Art by Medium: Panel

Valentine Thomas Garland British, (1845-1914) Fox Terrier Puppies Oil on panel, signed & dated 1901, exhibition label verso Image size: 13.5 inches x 9.5 inches Size including frame...

"Introvert" by Zack Zdrale (US based) is an original oil on panel depicting a nude male model. Zack Zdrale (b. 1977) takes a traditional approach to his work although his subjects a...

”Rooster and Hens at Daybreak” is a delightful painting of rural life, created by the Belgian artist Frans van Severdonck (1809-1889). Van Severdo...

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

PHILIP REISMAN "STILL LIFE WITH FROWERS" OIL ON PANEL. SIGNED AMERICAN, C.1935 20 X 16 INCHES Philip Reisman 1904-1992 Philip Reisman was born July 18, 1904 in Warsaw, Poland....

the size of artworks 25x25 cm -- each piece This spring, the yellow dandelions were in full bloom on the green lawn in front of our house. How charming they are, not only when they...

"Tea Party" by Kirsten Savage is an original, handmade oil painting on panel that depicts a woman sitting on an orange couch, in a sheer white skirt, holding a cup of tea. Kirsten ...

Judd Mercer's (US based) "Lookout" (2022) is an original handmade oil painting depicting a rocky coastline with a small building on top of one of the boulders. Artist bio/statement ...

Artist Statement: Painting is a meditation and a kind of alchemy in which I concentrate and transform my feelings and memories into something material that can be experienced in various ways by others. In this recent body of work, I draw on my deep love of nature: the impressions from my new rural life Upstate and in the Berkshires...

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...

"Red Anjou & Green Glass" (2025) by Blair Atherholt is an original, handmade oil painting on panel that depicts an arrangement of grapes, a pear, and a port wine bottle imagined in a...

Elizabeth Zanzinger's (US based) "Cowboy Kettle" is an oil painting that depicts a whimsical still life featuring a copper kettle with artichokes. Elizabeth Zanzinger is an award-w...

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

"Devil's Backbone" by Diego Glazer is an original painting depicting rock formations bathed in warm light. About the Artist: For as long as I can remember, I have been on a quest t...

1950's Mid Century modern English oil portrait of a woman seated in an interior The artist was a portrait and figure painter active during the 1950s-1960s Great use of color and abstract brush strokes...

This is a vibrant pink encaustic (pigmented beeswax) painting on birch panel accented with a darker shade of reddish pink along the edge. Signed and titled on verso. Joanne Mattera’...

Shelli Langdale's "And Belonged to Otherwise Memory" is an original, handmade oil painting that depicts a white horse reflected in a rear view mirror with a pink sunset in the distan...

Bart Koning (Dutch artist) Radicchio di Treviso 28,7 x 37,6 cm ( framed included 29,1 x 38 cm) Oil paint on wood panel We're proud to introduce Dutch/ German artist Bart Koning. In...

This piece titled "cobblestone" is original artwork made from screenprint Tyvek paint collage on panel by Miriam Singer. This piece measures 6"h x 6"w. Miriam Singer grew up in Buffalo, New York, In 2000 she received her BA from Brandeis University, and in 2003 her MFA from Massachusetts College of Art. Since moving to Philadelphia in 2004; Miriam Singer has exhibited at James Oliver Gallery. Stanek Gallery, LG Tripp Gallery, Woodmere Art Museum, Space 1026, Friends of the Print and Picture Collection...

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...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. In “Happy Place” by Kirsten Savage, the boundary between imagination and landscape...

This piece depicts a colorful collage composition portrait of a Pin-up model from the 1950s, as Jon Davenport explores the process of deconstructing iconic imagery from the past and present. Davenport start’s out with photos of his paint-stained studio floor and collages in articles/advertising from an array of vintage magazines collected over the years; plus any other interesting stuff captured on his travels. He then transfers the images to a panel board, layering them on with gel medium, together with strokes, splashes, drips, and splats of paint. Once it's dry, another layer of gel medium is poured on to give it a melting effect. After it drys off again, another layer of paint is added to embellish a few areas and to accentuate or fade out certain aspects. And then, he finally adds a coat of polyurethane for protection and making the colors pop. This unique work is executed on a wood panel board and comes ready to be displayed with hanging wire on verso, signed by the artist lower right. Art measures 36 x 36 inches From biology student to owning and running a creative agency in London to a career as a fine artist, life has taken Jon Davenport on a rewarding and unconventional journey. Despite his scientific beginnings, he’s always had a strong artistic streak weaving its way through his different career paths. Growing up in Ipswich, UK, Jon was always an avid drawer, and could often be found with a pencil and paper in hand. With the arrival of his first computer, he embraced the new frontier of digital art and had work published in one of those early computer magazines. His creative urges took a backseat to get a biology degree at Brunel University in London. It was afterward, in his first job working at the Archant newspaper group in Ipswich, that he quickly progressed from plate maker to becoming an integral member of the art studio. It was during this time that he taught himself photoshop, desktop publishing, and graphic & web design. After a few years, he set up a design agency, and eventually went full time and moved to London. This proved to be a successful move, working for a number of clients such as Nike and Virgin, and gaining praise from the likes of Richard Branson and Tony Blair. It wasn’t until Jon moved to the USA to marry his wife, Atlanta artist Christy Kinard...

