Art by Medium: Panel

Ron Hicks' (US based) "Study at Jan and John's" (2025) is an original, handmade oil painting that depicts a lightly abstracted portrait of a woman against a pale white background. T...

Hunt Slonem "Home Run" Bunnies on Gold A rabbit couple gestured in black on a white and metallic background in a vintage frame Unframed: 17.5 x 21 inches Framed: 26 x 29.5 x 3.5 inc...

A Canal View of Bruges with White Swans – Beguinage Entrance Verbrugghe Charles Bruges 1877 – 1974 Paris Belgian Painter Signature: Signed bottom left Medium: Oil on panel Dimensions: Image size 38,50 x 64,50 cm, frame size 47 x 55 cm Biography: Verbrugghe Charles was born into Belgian aristocracy on June 15, 1877, in Bruges. He was an Impressionist painter of town views, landscapes, views of the sea and beaches, still lifes, flowers and portraits. He is well known for painting of the convents and city views of Bruges and Paris. In 1907, he went to Paris to study under the master teacher Flori Van Acker (1858 – 1940). There, he became friends with the artist Maurice Utrillo...

This sculpture titled "Love for Ten Thousand Years" is an original artwork by Kelly Kozma made of handmade origami wishing stars strung on embroidery thread. Kozma's work is supporte...

John Ferguson Weir West Point, 1873 Signed and dated lower left Oil on panel 12 1/8 x 20 1/8 inches Provenance: Sotheby's Arcade, American Paintings, December 19, 2003, Lot 1091 Spanierman Gallery, New York Private Collection, New York (acquired directly from the above) Exhibited: Roslyn, Nassau County Museum of Fine Art, William Cullen Bryant, The Weirs and American Impressionism, April 24, 1983-July 31, 1983. A painter, sculptor, writer, and teacher, John Weir was a highly talented man whose painting was overshadowed by his father, Robert Weir, the long-time West Point Academy drawing teacher, and his brother, J Alden Weir, well-known impressionist painter. His distinguished reputation was primarily based on his accomplishments as a teacher and administrator. For many years, from 1869 to 1913, John Weir was the Director of the Yale University School of Fine Arts. He was also a commissioner of the art exhibition at the Centennial Exposition in Philadelphia. Weir was born at West Point, New York, and by age 20, had a studio in New York City in the Tenth Street Studio Building, the first building in America dedicated to art studios, and there he associated with many leading painters of the day. He earned attention early in his career for paintings of industrial scenes...

Yoshitomo Nara is a Japanese artist best known for his paintings of children and animals that appear simultaneously sweet and sinister. A contemporary of Takashi Murakami, Yoshitomo ...

According to the artist, "everything in life inspires me, not quite with direct interpretation, but as I see and experience faces, words, gestures, colors and shapes – all of it – I ...

oil and wax on canvas over panel Neoromantic painter Hiro Yokose fuses multiple layers of wax and oil paint to create mysterious, veiled landscapes illuminated with flashes of ligh...

ARTIST STATEMENT: Realism as a style has basically remained unchanged since the Renaissance. Realism as a technique, however, has definitely been altered and heavily influenced by te...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Katheryn Holt (American, born 1951) "Evening Falls" 2022 Oil paint and mixed media on cradled wood panel. The artist signed the back of the painting. With Frame: 33" x 49" x 2" “Ev...

"Backyard Sunset" By Carl Grauer Oil on Canvas 20x20 inches, 21 x 21 x 3 inches framed in painted white wood floater frame Signed en verso Artist Carl Grauer expertly and astutely c...

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, incl...

In this contemporary landscape in oil on panel, ivory clouds with warm glimmers float in an idyllic blue sky over brown rolling hills and mountains. Signed, dated and titled on verso...

This exquisite painting, titled "Rocky Path With Figures" is a captivating example of Thomas Barker of Bath's talent. Despite its small size, measuring only 13 x 11 cm, this piece sh...

Bathed in luminous Mediterranean light, Wisteria in Italy captures a dreamlike hillside scene glimpsed through a curtain of violet-blue wisteria blooms. The composition reveals Faith...

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...

Kirsten Savage is one of Colorado’s top representational artists. As an avid world traveler and experienced mountaineer, Kirsten spends her time seeking out beautiful spaces where th...

