Wood Panel Portrait Paintings

Original painting by Angela Smith showing back of girl's head. A portrayal of young girl with brown hair tied back by pink flowers.  Surrounded by a vibr...

This contemporary figurative oil painting explores themes of politics and culture. Deborah Root’s dynamic colourful compositions tell an intimate story about her experience during socially relevant and politically important moments in time. “In The Nordstrom Box, popular culture operates both as a set of instructions and as a distorted mirror...

The Return Of King Agamemnon, 16th Century circle of Frans I FLORIS (1516-1570) Large 16th Century Flemish Old Master depicting the return of King Agamemnon from the Trojan War, o...

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...

Barend GRAAT (Amsterdam 1628 – Amsterdam 1709) Diana the Huntress Oil on wood H. 33.5 cm ; L. 44 cm Signed lower right on the stone A discreet painter with respect to history, Baren...

"As an African-American artist in today’s world, I embody the vast differences found in our collective backgrounds. I view them as cultural assets. We are always self discovering and...

Paul LUNAUD (Brantôme 1900 – 1949) The ironer Oil on wood H. 80 cm; W. 64 cm Signed and dated on the right in the center, formerly signed lower right. 1942 Provenance : Artist's stu...

My work deals with the complex experience of girlhood, exploring adolescent anxiety, feminine identity, and belonging. These themes are tackled within scenes of play, group interacti...

"Study of a Goat" Frans Lebret (Netherlands, 1820-1909) Oil on paper on wood panel 9 x 10 (13 1/2 x 14 1/4 frame) inches Initialled lower right This is a simply stunning and deeply...

Oil painting on wooden panel realized by Marco Fariello in 2025.

King Solomon Worshipping The Idols, 17th Century FRANS FRANCKEN II (1581-1642) - signed sales to $6,000,000 Large 17th Century biblical account of King Solomon worshipping the Idols, oil on panel Frans Francken. Excellent quality and condition Old Testament biblical scene on a cradled panel depicting the Idolatry of Solomon, son and successor of King David. Exceptional detail and would be enhanced with a light clean. Presented in an antique period frame. Signed. Measurements: 47" x 34" framed approx Artist Biography Frans Francken II or the Younger is the third in order of descent in the Francken family tree. Born in 1581, the son of Frans Francken I or the Elder, he was the brother of Thomas, born in 1574, of Hieronymous II, born in 1578 and died in 1623, and of Ambrosius II, the last in line, who died in 1632. Hieronymous II, who died at the age of 56, is only known for his painting Horatius Cocles at Sublicius Bridge. Frans the Younger was initially a pupil of his father, who was then at the height of his career. In his father's studio he imbibed all the teaching of the tradition of Frans Floris. He also spent long periods in Italy, where he familiarised himself in particular with the masters of the Venetian school. Such study in situ enabled him to break away from the well-worn methods of Flemish Italianism, as practised by his father and uncles. It is conceivable that the young artist met Rubens, who was in Italy at the time. In 1605, at the age of 24, on his return to Antwerp, Frans the Younger became a master in the Antwerp Guild of St Luke. In 1607 he married Elisabeth Placquet in Antwerp. Three sons and eight daughters resulted from this marriage. His children made up the fourth generation in the dynasty. Better known are Frans III (1607-1667) and Hieronymus, born in 1611. The latter had a son, Constantinus (1661-1717), who marks the end of the line. The family of Francken painters runs from 1520 to 1717. As one of the most active masters in Antwerp, Frans II was appointed dean of the guild in 1614. He was also a member of the Violette, a major literary association, for which he painted an award-winning symbolic coat of arms. He was intimate with the most celebrated artists, in particular van Dyck, who executed a very fine portrait of him, judging by the engraving by Willem Hondius and Pieter de Jode. It is also likely that he was on familiar terms with Rubens who was his near contemporary. He died in Antwerp on 6 May 1642 at the age of 61, outlived by both Rubens and van Dyck. The first securely dated work of Frans the Younger is Christ on the Cross from the gallery in Vienna, painted in 1606. Witches' Sabbath (Vienna) and The Works of Mercy (Antwerp) are dated 1607 and 1608 respectively. In these two latter works the painter proves himself adept at painting figures and allegorical scenes. The Works of Mercy represents various groups of figures, symbolising the different activities inspired by Christian charity. Paupers and beggars occupy the foreground, the ensemble being dominated by the figure of the glorious Christ. While Frans the Younger cannot be compared with the masters of this great first generation of Antwerp, which was illuminated and steered by the genius of Rubens, he does nevertheless merit attention. He succeeded in developing and bringing into fashion an anecdotal genre on a more modest scale, elements of which were to inform the last representatives of the Francken family for over a century. Frans the Younger was undoubtedly the most talented draughtsman in the family. While his art may be criticised for its lack of grandeur and solemnity, the execution shows great talent. His brush stroke was vigorous and his imagination, albeit restrained, was brilliant. His interest in tonal values was highlighted by his study and appreciation of his remarkable contemporaries. This enabled him to carry out landscapes and also fleshy figures, which made him altogether worthy of the brilliant period to which he belonged. While detail certainly preoccupied him, he treated it with intelligence and even esprit, as witnessed in The Parable of the Prodigal Son and A Prince's Visit to the Treasury of a Church(both in the Louvre). The scenes painted in grisaille, which surround the principal motif of the Prodigal Son, are characteristic of his style. He excelled in painting jewellery, ornaments, and textiles with shot silk effects. A large number of his figures inhabit the neutral backgrounds of the interiors of apartments and galleries. He carried out such work not only under his own auspices, but also for other artists, such as Peeter Neeffs, van Bassen, Josse de Momper...

