Large More Art

This metal relief, by the artist Jean Carlo Brutus, features the figure in Haitian Voudou known as Bossou. Bossou is one of the Lwa – the pantheon of deities that intermediates betwe...

Big Sky Fiberglass / Composites Filled Resin Base Graphite Finish 33" x 13" x 13" "I am an artist, a sculptor not by choice but by destiny as each step in the path I followed guided...

When you go with the flow

Brutalist Abstract Nail sculpture comprised of hundreds of hand welded flat nails with a rusticated patina. Would be great as a fireplace scree...

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

“Warmth of the winter sunâ€

Artist Comments
Fiery clouds drift across the sky, creating a mesmerizing display of color. Broad and swift brushstrokes capture their fleeting beauty. Artist Benjamin Thomas s...

Game Lover, Olympic Games Beijing 2008 is an original Photo realized by Matteo Basilé. This artwork is from the portfolio The Unique Collection for the O...

Bring the beauty of spring into your home with this original oil painting of a flowering tree. The delicate pink flowers pop against the blue sky background, creating a serene and tr...

This is a signed, Limited Edition Giclée print of the original painting by Harriet Hoult. The print is on a high grade, cold press rough textured, hand torn art paper. Harriet Hoult...

This 39.37" x 27.55" acrylic painting on canvas by Serbian artist Katarina Dordevic explores the artist's interest in the natural, archaeological and anthropological. The abstract fi...

In shadows cast, the dancers hide, Their steps in silence, side by side. Behind the veil, they slip away, A secret dance at close of day. Yet in the dark, their movements...

Harriet Hoult Walking The Loop Limited Edition Giclee Print Edition of 250 Sheet Size: 91cm, x 63cm Signed by the artsit Sold Unframed Free Shipping Walking the Loop is a limited ed...

Linda Kamille Schmidt plays with emotional connections and memory in her smaller, framed works. In their encasements, each collage appears as a portal; a...

Be Wild Fiberglass / Composites Filled Resin Base Turquoise Finish 37" x 18" x 10" "I am an artist, a sculptor not by choice but by destiny as each step in the path I followed guide...

Mychaelyn Michalec is a textile artist and painter working in Dayton, OH. Her work depicts the private, awkward, and mundane moments of family life through a medium traditionally ass...

Marbella 100x100 cm The work is sold without a frame.

Artist Comments
Soft layers of violet, lavender, and muted green create a dreamy bouquet that feels both fresh and timeless. Loose, gestural brushwork and subtle drips give the...

I came across this view of a local lake with the striking image of a red canoe sitting tied to a dock with muted background colours. I turned it into a painting with the colours in t...

A fine landscape of birch trees in the Adirondacks 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...

Painting, Oil on Canvas Size: 39.4 W x 31.5 H x 1.1 D in Ships in a Tube :: Painting :: Impressionist :: This piece comes with an official certificate of authenticity signed by...

A vibrant rural scene depicts a small village nestled in a mountainous landscape. Bold, colorful brushstrokes and bright hues create a lively and expressive atmosphere. Painting: ...

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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In "Azure Tempest," Lia Madsen presents a breathtaking vista o...

Criswell's dimensional wall sculpture emerged from a study of spatial organization by arranging basic, repetitive shapes into a harmonious balance, while exploring the concept of sim...

From the Fire Bird series of 2015. Reflections of a Fire Bird emanates the reflection of orange light from his mirror. Orange is a power colour, signifying creativity but also healin...

POST NO BILLS launches with a unique ten-year retrospective from the acclaimed Brooklyn-based artist collaborative− FAILE. Recognized for their bold graphic imagery gracing street, ...

A fine landscape painting with birch trees and wildflowers by American artist Ernest Parton (1845-1933). Parton was born in Hudson, New York, and in his teenage years, began to accom...

A fine impressionist landscape along the Seine River in France by American artist Chauncey Foster Ryder (1868-1949). Ryder grew up in New Haven, Connec...

Yayoi Kusama  Pumpkin ( blue) Print on cotton towel Size 92.5 x 33 x 2.5 cm Framed with the wood like aluminum frame and the acrylic glass Published by シンワ繊維株式会社

Dipen Bose - Durga Oil on Canvas 36 x 30 inches Signature in the bottom . ( third image shows the signature) (Framed & Delivered) In this striking acrylic work, Dipen reimagine...

