Wood Panel Portrait Paintings

This mid-17th-century bust-length Flemish school portrait depicts the Dutch Catholic bishop Cornelius Janssen (1585-1638). Painted when into his later years, this intriguing historic...

This exquisite oil on panel portrait, depicts a young lady wearing the most elaborate and costly items of the period - the Dutch coif or coronet of sheer lawn with lace, the lavishly embroidered stomacher, and the exquisite ‘molensteenkraag’ or millstone collar, made of batiste fabric. These items were worn by the wealthy individuals in society. The collar itself often requiring over 15 metres of fabric and an incredible effort to maintain. The whiteness of her skin serves as a marker of her social background and status, highlighting how physical appearance can often play a significant role in how individuals were perceived in society. This portrait shows the precise, meticulously crafted, style for which the artist became well-known and is a fine example in its description of the sitter’s character and the careful reproduction of the face and fabrics. The well-preserved condition provides a unique opportunity for us to admire the intricacy and details of the attire that may not always be possible in portraits from a similar age. The dark pigments used to depict the expensive black silk, along with the intricate lace, have remarkably stood the test of time, allowing us to appreciate the craftsmanship and artistry that went into creating them four hundred years ago. The gold pin worn in her hair on her left side indicates that she was engaged when the portrait was painted; married women wore the ‘betrothal pin’ on their right side. Like rhetoricians, seventeenth-century artists were bound by rules and expectations for proper decorum, even in matters of dress. Costume was carefully chosen to suit the ideals of a particular culture or sitter and was used to convey a multitude of meanings. Knowledge of its associations and the history of costume can be crucial to the interpretation of portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still lifes of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The large group portrait is also a standard subject often of a civic organisation. The new wealthy class were keen to have their portraits commissioned and thus many artists worked in this lucrative genre. This portrait was in the famous collection of Dr. Paul Viktorovich Delaroff (1852-1913) who was a legal advisor based in St. Petersburg and Pavlovsk. He was the son of a Russian army general, he attended the Imperial School of St. Petersburg, earned a doctorate in law, and later taught civil law at the University of Kharkiv. However, he soon left academia to serve as an advisor at the Ministry of Public Works and eventually became a privy councillor to His Majesty the Emperor of Russia. Delaroff dedicated much of his life to the study of painting and engaged in art dealing on a large scale. Known for his charm and engaging conversation, he was a man of remarkable vitality. His extensive network enabled him to make several advantageous purchases and helped reignite interest in the Dutch school among Russian art enthusiasts. He amassed a vast collection of paintings, with some of his finest pieces loaned to museums in The Hague, Leiden, Berlin, and elsewhere. His impressive gallery of old master paintings was sold at auction in Paris during two sales in 1914, the first held on April 23-24, and the second from April 27 to May 2. Contained within a good quality period frame. Cornelis van der Voort, or van der Voorde (circa 1576 – circa 1624), was a distinguished Dutch portrait painter, art collector, art appraiser, and art dealer active during the early 17th century in Amsterdam. His oeuvre includes both individual and group portraits, notably the 'schuttersstukken' which portray members of local militias, and 'regentenstukken' depicting the regents of charitable institutions—a genre he notably pioneered. Van der Voort's contributions were instrumental in the evolution of portrait painting within the early 17th-century Dutch Republic, and he is particularly acclaimed for his introduction of the life-size, full-length format to the practice of Dutch portraiture. His oeuvre was highly sought after and regarded with great reverence. He significantly impacted the early portraiture of Rembrandt, as well as the works of Nicolaes Eliasz, Pickenoy, and Thomas de Keyser...

Artist 17th Century French School Circa 1660 'Diana, Goddess of the Chase' Signature: not signed Medium: tempera on paper applied to oak panel Dimensions: image size 23.5 x 18.5 cm...

The Holy Family attributed to Adrien Thomas Key (Flemish c.1544-1590) oil painting on wood panel (cradled): 24 x 26 inches frame: 34 x 35 inches condition: for its considerable age, ...

We are pleased to offer this charming and rare oil painting by the Italian artist Bernardino Giani (1823–1886), dated 1867. The painting depicts a young boy kneeling on the floor, de...

This striking devotional image, painted by a follower of Jan Gossaert, represents one of the most influential compositions of the Northern Renaissance: Christ on the Cold Stone, or C...

