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KAWS TAKE (Blue) new & unopened in its original packaging. A standout KAWS figurative sculpture and variation of KAWS' large scale TAKE sculpture - a key highlight of the exhibition...

Renowned for his work with salvaged metal, American artist Gordon Chandler transforms weathered found materials into refined works of sculpture. With an eye to the aesthetic possibilities of this humble material, Chandler invests reclaimed steel with sculptural fluidity and a wry sense of form. In this wall-mounted sculpture entitled "Buck Head...

Makes a unique and memorable gift! Who wouldn't want a card with a ribbon that reads "Love, Andy Warhol" - from Warhol himself? Andy Warhol Love, Andy Warhol, ca. 1979 Ink on card ...

A wonderful piece of unknown edition by Andy Warhol. A silkscreen print on a Cellulose and Cotton dress. Fearing the artist's trade mark Campbell's soup can. In very good condition.

Set of Six Hand Coloured Botanical Prints/Lithographs and Engravings Published by G. Ridgway, S. Curtis, W. Baxter and W. Fitch Early Mid 19th Century Size: image: 8.5 x 5.5 inches P...

This Celadon Vase by Shinobu Kawase exemplifies the serene elegance of celadon. The vessel features simple, graceful curves and a balanced melon-ribbed form that conveys quiet streng...

Beach. Night., 80x60 cm, acrylic , canvas

Portrait of a Gentleman in a Red Coat and Periwig, c.1715-1725 Studio of Sir Godfrey Kneller (1646–1723) This portrait of a gentleman, presented by Titan Fine Art, is a fine and wel...

Portrait of a Gentleman, Sir Henry Hobart Blue Cloak and cravat c.1683-1684 Attributed to Willem Wissing (1656-1687) This impressive portrait, presented by Titan Fine Art, depicts t...

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Artist Karen d'Angeac Mihm used an early-season bouquet from her flower subscription as a reference in this still life. Drawn to the delicate shapes and gracefu...

Portrait of a Gentleman with Periwig and Blue Cloak c.1695-1710 Attributed to Thomas Murray (1663–1734) This accomplished oil-on-canvas portrait, presented by Titan Fine Art, was al...

Raymond Gallucci (1923-2005) Lamp Base, ca. 1970. Glazed ceramic. 15 " h, 7 3/8" w, 6" d. Opening for lamp post measures 11/16 inch. While the piece would make a lovely lamp, we...

Mark Acetelli’s oil and mixed media paintings awaken the viewer’s sense of exploration and adventure; they demand a new discovery. His artworks exhibit a chemistry of complexity and ...

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Delicate lilac flowers fill a glass vase, while a fallen cluster rests beside it, adding a natural touch. Gentle light filters through the scene, adding a warm ...

Hiroshi Yasukawa was born in Nagano Prefecture in Japan in 1931. After studying art in Osaka, he began a career as a painter and art teacher. At that time, Yasukawa mainly created ...

Stylish column warm light for indoor use. The luminaire is filled with glass chunks and is illuminated from below with a 5 watt Led spotlight. The column is made of rusted sheet ste...

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...

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A surreal domestic scene features two cats resting in a room, gazing directly at the viewer. Whimsical moments unfold around them as a tiny animal stands by a m...

Triple Eyes YP x Keith Haring Date of creation: 2025 Medium: PVC or Silicon piping with LED lights mounted on recycled acrylic board Edition: Open Size: 51 x 52 cm Condition: Brand ...

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...

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...

Art Production Fund Limited Edition Beach Towel (NEW in shrinkwrap), 2014 Digital print on brushed cotton beach towel 70 × 60 inches Edition of 1000 Fabric manufacturer's label to ed...

Untitled (Head) YP x JM Basquiat Date of creation: 2024 Medium: PVC or Silicon piping with LED lights mounted on recycled acrylic board Edition: Open Size: 50 x 58 cm Condition: Bra...

"This print is a comment on the relationship between corporate greed, fossil fuels, and the warming of the planet and collapsing ecosystems. Standard operating, pushed by players lik...

A wonderful late 19th century bird's eye maple frame with cushion profile. Complete with glazing and a sturdy brass hanger. Measurements for the frame: Window 29cm X 22cm. Rebate 31....

KAWS Along The Way (Grey). New and unopened in its original box: This highly collectible KAWS Along The Way figure is a rendition of the artist's 2013 18 foot wood sculpture origina...

KAWS Companion 2016 (Set of 2 individual works): each, new and sealed in their original packaging. These iconic KAWS figurative sculptures were published by Medicom Japan in conjunct...

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

Alphonse Mucha was a painter and decorative artist best known for the sensual Art Nouveau paintings, posters, and advertisements that came to define Art Nouveau in fin de siècle Pari...

Color screenprint on white wove paper, 1972. Signed by the artist dated in pencil lower left. Numbered 67/150 in pencil lower right. Printed by Kelpra Studio, London, with the ink ...

Officially Licensed THE CURE, 2022 Paris tour poster. 18 X 24 Inches.

Man 1, 2021, 120x55 cm

Raja Ravi Varma - Laxmi, 19 x 14 inches Oleograph with embellishments, Circa (Unframed & Delivered) Raja Ravi Varma (29 April 1848 – 2 October 1906) was an Indian painter and artist...

