Panel Paintings

Clyde Steadman's "Bathsheba" is an original, handmade oil painting that depicts an impasto painting of a nude female model in an interior setting.

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 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...

This contemporary circular portrait painting by Natasha Lelenco belongs to the early series of Currencies, a project that reimagines the traditional coin as a symbolic portrait. Exec...

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...

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...

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...

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...

A finely executed mid-19th-century oil painting on panel depicting "The Milkmaid" after Jean-Baptiste Greuze (1725–1805). This captivating portrait, painted in a charming manner with...

Hunt Slonem "Delight" Black and White Bunny A single rabbit gestured in black on a white background in a vintage frame Unframed: 8 x 6 inches Framed: 12.5 x 10.5 inches *Painting is...

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 ...

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...

Cornelis Van Leemputten Werchter 1841 – 1902 Schaerbeek Belgian Painter 'The Shepherd with his Flock – Le berger et son troupeau' Signature: signed lower right 'Corn. Van Leemputte...

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...

A professor of painting at Southern Methodist University since 1984, Barnaby Fitzgerald spent his childhood in Italy where he earned a printmaking degree in Urbino. He received a BFA...

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...

Terrace on the Sea is an original painting realized in the 19th century by an anonymous artist. The artwork is a colored oil panting on panel. Signed on the ...

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...

One of the key lessons we can glean from the myth of Sisyphus is the importance of resilience and perseverance in the face of adversity. Sisyphus was condemned to an eternity of ceas...

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...

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...

Kristen Santucci's "Spring Peonies" is an original, handmade oil painting that depicts a portrait of three blooming pink peonies. Kristen grew up in Greenbelt, Maryland. She was always creative as a child and had an interest in art, but it wasn’t until she moved to Florida in 1988 and worked as a picture framer that she started painting. Florida’s sunsets...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Hollis Dunlap's (US based) "Study of Morgan" is an original, handmade oil painting that depicts a nude woman, face downturned, with her long dark hair trailing down her porcelain fig...

This artwork is framed. The framed dimensions are H 8.75 x W 12.25 inches. Zack Zdrale Quantum Man oil on panel 4.50h x 8w in 11.43h x 20.32w cm Zack Zdrale (b. 1977) takes a trad...

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...

Abstract geometric three-dimensional wood wall sculpture in pale grey, light blue, light taupe, and beige, with accents of stormy blue "In, Out, Over, and About", hand-carved woode...

Robert Lebsack creates artworks using mixed media with ink, acrylic, and charcoal on archival copies of newspapers, textbooks, and sheet music. As a visionary artist, Lebsack weaves ...

Introducing an extra-large painting, measuring an impressive 180cm x 180cm/70,9in x 70,9 in by the visionary artist Alejandro Hermann. Within this painting you experience an contempo...

In her latest series, "The Weaver," Shizico explores forms, layers, and time onto canvases. Applying the format of diptychs and triptychs, she creates lyrical narratives, capturing t...

Kathryn Markel Fine Arts is pleased to announce Sun Fog Rain, an exhibition of new paintings by Sara MacCulloch. This will be her fourth solo exhibition with the gallery. An opening ...

Steven Nederveen's art is a testament to the complex and ever-evolving relationship between humans and nature. His vivid nature scenes, often seemingly uplifting and idyllic, also re...

This sculpture titled "You Are Here: S Thing" is an original artwork by Kelly Kozma made of thread scraps & acrylic on panel. The piece measures 4"h x 4"w x 1.75"d. Kelly Kozma ...

This contemporary poured painting Pink (necessary angel) by Susan English is a wonderful play of color, light, and composition. Vertical stripes and blocks of color in hues of soft j...

Roosters and Hens in a Barn 19th century E. Binam (Belgian? 19th century) Oil on wood panel 8 1/4 x 5 /12 (10 1/4 x 13 1/4 frame) Though little is known about E. Binam, he was clea...

About Anne Biography I was born in Berlin, Germany. As a child, I lived for three years near Buenos Aires, Argentina. My first extended stay in the US was as an exchange student. Aft...

Oil on Board realized by Jules Victor Génisson (1805-1860) in the mid-19th Century. Hand signed lower left. Good condition.

