Wood Panel Paintings

In early September, a festival is held on the Borodino field where military historical clubs take part and many lovers of horse riding and horses gather. Among the many horses waitin...

"Winter Light on Mutton Cove" by the renowned Cornish artist Jon Doran is a breathtaking oil painting that perfectly captures the raw beauty and stark contrasts of a coastal winter's...

I'm interested in the universal emotional experience of the everyday, then making it my own. My multi-disciplinary art-making practice finds its psychological analogues in the blurri...

Contemporary Impressionist Encaustic Landscape Painting "Spring Snow", made by Regina Quinn in 2023 Encaustic, oil with wax, and India Ink on panel 16 x 12 inches, 17.25 x 13.25 x 2...

I'm interested in the universal emotional experience of the everyday, then making it my own. My multi-disciplinary art-making practice finds its psychological analogues in the blurri...

I'm interested in the universal emotional experience of the everyday, then making it my own. My multi-disciplinary art-making practice finds its psychological analogues in the blurri...

"Hopscotch to the Moon" is an original, handmade paper collage on wood cradle, by Amy Hutcheson, that depicts an abstract painting with colorful geometri...

"A Potpourri of Flowers" - A dramatic array of spring blooms, from puffy white hydrangeas and pink-hearted roses to chrysanthemums and mysterious dark leaves, are on striking display...

Seth Clark's "Fragmentation Installation Series" is the newest series by the artist fresh from his studio. The series is comprised of 50 unique pieces total, this listing being one ...

Yuko Montgomery's "Extravagant Coat" is an original, handmade oil painting that depicts a close up portrait of a vulture in front of a surreal landscape with an eclipse in the sky ab...

Katheryn Holt (American, born 1952) "Breakwater IV" 2020 Mixed Media, Wood Panel, Wire The artist signed the back of the painting. "Breakwater IV" by Katheryn Holt is a stunning 48"...

Marinas No. 12, oil painting on wood panel by Spanish contemporary artist Calo Carratalá. 22 cm × 35 cm. This landscape painting takes the viewer to the coasts of Tanzania on the Ind...

Gigi Mills' work is born out of her desire to simplify and reduce each moment to its essence; she achieves this by omitting mundane details from life that can often obscure genuine e...

Messages in a Bottle Text by Cameron Skene “Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant A recent online story i...

"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...

This abstract painting by Roger Mudre is made with acrylic paint over mica powder and cradled birch panel. Lightly translucent concentric circles overlap throughout the composition, ...

Artwork by the Spanish artist BALAGUER Signed And Certified Perfect state BALAGUER , Alex ( Barcelona 1968 ) During early childhood, Àlex Balaguer began to sketch motorcars symbolic ...

Andrew Davis is a contemporary painter living and working in the Uk. Inspired by his home and surrounding area Andrew paints with a fresh energetic style, which gives his paintings a...

John Arthur Lomax. English ( b.1857 - d.1923 ). When I Was A Boy. Oil On Panel. Signed Lower Right. Image size 9.5 inches x 11.4 inches ( 24cm x 29cm ). Frame size 17.3 inches x 1...

Kimberly Blackstock’s vibrant abstract painting, "My Grandpa Was a Toy Salesman," is a joyous celebration of color, texture, and playful design, offering a sense of wonder and deligh...

1677 Antique carnival sign hand painted in oil on wood panel with pediment top. The world's tallest man and tom tumb

4 Cybergraph Enredo (S2). Colourful abstract geometric painting Mixed media and Acrylic Paint on panel, 2025. Dimensions in cm.: 30 x 20 x 4 cm. In inches: 11.8" x 7.87" x 1.57" . ...

Josh George's (US based) "Cherish the Chariot" is an original, handmade mixed media painting that depicts an urban cityscape of crowded, colorful buildings with a trusty truck parked...

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...

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...

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...

Genevieve Hamel Sunflower Garden Oil on Wood Panel Year: 2024 Size: 30 x 40 x 1.625 inches Signed by hand COA provided *wired and ready to hang Genevieve Hamel’s passions for desi...

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...

JJ Galloway is an internationally collected artist known for her whimsical paintings and sculptures that combine people, animals, and food. Using oils, watercolors, and mixed media, ...

Annieo Klaas Hank Aaron Loop (Skyscape, Baseball, Icon, Legend) 2024 Oil on Wood Panel 8 x 8 inches (20.32 x 20.32 cm) Signed lower left COA provided *Ready to hang Annieo Klaas’s ...

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...

Carrie Goller's (US based) "Hood Canal Sunrise III" (2024) is an original, mixed media using encaustic on wood panel that depicts a stunning waterscape, the focus being on the reflec...