Krista Reuter's contemporary paper sculpture artworks unfold like a quiet study in light, shadow, texture, and dimensional abstraction. Hand-cut and layered with meticulous precision...

A refined mid-century bronze bas-relief sculpture by Eric Bransby, depicting a female ballet dancer in an elegant arabesque pose, captured in a moment of balance, lift, and controlle...

Artist Comments
The seascape painting captures the quiet beauty of the coast just before sunset. Sharp blades of grass frame the foreground while calm blue water stretches towa...

Spring 1991. Cardboard, oil, 94.5x70 cm

Yayoi Kusama Pumpkin ( red ) Print on the cotton towel Size 34.2 x 91.2 x 2.5 cm Framed with the purple golden aluminium frame and the UV-protected acrylic glass published by シンワ繊...

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...

A wonderful abstract brutalist welded and torch cut steel wall sculpture with many points and a burnished finish, by 20th century California artist Tony Melendy...

Polarity

Craig Alan Altered Reality (Colorful Orbs), 2022 is a captivating mixed media work on wood that exemplifies Craig Alan's innovative approach to contemporary pop art. Showcasing his s...

Meditative Fiberglass / Composites Filled Resin Base Gold Graphite Finish 38" x 7" x 6" "I am an artist, a sculptor not by choice but by destiny as each step in the path I followed ...

Niad Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 22 x 36 x 22 in "I am an artist, a sculptor no...

Artist Comments
A red-tailed hawk soars high above, while the lake mirrors the mountains and blue sky. Artist Kira Yustak was inspired by watching these birds glide effortles...

"I originally created this image in response to the terror attacks at the Bataclan and other parts of Paris in late 2015. At that terrible moment I wanted to create an image of suppo...

This darling angel garden stake sculpture brings the springtime inside or out while making a fantastic gift for mom, a friend, or as a welcome gift for a ...

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...

This original, impressionistic landscape painting is stretched on a 1.5" deep gallery wrap canvas. Only the finest professional quality acrylic paints were used in the creation of t...

Linda Kamille Schmidt plays with emotional connections and memory in her smaller, framed works. In their encasements, each collage appears as a portal; a...

A rendering of a lily pond with a soft glow of light to give you that tranquility that we all need. A sweet piece for any small space. :: Painting :: Impressionist :: This piece come...

Victorian Scottish Landscape Figurative Oil Painting with Horse and Rider, Cattle, Sheep and Dog in River Landscape with Lincluden Abbey Ruin...

Artist Comments
"These two long-billed curlews are gazing at us with an unmistakable curiosity," says artist Emil Morhardt. "Like many shorebirds, when I sat on the beach qui...

Upon discovering a weathered steel drum that had been warped to resemble the sleeve of a garment, artist Gordon Chandler was inspired to embark on a series of kimono sculptures formed from found metal scraps. 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 "Corrugated Wrap," a salvaged sheet of corrugated steel...

Untitled , 100x75cm, acrylic, canvas

In timelessness, 100x100 cm, acrylic on canvas

Artist Comments
A pair of cardinals perches on a slender branch beside a nest holding three pale blue eggs. The branch rises from a pedestal, while golden leaves cling to it an...

Artist Comments
Artist John Jaster illustrates a dramatic still life in high contrast realism. A vintage blue campfire coffee pot sprouts a dynamic arrangement of colorful fl...

Green leaf 100x 70 cm

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. We offer complimentary worldwide shipping and cover all tariffs...

Artist Comments
A puddle reflects a pensive scene of the city in artist Andres Lopez's impressionist piece. Pedestrians walk past in opposite directions appearing to be absorbed in thought. "Sometimes it is necessary to return to a place or a memory or some experience to learn or maybe just to relive it," says Andres. He uses reference photos he took in the city to realize the work and conceptualizes the desired message.

About the Artist
Andres Lopez was born in the old Cuban town of Santa Clara. As a child, he developed a deep love for the beauty of the countryside and the exquisite architecture of his hometown. He participated in drawing contests at the tender age of nine where landscapes were always his favorite theme. In his early twenties, Andres made his way to Florida, bringing only his worn-out brushes and a great dream. Immediately captivated by the beauty of the Everglades, his works display the close relationship between humanity and the natural world around us.

Words that describe this painting: city, reflection, conceptual, urban scape...

100x70cm, oil\canvas