Red Terrier Possibly Dutch School Oil on wood panel, circa 1900-1910. Initialed lower left 7 1/2 x 7 (12 x 11 1/2 frame) inches A charming and thoughtfully rendered depiction of a t...

This mid-17th-century bust-length Flemish school portrait depicts the Dutch Catholic bishop Cornelius Janssen (1585-1638). Painted when into his later years, this intriguing historic...

This exquisite portrait, with its new attribution to Theodore Russel, is believed to depict Lady Penelope O'Brien, daughter of Barnabas O'Brien, the sixth Earl of Thomond, and wife of the Earl of Peterborough, whom she married in 1644. The painting thus belongs to a historically significant period, capturing the refined elegance of the time. The portrait has a prestigious provenance from Elleholms Hofgård, a historic estate in Mörrums socken, Blekinge, Sweden. Elleholms Hofgård, whose two-story, timber-framed main building was constructed in 1730 and expanded in 1804, has changed ownership several times since the 17th century. The ancestors of the present owners acquired the estate in 1915, and from the 20th century until 2023, this painting was prominently displayed in the estate’s main building, making it an integral part of the estate’s history. Theodore Russel, an English portrait artist born in 1614, studied under the renowned Sir Anthony van Dyck, whose influence can be seen in Russel’s meticulous style. Russel often painted on cabinet-sized panels, such as this one, which measures approximately 39 x 31 cm. This preference for panels is a notable characteristic that sets him apart from contemporary artists like Sir Peter Lely, who exclusively used canvas. The size of the panel is a key reason for the reattribution to Russel from Peter lely, as Lely never used panels for his works. This distinctive format, along with Russel’s characteristic style, strongly supports the new attribution. Russel, the son of Nicasius Rousseel, a goldsmith and jeweler to James I and Charles I, refined his skills under the mentorship of his uncle, the famous portrait painter Cornelis Janssen. He also worked as an assistant and copyist for van Dyck, further honing his artistic style. This captivating portrait exemplifies Russel’s craftsmanship, reflecting the elegance of the period’s fashion and the artist's refined techniques. oil on wood panel with indistinct inscription Countess of Peter[...] upper left. with inscription on the reverse: ”Countess of Peterborough. P. Lely 1670. S Beatty Picture Restorer [...] Warwick”. unframed 39 x 31 cm = 15.35 x 12.2 inches framed 52 x 41.5 cm = 20.47 x 16.34 inches Condition: The portrait has just been restored by a professional art conservator in Stockholm and is now in a very good condition. The colors are vivid, and the skin tones appear more natural than before. It is a very fine painting. The frame is newly made and included. Provenance: Elleholms Hofgård, Mörrums socken, Blekinge, Sweden **; Stockholms Auktionsverk, Fine Art & Antiques Autumn...

WELSH LADY IN PURPLE Size: 25.5 x 20.5 cm (including frame) Oil on board A small and engaging portrait composition , painted in a naïve style in oil onto panel, by British artist Ma...

Hendrick Bloemaert (Utrecht 1601/02 – Utrecht 1672) Venus and Cupid Oil on panel H. 75 cm; W. 61 cm Signed and dated 1636 Hendrick Bloemaert is a notable figure of the Golden Age of...

Self portrait at easel by Cornelis le Mair 115 x 105 cm ( frame included) without frame 90 x 80 cm oil on wood panel In 2024 this remarkable artist will reach the age of 80 years. S...

Dog Portrait of a Terrier 3/4 View Jules Chardigny (1849-1892) Circa 1870s Oil on wood panel Housed within its beautiful and original ornate original gilt frame. 8 1/2 x 6 (15 3/4 ...

A small colorful and interesting profile portrait of a blond woman dressed in a red dress and wearing lots of jewelry also on her head scarf. Signed but unfortunately not identified...

A wonderful composition of one of Slonem's most iconic subjects of Abraham Lincoln. The thick use of paint is greatly recognizable as he slathers on layer after layer of oil paint, d...

On one hot June day, a beautiful Ethiopian girl was playing in Monahov's studio with a sparkling glass prism, watching objects refracted in the room and outside the window.. and at s...

