More Art

PABLO PICASSO (1881-1973) Lampe femme 1955 Ed. 100 pcs White earthenware with knife-engraved slip decoration in blue, black and grey H. 35 cm Stamped under...

"Le Nu" is a lithographic invitation signed in the plate which was made for the opening of "Les Dames de Mougins" exhibit in 1963. The inviation comes in a high-end pass-partout with...

PABLO PICASSO (1881-1973) Tête de femme couronnée de fleurs 20.03.1954 Ed. 37/50 pcs White earthenware clay 23 x 15 x 18 cm Signed by the artist and dated on the side : Picasso ; Dat...

Nick Thomm 'The Dreaming' (OPAL) 69cm x 92cm (27"×36″). Limited Edition of 99. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Sold Unframed

Nick Thomm - ONYX - SET (XL SIZE 36" x 48" per print). Limited Edition #15 of 25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW -...

Nick Thomm - ONYX - Amber (XL SIZE 36" x 48"). Limited Edition #15 of 25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Unopen...

Nick Thomm - ONYX - Dusk (XL SIZE 36" x 48"). Limited Edition #15 of 25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Unopene...

Nick Thomm CHROMATIC - Violet (XL SIZE 36" x 48"). Limited Edition #41 of 50. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Un...

Nick Thomm CHROMATIC - Cyan (XL SIZE 36" x 48"). Limited Edition #41 of 50. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Unop...

Nick Thomm ARCHANGEL (XL SIZE 36" x 48"). Limited Edition #22 of 25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Unopened in...

Nick Thomm SUNDOWN (XL SIZE 36" x 48"). Limited Edition of #22/25. Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW - Unopened in o...

Nick Thomm ARCHANGEL & SUNDOWN (XL SIZE 36" x 48" per print). Limited Edition #16 / 25 Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition:...

Nick Thomm 'GHOSTS' (Multi) 69cm x 92cm (27"×36″) Limited Edition of 199 Hand Signed and Numbered #93 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW. Wo...

Nick Thomm 'GHOSTS' (Blue) 69cm x 92cm (27"×36″) Limited Edition of 199 Hand Signed and Numbered #113 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW. Wo...

Nick Thomm 'After Dark' (Orange) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #104 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: N...

Nick Thomm 'After Dark' (Green) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #104 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NE...

Nick Thomm 'After Dark' (Blue) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #104 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW...

Nick Thomm 'After Dark' (Pink) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #104 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW...

Nick Thomm 'After Dark' (Orange) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #76 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NE...

Nick Thomm 'After Dark' (Green) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #82 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW...

Nick Thomm 'After Dark' (Blue) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #106 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW...

Nick Thomm 'After Dark' (Pink) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #84 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW....

Contemporary colorful painting by Houston-based artist Peter Healy. The work features expressive pink, blue, yellow, and red strokes against a light gray background. Signed, titled, ...

This exquisite oil on copper portrait, presented by Titan Fine Art, sits within one of the finest examples of the artist’s work. Signed and dated: “J Downman / pinx / 1779” it is a ...

This elegant portrait, presented by Titan Fine Art, depicts a beautiful young lady seated in a wooded area, resting one arm on a rock, before a landscape and a warm evening sky. She is wearing a white smock under russet-coloured silks, loosely held in place by an immense black diamond clasp on the sleeve, and her body is enveloped in a voluptuous swag of azure silk; the costly fabrics and jewels reveal that the sitter was a paragon of a wealthy and privileged society that she belonged to. Much of the attractiveness of this portrait resides in its graceful composition and the beauty of the youthful sitter. The flowing water in the left margin of the picture and the shell that she holds are compositional devises often used at the time to allude to her potential as wife and mother, recalling Proverbs, Chapter 5, Verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. Symbolism was a key component to many works of this period and contemporary viewers would have deciphered them immediately. Such images exude a sense of status and Augustan decorum, and were highly influential in transmitting these values into the first half of the eighteenth century. Held in a good quality and condition gilded antique frame. Herman Verelst was from a great dynasty of painters, with many members achieving great success. Specialising in portraits and still life paintings, he was one of the legions of foreign-born artists working in England at the time. Today, many of his pictures are given to other artists or are simply relegated to that term “circle of” which is a great disservice because he had an ability to render faces and drapery on par with some of the best artists at the time. Herman’s work is quite distinctive in the way he rendered faces and this particular pose was a favourite. His faces were portrayed with great skill often using the sfumato technique which gave them a very smooth feel to the skin with no hard lines, and many known works by him show that he could also render drapery with great affect. Our painting was painted in the 1690’s. His father, Pieter Hermansz Verelst...

