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"Two Kisses" by Vita Kobylkina is a delightful oil on board painting that captures the iconic form of Hershey’s Kisses with a contemporary twist. The artwork features two Kisses plac...

Only two remaining tapestries, will be completely sold out soon! In the 18th Century, landscapes with trees, birds and rivers were popular, and often included architectural feature...

Striking sailors valentine handcrafted with exotic organic seashells in an ambitious floral composition and presented in an octagon ebonized shadow box.

This is our last remaining one of very popular "The Source" tapestry, we will be completely sold out once this one sells. Inspired by the Verdure Balmoral Tapestry, Flemish tapestry...

Barbara Kruger's powerful interpretation of the American flag is screen printed onto a large cotton bandana. These were a limited timed released where they were only sold for about a...

"Through the Window" by Cécilia Lusven is handwoven from linen and off-cut leathers. Lusven's signature style involves hand-cutting the leather scraps i...

Initialed lower right, 'DJ' and dated 1957. Titled, 'Look Homeward, Angel' and 'Eugene Grant, Anthony Perkins'. Inscribed with costume designer notes and bearing costumer's fabric swatches. Costumes for this production were undertaken by Motley Design Group (Margaret Harris, Audrey Sophia Harris and Elizabeth Montgomery). Premiering on November 28, 1957 at the Ethel Barrymore Theatre on Broadway, 'Look Homeward, Angel' ran for a total of 564 performances, closing on April 4, 1959. Directed by George Roy Hill, written by Ketti Frings, and based on Thomas Wolfe's 1929 largely autobiographical novel of the same title, the cast starred Jo Van Fleet and Anthony Perkins. Ketti Frings won the 1958 Pulitzer Prize for Drama and the New York Drama Critics' Circle Award. The production received Tony Award nominations for Best Play; Best Actor in a Play (Hugh Griffith...

70x70cm, print on canvas

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...

Basquiat spray paint c.2017: Limited Edition Jean-Michel Basquiat spray paint can published circa 2017 featuring the Estate trademark of Jean-Michel Basquiat. A unique Basquiat colle...

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...

Titan Fine Art present this exquisite portrait, that 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 and, more specifically, to the roles of Colonel the Hon. John Russell in the Civil War and the reign of King Charles II and of Lord Arthur Hill, later 2nd Baron Sandys, in the Peninsular War. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. The full provenance of our painting, which hung in The Saloon (see photo), is known from its creation right through to now – an extraordinary fact considering its age. This exquisite Grand Manner work is an evocative example of the type of portrait in vogue during the seventeenth and eighteenth centuries. Beautifully composed, the sitter has been depicted full length within surroundings that conveyed cultivation and an elite status – a classical porch with a colossal column. The beautiful colour combination of the azure silks of the dress, the mauve curtain and the sumptuous scarlet wrap imbue the portrait with a sense of luxury and emphasise the fact that this lady was a paragon of the wealthy and privileged society that she belonged to, with the means to commission a notable artist. Portrayed without the use of excessive props and jewellery, the artist knew that the sitter’s beauty was more than enough to captivate the audience. The clothing and hairstyle help to date the portrait to circa 1705. For any respectable woman at this time her skin is sheet white which was highly end vogue. A remarkable care is exercised in rendering of the flesh and the treatment of the drapery, with its delicate folds and virtuoso in the art of conveying the texture of the fabrics. The clear fresh palette, bright eyes, and rendering is exquisite. On the lower right of the portrait is an identifying inscription: 'Lady Tipping / Daughter of Coll. Cheek'. Anne Tipping, née Cheke, was the daughter of Colonel Thomas Cheke (1628-1688) and his wife Letitia, née Russell (1649-1722). Her father was appointed Lieutenant of the Tower of London under King Charles II in 1679 and he held that position until 1687 when James II removed him from office. At the age of 22 Lady Tipping married Sir Thomas Tipping, 1st Bt. (1653-1718) with whom she had three children, Catherine, Letitia, and Thomas. Through her father, Anne inherited the manor of Pyrgom in the village of Havering-atte-Bower, Essex. The house had previously belonged to Henry VIII, and it was here that he made the decision to restore the princesses Mary and Elizabeth to the succession to the throne. In 1724, Anne helped to found the Dame Tipping school in Havering-atte-Bower, which was endowed from her death in 1728 by a legacy in her will. Anne was lucky to have independent means, as her husband led a tumultuous life, dying in debt in Southwark prison. Anne died when she was just forty-eight years of age and is buried at Havering. Our sitter’s daughter, Letitia Tipping, married Samuel 1st Lord Sandys in 1725. In 1727, she inherited her family’s heirlooms including the possessions of her great uncle Admiral Russell, Earl of Orford. The 1st Earl of Orford (1653-1727) was one of the Immortal Seven who issued the invitation to William III to take the throne. Commander in Chief of the Royal Navy in the Nine Years War, he defeated the French fleet at Barfleur and La Hogue and is an important historic figure. 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. The work has been well preserved and cared for over its circa 325 years of age, only requiring the removal of a discoloured varnish recently – now the fine details and the true colours can be appreciated. The work can now be safely and fully enjoyed by future generations. Presented in a striking ebonised frame with applied carved and pierced gilded foliage, which is a work of art in itself. Sir Godfrey Kneller (1646-1723) dominates our understanding of British portraiture at the turn of the seventeenth century. With Van Dyck, Lely and Reynolds, his name has become synonymous with the visual interpretation of British history – not least because he painted almost every person of prominence in forty years of British public life. This reputation was well-deserved, and although Kneller's age embraced many accomplished painters - John Closterman, for example, Jonathan Richardson the Elder, or Michael Dahl- none came close to Kneller in immediate fame, or in such instant association in the popular mind with the exercise of portraiture. Kneller is remembered for having painted ten ruling sovereigns, including every reigning British monarch from King Charles II to King George I. Provenance By descent to the sitter's daughter, Letitia Tipping (1699-1779), wife of Samuel Sandys, 1st Baron Sandys (1695-1770), and by descent to their son, Edwin Sandys, 2nd Baron Sandys (1726-1797), and by inheritance to his niece, Mary, Marchioness of Downshire and 1st Baroness Sandys (1764-1836), and by descent to her second son, Lieutenant-General Arthur Hill, 2nd Baron Sandys (1792-1860), and by inheritance to his younger brother, Arthur Marcus Sandys, 3rd Baron Sandys (1798-1863), and thence by descent to, Richard Hill...

