Panel Paintings

Tall and elegant, a cypress cedar, the iconic tree that dots the countryside in Tuscany stands in the center of this painting by Sylvain Louis-Seize. The Montreal-born artist is know...

"Untitled" is an oil on panel painting by Duncan Martin. The framed size is 17 x 20 7/8 x 1 inch. Provenance: Private Collection

"Venetian Boats at Sotto Marino" is a painting by Edgar Alwin Payne. The painting is signed lower left, "Edgar Payne". The framed piece measures 31 1/2 x 34 1/2 x 2 3/4 in. Payne wa...

"Navajo Camp" is an oil on panel painting by Gerard Curtis Delano. The painting is signed lower left "Delano". The framed piece measures 31 x 36 3/4 x 1 7/8 inches. Delano was a pai...

Inspired by his experience delivering fresh flowers years ago, Jahn Page has created a whimsical, joyful series of contemporary paintings. Each bouquet appea...

"Tesuque Jar" is an oil on panel painting by William Acheff. The work is signed and dated lower right, "WM Acheff 1986". The framed size is 17.5 x 17.25 x 1.75 inches. Provenance: P...

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 bor...

Image: 12h x 17w inches Framed: 14 1/2h x 20 5/8w inches Signed at lower right: COLLINS '22 A leading figure in the contemporary revival of classical painting, Jacob Collins was bo...

Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of Art and Design, whose artwork can be found in private and corporate colle...

An explosion of colour-bright yellow, turquoise, and orange draw the viewer’s eye to this dramatic landscape by Sylvain Louis-Seize. The Montreal artist...

A landscape, re-imagined in bold colours that contrast dark and light, this is the work of Sylvain Louis-Seize. As a young boy, the Montreal artist beg...

Signed and inscribed lower right: Charles Sprague Pearce / Paris.

Kate Shepherd House of Levy, 2022 Oil and enamel on panel 20 x 14 1/2 in (50.8 x 36.8 cm) JPHB 5184

Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of Art and Design, whose artwork can be found in private and corporate colle...

At 11 years of age, Sylvain Louis-Seize was already painting on the sidewalks of his Montreal neighbourhood. True to his early street art origins, Louis-Seize uses bold colours and a...

Provenance: Bradley Collection. Private Collection, Upperville, Virginia. Literature: Katlijne van der Stighelen and Hans Vlieghe, Rubens: Portraits of Unidentified and Newly Identified Sitters painted in Antwerp, Corpus Rubenianum Ludwig Burchard, vol. 19, pt. 3, London and Turnhout, 2021, under cat. no. 189, p. 161, and fig. 75. This painting had previously been considered to be by an anonymous Tuscan painter of the sixteenth century in the orbit of Agnolo Bronzino. While the painting does in fact demonstrate a striking formal and compositional similarity to Bronzino’s portraits—compare the nearly identical pose of Bronzino’s Portrait of a Young Man in the Metropolitan Museum of Art (Fig. 1)—its style is completely foreign to Italian works of the period. That it is painted on an oak panel is further indication of its non-Italian origin. This portrait can in fact be confidently attributed to the Antwerp artist Huybrecht Beuckelaer. Huybrecht, the brother of Joachim Beuckelaer, has only recently been identified as the author of a distinct body of work formerly grouped under the name of the “Monogrammist HB.” In recent studies by Kreidl, Wolters, and Bruyn his remarkable career has been delineated: from its beginnings with Joachim in the workshop of Pieter Aertsen; to his evident travels to Italy where, it has been suggested, he came into contact with Bronzino’s paintings; to his return to Antwerp, where he seems to have assisted Anthonis Mor in painting costume in portraits; to his independent work in Antwerp (where he entered the Guild of Saint Luke in 1579); and, later to his career in England where, known as “Master Hubberd,” he was patronized by the Earl of Leicester. Our painting was recently published by Dr. Katlijne van der Stighelen and Dr. Hans Vlieghe in a volume of the Corpus Rubenianum, in which they write that the painting “has a very Italian air about it and fits convincingly within [Beuckelaer’s] oeuvre.” Stighelen and Vlieghe compare the painting with Peter Paul Ruben’s early Portrait of a Man, Possibly an Architect or Geographer in the Metropolitan Museum of Art, in which the sitter holds a compass and wears a similarly styled doublet (Fig. 2). Huybrecht both outlived and travelled further afield than his brother Joachim, who made his career primarily in Antwerp. Whereas Joachim was the main artistic inheritor of their uncle and teacher, Pieter Aertson, working in similar style and format as a specialist in large-scale genre and still-life paintings, Huybrecht clearly specialized as a painter of portraits and was greatly influenced by the foreign artists and works he encountered on his travels. His peripatetic life and his distinctly individual hand undoubtedly contributed to the fact his career and artistic output have only recently been rediscovered and reconstructed. His periods abroad seem to have overlapped with the mature phase of his brother Joachim’s career, who enrolled in the Antwerp Guild of Saint Luke much earlier than his brother, establishing himself as an independent painter in 1560. Joachim’s activity was confined to the following decade and half, and his latest work dates from the last year of his life, 1574. Our portrait was likely produced in the late 1560s, a dating supported by the dendrochronological investigation performed by Dr. Peter Klein, which established that it is painted on an oak panel with an earliest felling date of 1558 and with a fabrication date of ca. 1566. This painting presents a portrait of an artist, almost certainly Huybrecht’s self-portrait. The young sitter is confidently posed in a striking patterned white doublet with a wide collar and an abundance of buttons. He stands with his right arm akimbo, his exaggerated hands both a trademark of Huybrecht and his brother Joachim’s art, as well as a possible reference to the “hand of the artist.” The figure peers out of the painting, interacting intimately and directly with the viewer, as we witness him posed in an interior, the tools and results of his craft visible nearby. He holds a square or ruler in his left hand, while a drawing compass...