AUGUSTE RODIN (1840-1917) Main droite dite Main no.22 Fondu en 1960 Crée en circa 1890-1908 Bronze with dark brown patina 9.1 x 3.3 x 4.3 cm / 3.5 x 1.2 x 1.6 in. Signed on the wrist...

Frank Nthunya is a South African ceramic artist born in 1981, renowned for his innovative approach to pottery. He specializes in creating hand-coiled clay vessels, employing traditional techniques such as smoke-firing and burnishing to produce unique, aesthetically pleasing pieces. Nthunya's work draws inspiration from traditional African pottery methods, while simultaneously incorporating modern aesthetics, resulting in a distinctive fusion of old and new. His contributions to the field of ceramics celebrate traditional craftsmanship, yet they also explore contemporary themes, which has garnered him significant recognition in the contemporary art scene. Nthunya's pieces have been showcased in various galleries, and their frequent sell-outs reflect their growing popularity among collectors. As a notable figure in South African art, Nthunya continues to push the boundaries of ceramic artistry, blending cultural heritage with modern expression. ‘Se-Ka Lefiso’ was one of the works included as part of EBONY/CURATED’s group showcase at the 2024 RMB Latitudes Art Fair, where he exhibited alongside Anico Mostert, John Newdigate...

"Volpaia with Trees" is a contemporary realist landscape of expansive Tuscan countryside painted en plein air. The medieval village of Volpaia can bee seen in the distance at the end...

Deborah Freedman Royal Flush for Audrey Flack #9 monoprint 30 x 22" Deborah Freedman is a painter and printmaker whose work explores the relationship between nature and painting. Sh...

Vanessa Platacis Avant Garden No. 24, 2024 spray paint on Belgian linen 12 x 15" Vanessa Platacis, born in 1973 is an American contemporary artist, who is primarily known for her lar...

Vanessa Platacis Avant Garden No. 25, 2024 spray paint on Belgian linen 12 x 15" Vanessa Platacis, born in 1973 is an American contemporary artist, who is primarily known for her la...

Vanessa Platacis Avant Garden No. 20, 2024 spray paint on Belgian linen 12 x 15" Vanessa Platacis, born in 1973 is an American contemporary artist, who is primarily known for her la...

Vanessa Platacis Avant Garden No. 23, 2024 spray paint on Belgian linen 12 x 15" Vanessa Platacis, born in 1973 is an American contemporary artist, who is primarily known for her la...

Judy Jackson Untitled stoneware, satin clear over underglaze 9 x 8 x 4.75 in Judy Jackson is an American pottery and ceramics artist and has been perfect...

Judy Jackson Untitled stoneware, satin clear over underglaze 10.5 x 7 x 5.25 in Judy Jackson is an American pottery and ceramics artist and has been perf...

Judy Jackson Untitled stoneware, earthtones 6.5 x 5.5 in Judy Jackson is an American pottery and ceramics artist and has been perfecting her craft for ov...

Judy Jackson Untitled stoneware, earthtones 8.25 x 4.75 in Judy Jackson is an American pottery and ceramics artist and has been perfecting her craft for ...

