Large Art

TN845-T, by Japanese contemporary artist Hachiro Kanno. H 41 cm x W 99 cm. Signed, sold unframed. Ink and acrylic on canvas. This artwork is a triptych composed by three panels measu...

Francesca - Signed limited edition archival pigment print - Edition of 5 This image was captured on film in 1986. The negative was scanned creating a digital file which was then ...

"Sticks and Stones" (2024) by Sheri Farabaugh (United States Based) is a beautiful handmade still life oil painting that depicts a closeup of a pond shore, with tree branches laid ac...

The artist explored nature and how the body can be part of these landscapes with the help of the model Marisa. He did not hesitate to brave the climate and landscapes of Iceland. Th...

Redondo Vicente Romero Redondo (born in Madrid, 1956) is a Spanish figurative painter and educator, best known for his pastel depictions of grac...

Kobi Raz (Israeli, born 1959) "Duality of Color" 2024 Oil paint, canvas, stretcher bars The artist signed the bottom left of the painting. “Duality of Color” is a striking abstract ...

Sam Francis, American (1923 - 1994) - Untitled (SF-355), Portfolio: Papierski Portfolio, Year: 1992, Medium: Lithograph on BFK Rives, signed and numbered in pencil, Edition: 50...

SEVENTH TORII is an original, hand drawn(not a photo reproduction or digital print), limited edition lithograph with gold silkscreen printed using hand lithography and serigraphy tec...

This artwork "leopard" c.1990 is an offset lithograph by noted animals wildlife artist Jacquie Marie Vaux. It is hand signed and numbered 366/750 in...

Ezra II, limited edition, archival pigment ink photograph, signed and numbered When looking at Julie Blackmon’s “Hilltop,” notice the elements that are in motion: the grass on the h...

ABOUT THIS PIECE: Color is the foundation of my work. My circles start as a mood or idea that eventually evolves into a colored circle. I am curious how different colours interact wh...

Laminated Giclée print on aluminium composite, screen printed with glitter Edition of 3,041 100 x 100 cm Signed on a label affixed to the back Mint. Minor imperfections may appear du...

Andy Warhol (after), Double Self-Portrait — Louisiana Museum, 1978 Original Danish exhibition poster; linen-backed; Very Fine (Grade A) Striking vintage exhibition poster created b...

This series is born from a personal experience. The model's husband told Uwe Ommer an idea: he wanted to watch his wife with other men hiding behind the curtains. This is how the ser...

The root of these unique photographic works by the artist Celso Castro occurred when the artist returned from Italy to live back in Colombia in 1987. Castro wanted to produce from t...

Jean Krillé’s paintings are known for their expressive use of color and dynamic, abstract forms, blending realism with abstraction in his depictions of nature. His landscapes often f...

Large and powerful French modern street scene. A paris view by Claude Aliotti (1925 - 1989). Oil on board. Signed. Framed. Image size, 18"L x 24"H.

Jack Tworkov Art 1982 Chicago Navy Pier Poster, 1981 Limited Edition of 1500 Four color limited edition offset lithograph poster on 300 gram Dove 500 white a...

Sylvia Rutkoff (1919-2011) "Red with Blue" 1970s Fabric collage on stretch bar 38"x28" unframed Unsigned Collection acquired from family estate Sylvia Weinreb Rutkoff (1919-2011) Bo...

Artist: Slonem, Hunt Title: Swallowtail Date: 2019 Medium: Oil on wood Unframed Dimensions: 33" x 25" Framed Dimensions: 35" x 26.5" Signature: Signed by Artist on Verso Editi...

Subway 43 by John Conn was originally photographed in New York City between 1975 and 1982. Each black and white photograph is signed and numbered. Edition of 15. It is a 20x30 ima...

Leonard Creo (American, 1923-2019) Untitled (Children on a Playground), c. 20th century Oil on canvas 27 x 30 in. Framed: 32 1/4 x 35 3/4 in. Signed lowe...

David Mead (British 1906-1986) 'An Extensive River View' oil on canvas framed: 28 x 40 inches canvas: 24 x 36 inches private collection, England gallery label verso the painting is in overall very good and sound condition David Mead (1906 - 1986) David Mead was born in London in 1906. A self-taught painter, he started painting landscapes at the age of 9, greatly influenced by F W Hayes...

Classical Still Life of Fruit in Basket with other objects Italian artist, 18th century oil on canvas, unframed canvas: 24.5 x 33 inches provenance: private collection, UK condition:...

