Panel Paintings

"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 ...

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...

"Galloping Horse and Rider" Alessio Issupoff (1889 Russia-1957 Rome) Oil on wood panel Signed lower right 5 1/2 x8 1/2 (13 1/2 x 16 1/2 frame) inches This is such a stunning little jewel, it's almost hard to believe. Alessio Issupoff dedicated his whole life to art and was shaped by his years at the Moscow School of Painting, and later absorbed a great deal from Impressionism and the work of the Italian Renaissance masters. But he kept his distinctive style and remained true to the idea that excited the generation of painters of the turn of the 20th century — “the embodiment of the great beauty of everything alive.” Alexei Vladimirovich Isupov, known by his Italianized name Alessio Issupoff, was born in Vyatka (now Kirov) on March 10, 1889. The son of an icon carver and gilder, he learned to paint from the artisan painters who worked with his father. Wanting to give expression to his own artistic creativity, the young Alexei did not take up his father's trade but left Vyatka for Moscow where he attended the School of Painting, Sculpture and Architecture. His mentor was the painter Apollinary Mikhailovich Vasnetsov, brother of Viktor, who introduced him to the Moscow artistic milieu and helped him find work. By studying and visiting museums, Issupoff formed his own aesthetic “taste” by modifying it on contemporary Russian and French Renaissance art...

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...

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...

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...

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...

Acquired by the gallery directly from the artist UNFRAMED: 10" x 20" FRAMED: 14.5" x 24.5" x 1.5" Signed " K Dempwolf" on lower left Artist Statement "I have painted cattle into ...

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...

Beautiful Dutch School painting dating from 17th century. Oil on wood panel measuring 10 3/8 x 14 7/16 inches. Unsigned. No inpainting or conservation. Depicted is a scene with a beautiful young woman singing...

Framed size: 17" x 21" Making a Run by Montague Dawson vividly portrays a historic sailing vessel battling rough seas. The ship strides forward under full sail, decks awash, rigging...

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...

This eighteenth-century Dutch painting presents a gently animated rural scene, combining landscape, village life, and everyday activity in a manner that reflects the enduring legacy ...

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 ...

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

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...

Albert Roosenboom was a Belgian genre painter celebrated for his elegant depictions of everyday life in the mid to late 19th century. A pupil of the renowned Constantin Meunier, Roos...

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 ...

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...

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...

Lindsey Kustusch's "Below the Noise" is a compelling handmade original oil on wood panel artwork, measuring 10 x 20 inches. This 2025 piece is a primary market item, arriving for Kus...

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...

This large abstract contemporary statement painting by Roger Mudre features many light circle shapes, layered over one another in a concentric fashion and a cool blue and silver pale...

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

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...

A wonderful composition of one of Slonem's most iconic subjects of birds. The thick use of paint is greatly recognizable as he slathers on layer after layer of oil paint with multico...

"Hunting Dog at a Stop." Unknown (signature indecipherable) Oil on panel Signed lower left 7 1/4 x 9 (10 3/4 x 12 frame) A very fine depiction of a hunting dog at a stop anticipatin...

The relaxed atmosphere is characteristic of the oil paintings by Dutch artist Laetitia de Haas (1948). Her work radiates a distinction and tranquility that we...

Abstract geometric three-dimensional wood wall sculpture in pale grey, light blue, light taupe, and beige, with accents of stormy blue "In, Out, Over, and About", hand-carved woode...

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...

Signed oil on panel figures in landscape circa 1920 by French post impressionist painter Lucien Adrion. The painting depicts families enjoying a day at the beach in Deauville - some ...

Let Go 1, 2, 3 (Series) In these paintings, Zdrale depicts multiple figures—often iterations of the same man—locked in a cycle of struggle. The ropes that coil around or extend from ...

A wonderful composition of one of Slonem's newest series, Daisy's. This piece depicts a gestural Daisy on a lime green background with thick use of paint. Inspired by nature and a ge...

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. ...

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...

"Cloud Composition 2" 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 ...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a castleton green background with thick use of pain...

In this contemporary abstract landscape in ballpoint pen, oil and resin on panel, a sense of wonder and whimsy is conveyed, blending of fantasy and realism. Shane McAdams' unique bal...

Ingrid Smuling Dark Red Helleborus 20 x 15 cm olieverf Framed size! 30 x 25 cm ( Frame is included) Oil on wood panel Ingrid Smuling, the Grand Lady of Still life painting is stil...

Matt Talbert's "Remember When" (2024) is an original, handmade oil painting on panel that depicts a portrait of a seated brunette in deep contemplation. Artist bio/statement: Matt ...

John Tarantola's original nude portrait "Whispering Hope" (2018) is a beautiful realist painting that is an oil on panel. The piece depicts an athletic nude male figure lying on a be...

The Trial of Christ Dutch Old Master, 17th century oil on panel, unframed panel: 11 x 7.5 inches provenance: private collection, England, Christies auction stencil marks verso condi...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a white bunny on a black background with thick white paint and then ...

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 ...

Michael Carson's (US based) "Italian Chair" (2024) is an original, handmade oil painting and is framed in a black float frame. About the Artist: Mike Carson is a Minneapolis painte...

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

This painting titled "Portrait of a Girl" by the Danish realist painter Peder Mørk Mønsted captures an enigmatic young woman whose identity remains unknown. The girl, elegantly posed...

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...

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...

Paul Jansen Curious Calf 51 x 61 cm (Framed 67x 78 cm, Frame is included in price) Oil on wood panel Painter Paul Jansen (1960) started his artistic career as a photographer, and a ...

In this abstract painting in oil and graphite on panel by Elizabeth Gourlay, clean and precise, carefully ordered blocks of color in shades of blue are vibrant against a calm, soft s...

Jardin d'Hiver Series is Shizico Yi's latest collection, created in her winter studio while longing for the summer left behind. Reflecting on the vibrant days spent painting en plein...

Two Pears Realism oil painting on panel 12" x 12" David Harrison, is a master in the style of Realism painting. Two Pears shows the simple beauty of Realism paintings. by a Realis...

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...

"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...

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...

Field and Orchard (Land and Skyscape with Open Field and Dark Treeline) by David Konigsberg 2025, oil on panel, 23.5 x 24 inches Konigsberg is a conceptual realist who works across ...

Cornelis Van Leemputten Werchter 1841 – 1902 Schaerbeek Belgian Painter 'The Shepherd with his Flock – Le berger et son troupeau' Signature: signed lower right 'Corn. Van Leemputte...

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 ...