New York - Interior Paintings

An oil painting by American Realist Painter Steven J. Levin. Levin presents a neutral-toned interior, where a man sits comfortably in a chair, back against the wall, playing a guita...

This piece, "Springtime in Still", is a 10x8 oil painting on canvas by artist James Jarhsdoerfer featuring a glass vase filled with fresh cut white and pink flowers from the garden. A blue ceramic jug...

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 ...

John Havens Thornton, Untitled, 2008 — oil on canvas A lively folded structure rises from a pale field, its interlocking planes switching between electric turquoise, rust, umber, an...

John Havens Thornton, Untitled (Structures), 1988 — oil on canvas A pared-down stage of sunlit yellow holds two enigmatic forms: a teal, shed-like structure with a deep black doorwa...

This piece, "In the Garage" is a 11x15 oil painting on canvas by artist James Jahrsdoerfer featuring a look into the interior of a garage in a rural setting...

When I think about the conventions of painting -- a tradition I respect immensely -- I notice that my concern has always been with the interplay of light and structure" says artist S...

A trompe l'oeil painting of a toy gun hung upside down by a nail through the trigger.

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...

Italian School, "The Antiquarian", Oil on Canvas, late 19th century, depicting a gentleman standing at a table covered with a carpet, books, his dog and a small mouse underfoot, unsi...

"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...

An infinite #2 pencil is depicted within eight square trompe l'oeil floating frames on a blank background. "Ouroboros" refers to the ancient symbol of the snake eating its own tail, ...

"Winter Still Life" is an oil painting of drinks and clementines on rustic wooden table, Italy. A box of clementines, a silver espresso maker, a sack...

"Lilacs, Pecorino, Wine" is a contemporary impressionist earthy tone still life. A moka pot, jug of olive oil, and pecorino make this still life uniquely Italian. The hard cheese lay...

A still life of pansies in a white bowl on the artist's kitchen counter. Framed in a custom Italian black frame w gold leaf lip.

"September Still Life" is an impressionist composition of rustic Tuscan spread. A blue teapot is placed as the focal point; it stands out in color but also in shape. A motley of gree...

"Yellow Teapot" is a bright impressionist still life with red tray and glass bottle. Painted from direct observation, in the painters Tuscan home. Bio...

An impressive still life (oil on panel) of vibrant clementines in android white and blue dish. The attention to detail and the striking ability to find the beautiful within the mund...

Robert Petrick's paintings connect the lyricism of language with the vibrancy of urban culture, especially the rich milieu around the East Village and Alphabet City. Rendered in colo...

American, b. 1931 Max Ginsburg received his BFA from Syracuse University and his MFA from City College of New York. Since then, his true to life New York City sidewalk scenes have received numerous awards including, Christopher Award, Pauline Law Award, The Edith Lehman Prize, and honorable mentions from both Audubon and Salamagundi. Ginsburg Is an active member of the Allied Artists and the Society of Illustrators and his work has been commissioned by New York Times Magazine, Fortune Magazine, Harper Collins Publications, Dial Books/Penguin Publications and many others. His paintings also hang in many prominent collections, such as New Britain Museum of American Art, Connecticut, Martin Luther King Labor Center, H. J. Heinz Company and those of Jules Bernstein, Dom DeLuise, Edgar Bronfman, Harvey...

This 1983 El Hanani oil painting comes from the estate of Anita Rosen. The overall artwork size is 15" x 15" with the central image area measures 9" x 9".

A still life oil painting of a basket of potatoes and a box of salt on a wooden table. This work reflects the artists's discerning eye in the discovery of beauty amongst ordinary, everyday objects. The blue box of salt is complimented by the blue light pouring through the glass pitcher. Painting Dimensions: 21.65 in x 29.5 in Framed Dimensions: 26.65 in x 34.5 in Framed in a handmade Italian gold leaf...

"Coffee, Fireworks, and Amphetamines" is an oil painting of the titled items, a to-go coffee cup is the focal point, a few red firecrackers resemble miniature dynamite sticks. Pills scattered about the tabletop in capsules and tablet forms. A single match with a red tip rests along the table's edge, ready to ignite a spark. A diagonal shadow dissects the composition. A hole in the wall can be found on the upper right. Painting dimensions: 11 x 14 inches Framed dimensions: 13.5 x 16.5 inches Matthew Weigle...

An oil painting of a items on a wooden table. Fava beans scattered on a plate, a glass vase filled with a bright bouquet of flowers, a silver espresso maker, and clementines make up the items depicted in this painting. Painted in a realist style and palette, the items on the table bring vibrant color to the eye, a celebration of nature's bounty. Framed in a custom Italian gold leaf frame...

Its owner unknown, this room in West London’s Mayfair neighborhood was decorated by the Iranian-born designer known as Alidad. The arrangement hints at ...

