Tri-State Area - Interior Paintings

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...

Vintage American school modernist fish still life painting. Oil on canvas. Signed. Framed. Measuring: 15 by 19 inches overall, and 12 by 16 painting alone.. In excellent original co...

In the latter half of the nineteenth century and into the first decade of the twentieth, New York City art aficionados could count on finding recent work of Seymour Joseph Guy hanging on the walls of the city’s major galleries. Primarily a genre artist, but also a portraitist, between 1859 and 1908 Guy showed more than seventy works at the National Academy of Design. From 1871 to 1903 he contributed over seventy times to exhibitions at the Century Club. From 1864 to 1887, he sent about forty pictures to the Brooklyn Art Association. A good number of these works were already privately owned; they served as advertisements for other pictures that were available for sale. Some pictures were shown multiple times in the same or different venues. Guy was as easy to find as his canvases were omnipresent. Though he lived at first in Brooklyn with his family and then in New Jersey, from 1863 to his death in 1910 he maintained a studio at the Artist’s Studio Building at 55 West 10th Street, a location that was, for much of that period, the center of the New York City art world. Guy’s path to a successful career as an artist was by no means smooth or even likely. Born in Greenwich, England, he was orphaned at the age of nine. His early interest in art was discouraged by his legal guardian, who wanted a more settled trade for the young man. Only after the guardian also died was Guy free to pursue his intention of becoming an artist. The details of Guy’s early training in art are unclear. His first teacher is believed to have been Thomas Buttersworth...

Hand Painted on panel I consider my work to be artifacts of my own particular culture, which is not the generalized Japanese American culture, but that which formed as a direct res...

#5-3034a Vintage figurative acrylic on masonite displayed in a white wood frame Signed lower left by E.Blick. Image size 13.5 H x 10.5 W

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)

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...

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 ...

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...

In crafting this piece, I fused acrylics and oils to create a tranquil seascape that blends the abstract with the real, invoking a serene horizon where sky meets water. The calm blue...

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...

A five-bedroom, pale blue-and-turquoise country house located an hour and a half southwest of Paris, Maison de Lèves served as a lifelong laboratory for France’s maîtresse of interio...

A charming floral still life scene oil on canvas painting by the French artist, Johanne Schiefer. With pink, white, and purple flower arrangement in a clear glass vase, with some few petals that fell lying on the surface. This painting is a wonderful example of his work from the prime of his career with simple florals with an abundance of color and life. The piece is signed by the artist lower left and it comes housed in a wonderful multicolor vintage wood frame and hanging wire on verso ready to be displayed. Art measures 16 x 12 inches Frame measures 19.5 x 15.5 inches Johannes Schiefer was born in 1896 in the Netherlands, and quickly gained notoriety for his landscapes, still life’s and portraits. Schiefer won the Prix de Rome at the age of 19 and studied at the Düsseldorf Academy in Germany, and then moved to Paris where he continued his studies in art at the Beaux Arts, and later at the Villa Medici in Rome. He traveled to paint across Europe, primarily France and Italy and also Latin America. When he married, he settled down in Nice France, and during the late thirties, he traveled and painted the coastline of the South of France, as well as Venice and the Adriatic. He remained in France until 1942, when he moved to New York with his family after the birth of their daughter, future actress Joanna Miles. Already an artist of stature when he arrived in New York, he settled with his family on Long Island, and for the next 30 years, Schiefer kept on painting and built a solid reputation as an important American artist. The Schiefers also had a son, Johannes Jr. After the war, Schiefer maintained a Paris studio and became a resident of Los Angeles for a time in the 1950s. For the next 30 years Schiefer kept on painting and during his career had numerous one man shows, having exhibitions at: Gallery Zak in Paris; Kunsthaus in Hamburg; Kunsthalle in Munich; Stiebel Galleries in Paris; O'Connor Gallery in Ontario; Museum of Modern Art, Wildenstein & Co, Carol Carstairs Gallery and Schoeneman Galleries in New York City; Esther Robles Gallery, County Museum and Vigoveno Galleries in Los Angeles; and the San Francisco Museum. Like Picasso, Schiefer never permitted himself to be “type-cast” in a single monotonous style. If there is anything that typifies his work, it is his versatility, his deft handling of subdued tones to create a unique brilliance of light and color that stamps every painting with his own individuality. In February 1964, Ethel Kennedy...

