Panel Paintings

This abstract painting by Roger Mudre is made with acrylic paint over metal leaf on birch panel. It is part of Mudre's Venezia series, which is inspired by his recent trip to the Nor...

City #5, 2018 Currently on sale. Was $600.

Hunt Slonem "Red 2" Black and Red Bunny A single rabbit gestured in black on a red background in a vintage frame Unframed: 8 x 6 inches Framed: 13 x 11 inches *Painting is framed - ...

Provenance Acquired by the gallery directly from the artist Signed "T. Solliday on lower right. UNFRAMED: 12" x 9" FRAMED: 16.5" x 13.5" x 1.25" Exhibitions Special Summer Salon...

Lisa Fricker's "Seen" is an original, handmade oil painting that depicts a portrait of a close-up of a person's eye.

Introducing a stunning portrait by renowned French artist Léon Richet (1847-1907), depicting a young girl adorned with a beautiful floral wreath and a hat perched atop her head. This...

This contemporary botanical drawing is made with gold acrylic on a cradled panel, painted black. The exploration of ephemerality, and the fragility of a wild marshmallow plant. its l...

oil on canvas Hiro Yokose paints images of nature composed in subtle, sensuous palettes. Playing with the viewer’s perceptions, his work creates a visual experience of recognition a...

This is a hand painted oil and acrylic on panel done in a post-modern style. The sketch like lines intersect with the other photo realistic flowers and create a bouquet of still lif...

Bansilica nuestra senora de los milagros, 2019

Stephen Gammell St. Paul, Minnesota Signed and dated recto. Stephen Gammell’s studio practice is rooted in an intuitive and deeply personal approach to mark-making. In Stories Unc...

"In the series “This is a real place!” I was fascinated by how the underside of the pier at Saint Simons Island, GA was like a readymade collage. The way the pilings and rails divide and frame the spaces between them looks artificially imposed on the scene until you notice the way the waves bounce off the pilings and the railings cast shadows on the water. In some iterations, I chose to simplify the structures of the pier and lighten the values so that it would emphasize the detail in the water. Likewise, I omitted a family of starlings and their droppings in favor of highlighting the geometry of the architecture and the colors and patterns of the water. Making paintings in a series allows me to investigate the results of making different decisions about an image. How I crop or stylize it, the manner in which I apply the paint, what gets included or excluded all add shades of meaning to each piece. Additionally, depictions of the same subject in different weather, seasons, times of day, and tides allows me a deeper understanding. I notice more relationships, colors, and details every time I paint the subject. Every painting is a pile of decisions. Playing with removing more and more details to see what is truly important sometimes improves the painting. The fewer elements you include in an image, the more each one means, and the more important it is to get each thing perfect. At times I like to paint every single detail I can find in a scene, and other times I feel like the unadorned components are sufficient to hold each other in a satisfying composition. I often add simplified shapes to my paintings to highlight the presence of absence or to heighten the importance of each area by creating stark visual contrasts. ⁠The physicality of the paint also plays a role. I used highly textured, thickly applied paint to construct the solid structural elements, and luminous layers of thinly glazed paint for the delicate linework and subtle blending of the water." - Brooke Lanier...

Sandra Cohen's “Squirrel” is a 12 x 12 x 1 inch abstract painting on canvas, mounted on cradled wood. Varied brushed and pooling bright yellow, gold, and cream form the background. A...

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...

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...

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...

Acquired by American Legacy Fine Arts directly from the artist Signed "Brian Mark Taylor" on lower right Description In Bryan Mark Taylor’s “Market Day,” the viewer is transported ...

Ryan Morse's (US based) "Unfurl" is an original, handmade oil painting on cradled panel, which is unframed but ready to hang. Artist Bio: Ryan Morse is a Denver based freelance art...

"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...

"Door #1 (Reanimator)" (2017) by Francesca Reyes Original oil and pastel on wood panel; measures 8" H x 6" W x 1" D From the artist's door series, depicting doors that she has photog...

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...

About the Artist: Andrew Hildenbrand is a New York based painter who received his BFA in painting from the Pratt Institute in 2023. Thinking of hi...

