Panel Paintings

"Nothing Ventured" is a digital print on 5 acrylic panels by Michelle Jader.

Represented by George Billis Gallery. Artist Statement Intermundium: space between worlds 2021 In the summer of 2019, I traveled to Ireland for an extended painting trip, renting a cottage for a month on the rugged Sheepshead Peninsula in West Cork...

French, réalisme fantastique, Surrealist oil on board by Claude Verlinde. Signed and dated bottom left. Presented in plain wood frame with gilt filet. ...

Musa II. Beautiful woman playing an instrument and still life was painted by Goyo in 1997. Date and signature appear in the lower left corner. It is done with acrylics in a 122 x 6...

Tania Rivilis Some Ambiguous Words 63 x 45 cm Oil on wood panel First we can announce some wonderful news! 3 May 2022 Tania Rivilis did win the first price of the Royal Academy of ...

Work by Sam Moyer

Acrylic and India ink on wood panel Artwork done with a compass Black exterior frame Framed dimensions: 134 x 64 (x5)cm Signed on the back

Both spare and dynamic, Karl Hartman’s hyper-saturated countrysides and surreal depictions of Americana perfectly match the vividness of our late-summer h...

"Discover," is a digital print on 5 acrylic panels by Michelle Jader.

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

"Just Out of Reach" is a digital print on 5 acrylic panels by Michelle Jader.

"Ready, Steady, Go" is a digital print on 5 acrylic panels by Michelle Jader.

After the rain [2021] Signed by the artist Acrylic on wooden panel Image size: H:51 cm x W:51 cm x D:2cm Please note that insitu images are purely an indication of how a piece may look I have always been a bit obsessed with horizons and how a horizontal line on a painting becomes 'landscape' in the viewers mind. I love the idea of suggesting a landscape, but then abstracting the subject and using the materials in such a way that the texture and details made by the paint, and the grain of the wood panel, are as important if not more so than the subject itself." Rebecca enjoys balancing on the fine line between abstraction and representation, to imply a landscape with paint rather than accurately visually recording it. Her landscapes are somehow subliminal. Somehow ‘other’. Somewhere not quite real. An idea or a memory of a landscape. She aims to create an emotionally charged atmosphere with colour and texture and line, working with paint for paint’s sake. Rebecca Tucker...

"Into the Blue" is a digital print on 5 acrylic panels by Michelle Jader.

Pop Art. Americana. Homage to James Dean. Ephemera, Oil, Acrylic, Resin on Panel. About the Artist: John Joseph Hanright is a contemporary painter and assemblage artist who bri...

Acrylic and India ink on wood panel Artwork done with a compass Black exterior frame Framed dimensions: 104 x 54 (x5)cm Signed on the back

Artist: Hans-Ulrich Muhlhausen (Born in 1915-1987) Title: Chickens and Ducks Medium: Oil on Panel Dimensions: Framed 11” x 9”, Unframed 9” x 7” Description A small oil painting of ...

Jennifer Hornyak was born in England, where she studied at the Grimsby School of Art before coming to Canada. For more than forty years, her work has been exhibited in prestigious ga...

A painting by Paul Jansen Curious 39 x 50 cm with frame (included) 50 x 63 cm Oil on wood panel The Dutch artist Paul Jansen prefers to paint cow portraits. Jansen looks for cows, ...

Acrylic and India ink on wood panel Artwork done with a compass Black exterior frame Framed dimensions: 150 x 101 (x5)cm Signed on the back

Both spare and dynamic, Karl Hartman’s hyper-saturated countrysides and surreal depictions of Americana perfectly match the vividness of our late-summer heatwave. Hartman’s tightly c...

Arielle Zamora (b.1990) is a Portland, Oregon-based painter and printmaker. Her painting practice features layers of paint and joint compound as an expl...

Claudia Griesbach- Martucci's "The Uninvited Entertainer" is an original, handmade oil painting that depicts a white swan and a mask wearing fox in t...

Riot, Revolution, Police figures on Horseback in City Streets. Hand signed lower right. Painting measures 6 x 12, framed 9 x 15 inches. Arthur Smith is a...

Acrylic and India ink on wood panel Artwork done with a compass Black exterior frame Framed dimensions : 134 x 101 (x5)cm Signed on the back

Represented by George Billis Gallery, NYC & LA -- Humanity is archival, like the strata that compose the earth. Our structures and art, superfund sites to cathedrals, exist because o...

George Billis Gallery presents Stephanie Reiter. Painting for me is about capturing the light and beauty of the day. Usually a landscape will hit me and say, “paint me”. Then I know I must capture it. My reactions and interpretations combined with the right pigments and line express the natural beauty I am experiencing. What Cezanne called “petite sensations”, the little feeling you get from being alive...

George Billis Gallery presents Stephanie Reiter. Painting for me is about capturing the light and beauty of the day. Usually a landscape will hit me and say, “paint me”. Then I know I must capture it. My reactions and interpretations combined with the right pigments and line express the natural beauty I am experiencing. What Cezanne called “petite sensations”, the little feeling you get from being alive...

Artist Commentary: These deliciou-looking Port Royal Wild oysters were locally sourced. They were served at a waterside restaurant in Port Royal, South Caro...

