Art

This exquisite floral still life, likely created in the late 17th century, is attributed to a follower of Daniel Seghers. The painting showcases a vivid arrangement of various flower...

signed "Ike Edward Morgan" at lower left

Master of the Grotesque Vase (active in Rome and Naples in the first quarter of the 17th century) Still life of flowers in a classic vase oil on canvas 66 x 51 cm, In frame cm. 82 x...

FREE SHIPPING WORLDWIDE! Artisan: Martin Olivas Quintana MASTERPIECE Carved polychrome jar decorated with a sgraffito and painted hummingbird, flowers ...

FREE SHIPPING TO WORLDWIDE! Artisan: Zeny Fuentes Mendez MASTERPIECE Made with Copal wood, woodcarving technique gouges, machete and sandpaper, decorated with acrylic paintings with...

The Military Encampment Dutch School, 17th century circle of Philips Wouwermans (Dutch 1619-1668) oil painting on canvas, in 18th century gilt frame canvas measures: 19.5 x 17 inches...

A 19th-century portrait of a terrier dog, especially one attributed to a renowned artist like Ben Marshall, offers more than just an artistic piece—it's a window into history and a c...

This large double portrait depicts the sisters Lady Catherine and Lady Jane Brydges, the daughters of John Brydges, the Marquess of Carnarvon (1703-1727). They are seated on a stone...

Unknown (European, probably Eighteenth Century) Shepherds and Peasants in a Landscape Ink, watercolor, and gouache on vellum; 12 5/8 x 19 3/8 inches Framed: 20 x 28 inches (approx.)

Portrait of Louis de France (1661 -1711), known as the Grand Dauphin, son of Louis XIV and Maria Theresa of Austria. 17th century French School, circa 1670 Workshop of Beaubrun Henri...

‘Fire and Moonlight’ by Abraham Pether FSA (1752–1812). The painting – which depicts an extensive moonlit view across the City of London with a cottage on fire in the foreground – w...

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...

Anton Maria Piola (Genoa, 1654 - 1715) circle Madonna and Child Genoese school of the second half of the 17th century Oil on canvas 93 x 74 cm.- In antique frame 110 x 92 cm. (Work with expertise by Dr. Arabella Cifani) In the pleasing work proposed, depicting a classical Nativity scene, the Madonna is immortalised in adoration as she gently holds the sheet on which the Child is lying, with a gesture of protection and pride that facilitates an atmosphere of intimate recollection, in addition to the presence of three cherubs at the top. The stylistic analysis of the canvas can easily be traced back to a painter of the Genoese school and active during the 17th century, specifically with the devotional works from the workshop of Domenico Piola (Genoa, 1627-1703), an absolute protagonist of Genoese Baroque culture. Piola was the owner of the most important city painting workshop of the time, known as 'Casa Piola', where his sons Paolo Gerolamo and Anton Maria also collaborated. His production, which specialised in a type of highly decorative, profane and allegorical paintings, destined for the decoration of Genoese patrician palaces, also included a refined series of works of a religious nature. In particular, the style of our beautiful breast painting...

Antique painting depicting the Face of Christ as Salvator Mundi Flemish painter, 16th-17th century Oil on copper 22 x 18 cm./ framed 42 x ...

Painting by Noche Crist (1909 - 2004). Work is untitled and signed. Measures 22" x 12". Painting is casein paint and plaster on board. Catalogue of an exhibition in 2008 at the...

Jacob Ferdinand Saeys (Antwerp 1658 - Vienna 1726) and workshop Architectural capriccio with a coastal view at sunset and figures oil painting on canvas 60 x 91 cm., With frame 75 x...

Without frame. Already been in Koelliker collection (no. inv. LK1372). Daniel Seiter (Vienna, 1642 or 1647 – Turin, Italy, 1705) was an Austrian Baroque painter who worked and trai...

Original canvas. Beautiful ancient frame in carved, sculpted, gilded wood. The painter illustrates the famous iconography of "The Virgin with the Child and Angels". We can have a lo...

