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Drawing from the ethos of giving new life to the discarded, this sculpture of eco-art presents a striking lamp sculpture that marries the elegance of blown glass with the grounded, e...

Bronze plaque (measurements without the wood are 12 x 20 cm) with bas-relief representing a putto with a cornucopia and the crescent moon. At the bottom runs in capital letters a Lat...

Vaso in ceramica smaltata azzurra (h 33 cm, piede 13 cm, bocca 22 cm) raffigurante rami di edera, campanule azzurre e una cavalletta. Proveniente da una manifattura di Salerno attiv...

OIL PAINTING SMALL SALVATORE COLACICCO (NAVY ADMIRALTY 20th CENTURY Very good condition for age , (see pictures) FINE RARE MARTINE PAINTING ORIGINAL 20th Century OLD MASTER STYLE OIL PAINTING GOLD GILT FRAME By Similar $3,000 Premier Collection NEW COLLECTION Of RARE PIECES OF OLD HISTORY Description ( 19th century Style ) Salvatore Colacicco is a world-renowned marine artist who was born in 1935 in Bellagio, near Lake Como and studied at Brera Academy, Milan. He has been living in England for over thirty years. Nearly all Salvatore Colacicco's paintings during that time have been exported to the United States and sold through Tonkins of Nantucket Island. These now adorn the walls of many a Board Room and Directors Office throughout the States. Colacicco's style of painting very much reminds one of marine artists throughout the 19th century with an obvious Italian feel. Among Colacicco's achievements were 26 panels illustrating the history and development of the paddle steamer (of which he had made a special study of those used on the Italian Lakes), painted for the Russell Cotes Museum in Bournemouth and most works by Salvatore Colacicco fetch good figures even at auction Nice back story to these pieces , We acquired them from a gentleman that went to school with the artist son in Bournemouth , His Father purchased these ones from the artist roundabout 1960 . Title: Racing...

Jorge MATEUS French master glassmaker Flacon Perce Neige, 2021 Art Glassware - Unique piece Size : 18 x 12 x 12 cm Signed on the base. In perfect condition. Sold with invoice and ...

TERRACOTTA FIGURINE OF A COMIC ACTOR , Greece, c. 350 B.C. Labeled to the reverse, 'LAWRENCE COLL./LOT 426. SOTHEBY./APR. 1892. P. 816.'; Terracotta height 15.2 cm height 6 in Prove...

Kamyki original decorative wall mirror (18 pieces), Zieta DImensions: Ø 7-20 cm Material: stainless steel. Color: Emerald Dimensions of the set : H. 76 cm W. 150 cm D. 6 cm About the Gradient collection: Mirrors by Zieta Studio cross the border between art and technology and reflect Oskar Zięta’s research on the physical qualities of steel. Their uneven surfaces, with artistic deformations suggesting softness...

Wo ist die Revolution -Contemporary, 21st Century, Ai Weiwei, China Wo ist die Revolution, 2019 Inkjet Print Edition of 180 190 x 100 cm (74.8 x 39.3 in.) Signed and numbered In min...

Includes a Certificate of Authenticity

BELA KADAR 1877-1956 Budapest 1877-1956 (Hungarian) Title: Nudes and Horses, 1911 Technique: Original Hand Signed Pastel on paper size: 63 x 94.5 cm / 24.8 x 37.2 in Additional I...

Sailing Boats on the Fowey River Oil on Panel, Signed and Framed A stunning gem by the wonderful Frits Goosen. This oil depicts Sailing boats in the Fowey Estuary with the beautifu...

A Beautiful Antique Map of France 56 x 65cm In a lovely frame, this map of France is in excellent condition and details the French provinces.

Antique Map of Lincoln & Norfolke Circa 1610 65 x 72cm Lovely antique map in excellent frame showing Lincolnshire and part of Norfolk and bordering counties.

Pigeon, by Gustave Miklos, Animals, Drawing, Work on paper, Sculpture study Pigeon Circa 1957 Pencil, watercolor and gouache on paper 26 x 38.5 cm / 60...

Portrait of the younger brother of Napoleon, Lucien Bonaparte, done with the Scagliola technique. Scagliola (from the Italian scaglia, meaning "chips") is a type of fine plaster came into fashion in 17th-century Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family...

LOVE From the "Thousand and One Nights" painting series, with individual plastic Technique, Erika Baktay. Biography; The paintings of Erika Baktay have long been admired by the ...

