United Kingdom - More Art

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...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. This original abstract painting, Setting, stands as a beautif...

Victorian Figurative Oil Painting of a Young Lady Lacemaker in a Cottage Interior. Oil on Canvas laid on artists board and Framed in its original Gilt Frame. William H Weatherhead 1...

Inspired by a coastal walk looking over the cliff. ADDITIONAL INFORMATION: Linocut print on Paper Edition of 10 20 H x 20 W cm (7.87 x 7.87 in) Sold unframed Image size: Height: 2...

Ed Ruscha
 Sweet Taters, 2021 Fine bone china
 Printed signature and edition details on verso
 Comes with custom artist box with printed signature Diameter: 10.5" / 26.7 cm Edition o...

Ohh Baby ! - Oversize Signed limited edition - Pop Art - Kate Moss by the London based contemporary pop art image creator and artist, BATIK. Measures 40 x 30" inches / 101 x 76 c...

Twentieth Century Limited Edition Screen Print entitled Vaux-Le-Vicomte, depicting a beautiful French Chateau. Vaux-le-Vicomte a Screenprint by another of Wales's most famous sons...

Victorian Marine 19th Century Oil Painting on Canvas with Shipping off the Coast in a stiff breeze and stormy seas. Another fabulous maritime painting from William Webb who was one o...

MV. 20 By Gerhard Richter Gerhard Richter, a German contemporary artist, is celebrated for his diverse and innovative approach to painting, spanning photorealism, abstraction, and...

Pulled from the "L'Atelier Mourlot" exhibition catalog, published by The Redfern Gallery, London, 1965 By Joan Miró Joan Miró was a pioneering Spanish artist celebrated for his whi...

Victorian Unsigned Watercolour a Naive Ship Portrait of a Chiliean Packet in traditional Maple Frame. Although this is unsigned, it is one of a very collectable genre of ship's pain...

A fabulous and rare large 19th century Bombay Pottery Charger from the J J School of Art, depicting scenes of Buddha from the Ajanta caves. Bombay Scho...

This elegant portrait, presented by Titan Fine Art, depicts a beautiful young lady seated in a wooded area, resting one arm on a rock, before a landscape and a warm evening sky. She is wearing a white smock under russet-coloured silks, loosely held in place by an immense black diamond clasp on the sleeve, and her body is enveloped in a voluptuous swag of azure silk; the costly fabrics and jewels reveal that the sitter was a paragon of a wealthy and privileged society that she belonged to. Much of the attractiveness of this portrait resides in its graceful composition and the beauty of the youthful sitter. The flowing water in the left margin of the picture and the shell that she holds are compositional devises often used at the time to allude to her potential as wife and mother, recalling Proverbs, Chapter 5, Verse 18: “Let thye fountain be blessed, and rejoice in the wife of thye youth”. Symbolism was a key component to many works of this period and contemporary viewers would have deciphered them immediately. Such images exude a sense of status and Augustan decorum, and were highly influential in transmitting these values into the first half of the eighteenth century. Held in a good quality and condition gilded antique frame. Herman Verelst was from a great dynasty of painters, with many members achieving great success. Specialising in portraits and still life paintings, he was one of the legions of foreign-born artists working in England at the time. Today, many of his pictures are given to other artists or are simply relegated to that term “circle of” which is a great disservice because he had an ability to render faces and drapery on par with some of the best artists at the time. Herman’s work is quite distinctive in the way he rendered faces and this particular pose was a favourite. His faces were portrayed with great skill often using the sfumato technique which gave them a very smooth feel to the skin with no hard lines, and many known works by him show that he could also render drapery with great affect. Our painting was painted in the 1690’s. His father, Pieter Hermansz Verelst...

Seestück (Bewölkt) By Gerhard Richter Gerhard Richter, a German contemporary artist, is celebrated for his diverse and innovative approach to painting, spanning photorealism, abstr...

‘Your Song Refreshed My Soul’ is an original acrylic painting by Sarah Ollerenshaw. This painting resonates and inspires for a moment a spiritual transportation away from the busynes...

In Tobias Harrison's "Roses from René’s Cafe," the viewer is transported into a world of elegance and refinement. At the center of the composition stands a glass vase, gracefully cra...

Victorian Landscape and Marine Oil Painting showing a Sailing Boat in a Rocky Cove. A small Oil Painting by the Italian/Swiss Painter and Architect Alfred Chiodera. A superb depicti...

Single vase. One of two vases ever made in this design. It's handmade singulary, affected by the relationship Gio Ponti & Lucio Fontana. The medium is ceramic and hand brushed with ...

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...