15th century, Italian Circle of Antonio del Pollaiuolo (1429-1498) Portrait of an Italian Noblewoman Oil and tempura on poplar panel With partial inscription: ALZETAPIN Provenance:...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middleclass patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

This finely executed oil painting, attributed to the circle of Christian Wilhelm Ernst Dietrich, captures the contemplative expression of an elderly man, his gaze lowered in quiet re...

A wonderful composition of one of Slonem's most iconic subjects of Mrs. Kennedy. The thick use of paint is greatly recognizable as he slathers on layer after layer of Cobalt blue oil...

Biblical Figures, Large Gathering around Christ? Dutch Old Master, early 17th century oil painting on wood panel, stuck on velvet backing board velvet board: 27 x 29 inches board: 25.5 x 26 inches provenance: private collection, France condition: good and sound condition, obvious old panel...

A feature of this exquisitely rendered oil on panel portrait, presented by Titan FIne Art, is its remarkable seventeenth century carved auricular / Sunderland frame...

Michael Carson's (US based) "Purgatory Heaven" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis ...

This exquisite oil on panel portrait, depicts a young lady wearing the most elaborate and costly items of the period - the Dutch coif or coronet of sheer lawn with lace, the lavishly embroidered stomacher, and the exquisite ‘molensteenkraag’ or millstone collar, made of batiste fabric. These items were worn by the wealthy individuals in society. The collar itself often requiring over 15 metres of fabric and an incredible effort to maintain. The whiteness of her skin serves as a marker of her social background and status, highlighting how physical appearance can often play a significant role in how individuals were perceived in society. This portrait shows the precise, meticulously crafted, style for which the artist became well-known and is a fine example in its description of the sitter’s character and the careful reproduction of the face and fabrics. The well-preserved condition provides a unique opportunity for us to admire the intricacy and details of the attire that may not always be possible in portraits from a similar age. The dark pigments used to depict the expensive black silk, along with the intricate lace, have remarkably stood the test of time, allowing us to appreciate the craftsmanship and artistry that went into creating them four hundred years ago. The gold pin worn in her hair on her left side indicates that she was engaged when the portrait was painted; married women wore the ‘betrothal pin’ on their right side. Like rhetoricians, seventeenth-century artists were bound by rules and expectations for proper decorum, even in matters of dress. Costume was carefully chosen to suit the ideals of a particular culture or sitter and was used to convey a multitude of meanings. Knowledge of its associations and the history of costume can be crucial to the interpretation of portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still lifes of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The large group portrait is also a standard subject often of a civic organisation. The new wealthy class were keen to have their portraits commissioned and thus many artists worked in this lucrative genre. This portrait was in the famous collection of Dr. Paul Viktorovich Delaroff (1852-1913) who was a legal advisor based in St. Petersburg and Pavlovsk. He was the son of a Russian army general, he attended the Imperial School of St. Petersburg, earned a doctorate in law, and later taught civil law at the University of Kharkiv. However, he soon left academia to serve as an advisor at the Ministry of Public Works and eventually became a privy councillor to His Majesty the Emperor of Russia. Delaroff dedicated much of his life to the study of painting and engaged in art dealing on a large scale. Known for his charm and engaging conversation, he was a man of remarkable vitality. His extensive network enabled him to make several advantageous purchases and helped reignite interest in the Dutch school among Russian art enthusiasts. He amassed a vast collection of paintings, with some of his finest pieces loaned to museums in The Hague, Leiden, Berlin, and elsewhere. His impressive gallery of old master paintings was sold at auction in Paris during two sales in 1914, the first held on April 23-24, and the second from April 27 to May 2. Contained within a good quality period frame. Cornelis van der Voort, or van der Voorde (circa 1576 – circa 1624), was a distinguished Dutch portrait painter, art collector, art appraiser, and art dealer active during the early 17th century in Amsterdam. His oeuvre includes both individual and group portraits, notably the 'schuttersstukken' which portray members of local militias, and 'regentenstukken' depicting the regents of charitable institutions—a genre he notably pioneered. Van der Voort's contributions were instrumental in the evolution of portrait painting within the early 17th-century Dutch Republic, and he is particularly acclaimed for his introduction of the life-size, full-length format to the practice of Dutch portraiture. His oeuvre was highly sought after and regarded with great reverence. He significantly impacted the early portraiture of Rembrandt, as well as the works of Nicolaes Eliasz, Pickenoy, and Thomas de Keyser...