Original 1987 Vinyl Record Art by Keith Haring: Off-Set Lithograph on vinyl record jacket; engraved gold foil. 12 x 12 inches. Printed Haring signature on the mid lower left. Very ...

This art print on paper features a pair of leopard print women's high heel shoes. Its stylish and expressive aesthetic would add a playful charm to any space. Hand signed on back. Th...

This art print on paper features a pair of leopard print women's shoes. It's stylish and expressive aesthetic would add a playful charm to any space. Hand signed on back. This is #3 ...

This art print on recycled paper features a pair of elegant women's shoes. It's timeless, expressive aesthetic makes it perfect for personalizing your space. Hand signed on back. Thi...

This art print on recycled paper features a pair of elegant women's shoes. It's timeless, expressive aesthetic makes it perfect for personalizing your space. Hand signed on back. Thi...

Vanessa Platacis Avant Garden No. 5, 2024 spray paint on Belgian linen 30 x 24 x 1.25" Vanessa Platacis, born in 1973 is an American contemporary artist, who is primarily known for ...

Yves Klein "Table Bleu" Designed in 1963 and from an open edition circa 1990s. Plexiglass, glass, chromed aluminum and IKB pigment. The "Table Bleu" by Yves Klein, also known as "T...

This fine coastal oil painting was painted by American artist Henry Shokler (1896-1978). Shokler was born in Cincinnati, OH and was an active artist and pioneer in silk screen and se...

The TASCHEN book on Annie Leibovitz is a tribute to the photographer's illustrious career, renowned for her intimate and iconic portraits of celebrities and cultural icons. From her ...

This ravishing portrait, presented by Titan Fine Art, is said to represent Elizabeth Stuart, a British princess, who from 1619 was the titular queen o...

Houdini His Life and Art by The Amazing Randi and Bert Randolph Sugar 1977 from the library of the Houdini Museum Fair condition. See photos. This is not one of the many later rep...

Houdini A Magician Among the Spirits 1972 from the library of Houdini Museum Fair condition. See photos and video. This is the 1972 reprint of the book initially published in 1...

