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Translated title: " Words". Acrylic on canvas. The words are: " dolce natura crudele in sensi e controsensi articoli la tua misteriosa esistenza" which mean " sweet cruel nature w...

This charming picture, which has been signed and dated: H. Pickering pinxt 1752 is a type favoured by the highly successful artist Henry Pickering. Pickering’s painting life, from 1...

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...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

"Coalescence #1" 25" x 21.5" inch by Oleg Char Medium: Spray paint, Acrylic on restored Antique Mirror, Wood frame THE ARTIST: Unearth the essence of contemporary art with Oleg Cha...

Muller Frères Boudoir Lamp with Roses, 1910 Acid-etched cameo glass, wrought metal 20h x 8d in Signed at the arm and the shade cover. Provenance: Private Collection, Midwest Litera...

Hagenauer bookends pair leaping gazelles. The original had rubbed brass patina finish—stylized Haenauer animals, four intertwined and perfectly proportioned. The size is enough to su...

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...

Presented by Titan Fine Art, this painting 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. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. 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. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

Be@rbrick x Andy Warhol Foundation "Marilyn" Vinyl Figures: Set of two (400% & 100%): Andy Warhol (after) Marilyn collectible trademarked & licensed by the Estate of Andy Warhol. The...

Untitled #114 By Cindy Sherman Cindy Sherman is a renowned American photographer and conceptual artist, widely celebrated for her ground breaking work in contemporary art. Best kn...

This exquisite work is an accomplished example of the type of portrait in vogue in England during the third quarter of the 17th century. There was a large demand for paintings in England and the demand for portraits was greatest. Many artists worked in this lucrative field, even artists who initially trained in the more respected field of history painting, such as Peter Lely, turned their attention to portraiture to meet this demand. Moreover, it was not uncommon for the British, even for men, to present a gift of one’s portrait to a friend - portraits were first and foremost a memento. Woman at court often vied with one another in displays of rich and fashionable clothing. The drapery was either painted from the customer’s own clothes or was perhaps a creation using fabrics loosely tacked together in the studio. This was a common practice of Lely and his studio props included swathes of fabric and pieces of cloth. The sitter’s sumptuous attire and gauze scarf, fastened by a large diamond brooch, is of the finest material and is representative of wealth. Pearls were an obligatory accompaniment since at least the 1630s and they are worn in abundance – in her hair, on her attire, as a necklace, and as pear-shaped earrings called unions d’excellence, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. Her hairstyle help date the painting to the early 1660’s. Peter Lely, the son of a Dutch...

Bearbrick x Andy Warhol Foundation "Marilyn" 400% Vinyl Figure (set of two: 400% + 100%): Andy Warhol (after) Marilyn figure trademarked & licensed by the Estate of Andy Warhol. The ...

Roy Lichtenstein Kiss II, Reversible Beach Blanket/Towel, 2013 Cotton Terry LARGE: 59 × 70 × 3/10 inches (approx. 30 x 20 when folded) (note that the mea...

Handcrafted mirror in geometrical dice pattern.

Daniel Arsham Heinz Tomato Soup Selfridges Exclusive 2019. Ltd edition of 3,000 Excellent Condition, some slight marks to paper. Hard to come by in this condition. 4 1/4 × 3 × 3 i...

Offset lithograph on paper Size: 41,9 x 59cm, folded. Description: Official lithograph produced by Banksy. Plate signed lower right.

A book by Andy Warhol. Signed and sketched by the artist on the first page of the book. Signed on the bottom of the first page. The Philosophy of Andy Warhol (From A to B & Back Aga...

Louis Comfort Tiffany “Turtle-Back” desk lamp, 1905 ca. Patinated bronze and marbled glass. 14 in high Shade marked "Tiffany Studios", base stamped "Tiffany Studios, New York, 71452".

Frank Stella's Moby-Dick: Words and Shapes (Hand signed and inscribed), 2000 Elegant, beautifully illustrated hardback monograph with dust jacket Hand signed, dated and inscribed by...

By French famous Transgender artist, Michel Marie Poulain (Born Paris December 5, 1906. Died 1991) this rare oil on canvas it represents the Queen and he...

Keith Haring, Montreux Jazz Festival posters (set of 3) Keith Haring was invited to design the posters for the 17th Montreux Jazz Festival in 198...

Discover the captivating allure of Lili Miura's "Metamorphosis" at our exclusive art exhibit. This stunning masterpiece, rendered in oil on canvas, measures 30 x 15 inches (76.20 x 3...