A whimsical painting of a little girl blowing bubbles out the window into an idyllic Italian landscape. Framed in a simple white-gold leaf frame. ...

A still-life oil painting of pink peonies. Artist Bio Viktor Butko was born in 1978 in Moscow, into a family of artists. He often visited the studio of h...

Door #1 1988/89 33 inches x 24 inches oil on canvas Artist Statement: "This is an early work I produced in my studio at 11th street and Ave 'B" NYC. I was working at free expressio...

"City Lines" 40X50x1.75" acrylic on canvas 2018 NYC Signed, dated and titled on the reverse side. "Line series influenced by the digital city"

"Poinsettia" is an oil painting of the signature red plant blossomed against a light backdrop, in a minimalist pot, a cement cube. Painting dimensions: 16 x 12 inches Framed dimensions: 18.5 x 14.5 inches Matthew Weigle...

City Green Soft Geometry Series 2017 Acrylic on canvas 28X40" Signed, dated and titled on the reverse side

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 ...

Oil painting of a houseplant, situated in a living area beside a window. Light from the outdoor sun casts inside, a bright reflection onto the ground . P...

Painted by Nelson H. White, in his studio. A single yellow rose stands as the focal point in a small 6 x 4 inch panel. Poking out of a glass bottle, against a dark background, shades...

"Single Rose" is an impressionist oil painting; a rustic still life . A glass pitcher holding a single peach-toned rose, situated on a wooden surface, beside a rustic mirror. A canva...

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...

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...

Painted from life in his connecticut studio, John Moris paints two metal oar locks. These tools are normally attached to the sides of a row-boat, and lock in the oars with which a sailor would row. Hanging fro a tiny metal nail, dangling from a small white thread, before an off-white, monochromatic backdrop. Framed in a simple black frame, as pictured. Frame dimensions are 24 x 20 inches. Painting dimensions are 19 x 15 inches. John Morfis was born in Glen Cove, Long Island in 1976. His humble beginnings made pursuing a career in art difficult and paradoxically necessary. Fixated on making things aesthetically pleasing, John made an extreme departure from his family life when he chose to base his life on art. Surrounded by mechanics, welders, and otherwise trade workers John had a tough time expressing his interest in a world much more utilitarian and much less expressive and impractical. With an extraordinary desire to be an artist and a grant awarded, John was able to earn a Bachelor of Fine Arts with a concentration in painting from the University of Hartford in 1998. While there John studied oil painting under American realist Stephen Brown. John’s first solo show took place in 2007 at the Ellen Traut Collection Gallery in Hartford, CT and was a near sell out. Since then John has had success up and down the northeastern coast of the United States working with various galleries and collectors. His work has also appeared in various group shows at the New Britain Museum of American Art in Connecticut. ARTIST STATEMENT Each painting, although a portrait of a tired hand...

American plein-air painter, Marc Dalessio, depicts a band playing at a local tavern. We can tell they are playing folk music because of their instruments, a fiddle (violin), and a ba...

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

"Basket Weave" is an original abstract graphic painting on wooden panel. It has patterns, stripes and a dynamic color palette, featuring pinks and blue. A stunning and contemporary u...

Signed lower right. A beautiful painting of a woman with her back to the viewer, watering a plant in front of an old brick wall. She is wearing a red skirt. A fruit arrangement sits...

One calm evening in Brooklyn. One timeless painting. This scene captures the downtown Brooklyn skyline. A blue sky swirls around the last hurrah of daylight. It soothes the menacing drama of the storm cloud. Brooklyn Blue Sky...

'Pagoda' features immense detail and nuances between shadings of light and dark, sunlight and shadows. The majority of the colors in his works highlight a darker shade, which focuses...

Robert O'Meara (American, XX-XXI), Still Life of Flower, Oil on Board, depicting pink rose in glass jar on purple ground, signed lower right, wood frame. Image: 11" H x 11" W; frame:...

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...

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.

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...

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...

This is an oil on linen painting signed and dated on reverse.

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone s...

A British-born, American based painter, Richard Combes focuses his subjects on the forgotten corners of New York City, subway stations, the cobblestone streets with puddles in Tribec...

Oil on canvas, humorous depiction of a woman with classical artwork

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...

Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works are alive with boundless imagination, wry wit and fear...

Gray Scale Study for Pure Painting 8, 2016 Acrylic on museum board mounted to board Artwork size - 8 x 6.5 inches Framed Size - 16 x 20 inches signed and dated on recto Lee We...

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...

Bernardino Luino (Latina, 27 March 1951) is an Italian painter and etcher. He is one of the founders of the group La Metacosa and teaches at the Accademia di Belle Arti di Brera in M...

750, 2005 Acrylic on canvas 63h x 9.84w in Using photography as the starting point, Viviana Zargón constructs a pictorial universe of industrial imagination. In an exploration of ab...

"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...