An Exceptional, Vibrant Mid-Century Modern 1950s Chicago Night Club Scene of Dancing Showgirls. Titled "Dancers #2", the painting depicts a dynamic, sta...

"Nature is the indirect perception of human personification, emotion and imagination which is emphasised in colour, texture, patterns and line as it is captured in my paintings, with...

This rare exhibition poster features Pierre Bonnard’s La Terrasse, created around 1918–1920, and published as part of the Collection of European Masters for the Kunstsammlung Nordrhe...

View over the Bay of Naples is an orginal old master artwork realized by Master of Northern Europe School of the second half of 19th Century. Mixed colored oil on canvas. Relined....

A Hahnemuehle Fine Art Print, attributed to Roy Lichtenstein. Editioned of 25.

Dixieland (1948) Limited Estate Stamped (Photo By Slim Aarons) An impromptu concert in Rome with American Jazz trumpeter and singer Louis Armstrong (1901 – 1971), Earl ‘Fatha’ Hines (1905 – 1983) on piano and Jack Teagarden (1905 – 1964) on trombone playing with the ‘Rhythm Kings’. Hines and Teargarden play in Armstrong’s ‘All-Stars’ band. November 1948 About this Image: Louis Daniel Armstrong, nicknamed "Satchmo", "Satch", and "Pops", was an American trumpeter, composer, vocalist, and actor who was among the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, and different eras in the history of jazz. Earl Kenneth Hines, also known as Earl "Fatha" Hines, was an American jazz pianist and bandleader. He was one of the most influential figures in the development of jazz piano...

Nice Travail et Joie is a 1947 French travel poster by master artist, Henri Matisse. This travel poster was created exclusively for the city of Nice, where Matisse settled towards th...

Flora 10 is a vibrant Digital C-Type print in an Edition of 15 in this size by contemporary photographer duo Tortora & Travezan. In this portrait of the nude female, Tortora & Trave...

Jon Carsman Faded Glory - 1978 Print - Silkscreen, on Arches archival paper 34¼'' x 24'' inches Edition: signed in pencil and marked 156/100 image size 20" x 30" inches “Jon Cars...

Apres Ski 1963 (printed later) Chromogenic Lambda Print Estate edition of 150 A group of women reclining on the snow in Gstaad with rugs covering their knees, 1963. Estate stamped ...

Renowned artist Hunt Slonem's "Finches on Gold" is a 24x 36 colorful gold background oil painting on wood board of contemporary abstract finches in blue, yellow, green, red, pink, an...

Stunning abstract expressionist painting, ca. 1955. Oil on Canvas, measuring 36 x 40 inches. Some natural cracking and paint loss due to heavy impasto technique. Unsigned. Art su...

Charles-André van Loo (Nice 1705 - Paris 1765) workshop of - Allegory of the Divine Comedy. 54 x 83 cm unframed, 70.5 x 99.5 cm framed. Old oil painting on canvas, in a carved and ...

Artist: Charles Cobelle, French (1902 - 1994) Title: Monument Year: circa 1960 Medium: Acrylic on Canvas, signed l.r. Size: 24 x 30 in. (60.96 x 76.2 cm) Frame: 28.75 x 33 inches

Paper Size: 25 x 33.5 inches ( 63.5 x 85.09 cm ) Image Size: 20 x 30.5 inches ( 50.8 x 77.47 cm ) Framed: No Condition: A: Mint Additional Details: Limited edition print by Mar...

American Crow by J.J. Audubon from his Birds of America folio shows an adult male crow in a Black Walnut bush with a nest of a Ruby-Throated Hummingbird in a branch below the crow. This original chromolithograph plate no. 226 is in good condition with a repairable water mark in the image on the left side as can be seen in the photos. The ” Birds of America” by John James...

Jean-Michel Basquiat Gagosian Gallery 1986: Original 1980’s Basquiat exhibition poster, published on the occasion of: Jean-Michel Basquiat at Larry Gagosian Gallery, 510 North Robert...

This exact work was exhibited at the Art Students League in an important show. (details below) Elizabeth Catlett Homage to the Panthers, 1993 Color Lithograph on wove paper with deck...

Artist: Anatoly Borisovich Tarabanov Work: Original oil painting, handmade artwork, one of a kind Medium: Oil on Canvas Year: 2010 Style: Impressionism Title: Summer Meadow Size: 2...

