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Clara Berta’s acrylic and mixed-media paintings blend texture and color to create harmony, mystery, and depth on the painted surface. Her paintings transform spaces into Zen environm...

The figurative surrealistic paintings of Carlos Gamez de Francisco are heavily influenced by his Cuban upbringing in a Russian governed academia setting. This presence exposed Franci...

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"Whether it's fall, winter, spring, or summer it's always time for some colorful birch!" exclaims artist Lisa Elley. Golden yellow leaves leap off the canvas ...

Syrian roses, 46x30 cm, oil on canvas

The girl under the catalpa 100x80 cm

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Therese James captures a timeless, tender scene in her paintin...

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Artist Sherri Aldawood shares her fascination with light by using highly contrasting colors. In this piece, she makes elegant Koi fishes her subjects. The symbol of love, strength and dedication. She mimics their graceful movements into her strokes resulting into this tranquil composition.

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...

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A roseate spoonbill opens its wings beside a clear, shimmering river, its gaze fixed on its own reflection. Bright colors create a dreamlike scene. The composit...

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A quiet expanse stretches beneath a pale sky, where the lake and horizon merge in muted, cool tones. This winter landscape speaks of stillness, endurance, and t...

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A whole lemon transforms when sliced in half, revealing its vibrant, juicy interior. Striking red and blue light emanates from the fruit, contrasting against ...

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Nestled among layers of pink and contrasting leaves, a bright red-breasted bird prepares for flight. A twig seemingly dangles from its beak. Its vibrant pluma...

Clara Berta’s acrylic and mixed-media paintings blend texture and color to create harmony, mystery, and depth on the painted surface. Her paintings transform spaces into Zen environm...

Amour by Courtney Kinnare 2024 Resin, Acrylic, Ink, & Pigment Powder on Mirrored Glass Dia 24" These functional art pieces build a color story through multiple layers of transluc...

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 the party, 100x90cm, oil on canvas

Destruction, 110x80cm , oil\canvas

Early Twentieth Century Aviation Vintage Aircraft Airplane Framed Gouache Painting of Imperial Airways Hannibal. One of a set of three that were painted by the well known Artist and Illustrator Charles Thomas Howard. Each was painted to be published as postcards so these are the original artworks. They are in good clean condition with fresh and vibrant colours I have had them framed in handmade gold frames with a flecked cream mount. Can be sold individually or as a set, they look really striking displayed together. “Three Studies of Airplanes” Gouache, Signed and Framed. Charles Thomas Howard was born in Boston, Lincolnshire in 1865 and after he married in 1905 moved to London where he pursued his career as Painter and Illustrator. He did many works that were produced as postcards as these three all were. He worked for at least three publishers and was incredibly highly sought after. His work was diverse but he specialised in Aviation, Railways and Military subjects. His work is held in many Art Libraries including the Bridgeman and as postcards have been reprinted many times over the years and still resonate with todays audiences. He died at the age of 76 in West Sussex. These originals comprise of De Havilland Comet...

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A pale winter road winds through a hush of trees, their bare branches reaching into soft, silvery air. The world holds its breath, and only the faint promise of...

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...

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Artist Lisa Elley's signature impasto trees stand tall with thick texture and gentle movement in the foliage. The colorful changing leaves contrast against th...

Flowers will remind me of you, 120x100cm, acrylic, canvas The work is sold without a frame.

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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...

Drawing inspiration from the vibrant California landscape, British artist Paul Westacott creates original abstract artworks that showcase a harmonious b...

"Spring Journey" is an original acrylic painting on canvas by Tom Perkinson. His use of saturated violets, vivid yellows, and resplendent oranges pushes color to almost-otherworldly realms. The viewer is invited to step into the painting to explore the scene within and imagine gazing at an easel of a plein-air painter with the blue sky, clouds, and terrain in full view. Here, Perkinson chose to depict a tribal group traveling during springtime with the vast sky above. Tribal members are both on foot and horseback, and comprise of men, women, and children - all trekking across the landscape beneath the foothills to a destiny unknown to us as the viewer. Perkinson describes his style of painting as "Romantic Realism," a technique that incorporates two iconic art movements. This style, in combination with the imagination of the artist, produces remarkable results, showcasing Perkinson's keen ability to capture emotion, nature, and life - all in a brushstroke. Both his technical talent and choice of subject matter pair perfectly with its original raw wood frame. The frame is by Legendwood in Sedona, Arizona, which no longer exists. Their frames are highly collectible, as they are rare, custom, and handmade. 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 landscapes, impressionism, romanticism, realism, Southwestern Art, Native American themed art, plein-air painting, and nature. In the artist’s own words: “My color combinations aren’t in the realm of the natural world, because I don’t paint reality; I’m a painter of fiction. I try to paint a sense of place, as though this scene really does exist. I have had my collectors ask me where this scene is, and I just have to point to my head and say I made it up. Thus, I think of my work as romantic realism. I’m painting a certain reality that I’ve invented, inspired by the fascinatingly rich Southwestern landscape.” “Color gets all the credit, but it’s the values that do all the work. I don’t begin with sketches, because I want to be free to follow the painting in any direction. I start with washes of different values and tints. Then, I begin to look for a landscape. Several directions will appear to me at this time, and then I have to decide on one of them. During these first few moments, I must establish my distance from the scene. Am I a mile away or just across the river? This is one of the first steps, and I have to decide before I can continue. It’s important for working out the perspective and how things are going to relate to one another in the picture. Then, as the landscape evolves, I look for more images to add to the composition.” Artist: TOM PERKINSON (1940-) Title: SPRING JOURNEY Medium & Surface: ORIGINAL ACRYLIC PAINTING ON CANVAS (framed) Signed: HAND SIGNED BY ARTIST LOWER RIGHT Year Created: CIRCA 1979 Country of Creation: UNITED STATES Image Area Dimensions: 12 x 16 INCHES Frame Dimensions:* 19.5 x 23.625 x 2.125 INCHES *This work of art is being sold framed. If you would like to change the frame to better match your style or environment, please contact us for Custom Archival Framing options. Additional Info: HIGHLY COLLECTIBLE WORK BY TOM PERKINSON IN GREAT CONDITION IN ITS ORIGINAL UNIQUE RAW WOOD FRAME BY LEGENDWOOD, SEDONA, ARIZONA. FRAME IS IN GREAT CONDITION WITH MINOR WEAR CONSISTENT WITH AGE AND STYLE. Artist Info/Bio: ARTIST BIOGRAPHY DOCUMENT IS INCLUDED Documentation: CERTIFICATE OF AUTHENTICITY IS INCLUDED About the Artist: Tom Perkinson, born in Indiana in 1940, has become distinguished as a regional painter, known for his work grounded in the visually dramatic landscape of the Southwest. As a child, Perkinson discovered he had a love for the natural landscape, and a talent for art. He fostered that talent through classes at the John Herron Institute of Art in Indianapolis, and then at the Chicago Art Academy upon graduating from high school. He received a degree in art from Oklahoma Baptist University in 1964, before moving on to graduate school at the University of New Mexico. Here, among noted works of a larger scale, he continued to paint the landscape, and it was this work that began to reflect a new fascination with the Southwest. He had found what would become an infinite source of inspiration. Influenced by early painters of the southern Indiana landscape...

