New York City - Interior Paintings

Image dimensions: 8 x 6 inches Framed dimensions: 16 x 14 inches An original oil study by the artist Jacob Collins. "Library Afternoon" is a study of the artist's home in Sharon, C...

Vintage American modernist abstract interior painting. Oil on canvas, circa 1930. No signature found. Image size, 20L x 16H. Framing available.

This is an oil painting done from life with the artist's young son''s large stuffed red Elmo in repose in front of the mirror. The painting is both tender and bold. It captures one...

"Two Bottles" American Scene Realism Mid 20th Century Female Artist WPA 1940's Helen Clark Oldfield "Two Bottles," 1943. Signed “Helen Oldfield” lower right. Oil on canvas board, 18 x 14 inches. Provenance: Estate of the Artist. Helen Clark Oldfield was born in Santa Rosa. Her father, James E. Clark, invested in local hops farms. He was a director of the first Santa Rosa Bank. Oldfield lived at 547 Mendocino Avenue, in one of the finest custom-built homes in town. She was the oldest child of the family. They spent summers in their beach cabin at Jenner-by-the-Sea. She was a good student and graduated from DeWitt Montgomery High in Santa Rosa with college standard grades. Unfortunately, this idyllic situation tumbled down suddenly. due to a fraud scandal at the Bank, her father forfeited most of his assets in order to make good on his client's losses. At the time when her high school friends were going east to college, Oldfield followed her family to a new life of farming. She found this life frustrating as there was little time for her interests after conclusion of her daily duties. Here she developed her natural gift for sophisticated needle work. At the time she also took a correspondence course in industrial design and became an expert tailor. Her family was not happy with the farming arrangement. They decided to move to Oakland. In 1921 they purchased a home at 318...

Grey Commuter Soft Geometry Series 2012 oil on canvas Consists of 8 modular pieces Each piece 12x9 inches Signed, dated and titled on the reverse side. Robert Petrick's artwork dr...

Robert W. Petrick City Life Acrylic on Canvas 36 x 36 x 1 inches This dynamic abstract "Construction" by Robert W. Petrick is inspired by city life. East Village, New York. Int...

"Liquid Path" 12x16x.5 acrylic on canvas 2018 Alphabet CIty / East Village, New York Signed, dated and titled on the reverse side. "Seminal direction e...

Pierre Bergian (Bruges, Belgium, b. 1965) explores the essence of space, depicting architectural interiors with an expressive line that renders them out of time. Bergian lives and wo...

We love this piece painted in relative monochromes of midnight blues and sage greys evoking stately strength and calm. 32 x 28 x 2 inches Oil paint, cold wax on canvas, stretched on...

Charles Blauvelt The Doubtful Bill, 1868 Signed and dated lower left Oil on canvas 12 1/4 x 9 1/2 inches Provenance: Private Collection, Connecticut...

This artist is a recipient of the Pollock-Krasner grant awarded to artists with established abilities, established by the wife of Jackson Pollock. We love the work of this artist bec...

When it came to decorating his residences, haute-couture iconoclast Karl Lagerfeld (1933–2019) was known for committing completely to a given style—and then dispensing with it. Follo...

The basis of Beatriz's painted scenes is an exploration of the construction of reality. She represents this by analyzing all the things that are contained in a given space — and what...

Oil on canvas signed and dated on reverse. Part ot a human and animal series by the artist ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic...

Brian Leo Time For Cake 2018 Acrylic tin stretched canvas 20 x 20 inches Brian Leo was born in New Jersey in 1976, and is currently living in New York City. He is a graduate of Rut...

Statement from Stephen Basso about “The Hypnotist” : “Some years ago I took a cruise for the first and probably the last time.I did not enjoy the experience but one night a show feat...

ABOUT Born in 1967, Piussi was raised in Florence where he studied at the Istituto d’arte, majoring in sculpture and painting and completing his artistic education at Milano’s Brera Art Academy. He lives in Florence, pursuing painting, bas-reliefs in terracotta and in bronze, and bronze sculpture. Piussi presents an ideal, almost childlike world which can be found below everyday events, a step outside the flow of time, yet still a part of contemporary life, with a nod to Alex Katz and David Hockney. The drama, or lack thereof, is played out in simplified, almost abstract spaces. Pure in intent, Piussi’s oeuvre are inspired by the Early Renaissance. Snapshot images of a world reduced to its essence, the apparently comic-book style has echoes of Giotto, Paolo Uccello, of medieval illuminations. Rather than mimicking the appearance of nature, Piussi reaches for its essence, without distracting details. Women stand on the shore of quintessentially peaceful seas, self-contained, at ease, unwitting replicas of classical goddesses - a proud diver echoes Neptune holding a trident. “Queen Kong...

Oil paint on canvas Doug Newton’s hyper-real paintings observe reality, explore translucency, reflections and luminosity, and dazzle the viewer with all the ways light can transform...

Windowsill Richard Mizdal, American (1944) Date: 1985 Oil on Canvas, signed and dated lower right Size: 54 x 40 in. (137.16 x 101.6 cm)

Les Carreaux Anciens Patrick Le Flohic, French (1952) Oil on canvas, signed lower left, titled on verso Size: 44.5 x 57.5 in. (113.03 x 146.05 cm)

Le Fauteuil aux Fleurs Patrick Le Flohic, French (1952) Oil on Canvas, signed lower right, titled on verso Size: 39.5 x 32 in. (100.33 x 81.28 cm) Frame Size: 45 x 38 inches

La Fauteil Patrick Le Flohic, French (1952 - ) Oil on Canvas, signed lower right, titled on verso Size: 35 x 45.5 in. (88.9 x 115.57 cm) Frame Size: 36.5 x 47 inches

oil on linen on mounted board *ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works a...

this is oil on wood panel with a rough sandy textured surface . it comes ready to hang with a black frame that nicey complements the color scheme

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...