Matt Talbert's "Anticipation" (2024) is an original, handmade oil painting on panel that depicts a portrait of a brunette in a dark slip. Artist bio/statement: Matt Talbert is a co...

"Galloping Horse and Rider" Alessio Issupoff (1889 Russia-1957 Rome) Oil on wood panel Signed lower right 5 1/2 x8 1/2 (13 1/2 x 16 1/2 frame) inches This is such a stunning little jewel, it's almost hard to believe. Alessio Issupoff dedicated his whole life to art and was shaped by his years at the Moscow School of Painting, and later absorbed a great deal from Impressionism and the work of the Italian Renaissance masters. But he kept his distinctive style and remained true to the idea that excited the generation of painters of the turn of the 20th century — “the embodiment of the great beauty of everything alive.” Alexei Vladimirovich Isupov, known by his Italianized name Alessio Issupoff, was born in Vyatka (now Kirov) on March 10, 1889. The son of an icon carver and gilder, he learned to paint from the artisan painters who worked with his father. Wanting to give expression to his own artistic creativity, the young Alexei did not take up his father's trade but left Vyatka for Moscow where he attended the School of Painting, Sculpture and Architecture. His mentor was the painter Apollinary Mikhailovich Vasnetsov, brother of Viktor, who introduced him to the Moscow artistic milieu and helped him find work. By studying and visiting museums, Issupoff formed his own aesthetic “taste” by modifying it on contemporary Russian and French Renaissance art...

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 ...

Hunt Slonem "Allie" Black and Purple Bunny A single rabbit gestured in black on a light purple background in a vintage frame Unframed: 8 x 6 inches Framed: 14 x 12 inches *Painting ...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Michael Carson's (US based) "Portrait of Britt Daniel" is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis...

Continuing a series of small paintings in oil and tempera on wooden boards, artist turned to the image found in the live sketches at one of the beautiful Saturday mornings. So once ...

In her latest series, "The Weaver," Shizico explores forms, layers, and time onto canvases. Applying the format of diptychs and triptychs, she creates lyrical narratives, capturing t...

My interest is in creating a permanent record of the impermanence of our world. In considering the exquisiteness of a moment shared, of a new connection, a new thought, an old memory...

Provenance Acquired by the gallery directly from the artist. FRAMED: 28.125" x 32.125" x 1.25" UNFRAMED:20" x 24" Artist Statement "I am always looking for different ways to capture the beauty of the San Gabriel Mountains as they loom above Pasadena. I found this view while scouting and exploring the Arroyo Seco...

Bart Koning (Dutch artist) Robin 20 x 29,1 cm (Framed included in price 20,4 x 29,5) Oil paint on wood panel We're proud to introduce Dutch/ German artist Bart Koning. Incredibly c...

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

A wonderful composition of one of Slonem's most iconic subjects, Bunnies. This piece depicts a gestural figure of a bunny on a gradient black and blue diamond dust background with th...

Beets 50 x 122 ccm Framed in a white gold gilded frame: 71 x 143 Oil paint on wood panel Dutch artist, painter, Adriana van Zoest, lives and works in Warmenhuizen, in the North of ...

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

The greenhouse became a favorite subject of Donald Vogel's in the 1980's. As Vogel reflected in the 1998 catalogue published for his traveling retrospective exhibition, "The greenhou...

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 Blue background with thick use of paint. I...

This contemporary, colorful abstract oil painting on panel is composed of carefully combined sections of various textures and areas of pattern, circles, dots and undulations, in exub...

René Toussaint 1902 – Spa – 1972 Belgian Painter 'Belgian Coast – Le Zwin' Signature: signed lower left ’R Toussaint’ Medium: oil on panel Dimensions: image size 50 x 60 cm, frame...

Nocturne, Venice, 1924 – Gino Albieri (1881–1949) Gino Albieri (Cavarzere, near Venice, 1881 – Rome, 1949) was an Italian painter with a distinctive international career. Trained at...

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...

Victor Simonin (Belgian, 1877-1946). An antique oil painting on board titled "Still Life of Flower and Fruit." This abstract still life work depicts a colorful botanical bouquet of f...

Eric Blum Untitled No. 1036, 2025 ink, silk, and beeswax on panel 59 x 47 in. (blum102)