Tania Rivilis Conversations 20 x 20 cm framed (included in price) 23 x 23 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.000 ) ...

A portrait of courtier and politician John Poyntz, after Hans Holbein, circa 1644 - 1674. This painting is based on a drawing by Hans Holbein, part of the drawings collection of the ...

Michael Carson's (US based) "Land" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of A...

The Flagellation of Christ Flemish Baroque, 17th century oil on wood panel, framed framed: 31 x 42 inches wood panel: 19.5 x 26 inches Provenance: pri...

Portrait of a Woman, 1940s-50s. Signed Vera d’Angara, Italian-Russian actress Technique: Oil on panel Dimensions: Height 59 cm x Width 58 cm Frame: Painted wooden frame The portrait...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

A feature of this exquisitely rendered oil on panel portrait, presented by Titan FIne Art, is its remarkable seventeenth century carved auricular / Sunderland frame...

Antonio Ermolao Paoletti Italian, 1834-1912 A Serenade for the Venitian Lacemakers Signed and inscribed Antonio Paoletti di Giov / Venezia (ll) in bottom left corner Oil on cradle...

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...

Italian school circa 1560, circle of Bernardino Campi Portrait of a woman with a book Oil on panel H. 78 cm ; L. 57cm

Tiberio Titi (Florence, Italy, 1573 – 1638) Title: Portrait of a Gentleman Medium: Oil on panel Dimensions: Without frame 122 x 91 cm – with frame 162 x 133 x 10 cm Publications: G...

Selfie Figurative Magical Painting, oil on board, textured mixed media, created in 2021. This piece represents one of my earlier works, which explores our connection with animals thr...

Tania Rivilis Shrouded in expectations 40 x 40 cm framed (included in price) 43,5 x 43,5 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price...

