Canvas More Art

Translated title: " Words". Acrylic on canvas. The words are: " dolce natura crudele in sensi e controsensi articoli la tua misteriosa esistenza" which mean " sweet cruel nature w...

This charming picture, which has been signed and dated: H. Pickering pinxt 1752 is a type favoured by the highly successful artist Henry Pickering. Pickering’s painting life, from 1...

Presented by Titan Fine Art, this elegant and beautiful portrait depicts Abigail Hay, Lady Dupplin, Countess of Kinnoull; it is an excellent example of English portraiture from the f...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

On the balcony , 70x70cm, print on canvas

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

sisterhood , 70x70cm, print on canvas

This small, expressive abstract painting invites the viewer to interpret an untold message. Part of an ongoing series. To view more of my artwork, scroll down and click into the bo...

This magnificent grand-scale work, offered by Titan Fine Art, formed part of a collection of family pictures and heirlooms of the Rivers Baronets and their descendants for over 325 years, before it was dispersed by the last in the line in 1988. The work was painted by the most technically proficient painter in England after the death of Van Dyck, and the dominant court painter to Charles II and James, Duke of York, Sir Peter Lely. It is no surprise that for years Lely had no serious rivals, was enormously influential and successful, and one of the country’s most important painters – and his work influenced countless artists over generations. The exquisite carved and gilded auricular frame is an astounding work of art in itself. The sitters in this exquisite double portrait are Sir John Rivers, who succeeded as the 3rd Baronet Chafford in 1657 (c.1638 - c. 1679), and his wife, Lady Anne Hewitt (c.1640-c.1689). They are seated in an outdoor setting beside a fountain modelled as a female figure with water issuing into a scallop-shell. The water, the elaborate sculpted fountain with its scallop-edged bowl, and the open shell in her hand are symbols of fertility - as such they make an appropriate allusion to Lady Anne’s potential as wife and mother, recalling Proverbs, chapter 5, verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. This reference was realised, as Sir John and Lady Anne produced at least six children; their son George (1665-1734) became 4th Baronet of Chafford. The composition, thus, represents a celebration of marriage and was likely commissioned around the time of the betrothal (the marriage took place 26th Feb 1662 or 1663). The statues in the left margin are 'Youth and 'Old Age' and are a typical form of Memento Mori reminding virile young man that even they will lose their youth and grow old. The Rivers family, originally of Kent, traces its history to Sir Bartholomew Rivers, in the reign of Edward IV. The family included several prominent members including several knights, a Commander in the King's Army, a steward of a ducal estate, a Lord-Mayor of London, and an M.P. John Rivers (c.1659-c.1651) was made 1st Baronet of Chafford in 1622 by King James I. The Chafford estate was the family seat and it remained so until the early 1700s with the death of Sir George Rivers, 4th Baronet (1665–1734), whose sons had all died. The Chafford estate was left to his daughters while the baronetcy passed to nephew John Rivers, 5th Baronet (c. 1718–1743), and then Sir John’s brother, Sir Peter Rivers-Gay, 6th Baronet (c. 1721–1790). Upon Sir Peter Rivers Gay's death the estate passed to his eldest son, Sir Thomas Rivers Gay, 7th Baronet (c. 1770–1805). Sir Thomas, dying in 1805 with no children, bequeathed the estate to his mother Dame Martha Rivers Gay, who managed the estate until 1834 when she settled it on the then Sir Henry Rivers, 9th Baronet (c. 1779–1851) her younger son, before dying shortly thereafter in 1835. Sir Henry had married in 1812 to Charlotte Eales, with whom he had 6 sons and 8 daughters. Upon his death in 1851 the estate passed to his eldest surviving son Sir James Francis Rivers, 10th Baronet (1822–1869). Sir James married Catherine Eastcott in 1867 but died childless in 1869, and the estate passed to his only surviving brother Sir Henry Chandos Rivers, 11th Baronet (1834–1870) but he died a year later in 1870 also childless; with no male heir the Baronetcy was therefore extinguished. The estate was bequeathed, in trust, by Sir Henry Chandos Rivers to Thomas Frederick Inman, a solicitor of Bath, who then managed the estate as a trustee on behalf of Sir Henry Chandos Rivers' sister Katherine Rivers (c.1826-1895). It then passed to Katherine River’s daughter, Katherine Wall (born c.1855), who had also inherited Worthy Park House from her father, George Alfred Ellis Wall (1825-1875). Until 1958 our portrait is known to have hung at Worthy Park House. Upon Katherine Wall’s death, the Rivers estate passed to her daughter, Katherine Eleonora Rivers Fryer (1889-1963), who married Colonel James Alexander Butchart 1877-1853. In 1958 the family sold Worthy Park House but our portrait was loaned to Southampton Museum and Art Gallery. After the death of Katherine and Colonel James, the estate was left to their only son, Charles Bruce Rivers Butchart (1917-2005) and upon Charles’ retirement to a nursing home in 1988, and without heirs, our portrait, along with the residual assets of the Rivers estate were sold, thus ending over 325 years of continual family ownership. Lady Anne Rivers is thought to have been born circa 1640. She was the fourth child of the second marriage of Sir Thomas Hewitt (or Hewett) (1606-1662), 1st Baronet of Pishobury, Herts, and his wife Margaret Lytton (died 1689). Sir Thomas was an English landowner and M.P. for Windsor and upon the English Restoration...

