Oil More Art

Original Oil painting by Ukrainian artist Evgeny Chernyakovsky "Evening in Italy" 50.0 X 70.0 CM / 19.6 X 27.4 IN HIGH QUALITY oil on canvas Signed on the front and back Dated...

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...

DEEP INSIDE is an original middle size abstract oil painting inspired by the quiet horizon where sea and sky meet. Soft gradients create a feeling of infinity, while a thin horizon l...

Downwind, 100x90 cm, oil, tempera, coal, canvas

Artist Comments
A woman comfortably sits under a shaded porch on a sunny morning. Artist Onelio Marrero captures the scene from Angel of The Sea, a breakfast inn located at C...

Untitled Abstract, an original oil on canvas by Edward Gilliam, is a piece for the true collector. Gilliam's use of color and paint thickness immediately captivates the viewer. It is...

Solar Holidays Series , 120x65 cm, oil on canvas

Fuchsia , 50x50 cm, oil on canvas

Two pines , 60x25 cm, oil on canvas

Ship , 40x40 cm, oil on canvas

Noon by the sea , 60x50 cm, oil on canvas

Artist Comments
A surrealist painting captures the tension between prey and predator. In the foreground, a rabbit stands wary while a fox snarls nearby. Others of their kind sc...

Original Oil painting by Ukrainian artist Evgeny Chernyakovsky "Quiet Harbor" 90.0 X 70.0 CM / 35.4 X 27.5 IN HIGH QUALITY oil on canvas Signed on the front and back Dated 2...

Artist Comments
An evening in Rome unfolds with warm lights illuminating a narrow passage near Piazza Navona. The lively atmosphere of bustling cafes and shops contrasts with...

Awakened by comparison, 130x80 cm, oil, acrylic, coal, canvas

Eighteenth Century English Country Inn Scene with Rustic Figures and Dog, drinking and talking in the Village Pub A signed Oil on Canvas mounted on stretchers and Framed in a Morland...

My work touches on the importance of home and a sense of security. I believe it is a basic human need to feel like someone is waiting for you. I depict not only my homeland, but also...

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...

At sunset , 40x50 cm, oil on canvas

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...

Sunny autumn forest edge. 1960, cardboard, oil, 36x50 cm Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paints landscapes in dif...

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...

Morning Near Big Sur, CA, 2021

My work touches on the importance of home and a sense of security. I believe it is a basic human need to feel like someone is waiting for you. I depict not only my homeland, but also...

Mendel's Joy, 120x120 cm, canvas, oil, sand

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
Fields of grass stretch untouched except for a path leading into distant woods. Flowers bloom in the shaded foreground, while bright sunlight illuminates just b...

Artist Comments
Artist Onelio Marrero paints an emerald pool abundant with blooming water lilies. "I am fascinated by the three-fold nature of looking at the water's surface," says Onelio. He displays depth implied in the reflection of the sky, ripples, plants floating, and finally, the telltale signs of things just below the surface. Part of Onelio's ongoing series of paintings exploring bodies of water.

About the Artist
Artist Onelio Marrero paints impressionist city scenes of everyday life. He captures the romanticism of New York City, from the picturesque fountains in Central Park to a glistening city street on a rainy afternoon. He creates a sense of nostalgia and intimacy with his work, offering the feeling that you have visited this particular scene before. “Each play of light, each texture, and each movement of a figure can have a captivating effect on me,” says Onelio. He studied at The Cooper Union for the Advancement of Science and Art where he mastered discerning color and values, giving his work a more spontaneous appearance. Onelio’s work is an appreciation for beauty in all of its greatest forms; nature, art, and people.

Words that describe this painting: water lily, lilies, Monet, pond, lake, lily pads, reflection, forest, flower, impressionism, water, plants, oilpaint, nature, impressionism, nature, oil painting, green

Pink Water...

Artist Comments
Artist Onelio Marrero paints this piece based on a visit to Rome, Italy. He depicts a scene of Constantine's Arch and The Colosseum on a warm late May...

Modern Maritime Marine Oil Painting of Clipper Ship at Sea as the Sun goes down. A large and very appealing Signed Oil on Canvas, mounted ...

