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Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

KAWS: HOLIDAY United Kingdom Black (KAWS UK): KAWS' signature character COMPANION presented in an upright standing position with its eyes covered. New in thei...

The original artworks by Canadian artist Julie Naima feature visually appealing abstract compositions with organic shapes that evoke a sense of tranquility and serenity. The harmonious interplay of a few carefully selected colors, and their varied shades, create a nuanced visual experience that is both calming and invigorating. Crafted in a contemporary and modern style, her paintings are infused with a touch of refinement and artistic flair. The use of organic shapes creates a sense of natural flow and movement, while the balanced color palette adds a level of sophistication to the overall design. This one-of-a-kind abstract painting on canvas measures 48 inches in height and 40 inches in width. The sides of the artwork are thoughtfully painted in a complementary shade of blue, eliminating the need for framing and creating a cohesive, finished look. The painting is wired and ready to hang, making it a hassle-free addition to any wall. It's signed by the artist on both the side and back, adding an extra touch of authenticity and value. Free delivery is available for those in the local Los Angeles area, and affordable worldwide shipping is available for US and international art collectors. A certificate of authenticity issued by the art gallery is included with the artwork, ensuring that the piece is an authentic work of art from Julie Naima. Julie Naima is an accomplished artist originally from Montreal, Canada, who currently resides in a tranquil rural town, removed from the frenetic pace of city life. Her creative process is characterized by experimentation, having explored various techniques and media, such as fluid paints, flowy inks, epoxy resin, collage, and mixed media. However, Naima has since returned to exclusively working with acrylics on canvas, with a particular focus on color. Through this dedication, Naima has discovered that colorful abstract art, imbued with positive emotions and good intentions, is what resonates most with her. Naima's impressive body of work can be found in many private collections across Canada, Europe, Australia, and the United States, attesting to the universality of her artistic vision. Her unique use of color and form imbues her abstract works with a sense of energy and dynamism, evoking a wide range of emotions in viewers. REPRESENTATION: Artspace Warehouse, Los Angeles, USA EXHIBITIONS 2023 Artspace Warehouse, Los Angeles, CA 2022 ARTWRK Gallery, Canada Square Foot Show, Online 2020 Solo Show, Forena Spa, St-Bruno-de-Montarville, Canada Solo Show, Crystal Hotel...

A fine post-impressionist coastal sunset oil painting by American artist Hayley Lever Australian American artist Hayley Lever (1876-1958). Lever was born in Adelaide, Australia and s...

KAWS Holiday Changbai Mountain (KAWS brown Changbai): A beautifully composed KAWS COMPANION published to commemorate KAWS' larger-scale ...

KAWS Clean Slate (Brown), new & unopened in its original packaging. A well-received work and variation of KAWS' large scale Clean Slate sculpture - a key ...

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...

A fine New England landscape with a cart path and birch tree by Swedish-American artist Theodore Victor Carl Valenkamph (1868-1924). Valenkamph was born in Stockholm, Sweden, and emi...

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...

Modern Impressionist Landscape Marine Oil painting of Boats in a Marina on a Misty Morning. Beautiful softly lit Oil On Board, signed and housed in a sympathetic handmade frame. Boy...

Mona Lisa, 120x80cm

"Untitled Abstract II" is an Original Oil on Canvas by G. CURTIS. The piece is part of a set. It measures 49.5 x 37.5 x 1 inches with frame. It is signed and dated by the artist. The...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Our Blossom Time" by Therese James invites viewers into a ser...

Roberto Montenegro Untitled

Badri Narayan The Flower Water colour on Paper 8 x 8 inches 20.3 x 20.3 cm 8th April 1993 ( Framed & Delivered ) This work features in the Book on Badrinarayan Written by Ms. ...

Born in 1982 in Manzanillo, Cuba, artist Darwin Estacio Martinez honed his artistic skills at the Professional Academy of Fine Arts "El Alba" i...

This circular portrait combines vibrant green and violet tones with conceptual text intervention to explore identity, legibility, and symbolic erasure. Painted in acrylic on a round ...

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

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

Quiet conversation, 2020, 55x45 cm The work is sold without a frame.

Landscape , 100x200 cm, oil on canvas

KAWS Blush Flayed Companion 2016: New and sealed in its original packaging. Published by Medicom Japan in conjunction with the exhibition, KAWS: Where The E...

Harrison Gilman's large original artworks begin with a layer of fast-paced gestural abstraction followed by organic shapes and geometric structures. Some of his paintings remain in t...

Two pines , 60x25 cm, oil on canvas

Mask. Mexico. "Mascara, de la carpeta mountain suite. 1969".

The Shape of Memory embodies Lisa Pressman’s long investigation into how memory lives within the body, surface, and time. This sculptural mixed media work is both painting and object...

Pair of Antique Hand Painted Chinese Vases with Foo Dogs and Inscriptions China, early 20th century Porcelain 17 x 8 x 8 inches Painted in iron red, these Foo Dogs or Imperial Guardian Lions are strong Feng Shui protection symbols which were traditionally placed in front of Imperial palaces, temples, and government offices. They were also a traditional symbol of family wealth and social status and were placed in front of wealthy homes. It is widely accepted that foo dogs were created sometime after real lions...

