Panel Paintings

Untitled 27 and Untitled 26, 2019 by Francisco Larios Lacquer, Acrylic, oil, and gold leaf on MDF Deep Individual Image Size: 23.6 in. H x 19.75 in. W Individual Frame Size: 25.6 in....

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a c...

Framed size: 20.5" x 45.5" In a 12 karat gold frame

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Abstract artist Andrew Lui’s ethereal work is rooted in history; that of his own in China and the world around him. Lui’s fluid lines and vivid colours were influenced by his love of...

A painting by Hans Hofmann. "Yellow Vase" is still-life abstract painting, oil on panel executed in the primary colors by Post-War Abstract Expressionist H...

A brilliant mauve opening framed in charcoal burns through the sky in this luminous painting by Jay Hodgins. The artist creates depth and light in the work using multiple layers of a...

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 Nichols...

With a love for nostalgia, Francis Livingston paints places which may no longer exist or that have lost their luster. His bold and impressionistic paintings take the viewer back in t...

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...

I take a lot of liberties with the buildings, sometimes it’s a specific building in Los Angeles or San Francisco. Most of the time I choose New York because of the great views. I hav...

At once both classically romantic and nostalgic, Peter Hoffer’s landscapes are rich in atmosphere. In this pastoral painting, Hoffer uses two young trees to mark the foreground of a ...

Ivan Fedorovitch Choultsé 1874-1939 Russian "Derniers Rayons de Soleil", 1920 Oil on panel Signed and dated lower right Canvas: 9 1/2" high x 12 5/8" wide Frame : 16 1/2" high x 1...

Untitled 7, 2019 by Francisco Larios Size: 50 cm H x 50 cm W x 1.5 cm D One of a kind. From Mexican Ryōan-ji Series Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that g...

Oil on panel Panel size: 23 x 17 inches Signed and dated '1877' lower left

Oil on panel Panel size: 11.75 x 18 inches Signed lower right

In stunning detail, Ciba Karisik has captured the delicate and serene beauty of pink coneflower and white Queen Anne’s lace flowers lining the edge of a grassy field. For Karisik, na...

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 Nichols...

A tall vase with a single rose in bright "Hornyak pink" is balanced by shapes and lines in this sophisticated composition by Jennifer Hornyak. Framed dimensions are 11.75 x 9.75 inch...

Oil on panel Panel size: 6.5 x 5 inches each Both signed upper right

Medium: Oil on Canvas Laid on Panel Signature: Signed Lower Right The Saturday Evening Post cover, November 12, 1910

Paul Emile Perboyre 1826-1914 French Le Marechal Ney passant ses Troupes en Revue (The Marshall Ney reviewing his Troops) Oil on mahogany panel Signed l...

Oil on panel Panel size: 6.25 x 5.75 inches Framed size: 10.75 x 10.25 inches Signed lower right

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Oil on panel Panel size: 14 x 11 inches Signed lower right

Oil on panel Panel size: 9.5 x 12.5 inches Framed size: 14.75 x 17.75 inches Signed and dated 1870 lower right

Untitled & Untitled 13 Diptych Gold Leaf on MDF Frame, 2019 by Francisco Larios Lacquer, Acrylic, oil, and gold leaf on MDF Deep Individual size: 16.5 in H x 14 in W x 2 in D Overall...

Oil on panel Panel size: 6 x 8 inches Framed size: 10.25 x 12.25 inches Signed and date '1860' lower right

Medium: Oil on Board Laid on Panel Signature: Signed Lower Right Sight Size 29.00" x 23.00," Framed 33.00" x 37.00"

A staccato of geometric shapes in orange, indigo, blue and more dance on a ground of turquoise in this lively composition by Burton Kramer. Like 20th century European painter Wassi...

A cloud of white and charcoal rises from a stormy horizon in this emotive acrylic painting by Jay Hodgins. Layers of glossy resin add depth and richness to the work. Integrating enc...

Untitled, 2019 by Francisco Larios Image Size: 12 in H x 9.5 in W Frame Size: 16.5 in H x 14 in W x 2 in D One of a kind. From Mexican Ryōan-ji Series Ryōan-ji is the Japanese Zen...

Oil on panel Panel size: 8.75 x 7 inches Framed size: 13.75 x 11.75 inches Signed upper left

Dark clouds at a stormy horizon meet a violet sky in this emotive diptych by Jay Hodgins. Layers of curated colors coated in a glossy resin create depth and light in the atmospheric ...

Acrylic on canvas of nine heads by Purvis Young. From the artist to Vanity Novelty Garden, Tamara Hendershot To Rising Fawn Folk Art, The Jimmy Hedges Collection of Outsider Art.

