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Forest fog, 60x40cm, acrylic, pastel, canvas

Still life

Yayoi Kusama Love Forever Ceramic Bowl (VIP Gold Edition), 2017 Limited Edition Porcelain Bowl Signature, titled and date fired into bowl on the underside 4.5 x 4.5 x 1 inch Limited...

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...

Craig Alan – The Underdog (Blue) 2018 Medium: Giclée on Canvas Edition: Unframed 72/75 Artwork Size: 36 x 36 in Price: $2,400 Craig Alan’s The Underdog (Blue) (2018) is a captivatin...

In the artist's abstract print series, Cosmos, 2023 by a.muse represents an imaginary cosmos - the universe as a place of longing, dreams, wonder, and ethereal beauty. A 13.75" x 11"...

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Wind N Sea - Seascape Painting - Contemporary Art By Marc Zimmerman This masterpiece is exhibited in the Zimmerman Gallery, Carmel CA. Marc Zimmerman creates playful paintings, wh...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...

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...

Christopher Wool (hand signed by Christopher Wool), 2006 Cloth hardback monograph (hand signed by Christopher Wool) Hand signed and dated 2017 by Christopher Wool on the half title p...

A Bigger Splash By David Hockney David Hockney, a prominent British artist, is celebrated for his versatile and innovative contributions to 20th-century art. Known for his vivid us...

Camp

Summer still life

Yayoi Kusama (after) Pumpkin (Yellow & Black and Red & White), 2016 Two cast resin Open edition 10.2 x 7.6 x 7.6cm 4 x 3.15 inches each Published by Benesse Holdings, Inc., Naoshim...

70x70cm, print on canvas Edition 20 pcs.

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

LABUBU, Kasing Lung, LABUBU, Big into Energy "Have A Seat" Blind Box Unopened Mint Condition Japan, 2025 ABS/PVC/Polyester 6 7/10 × 3 7/10 × 2 7/10 in 17 × 9.4 × 6.9 cm From an open...

Roy Lichtenstein at CSU, exhibition catalogue, 1982 Softback exhibition catalogue with 2 very cool vellum pages with the Benday dots Unsigned 11 × 8 1/2 in...

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 '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...

Chu Teh-Chun (1920-2014) - Composition abstraite Lithograph from 1960. Edition 60/60. Dimensions of work: 63.5 x 48.5 cm. Hand signed. Publisher: Galerie de France, Paris. Dime...

Composition Fond Bleu By Henri Matisse 1996 Medium: Offset Lithograph Paper Size: 39.25 x 27.5 inches ( 100 x 70 cm ) Image Size: 34.5 x 21.75 inches ( 88 x 55 cm ) Edition Si...

This impressive 3D text collage features white acrylic on a brushed aluminum composite panel, created in 2016. The piece is hand-signed by the artist with a felt-tip pen, dated, and ...

Girls on a picnic 150x120 cm The work is sold without a frame.

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Timeless No. 2" by Cat Tesla is a captivating exploration of ...

Jean Carzou (1907-2000) - Le débarquement Lithograph from 1966. Dedicated to Pierre Sorlier, on Arches paper. Dimensions of work: 77.7 x 62.2 cm. Hand signed. The work is in Exc...

Blue still life , 50x50cm, print on canvas.Edition 20 pcs.

KAWS Black Holiday Companion (KAWS Taipei) This figurative vinyl sculpture features KAWS' signature character COMPANION in a resting seated position. Published by All Rights Reserve...

Fernando Botero (Colombian, 1932–2023) Una Famiglia I – Original Exhibition Poster, 1991 This original exhibition poster, published in Italy in 1991 on the occasion of Fernando Bote...

"Vitraux pour Jerusalem" is one of the most important books illustrated by Marc Chagall and considered as one of his editorial masterpieces. Th...

Campanula , 62x43cm, print on canvas.Edition 20 pcs.

Red still life , 62x43cm, print on canvas.Edition 20 pcs.

70x70cm, print on canvas Edition 20 pcs.

Marc Chagall (1887-1985) - Sirène et Poisson (Sirene and Fish) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of work: 73 x...

Tracey Emin Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin), 2013 Hardback monograph (hand signed, inscribed to Kevin and dated by Tracey Emin) Warmly signed, inscribed and dated by Tracey Emin on the title page 9 × 7 1/4 × 1 inches Warmly signed, inscribed to Kevin and dated by Tracey Emin on the title page Tracey signed this for the present owner at an official book signing in New York back in 2013, so provenance is direct. Publisher's blurb: My Photo Album is a journey through the life of British artist Tracey Emin using photographs from her personal collection. Edited from the albums she has kept from an early age, this visual autobiography contains some amazing images: Tracey sharing a pram as a baby with her twin Paul, her bus-pass photo aged 14, a ‘glamour’ shoot as a semi-naked art...

Salvador Dali Bearbrick 400% (Salvador Dali MoMa BE@RBRICK): This collaboration between MoMA and BE@RBRICK features the famous bear figure printed with the classic surrealist art of ...