This beautiful painting by Jeroen Allart is part of his minimalist landscape and interior painting he did in his home country the Netherlands. 'A farm st...

This is a stunning elegant, colourful and textured oil painting. Ekaterina Popova's intimate bedroom series capture the light subtleties and feelings of romantic contentment. Artis...

5162 Vintage American framed oil painting signed Linda Haber Image size 17x13"

Sofia Housou Alotrope Series oil on canvas 110 x 110 cm Sofia Housou’s post-abstract expressionist oeuvre operates in a dramatic background where colour becomes the vocabulary for ...

3586 Oil on canvas applied to board Set in an ornate 19th century vintage frame

This is a beautiful oil painting with earthy tones on canvas. 24x24x3.5 in. Oil paint, cold wax on canvas, Stretched on wood frame, painted around canvas, ready for installation Si...

Painting by a contemporary artist Audrey Ushenko. Audrey Ushenko works in the genre of narrative realism. Her works are rich, complex figurative and still life paintings. They are stories of recurring human issues often prompted by a twisted reality. Ushenko’s earlier works where primarily mythological and allegorical. Her later works are focused on depicting human situations and interactions of people who are both living and dead. These paintings represent social situations, timeless stories and enduring issues that are rendered with a contemporary twist. Always a significant element in Ms. Ushenko’s work is her integration of Venetian Renaissance methods of paint application with Impressionist color and light theory. The combination of the old masters’ technique of glazing the canvas and carefully layered surfaces of paint enhance the luminosity of Ushenko’s work. Audrey Ushenko has exhibited her work extensively throughout the United States including several shows at Denise Bibro Fine Art, NYC; the Fort Wayne Museum of Art, IN; The National Academy of Design, NYC; University Museum, Southeast Missouri State University, Cape Girardeau...

This is a stunning elegant, colourful and textured oil painting. Ekaterina Popova's intimate rooms series capture the light subtleties and feelings of romantic contentment. Artist ...

Painted on an arch shaped canvas signed on lower left and on reverse. ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provo...

5-3745 Oil on canvas board of a litter of kittens frolicking on a sofa

Artist: Avi Farin, Turkish/American (1943 - ) Title: Still Life with Mandolin Year: 2003 Medium: Oil on Canvas, signed l.r. Size: 30 x 24 in. ...

A charming oil painting depicting an interior scene of a mother and child reading together while sitting on a table round table with a mantel, and a window on the background with the...

This is an original 1/1 art work spray paint on canvas from the artist's show "Removers" at Krause Gallery in NYC. Kunstrasen is an established artist out of Germany with shows all o...

This is an original 1/1 art work spray paint on canvas from the artist's show "Removers" at Krause Gallery in NYC. Kunstrasen is an established artist out of Germany with shows all o...

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...

Ida Sedgwick Proper At the Claremont (View of the Hudson River and Palisades) circa 1912 Signed lower right Oil on canvas 45 1/4 x 57 1/2 inches Exhibited New York, Heterodoxy, Malv...

An original oil on canvas painting measuring 17 x 8 inches by F.S. Muschamp, signed lower right. In the nineteenth century, the Neo-Classical movement bloomed, bringing forth a new style and interpretation of the past. F. Sydney Muschamp...

Patron of the arts and sciences Ann Getty (1941–2020) brought the same bounteousness to her interiors as she did to her philanthropy, most notably at the 191...

Title: Dance Ball 1 Medium: Oil on canvas Size: 50.75 x 39.25 inches Frame: Framing options available! Condition: The painting is laid on the matt board and appears to be in exc...

A charming oil painting depicting an interior scene of an elegant woman crossing her legs, reclining on a chair. She exudes a calmness while we can feel the breeze coming through th...

5161 Interior scene tiger lillies in a blue vase on a window sill lookin thru a window. signed on verso Dznoweha

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...

2843a Oil on artist board set in a vintage gilt wood frame.Signed backwards by Judith M.Musaro 1971 Image size 11.5x9.5"

Oil on plywood signed and dated . Second of several works depicting butchers. Recently exhibited at the Bartow-Pell Museum on the Bronx NYC. ABOUT Stephen Basso Stephen Basso's h...

5-112 Italian oil on canvas Displayed in custom wood frame Image size 10.5x13.5" Signed A. Colli

Title: Bar 4 Medium: Oil on canvas Size: 35 x 35 inches Frame: Framing options available! Condition: The painting is laid on the matt board and appears to be in excellent condit...

This 20th-century still life by George Weissbolt is a masterful composition that exudes sophistication and quiet elegance. The painting captures a carefully arranged table setting fe...

A charming oil painting depicting an exterior summer scene of an elegant woman crossing her legs, reclining on a chair with her loved pet dog. She exudes a calmness while we can fee...

Addison Thomas Millar Lady in a Interior Oil on canvas board 14 x 10 inches Millar's father emigrated to the United States from Scotland in 1845. He grew up in Warren, Ohio. During his primary education, he took some painting lessons from John Bell, a local landscape painter. In his late teens, he won three consecutive awards from The Youth's Companion, in their annual art contests. This prompted his parents to allow him to go to Cincinnati to take formal lessons from the genre painter, De Scott...

Candid, straightforward paintings of various vintage objects. Depicted with painterly realism, natural styling and subtle, quiet narrative.

Giacomo Campi, excellent condition. Oil on canvas 26x42 inches.

5084 Mirror reflections of a French recling woman with artist in reflections in the mirror

Impressive contemporary still life oil painting by Stephen Heigh. Oil on canvas. Signed.