Framed Interior Paintings

Medium: Oil on Canvas with an Element of Collage Signature: Signed Lower Left Original cover illustration for The Saturday Evening Post, February 27th, 1954. The Post described, “...

"Reverie I" Abstract Oil Painting 38" x 60" inch by Ashraf Zamzami Ashraf El Zamzami was a graduate of the Academy of Fine Arts in Minya, and he fast made a name for himself in the ...

Miriam Schapiro Cabinet, 1999 Fabric, Rickrack, photography, magazine images, greeting cards, lithography, collage, text Hand Signed and dated by the artist on the lower right front ...

This painting is in excellent condition and has only been shown in a gallery. This painting features the beautiful Art Deco interior of the Beef Bar Restaurant in Paris. Her works were recently featured in the March issue of American Art Collector magazine 2022. A hardbound-book is included with your purchase. Whether depicting lively night parties on the beach, Parisian streets, or bustling sidewalk cafes of her native Madrid, the paintings of Paloma Hinojosa...

Still Life by Paul Flaubert (1928-1994, French) signed oil on canvas, framed framed: 17 x 24 inches canvas: 15 x 22 inches provenance: private collection, France condition: very good...

An fine period watercolor, dated 1910, an illustration by Charles Edmund Brock (English, 1870-1938). This, from a semi-autobiographical novel written by William Makepeace Thackeray, ...

Still life / stilleben by Swedish painter Emil Johan Olsson (1890-1964) depicting a bowl of plums arranged before a bookshelf in a quietly balanced interior. Expressive brushwork, su...

Nadezda's beautiful handmade oil on panel painting "Listening" (2025) is a portrait of a woman dressed in an intricate gothic outfit, resting with her legs to the side and hands clas...

Nicolai Cikovsky Moses Soyer Painting in his Studio Signed lower right Oil on board 18 x 15 inches Nicolai S. Cikovsky (1894–1984) was a distinguished Russian-born painter celebrat...

Mediterranean Figurative Painting of Vagabond and Daughter Spanish Modern Artist: Albert Roca Title: The Vagabond and His Daughter Medium: Oil on board Period: Circa 1990 Dimensions artwork: 70 × 50 cm (27.56 × 19.69 in) Dimensions with frame: 83 × 63 cm (32.68 × 24.80 in) Signature: Signed lower right Condition: Very good vintage condition. Minor wear consistent with age. Frame included. Style: Modern Figurative / Mediterranean Expressionism Origin: Spain DESCRIPTION A deeply human and emotionally resonant figurative composition by Spanish painter Albert Roca, depicting an elderly vagabond seated beside a sleeping young girl wrapped in a red shawl. The painting captures a rare balance between tenderness and hardship. The old man’s weary expression contrasts with the peaceful innocence of the child, creating a quietly cinematic scene filled with psychological depth. The small travel sack resting beside them transforms the image into a visual poem about exile, protection and survival. Executed with loose, expressive brushwork and a warm Mediterranean palette of dusty pinks, violets and earthy browns, the composition possesses the direct emotional clarity associated with mid-century European figurative painting. The simplified forms and softened contours give the work a timeless, almost neo-expressionist atmosphere. Albert Roca demonstrates a remarkable ability to humanize marginal characters without sentimentality. The result is a painting that feels intimate, melancholic and profoundly decorative at the same time. An exceptional piece for collectors of Spanish figurative art, modern European painting, emotional portraiture or Mediterranean interiors with soul and narrative presence. This type of emotionally charged figurative scene performs especially well in sophisticated interiors because it immediately creates conversation, atmosphere and psychological texture. It has the rare quality of feeling both humble and monumental. Like a forgotten frame from an arthouse film discovered in a trunk at a railway station somewhere between Barcelona and memory. ARTISTIC CONTEXT This work evokes elements of European social realism and Mediterranean figurative traditions, recalling certain emotional qualities found in the works of Bernard Buffet, early Picasso blue-period humanity, Catalan postwar figurative painters and French expressionist narrative scenes. The combination of simplified anatomy, expressive brushstroke and emotional storytelling gives the painting strong decorative power while maintaining genuine narrative depth. ARTIST BIO Albert Roca is a Spanish painter known for his landscapes and figurative compositions, particularly appreciated for his psychological approach to character depiction. His work has received awards in Spanish and European art competitions and has been exhibited extensively in Spain and France. His paintings are also regularly displayed aboard French CroisiEurope cruise ships, reflecting the broad decorative appeal of his Mediterranean-inspired visual language. Spanish figurative painting, Mediterranean painting, modern European art, emotional portrait, social realism, expressionist figurative art, old man painting...