The painting was painted Plein Air, in Artist's own garden of the memorial roses she planted. This is Rosa Albertine, the first Old English variety Artist Shizico Yi planted in her garden in 2016, before her late dog died. Old English Roses...

A beautiful and evocative oil painting on wood by the great Italian artist who lived between the late nineteenth and early twentieth centuries. It depicts with rare effectiveness a...

Poreau Oswald Brussels 1877 – 1955 Waterloo Belgian Painter 'Anemones' Signature: Signed top right, dated 1946; on revers signed, named and dated Medium: Oil on canvas laid down on...

"View From Baxter" is an oil on panel painting by Darius Yektai. It's large scale, at 6 feet tall x 4 feet wide, and 3 inches deep. A graphic, saturated contemporary landscape inspir...

Judd Mercer presents "Fractured Dream," is an original, handmade oil painting created in 2025. The piece measures 24 inches in height by 24 inches in width, rendered on a durable 1.5...

keywords; materiality, texture, oil painting, contemporary painting, ooze, perforation, Lucio Fontana, process-based, repetition, abstract painting, patterns, impasto, fushia, patter...

"Ignite" (2025) by Josh Sorrell depicts a portrait of a woman with reflected orange light. This painting measures 12 x 9 x 1.5 inches and is unframed but ready to hang. Artist Stat...

Contemporary abstract landscape painting in oil on linen mounted on panel with carefully ordered patterns, geometric shapes and lines in bright prismatic colors against an atmospheri...

In this contemporary landscape painting in oil on panel, a peaceful summer scene is set, beautifully capturing the idyllic feel of a field of wildflowers in August. Signed, dated and...

This contemporary landscape painting of a tree was created by a Canadian artist. Lauded for his ethereal and romantic landscapes, Peter Hoffer has created a unique body of work that...

This untitled work by Rick Sindt was inspired by the works of Paul Cadmus. It is a small graphite drawing of two male nude figures with both of their faces somewhat obscured during an intimate moment. The graph lines often used by artist are still visible to distinguish between the photographic elements of a Polaroid photo and this actual drawing. The piece is framed in a white float frame measuring 12.5h x 10.5w inches. Rick Sindt Untitled - After Cadmus graphite on panel 10h x 8w in 25.40h x 20.32w cm Shifting the historic male gaze into a male-on-male gaze, this body of work anchors its exploration of queer culture in relationships and introspection. Beginning with a survey of several photo archives, I overwhelmingly encountered pictures that fit into two distinct categories: spectacular demonstrations or public displays of sexuality. All of these images were overtly political. Then, I began to find a subset of more intimate images. Typically, these were images submitted by loved ones or donated to foundations after someone’s death. These images depicted common, tender scenes. Working my way through these images, I reflected on D. A. Miller’s assertion that gay identity, to which we have entrusted our politics and ethics, stands in an essentially reductive relation to the queer desires on which it is based. And David Halperin’s argument that, “identity has become the preferred category for thinking about homosexuality. Moreover, it has been promoted at the direct expense of pleasure or feelings or subjectivity.” This left me asking the questions: how is queer culture transmitted if not genealogically? Is there a universal queer experience? What is queer sensibility and subjectivity and can it be visually represented? In the body of work submitted here, black and white graphite drawings maintain a Polaroid scale referencing the found historical photographs on which they are based, oil paintings provide isolated moments of feeling as they investigate questions about queer dispositions in a contemporary setting, and a few key sketches provide insight into how a few individual inquiries began. Rick Sindt b. 1990, Hastings, MN, EDUCATION 2013 North Park University, Chicago, IL - BFA Magna Cum Laude SOLO EXHIBITIONS 2016 Two Countries, Rogue Philanthropy, Chicago, IL 2013 Tides, Erosion or Catch, Pull, Recover; The-One-Right-Now, North Park University; Chicago, IL GROUP EXHIBITIONS 2016 Are We Not of Interest to Each Other, Uptown Arts Center, Chicago, IL Reinventing Ourselves From Another Point-of-View, Contemporary Gallery at Zhou B. Arts Center, Chicago, IL Collective: Process, Beans and Bagels, Chicago, IL 2015 Collective: for(a)ging, Hammond Art Center; Hammond, IN How We Make It, The Arts of Life, Chicago, IL Collective: One, Albany Park...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Judd Mercer's (US based) "Run Off" (2022) is an original handmade oil painting depicting a small waterfall on a run off from a river. Artist bio/statement Judd Mercer is a contempo...

