Art by Medium: Panel

Ingrid Smuling Ox- tongue in a Ginger Jar 20 x 20 cm olieverf Framed size! 28 x 28 cm ( Frame is included) Oil on wood panel Ingrid Smuling, the Grand Lady of Still life painting ...

Adriana van Zoest Neighbourhoodcat 13 x 20 cm Framed in a black wooden frame: 22 x 30 cm Oil paint on wood panel Dutch artist, painter, Adriana van Zoest, lives and works in Warmen...

GIOVANNI BOLDINI (FERRARA 1842–1931 PARIS) Profilo di Giovane Seduta 1915 circa Expertise by Prof. Dini ( see photo attached) oil on panel cm 35 x 26,8 not signed

This still-life is made by Dutch painter Erik Zwaga. The painter started in the style of the romantic school, Erik Zwaga began to search more and more for his own visual language...

H.Jackson. 19th-century English landscape with sheep resting in a field. English late 19th-century painter of animals either in barns or landscapes. His paintings have the influence...

A beautiful late 19th century English oil on panel depicting sheep and chickens in a n old barn. Excellent quality work in superb original condition, presented in a good quality swe...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Sunset at Grand Teton National Park - Plein Aire Landscape in Oil on Board Vibrant plein aire landscape by Thomas Bradshaw (American, b. 1972). This landscape was complete on site, ...

Acrylic and graphite on cradled wood panel

Attributed to Hendrik Hollander (1823-1884). This exquisite example of 19th-century European genre painting portrays a noble couple engaged in reading within a luxurious interior sce...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...

Shipping in Calm Waters Dutch School, 18th century oil painting on wood panel panel: 10 x 12.75 inches framed: 14 x 17 inches condition: very good, minor evidenc...

Intersections 8 is an original painting realized by the Italian artist Salvatore Travascio in the 2010s. This is a beautiful oil painting on paper on wooden support. Hand-signed on ...

Dog Portrait of a Grand Vendéen Hunting Dog Jules Chardigny (1849-1892) Signed lower right Circa 1870 Oil on wood panel Housed within its beautiful and original ornate original gil...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a silver and gold background with beautiful accents...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a plum purple and white bunny on a cherry blossom pink background wi...

acrylic on birch panel

Oil on Board realized by Jules Victor Génisson (1805-1860) in the mid-19th Century. Hand signed lower left. Good condition.

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Panel Year: 2025 Style: Impressionism, Title: Summer Trees, Size: 37.5" x 25.5...

Dutch Female Artist Liseth Visser is no stranger to the world of portraiture. In the past she was nominated for the 'BP portrait award' from 'Th National...

"Untitled" portrays a young female nude in an intimate setting within the artist's studio. This painting is done in the classical vein of full portraiture. The model, however, is not posed quietly, but is engaged with a person or object off the frame, or, perhaps in an interior monologue with herself. Regardless of which, the viewer's attention is not only attracted to the beauty of the model's figure, but the intention of her actions. Charles Pompilius...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographic stills, repurposing them...

Clyde Steadman's "Bathsheba" is an original, handmade oil painting that depicts an impasto painting of a nude female model in an interior setting.

An important & large Italian Baroque period oil painting on panel attributed to Daniele Crespi (1598-1630), "The Entombment of Christ", Milan circa 1620. See artist biography below. ...

Lindsey Kustusch's "The Sumatran Tiger" is a stunning handmade original oil on wood panel artwork, with dimensions of 30 x 30 x 1.50 inches. Created in 2023, this piece stands as a p...

