Panel Paintings

Royal Coat Of Arms, King William III, William Of Orange, 17th Century English School 17th Century Royal Coast Of Arms of King William III & Queen Mary II, oil on oak panel. Early a...

In Colin Hunt’s new paintings, myriad tiny rocks, grains of sand, and strands of rockweed form a coastal beach, while lush forests pierce a crystalline sky. Elsewhere, palpable mists...

Oil on panel Image size: 25 1/2 x 19 inches (37.5 x 27 inches) 18th Century Auricular gilt frame Provenance New York private collection This portrait of the King Edward VI depicts...

Without frame. Expertise by Prof. Antonio Vannugli A brightly lit gash opens up in the middle of the sky; within it appears the figure of the Virgin with the Child and beside her a...

Atmospheric gradations of color are encased in hardened surfaces in a constant push and pull between depth, light and texture. Capturing the effect of light purely with color is wher...

Saint Jerome in the desert Cercle of Lambert Van Noort (1520-1571, Antwerp) Antwerp School, mid-16th century Oil on oak panel. Dimensions: panel h. 69 cm (27.16 in), l. 52.5 cm (20.6...

Francien Krieg, a contemporary Dutch artist, gives a new dimension to figurative painting with her penetrating and unfiltered portraits. Krieg, who received her art education at the ...

Charles Jiao grew up in China during the Cultural Revolution, which caused his formal education to be frequently interrupted. To avoid wasting his time, his father had him get tutore...

Nostalgia I by Brittney Pearman

Oil on wood panel

2023, Oil & cold wax on wood panel

"The Young Artist" is an oil on panel painting made in 1926 by Grant Wood. The work is signed lower right, "Grant Wood". The painting size is 11 x 14 x 1 inches. The framed size is 2...

Oil on panel, signed, dated and inscribed ‘Bou Saada, 1894’ lower right Image size: 13 x 8 3/4 inches (33 x 22.25 cm) Ornate Gilt frame Euguene Alexis Girardet A child prodigy, Gi...

Egon Hofmann war nicht nur als Maler wichtig und wegweisend, sondern auch als Netzwerker, der als Gründer und langjähriger Präsident der Künstlervereinigung „März“ eine wichtige Roll...

"The constant search for matter with its limitations has led me to work with different elements throughout my career, but it is now with cement, waxes and tar that I have found my ow...

'Love is Powerful' is an original artwork by urban impressionist painter Steve Javiel. The piece incorporates a blend of acrylic paints, oil pastels, and ...

Artist Statement on “Empty Landscapes” series: In the life of the artist, sport fields and arenas have been a refuge and a home. Empty Landscapes is a project that started during the pandemic which explores the football field as a place de-peopled. Among other things we never imagined happening in our lifetime, this space built into our landscapes to be occupied became for nearly a year and a half a space inaccessible- even prohibited. By placing the field vertically, deconstructing it, or rearranging the boundaries and shapes that lay down the foundations of the game the artist creates a familiar, but obsolete representation of a space treasured by so many. About the artist: Magdalena Paz...

Oil on wood panel

Novy’s most-established series of koi fish references propaganda posters and anti-authoritarian symbols in Chinese art under communism. Koi traditionally symbolize the lessons and tr...

Joel Carson Jones Biography American, b. 1975 Joel Carson Jones lives, teaches, and paints in Northeastern Pennsylvania, where he was born in 1975.  With the work-ethic of the Scran...

Novy’s most-established series of koi fish references propaganda posters and anti-authoritarian symbols in Chinese art under communism. Koi traditionally symbolize the lessons and tr...

Look At Me #9 Contemporary Original Abstract Acrylic Painting on Wood Panel The Look At Me series references society’s hunger for attention. Social media, news outlets, and the pres...

Oil paint on wood panel (White kite) Unique work Hand-signed by the artist on the back

Oil paint on wood panel Unique work Hand-signed on the back by the artist

'Find Your Way Back' is an impressionist floral painting by urban impressionist painter Steve Javiel. The piece incorporates a blend of acrylic paints, spray paints, and solid marker...