"Nein, oder? Ja?" (2022) is part of the exhibition "Connect and Disconnect", running from 20 May - 15 July 2022 at HELDENREIZER Contemporary. Visit the exhibition page on our websit...

SF64-045, Sam Francis, Acrylic, American Abstraction, Postwar, Work on paper 1964 Acrylic on paper 73 x 56.5 cm 94 x 75 cm / 37 x 29.5 in. (w...

Wild clay, sand, dolomite from Black Sea coast, kaolin, oxidation firing

White Earthenware 58 x 30 x 15 cm 22 7/8 x 11 3/4 x 5 7/8 in ----------- "Working as a hybrid artist and curator, the core of my practice is unpicking the work of establishment organ...

On Stellar Rays, original acrylic on canvas painting by American artist Monroe Hodder. Hodder’s abstract paintings are gloriously bold. Inspired by the u...

"Thousand and One Nights" painting with individual plastic Technique, Erika Baktay. This painting can be placed both horizontally and vertically. Dimensions: cm 70 x 50 with frame cm...

Richly decorated on the side and with finely sculpted female faces, these carved stone architectural brackets are a great example of the Tuscan production of the late 16th Century. O...

TANYA GOMEZ Glacier II Dolomite, 2021 Material: Porcelain. Thrown on a wheel. Fired multiple times 1280° 27 x 29 cms 10 63/100 x 11 21/50 inches (TG005) Tanya Gomez is a celebrated ...

Joan Miró - "Original Lithography VII". Lithograph in colors from Litografo (Volume I) Spanish edition from 1972. Catalogue of works: Mourlot 863. Slight book fold in the centre of the paper. Miró's development of a new pictorial language led to a consistent restriction to the primary colours black, green, yellow, blue and red, which he implemented in the series of paintings "Constellations" (1940/41) with lines, spots and areas of colour. Like Pablo Picasso and Franz Marc, Miró also worked with graphics and primarily produced etchings and lithographs. Produced in large editions, the artist believed that everyone should be able to afford a print by Miró...

This charming picture, which has been signed and dated: H. Pickering pinxt 1752 is a type favoured by the highly successful artist Henry Pickering. Pickering’s painting life, from 1...

Presented by Titan Fine Art, this elegant and beautiful portrait depicts Abigail Hay, Lady Dupplin, Countess of Kinnoull; it is an excellent example of English portraiture from the f...

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 so...

Water Lillies In The Pond With Pots Of Flowers By David Hockney David Hockney, a prominent British artist, is celebrated for his versatile and innovative contributions to 20th-cent...

Martha Winter employs a unique technique to create visually stunning 3 dimensional pieces where painting meets sculpture. By building textures and pattern she creates an organic orde...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

"vintage pattern of climbing plants and vegetables creating a colourful contrast on a dark green background - Original oil painting - 50х70 cm - no framing necessary. The sides o...

Ed Ruscha, He Up and Went Downtown, Porcelain Plate, 2020 Porcelain plate From a limited edition of 175 10.5 × 10.5 in (26.7 × 26.7 cm) NOTES: The only edition to date from Ruscha...

By French famous Transgender artist, Michel Marie Poulain (Born Paris December 5, 1906. Died 1991) this rare oil on canvas it represents the Queen and he...

Synthesis F4 is a unique sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, steel, acrylic, LED, dimensions are 23 × 18 × 18 cm (9.1 × 7.1 × 7.1 in). T...

Untitled #114 By Cindy Sherman Cindy Sherman is a renowned American photographer and conceptual artist, widely celebrated for her ground breaking work in contemporary art. Best kn...

Synthesis A2 is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, patinated mild steel, stainless steel and LED, dimensions are 42 × 109 × 21 cm (16...

Synthesis B is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, acrylic, steel, LED, dimensions are 200 × 8 × 9 cm (78.7 × 3.1 × 3.5 in). This artw...

Carbon M is a unique sculpture by contemporary artist Tom Price. This sculpture is made of coal, Jesmonite, wood, steel, dimensions are 45 cm × 220 cm × 35 cm (17.7 × 86.6 × 13.8 in)...

Synthesis L1 is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, patinated mild steel, acrylic and LED, dimensions are 85 cm × 117.5 cm × 40 cm (33...