This work, offered by Titan Fine Art, formed part of the collection of paintings and family heirlooms of Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) and his wife, Baroness Marguerite (née d’Harcourt) de Cabrol de Moute (1915-2011). The couple had unimpeachable and enviable family backgrounds, and were descendants of ancient princelings; together they were one of the most prominent high-society couples of the twentieth century and counted the Duke of Duchess of Windsor amongst their closest friends. This portrait is that of Marie-Madeleine de Chamillart (died 28 May 1751) nee Nicolas de Lusse. She had a daughter, Anne, in 1692. In 1700 she married Clément Chamillart (1663-1708), President of the Accounts of the King's Chamber. The couple had a daughter, Madeleine (born 1701), who married Louis, the only son of Guillaume de Guitaut and Antoinette de Vertamont in 1719. Guillaume de Guitaut resided at Château d'Époisses in Burgundy France and his descendants still live today. A portrait of our sitter is still held at the Château. Clément Chamillart died in 1708 and our sitter remarried Jean-Baptiste de Johanne de la Carre (1678-1726), marquis de Saumery, maréchal de camp, in 1713. This marriage produced two daughters, Marguerite (died 1729) and Marie Madeleine (born 1720). Much of the beauty of this elegant portrait resides in its graceful composition – it is a fine example of French portraiture. Beautifully and meticulously rendered throughout, the sitter has been depicted three quarter length in an outdoor setting beside a potted orange tree. The lady is shown in a blue dress with silver detailed décolletage and large voluminous sleeves turned over to reveal elaborately detailed lining. The sumptuous fabrics convey a sense of wealth and prestige. The portrait is striking in its portrayal of the sumptuous fabrics and their decorative richness. The prominent sprig of orange blossom that she is holding is a traditional representation of marriage and eternal love in art, but it also alludes to youth and freshness, and by virtue of the great expense and difficulty with which it was often grown, to great wealth. In accordance with the sitter's age and the style of clothing and hair with the curls on the forehead, this portrait can be dated to the 1720s. Baron Hugues Alfred Frèdéric de Cabrol de Moute (1909-1997) was the son of Roger de Cabrol de Moute and Helen Mary de Lassence. He was one of the more engaging personages in that delightful social constellation of social figures who animated what has become known as "Cafe Society" which was international but inevitably most at home in Paris from the 1920's until the 1960's. He married Marguerite d'Harcourt (1915-2011), known as Daisy, in Paris in 1937, the only daughter of Étienne, Marquis d'Harcourt, and his wife, Marie de Curel. The Harcourt family belongs to the circle of the oldest families in France; the founder of the family, Bernard le Danois, received the seigniory of Harcourt in the tenth century, following the conquest of Normandy. In the 11th century, his descendants took part in the conquest of England alongside William the Conqueror. Later, the Harcourt family was divided into a French branch and an English branch, which successively received the titles of barons, viscounts, and counts. Marguerite "Daisy" Marie Brigitte Emmanuelle Ghislaine d'Harcourt, Baronne de Cabrol was one of the last survivors of twentieth century French high society. Through her mother, Daisy was a descendant of the great industrial family of Wendel, with iron and steel enterprises in Lorraine; she also descended from Nicolas Soult, one of Napoleon's Marshals and three times Prime Minister of France. The couple became friends of the Duke and Duchess of Windsor in 1947, and were invited to the Chateau de la Croë, their rented house on Cap d'Antibes. There they found the exiled Windsors living in unusual post-war luxury, serving delicious food and providing fresh sheets every day. Daisy suspected that the Windsors were bored, but, having nothing else to do, were condemned to an endless round of social engagements. She and Fred were among the few allowed to see the Duchess laid out after her death in 1986. Daisy was a considerable hostess, giving a ball every year for her charity, L'Essor, to which le tout Paris would come. One of these, in 1954, was at the Palais des Glaces, in Paris (later used in the film Gigi), at which she entertained Charlie Chaplin, the Begum Aga Khan and the Windsors. According to Nancy Mitford...

A wonderful example of Chinese embroidery, this framed silk textile uses the infamous forbidden stitch to depict a fine blue-and-white porcelain vase....

To Chicago-based artist Patrick Fitzgerald, his miniature car sculptures are a means of traveling through time. Born from a fascination with the soap box derby cars of his youth, each vehicle is an exercise in imagining the future through the lens of the past – or vice versa. Built from found materials collected over the years, the car's futuristic form is layered with personal memories and keepsakes from the past. The most minute of details is always intentional – from the weathered finish to the fictitious sponsor to the miniaturized furnishings of the cramped interior. This sculptural car entitled "Pylon Trunk" is intended as a complement to the rest of Fitzgerald's imaginative cars, something of a service vehicle loaded with removable traffic cones and street signs. A simple truck bed...

