More Art

Wheelthrown, 1100°C.

Portrait of the younger brother of Napoleon, Lucien Bonaparte, done with the Scagliola technique. Scagliola (from the Italian scaglia, meaning "chips") is a type of fine plaster came into fashion in 17th-century Tuscany as an effective substitute for costly marble inlays, the pietra dura works created for the Medici family...

Royalty , 2020

Since the 1990s, Heinsohn’s work has addressed climate change, impending cataclysm and cultural dysfunction in numerous bodies of work including his mixed media wall reliefs, his "Time Frames" series of photo-based abstractions and his turbulent, thickly painted, cratered abstractions. However, as mentioned in his recent statement: “Given the current dysfunctional mayhem of our planet, I believe we need visual art that provides a place for the mind to transcend our calamity, to thoughtfully explore the multitude of unknowns connected to our daily lives and to thereby refresh our optimism and our sense of urgency in the reimagining of our existence.” These new works channel the meditative properties of abstraction pursued by Kandinsky and Malevich, combined with intuitive approaches of accessing higher consciousness which guided Hilma af Klint as well as, much later, artists of Abstract Surrealism such as Gordon Onslow Ford, Roberto Matta, Wolfgang Paalen...

SF64-045, Sam Francis, Acrylic, American Abstraction, Postwar, Work on paper 1964 Acrylic on paper 73 x 56.5 cm 94 x 75 cm / 37 x 29.5 in. (w...

With Lou Reed Written on box in Andy Warhol’s hand: Louis – 2 copies Written on box: Tri-X Rev. 2 copies. 1+ Written on back in Andy Warhol’s...

Digital print mounted on Diasec with lead

Mary Jo designs all the neon as a unique piece of artwork. Each piece is hand blown glass and assembled to create a one-of-a-kind piece, which comes completely ready to install. Whit...

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...

Synthesis BM is a sculpture by contemporary artist Tom Price. This sculpture is made of resin, tar, acrylic, steel, LED, dimensions are 70 × 8 × 10.5 cm (27.6 × 3.1 × 4.1 in). This a...

A friendly game of cards is the subject of this 19th-century Italian micromosaic. A special type of mosaic that uses incredibly small pieces of tesse...

Samuel Latour - Duplicité - Original Ceramic Sculpture 32.5 x 9.5 x 9.5 cm Edition of 8 Signed Samuel LATOUR Formed at Boulle arts and craft school in...

The modern Wall Sculpture " Horizontal Infill ” is a unique metal Mural made from a burnout mold by David Marshall in 2021, sand cast in aluminium and steel in our foundry, handcraf...

This Green neon Buddha statue, is 2 layers of laser cut Plexiglas joined together by brass industrial elements. A unique Buddha sculpture, de...

A rectangular, steel outdoor sculpture in black is divided in parts, like a puzzle, the edges polished and reflective. This sculpture Water Writing V3, titled in French as Aquagraphie Variation No 2, is an eight foot work by Quebec artist Philippe Pallafray is an eight foot upright is mirrored in three reflective steel puddle shapes installed at its base. Inspired by the graphic design of river maps...

"The ideal state is not one which everyone has access to the same amount of wealth, but in proportion to their contribution to the general wealth" This piece was handmade in the hea...

Mary Jo designs all the neon as a unique piece of artwork. Each piece is hand blown glass and assembled to create a one-of-a-kind piece, which comes completely ready to install. Whit...

Gandin's 'sandwriters' demonstrate the physics of the pendulum as they draw their kaleidoscope-like ribbons in the sand. The sculpture is signed and numbered by the artist on the base of the piece. Artist Biography: Andre’ Gandin...

During the Counter-Reformation, the traditional cult of saints was encouraged, and spiritual exercises were recommended to come closer to God. In the pai...

Kate Heiss Snettisham Sweet Chestnut Limited Edition Linocut Print Edition of 30 Image Size: H 30cm x W 30cm Mounted Size: H 40cm x W 40cm x D 0.5cm Made in 2017 Signed and numbered on the front. Edition numbers may vary from the photo. Please note that in situ images are purely an indication of how a piece may look. Snettisham Sweet Chestnut is a limited edition linocut print by Kate Heiss. The work depicts two Silver Washed Fritillary butterflies feeding on the blossom of the sweet chestnut tree. Kate Heiss is a textile designer and print-maker who has worked with a wide range of fashion brands including Fenchurch, Miss Selfridge and the Japanese fashion designer Michiko Koshino...

Albrecht was half way through his MFA program (ceramics) at the University of Iowa when he was deployed to Iraq (03-04 medic/security work). His work explores the collision of war m...

Albrecht was half way through his MFA program (ceramics) at the University of Iowa when he was deployed to Iraq (03-04 medic/security work). His work explores the collision of war m...

Albrecht was half way through his MFA program (ceramics) at the University of Iowa when he was deployed to Iraq (03-04 medic/security work). His work explores the collision of war m...

