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"The Tutukaka Coast in New Zealand abounds with natural beauty," says artist John Jaster. Inspired by its tropical pale golden beaches, lush native forests, a...

Untitled , 100x75cm, 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...

Cat, flowers, wine, 70x90 cm, acrylic on

Personal contacts, 70x90cm

German Steel Fireplace "Globe" with base, is available in different sizes, and also available in stainless steel on request. Please contact us. This fireplace globe is the eye-catcher in your garden. Due to the great air supply, you can build up a nice fire very quickly. The base also serves as an ash tray, has an inserted bottom, but can also be used separately as a flower pot. Of course, you can also plant the bowl. We make the sphere in our own forge. Since the blanks are always randomly arranged, you get a unique piece. Of course, we can also produce special designs or implement special requests. Please contact us. In order to live up to our claim of sustainability and resource efficiency, we have deliberately chosen steel as a material. Steel is durable and can be recycled several times, which is one of its greatest advantages. It can be melted down and reused as often as required without its properties being impaired or lost. No other building material offers this in this form. Burner insert with 3 burners included. Diameter of the sphere: about 65 cm, 3 - 5 mm steel discs. Base: 35x35x40 cm high, with central pedestal. Weight: about 34 kg. Materials used: sheet steel, rusted. About Stefan Traloc: Artist Stefan Traloc creates extraordinary steel works...

Circus, 100x100cm, oil on canvas

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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...

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...

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Viewed from Union Station, the rain creates a romantic and cozy atmosphere in downtown Denver. Cars park on both sides of the road while a cycle rickshaw crosse...

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...

Nobody is perfect, 80x100cm, oil on canvas

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...

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A weather-beaten red barn sits amidst the farm landscape, surrounded by trees and grass. Two open bays reveal a truck and a car, perhaps broken or lost but no...

Lake Como, 2020

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An aerial view reveals a patchwork of farmland in the Midwest. A blue lake nestles among the green fields, mirroring the soft hues of the horizon. The compositi...

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Part of Naoko's signature series, Who Are These Angels. A diaphanous angel stands quietly in a deep blue landscape. The tonal quality of the painting accentua...

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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 ...

Still life , 100x100cm, oil on 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...

Landscape , 60x90 cm, oil on canvas

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A dreamy, atmospheric landscape captures the sunrise over a coastal sanctuary. The sun peeks over the horizon, its white glow casting a glimmer on the waterâ€...

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Time stands still at a derelict farm nestled in a sweeping valley. A meandering stream adds movement and direction to the scene. Towering mountains rise in th...

Acrylic on 100% cotton canvas. No need to frame. Stretched canvas ready to hang. UV protection gloss varnish. The back is signed and dated. 36,2 x 28,7 x 1,2 inches. 92 x 73 x ...

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...

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...

linocut, edition of 15 The artwork measures 36in x 24in and ships unframed. Please message us directly if you are interested in custom framing for your print. Bio // Jesse Shaw (b....

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

Paint and gold paint on wood Circa early to mid 20th century. This is not signed A treasure from a proud congregation. It is a hand-carved wooden sculpture showing the Tablets of the Law flanked by two Lions of Judah. Their paws held the tablets. Their roaring mouths faced outward, protecting the commandments from threats. In a foliage design with gold and silver paint. Circa 1920-1940's. This Neoclassical, Judaic, Art Deco, Egyptian revival, Shul, Aron Kodesh hand carving, wood with gilding, Hebrew lettering ten commandments sign sculpture, was produced probably in New York. There was a show at the Folk Art Museum titled “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” That featured these antique magnificent pieces. From gilded lions to high-stepping horses, the sacred to the secular, and the Old World to the New, “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” traces the journey of Jewish woodcarvers and other artisans from Eastern and Central Europe to America and the unsung role they played in establishing a distinct Jewish culture in communities throughout the United States. The exuberant artworks stand as a testament to a history of survival and transformation and provide a surprising revelation of the link that was forged between the synagogue and the carousel as immigrant Jewish artists transferred symbolic visual elements into this vernacular American idiom. The first major study of this important aspect of the Jewish contribution to American folk art, the exhibition features approximately one hundred artworks and objects, including rare documentary photographs of Eastern European synagogue arks and carved gravestones, sacred carvings, papercuts, and carousel animals. Some of these same Jewish European carvers worked on Coney Island amusement park rides and carousel horses and other carnival and circus carvings.