John Schieffer graduated in 1995 from Paier College of Art in Hamden, Connecticut with a Bachelor of Fine Arts degree. The salutatorian entered the world of illustration at Mercer Mayer Productions as a children’s book illustrator. It was a job where he used his artistic abilities although it was not an outlet for a serious painting career. (He has a written and illustrated a book of his own that is awaiting a publisher). John then worked in the field of graphics at Leslie Roy...

Hornyak's figurative compositions are built up through a complex technique of rich blue, green, yellow, red, pink and white glazes. Hornyak's figures speak of another time and place ...

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Japan, Moore spent time in Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable wood panels, he created about sixty scenes of daily life, among them this picturesque vignette of a Japanese tea garden...

"In the world of still life and landscape, conceptual events meet one another – the structural meets the narrative, the small stands in the space of the large, and color has a chance...

Medium: Oil on Panel Signature: Signed "H. Pyle" Lower Right and Inscribed Indistinctly On the Reverse "At the same time he extended toward King Louis the ...

A brilliant opening framed in green-blue reflected in the water below burns through an azure sky in this luminous and moody painting by Jay Hodgins. The artist applies layers of acry...

Signature: Signed Lower Left Medium: Acrylic on Gessoed Panel Advertisement for dried fruits, 1950.

Including the frame, the overall dimensions are 31 x 38 inches Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Voge...

Oil on panel Panel size: 5.5 x 7.5 inches Framed size: 12 x 10.5 inches Signed upper right

Donald Vogel’s paintings reflect his interest in seeking beauty in life and in sharing pleasure with his viewers. Vogel entreats us to "rejoice and celebrate each new day, knowing it...

Untitled 15, 2019 by Francisco Larios Lacquer, Acrylic, oil, and gold leaf on MDF Deep Image Size: 11.5 in. H x 9.5 in. W Frame Size: 14 in. H x 11.6 in. W x 1.5 in. D One of a kind....

In a dazzling cerulean sky, a blustery cloud of white hovers over a black horizon. In this vertical landscape on panel by Jay Hodgins, curated layers of bright colors coated with a g...

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...

Medium: Oil on Wood Panel Signature: Unsigned This Stan Laurel and Oliver Hardy illustration was used as a traveling show sign.