This work formed part of an ancient collection of family heirlooms of the Wood family of Bracon Ash, Norfolk. This painting, along with another (also with Titan Fine Art at the time of writing), of our sitter’s sister, descended within the family for around 275 years until recently dispersed; they are exquisite examples of Georgian portraiture in England and represents the best of the artist’s work. They are held in their original carved and gilded frames, which are absolute top quality and condition and magnificent works of art in their own right. The sitter’s daughter, Ann, was famously married on board the Foudroyant, off Naples, in a lavish ceremony in 1799, with Lord Nelson himself giving away the bride. The sitter is Jane Wood. Her father was Thomas Wood (1682-176) and Dorothy Huby (1700-1759) and the family lived in Norwich, which in 1720 was a city second in importance only to London. Jane was baptised 14 Oct 1727 at Bracon Ash and had many siblings. Her aunt, also Jane (died in 1756 in Bruges, aged 79) was a Franciscan nun. A portrait of her younger sister, Dorothy Wood (1730-1759), is also with Titan Fine Art at the time of writing. In 1758 Jane married Knipe Gobbet (1730/5-1791) who was Sheriff in 1768 (and Mayor in 1771) of the City of Norwich, and later Lieutenant-Colonel of the West Norfolk Regiment, in which corps he had served in for many years. Knipe was born at his family seat, Tacolneston Hall, to parents George Gobbet (Sheriff in 1710) and Ann. The couple bought and lived in a house in Norwich (later known as Gurney’s Bank House) until 1778 before moving to another one at 10 St Stephen’s Street, Norwich. Later, they inherited the family seat of Tacolnestan Hall and lived there for the remainder of their lives. Knipe Gobbet was a prominent individual. In 1779 he gave the corporation of Norwich 100 pounds to be disposed of as they might think proper and soon after that he was presented with a handsome field tent, marquee, and camp equipage, in testimony of their esteem for his dedication to the defence and service of this country at a time when threatened by an invasion. Although Jane was baptised a Roman Catholic Knipe was a prominent local wine merchant, JP, Alderman, sheriff, mayor and Lieutenant. Roman Catholics may have paid lip service to religious conformity as they were excluded from certain areas of public life before the Catholic Emancipation Act of 1829. The couple had many children, most of which were schooled at the Order of the Immaculate Conception of Our Lady, in Paris. Their oldest daughter, Anne (1760-1817) first married Peter Bottalini of London 27 Oct 1783 at Tacolneston Hall. They had one son together. She later met Dr William Compton (1733- 1824), who was Chancellor of Ely and the next collateral male relation to the Earl of Northampton, and on 9th July 1799, they married in a famous and lavish ceremony on board the Foudroyant, off Naples, where the bride was given away by the Right Hon. Lord Nelson himself (Ann and William then spent many years on the continent where they were British residents of Posilipo Naples). The marriage document, signed by Lord Nelson, Lady Emma Hamilton, Captain Thomas Hardy, and others descended within the family, until sold in a recent sale that raised worldwide interest. It accounts: 'This is to certify that, on board the Foudroyant lying in Naples Bay, on the ninth of July 1799 the marriage between William Compton & Mrs Anne Bottalin, widow, was solemnized by me S. G. Comyn HM. Chaplain to the Right Honble Lord Nelson, H.M.S. Foudroyant, in the presence of'. With the following autograph signatures: Sir William Hamilton (1731-1803), Lady Emma Hamilton (1765-1815), Horatio Nelson, Viscount Nelson (1758-1805); Sir John Thomas Duckworth (1747-1817), Sir Thomas Masterman Hardy (1769-1839), John Rushout, 2nd Baron Northwick (1769-1859), Josiah Nisbet (1780-1830), John Tyson, William Compton and Anne Bottalin, and 2 others” The document sheds light on Nelson's lesser-known side of his character. William Compton ... received "a great many favours and kindnesses" from Nelson, and most especially "the kind interest" taken in sealing his union with a wife who made him "the happiest of mortals". Anne, the aforesaid spouse, said that the admiral's "good heart" had made her "as happy as I can possibly be on this earth" ... Midshipman Parsons remembered those days nostalgically, noting Emma's "graceful form" bending over her harp to bestow "heavenly music" upon the diners on the quarterdeck and the large-decked galley, flush with opera singers, that glided alongside to serenade the sunset of each day'. Our sitter’s other children were: 1) Thomas, who died in 1762, aged four, of a small-pox inoculation, 2) Dorothy (died suddenly of apoplexy 21st Nov 1813). She came to the convent 19th July 1777 and returned to England 23 March 1779, 3) Frances (baptised 22 Feb 1763), who came to the convent when she was nine years old, and eventually married and her surname became Negri, 4) Jane, is thought to have married Juan Manuel Martinez in 1784, 5) and a further possible daughter, Mary. Jane died in 1790 and her husband one year later. Tacolneston has an ancient history of which according to the Domesday Book, Edward I granted a weekly market to be held on a Wednesday at the manor of Tacolneston and two annual fairs. The church was rebuilt in 1503 and is dedicated to All Saints. The earliest view of Tacolneston is a print of 1781 when it belonged to Knipe Gobbet Esq. John Theodore Heins (1697-1756) was a painter whose work, at his best, shows detail of an exceptionally high quality. His portraits of Anna Maria Kett nee Phillips and her husband Henry Kett, painted in 1741, are exceptional and evidence that he had the ability to portray a likeness on par with some of the best portraitists in England at the time. Heins appears to have originated in Germany but moved to the UK and settled in Norwich around 1720. From 1720 to his death in 1756, Heins built up a fine reputation as a portrait painter and painted many members of prominent Norfolk families right up to his last year. He was commissioned in 1732 to paint a portrait of the Mayor of Norwich, Francis Arnam and also the previous year's Mayor Robert Marsh...

