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Sweeping, layered clouds fill the sky, creating a dramatic contrast between light and shadow. Gentle waves with soft white foam at their crest roll towards the ...

In the moonlight, 120x120 cm, acrylic on canvas

Morocco , 70x70cm, print on canvas Edition 20 pcs.

Beautifully executed cross stitch chinese embroidery of a field of irises. Artist red seal lower left with calligraphy above. Condition is excellent. Circa 1990. Artist unknown. Unde...

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...

Harding Black (1912-2004) San Antonio Artist Image Size: 6 1/2 inches tall Frame Size: 3 1/2 inches across at the widest point Medium: Ceramic Studio Pottery Dated 1939 SIGNED ON BO...

KAWS Holiday Changbai Mountain (KAWS black Changbai): A beautifully composed KAWS COMPANION published to commemorate KAWS' larger-scale sculpture...

Napoleonic Desk Trough, 19th Century Green onyx marble 4 x 9.5 x 5.5 inches

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The title of this painting expresses artist Onelio Marrero's observations of people sitting alone in restaurants and cafes. In this case, a woman waits agains...

Pablo Picasso (1881-1973) (d'après) - Portraits Imaginaires 26.3.69 III Lithograph from 1969. The edition: F 37/250. Dimensions of work: 65.5 x 50 cm. Plate signed. Publisher: É...

This mesmerizing artwork captures the serene beauty of a nocturnal landscape, masterfully painted with rich, textured brushstrokes. The luminous full moon casts a silvery glow across...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through t...

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A fox caught in mid-leap burst to life in dashes of red, gold, and violet. Built with layered washes and spontaneous shapes, the painting suggests the animal's ...

Sublime ceramic ring holder dish by French ceramicist Mithé Esplet

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A weathered farmhouse stands silent against a late fall sky, its boarded windows holding the echoes of another time. Dry grasses and bare trees seem to lean inw...

N105 - 80x60, oil/canvas

Wonderful folk art turned wood bowl with snowy cabin scene by an unknown artist, circa 1880.

Jane Dickson New York 1985: A rare 1980s announcement card published on the occasion of: "Works on Paper 1983-1984" at Brooke Alexander, Inc. from December 11, 1984 - January 12, 19...

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Two friends discuss their current life events over wine and tapas on a weekend night in Seville, Spain. Warm, earthy tones dominate the scene and reflect the ...

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A raven stands at the top of a weathered wooden post. Loose watercolor washes define its body, while darker tones shape its head and wing. Paint splatters dri...

At sunset , 40x50 cm, oil on canvas

Brian Russell Jobe (American, b. 1981) is an artist and non-profit director based in Knoxville, Tennessee. Jobe's studio practice is focused on sculptur...

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An aerial view reveals a patchwork of farmland in the Midwest. A blue lake nestles among the green fields, mirroring the soft hues of the horizon. The compositi...

Marina Abramović Portraits in the Presence of Marina Abramovic (Hand signed by BOTH Marina Abramovic and photographer Marco Anelli), 2021 Hardback monograph with no dust jacket as is...

MEDIUM: Limited Edition Cel IMAGE SIZE: 12 Field EDITION SIZE: 500 SKU: CCV2734 Framing included in price. ABOUT THE IMAGE: This cel is hand-signed by Chuck Jones and is numbered 4...

Robert Motherwell – Primal Sign I 1979–1980 Medium: Color Aquatint & Lift-Ground Etching on Cream Whatman Paper Edition: 38/60 Artwork Size: 23.5 x 18 in Framed Size: 34.75 x 28.25 i...

Mikhail ld Dentu. A Russian artist, a talented painter and a graphic artist, one of the leading practitioners and theoreticians of avant-garde, in particular, a member of «The Donkey...

Fonfria's work explores human behavior and social rules with a critical eye and humor, touching on personal themes such as dreams, fears, and memories. The images come from old magaz...

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Artist Christopher Garvey presents a group of varying glassware in different colors, sizes, and shapes. Set against a tonal background, the focus is drawn to ...

At the crossroads, 120x100cm, oil on canvas

KAWS Grey Holiday Companion (KAWS Singapore): This standout KAWS art toy features KAWS' signature character COMPANION in a resting position. Published to commemorate the debut of KA...

70x70cm, print on canvas Edition of 20 pieces A different print size can be made upon request.

Untitled "Marble Fragment 2" 2019, oil on Italian marble, landscape, wall sculpture, clouds, green, yellow, blue

In this colourful abstract painting by David Sorensen, bright red draws the viewer’s eye. The Canadian artist completed a series of oils after visiting Havana, Cuba in 1999. The Havana series was created using a spatula and paintbrush. The result is highly textured pieces rendered in vivid colours—graphic shapes of lime green, orange, indigo and brown. A grid-like pattern of thick vertical and horizontal lines adds visual drama and contrast. “To me, there is still this celebration worth the paint. And it’s about an open door that the artist used to call muse.” David Sorensen Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Delphinium by Courtney Kinnare 2025 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" These functional art pieces build a color story through multiple layers of tra...

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A small sailboat carrying two figures glides across the calm waters of Long Island Sound beneath a wide summer sky. At first glance, it seems the very portrait ...

A finely detailed still life with flowers in a white vase by American artist George Henry Hall (1925-1913). Hall was born in Manchester, NH, and began his career as an artist at the ...

