Miniature Interior Paintings

Combine several abstract monochrome paintings in your interior for a stylish modern effect. The artwork is executed in black and white monochrome tones and will be suitable for any ...

Kenny Harris is represented by George Billis Gallery NYC. The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive p...

Robert O'Meara (American, 1957-2024), Still Life of Flowers, Oil on Board, signed lower right, unframed. 11" H x 11" W. Provenance: From a 333 East 75th Street Estate.

The intense red surface, which challenges the viewer to deal with this intense red color, is captivating here. Due to the intense play of colors and the three-dimensionality, the vie...

Description: Antonio Maria Fabres (1854-1936) was a Spanish painter known for his exquisite artworks depicting historical and Orientalist themes. Born in Barcelona, Fabres displayed ...

Claude Le Sauteur, Canadian, 1926-2007 GERBES SOUS LE SOLEIL, 1980 Oil on canvas 8 x 10 in signed and dated on lower left Le Sauteur 80; Signed, dated and titled verso; Kastel Galler...

Illustration for "The Man For the Hour: The Devoted and Heroic Patriotism of Colonel John Laurens" by James Barnes for McClure's Magazine, published December 1899. The full caption reads: "At the same time he extended toward King Louis...

Kenny Harris is represented by George Billis Gallery NYC. The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive p...

Kenny Harris is represented by George Billis Gallery NYC. The artist has traveled around the world, painting on location. He is fascinated with subtle light effects and expressive p...

Represented by George Billis Gallery, NYC & LA --From the artist statement, "My artwork centers on mid-century American architecture and design, once revered for its groundbreaking i...

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...

David Pearce is a British painter. After travelling widely throughout the 1980s, Pearce returned to settle and work near Padstow in Cornwall. As a self-taught artist, he sought i...

Oil on board, signed & dated lower right Image size: 4 x 4 inches  (10 x 10 cm) Handmade frame

Represented by George Billis Gallery, NYC & LA --From the artist statement, "My artwork centers on mid-century American architecture and design, once revered for its groundbreaking i...

Oil on panel Ilia Balavadze is a Georgian artist born in 1968 who lives and works in Tbilisi, Georgia. From 1987 to 1993, he studied the painting at the Tbilisi State Academy of Ar...

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...

Includes a Certificate of Authenticity

Oil on panel Panel size: 6 x 8 inches Framed size: 10.25 x 12.25 inches Signed and date '1860' lower right

FRANCISCO BORES Spanish, 1898 - 1972 SANS TITRE signed and dated "Borès 42" (lower left) oil on panel 13-3/4 x 10-5/8 inches (35 x 27 cm.) framed: 19 x 15-3/4 inches (48 x 40 cm.) BIBLIOGRAPHY: Francisco Bores, Reasoned Catalogue, Volume I - Painting 1917-1944, Museo Nacional Centro de Arte Reina Sofía, Madrid, 2003, nº 1942 / 63, reproduced in p. 494 PROVENANCE Carmen Bores Collection, Francisco Bores daughter Private Collection, Madrid Francisco Bores López (Madrid, May 5, 1898 - Paris, May 10, 1972) was a Spanish painter of the so-called New School of Paris. His artistic training originated both in the Cecilio Pla painting academy, where he met Pancho Cossío, Manuel Ángeles Ortiz or Joaquín Peinado, and in the literary gatherings in Madrid related to ultraism. At this time he made engravings and woodcuts for a large number of magazines such as Horizonte, Cruz y Raya, Index, Revista de Occidente. In 1922 he participated in the National Exhibition of Fine Arts. In 1925 he participated in the first exhibition of the Iberian Artists Society. The limited success of this exhibition pushes him to go to Paris. In this city he shared a studio with the Spanish painter Pancho Cossío and also met Picasso and Juan Gris. In 1927 he held his first solo exhibition in Paris. From this moment on, Bores integrates himself into the Parisian artistic environment where he will live practically his entire life. In 1928, his first exhibition in a gallery in the United States, in 1930 he exhibited again, within a group exhibition at the Museum of Modern Art in New York. In the following years, he continued exhibiting in different galleries in Paris, such as the Georges Petit Gallery, the Bernheim Gallery and the Vavin Raspail Gallery. He also participates in several group exhibitions, highlighting the Exhibition of Contemporary Spanish Art...

Due to a physical ailment (a large benign tumor in her right hand) Sarah’s creative process is unique. She works primarily with acrylic paint, alcohol ink, pen, synthetic film and ca...

Johnny Defeo’s work belongs to the concept of souvenir, attempting to capture the experiences he has in the natural world, where he feels free and most at home. His paintings and rug...

18" x 18" Unframed Original - Sand and Acrylic on Paper Hand Signed by Matt Lively

7.25" x 7.25" Unframed Original - Mixed Media on Paper Hand Signed by Matt Lively 2005

Medium: Oil on Sculpted Composition Dimensions: 17.50" x 13.50" Signature: Signed Lower Left A Jerusalem Gate at night

An oil painting of a plate of a selection Kolbasa and accoutrements. On a plain plate is a spread of cut cured meat, including Russian sausage. Diagonally across the plate are three ...