Artist: Saverio Manetti (Italian, 1723-1785) Title: "Eagle" (Plate V - 5) Portfolio: Storia Naturale Degli Uccelli (The Natural History of Birds) Year: 1767-1776 Medium: Original Hand-Colored Engraving on watermarked laid paper Limited edition: Unknown Printer: Unknown Publisher: heirs of Francesco Mouck (Vols. I-III), Gaetano Cambiagi (Vol. IV), Giuseppe Vanni (Vol. V), Florence, Italy Sheet size: 16.75" x 14.5" Platemark size: 13.63" x 10.88" Condition: Some minor surface marks mainly in margins. In excellent condition with strong colors Rare Notes: Provenance: private collection - Haarlem, Netherlands. Engraved and hand-colored by Italian artists Lorenzo Lorenzi (Active: 1750-1780) and Violante Vanni (1732-1776). Latin and Italian texts by Saverio Manetti. Comes from Manetti's monumental 5 book volume "Storia Naturale Degli Uccelli (The Natural History of Birds)", (1767-1776), which consists of 600 hand-colored prints, miniature and life-size prints, made from engraved plates. Unidentified watermark in very center of sheet. Comes with its accompanying information sheet. Eagle is the common name for many large birds of prey of the family Accipitridae. Eagles belong to several groups of genera, some of which are closely related. Most of the 60 species of eagle are from Eurasia and Africa. Manetti's extraordinary "Storia Naturale Degli Uccelli (The Natural History of Birds)", 1767-1776 was commissioned by Maria Luisa, the Grand Duchess of Tuscany. It is a massive 5 book volume set...

Portrait of Young Gentleman, Lord George Douglas, in an Arcadian Landscape c.1710 Attributed to Charles D'Agar (1669-1723) Depicted with bow in hand and situated against an Arcadian...

Artist: (Follower of) Nicholaes Berchem (The Elder) (Dutch, 1620-1683) Title: "Herdsmen Resting" *No signature found Circa: 1790 Medium: Original Ink Drawing on wove paper Framing: Not framed, but matted with white rag matting from Holland and gold filet Matted size: 15.25" x 17.75" Sheet size: 7.25" x 10" Condition: Light toning to sheet. A few foxmarks and a small area of discoloration upper left. In otherwise very good condition Biography: Nicolaes Pieterszoon Berchem (1 October 1620 – 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn...

Juan Alfonso Abril (active in the 17th century in Valladolid) Head of Saint Paul Oil on canvas, cm. 48,5 x 62 - with frame cm. 63 x 76,5 Shaped wooden f...

Chicago-based artist Patrick Fitzgerald uses his works as a means of resurrecting the idyllic worlds he once found in the industrial surroundings of his youth. Raised in Grand Rapids...

The Tax Collectors Italian School, early 18th century oil on copper panel, framed framed: 14 x 11.5 inches copper panel : 11.5 x 9 inches provenance: private collection, UK conditio...

The Toilet of Venus Francesco Albani (Bologna 1578 - 1660), workshop of oil on canvas 62 x 76 cm. - framed 70 x 84 cm. (period frame) The proposed painting, depicting the Toeletta ...

Portrait of Frances, Lady Whitmore nee Brooke (c.1638-1690) Circle of Sir Peter Lely (1618-1680) Titan Fine Art presents this exquisite portrait that depicts Frances Brooke, Lady Wh...

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:...

Wenzel Hollar (1607-1677), Adam Elsheimer, etching after a painting of Elsheimer by Jan Meyssens, 1649, with text and signatures as described below. Ref...

Leo Schutzman (1878 - 1962) Simchat Torah in the Synagogue, circa 1958 Oil on canvas 40 x 36 inches Signed lower left Provenance: The Contemporaries Gal...

Venetian painter (late 19th century) - Venice, view of the Riva degli Schiavoni with carnival masks. 30 x 40 cm without frame, 46 x 53 cm with frame. Oil on panel, in a carved and ...

Large Marine Scene Dutch or Flemish, 20th century color print on canvas, framed framed: 27 x 34 inches canvas: 20 x 27.5 inches provenance: private collection, UK condition: very goo...

John Ferneley Jnr Stabled horses Oil on canvas Canvas Size - 20 x 24 in Framed Size - 27 x 31 in Born in about 1815 at Melton Mowbray, he was the eldest son of the important sporting artist John E Ferneley. The latters other two children, Claude Lorraine and Sarah, were also artists. He spent his early life at Elgin Lodge and his father was a major influence on his artistic development and was in all probability his sole teacher. His father took him on trips to London and in 1832 to Durham and York where the younger Ferneley later settled in about 1839, probably because of the large number of patrons in the area. His first work, of a Whipping-in, was engraved and published in the New Sporting Magazine in May 1833 and was followed in the next year by an engraving of a Hunter. John E Ferneley had established a significant career as an equestrian artist in the old English tradition largely due to being a pupil of Ben...