A Room With a View Stig Wernheden (1921-1997) signed oil painting on canvas, in a wooden frame framed: 28 x 24 inches canvas: 27.5 x 23.5 inches provena...

DESCHIENS – ASTRUC (1861) Table settings with Orchids Oil on canvas signed down right Frame gilded with gold leaves Dim canvas : 82 X 116 cm Dim Frame : 107 X 141 cm DESCHIENS – ASTRUC Pauline Hélène (1861-NC) French school 19th - 20th century Born the 25th of August 1861 in Angers Painter of flowers and marines. Pupil of Pierre Bourgogne...

Original paper cut colourful artwork by Emma Levine. Discover new works by Emma Levine available to buy online and in our art gallery at Wychwood Art. "I followed working in London f...

Colorful geometric figurative painting with smiling symbolic figure, checkerboard patterns and playful contemporary interior composition. This contemporary acrylic on canvas paintin...

Oil on canvas Canvas size: 8.75 x 6.5 inches Framed size: 13.5 x 11.5 inches Signed and dated '1869' lower right

Richard Andres (American, 1927-2013) Magic Garden, c. 1962 oil on canvas signed lower left, signed and titled verso 50 x 42 inches Richard Andres was born in Buffalo, New York in 19...

Mid Century Post-Impressionist Still Life with Shoes and Flowers, Spanish Oil on Paper, Framed, c.1980 Artist: Carmen Espel (b. 1926, Spanish) Title: Untitled (Still Life with Shoes and Flowers) Date: circa 1980 Medium: Oil on paper Dimensions (image): Height: 70 cm (27.56 in) Width: 50 cm (19.69 in) Frame dimensions: Height: 75 cm (29.53 in) Width: 55 cm (21.65 in) Condition: Good overall condition. Minor signs of age consistent with medium and period. Paper stable. Colors remain vivid and well preserved. Frame: Original wooden frame included Style: Post-Impressionist Period: Late 20th Century (1980–1989) Origin: Spain A bold and characterful post-impressionist still life that plays with contrast, texture, and narrative. At first glance, it’s a simple composition: a pair of worn shoes, a ceramic pot with vivid flowers, and a glass bottle. But the execution transforms the scene into something far more engaging. The brushwork is energetic, almost tactile, and the color palette—rich reds, deep greens, and earthy browns—creates a strong visual rhythm. There’s a subtle tension here: elegance versus use, beauty versus everyday life. The shoes feel lived-in, the flowers freshly alive, the bottle quietly observing. It’s not just a still life—it’s a moment suspended between presence and absence. From a collector’s standpoint, figurative still lifes with personality and strong color contrast perform consistently well, especially when they include relatable objects and a decorative yet expressive quality. This is a piece that adds warmth, story, and visual interest to a space without being predictable. Carmen Espel (born 1926, Barcelona) is a Spanish painter associated with post-impressionist tendencies. A disciple of Ramón Sanvisens and Teresa Llàcer, she developed a vibrant and expressive style focused on landscapes, still lifes, and floral compositions. Her work is characterized by strong color contrasts and a confident, gestural brushstroke rooted in the Catalan artistic tradition of the late 20th century. Still life painting...

This captivating post-Impressionist portrait is by American artist David L Swasey circa 1953. The painting depicts a seated woman, turning to look at the artist with stunning blue ey...

Oil on canvas by Roger Charles Halbique (1900-1977), France, 1950s. Still Life With Roses. With frame: 85x98 cm - without frame: 60x73cm. 20F format. Signed lower left "R. Halbique"....

EDUARDO LEÓN GARRIDO Spanish, 1856- 1949 THE PAINTER AND HIS MODEL signed "E. L Garrido" (lower right) oil on mahogany wood panel 19-3/4 x 24-1/8 inches (50 x 61 cm.) framed: 28-1/2 x 32-3/4 inches (72 x 83 cm.) PROVENANCE Private Spanish Collector Eduardo León Garrido (Madrid, 1856 - Caen, 1949) was a Spanish painter. He began his training at the Higher School of Painting in Madrid and as a disciple in Vicente Palmaroli...

