Art

The work is an original photo-lithograph by Lucio Fontana, signed and numbered in pencil at lower right, accompanied by a booklet containing six full-page black-and-white offset plat...

Salvador Dali Tancreds Oath from Marquis de Sade Suite, 1969 Lithograph Edition 110/160 Hand signed lower right Image size: 53 X 42.5 cm Sheet size: 65 x 50 cm Published by Shorewo...

The Trading Port Italian artist, circa 1720's period circle of Michele Marieschi (Italian 1696-1744) oil on canvas, unframed canvas: 21 x 30 inches provenance: private collection, UK...

Swans Startled by Dog Flemish Old Master, 18th century oil on bevelled wood panel, framed framed: 14.5 x 17 inches panel: 10 x 13 inches provenance: private collection, UK condition:...

Follower of Adriaen Coorte (1665-1707) 18th Century Still Life c1795 A sumptuous still life painting depicting peaches, grapes, plums, exotic birds and butterflies in the style of ...

Balthasar Denner (1685 Hamburg - 1749 Rostock). Mary Magdalene. Oil on copper, 37 × 32 cm (visible size), 45 x 40 cm (frame), signed and indistinctly dated "Denner 17(...)" at centre...

Alexander Calder Lithograph c. 1967 from Derrière le miroir: Lithograph in colors; 15 x 11 inches. Very good overall vintage condition; well-preseved. Unsigned from an edition of u...

An original cubist pointillist nude signed illegibly and dates 1962. The artist uses sporadic texture and vibrant color to create a captivating scene.

Black and white figurative abstract lithograph of two naked, crouching figures by California artist "Rico Lebrun," titled "Crouching Figures" and dated 1961. Additional writing on th...

Cerchia di Marco Ricci (Belluno 1676 – Venezia 1730) – River landscape with characters. 34 x 26 cm without frame, 43 x 35 cm with frame. Oil on canvas, in carved and gilded wooden ...

Yayoi Kusama Yellow & Black Pumpkin (plush): An iconic, vibrantly colored pop art piece - this large Kusama plush pumpkin features the universal polka dot patterns and bold colors fo...

A beautiful large c.1960 French oil on paper laid on board cubist influenced landscape by Oleg Zinger. The work depicts a summer landscape with white build...

Artist: Joan Mitchell (American, 1925-1992) Title: "Meditations in an Emergency" Portfolio: In Memory of My Feelings *Issued unsigned Year: 1967 (First edition) Medium: Original Lithograph on Mohawk Superfine Smooth paper Limited edition: 514/2,500 Printer: Crafton Graphic Company, Inc., New York, NY Publisher: The Museum of Modern Art, New York, NY Sheet size: 12" x 9" Condition: In excellent condition Rare Notes: Comes with its accompanying poetry pages. Numbered on colophon page. Comes from the 1967 "In Memory of My Feelings: A Selection of Poems" book volume by Frank O'Hara with approx. 46 unbound original lithographs by various artists. Collaboration: Edward Katz (printing). The last image of the complete book is for reference/provenance; it is not included. This image Mitchell contributed to "In Memory of My Feelings: A Selection of Poems" by Frank O'Hara, edited by Bill Berkson, for the Museum of Modern Art. The project was published in 1967 in memory of Frank O'Hara, poet and associate curator at the museum, who died in a tragic accident in 1966. Bill Berkson (with the assistance of Kenneth Koch and John Ashbery) selected the poems and (with advice from Robert Motherwell) asked the following artists to contribute: Nell Blaine, Norman Bluhm, Joe Branaird, John Buton, Giorgio Cavallon, Allan D'Arcangelo, Elaine de Kooning, Willem de Kooning, Niki de Saint-Phalle, Helen Frankenthaler, Jane Freilicher, Michael Goldberg, Philip Guston, Grace Hartigan, Al Held, Jasper Johns, Matsumi Kanemitsu, Alex Katz, Lee Krasner, Alfred Leslie, Roy Lichtenstein, Marisol, Joan Mitchell, Robert Motherwell, Reuben Nakian, Barnett Newman, Claes Oldenburg, Robert Rauschenberg, Larry Rivers, and Jane Wilson...