This beautiful portrait was painted circa 1725 and is a fine example of the English eighteenth century portrait style. The artist has chosen to depict the lady against a plain background wearing a simple red silk dress and transparent headdress hanging down the back. The sitter is not shown with jewellery or any other elements to distract the viewer’s attached, thus highlighting the beauty of the young sitter. This restrained manner achieves a sense of understated elegance. The portrait genre was valued particularly highly in English society. Neither landscapes nor allegorical pictures were ever priced so highly at exhibitions and in the trade as depictions of people, from the highest aristocracy to scholars, writers, poets and statesmen. With the rich colouring and lyrical characterisation, these works are representative of the archetypal English portrait and is are very appealing examples of British portraiture...

Work is titled “Dark Star”. Provenance: Artist. J.M. Henry has shown his work at numerous galleries in the eastern U.S. since the late 1980s, including Trinity Gallery (Atlanta), The...

Flirting, 160x130cm

Charles Jervas (1675-1739) Portrait of Joseph Mellish (1675-1733) Oil on canvas; held in a carved period frame Dimensions refer to size of frame. Provenance: Blyth Hall, Nottinghamshire, England; by descent to Sir Andrew Buchanan of Hodsock Priory, Nottinghamshire In 1635 John Mellish, a merchant tailor of London, bought the estate of Blyth in Nottinghamshire. His son, a wealthy Oporto merchant, dying unmarried, left Blyth in 1703 to a cousin, Joseph Mellish, who became one of Newcastle’s earliest and most important political supporters in the county. He went up to Clare College, Cambridge in 1692 and on to the Inner Temple the following year. He married Dorothea Gore, daughter of Sir William Gore...

My dawn, 120x120cm, Oil, Canvas, Sand

This dynamic work was realized by the esteemed 20th Century modern artist Mon Levinson in 1964. The work was realized in 1964, and printed in 1965 by Chiron Press in New York- the same year that Levinson was included in the seminal Op-Art exhibition "The Responsive Eye", alongside contemporary luminaries such as Bridget Riley. An identical work from this edition resides in the permanent collection of the New York MoMA. This mixed media work consists of an translucent vinyl sheet layered over a print- part etching, part lithograph. The clear vinyl sheet is embossed with a tight pattern of sinuously curved repeating black lines and is subtly raised in places- creating a subtle three dimensionality and dynamic sense of movement. The paper is inscribed with the same recurring pattern of snaking black lines, like a fine filigree, with two weighty black geometric forms that appear to crowd the composition. Smaller geometric forms reside within creating the apparition of negative space in the bone hued paper. The juxtaposition of the delicate texture and colossal feeling forms imbues the piece with a stunning dynamism and tension, helping to explain why Levinson is among the most influential and important artist to come out of the Op Art movement. His work is in the permanent collections of important institutions around the world including the Museum of Modern Art as well as the Whitney Museum of American Art in New York. Signed by the artist and marked 18/200. The work comes presented in a custom walnut and white gilt frame...

Amy Winehouse Turquoise by BATIK Archival pigment pop art print signed & limited edition. paper size 30x30" inches / 76 x 76 cm signed and numbered by the artist on front edition...

This neon piece is hand blown glass. It is mounted on contoured, clear plexiglas with pre drilled holes for hanging, and comes ready to hang. This piece is offered in the following c...

This neon piece is hand blown glass. It is mounted on contoured, clear plexiglas with pre drilled holes for hanging, and comes ready to hang. This piece is offered in the following c...

