United Kingdom - More Art

originally in a catalogue and consequently there is slight evidence of a fold in the centre. We have had this ironed by our restorer so it is barely perceptible. We bought a collecti...

[World War Two map] Dunkirk to Berlin June 1940 - July 1945 - A Map of the Journeys Undertaken by The Rt. Hon. Sir Winston Churchill, K.G., O.M. C.H. in Defence of the British Commonwealth and Empire. London, George Philip & Son Ltd., 1947. The map provides a record of Winston Churchill's journeys in the Second World War and the means by which the travels were made. His journeyswere to numerous political conferences from New York to Moscow, beginning with the ‘Atlantic Charter’ in 1941, which was the product of his meeting at sea with Roosevelt that established the general desire on both sides for a democratic, progressive post-war world. After a number of intercontinental circuits the map brings his journeys to an end at the Potsdam Conference of 1945, the historic meeting of the ‘Big Three’ (Churchill, Roosevelt and Stalin), to negotiate the post-war treatment of Germany. In addition, the map also illustrates Churchill's 1944 tours of the beaches of Normandy and the invasion coasts of Italy and Southern France. Featured at the bottom are illustrations of his travelling crafts, including the ships ‘King...

Ward Heys was a Manchester Artist who was active in the latter part of the nineteenth century. He was proficient in both oils and watercolours and exhibited at the Walker Art Galler...

This is a watercolour painting by Dutch painter Frits Goosen. He painted it on one of his many trips to the UK when he comes to bring me new paintings and then to find somewhere int...

Anyone who is a fan of Hercules Brabazon Brabazon will love this painting! Venice is one of the artist's most favoured and frequented location for his wonderful loose atmospheric fi...

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,...

Fine bone china 21 cm in diameter This work was developed in collaboration with Kit Grover. Designed in Grayson Perry’s inimitable style, it celebrates the exhibition The Pre-Thera...

Handwoven stretched lampas panel, made on a 32 shaft Leclerc Weavebird loom medium: Cotton and silk, stretched and framed in painted wood

Handwoven stretched lampas panel, made on a 32 shaft Leclerc Weavebird loom medium: Cotton and silk, stretched and framed in painted wood

original Ink on paper Image size: H:39 cm x W:29 cm Complete Size of Unframed Work: H:39 cm x W:29 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indica...

original Ink on Paper Image size: H:41.5 cm x W:29.5 cm Complete Size of Unframed Work: H:41.5 cm x W:29.5 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look #2209F is an original meditative life drawing by David Jones. A technique the artist has developed to create these beautifully composed and minimal figurative...

Julia Adams The Cloister Garden Original Architectural Painting Mixed Media with Acrylic Inks on Canvas Board in painted white wood frame Canvas Size: H ...

Mixed yarns

original Black ink on paper Image size: H:39 cm x W:30 cm Complete Size of Unframed Work: H:39 cm x W:30 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an ...

David Shrigley I Received A Clonk To The Head, 2022 Printed on 200g Munken Lynx paper 27 3/5 × 19 7/10 in 70 × 50 cm Edition of 250

David Shrigley Any direction is fine, 2021 Printed on 200g Munken Lynx paper 27 3/5 × 19 7/10 in 70 × 50 cm Edition of 250

Study For Moby Dick is an original oil on canvas painting by American artist Monroe Hodder. Hodder’s abstract paintings are gloriously bold. Inspired by the urban backdrops of her li...

Hand-stitched fabric from life vests abandoned on the Mediterranean beaches 45.0 x 61.0 x 3.0 cm Banksy has gained his notoriety through a range of urban in...