Harry Humphrey Moore led a cosmopolitan lifestyle, dividing his time between Europe, New York City, and California. This globe-trotting painter was also active in Morocco, and most importantly, he was among the first generation of American artists to live and work in Japan, where he depicted temples, tombs, gardens, merchants, children, and Geisha girls. Praised by fellow painters such as Thomas Eakins, John Singer Sargent, and Jean-Léon Gérôme, Moore’s fame was attributed to his exotic subject matter, as well as to the “brilliant coloring, delicate brush work [sic] and the always present depth of feeling” that characterized his work (Eugene A. Hajdel, Harry H. Moore, American 19th Century: Collection of Information on Harry Humphrey Moore, 19th Century Artist, Based on His Scrap Book and Other Data [Jersey City, New Jersey: privately published, 1950], p. 8). Born in New York City, Moore was the son of Captain George Humphrey, an affluent shipbuilder, and a descendant of the English painter, Ozias Humphrey (1742–1810). He became deaf at age three, and later went to special schools where he learned lip-reading and sign language. After developing an interest in art as a young boy, Moore studied painting with the portraitist Samuel Waugh in Philadelphia, where he met and became friendly with Eakins. He also received instruction from the painter Louis Bail in New Haven, Connecticut. In 1864, Moore attended classes at the Mark Hopkins Institute in San Francisco, and until 1907, he would visit the “City by the Bay” regularly. In 1865, Moore went to Europe, spending time in Munich before traveling to Paris, where, in October 1866, he resumed his formal training in Gérôme’s atelier, drawing inspiration from his teacher’s emphasis on authentic detail and his taste for picturesque genre subjects. There, Moore worked alongside Eakins, who had mastered sign language in order to communicate with his friend. In March 1867, Moore enrolled at the prestigious École des Beaux-Arts, honing his drawing skills under the tutelage of Adolphe Yvon, among other leading French painters. In December 1869, Moore traveled around Spain with Eakins and the Philadelphia engraver, William Sartain. In 1870, he went to Madrid, where he met the Spanish painters Mariano Fortuny and Martin Rico y Ortega. When Eakins and Sartain returned to Paris, Moore remained in Spain, painting depictions of Moorish life in cities such as Segovia and Granada and fraternizing with upper-crust society. In 1872, he married Isabella de Cistue, the well-connected daughter of Colonel Cistue of Saragossa, who was related to the Queen of Spain. For the next two-and-a-half years, the couple lived in Morocco, where Moore painted portraits, interiors, and streetscapes, often accompanied by an armed guard (courtesy of the Grand Sharif) when painting outdoors. (For this aspect of Moore’s oeuvre, see Gerald M. Ackerman, American Orientalists [Courbevoie, France: ACR Édition, 1994], pp. 135–39.) In 1873, he went to Rome, spending two years studying with Fortuny, whose lively technique, bright palette, and penchant for small-format genre scenes made a lasting impression on him. By this point in his career, Moore had emerged as a “rapid workman” who could “finish a picture of given size and containing a given subject quicker than most painters whose style is more simple and less exacting” (New York Times, as quoted in Hajdel, p. 23). In 1874, Moore settled in New York City, maintaining a studio on East 14th Street, where he would remain until 1880. During these years, he participated intermittently in the annuals of the National Academy of Design in New York and the Pennsylvania Academy of the Fine Arts in Philadelphia, exhibiting Moorish subjects and views of Spain. A well-known figure in Bay Area art circles, Moore had a one-man show at the Snow & May Gallery in San Francisco in 1877, and a solo exhibition at the Bohemian Club, also in San Francisco, in 1880. Indeed, Moore fraternized with many members of the city’s cultural elite, including Katherine Birdsall Johnson (1834–1893), a philanthropist and art collector who owned The Captive (current location unknown), one of his Orientalist subjects. (Johnson’s ownership of The Captive was reported in L. K., “A Popular Paris Artist,” New York Times, July 23, 1893.) According to one contemporary account, Johnson invited Moore and his wife to accompany her on a trip to Japan in 1880 and they readily accepted. (For Johnson’s connection to Moore’s visit to Japan, see Emma Willard and Her Pupils; or, Fifty Years of Troy Female Seminary [New York: Mrs. Russell Sage, 1898]. Johnson’s bond with the Moores was obviously strong, evidenced by the fact that she left them $25,000.00 in her will, which was published in the San Francisco Call on December 10, 1893.) That Moore would be receptive to making the arduous voyage across the Pacific is understandable in view of his penchant for foreign motifs. Having opened its doors to trade with the West in 1854, and in the wake of Japan’s presence at the Philadelphia Centennial Exposition of 1876, American artists were becoming increasingly fascinated by what one commentator referred to as that “ideal dreamland of the poet” (L. K., “A Popular Paris Artist”). Moore, who was in Japan during 1880–81, became one of the first American artists to travel to the “land of the rising sun,” preceded only by the illustrator, William Heime, who went there in 1851 in conjunction with the Japanese expedition of Commodore Matthew C. Perry; Edward Kern, a topographical artist and explorer who mapped the Japanese coast in 1855; and the Boston landscapist, Winckleworth Allan Gay, a resident of Japan from 1877 to 1880. More specifically, as William H. Gerdts has pointed out, Moore was the “first American painter to seriously address the appearance and mores of the Japanese people” (William H. Gerdts, American Artists in Japan, 1859–1925, exhib. cat. [New York: Hollis Taggart Galleries, 1996], p. 5). During his sojourn in Nippon (which means, “The Land of the Rising Sun”), Moore spent time in locales such as Tokyo, Yokohama, Kyoto, Nikko, and Osaka, carefully observing the local citizenry, their manners and mode of dress, and the country’s distinctive architecture. Working on easily portable panels, he created about sixty scenes of daily life, among them this depiction of an interior of a dwelling. The location of the view is unknown, but the presence of a rustic rail fence demarcating a yard bordering a distant house flanked by tall trees, shrubs and some blossoming fruit trees, suggests that the work likely portrays a building in a city suburb or a small village. In his book, Japanese Homes and Their Surroundings, Edward S. Morse (an American zoologist, orientalist, and “japanophile” who taught at Tokyo Imperial University from 1877 to 1879, and visited Japan again in 1891 and 1882) noted the “openness and accessibility of the Japanese house...

Untitled 10, 2019 by Francisco Larios Size: 50 cm H x 50 cm W x 1.5 cm D One of a kind. From Mexican Ryōan-ji Series Ryōan-ji is the Japanese Zen temple in Kyoto, a monastery that ...

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 ...

This intimately sized canvas by Sylvain Louis-Seize in lemon yellow and shades of grey brings together a minimalist aesthetic and the bold language of graffiti. Louis-Seize drew c...

In this abstract composition by Montreal-based artist Shireen Kamran, colour and form create a dynamic painting. Blocks of ochre, steel blue and white colours are punctuated by black...

Medium: Oil on Canvas Laid on Panel Sight Size 30.00" x 21.00;" Framed 36.50" x 27.50" Signature: Signed and Dated Lower Right: F. E. Schoonover / 31 "I began to notice the mysterio...

Donald S. Vogel's work has entered the collections of the following institutions: Art Institute of Chicago, Chicago, Illinois Beaumont Museum of Fine Art, Beaumont, Texas Charle...

Medium: Oil on Panel Signature: Signed Lower Right An FFA student with his father receiving a check for his first delivery of steers to the Omaha stockyard.

Foliage lit with sea blue and white on a fresh celadon ground are rendered in layered expressive brushwork by Jennifer Hornyak. The bold colors and flattened picture plane in this in...