Randall Exon (b.1956). Matthew, 1990. Oil on wood panel. Measures 24 x 36 inches. Unframed. Excellent condition with no damage or conservation. Signed and dated lower right. Gallery stamp on verso. Plastic wall mount taped down on verso. Provenance: The More Gallery INC, Philadelphia; Aramark Corporate Collection. Randall Exon (b. 1956) was born in Vermillion, South Dakota. Exon earned his B.F.A. in painting from Washburn University in Topeka, Kansas, and an M.F.A. at the University of Iowa. In 2003, the James A. Michener Art Museum in Doylestown, Pennsylvania, staged a solo exhibition of his work. He was awarded the Thomas Benedict Clarke Prize in the 2004 179th Annual Invitation Exhibition of Contemporary American Art at the National Academy Museum and School of Fine Arts, New York. More recently, Exon’s work was featured in Visions of the Susquehanna, a traveling exhibition organized by the Lancaster Museum of Art, Pennsylvania, in 2008, and Haunting Narratives, a major exhibition at the Woodmere Art Museum, Philadelphia, in 2012. BORN 1956 Vermillion, SD EDUCATION 1982 M.F.A. in Painting, University of Iowa, Iowa City, IA 1981 Skowhegan School of Painting, Skowhegan, ME 1981 M.A. in Painting, University of Iowa, Iowa City, IA 1978 B.F.A. in Painting, Washburn University, Topeka, KS SOLO EXHIBITIONS 2013 Hirschl & Adler Modern, New York, NY 2009 Hirschl & Adler Modern, New York, NY 2007 Hirschl & Adler Modern, New York, NY 2004 Hirschl & Adler Modern, New York, NY 2003 Randall Exon: A Quiet Light, James A. Michener Art Museum, Doylestown, PA 2001 Mulvane Museum of Art, Topeka, KS 2000 More Gallery, Philadelphia, PA 1998 More Gallery, Philadelphia, PA 1996 More Gallery, Philadelphia, PA 1994 More Gallery, Philadelphia, PA 1993 Tasis England American School, Main Gallery, Thorpe, Surrey, England 1992 More Gallery, Philadelphia, PA Theatre Gallery, Washburn University, Topeka, KS Widener University Art Museum, Chester, PA 1990 Charles More Gallery, Philadelphia, PA 1988 West Chester University, McKinney Gallery, Mitchell Hall, West Chester, PA Charles More Gallery, Philadelphia, PA Carleton College, Northfield, MN 1987 University of Maine at Machias, University Gallery, ME Topeka Public Library, Central Gallery, KS 1986 More Gallery, Philadelphia, PA 1984 More Gallery, Philadelphia, PA Stoneybrook School, Suffolk, Long Island, NY 1981-82 Florence Wilcox Gallery, Swarthmore College, PA Beauchamp Gallery, Topeka, KS SELECTED GROUP EXHIBITIONS 2019 Unforeseeable Thereness, Stanek Gallery, Philadelphia, PA 2018 Vis-à-Vis, Hirschl & Adler Galleries, New York, NY 2017 The New Baroque, Booth Gallery, New York, NY, curated by Robert Zeller Painted Landscapes: Contemporary Views, Heritage Museums and Gardens, Sandwich, MA 2016 Mixed Environs: Contemporary Painters, Lore Degenstein Gallery, Susquehanna University, Selinsgrove, PA 2015 Home is Where the Art Is, Hirschl & Adler Galleries, New York, NY 2014 Our American Life, Hirschl & Adler Galleries, New York, NY 2014 Edge of the Seat, The Rye Arts Center Gallery, Rye, NY 2013 Duets: Art in Conversation, Hirschl & Adler Galleries, New York, NY 2012 Haunting Narratives: Detours from Philadelphia Realism, 1935-Present, Woodmere Art Museum, Philadelphia, PA Structuring Nature, Walton Arts Center, Fayetteville, AR Summer Selections, Hirschl & Adler Modern, New York, NY 2011 Masterworks: The Best of Hirschl & Adler, Hirschl & Adler Galleries, New York, NY 2010 Summer Selections, Hirschl & Adler Modern, New York, NY 2009 Holiday Selections, Hirschl & Adler Modern, New York, NY 2008-2009 American Green – Art and Stewardship, Somerville-Manning Gallery, Greenville, DE 2008 Holiday Selections, Hirschl & Adler Modern, New York, NY Summer Selections, Hirschl & Adler Modern, New York, NY 2007 Finding a Form: Influences in Figurative Painting, Tower Gallery, Philadelphia, PA Holiday Selections, Hirschl & Adler Modern, New York, NY Summer Selections, Hirschl & Adler Modern, New York, NY 2006-2008 Visions of the Susquehanna, Susquehanna Art Museum, PA; Governor’s Residence, Harrisburgh, PA; Washington County Museum of Fine Arts, Hagerstown, MD; Roberson Center for Art and Science, Binghamton, NY. 2006 Summer Selections, Hirschl & Adler Modern, New York, NY 2004 179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy of Design, New York, NY Selected Works from the Ballinglen Collection, United States Embassy to Ireland, Ambassadors Residence, Phoenix Park, Dublin, Republic of Ireland. Part of the Art in the Embassies Program, Washington D.C. 2001 Personal Affinities, Contemporary Artists Influenced by the works of Edwin Dickinson, Pennsylvania Academy of the Fine Arts Museum, Philadelphia, PA 2000 December Show, Fenton Gallery, Cork City, Ireland Works from the Archives, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland 1999 New Realism for a New Millennium, Memorial Art Gallery, University of Rochester, NY Indomitable Spirits, The Figure At The End Of The Century, The Art Institute of Southern California, Laguna Beach, CA 1998 Visual Poetry, A Selection of Work by Artists Inspired by the Words and Sentiments of Walt Whitman, Stedman Gallery, Rutgers University, Camden, NJ The Artist's Window, Lee Hansley Gallery, Raleigh, NC Embodied Fictions, Twelve Contemporary Figure Painters, The Boyden Gallery, St. Mary's College of Maryland, St. Mary’s City, MD 1997 Abstract and Image, Four Painters, Hopkin's Center, Dartmouth College, Hanover, NH An Extended View: Landscapes by Philadelphia