Yayoi Kusama Pumpkins ceramic & plush (set of 4 works) : Yellow and Black, Red & White An iconic, vibrantly colored pop art set - these small Kusama pumpkin sculptures & plushes feat...

Jack Hooper "Green and Blue Nude II" 5/1963 Oil pastel on paper 8.5"x11" unframed Signed and dated in pencil lower right Jack Meredith Hooper (August 26, ...

Salvador Dali Dante purifié (1960) Heliogravure reworked with drypoint Signature printed in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - Fie...

Aaron Levy was born in New York City in 1899. After retiring in 1951 from a career as president of E. Milius & Company, a textile company, Levy began a new career as a fine artist. ...

Nude Female Study 1968 by Lucien Clergue A curved, sculptured shot of a nude female torso and breast captured by Lucien Clergue Unframed Matted Overall size : 12 x 16" inches / 30...

Nicely painted mid century impressionist painting of Lake Como, Italy. Oil on canvas. Signed. Framed.

Very impressive early American modernist abstract still life. Oil on board. Framed.

This is a striking original antique colored botanical mezzotint and line double page engraving of banana plants, which is finished with hand-coloring. It is entitled "Banana 1. Musa,...

Salvador Dali L'Ange du 7e ciel (1960) Heliogravure reworked with drypoint Printed signature in the plate On BFK Rives Vellum paper Size 32.8 x 26.4 cm (c. 13 x 10") References: - ...

The Flowers: Guzmania. Circa 1963. Signed Giandante X, a painter born in Milan in 1899 and died in 1984. Milano. Measurements without the frame: 50 x 35 cm. On the back is a pho...

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed.

Nicely painted mid century abstract cubist oil painting. Great color and composition. Framed.

Brunch At Brennans Sunday brunch at Brennan’s restaurant, New Orleans. A Wonderful Time – Slim Aarons Slim Aarons Chromogenic C print Printed 2024 Slim Aarons Estate Edition Pr...

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...

Follower of El Greco The Adoration of the Shepherds Oil on canvas The present work bares close similarity to a painting of the same name in the collection of the Museo del Prado, Ma...

The Perfect Piste 1960 Two downhill skiers on powder snow, Zermatt, Switzerland, 1960. by Toni Frissell 30 x 20" inches / 76 x 51 cm paper size Archival pigment print unframed ...

Untitled (Surrealist rendering of Pyramids at Giza with alligator) watecolor and gouache on paper, 1960 Unsigned Beni Kosh estate stamp No. 717 verso, unsigned. (see photo) Co...

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...

Madonna with the book. XVIIth century. Oil on Canvas. Antique painted wooden frame, in need of restoration. Reintel. Baroque Era. Interesting painting of the Genoese school, with ch...

John Bolam was born in 1922 in Amersham, Buckinghamshire. He originally studied painting at Hornsey School of Art and furniture design at High Wycombe School of Art. He subsequently ...

'Lounging In Verbier' by Slim Aarons Holidaymakers in sun loungers on the slopes at Verbier, Switzerland, February 1964. This photograph epitomises the Travel, Lifestyle and Glamou...

NYC Subway Mid 20th Century Modern American Scene Social Realism Contemporary David Atkins (1910 – 2012) Subway Train Departure 24 x 30 inches Oil on canvas, c. 1960s Signed lower r...

Nicely painted mid century abstracted figurative painting. Oil on canvas. Framed. No signature found. Great color and composition. Nicely framed in a period modernist molding.

Original Sabena vintage travel poster. Archivally linen —backed in very fine condition, A, ready to frame. The image comprises three surfboard-style sections depicting New York to Br...

River landscape Studio of Jan Brueghel the Younger (1601-1678) 17th century Antwerp school Oil on copper: h. 7.48 in, w. 10.43 in Ebonized wood and moulded frame Framed: h. 18.4 in, ...

Very impressive mid 20th century modernist interior scene. Oil on canvas. Framed. Signed with a monogram. Really impressive quality and a great subject.

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...