Introducing a captivating oil painting by Johan Christoffer Boklund (1817-1880). The artwork depicts a young boy practicing his painting skills. Seated beside him is a wooden horse t...

Antique American illustration oil painting by Al Moore (1912 - 1991). Oil on board. Signed upper left hidden on the calendar in block lettering. Framed. Measuring: 19 by 26 inches ov...

Ed Kleubühler – “Waldweiher,” Signed Swiss Oil Landscape Painting, circa 1950s Ed Kleubühler (Swiss School, 20th Century). Inscribed by the artist on the reverse. Oil on canvas Sign...

Impressive early American modernist flower still life painting by Henrietta Elizabeth Dodd Hoopes (1904 - 1996). Oil on board. Framed. Signed. Image size, 22 by 15 inches.

This is a small colourful abstract painting. The painting is framed in a black wooden frame, ready to hang. (size framed: 34x34x3,5 cm) Please feel free to ask any questions if need...

Geometric figurative interior painting with anthropomorphic objects, symbolic still life elements and vivid contemporary color relationships. Carrot Man is an acrylic on canvas pain...

Charming 17th-century genre scene, attributed to the entourage of Adriaen van Ostade, and appraised by Cabinet Turquin. The work vividly illustrates a lively peasant interior, where ...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

Still Life with Daises and Wisteria in Acrylic on Masonite Still life by a window by Richard M. Bacon (American, 20th Century). A still life with a bouquet, a glass of wine, and a b...

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...

Excellent example of Pearson's work in 33" x 38" 23k gold leaf, custom frame. Signed lower left.

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...

Oil on board Board size: 8 x 6 inches Framed size: 15 x 13 inches Signed and dated '56 lower right

minimal, flowers, interior, vase with flowers, white Enzo FARAONI (S. Stefano Magra, La Spezia, 1920) Enzo Faraoni is a great painter and engraver from Florence; he expresses the po...

Spanish Goyesque Scene Watercolor Romantic Costumbrista Painting Artist: José Luis Florit Rodero (1909-2000) Title: Goyesque Scene Medium: Wat...

Champagne, Flowers and Fruit is an original painting by Diana Forbes. There is magic in the clink of glasses, smiles and cheer, a gathering of friends and family. Additional informa...

Luis Giner Bueno - Interior with woman - Oil on canvas Oil measurements 27x41 cm. Frame measurements 50x64 cm. Giner Bueno (1935-2000) Painter from Alicante, son of the painter L...

Gorgeous cask and copper pot still life by Susan Lyons (American, 20th Century). Presented in a wooden frame. Signed "Lyons" and dated "95" lower right. Image size, 28"H x 30"W. Sus...

Fine 20th Century French Modernist Oil Painting by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE signed oil on canvas, framed framed: 22 x 33 inches canvas: 21.5 x 32 in...

Title: Pensées Entrelacées Oil on canvas – 39.37 × 39.37 in (100 × 100 cm) Framed: 42.13 × 42.13 in (107 × 107 cm) – Natural wood floater frame (black optional) Signed lower right – ...

Portrait of a Japanese Woman wearing Traditional Kimono Oil on wood panel signed upper right with a japanese ideogram Signature unread Other portrai...

ÁNGEL MARÍA CORTELLINI Spanish, 1819 - 1887 CONVERSANDO signed "Cortellini" (lower right) oil on canvas 13-1/4 x 11 inches (33.5 x 28 cm.) framed: 17-1/4 x 15 (44 x 38 cm.) Ángel María Cortellini. Sanlúcar de Barrameda (Cádiz), 27.09.1819 – Madrid, 1887. Painter. Ángel María Cortellini was born in Sanlúcar de Barrameda on September 27, 1819, to an Italian father and a Spanish and Sanlúcar mother. Contrary to family opinion, he decided to dedicate himself to painting and already, at the age of nine, he was enrolled in a drawing academy in his hometown. They soon sent him to Seville, where he was a disciple of Joaquín Domínguez Bécquer...

"Bluuuured Reality" is an abstract expressionist piece that captures the disorienting vibrancy of a fragmented perception. Painted in bold strokes of acrylic on a panel, the artwork ...

This piece titled "Left Behind" is an original artwork by Yelena Bryksenkova and is made of acrylic gouache and colored pencil on paper. It measures 13.25"h x 11.25"w framed and is s...

JOAN SERRA MELGOSA (Lleida, 1899 – Barcelona, 1970). "Artist's Studio Interior, Oil on Board by Joan Serra Melgosa." Oil on board. Signed lower right. Original title: "Interior." Dat...