Signed divisionist landscape oil on panel by French post impressionist painter Henri le Sidaner. This stunning piece depicts high rise buildings of New York at nighttime. Lights illuminate the windows in an otherwise dark scene. A steam boat sails along the river. Signature: Signed lower left Dimensions: Framed: 24.5"x20" Unframed: 16"x11.5" Provenance: Louis Le Sidaner collection Etienne Le Sidaner collection Private collection, France Exhibitions : Paris, Musée Galliera, "Rétrospective Henri Le Sidaner", April 1948 Brussels, Galerie de l'Art Belge, "Rétrospective Henri Le Sidaner", April-May 1951 Literature: This work is accompanied by a photo certificate of authenticity from Yann Farinaux Le Sidaner This work will be included in the forthcoming supplement to the catalogue raisonne currently under preparation by Yann Farinaux Le Sidaner This work is the only recorded painting...

Aeling’s Minnesota works reflect his long engagement with the northern Midwest, where wetlands, ponds, and rolling farmland create a quieter but no less captivating atmosphere. In th...

Tania Rivilis l'Antagoniste 80 x 70 cm Oilpaint on wood (OSB board) Tania Rivilis (born in Ukraine 1986) 2022 winner of the 'William Locke Price' from the Royal Society of Portra...

Louise Lenka German, early 20th century Chicken and Chicks in a Barnyard Landscape Circa 1910 Oil on panel Signed lower right In a gilt period frame A finely painted early 20th-cen...

Three figures, bent forward with their hands over their heads, seem caught in an emotional storm. Their mirrored postures convey shame, fear, and helplessness—states central to grief...

oil and wax on canvas over wood panel signature on verso Hiro Yokose paints images of nature composed in subtle, sensuous palettes. Playing with the viewer’s perceptions, his work c...

Damien Hirst H13-4 Studland Bay, 2023 Laminated Giclée print on aluminium composite panel. Hand-signed on the label and numbered. This artwork can be hung any way up. 120 × 90 cm Edi...

Consigned to American Legacy Fine Arts by H&N Fine Art as part of the Katherine A. Norris Legacy Collection, Newport Beach, California; Bonham’s California, April 11, 2005, lot 205, sold for $7,000; Estate of Sam Harris Signed "Sam Hyde Harris...

Carriages at Ischia is a beautiful original oil painting on panel, realized in 1956 by the artist Luigi de Angelis (1883-1966). Signed and dated on the lower margin. Includes a bea...

"Portrait of a Workhorse Standing in a Stable" Julius Paul Junghanns (German, 1876 - 1958) Oil on panel Signed lower right and dated 1925 15 1/2 x 12 1/4 (19 1/2 x 16 2/4 frame) inc...

Benasque 3 bis from the Snow collection is a painting by contemporary Spanish artist Calo Carratalá. Dimensions are 45 × 60 cm (17.7 × 23.6 in). This artwork depicts a wintry mount...

Lindsey Kustusch's "London in Shades of Blue" is a compelling handmade original oil on wood panel artwork, measuring 12 x 12 inches. This 2025 piece is a primary market item, arrivin...

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...

Portrait of Woman if a beautiful oil on wooden panel realized by Antonio Feltrinelli in 1930s. Very good conditions. Antonio Feltrinelli (Milan, 1887 – Gargnano, 1942) Antonio Felt...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

Dennis Sheehan Glowing Tree Line, circa 2025 Signed lower right Oil on panel 12 x 17 3/4 inches Dennis Sheehan was born in Boston in 1950. His work is based upon the Barbizon Schoo...

Hunt Slonem "Morpho" Blue and Black Butterfly on White A single butterfly gestured in blue and black on a white scored background in a vintage frame Unframed: 10 x 8 inches Framed: ...

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...

Tania Rivilis Chroma-Q 41 x 29 cm framed (included in price) 44 x 32 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.000 ) from ...

Provenance Acquired by the gallery directly from the artist Signed "McVicker" on lower right FRAMED: 17.125" x 17.125" x 2.375" UNFRAMED: 16" x 16" Artist Statement “White Amaryl...

Redefining the desert aesthetic, Will Beger offers a sophisticated, contemporary-minimalist perspective on Southwestern art. A fifth-generation Arizonan, Beger blends vibrant, monoc...

