed their first home - a saltbox style house in Hudson, Ohio, and in 1958, their third son, Max (after Max Beckmann) was born. Richard enjoyed the consistency of teaching high school as well as the time it gave him to paint on the weekends and during the summer months. In 1961, he received his MA and his daughter, Claire, was born. With a fourth child, the house was much too small, and Avis and Richard began designing their second home. An admirer of MCM architecture, Richard’s favorite example of the style was the Farnsworth house – he often spoke of how the concepts behind this architectural style, particularly that of Mies van der Rohe, influenced his painting. Andres described himself as a 1950’s...

This early 20th-century oil painting by English artist John Falconar Slater (1857-1937) depicts a rustic cottage interior with an elderly lady reading. Slater was an accomplished, Ro...

As an artist, I poured my spirit into this artwork, invoking the raw feelings of freedom and adventure with each stroke. The vivid hues emanate a sense of hope and endless possibilit...

Early 20th Century Oil of French Stone Building entitled 'Interieur et Exteriuer' by the Award-Winning French Artist, Charles Perron (1893 – 1958). Presented in a beautiful ornate period gold frame...

Still Life of Flowers French Impressionist, circa 1900's oil on canvas, unframed canvas: 20 x 25.5 inches Provenance: private collection, Paris Condition: very good condition For m...

Up for sale is a phenomenal large antique original oil painting on canvas by listed British/Scottish artist Norman M Macdougall (UK,1852-1939) depicting a genre scene. Titled "Boy re...

Charming interior scene by a unknown artist (American, 20th Century). Slanting light enters the room from the viewer's left, illuminating part of the large desk at the center of the ...