Julia Adams The Cloister Garden Original Architectural Painting Mixed Media with Acrylic Inks on Canvas Board in painted white wood frame Canvas Size: H ...

Keith Haring 'Rap It' record art 1983: A rare vinyl art cover featuring original artwork by Keith Haring and Futura 2000 (reverse side). Truly vibrant colors that make for stand-out ...

Invitation for Martin Luther King Day celebration 1988, designed by Keith Haring In 1988, 20 years after the death of Martin Luther King Jr., Keith Haring illustrated this rare invi...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Salvador Dali (1904-1989) - Le cheval de Troie Lithograph from 1972. The edition of 187/250. Dimensions o...

Yaacov Agam, born in 1928 in Rishon LeZion, is a world-renowned Israeli artist and a pioneer of kinetic art. His works explore movement, the interaction between the viewer and the ar...

Drawing inspiration from the vibrant California landscape, British artist Paul Westacott creates original abstract artworks that showcase a harmonious b...

This is a revolving colorful kiddush cup with a signed and numbered Agam op art print in it. this includes the base tray. There is no cup insert so it is more of a sculptural piece ...

This is an original square button with a fastening pin on the verso, created as merchandise for Roy Lichtenstein's exhibition at the Kupferstichkabinett in Berlin in 1981. This butto...

Les Contes Drolatiques is an original modern rare book written by Honoré de Balzac (1799 – 1850) and illustrated by Gustave Doré (Strasbourg, 1832 – 23 January 1883) in 1861. Publis...

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, ...

Bound Heart is a unique oak wood and cotton cord sculpture by contemporary artist Peter Brooke-Ball, dimensions are 19 × 34 × 26 cm (7.5 × 13.4 × 10.2 in). The sculpture comes with...

The illusion of intimacy, 2020, 70x100 cm

Jean-Michel Basquiat 1000% Bearbrick Vinyl Figure: A nicely sized (27 inch), highly collectible Bearbrick Basquiat statue piece, trademarked & licensed by the Estate of Jean-Michel ...

Designs, shapes, and colors find a balance between a polite instinct and a domesticated confusion within the cubist-inspired artworks by Tuscan artist Federico Pinto Schmid...