The Calm Sea Oil on mahogany panel, 8 7/16 x 6 1/2 inches Signed lower left (see photo) This work was inspired by Haskell's frined, teacher and mentor, James ...

Long Island City Contemporary artist Frederick Mershimer created this oil painting on a wooden panel in 2005. The painting (wood panel) is 10.25 x 21.25 inches (26 x 54 cm). This ...

Using his characteristic rich earthy palette, Otto Rogers has captured the subtle variations in light as it changes along a seashore. This piece has soft grays, rich brown, and black colours highlighted by a flash of royal blue and burnt orange. As one of Canada’s preeminent modernist artists, Rogers found inspiration in both his deep faith as a Baha’i and the beauty of nature so often reflected in his stunning work. This is acrylic and graphite on paper. “The purpose of art is to lift the human spirit.” Otto Rogers He acquired his MA in Fine Art from the University of Wisconsin and later taught at the University of Saskatchewan for almost 30 years. He also participated in the Emma Lake Workshops in BC which attracted some of North America’s finest artists. Rogers’ work is held in more than 30 public collections including: the Art Gallery of Ontario, the National Gallery of Canada, and the Museum of Fine Arts in Boston...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...

Born in Columbus, Ohio, in 1965, Ron Hicks was an avid artist from an early age. Hicks began his formal studies in art at the Columbus College of Art and Design in Ohio. Hicks continued his studies at the Colorado Art...

Dynamic and whimsical, Aron Hill’s mobile is a joyful contemporary kinetic sculpture. Three separate discs are covered in a curated collage of shapes and brilliant colours. The colour profile here is Hill’s characteristically vivid palette-- orange, yellow, blue, red, and green punctuated by black and white. Delicately balanced, the sculpture moves in the air redefining the space and affording the viewer a fresh ‘view’. Mobiles have existed for millennia—at first as windchimes, then re-imagined by Russian sculptors...

Lord and Lady Eliot, by Manuel Santelices Acrylic on gesso panel Image size: 12 in. H x 9 in. W Unframed 2023 The worlds of fashion, society, and pop culture are explored through t...

