More Art

Amitava Dhar - Untitled Oil on Canvas 46 x 58 inches, 1994 ( Unframed & Delivered ) Amitava Dhar graduated from Government College of Arts & Crafts, Kolkata, following which he did...

Steel, 100x80cm

Save the light, 50x40 cm

This is a large Oil Painting on Canvas, it came from a Country Estate in the UK. It is housed in its original restored gilt sporting frame. The painting is not only really well exe...

Aubrey Penny Original Collage Signed and Dated Mind-Line Series, Stamp Series 2-4203, 1977 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who worked...

Aubrey Penny Original Collage Signed and Dated Mind - Line Series, Stamp Series. 2- 4209, 1977 Aubrey Penny (American 1917-2000) was an innovative California abstract artist who wo...

Pratap Chandra Chakraborty - Youngistaan - 1 30 x 22 inches (unframed size) Pen & Ink on Paper , 2017 ( Delivered Unframed ) Contemporary Artist with 20 years of related professional work experience, as well as portfolio of varied accomplishments, including referenced articles, exhibitions, and participations in various residences. Possess a strong sense of artistry and forward-thinking that is consistently displayed across all art pieces. • Experiments about contemporary drawing, painting and sculpture. • Create abstract art to be displayed in local establishments. • Collaborate with local museum to develop and fit art installations across outside area . Awards : 1. The Best Artist Award 2012 from annual exhibition of Academy of Fine Arts, Kolkata, India 2. CIMA AWARD 2017 from CIMA ( Center of International Modern Art ) gallery Kolkata...

Pratap Chandra Chakraborty - Youngistaan - 3 30 x 22 inches (unframed size) Pen & Ink on Paper , 2017 ( Delivered Unframed ) Contemporary Artist with 20 years of related professional work experience, as well as portfolio of varied accomplishments, including referenced articles, exhibitions, and participations in various residences. Possess a strong sense of artistry and forward-thinking that is consistently displayed across all art pieces. • Experiments about contemporary drawing, painting and sculpture. • Create abstract art to be displayed in local establishments. • Collaborate with local museum to develop and fit art installations across outside area . Awards : 1. The Best Artist Award 2012 from annual exhibition of Academy of Fine Arts, Kolkata, India 2. CIMA AWARD 2017 from CIMA ( Center of International Modern Art ) gallery Kolkata...

Rene Lalique (1860-1945) Mures Vase 1926 Glass Opalescent Vase Sizet: 8.5 x 7 in Literature: Patricia Bayer & Mark Waller. The Art of Rene Lalique. ...

Beautiful yellow glass centerpiece created by Peter Bramhall, signed and dated 8/2/80. The swirl design platter is uniquely shaped and is full...

OLGA, 90x70cm

Red square, 1991, 98x148cm

Casper, Oil on canvas 70x50 cm, 2020

The name Lalique evokes the brilliance of jewelry, the wonder of transparency, and the brilliance of crystal. But, before it became a brand name, it was the name of a man, an artist ...

Samuel Latour - Duplicité - Original Ceramic Sculpture 32.5 x 9.5 x 9.5 cm Edition of 8 Signed Samuel LATOUR Formed at Boulle arts and craft school in...

Komissarjevskaya playing Nora in Ibsen's play, 200x140cm

N181 , 50x50cm

shipping costs on request This firewood rack is on the one hand very practical to store firewood, on the other hand it is a wonderful way to add a decorative element to your garden ...

Elizabeth II, 80x60cm

Portrait of a Lady in an Elaborate Stone Cartouche c.1675-80 Mary Beale (1632-1699) Titan Fine Art present this superb portrait where the sitter has been portrayed wearing a low-cut white chemise under a gold silk robe with a draped light...

This piece stands out for its slender and cylindrical shape, as well as for its curved lines that, superimposed on different planes, give a special sensation of depth and movement. G...

Pope Innocent X, 100x80cm

The scent of your hair, 150x110cm

N180, 50x50cm

« Ave Maria – Gratia Plena » Hail Mary full of grace by François-Emile Decorchemont (1880-1971) A large and exceptional stained-glass window. Masterpiece by François Décorchemont. Stained glass colored in the mass and worked in relief. Blackened metal frame, cement joints. SIgned and dated 1934 France height 125 cm width 175 cm It was exhibited at the Salon des Artistes décorateurs in 1934. This very rare stained glass...

PORTRAIT HEAD OF A GIRL Rome, circa 2nd/3rd century A.D. Marble height 18.4 cm height 7 1/4 in Provenance: Sotheby's, London, May 23rd, 1988, no. 240,...