Synthesis S is a sculpture by the English artist Tom Price. Resin, tar, steel, acrylic, LED. 200.5 cm × 40 cm × 40 cm (Dimensions include the stand). In the Synthesis series, Tom Pr...

Counterpart is a sculpture by British contemporary artist Tom Price, it is composed by two elements each measuring 45 cm H x 220 cm L x 35 cm D ( 17.7 × 86.6 × 13,78 in). This artwo...

This magnificent grand-scale work, offered by Titan Fine Art, formed part of a collection of family pictures and heirlooms of the Rivers Baronets and their descendants for over 325 years, before it was dispersed by the last in the line in 1988. The work was painted by the most technically proficient painter in England after the death of Van Dyck, and the dominant court painter to Charles II and James, Duke of York, Sir Peter Lely. It is no surprise that for years Lely had no serious rivals, was enormously influential and successful, and one of the country’s most important painters – and his work influenced countless artists over generations. The exquisite carved and gilded auricular frame is an astounding work of art in itself. The sitters in this exquisite double portrait are Sir John Rivers, who succeeded as the 3rd Baronet Chafford in 1657 (c.1638 - c. 1679), and his wife, Lady Anne Hewitt (c.1640-c.1689). They are seated in an outdoor setting beside a fountain modelled as a female figure with water issuing into a scallop-shell. The water, the elaborate sculpted fountain with its scallop-edged bowl, and the open shell in her hand are symbols of fertility - as such they make an appropriate allusion to Lady Anne’s potential as wife and mother, recalling Proverbs, chapter 5, verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. This reference was realised, as Sir John and Lady Anne produced at least six children; their son George (1665-1734) became 4th Baronet of Chafford. The composition, thus, represents a celebration of marriage and was likely commissioned around the time of the betrothal (the marriage took place 26th Feb 1662 or 1663). The statues in the left margin are 'Youth and 'Old Age' and are a typical form of Memento Mori reminding virile young man that even they will lose their youth and grow old. The Rivers family, originally of Kent, traces its history to Sir Bartholomew Rivers, in the reign of Edward IV. The family included several prominent members including several knights, a Commander in the King's Army, a steward of a ducal estate, a Lord-Mayor of London, and an M.P. John Rivers (c.1659-c.1651) was made 1st Baronet of Chafford in 1622 by King James I. The Chafford estate was the family seat and it remained so until the early 1700s with the death of Sir George Rivers, 4th Baronet (1665–1734), whose sons had all died. The Chafford estate was left to his daughters while the baronetcy passed to nephew John Rivers, 5th Baronet (c. 1718–1743), and then Sir John’s brother, Sir Peter Rivers-Gay, 6th Baronet (c. 1721–1790). Upon Sir Peter Rivers Gay's death the estate passed to his eldest son, Sir Thomas Rivers Gay, 7th Baronet (c. 1770–1805). Sir Thomas, dying in 1805 with no children, bequeathed the estate to his mother Dame Martha Rivers Gay, who managed the estate until 1834 when she settled it on the then Sir Henry Rivers, 9th Baronet (c. 1779–1851) her younger son, before dying shortly thereafter in 1835. Sir Henry had married in 1812 to Charlotte Eales, with whom he had 6 sons and 8 daughters. Upon his death in 1851 the estate passed to his eldest surviving son Sir James Francis Rivers, 10th Baronet (1822–1869). Sir James married Catherine Eastcott in 1867 but died childless in 1869, and the estate passed to his only surviving brother Sir Henry Chandos Rivers, 11th Baronet (1834–1870) but he died a year later in 1870 also childless; with no male heir the Baronetcy was therefore extinguished. The estate was bequeathed, in trust, by Sir Henry Chandos Rivers to Thomas Frederick Inman, a solicitor of Bath, who then managed the estate as a trustee on behalf of Sir Henry Chandos Rivers' sister Katherine Rivers (c.1826-1895). It then passed to Katherine River’s daughter, Katherine Wall (born c.1855), who had also inherited Worthy Park House from her father, George Alfred Ellis Wall (1825-1875). Until 1958 our portrait is known to have hung at Worthy Park House. Upon Katherine Wall’s death, the Rivers estate passed to her daughter, Katherine Eleonora Rivers Fryer (1889-1963), who married Colonel James Alexander Butchart 1877-1853. In 1958 the family sold Worthy Park House but our portrait was loaned to Southampton Museum and Art Gallery. After the death of Katherine and Colonel James, the estate was left to their only son, Charles Bruce Rivers Butchart (1917-2005) and upon Charles’ retirement to a nursing home in 1988, and without heirs, our portrait, along with the residual assets of the Rivers estate were sold, thus ending over 325 years of continual family ownership. Lady Anne Rivers is thought to have been born circa 1640. She was the fourth child of the second marriage of Sir Thomas Hewitt (or Hewett) (1606-1662), 1st Baronet of Pishobury, Herts, and his wife Margaret Lytton (died 1689). Sir Thomas was an English landowner and M.P. for Windsor and upon the English Restoration...

