London - Paintings

Alfred Thomas Derby Portrait of Derich Born (after Holbein) 1821-1873 Watercolour on paper, monogrammed lower right Image size: 7 x 8 1/2 inches (18 x 23.8 cm) UV non reflective glas...

'Portrait of a Girl', gouache and crayon on fine paper (1966), by Raymond Debiève (1931 - 2011). Here the artist paints a young girl with blond hair in his post-cubist style. Clearly...

Image dimensions: 92cm x 62cm Framed dimensions: 78.7cm x 108.5cm This beautiful original oil painting by contemporary artist Clare Haley depicts a beautifully atmospheric landscape...

'The Boat in Martigues', oil on canvas, by Marie de Nivouliès de Pierrefort (circa 1910). Martigues is a small port town just northwest of Marseille in the South of France. Its nickname is the Provençal Venice. Further eastward down the coast is the town of Toulon where the artist was born in 1879. Nivouliès depicts a charming sailboat tied to the small pier yet with an unfurled sail. It looks to be a wondrous day along the Mediterranean, the kind we can always dream about. The painting is over one hundred years old and is in fair condition, yet recently brought back to life by an art restoration professional. Elegantly framed, it is stabilised now for decades into the future. Please enjoy the many photos accompanying the listing. Upon request, a video may be provided of the artwork. About the Artist: Although she was a direct descendant of the counts of de Pierrefort, Marie de Nivouliès de Pierrefort's (1879-1968) family was very poor. In spite of the poverty, Pierrefort attended a Catholic school run by nuns, obtaining a scholarship from the School of Fine Arts of Paris. While still a student, she attended workshops of great Impressionist masters such as Pierre Auguste Renoir (1841-1919) and Pierre Bonnard (1867-1947). In 1910 she won a travel award from the school and traveled to Tunisia where she painted several Mediterranean landscapes. In 1938 the painter moved to Rio de Janeiro, Brazil, where she painted the beautiful landscapes seen from her window. In Rio, Pierrefort had two individual exhibitions, both at the National Museum of Fine Arts, in the years 1946 and 1956. Although widowed in 1944, Pierrefort decided not to return to France until 1950. She remained there until 1959 when she definitively returned to Brazil. Her atelier in the neighbourhood of Glória was frequented by many emerging artists who learned the techniques of impressionism from her. Afterwards, Pierrefort painted for almost a decade in Brazil until she passed away in 1968 in Rio. After her death, many canvases were found in her studio but had been damaged or destroyed by humidity and by the intervention of her many cats. The painter Sergio Telles...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Unframed size 100x130cm (39x51 inches) "If Only I Could" by...

'Still Life with Pineapple', oil on panel, by Lucien Martial (circa 1960s). Like human life, fruit is perishable and ephemeral, and thus many believe th...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Vue de la Côte Normande by Claude-Émile Schuffenecker (1851-1934) Oil on canvas 58 x 69 cm (22 ⁷/₈ x 27 ¹/₈ inches) Sig...

"“Dear Me”, cried Miss Carter (who wore Pink), “Jane’s talking to the Policeman” and Mother, the three Aunts and Grandma (and the dogs Gyp and Barney) were all outside James Alfred B...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

'Grand Prix Racer', French School, oil on board (circa 1960s). The 'good ole' days' of Formula One racing are depicted in this thrilling mid-century...

Richard Roper (British, c. 1730-c. 1775) Grey stallion held by groom in the Duke of Grosvenor’s colours Oil on canvas Old chalk inscription '22 Mar 74' verso Property of a gentleman...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

In this series of paintings, colour becomes the primary device for expressing emotion, rather than reflecting the literal hues of the landscape. By using colour this way, Shizico hei...

-In light of new tariffs, we’ve applied a 20% discount off the market price of this piece to support our collectors in facing potential added costs. At the gallery, we work closely w...

hand embellished canvas hand-signed and numbered by the artist edition of 95 Craig Alan is a contemporary artist renowned for his innovative and captivating "Populus" series, where ...