This work 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...

Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656 Circle of Robert Walker (act. 1637-1656) These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government. The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city. The gentleman in our portrait is Colonel William Helyar (1621-1698), Sheriff of Somerset and as a Royalist during the English Civil War. As one of the most prominent old families of the South-West, the Helyar’s family roots in Somerset can be traced back to 1616 when the Reverend William Helyar (1559-1645), chaplain to Elizabeth I, who was also a cousin by marriage, purchased the family residence Coker Court in East Coker, Somerset. He married a Devonshire heiress and several estates were bestowed on him as a result. He was a warm supporter of Charles I in the Civil War and was in residence at Exeter in 1643 when the Parliamentarians pillaged the cathedral. Elderly as he was, he boldly resisted them, but was beaten, pelted with mud, and locked up in a ship in the port and only let out on payment of £800. He retired to Coker where he died in 1645. His eldest son Henry died in 1634 and he was succeeded by his grandson, Colonel William Helyar, the sitter in our portrait. Colonel Helyar raised a troop of horse for King Charles I and was a colonel in the king's army. He was at Exeter when it was captured by the Parliamentary forces in 1646 and thus deemed ‘Traitor to the Parliament’. His estates were sequestered, but they were returned and he was discharged and pardoned on payment of £1,522. During the Restoration he was a Sheriff and he also helped James II repel the Monmouth Rebellion. The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III. The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band. The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698. This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical. Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...

Absinthe drinker, 120x90cm

DESPONT, Thierry W. Marquand Books, Inc. 2000 16 1/2" x 12" This private edition of 500 commemorates the twentieth anniversary of the offices of TWD Ltd This third volume of 'Ho...

This outdoor fire pit "globe" is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. There are already individual lava stones in the...

"Tibbar"- A dramatic, large abstract, acrylic-on-canvas painting by important, Los Angeles artist, Ed Moses (1926-2018) whose distinguished career earned him solo exhibitions at LACM...

A delicate gold iridescent favrile art glass bowl by Tiffany and Co., featuring a flared and ruffled mouth. Height: 3.25 in Diameter: approx. 5.5 in.

Aubrey Penny (1917 - 2000) Abstract Drawing, Marker on Paper. Signed and Dated 64, lower right Titled: "Laws of Chance" Structure Series 11-1513-D, 1964 Aubrey Penny (American 19...

Black swan milk, 97x91cm

Hand-glazed, ammonite-shaped vase in a deep rust color made by Helmut Schäffenacker. Numbered in the base. Form V-6. Helmut Schäffenacker founded Atelier Schäffenacker in West Germ...

This outdoor fireplace "Globe" is the eye-catcher in your garden. Customization possible and designed in 2010. Also available to order in stainless steel. (Optional prepared for nat...

BM Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 27" x 10" x 11" "I am an artist, a sculptor not ...

This torch is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. There are lavastones in the provided burner wich has to be filled w...

In a haze, 50x50cm

Proteus, 70x50cm

This torch is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. There are lavastones in the provided burner wich has to be filled w...

Opening Houses on Black 3, 2022. Coloured pencil on black paper, 20 x 20cm Nicky Marais (b. 1962) is a Namibian artist, educator and activist. Marais is well-known for her abstract artworks created using a personal vocabulary of abstract forms and colour relationships derived from everyday life as well as the socio-political history of Namibia and icons from around the continent. These forms are often layered using a mixture of stencils and traditional painting techniques. Marais describes her practice as a “constant hunt for significant shapes”, which are subjected to a process of near-obsessive repetition, appearing multiple times in different combinations. Much of her work explores the relationship between physical and spiritual worlds, which extends into an investigation of the relationship between the tangible and the intangible, the signifier and the signified. Speaking about Marais’ work, Rosa Namises said “Sometimes we are trapped between the gates and the snakes. We have to choose to go through the path of knowledge, to learn what the snakes have to teach us, and not allow ourselves to be trapped by the gates” (2017). Marais is recently retired from an eleven year posting as the Head of Department of Visual Arts at the College of the Arts in Windhoek. As an artist, she has exhibited extensively in Namibia and abroad. In 2017, The National Art Gallery of Namibia hosted a solo exhibition by Marais, titled ‘Presence in Absence’. Her next solo ‘Connections‘ was held at Guns & Rain Gallery in Johannesburg in 2020. Most recently in 2022, the artist participated in the Baker’s Bay...