This exceptionally charming antique Continental oil painting depicts an intimate and tender scene of a mother with her young child, re...

Poppy No.11 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 100 x 100 cm and is part of an exclusive series of 10 prints, each han...

Pair of romantic Bavarian paintings is an old master artwork realized in 1889 by the master Karl Adolf Wilhelm Chelius (1856-1923). Mixed colored oil panting on...

Abstract painting with a rich texture and interwoven layers of color. Pink tones predominate, enhanced by flashes of other colors and a geometric element. The composition displays a ...

Also known as Before the Promenade (1985), this original exhibition poster by Fernando Botero was published by Marlborough Gallery in 1985. Printed as an offset lithograph on semi-gl...

Flower I Cherry Wine (part of the “State of Bloom” series) “Cherry Wine” is a painting about youthful sexuality — that rare moment when the world feels carefree, and life takes on ...

This lovely British Old Master portrait oil painting is attributed to circle of Sir Thomas Lawrence. Painted circa 1820 it is a seated half length portrait of a beautiful lady in a b...

Antique Italian modernist landscape oil painting. Oil on board. Signed. Framed. Provenance from a Brooklyn, NY collection. Measuring: 23 by 33 inches overall. Handsomely framed in d...

Contemporary Art, Abstract Painting Acrylic on canvas 90 x 70 cm 2025 About the Artist Painting was always present in Ana Valdes's life, but it was not until she finished her Bach...

ARTIST: Unsigned Early Mid 20th Century English School TITLE: "Lady In A Garden" MEDIUM: oil on canvas SIZE: 87cm x 40cm inc frame CONDITION: very good NOTES: Well composed 1920's ...

