Large More Art

Portrait of a Young Lady, probably British c.1730–1740 Attributed to Jeremiah Davison (c. 1695–1745) What makes this portrait immediately compelling is its directness: the sitter’s ...

BUDAPEST , 100x100 cm

Hey, we all dropped it., 90x60 cm, acrylic , Canvas

This piece is made to order. Please allow for 4 to 6 weeks for production. This piece titled "MJ-af66128ff0c0" is an original artwork by Tuft the World and is made tufted 100% New Z...

A fine New England landscape with a cart path and birch tree by Swedish-American artist Theodore Victor Carl Valenkamph (1868-1924). Valenkamph was born in Stockholm, Sweden, and emi...

Galerie C.O.A. x Sandra Chevrier La Cage et le parfum de la fuite is one of two skateboard triptychs Sandra Chevrier released through Galerie C.O.A. in Montréal in 2017. Both editio...

A framed commemorative piece, this Stars and Stripes has been signed by women who achieved world-class athletic success as Olympic winners. Not confined to just one year’s event or p...

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...

Portrait of Lady Diana Bruce in a Blue Dress with Cut Sleeves c.1660-1670 Circle of Sir Peter Lely (1616-1680) Presented by Titan Fine Art is a captivating portrait of the noble Lad...

Artist Comments
A pair of sandhill cranes stand on opposite sides, their intense eyes seemingly watching each other's backs. Their stoic stance accentuates as the pond they inhabit fades into the grayish rainy mist of California's Central Valley in early winter. Rendered with a loose, watercolor-like technique, the birds' portrayal carries an expressive touch.

About the Artist
Emil Morhardt is an acrylic painter from Santa Barbara, California who expresses his passion for birds through realistic acrylic paintings. He paints at home in a studio room that has large windows and a north-facing view of the mountains. He observes the animals from this window, watching roadrunners, foxes, bobcats, deer, and coyote run by. Surrounded by this wildlife, Emil paints bird portraits reminiscent of those by artist John James Audubon. He bases his paintings off hundreds of photographs he takes of birds in the wild and at wildlife recovery centers. Emil captures the freedom and inquisitiveness that birds display...

Original Oil painting by Ukrainian artist Alisa Onipchenko-Cherniakovska In this vibrant oil painting, I've channeled the essence of a sun-drenched seaside town, blending elements o...

series "Shells", 86x44 cm, acrylic on paper The work is sold without a frame and mat

I want to be with you so much, 100x100cm

Artist Comments
Nestled amidst the vibrant foliage, Jackson Creek emerges as the centerpiece of artist Kent Sullivan's realistic piece. The flowing water possesses an idyllic allure amidst the lush landscape, reflecting the verdant bounty that thrives along its banks. The meeting of land and water echoes the harmonious balance co-existing within this ecologically diverse region. The work serves as a poetic reminder of the profound beauty lying within reach and demanding our respect. With every delicate brushstroke, Kent invites us to reflect on the value of nature's magnificence and our shared responsibility to protect and cherish these invaluable treasures.

About the Artist
There are more places Kent Sullivan would like to paint than he ever will be able. Employing many of the Hudson River School methods in his landscapes, Kent captures the ephemeral interactions of clouds, sun and earth with his delicate use of color and gesture. His work is published in two prominent books: "Art of the National Parks" and "Picturing Florida." He has lectured at museums and been sought after by many large corporations. “Several years ago I had the incredible fortune of being part of the NASA art program. Five paintings are now part of the Smithsonian Collection. At one gathering at the Kennedy Space Center...

DONALD JUDD (1928-1994) Bookshelf 60 2017 Traffic black, RAL 9017 100 x 100 x 50 cm 39.37 x 39.37 x 19.69 inches Inscribed "Donald Judd TM

Two , 100x100cm, acrylic, oil, canvas

Tushar Kanti Das Roy The green Tree Bronze Hight- 34 inch, length- 24 inch, Depth- 14 inch About the Artist & his work : Born : 1968. Education : He has completed his education from...

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...

Hand embroidery and applique using cheesecloth and vintage lace on linen

Artist Comments
In a vibrant yard, pink flowering trees and yellow bushes flourish, partially concealing a two-story house with their lush foliage. The bright morning sunlight ...

"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...

Artist Comments
A large white polar bear lies on a cliff with its eyes closed, while a dodo bird leans beside it. To their side, an easel holds a Rembrandt painting of a stormy...

Artist Comments
A chorus of yellow birds gathers along gestural branches within a soft field of turquoise, yellow, and ochre. The composition suggests a quiet rhythm, where b...