Austrian School, 18th Century A Portrait of a Gentleman, thought to be Moses Diego Lopez Pereira, 1st Baron d’Aguilar, in an elaborate coat and a powdered wig Oil on canvas Provena...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In Copper Vase, Roses and Red Grapes, Rebecca Ritchie showcases her exceptional skill in still life realism. The painting centers around a gleaming copper vase, which reflects the light in subtle, warm tones that enhance the rich textures of its surroundings. The vase is adorned with delicate white roses, whose soft petals contrast beautifully with the bold, crimson foliage beside them. The harmonious arrangement of the flowers invites the viewer to appreciate the juxtaposition between the gentle, organic forms and the solid, reflective nature of the vase. Ritchie’s attention to detail is remarkable, particularly in her depiction of the red grapes scattered at the base of the vase. Each grape is meticulously rendered with a realistic sheen, bringing a lifelike quality to the composition. The dark background further enhances the vibrancy of the objects, creating an intimate atmosphere where light and shadow play delicately over the scene. The artist’s skillful manipulation of light and contrast brings a timeless elegance to the work. This masterful still life, Copper Vase, Roses and Red Grapes, is available for acquisition at Signet Contemporary Art in Chelsea, as well as online. Art collectors now have the opportunity to bring this beautiful and evocative piece into their collection, a celebration of light, texture, and everyday beauty. Artist Biography: Rebecca is a still life artist based in Tunbridge Wells, whose practice approaches subject matter with a classical technical style. Having attended Maidstone school of art Rebecca went on to enjoy a successful career in Television Set design. Rebecca began making a body of work as a full time artist in 2015 and is currently based in Langton Green where she produces artwork from her own studio. Rebecca also enjoys painting portraits and won the 2018 ‘The Artist’s People’s Choice Award’ with the Artist and Leisure painter magazines for her Portrait ‘Colin’. The artist has featured in Galleries and Exhibitions all over the UK including with the Society of Women Artists in London. Inspired by the Dutch masters, in both technique and lighting, she uses many glazed layers and favours ‘Chiaroscuro’ lighting with bold contrasts between dark and light. Working exclusively in oils, her props cupboard is brimming with hoarded silverware, glass, and china...

Les Baigneuses by Paulémile Pissarro (1884-1972) Oil on canvas 89 x 118 cm (35 x 46 ¹/₂ inches) Signed and dated lower right, Paulémile - Pissarro. 1928. This work is accompanied by...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. In this breathtaking nighttime cityscape, Jo Quigley transform...

This lavish portrait, painted circa 1695, is an exquisite example of the type of portrait in vogue during the last quarter of the seventeenth century. It is evident that the artist ...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Jo Quigley’s depiction of Grand Central Station radiates with ...

'Notre Dame de Paris II', gouache on paper, by Lucien Génin (circa 1930s). One of two paintings of Notre Dame by this artist held by our gallery, it is also an absolutely charming and now, historic depiction from the 1930s, of the most famous cathedral in France. This version uses more exaggerated brushstrokes with strong colours attesting to its expressionist roots. Notre Dame is one of the most widely recognised symbols of the city of Paris and the French nation. As the cathedral of the Archdiocese of Paris, Notre-Dame contains the cathedra of the Archbishop of Paris. Approximately 12 million people visit Notre-Dame annually, making it the most visited monument in the city. While undergoing renovation and restoration, the roof of Notre-Dame caught fire on the evening of 15 April 2019. Burning for around 15 hours, the cathedral sustained serious damage. The government of France hopes the reconstruction can be completed by Spring 2024, in time for the opening of the 2024 Summer Olympics in Paris. Unlike the actual cathedral, this artwork is in good condition, is newly framed and glazed and signed by the artist in the lower right hand corner. Upon request a video may be provided. About the Artist: After the devastation of the First World War, Lucien Génin (1894 - 1953) left his provincial home in the autumn of 1919 to find his fortune among the lively Parisians in the heart of Montmartre. Génin befriended the painters Frank Will, Gen Paul, Émile Boyer, Marcel Leprin...

The painting was painted Plein Air, in Artist's own garden of the memorial roses she planted. This is Rosa Albertine, the first Old English variety Artist Shizico Yi planted in her garden in 2016, before her late dog died. Old English Roses...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Unfolded Layers 1" by Lori Mirabelli is a bold and textured a...

'Outstanding in His Field', oil on cardstock paper, by Raymond Debiève, 1976. The artist depicts a salt-of-the-earth farmer seated on a fence post, arms crossed with a look of wholeh...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "That Golden Hour" by Nick Vivian is a breathtaking depiction o...

*PLEASE NOTE UK BUYERS WILL ONLY PAY 5% VAT ON THIS PURCHASE. Femme au bord de la mer by Jean-Pierre Cassigneul (b. 1935) Oil on canvas 92 x 65 cm (36 ¹/₄ x 25 ⁵/₈ inches) Signed lo...

Christopher Rainham has always been inspired by the natural world and more specifically an experience of the natural world. He is inspired by the way flora and fauna are woven into ...