A. Zviedris was a member of the Latvian Artists’ Union since 1945 and had more than 50 solo exhibitions in Latvia. He travelled extensively by yacht around Scandinavia and Western Eu...

Style of Francesco Guardi (1712-1793) Venetian Canal Scenes, a pair -San Giorgio Maggiore from the Bacino di San Marco -Santa Maria della Salute from the Grand Canal Oils on canvas: 13 X 18 ¼ in. Frame: 18 ½ x 23 ½ in. Late 18th / early 19th century. Francesco Guardi was an Italian painter of veduta, nobleman, and a member of the Venetian School. He was born in Venice in 1712, the son of a minor painter, Domenico Guardi, and went on to become, after Canaletto, the main painter of views of Venice in the mid-18th century. His early figurative paintings were carried out in association with his brother, Gian Antonio, but in about 1760 Guardi turned to view painting, recording both the architecture of the city and the celebrations of its inhabitants in interior and exterior scenes. These works brought him great success. The earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture. Gallery notes: This fabulous pair of Venetian scenes are a work by a highly talented but unknown artist painting...

In the "Fantasy/Metaphysical" series by American artist Eugene Hawkins, the convergence of surrealism and metaphysics unfolds as an exploration of existential themes common to all. C...

The Battle of the Novogorodians with the Suzdalians 16th century Size 50.5 x 47.5 x 3 cm. The icon is located in the Russian Federation. There is an expert opinion from leading R...

Giovanni Agostino Cassana (c.1658 – 6 May 1720) Venetian Birds with an Upturned Basket of Fruit Oil on canvas: 25 x 35 in. Frame: 33 x 43 in. Abate, or Giovanni Agostino Cassana ...

Original travel poster: Braniff International Airways, Peru Bull. Size 20" x 26" A- condition. This vintage poster is not linen-backed because it is printed on a heavier paper ...

Nicely painted mid century abstract minimalist painting. Signed vero. Framed.

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...

Circle of Paul van Somer (Antwerp c. 1577-1621 London) Portrait of a gentleman, traditionally identified as Thomas Carey (1597-1634), youngest son of Thomas, 1st Earl of Monmouth Oil...

Artist: Josef Albers, German (1888 - 1976) Title: Portfolio I, "Homage to the Square" Year: 1968 Medium: Screenprint Edition Size: 1000 Image Size: 8 1/2in. by 11 Inches Frame Size:...

Great capture of the glamorous Audrey Hepburn posed leaning on a small table, dripping in jewels and beauty. British actress and humanitarian Audrey Hepburn is regarded as one of t...

Sir John Wynn, 5th Baronet Canvas Size: 50 x 40" (127 x 102cm) Outside Frame Size: 58 x 48" (147 x 122cm) Sir John Wynn, 5th Baronet (1628 – 11 January 1719) was a Welsh landowner a...

Still Life Of Flowers & Fruit In A Glass Vase Upon A Stone Mantle, 19th Century by Jan D DE HEEM Large 17th century Dutch Old Master still life study of various flowers and fruit ...

William III of England, Prince of Orange, workshop C. Netscher (The Hague, 1668-1723) Late 17th c. Dutch school Oil on canvas, dimensions: h. 31.49 in, w. 24.80 in Giltwood and carve...

'Jean Shrimpton In Evening Dress' Limited Edition V&A Portfolio silver gelatin fibre print. Jean Shrimpton modelling a dress, John French (1907-66), England, 1961 © Victoria and Alb...

Head of apostle or Christ in carved limestone. Elongated face with a large forehead and long hair with thick wavy locks on the sides. The almond-shaped eyes are underlined by the hem...

Richard Anuszkiewicz Metallic Water, 1964 Painting with Liquitex on canvas. (1964 Art Institute of Chicago Exhibition and J.L. Hudson Gallery) Signed boldly and dated 1964 on the ver...

'Sardinian Holiday' 1967 Slim Aarons Limited Estate Edition Print Selvaggia Borromeo enjoys a yachting holiday on the Costa Smeralda in Sardinia, 1967. Paper size 40 x 30 inches /...