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N204, 50x60cm

KAWS WHAT PARTY (yellow): KAWS yellow WHAT PARTY Companion featuring KAWS' CHUM character in a hunched position. Published to commemorate the debut of KAWS’ larger scale sculptural v...

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A lush woodland scene embodies the tranquil beauty of nature. Towering trees with dappled sunlight filtering through their leafy canopies cast soft shadows on t...

Blue woman, 2022, 80x100 cm

Upward movement, 110x80cm

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Mountains rise with an imposing presence, dominating the evening landscape of Teton National Park. A vibrant treeline in the foreground glows with rich autumn h...

Shattered

Bad date, 59x42cm, tempera/paper

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A beautiful bobcat rests atop the petroglyph-covered wall of Toquima Cave. Its stance and intense gaze reflect a keen awareness. Lights emphasize the feline's...

Cherry Blossom Waltz, oil on canvas, 170 x 110 cm Pink petals swirl and dance across the canvas in Cherry Blossom Waltz, a bold, textured celebration of spring’s fleeting beauty...

In flowers, 89x80cm, oil on canvas The work is sold without a frame.

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In this lively and spirited painting, five figures revel in the music and each other's company. Tones of blue and orange embrace their forms as they hit the d...

Watercolor on paper by William Minshall Birchall of the black ball clipper ship, the Montezuma. Titled and signed W. M. Birchall lower left in pencil. Findlay Gallery label verso. 0riginal frame and mat with normal wear due to age. The American packet ship...

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A ghostly white, weathered house stands in contrast against the dark, looming trees. The worn texture and faded paint of its exterior capture a sense of aband...

Untitled (fruit bowl) By Nicolas Party Nicolas Party is a Swiss-born contemporary artist celebrated for his vibrant and visually striking works that span painting, drawing, and ins...

The world if full of light and color if we look for it. A new day is a new opportunity. A new day is full of hope. The painting is on heavy weight paper and painted expressively with...

way home, 60x80cm

Evening (Ode to H. B. Jones)

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Part of artist Onelio Marrero's ongoing series featuring museum interiors and gallery-goers. In this piece, Onelio depicts a woman sketching...

Happy Day 2, 130x100cm, Acrylic on canvas

Aphrodite, 130x100cm, Acrylic on canvas

Polarity

Cleansed, 2018

Tierra, 2020

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"Many types of phacelia are a welcome and colorful sight in the desert in spring," shares artist Crystal DiPietro. "In this piece, a large purple variety stan...

Painted in Soviet Latvia presumably for the State opera. The Scenography and the artist is not known.

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...

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A black horse with white spots gallops with all its might, following the outlined route in the background. The painting carries a whimsical tone with its colo...

"Bay of dreams" captures the enchanting beauty of Stoliv, a historic town in the breathtaking Kotor Bay, Montenegro. This impressionist painting radiates warmth and movement, as the ...

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"This ghostly portrait of a man represents a transitory experience and movement between places," says Kristen. Rendered with soft light, the painting mimics t...

Koi Pond, 2021

Evening , 150x130 cm, oil on canvas

Original Oil painting by Ukrainian artist Evgeny Chernyakovsky "Evening city" 50.0 X 70.0 CM / 19.6 X 27.4 IN HIGH QUALITY oil on canvas Signed on the front and back Dated 202...

130x100cm

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"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...

Evening silence g 80x60cm, oil on canvas

In the transparent greenery of spring 80x60cm, oil on canvas

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A single-car garage in a charming neighborhood stands untouched, its doors unopened for years. Once home to a shiny '32 Oldsmobile, it now hides unknown treas...

Wonderful folk art turned wood bowl with snowy cabin scene by an unknown artist, circa 1880.

KAWS Flayed Companion 2016: Set of 3 individual works. KAWS Black Flayed, KAWS Brown Flayed & KAWS Grey Flayed Companions - each, new and sealed in origin...

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A towering stack of pancakes, topped with butter and dripping syrup, balances as a plumb line ensures its perfect level. The precise measurement keeps the foo...