Reworked Textile with Wool. Framed

Titan Fine Art presents this portrait of a brave and chivalrous character. The gentleman has been depicted in armour, an elaborate full wig, and in accordance with the latest French fashion, an elaborate type of Venetian Gros point lace cravat and large silk bow (also called a cravat-string) – a type that were popular across Europe in the 1680’s. Point lace was fabulously expensive - a cravat was equivalent to six weeks income for a gentleman - and therefore indicative of a wearer's wealth and social class. A nobleman riding onto the battlefield would wear a lace cravat over his armour to demonstrate his status. The attire, along with the coat-of-arms, help to proclaim to every onlooker that the gentleman is a superior being. The depiction of the lace, apart from denoting the wealth of the sitter, was a deliberate way for the artist to demonstrate his own artistic ambition and technical skills Argent seasoned gule with three lozenges sable are those of the Crois family, who were minor nobility, originating from the Boulogne region in the north of France. The fact that the sitter is a high ranking noble excludes him as a member of the Crois family. As is so commonly the case, the coat of arms was a later addition, probably in the nineteenth century, by a family who sought to glorify their pedigree by adding their arms to the portrait. These arms are now an interesting part of the portraits history. The artist has captured a sense of the sitter’s character and the features of the sitter’s face have been rendered with great sensitivity. His confident gaze perhaps reflecting the near invincibility afforded by this steel suit. The work is a very good example of French portraiture from the period. Presented in an exquisite hand-carved and gilded seventeenth century frame - which is an exceptional work of art in itself. Pierre Mignard, known as le Romain, was a French painter of the court of the French King Louis XIV and was, with Charles Le Brun (1619-90), one of the most successful painters during the reign of Louis XIV. After training in Troyes, where he was born, and in Bourges, Mignard joined the studio of Simon Vouet in Paris in 1627. He went to Italy in 1636 and remained there until 1657. He studied the work of Correggio and Pietro da Cortona in Rome as well as copying Annibale Carracci's frescoes in the Palazzo Farnese. On Le Brun's death in 1690 he succeeded him as its Director and as First Painter to the King painting...

David Shrigley, Gap in the Clouds Off-set lithography printed on 200g Arctic Volume 27 3/5 × 19 7/10 in (70 × 50 cm) Edition of 250

David Shrigley Human Behaviour and Animals and Existentialism, 2022 The complete suite of 8 digital posters on 200gsm Munken Lynx wove 27 3/5 × 19 7/10 in 70 × 50 cm

Oil, Acrylic, Pencil and Marker on Canvas

Paul Insect PEACE, 2022 Hand-made 2 layer screenprint upon Somerset Tub 410gsm paper 29 9/10 × 22 2/5 in 76 × 57 cm Edition of 269 Peace was created by Paul Insect in response to...

Slip and Copper Carbonate on handbuilt stoneware with bespoke 9ct gold transfers

It is called "Death in Venice" a Screenprint by one of Wales's most famous sons - John Piper (1903 - 1992) The Death in Venice Suite was produced in 1973 and consists of 10 Screenpr...

Wild clay, sand, dolomite from Black Sea coast, kaolin, oxidation firing

Vaux-le-Vicomte a Screenprint by another of Wales's most famous sons - John Piper (1903 - 1992) An edition of 70, Signed and Numbered, produced in 1972 (Levinson 208) Signed John...

Hand built stoneware vase with high fired decorating slips and transparent glaze detailing.

Mixed yarns

Mixed yarns

Mixed yarns

Gouache on gesso board

Slip and Copper Carbonate on handbuilt stoneware with bespoke 9ct gold transfers

Hand built stoneware vase with high fired decorating slips and transparent glaze detailing.

Vincent Clare British 1856 - 1917 "Fruit and Flowers" Oils on canvas, signed and framed. Birmingham painter of fruit and flower subjects, son of George Clare and brother of Oliver ...

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...

"Flamenco Dancer in Red Dress" by Rene Legrand (Born 1953) Oil on Canvas, Signed and Framed Beautiful and evocative portrait of a young Flamenco Da...

Janet Keith Fiesta! Original Abstract Expressionist Painting Acrylic paint on deep edged canvas – edges painted white.Can be hung unframed. Image Size: H101 cm x W 76 cm x D 4 cm Sol...

Southbank Shimmer Clare Halifax Limited edition print of an aerial view of London encompassing well known locations through a 2 colour screen print with hand gilded copper leaf finish for the thames river running through. Image size 70x70cm, paper size 76x76cm, edition of 20, screen printed by the artist onto somerset satin paper 300gms with deckle edge. Clare Halifax, artist, joins Wychwood Art selling art...