A fine antique seascape oil painting on panel by the celebrated marine artist, Frederick Judd Waugh (1861-1940), depicting the Atlantic of the coast of Maine, circa 1910. The painting is finely executed with bold and decisive brush strokes with crisp edges, one can almost hear the roar of the ocean as the surf crashes upon the rocks. The painting is signed lower right "Waugh" and is housed in the original carved & gilded frame. Condition is very good indeed, this fine seascape by one of America's most acclaimed late 19th early 20th century marine artists is ready to grace your wall. The painting will be accompanied with a certicificate of authenticity & provenance. Frederick Judd Waugh was an American artist, primarily known as a marine artist. During World War I, he designed ship camouflage for the U.S. Navy, under the direction of Everett L. Warner. Waugh was the son of a well-known Philadelphia portrait painter, Samuel Waugh. He studied at the Pennsylvania Academy of Fine Arts with Thomas Eakins, and at the Académie Julian in Paris with Adolphe-William Bouguereau. After leaving Paris, he moved to England, residing on the island of Sark in the English Channel, where he made his living as a seascape painter. In 1898 he was recorded as living in Heath and Reach, Bedfordshire. In 1908, Waugh returned to the U.S., settling in Montclair Heights, New Jersey. He had no studio until art collector William T. Evans (a railroad financier and President of the dry goods firm, Mills Gibbs Corporation) offered him one in exchange for one painting a year. In later years, he lived on Bailey Island, Maine, and in Provincetown, Massachusetts. Waugh’s marinescapes were highly acclaimed, garnering him the Popular Prize at the Carnegie International Exhibition for five years in a row, a feat accomplished by no other artist. In 1914, he was a judge of the art exhibit on Monhegan Island, Maine during the 1914 Ter-Centenary celebration of the Voyage of Captain John Smith. In addition to his marinescapes, Waugh sometimes published work in periodicals, such as The Green Sheaf, to which he contributed at least one illustration. He also produced paintings and sketches on legendary and mythological themes; see, for instance, his 1921 sketch “Levitation in Dream No. 3”, and his c. 1912 painting “The Knight of the Holy Grail”. In 1918, Waugh was recommended to serve as a camouflage artist (or camoufleur) for the U.S. Navy, as a member of the Design Section of its marine camouflage unit. That section was located in Washington, D.C., and was headed by American painter Everett L. Warner. According to a biography of Waugh, “Many large ships, including the Leviathan, were painted according to his designs. Though the enterprise was of course a team effort in which no man played a solo part, he had every reason to be proud of his record. Only one ship with his system of camouflage was lost during the war”. Waugh was known to produce literary work, publishing a short poem in Pamela Colman Smith’s short-lived periodical The Green Sheaf; a fairy tale in The English Illustrated Magazine; and, in 1916, the book The Clan of Munes...

Realistic, richly colorful oil painting of New York City edifice by Richard Britell oil on wood panel 10 x 8 inches Framed, hangs flush ...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a French Blue background with thick use of paint. I...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

This piece depicts famous British model Kate Moss from a Fall 2013 ad campaign with Stuart Weitzman during the Milan Fashion Week while featuring Kate Moss swaggering to Nancy Sinatr...

Kelly Birkenruth's "Adam" (2024) is an original oil painting on panel, measuring 14 x 11 x 2 inches. This striking artwork features the detailed portrayal of a male torso, emphasizing the muscular structure and the subtle interplay of light and shadow on the skin. The background’s soft, muted tones contrast beautifully with the lifelike depiction of the subject, highlighting Birkenruth’s technical skill and artistic vision. The painting is framed, with overall dimensions of 15 x 12 inches, enhancing its elegant presentation. Known for her ability to capture the human form with both realism and sensitivity, Birkenruth's "Adam" is a compelling addition to any art collection. Kelly Birkenruth’s captivating paintings are in the style of contemporary realism while staying firmly grounded in the tradition of the Old Masters. She is able to pull the viewer into her paintings by interweaving emotion with a humanistic quality through her supreme handling of light. Through her portraits and still lifes she is able to evoke sensitivity and empathy, which in turn allows her to create images which transcend mere representation to capture the true essence of her subject. Kelly’s arresting compositions, draftsmanship, use of color and observation of detail allow her to create paintings with a timeless quality. After earning her degree from Pennsylvania State University, Kelly moved...

A beautiful signed and dated 1927 oil on panel portrait of a young lady, by Belgian painter Victor Abeloos. Excellent quality Art Deco period portrait of the beautiful young lady wi...

Lindsey Kustusch's "Kaleidoscope #2" is a compelling handmade original oil on wood panel artwork, measuring 20 x 16 inches. This 2025 piece is a primary market item, arriving for Kus...