This torch is the eye-catcher in your garden. Due to good air supply, you can very quickly light a beautiful fire. There are lavastones in the provided burner wich has to be filled w...

This firewood rack is on the one hand very practical to store firewood, on the other hand it is a wonderful way to add a decorative element to your garden walls. Customization possib...

Help, 60x50cm

Titan Fine Art presents this portrait of a brave and chivalrous character. The gentleman has been depicted in armour, an elaborate full wig, and in accordance with the latest French fashion, an elaborate type of Venetian Gros point lace cravat and large silk bow (also called a cravat-string) – a type that were popular across Europe in the 1680’s. Point lace was fabulously expensive - a cravat was equivalent to six weeks income for a gentleman - and therefore indicative of a wearer's wealth and social class. A nobleman riding onto the battlefield would wear a lace cravat over his armour to demonstrate his status. The attire, along with the coat-of-arms, help to proclaim to every onlooker that the gentleman is a superior being. The depiction of the lace, apart from denoting the wealth of the sitter, was a deliberate way for the artist to demonstrate his own artistic ambition and technical skills Argent seasoned gule with three lozenges sable are those of the Crois family, who were minor nobility, originating from the Boulogne region in the north of France. The fact that the sitter is a high ranking noble excludes him as a member of the Crois family. As is so commonly the case, the coat of arms was a later addition, probably in the nineteenth century, by a family who sought to glorify their pedigree by adding their arms to the portrait. These arms are now an interesting part of the portraits history. The artist has captured a sense of the sitter’s character and the features of the sitter’s face have been rendered with great sensitivity. His confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The work is a very good example of French portraiture from the period. Presented in an exquisite hand-carved and gilded seventeenth century frame - which is an exceptional work of art in itself. Pierre Mignard, known as le Romain, was a French painter of the court of the French King Louis XIV and was, with Charles Le Brun (1619-90), one of the most successful painters during the reign of Louis XIV. After training in Troyes, where he was born, and in Bourges, Mignard joined the studio of Simon Vouet in Paris in 1627. He went to Italy in 1636 and remained there until 1657. He studied the work of Correggio and Pietro da Cortona in Rome as well as copying Annibale Carracci's frescoes in the Palazzo Farnese. On Le Brun's death in 1690 he succeeded him as its Director and as First Painter to the King painting...

Girl with a white peacock, 80x60cm

Vestal, Italy, 19th Century marble height 52 cm height 20 1/2 in

original Black ink on paper Image size: H:39 cm x W:30 cm Complete Size of Unframed Work: H:39 cm x W:30 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an ...

Party, 105x100cm

Changing Seasons Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 108 x 20 x 20 in "I am an artist, ...

Reworked Textile with Wool. Framed

Dreamer Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 51 x 13 x 12 in "I am an artist, a sculptor...

PAIR OF PIETRA DURA PLAQUES WITH BIRDS Florence, 18th Century pietre dure in gilt wood frame 9.5 x 12 cm (3 3/4 x 4 3/4 in) without frame 15 x 17.2 cm (6 x 6 3/4 in) with frame

Opening Houses on Black 2, 2022. Coloured pencil on black paper, 20 x 20cm Nicky Marais (b. 1962) is a Namibian artist, educator and activist. Marais is well-known for her abstract artworks created using a personal vocabulary of abstract forms and colour relationships derived from everyday life as well as the socio-political history of Namibia and icons from around the continent. These forms are often layered using a mixture of stencils and traditional painting techniques. Marais describes her practice as a “constant hunt for significant shapes”, which are subjected to a process of near-obsessive repetition, appearing multiple times in different combinations. Much of her work explores the relationship between physical and spiritual worlds, which extends into an investigation of the relationship between the tangible and the intangible, the signifier and the signified. Speaking about Marais’ work, Rosa Namises said “Sometimes we are trapped between the gates and the snakes. We have to choose to go through the path of knowledge, to learn what the snakes have to teach us, and not allow ourselves to be trapped by the gates” (2017). Marais is recently retired from an eleven year posting as the Head of Department of Visual Arts at the College of the Arts in Windhoek. As an artist, she has exhibited extensively in Namibia and abroad. In 2017, The National Art Gallery of Namibia hosted a solo exhibition by Marais, titled ‘Presence in Absence’. Her next solo ‘Connections‘ was held at Guns & Rain Gallery in Johannesburg in 2020. Most recently in 2022, the artist participated in the Baker’s Bay...

Escape from the rabbit hole, 80x60cm

Niad Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 22 x 36 x 22 in "I am an artist, a sculptor no...