Panel Paintings

"Untitled" portrays a young female nude in an intimate setting within the artist's studio. This painting is done in the classical vein of full portraiture. The model, however, is not posed quietly, but is engaged with a person or object off the frame, or, perhaps in an interior monologue with herself. Regardless of which, the viewer's attention is not only attracted to the beauty of the model's figure, but the intention of her actions. Charles Pompilius...

Self-portrait of the painter with beret and brush in hand, 1930s Period: Circa 1930s Italian school. Technique: Oil on wooden panel Frame: Painted wooden frame, coeval Dimensions: ...

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...

"Seasons, 2025" is a mixed media landscape painting by Sandra Pratt. The composition features a natural scene with a dark, winding stream cutting through a snowy and earthy terrain. ...

Well painted late 19th-century German genre painting. Often painted in the Munich area of Germany these highly desirable antique paintings are always of t...

A wonderful composition Slonem's Hummingbirds. This piece depicts gestural figures of colorful Humming Birds and hibiscus flowers on a light pale green background with thick use of p...

The Angelic Visitation Dutch School, mid 17th century circle of Rembrandt (Dutch 1606-1669) oil on wooden panel, framed in faux tortoiseshell style frame. framed: 25 x 28.75 painting...

The Trial of Christ Dutch Old Master, 17th century oil on panel, unframed panel: 11 x 7.5 inches provenance: private collection, England, Christies auction stencil marks verso condi...

A beautiful copy by an unknown artist, of the original painting "Wall Street - The Noon Hour" originally created in 1925 by the great American artist Felicie Waldo Howell (1897-1968)...

Signed by the artist. Artwork sold with frame (53.5 x 35.5 x 3 cm) Charles Parisod (1891–1943) was a Swiss painter active during the first half of the twentieth century, known prim...

This still-life is painted by Dutch Painter Ingrid Smuling. The now 77-year-old artist is still most in her element when she is painting in her beautiful studio in the middle of The...

"Cloud Composition 3" is a realistic capturing of a golden skyscape, created with oil paint on panel. This piece is framed at 9.5 x 9.5 inches and is ready to hang. Jesse Mangerson ...

This piece depicts a gestural figure of bunny against a golden background. Inspired by nature and a genuine love for animals, Slonem's paintings encompass unique inspirations drawn f...

This still-life is made by Dutch painter Erik Zwaga. The painter started in the style of the romantic school, Erik Zwaga began to search more and more for his own visual language...

A wonderful composition of one of Slonem's most iconic subjects, Butterflies. This piece depicts three delicate butterflies in ascension placed in a wonderful golden landscape. Slone...

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...

GIOVANNI BOLDINI (FERRARA 1842–1931 PARIS) Profilo di Giovane Seduta 1915 circa Expertise by Prof. Dini ( see photo attached) oil on panel cm 35 x 26,8 not signed

Intersections 8 is an original painting realized by the Italian artist Salvatore Travascio in the 2010s. This is a beautiful oil painting on paper on wooden support. Hand-signed on ...

Ingrid Smuling Dark Red Helleborus 20 x 15 cm olieverf Framed size! 30 x 25 cm ( Frame is included) Oil on wood panel Ingrid Smuling, the Grand Lady of Still life painting is stil...

Acquired by the gallery directly from the artist Signed "Mary K. West" on back UNFRAMED:30" x 20" FRAMED: 30" x 20" x 1.125" Artist Statement “The magnolia tree and I share common rots in the Southeast. The Carolinas, Georgia, and Tennessee are home to us both. This stately, ancient tree is native to the Southeast. Its large fragrant blossoms and dark, shiny leaves adorn the green lawns and line the streets of the small towns where I am from. So, when I moved to California, I was pleasantly surprised to see this icon from the South growing freely here as well! This paining, with its representatives from the Southeast (the Magnolia and Blue Jay) and the West (the Plums and Persimmons) shows how roots can expand and grow to embrace new beginnings.” — Mary Kay West...

Hunt Slonem "Welch" Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 8 x 6 inches Framed: 14 x 12 inches *Painting is frame...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a silver and gold background with beautiful accents...

'Rivière de Mon Paix' by Raoul André Ulmann. Pair of Fine French Impressionist Oils, Musée d'Orsay, Luxembourg Museum. Sold as a pair. --- Raoul André Ulmann (French, 1867-1941) E...

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...

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...

Dutch Female Artist Liseth Visser is no stranger to the world of portraiture. In the past she was nominated for the 'BP portrait award' from 'Th National...

"Waves of Freedom" captures the moment when water washes away all constraints and expectations, allowing the soul to breathe freely. Each brushstroke symbolizes the journey toward in...

Using pornography as a vehicle for understanding, Rick Sindt's work explores the discovery and development of queer attraction. Sindt transforms pornographic stills, repurposing them...

The relaxed atmosphere is characteristic of the oil paintings by Dutch artist Laetitia de Haas (1948). Her work radiates a distinction and tranquility that we...