"Lanterns (Acoustic)" (2024) by Stephanie Hartshorn is an original handmade oil painting on wood panel that depicts a street corner in Chinatown. Artist Statement As a nod to my pr...

Umbel is a unique painting by contemporary artist Chen Yiching. The painting is made with mineral pigments on Japanese paper mounted on wood, dimensions are 20 × 50 cm (7.9 × 19.7 in...

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 reveal the darker aspects of our connection with the natural world. Through his work, Nederveen explores the dualities of our relationship with nature - the love and destruction that can coexist within us. His masterful use of color and light illuminates the beauty and mystery of natural environments such as oceans and...

Zebras are one of the most interesting and amusing of African animals. They share the genus Equus with horses and donkeys. In a group it is believed their dizzying stripes confuse prey - or perhaps make them dizzy. An artist's delight, zebras' black and white stripes call out to be painted. Taking it a step further, Carole Garland attempts to confuse the viewer with a "Now you see it, now you don't" look at the zebras standing in a streambed in South Africa. Painted in oil on a 30"x40" wood panel, the wood sides serve as a frame around the painting. Carole Garland graduated from Knox College, Galesburg, Illinois and studied art at the Art Institute of Chicago and the University of the Americas in Mexico City. She has worked privately with Keith Finch and Rick Pekar, taken workshops with numerous plein air painters and was mentored by David Gallup...

Artist: Voskan Galstian Work: Original Painting, Handmade Artwork, One of a Kind Medium: Acrylic Mixed Media on Panel Year: 2007 Style: Abstract Art, Title: Oringe Motion 3 Size: ...

Horses with carriage. Oil on panel. 16.1 x 24.2 cm

Please send zip code for best shipping/delivery costs and timeline -- I will work with you to get you the best price. Mat Tomezko's "Price" series of mixed media paintings are const...

"RJ's Place" (2024) by Stephanie Hartshorn is an original handmade oil painting on wood panel.

Window of Life 1

Carrie Goller's (US based) "Good Morning" (2024) is an original, mixed media using encaustic and oil on wood panel that depicts a hummingbird and a bumblebee flying towards a sunflow...

Mary Didoardo Blue Poem , 2024 oil on wood panel 30 x 30 in (dido118AP) Artist Statement In order to make a meaningful painting I have to establish form somewhere in the swirl of ...

Gigi Chen's "Lighting the Way" is an original, handmade acrylic painting that depicts several birds with a small house strewn with a light string. Gigi Chen’s work creates an aesth...

Carrie Goller's (US based) "Good Morning" (2024) is an original, mixed media using encaustic on wood panel that depicts an abstracted waterscape. Born and raised on Washington’s tin...

'Wenceslas Crown', elaborately and exquisitely painted by Adrienne Sherman in oil on panel with a lacquer-like luster. The original painting is rich and reflective, and depicts a gor...

Untitled 5 (JF 22) (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper colla...

Pink Over & Under (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper collag...

Work : Original Oil Painting, Handmade Artwork, Unique Work, ready to hang. Medium : Oil on coated Wood panel. Artist : Gabriel Riesnert Subject : à sa fenêtre (Series, Title), (EN ...

Brian Keith Stephens's "Butterfly Kisses for You #1" (2018) is an original, handmade oil painting that captures the presence of a pig through a uniquely expressive style. The work, c...

Brian Keith Stephens' "Butterfly Kisses for You #5" (2018) is an enchanting original oil painting, meticulously executed on linen mounted to wood. Stephens employs his distinctive ap...

Untitled 6 (JF 22) (Abstract Painting) Gesso wash, pencil, and oil on wood panel — Unframed. Feinberg works with a variety of techniques and mediums, including painting, paper colla...

Axel Fahlcrantz’s "Summer Evening at Vanadisvägen, Stockholm" captures a serene sunset over the Vanadisvägen street in central Stockholm. The painting showcases Fahlcrantz's masterfu...

Modern abstract, geometric landscape painting of green and teal mountains against a gestural, expressionistic green and light yellow sky "Fiel...

Andrew Davis is a contemporary painter living and working in the Uk. Inspired by his home and surrounding area Andrew paints with a fresh energetic style, which gives his paintings a...

When I think of where McCauley fits into American art, as a contemporary painter, sculptor and naturalistic interpreter, I place him in the same philosophical tribe as Walton Ford, A...

Yuko Montgomery's "The Omen of Nature" is an original, handmade oil painting that depicts a close up portrait of a owl with a surreal sky background. Born in Chiba, Japan, Yuko was ...

Abstract painting with green encaustic and light yellow flower petals on wood panel "Wallpaper 2" made by Allyson Levy in 2020 encaustic and flower petals on wood panel, 24 x 24 x 2 ...