Framed Interior Paintings

A most attractive and striking image of daffodils placed against a darker background Howard J Morgan (1949-2020) Daffodils in a china jug Signed and S...

Un Bel Hiver by Claude Lazar, French (1947 - ) Date: 2001 Oil on Canvas, signed lower right Size: 28.5 x 23.5 in. (72.39 x 59.69 cm) Frame Size: 31 x 26.5...

A stunning portrait oil painting of Violet Ann Gilbert which was painted by James Peter Quinn in 1929 and was exhibited at The Paris Salon of that year. A beautiful portrait of a young woman from the nineteen twenties. In excellent condition and framed in the original period frame. This is a fine painting by a noted listed artist and a great example of an early 20th century portrait painting. Signed lower left. Provenance. Exhibited at the Paris Salon 1929, labels verso. Condition. Oil on canvas in excellent condition, image size 40 inches by 30 inches. Housed in its original gallery frame, framed size is 47 by 37 inches. Excellent condition. James Peter Quinn (1869-1951) was born on 4 December 1869 at 60 Bourke Street, Melbourne, third son of John Quinn, restaurant-keeper born in Antigua, West Indies, and his English wife Ann, née Long. Little is known of Quinn's childhood and early education; both parents died when he was young. His guardians apprenticed him to an engraver, but he undertook part-time studies at the school of design, National Gallery of Victoria, under Frederick McCubbin in 1887-89, and at the school of painting under George Folingsby and Bernard Hall in 1890-93. Awarded several student prizes, he won the gallery's travelling scholarship in 1893. Quinn went to London in 1894 but quickly left for Paris where he studied at the Académie Julian, at the Académie des Beaux-Arts under Jean Paul Laurens, and with Colarossi and Delécluse. He returned to London about 1902 and married fellow art-student Blanche Louise Guernier there on 29 September. By 1904 he had exhibited with the Royal Academy of Arts and went on to establish a reputation as a highly successful portrait painter. His finest and most sensitive work was produced before 1910. His family were the subjects of many paintings, including 'Mère et Fils', awarded an honourable mention at the Old Salon, Paris, in 1912. He also painted many self-portraits. His many commissioned works included portraits of Joseph Chamberlain, the Duchess of York and, later, the Duke of Windsor. In 1918-19 he was an official war artist with the Australian Imperial Force in France, and exhibited war paintings at the Grafton Galleries, London. In 1919, with George Coates, he was an official artist to the Canadian War Records. He was a council-member of the London Portrait Society, and a member of the Royal Society of Portrait Painters and the Royal Institute of Oil Painters, exhibiting regularly with them and the Royal Academy, and in Paris with the Old and New salons. Quinn's sudden return to Australia in December 1935, alone, followed the death of his gifted artist-son René. He held exhibitions at the Fine Art Society's Gallery, Melbourne, in 1936 and the Royal South Australian Society of Arts Gallery the next year. Quinn ostensibly returned as an acclaimed artist, was invited to rejoin the Victorian Artists' Society he had joined first in 1888, and was its president (but for one year) in 1937-50. Yet a coolness existed. Though he had little in common with the modernist painters of the period, his commitment to a tolerant brotherhood of artists found no allies among the aggressively conservative old guard. In 1937 he clashed publicly with (Sir) Robert Menzies who in opening a V.A.S. exhibition denigrated modern art. In spite of the affection felt for him by many artists and students, Quinn was somewhat isolated. He continued to exhibit, winning the Crouch prize, Ballarat Fine Art Gallery, in 1941. In the mid-1940s he taught briefly at the National Gallery school. A lover of good food, wine and conversation, Quinn delighted in mixing with all classes. Frequenting the haunts of journalists, writers and the more Bohemian fringe, he was easily recognizable with his bow tie, grey curly hair and cigarette dangling from the corner of his mouth. Survived by one son, he died of cancer on 18 February 1951 at Prahran and was buried in St Kilda cemetery. His war portraits are held by the Australian War...