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...

little Rider, 60x60 cm, Oil, Canvas, Sand

Last evening of flowery promises, 80x60cm

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An abundance of sunflowers blooms across a sprawling field. Their golden petals glow beneath the summer sun. Towering mountains rise in the distance, as the mis...

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...

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A farmhouse and barns sit among rolling green hills and tree-lined pastures. Under the warmth of the summer sun, cows graze lazily in the fields. A creek mirrors the blue sky and the rooftops, adding a serene touch to the pastoral scene.

About the Artist
Artist John Jaster paints in a style he describes as realistic impressions, capturing colorful views of his adventures across the Americas. "People always ask me how I get such deep brilliant colors," says John. "The answer is layers. Since acrylic paint dries mostly transparent, it requires multiple layers of paint to build up to a specific color. With the right lighting that depth of layering is like sunshine glistening through clear water." In college, John felt a pull towards computer science and pursued a career in software architecture. Although the two paths...

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...

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

Mark Acetelli’s oil and mixed media paintings awaken the viewer’s sense of exploration and adventure; they demand a new discovery. His artworks exhibit a chemistry of complexity and ...

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In his signature style, artist John Jaster paints this famous tree in Pebble Beach, California. Overlooking Carmel Bay, The Lone Cypress...

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In the heart of Paris, a secluded garden stirs with the morning sun. Vibrant blue, green, and purple blend with a spontaneous burst of magenta and pink wildfl...

Original art by Daria Kusto. Acrylic , acrylic spray on canvas Shipped rolled in a tube, From Spain.

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...

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This contemporary oil painting explores the quiet poetry of interior spaces. With a carefully considered composition and layered brushwork, artist David Thelen ...

Capturing movement in acrylic and spray paint, Armen Ges experiments with optical illusions and perspective in his original abstract artworks. To create these intriguing visuals, Ges...

A fine oil painting with cherubs and a cart of fruit by French artist Leger Cherelle (1816-1867). Cherelle was born in Versailles, France, a...

KAWS TIME OFF Blue: A highly decorative KAWS Companion featuring KAWS’ much popularized BFF Companion in a resting position. This brightly colored, highly collectible KAWS Companion ...

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 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...

Jiban Biswas - Emotional Attachment - 20 x 24 inches (unframed size) Acrylic on Canvas. Style : According to him, “ The Mud colour are changing its shade...

Magnolia after the rain, 61x72cm, oil on canvas

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Artist Faye Vander Veer creates a warm restaurant interior with ambient lighting and muted colors. She emphasizes more detail in the areas of interest while k...

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A surreal domestic scene features two cats resting in a room, gazing directly at the viewer. Whimsical moments unfold around them as a tiny animal stands by a m...

series "Personal Contacts", 61 x 48 cm The work is sold without a frame and mat

Mark Acetelli’s oil and mixed media paintings awaken the viewer’s sense of exploration and adventure; they demand a new discovery. His artworks exhibit a chemistry of complexity and ...

Jane Reichle (b.  1998, Bryan, TX) is an hand embroidery and textile artist based in Austin, Texas. When most people hear "embroidery," they think of pastel flowers and domesticity. ...

Noon by the sea , 60x50 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...

2022, 80x80 cm The work is sold without a frame.

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This painting depicts a quiet forest with a central pool of water, its surface reflecting the surrounding greenery. Subtle shifts of light create a sense of dep...

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Two barns rest on a quiet farm, surrounded by autumn colors. The overcast morning softens the warm tones across the rolling hills. The scene captures the serene...

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...

120x120 cm, acrylic on canvas

120x120 cm, acrylic on canvas

"Oxide" 100x120 cm, acrylic on canvas, gold leaf

Hiroshi Yasukawa was born in Nagano Prefecture in Japan in 1931. After studying art in Osaka, he began a career as a painter and art teacher. At that time, Yasukawa mainly created ...