Artists, Levy and Paley Galleries, Moore College of Art and Design, Philadelphia, PA 1996 Figure Drawings, Hillyer Hall, Smith College, Northampton, MA Figurative Paintings, Edith Caldwell Gallery, San Francisco, CA A Show of Hands (Exhibit and auction to assist AIDS research), Moore College of Art and Design, Philadelphia, PA 1994 Figures in the Landscape, More Gallery, Philadelphia, PA 1992 Landscapes by Randall Exon & Joseph Byrne, Dartmouth College, Hanover, NH 1991 A Show of Hands, Moore College of Art and Design, Philadelphia, PA 1991 Ten Contemporary Philadelphia Painters, Westmoreland Museum, Greensburg, PA 1991 Sport in Art, Woodmere Museum, Chestnut Hill, PA 1990 Myth and Monument, More Gallery, Philadelphia, PA 1990 Evidence of the Senses, 7 Painters, Woodmere Museum, Chestnut Hill, PA Pollack Award Winners, Mulvane Gallery, Washburn University, Topeka, KS 1989 Works on Paper, More Gallery, Philadelphia, PA Nocturnes, More Gallery, Philadelphia, PA 1986 Nature Morte, Southern Alleghenies Museum of Art, St. Francis College, Loretto, PA 1984 The Spirit of the Coast: Paintings, Monmouth Museum, NJ Drawings: Personal and Intimate, More Gallery, Philadelphia, PA Night Paintings, Florence Wilcox Gallery, Swarthmore, PA 1983 Realist Direction, Penn State University Museum, University Park, PA 1981 Graduate Student Traveling Exhibit, University of Iowa, Iowa City, IA 1980 Selected Painters, Mulvane Gallery, Washburn University, Topeka, KS 1979 Artists Choose Artists Exhibit, University of Missouri at Kansas City Art Gallery, MO JURIED SHOWS 1990 Philadelphia Art Now, Philadelphia Museum of Art, PA 1989 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1987 State of Pennsylvania Juried Exhibition, William Penn Museum, Harrisburg, PA 1984 Butler Institute of American Art Annual Exhibit, Youngstown, OH National Academy of Design Biannual Competition, New York, NY 1981 32nd Iowa Artists Exhibition, Des Moines Art Center, Des Moines, IA 1980 Iowa Artists Solon, Burnnier Gallery, Iowa State University, Ames, IA 1979 Kansas Bankers Association Exhibition, Topeka, KS AWARDS/GRANTS/RESIDENCIES 2004 The Thomas Benedict Clarke Prize, 179th Annual Invitational Exhibition of Contemporary American Art, National Academy Museum and School of Fine Arts, New York, NY 2001 2nd Fellowship, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland Eugene M. Lang Faculty Fellowship, Swarthmore College, PA 1997 Fellow, Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland 1992 Washburn Fellow, Washburn University, Topeka, KS 1989 Eugene M. Lang Faculty Fellowship, Swarthmore College, PA 1988 Andrew Carnegie Prize, 163rd Annual Exhibition of the National Academy of Design, New York, NY 1987 1985-86 1984 1981 1981 1980 1976, 78 TEACHING 1982-present 1994-00 1980-82 Best of Show prize, juried museum exhibition, The State Museum of Pennsylvania, Harrisburg, PA Henry Luce Scholar, Bali, Indonesia Julius Halgarten Prize for Best Painting by an Artist under 35 years of age Academy of Design Annual Exhibition, New York, NY Iowa Artists Salon, Second Prize Skowhegan Scholarship Award, University of Iowa, Iowa City, IA Student Award, 32nd Iowa Artists Exhibition, Des Moines Art Center, IA Charles Pollack purchase prize for the best painting from annual student exhibition, Washburn University, Topeka, KS Professor in Studio Arts, Swarthmore College, Swarthmore, PA Chair, Department of Art, Swarthmore College, Swarthmore, PA Teaching Assistant to Ben Frank Moss, University of Iowa, Iowa City, IA VISITING ARTIST/LECTURES 2002 2001 1998 1995 1994 1993 1994, 1992 1992 1989 1987 1986 1985 1982 Pennsylvania State University, Abington, PA Hollins College, Roanoke, VA Maryland Arts Institute, Baltimore, MD Beaver College, Glenside, PA Union College, Department of Art, Schenectady, NY Allentown Art Museum, PA Pennsylvania Academy of the Fine Arts, Philadelphia, PA Bucks County Community College, Newtown, PA Tasis England American School, Thorpe, Surrey, England Boston Art Institute, MA Boston University, M.F.A. program, MA Beaver College, Department of Art, Philadelphia, PA Dartmouth College, Department of Visual Studies, Hanover, NH Dartmouth College, Department of Visual Studies, Hanover, NH Carleton College, Northfield, MN University of Maine at Machias, ME Horsham College of Art, Horsham, England Stoneybrook School, Suffolk, Long Island, NY Moore College of Art, Basic Drawing, Philadelphia, PA Vassar College, Department of Art, Poughkeepsie, NY PUBLIC COLLECTIONS Allentown Art Museum, PA ARA Corporation, Philadelphia, PA Security Pacific National Bank, Sanger Branch, Los Angeles, CA University of Iowa, Permanent Collection, Iowa City, IA Mulvane Gallery Permanent Collection, Washburn University, Topeka, KS Woodmere Museum, Mt. Airy, Philadelphia, PA Henry Luce Foundation, New York, NY Henry Wendt Collection, Philadelphia, PA Susquehanna Art Museum, Harrisburg, PA SELECTED BIBLIOGRAPHY Sozanski, Edward J. “Simple Situations, in almost holy light,” Philadelphia Inquirer , February 7, 2003 Francis, Naila,“Studies in Light, Space,” The Intelligencer, January 9, 2003 Thompson, Jodi, “Fabulous Realism, seeing the light,” Out & About, January 9, 2003 Hopkin, Alannah, The Irish Examiner, July 1, 2002 Hopkin, Alannah, The Irish Examiner, January 2002 Sosanski, Edward, Philadelphia Inquirer, February 2001 Carr, Jeffrey, “Landscapes of the Imagination,” American Artist, January 1999 “On The Town,” New York Times Art Review, November 1998 Adelson, Fred B...