Pablo Picasso (1881 - 1973) "Femme vue de Dos" from Temoignage by Jean Cocteau (Bloch 822) The book Testimony (an homage) by Jean Cocteau. Etching 1956, the original signed edition of 125 published by Pierre...

one of the earliest large-scale English maps of North America SENEX, John. North America Corrected from the Observations Communicated to the Royal Society at London, and the Royal Academy at Paris. By John Senex F.R.S. 1710. To the Honorable Anthony Hammond Esq. One of the Comissioners of Her Maj[es]ties Navy. This Map his humbly Dedicated and Presented by his Obliged Servants. John Senex F.R.S., 1710 [-1728]. A fine map of North and Central America, with the West Indies. One of the earliest large-scale English maps of North America. It represents a British attempt to consolidate new information about the region and borrows data from such recently published sources as Delisle’s landmark Carte du Mexique et de la Floride and Carte de la Canada. Senex improves upon De L'Isle's work with a fine depiction of the Great Lakes region and the most accurate definition of the lower Mississippi River and its delta by an English cartographer of the period. Several of the most important and controversial cartographic discoveries of the period are discussed at length, including Lahontan’s mythical Long River and the Salt Lake east of the Country of the Mozeemleck’s, both of which are also depicted in remarkable (albeit fanciful) detail. Sir William Phipps discovery of Spanish wrecks off the coast of the Caicos and Southern Bahamas is also noted. Senex also extended the map’s coverage to the Canadian Arctic and the Terra Incognita above Baffin’s Bay. Present-day Oklahoma and Texas are part of La Floride, considered at the time to be a possession of the French. The Red River and the Indian villages of East Texas are portrayed accurately, but Senex, following Delisle, incorrectly placed many Texas rivers...

Great Britain SENEX, John. A New Map of Great Britain Corrected from the Observations communicated to the Royal Society at London. By John Senex F.R.S. To the Right Hono[ra]ble William Connelly ESQ. One of the Commissioners of His Maj[es]ties Revenue, Speakerof the Hono[a]ble House of Commons, and one of His Maj[es]ties most Hono[ra]ble Privy Council for Ye Kingdom of Ireland. This Map is dedicated by John Senex. John Senex F.R.S. 1710 [-1728]. John Senex (1678-1740) was one of the foremost mapmakers in England in the early eighteenth century. He was also a surveyor, globemaker, and geographer. As a young man, he was apprenticed to Robert Clavell, a bookseller. He worked with several mapmakers over the course of his career, including Jeremiah Seller and Charles Price...

A fabulous example of 1960s geometric/op art, displaying all the fun, playfulness and vibrancy of the style. Op art, short for optical art, is a style of visual art that uses optical illusions. Typically, they give the viewer the impression of movement, hidden images and vibrating patterns. Its roots can be traced back to Cubism, Futurism, Constructivism and Dada. The maker of this stunning piece is Tony Gonnet (1909-2004) an artist close to those who shaped modern art and its history. Working in Casablanca in 1940 he met André Breton and Saint-Exupéry, who were both on their way to America. Unable to obtain a visa for himself, Gonnet returned to Paris in January of 1942. Living on Rue de Seine, he became one of the figures of Saint-Germain-des-Prés and numbered amongst his many friends Jean-Paul Sartre, Simone de Beauvoir, Jean Genet – who prefaced his first Parisian exhibition in 1952 – as well as Albert Camus, Simone Signoret, Boris Vian, Jacques and Pierre Prévert and many others. In 1941, in the ennui of Casablanca, Tony Gonnet had started to draw, and then paint, in a Surrealist style. In 1946 he abandoned figurative surrealism in favour of abstraction, making sole use from then on of geometric forms and shaded tones, in his own unique style. His works aim to achieve harmony of shapes and colours, and thus to bring joy. Tony Gonnet loved life, and said that each of his works was an offering made to it. With solo shows in major Paris galleries...

South America SENEX, John. South America Corrected from the Observations Communicated to the Royal Society’s of London & Paris. By John Senex. To Edmund Halley. LLD. Savilian Professor of Geometry in Oxford and Fellow of the Royal Society. This Map corrected from His own Discoveries In gratefull Acknowledgement of his Ready assistance to Encourage this Designe is Humbly Dedicated. John Senex, at the Globe against St Dunstans Church, Fleetstreet, London 1710 [-1728]. John Senex (1678-1740) was one of the foremost mapmakers in England in the early eighteenth century. He was also a surveyor, globemaker, and geographer. As a young man, he was apprenticed to Robert Clavell, a bookseller. He worked with several mapmakers over the course of his career, including Jeremiah Seller and Charles...