John F. Pasmore (British, 19th century) Young Woman by a Cottage Door with Cat, Dog and Bird, circa 1880 Oil on panel, signed lower left A finely observed late-Victorian genre paint...

A wonderful oil portrait of a girl with flowers with mottled light by American artist Pauline Lennards Palmer (1867-1938). Born in McHenry, Illinois, Palmer studied at the Art Instit...

Erik van de Beek (Dutch artist) Sweet 12,8 x 39 cm ( framed included 16,8 x 43 cm) Oil paint on wood panel Artist Erik van de Beek lives and works in Nijmegen. The modest Nijmegen n...

Charles-Emile FRANÇOIS (Paris 1821 - 1902) The Painter's Studio Oil on panel H. 28 cm ; W. 22 cm Signed and dated lower right 1901 A native of Paris, Charles-Emile François exhibite...

An idyllic view of cattle and sheep grazing in a pasture before an oak tree with a blue sky with bollowing clouds beyond. William S Rose (1810-1873) Cattle and sheep grazing in rou...

This is an unframed original painting on birch panel. Unpainted edges. "Landscape provides Gregory Hardy with an inexhaustible source of mystery. His paintings are not representati...

ARTIST STATEMENT: Realism as a style has basically remained unchanged since the Renaissance. Realism as a technique, however, has definitely been altered and heavily influenced by te...

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

Here, Aeling revisits the Midwestern marshlands that have long informed his sense of natural structure. The clustering of trees along the waterline hints at the intricate ecology of riparian zones—a subject he has studied through countless field excursions. The soft cloud cover overhead adds a sense of atmospheric density, contrasting with the crisp detail of grasses below. As in much of his work, this landscape becomes a meditation on endurance: land that has witnessed centuries of seasonal cycles. Jeff Aeling Pond Late Afternoon Oil on panel 10h x 14w in 25.40h x 35.56w cm JAE054 Jeff Aeling (1958–2025): The Sky Remembers Through Jeff Aeling’s eyes, the landscape becomes a world shaped as much by air as by earth. In works such as North of Las Vegas, NM and Pond Near St. Cloud, MN, he balances the quiet structure of plains and wetlands with skies alive in constant motion. His mastery of atmosphere is unmistakable in Light Pillars (2023) and Light Pillar (2023), where rare optical events turn night into architecture. Even intimate scenes like Crabapple, Dogwoods, and Red Bud find their emotional power under skies that lend the land its shifting character. Aeling’s winters in Hawaii deepened his sensitivity to movement and weather. Surfing taught him to read the rhythm of the ocean, a knowledge reflected in Wave, Kauai (2018), where a breaking wave becomes a luminous wall of force. In Volcano (2023), he channels the islands’ elemental drama, linking fire, vapor, and sky through the same atmospheric vocabulary found in his plains paintings...

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...

Resin coated and mounted to layers of plywood, these digital/mixed media ‘picture objects’ represent interpretations of contemporary visual culture charmed by minimalism, modernism, ...

A finely detailed oil painting of a horse and French military rider with bugle by French artist Edouard Jean Baptiste Detaille (1848-1912). Detaille was born in Paris, France into a...

Highland Painter (late 19th century) - Highland Cattle by the Lake. 35 x 54 cm unframed, 44.5 x 62.5 cm framed. Oil on panel, in a giltwood frame (not signed). Condition report: T...

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...

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: ...

Summer – Lotus is a unique painting by contemporary artist Lumi Mizutani. The painting is made with japanese pigments, silver and gold leaves on Japanese paper mounted on panel, dime...

Bart Koning (Dutch artist) Bowl of Peaches 29 x 40 cm (not framed) Oil paint on wood panel We're proud to introduce Dutch/ German artist Bart Koning. Incredibly clever how the orig...

Overgrowth is an abstract oil painting characterized by layered, gestural brushwork and a saturated, high-contrast palette. Vivid passages of yellow, red, green, and deep blue move d...

Sunset Song Series stands as one of the most iconic works featured in the upcoming Summer Exhibition UK, 2025—a rare and luminous collection of latest artworks we’re thrilled to pres...

Peter Knapp’s “Metropolitan Moves - Unleashed” is a 24 x 36 x 1 inch mixed media abstract painting on panel in blue, aqua, purple, and gold acrylic, ink, and color pencil. This celeb...

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 var...