Medium: Oil on Canvas Mounted to Board Signature: Signed Lower Left "H. Hintermeister"

Oil on panel Panel size: 11.75 x 18 inches Signed lower right

Oil on panel Panel size: 8.75 x 7 inches Framed size: 13.75 x 11.75 inches Signed upper left

Oil on panel Panel size: 4.75 x 6 inches each Framed size: 9.25 x 11 inches each Monogrammed and dates '66

Oil on board Board size: 8 x 6 inches Framed size: 15 x 13 inches Signed and dated '56 lower right

"Poinsettia 2" is an oil painting of the signature red plant blossomed against a light backdrop, in a minimalist pot, a cement cube. A refined pop of red for the Holidays. Painting dimensions: 14 x 11 inches Framed dimensions: 16.5 x 13.5 inches Matthew Weigle...

Oil on panel Panel size: 9.5 x 12.5 inches Framed size: 14.75 x 17.75 inches Signed and dated 1870 lower right

SERGE FERAT 1881-1958 (Le Comte Sergueï Yastrebzov) Moscow 1881-1958 Paris (Russian/French) Title: Theater Interior Design Technique: Original Signed Gouache Painting on paper siz...

Oil on panel Panel size: 10 x 8 inches each Framed size: 13 x 10.5 inches each A signed lower left B signed lower right

Signed Lower Left

Title: Interior Artist: Charles James Theriat (1860-1934) Origin: American Medium: Oil on canvas Dimension: 13 1/2 x 16 1/4 inches Signature: Sig...

ALFRED ABERDAM 1894-1963 Lviv 1894-1963 Paris (Polish/French) Title: Women in an Interior, 1948 Technique: Original Signed Oil Painting on panel size: 32.5 x 26.5 cm / 12.8 x 10.4...

Acrylic, Oil on Canvas Artwork on supported wooden frame. Ready to hang. Framing on request. 30x40cm About this artwork Abstract expressions of heaven and earth. Filled with movement...

Title: BLUE SUNSET WITH A PINK CLOUD Size: 30 H x 40 W x 2 D cm Year: 2021 Media: oil on canvas Style: modern, art deco, figurative, abstract. This painting depicted field, water, ri...

The intense red surface, which challenges the viewer to deal with this intense black color, is captivating here. Due to the intense play of colors and the three-dimensionality, the v...

The intense green surface, which challenges the viewer to deal with this intense green color, is captivating here. Due to the intense play of colors and the three-dimensionality, the...

'Kittens' a charming oil on canvas by well known cat artist Jules Leroy. Showing 4 kittens playing in an interior setting, surrounded by clothing, scarfs a...

"Plateau" Oil Painting 14" x 18" inch by AHMED ZAGHLOUL

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her subject-matter, Baek’s enchanting oil paintings glitter with a gemstone-like quality that truly captivates. The material characteristics of glass are fickle, often visually elusive. Yet each work on display beautifully illustrates, in stunning, hyper-realistic detail, an array of objects, from champagne flutes to whisky tumblers. Take the large-scale painting, Rocks Glasses; here we see an assortment of vessels arranged in a triangle– refracted light dances across the intricate terrain of cut-glass crystal, resulting in an ethereal azure-tinted glow that mesmerizes the viewer. In the work Champagne Glasses...

Sensational paintings of glass vessels come to life in this dynamic exhibition featuring new works by Korean artist Inkyeong Baek. Demonstrating an uncanny ability to capture her subject-matter, Baek’s enchanting oil paintings glitter with a gemstone-like quality that truly captivates. The material characteristics of glass are fickle, often visually elusive. Yet each work on display beautifully illustrates, in stunning, hyper-realistic detail, an array of objects, from champagne flutes to whisky tumblers. Take the large-scale painting, Rocks Glasses; here we see an assortment of vessels arranged in a triangle– refracted light dances across the intricate terrain of cut-glass crystal, resulting in an ethereal azure-tinted glow that mesmerizes the viewer. In the work Champagne Glasses...

"Evening Living Room" (2018) by Aaron Hauck Oil on wood panel 12" H x 12" W x 1" D Figurative interiors painting, expansive living room scene with windows...

An original oil on canvas of a cubist still life by Benjamin Benno, American (1901 - 1980). By the early 1930s he had established a reputation as a member of the international avant-...

In the hands of Yeji Moon, ordinary materials are transformed into beautiful and complex collages that powerfully recall childhood nostalgia and the rapidly changing world. Inspired by her upbringing in a small neighborhood in Korea and her experiences with Habitat for Humanity, she seeks to immortalize disappearing places by creating works of art that connect and preserve memories. Her three-dimensional compositions are created using newspaper...

Green Room (2022), oil painting on canvas, earth tones, interiors, greenhouse, windows, human figure, potted plants, wooden floor "Green Room" by Delilah Ray Miske...

A very rare and important, early original mixed medai Gouache by American artist Robert McIntosh(1916-2010) Robert McIntosh was extremely prolific and exhibited throughout his lifet...

Nikos Kanarelis The Stamp, 2015 Oil on canvas 30 x 25 cm

Premiering for the first time in three decades, the original paintings of American artist Maurice Green. Born in 1908 in Latvia, Maurice Green studied with prominent artists of the d...

Clyde Frederick Kelley (1886-1965) lived and worked in New York as an illustrator before settling in San Diego in 1924. Throughout his career he specialized in figurative, genre subjects that depicted American life in the 1930s-1950?€™s; his paintings mirrored the paintings of the American WPA movement, yet retained a sense of expressionism. Ladies Night...