'Abstract of Lines and Colours', oil on panel (circa 1960s), German School, signed, 'X. Kruger'. This artwork is a clear homage to Piet Mondrian (1872-1944). Recognised for the purit...

Genevieve Hamel Deep Water Oil on Wood Panel Year: 2024 Size: 40 x 30 x 1.625 inches Signed by hand COA provided Ref.: 924802-2088 Somewhere in the bottom of this pond, swim beautif...

"Life Long Friends Rooted In History" (2024) by Deb Komitor (United States) is a handmade landscape oil painting that is ready to hang. Deb Komitor was born and raised in Ohio and ...

A most popular drawing master, Lesourd-Beauregard exhibited extensively at the Paris Salons, and was awarded a medal in 1842. He is famous for his in depth botanical studies done in...

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 ...

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

"Door #30 (Bright)" (2018) by Francesca Reyes Original oil & acrylic wood panel; measures 8" H x 6" W x 1" D From the artist's door series, depicting doors that she has photographed ...

"Bluepoint" (2024) by Jessica Cook is an original, handmade oil painting on canvas mounted on panel. This piece depicts a cat on an abstracted background.

"Daniel #1" is a graphite drawing by Rick Sindt. The two figures, one naked, one fully clothed, are standing in a doorway inviting the viewer in. The graphite is reminiscent of the...

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 re...

Underwater black and white photograph of a naked young woman in a pool. Original print on aluminum plate with solid black backboard. The artwork needs no additional framing: it can...

Lesley Anne Spowart (American, born 1957) "Buster" 2023 Acrylic Paint, Oil Paint, Mixed Media, Wood Panel, Wire The artist signed the bottom left and back of the painting. "Buster"...

James Van Fossan's "Sky 60" is an original, handmade oil painting that depicts a skyscape of grey and white clouds arching through a blue sky and the sunlight dances through it.

Saint Jerome in the desert Cercle of Lambert Van Noort (1520-1571, Antwerp) Antwerp School, mid-16th century Oil on oak panel. Dimensions: panel h. 69 cm (27.16 in), l. 52.5 cm (20.6...

'A Moments Rest' by Ben Waddams is a Contemporary Realist Wildlife oil painting of a Kingfisher perched on a branch. With such incredible detail you can almost feel feathers and exp...

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...

"Red Plum" by Blair Atherholt is an original, hand made painting depicting a teapot with grapes and a warmly lit red plum Blair Atherholt is an award-winning contemporary realist oi...

Pietro Sansalvadore was active during the early to middle of the 20th century. He painted in an Impressionist manner and on a small scale. Acquiring a late 19th-century Impressionist painting of Hammersmith Bridge by the Italian painter Pietro Sansalvadore is an opportunity to own a captivating piece of art that transcends both time and cultural boundaries. Sansalvadore's unique perspective, influenced by the Impressionist movement, infuses this painting with a luminous quality that captures the atmospheric essence of Hammersmith Bridge in a way that only a skilled artist with an international perspective could achieve. This masterpiece not only showcases the artist's mastery in capturing light and movement but also represents a harmonious fusion of Italian artistic sensibilities with the iconic English landmark. The play of colors and the subtle brushstrokes transport the viewer to the late 19th century, offering a glimpse into the allure and dynamism of that period. Owning this painting is not just acquiring a visual delight; it's investing in a historical and cultural artifact...

Max Lewis Hamburg 1863 – 1930 Vienna German painter 'Portrait of a Lady' Signature: 
signed revers ‘M. Lewis’, certified by Louise Lewis, sister Medium: oil on panel Dimensions: im...

Turquoise, pink and mauve are washed over a classical forested landscape in this horizonal composition by Canadian painter Peter Hoffer. The painting...

"En Provence" Raymond Allègre (France, 1857-1933) Circa 1900 Oil on wood panel Signed lower left, countersigned and titled on the back 13 1/2 x 9 (30 3/4 x 25 1/8 frame) inches It'...

C23-6, 2023 Geometric Abstract Color Field Panel Painting by Ginny Fox in Charcoal Gray Painting is on three panels (2) 24 x 18 inches, (1) 24 x 12 inches Can be oriented horizonta...

"Yellow Peonies" by Stephanie Deshpande is an original oil painting depicting two yellow peonies blushed with pink. Stephanie Deshpande is a realist painter living in northern New ...

Arthur Smith (American, 1897-1972) Untitled, 20th century Oil on wood panel 23 3/4 x 19 1/2 in. Framed: 29 x 25 x 1 1/4 in. Signed lower left: A Smith Arthur Smith is a listed Ameri...

Genevieve Hamel Dance with the Wind Oil on Wood Panel Year: 2024 Size: 24 x 24 x 1.625 inches Signed by hand COA provided *wired and ready to hang Genevieve Hamel’s passions for d...