Panel Interior Paintings

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

Nancy Newman Rice was born in New York City and was educated at Cornell University and at Washington University, where she earned a BFA with honors and an MFA. She has received award...

Carol Stewart Morning Glory, Clementine oil on paper on panel 8h x 8w x 1.50d in 20.32h x 20.32w x 3.81d cm CST016 Through her ethereal and often dreamlike paintings Carol Stewart i...

Presentation by Georges Croegaert French born 1848 – 1923 Oil on panel Panel size: 16 x 13 inches Framed size: 24.25 x 21.25 inches Signed

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

EDUARDO LEÓN GARRIDO Spanish, 1856- 1949 THE PAINTER AND HIS MODEL signed "E. L Garrido" (lower right) oil on mahogany wood panel 19-3/4 x 24-1/8 inches (50 x 61 cm.) framed: 28-1/2 x 32-3/4 inches (72 x 83 cm.) PROVENANCE Private Spanish Collector Eduardo León Garrido (Madrid, 1856 - Caen, 1949) was a Spanish painter. He began his training at the Higher School of Painting in Madrid and as a disciple in Vicente Palmaroli...

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...

Carol Stewart Coneflower, Rudbeckia oil on paper on panel 11h x 18w in 27.94h x 45.72w cm CST008 Through her ethereal and often dreamlike paintings Caro...

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...

Born in New York City in 1959, Max Ferguson started as a filmmaker, making award-winning animated films as a teenager. But it was while he was a visiting student at an art school in ...

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

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...

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

Kenny Harris is represented by George Billis Gallery NYC. Kenny Harris’ new paintings evoke the light and mood of architectural spaces from his travels around the world. He is fascin...

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...

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...

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...

"Hide Seek" Painting 53" x 39" inch by Tasneem El-Meshad Medium: acrylic on wood Academy of Fine Arts Cairo graduate Tasneem El Meshad describes her art, as “a reflection of ...

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...

"There Is No Room For Subtle Things" is a trompe l'oeil oil painting of comic clips taped to a red wall. Recently, it feels like there is no room for complexity in our world. You e...

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...

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...

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 ...

"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: 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 panel Panel size: 18 x 15 inches Framed size: 22 x 19 inches Signed lower right

Pair of French Neoclassical oil paintings by Dubost French, 1809/11 Frame: Height 70.5cm, width 86cm, depth 9cm Panel: Height 45cm, width 61c...

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

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

This John Stephens original acrylic on panel painting measures 24x30 in and is available for $27,500. "Our Lady of the Foam" features a woman inside a greek mythology dome covered in...

Barend Blankert (December 30, 1941 – July 11, 2023) was a Dutch painter known for his quiet, melancholic works. Born in Kampen, he studied at the National Normal School for Art Teach...

Found It, Original Signed Contemporary Satirical Surrealist Painting, 2014 18" x 11" x 1.625" Gouache on Wood Panel Hand-signed by the artist. When socks go missing, this disarticulated human arm can find them! In this dream-like surrealistic painting by artist Megan Frazer a laundry basket full of blue, red, and yellow clothing...

Pierre Bergian expresses his fascination for architecture through his paintings by exploring space and structure, making use of the presence of architectural components. His current ...

Bio Aaron M. Brown was born in Wichita, KS. He received a BFA from the University of Kansas, MFA from Syracuse University. Awards include grants from the Pollock-Krasner Foundation...

"Still Room" (2023) by Keith Garcia Acrylic on wood panel 16 x 20 x 1.5" square Figurative painting depicting an imagined room with windows on each wall that look out onto purple skies and green hills in the distance, overlooking a waterscape. The interior painting features a restful room with a hardwood floor, covered almost entirely by an area rug in a green and gray geometric pattern. Two chairs remain empty but on a nearby side table sits a teapot and cup...

"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...

"Entry Bikes" (2018) by Aaron Hauck Oil on wood panel 20" H x 16" W x 1.75" D Figurative interiors painting, entryway scene with bicycles and shoe rack, checkered tile...

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...

A black and white painting by ink ad Acrylic on wood panel Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses various mixed media including sumi ink and oil ...

A painting on wood panel, 96x72". Known for his erratic and expressive abstract works, Daniel Diaz-Tai uses various mixed media including sumi ink and...

Roger de la Fresnaye (1885-1925) Nature morte à l’oeuf 1910 oil on board mounted on panel 66.2 x 50.9 cm signed and dated ‘R de la Fresnaye.10’ (upper right) Price: $157,500 USD (in...

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...