A fine impressionist marine painting of a harbor on Cape Ann, Massachusetts by American artist Harry Aiken Vincent (1867-1933). Vincent was Born in...

Peaches and jug, 80x100cm

Cat, Acrylic on canvas, gold leaf , 100x100 cm

A cup of coffee 100x100 cm The work is sold without a frame.

A reference to a famous proverb, the film is about the value of personal space in modern society. An intriguing scene that conveys the tension between the idea of ​​peace and the al...

Look back , 100x100cm, acrylic, oil, canvas

A girl with pink hair, 60x100 cm, acrylic on canvas

Date, 70x90 cm, acrylic on

Edward Bohlin Saddle (1895-1980) Hollywood, California Artist / Saddle Maker One of Montie Montana's personal Bohlin Saddles. Movie Star, Trick Rider, Trick Roper Signed. Leather & S...

Artist Comments
A Highland cow stands in a grassy field with a dramatic sunset in the background. The animal dominates the foreground, its long hair and large horns clearly vis...

Portrait of Sir John Wentworth, 1st Baronet, and Mary, Lady Wentworth née Lowther c.1695–1705 Attributed to Michael Dahl (c.1659–1743) and Attributed to Thomas Murray (1663–1735) T...

Hand embroidery and applique using cheesecloth and vintage lace on linen

Peter Halley New Works, The Butler Institute of American Art (Hand Signed), 1999 Offset lithograph poster (signed by Peter Halley) 38 × 21 1/2 inches Boldly signed in black marker by...

I want to fly , 80x90 cm, oil on canvas

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...

Immersion , 2018, 70x100 cm

A marvellous and extremely rare frame crafted using the papier-mâché technique. It features beautiful leaf-inspired ornamental motifs that make this mirror frame a small work of art....

In this captivating mid 18th century portrait, presented by Titan Fine Art, a young English lady is presented in a luminous white satin gown trimmed with intricate lace and blue ribb...

Artist Comments
Poppies bloom atop slender, rhythmic stems. Layered greens and muted greys below suggest growth, memory, and the passage of time. The artwork conveys that beaut...

"Cloud Refelctions" is an oil painting by Russian Impressionist painter Viktor Butko (b. 1978, Moscow) painted en plein air, aka outdoors. This painting is a culmination of Butko's ...

This 36" x 36" acrylic painting by an unknown artist depicts a female figure in front of a black five-point star, an adaptation of the "red star" of Communist China that generally re...

A fine tonalist landscape with colorful twilight sky at the end of the day by American contemporary artist Dennis Sheehan (b. 1950). Sheehan was born in Boston, Massachusetts and wen...

DEEP INSIDE is an original middle size abstract oil painting inspired by the quiet horizon where sea and sky meet. Soft gradients create a feeling of infinity, while a thin horizon l...

Twentieth Century Traditional style Figurative Portrait Oil Painting on Canvas of Lady in a Victorian Dress. Beautiful Model in a white Victorian Gown wearing elegant gloves and looking pensive. Beautifully modelled and featuring Helen as the model who worked with the artist in the late 1980's. RENE JEROME LEGRAND British born 1953 Rene Legrand...

Please, don’t look. I’m not offering you this moment. I’m not hiding — I’m just not performing. ? I turn away, and in that gesture, I become mine again. Please, D...

Absolutely stunning Newcomb Macklin Spanish Baroque frame. Original rubbed gold gilt and black. Close to 5" wide,33" x 39", rabbit 25.25" x 31.2...

Artist Comments
A crepe-myrtle tree blooms with delicate flowers that resemble colorful confetti. Its leaves sway gently in the breeze, glowing softly in the summer sunlight. E...

Portrait of a Gentleman in Armour and Azure Cloak with Diamond Brooch c.1700 Attributed to Joseph Vivienne (1657-1735) The sitter in this superb portrait, offered by Titan Fine Art...

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...

Artist Comments
"For a few brief moments on the south rim, the morning sun lights up the canyon walls like neon while casting blue shadows into its depths," says artist Cryst...

"Domino", 100x73 cm, acrylic, pastel, canvas

My work touches on the importance of home and a sense of security. I believe it is a basic human need to feel like someone is waiting for you. I depict not only my homeland, but also...

100x70cm, oil\canvas

Artist: Peter Max, German/American (1937 - ) Title: Bill Clinton Inaugural, An American Reunion, New Beginnings, Renewed Hope Hand signed in marker with dedication Year: 1993 Medi...

100x70cm, oil\canvas

Horse , 65x100 cm, oil on canvas

High Speed 1is an Original Painting by Eleanor Woolley. This painting is inspired by images of speeding trains and blurred figures. The Artist's love of shadows and light is pictured...