From the Fire Bird series of 2015. Reflections of a Fire Bird emanates the reflection of orange light from his mirror. Orange is a power colour, signifying creativity but also healin...

This elegantly framed artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. A vision of delicacy and refinement, Cherries in a Saucer...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Step into the serene and electric blue world of Adam Zoltowski...

A beautiful 19th century French gilt wood mirror of unsual shape with original heavily foxed mercury glass plate. Artist: French School, 19th century Title: Foxed Mirror...

Bartolomeo Paoletti (1757-1834) and Pietro Paoletti (1801-1847). Original nineteenth century plaster cameo seals edged in folded paper and tipped with gold, as issued by Bartolomeo Paoletti (1757-1834) and his son Pietro Paoletti (1801-1847). These ‘Grand Tour’ souvenirs were brought home by wealthy European travellers. Rome was the ultimate destination and a tour of the treasures contained in its many museums complemented a young man’s education. Collecting boxes and faux bindings containing plaster casts of ancient gems...

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...

Grayson Perry Kate Board, 2017 Screenprint on skateboard Made of 7-ply Grade A Canadian Maple wood 31 1/2 × 7 9/10 in 80 × 20 cm Edition of 999 co-published by the artist and The Sk...

A fabulous and rare 19th century Indian Bombay Pottery School of Art turquoise pot with the iconic floral motif, still in use in Indian design to...

Titan Fine Art present this striking portrait, which was painted by one of the most talented artists working in England during the last half of the 17th century, John Greenhill. Gre...

Bechtold Original vintage 1975 Oversize size gallery exhibitions poster. 35.1 x 50.1 cm Sold as seen rolled - excellent condition. Exhibition detailed : Galería Carl van der Voo...

Takashi Murakami Title: Gargantua on Your Palm Created: 2022 Medium: Fine bone china Dimensions: 26.7 cm diameter (10 1/2 in diameter) Edition of 250: Printed signature and edition d...

Presented by Titan Fine Art, this painting formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-I listed family home, Ombersley Court. The house was among the most fascinating survivals of its kind in this country. The atmospheric interiors were distinguished above all for the works of art associated with two key moments in national history. The collection was acquired or commissioned over five centuries and remained at Ombersley Court until its recent sale, the first in 294 years. This portrait hung in the Grand Hall. This exquisite grand manner work is an evocative example of the type of portrait in vogue during a large part of the seventeenth and eighteenth centuries. The artist has depicted an elegant lady, three quarter length and seated on porch with a luxurious crimson swag curtain by her side. The clothing – known as “undress” at the time, consists of red silk fastened at the front and sleeves by large gold and diamond jewels over a simple white chemise. In her lap she holds a blue wrap and in her other hand, at her chest, she clutches the end of a sheer gauzy scarf that has been draped around her body with the other end a type of headdress – this type of sheer scarf was often employed by Wissing in his portraits. The classical architecture signifies cultivation and sophistication and the luxurious swag curtain is a signifier of wealth. The portrait can be dated to circa 1680 based on the sitter’s attire, the “hurluberlu” hairstyle, and other portraits by Wissing using the same formula. This oil on canvas portrait has been well cared for over its life, which spans almost 350 years. Having recently been treated to remove an obscuring discoloured varnish, the finer details and proper colour can now be fully appreciated. Once owned by Evesham Abbey, the manor of Ombersley was acquired by the Sandys family in the early 1600s, when Sir Samuel Sandys, the eldest son of Edwin Sandys, Bishop of Worcester and later Archbishop of York, took a lease on the manor, before receiving an outright grant in 1614. The present house, Ombersley Court, dates from the time of Samuel, 1st Lord Sandys, between 1723 and 1730. The house itself is a fine example of an English Georgian country house set in rolling countryside and surrounded by Wellingtonias, planted to commemorate the Battle of Waterloo by Arthur Hill, 2nd Baron Sandys, who played a distinguished part in the battle and was one of the Duke of Wellington’s aides de camp. The Duke also stayed in the house and in the Great Hall, was the Waterloo banner which was brought to the house by Sir Arthur Hill, aide-de-camp to the Duke of Wellington, who succeeded his mother, the Marchioness of Downshire as 2nd Lord Sandys. Further Waterloo memorabilia are kettle drums from battle. The family had a strong tradition of military and political service, dating back to the 17th century, and this was also reflected in the fine collection of portraits and paintings in the house. In short, Ombersley represented a vital aspect of British history. The house and more especially the collection were of the greatest historical importance. Houses that have remained in the possession of the same family for as many as three centuries have become increasingly rare. Through this portrait, collectors have a chance to acquire a piece of British history and an evocative vestige of a glittering way of life, which is now gone. Much of the attractiveness of this portrait resides in its graceful manner and the utter beauty of the youthful sitter. Presented in a beautiful carved and gilded period frame, which is a work of art in itself. Willem Wissing was a Dutch artist who enjoyed a solid artistic training at The Hague under Arnold van Ravesteyn (c.1650-1690) and Willem Dougijns (1630-1697). He came to London in 1676 and most probably joined the studio or Sir Peter Lely as an assistant that same year. After Lely’s death in 1680 he effectively took over his business and he scaled the heights of patronage with extraordinary ease, creating an independent practise in 1687, and painted for very important aristocratic patrons. King Charles II was so impressed by a portrait Wissing painted of his son, the Duke of Monmouth, in 1683 that he commissioned his own portrait and that of his Queen Catherine...