Resin, tar, steel, acrylic, LED. 45 cm × 220 cm × 35 cm. Available on commission. Production delay: 8 months. Synthesis Bench is one of Tom Price's 'hybrid' artworks sitting halfway ...

Resin, tar, steel, acrylic, LED. 28 cm × 145.6 cm × 84.2 cm. In the Synthesis series, Tom Price forces resin and tar to live in the same space, experimenting with the chemical reacti...

This exquisite work is an accomplished example of the type of portrait in vogue in England during the third quarter of the 17th century. There was a large demand for paintings in England and the demand for portraits was greatest. Many artists worked in this lucrative field, even artists who initially trained in the more respected field of history painting, such as Peter Lely, turned their attention to portraiture to meet this demand. Moreover, it was not uncommon for the British, even for men, to present a gift of one’s portrait to a friend - portraits were first and foremost a memento. Woman at court often vied with one another in displays of rich and fashionable clothing. The drapery was either painted from the customer’s own clothes or was perhaps a creation using fabrics loosely tacked together in the studio. This was a common practice of Lely and his studio props included swathes of fabric and pieces of cloth. The sitter’s sumptuous attire and gauze scarf, fastened by a large diamond brooch, is of the finest material and is representative of wealth. Pearls were an obligatory accompaniment since at least the 1630s and they are worn in abundance – in her hair, on her attire, as a necklace, and as pear-shaped earrings called unions d’excellence, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. Her hairstyle help date the painting to the early 1660’s. Peter Lely, the son of a Dutch...

Synthesis BM is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, acrylic, steel, LED, dimensions are 70 × 8 × 10.5 cm (27.6 × 3.1 × 4.1 in). This a...

Resin, tar, acrylic, LED. 28.8 cm × 29.5 cm × 29.5 cm. In the Synthesis series, Tom Price forces resin and tar to live in the same space, experimenting with the chemical reactions t...

Translated title: " Words". Acrylic on canvas. The words are: " dolce natura crudele in sensi e controsensi articoli la tua misteriosa esistenza" which mean " sweet cruel nature w...

Discover more original artwork by Janet Keith with Wychwood Art online and in our gallery. The colours used in the painting – particularly the rich, glowing orange and hints of green...

L.A.S. (Lettre Autographe Signée) Autograph Letter Signed by P. Dorazio, to the Countess A.L. Pecci-Blunt. On Letterhead “Piero Dorazio 16 Piazza Armellini – Roma”. Rome, 27th March ...

Towards Newlyn Bay, with the sea, town and hills in the distance with soft hazy sunlight. Oil painting on canvas, mounted on stretchers and housed in its original gilt frame A larg...

"Imagine" by Roman Goss is a captivating original abstract painting that invites viewers to explore a world of imagination and possibility. Through a harmonious arrangement of geomet...

Keith Haring, Montreux Jazz Festival posters (set of 3) Keith Haring was invited to design the posters for the 17th Montreux Jazz Festival in 198...

Oil on Board 'Seascape' Painting by Martin Yeoman B. 1953 Additional information: Medium: Oil on board Dimensions: 12.5 x 17 cm 4 7/8 x 6 3/4 in Signed Martin Yeoman was born in 19...

XIX century. A jeweled bow with tassels, in low gold. Neapolitan area. The jewel is a pendant, with a ring positioned on the back that allows you to pass a necklace even of a not sma...

A perfect study in post impressionism both in subject matter and technique. Cahours captures both the mood and the realism of Breton life, his figures are excellent and believable a...

Artist: Anastasia Kurakina limited edition canvas print glicee hand signed Ocean landscape. Summer night.Light of the stars.Pristine water. Two persons embracing each other. Pre...