Acrylic and India ink on wood panel Work done with the compass Signed on the back

Acrylic and India ink on wood panel Artwork done with a compass Black exterior frame Framed dimensions: 074 (x5)cm Signed on the back

Pipa [2021] Original Flowers Oil paint on wood panel Complete Size of Unframed Work: H:24 cm x W:32 cm x D:0.5cm Framed Size: H:30 cm x W:38 cm x D:2.5cm Sold Framed Please note that...

Sandra Pratt's "Red and Grey Arrangement" is an original handmade oil painting.

Tania Rivilis (b. 1986) Tania Rivilis began painting at the age of 27, after moving to Germany from Russia in 2012. Working hard on technique and creati...

Well painted 1950's mid-century modern English portrait of a black nude woman seated on a chair. The artist was a portrait and figure painter active during the 1950s-1960s Oils on ...

This abstract landscape painting by Elwood Howell features a cool green palette. Abstracted foliage can be seen growing up from a subtle horizon line, with small red, blue, and yello...

Woman Reading by JOZEF ISRAËLS (1824-1911) Oil on Panel 21 x 12.5 cm (8 1/4 x 4 15/16 inches) Signed lower right Executed circa 1870 Artist biography D...

A detailed oil painting of a composition of flowers. Artfully composed, this work is an excellent example of the artist's oeuvre. Bright colors depict forms of daisies, roses, blossoms, stems, eucalyptus...

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

Image: 8h x 10w inches Framed: 12 5/8h x 14 5/8w inches Signed at lower right: COLLINS '22 A leading figure in the contemporary revival of classical painting, Jacob Collins was born and received his formal training in New York, and also studied in Paris. He embraces a variety of subject matter and is equally adept at portraiture (his sitters have included J. Paul Getty Jr., President George Herbert Walker Bush, and Supreme Court Chief Justice...

Represented by George Billis Gallery. The bold flowers and repeating geometric patterns in this series of paintings are lushly modeled in oil paint, and are coupled with the use of i...

Untitled (barn owl) (2019) by Justin Suarez (aka Aerosol Kingdom) Acrylic on panel 18 x 24 x 1 in Graffiti and Street Art / Animals / Flora / Figurative Art / Earth Tones / Bright C...

Image: 10h x 8w inches Framed: 14 5/8h x 12 5/8w inches Signed at lower left: COLLINS '22 A leading figure in the contemporary revival of classical painting, Jacob Collins was born...

"Three Magenta Peonies" is contemporary realist oil painting pink flowers on black background. A classical painting subject and style, with a fresh and intriguing touch. Signed "Personett" lower left corner. Framed in a traditional black frame w gold trim. Framed dimensions: Rachel Personett was born in Hawaii, but raised in Colorado. Being the daughter of a pilot she has always traveled extensively. She has studied part time at the Savannah College of Art and Design, The Angel Academy of Art, and finally settled on the Florence Academy of Art, graduating in 2015. In January 2016 she apprenticed the painter Odd Nerdrum in Norway for eight months. Rachel Personett works strictly from life, and enjoys the challenged of painting the ephemeral. Working from life provides the opportunity to travel around the world painting the ever changing people and landscapes. Artist Statement My mother had studied advertising in college, so she knew a lot about arts and good craftsmanship. She did talks at my elementary school each week and on a different artist. I remember being very moved by the images of Van Gogh and Andrew Wyeth. At the Florence Academy I really liked Sargent, Sorolla, Willard Metcalf, Henri Fantin-Latour and Velazquez. At Odd Nerdrums I gained new respect for Rembrandt and was introduced to other Scandinavian...

Figurative style using pastel colours, we see still life of an interior through Zachariadis' unique mind. Ready to hang.

Cosmas and Damian is an original painting realized by the Italian artist Salvatore Travascio in 2012. This beautiful artwork is a diptych in oil pai...

Barend GRAAT (Amsterdam 1628 – Amsterdam 1709) Diana the Huntress Oil on wood H. 33.5 cm; L. 44 cm Signed lower right on the stone A discreet painter with respect to history, Barend...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

Portrait of a Horse British School, 20th century oil painting on panel, unframed paintings size: 8 x 10 inches condition: excellent provenance: from a private collection here in England A very fine equestrian portrait of this horse. Painted with tremendous detail and finesse, the horse is accentuated against its clear background - a technique enjoyed many George Stubbs in the 18th century and Francis...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup...

Mixed media on Korean traditional paper (Jangji) & wood panel

I made these paintings in response to a prediction for a change in the colour of the sky and oceans as a consequence of man-made climate change. This idea described by Peter Ward in his book Under a Pale Green Sky is based on his study of the great mass extinction events of the past. For many of these extinction events the earth’s chemistry changed the sky to green and the oceans purple. My personal memories are often tied to colour – my first recollection is of an orange cup being handed to me, and I can vividly remember the very first time I was able to wield colour with a red crayon. As a painter, I acutely feel the significance of this change in colour of the world’s landscapes...

Winged Instability is an original painting realized by the Italian artist Salvatore Travascio in 2003. This is a modular piece, made up of 3 paintings in oil paint, acrylic paint, a...

Mixed media on Korean traditional paper (Jangji) & wood panel