Tri-State Area - Interior Paintings

oil on linen on mounted board *ABOUT Stephen Basso Stephen Basso's highly original pastels and oil paintings are romantic, yet thought provoking fantasies. His whimsical works a...

oil on linen canvas heavy duty stretcher reference to Hatian vessels named govi containing souls of the departed

oil on board mounted in wooden frame suitable for immediate hanging the artist mixed synthetic pumice into the primer to create a rough textured surface.

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...

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...

Vector Group (2015) oil enamel on canvas 24 x 20 inches

Bernard Nacion Untitled (Waiting By The Phone), Late 20th Century Collage with magazine cut outs on artist board Image: 11 x 9 in. Mat: 16 x 13 in. Thi...

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...

Title: Still Life I Medium: Oil on canvas Size: 15.5 x 19.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This pa...

Title: Blue Gray Morning Medium: Oil on canvas Size: 15.75 x 19.25 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: ...

The affiliation of two-dimensional objects and their three-dimensional projection is the main topic of Zipora Rafaelov’s relief-like pictures and installations. Common objects which ...

New Nostalgias is a new work on paper by Turkish artist Yasemin Kackar Demirel. This architectural inspired artwork is watercolor, block print and grap...

Gray Scale Study for Pure Painting 2, 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...

Robert Monell Pratt (1811-1880) was a Rare New york Artist whose artworks were commissioned by wealthy merchants and Exhibited in museums The current work was deaccessioned from the...

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...

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)

This title nods to a virtual, technical world, one that opposes the world of oil painting: sensual, physical, and warm. This work represents a space inspired by a Mediterranean aes...

"The Gatekeeper" is a mysterious painting, seemingly both a portrait and a situation – perhaps a portrait of a barrier. Gatekeeping suggests inclusion a...

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...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Lantern, Flowers and Fruit) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Cond...

Artist: Ian Hornak (1944-2002) Title: Untitled (Abstract Still Life with Flowers, Fruit and Teapot) Year: 1963 Medium: Watercolor on heavy archival paper Size: 29.5 x 21 inches Condi...

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...

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...

Represented by George Billis', NYC and LA galleries -- When I think about the conventions of painting -- a tradition I respect immensely -- I notice that my concern has always been...

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 ...

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...

"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...

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 ...

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...

'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...

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

Represented by George Billis Gallery, NYC & LA --Kenny Harris's latest body of work was informed by two recent residencies in Tuscany, at Borgo Finocchieto and Monteverdi. Inspired b...

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...

My latest series opening at the George Billis Gallery, titled “Modern Society,” continues my exploration into midcentury architecture and design found in New York City, but focuses o...

Suzanne Chamlin’s paintings are records of her observations and imagination. Painting on site Chamlin explores her expressions of light and color. Suzanne’s process centers on exper...

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...

"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...

Represented by George Billis Gallery, NYC & LA -- When I think about the conventions of painting -- a tradition I respect immensely -- I notice that my concern has always been with...

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...

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...

My latest series opening at the George Billis Gallery, titled “Modern Society,” continues my exploration into midcentury architecture and design found in New York City, but focuses o...

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...

My latest series opening at the George Billis Gallery, titled “Modern Society,” continues my exploration into midcentury architecture and design found in New York City, but focuses ...

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.

I think of my work as being like a visual journal- observations and interpretations of people, places and things I experience day to day. Translating that experience into two dimensi...

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...

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...

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

Represented by George Billis Gallery, NYC & LA --Kenny Harris's latest body of work was informed by two recent residencies in Tuscany, at Borgo Finocchiet...

b. 1960 Elizabeth Higgins describes herself as an abstract figurative and landscape painter. Everything around her serves as a potential subject, an inspiration to begin a painting....

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...

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...

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

I think of my work as being like a visual journal- observations and interpretations of people, places and things I experience day to day. Translating that experience into two dimensi...

I think of my work as being like a visual journal- observations and interpretations of people, places and things I experience day to day. Translating that experience into two dimensi...