Figurative painting of a couple by contemporary Hungarian artist Gabor Rosko. Oil on panel, 72 x 72 cm. Signed and dated on verso "RG GR 1987-2001" Gáb...

"Mirrored Touch" by Linda Delahaye (France based) is an original oil on linen depicting a woman having a serene, introspective moment at her mirror. Born: 1980, Canada Lives and wor...

Tania Rivilis Chroma-Q 41 x 29 cm framed (included in price) 44 x 32 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.000 ) from ...

Tania Rivilis Hidden in dots 30 x 30 cm framed (included in price) 33,5 x 33,5 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Locke Price' ( £ 30.0...

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...

Tania Rivilis l'Antagoniste 80 x 70 cm Oilpaint on wood (OSB board) Tania Rivilis (born in Ukraine 1986) 2022 winner of the 'William Locke Price' from the Royal Society of Portra...

Portrait of a Gentleman original Oil on Wood Panel 19th Century Original oil on wood panel of a gentleman. Appears to be German, circa 1830-1850. Artist is unknown. Period frame inc...

Chantal Kakal Colson was a 20th-century artist renowned for her contributions to the art world. According to Artprice, at least five of her works have been recorded at public auction...

Carolien van Olphen Blue Fur Oil on wood panel 100 x 75 cm (Framed 114 x 89 cm, frame is included) Dutch artist Carolien van Olphen has left a great impress...

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...

Portrait of Francisco de Reynoso y Baeza.   Secretary of Pope Pius V, abbot of Husillos and bishop of Córdoba. Francisci de Reynoso. Early 17th century. Small-format portrait from the late Renaissance period. Spanish school. Size: Cm 19 x Cm 13.5 Oil on wooden panel. On the back the fine tablet is strengthened (already in ancient times) by a sheet of parchment. About 1600-1610. As often in Mannerist / Late Renaissance portraits, the image of the character is accompanied by the writing that runs at the top, adding a celebratory, historicising touch to the effigy. Let's bring back the sentence here: DON FRANCISCO DE REINOSO. CAMARERO SECRETO IESCALCO PIO QUINTO OBISCOPO CORDOBA. 68 (? O 7?) (1534, Autillo de Campos, Spain - 1601, Córdoba) Francisco de Reynoso was a Spanish cleric, chief chamberlain, and secretary to Pope Pius V, abbot of Husillos, and bishop of Córdoba. He was the fourth of eleven children. His father was the seventh Lord of Autillo de Campos, and his mother was Juana de Baeza y de las Casas, daughter of Manuel de Baeza, a lawyer of the Royal Council and at the Court of Valladolid. Francisco de Reynoso was deeply devoted to the Virgin Mary and showed a strong inclination toward religion and piety from an early age. He studied Latin, arts, and theology at the University of Salamanca. In 1562, he traveled to Rome with his brothers Pedro and Luis. In January 1566, following the death of Pope Pius IV, Cardinal Antonio Michele Ghislieri was elected pope, becoming Pius V. From this period until Ghislieri's death in 1572, Francisco de Reynoso served as his chief chamberlain and secretary. After Pope Pius V died, Francisco de Reynoso returned to Spain and lived for several years in the city of Palencia, where his brother Manuel was a canon. He supported the Society of Jesus when it was established in Palencia, providing alms to the school's clergy and funding chairs of Letters and Theology at his own expense, as well as donating a significant number of books. During the brief outbreak of the Black Plague...