Bearbrick and Estate of Jean-Michel Basquiat Vinyl Figures: Set of two (400% & 100%): A unique, timeless collectible trademarked & licensed by the Estate of Jean-Michel Basquiat. Th...

Low Table 1950 Italy Attributed to Osvaldo Borsani, Walnut wood, brass and glass feet

MEDIUM: ​Original Production Drawing IMAGE SIZE: 12 Field PRODUCTION: Animaniacs, Lookit The Fuzzy Heads SKU: IFA3747 ABOUT THE IMAGE: Blending wit, slapstick and pop culture refere...

MEDIUM: ​Original Production Drawing IMAGE SIZE: 10.5" x 9.5" PRODUCTION: Batman the Animated Series, Christmas with the Joker SKU: IFA6032 ABOUT THE IMAGE: Batman: The Animated Ser...

MEDIUM: ​Original Production Drawing IMAGE SIZE: 16.5" x 14" PRODUCTION: Teen Titans SKU: IFA3809 ABOUT THE IMAGE: Leading the crew in Teen Titans to protect Earth is Robin, formerl...

Aruzhan Zhumabek (born in 1997) - young contemporary artist born in Taraz, Jambyl region in Kazakhstan. Graduated from Eurasian National University named after Lev Nikolaevich Gumile...

Aruzhan Zhumabek (born in 1997) - young contemporary artist born in Taraz, Jambyl region in Kazakhstan. Graduated from Eurasian National University named after Lev Nikolaevich Gumile...

Kilowag, Katma Tui, Ch'p, and Ganthet MEDIUM: ​Original Production Drawing IMAGE SIZE: 14" x 9.5" PRODUCTION: Duck Dodgers 2003 SKU: IFA3686 ABOUT THE IMAGE: Duck Dodgers is an American animated television series, based on the 1953 classic short "Duck Dodgers in the 24½th Century". Produced by Warner Bros. Animation from 2003 to 2005, the series aired on Cartoon Network...

MEDIUM: ​Original Production Drawing IMAGE SIZE: 16.5" x 11.5" PRODUCTION: Space Jam SKU: IFA2942 ABOUT THE FILM: Featured alongside the NBA legend in Space Jam are Daffy Duck, Bugs...

MEDIUM: ​Original Production Drawing IMAGE SIZE: 16.5" x 11.5" PRODUCTION: Space Jam SKU: IFA4182 ABOUT THE FILM: Featured alongside the NBA legend in Space...

**Annual Summer Sale Until August 31st** **This Offer Won't Be Repeated Again This Year - Tale Advantage of it** ***Looking for one of kind precious high ending gift that no one else will have? This is one of them!*** Absolutely and positively one of a kind artwork. Rare metal rose tree embellished frame with original hand drawn and painted rose on wood panel encrusted with 100s of genuine Swarovski crystals. This is to celebrate an anniversary and/or a milestone. EXPRESS your love and caring with the forever rose...

These complicated and beautiful over-sized geometric natural forms have become part of Floyd’s signature. The Pine Cone, a seed in nature, becomes a symbol of potential and renewal. ...

These hand signed lithograph prints were only made available to "HOLDERS" of the Currency prints. Less than 1000 were hand signed by Damien Hirst a...

Impossibly balanced, these three white cubes form one monolithic outdoor structure. At night the sides of the cubes appear as free-floating diamonds....

