Panel Paintings

Mission San Jose in San Antonio is known for spectacular architecture, but the dramatic shadow cast by one simple palm tree shows the light and shadow in the painting. Founding the “Queen of the Missions” In 1719, Father Margil de Jesús, a seasoned Franciscan missionary, was at Mission San Antonio de Valero (today’s Alamo), awaiting the opportunity to re-establish missions in east Texas. Before too long, he saw need for another mission in the San Antonio River valley. He wrote the Marqués de Aguayo, then governor of the Province of Coahuila and Texas, requesting permission to establish a second mission south of San Antonio de Valero. He felt he was prepared to establish this mission at once as he had necessary church goods with him, even a statue of Saint Joseph. The Marqués agreed and founding ceremonies took place on February 23, 1720. On February 23, 1720 the Writ of Possession was signed for this mission, read the Writ of Possession here. Leaders of three Indian bands that wanted to come into the mission were appointed governor, judge, and sheriff in the new community of San José y San Miguel de Aguayo. Father Margil entrusted the care of the project to Father Núñez and two soldiers. The building of the limestone church, with its extraordinary Spanish colonial Baroque architecture and statuary began in 1768 — the peak of this mission’s development. At that time there were 350 Indians residing in 84 two-room apartments. Based on Father Morfi’s description of what he saw here when he visited in 1777, the church of Mission San José came to be known as the “Queen of the Missions.” V....Vaughan is known for impressionist paintings of wildlife...

My interest is in creating a permanent record of the impermanence of our world. In considering the exquisiteness of a moment shared, of a new connection, a new thought, an old memory, I am often stuck by the duality of permanence and impermanence all around us. My work engages the natural world through this lens. Images of birds...

Hunt Slonem "Lories & Amazons" Multicolor Parrots on Metallic Background A family of seven birds on a gold and multicolor background in a vintage frame Unframed: 30 x 22 inches Fram...

Modern Luminist, Hudson River School landscape painting on canvas of a creek and river meeting around a forest bend with mountains in the distance "Where Creek Meets River" by Jane Bloodgood-Abrams, painted in 2021 Horizontal landscape painting, 36 x 48 inches unframed with white painted sides wired on reverse for easy hanging Artist's signature is located on lower left This modern Hudson...

"Looking Down Main Street" is an impressionist oil on panel painting by Contemporary painter Amy Florence. It depicts the main street of Sag Harbor with the municipal building, cars,...

Mixed composition 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 worked fo...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

Signed, inscribed and dated "R. Pinatel / Taroudant / 1926" (lower right) Oil on panel A stunning ode to the Moroccan landscape, this oil on panel was composed by the French Orientalist painter Raphaël Pinatel, whose lively works adeptly translated the romanticism of the East for a Western audience. The present work, which captures a market in Taroudant, a city in southeastern Morocco, exemplifies the artist’s distinctive approach as he brilliantly translates the energy and atmosphere of the desert city. Pinatel’s style is impressionistic in his brushwork and handling of light and atmosphere. In the present work, he brilliantly captures the effects of the direct desert sun...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens when I am outside in large open spaces. Painted images act as a tool. I respond to the spaces my art suggests. That response is usually non-verbal. I am interested in the experience of non-duality that “getting lost” in big spaces can sometimes produce for me. The paintings have gone through a range of artistic treatments with the recent years seeing a focus on space, light, textures, atmosphere and distance. My landscape paintings are made from memory, not from on-site drawings or photographs. I use memory as a filtering agent to remove non-essential visual elements. When a work is successful, it must have a sense of poetry. There is nothing “new...

A Los Angeles-based artist with a unique take on color and the relationship between space, shape, and light. Andy Moses paints with pearlescent pigments on concave canvases, which cu...

Wall was born in Ireland and arrived in New York in 1812. He was already a well trained artist and soon became well known for his watercolor views of the Hudson River Valley and surr...

Oil on panel " Scene Galante " Attribution Diaz De La Pena 19th century It can certainly be closely compared stylistically and compositionally with other k...

Hippolyte Camille Delpy was a landscape painter active in the late 19th century, well known today for his compositions representative of the Barbizon school. He was trained under Cor...

