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MEDIUM: ​Original Production Cel on Printed Background IMAGE SIZE: 10.5" x 9" PRODUCTION: Superman the Animated Series EPISODE: Apokolips Now...Part I SKU: IFA5737 ABOUT THE IMAGE: ...

Pool , 35x25cm, paper/ pastel

Single twin reclined by Efren Isaza Size: 40.5 x 29 inches Framed image printed on an archival canvas, intervened with paint, ink and intentionally scratched by the artist Signed, ti...

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...

Color etching and aquatint, 1974. Signed by the artist in pencil, lower right margin. Numbered 51/75 in pencil, lower left margin. Printed by Il Cigno, Rome. Published by Albra, T...

Open unknown edition Unsigned Several months after releasing the KAWS Share Figure in February, the artist released his long anticipated KAWS Take Figure. The figure, which features...

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...

Happy Day 2, 130x100cm, Acrylic on canvas

Heartbreaker , 120x90 cm

"Dark" is an original piece by Kay Seohyung Lee made from oil on canvas. This piece measures 24”h x 18”w and comes with a gallery-issued Certificate o...

Happy Day 2, 130x100cm, Acrylic on canvas

Pinky , 2022, 120x100cm

Artist Comments
Artist Onelio Marrero portrays his niece examining Jules Bastien-Lepage’s 1879 painting of Joan of Arc receiving her life-changing vision. Set within a room...

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...

"Hardly" is a captivating poster featuring the artwork of renowned artist Wassily Kandinsky. Published by Art Unlimited in Holland for the Museum Boymans-van Beuningen in Rotterdam, ...

Water lilies , 180x120 cm, acrylic, canvas

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...

Arcadian landscape inspired tapestry. Belgian made, jacquard woven with relief stitch. Fully lined with rod pocket for hanging. Cotton and rayon. Measurements are approximate.

Pine , 60x25 cm, oil on canvas

Arabic Calligraphy of praying is a precious manuscript reporting Islamic Sacred Verses in an ancient calligraphy style. One page, one-sided, in Ara...

KAWS Black Flayed Companion 2016. A rare, out of print KAWS figurative sculpture new and sealed in its original packaging. Published by Medicom Japan in conjunction with the exhibiti...

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...

Artist Comments
A gently flowing river reflects the soft glow of a warm summer morning, creating a sense of calm and stillness. A towering tree casts deep shadows over the wa...

series "Non-standard configurations", 42x30 cm, acrylic on paper The work is sold without a frame and mat

Artist Comments
The painting is a result of my impressions from traveling in Mexico. Old, colorful, dramatic looking houses under the bright sun look dynamic and full of life energy.

About the Artist
Suren is an impressionist painter eloquently capturing nature, landscapes, and cityscapes in paint. His body of work reflects several different stylistic approaches. Suren’s scenes in oil are inspired by Impressionist masters Monet and Van Gogh, while his watercolor series of flowers and birds are influenced by Eastern styles of painting and the colors of the Middle Eastern environment. Suren believes his role as an artist is to remind viewers that we all are part of the same natural universe.

Sunny Day, Street in Puerto Vallarta...

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...

About the artist The beauty of nature Davit Nava’s work focuses on showing the beauty of nature by creating sustainable art that seeks to raise public awa...

Graceful interweaving of plants cucumber and tomatoes on the peach colors background. inspired by designs of William Morris - Limited edition giclee Print - with archival inks o...

Christian Zervos. Pablo Picasso. Œuvres de 1895 à [1972]. Paris: Éditions Cahiers d'Art, 1949-1986. 33 volumes in 34 (volume 2 in two parts), small folio (325 x 252 mm.), numerous p...

INSTANTDREAMS - Monograph - signed Hardcover Edition, 62 pages. published by Avanso, Berlin, 2014 ISBN 978-3-935971-69-0 This book comes with "Her Last Call II" a 20x20cm Edition o...

A note about succulents, Canvas, mixed media, 110x90cm The work is sold without a frame.

"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...

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...

Artist Comments
A quiet street leads through the coastal town of Estepona, Spain, lined with houses resting in shadow. Further in, a sunlit building faces the viewer, its warm ...

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...

Edition of 340 copies including 33 original engravings. Copy on vélin Montgolfier d'Annonay, including: - 11 etchings by J. Daragnes, H. David, P. Ganon, P. Guastalla, J. Hechr, Cha...

Sea 40x30 cm

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...

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

A charming Victorian sampler, hand-embroidered by Kate Rouse in May 1844, aged 8 years. Cases of the alphabet, flowers and a verse have been carefully stitched in green and yellow th...

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: 9.5 x 5.5 inches P...

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...

KAWS Monsters (complete set of 4 works): A highly collectible & super decorative complete set of KAWS art toys, featuring the famed cereal characters: Frankenberry, Count Chocula, Bo...

After Banksy, Kate Moss Postcard, 2005 Offset Lithograph on postcard. Rare Kate Moss postcard originally released in 2005 for Banksy's Crude Oils exhibition of remixed masterpiece...

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: 9.5 x 5.5 inches P...

"Geister der Vergangenheit" is a small abstract painting on paper. It can happen that a smell, a song, or someone's face reminds us of times gone by and people we met in the past. ...

Madonna, 2021, 110x88 cm

Blue , 120x90 cm

"Drunk Archaeology II" is an original piece by NDA made from collaged mixed media mounted to panel. This pieces measures 25.25”h x 19.25”w framed. NDA is a public and gallery artist...

Three Light LILY Table Lamp, 1900s Favrile glass, patinated bronze, two shades engraved L.C.T. F Avrile base impressed TIFFANY STUDIOS NEW YORK319 13 in

Artist Comments
A pale winter road winds through a hush of trees, their bare branches reaching into soft, silvery air. The world holds its breath, and only the faint promise of...

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...

In flowers, 89x80cm, oil on canvas The work is sold without a frame.

Great looking book with great graphics by UK artist D*Face. Large hand signed signature on the inside of book with date in black ink by D*face. 240 color pages. Bound in halftone har...

In colors that pop like jazz, Live Composition II, 2024 by African American artist Bai is a 30” x 22” acrylic, oil pastel, and ballpoint pen painting on paper. A raw energetic style ...

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...

4 Volumes. 1. John Ashbery. The Poems. With 4 prints by Joan Mitchell. 2. Frank O'Hara. Odes. With 4 prints by Michael Goldberg. 3. Kenneth Koch. Permanently. With 4 prints by Alfred Leslie. 4. James Schuyler...

Harding Black San Antonio Ceramicist (1912 - 2004) "Oil Spot Vase" 1985 12.75 inches tall 8 inches across SIGNED & DATED Weight 9 lbs You are more th...

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 ...

Artist Comments
Muted grays and warm earth tones come together in this atmospheric scene, capturing the quiet pause that follows a rainfall. Expressive brushstrokes and layered...