Figurative Textile Art, Cotton, Handmade Free style weaving 80x80cm UNDER COMMISSION About the artist Matthias De Vogel The Textile art studio Fau...

The samurai armor described is an exquisite example Japanese craftsmanship from the Edo period featuring a 24-plate hoshi bachi kabuto (“star bowl,”all...

Grid Yellow Textile Art, Cotton, Handmade Free style weaving 80x80cm 2023 About the artist Matthias De Vogel The Textile art studio Fault Lines is...

Still life , 70x70cm, print on canvas

Damien Hirst, a poster boy for the Young British Artists who rose to prominence in late 1980s London, is one of the most notorious artists of his generation. He has pushed the limits of fine art and good taste with sculptures that comprise dead animals...

70x70cm, print on canvas

70x70cm, print on canvas

FLOW, Mantra Series Tulle on canvas Award-winning artist and designer, Benjamin Shine has established a multi-disciplined creative approach dedicated to challenging perceptions thro...

70x70cm, print on canvas

On the balcony , 70x70cm, print on canvas

"Dark Blue Waves" by Lenny Cornforth is a captivating original seascape painting that offers a contemporary interpretation of coastal life. Crafted with oil on canvas, Cornforth's un...

Untitled "Marble Fragment 3" 2019, acrylic, landscape, wall sculpture, clouds, purple, blue

Unknown Artist, French School 18th Century, Circle of Mallet? Scene taken from the Decamerone. Old Master Drawing

Untitled "Marble Fragment 1" 2019, acrylic, landscape, wall sculpture, clouds, purple, blue

Seascape , 70x70cm, print on canvas

'The Algorithm Hates Me', 2023 Acrylic paint, dirt and wool over stretched canvas 39.3 x 27.5 inches Meike Legler’s works are a bold post-feminist reframing of sewn objects, reconte...

Karel Appel (1921-2006) was an important contributor / sddisruptor in the evolution of 20th-century abstraction and one of the founders of the COBRA movement. Appel grew up in Amste...

Christopher Wool & Felix Gonzalez - Torres (After) Christopher Wool’s paintings and prints explore the confluence of image, text, and pattern. They oft...

Small paintings are intimate and personal. This expressive black and white abstract, blends bold brushwork and a subtle touch of script to create a sense of mystery, inviting the vie...

Kate Heiss Snettisham Sweet Chestnut Limited Edition Linocut Print Edition of 30 Image Size: H 30cm x W 30cm Mounted Size: H 40cm x W 40cm x D 0.5cm Made in 2017 Signed and numbered on the front. Edition numbers may vary from the photo. Please note that in situ images are purely an indication of how a piece may look. Snettisham Sweet Chestnut is a limited edition linocut print by Kate Heiss. The work depicts two Silver Washed Fritillary butterflies feeding on the blossom of the sweet chestnut tree. Kate Heiss is a textile designer and print-maker who has worked with a wide range of fashion brands including Fenchurch, Miss Selfridge and the Japanese fashion designer Michiko Koshino...

A rectangular, steel outdoor sculpture in black is divided in parts, like a puzzle, the edges polished and reflective. This sculpture Water Writing V3, titled in French as Aquagraphie Variation No 2, is an eight foot work by Quebec artist Philippe Pallafray is an eight foot upright is mirrored in three reflective steel puddle shapes installed at its base. Inspired by the graphic design of river maps...

Provenance David Ramus, Ltd.; Menconi and Schoelkopf Fine Art, New York; Private collection, Atlanta, Georgia, until 2010 Exhibitions Philadelphia, Pennsylvania Academy of the Fine ...

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...

Jean-Michel Basquiat Barcelona 1989: Rare vintage 1989 Jean-Michel Basquiat announcement card published on the occasion of Jean-Michel Basquiat: Dau al Set Galeria d'Art, Barcelona,...

Title: Lantern Column I Year: 1998 - 2014 Medium: Mold blown glass, cast polymer, steel, cast iron Size: 41 3/4" inches Niho Kozuru (髙鶴丹穂) is a Japanese-born mixed media artist based in Boston, MA. Kozuru casts and reconfigures molds of her own designs, classical and industrial turned architectural forms in unexpected materials. Using rubber, glass and clay she creates columns with undulating silhouettes. The “Lantern Columns” are a group of 7 towers, ranging from 4 feet to 7 feet tall. They have been shown in various configurations in multiple US States as well as the Fukuoka City Museum in Kyushu, Japan. Kozuru made 60 components by blowing glass into molds of her own designs while at Artists in Residency at Penland School of Crafts in North Carolina. After traveling the world, the Lantern Columns have been arranged into their final configuration, with a steel armature within and each topped with a vivid cast iron final...

Pomme Bouche, Brooch, Claude Lalanne, French, Design, 1990's, Bronze, Jewels Brooch Pomme Bouche 1990 Edition Arthus-bertrand, Paris Bronze with a golden...