This magnificent oil on panel portrait, presented by Titan Fine Art, is a splendid example of the sumptuous female portraits that were painted for members of the upper echelons of society during the early part of the 1600’s. The artist has rendered this portrait with meticulous attention to detail and the surface effects of the fine materials. The elaborate lace coif and cuffs are painstakingly delineated, as is the bold black damask, and sumptuous gold decoration of her skirt and stomacher, which is wonderfully preserved and quite remarkable considering the age of the work and the fact that darker pigments are particularly vulnerable to fading and wear. This work with its spectacular depiction of costume is of absolute quality, it can be rated as one of the best works in the artist’s oeuvre and as such it is an important and splendid example of Dutch portraiture. The Dutch Golden Age of painting was a period in Dutch history, roughly spanning the 17th century, in which 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 middleclass 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. Dress was a key component in portraits, and the exuberant attire reiterates the incredible wealth of this woman. The sitter will have visited the artist’s workshop and inspected examples on display. They would have chosen the size and the sort of composition and on that basis negotiated the price – which would have also been determined by the complexity of the clothing and the jewels that were to be depicted, and by the materials to be used. When all was considered, this portrait would have cost the sitter (or her husband) a substantial sum. The colour black was regarded as humble and devout yet at the same time refined and sophisticated and the most expensive colour of fabric to dye and to maintain. Citizens spent fortunes on beautiful black robes. Such uniformity must also have had a psychological side-effect and contributed to a sense of middle-class cohesion; the collective black of the well-to-do burgess class will have given its members a sense of solidarity. The colour was always an exciting one for artists and when this portrait was painted there were at least fifty shades of it, and as many different fabrics and accoutrements. Artists went to great lengths to depict the subtle nuances of the colour and the fabrics and textures and how they reflected light and it was an ideal background against which gold and crisp white lace could be juxtaposed to dramatic effect. The sitter is either a married women or a widower as is evident by the clothing that she wears and the position, toward her right, it is highly likely that this portrait was once a pendant that hung on the right-hand side of her husband’s portrait as was convention at the time. She wears a vlieger which was a type of sleeveless over-gown or cape worn by well-to-do married women in the late 16th and early 17th centuries. Variations with short sleeves or high shoulder rolls are known. Sometimes sleeves were attached with aiglets, and often slits were made to allow belts or the hands to pass through. Three-piece vlieger costumes of this kind were standard items of clothing in portraits of the women of the civic elite in the period 1600-40 and was a variant of the Spanish ‘ropa’ and served as a trademark of well-to-do married burgher women. Girls and unmarried woman, including beguines, wore a bouwen (a dress with a fitted bodice and a skirt that was closed all round) instead. This clear distinction between apparel for married and unmarried women is clear not only from inventories and trousseau lists, but also from contemporary sources such as the Dutch Spanish dictionary published by Juan Rodrigues in 1634. In it, a bouwen is described as a ‘ropa de donzella’ (over-gown worn by a virgin) and a vlieger as a ‘ropa de casada’ (overgown worn by a married woman). It is striking how few women are depicted wearing a bouwen, unless they are part of a group, family or children’s portrait and it can therefore be assumed that independent portraits of unmarried women were seldom commissioned. It is also believed that the clothing worn in these portraits existed and were faithfully reproduced when cross-referenced with the few exact documents. These sources also demonstrate that clients wanted their clothing to be depicted accurately and with this in mind precious garments and jewels were often left in the painter’s studio. The prominent white lawn molensteenkraag (or millstone ruff) is held up by a wire supportasse and was reserved only for the citizens that could afford this luxurious item that often required 15 meters of linen batiste. The fabulous wealth of this sitter is also evident by the elaborate lace coif and cuffs which have been exquisitely depicted; lace was often literally copied by artists in thin white lines over the completed clothing. The gold bracelet with jewels is a type that was evidently fashionable as it is seen in a number of portraits during the 1610s and 1620. Clothing and jewellery were prized possessions and were often listed in inventories of estates and passed down from generation to generation. There were a great number of jewellers of Flemish origin working at all the courts and cities of Europe, competing with the Italians, and then the French, adapting themselves to the tastes and positions of their patrons and the raw materials available in the country where they worked. The fashion for jewels “in the Flemish style” succeeded that of the Italian style. Cornelis van der Voort, who was probably born in Antwerp around 1576, came to Amsterdam with his parents as a child. His father, a cloth weaver by trade, received his citizenship in 1592. It is not known who taught the young Van der Voort to paint, but it has been suggested that it was either Aert Pietersz or Cornelis Ketel. On 24 October 1598 Van der Voort became betrothed to Truytgen Willemsdr. After his first wife’s death he became betrothed to Cornelia Brouwer of Dordrecht in 1613. In addition to being an artist, Van der Voort was an art collector or dealer, or both. In 1607 he bought paintings from the estate of Gillis van Coninxloo, and after an earlier sale in 1610 a large number of works he owned were auctioned on 7 April 1614. Van der Voort is documented as appraising paintings in 1612, 1620 and 1624. In 1615 and 1619 he was warden of the Guild of St Luke. He was buried in Amsterdam’s Zuiderkerk on 2 November 1624, and on 13 May 1625 paintings in his estate were sold at auction. Van der Voort was one of Amsterdam’s leading portrait painters in the first quarter of the 17th century. Several of his group portraits are known. It is believed that he trained Thomas de Keyser (1596/97-1667) and Nicolaes Eliasz Pickenoy (1588-1650/56). His documented pupils were David Bailly (c. 1584/86-1657), Louis du Pré...

