Oil More Art

Portrait of Frances, Lady Whitmore nee Brooke (c.1638-1690) Circle of Sir Peter Lely (1618-1680) Titan Fine Art presents this exquisite portrait that depicts Frances Brooke, Lady Wh...

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...

William Anslow Thornley flourished between 1858 and 1898, almost all of his output were marine scenes, he was especially fond of depicting shipping at dawn or dusk. This is a very im...

Allegory of historic events that took place in Mexico-Texas by romantic painter Léon Cogniet.Experts Jan De Maere-Kornelius Engelen

This portrait depicts an elegant, aristocratic women wearing a yellow silk dress with white chemise and a red mantle elegantly draped around her body. By tradition the portrait represents Mary Capel, Countess of Essex. Born Lady Mary Bentinck in 1679, she was the daughter of William Bentinck, 1st Earl of Portland, a Dutch and English nobleman who became in an early stage the favourite of stadtholder William, Prince of Orange (the future King of England) and his wife Anne Villiers (died 1688). Lady Mary's maternal grandparents were Sir Edward Villiers and Lady Frances Howard...

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 in a simple blue silk dress and without jewelry or a background, thus allowing the viewer to concentrate solely on the beauty of the sitter. The effect of this restrained manner creates 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...

This is a large Oil Painting on Canvas, it came from a Country Estate in the UK. It is housed in its original restored gilt sporting frame. The painting is not only really well exe...

The sitter in this superb portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the eighteenth-century French school of painting. The young nobleman has been portrayed wearing an ingeniously embellished French ceremonial armour, a mauve cloak, and an abundance of cascading curls falling below his shoulders. Our portrait proclaims to every onlooker that this is a superior being. The manner in which portraits were painted was set out by the terms of the commission and usually marked significant life events such as a betrothal, a death, elevation of rank… but they almost always emphasised the wealth and importance of the sitter. This type of portrait had become a standard format for aristocratic portraiture in Europe during the last quarter of the seventeenth century up to the middle of eighteenth century. Incorporated into the background was often a raging battlefield or a military encampment; our portrait is free from these trappings and contains a dramatic moody sky ensures the viewer focuses mainly on the subject. The features of the sitter’s face have been captured with great sensitivity, his confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The flamboyance and penetrating sense of character, lending an air of noble expectancy to the composition, seems almost eclipsed by the artist's virtuosic handling of paint. It is not hard to understand why many wealthy sitters commissioned the artist to paint their portraits. Such fine and ornate armour was not actually used on a battlefield and thus its portrayal in portraiture was largely symbolic of a sitter’s wealth and status as well as a claim of succession to a chivalrous tradition. The style of hair and neckcloth were fashionable circa 1740. Held in an exquisite eighteenth century carved and gilded frame - a fine work of art in itself. Louis Tocqué was a very successful French portrait painter active during the Rococo period of art. His work was known for its attention to detail, its portrayal of the character of the sitter, the refined postures, and the delicacy of the rendered draperies. He created both realistic and expressive portraits. Tocqué was born in Paris in 1696 and trained with the famous portrait painters Hyacinthe Rigaud, Nicolas Bertin, and Jean Marc Nattier whose daughter he later married. He entered the Academy in 1731 and became a full member in 1734 with his portraits of Galloche and the sculptor Jean Louis Lemoine, and he pursued a brilliant career as a portrait painter, receiving numerous commissions from members of the French aristocracy and royalty. His works were highly sought after by collectors of the time, and his reputation earned him the appointment of official portrait painter to the court of France in 1746 – in fact he stayed at most of the courts in northern Europe. From 1737 to 1759 he exhibited a large number of works at the Salon. Tocqué's paintings can be found in museums and private collections around the world. Recent sales...

Abraham Hulk (british/dutch) 1813 - 1897 "Off the Dutch Coast" -Oil on canvas, signed and framed. Painting has been re-lined some time ago, more recently,...