My forest, 100x100cm, Oil, Canvas, Sand

Golden coat and birds, 100x200cm, Oil, Canvas

Honey Jump, 120x120cm, Oil, Canvas

There will be a holiday, 60x40cm, Oil, Canvas, Sand

Spring in the village, 120x120cm, Oil, Canvas, Sand

Tenderness 90x70cm, Oil, Canvas, Sand

Doggie Shmul and a cup of coffee, 100x100cm, Oil, Canvas, Sand

My focus, 100x150cm, Oil, Canvas, Sand

Embracing the sky, 100x100cm, Oil, Canvas, Sand

My little wizard, 160x120cm, Oil, Canvas, Sand

Me and my owner Benya, 140x100cm, Oil, Canvas, Sand

Magic horse racing, 100x200cm, Oil, Canvas, Sand

Portrait of Colonel William Helyar (1621-1698) and Rachel Helyar (c.1633-1678) c.1656 Circle of Robert Walker (act. 1637-1656) These fascinating portraits, presented by Titan Fine Art, depict Colonel William Helyar, High Sheriff of Somersetshire, and his wife Rachel Helyar nee Wyndham, a daughter and co-heiress of Sir Hugh Wyndham, 1st Baronet (died 1663) of Pilsden Court, Dorset. They are exquisite examples of portraiture during the Interregnum when England was under various forms of republican government. The history of the seventeenth century is in part the story of the Stewarts and their approach to government and the church; their ebbing and flowing popularity and the disastrous decisions that led to Civil War. But another fascinating dynasty also ruled Britain: the Cromwell’s. Between 1653 and 1659, following the Civil Wars and experimental Commonwealth, Oliver Cromwell governed as Lord Protector followed by his son Richard. Cromwell’s Protectorate is usually imagined as a grey, joyless, military regime. But the reality was rather different. Cromwell presided over a colourful and fashionable court where music and the arts flourished, masques were revived and the first English operas performed. Too often the London of the 1650s is painted as puritanical and repressive in contrast to the vivid, fun-loving capital of the Restoration. Yet, under Cromwell, this was the city where the first coffee houses were opening, where a young Samuel Pepys was embarking on his career as a civil servant with the patronage of one of Cromwell’s councillors and where Christopher Wren was enjoying his new Chair of astronomy at Gresham College, appointed after the personal intervention of Cromwell. When Cromwell was invested as Lord Protector for the second time in 1657, the lavish ceremony in Westminster Hall and procession through London matched any previous coronation for pageantry with thousands lining the streets, bells ringing, bonfires blazing and free French wine flowing through the city. The gentleman in our portrait is Colonel William Helyar (1621-1698), Sheriff of Somerset and as a Royalist during the English Civil War. As one of the most prominent old families of the South-West, the Helyar’s family roots in Somerset can be traced back to 1616 when the Reverend William Helyar (1559-1645), chaplain to Elizabeth I, who was also a cousin by marriage, purchased the family residence Coker Court in East Coker, Somerset. He married a Devonshire heiress and several estates were bestowed on him as a result. He was a warm supporter of Charles I in the Civil War and was in residence at Exeter in 1643 when the Parliamentarians pillaged the cathedral. Elderly as he was, he boldly resisted them, but was beaten, pelted with mud, and locked up in a ship in the port and only let out on payment of £800. He retired to Coker where he died in 1645. His eldest son Henry died in 1634 and he was succeeded by his grandson, Colonel William Helyar, the sitter in our portrait. Colonel Helyar raised a troop of horse for King Charles I and was a colonel in the king's army. He was at Exeter when it was captured by the Parliamentary forces in 1646 and thus deemed ‘Traitor to the Parliament’. His estates were sequestered, but they were returned and he was discharged and pardoned on payment of £1,522. During the Restoration he was a Sheriff and he also helped James II repel the Monmouth Rebellion. The companion portrait represents the Colonel’s wife, Rachel Helyar (baptised 24th June 1633 at St Mary Aldermanbury, London – died 1678). She was the youngest daughter and co-heir of Sir Hugh Wyndham, 1st Baronet of Pilsdon Court and Mary Wyndham nee Alanson (Sir Hugh should not be confused with his first cousin once removed from Somerset, also Sir Hugh Wyndham (bef. 1604 - 1684). Rachel is a thirteenth generation descendant of King Henry III. The couple resided at the family seat of Coker Court (interestingly, within the churchyard, lie the remains of the poet T.S. Eliot who once wrote a poem about East Coker). A marriage settlement in extant shows that the couple were married in 1656; the portraits were most likely painted to mark this important event in the sitter’s lives. Rachel holds roses, the flower of love, and the putto pouring water is representative of her purity, and possibly, the plighting of troth. Colonel Helyar wears a gold wedding band. The couple had four sons: George, William (MP) (1662-1742), John, and Richard. Colonel Helyar died in December 1697 and was buried at Whitechurch, Dorset 2 Jan 1698. This period in which this portrait was painted was known as the Protectorate (1653-1659). This period offered relative peace, as the English Civil War ended in 1651. It was an interesting time for portraiture in England and Scotland – in between the great artistic geniuses and dominance of Van Dyke and Peter Lely. Much of the foreign-born artistic talent had fled England and Scotland during the Civil War and the artists that had remained were in great demand, in part due to the newly exposed strata of society wishing to be painted. Sitters on both sides were depicted in portraits in very similar ways. They are not, on the whole, shown as the Roundheads and Cavaliers of popular history. In fact, it is usually impossible to guess their political allegiances from the style of their portrait and their Parliamentarian and royalist iconographies, as portraits on both sides followed the same conventions and looked identical. Colonel Helyar has been depicted in armour and holding a Marshal’s baton of command, confirming his status. There is a great sense of realism and a particular delicacy, note the finely rendered hand resting on the rapier. Rachel is wearing a satin dress with expansive sleeves and a crimson drapery over her shoulder and held up by her left hand. She wears large pearl...

El Dorado 2 , 120x100cm

« Abstraction» , 110x100cm

Wine riot. 2021, 70x120 cm

Looking-glass games. 2021, 74x130 cm

Naoe Koide, a distinguished Bizen Ware Potter, reflected on his lifelong journey, one ignited by a profound curiosity about the concealed marvels within the world. In his childhood, ...