Art by Medium: Panel

Cage P19-3 By Gerhard Richter Gerhard Richter, a German contemporary artist, is celebrated for his diverse and innovative approach to painting, spanning photorealism, abstraction, ...

AUDRA WEASER "Ocean Flight I" Acrylic, Metallic Pigments, Plaster Paint on Panel 30 x 30 in. ___________________ Utilizing a minimalist color palette, Weaser’s process-based painti...

My 80's Heart "Token 7" 2019, gouache, acrylic, graphite, panel, blue, wood, orange

"Storm" (2024) by Josh Sorrell depicts a portrait of a woman in shining blue light. This painting measures 36 x 36 inches and is unframed but ready to hang.

David Shevlino female figures beautifully link traditional representation with abstraction. Through Shevlino’s sensuous application of paint, his use of broad brushstrokes followed b...

Intimate paintings represented by unmade beds and tossed sheets, absent of any human evidence, on intentionally blank, somewhat rough backgrounds. The empty bed in these paintings represents a place for grief, isolation or healing. As such, the work speaks to our shared feeling of grief, with the understanding that while we all suffer in our individual ways, suffering is universal. Source material for this work are photographs the artist has both taken and found, and the intimate size of the paintings references the intimate nature of the subject matter. The backgrounds of the paintings are repeatedly painted and sanded, to create a frame and backdrop for the bedding that is flat, yet rough with work and time. The bedding itself is seen from different perspectives, but still indicates a scene of desolation and despair. While the series began in the fall of 2016, recent events—including the pandemic—have provided a new dimension to the work and have compelled Serpick to consider the themes in light of these events. Our forced isolation and the challenges it has brought to our physical and mental health provides an additional shared experience from which to consider grief and eventual healing. Biography Stephanie Serpick is a painter whose work explores themes of isolation, grief, and healing. Her work has been shown in various exhibitions in the U.S. and internationally, and she is a fellow at several residencies, most notably at the Florence Trust Studios in London, MASS MoCA in North Adams, Massachusetts, and the Vermont Studio Center, where she was awarded a full fellowship and stipend to attend. Recent exhibitions include solo shows at Sweet Lorraine Gallery in Brooklyn, the College of Southern Nevada, and a two-person exhibition at The Munson-Williams-Proctor Arts Institute at the Museum of Art at Pratt in Utica NY...

Katheryn Holt (American, born 1951) "Shade and Breeze" 2022 Oil paint and mixed media on cradled wood board The artist signed the back of the painting. ...

Signed lower right American, b. 1958 Designated a living master by the Art Renewal Center and widely regarded as a leader of the American landscape school, Joseph McGurl is one of ...

Clyde Steadman's "Country Road" is an original, handmade oil painting that depicts an impasto painting of a pastoral setting.

"Casting on the South Platte" by Sharon Pomales Tousey is an original, handmade oil painting on an aluminum panel that measures 12 x 14 inches framed and is ready to hang.

Renowned career illustrator Stephen Gammell now devotes his energy to a full-time studio practice, and we’re honored to bring the current work of an artist who, with dozens of public...

This contemporary botanical drawing is made with luminous metallic gold oil paint on cradled panel, painted black. The exploration of ephemerality, and the fragility of a wild dandel...

In stunning detail, Ciba Karisik has captured the delicate and serene beauty of pink coneflower and white Queen Anne’s lace flowers lining the edge of a grassy field. For Karisik, na...

Neutral toned abstract painting of green plant leaves on a light beige cream colored encaustic background "Snowflowers 8," by Hudson Valley artist, Allyson Levy, made in 2020 spurge ...

Moonside Oil 11"x14" League City Texas Moon Blues Evening Impressionism Artist " Driving to visit a friend in League City, the road curved past this scene. I stopped with a canvas ...

Janise Yntema’s practice is rooted in the mastery of wax-based media, ranging from traditional heated encaustic (beeswax and resin) to contemporary cold wax and oil stick techniques....

Abstract mixed media painting with green spurge plant material and neutral encaustic on panel 12 x 12 x 1.5 inches, ready to hang as is Sturdy d-ring is on the back for installation ...