Well painted and very interesting French or Belgium still life of flowers. Signed and inscribed, Jane Herbo, 1906, Ste Louise! / á Marraine. The ...

“Still Life, 1936” by Katharine "Kitty" Duff Church (British, 1910-1999). This large, early painting by Katherine Church is among her finest canvases of the period. Characterized by its bold color palette, simplified forms, and expressive brushwork, this composition centers around a tabletop adorned with various objects: potted plants, a ceramic dish, bottles, and what appear to be books or papers. The two potted plants provide contrasting elements: on the left, what appears to be a cyclamen with red blossoms and delicate leaves, and on the right, a lush green plant with darker foliage. These plants, painted with loose, textured strokes, add an organic quality to the otherwise structured arrangement. The tabletop is cluttered yet thoughtfully composed, featuring additional objects like a clear, faceted glass bowl, a small bottle, and books or pads in striking red and green. The dynamic use of color blocks and the juxtaposition of shapes (round pots against rectangular books) create a sense of rhythm and harmony. The background is darker and less defined, emphasizing the brightly lit tabletop. Church's brushwork is gestural and modernist, leaning toward abstraction, challenging traditional still life conventions. This painting reflects Church’s interest in balancing everyday objects with bold artistic expression. It conveys both the simplicity and complexity of daily life, transforming an ordinary moment into a vibrant and engaging work of art. This work is oil on canvas and is signed and dated in the lower right. It is housed in its original gessoed frame and retains various labels and inscriptions on the reverse. Size: 28.25 inches tall by 36 inches wide (painting) 34 inches tall by 42 inches wide by 2 inches deep (frame) Provenance: Private collection, NY; Acquired from the above About the artist: Born in Highgate, north London, Katharine Church, known as ‘Kitty’ amongst friends and family, always wanted to paint. She trained at the Royal Academy of Arts between 1930-1933 and at the Slade between 1933 and 1934. In her early years Kitty exhibited regularly at the Royal Academy. Her first solo exhibition was in 1933 at the Wertheim Gallery. Other artists who exhibited there included Christopher Wood, Victor Pasmore and Cedric Morris. Kitty also showed with the New English Art Club, the London Group and between 1937-1947 her work was exhibited at the influential Lefevre Gallery, which supported avant-garde artists such as Henry Moore, Ben Nicholson and Barbara Hepworth. In 1954 the artist was invited to take part in the Figures in their setting exhibition held at the Tate Gallery. Henry Tonks and Philip Wilson Steer had a strong influence on Kitty’s early work, but it was her friendship with Ivon Hitchens that liberated her painting technique. In 1936 Kitty married Anthony West, the son of writers Rebecca West and H.G. Wells. The couple initially lived in London before moving to Quarry Farm, Chicksgrove, Tisbury, near Salisbury, where they brought up their children Caroline and Edmund. There they hosted many of their friends, including the New Zealand painter Frances Hodgkins. Other regular visitors before the War included John and Mywafany Piper, Ralph and Frances Partridge, Noel and Catharine Carrington, Julian Trevelyan and Mary Fedden. For many of those who visited Kitty would organise painting expeditions. After the war Kitty and Anthony separated, with Anthony moving to the United States. Anthony West moved to the United States to work as a journalist for The New Yorker. In the early years after their parting Kitty visited most years with the children. In the 1960s Kitty purchased Sutton House and ran the Hambledon Gallery at Blandford Forum. There she promoted the work of her early art-school friends Mary Fedden and Julian Trevelyan, alongside work by the Pipers, John Craxton...

The Victorian Interior English School, 19th century oil on board, framed behind glass hence photo reflection glare framed: 7 x 8.5 inches board: 4 x 5 inches inscribed verso provenan...

Bruce Kurland – Still Life with Decoy and Shells Oil on board, framed in antique gold leaf A master of intimacy and restraint, Bruce Kurland’s Still Life with Decoy and Shells is a ...