This exquisite portrait of a gentleman depicted in a sumptuous black coat edged with silver and slashed sleeves is an excellent example of the type of portrait fashionable in England and the Low Countries during the 17th century. The confident pose, striking orange sash - the colour of the house of Orange Nassau - and the leather gorget imbue the sitter with a sense of masculinity and power. The profusely decorated costume is of the highest quality and de rigueur of an elite class - the artist has carefully cultivated this portrait to emphasise the sitter’s wealth and standing in the society that he belonged to. The casual pose, with one arm resting on a hip, is much less formal than earlier decades, and it speaks of ‘sprezzatura’ – one’s appearance should not appear laborious, but instead, effortless. The oil on cradled panel portrait can be dated to circa 1650 based on the hairstyle and the attire - small falling collar, short doublet (doublets reduced in size to just below the ribcage in the late 1650’s), and the type of slashed sleeves with the sleeve seams left open to reveal the white fabric. The demand for portraits in the Netherlands was great in the 17th century. Bartholemeus van der Helst was considered to be one of the leading portrait painters of the Dutch Golden Age surpassing even Rembrandt as the most sought-after portraitist in Harlaam. The Dutch Golden Age, roughly spanning the 17th century, was a period when Dutch trade, science, military, and art were among the most acclaimed in the world. Dutch explorers charted new territory and settled abroad. Trade by the Dutch East-India Company thrived, and war heroes from the naval battles were decorated and became national heroes. During this time, The Dutch Old Masters began to prevail in the art world, creating a depth of realistic portraits of people and life in the area that has hardly been surpassed. The Golden Age painters depicted the scenes that their discerning new middle-class patrons wanted to see. This new wealth from merchant activities and exploration combined with a lack of church patronage, shifted art subjects away from biblical genres. Still life’s of items of everyday objects, landscapes, and seascapes reflecting the naval and trade power that the Republic enjoyed were popular. The new wealthy class were keen to have their portraits commissioned and many artists worked in this lucrative field. Such was the popularity of art that everyone had a painting, even the humble butcher, and hundreds of thousands of paintings were produced. By tradition the sitter is Maarten Tromp (1598-1653) who was an Admiral in the Dutch Navy (the reverse of the portrait contains an old handwritten inscription “van Tromp”). Certainly, the distinctive orange sash is similar to those worn by officers of the Dutch army in the Netherlands who served under the Princes of Orange and the House of Nassau. However, it should be noted that the physiognomy differs from other images of Tromp. Tromp was the oldest son of Harpert Maertensz, a naval officer and captain. He joined the Dutch navy as a lieutenant in July 1622 and was later promoted from captain to Lieutenant-Admiral of Holland and West Frisia in 1637. In 1639, during the Dutch struggle for independence from Spain, Tromp defeated a large Spanish fleet bound for Flanders at the Battle of the Downs, which marked an enormous change - the end of Spanish naval power. He was killed in action during the First Anglo-Dutch War in 1653 where he commanded the Dutch fleet in the battle of Scheveningen. Gloves were an absolutely vital accessory and the elaborate pair in this portrait are embellished with threads of silk and precious metals and salmon-coloured lining. He wears only one glove and holds the other, providing an opportunity to better display the cuffs and detail on his right wrist and forearm. The gloves are probably made from the most prized leather which came from Spain, in particular from Cordova. Cordovan leather was tanned with a special vegetal process that left it both highly impermeable and divinely soft. King Charles I, posed in a rather relaxed manner for Daniel Mytens’s portrait in 1631, is wearing gloves and boots in matching Cordovan leather. The hide is thick, but you can see just how supple it is from the way the gauntlet dimples and the long boot legs fold over themselves, rippling and wrinkling at the ankles. Apart from keeping hands warm the use of gloves during the 15th through the 19th centuries were full of symbolism and they were worn regardless of the season. They kept the skin unblemished - soft, smooth hands were considered highly attractive. This combination of necessity and proximity to bare skin made gloves a deeply personal gift and they took on a strong symbolic significance and were regarded as emblematic of fidelity and loyalty for hundreds of years. Such was the importance of their symbolism was that some gloves were never intended to be worn at all. Their luxury made them ideal gifts at court, and so in the 15th and 16th centuries, ambassadors often presented them as symbols of loyalty. Until the mid-19th century, it was customary to give gloves as tokens to guests at weddings and to mourners at funerals. Gentleman often gifted their bride-to-be with a pair of gloves (the obligatory gift) and were handed over at the betrothal and put on display before the wedding took place. It was probably their direct contact with the skin that led to the eroticism of gloves. Not only were pairs often exchanged between lovers, but from the 16th to the 18th centuries, it was common practice to remove one glove and give it as a gift to a favourite. The idea of the item being presented still warm from the wearer’s hand is certainly suggestive. Following the death of King George IV, his executors purportedly found over a thousand mismatched ladies’ gloves among his possessions. The sentiment of a 17th-century poem reveals the popularity of the practice: “Come to our wedding to requite your loves / Shew us your hands and we’ll fit you with gloves.” Such generosity might be pricey for the hosts, but gloves of varying quality could be offered depending on the status of the recipient. Pairs made with the finest Spanish leather might be reserved for immediate family, while coarse sheep’s leather could be distributed among the servants and tradesmen. The apportioning of quality according to class provided a very clear message of the gloves’ intended use. For refined guests, they were decoration; for the lower classes, they were functional. Bartholomeus van der Helst...

"Imagine" by Roman Goss is a captivating original abstract painting that invites viewers to explore a world of imagination and possibility. Through a harmon...

By French famous Transgender artist, Michel Marie Poulain (Born Paris December 5, 1906. Died 1991) this rare oil on canvas it represents the Queen and he...