Johan Peter von Wildenradt (1861-1904) Title: Sea View from Menton, Côte d'Azur, France Wildenradt was born 1861 in Helsingør, Denmark. He studies art at the School of Fine Arts in Copenhagen under Laurits Tuxen...

Andrew S. Conklin Paige Seated in White Leotard oil on panel 14h x 10w in 35.56h x 25.40w cm ACK013 Andrew S. Conklin Artist Statement—Motion Capture Studio Series Andrew S. Conkl...

Lacey Lewis's (US based) "Amber Ray" is an original, handmade oil painting that depicts a female model sitting on a red couch, with big dark hair, and pasties over her nipples. Thi...

This piece Owen depicts an abstract composition with the use of mixed media and bold patterns producing work which is visually textured and rich with layers and is a part of the arti...

Twelve rectangular panels, each painted alternately in solid colors or solid with tinted vertical stripes, are installed in a precise grid: two high and six across. The artist began ...

A wonderful oil on panel by Jack Griffin. Jack was an English Impressionist painter who mostly painted in the Southern part of the UK. He also travelled to Holland and Northern Franc...

An Intriguing 1991 Surrealist painting of downtown Chicago by artist James Mesplé. Oil and tempera on panel. Signed and dated "James Mesplé 1991", lower right; titled on label on ...

Genevieve Hamel Thunderstorm Oil on Wood Panel Year: 2024 Size: 24 x 24 x 1.625 inches Signed by hand COA provided Ref.: 924802-2097 The thunderstorm is coming! The sky is changing ...

"Just One Lick" is a 2024 acrylic and oil painting on cotton canvas by 3rd Version (Ben Patterson), measuring 36 x 24 x 1 inches, with a framed size of 38 x 26 inches. The work is un...

"Door #32 (Stripes)" (2018) by Francesca Reyes Original oil, acrylic and tape on wood panel; measures 8" H x 6" W x 1" D From the artist's door series, de...

The face of a young woman is featured in this oil painting on mylar, mounted on panel that is 12 x 12 inches. Professionally framed in burnished gold leaf over wood with an outer dim...

By Damien Hirst 2024 Laminated Giclée print on aluminium composite panel 120 x 93 cm Edition of 578

Dimensions with frame: 49 x 31 x 4,5 cm. Signed "Ricciardi" in the lower left corner. This evocative street market painting captures a sunlit urban scene animated by figures moving ...

'Fly Me To the Moon', oil on paper mounted on wood panel painted by Elena Zolotnitsky depicting a floral scene. The art is 32 x 28 inches and professionally framed measuring 34 x 30 ...

Artist: Robert Somerton (British, born 1972) Medium: Oil on box canvas Size: 18 x 24 inches Signature: Signed verso Condition: Excellent condition Provenance: Contemporary work by th...

Chickens & Other Birds In A Farmyard, 18th Century circle of Marmaduke CRADOCK (c.1660-1717) Fine 18th Century English School farmyard scene of various birds among tools and jars, ...

This painting is John Hrehov’s Tangent, an oil on panel from 2025. In it, a modern red sofa runs straight across the back of the room, set against a grid of tall windows that open on...

Belle Cramer (American, 1883 - 1978) was a painter whose vivid color and expressive compositions made her a central figure in mid-20th-century St. Louis a...

3rd Version's (Ben Patterson) "Masks We Wear, Overtaking the Past" is a 2022 oil on masonite panel measuring 24 x 36 x 0.5 inches, with a framed size of 25 x 37 inches. The painting ...

Intimate meadow landscape painting embodying the solitude and grandeur of pastoral life by Timothy Barr. Barr paints with a heightened sense of the relationship between color and lig...

Edward Avedisian (American, 1936-2007) Abstract Large Painting Acrylic on panel heavily textured with a 3D effect. Dimensions: 48"h x 75"w Circa late 1970s, early 1980s Provenance: ...

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...

Anthony Waichulis' "Ghost Keeper" is an original, handmade oil painting on panel that measures 27 x 23 inches framed and is ready to hang. About the artist: Anthony Waichulis (born ...