Provenance: Private Collection, New Jersey The present painting depicts Saint Vincent Ferrer preaching from a raised pulpit to a group of seven peopl...

Titled on the back, "Head of Small Girl". Painted in a impressionist style. Labeled on the back Eloise Waggoner 24 Wilmont Mews, West Chester, PA, 19380. ...

Portrait of Henry IV, King of England (1367-1413), 16th Century English School Portrait - Early Oil On Panel Large 16th Century court portrait of Henry IV, King Of England (1367-14...

Cain & Abel, 19th Century School of Eugène DELACROIX (1798-1863) 19th century French scene of Cain & Abel, oil panel. Excellent quality and condition biblical scene of the death of...

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...

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

Madonna & Child With Saint Dominic & Saint Ursula, 16th Century School Of GIOVANNI BELLINI (1430-1516) Large circa 1500 Venetian School Old Master depiction of the Madonna & Child ...

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...

Portrait Of King Edward VI (1537-1553) as Prince Of Wales, 16th Century English School - Oil on panel - circa 1547 Large 16th Century portrait of Edward VI as Prince Of Wales, oil on panel. Early and important portrait...

Like the Westerns I grew up with, my own work is camouflaged in a veil of nostalgia. The figures in my work are often portrayed against a stark background. This forces the viewer to recognize the myth before the critique exposes itself. I work from observation and my imagination using watercolor and traditional printmaking methods. The figurative images I create are heavily researched. By using the West, a subject that I am both familiar with and continue to question, I aim to engage with our inherent perceptions of the past and the myths embedded within. - Jed Webster Smith

My work deals with the complex experience of girlhood, exploring adolescent anxiety, feminine identity, and belonging. These themes are tackled within scenes of play, group interacti...

Karen Offutt approaches The Strength Within 30 x 26 oval , oil on panel with an atmospheric sensitivity combining shape, tone line, and color. Karen ...