Still Life by Laure Noetzin-Azam (French 1929-2024) pupil of André LHOTE oil on canvas, unframed canvas: 24 x 29 inches Provenance: all the paintings we have by this artist have come...

A MOMENT TO READ Size: 74 x 59.5 cm (including frame) Oil on canvas A contemplative mid-century interior scene that captures a solitary figure absorbed in reading, positioned beside...

Nadezda's "Jasmine" (2025) is a beautiful handmade oil painting on panel. Part of her 2026 solo exhibition "She is Garden", this piece depicts a portrait of a woman stepping out from...

ARIEH ALLWEIL (ARIE ALWEIL) 1901-1967 Galicia 1901-1967 Safed, Israel (Ukrainian/Polish/Israeli) Arieh Allweil, born 1901, Galicia. Immigrated to Palestine in 1920. Studies: 1921-25...

WPA American Scene Social Realism Mid 20th Century Modern Postal Workers Deco SR Arnold Friedman (American, 1874-1946) "Swing Room" 11 1/2 x 26 1/2 inches Oil on Wood Panel, 1935, ...

The Progressive Farmer magazine cover, January 1958 This dynamic scene of a mid-century New Year's Eve party captures the excitement across generations. While adults eagerly anticipate midnight, children watch from the staircase, and an older couple in the background enjoys a quiet moment together at the buffet table. Sarnoff's use of diagonals brings the scene to life, and the inclusion of noisemakers evokes the festive atmosphere. Created as a cover for the January 1958 issue of The Progressive Farmer, this is a prime example of Sarnoff's vibrant style. Approximate Date: 1958 Medium: Oil on Board Signature: Signed Lower Right Size: 25.00" x 22.00" Exhibited: Masters of the Golden Age: Harvey Dunn and His Students South Dakota Art Museum, Brookings, South Dakota May 5, 2015 - September 13, 2015 Norman Rockwell Museum...

"The Path, Derbyshire" is an original oil on board and measures 36x48 inches. This impressionistic painting captures the intricate details a long path through the town of Derbyshire ...

Nadezda's beautiful handmade oil on panel portrait painting "Wisteria" (2025) depicts a young woman in a patterned white and cerulean dress, reaching up to the soft petals of a wiste...

Nerve Center, 2025 (Brightly colored Contemporary Painting of Interior with lush house plants and bright red chair, Framed) by Fred Cohen oil on canvas 36 x 36 inches, framed Fred C...

New Bedroom (Brightly Colored Contemporary oil painting of an Interior with House Plants and red chairs) Painted by Fred Cohen in 2024 oil on canvas 30 x 24 in. Fred Cohen’s painti...

Pieter Angillis (Dunkirk, 1685 – Rennes, Ille-et-Vilaine, 1734) Signature: the first signed 'P Angellis F(ecit)', at the base of the stone column in the lower right corner a) Banq...

Toulot Jules (1863-nc) Pianist officer in the Second Empire period Oil on canvas signed low right Old frame regilded with gold leaves Dim canvas : 65 X 43 cm Dim frame : 90 X 67 cm TOULOT Jules (1863-nc) French painter 19th century Born 11th November 1863 in Champeinx (Puy de Dôme...

Most of what you’re looking at here is empty. Not absence — space. The kind that makes a room feel larger just by being there, doing nothing in particular. This painting has more silence in it than colour. That’s not a flaw. That’s the point. A handful of roses, yellow and rose-pink, fall down the canvas in loose, uneven intervals — not crowded together, not reaching for each other. Bare linen stretches between them, wide and untouched, the silvered grey doing as much work as the flowers do. Looking at it feels less like looking at a garden and more like looking at the gaps between thoughts — the ones that are usually too quick to notice. There’s a particular kind of attention that opens up around restraint. When everything isn’t filled, the eye has somewhere to rest. Anastassia Skopp...

Max Herve (French, 1926-2018) La Clarinette et La Baignoire oil on canvas signed lower right 21.5 in. h x 25.75 in. w., canvas 28 in. h. x 31.25 in. w., as framed Max Hervé was an a...

Early 20th Century Summer Floral Still Life - Zinnias, Delphiniums, Corn Flowers Substantial and gorgeous early 20th Century still life of summer flowers in cream bowl with Zinnia, Delphiniums, and Corn Flowers with pink candle by Volney...