"Shelter Island Evening" is a blue and green oil painting of a Northeastern American harbor. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurati...

Antique Philippe Pavy Orientalist Oil Painting Street Scene Children Musician French, 1890 Panel: Height 40cm, width 51cm Frame: Height 54c...

This bright painting, done en plein air, radiates the feeling of summer. Small sailboats float daintily atop electric blue water while the surrounding land looks completely empty of ...

This small but striking work is a portrait of Chunya, the dog of poet Dmitry Vodennikov. The realistic image is painted on a board and framed in a simple, unfinished wooden frame, gi...

Contemporary still life oil painting on panel of white tulips with a light pink hue sit on a windowsill while a winter landscape with a snow-covered field and barren trees against a ...

Represented by George Billis Gallery, NYC & LA --Mooers writes of his work, “My paintings begin with a serious sense of play, both in the staging and the creating of the compositions...

David Bareford’s distinctive style incorporates traditional themes with spontaneity. About his work he comments, “The term inspiration is overworked and doesn’t apply to what I try ...

Glenn Ness is recognized for his photorealistic oil paintings of vacant backyards, landscapes, urban streets, and interiors. Ness’s compositions are flooded with his signature warm l...

Donald S. Vogel has been a set designer and technical director in the theater, a fine art dealer, and a writer, but first and foremost he is a painter. From a young age he was intrig...

JAMES WOLANIN "Imagine" Acrylic Gloss Varnish on Wood Panel 30 x 30 inches ______________________ James Wolanin’s paintings transport the viewer to an effervescent, candy coa...

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...

Hunt Slonem "Sky Light" Blue Oval Bunny A single rabbit gestured in black on a light blue background in a vintage frame Unframed: 12 x 10 inches Framed: 17.5 x 15.5 inches *Painting...

Art serves as a window into imaginary worlds that reflect a tangible reality shaped by the artist’s hand. Nelson Richardson’s Christo Reaction is a witness work that belongs to the l...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Nora Othic is considered one of the top regionalist painters in the Midwest. She builds on a legacy from her artistic predecessors such as Grant Wood, Thomas Hart Benton and the WPA ...

The dark and smokey palette of Grez-sur-Loing reflects the influence of the French Barbizon School on Winkworth Allan Gay's painting style. It seems reasonable to assume that he pain...

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...

"Poggio alle Mura" American Impressionist landscape of Tuscan countryside. Painted en plein air at a vineyard in Siena, a beautiful sunny day enchants the verdures natural vibrance....

Stephen identifies the delicate texture and beauty of the natural oxidation process. Oftentimes a found object initiates his work: By incorporating an object directly, imprinting, or...

This is a one of a kind original abstract oil painting on panel by Southern California artist, Daniel Ketelhut. Its dimensions are 22" x 30" x 1". It is unframed. A certificate of au...

This is a one of a kind original abstract oil painting on panel by Southern California artist, Daniel Ketelhut. Its dimensions are 18" x 24" x 1". It is unframed. A certificate of au...

This is a one of a kind original abstract oil painting on panel by Southern California artist, Daniel Ketelhut. Its dimensions are 18" x 21" x1". It is unframed. A certificate of aut...

This is typical of Chris Liberti's wonderful, entrancing, quiet paintings. Chris Liberti is a favorite with collectors here and abroad. Gesture, color, a...

Eric Cederberg (1897-1984) Beach with pearls, ca. 1950 Oil on panel 9 1/10 × 14 3/5 in l 23 × 37 cm Frame included: 13 3/4 x 19 1/3 l 35 x 49 cm Signed lower left Exhibition history...

This wooden wall sculpture features hues of navy, turquoise and yellow. Nancy is inspired by the works of Carmen Herrera, Deborah Zlotzky and Grazia Varisco...

Robertson K. Mygatt (American, 1862-1919) Green Field and Barn Oil on panel, 6 1/8 x 9 7/8 inches Framed: 10 x 15 inches The landscape painter and etcher Robertson K. Mygatt was born in New York City and studied at the Art Students’ League with John Twachtman...

