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A lone sailboat drifts on a calm lake, its white sail catching the light and reflecting softly on the water below. A distant treeline and shoreline stretch alon...

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Sweeping, layered clouds fill the sky, creating a dramatic contrast between light and shadow. Gentle waves with soft white foam at their crest roll towards the ...

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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...

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A brown horse with a white tail and mane dips its nose into a black bag dangling from its head. The name Palomino appears above, hinting at a story. Layers of a...

This exquisite portrait remained for nearly 300 years in the possession of the sitter’s descendants, preserved among the Bigg-Wither family portraits at their magnificent stately man...

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 ...

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...

In my paintings, I chose the main character Gestalt wooden figurine of a man) and trying to "animate" his\her

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People wander along the shoreline in an easy, unhurried rhythm. The wide stretch of sand, blue sky, and fresh salt air evoke the simple pleasure of a beach day. Painted with oil on linen, Aruna Rao set out to capture the feeling of open space and the quiet sense of peace it brings.

About the Artist
Artist Aruna Rao paints impressionistic seascapes that capture the shimmer of light, the movement of water, and the quiet poetry of coastal life. "I am endlessly inspired by how light transforms a scene, softening the atmosphere and turning an ordinary moment into something unforgettable," says Aruna. Growing up in a literary family in India, she was surrounded by stories and art, which sparked her love of narrative and visual expression. After a 20-year career in IT, she returned to painting, earning an MFA with top honors from the Academy of Art University in San Francisco. Living in Florida offers endless inspiration, from sunrise beaches and glowing horizons to quiet harbors and small human moments that evoke joy and nostalgia. Influenced by French Impressionists and contemporary coastal painters, Aruna creates luminous works that invite the viewer to pause, breathe, and rediscover the beauty of the present moment. When she is not painting, she enjoys beach walks, discovering music, watching films with her husband, and spending time with their two cats.

Words that describe this painting: beach, shoreline, sea, coast, summer, Marc Hanson...

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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Marek Letkiewicz’s Beac...

This unframed, signed, limited edition pigment print by world renown artist Ricardo Mazal exists in an edition of 30. Paper size is 35 inches h x 30 inches w with an image size of 26 inches h x 27 inches w. Born in Mexico City in 1950, Ricardo Mazal moved to Barcelona Spain in 1986, and since 1990 has lived and worked in New York City, as well as Santa Fe New Mexico. Mazal’s work explores the process of visual perception as it takes form in the human consciousness. His paintings depict the passage of time, not by illustrating events but by leaving their residue to dissipate in space like a still photograph of a speeding object blurred to abstraction. In the last decade he has been honored with ten individual museum exhibitions, including a retrospective at the Museo de Arte Moderno in Mexico City and the Museo de Arte Contemporaneo (MARCO) in Monterrey. He has also shown at the Museo Nacional de Anthropologia, Mexico City and the Scottsdale Museum of Contemporary Art. KORA follows the direction begun by La Tumba de La Reina Roja (The tomb of the Red Queen...

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...

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A kitchen interior unfolds in a calm, contemporary style as sharp architectural lines meet soft edges. Artist David Thelen layers color and form to build a scen...

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...

Wonderful contemporary abstract signed painting Series of 4 canvas assembled to form a single painting signed Kozo Inoue dated 1974 This painting, never before on the market, comes f...

Untitled , 100x75cm, acrylic, canvas

This piece titled "green occupied 7" is an original artwork by Miriam Singer and is made of pencil, marker, and acrylic on paper. The artist spends her free time biking around the ci...

This vibrant oil painting captures the charm of the village of Riomaggiore in Cinque Terre, Italy. With its colorful buildings clinging to the cliffs and boats gently floating on the...

Color lithograph in two parts, on two separate sheets of Arches 88 paper, these two sheets comprise two of the four parts of the original "Object (with Flaw)" publication, 1988. One...

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...

An original oil painting titled Pink Water Lilies, inspired by the calm beauty of a blooming lily pond. I used both a palette knife and brush to create bold impasto texture for the f...

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A nighttime scene shows an In-N-Out Burger with a few people eating inside the brightly lit restaurant. Several cars are parked outside. The outdoor tables with colorful umbrellas are empty. The red and yellow neon lighting infuses the scene with a festive atmosphere.

About the Artist
Artist John Jaster paints in a style he describes as realistic impressions, capturing colorful views of his adventures across the Americas. "People always ask me how I get such deep brilliant colors," says John. "The answer is layers. Since acrylic paint dries mostly transparent, it requires multiple layers of paint to build up to a specific color. With the right lighting that depth of layering is like sunshine glistening through clear water." In college, John felt a pull towards computer science and pursued a career in software architecture. Although the two paths...