Guido Reni (Bologna 1575 - Bologna 1642), follower of - Madonna and Child. 91.5 x 108 cm unframed, 134.5 x 150.5 cm with frame. Ancient oil painting on canvas, in a 19th-century ca...

This oil painting presents an opulent bouquet of lilacs in full bloom, arranged in a softly rounded ceramic vase. Cascading clusters of white, lavender, and deep violet blossoms fill...

ARTIST: Ginette Rapp (1928-1998) French TITLE: "Still Life Of Flowers" SIGNED: lower right MEDIUM: oil on canvas SIZE: 37cm x 32cm inclusive of frame CONDITION: very good DE...

Painting with Purple Flowers is a beautiful wall decor, october flowers are one of favorite flowers of the artist, he always tries to show their beauty and luxury. Beside, Nikolay li...

Jim Beckner's (US based) "Cruise Room #8" is an original, handmade oil painting depicting a Denver landmark born the day after the repeal in 1933. The Cruise Room is Denver's longest...

Nordic school of the 18th century Oil on panel on wood 27 cm x 33 cm (42 x 51 cm with the frame) Old frame in carved and gilded wood Good condition even ...

An intimate still life by American artist Joan Griswold (b.1954) depicting a bedside table with a lamp, books, alarm clock, and glass of water. Her loose brushwork gives the scene a ...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Aves del Paraíso, Oil on linen by Chico Montilla. Measurements in centimeters (H) 100 x (W) 81 x (D) 2 cm. / In inches 39.37 x 31.89 x 0.79 " Expressionist interior corner whith fl...

Open window to the city in spring, light, roofs, City, Interior MAYA KOPITZEVA (Gagra, Georgia, 1924 - 2005) Signature in the bottom right corner. Maya kopitzeva’s works have bee...

Antwerp school Attributed to Gerard Thomas (Antwerp 1663-1720) with the collaboration of Balthazar van den Bossche (Antwerp 1681-1715) The doctor's office Gerard Thomas was a late ...

Large scale French still life of a vase with flowers by André Vagh Weinmann. The painting is signed and dated bottom right. Presented in a very fine patinated wood frame. An imposin...

Edmond Malassis was pupil of Gustave Moreau, and became a watercolourist. Malassis worked primarily in the first half of the 20th century. He has been Exhibited in many museums Here...

Charles Edouard Edmond Delort (French, 1841-1895) oil on canvas "Game for the Cardinal", depicting a seated cardinal behind an ornate French Louis XV roll-top Bureau du Roi, after th...

An oil painting of an interior close to the artist's heart; her parents house. The object of focus is the black baby grand piano. A big open win...

Item is in excellent condition and has only been displayed in a gallery setting. Item includes frame; Fernando Ibañez Alcaraz was born in Alcoy, Alicante (Spain) in 1969. Growing ...

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...

5158 Antique American oil painting straberries in a basket interior scene Late 19th century

Stuart Dunkel has spent decades refining his hyper-realistic oil paintings. He paints realistic imagery based on real-world inspirations. His original artworks show that everyday obj...

Serge Marshennikov's "Sleeping Beauty," is an original, handmade hyper realistic oil painting on stretched canvas that depicts a feminine model in a...

Antique American oil painting. Oil on canvas. Signed. Framed. Measuring 21 by 25 inches overall and 14.5 by 18.5 painting alone.

A stunning jewel and pertinent example of Berthelsen's charming Still Life scenes. Here we find a white rose and two crimson flowers in a white vase set on top of a wooden glossy tab...

A Fabulous, Large and Dynamic Mid-Century Modern Painting of a Chicago Night Club by Notable Chicago Artist, Rudolph T. Pen (Am. 1918 - 1989). Painted circa 1948, this is a large, a...

Daniel Israel Austrian, 1859-1901 Great News Signed with monogrammed first initials and inscribed DIsrael Munchen (ll) Oil on panel 16.13 x 22.25 inches (41 x 56.5 cm) Frame: 25.25...