English School, (circa 1600) Portrait of William Herbert, 3rd Earl of Pembroke Oil on panel, oval Image size: 29¼ x 23⅞ inches Painted wooden frame Provenance: 176, Collection of Francis Greville, 1st Earl of Warwick. The Trustees of the Lord Brooks’ Settlement, (removed from Warwick Castle). Sotheby’s, London, 22nd March 1968, lot 81. Painted onto wooden panel, this portrait shows a dark haired gentleman in profile sporting an open white shirt. On top of this garments is a richly detailed black cloak, decorated with gold thread and lined with a sumptuous crimson lining. With the red silk inside it’s all very expensive and would fall under sumptuary laws – so this is a nobleman of high degree. It’s melancholic air conforms to the contemporary popularity of this very human condition, evident in fashionable poetry and music of the period. In comparison to our own modern prejudices, melancholy was associated with creativity in this period. This portrait appeared in the earliest described list of pictures of Warwick castle dating to 1762. Compiled by collector and antiquary Sir William Musgrave ‘taken from the information of Lord & Lady Warwick’ (Add. MSS, 5726 fol. 3) is described; ‘8. Earl of Essex – an original by Zuccharo – seen in profile with black hair. Holding a black robe across his breast with his right hand.’ As tempting as it is to imagine that this is a portrait of Robert Devereux, the 2nd Earl Essex, we might take this with a pinch of salt. Its identification with this romantic and fatal Elizabethan might well have been an attempt to add romance to Warwick Castle’s walls. It doesn’t correspond all that well with Essex’s portraits around 1600 after his return from Cadiz. Notably, this picture was presumably hung not too far away from the castle’s two portraits of Queen Elizabeth I. The first, and undoubtedly the best, being the exquisite coronation portrait that was sold by Lord Brooke in the late 1970s and now hangs in the National Portrait Gallery. The second, described as being ‘a copy from the original at Ld Hydes’, has yet to resurface. The portrait eventually ended up being hung in the State Bedroom of Warwick Castle. Archival documents present one other interesting candidate. The Greville family’s earliest inventory of paintings, made in 1630 at their home Brooke House in Holborn, London, describes five portraits of identified figures. All five belonged to the courtier, politician and poet Sir Fulke Greville (1554-1628), 1st Baron Brooke, and were hung in the ‘Gallerie’ of Brooke House behind yellow curtains. One of them was described as being of ‘Lord of Pembrooke’, which is likely to have been William Herbert (1580-1630), 3rd Earl of Pembroke. William was the eldest son of Greville’s best friend’s sister Mary Sidney, and was brought up in the particularly literary and poetically orientated household which his mother had supported. Notably, the 3rd Earl was one of the figures that Shakespeare’s first folio was dedicated to in 1623. The melancholic air to the portrait corresponds to William’s own pretensions as a learned and poetic figure. The richness of the robe in the painting, sporting golden thread and a spotted black fabric, is indicative of wealth beyond that of a simple poet or actor. The portrait’s dating to around the year 1600 might have coincided with William’s father death and his own rise to the Pembroke Earldom. This period of his life too was imbued with personal sadness, as an illicit affair with a Mary Fitton had resulted in a pregnancy and eventual banishment by Elizabeth I to Wilton after a short spell in Fleet Prison. His illegitimate son died shortly after being born. Despite being a close follower of the Earl of Essex, William had side-stepped supporting Devereux in the fatal uprising against the Queen and eventually regained favour at the court of the next monarch James I. His linen shirt is edged with a delicate border of lace and his black cloak is lined on the inside with sumptuous scarlet and richly decorated on the outside with gold braid and a pattern of embroidered black spots. Despite the richness of his clothes, William Herbert has been presented in a dishevelled state of semi-undress, his shirt unlaced far down his chest with the ties lying limply over his hand, indicating that he is in a state of distracted detachment. It has been suggested that the fashion for melancholy was rooted in an increase in self-consciousness and introspective reflection during the late 16th and early 17th centuries. In contemporary literature melancholy was said to be caused by a plenitude of the melancholy humor, one of the four vital humors, which were thought to regulate the functions of the body. An abundance of the melancholia humor was associated with a heightened creativity and intellectual ability and hence melancholy was linked to the notion of genius, as reflected in the work of the Oxford scholar Robert Burton, who in his work ‘The Anatomy of Melancholy’, described the Malcontent as ‘of all others [the]… most witty, [who] causeth many times divine ravishment, and a kind of enthusiamus… which stirreth them up to be excellent Philosophers, Poets and Prophets.’ (R. Burton, The Anatomy of Melancholy, London, 1621 in R. Strong, ‘Elizabethan Malady: Melancholy in Elizabethan and Jacobean Portraits’, Apollo, LXXIX, 1964). Melancholy was viewed as a highly fashionable affliction under Elizabeth I, and her successor James I, and a dejected demeanour was adopted by wealthy young men, often presenting themselves as scholars or despondent lovers, as reflected in the portraiture and literature from this period. Although the sitter in this portrait is, as yet, unidentified, it seems probable that he was a nobleman with literary or artistic ambitions, following in the same vain as such famous figures as the aristocratic poet and dramatist, Edward de Vere...