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Artist Brian McCarty depicts a quiet rural home behind a red barn. Surrounded by a field of grass and autumnal trees, a car sits on the winding dirt path. "Everyday life is caught in a moment," says Brian. "Arriving home, or getting ready to leave home. A lazy afternoon." Just the type of subject Brian loves to paint.

About the Artist
Artist Brian McCarty paints idyllic landscapes and bucolic architecture. “Growing up in rural New Jersey, I’ve always found old houses, barns, and the countryside interesting subjects,” says Brian. Influenced by his mom who was a self-taught artist and art teacher, she encouraged Brian to pursue anything artistic. After graduating from Newark School of Fine and Industrial Art and earning his BA in Art from Thomas Edison State College, he worked professionally as a graphic designer in New York for the largest publishing houses in the country. A career that spanned thirty-six years. Brian has done comedy and sketch writing with the Groundling Theater, and worked in a few major feature films as an actor. To begin his process, Brian takes photos of his references with an iPad, crops the images to his liking, and paints directly on his canvas with a quick oil wash. Recently returning to painting full time, he converted a room in his house into a working studio. “I get lots of natural light, and listen to music and podcasts while I paint.”

Words that describe this painting: country, house, home, barn, farmhouse, farm life, country living, road, architecture, impressionism, autumn, oilpaint, architecture, impressionism, oil painting, green, brown

House and Barn...

The Cotswolds on a fine day Rosie Phipps Water colour, Gouache, Pastel 40 cm x 23 cm Pass into the landscape looking first into the far distance, and then taking one’s gaze to the m...

Beltane is a large panoramic oil painting of a woodland glade in springtime with a stream running through it with the hint of bluebells, wildflowers and blossom trees. It is 60x36x1....

KAWS - FAMILY Figures - Black version New on its original packaging. Medium: Vinyl & Cast Resin Open unknown edition Unsigned

Way , 90х172 cm, oil on canvas

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Artist John Jaster offers a playfully rendered forest filled with tall trees in vibrant hues of red, green, and blue. In his process, John creates stunning co...

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A quiet riverside scene, with lush greens and leisurely moving water. Just above the treeline, billowing clouds linger before revealing a soft blue sky. "I fi...

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A jewel-toned hummingbird hovers mid-flight, its wings blurred by motion as it flies through the colorful sky. The scene takes inspiration from the birds that...

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A monochromatic winter forest with warm tones of beige, brown, and yellow by artist Tatiana Iliina. With her swift and precise strokes, Tatiana captures the g...

The painting "First Rays," created in 2024 on Lake Skadar in Montenegro, is a stunning example of Pointillism or Divisionism. It depicts the mouth of the Rijeka Crnojevi?a River, whi...

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A family of doves nest on the porch roof of artist Jessica JH Roller's neighbor. Their chicks often wander to Jessica's fence, where they rest and perch among...

The painting depicts a tranquil coastal scene. Two sailboats with white sails are floating on a calm sea. One sailboat is situated closer to the foreground, on the left of the image,...

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...

A large marine painting probably depicting a British East Indiaman ship returning from a voyage to the East, attributed to British artist Francis Holman ...

Modern Impressionist Textured Oil Painting of Ballet Dancer performing in Swan Lake. A signed oil on canvas on stretchers and framed in a traditional frame. This beautiful painting ...

Two pines , 60x25 cm, oil on canvas

"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...

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Every summer, Jo goes down to the Coquitlam River near her home in British Columbia to enjoy the beautiful green surroundings glowing in the summer heat. "I couldn't resist how inviting this scenery was," she says. "Where I live, summer only lasts about three months, so I put this scene on canvas to enjoy it the whole year through."

About the Artist

Words that describe this painting: nature, water, trees, rocks, river, sunlight, woods, summer, forest, stream, riverbank, nature, realism, representational, oil painting, green

A Moment in Time...

Artist Comments
"In this painting, I wanted to further my explorations of interiors in dramatic lighting and the look of folds on unmade beds," explains artist Onelio Marrero...