New York City - Interior Paintings

These paintings are a response to the stillness all around us that we sometimes forget to notice. In a world where we are constantly rushed and running from one thing to the next, th...

A whimsical oil painting depicting a Venetian Powder Room Scene with Figures getting ready for the masquerade. A truly intimate scene with a ornate mirror, flowers in a vase and whit...

Andrew Davis is a contemporary painter living and working in the Uk. Inspired by his home and surrounding area Andrew paints with a fresh energetic style, which gives his paintings a...

An original oil and sand painting on wood by Benjamin Benno, American (1901 - 1980) measuring 32 x 18.75 inches, signed and dated lower left. By...

An original oil painting on canvas by Benjamin Benno, American (1901 - 1980) measuring 24 x 30 inches, signed and dated upper left. By the early 1930's Benno had established a reput...

oil on board mounted in wooden frame suitable for immediate hanging the artist mixed synthetic pumice into the primer to create a rough textured surface.

An exquisite K.P.M. finely painted plaque, depicting a bejeweled beauty, seated on a curule chair, with impressed monogram and scepter mark and cyphers. Origin: Berlin Date: 19th c...

Artist: Tito Salomoni (1928 - 1989) Title: Always On Date: circa 1980 Medium: Oil on Canvas, signed lower right Size: 24 x 30 in. (60.96 x 76.2 cm) Frame...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

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...

oil on stretched canvas signed an dated on reverse. Basso's highly original pastels and oil paintings are romantic yet thought provoking narratives. His whimsical works are alive wit...

Artist: Pietro Bulloni, Italian (1947 - ) Title: La Tavola Year: 2010 Medium: Oil on Canvas, signed, dated, and titled verso Size: 23.5 in. x 23.5 in. (59.69...

Antique American oil painting of a southern courtyard by Charles Baskerville Jr (1896 - 1994). Oil on canvas, circa 1950. Signed. Displayed in a period frame. Image size, 18"L x...

This painting depicts a whimsical portrait of a young lady washing her laundry in front of a house. This piece was most likely executed in the 1930's, as the colors are darker than Z...

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

Robert Petrick's paintings connect the lyricism of language with the vibrancy of urban culture, especially the rich milieu around the East Village and Alphabet City. Rendered in colo...

Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagination, wry wit and fear...

