Large More Art

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...

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: ...

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...

A premonition of spring , 75x100 cm, oil on canvas

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As part of his Cityscape Series, artist Stanislav Sidorov captures Andreevsky Spusk Street with a vibrant palette. The cathedral oversees the city, its bells ...

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...

Moses has arrived 100x100cm, Oil, Canvas, sand

"What´s Up (Diptych)" is an abstract modern artwork on paper. It is painted gesturally and dynamically, very expressive, full of movement. It is multicolored - a real statement piec...

A breast remembered, re-formed -not in nostalgia but in voltage. The figure holds itself in swells and dissonances, ripples of line as if the skin remembers sound. In this work, ana...

"Evening in Dubrovnik" captures the enchanting beauty of the historic Old Town of Dubrovnik, Croatia. Bathed in warm golden light, the harbor comes alive with colorful boats dotting ...

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

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simp...

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...

Landscape of Auvergne, France. Wandering the mountains of Velay is my way of living my art. From my studio, anchored in the heart of these landscapes, I set out in search of the l...

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...

- Title - Accountability - Medium: water-miscible oil paint and acrylic on canvas - Support: stretched canvas, ready to hang, painted sides. - Size: 36" x 40" x 1.5" - Two coats ...

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

This unique, hand-painted original artwork draws inspiration from the aerial landscapes of The Bahamas—a place of healing, light, and serenity. Created through expressive fluid pai...

The Way Home is an original abstract painting by Janet Keith. The Way Home is an expressive, gestural painting evoking a feeling of movement, light and fresh air. The painting is bui...

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

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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...

Boulders near the field. 1983, cardboard, oil, 68x94 cm

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Tree trunks rise from the forest floor, some cloaked in moss and blending with the fertile surroundings, while others stand out with dark red bark. Shifting sha...

Afterwave By Christopher Witchall is a realist seascape oil painting, measuring 30 x 40 inches (approx 76 x 101cm). The viewer is looking directly out to sea from the standpoint of t...

Wind N Sea - Seascape Painting - Contemporary Art By Marc Zimmerman This masterpiece is exhibited in the Zimmerman Gallery, Carmel CA. Marc Zimmerman creates playful paintings, wh...

“Warmth of the winter sunâ€

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...

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

Hose

Evening Mist, 2018

The girl under the catalpa 100x80 cm

"Celebrations (C-56)" is an original black serpentine stone sculpture by Colleen Madamombe. The artist signed the piece, and it weighs 228 pounds. This piece features a woman with a ...

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...

Spring 1991. Cardboard, oil, 94.5x70 cm

Oil paint on heavy tar paper. Hand signed and dated verso. Joan Kahn (USA 1953-) grew up in New York City; Princeton, New Jersey; and Vermont; in an environment that patronized the arts. At home her father, a professor, and mother, a state economist and homemaker, collected nineteenth and twentieth century drawings and prints, Middle eastern rugs, and ceramics, pewter, and old tools. Her grandfather, Max Westfield, was an academically trained portrait painter and her great uncle was a well-known gallery owner and art dealer in pre-World War II Germany. One of the influential experiences of Joan’s youth was visiting her grandfather in his studio in Tennessee where the family had first immigrated. Growing up near New York, and spending a year in Paris during high school, provided formative visits to museums and galleries. Joan was academically talented in grade and high school, but after her father’s death during her first years at university she found herself concentrating on studio and history of art. It was a subject above others absorbed and concentrated her focus. Influential in Joan’s development and later work are the historic movements of the Bauhaus and Modernist design and architecture, geometric art and design of diverse cultures, Color Field Painting. Many artists have had a impact on her work, such as Paul Klee, Piet Mondrian, Sonia Delaunay, Mark Rothko, Ad Reinhardt, Antoni Tapies, David Smith, John McLaughlin, Tony Smith, Louise Nevelson, Robert Mangold, Ellsworth Kelly, Agnes Martin, Valerie Jaudon, Jasper Johns, James Turrell, Robert Irwin, Vija Celmins, Caio Fonseca, Peter Halley, Ed Moses, Juan Usle, and Nancy Haynes...

Polarity

A fine impressionist winter landscape with houses in Jamaica, Vermont by well known American artist Aldro Thompson Hibbard (1886-1972). Hibbard was born in Falmouth, MA, studied at ...

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simp...

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...

Lemon leaves 100x70 cm

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...

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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...

An oil painting of a nude female figure, sitting upon a bed; chest bent over knees, hand on head, seemingly bored. Hues of pink surround the figure due to decorative fabrics that are...

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

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...

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A luminous combination of red, blue, and white circles radiate from above, silhouetted by the bright morning sun. They cascade down like individual rays of li...

MEDIUM: Original Storyboard Drawing IMAGE SIZE: 6" x 4.5" SKU: CCV1882 ABOUT THE IMAGE: Winnie the Pooh and Tigger Too is a 1974 animated featurette based on the third chapter of W...

Frozen, 100x90cm, oil on canvas The work is sold without a frame.

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...

House of Memories , 84x67 cm, acrylic on canvas

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...

This unframed, signed, limited edition pigment print by renown artist Patsy Krebs exists in an edition of 30. Paper size is 37"h x 35"w with an image size of 26.5"h x 26.5"w. Patsy ...

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...

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...

Artist Comments
An expressionist portrait of relationships as a dance. Dominant blue palette with hints of red, purple and pink that offers both cal...

Quietly elegant and deeply atmospheric, this original floral abstract "Float" by Sandy Palasti explores the beauty of restraint through expressive brushwork, layered acrylic, and a s...

A fine impressionist oil painting of the boat shop by Italian American artist Antonio Cirino (1889-1983). Cirino was born in Italy and moved to the United States, attending the Rhode...

Wrapped Statues/West Germany Christo (Bulgarian, 1935-2020) Mixed Media Hand-signed lower right Numbered PP 1/10 lower left 35 x 27 inches 39.25 x 31.2...

(Note: be sure to view the video!) This is a tall, elegant, exquisite hand-blown vase, signed (engraved) and dated at the bottom, created by the now-famous Australian glass-blower te...

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...