The small yet stirring painting "Landscape With Mill at Sunset" showcases the remarkable talent of Swedish painter Mauritz Lindström. He was a resp...

Morgan Cameron’s (US based) “The Second Sighting” (2024) is an oil painting on panel that depicts a surreal landscape that has a wolf with piercing eyes standing in the moonlight. A...

Signed full length portrait circa 1890 by French impressionist painter Jean Beraud. The work depicts a Parisian lady in a green tuile skirt, a blue jacket with fur and black lace up ...

Nora Othic is considered one of the top regionalist painters in the Midwest. She builds on a legacy from her artistic predecessors such as Grant Wood, Thomas Hart Benton and the WPA ...

"Opium Flower" is a painting by Zura executed in acrylic and pencil on wood panel, set against a deep black background. The stark contrast isolates the flower, giving it a quiet inte...

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, including The Hunderton Art Museum, Clinton, NJ (2014), the Rosenfeld Gallery, Philadelphia, PA (2013); Therese A. Maloney Art Gallery, College of Saint Elizabeth, Morristown, NJ; group shows at SEFA; and Butters Gallery, Portland...

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...

An important & large Italian Baroque period oil painting on panel attributed to Daniele Crespi (1598-1630), "The Entombment of Christ", Milan circa 1620. See artist biography below. ...

This piece depicts famous British model Kate Moss from a Fall 2013 ad campaign with Stuart Weitzman during the Milan Fashion Week while featuring Kate Moss swaggering to Nancy Sinatr...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a black bunny on a French Pink background with thick use of paint. I...

“Barn On River Rd Deerfield” by Marcia Wise is a 12 X 16 inch contemporary oil painting from the artist’s collection of palette knife paintings in which complementary colors of reds ...

The Earthly Paradise Frédérick Bouttats (Antwerp, 1590-1661) Painting is Circa 1610-1612 Oil on wood panel, circa 42 7/8 x 29 3/8 (ca. 52 x 39 frame) inches The inner frame is c18th ...

Division of the Spoils in a Military Encampment Entourage of Willem Cornelisz. Duyster (Amsterdam 1599 – 1635) Not signed. Dutch school, late 17th – early 18th century Oil on oak pa...

The work of Gloria Segura Jordá transcends mere aesthetics to constitute a feminist discourse deeply anchored in the pictorial. Her production challenges the passive gaze, inviting a...

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...

19th century English landscape with trees, a Harvest Field during Summertime. A wonderful classic English landscape dating from the middle of the 19th century. This style of paintin...

Erik van Elven Lightbulb 50 x 70 cm Framing options available This painting is by Dutch Impressionist painter Erik van Elven. This young artist likes to paint in the style of the...

In this abstract painting in oil and graphite on panel by Elizabeth Gourlay, clean and precise, carefully ordered blocks of color in shades of blue are vibrant against a calm, soft s...

We are pleased to offer a captivating portrait, most likely painted in the late 18th century, attributed to an artist within the circle of Christian Wilhelm Ernst Dietrich. This oil ...

Evy 24 x 30 cm ( it will be delivered framed/ frame is included: size with frame 28 x 34 cm ) Acrylic paint on wood The Dutch artist Jantina Peperkamp likes to paint portraits of y...

Lindsey Kustusch's "The Sumatran Tiger" is a stunning handmade original oil on wood panel artwork, with dimensions of 30 x 30 x 1.50 inches. Created in 2023, this piece stands as a p...

Artist: Jack Avetisyan Title: Crisis of Inspiration Medium: Charcoal on Paper Year: 2019 Style: Portrait Expressionism Dimensions: 17" x 18" x 0. 1" inch (43 x 45 x 0.2cm) Presentati...

Kelly Birkenruth's "Orange Wrapped in Plastic" (2023) is an original oil painting on panel, measuring 5 x 5 x 1 inches. This captivating still life features an orange wrapped in a tr...

Ana Hefco's (Miami based) "A Moment In Time" is an original, handmade mixed media painting made with layered resin that depicts a shore with bright blue water and shiny golden sand a...

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...

Signed divisionist style oil on panel landscape circa 1906-1907 by French Neo-Impressionist painter Henri Edmond Cross. This brightly painted piece depicts a view Saint Tropez. This...

French 19th century Chickens in a landscape Charles-Emile Jacque (23 May 1813 – 7 May 1894) was a French painter of animals (animalier) and engr...

In the manner of Jan Davidsz De Heem. This painting is in the Dutch Golden Age manner and is catalogued as such, however we believe the picture dates around the 18th Century and cou...

Carl Friedrich Deiker Wetzlar 1836 – 1892 Dusseldorf German Painter 'The Hunting Dog' Signature: signed lower right 'C.F. Deiker' Medium: oil on panel Dimensions: image size 29 x 2...

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Panel Year: 2025 Style: Impressionism, Title: Summer Trees, Size: 37.5" x 25.5...