Mediterranean Landscape II', ink on art paper, by Pierre Dionisi (circa 1930s). Sepia-toned, original drawing in a compelling style depicts a view of a ...

"Venice Beauty" captures the romantic allure of Venice with a mesmerizing view of a gondola gliding through turquoise waters. The scene is framed by a row of elegant, sunlit building...

Summer Bloom series began in 2022, which Shizico Yi celebrates the season by painting en plein air in her garden and locations. 2024, she embarks on a fresh chapter with her new cott...

Taking on the inspiration of the legendary poet, Dylan Thomas, the poem, Do not go gentle into that good night, is a painting celebrates life in its ageing; as Rosa Albertine only flowers once in early Summer with the most festive blooms and heavenly scents, a symbol of a fully lived life. Painted Plein Air, in Artist's own garden of her very own planted memorial roses. This is Rosa Albertine, the first Old English variety Artist Shizico Yi planted in 2016 in her garden before her late dog died; Old English Roses...

Titan Fine Art presents this exquisite oil on panel portrait depicting a handsome young gentleman in an exuberant black damask doublet. The pose, with one hand holding gloves and the other akimbo, was one that was well-established for gentleman of the upper echelons of society by the time this work was painted. The principle governing portraits at this time was the recording and defining in visual terms of the position of a sitter in society. In addition to brilliant and complex symbols of luxury, they often contained many symbolic elements too; the inclusion of gloves was often used in portraits that celebrated a betrothal as in ancient times gloves were used to seal a marriage contract. The extraordinary costume of a black shimmering doublet, the brilliant white reticella ruff, and the cuffs edged with lace were immensely costly… this attire proclaims to every onlooker that this is a superior being. The rendering of the reticella lace ruff is exquisite and the artist has recorded the design that runs through the black damask fabric with meticulous attention to detail. The preservation of this black pigment is remarkable considering the age of the work. Black pigments are especially vulnerable to fade and wear over time partly due to environmental condition but also from unprofessional cleaning. This work is an exquisite example from the period. According to the inscription in the upper right, the gentleman was in his 22nd year of age in 1624. The coat of arms, which is displayed without a crest, may be ‘blazoned’ in the language of heraldry, as: Sable on a Chevron between in chief two Roundels and in base a Billet [or possibly Square] Or three Martlets Sable. In plainer English this means a black (Sable) background, spanned by a gold (Or) chevron, above which are two golden solid circles (Roundels), and below which is a gold rectangle (Billet); on the chevron are three small black birds (Martlets). Martlets are a stylised form of heraldic bird, believed to be based on the swift, which are conventionally drawn with small tufts instead of feet. In Continental Europe it is also conventional for them to be drawn without beaks, as appears to be the case here. The birds in this instance also have a vaguely duck-like appearance. Five families have been identified with very close armorial bearings to the one in our portrait. They are the (van) Houthem’s (of Brabant), the Prévinaire’s (of Flanders and Holland), and the Proveneer’s (of Liège) and it must be noted that the locations of these families also fit with the painting’s Flemish origins. However the French Grenières’s (of Île-de-France) and the Jallot’s (of Normandy) are the next closest matches and plausible matches, as Frans Pourbus had settled in Paris just a few years before our portrait was painted. This painting has been assessed by a professional conservator prior to going on sale, and as thus, it can be hung and enjoyed immediately. Frans Pourbus the Younger...

'Portrait of a Young Woman', oil on board, by Anna Costa (circa 1960s). This is a beautifully expressive portrait painted by the artist using vibrant colour...