Sara Scribner's (US based) "Luminous" is an original, handmade oil painting that depicts a realistic portrait of a feminine form in a white dress with delicate white butterflies drawing near her in the darkness. About the Artist: Sara Scribner (B. 1982 Fremont, California) is a figurative painter living in Oklahoma. She earned a BFA in painting from the Academy of Art University in San Francisco. She has exhibited in museums and galleries across the US and in Europe, including European Museum of Modern Art (MEAM) museum in Barcelona, Spain, Wausau Museum of Art in Wausau, WI, Wally Workman Gallery...

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

Rinat Goren (Israeli, American, born 1964) "Waiting" 2023 Encaustic paint on cradled wood panel The artist signed the bottom right corner of the painting. “Waiting” is a refined, contemporary figurative-abstract encaustic work. The composition centers on a stylized female figure set against a richly layered grid of warm reds, oranges, and golden tones. The figure is integrated into the architectural structure of the painting, appearing both present and suspended within the surrounding geometry. Goren’s encaustic technique builds luminous depth through translucent wax layers, incised lines, and embedded shapes. The grid-like background evokes urban systems, schedules, and quiet rhythms, while the elongated figure introduces a human pause within this ordered framework. Her posture suggests stillness and anticipation, reinforcing the painting’s title and emotional undercurrent. Balancing abstraction with figuration, “Waiting” reflects Goren’s ongoing exploration of time, presence, and human experience within structured environments. The warm palette and tactile surface give the work an inviting yet contemplative quality. About the Artist: Rinat Goren is an Israeli-American artist based in California whose contemporary encaustic works explore the relationship between thought, structure, and emotion. Born in Israel and residing most of her life in the U.S., Goren has long been drawn to both observation and creation, translating the complexity of the human mind into layered visual compositions. Her encaustic paintings—formed by applying molten beeswax mixed with pigment—evoke a tactile, sensory experience that reflects her fascination with systems, decision-making, and the creative act itself. She works with geometry, color, and abstraction to celebrate our innate capacity to reflect, choose, and act with intention. Goren’s process is rooted in one of the world’s oldest painting...

Aixa Oliveras' (US based) "Sacred Heart" is an original, handmade oil painting that depicts a model's hands delicately holding pink flowers above her hea...

Once upon a time, a wonderful girl posed for Evgeniy, outwardly very similar to the well-known blonde from Game of Thrones. Almost a doppelganger of her fairy-tale sister .. And then...

"Lost In Light" (FRAMED) Oil Painting 43" x 33" inch by Casey Baugh Medium: oil on panel Painting size: 43" x 33" inch Size framed: 52" x 42" inch Signed by the Artist ABOUT THE ...

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...

This painting is part of the Slow Down series, which began in 2021 and remains ongoing. It features a serene landscape with a palm tree, gentle waves, and a crescent moon. At the top...

Self Portrait of renowned figurative artist Steven Assael with a deep blue background. Signed "assael 2012" on verso. Framed Dimensions: 17.25" x 16.25" Framed in a traditional whi...

'Orange' oil on panel by artist John Goodman. 8 x 10 inches / framed clear maple wood 9 x 11 inches. The painting is signed & dated and in excellent / new condition. From Andra Norri...

Attributed to Bonifacio Bembo c.1444-1477 Italy Saint Cosmas and Saint Damian Tempera on panel These exceptionally rare early Renaissance panels of Saint Cosmas and Saint Damian are an extraordinary new discovery. Based on the research of art historians Marco Tanzi and Andrea de Marchi, it is believed that these represent the missing panels from the famed polyptych formerly displayed on the altar of the Chapel of San Nicola da Tolentino in the Church of Sant’Agostino in Cremona, Italy. To find two matching early Renaissance panels outside of a museum or church, particularly in such remarkable condition, is an extraordinary rarity. The central and left-sided panels of the original five-part polyptych are currently in the collection of the Museo Civico Ala Ponzone in Cremona. These panels have luckily remained intact, and respectively portray the Madonna and Child Enthroned with Angels and Donor, Saint Nicholas of Tolentino (the chapel’s namesake) and Saint George. While the present panels have since been reduced, that they belong to the Cremonese altarpiece is confirmed by a number of stylistic elements. All five panels contain the same rich decorative arabesque pattern on their stamped gold background, while the figures’ knurled haloes are identical in both their fineness of line and use of perspective. The proportions of the figures coincide perfectly; Saints Cosmas and Damian would have originally also been depicted as full-length figures, fitting into the vertical, Gothic style of the altarpiece. According to the Christian religion, Saint Cosmas and Saint Damian were 3rd century physicians born in Arabia. Little is known about their lives except that they were reputedly twin brothers and that they were martyred in Syria during the persecution of Emperor Diocletian. It was believed that the saints were skilled in healing, and when their medicines failed, their faith and prayers could always perform miracles. Thus, the saints are often depicted with their medical equipment while wearing the traditional medieval doctor’s garb of crimson robes and distinctive round red hats. The saints are similarly depicted in the present panels, though considering the manner in which they have been cut, their medical tools are not immediately evident. The saints were highly popular as patrons of wealthy families during the Gothic and Renaissance eras, particularly the Medici, and thus they occur frequently in art from the era. The twins, for instance, are found in the famed San Marco Altarpiece by Fra Angelico in the San Marco Museum (Florence), as well as in a set of Medici panels crafted by Filippo Lippi...

