Tri-State Area - Interior Paintings

It is said that Marbling (his painting technique) originated in Japan in the 12th Century. Mikael has been able to reinvent the technique existing for more than hundreds of years li...

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.

Antique American school dog portrait oil painting. Oil on board. Framed. Image size, 9L x 9H.

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...

Artist: Gerard Sebastian, Spanish (1930 - 1996) Title: Floral Bouquet Year: circa 1970 Medium: Oil on canvas, signed l.r. Size: 36 in. x 16 in. (91.44 cm x 40.64 cm) Framed: 42 x 2...

Antique American modernist abstract oil painting. Oil on board, circa 1950. Signed.

Original painting by Richard Combes

Charles Allan Cooke (British, early 20th century) Military Motor Ambulance Station, World War I, ca. 1916–1918 Oil on canvas, signed and inscribed on reverse In this powerful and ra...

Bernard Nacion Untitled (Waiting By The Phone), Late 20th Century Acrylic and mixed media on artist board Image: 10 x 12 in. Mat: 12 x 14 in. Signed ver...

Impressive 1970s modernist interior scene. Great palette and a sophisticated composition. Oil on canvas. Framed. Signed and dated verso.

Friedrich Fehr (1862-1927) Antique Impressionist Painting of a High Society Lady in White Hat, reading In a Moorish Japonais Interior. Painting is very well done with Persian carpets...

Antique American modernist interior scene oil painting. Oil on canvas. Framed.

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...

This is an oil painting done from life with the artist's young son''s life-size poster of Boba Fett behind her. Known for painting fantastical, sometimes self-reflective narrative s...

Alessandro Sani (Italian, 1856-1927) A Woman and Her Suitors Signed A. Sani (lr) Oil on canvas 26 x 21.5 inches (66 x 54.6 cm) (Framed 37 x 32 inches)

Intimate paintings represented by unmade beds and tossed sheets, absent of any human evidence, on intentionally blank, somewhat rough backgrounds. The empty bed in these paintings represents a place for grief, isolation or healing. As such, the work speaks to our shared feeling of grief, with the understanding that while we all suffer in our individual ways, suffering is universal. Source material for this work are photographs the artist has both taken and found, and the intimate size of the paintings references the intimate nature of the subject matter. The backgrounds of the paintings are repeatedly painted and sanded, to create a frame and backdrop for the bedding that is flat, yet rough with work and time. The bedding itself is seen from different perspectives, but still indicates a scene of desolation and despair. While the series began in the fall of 2016, recent events—including the pandemic—have provided a new dimension to the work and have compelled Serpick to consider the themes in light of these events. Our forced isolation and the challenges it has brought to our physical and mental health provides an additional shared experience from which to consider grief and eventual healing. Biography Stephanie Serpick is a painter whose work explores themes of isolation, grief, and healing. Her work has been shown in various exhibitions in the U.S. and internationally, and she is a fellow at several residencies, most notably at the Florence Trust Studios in London, MASS MoCA in North Adams, Massachusetts, and the Vermont Studio Center, where she was awarded a full fellowship and stipend to attend. Recent exhibitions include solo shows at Sweet Lorraine Gallery in Brooklyn, the College of Southern Nevada, and a two-person exhibition at The Munson-Williams-Proctor Arts Institute at the Museum of Art at Pratt in Utica NY...

Michael Iskowitz creates colorful, seemingly playful paintings that often belie a more serious message. His process is somewhat spontaneous, fueled by a sense of exploration and disc...

Antique American modernist still life oil painting. Oil on canvas. Signed.

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...

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...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Music Stand, French Horn, Saxophone, Drum) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 ...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers, Fruit and Teapot) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Condi...

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...

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...

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

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...

Louis Charles Moeller A Toast Signed lower right Oil on canvas 12 x 16 inches Louis Charles Moeller was a master of American genre painting. His meticulously detailed, highly finish...

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...

"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...

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...

This piece has a strong presence with bold brushwork and heavy use of paint. A classic Mid-20th Century Modern piece on canvas depicting a floral still life with a white roses arrang...

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...

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...

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...

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...

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...

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 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...

The Musical Performance by Antonio Ermolao Paoletti An italian genre painting showcasing two boys playing a trumpet and a guitar for their sist...

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

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...

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...

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...

Title: Light In The Studio Medium: Oil on canvas Size: 12 x 15.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: Th...

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 ...

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...

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...

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...

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 ...

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...

Marguerite by Betty Ball is part of her Flower series. It is Oil on Linen, 12x12. It is framed to 13.5 x 13.5 It is $875. It is a beautiful group of flowers in a vase with water....

Mickaël Doucet is a French, Paris-based artist whose work largely focuses on vibrancy of color and minimalistic interiors, one bouncing off the other to...

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...

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. ...

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