Diptych. The dimensions of each element are 84 x 60 cm (33.1 x 23.6 in) Janise Yntema’s practice is rooted in the mastery of wax-based media, ranging from traditional heated encaust...

The contemporary pop art cherry blossom landscape ‘Honour' is one of the eight from the iconic ‘Virtues’ series by Damien Hirst, the laminated giclée print on aluminum panel was crea...

The Death Of General Wolfe,The Battle of Quebec 1759, 18th Century after of BENJAMIN WEST (1738-1820) Large 18th Century scene of the Death Of General Wolfe, oil on panel. Excellen...

Patrick Nevin's (US based) "Vanitas with Marine Corps Coin" is an oil painting that depicts a human skull situated with an orange, a Marine Corps coin, ...

"Winter Light on Mutton Cove" by the renowned Cornish artist Jon Doran is a breathtaking oil painting that perfectly captures the raw beauty and stark contrasts of a coastal winter's...

This painting depicts a whimsical portrait of a young girl with short brown hair against a light green background and she wears a blue dress. An emotion is felt with in her face. The...

Genevieve Hamel Total Attraction Oil on Wood Panel Year: 2022 Size: 36x24x1.625in Signed by hand COA provided Ref.: 924802-1395 A bouquet of flowers interpreted with heavy palette k...

Gustave Jaquet Jacquet was born on 25th May 1846 in Paris. He was a pupil of Bouguereau and for his debut at the Paris Salon in 1865, he exhibited 'The Reverie' which was very much i...

"Various questions have led me to where my work is today. Primarily, what is the nature of a specific thing if it can be represented in various ways, even in opposing ways? Essential...

Underwater black and white photograph of a topless young female dancer in the pool. Original print on aluminum plate with solid black backboard. The artwork needs no additional fram...

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

Pine Trees in the Summer 16" x 12" is an oil painting done in the style of Realism in the artist studio in Florence, Italy. It has a custom frame made in Florence by a master framer. These are the small landscapes Barbara Castrucci painted near her home in Tuscany. Tuscany is a region in central Italy. Its capital, Florence, is home to some of the world’s most recognizable Renaissance art and architecture, including Michelangelo’s "David" statue, Botticelli’s works in the Uffizi Gallery and the Duomo basilica. Its diverse natural landscape encompasses the rugged Apennine Mountains, the island of Elba’s beaches on the Tyrrhenian Sea and Chianti’s olive groves and vineyards. Bio As the daughter of a sculptor, I had my first encounter with art as a child observing my father draw and sculpt. During my high school years I frequented many of the Florentine workshops and studios which inspired me to become a painter. While still in high school I enrolled in old master painting courses devoting my artistic development to discovering and learning the techniques of the great art of the Flemish, Spanish and Italian masters of the 17th century. After graduating from high school I studied the 19th century academic tradition of drawing and painting with Rebecca Harp, Marc Dalessio and Leo Mancini Hresko...