Leigh Ann Van Fossan's "Sanctuary" is an original acrylic and pastel painting depicting a warm interior with a cozy cat perched on a chair peering out a picturesque window. Van Fos...

H 30.75 x W 46 x D 1.5 in. (framed) Signed lower right: “GERALD LEAKE” Provenance Private collection This item is in our New York City warehouse and can...

This painting depicts an interior scene done in Paris. The fun details are what make this painting so attractive and desirable; the living room opens out into the terrace, as we are ...

The 19th-century British School blended technical precision, emotional storytelling, and a deep interest in society and nature. While it was initially rooted in traditional and conse...

Fedor Encke (1851-1926) – German Full length Portrait of Jeannie Netter, standing in an interior, wearing a Burgundy Velvet Dress holding a Pink Rose Oil on canvas :85 ¾ x 50 ¼ in. Frame :103 x 67 ¼ in. Signed & inscribed ‘New York’. Circa 1910 Jeannie Netter was an American born musician and song-writer but was mostly merited for her sculpture having been taught by the Russian artist Bernstamm. Fedor Encke was born in Berlin, Germany in 1851. Younger brother of Erdmann Encke who was a sculptor, Encke was the illegitimate grandson of King Frederick Wilhelm II of Prussia and Mistress Wilhelmine Encke, Countess of Lichtenau. Fedor studied under Karl Gussow in Berlin and then went on to study in Rome and Paris. Although he set up a studio in Berlin during the 1880’s, he seems to have travelled regularly between Paris and New York painting many American Society sitters, including President Theodore Roosevelt. Encke’s portrait of Roosevelt dressed in Rough Rider uniform, originally hung in the dining room of the White House and is now at the Presidents place of birth, Segamore Hill, New York. This portrait was also published as the frontispiece of ‘The Rough Riders’ by C. Scribners&Sons, 1899. Encke was in Paris in 1902 and painted the two banking giants, John H. Harjes and J.P. Morgan both having their portraits painted at the same time. To try and finish Morgan’s painting Encke hired a young photographer named Edward Steichen to take Morgan’s picture as a kind of aid memoir to minimize the sitting time. This photograph and the painting that resulted from it caused a considerable stir because of the uncompromising pose of Morgan. The portrait became synonymous with the new capitalism. Encke seems to have been very well connected socially and painted for many members of the European nobility as a result. Encke died in 1926. Works in Museums: Segamore Hill, New York (Portrait of Theodore Roosevelt) National Portrait Gallery America; Smithsonian; Brooklyn Museum of Art; Philadelphia Museum of Art. Bibl: Book on Moses Ezekiel...

This lovely French 19th century figurative Impressionist oil painting is by Adolphe Monticelli. Painted circa 1870 the painting depicts a group of seven figures amusing themselves in...

Nicely painted American school modernist portrait. Oil on canvas. Framed. Ready to hang excellent condition.

SUNLIGHT TABLE Size: 62 x 53.5 cm (including frame) Oil on canvas A gentle and poetic mid-century interior still life that captures a moment of quiet radiance, executed in oil...

This series of pieces is the result of an investigation into the use of light as a tool for the representation of reality and image creation. Starting in the 40s, the work of the art...

Jordi Curós Ventura (1930-2007) - Woman Mixed technique on canvas board. Work measurements 46x38 cm. Frame size 51x43 cm. Jordi Curós Ventura (Olot, Girona, March 4, 1930) is a Span...

Edward Dufner The Screen Door, 1923 Signed lower left Oil on board 10 x 8 inches Exhibited New York, National Academy of Design, Winter Exhibition, November 17 - December 16, 1923, ...