Emil Ganso (German/American, 1895-1941), Standing Nude Woman in an Interior Scene, Oil on Canvas, signed lower left, silvered wood frame. Image: 24.5" H x 17.25" W; frame: 31.5" H x ...

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...

Robert O'Meara (American, 1957-2024), Interior Scene in Green, Oil on Canvas, signed "R. O'Meara" lower right and to verso, unframed. 16" H x 18" W x 1" D. Provenance: From a 333 Eas...

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

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...

While Jayne Wrightman’s taste was universally recognized as exquisite—she was a peerless collector and long served as a trustee at the Metropolitan Museum of Art—the society grande dame and philanthropist chose to work with Parisian decorators Maison Jansen upon acquiring her palatial Fifth Avenue home. In fact, Jansen had already started; the apartment’s previous owner, private dealer Renée de Becker, had brought them in. Wrightsman and husband Charles continued with Jansen; upon principal Stephane Boudin’s death, they began working with Henri Samuel, thus beginning a long association. While the bones of the room owe much to Jansen, the decoration—the colors, the upholstery, and most of the furnishings—are Samuel. Shown here is the sprawling 31-foot-by-21-foot drawing...

Very impressive early American modernist flower still life oil painting. Framed. Oil on canvas. Image size, 12H by 16L. Exceptional...

Antique American impressionist still life oil painting. Oil on board. Framed. . In excellent original condition. Handsomely framed in a giltwood molding. Excellent condition, re...

Studio Interior Scene Mid 20th Century American Modern WPA Still Life Realism The painting measures 10 x 12 inches. Framed, the work is 13 1/4 x 15 1/...

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...

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...

Hand Painted on panel I consider my work to be artifacts of my own particular culture, which is not the generalized Japanese American culture, but that which formed as a direct res...

Hand Painted on panel I consider my work to be artifacts of my own particular culture, which is not the generalized Japanese American culture, but that which formed as a direct res...

Middle Eastern Indoor Scene, watercolor of a man and a reclining woman. Artist: Giuseppe Aureli (1858 - 1929) Origin: Italian Date: 19th Century Medium...

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)

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...

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...

It took interior designer Howard Slatkin 33 months to recreate an 18th century European palace in an Upper East Side co-op. Set on the 14th floor of the...

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

John Moore was born in St. Louis, MO in 1941. He received a BFA from Washington University in St. Louis (1966) and an MFA from Yale University (1968). Over a career spanning forty ye...

Florence W. Pomeroy Confidences (Seamstresses) Signed lower right Oil on canvas 30 x 24 inches Provenance R.H. Love Galleries Inc., Chicago Florence Walton Pomeroy was an artist b...

"Drugs" by Danny Heller draws inspiration from a pharmaceutical store on a busy avenue corner in NYC. See second image for the real life referenced location. My latest series openi...

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

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...

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

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

3951 Interior view painting on artist board set in a hand painted wood frame

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...

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...

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...

An intimate interior scene of a woman reclining in her living room with a bouquet of flowers on a sunny afternoon. We are charmed by the rich choice of color and intimate details thr...

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

3929 Antique interior painting of an artist studio works on artist board Set in a period walnut frame image size 19.5x13.5"

1666 Antique interior scene oil painting The Chess Match circa 1890's Image size 19.5x 13.5"

Claude Fauchere, In the Style of , French (1936 - 2019) - Cafe, Medium: Oil on Canvas, Size: 23.5 x 19.75 in. (59.69 x 50.17 cm), Frame Size: 28 x 24 inches

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...

Early American super realist trompe l'oeil still life oil painting. Framed. Oil on canvas, lain to board. Signed. Image size, 14H by 10L.

Title: Performance 2 Medium: Oil on canvas Size: 35 x 35 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2000 Circa Artist: Lin Hongdan...

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...

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...

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...

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

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

After Achille Leonardi (Italian, 1800-1870), "Beatrice Cenci in Prison Sketched by Guido Reni", Oil on Panel, signed "Ceronetti - Carlo" lower right, giltwood frame. Image: 11.75" H ...

Title: Piano 1 Medium: Oil on canvas Size: 47 1/4 x 35 3/4 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Year: 2000 Circa Artist: Lin Hongdan...

In Flower Painting 47, Lori Larusso offers a minimalist yet evocative still life that turns a single flower into a bold visual statement. A soft pink carnation leans delicately from ...

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...