In 1607, the Delft city council decided to commission a portrait of Stadholder Maurits of Nassau for the town hall, with Michiel van Mierevelt as the chosen artist due to the passing...

A beautiful late 19th century bird's eye maple frame with gilt internal window and glazing.Measurements for the frame: Window 19cm X 16cm. Rebate 20.5cm X 17cm. Overall size 32.5cm X...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Sand Dunes by Olga Calado takes the viewer on a visual journey ...

Bound Heart is a unique oak wood and cotton cord sculpture by contemporary artist Peter Brooke-Ball, dimensions are 19 × 34 × 26 cm (7.5 × 13.4 × 10.2 in). The sculpture comes with...

Contemporary Impressionist Landscape Oil of Tremezzo Monastery, Lake Como Italy. Rene Jerome Legrand (British, Born 1953) Tremezzo Monastery, Lake Como i...

Breakfast at Windermere is an Original Painting by Eleanor Woolley. Inspired by a trip to the Lake District, this painting looks out onto Lake Windermere from a Breakfast room. Sunli...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Wavelength" by Blair Atherholt is a captivating original still...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "The Heat of Sunset" bursts with rich vibrancy, as sumptuous pi...

Stephen Kinder Beach with Changing Sky Original Landscapes and seascapes Oil on board Image size: H:38 cm x W:47 cm Complete Size of Unframed Work: H:3...

Early Twentieth Century Newlyn School Painting of Still Life with Lobster and Wine Glass set on a Table, Large Framed Oil Painting. This painting by Wolseley is a marvellous study i...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Seanergy II" offers a stunning meditation on light and water, ...

March of the Zapotec, original oil over acrylic on canvas painting by American artist Monroe Hodder. Hodder’s abstract paintings are gloriously bold. Ins...

Coffee Peloton Series 6 [2020] Original Transport Coffee on Paper Size: H:42 cm x W:59.5 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a p...

Contemporary Impressionist Marine Seascape Oil Painting of Sailing Boats in Fowey Cornwall. Large Oil Painting of Sailing Boats in the Fowey Estuary and a view looking out towards ...

Produced by UCCA Shanghai on the occasion of his exhibition "Wish You Were Here", 2022 33.5 x 33.5 cm Inflatable plastic banana with small hand pump in aluminum frame

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Fiona Debell's "Utter Impudence" is a compelling abstract mini...

A wonderful late 19th century bird's eye maple frame with cushion profile. Complete with glazing and a sturdy brass hanger. Measurements for the frame: Window 29cm X 22cm. Rebate 31....

An exquisite 19th century burr maple cushion frame with rectangular outer profile and gilt beading. Complete with glazing and a sturdy gilt hanger. Measurements for the frame: Window...

David Hockney, an icon of contemporary art, captivates audiences with his vibrant colors, innovative techniques, and profound exploration of perception and space. Renowned for his la...

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...

Step into the enchanting world of "BLOSSOM WHISPERS" by Anna Cher, a framed and signed masterpiece that seamlessly blends the ethereal beauty of spring blossoms with the dynamic ener...

Grayson Perry Piggy Bank, 2017 White ceramic piggy bank painted in blue and glazed, with a rubber stopper, contained in the original cardboard box....

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. This elegantly framed artwork transforms an everyday moment in...

Painted from the cliff-top at Whitby looking towards Sandsend ADDITIONAL INFORMATION: Oil on Canvas 61 H x 76 W x 2 D cm (24.02 x 29.92 x 0.79 in) Sold unframed Image size: Height...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. The concluding artwork in the series, "At the Edge of Reality ...

Alan Caiger-Smith MBE (8 February 1930 – 21 February 2020) Alan Craiger-Smith was a British ceramicist, studio potter and writer on pottery who was born in Buenos Aires, Argentina. ...

Ornate 19th-century gilt picture frame. Finished with floral and acanthus detailing to the swept rail, pronounced center and corner ornamentation, and fine running patterns. Measur...