"Rob Alexander's ""Calm Waters"" is an original, handmade oil painting that depicts a small stream snaking its way through a field of golden grass as it ...

Watchful Eyes

Sandra Cohen’s “the separation of isotopes” is a 12 x 12 x 1 inch abstract acrylic painting on cradled wood, in bright tones of pink, blue, orange, yellow, white and black. A simplif...

Morgan Cameron’s (US based) “Shade and Shadow” is an oil painting that depicts a white wolf peering through a fallen tree. This painting is unframed, ...

Provenance Acquired by the gallery directly from the artist Signed "Budicin" on lower left. UNFRAMED: 8" x 10" FRAMED: 11.33" x 13.33" x 1.33" Artist Statement "While painting by...

Kevin A. Moore's (US based) "The Calling" is an original, handmade oil painting that depicts a splatter of water juxtaposed over a face in profile that features a strong nose as well as a septum and industrial ear piercing. About the Artist: Kevin Moore is a high-definition realism painter from New Jersey. Moore has exhibited at multiple venues across the US, and has received various International Awards. His work can be described as a glance into imagination, yet at the same time it provides objects that will keep you grounded to reality. Straight out of high school, Moore began taking art classes at DuCret School of Art. He then went on to study under artist Timothy Jahn before finally graduating from Ani Art Academy Waichulis in 2015. Kevin now lives in Red Bank...

Plaines & Mines, d’Ombre 2025.3 by Melisa Taylor Metzger envelops the viewer in a delicate tension between structure and atmosphere. Diaphanous layers of cool pinks and lilac blues ,...

A Meal Van Den Eycken Charles Brussels 1859 – 1923 Belgian Painter Signature: Attributed to Charles Van Den Eycken Medium: Oil on panel Dimens...

Represented by George Billis Gallery, NYC & LA --Trevor Young is a quintessentially American painter. He makes no bones about his affection for the trappings of car culture, life on the road, and 1960s West Coast art. His main subject is modernism’s footprint on the outposts of Americana—places typified by harsh artificial light and hard shadows on concrete. The show makes clear that for Young, despite the contemporary art world’s preferences for irony, disjunction, and tongue-in-cheek intellectual gamesmanship, painting is at its best when it attempts to offer an unpretentious accounting of where and how we live our day-to-day lives. The celebrations of urban sprawl offered by artists like Ed Ruscha—who famously took no-nonsense aerial photographs of thirty four LA parking lots in 1967, and created sleek, stripped down paintings of Standard Oil stations—are an obvious point of reference in Young’s work. But Young’s choices seem more personal than Ruscha’s, and his technique is certainly more painterly: His images of gas stations are uneasy amalgamations, cobbled together from his own memories of road trips, photographs, and pure invention, and rendered with a sense of atmosphere and drama seemingly at odds with his use of hard lines and simple geometric shapes. Painters today tend to lean on pastiche, on art-historical mashups and code-switching. This typically results in images with no unified style and no concern for pictorial space, illusionistic or otherwise. For many contemporary painters, the picture plane is simply a flat, delimited arena in which different types of visual syntax collide, floating freely. This is a non-strategy in which artists make an end run around some of the thornier problems of composition, perception, and cognition. Young bucks this trend. He activates every square inch of his canvases, blocking in large passages of negative space with skeins of scruffy countervailing strokes. He is not a fussy painter, nor is he out to prove his own mastery to an audience. Like Edward Hopper, Young tends to eschew a lot of paint’s seductive properties, preferring to create hard edges and large, gently undulating planes of subdued color. He draws the viewer into an unpopulated, uncluttered world with a clear horizon line—but one that is also filled with hiccups, discontinuities, and compromises. In Service in the Rear, for example, a shelter for gas pumps in the foreground—closest to the viewer and, therefore, logically a dominant compositional element—is rendered as a hazy silhouette that flagrantly disobeys the rules of linear perspective. This is intentional: The structure is only important to Young in the way that it draws the viewer’s eye below and past it, to the glowing, low-slung building dominating the lefthand side of the picture. Thus Young shows his talent for creating visual tension and drama—and for sidestepping the viewer’s expectations. Young understands that some might regard his brand of painting as obsolete. He also understands the troubled legacy of modernism, and what the triumph of universal technology has meant for cultures around the globe. Still, for Young, the cold comfort offered by outposts of convenience—gas stations, airports, cheap hotel rooms—is not so easily dismissed. Young shares the strange buoyant optimism of his hero, Jonathan Richman, who, in his early ‘70s proto-punk single, Roadrunner, exults in the simple act of driving past the Stop’n’Shop with the radio on...