This tapestry depicts a Lion, In Hebrew Mazel Aryeh (the Zodiac symbol Leo,) all handmade. woven and stitched. Kopel Gurwin (Hebrew: קופל גורבין‎) (1923–1990) was an Israeli tapest...

Cy Twombly Galleria La Tartaruga, Rome 1958: RARE 1950’s announcement card illustrated by Twombly, on the occasion of, what is believed to be Twombly’s first ever European Exhibitio...

Louis C. Tiffany Twelve-light Lily table lamp, ca. 1910 Patinated and acid-etched bronze and hand-blown favrile glass 20 x 16 x 16 in Provenance: Private Collection, California. Li...

"Glass Fused Ceramic Vase" is vintage Mid-Century Modern. This handsome vase has an elongated neck with a white glass-fused inlay portion on the front body...

wool tapestry ARP woven on the back Conceived, circa 1928-1930 and executed in the 1960s by Marie Cuttoli and Galerie Lucie Weill in Paris, France, in an edition of less than 15. Cu...

Roberto Montenegro Untitled

"Personaje" (seated) acrylic on canvas painting by Southern California artist Mike Rivero. Personaje (sitting) is painted in blue, green, pink, red, black white, orange, set on a tau...

Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

Mark Acetelli’s oil and mixed media paintings awaken the viewer’s sense of exploration and adventure; they demand a new discovery. His artworks exhibit a chemistry of complexity and ...

In 1963, Calder settled into a new workshop, overlooking the valley of the Lower Chevrière to Saché in Indre-et-Loire (France). It wasn’t long before tapestry became a new way for Al...

"Pearl Jam Seattle 2021 Streaming Event" Wood Edition by Ian Williams Discover the rustic charm of "Pearl Jam Seattle 2021 Streaming Event" by acclaimed artist Ian Williams. This uni...

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....

Valentino Large: Hand signed and numbered Monograph (gift book) in elegant Clamshell Box Una Grande Storia Italiana Valentino Garavani (Hand Signed and Numbered Collectors Edition),...

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Artist McGarren Flack captures a seated male figure. The subject's thoughtful pose and warm skin contrast with the contemporary cropping of a gray background....

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...

Untitled (cat) By Nicolas Party Nicolas Party is a Swiss-born contemporary artist celebrated for his vibrant and visually striking works that span painting, drawing, and installati...

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Artist Joanie Ford invites the viewer to experience the soothing embrace of nature in this impressionist painting. Gentle water mirrors the vibrant sky and soft...

Dance Love YP x Keith Haring Date of creation: 2024 Medium: PVC or Silicon piping with LED lights mounted on recycled acrylic board Edition: Open Size: 40 x 37 cm Condition: Brand n...

"Positive Propaganda" Provenance: Comes with Certificate Of Authenticity From New Union Gallery. Additional Info: Three-coloured lettepress print on Gmund Cotton paper with hand-deck...

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...

This is a lot of 2 Autographs by Dino Grandi to the Countess A.L. Pecci- Blunt, composed of: Autograph Letter Signed. London, March 13th, 1937, XV. In Italian. One page, single-sided, on letterhead paper "Italian Embassy-4, Grosnevor Square, 1". Including original envelope. Autograph Greeting Letter Signed. Two pages, single-sided. On letterhead paper "Il Ministero degli Affari esteri". From the Italian Embassy of London and from the Monistero degli Affari Esteri, the Italian diplomat, Dino Grandi writes these greeting and thank-you letters to the Countess and Patron of arts, Anna Laetitia Pecci-Blunt. These are hard times, during the Fascist period, as the Countess Pecci-Blunt writes in an autograph note attached "Epoca del ventennio", and how Dino Grandi refers. Dino Grandi (Mordano, 1895 - Bologna, 1988) Dino Grandi was an Italian politician and diplomat, who went down in history for the presentation of the homonymous agenda to the Grand Council of Fascism on 25 July 1943 which led to the dismissal of Benito Mussolini. He was foreign minister, minister of Grace and Justice and ambassador to London of the Kingdom of Italy.During the second post war, he was a regular consultant to the US authorities, in particular to the ambassador in Rome, Clare Boothe Luce...

Helen Frankenthaler (after) Frankenthaler, Works on Paper 1949-1984 (Hand signed and inscribed to Dick Polich, Founder of Tallix Foundry), 1986 Softcover monograph (book), hand signe...

Lesley Richmond was born in Cornwall, England. Lesley now lives in Vancouver, BC, Canada. She received her art teachers training in London, England and her MEd in the USA. She taught...

Lady with Lilies, 70x50 cm

Nick Thomm 'LUMINANCE' (SET) 69cm x 92cm (27"×36″) per print. Blue Limited Edition of 425. Orange Limited Edition of 409. Archival Pigment Print on Hahnemühle 308gsm Fine Art Pape...

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The sun peaks through a break in the clouds, as it rises over the pastel-hued sea. This painting is on a gallery wrapped canvas, with warm black sides and co...

Set of Six Hand Coloured Botanical Prints/Lithographs and Engravings Published by G. Ridgway, S. Curtis, W. Baxter and W. Fitch Early Mid 19th Century Size: image: 8.5 x 5.5 inches P...