Unframed More Art

Chain is 23.5 inches long. Pendant is 3.75 X 2 X 1 inches This piece is not signed. but the chain matches completely with the signed one that I have. Pal Kepenyes is a sculptor and ...

Tulips in a bag 65x50 cm

Picnic 70x50 cm

Summer still life

Glass of wine 65x50 cm

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 It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling.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...

Nick Thomm - 'STEMS' - (Azure) XL SIZE 92cm x 122cm 36" x 48" Limited Edition of #25 Hand Signed & Numbered. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condit...

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...

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...

The ladybird, locally known in Norfolk as a bishy barnabee… Guy Allen’s etchings inspired by the fauna and insects of rural England have a remarkable lev...

Barbara Kruger Artists Space invitation announcement card, 1987: Rare folding announcement card for the Artists Space's Spring Benefit Party held at Federal Hall, New York City, Apri...

Artist Comments
A gently flowing river reflects the soft glow of a warm summer morning, creating a sense of calm and stillness. A towering tree casts deep shadows over the wa...

Reticent

A girl with pink hair, 50x60 cm, acrylic on canvas

A finely detailed still life with flowers in a white vase by American artist George Henry Hall (1925-1913). Hall was born in Manchester, NH, and began his career as an artist at the ...

Seascape , 70x70cm, print on canvas Edition 20 pcs. A different print size can be made upon request.

Benz Automobile Advertising is an original illustration realized at the beginning of the XX century. Good condition- Glued on black cardboard (21 x 29.5cm). This vintage illustration is advertising from a newspaper printed at the beginning of the XX century. It advertises Benz automobile and airplane...

“Being There,” an original oil on canvas by Robert K. White, is a piece for the true collector. White’s careful attention to detail and vivid use of browns and reds project from the painting, immediately capturing the viewer's attention and highlighting the artist's keen ability to capture emotion and life - all in a brushstroke. White's talent for depicting light and shadow provides the foundation for him to deliver subjects and scenes to the viewer's eye. This masterful work would make a great addition to an art collection and enhance most any home, perfect for those who have an affinity for cityscapes, theater, and architecture. In the artist’s own words, “I don’t paint what is inside of me; I paint what I see outside of me. I’m an observer. If I see something and I feel an affinity for it, something just clicks in my head. I’ll make the decision right then and there to paint that particular subject during that particular moment. It’s a perfect moment. Once something has caught my eye and I’ve heard the “perfect” click, it’s like a photograph has been taken in my mind’s eye. I only have a few days of clarity with that image. I have to start the painting quickly or else it will be gone and I will lose that image forever.” Artist: ROBERT KENNETH WHITE...

Jacqueline Lee "Jackie" Kennedy Onassis (July 28, 1929 – May 19, 1994) was an American socialite, writer, and photographer who became First Lady of the United States as the wife of P...

Waiting for Business

Artist Comments
A sweeping view of rolling hills showcases rural fields divided into sections of different crops in the distance. Closer to the foreground, the landscape beco...

A woman with cigarette, 2021, 110x88 cm

Cloud, 2020

Artist Comments
Artist James Hartman began this painting by creating texture with homemade tools. He envisioned standing at the edge of the woods, looking through to an indistinct light. The oil colors were allowed to drip and settle into the textured surface, enhancing depth and movement, while his tools helped define the landscape in a way that captures shifting light.

About the Artist
When James Hartman was in art school, he became fascinated with the Society of Six, a group of artists who painted en plein air (outdoors) and exhibited together in the San Francisco Bay Area during the early 20th Century. James's paintings of the Northern California landscape pay tribute to some of the great Bay Area artists of the past. His expressive scenes feel alive through his vibrant use of color and his painterly brushwork. James’s paintings have an immediate visual impact from a distance, yet up close, dissolve into a series of confident marks and strokes. There is a simultaneous complexity and steadiness in his flattened, color-blocked planes. Knowledge and observation are essential elements of James’s working practice. To this end, he spends a large proportion of his time painting on location. His body of work captures the fresh and sunlit essence of the coastal California hills.

Words that describe this painting: trees, texture, bright, woods, sunlight, panoramic, forest...

When David Sorensen visited Havana, Cuba in 1999 he was captivated by the rich textural atmosphere of the city. Using a spatula and paintbrush he created a series of abstract paintings in bright colours and graphic form. No 5 features a sky-blue square in the center, laid over a field of similar shapes in various sizes. Thick lines that run both vertically and horizontally across the canvas add drama. The colour palette—orange, yellow, red, and indigo is both joyful and intense. “Through the medium of his art, a bridge is built between inner sensation and outer world experience, illusion and reality, what we cannot see and what we see, life and afterlife.” John K. Grande, Montreal poet and writer Born in Vancouver Sorensen (1937-2011) studied at UBC and the Vancouver School of Art. His teachers were renowned—Arthur Erikson...