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Artist Jaime Ellsworth captures a clever brown dog skillfully balancing a red ball and a black bird on its head. With curious gazes, the critters turn to their right as if something has piqued their interest. The two-tone backdrop of ochre and moss green sets the stage for this endearing scene.

About the Artist
Jaime Ellsworth paints animals. Her career as a cowhand never got off the ground, so she stumbled into art never knowing it would complement her passion for animals so completely. Most subjects are her own, but lately she has expanded out of her corral to include bears and beasts not commonly seen on San Juan Island, in the Pacific Northwest, where she's lived for the last 30 years. She suspects it will be years before she runs out of inspiration or has jeans that aren’t covered with paw prints or paint.

Words that describe this painting: dog, bird, ball, whimsical, happy, playful, animals, acrylicpaint, portrait, profile, primitive, animals, primitive, acrylic painting, brown

Dog Ball...

Sol LeWitt Limited Edition Geometric Abstraction Silk Scarf, ca. 1987 Limited Edition Silkscreen on 100% Italian silk scarf/shawl Signed on the fabric with artist's printed signature...

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...

An oil painting by American plein-air painter Marc Dalessio. A depiction of the rolling hills of Tuscany. Cultivated nature lives on the left with the vineyard organized with fencep...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

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...

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...

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...

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Ocean waves crash onto the shore beneath a dramatic, stormy sky, with colors dancing throughout the scene. This seascape evokes the idea of finding light in d...

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

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...

This professionally framed "Life History of Buddha" thangka is hand painted on canvas with 24K real gold. Shimmering gold brush strokes and earthy color palette with illustrative wo...

A fine Cape Cod scene with fisherman heading out on the dock in heavy fog by American artist Tod Lindenmuth (1885-1976). Lindenmuth was born in Allentown, Pennsylvania, and later worked in Provincetown and Rockport, Massachusetts, with a home in St. Augustine. A founder of the Provincetown Art Association and one of the original Provincetown Printers, Lindenmuth was a semi-abstract painter and graphic artist who did much to promote modernist styles and was well known for his modernist, semi-abstract and marine subject paintings. Lindenmuth studied with Robert Henri and was a member of the Salmagundi Club and the Rockport Art Association. He was also active in Provincetown until 1941, and then retired to Florida in the 1960s, having spent his winters there since the 1930s. Oil on canvas, signed lower right, title inscribed on verso Provincetown Art Association Regular Jury 1938 label “Thick Outside...

Personal contacts, 70x90cm

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"Vintage American cars are some of the finest works of art in the world," states John Jaster. "From the 40s through the 60s the auto industry embraced long st...

Still life , 100x100cm, oil on canvas

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...

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...

Nick Thomm 'After Dark' (Orange) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #104 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: N...

The gentleman in this exquisite oil on canvas portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the English School of painting. He is portray...

A fine impressionist New England woodland landscape by American artist Emile Albert Gruppé (1896-1978). Gruppé was born in Rochester, NY, and is renowned for his New England landscap...

Nick Thomm 'After Dark' (Orange) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #76 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NE...

Sylvia Rutkoff (1919-2011) "Red with Blue" 1970s Fabric collage on stretch bar 38"x28" unframed Unsigned Collection acquired from family estate Sylvia Weinreb Rutkoff (1919-2011) Bo...

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...

My birds, 100x140cm, Oil, Canvas

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

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

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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...

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Inspired by the classical painting, The Birth of Venus, artist Miranda Gamel shows a surrealist portrayal. The subject stands beautifully with long wavy hair and glistening eyes under a turquoise moon...

Ioan, 100x100cm

An exceptional impressionist landscape of a farm in the mist in Giverny, France by American artist Theodore Earl Butler (1891-1936). Butler was born in Co...

Lemon leaves 100x70 cm

Landscape , 60x90 cm, oil on canvas

**STORE CLOSURE - UP TO 80% OFF - TAKE ADVANTAGE OF IT** ***EVERYTHING MUST GO BY DECEMBER 31ST!*** >>The artist is moving to a new full time venture in 2026<< _________...

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This contemporary oil painting explores the quiet poetry of interior spaces. With a carefully considered composition and layered brushwork, artist David Thelen ...

Downwind, 100x90 cm, oil, tempera, coal, canvas

Christo (Christo Wladimirow Jawaschew, born 1935 in Bulgaria, died 2020 in New York) and Jeanne-Claude (Jeanne-Claude Marie Denat, born 1935 in Casablanca, died 2009...