Portrait of Mary Hammond in Sumptuous Attire, Jewels and Lace c.1618-22 Circle of Cornelius Johnson (1593-1661) This portrait of a lady, presented by Titan Fine Art, is an exquisite example of early seventeenth-century portraiture, remarkable both for the lavishness of its subject’s attire and for the distinguished provenance that has accompanied it across four centuries that adds a rich layer of historical significance. It was once part of the notable collection of Sir William Temple, 1st Baronet (1628–1699) at Moor Park, a stately mansion in Hertfordshire. Temple was a diplomat, essayist, philosopher, and the patron of Jonathan Swift. He was a key participate at an important period in English history, helping not only to negotiate the Triple Alliance, but also the marriage between William of Orange and Princess Mary. His collection at Moor Park was well known in its day, reflecting both his cultivated taste in art and literature and his international connections. Its fabulous attire, rendered with almost microscopic attention, is not merely decorative but emblematic of a world in which visual display was a language of power. Its provenance, stretching from the English country house and Enlightenment scholarship to modernist circles, forms a microcosm of cultural exchange across four centuries. Thus, the portrait of Mary Hammond stands as both a masterpiece of early seventeenth-century craftsmanship and a witness to the grand narrative of collecting and connoisseurship—a testament to the enduring fascination of beauty, status, and history intertwined. By tradition the portrait depicts Mary Hammond (born c.1602), who was Sir William Temple’s mother, and the daughter of the royal physician who served James I, Dr John Hammond (c.1555–1617) and whose family owned Chertsey Abbey in Surrey. The woman appears between 18 and 25 years old, and Mary would be about 18–20 when the portrait was painted circa 1620, therefore this matches the apparent age of the sitter and the fashion perfectly. Mary stood at the intersection of learned/courtly and gentry worlds. On 22 June 1627 she married her first cousin (a common practice for consolidating family wealth and influence during that era.) Sir John Temple (1600-1677) at St Michael, Cornhill in the City of London. The couple resided nearby, at Blackfriars. Her marriage to Sir Temple placed her at the heart of the social and political circles that shaped British history. The couple had at least five children, and they became highly significant historical figures: The eldest son, Sir William Temple, 1st Baronet, became a distinguished diplomat, statesman, and essayist, famous for his role in the Triple Alliance and as a patron and mentor to the writer Jonathan Swift – our portrait was in his collection. Their daughter, Martha Temple, later Lady Giffard, was a notable figure in her own right. She became her brother William's first biographer and a respected letter-writer, providing a rare female perspective on the events and high society of the time. Another son, also named Sir John Temple, became Attorney General for Ireland and was involved in the turbulent politics surrounding the English Civil War and the Act of Settlement in Ireland. Mary died in November 1638 after giving birth to twins and was buried at Penshurst, Kent. The family's connection to Penshurst Place is a major point of interest as this historic manor was the seat of the Sidney family, a major aristocratic and literary dynasty. The portrait was in the collection of the Mary’s son, Sir William Temple. From there it descended to his daughter, and then to her nephew, the Reverend Nicholas Bacon of Spixworth Park, Norfolk (his mother was Dorothy Temple who died in 1758). Indeed, by this time, many Temple relics were in the collection at Spixworth including the engagement ring of the illustrious Dorothy Osborne, Lady Temple, wife of Sir William Temple. The portrait thus linked two prominent English families—the Temples and the Bacons—for generations. It is listed in a Spixworth Park inventory of 27 October 1910 by the local collector and art historian, Prince Duleep Singh. He described it with characteristic precision as: “No. 69. Lady Half Length, body and face turned towards the sinister, hazel eyes upwards to the dexter, red hair dressed low and over the ears, a jewelled coronet behind, pearl ear-rings tied with black strings. Dress: black, bodice cut low and square, with lace all round the opening and over shoulders, sleeves with double slashes showing red lining and lace under, falling thin pleated lace collar, black strings tied behind it, a jewel suspended on a black string round the neck, and a double row of agate and silver beads all round to the shoulders. M. In brown veined stone frame. Age 30. Date c.1620. It is called ‘Dutch portrait from Moor Park, mentioned by Nicholas Bacon of Coddenham and Shrubland as a very valuable painting.’ A few years later, when Robert Bacon Longe’s executors sold the contents of Spixworth Park (19–22 May 1912), the portrait appeared as lot 262, described as: “A very valuable half-length portrait on panel, ‘Dutch Lady, with deep lace collar and pearl and amethyst necklace, pendant, and ear-rings, and auburn hair, with coronet’ Early Dutch School 1620.” Following this sale the painting entered the collection of David and Constance Garnett, prominent literary figures of the early twentieth century, before being gifted to Andre Vladimervitch Tchernavin by 1949, and subsequently passed by him to the present owners in 1994. The two great houses associated with the painting, Moor Park and Spixworth Park, further underscore its pedigree. Moor Park, in Hertfordshire, was among the grandest country estates of seventeenth-century England—its gardens famously redesigned by Sir William Temple himself and later influencing landscape design across Europe. Sir William's Temple's secretary was Jonathan Swift, who lived at Moor Park between 1689 and 1699. Swift began to write "A Tale of the Tub" and "The Battle of the Books" at Moor Park. Spixworth Park, near Norwich, was an Elizabethan country house in Spixworth, Norfolk, located just north of the city of Norwich. It was home to successive generations of the Bacon family, one of Norfolk’s most distinguished dynasties (later, the Bacon Longe family), who were considerable land owners (owning Reymerston Hall, Norfolk, Hingham Hall, Norfolk, Dunston Hall, Norfolk, Abbot's Hall, Stowmarket, and Yelverton Hall, Norfolk). Spixworth Hall and the surrounding parkland remained in the Longe family for 257 years until 1952, when it was demolished. Rendered with meticulous precision and sumptuous detail, the painting depicts an elegantly dressed woman—her poise, costume, and jewels all communicating a message of wealth, refinement, and social rank. Every brushstroke conveys an artist deeply attuned to the textures of luxury and the nuances of feminine dignity. The sitter’s attire is nothing short of magnificent. Her bodice and sleeves are fashioned from the finest black silk or satin, the fabric absorbing and reflecting light in equal measure, suggesting both depth and lustre. Around her shoulders lies an opulent lace ruff—a deep, radiating lace collar worked in such intricate detail that it testifies to both the artist’s technical skill and the sitter’s extravagant taste. Lace of this quality, especially Venetian or Flemish bobbin lace, was one of the costliest materials available in early seventeenth-century Europe, its weight worth more than gold, and was a marker of prestige that rivalled jewels in value. The painter has taken great care to delineate every loop and scallop of the lace, achieving an almost tactile realism. Pale skin was also a desired beauty standard, sometimes accentuated with contrasting black ribbons or strings. Her jewels amplify this display of affluence. Matching earrings and a delicate coronet or jewelled hair ornament with a feather adorn her hair, which is styled in the modest yet fashionable manner of the time. These details are far from decorative excess—they serve as visual emblems of social standing, refinement, and lineage. Portraits of this kind were statements of both identity and aspiration, intended to project a family’s prosperity and moral virtue to posterity. The portrait was most likely painted in London around 1618-1622. The low-cut, décolletage-revealing neckline was fashionable in the courts of England and France during the late Elizabethan and Jacobean eras (c. 1590s-1610s), this style did not prevail in the public fashion of the Low Countries at this time. This style of lace ruff — delicate needle lace with geometric openwork — was fashionable from c.1615 to 1622, and the jewelled caul (hair net) and lace edging over a stiffened coif are consistent with high-status English women’s portraiture between 1610–1620. The puffed sleeve slash and the use of pink satin beneath black velvet belong squarely to the late Jacobean...