Unframed More Art

This 59" x 20" Chinese Antique Scroll depicts a simple yet serene scene of a bird on a rock. The bird stands on the rock, which is much larger in size in comparison to the bird. The ...

Carmen By Marc Chagall 1966 Medium: Lithograph Paper Size: 40 x 26 inches ( 102 x 66 cm ) Image Size: 40 x 26 inches ( 102 x 66 cm ) Edition Size: 3000

Portrait of a Gentleman in a Red Coat and Periwig, c.1715-1725 Studio of Sir Godfrey Kneller (1646–1723) This portrait of a gentleman, presented by Titan Fine Art, is a fine and wel...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through t...

LeRoy Neiman, American (1921 - 2012) - Olympic Jumper, Year: 1989, Medium: Tapestry, signed and dated, Size: 84 x 60 in. (213.36 x 152.4 cm)

Basket, Panama, Darien, Rainforest, Butterfly, Flower, white, red, yellow, green unique hand woven extremely finely woven

Untitled, 1969 By Mark Rothko 1998 Medium: Offset Lithograph Paper Size: 47.5 x 35.5 inches ( 121 x 90 cm ) Image Size: 41.25 x 32.25 inches ( 105 x 82 cm ) Edition Size: Unknown

Tamara de Lempicka (1894-1980) - Saitn Moritz, 1929 Giclée from 2023. The edition no. 3 out of 100. Dimensions of sheet: 70 x 52.5 cm Dimensions in frame: 87.5 x 69.8 cm Publish...

Portrait of Mary Hooper (née Davie) in a Blue Dress & Seated in a Parkland c. 1715–1725 Jonathan Richardson the Elder (1667–1745) This portrait, presented by Titan Fine Art, is of p...

This piece titled "MJ-b61a71b56ed1" is a crafted original piece by Tuft the World as part of the inaugural collection of TTW Editions. This piece measur...

Solomeya and Petya, 130x100, canvas, oil, sand

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...

Viga 1 is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, steel, wood, dimensions are 233 × 45 × 45 cm (91.7 × 17.7 × 17.7 in). The indicated dime...

This piece titled "MJ-af66128ff0c0" is an original artwork by Tuft the World and is made tufted 100% New Zealand wool, and part of the inaugural launch of TTW Editions. The artists t...

Jean Cocteau "L'Homme Fleur" 7/50 from an edition of 50 Ceramic pitcher, conceived in 1958 Hand signed and inscribed on the base, " Edition originale de Jean Cocteau, Atelier Madelin...

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...

Pair of English Regency Blue John (Derbyshire Spar) Urns, 19th Century 9.5 x 3 x 3 inches Obtained from the Derbyshire England, Blue John is a semi-precious mineral, a rare form of ...

Chu Teh-Chun (1920-2014) - Composition abstraite Lithograph from 1960. Edition 60/60. Dimensions of work: 63.5 x 48.5 cm. Hand signed. Publisher: Galerie de France, Paris. Dime...

Pablo Picasso (1881-1973) - Don Quichote Lithograph with quadrochromy from 1961. Dimensions of sheet: 37.9 x 27 cm Dimensions in frame: 53.2 x 43.2 cm Publisher: Éditions Cercle ...

Color lithograph on cream wove paper, 1956. Edition of 200. Printed by Mourlout, Paris.

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...

Beat of the Drum Paul Moore bronze Native American man with Drum, headdress Paul Moore was born in Oklahoma City a member of the (Creek) Muscogee N...

Inspired by the Flanders verdure from the early 17th century. The rapid development of new sciences such as botany inspired weavers to produce tapestries known as "verdures". These d...

Meditative Rose By Salvador Dali 2002 Medium: Offset Lithograph Paper Size: 36 x 24 inches ( 91 x 61 cm ) Image Size: 28 x 21 inches ( 71 x 53 cm ) Edition Size: Unknown

Nyasha Mashumba, having been the apprentice of Mark Hilltout, has now started to carve out a career for himself as artist and designer, utilizing the medium and craft he has mastered...

Abstract minimalist artist Jason DeMeo presents a collection of artworks designed to engage viewers in a meditative experience, drawing them closer to the enduring ideals of truth, b...

Antique Chinese Four-Panel Lacquer Screen with Scenic Landscape Description: This exquisite antique Chinese four-panel lacquer screen is a remarkable example of traditional craftsma...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Quai aux Fleurs Lithograph from 1954. Dimensions of sheet: 38 x 28 cm Dimensio...

Ads: Rebel Without A Cause (James Dean) By Andy Warhol 1990 Medium: Offset Lithograph Paper Size: 15.75 x 12.25 inches ( 40 x 31 cm ) Image Size: 13.25 x 9.5 inches ( 34 x 24 c...

Jean Carzou (1907-2000) - Le débarquement Lithograph from 1966. Dedicated to Pierre Sorlier, on Arches paper. Dimensions of work: 77.7 x 62.2 cm. Hand signed. The work is in Exc...

Georges Braque (1882-1963) - L'ordre des oiseaux Portfolio with 12 etchings with aquatint from 1962. The edition XXIX/XXX. Dimensions of work: 45 x 56 cm. Apart of an edition of ...

Bob Dylan Bob Dylan: The Drawn Blank Series, Drawings and Paintings Book Size: 13.5 x 10 inches November 2013 Included Lithographs on Somerset Satin: 1. Woman on a Bed 12 x 9 inche...

Marc Chagall (1887-1985) - Couple dans les Mimosas (Couple in Mimosa) Lithograph from 1967. an unsigned proof, from the numbered edition of 150, on Arches paper. Dimensions of wor...

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Marc Chagall (1887-1985) - The Bay of Angels Original Lithograph from 1960. Dimensions of work: 32 x 24 cm. Publisher: Maeght Éditeur, Paris. The work is in Excellent condition.

Fisherman Watercolor Comes Framed (see photo) About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk fr...

Kehinde Wiley Andries Stilte oversized beach towel, 2008 Silkscreen on 100% Cotton Large Beach Towel or hanging tapestry 70 × 60 inches Edition of 2000 In original packaging with ta...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Flying Dutchman" by Roman Goss is an original abstract painti...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. “Canadian Perennials” by Ann Goldberg is a masterful display o...

Seductive Girl By Roy Lichtenstein 2007 Medium: Offset Lithograph Paper Size: 26.75 x 33.75 inches ( 68 x 86 cm ) Image Size: 23.25 x 33.75 inches ( 59 x 86 cm ) Edition Size: ...

Tracey Emin Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin), 2013 Hardback monograph (hand signed, inscribed to Kevin and dated by Tracey Emin) Warmly signed, inscribed and dated by Tracey Emin on the title page 9 × 7 1/4 × 1 inches Warmly signed, inscribed to Kevin and dated by Tracey Emin on the title page Tracey signed this for the present owner at an official book signing in New York back in 2013, so provenance is direct. Publisher's blurb: My Photo Album is a journey through the life of British artist Tracey Emin using photographs from her personal collection. Edited from the albums she has kept from an early age, this visual autobiography contains some amazing images: Tracey sharing a pram as a baby with her twin Paul, her bus-pass photo aged 14, a ‘glamour’ shoot as a semi-naked art...

Works on Paper About the Artist: Julie Schumer, a native of Los Angeles, California, and born in 1954, lives and paints in Santa Fe, New Mexico. She discovered her love of abstract ...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...