A fine impressionist landscape with a cottage by German / American artist Carl Wuermer (1900-1983). Wuermer was born in Munich, Germany, and in 1915, emigrated to Chicago where from ...

A fine impressionist North Shore Cape Ann coastal oil painting by American artist Winfield Scott Clime (1881-1958). Clime was born in Philadelphia, studied at the Corcoran Art School...

An exceptional winter marine oil painting of Gloucester Harbor with boats on Cape Ann by American artist Emile Albert Gruppe (1896-1978). Gruppé was born in Rochester, NY, and is ren...

A fine impressionist floral still life by American artist Humbert Howard (1905-1990). Howard was born in Philadelphia and considered an important figure among contemporary African-Am...

A colorful impressionist floral still life with fruit by American artist Humbert Howard (1905-1990). Howard was born in Philadelphia and considered an important figure among contempo...

A fine impressionist oil painting of the boat shop by Italian American artist Antonio Cirino (1889-1983). Cirino was born in Italy and moved to the United States, attending the Rhode...

Tropical breezes blow the crest off the wave breaking on the outer reef, while seabirds soar above the antherium flower. MARC ZIMMERMAN CREATES PLAYFUL PAINTINGS, whether deep myste...

A fine impressionist painting of a French pastoral landscape with trees and cows in the distance by American artist John Leslie Breck (1860-1899). Breck was born in the South Pacific...

In "Blueberries" by Vita Kobylkina, viewers are immersed in a hyperrealistic depiction of nature's bounty, where plump blueberries take center stage aga...

Paul Lauritz (Norway / California, 1889-1975) winter landscape circa 1950s Fine original oil painting by listed California artist Paul Lauritz. Canvas dimensions 40" x 30". The fra...

A fine impressionist landscape of a winter stream by American artist Jonas Lie (1880-1940). Lie was born in Moss, Norway to an accomplished Norwegian engineer and an American mother....

Discover the captivating allure of Lili Miura's "Metamorphosis" at our exclusive art exhibit. This stunning masterpiece, rendered in oil on canvas, measures 30 x 15 inches (76.20 x 3...

A fine impressionist landscape in Nauson, MA by American artist Charles Herbert Woodbury (1864-1940). Woodbury was born in Lynn, MA, and sold his first painting when he was fifteen y...

A fun genre painting with students in a classroom being students by American artist George Henry Story (1835-1923). Story was born in New Haven, CT, and after studying a year in Euro...

"Harbor Reflections" is a contemporary American Modern evening seascape. Kelly Carmody’s work has been widely exhibited and collected. One of her major figurative works was chosen ...

A perfect study in post impressionism both in subject matter and technique. Cahours captures both the mood and the realism of Breton life, his figures are excellent and believable a...

"Within Without" by Calvin Lai, a contemporary figurative painter, presents a captivating exploration of human resilience and inner strength amidst the challenges of life. In this ev...

Frost and sun ,Canvas, oil, 85x80cm

Daisies, Canvas, oil, 80x70 cm

Daisies, Canvas, oil, 80x70 cm

Walk ,Canvas, oil, 100x90cm

“Catch the balance” canvas, oil, acrylic 80x100

N187, 100x100cm, oil/canvas With this series of works I explore the theme of freedom and self-expression. This project is my interpretation of frivolous pictures of the Middle Age...

Series "Haunted Manor", 60x60cm, oil\canvas

Series "Haunted Manor", 90x70cm, oil\canvas

Series "Haunted Manor", 90x70cm, oil\canvas

Series "Haunted Manor", 100x80cm, oil\canvas

Series "Haunted Manor", 110x90cm, oil\canvas

In "Bananas" by Vita Kobylkina, the artist skillfully captures the vibrant essence of everyday objects, elevating the mundane into a captivating work of...

"Our Blossom Time" by Therese James invites viewers into a serene and nostalgic park scene, where the air is filled with the delicate fragrance of cherry blossoms and the soft whispe...

N190, 100x100cm, oil/canvas With this series of works I explore the theme of freedom and self-expression. This project is my interpretation of frivolous pictures of the Middle Age...

N188, 100x100cm, oil/canvas With this series of works I explore the theme of freedom and self-expression. This project is my interpretation of frivolous pictures of the Middle Age...

Narcissus, 40x30cm

"Happy Hippy Days Kings Road" by Therese James invites viewers into a vibrant and nostalgic street scene along the iconic Kings Road in Chelsea. This lively painting captures the ess...

Dreams of a red dog, 120x100cm

My dawn, 120x120cm, Oil, Canvas, Sand

My paintings are a reflection of my inner space, I will call it a garden. What is this garden like? It's a little chaotic, a little bright, a little abstract, a little orderly, a l...

Nightingales, 130x90cm