Original Oil Painting by Elizabeth McGhee

Seit seinem frühen Tod 1999 erlebt das Werk von Franz Ecker eine längst fällige Neubewertung, die sich auch in zahlreichen Einzelausstellungen, Katalogen und einem sehenswerten Kinof...

Burning Ember is painted on a wood panel, in acrylic. The size is 40" x 40". The painting hangs on a French cleat. Troy Smith is a Canadian artist, designer, sculptor and painter w...

Novy’s most-established series of koi fish references propaganda posters and anti-authoritarian symbols in Chinese art under communism. Koi traditionally symbolize the lessons and tr...

Pop Art. Americana. Bullseye. Ephemera, Oil, Acrylic, Resin on Panel. About the Artist: John Joseph Hanright is a contemporary painter and assemblage artist who brings togethe...

Original Painting by Elizabeth McGhee

Original Painting by Annette Davidek

Lamar Briggs (1935 – 2015) Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architec...

Oil paint on wood panel Unique work Hand-signed on the back by the artist

Since Franz Ecker’s early death in 1999 his work has been newly appreciated, what is manifested in numerous exhibitions, catalogues and in the acclaimed film about the artist. He was extremely productive and left behind an almost unmanageable scope of works in various styles. Among them some of the top works that are unparalleled in recent Austrian art history and whose significance has not yet been adequately appreciated. After finishing his studies in 1966 in class of prof. Sergius Pauser and after receiving his two prizes, Franz Ecker moved back to Leonding where he developed his clear, abstract language of forms. Among his sources of inspiration are Cezanne and Picasso, as well as Martin Polasek who was one of his teachers. This led him to painting in a flat and abstract manner, which triggers a spatial experience through its exact color coordination and strict composition. The strongest period in his oeuvre is the time when his paintings are between figuration and abstraction. Only until around 1975 he additionally creates numerous watercolors, even though he restricts this medium to his more lyrical works. If Franz Ecker cannot be included in the avant-garde cannon of the 70’s, it is only because he witheld from presenting his works on the art market. Instead of using the opportunities that were offered to him in Vienna, he returned after his time at the academy to Linz where there was no appreciation nor market for his works. Distanced from the established art business, Ecker lives uncompromisingly the precarious life of a lonely genius. An artist myth, which in his case certainly is a bitter reality. Unimpressed by this, Ecker develops an increasingly broad language of forms within the clear line of abstract pictorial conception, which he emphasizes with constantly new forms of signature. At the end of the seventies his works became more gestural and expressive. His works like “Kafka” anticipate the “Neue Wilden”. When these are celebrated as the “return of painting...

Louis-Alexandre CABIE (Dol-de-Bretagne 1853 - Bordeaux 1939) The Vézère at Les Eyzies in summer Oil on panel H. 19.5 cm; L. 28.5 cm Signed lower right, dated 1900. Located on the back. Provenance: Private collection, Versailles Louis Cabié...

by Mert Sezgin

by Mert Sezgin

Mari Ito was born in Tokyo, Japan in 1980. She majored in Nihonga, Japanese-style painting made with traditional practices, techniques and materials. She moved to Barcelona (Spain) i...

Slade School Late 19th Century Portrait of a Mary Hardy (nee Sulman) Oil on panel Image size: 8 x 7 inches Contemporary frame Provenance Lady Town (Grandda...

A traditional Japanese painting made with 24k gold leaf, crushed seashells and Sumi ink on Japanese paper mounted on a wood panel. Because these substances consist of unique chemical and physical properties, every artwork has its own story to tell and embodies a sense of connection to the earth. With the art of Zen. Presents the sceneries seen through the artist's eyes in an art form. In mint condition, Certificate of Authenticity included and calligraphy seal in front, hand-signed at the back. Sold unframed and ready to hang (eye bolt and string mounted at the back). Artist: Maria Mitsumori...

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This piece is part of the Amrta Gold Series. These pieces are incredibly unique and cannot be replicated. The are multilayered mixed media abstracts all with 24k gold leaf on top. Th...