Delve into the profound depths of Kyongboon Oh's "ID ME - Mother (2012-2019)" showcased in our prestigious art exhibit. This remarkable creation, sculpted from galvanized steel wire,...

Discover "Cloud Seeding," an evocative masterpiece by artist Amelie Laurice. Created in 2024, this captivating artwork invites viewers into a realm where the ethereal meets the tangi...

A fun genre painting with students in a classroom being students by American artist George Henry Story (1835-1923). Story was born in New Haven, CT, and after studying a year in Euro...

BEATON, Cecil [135] pp. B.T. Batsford Ltd 1937 11 1/2" x 9 3/8" w/ floral rose bud Sanderson wallpaper boards & endpapers On the shelves at Ashcombe, I have now over fifty diar...

BEATON, Cecil [136] pp. Charles Scribner's Sons 1937 11 1/2" x 9 1/2" On the shelves at Ashcombe, I have now over fifty diaries & scrapbooks, memorials of many violated magazine...

BEATON, Cecil [136] pp. Charles Scribner's Sons 1937 11 1/2" x 9 1/4" w/ floral rose bud Sanderson wallpaper boards & endpapers On the shelves at Ashcombe, I have now over fift...

BEATON, Cecil [135] pp. Charles Scribner's Sons 1937 11 1/2" x 9 1/4" w/ floral rose bud Sanderson wallpaper boards & endpapers On the shelves at Ashcombe, I have now over fift...

BEATON, Cecil [67] pp. Duckworth 1930 11 1/8" x 9" Exceedingly rare with the jacket Illustrated with a coloured frontispiece from the author's drawing of Queen Alexandra, 27 co...

The Swinging Liberty Necklace is a solid sterling silver coin pendant made from molding and casting a quarter sized US Seated Liberty quarter which circulated the US from 1838-1891. ...

The Silver Quarter Chain Necklace is a one of a kind oxidized silver coin Necklace made from fabricated US solid silver quarters featuring the texture of the text and reeds of the co...

The Heads and Tails Long Rubik's Box is a one of a kind, handmade and fabricated copper penny box. It measures 3.5” x 2.75” x 2” tall and has a silver signature plaque on the inside ...

The Walking Liberty Drops are hand sawn coin earrings made from silver Liberty or Mercury dimes (on top) minted in the US from 1916-45 and the front and the back of the same coin on ...

The Dime Hexagon Chain 72” is hand punched with solid silver circulated Liberty dimes minted in the US from 1916-45. The coins are sawn and chained together making a six foot long c...

Resonate II, mixed media on paper, 40 X 30 Abstract using soft grays and black. For exact shipping costs, please give location. comes unframed. About the Artist: Julie Schumer, a...

The Standing Liberty Locket is a handmade hinged container entirely made out of vintage silver US Standing Liberty quarters. The Standing Liberty quarter is a 25-cent coin that was s...

Resonate l , mixed media on paper Comes UNFRAMED Black and white abstract mixed media on paper About the Artist: Julie Schumer, a native of Los Angeles, California, and born in 195...

Blue Atmospheric Abstract About the Artist: Julie Schumer, a native of Los Angeles, California, and born in 1954, lives and paints in Santa Fe, New Mexico. She discovered her love ...

The Penny Tube Box is a one of a kind, handmade and fabricated penny box. It measures 5” long by 1” wide with a custom hinge and clasp. Each penny has been fabricated with silver sol...

The Long Cut Coin Portrait Drops are a chained collage of primarily hand sawn American coins composed into gorgeous one of a kind earrings. The earring studs and backings are oxidize...

Rome Pays Off x Estate of Jean-Michel Basquiat Skate Deck Disney Mickey Mouse x Keith Haring Foundation A standout Skateboard Deck set - with each piece trademark by their respective estates. Features classic early 1980s Keith Haring Mickey...

Untitled, 2013 by Ana Seggiaro From the Cartographies series Embroidery on canvas (map) Unframed In the mid-2000s, Ana Seggiaro made her first small-scale collage works on paper. S...

Untitled, 2013 by Ana Seggiaro From the Cartographies series Embroidery on canvas (map) Unframed In the mid-2000s, Ana Seggiaro made her first small-scale collage works on paper. S...

Autograph- To the readers of "Letizia" is an autograph by the italian singer Domenico "Mimmo" Modugno, author of the famous song "volare". On transparent paper, realized in the 1970s...

Chicken, 2023, 78x54 cm

"Tenderness", 50х40cm, acrylic/canvas

Frost and sun ,Canvas, oil, 85x80cm

Daisies, Canvas, oil, 80x70 cm