A Rare Jacobean Portrait of Lady Elizabeth Wheeler (née Cole), 1623 Attributed to Cornelius Johnson (1593–1661) This remarkably rare early oil on panel, presented by Titan Fine Art, has emerged as far more than an anonymous “Portrait of a Lady.” Preserved in outstanding condition—its surface retaining exceptional clarity in the lace and textiles—it has only recently been reunited with the identity of its sitter: Elizabeth Cole (1607–1670), later Lady Elizabeth Wheeler, a Westminster gentlewoman whose later life brought her into intimate royal service as laundress for His Majesty’s person. That combination—high quality, uncommon survival, a newly identified sitter, and a life that intersects directly with the last acts of Charles I—places this portrait in a category of genuine rarity. It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling. The sitter is presented half-length against a dark ground, enclosed within a painted sculpted oval surround that functions like an architectural frame. This device, fashionable in the 1620s, concentrates the viewer’s attention and heightens the sense of social presentation: the sitter appears both physically and symbolically “set apart,” as if viewed through a refined aperture. The portrait’s immediate power, however, lies in the costume—an ensemble of striking modernity for c. 1623 and rendered with a precision that survives with remarkable crispness. She wears a deep green gown—a fitted overgown with open sleeves—over a finely embroidered linen jacket (a stiffened bodice/waistcoat garment). The sleeves form pronounced “wings” at the shoulder, a structurally assertive fashion detail of the early 1620s that enlarges the silhouette and signals sophistication. Beneath the green overlayer, the white linen jacket is richly ornamented in gilt embroidery. The goldwork is arranged as scrolling foliate forms—looping, curling tendrils punctuated by seed-like stippling—organised into balanced compartments across the bodice and sleeves. The motifs read as stylised botanical forms with rounded fruit-like terminals and leaf elements: not literal naturalism, but controlled abundance. The technique is described with extraordinary intelligence, mimicking couched metallic thread through patterned, “stitched” marks, while tiny dots and short dashes create a lively tactile shimmer. This embroidered jacket sits above a newly fashionable high-waisted, sheer apron or overskirt. The translucent fabric falls in soft vertical folds and is articulated with narrow lace-edged bands, giving the skirt a crisp rhythm of alternating sheer and patterned strips. At the neck, a fine ruff frames the face: a disciplined structure of pleated linen finished with delicate lace. Draped diagonally across the torso are long gold chains, painted to suggest weight and metallic gleam; they function both as ornament and as a further signifier of status. The cumulative effect is controlled luxury: she is not overloaded with jewels, but clothed in textiles whose cost and craftsmanship speak unmistakably. The recent sitter’s identification rests on heraldic and genealogical analysis: the arms shown on the painting correspond to those recorded for several families in armorial sources, but when the lines of descent are tested against survival and chronology, the viable bearer by 1623 resolves to Cole, and—crucially—to the London branch. That resolution matters because it anchors the portrait to a very specific social world: London/Westminster civic gentry and Crown administration, the milieu in which portraiture served as both self-fashioning and social instrument. The recent identification of the sitter (the London Cole branch of the family) is not merely genealogical; it has direct implications for authorship. A London-based mercantile or civic-gentry family would have ready access to leading immigrant artists, familiarity with heraldic display conventions, and the means to commission oil on panel, still standard among Netherlandish-trained painters. In that context, the portrait’s age inscription and date become especially revealing. The painting states the sitter to be nineteen years of age. Yet Elizabeth Cole’s birth in 1607 suggests she would be younger if the portrait is dated as early as 1623. The key insight is that the “incorrect” age is best understood not as a mistake but as a deliberate social adjustment, a performative statement rather than a documentary one. The most persuasive explanation is strategic. Portraits of high-status unmarried women were frequently made in connection with marriage negotiations. In the early 1620s, Elizabeth’s future husband, William Wheeler, was resident abroad at Middelburg in Zeeland in the Dutch Republic. If a portrait was intended to support or facilitate a match with an educated, ambitious man—“a man of learning and letters,” —then presenting a seventeen-year-old as nineteen would subtly reposition her as more mature and more nearly a peer in age, Wheeler being around twenty-two. The portrait thus becomes an instrument of alliance, not merely a likeness: an image designed to persuade, reassure, and elevate. This reading aligns perfectly with the period’s wider conditions. The early 1620s in England were charged with anxiety and expectation: James I’s later reign was marked by court faction, diplomatic tension, and the pressures of European conflict. The so-called “art market” was inseparable from these dynamics. Portraiture flourished because it served multiple functions: it fixed lineage, advertised alliance, signalled readiness for marriage, and projected the stability of elite households in an uncertain world. For Westminster families whose power came through office, portraiture was also a declaration of belonging—proof that administrative elites possessed the cultural polish traditionally associated with older aristocratic rank. Elizabeth’s later life vindicates the portrait’s impression of steadiness. Although no record survives of her marriage ceremony to William Wheeler, wills suggest she had married him by the mid-1630s, and there are strong grounds—consistent with the portrait’s implications—for a union already in place by the early 1630s, possibly earlier. Wheeler himself rose rapidly. By 1639 he held a manor at Westbury Leigh in Wiltshire and sought letters of denization due to overseas birth, enabling him to stand as Member of Parliament for Westbury. He leased the principal manor of Westbury the following year, coinciding with his election. In government service he became Remembrancer of the Exchequer and held office across regime change, a testament to administrative skill and political pragmatism. It is Elizabeth, however, who makes this portrait exceptional. She became laundress for His Majesty’s person, responsible for the washing and oversight of the King’s personal linen—an office that, despite its domestic description, required unusual trust, discretion, and access. Her role becomes visible in 1643 when she was granted a warrant signed by the Speaker of the House of Commons to follow the King to Oxford with her servant after the outbreak of the Civil War. She continued to serve during the King’s captivity after 1646, and at Carisbrooke Castle in 1647 she and her maid were implicated in smuggling secret correspondence to and from Charles I, in service of escape plans. After the King’s failed attempt to escape in March 1648, she was removed—yet the King’s trust persisted: he was permitted to send her remaining jewels in an ivory casket...

Jacques Blanchard (Paris, 1600 – Paris, 1638) and workshop Thetis in Hephaestus' forge (Hephaestus gives Thetis the weapons he forged for Achilles) Oil on canvas applied to pan...

In this series, Perrine explores the profound relationship between light and color, both essential elements in her artistic expression. Without light, there would be no colors, and i...

US buyers pay no import tariffs on this item. This exquisite mid-19th-century bust-length Austrian portrait depicts a young lady wearing a red gown together with a black lace veil, ...

Venetian painter (19th century) - Venice, view of the Campiello del le Chiovere towards the church of San Rocco and the bell tower of Santa Maria Gloriosa dei Frari. 73 x 37 cm with...

Artist: Eduard Matevosyan Work: Original Oil Painting, Handmade Artwork, One of a Kind Medium: Oil on Panel Year: 2025 Style: Impressionism, Title: Summer Trees, Size: 37.5" x 25.5...

Never be jealous of a biker to her biker friends. Firstly: it is useless; secondly: are you jealous of your brothers? The only thing you can be jealous of is the motorcycle, because ...