Purple irises. 1998, canvas, oil, 35x25 cm Juris Jurjans (1944-2023) - Painter Juris Jurjāns graduated from J. Rozentals School of Art in Riga (1962), and Painting Department of Latvian Art Academy (1969) with diploma work “Summer” (under the guidance of E. Kalniņš). The artist takes part in exhibitions since 1969. Self-exhibitions in: Straupe (1974), Riga (1975, 1984, 1991, 1994), Lielupe (1975), Mersrags (1983, together with A. Jurjane), Smiltene (1986), Liepaja (1986, together with A. Jurjane), Leningrad (1989). J. Jurjans is a member of Latvian Artists’ Union since 1975. 1969 – 72 he worked as a teacher in Riga secondary school No 20. 1972 – 88 Jurjans was an artist of the company “Māksla”. 1972 – 88 teaches at the Latvian Art Academy. Since 1988, he is a lector of the Latvian Art Academy Pedagogic Department. Since 1992, the artist is an assistant professor of the Latvian Art academy Painting...

A stylish, colorful Mid-Century Modern portrait of a seated young woman in a pink dress by famed Chicago Modern artist, Francis Chapin. A fashionably dressed, young model is seated ...

Gabriel Paul GUILLOT Reims, 1850 - 1914 The Servant's Judgment Oil on canvas 65 x 81 cm (77.5 x 97 cm with frame) Signed and dated on the left "P. Guillot / 1880" Wax seal on the bac...

James Cassie was born at Keithhall near Inverurie, Aberdeenshire, the son of a prosperous tea and spirit merchant. Although briefly a pupil of the artist James Giles, Cassie was larg...

Oil on canvas Unframed size: 100 x 81 cm (39.37 x 31.88 in) Framed size: 107 x 88 cm (42.12 x 34.64 in) Choice of natural oak or black floater frame Year: 2025 Signed lower right Cer...

Vintage American modernist still life oil painting. Oil on canvas. Framed. Signed. Measuring: 25 by 21 inches overall, and 24 by 20 painting alone. Handsomely framed in modern wood...

A Colorful, Intimate Modernist Portrait of a Young Woman Reading by Notable Chicago Artist, Francis Chapin (Am. 1899-1965). A wonderfully painted studio work dating from the 1930s. ...

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

Feeding Time, the Cottage Interior Scottish School, 19th century signed lower corner oil on board, framed framed: 19 x 24 inches board: 14.5 x 18 inches Provenance: private collecti...

In an intimate atmosphere dominated by warm colors, Nicolas Loir offers us here a first thought, tightly focused and rigorously arranged, of the Adoration of the Shepherds in the Louvre Museum, in which he expresses his admiration for the art of Nicolas Poussin. 1. Nicolas Loir, a 17th-century Parisian artist inspired by Bourdon and Poussin Nicolas Loir was born in Paris in 1623. His father, a goldsmith, first placed him with Simon Vouet and then with Sébastien Bourdon. At the age of 23, in 1647, he left for Rome, where he stayed for two years, drawing inspiration from the classicism of Raphael and, above all, Nicolas Poussin, whom he met and deeply admired. On his return to France in 1649, he received his first major commissions for religious paintings for Parisian churches, the most prestigious of which was the May of Notre Dame for the year 1650. He also received numerous secular commissions for hotels and châteaux in the Paris region. Admitted to the Academy in 1663, he joined Le Brun's team and participated in the decoration of the royal castles of Vincennes, the Tuileries, and Versailles. Appointed professor at the Academy in 1666, then assistant to the rector in 1668, he died in 1679. He married Marguerite Cotelle, daughter of the painter Jean I Cotelle, a specialist in monochrome paintings, and sister of the painter Jean II Cotelle. Dezallier d'Argenville, who owned several of his drawings, tells us that he was a man of gentle and modest temperament, deeply honest, and highly esteemed by his contemporaries, including as a portrait painter. We can see his amiable character features reflected in his portrait by Jean Tiger, which is kept at the Palace of Versailles (4th photo in the gallery). 2. Description of the painting and related artworks Our painting depicts the adoration of the Holy Child, presented in the center of the composition on a pristine white cloth that catches the eye, by the shepherds. While the figure draped in yellow on the left is likely Saint Joseph, the Virgin Mary is depicted from the front, contemplating the Child with her right hand raised, her fingers spread as if to indicate her amazement at the realization of this Mystery. The five figures on the left, all dressed quite simply, are the shepherds who have come to worship the Child, as evidenced by the kid goat lying at his feet. Two cherubs carrying phylacteries fly in the sky and complete the composition. Our Nativity was painted in oil on canvas coated with a brown-red preparation, visible in the two upper corners left unpainted, which is typical of French painting in the mid-17th century and found in the work of Nicolas Poussin. The overall atmosphere of the painting reveals Poussin's decisive influence, whether through the color palette dominated by primary colors (the blue of the Virgin's cloak, the orange-red of the shepherds' cloaks on the right, the bright yellow of St. Joseph's cloak on the left), the rather tubular treatment of the figures, but also through numerous direct references to Poussin's paintings. Examples include the two cherubs, which seem to be inspired by those above the Martyrdom of Saint Erasmus...