Nasser Ovissi, (Iranian, Born 1934) "Four Blue Squares" oil on canvas painting. Very fine quality painting by Persian Artist Nasser Ovissi who is considered to be known as the "Picasso of Iran". This paintings is four in one. Each corner of the painting represents something else in the Middle-Eastern tradition. The top right corner is representing the passion for Arabian horses. The top left corner is representing the traditional fish and eyes against evil eye. The lower right corner is representing the traditional turquoise colored ceramics. The lower left corner is representing the Holy House of Prayer. Very interesting and unique combination, this painting will create a beautiful, warm energetic in any room that it's placed. A true, modern Iranian masterpiece. Oil on canvas, unframed. Signed. Size: 30" high x 40" wide Nasser Ovissi is an American-Iranian painter whose work is characterized by stylized figures of Arabic women and horses. Set amidst geometric patterns and decorative elements, his figures seem to merge into and out of the space behind them. “My work is dedicated to the beauty of life and I hope those who experience my work will walk away with an experience of beauty.” Born in Tehran, Iran in 1934, Ovissi studied Law and Political Sciences at the University of Tehran before studying Fine art at Beaux Fine Art in Rome. The artist has achieved numerous awards and honors, including being exhibited at the 1959 Paris Biennial and a grand prize at the 1962 Biennale of fine arts of Tehran. Ovissi lives and works in Reston, VA. His works are included in the collections of the Contemporary Art Museum in Madrid and the National Art Gallery of Greece in Athens. Artist Exhibitions: 1957 Tehran, First Prize 1959 Paris Biennial 1960 Tehran, Exhibition in Farhang Hall, during the International Congress of Music 1961 Exhibition in Bombay, India New Delhi, International Exhibition of Contemporary Art Tehran, Iran, First Prise in Drawing Competition 1962 Tehran Biennial (Abyaz Palace), Grand Prize of the Biennial Venice, Italy Biennial 1963 Paris, Museum of Modern Art; Exhibition of Iranian Painters Sao Paulo Biennial, Brazil 1964 Tehran Biennial, Grand Prize 1965 Rome, National Museum of Oriental Art 1966 Milan, San Fedele Gallery 1968 Rome: Gallery 88 Florence, International Biennial of Graphic Arts New York, Columbia University, Modern Iranian Art Italy, Gold Medal at the Campione International Salon 1969 Zurich, Huber Gallery 1970 Ankara, Fine Arts Gallery 1971 Rome, Temple University Athens, Fine Arts Salon New York, Columbia University Washington, Agra Gallery 1972 Paris, Autumn Salon, Grand Palais Paris, Guiot Gallery Ottawa, National Art Center Ottawa, University of Ottawa Baltimore, John Hopkins Gallery Brussels, Palace of Fine Arts 1973 Belgrade, Museum of Modern Art Monaco, International Art Exhibition (Grand Prize) 1976 Basel, Feriart 1977 Madrid, Bruaugut Gallery 1978 Valence, Artis Gallery 1978 Madrid, Contemporary Art Museum 1979 Caracas, Guipuzcoa Gallery 1981 Washington, D.C., Calvert Collection 1982 Dallas, International Art Exhibition 1983 Houston, Texas, Galeria Arte 1984 Pasadena, Pacific Asia Museum Washington, D.C., Calvert Collection Washington, D.C., World Bank New York, Leila Taghinia-Milani Gallery 1985 Paris (France), Mille et Une Nuits New York: Taghinia-Milani Gallery Washington, D.C., Calvert Collection 1986 New York, Mussavi Art Center Washington D.C., Fine Arts Gallery, Georgetown Park Vancouver (Canada), The Art Circle Visalia (California), The Art Circle 1987 New York, Art Expo Cadiz (Spain), Sato Grande Fairfax (Virginia), Broadway Gallery 1988 Los Angeles, Galeria Arte Washington, D.C., Fine Arts Gallery, Georgetown Park McLean (Virginia), Abott Gallery Geneva (Switzerland), Bronz Gallery 1989 New York, Mussavi Art Center San Francisco, Hourian Art Gallery 1990 Montreal (Canada), Maison d'Art Saint Laurent Maui (Hawaii), Metropolitan Art Gallery 1991 Montreal (Canada), Maison d'Art Saint Laurent Austin (Texas), University of Texas Art Gallery New York, Elaine Benson Gallery Maui (Hawaii), Metropolitan Gallery Boca Raton (Florida), Curzon Gallery 1992 Maui (Hawaii), Metropolitan Gallery New York, Space Gallery McLean (Virginia), Tower Club Los Angeles, Beverly Hills Town Center 1993 Cambridge (Massachusetts), Harvard University Maui (Hawaii), Metropolitan Gallery Boca Raton (Florida), Curzon Gallery Washington, DC, Very Special Art Gallery 1994 Tokyo (Japan), Metropolitan Gallery Maui (Hawaii), Metropolitan Gallery Osaka (Japan), Metropolitan Gallery Detriot (Michigan), Michigan University Montreux (Canada), Aurom Gallery Boca Raton (Florida), Curzon Gallery 1995 Washington, DC, Designer Art Gallery 1996 Great Exhibition at Art Festival, Kuwait 1997 Montreal (Canada), Maison d'Art Saint Laurent Tokyo (Japan), Metropolitan Gallery Maui (Hawaii), Metropolitan Gallery Osaka (Japan), Metropolitan Gallery 1998 Fez (Morocco), Sufi Music Festival Los Angeles (California), Exhibition Art Centre Hawaii, Dole Gallery 1999 London (U.K.), Bourlet Gallery Montreux (Switzerland), The Oriental Palace...