This lovely Dutch Old Master portrait oil painting is attributed to circle of Willem Wissing. Wissing settled in England and emerged as Peter Lely's most important pupil after his de...

Signed with pencil. Technique: Serigraph printing Stamp measurements: 60 x 45 cms Number of inks: from 30 to 35 Paper: Biblos Guarro Español 100% cotton Edition: 500 pieces (250 + 25...

Circle of Antoine Pesnes 1725 Margravine of Bayreuth Old Master Portrait A delightful portrait of a young noble woman ascribed on a label verso as la margravine de Bayreuth, 1725. P...

Italian painter (early 18th century) - Four Evangelists. 25.5 x 19 cm without frame, 29 x 22.5 cm with frame. Ancient oil painting on panel. in wooden frames. Condition report: In...

Giacomo Guardi (Venice, 1764 - Venice, 1835) View of Venice with the Giudecca Canal and the Gesuati Church oil on canvas 34 x 42 cm. - framed 40 x 50 cm. Expertise dott Federica Sp...

Gerard Seghers (Antwerp, 1591 - 1651) workshop Saint Cecilia and the Concert of Angels Oil on canvas 98 x 120 cm. - Framed 113 x 137 cm. This evocative painting, which we are please...

The Dawn - By Guido Reni (Bologna 1575 - 1642) Late Baroque painter, 18th century Oil on canvas (98 x 148 cm - Framed 108 x 159 cm) This large painting depicts the young Apollo, cr...

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 ...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various ty...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various typ...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various typ...

This listing is for the one Silkscreen serigraph piece listed here. Mexico City, 1945. First edition. plate signed, limited edition of 1000, these serigraph plates depict various typ...

Artist: Lambrecht Hopfer (German, Active c. 1525-1550) Title: "The Crucifixion (Christ on the Cross)" Portfolio: (after) The Engraved Passion *Issued unsigned, though monogram signed...

Georges Braque, After, French (1882 - 1963) - Ajax, Year: circa 1968, Medium: Etching, Image Size: 12.5 x 9.75 inches, Size: 16 in. x 15 in. (40.64 cm x 38.1 cm), Description: Print...

Jean Morin, After by Amand Durand, French (1590 - 1650) - Portrait du Cardinal Guido, Medium: Heliogravure, Size: 13 x 9.5 in. (33.02 x 24.13 cm), Printer: Amand Durand, Descripti...

Marco Dente, After by Amand Durand, Italian (1493 - 1527) - Venus l'Amour et Pallas, Year: circa 1878, Medium: Heliogravure, Size: 9 x 5.5 in. (22.86 x 13.97 cm), Printer: Amand D...

Auguste Rodin, French (1840 - 1917) - La Ronde, Year: 1883, Medium: Drypoint, signed in pencil, Image Size: 4 x 5.75 inches, Size: 13.25 x 9.5 in. (33.66 x 24.13 cm), Reference: Del...

Marco Dente, After by Amand Durand, Italian (1493 - 1527) - La Vierge au Poisson (d'apres Raphael), Year: circa 1878, Medium: Heliogravure, Image Size: 10 x 8.5 inches, Size: 11 x ...

Marco Dente, After by Amand Durand, Italian (1493 - 1527) - Le Bas Relief aux Trois Amours, Year: circa 1878, Medium: Heliogravure, Size: 7.5 x 14.5 in. (19.05 x 36.83 cm), Printe...

Auguste Rodin, French (1840 - 1917) - Portrait d'Antonin Proust, Year: 1884-1888, Medium: Drypoint Etching, signed in pencil, Size: 9.5 x 7 in. (24.13 x 17.78 cm), Frame Size: 17.5 ...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Venus et l'Amour I, Year: 1875, Medium: Heliogravure, Size: 4.75 x 3.25 in. (12.07 x 8.26 cm), Printer: Amand ...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - Portrait de Pierre Aretin, Year: 1875, Medium: Heliogravure, Size: 9 x 6 in. (22.86 x 15.24 cm), Printer: Aman...

Marcantonio Raimondi, After by Amand Durand, Italian (1480 - 1534) - L'homme endormi a l'entree d'un bois, Year: 1875, Medium: Heliogravure, Size: 4.25 x 3.25 in. (10.8 x 8.26 cm)...