Provenance: S. Spinelli Collection, Florence; their sale, Galleria Pesaro, Milan, July 11-14, 1928, lot 112 (unsold); reoffered Galleria Luigi Bellini, Florence, April 23-26, 1934, lot 132, as manner of Baldassare Peruzzi Dr. Giacomo Ancona, Florence, 1930s, and after 1939, San Francisco; thence by descent to his son: Mario Ancona, San Francisco; thence by descent to his children: Mario Ancona III and Victoria Ancona, San Francisco, until 1995; thence to: Phyllis Ancona Green, widow of Mario Ancona, Los Angeles (1995-2012) Literature: Donato Sanminiatelli, Domenico Beccafumi. Milan 1967, p. 170 (under paintings attributed to Beccafumi) Among the precious survivors of Renaissance secular paintings for domestic interiors are several unusual and particularly attractive panels painted in Siena at the end of the fifteenth and beginning of the sixteenth centuries. These paintings depict exemplary figures from antiquity—heroes or heroines, as well as allegorical, literary, and mythological figures. For the most part, these panels have survived in groups of three, although it is possible that some of these works were painted either as part of larger series or as individual projects. One such trio by Beccafumi consists of two paintings now at the National Gallery, London (Marcia and Tanaquil) and a third in the Galleria Doria-Pamphilj, Rome (Cornelia). These were commissioned around 1517–1519 for the bedroom of Francesco di Camillo Petrucci in Siena and were most likely placed together as elements in the wall decoration (spalliere) or installed above the back of a bench or cassapanca. Another, earlier (ca. 1495–1500), set of three—Guidoccio Cozzarelli’s Hippo, Camilla, and Lucretia (Private Collection, Siena) survives with its original wooden framework—a kind of secular triptych. Judith, Sophonisba, and Cleopatra in the collection of the Monte dei Paschi, Siena, are by an anonymous artist close to Beccafumi called the “Master of the Chigi-Saracini Heroines.” Girolamo di Benvenuto’s Cleopatra, Tuccia, and Portia are dispersed (homeless, Prague, Chambery), and Brescianino’s Faith, Hope, and Charity are in the Pinacoteca Nazionale in Siena. The present painting first appeared in the Spinelli sale in Florence in 1934, at which time it was sold with two panels of identical size and format. Each was catalogued as being by the “manner of Baldassare Peruzzi” and of unidentified subject. Of these, the painting depicting a male figure turned to the right has recently reappeared in a private Italian collection, while the location of the third work, portraying a cloaked figure turned three-quarters left, remains unknown. Our panel depicts the allegorical figure of Fortune. Here she is represented in typical fashion as a nude female figure balanced on a wheel (sometimes called the Rota Fortunae), her billowing drapery indicating that she is as changeable as the wind. The appearance of the Virgin and Child in the cloud at the upper right is an unusual addition to the iconography. The subjects of the two pendant male...

Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of Art and Design, whose artwork can be found in private and corporate collections throughout the Unite...

Oil on panel Panel size: 7 x 5 inches Signed and date '1859' lower left

"River Landscape with a Windmill and Chapel" is a painting by Dutch Old Master Painter, Jan van Goyen. There are traces of a signature on the bow of the boat...

This painting is oil on gessobord panel. The overall dimensions including the frame are 17 x 14 inches. Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry...

Inscribed, reverse: Fr Brina Provenance: Private Collection, New Jersey. Francesco Brina was one of the “Studiolo” painters, responsible for the panel of Neptune and Amphitrite in F...

A tall, stately deciduous tree in full foliage stands alone in a field of green set against a pale blue sky—wisps of white clouds on the horizon in this oil painting by Peter Hoffer....

This triptych evokes an ancient manuscript or perhaps a music score. Rich and vibrant hues of red, yellow and blue. Multidisciplinary artist Alice...

Signed indistinctly lower right

Joseph Lorusso was born in Chicago, Illinois, in 1966 and received his formal training at the American Academy of Art. He went on to receive his B.F.A. degree from the Kansas City Ar...

Jeune femme à la rivière by Georges Manzana Pissarro (1871-1961) Oil on panel 46 x 37.5 cm (18 ¹/₈ x 14 ³/₄ inches) Signed and dated lower right, 1910. manzana Using oil on panel, Manzana delicately captures the floral patterning of the fabric and depicts the female elegantly as she leans over the river. This work clearly demonstrates the influence of Gauguin's Tahitian paintings...

Colour--bold and bright juicy shades of orange, yellow, purple and green play off a pale blue backdrop in this delightful still life by Montreal born artist Mel Davis. She creates ab...

Joseph Lorusso was born in Chicago, Illinois, in 1966 and received his formal training at the American Academy of Art. He went on to receive his B.F.A. degree from the Kansas City Ar...

Jennifer Hornyak’s series of floral oil paintings reimagine the classic still life. The rich colour palette—this piece in golden hues, blush, cream , green and purple echo traditiona...

A fiery sky in crimson and cerise descends on a horizon of dark mauve hills and strip of azure sea in this emotive painting by Jay Hodgins. Taches of hot orange that highlight the foreground in this atmospheric seascape reflect the title of the work Angin, which is Indonesian for windswept. Hodgins attended the Emily Carr...

It was when she was nine years old when that Melissa Peck knew for sure she was an artist. She was sitting at the kitchen table drawing a picture of a little girl. At the time she wa...

Flowers—rendered in simple shapes and soft colours—rosy pink, sky blue, pale yellow and deep green fill the canvas in this abstract painting by Mel Davis. The Montreal born artist wa...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Baigneuses avec cygne by Georges Manzana Pissarro (1871-1961) Oil on panel 30 x 37.5 cm (11 ³/₄ x 14 ³/₄ inches) ...

Rectangles and squares, large and small, in orange, mauve, blue and more, dance across a light green ground in this vibrant acrylic painting by Burton Kramer. The title of the painti...