Night , 150x150 cm, oil on canvas

Artist Comments
Artist Yangzi Xu depicts a lively nighttime scene of New York City. She fills the composition with recognizable aspects such as tower...

Artist Comments
Light slowly filters through branches and leaves as the sun gradually rises. "It was early morning, the birds were singing, the light falling on the road was ...

Artist Comments
"I used artistic license to ramp up the expression of color in this piece in an effort to enhance the feeling for the viewer," explains artist Jill Poyerd. "T...

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...

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...

At the crossroads, 120x100cm, oil on canvas

A fine New England Cape Cod landscape by American artist Aldro Thompson Hibbard (1886-1972). Hibbard was born in Falmouth, MA, studied at the Massachusetts College of Art and at the Boston Museum School with artists such as Edmond Tarbell, Frank W. Benson, Joseph R. DeCamp, and later became one of the founders of the Rockport Art Colony, living on Cape Ann in Massachusetts and summering in Jamaica...

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...

N204, 50x60cm

Artist Comments
A laptop sits open in a dark room, playing a scene from Blade, the 1998 vampire film starring Wesley Snipes and N'Bushe Wright. A figure appears on the screen i...

Nineteenth Century Victorian Oil Landscape Painting of Spaniel Dog flushing a Pheasant in Woodlands. A typical oil painting by the Nineteenth Century Sporting Artist Jean Langlois. ...

Artist Comments
"When you are a child, sometimes all you need is a puddle," says artist Onelio Marrero. He paints two young kids joyfully playing in a puddle after a day of being confined indoors due to the rain. He captures the fun and excitement of splashing around. The little girl frolics in full motion while her brother stares transfixed at his reflection.

About the Artist
Artist Onelio Marrero paints impressionist city scenes of everyday life. He captures the romanticism of New York City, from the picturesque fountains in Central Park to a glistening city street on a rainy afternoon. He creates a sense of nostalgia and intimacy with his work, offering the feeling that you have visited this particular scene before. “Each play of light, each texture, and each movement of a figure can have a captivating effect on me,” says Onelio. He studied at The Cooper Union for the Advancement of Science and Art where he mastered discerning color and values, giving his work a more spontaneous appearance. Onelio’s work is an appreciation for beauty in all of its greatest forms; nature, art, and people.

Words that describe this painting: rain, street, puddle, splash, toddler...

"Guardian Angel" late 19th c. Original hand-painted KPM Porcelain In Jewel Encrusted Frame approx. 6 3/8 x 5 inches

Blue woman, 2022, 80x100 cm

ORIGINAL OIL PAINTING ON CANVAS IMPRESSIONIST WALL ART WORK Modern painting / Impressionism artwork / Original oil painting / Flowers for you painting / Impressionist still life -...

Artist Comments
Ivory flowers rise softly from a moody backdrop, while a burst of vibrant orange commands attention. This piece balances boldness and grace, proving that even i...

DEEP INSIDE is an large original abstract seascape oil painting inspired by the quiet horizon where sea and sky meet. Soft gradients create a feeling of infinity, while a thin horizo...

Artist Comments
Wildflowers frame the bluffs, offering a tranquil view of the Pacific Ocean. The blues and purples add a calming, cool tone to the scene. Artist Lisa Elley pa...

ORIGINAL OIL PAINTING ON CANVAS IMPRESSIONIST WALL ART WORK Modern painting /Tulip painting / Impressionism artwork / Original oil painting / Still life painting / Daffodil art -...

Kisses for You #4, 2018

Artist Comments
Inspired by nature's blooms, artist Lisa Elley rendered this piece solely with the use of a palette knife. She creates thick tangible textures, leaping off th...

Two greyhounds, 60x80cm, acrylic on canvas

Artist Comments
A young fawn stands alert, its big ears and soft eyes full of quiet curiosity. Artist Karen Barton used both palette knife and brush to bring out rich textures ...

Waiting for Business

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...

Cloud, 2020

Artist Comments
Artist Elizabeth Garat paints a dramatic view of the sky above the vast ocean's choppy waters and distant coastal islands. The brilliant rays of the sun illum...

Rome painting jriginal oil. St. Peter’s basilica. Vatican bridge. Tiber river. Impressionist artwork by Andrii Chebotaru - "Roman symphony" captures the timeless elegance of Rome...

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...