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Storm of Emotion

Artist Comments
A woman lies under a vibrant night sky, the stars and planets illuminating her form. Bold colors and energetic directional brushwork add a hypnotizing energy to the composition. This piece is artist Diana Elena Chelaru's personal interpretation of the vast space.

About the Artist
Artist Diana Elena Chelaru creates vibrant expressionist works that explore human emotion and the cosmos. “Art is a means of communication, a way to express my thoughts, hopes, and joys,” says Diana. She uses form, lines, and color to bring her imaginative compositions to life, with inspiration drawn from Byzantine mosaics and Gustav Klimt’s decorative patterns. Diana received her BFA in Painting from George Enescu Art University and an MA in Art History from Queens College. Diana’s creative process is fluid and intuitive, guided by her emotions in the moment, with music as a constant companion. Her studio, located in the basement of her home, is kept clean and organized. When she’s not creating, Diana enjoys spending quality time with her family.

Words that describe this painting: Universe, stars, sky, night, meditation, celestial, space, flow, movement, planets, reclining, expressionism, nature, people, acrylic painting, blue

Star Gazing...

Maroon, 2018

A Joyous Broken Thing

Artist Comments
The minimalist geometric painting features a curved white shape resting atop a rectangular block set against a muted blue background. The artwork is part of art...

Nick Thomm - 'STEMS' - (Azure) XL SIZE 92cm x 122cm 36" x 48" Limited Edition of #25 Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condit...

"Angel of Hope and Strength" Silkscreen Print by Obey Giant Artist: Shepard Fairey Year: 2020 Dimensions: 18" x 24" Edition Size of 550 prints Print Details: Signed and numbered by S...

Basquiat & Keith Haring Bearbrick Vinyl Figures: Set of two individual works: Unique, timeless Keith Haring, Jean-Michel Basquiat collectibles trademarked & licensed by the E...

La Lecia /a Son Director Sylvain Dupuis 1895. Vintage Art Nouveau Presentation Copy. . Unique one of a kind special Wooden Art Nouveau Binding - ...

Hot pinks and tangerine orange intertwine in this gestural abstract painting by Debra Drexler. This painting is inspired by the intensity of light and colors in Hawaii, where the artist splits her time between there and New York City. Debra Drexler maintains studios in both New York and Oahu, and her work is informed by her unique bi-coastal experience. Her work translates the inner experience into outer form through a vigorous athletic painterly process. Drexler has had over 30 solo exhibits and over 100 group exhibitions at galleries and museums in New York, Hawai’i, Australia, Berlin and across the states. New York, NY. In 2017, her two-person exhibition was reviewed in Whitehot Magazine and Arte Fuse. Her most recent solo New York exhibits were at Van Der Plas Gallery in 2015 and 2017. She had a solo exhibition at The Majestic Theater curated by The Dorado Project in Jersey City in 2016. Other recent New York solo exhibits include: Pool Art Fair, Chelsea Hotel Blue...

Winnie the Pooh was created by English author A.A. Milne and English illustrator E.H Shepard. The first collection of stories about the character was the book Winnie-the-Pooh and th...

Contemporary colorful pastel abstract painting by local Houston artist Benji Stiles. The painting depicts light green, peach, dark deep blue, and a bright red shape against a light green and gray background. Unframed but framing options are available. Signed, titled, and dated by the artist at the back. Artist Biography: Born in New Orleans, Robert Benjamin Stiles (Benji) is a multidisciplinary artist and educator who lives and works in Houston. He holds a B.A. from the University of St. Thomas, with a major in Art History and a minor in Studio Arts, and is currently an MFA candidate at MICA (Maryland Institute College of Art). His work ranges from non-representational painting...

Triptych of three interacting panels inspired by artist's love of Graffiti as an art form and her interest in the decline and revival of the Welsh language. It is a little-known fact...

This artwork by Axelle Gosse explores the interplay of structure, rhythm, and color through a complex composition crafted from rope and textile. Meticulously arranged lines create a ...

Bartolomeo Paoletti (1757-1834) and Pietro Paoletti (1801-1847). Original nineteenth century plaster cameo seals edged in folded paper and tipped with gol...