15th century, Italian Circle of Antonio del Pollaiuolo (1429-1498) Portrait of an Italian Noblewoman Oil and tempura on poplar panel With partial inscription: ALZETAPIN Provenance:...

Jake Chapman Yin & Yin, 2022 Unique multiple on hand-painted circular ply boards with glitter overlay 17 3/10 in diameter 44 cm diameter hand-signed on the back number 7 of 125 "Yi...

This painting by William Osborne, an Irish artist from the 19th century, features a bay racehorse in a stable, captured in rich oil on canvas. The scene evokes a sense of realism and attention to detail, as Osborne was known for his vivid depictions of horses, particularly those involved in racing or in stables. The piece is signed with the artist’s initials, and still features the original frame. William Osborne is today best remembered as the father of the artist Walter Osborne. But he was a significant artist in his own right. He specialised in painting animals especially his own terriers who were often depicted in his studio. Strickland wrote ''His pictures of dogs...

A three-quarter length portrait of Anne, Lady Russell, later Countess of Bedford (1615-1684), in a blue dress. Attributed to Sir Anthony Van Dyck.  Anne C...

The gentleman in this exquisite oil on canvas portrait, presented by Titan Fine Art, is shown with the grandiloquence characteristic of the English School of painting. He is portray...

In her latest series, "The Weaver," Shizico explores forms, layers, and time onto canvases. Applying the format of diptychs and triptychs, she creates lyrical narratives, capturing t...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. This captivating oil painting on canvas, titled "Frozen Planet...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Shakespeare's Globe Theatre in London is a reconstruction of ...

Isabel Rock is a creator of contemporary fairy tales. A graduate of the Royal College of Art in London, her work is an explosion of strange occurrences while a surreal narrative take...

Oil on canvas Canvas size: 13 x 18 inches Framed size: 20 x 25.25 inches Signed lower right

* We offer you Artist Lifetime Warranty, *Free Shipping Worldwide. This Special Set offer includes 2 major large oil paintings. each measure: 101 x 76 CM, x 2 paintings place side ...

Collections: Robert Gallon (1845-1925); Private Collection, UK. Oil on canvas laid down on panel Framed dimensions: 11.5 x 10 inches This highly engaging, previously unpublished portrait by Johan...

'Red body' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layering in...

'Composition on Blue Background', oil on board (circa 1960s), by Edgar Stoëbel (1909-2001). In his inimitable style, artist Stoëbel's abstract image with blue background is a lively and colourful modernist work. The image has a pop art quality to it and was created just as that movement was emerging. Pop art challenged traditional painting by embracing colourful images from advertising, popular culture, comic books and mundane objects from everyday life. This artwork has a powerful intensity of tone and colour which speaks to Stoëbel's very distinctive style but remains completely approachable and appealing. In fact, this is not pop art. This is part of the post-war concrete abstract movement, or Constructive Art...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. A luscious plum, its dusky mauve skin infused with hints of de...

Joseph Appleyard The Bramham Moor Foxhounds Gouache and watercolour 28 x 38 cm Signed to lower left A skilled painter and draughtsman with a passion for sporting subjects, Joseph A...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "In the enchanting masterpiece 'Sunset Dreaming' by Nikki Baxe...

Landscape Memories-Sunlit Series captures the summer Dahlias under the morning warm glow in her herbaceous border. This painting is Shizico’s artistic exploration with and around th...

'The Fisherman', oil on board, by Gabriel Vié (circa 1940s). This artwork depicts a solitary man fishing in a river surrounded by abundant foliage. He is p...

Acrylic on Masonite board, signed and dated (lower middle), 70cm x 70cm (91cm x 91cm framed). Price on request This work depicts Alan and his dog, Bella, on Michael Leonard’s balcon...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Contemporary figurative artist Calvin Lai paints a provocative...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Peony Study" by Julie Whitehead is a stunning original still ...

Sir Anthony Van Dyck (1599-1641, Flemish) Study of a Head of Man Circa 1627-32, Van Dyck’s second Antwerp period Oil on paper, laid down on canvas Dimensions 15 x 14 inches (38.1 x 3...

George Arnull (c. 1800–1880) was a British painter active during the 19th century, renowned for his equestrian scenes and depictions of horse racing. He developed a keen interest in ...

An Early Morning Light, Isle of Gigha by John Lowrie Morrison - "Jolomo" OBE Scottish born 1948 Oil on canvas Canvas size: 16 x 16 inches Framed size: 25.5 x 25.5 inches Signed low...