Hans Holbein the Younger (1497/98 – 1543) was one of the greatest painters of the Northern Renaissance. Born in Augsburg, Germany, he was the son of Hans Holbein the Elder, also a pa...

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...

Poppies in Blue Vase is an original painting by Diana Forbes. The artwork is a reflection on garden treasures at the end of the summer. Additional information: Oil on Panel 50 H x 4...

Serene depiction of Loch Na Keal, Iona, Scotland by William Mervyn Glass, Royal Scottish Academy and Scottish Academy of Artists (PSSA,SSA) (Scott...

This modular work features hues of orange and yellow. Three separate pieces hang together to create one piece. Nancy is inspired by the works of Carmen Herrera, Deborah Zlotzky and ...

Oil on wood. "Scent of Spring: Immersion into the World of Spring Emotions" On this canvas, we immerse ourselves in the enchanting realm of spring. In the foreground, like the main...

Rob Alexander's "Sunlit Heights" is an original, handmade oil painting that depicts snow capped blue mountains rising from the mist. This painting is c...

Incredibly detailed depiction of the goddess Kali appearing before a hunter by Konci (Balinese, 20th Century). Overflowing with details and imagery, this piece depicts the goddess Kali in the forest along with other godlike figures. A hunter is kneeling before them, wearing a quiver, and with hands folded in prayer. Kali is depicted in a traditional Balinese style, but with a multitude of faces engulfed in flames. The jungle background is full of swirling plants. Signed "Konci" in the lower right corner. Cloth wrapped around wood panel. Unframed. Image size: 35"H x 25.5"W This carved, wooden mask represents the mythical creature known in Bali as Banaspati Raja, meaning “King of the Forest,” also called the Barong Ket. Lion-like masks such as this one are the most common type, but Barong can take on the features of a number of different animals, including wild boar, dog, deer, and tiger, individually or in composite form. In Balinese society, all Barong masks...

Evgeniy loves to listen to the great Jim McCann during the painting sessions and one of the Irish folk songs performed by him, very suitable in terms of lyrics and mood, gave the tit...

"Evening West Neck Creek" is a small, horizontally oriented landscape painting by Nelson White. Painted en plein air on Shelter Island, where his family has owned property for genera...

Well painted and very decorative oil on panel Painted on a mahogany panel and monogrammed L.B Well framed in a new English handmade gold leaf frame. The...

On one hot June day, a beautiful Ethiopian girl was playing in Monahov's studio with a sparkling glass prism, watching objects refracted in the room and outside the window.. and at s...

Oil on panel, Lana Abesadze is a Georgian artist born in 1999 who lives and works in Tbilisi, Georgia. She works primarily in oil painting and drawing. Her practice centers on the h...

Double-sided oil painting on panel Price includes $200 additional cost of framing. This work is offered by ClampArt in New York City.

Ana Hefco's "White Sand Beach #26" is an original, hand made resin painting that depicts an abstracted color field of blue, teal and beige, that is reminisce...

Paint the Town, 2019

Artwork made with pigment (Iwaenogu), glue & water on cotton paper (Washi) marouflaged on Japanese wooden panel Fusako Ekuni is a Japanese artist born in 1947 and who lives &...

A fine impressionist view of a New Jersey Beach, possibly Atlantic City, at the turn of the 20th century by American artist William Gilbert Gaul (1855–191...