Drypoint, aquatint and heliogravure, 1965. Signed by the artist and dated in pencil, lower right margin. Numbered 42/150 in pencil, lower left margin. Printed by Robbe, Paris. Pub...

Artist: Charles Chamot, Peruvian/American (1951) Title: Artichoke Year: 1979 Medium: Woven Wool Tapestry, signed and numbered on label, verso Edition: 1/6 Size: 84 x 72 inches

This hand-blown square vase by Ioan Nemtoi could easily be the centerpiece of any collection of glass art. Nemtoi's incorporation of gestural composition techniques derived from Abstract Expressionism into his glass work yields a dazzling array of colors when this vase is illuminated from the inside. Hand-blown glass 13.25 x 7.4375 x 7.25 inches Signed 'Nemtoi' along the base Ioan Nemtoi was born in 1964 on a farm in Trusesti near Dorohoi, in North-Eastern Romania, as the eldest son of a large family. When Nemtoi was in the fifth grade, one of his teachers noticed his artistic talent and sent him to art school. Later he went on to the art branch...

KAWS SHARE (Brown), new & unopened in its original packaging. KAWS SHARE first appeared in 'BLACKOUT' – the first London solo exhibition by KAWS (Skarstedt London 2019). In SHARE, K...

MEDIUM: ​Original Production Cel on Printed Background with Matching Drawing IMAGE SIZE: 10.5" x 9" PRODUCTION: Batman The Animated Series, Beware the Gray Ghost SKU: IFA7050 ABOUT ...

K. Laxma Goud - Untitled - 15 x 11 inches (unframed size) Etching on paper. Edition of work. Style : Goud displays versatility over a range of mediums, from printmaking, drawing, watercolour, gouache and pastels to glass painting and sculpture in bronze and terracotta. Over the many years of his artistic career, he is known to have moved from one medium to another with élan. Fellow artist T. Vaikuntam, in one of his interviews, reminisces that it was Laxma Goud who introduced him to the art of sketching and made him aware of the possibilities of this medium. When one looks at Goud’s work, rustic, raw, and potent might be the first words that come to mind. His portraits of men and women represent the dynamic Indian ethos rather than particular individual identities. A recurrent theme with the artist is that of the erotic, treated as an active and powerful aspect of male and female sexuality and existence. Goud’s work is dramatic; his protagonists are raw and vivacious in their appeal, imbibed with energy that reverberates through his strokes and textures. Most of Goud’s art is centered on the rural, recreating landscapes from his childhood as if they were frozen in time. In the artist’s later work, his figures turn softer, more introspective than brash in their outlook. About the Artist and his work : Born : 1940 in Nizampur, Andhra Pradesh...

Lemon leaves 100x70 cm

KAWS Grey Passing Through Companion 2018. New and sealed in its original packaging. The most iconic of the KAWS Companions, this passing through piece was published by KAWS One Med...

Andy Warhol Paris, Musee d’Art Moderne de la Ville de Paris, 1970: Rare original Andy Warhol exhibition catalog featuring a Warhol Pink Cow cover. Published on the occasion of the Warhol solo show at the MAM, Paris, Dec. 16, 1970 - Jan. 14, 1971. A must have rare vintage Andy Warhol Cows collectible. 1st edition; 1970. Single sheet folded, twelve-page accordion style booklet. Text by Alfred Pacquement (French). Exhibition checklist found within. Reverse features a candid, black and white portrait of Warhol. Medium: Offset printed Exhibition Catalog. Dimensions: Folded 7.75 × 10.5 inches; Unfolded: 7.75 x 47 inches. Condition: Very good overall vintage condition; hand written notations to interior first page. Unsigned from edition of unknown. Further Background: Andy Warhol was inspired to by art dealer Ivan Karp to create his Cows in the 1960s. Warhol’s printer Gerard Malanga chose the photograph of the cow, however it was Warhol’s unique pop art style that made the final product so interested. He chose a bold color scheme of bright pink on yellow, which turned the pastoral animal into an amusing and oddly exciting subject matter. Warhol then printed the electrifying Cow image on wallpaper, introducing this process to his creative production. In Warhol’s classic mode of repetition, every inch of the walls were covered with hot pink and yellow Cows. Castelli was so moved by the show, that he had professionals install the wallpaper so that the guests could experience Andy Warhol’s vision. _ Obsessed with celebrity, consumer culture, and mechanical reproduction, Pop Art king, Andy Warhol created some of the 20th century’s most iconic images. Warhol was widely influenced by popular & consumer culture, with this being evident in some of his most famous works: 32 Campbell's soup cans, Brillo pad box sculptures, and portraits of Marilyn Monroe & Mick Jagger, for example. Rejecting the standard painting and sculpting modes of his era, Warhol embraced silk-screen printmaking to achieve his characteristic hard edges and flat areas of color. The artist mentored Keith Haring and Jean-Michel Basquiat and continues to influence contemporary art around the world: His most bold successors include Richard Prince, Takashi Murakami, and Jeff Koons. Warhol has been the subject of exhibitions at the Whitney Museum of American Art, Museum of Modern Art, Tate Modern, and Centre Pompidou, among other institutions. Related Categories Warhol prints. Warhol prints. Warhol screen print...