A dynamic, colorful 1930s painting of a boxing match in Mexico by famed Chicago Modern artist Francis Chapin. Painted during one of the artist's early trips to Mexico, an exceptional painting showing Chapin's steadfast interest in sporting scenes, particularly boxing matches. Image size: 12 x 28 inches. Framed size: 15 1/2 x 31 1/2 inches. Estate stamped on reverse. Provenance: Estate of the artist. Francis Chapin, affectionately called the “Dean of Chicago Painters” by his colleagues, was one of the city’s most popular and celebrated painters in his day. Born at the dawn of the 20th Century in Bristolville, Ohio, Chapin graduated from Washington and Jefferson College near Pittsburgh, Pennsylvania before enrolling at the Art Institute of Chicago in 1922. He would set down deep roots at the Art Institute of Chicago, exhibiting there over 31 times between 1926 and 1951. In 1927 Chapin won the prestigious Bryan Lathrop Fellowship from the Art Institute – a prize that funded the artist’s yearlong study trip to Europe. Upon his return to the United States, Chapin decided to remain in Chicago, noting the freedom Chicago artists have in developing independently of the pressure to conform to pre-existing molds (as was experienced by artists in New York, for example). Chapin became a popular instructor at the Art Institute, teaching there from 1929 to 1947 and at the Art Institute’s summer art school in Saugatuck, Michigan (now called Oxbow) between 1934 – 1938 (he was the director of the school from 1941-1945). Chapin’s contemporaries among Chicago’s artists included such luminaries as Ivan Le Lorraine Albright...

Lucienne Lemercier was a French painter from the latter part of the 19th century through the early 20th century. She came from a family of creative people and took to painting at a...

This artwork titled "The Study" c.2000, is an oil painting on canvas by noted American impressionist artist Douglas Paul Morgan, 1948-2021. It is signed at the lower left corner by t...

Charles BALAY Saint-Etienne, 1861 - Lyon, 1943 Oil on canvas Signed lower left “Balay” 56 x 46 cm (71 x 62 cm with the frame) Exhibition stamp on the verso of the exhibition of 1938 ...

This painting is John Hrehov’s Tangent, an oil on panel from 2025. In it, a modern red sofa runs straight across the back of the room, set against a grid of tall windows that open on...

Alson Skinner Clark (American, 1856 - 1949) Signed: Alson Clark (Lower, Left) " Morning Sunlight in The Patio " Mission San Fernando Oil on Canvas 30" x 32" Housed in its original 3 1/2" Newcomb...

Cubist Still Life, Tomatoes by Michele Bardet (French mid 20th century) oil on canvas, framed in original wooden surround frame framed: 21 x 41 inches canvas : 20 x 40 inches provena...

In Eco di Parole, French painter Sophie Dumont captures the elusive presence of silence in a stylized bookshelf rendered entirely in pale, muted tones. The painting is built with sub...