Minimal, Vertical abstracted landscape painting of a fuschia pink field with evergreen and red trees under a pale blue sky "Color Field 500", painted by Tracy Helgeson in 2021 36 x ...

Devin Michael Roberts' (US based) "Orange on Blue" is an oil painting depicting a cloudy shore with a bright orange sunset shining through the clouds. Artist bio/statement: Devin Mi...

Lisa Pressman earned her BA in Art from Douglas College, Rutgers University and an MFA from Bard College. Her work has been exhibited extensively throughout the U.S. and abroad, including The Hunderton Art Museum, Clinton, NJ (2014), the Rosenfeld Gallery, Philadelphia, PA (2013); Therese A. Maloney Art Gallery, College of Saint Elizabeth, Morristown, NJ; group shows at SEFA; and Butters Gallery, Portland...

A Rare Jacobean Portrait of Lady Elizabeth Wheeler (née Cole), 1623 Attributed to Cornelius Johnson (1593–1661) This remarkably rare early oil on panel, presented by Titan Fine Art, has emerged as far more than an anonymous “Portrait of a Lady.” Preserved in outstanding condition—its surface retaining exceptional clarity in the lace and textiles—it has only recently been reunited with the identity of its sitter: Elizabeth Cole (1607–1670), later Lady Elizabeth Wheeler, a Westminster gentlewoman whose later life brought her into intimate royal service as laundress for His Majesty’s person. That combination—high quality, uncommon survival, a newly identified sitter, and a life that intersects directly with the last acts of Charles I—places this portrait in a category of genuine rarity. It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling. The sitter is presented half-length against a dark ground, enclosed within a painted sculpted oval surround that functions like an architectural frame. This device, fashionable in the 1620s, concentrates the viewer’s attention and heightens the sense of social presentation: the sitter appears both physically and symbolically “set apart,” as if viewed through a refined aperture. The portrait’s immediate power, however, lies in the costume—an ensemble of striking modernity for c. 1623 and rendered with a precision that survives with remarkable crispness. She wears a deep green gown—a fitted overgown with open sleeves—over a finely embroidered linen jacket (a stiffened bodice/waistcoat garment). The sleeves form pronounced “wings” at the shoulder, a structurally assertive fashion detail of the early 1620s that enlarges the silhouette and signals sophistication. Beneath the green overlayer, the white linen jacket is richly ornamented in gilt embroidery. The goldwork is arranged as scrolling foliate forms—looping, curling tendrils punctuated by seed-like stippling—organised into balanced compartments across the bodice and sleeves. The motifs read as stylised botanical forms with rounded fruit-like terminals and leaf elements: not literal naturalism, but controlled abundance. The technique is described with extraordinary intelligence, mimicking couched metallic thread through patterned, “stitched” marks, while tiny dots and short dashes create a lively tactile shimmer. This embroidered jacket sits above a newly fashionable high-waisted, sheer apron or overskirt. The translucent fabric falls in soft vertical folds and is articulated with narrow lace-edged bands, giving the skirt a crisp rhythm of alternating sheer and patterned strips. At the neck, a fine ruff frames the face: a disciplined structure of pleated linen finished with delicate lace. Draped diagonally across the torso are long gold chains, painted to suggest weight and metallic gleam; they function both as ornament and as a further signifier of status. The cumulative effect is controlled luxury: she is not overloaded with jewels, but clothed in textiles whose cost and craftsmanship speak unmistakably. The recent sitter’s identification rests on heraldic and genealogical analysis: the arms shown on the painting correspond to those recorded for several families in armorial sources, but when the lines of descent are tested against survival and chronology, the viable bearer by 1623 resolves to Cole, and—crucially—to the London branch. That resolution matters because it anchors the portrait to a very specific social world: London/Westminster civic gentry and Crown administration, the milieu in which portraiture served as both self-fashioning and social instrument. The recent identification of the sitter (the London Cole branch of the family) is not merely genealogical; it has direct implications for authorship. A London-based mercantile or civic-gentry family would have ready access to leading immigrant artists, familiarity with heraldic display conventions, and the means to commission oil on panel, still standard among Netherlandish-trained painters. In that context, the portrait’s age inscription and date become especially revealing. The painting states the sitter to be nineteen years of age. Yet Elizabeth Cole’s birth in 1607 suggests she would be younger if the portrait is dated as early as 1623. The key insight is that the “incorrect” age is best understood not as a mistake but as a deliberate social adjustment, a performative statement rather than a documentary one. The most persuasive explanation is strategic. Portraits of high-status unmarried women were frequently made in connection with marriage negotiations. In the early 1620s, Elizabeth’s future husband, William Wheeler, was resident abroad at Middelburg in Zeeland in the Dutch Republic. If a portrait was intended to support or facilitate a match with an educated, ambitious man—“a man of learning and letters,” —then presenting a seventeen-year-old as nineteen would subtly reposition her as more mature and more nearly a peer in age, Wheeler being around twenty-two. The portrait thus becomes an instrument of alliance, not merely a likeness: an image designed to persuade, reassure, and elevate. This reading aligns perfectly with the period’s wider conditions. The early 1620s in England were charged with anxiety and expectation: James I’s later reign was marked by court faction, diplomatic tension, and the pressures of European conflict. The so-called “art market” was inseparable from these dynamics. Portraiture flourished because it served multiple functions: it fixed lineage, advertised alliance, signalled readiness for marriage, and projected the stability of elite households in an uncertain world. For Westminster families whose power came through office, portraiture was also a declaration of belonging—proof that administrative elites possessed the cultural polish traditionally associated with older aristocratic rank. Elizabeth’s later life vindicates the portrait’s impression of steadiness. Although no record survives of her marriage ceremony to William Wheeler, wills suggest she had married him by the mid-1630s, and there are strong grounds—consistent with the portrait’s implications—for a union already in place by the early 1630s, possibly earlier. Wheeler himself rose rapidly. By 1639 he held a manor at Westbury Leigh in Wiltshire and sought letters of denization due to overseas birth, enabling him to stand as Member of Parliament for Westbury. He leased the principal manor of Westbury the following year, coinciding with his election. In government service he became Remembrancer of the Exchequer and held office across regime change, a testament to administrative skill and political pragmatism. It is Elizabeth, however, who makes this portrait exceptional. She became laundress for His Majesty’s person, responsible for the washing and oversight of the King’s personal linen—an office that, despite its domestic description, required unusual trust, discretion, and access. Her role becomes visible in 1643 when she was granted a warrant signed by the Speaker of the House of Commons to follow the King to Oxford with her servant after the outbreak of the Civil War. She continued to serve during the King’s captivity after 1646, and at Carisbrooke Castle in 1647 she and her maid were implicated in smuggling secret correspondence to and from Charles I, in service of escape plans. After the King’s failed attempt to escape in March 1648, she was removed—yet the King’s trust persisted: he was permitted to send her remaining jewels in an ivory casket...