Edward Seago is a giant of 20th Century British paintings. He was collected by the Queen Mother, the Duke of Edinburgh and he taught Kin...

This charming work is a good example of the type of portrait in vogue during the first quarter of the eighteenth century in Britain. The sitter, portrayed bust-length, wears a russet silk dress over a white chemise...

Fishing Boats off the Coast at Sunrise - Beautiful Oil Painting from William Callcott Knell, one of the superbly talented artists from the famou...

Vincent Clare British 1856 - 1917 "Fruit and Flowers" Oils on canvas, signed and framed. Birmingham painter of fruit and flower subjects, son of George Clare and brother of Oliver ...

St Ives, Cornwall is an original landscape painting by Trevor Waugh using oil, brush and palette knife on canvas. Trevor Waugh was born in 1952 and grew up in London available with Wychwood Art. Trevor studied at The Slade School of Fine Art from 1970 -1974 (BA) under the guidance of Sir William Coldstream, Professor of The Slade at the time, Patrick George, Philip Sutton, David Hockney, Euan Uglow and Bernard Cohen. During his time at The Slade he was invited by Sir William Coldstream and Patrick George to exhibit alongside them at The Collegiate Theatre at University College, London, 1971. He was also a contributor to The Young Contemporaries Exhibition at The Royal Academy 1972. Trevor obtained a distinction for his post-graduate certificate in illustration when he studied with Ernest Jones...

This is a limited edition lithograph that is untitled. It was originally in a catalogue and consequently there is slight evidence of a fold in the centre. We have had this ironed b...

This magnificent grand-scale work, offered by Titan Fine Art, formed part of a collection of family pictures and heirlooms of the Rivers Baronets and their descendants for over 325 years, before it was dispersed by the last in the line in 1988. The work was painted by the most technically proficient painter in England after the death of Van Dyck, and the dominant court painter to Charles II and James, Duke of York, Sir Peter Lely. It is no surprise that for years Lely had no serious rivals, was enormously influential and successful, and one of the country’s most important painters – and his work influenced countless artists over generations. The exquisite carved and gilded auricular frame is an astounding work of art in itself. The sitters in this exquisite double portrait are Sir John Rivers, who succeeded as the 3rd Baronet Chafford in 1657 (c.1638 - c. 1679), and his wife, Lady Anne Hewitt (c.1640-c.1689). They are seated in an outdoor setting beside a fountain modelled as a female figure with water issuing into a scallop-shell. The water, the elaborate sculpted fountain with its scallop-edged bowl, and the open shell in her hand are symbols of fertility - as such they make an appropriate allusion to Lady Anne’s potential as wife and mother, recalling Proverbs, chapter 5, verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. This reference was realised, as Sir John and Lady Anne produced at least six children; their son George (1665-1734) became 4th Baronet of Chafford. The composition, thus, represents a celebration of marriage and was likely commissioned around the time of the betrothal (the marriage took place 26th Feb 1662 or 1663). The statues in the left margin are 'Youth and 'Old Age' and are a typical form of Memento Mori reminding virile young man that even they will lose their youth and grow old. The Rivers family, originally of Kent, traces its history to Sir Bartholomew Rivers, in the reign of Edward IV. The family included several prominent members including several knights, a Commander in the King's Army, a steward of a ducal estate, a Lord-Mayor of London, and an M.P. John Rivers (c.1659-c.1651) was made 1st Baronet of Chafford in 1622 by King James I. The Chafford estate was the family seat and it remained so until the early 1700s with the death of Sir George Rivers, 4th Baronet (1665–1734), whose sons had all died. The Chafford estate was left to his daughters while the baronetcy passed to nephew John Rivers, 5th Baronet (c. 1718–1743), and then Sir John’s brother, Sir Peter Rivers-Gay, 6th Baronet (c. 1721–1790). Upon Sir Peter Rivers Gay's death the estate passed to his eldest son, Sir Thomas Rivers Gay, 7th Baronet (c. 1770–1805). Sir Thomas, dying in 1805 with no children, bequeathed the estate to his mother Dame Martha Rivers Gay, who managed the estate until 1834 when she settled it on the then Sir Henry Rivers, 9th Baronet (c. 1779–1851) her younger son, before dying shortly thereafter in 1835. Sir Henry had married in 1812 to Charlotte Eales, with whom he had 6 sons and 8 daughters. Upon his death in 1851 the estate passed to his eldest surviving son Sir James Francis Rivers, 10th Baronet (1822–1869). Sir James married Catherine Eastcott in 1867 but died childless in 1869, and the estate passed to his only surviving brother Sir Henry Chandos Rivers, 11th Baronet (1834–1870) but he died a year later in 1870 also childless; with no male heir the Baronetcy was therefore extinguished. The estate was bequeathed, in trust, by Sir Henry Chandos Rivers to Thomas Frederick Inman, a solicitor of Bath, who then managed the estate as a trustee on behalf of Sir Henry Chandos Rivers' sister Katherine Rivers (c.1826-1895). It then passed to Katherine River’s daughter, Katherine Wall (born c.1855), who had also inherited Worthy Park House from her father, George Alfred Ellis Wall (1825-1875). Until 1958 our portrait is known to have hung at Worthy Park House. Upon Katherine Wall’s death, the Rivers estate passed to her daughter, Katherine Eleonora Rivers Fryer (1889-1963), who married Colonel James Alexander Butchart 1877-1853. In 1958 the family sold Worthy Park House but our portrait was loaned to Southampton Museum and Art Gallery. After the death of Katherine and Colonel James, the estate was left to their only son, Charles Bruce Rivers Butchart (1917-2005) and upon Charles’ retirement to a nursing home in 1988, and without heirs, our portrait, along with the residual assets of the Rivers estate were sold, thus ending over 325 years of continual family ownership. Lady Anne Rivers is thought to have been born circa 1640. She was the fourth child of the second marriage of Sir Thomas Hewitt (or Hewett) (1606-1662), 1st Baronet of Pishobury, Herts, and his wife Margaret Lytton (died 1689). Sir Thomas was an English landowner and M.P. for Windsor and upon the English Restoration...