Artist Comments
"The artwork is from my cityscapes of Paris," shares artist Suren Nersisyan. "I love the bridges of this city connecting the banks of the Seine river. The sof...

Artist Comments
A cradled panel is laid with vintage sewing tissues as a mordant to adhere the beeswax. I did an underpainting in ink then used a prismatic palette to lead th...

Louise Bourgeois Homely Girl, A Life, Volumes I and II (Literary books with 10 original etchings) Hand signed by both artist Louise Bourgeois and Pulitzer winning playwright Arthur M...

Artist Comments
Using a palette knife, artist Janet Dyer paints a rural landscape in rich, jewel-like tones. A cloudy sky softens the light, revealing layered colors that shi...

MARC CHAGALL (1887–1985) André Malraux, Et Sur la Terre... A complete artist's book from 1977, printed on BFK Rives wove paper. It includes 15 etchings with aquatint, along with the...

Artist Comments
A lone palm tree sways gently against the backdrop of a bright blue sky, with the ocean below reflecting the billowing white clouds. During a trip to the Domi...

Artist Comments
Artist Nancy Hughes Miller paints a majestic seaward skyline with tinges of periwinkle. Inspired by her time on the coasts of North Carolina, she displays a d...

Painterly bands of bright lemon, aqua, white and verdant green point to beach, sand and sky in this modernist triptych by David Sorensen. Through his painterly modern compositions, celebrated Canadian painter David Sorensen (1937-2011) sought to “give voice to the inner reality.” In the paintings from his last years, Sorensen offers solutions to the nature of abstraction – wresting nature and the horizon from pure form and brilliant colour. Born in Vancouver in 1937, Sorensen studied at UBC and the Vancouver School of Art under Arthur Erickson...

Lesley Richmond was born in Cornwall, England. Lesley now lives in Vancouver, BC, Canada. She received her art teachers training in London, England and her MEd in the USA. She taught...

Running, 150x130 cm, oil on canvas

70x70cm, print on canvas Edition 20 pcs.

Room, 60x60 cm, Oil, Canvas, Sand

Untitled , 70x50 cm, acrylic/canvas

Untitled , 60x60 cm, acrylic/canvas

Route 10 - Abstract Collage Abstract mixed media collage which pulls on motifs from color-field painting, cubism, and geometric abstraction. This piece has a warm quality to the col...

Joyce × James Jean Hong Kong Exclusive, 2017 Pistil and Stamen — Diptych Art Deck Set A pristine, sealed diptych art deck set from one of the most signi...

Herbs of Paradise , 60x60 cm, tempera , Canvas

Composition with a dragonfly, 90x70 cm, acrylic on canvas

New life, 100x80 cm, acrylic on canvas

In two dimensions, 50x50 cm, acrylic on canvas

KAWS, the renowned contemporary artist, has collaborated with Netflix and AllRightsReserved to reinterpret "Young-Hee," the iconic doll from the popular series Squid Game. This col...

Artist Comments
In a beautiful, sunlit garden, a young woman immerses herself in the world of literature. Surrounded by flowers, she enjoys the company of words. Bathed in a hazy glow, the scene exudes a timeless and romantic aura.

About the Artist
Sherri Aldawood didn't intend to always paint flowers, but over time her love of gardens started to permeate her art. She focuses on the light and color of the flowers on the canvas. Sherri prefers alla prima, working with wet layers of paint instead of letting them dry. She keeps the paint as wet as possible by using walnut and clove oil...

This fireball is the eye-catcher in your garden. Thanks to the good air supply, you can very quickly a beautiful fir. The base also serves as an ash container, has a central base, b...

Artist Comments
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...

Questa maschera guatemalteca del inizio del XX secolo, scolpita in legno e utilizzata per la danza della Riconquista (Baila de la Conquista) , raffigura vividamente un uomo europeo, ...

Jean-Michel Basquiat, Keith Haring & Andy Warhol Designed record covers. A set of 8 individual vintage record albums from 1977-2015 making for standout wall art. Featured within ar...

Kisses for You #4, 2018

RED HEADS - (Diptych) - This pair of floral landscapes emphasize the thoughtful arrangement of elements, resulting in paintings that are understated yet visually compelling. Textile ...

Night , 60x60 cm, tempera , Canvas

Untitled , 150x100 cm, acrylic, pastel, canvas

Hard earthenware vase, matte white with blue-gray accents made to evoke ice and winter. The 1900 EDDA series from Amphora was named after two medieval Icelandic poems of Norse mythology...

Beach. Night., 80x60 cm, acrylic , canvas

Blue Horizon, 100x70 cm, oil, canvas

Artist Comments
In his signature style, artist Warren Keating draws inspiration from a character he saw on a Santa Fe Plaza restaurant balcony. Using perspective and textural...

The last works of Henri Matisse  is a catalogue of the artist realized by the search of Monroe Wheeler.  64 pages, 44 plates ( 13 in color).  Distribuited by Doubleday & Co, Inc. G...