Barn Number 3, 2018

Dick Beer (b. London 1893 - d. Stockholm 1938) Portrait of Gabriele Varese (in Italian uniform), 1919 oil on canvas mounted on panel 116 x 90 cm stamp signature Exhibited: Solo exhibition, Stockholm, Nov-Dec 1917; The Royal Academy Stockholm 1973; Åmells Konsthandel – En internationell kubist, Stockholm & London 2008 Hälsinglands Museum 2011 Millesgården – Dick Beer – Impressionist & Kubist, 2012 Provenance: Within the family Beer until today Dick Beer was born in 1893 in London as Richard Beer, the youngest of five brothers. His father, John Beer (1853-1906), was a watercolourist who was born in Stockholm and had left Sweden at the age of 17. John Beer instructed his sons in drawing and painting, among other things. A number of sketchbooks bear testimony to the boys’ talent. Dick Beer’s parents died in 1906 and 1907. Barely 15 years old, Beer arrived in Sweden as an orphan. First he lived with relatives and finally he ended up at Reverend Laurell in Västergötland. Dick Beer began his artistic studies at the Althin School of Painting in Stockholm in 1908 and continued at the Royal Academy of Arts in the autumn of 1910, but in September 1912 he broke off his studies and travelled to Paris. He rented a studio and enrolled at the Colarossi and Grande Chaumière academies. In the summer of 1913, Dick Beer travelled to Pont-Aven in Bretagne in order to paint. In September the same year, he held his first solo exhibition in Stockholm which he gave the French title Exposition des tableaux de Bretagne et autour de Paris. The exhibition proved a success. Many of the paintings were executed in a light palette in a style inspired by the impressionists. In 1914, Dick Beer undertook an extensive study trip to Italy, Tunis, Morocco and Spain, which resulted in canvases overflowing with colours and light. When the French army mobilised, he volunteered and was enlisted in the French Foreign Legion. In 1915 Dick Beer sustained severe head injuries in a grenade attack, which resulted in deafness and a nervous condition that would plague him for the rest of his life. Two of his brothers died the following year, fighting for the English army. Dick Beer was hospitalised and convalesced at Château de Rochefort. Here he started painting again, in an impressionist style, a painting dominated by blue and green hues. In 1918, Dick Beer married Ruth Öhrling, a dentist, and their son John was born later in the year. During this time, Beer began experimenting with cubist painting and created several large compositions, including the painting “The Arab Café”. In the years that followed, Dick Beer was based in Paris, where he often moved house. He was instructed by André Lhote, who encouraged his students to work freely in the studio and provided them with individual critique. Beer often travelled to Bretagne or Provence. His artist friends came from all over Europe and included Amedeo Modigliani. Dick Beer exhibited fairly regularly in Paris between 1919 and 1934 and made a name for himself in French artist circles. In the summers, Ruth regularly rented a house in the countryside, often at Lake Mälaren. She kept a large house with many models and friends and there was a lot of painting and discussions. In 1933, the couple divorced but Ruth still loved Dick and continued to support him financially for the rest of his life. Dick Beer also exhibited in Sweden, albeit irregularly due to his failing health. In the 1920s and 1930s, Beer continued to pursue an expressionist painting with intense colours and unexpected perspectives, but eventually he veered towards more naturalistic forms, including a large number of nudes. He also painted several portraits of artists, politicians and writers. In 1938, Dick Beer sojourned in Arles. The budding photographer Christer Strömholm...

The Crucifixion, The Virgin Mary, St John the Evangelist and St Nicholas, 17th Century School of Abraham Willemsen (1605-1672) 17th Century Flemish Old Master depiction of the Cruc...

Consigned to the gallery by H&N Fine Art as part of the Katherine A. Norris Legacy Collection Signed "WM Stout 2019" on lower left FRAMED: 25.75" x 29.5" x 1.125 UNFRAMED: 19....

This abstract painting by Ned Martin is made with oil paint and recycled aluminum on board. It features a grid composition with a light layers of blue, black, and silver paint, with ...

David Finsonius (Veere 1597- Bergen op Zoom 1646/1648) Portrait of a girl with a rose and a red coral necklace With traces of the artist’s signature and annotated AETATIS S.V. 2 1⁄2 Ao 1631 Oil on panel, H. 104.5 x 79.5 cm Provenance: Purchased by Jonkheer Helenus Marius Speelman (1857-1909), Kasteel de Wittenburg; thence by descent The work shows a strong resemblance to a portrait by Finsonius in the North Brabant Museum. This signed and dated "Girl with Basket and Cherries" (Inv. 15529), was painted just a year later, in 1632. Not only are the paintings remarkably similar in overall size and format, in painting style, and in the positioning of the girls in full length in their white lace dresses. They are also connected by the iconographic scheme of the respective coral necklaces, each with a gold memorial medal hanging from it. Although they are of course individuals, the faces are very similar in their depictions of features such as eyes, nose, and lips. This points to the same technique applied by the same painter. Finally, the handwriting is almost the same on the works by Finsonius known so far. About the painter, David Finson named 'Finsonius' (related to the better-known Louis Finson...

A spray of bright, flowering plants with a cultivated border are set against an expanse of tended, green lawn in this nostalgic image by Peter Hoffer. Titled 'Parc' the French spelli...

Oil on wooden panel realized by Alessio Paternesi (1937-2023). Hand signed. Very good condition.