Despite the change of forms and reduction of royal official exclusivity of wall paintings in the Qajar period, they had an important role in decorating of historic buildings in this era. Art of wall painting can be considered as one of the branches of Iranian painting, with many exampleswith different styles and techniques, related to the historical periods. The Qajar painting school can be considered as a combination of Safavid wall murals and classical European painting techniques. As it initially became more Iranian, it gradually gave way to European realism. The mid-Qajar wall murals are characterized by the slip of the formal and courtesy form. This is both practical and technical, and subject-matter. The prevalence of wall paintings, especially in the middle of the Qajar era, made it a popular art. Unlike previous periods, the support of the princes diminished and wall painting appeared in public places such as houses of moderate people to a large extent. Considering that in the Qajar period of Tabriz after Tehran, Tehran was considered as the second Iranian capital and residence of the Qajar prince and also a major center of attraction of artists in many traditional arts. Therefore, in Tabriz, like the capital, residential houses were decorated with various decorations such as wall murals that played an important role in the development of traditional arts and encouraged artists.  House of Hariri in Tabriz (HHT) and Qavam-al-Dowlah house in Tehran (GAHT) as historic monuments belong to middle age of Qajar dynasty and have a unique collection of mural paintings in their alcove. Regarding the same ages for these houses, comparative study and investigations on their wall paintings will furnished a better understanding of visual and thematic approaches of these two important cities in the Qajar era. Due to the lack of comparative data on this subject, the main aims of this research are characterization and evaluation of visual values in the wall paintings between HHT and GAHT. Considering aims of the research, the question that arises is to what extent are the similarities between murals of HHT and GAHT? And which historical - social components and also stylistic features can distinct and identify the wall-paintings in these two buildings. The investigation has been carried out in comparative-historical method as well as field study and library resources with the descriptive analytical approach. Finally, the results of assessments showed that there are nine different issues in wall-paintings of HHT and GAHT. The frequently painted figures of plants and the style of “Gol o Morgh” (flower and bird) are among the most important differences. The figures are painted with oil paints in GAHT and Tempra in HHT in certain framing formats. Also the effects of western painting are observable in most common subjects in two buildings. Despite the similarities, there are some patent differences directly related to the social class and status of the building owners, which are the most important reasons for distinctions between murals of the two buildings.