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 ...

This stunning trompe l'oeil oil painting by Karen Bendersky captures a "Scaredy Cat" peering through a hole in what seems to be fabric. The cat’s wide-eyed, fearful expression is bot...

A Rare 17th-Century Portrait of John Calvin This small interesting portrait, of John Calvin (1509–1564) offers a rare glimpse into the enduring legacy of the French-Swiss reformer. P...

Tania Rivilis Some Ambiguous Words 63 x 45 cm Oil on wood panel First we can announce some wonderful news! 3 May 2022 Tania Rivilis did win the first price of the Royal Academy of ...

Michael Carson's (US based) "Stolen" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College of...

Francis Mabel Hollams (British, 1877–1963) Bumble, 1957 Oil on wood panel With characteristic precision and affection, Francis Mabel Hollams captures the spirit of a beloved compani...

Figure with Cherubim in Wilderness Italian School, 17th century oil painting on wood panel framed 13 x 11 inches condition: overall for its age very good, though the work is most likely a preparatory...

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 finely painted portrait of Man aged 55 years. Signed, Inscribed and Dated with old Dutch family provenance. He weighs a large white millstone ruff and a black silk tunic.

Tiger Portrait Pop Art with Floral Mandala in Chains by British Urban Graffiti Artist, Chris Pegg, using red, pink & turquoise. Chris Pegg is a self-taught Street Artist producing ar...

Giacomo used to paint with his brother Giulio, identifying their works with the monogram «I I». The strong influence of his father, Francesco, is undeniable in all his works, althoug...

Tania Rivilis May that be the reflection I see 50 x 50 cm framed (included in price) 53,5 x 53,5 cm Oilpaint on wood panel Tania Rivilis (b. 1986) 2022 winner of the 'William Loc...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

Carolien van Olphen Patience Oil on wood panel 134 x 92 cm (Framed 142 x 100 cm, frame is included) Dutch artist Carolien van Olphen has left a great impression in many places with...

LOOK FOR FREE SHIPPING AT CHECKOUT Mario is a portrait by Judy Crowe that was just completed in 2022 Mario is an example of the the Impressionist painters that the artist most adm...

"Falling Asleep While Spinning Yarn" by Louis Edwarmay is a captivating piece that beautifully captures the quietude and exhaustion of daily labor. The painting portrays a woman in t...

Attributed to Godfried SCHALKEN (Made 1643 – The Hague 1706) Young fischer Oil on panel in one board H. 32.5 cm; L. 25.5 cm Around 1670/75 Related works: - Autograph version with nu...

Chantal Kakal Colson was a 20th-century artist renowned for her contributions to the art world. According to Artprice, at least five of her works have been recorded at public auction...

Michael Carson's (US based) "Red Tights" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis Colleg...

Michael Carson's (US based) "Sitting" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis College o...

Liseth Visser Fill my Heart with Song 73 x 73 cm (Frame is included, framed 88 x 88 cm) Oilpaint on wood panel Dutch Female Artist Liseth Visser is no stranger to the world of portr...

On one hot June day, a beautiful Ethiopian girl was playing in Monahov's studio with a sparkling glass prism, watching objects refracted in the room and outside the window.. and at s...

Michael Carson's (US based) "Italian Chair" (2024) is an original, handmade oil painting. About the Artist: Mike Carson is a Minneapolis painter, and graduate of the Minneapolis Col...

A stunning copy of the Northern Renaissance masterpiece "Maddalena Dolente" by Quentin Matsys (1466-1530) which is in the collection of the Gemäldegalerie Berlin. Beautifully execut...