H.Jackson. 19th century English landscape with sheep English late 19th-century painter of animals either in barns or landscapes. His paintings have the influence of the work of the...

Well painted late 19th-century German genre painting. Often painted in the Munich area of Germany these highly desirable antique paintings are always of t...

A wonderful composition of one of Slonem's newest series, Tulips. This piece depicts a gestural figure of a Red Tulip on a golden background with thick use of paint. It is housed in ...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

Portrait of a Horse British School, 20th century oil painting on panel, unframed paintings size: 8 x 10 inches condition: excellent provenance: from a private collection here in England A very fine equestrian portrait of this horse. Painted with tremendous detail and finesse, the horse is accentuated against its clear background - a technique enjoyed many George Stubbs in the 18th century and Francis...

"Cloud Composition 4" is a realistic capturing of a golden skyscape, created with oil paint on panel. This piece is framed at 9.5 x 9.5 inches and is ready to hang. Jesse Mangerson ...

"Cloud Composition 3" is a realistic capturing of a golden skyscape, created with oil paint on panel. This piece is framed at 9.5 x 9.5 inches and is ready to hang. Jesse Mangerson ...

Matt Talbert's "Anticipation" (2024) is an original, handmade oil painting on panel that depicts a portrait of a brunette in a dark slip. Artist bio/statement: Matt Talbert is a co...

Louis Van Der Pol (Dutch, 1896-1982) was active in the 20th Century and lived in Holland. He was known for his large format elaborate romantic portrait paintings and city street scen...