Annette Davidek creates paintings that look like gorgeous biomes full of naturalistic forms, enticing viewers to enter a domain that is as familiar as it is strange. Variously sugges...

Feng Shi, born in Shanghai in 1990, professional painter. In 2009, he studied in the painting department of the school of fine arts of Shanghai Normal University. After graduating from the University in 2013, in September of the same year, he entered the studio of Giovanni Chiapello in the painting department of l'accademia Di Belle arti...

Nicholas Berger Biography American, b. 1949 Nicholas Berger’s career as an artist spans three decades and has brought him national and international acclaim for his paintings. A lis...

2020 Mixed Media on Canvas 60 x 48 in. Signed by artist Justin Lyon's credits his introduction into the world of street art as the spark that led him to his style of work. Over the next several years, Justin started to take his art production more seriously. Inspired by the li- ves and work of Cy Twombly, Barry McGee, and Jean-Michel Basquiat, Justin refined his process and worked to develop a style all his own which is both thought- provoked and thought-provoking. Justin’s mediums include wood, acrylic, house paint, spray paint, oil stick, epoxy resin and pencil. He aims to produce art that sticks with the viewer long after they seen it. “What I am after is capturing the thoughts and feelings of the human condition with images and words that make you stop and think about what's in front of you.” Justin wants “to make honest art, raw art, vulnerable art...

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...

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 panels, he created about sixty scenes of daily life, among them this sparkling portrayal of a young woman dressed in a traditional kimono and carrying a baby on her back, a paper parasol...

With Halo, Greenfield brings the stories of Black folk-saints, martyrs, freedom-fighters, survivors, magicians, and visionaries back into view.

With Halo, Greenfield brings the stories of Black folk-saints, martyrs, freedom-fighters, survivors, magicians, and visionaries back into view.

Grace Graupe-Pillard has concentrated on portraiture since her early charcoal drawings which she exhibited at The Drawing Center, NYC in 1981. Her work, which has been exhibited at notable institutions such as MOMA PS1 and galleries including Cheim & Read Gallery (NY) and Carl Hammer Gallery (Chicago), has evolved from over the years from pastels to large-scale oil paintings and installations of people who she describes as “having not been integrated into mainstream society.” Her more recent paintings, inspired by selfies and iPhone photographs, attempt to convey the vitality and diversity of 21st century contemporary culture while capturing the ineffable moments in our lives. “The sensuality and radiant beauty of youth and ethnic diversity are depicted in my choice of subjects, as well as the ravages of time which are imprinted on our being. All stages of life are filled with humanity that both elevates and dissipates the spirit.” Her work has been written about in The NY Times, Art News, The Village Voice, The Star-Ledger, Newsday, Flash Art...

Deling with the work of Erich Waske today, one encounters first of all a number of reasons why this outstanding artist has fallen into such undeserved oblivion. In addition to the de...

Timothy Harney's emotionally powerful paintings, drawings, and collages possess an exceptional formal excellence which propels them beyond the particula...

American, b. 1948 What is “sharp focus” drawing? Put very simply, it is a rendering with refined, precise line and tone to create a lifelike representation of the subject matter. It...

Ludwig Schwarzer formulates a highly independent work, bizarre in content and marked by perfection in craftsmanship. After realistic and later expressionist attempts, he found his ow...

Annette Davidek creates paintings that look like gorgeous biomes full of naturalistic forms, enticing viewers to enter a domain that is as familiar as it is strange. Variously sugges...

Dana Frankfort In the middle of the road, 2017 oil on canvas over panel 48 x 48 x 1.75 inches For over two decades, Dana Frankfort has explored the vexing periphery between language and sight by painting words. Rather than laying claim to the paintings, controlling their semiotic pulse, her words serve as the formal armature; they prop up, ventilate, and allow the many layers of paint to breathe. Imperatives, allusions, evocations—the words dissolve into a palimpsest of obscured serifs and stems, into color and form. The title of the work is a phrase from a poem by Carlos Drummond de Andrade’s “In the Middle of Road.” Here it is, translated from the Portuguese by Elizabeth Bishop...