Artist: Pietro Bulloni, Italian (1947 - ) Title: Interal Letto Year: 2010 Medium: Oil on Canvas, signed, dated, and titled verso Size: 23.5 in. x 23.5 in. (59.69 cm x 59.69 cm)

*ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagina...

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

Gasslander lived and worked in Chicago and also visited Provincetown in the 1930s; he made portraits and city views. This Surreal Scene is unusual in his oeuvre both for its extreme ...

Around each corner of the print, a brilliant stripe of green outlines the image field, as if the viewer were looking through an eye, or peering through a frame. The back of a figure’...

"The Gatekeeper" is a mysterious painting, seemingly both a portrait and a situation – perhaps a portrait of a barrier. Gatekeeping suggests inclusion a...

"Toys In The Attic" addresses subject matter that continues to fascinate the artist – on one hand the tools of painting, drawing and art making – brushes, pens, pencils and crayons. ...

Landscape painting of Speedway gas station sign by Edie Nadelhaft- oil on canvas, 10 x 20 inches An avid motorcyclist, Edie Nadelhaft takes annual weeks-long tours of the country's ...

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...

colorful ribbons Oil 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...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Oil on canvas STATEMENT by AUDREY ANASTASI: Considering myself primarily a feminist artist, painting other women, most of my work focuses on the human face, figures, animals and natu...

The large abstract painting "BONGWATER" by Jeffrey Kurland is an acrylic on canvas measuring 60" tall by 72" wide. BONGWATER is new work from the long hot summer of 2020. Often emplo...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagination, wry wit and fear...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

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...

Barbara Kemp Cowlin uses acrylics to achieve the precarious facets of her architectural abstractions. Contradictions proliferate her spaces, disori...

Artist: Harry Lane Title: Art Shipping and Receiving Year: Circa 1950 Medium: Oil on Board, signed lower right Size: 30 in. x 24 in. (76.2 cm x 60.96 cm) ...

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...

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone streets with puddles in Tribec...

"Social Butterfly" is one of Chantzaras' latest series of pop art style and classical colorful influences of this still-life flower painting. The colors are bold and playful. The tit...

Guy Pene du Bois' "Two Figures in Courtroom" is a WPA era American scene oil painting created in a realistic style. Modernism at its best The work is framed by Heydenryk. Pène du Bois descended from French immigrants who settled in Louisiana in 1738 and was raised in a Creole household. He was born in 1884 in Brooklyn, NY and first studied with William Merritt Chase at the New York School of Art and later continued his training with Robert Henri. Pène du Bois was greatly impressed with Henri's credo that "real life" was subject matter for art and throughout his life a realist philosophy informed his art as well as his parallel career, art criticism. In 1905, Pène du Bois made his first visit to Paris where he painted scenes of fashionable people in cafes rendered in the dark tonalities and impasto associated with the Ashcan School. By 1920, he had achieved his mature style, which was characterized by stylized, rounded, almost sculptural figures painted with invisible brushstrokes. The subjects of his paintings were often members of society whom he gently satirized. In 1924, Pène du Bois and his wife, Floy, left for France where they would remain until 1930. Returning to America showcases pictures the artist produced after this very productive period abroad. After five years of living in France, Pène du Bois was able to observe American life with fresh eyes. His work becomes more psychologically intense and less satirical. In Girl at Table a slender, blond is shown gazing at a small statue that she holds at arm's distance. The meaning is elusive, but a powerful sense of longing is evoked. Similarly, paintings such as Dramatic Moment and Jane are taut with unresolved dialogue. Both pictures depict mysterious interiors in which a lone woman anxiously awaits the denouement of a suspenseful scene. Other pictures, for example, Chess Tables, Washington Square and Bar, New Orleans, recall Pene du Bois's Ashcan origins in their depiction of urban entertainment. During this period, landscape becomes an important subject for Pène du Bois. Girl Sketching...

*ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagina...

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

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone s...

*ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagina...

"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...

A child of the American South, Elliott Daingerfield was born in Harper’s Ferry, Virginia, and raised in Fayetteville, North Carolina, where his father, C...