Division of the Spoils in a Military Encampment Entourage of Willem Cornelisz. Duyster (Amsterdam 1599 – 1635) Not signed. Dutch school, late 17th – early 18th century Oil on oak pa...

"Apriel" captures a serene underwater moment in striking black and white. This fine art underwater photograph showcases delicate interplay between light, shadow, and movement as hair...

A finely executed mid-19th-century oil painting on panel depicting "The Milkmaid" after Jean-Baptiste Greuze (1725–1805). This captivating portrait, painted in a charming manner with...

Steven Nederveen's art is a testament to the complex and ever-evolving relationship between humans and nature. His vivid nature scenes, often seemingly uplifting and idyllic, also reveal the darker aspects of our connection with the natural world. Through his work, Nederveen explores the dualities of our relationship with nature - the love and destruction that can coexist within us. His masterful use of color and light illuminates the beauty and mystery of natural environments such as oceans and...

This painting depicts an impressionistic scene of luminous flowers in a white and blue vase. The work reminds us of Claude Monet, with impressions similarly captured, reminiscent of ...

Terrace on the Sea is an original painting realized in the 19th century by an anonymous artist. The artwork is a colored oil panting on panel. Signed on the ...

This 11" x 14" oil on canvas painting is by Boston-based artist, Anthony Dyke. The painting is an example of geometric abstraction, composed through an arrangement of rectilinear forms, each rendered in bold, saturated color. Dominating the left side is a deep green vertical rectangle and adjacent to it is a narrow red vertical stripe, generating a visual dialogue between the broader green plane and the surrounding forms. A field of light blue occupies the top portion above. mid-composition, a horizontal mint green band stretches across the surface, and on top rests a tilted rectangular form shifting from white to warm red in a subtle gradient. To the far right, a tall blue vertical bar intersects with a fine yellow line. The base of the painting features a complex layering of darker hues: a black horizontal stripe, accompanied by stacked rectangles in red, purple, and yellow. Anthony Dyke was born in Norwich, Vermont and attended the School of the Museum of Fine Arts at Tufts University earning a BFA and MFA in painting. As an artist and arts educator, he relocated from New York City to his downtown Oklahoma City studio, working there for two decades before returning to Boston in 2020. Coming from Vermont where the seasons are distinctly different from one another, his shift from a pastoral setting to an urban environment set up a dichotomy in the work, both visual and emotional. Tony has an extensive education in painting, photography, graphic design and figure sculpture. These mediums intersect in his work through many years of creating artworks and currently speak to his interest in abstract painting. During his senior year in the BFA Program at the School of the Museum of Fine Arts in Boston, my large painting “Natole” was chosen by Frank Stella (the juror) into the highly competitive and prestigious Dana Pond...

Hunt Slonem "Delight" Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 8 x 6 inches Framed: 12.5 x 10.5 inches *Painting is...

Ingrid Smuling Yellow Cowslip Flowers in Chinese Vase 24,5 x 29 cm olieverf Framed size! 34,5 x 39 cm ( Frame is included) Oil on wood panel Ingrid Smuling, the Grand Lady of Stil...

Acrylic oil on wooden panel Marie-Pierre Autonne is a French artist born in 1960 who lives works in Angers, France. She studied at Penninghen in Paris, France. She work...

A beautiful late 19th century oil on panel depicting a river at sunrise with figures in a boat, by Walter LInsley Meegan. Superb early signed work by this popular English painter wh...

Portrait of a Horse British School, 20th century oil painting on panel, unframed paintings size: 8 x 10 inches condition: excellent provenance: from a private collection here in England A very fine equestrian portrait of this horse. Painted with tremendous detail and finesse, the horse is accentuated against its clear background - a technique enjoyed many George Stubbs in the 18th century and Francis...

Italian painter (19th-20th century) - Still life with vase of flowers. 83 x 62 cm without frame, 96.5 x 76.5 cm with frame. Antique oil painting on wood, in a wooden frame (not sig...

Abstract and figurative, "Tuba Patrol" is an oil painting underpinned by a collage of drawings. iIt operates as a dense psychological field where time, memory, and communication coll...