This exquisite work is an accomplished example of the type of portrait in vogue in England during the third quarter of the 17th century. There was a large demand for paintings in England and the demand for portraits was greatest. Many artists worked in this lucrative field, even artists who initially trained in the more respected field of history painting, such as Peter Lely, turned their attention to portraiture to meet this demand. Moreover, it was not uncommon for the British, even for men, to present a gift of one’s portrait to a friend - portraits were first and foremost a memento. Woman at court often vied with one another in displays of rich and fashionable clothing. The drapery was either painted from the customer’s own clothes or was perhaps a creation using fabrics loosely tacked together in the studio. This was a common practice of Lely and his studio props included swathes of fabric and pieces of cloth. The sitter’s sumptuous attire and gauze scarf, fastened by a large diamond brooch, is of the finest material and is representative of wealth. Pearls were an obligatory accompaniment since at least the 1630s and they are worn in abundance – in her hair, on her attire, as a necklace, and as pear-shaped earrings called unions d’excellence, reflecting the difficulty of finding perfectly matched pearls of such large size. They could range up to 20 millimetres in diameter. Her hairstyle help date the painting to the early 1660’s. Peter Lely, the son of a Dutch...

"Imagine" by Roman Goss is a captivating original abstract painting that invites viewers to explore a world of imagination and possibility. Through a harmon...

70x70cm, print on canvas

By French famous Transgender artist, Michel Marie Poulain (Born Paris December 5, 1906. Died 1991) this rare oil on canvas it represents the Queen and he...

Alyson Borycki is a self-taught artist, creating energetic and playful abstract paintings. Her paintings are inspired by shapes and patterns observed in nature as well as the array o...

Paul Lauritz (Norway / California, 1889-1975) winter landscape circa 1950s Fine original oil painting by listed California artist Paul Lauritz. Canvas dimensions 40" x 30". The fra...

Still life , 70x70cm, print on canvas

What mask are you wearing? 80x80cm, print on canvas

What mask are you wearing? 80x80cm, print on canvas

Still life , 70x70cm, print on canvas

Lying woman , 60x60cm, print on canvas

What mask are you wearing? 80x80cm, print on canvas

series of prints "Family " , 70x70cm, print on canvas This series of prints is inspired by children's drawings

series of prints "Family " , 70x70cm, print on canvas This series of prints is inspired by children's drawings

series of prints "Family " , 70x70cm, print on canvas This series of prints is inspired by children's drawings

series of prints "Family " , 70x70cm, print on canvas This series of prints is inspired by children's drawings

A fine impressionist landscape of a winter stream by American artist Jonas Lie (1880-1940). Lie was born in Moss, Norway to an accomplished Norwegian engineer and an American mother....

Still life , 70x70cm, print on canvas

Blue Atmospheric Abstract 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 ...

Valerie Etitinwo's unique approach to abstract figurative painting celebrates the unconventional beauty found in imperfection and awkwardness. The Nigerian-Swiss artist uses bold col...

"Your Grace Abounds To Me" by Sarah Ollerenshaw is a captivating original landscape painting that transports viewers into a realm of natural beauty and tranquility. Created with acry...

sisterhood , 70x70cm, print on canvas

Seascape , 70x70cm, print on canvas

sisterhood , 70x70cm, print on canvas

Los Angeles artist Amber Goldhammer paints dramatic abstract compositions in acrylic on canvas featuring energetic brushstrokes. Goldhammer uses her contemporary paintings to express...

Print on canvas , digital collage

Print on canvas , digital collage

Print on canvas , digital collage

"Le Voyageur" by Hallie Packard is a mesmerizing original painting that merges elements of nature with the vast expanse of the cosmos in a surrealistic journey of imagination. With v...

What mask are you wearing? 80x80cm, print on canvas

"Folklore Fiesta of Bumba Meu Boi, Lampião, and Beautiful Maria with the View of Rio de Janeiro" immerses viewers in a vibrant celebration of Brazilian folklore against the backdrop ...

"Within Without" by Calvin Lai, a contemporary figurative painter, presents a captivating exploration of human resilience and inner strength amidst the challenges of life. In this ev...

What mask are you wearing? 80x80cm, print on canvas

Untitled, 2013 by Ana Seggiaro From the Cartographies series Embroidery on canvas (map) Unframed In the mid-2000s, Ana Seggiaro made her first small-scale collage works on paper. S...

sisterhood , 70x70cm, print on canvas

Untitled, 2013 by Ana Seggiaro From the Cartographies series Embroidery on canvas (map) Unframed In the mid-2000s, Ana Seggiaro made her first small-scale collage works on paper. S...

70x70cm, print on canvas

Still life , 70x70cm, print on canvas

"Tenderness", 50х40cm, acrylic/canvas

On the balcony , 70x70cm, print on canvas

Limited edition 10 pieces, print on canvas

Morocco , 70x70cm, print on canvas

70x70cm, print on canvas

Morocco , 70x70cm, print on canvas

Still life , 70x70cm, print on canvas

Silence, 40x40cm, acrylic/canvas

Girl in pink chair, 70x70cm, acrylic/canvas

Girl in a hat, 70x70cm, acrylic/canvas

Peace, 40x40cm, acrylic/canvas