This work formed part of an ancient collection of family heirlooms of the Wood family of Bracon Ash, Norfolk. This painting, along with another (also with Titan Fine Art at the time of writing) of our sitter’s sister, descended within the family for around 275 years until recently dispersed; they are exquisite examples of Georgian portraiture in England and represents the best of the artist’s work. They are held in their original carved and gilded frames, which are absolute top quality and condition and magnificent works of art in their own right. By tradition the sitter is Dorothy Wood. She was baptised 2nd June 1726, one of several children of Thomas Wood (1682-176) and Dorothy Huby (1700-1759). Her aunt, Jane Wood (1677-1756), was a Franciscan nun in Bruges. In 1758 her sister, also Jane (1727–1790), whose portrait is also with Titan Fine Art at the time of writing, married Knipe Gobbet (1730/5-1791) who was Sheriff in 1768 (and Mayor in 1771) of the City of Norwich, and later Lieutenant-Colonel of the West Norfolk Regiment, in which corps he had served in for many years. Although the Wood family were Roman Catholics Knipe was a prominent local wine merchant, JP, Alderman, sheriff, mayor and Lieutenant. Roman Catholics may have paid lip service to religious conformity as they were excluded from certain areas of public life before the Catholic Emancipation Act of 1829. Their oldest daughter, Anne (1760-1817) famously married Dr William Compton (1733-1824), the Chancellor of Ely and the next collateral male relation to the Earl of Northampton, in 1799, in a lavish ceremony on board the Foudroyant, off Naples, where the bride was given away by the Right Hon. Lord Nelson himself. The marriage document, signed by Lord Nelson, Lady Emma Hamilton, Captain Thomas Hardy, and others descended within the family, until recently sold, in a sale that raised worldwide interest, for £20,160. It accounts that William Compton received "a great many favours and kindnesses" from Nelson, and most especially "the kind interest" taken in sealing his union with a wife who made him "the happiest of mortals". Anne, the aforesaid spouse, said that the admiral's "good heart" had made her "as happy as I can possibly be on this earth" ... Midshipman Parsons remembered those days nostalgically, noting Emma's "graceful form" bending over her harp to bestow "heavenly music" upon the diners on the quarterdeck and the large-decked galley, flush with opera singers, that glided alongside to serenade the sunset of each day'. Our sitter died unmarried around 1759. John Theodore Heins (1697-1756) was a painter whose work, at his best, shows detail of an exceptionally high quality. His portraits of Anna Maria Kett nee Phillips and her husband Henry Kett, painted in 1741, are exceptional and evidence that he had the ability to portray a likeness on par with some of the best portraitists in England at the time. Heins appears to have originated in Germany but moved to the UK and settled in Norwich around 1720. From 1720 to his death in 1756, Heins built up a fine reputation as a portrait painter and painted many members of prominent Norfolk families right up to his last year. He was commissioned in 1732 to paint a portrait of the Mayor of Norwich, Francis Arnam and also the previous year's Mayor Robert Marsh...

In the artist's Art and Design original print series, Happy Couple, 2015 by Roberta Fineberg is a photopolymer monoprint hand-pulled on the etching press by the artist. The art weave...

This piece is an original colors lithograph by the French painter Jean Carzou, created in 1965. The artist's signature is located in the lower right corner, signed in pencil. The ar...

Ai Weiwei Study of Perspective in Glass (Set of 6) 2020 Murano Glass Casting 12.5 × 10 × 9 cm (4.9 × 3.9 × 3.5 in) Hand-signed by artist, Signed and numbered on accompanying certific...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

This lavish portrait, painted circa 1695, is an exquisite example of the type of portrait in vogue during the last quarter of the seventeenth century. It is evident that the artist ...

Fun and collectible, an original basketball screen-printed by Mr. Brainwash, hand-signed and numbered, with artist’s provided certification, this three-dimensional sculpture measures...

glazed stoneware