The artwork is dated, signed and inscribed verso. Franka Lechner was born in Vienna in 1944. The woven tapestrie-artworks constitute an important part of her oeuvre. The boundaries...

Jeram Patel Untitled , Acrylic on Canvas 36 x 48 inches 91.4 x 121.9 cm 2005 Price on Request ( UNFRAMED ALL IN DOOR DELIVERED ) Born : 1930 Died : 2016 Jeram Patel was on...

Brillo Box YP x Andy Warhol Date of creation: 2024 Medium: PVC or Silicon piping with LED lights mounted on recycled acrylic board Edition: 500 Size: 62 x 60 cm Condition: Brand new...

Harriet Hoult Walking The Loop Limited Edition Giclee Print Edition of 250 Sheet Size: 91cm, x 63cm Signed by the artsit Sold Unframed Free Shipping Walking the Loop is a limited ed...

Meghan, 2013

Unfinished Business x Joshua Vides Skate Deck in original packaging. 45/100

KAWS Companion Grey: set of 2 individual works; 2016. Each new and sealed in their original packaging. Published by Medicom Japan in conjunction with the exhibition, KAWS: Where The ...

Artist Comments
A luminous combination of red, blue, and white circles radiate from above, silhouetted by the bright morning sun. They cascade down like individual rays of li...

In this plein air painting, Orsolic Dalessio creates a composition reminiscent of The Hudson River School paintings, but with an impressionistic hand. Along with the studied composit...

Color lithograph on Rives BFK wove paper, 1957. Signed by the artist in pencil, lower right margin, and numbered 96/100 in pencil, lower left margin. Published by Hedwig Marbach, B...

This cotton fabric was made by an unknown Ashanti artist. It is mostly black and white. The Ashanti are a major ethnic group of the Akans in Ghana, a fairly new nation, barely more than 50 years old. Ghana, previously the Gold Coast, was a British colony until 1957. It is now politically separated into four main parts. Ashanti is in the center and Kumasi is the capital. The Ashanti have a wide variety of arts. Bark cloth was used for clothing before weaving was introduced. With weaving, there is cotton and silk. Women may pick cotton...

KAWS's cartoonish style—including his best-known characters with X-ed out eyes—has its roots in his early career as a street artist, when he began replacing advertisements with his o...

Flowers in a vase 2010, cardboard, oil, 64x46 cm

In Fail of Dawn, the first light of morning hesitates on the edge of the horizon, as if unsure whether to rise. Soft veils of grey and muted lavender drift across the scene, dissolvi...

Travel notes 2007. Paper, pastel, 24x22 cm The focal point of the artwork is a colorful cityscape, reflecting the artist's impressions and experiences of a particular place during ...

This framed oil paint on masonite board by Oklahoma-based artist James Cobb is a landscape painting featuring the summer home of Lee Mullican. Mullican was an American painter, educa...

Pablo Picasso (1881-1973) - Jacqueline Lithograph with quadrochromy from 1961. Dimensions of sheet: 37.9 x 27 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Éditions Cercle d'...