Pumpkin sculpture with holes By Yayoi Kusama Yayoi Kusama is a Japanese contemporary artist known for her avant-garde and immersive installations, often featuring polka dots and mi...

Portrait of a Gentleman in Blue Coat Standing by Curtain c.1695 Attributed to Constantyn Netscher (c.1668-c.1723), not signed The gentleman in this portrait has been depicted standi...

Early Twentieth Century Newlyn School Painting of Still Life with Lobster and Wine Glass set on a Table, Large Framed Oil Painting. This painting by Wolseley is a marvellous study i...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

A fine Maine coastal landscape by American artist Edward Meriam Stetson (1872-1953). Stetson was born in New Bedford, Massachusetts, educated at Friends University and also attended ...

Yellow fields is an original painting by Eleanor Woolley. A beautiful view from May hill with the bright yellow fields of oil seed rape contrasting wildly with the ploughed patches ...

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...

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...

Portrait of Mary Hammond in Sumptuous Attire, Jewels and Lace c.1618-22 Circle of Cornelius Johnson (1593-1661) This portrait of a lady, presented by Titan Fine Art, is an exquisite example of early seventeenth-century portraiture, remarkable both for the lavishness of its subject’s attire and for the distinguished provenance that has accompanied it across four centuries that adds a rich layer of historical significance. It was once part of the notable collection of Sir William Temple, 1st Baronet (1628–1699) at Moor Park, a stately mansion in Hertfordshire. Temple was a diplomat, essayist, philosopher, and the patron of Jonathan Swift. He was a key participate at an important period in English history, helping not only to negotiate the Triple Alliance, but also the marriage between William of Orange and Princess Mary. His collection at Moor Park was well known in its day, reflecting both his cultivated taste in art and literature and his international connections. Its fabulous attire, rendered with almost microscopic attention, is not merely decorative but emblematic of a world in which visual display was a language of power. Its provenance, stretching from the English country house and Enlightenment scholarship to modernist circles, forms a microcosm of cultural exchange across four centuries. Thus, the portrait of Mary Hammond stands as both a masterpiece of early seventeenth-century craftsmanship and a witness to the grand narrative of collecting and connoisseurship—a testament to the enduring fascination of beauty, status, and history intertwined. By tradition the portrait depicts Mary Hammond (born c.1602), who was Sir William Temple’s mother, and the daughter of the royal physician who served James I, Dr John Hammond (c.1555–1617) and whose family owned Chertsey Abbey in Surrey. The woman appears between 18 and 25 years old, and Mary would be about 18–20 when the portrait was painted circa 1620, therefore this matches the apparent age of the sitter and the fashion perfectly. Mary stood at the intersection of learned/courtly and gentry worlds. On 22 June 1627 she married her first cousin (a common practice for consolidating family wealth and influence during that era.) Sir John Temple (1600-1677) at St Michael, Cornhill in the City of London. The couple resided nearby, at Blackfriars. Her marriage to Sir Temple placed her at the heart of the social and political circles that shaped British history. The couple had at least five children, and they became highly significant historical figures: The eldest son, Sir William Temple, 1st Baronet, became a distinguished diplomat, statesman, and essayist, famous for his role in the Triple Alliance and as a patron and mentor to the writer Jonathan Swift – our portrait was in his collection. Their daughter, Martha Temple, later Lady Giffard, was a notable figure in her own right. She became her brother William's first biographer and a respected letter-writer, providing a rare female perspective on the events and high society of the time. Another son, also named Sir John Temple, became Attorney General for Ireland and was involved in the turbulent politics surrounding the English Civil War and the Act of Settlement in Ireland. Mary died in November 1638 after giving birth to twins and was buried at Penshurst, Kent. The family's connection to Penshurst Place is a major point of interest as this historic manor was the seat of the Sidney family, a major aristocratic and literary dynasty. The portrait was in the collection of the Mary’s son, Sir William Temple. From there it descended to his daughter, and then to her nephew, the Reverend Nicholas Bacon of Spixworth Park, Norfolk (his mother was Dorothy Temple who died in 1758). Indeed, by this time, many Temple relics were in the collection at Spixworth including the engagement ring of the illustrious Dorothy Osborne, Lady Temple, wife of Sir William Temple. The portrait thus linked two prominent English families—the Temples and the Bacons—for generations. It is listed in a Spixworth Park inventory of 27 October 1910 by the local collector and art historian, Prince Duleep Singh. He described it with characteristic precision as: “No. 69. Lady Half Length, body and face turned towards the sinister, hazel eyes upwards to the dexter, red hair dressed low and over the ears, a jewelled coronet behind, pearl ear-rings tied with black strings. Dress: black, bodice cut low and square, with lace all round the opening and over shoulders, sleeves with double slashes showing red lining and lace under, falling thin pleated lace collar, black strings tied behind it, a jewel suspended on a black string round the neck, and a double row of agate and silver beads all round to the shoulders. M. In brown veined stone frame. Age 30. Date c.1620. It is called ‘Dutch portrait from Moor Park, mentioned by Nicholas Bacon of Coddenham and Shrubland as a very valuable painting.’ A few years later, when Robert Bacon Longe’s executors sold the contents of Spixworth Park (19–22 May 1912), the portrait appeared as lot 262, described as: “A very valuable half-length portrait on panel, ‘Dutch Lady, with deep lace collar and pearl and amethyst necklace, pendant, and ear-rings, and auburn hair, with coronet’ Early Dutch School 1620.” Following this sale the painting entered the collection of David and Constance Garnett, prominent literary figures of the early twentieth century, before being gifted to Andre Vladimervitch Tchernavin by 1949, and subsequently passed by him to the present owners in 1994. The two great houses associated with the painting, Moor Park and Spixworth Park, further underscore its pedigree. Moor Park, in Hertfordshire, was among the grandest country estates of seventeenth-century England—its gardens famously redesigned by Sir William Temple himself and later influencing landscape design across Europe. Sir William's Temple's secretary was Jonathan Swift, who lived at Moor Park between 1689 and 1699. Swift began to write "A Tale of the Tub" and "The Battle of the Books" at Moor Park. Spixworth Park, near Norwich, was an Elizabethan country house in Spixworth, Norfolk, located just north of the city of Norwich. It was home to successive generations of the Bacon family, one of Norfolk’s most distinguished dynasties (later, the Bacon Longe family), who were considerable land owners (owning Reymerston Hall, Norfolk, Hingham Hall, Norfolk, Dunston Hall, Norfolk, Abbot's Hall, Stowmarket, and Yelverton Hall, Norfolk). Spixworth Hall and the surrounding parkland remained in the Longe family for 257 years until 1952, when it was demolished. Rendered with meticulous precision and sumptuous detail, the painting depicts an elegantly dressed woman—her poise, costume, and jewels all communicating a message of wealth, refinement, and social rank. Every brushstroke conveys an artist deeply attuned to the textures of luxury and the nuances of feminine dignity. The sitter’s attire is nothing short of magnificent. Her bodice and sleeves are fashioned from the finest black silk or satin, the fabric absorbing and reflecting light in equal measure, suggesting both depth and lustre. Around her shoulders lies an opulent lace ruff—a deep, radiating lace collar worked in such intricate detail that it testifies to both the artist’s technical skill and the sitter’s extravagant taste. Lace of this quality, especially Venetian or Flemish bobbin lace, was one of the costliest materials available in early seventeenth-century Europe, its weight worth more than gold, and was a marker of prestige that rivalled jewels in value. The painter has taken great care to delineate every loop and scallop of the lace, achieving an almost tactile realism. Pale skin was also a desired beauty standard, sometimes accentuated with contrasting black ribbons or strings. Her jewels amplify this display of affluence. Matching earrings and a delicate coronet or jewelled hair ornament with a feather adorn her hair, which is styled in the modest yet fashionable manner of the time. These details are far from decorative excess—they serve as visual emblems of social standing, refinement, and lineage. Portraits of this kind were statements of both identity and aspiration, intended to project a family’s prosperity and moral virtue to posterity. The portrait was most likely painted in London around 1618-1622. The low-cut, décolletage-revealing neckline was fashionable in the courts of England and France during the late Elizabethan and Jacobean eras (c. 1590s-1610s), this style did not prevail in the public fashion of the Low Countries at this time. This style of lace ruff — delicate needle lace with geometric openwork — was fashionable from c.1615 to 1622, and the jewelled caul (hair net) and lace edging over a stiffened coif are consistent with high-status English women’s portraiture between 1610–1620. The puffed sleeve slash and the use of pink satin beneath black velvet belong squarely to the late Jacobean...

