New York - Interior Paintings

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...

A painting of painter, Ben Fenske, his muse, Beatrice, and his dog. Sitting in front of and underneath Fenske's 2009 painting, "The Break Up." The artist comforts the dog with a nice...

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

Nantucket artist Reggie Levine, evolved from his figurative work in the 40's-50's to abstract in the 1960's and later to found object art. Interestingly I see his interest in found...

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...

Franklin-Sanchez leads the viewer into the imaginative world of the children sitting on the floor of a cozy room. An idyllic view of the Italian countryside is visible through the wi...

An oil painting of a man resting on a bed. His arms reach to the left of the panel, and one leg bent, the other extending towards the end of the bed and the viewer. The edges of the ...

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"

"Red Flowers and Grapes" is a contemporary impressionist still life painted Florence, Italy. Amy Florence conjures a feeling of liminal space as day turns to night in this still life painting. As the blue darkness descends on the outside world, you can almost smell dinner being cooked just out of view in the lighted interior. Framed Dimensions: 31.6 x 27.7 inches Artist Bio: Amy Florence is a London born artist working out of her studio in Florence, Italy. She trained at the Charles H...

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...

Measures 22" x 18" and framed 27" x 24" x 3". About this artist: Born in Galatz, Romania, John Barber became a modernist painter of figures and scenes of...

"Self Portrait, Lamplight" is an oil on canvas painting. It is a self portrait of Steven Levin, sitting in a room on a couch. We see the artists personal collection of art and items ...

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...

Painted by Nelson H. White, in his studio. A single yellow rose stands as the focal point in a small 6 x 4 inch panel. Poking out of a glass bottle, against a dark background, shades...

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 ...

"September Still Life" is an impressionist composition of rustic Tuscan spread. A blue teapot is placed as the focal point; it stands out in color but also in shape. A motley of gree...

A still life of pansies in a white bowl on the artist's kitchen counter. Framed in a custom Italian black frame w gold leaf lip.

An oil on canvas painting of a woman sitting in front of a mirror, tending to her hair. Window open behind her admits natural light. Ben Fenske (b. 1978) although a native of Minnes...

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

This work of a young musician by Frederick E. Wright is set in an exceptional original Doll & Richards, Boston, frame. The framed dimensions are 16' x 13 1/3" x 1". A hand-written la...

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...

While the painting may be signed on the lower right side "Sorolla" it is not by the famed artist Joaquín Sorolla y Bastida. It is most likel...

Abstract Modernist oil painting by Zoute dated 1951. Oil on Masonite. I believe the subject in the painting is the artist's wife Thelma Salter. Zoute used himself and his wife almost exclusively as models. Painted in 1951. Unframed. Presented by Joseph Dasta Antiques. Zoute (Born-Leon Salter, 1903-1976) was self-taught and well exhibited during his lifetime. He painted from 1940-1954 (he stopped painting at this later date due to his wife's illness and death and never painted again) A self-taught artist, he was part of the great modern wave. He exhibited with many of the most notable artists of the day such as Picasso, Braque, Klee and others at the invitation only State University of Iowa International Show 1946-1947. He had numerous one man shows at NYC galleries, Mortimer Levitt / Joseph Heller...

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...

"Lilacs, Pecorino, Wine" is a contemporary impressionist earthy tone still life. A moka pot, jug of olive oil, and pecorino make this still life uniquely Italian. The hard cheese lay...

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...

A detailed oil painting of a composition of flowers. Artfully composed, this work is an excellent example of the artist's oeuvre. Bright colors depict forms of daisies, roses, blossoms, stems, eucalyptus...

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

This bright and colorful floral painting, "Pinch of Pink", is an 8x8 still life oil painting on board by Maryann Lucas. Featured is a bountiful pink bouquet of flowers with green leaves. The maroon...

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.

Jack Hofflander, American (1920 - 2003) - Preparing for Dinner, Year: circa 1975, Medium: Acrylic on Board, Size: 12 in. x 5.5 in. (30.48 cm x 13.97 cm), Frame Size: 18.5 x 12 in...

5116 Flower arrangement on the back poarch with a view of the garden Signed Oldyna Dynowska 96