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone streets with puddles in Tribec...

An original painting by Harry McCormick from circa 1980. In an excellent gold frame. Artist: Harry McCormick, American (1942 - ) Title: Woman in Yellow Dress...

Oil on canvas *ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with bou...

French painting entitled "La Salle de Bains de Madame." Stamped "J. Vermont" on verso. Custom framed in a hand-made, cherry stained, oak wood frame. Imag...

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

City Lines acrylic on canvas 40 x 50 x 1.75 inches 2018 NYC Signed, dated and titled on the reverse side. series: Linepainting "Line series influenced by the digital city" Internal...

From the Apathy Series, Andrew Smenos' recent body of work, comes "THIS WON'T HELP" – a fire extinguisher melting in the heat of disaster... At 30x20", t...

"City Lines" 40X50x1.75" acrylic on canvas 2018 NYC Signed, dated and titled on the reverse side. "Line series influenced by the digital city"

A strong modernist oil painting depicted in 1969 by Russian painter Michael Baxte. Mostly known for his abstracted figures on canvas or street scenes, this piece is a wonderful representation of his bold still life paintings, with expressive use of color, shape, and form. Later in his career, Baxte explores Expressionism, infusing both European and North American stylistic trends. This piece is from later in his career, but we can feel this underlying style throughout. Art measures 21.75 x 18 inches Michael Posner Baxte was born in 1890 in the small town of Staroselje Belarus, Russia. For the first half of the 19th century it was a center of the Chabad movement of Hasidic Jews, but this group was gone by the middle of the 19th century. By the time the Baxte family immigrated to the United States at the beginning of the 20th century, the Jewish population numbered only on the hundreds. The native language of the Baxte family was Yiddish. It is likely that the death of Michael Baxte’s father triggered the family’s immigration. Three older brothers arrived in New York between 1903 and 1905. Michael and his mother, Rebecca, arrived in 1907. By 1910 Michael, his mother, and brother, Joseph, were living in New Orleans and may have spent some time on a Louisiana plantation. Around 1912, Michael Baxte returned to Europe to study the violin. In 1914 he, his mother, and Joseph moved to New York City. Meanwhile, in Algeria, a talented young woman painter, Violette Mege, was making history. Since for the first time, a woman won the prestigious Beaux Art competition in Algeria. At first, the awards committee denied her the prize but, with French government intervention, Mege eventually prevailed. She won again 3 years later and, in 1916, used the scholarship to visit the United States of America. When Violette came to New York, she met Baxte, who was, by then, an accomplished violinist, teacher, and composer. Baxte’s compositions were performed at the Tokyo Imperial Theater, and in 1922 he was listed in the American Jewish Yearbook as one of the prominent members of the American Jewish community. As a music teacher he encouraged individual expression. Baxte stated, “No pupil should ever be forced into imitation of the teacher. Art is a personal experience, and the teacher’s truest aim must be to awaken this light of personality through the patient light of science.” By 1920 Michael Baxte and Violette Mege were living together in Manhattan. Although they claimed to be living as husband and wife, it seems that their marriage did not become official until 1928. On their “unofficial” honeymoon around 1917, in Algiers, Baxte confided to her his ambition to paint. There and later in New Mexico where the wonderful steeped sunlight approximates the coloring of Algiers, she taught him his heart’s desire. He never had any other teacher. She never had any other pupil. For ten years she devoted all her time, energy, and ambition to teaching, encouraging, inspiring him. Then in 1928, their mutual strivings were rewarded, as his works were being chosen as one of the two winners in the Dudensing National Competition for American Painters. Out of 150 artists from across the country participated in the Dudensing, and Michael Posner Baxte and, Robert Fawcett...

A watercolor painting by Clarence Holbrook Carter from 1956. Carter's modernist style utilizes strong structural lines and architectural aesthetics to form almost surreal-like scenes. Signed on lower right corner, framed in elegant silver wooden frame. Artist: Clarence Holbrook Carter, American (1904 - 1998) Title: House Key...