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An assortment of flowers bursts from a vase in this predominantly cool composition of blues and greens. The swirling botanical pattern on the tablecloth echoe...

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A figure lounges by the poolside, one knee raised and arms draped casually over it. The person radiates a relaxed, contemplative mood. With loose brushstrings...

Sergei Inkatov’s original, abstract fine art oil paintings have been exhibited internationally. His expressionistic artworks are vivid and richly textured. Inkatov’s paintings radiat...

Early Twentieth Century Impressionist Landscape of Trees in a Wooded Landscape in Autumn with gold and rust coloured Leaves. This Impressionistic Unsigned Oil Painting on Canvas is ...

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Inspired by the pictures sent by his wife, artist David Thelen depicts the captivating allure of the Appalachian Trail. A sturdy branch dances with the surrou...

Art print on heavy paper. After the original from 1977. A beautiful artwork that looks good in every room and especially in the living room or bedroom. Can be framed accordingly. ...

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A bright blue sky stretches over a scalloped coastline. Safe in the rookery below the cliffs, elephant seals bask in the sun, their voices blending with the c...

Sergei Inkatov’s original, abstract fine art oil paintings have been exhibited internationally. His expressionistic artworks are vivid and richly textured. Inkatov’s paintings radiat...

Fairytale Stoliv captures the tranquil beauty of a small tourist village in Montenegro named Stoliv. This impressionist piece showcases vibrant Mediterranean colors, highlighting the...

When you go with the flow

Original Oil painting by Ukrainian artist Evgeny Chernyakovsky "Quiet Harbor" 90.0 X 70.0 CM / 35.4 X 27.5 IN HIGH QUALITY oil on canvas Signed on the front and back Dated 2...

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...

In the House of the Bear, 2019

'Girl Seated on Red Chair,' a two color screen print by George Regal features the back of a nude female figure seated in a red ladder back chair facing away from the viewer. The rea...

Faun`s sweet dream, 2021, 90x80 cm

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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...

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Mist lingers over the distant ocean, softening the horizon and capturing the mystic beauty of Monhegan Island in the early morning. Waves and currents weave thr...

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Artist Guigen Zha displays elegant lotuses with broad fleeting leaves. He paints the poetic piece with his unique style dubbed virtu...

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This painting portrays an American plains bison grazing on the vast grasslands of the American West. The animal is wrapped in an impressionistic swirl of soft...

A fine impressionist woodland scene with a brook and birches by American artist Paul Bernard King (1867-1947). King was born in Buffalo, New York, and after becoming an established printer, went on to study at the NY Art Students League with Henry S. Mowbray. While a student, he became an illustrator for Life and Harper’s magazines, and went on to become well known for his portraits, landscapes, rural scenes, and illustrations. Oil on canvas, signed lower right, inscribed title on verso stretcher “Paul King, Stony Brook...

“Warmth of the winter sunâ€

Capturing movement in acrylic paint, Armen Ges experiments with optical illusions and perspective in his original pop artworks. To create these intriguing visuals, Ges employs tradit...

Extraordinary garden torch with one burner insert on an untreated oak spot. If the spot is set up outside, she develops a gray patina. The included burner already contains individua...

The Electric Icons Series is a vibrant collection of modern street art that reimagines a diverse array of beloved characters from pop culture, each depicted in a dynamic and electrif...

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In his signature style, artist John Jaster paints this famous tree in Pebble Beach, California. Overlooking Carmel Bay, The Lone Cypress...

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A geisha, dressed in a traditional kimono, walks along a stone path beside water. The bold, red obi adorned with an organic motif contrasts with the soft green ...

"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...

Lemon leaves 100x70 cm

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...

Wind N Sea - Seascape Painting - Contemporary Art By Marc Zimmerman Along the Oregon coast where wind n sea and the shore collide for our deep joy! Marc Zimmerman creates playful...

At the limit, 100*70cm, canvas/oil