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...

Be Wild Fiberglass / Composites Filled Resin Base Turquoise Finish 37" x 18" x 10" "I am an artist, a sculptor not by choice but by destiny as each step in the path I followed guide...

Antique Bezalel Chanukah Menorah Candelabra Signed Bezalel Jerusalem on front. Marked Made in Palestine on bottom. For standing on feet or as a wall hanging with a hole at the top ...

bone china with lustre rim 21 cm diameter Grayson Perry hallmark on the back. These decorative plates are inspired by the artwork The Great Beauty, 2024. The original piece is a cab...

Thangka painting dates back to 7th century after Buddhism was spread in the Himalayan region (Nepal, Bhutan, Tibet and Northern India). In Eastern world Thangka is considered to be a...

The Empress and The High Priest, Diptych, 2019 From the Ventura Series Embroidery thread on canvas Overall Frame size: 40 cm H x 60 cm W x 3 cm D Overall Image size: 27 cm H x 34 cm W Individual size: Frame size: 40 cm H x 30 cm W x 3 cm D Image size: 27 cm H x 17 cm W One of a kind Blackwood frame with plexiglass ______________ Maria Jose Franco Maldonado’s family was her art school by the hand of Georgia O`Keefe, Elaine de Kooning, Lee Krasner, Artemisia Gentileschi, Matisse, Leonor Fini, Leonora Carrington, Louise Bourgeois, Maripaz Jaramillo, Judy Chicago, Basquiat, and so many others. She then formalized her studies in art direction and advertising in Buenos Aires, Argentina. In 2015, she showed her work for the very first time in three group exhibitions around New York at Shervin's Café Gallery, Brooklyn Fire Proof Gallery, and Greenpoint Gallery. That same year her illustrations accompanied Pilar Gualco`s literary work in Buenos Aires at Fauna Estudio Taller. In 2017, she fell in love with embroidery. Slowly, she connected techniques and in the process dressed up a lot of weird humans. She showed her work in 2019 at Noches San Felipe and Open San Felipe with SGR and Bandy Bandy galleries in Bogotá, Colombia. Her series AFFAIR was shown at Noches del Millón, from Feria del Millón in Medellín, Colombia at the end of 2019. Closing 2019 she was lucky to have her own exhibition alongside Daniela Moreno, a great Colombian textile...

KAWS Blush Flayed Companion 2016: New and sealed in its original packaging. Published by Medicom Japan in conjunction with the exhibition, KAWS: Where The E...

a wonderful antique pokerwork/pyrography panel by I W Wells, an American artist who flourished between 1845 - 1880. He was active in Pennsylvania/Philadelphia, yet most of his work is conserved in the Pinto Collection, which is part of the Birmingham Museums Trust in the UK. A portrait of Tennyson by Wells is in the Virginia State...

"PISS OFF" is an original wall-hanging sculpture by Charles Clary as part of the artist's popular "Text-i-monial" series. To create the artwork, Clary hand cuts a series of individua...

"GET A GRIP" is an original wall-hanging sculpture by Charles Clary as part of the artist's popular "Text-i-monial" series. To create the artwork, Clary hand cuts a series of individ...

Blue Pillars Textile Art, Cotton, Handmade Free style weaving, framed 120x60cm 2026 About the artist Matthias De Vogel The Textile art studio Fault Lines is Founded in 2015 by Mat...

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

Moment, 30x20 cm, oil on canvas

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Golden light from the setting sun glows softly on one side of the woods, while the foreground rests in cool shadow. Autumn colors peek through the trees. A wind...

**** The shipping is free for the rolled canvas. If you would like it ready to hang, please contact me with your zip code for a shipping quote. **** - Title: Pink Study in Contra...

Antique art deco silver tea service by Laurits Berth(1857-1917). Consists of: teapot (h.19cmxl.27cmxw.14cm;volume 1.5 l), milk jug(h.10cmxl.15cmxw.9cm), sugar bowl(h.14cmxl.18cmxw.12...

Portrait of a Gentleman in Blue Coat Standing by Curtain c.1695 Attributed to Constantyn Netscher (c.1668-c.1723), not signed The gentleman in this portrait has been depicted standi...

Biomorphic Surrealism. Signed Luigi, Enamel on metal (probably copper). Mounted to a plexi or acrylic purple mounting. I am assuming it is Italian as it is signed Luigi but it might ...

Artist: Ruscha, Edward Title: Science is Truth Found Out Series: (RED)ition Winter 2022 Date: 2022 Medium: Silk twill scarf Unframed Dimensions: 51.25" x 51.25" Comes folded in the original presentation box (13 1/2 x 13 1/2in) Signature: Printed signature Edition: 62/500 Produced by Massif Central...

This professionally framed "Life History of Buddha" thangka is hand painted on canvas with 24K real gold. Shimmering gold brush strokes and earthy color palette with illustrative wo...

Beltane is a large panoramic oil painting of a woodland glade in springtime with a stream running through it with the hint of bluebells, wildflowers and blossom trees. It is 60x36x1....

"The Artist Is Present" is an original piece byJedediah Morfit made from fiberglass reinforced plaster, paint.This piece measures 29.5"h x 16.5"w x 2.5"d and comes with a gallery-is...