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...

This contemporary figurative oil painting explores themes of politics and culture. Deborah Root’s dynamic, colourful compositions tell an intimate story about her experience during ...

The young African boy is wearing native Zimbabwean dress to reflect the historic clothing of village life. Carole Garland captures the questioning look of the boy and his wonder why are these visitors here? The colorful burnt red stencils enhance the trim design of his costume. Carole Garland has shown in many Southern California venues, most recently at TAG Gallery, Bergamot Station; realART Gallery, Agoura Hills; West Los Angeles Art Gallery; the Rose Cafe; the Santa Paula...

The Blood Of Christ, The Milk Of The Madonna, 16th Century circle of Adriaen Isenbrandt (1480-1551) Huge 16th Century Flemish old Master depiction of...

Portrait of a Boy Holding a Book, c. 1820s Oil on Panel 24" x 19.5" Housed in a 3" Carved Frame Overall Size: 29" x 25 1/4" In excellent condition. Ready to hang and enjoy.

From John William Waterhouse’s A Mermaid, 1900 We have a wonderful capacity to impose fictions on others in order to make them desirable. We o...

The Village Cricket Match, 18th/19th Century English School - Indistinctly Signed 18th 19th Century English School Rural Village Cricket match, oil on ...

Blissfully Obvious is a beautiful surrealist original oil painting created by renowned artist Christopher Clark, depicting a woman in spiritual repose, her eyes locked to a key being...

André Gill (1840 - 1885) Portrait of Daubray (1837 - 1892) Oil on panel 55 x 37 cm (74 x 55 cm with frame) Signed top right. Michel René Thibaut, known as Daubray, was a leading Fre...

James Wolanin’s paintings transport the viewer to an effervescent, candy coated world inspired by vintage advertisements, photographs, and the artist’s own personal history. The Russ...

This painting titled "Portrait of a Girl" by the Danish realist painter Peder Mørk Mønsted captures an enigmatic young woman whose identity remains unknown. The girl, elegantly posed...

"Self Portrait of Addison Thomas Millar at Desk" is a captivating painting by the American Impressionist artist Addison Thomas Millar. This self-portrait offers a glimpse into the in...

From Rembrandt van Rijn’s Militia Company of District II under the Command of Captain Frans Banninck Cocq (The Night Watch), 1642 The search for limits is an ongoing endeavor. Circu...

Ron Hicks' (US based) "Study at Jan and John's" (2025) is an original, handmade oil painting that depicts a lightly abstracted portrait of a woman against a pale white background. T...

Chaise #36 by California artist Jeffrey Palladini is a minimalist figurative painting on paper and framed. It is textured Oil and Charcoal on paper. It is 22" x 30". With the white...

Painting oil on panel measuring 40 x 30 cm without frame and 48 x 38 with frame representing a great bishop of the Venetian school from the first half of the 18th century. Very curi...

A red-and-green parrot. For a lie to gain real power, it must continue its existence separate from its creator. If it can be repeated by others, retold in a variety of contexts, it ...

Literary Origins of Angelica The subject of this painting is Angelica, a princess from the epic chivalric romances of the Italian Renaissance. She first appears in Matteo Maria Boiardo’s Orlando Innamorato (1483) and reappears famously in Ludovico Ariosto’s Orlando Furioso (1532). In these poems – part of the Matter of France cycle of Charlemagne and his paladins – Angelica’s extraordinary beauty ensnares many knights, including Orlando (Roland) and his cousin Rinaldo, sparking rivalries and adventures. Ariosto’s narrative particularly highlights Angelica’s tumultuous journey: at one point she is stripped and chained to a rock as a sacrifice to a sea monster (a scene mirroring the myth of Andromeda) before being dramatically rescued by the valiant knight Ruggiero on his winged horse. Ultimately, however, Angelica chooses her own destiny. She falls in love with a humble Saracen soldier, Medoro, whom she nurses back to health, and she returns with him to her far-off Asian kingdom – an affair that drives the heartbroken Orlando to madness. This independent resolution (marrying outside the circle of Christian knights) made Angelica an emblem of feminine agency and romantic idealism in Renaissance literature. Her story remained popular in art and literature through the centuries, symbolizing the allure and elusiveness of love. Kronberg’s Portrayal and Composition In Julius Kronberg...