Artist Comments
Artist Sherri Aldawood paints dainty orchids nestled in multi-colored flower pots. "I saw these orchids at the Conservatory in San Diego's Balboa Park," shares Sherri. She captures the bright morning light illuminating the blossoms while contrasting against the darker background. The evident balance of light and shadow creates a harmonious display.

About the Artist
Sherri Aldawood didn't intend to always paint flowers, but over time her love of gardens started to permeate her art. She focuses on the light and color of the flowers on the canvas. Sherri prefers alla prima, working with wet layers of paint instead of letting them dry. She keeps the paint as wet as possible by using walnut and clove oil...

Artist Comments
It's a peaceful morning, with the sun shining brightly and reflecting its warm light on the pebbles on the riverbed. The trees provide a comforting shade, cre...

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 ...

Ryan Snow is an environmental artist creating visual meditations through abstract painting, analog photography and digital media. His field process explores the tranquility of mind a...

The girl under the catalpa 100x80 cm

Maurice-Pillard Verneuil: "Kaleidoscope, Ornements Abrstaits", Unframed Artist: Maurice-Pillard Verneuil (1869 - 1942) and Adelaide Verneuil (1898 -...

Limited edition Jean-Michel Basquiat Spray Paint Can 2017: Highly collectible limited edition Jean-Michel Basquiat spray paint can by published ci...

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...

KAWS Holiday Companion (2019-2022): A curated set of 6 individual Black KAWS: HOLIDAY Companions new & unopened in original packaging. These KAWS holiday companions were born out of KAWS' world famous rotating series of large scale outdoor public exhibitions featuring massive sized renditions of same. A standout series of individual KAWS companions that works nicely in any setting. Please find further information as follows: KAWS UK (12 inches in height). KAWS Mount Fuji Japan (9.4 inches). KAWS Taipei (5.5 x 7 inches). KAWS Changbai...

KAWS CHUM Companion 2022: set of 5 works: This complete set of 5 KAWS CHUM Companions, was published by KAWS to commemorate the 20th anniversary of his famed Chum character; "I can r...

Ruta Vadlugaite (b. 1994) lives and works in Vilnius, Lithuania. She studied painting at the Vilnius Academy of Arts, where she completed her BA in 2017. Shortly after graduation, sh...

Poppy 2021., cardboard, oil, 30x21 cm

Attractiveness 2022. Paper/pencil, 29.5x20.9 cm Liga Kalnina Artist Liga Kalnina(1990) is born in Riga, Latvia. Her artist interests is mainly realistically based -landscapes, a...

KAWS Companion 2018-2021: A curated set of 10 individual Black KAWS Companions new & unopened in original packaging. KAWS Clean Slate, 2018: 14.25 x 8 inches. KAWS Along The Way 2019: 10.5 x 9 inches. KAWS Holiday Space 2020: 11.5 inches in height. KAWS What Party: 11 x 5 inches. KAWS Holiday Taipei: 5.5 x 7 inches. KAWS Share: 12.4 x 6.3 inches. KAWS Separated 2021: 7.75 x 6 inches. KAWS BFF: 13 x 5.7 inches KAWS 2020...

A fine portrait of a 5 year old Christina Patterson by American artist Aaron Abraham Shikler (1922-2015). Shikler was born in Brooklyn, New York, studied at the Tyler School of Art at Temple University, then studied in New York with the abstract painter Hans Hofmann, but he remained a committed realist throughout his life, under the sway of artists like Degas, Vuillard, Sickert and Sargent. To make a living, he painted clowns and ballerinas for a wholesale company, signing the work “Phil I. Steen” to register his disgust. When Leroy Davis, an Army friend, opened the Davis Gallery in Manhattan in 1953, he began showing Mr. Shikler’s work, which included figure studies, still lifes and landscapes. A turning point came in 1959 when Jane Engelhard...

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 ...

Daniel Arsham Fictional Nonfiction: Archaeology, 2019 Plaster, crushed glass in custom packaging 8 × 5 × 1/2 in 20.3 × 12.7 × 1.3 cm Edition of 500 Kindly note that the first photog...

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...

Artist Comments
Artist Guigen Zha pictures a plump red lotus blooming opposite a developing bud. He paints in his distinct style of realism that pres...