CAM’s work can be seen as a moving meditation on the very nature of transformation and the notable significance of challenge as a rite of passage to sacred change. Concerned with how we ultimately face the difficulties of life, his work offers visual cues that remind us of the fortitude of our humanity and inherent capacity to face, navigate and ultimately transcend all limitations. CAM’s art combines his early fascination with stained glass and the energy of the urban landscape with symbols of freedom, strength, resilience and well-being. Using animal totems...

Though the action of painting geological formations using abstraction, organic textures and luminous color, I can convey how natural physical forces work to shape a constantly changi...

Crowell's abstract paintings are in the challenging media of oil paint and cold wax. "Techniques I originated in my practice 20 years ago are now widely recognized and taught. My pro...

Acrylic on wooden panel Lee Yu Min is a Korean artist born in 1987 who lives and works in Daejeon, South Korea. She is specialized in Korean painting, completing her doctoral studi...

Ricky Hunt’s mixed media minimalist wall art is influenced by his tumultuous past that led to a paradigm shift in creativity and life. He covers the wood panel with layers of acrylic...

This luminous New Hampshire White Mountain oil painting of Mount Chocorua at twilight was painted by contemporary American artist William R. Davis (195...

This is a painting in realistic detail of a woman in profile using subtle tones. The oval shaped panel is framed in a custom frame with classic details. Matthew Cook...

Attributed to Francesco Bonsignori Italian 1455-1519 Christ as a Boy Oil on wood panel Image size: 12 1/4 x 16 inches (31 x 40.5 cm) Original gilt frame  In this painting on panel, ...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Acrylic on wooden panel Lee Yu Min is a Korean artist born in 1987 who lives and works in Daejeon, South Korea. She is specialized in Korean painting, completing her doctoral studi...

Acrylic on wooden panel Lee Yu Min is a Korean artist born in 1987 who lives and works in Daejeon, South Korea. She is specialized in Korean painting, completing her doctoral studi...

Spring Rain is a unique painting by contemporary artist Chen Yiching. The painting is made with mineral pigments on Japanese paper mounted on wood, silver leaf, dimensions are 110 × ...

My paintings begin with a serious sense of play, both in the staging and the creating of the compositions. It is at this beginning stage that I operate under the Dadaist dictate that “anything can be art”, and at the same time I seek out a balanced and harmonious composition by way of line, shape, and color. I work according to my whimsy, sometimes seeking to assert some form of narrative however personal or ambiguous, and other times I am simply satisfied with the hint of a human presence. Once I have my compositions the paintings then very quickly become about work, a very labor intensive work that forces me to focus my mind and slow things down (which I feel is relevant especially in this day and age of high-speed everything). A great amount of effort is spent on trying to get to the highest level of finish that is possible according to my current skill level. For inspiration I have drawn from the past four centuries of object specific paintings, from the ontbijtjes (laid tables) of the 17th Century Dutch masters such as Willem Kalf, Jan Davidsz de Heem, Abraham van Beijeren...

An oil on wood panel sketch of a horse, on a sunny day. The horse stands before a bright green field. Wood panel remains exposed as your eye drifts away from the center of the painti...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

The Village Cricket Match, 18th/19th Century English School - Indistinctly Signed 18th 19th Century English School Rural Village Cricket match, oil on ...

Stellan Mörner (1896-1979) The Lamp, ca. 1935 Oil on panel 9 4/5 × 13 in l 25 × 33 cm 15 3/4 x 18 1/2 l 39 x 47 cm (Frame included) Signed lower right Exhibition history: Nordic Sur...

Non-objective artist AIMÉE FARNET SIEGEL works with color and line through the medium of found, hand-painted, and manipulated paper. Her works inhabit space outside the two-dimension...

Allison McIntyre (b. 1999 West Virginia) pulls from animal imagery and digital aesthetics to respond to contemporary human-animal relations, wrestling...

Dimitri incorporates and captures free form expression using urban iconography, text, collage and traditions methods.

Richard Koppe (American, 1916 - 1973) studied at the St. Paul School of Art and the New Bauhaus in Chicago, where he was mentored by Laszlo Moholy-Nagy, Gyorgy Kepes, and Alexander A...