Entrance-dream, 150x80cm, Watercolor, paper, pencil

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...

A fine tonalist landscape with colorful twilight sky at the end of the day by American contemporary artist Dennis Sheehan (b. 1950). Sheehan was born in Boston, Massachusetts and wen...

Marc Dalessio was born in 1972 in Los Angeles, California. Even in his earliest years, it was evident that his passion was art. In 1989 he started at the University of California at ...

Pink and blue abstract contemporary concentric circle shaped painting by Houston, TX artist David Hardaker. Signed, titled, and dated by the artist on the reverse. Artist Statement:...

Jean-Michel Basquiat Bearbrick Vinyl Figures: Set of two (400% & 100%): A unique, timeless limited edition Basquiat collectible trademarked & licensed by the Estate of Jean-Michel Ba...

Limited edition exclusive European release record featuring the artwork of Robert Rauschenberg. Clear housing with 3 art record plates in blue, yellow and red that stack to create a ...

Portrait of a Gentleman with Blue Cloak and Portrait of a Lady in Russet Dress c.1697 Thomas Murray (1663-1735) These fascinating portraits are exquisite examples of portraiture in ...

Imitation of love, 150x150 cm, acrylic on canvas

Edwadian early Twentieth Century Impressionist English Landscape Oil Painting of Findon, Sussex. William Lee Hankey - Large Framed Oil Painting. English Landscape with Sun dappled ...