Walking down a forgotten country lane, littered with stones and broken limbs, carpeted with the new growth of spring, I am exhilarated by warm days and the end of a long winter. I’m ...

A single neon-red bloom pops from the background in this lively still life by Jernnifer Hornyak. Known for her non-traditional florals and her inspired palette— Hornyak’s flowers sit...

To great effect, Mel Davis uses colour, shape and patterns to convey emotion in this abstract composition. The palette is dramatic—rich tones of blues, green, orange and burgundy. ...

Nest: Black Swallowtails, 2021 Oil painting on gold leaf 16 x 16 in. Signed, titled, and dated on back of frame by Pam Burnley-Schol. "My w...

The airy, ethereal quality of a white cloud rising in a deep blue sky is beautifully rendered in this mixed media composition by James Lahey. Known for his realistic landscapes, Lahe...

The panel has been attributed both to Joan de Joanes and his son Vicente Macip Comes (Valencia, ca. 1555 – 1623). Provenance: Private Collection, England, by 1886 (according to stencils on the reverse) Private Collection, New Jersey, until 2010 The Veil of Veronica, often called the Sudarium, is one of the most important and well-known relics of Christ. According to legend, Veronica offered Christ her veil as he carried the cross to his crucifixion. He wiped his face with the veil, which left the cloth miraculously imprinted with his image. Depictions of Christ’s face on a veil, or simply images that focused in on Christ’s face, were treasured objects of religious devotion. The popularity of this format also inspired similar images of the face of the Virgin. The iconographic type of the present painting is known as the Veronica of the Virgin, which was especially favored in late medieval and early Renaissance Spain. Distinct from the images of the suffering Christ, the Veronica of the Virgin is based on the legend that Saint Luke painted a portrait of Mary from life. Although scholars have sometimes mistaken them for portraits of Queen Isabella I of Castile (known as Isabel la Católica) or as a depiction of Saint Maria Toribia (known as María de la Cabeza, or, Mary of the Head), paintings like this one were clearly intended as images of the Virgin in the style of Saint Luke’s lost portrait. The Veronica of the Virgin was especially popular in Valencia, and depictions of this subject produced there all stem back to one visual prototype: a Byzantine image in the city’s cathedral (Fig. 1). This early treatment of the Veronica was given to the cathedral in 1437 by Martin the Humane, King of Aragon and Valencia, who promoted religious veneration of the Veronica of the Virgin as part of the celebration of the Immaculate Conception of Mary. This devotion spread throughout Martin’s kingdom and particularly took hold in Valencia, where the Byzantine image resided. The image, which is displayed in a gold reliquary...

Matt Magee Red Oracle, 2009 Oil on panel 32 x 22 in (81.3 x 55.9 cm) JPHB 1931

Kramer’s modern and graphic paintings express lyrical, geometric abstraction via a harmonic interplay of syncopated shapes of various sizes and colours. Trained at Yale University ...

Jean-Gabriel Domergue 1889-1962 French "Carina" Oil on panel Signed lower right Painting : 28 3/4" high x 23 5/8" wide Frame: 37 3/8" high x 32 1/4" wide Jean-Gabriel Domerg...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Cat and Cockerel by Georges Manzana Pissarro (1871 - 1961) Oil and gold on panel 65 x 94 cm (25 ⁵/₈ x 37 inches) ...

The overall dimensions including the frame are 70 x 42 inches. Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Voge...

The overall dimensions including the frame are 32 1/2 x 23 5/8 inches. Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry...

Montreal born artist Mel Davis has created a series of colourful and bold interpretations of traditional themes. In this abstract painting, several large, lush orange fruits set agai...

In this dramatic abstract painting by Montreal born Mel Davis, a blur of outdoor images is reflected in a mirror. The palette for this piece is black, gray, a touch of yellow and pal...

In this dramatic abstract painting by Montreal born Mel Davis, a blur of outdoor images is reflected in a mirror. The palette for this piece is black, gray, a touch of yellow and pal...

The overall dimensions, including the blond wood float frame, are 21 3/8 x 17 5/16 inches. The painting is oil on canvaspanel. Eleanor Jones Harvey, Chief Curator at the Smithsonian American Art Museum, writes about Bob Stuth-Wade: “Over the course of his career, Bob Stuth-Wade has examined his responses to life through landscape, still life, portraiture, and abstraction. Restlessly creative, he has explored these varied genres with equal concentration…..” Bob Stuth-Wade’s method of painting is uniquely his own, having taught himself technique; his only formal training was as a teenager with Dallas artist Perry...