An oil painting by Contemporary Italian Realist painter, Daniela Astone - A nude figure sits on a sterile, white floor. A mirror presents the figure's back from another angle. She holds a towel up to her face, partially covering her chest and lap. One leg is tucked up behind her, her reflection however shows neither the hand with the towel nor the foot she sits on. Artist Bio: Daniela Astone was born in Pisa, Italy, in 1980 and raised in Porto Santo Stefano...

A beautiful signed and dated 1943 French impressionist oil on panel self portrait by Charles Picart le Doux, who was friends with Picasso, Pissarro and many other Paris based artists...

"Messenger" (Mensajero). Symbolic Ocre and blue Acrylic paint Figure Folk Art painting. Acrylic/wood panel. Dimension art: (H) 41 x (W) 30 x (D) 5...

Urbex is the English acronym for urban exploration and is an activity that consists of searching for and locating abandoned infrastructure with the goal of visiting, photographing an...

This contemporary figurative oil painting explores themes of politics and culture. Deborah Root’s dynamic colourful compositions tell an intimate story about her experience during s...

This contemporary figurative oil painting explores themes of politics and culture. Deborah Root’s dynamic colourful compositions tell an intimate story about her experience during s...

Amber in electric blue with yellow by David Shevlino whose female figures beautifully link traditional representation with abstraction. Through Shevlino’s sensuous application of pai...

Paul Jansen Curious Calf 51 x 61 cm (Framed 67x 78 cm, Frame is included in price) Oil on wood panel Painter Paul Jansen (1960) started his artistic career as a photographer, and a ...

"Anyone, Someone, No one" Portrait Oil Painting 12" x 12" in by Casey Baugh Medium: oil on wooden panel ABOUT THE ARTIST: Baugh's work can be described as narrative impressionisti...

Woman Reading by JOZEF ISRAËLS (1824-1911) Oil on Panel 21 x 12.5 cm (8 1/4 x 4 15/16 inches) Signed lower right Executed circa 1870 Artist biography D...

This 46.5" x 36.5" oil on wood panel portrait was painted by Oklahoma artist, Kevin Stark. This painting employs a striking use of chiaroscuro, with the figure emerging from a deep b...

Giuseppe Costa (Italian, 1852-1912) Untitled, c. late 19th-early 20th century Oil on wood panel 12 x 7 in. Framed: 16 1/2 x 11 2/3 x 1 in. Signed lower right Giuseppe Costa was an I...

Textured mixed technique, 2021 Figurative Magical Painting. This is one of my early works, where I delve deeper into our connection with animals through a human and magical lens. Ani...

Henri Burkhard, Born in New York in 1892, began his studies at the Art Students league in New York and then pursued international studies at the Académie Julian, Acadêmie Colarissi, and Académie de la Grande Chaumière, Pariss. Once the artist returned to New York, he began to exhibit frequently frequently at the Whitney Museum of American Art in 1926-36; the Corcoran Gallery, Art Institute of Chicago, and the Pennsylvania Academy of Fine Arts in the 1930's. Works by the artist have been handled and sold over the last hundred years at major American auction houses and dealers, such as Heritage...

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...

'SAFFO' is a contemporary portrait of a young woman created in oil on round wood panel. from Russian American Elena Zolotnitsky who is Inspired by the concepts of beauty, adolescence...

"The Journal" by Christopher Clark is an original oil painting on cradled board that is ready to hang and depicts a blonde female reading in a sun lit cafe. Christopher has been a...

Carl Smith explores the area between Pop Art and Surrealism and expresses it in one-of-a-kind original works on canvas, paper or wood. With the use of found images he tells slightly ...