Although this is unsigned, it is one of a very collectable genre of ship's paintings. Often called Pierhead Paintings, they were frequently commissioned by the Ship's Owner and is a...

Herbarium, 2021 Olafur Eliasson Collage of dried and pressed Nympheas Ellisana water lilies on Lanaquarelle handmade paper Signed by the artist From the edition of 100 (each unique)...

William Lee Hankey Large Framed Oil Painting English Landscape with Sun dappled Trees with Buildings and Fields in the background. Lee Han...

I find painting takes me into a world of contemplation, I like to prep my materials and keep all my tools, almost as a ritual before making any creative decisions, almost like humble...

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. This charming portrait, presented by Titan Fine Art, of a fashionable young gentleman and his faithful pet is an excellent example of 17th century child portraiture in England. There is a remarkable beauty and sensitivity to the portrait. The face, particularly well rendered, has captured the character of this young man – both charming and at the same time mischievous. Only the playful attention of a small dog suggests anything less than patrician dignity. Symbolism was important in portraiture and it provided a pointed and aspirational narrative that would not have been lost on contemporary viewers. For example, the presence of the dog, which was likely the boy’s pet, is at once a charming pictorial device and also a clear allusion to fidelity, trust and loyalty. The hairstyle and the attire, notably the type of cravat with the blue ribbon, help to date this portrait to between 1670 to 1685. Until the late eighteenth century children were dressed as adults - boys were dressed like men in breeches, vests, and coats between four and seven years of age. The expensive lace is an indication to his family’s wealth. Held in a good quality and condition antique gilded frame. Born in Suffolk, Mary Beale, nee Cradock (1633-1699) was employed by many of the most distinguished persons of her time including nobility, landed gentry, and clergymen. Technically accomplished, her paintings are noteworthy for their honest and sympathetic portrayal. In 1651 she married Charles Beale...

Agent X has created a bright and brilliant mash-up of iconic Pop Art aesthetics and digital collage techniques. Agent X intercuts Pop art imagery with panels of poppy pattern, colour...