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Set of Six Hand Coloured Botanical Prints/Lithographs and Engravings Published by G. Ridgway, S. Curtis, W. Baxter and W. Fitch Early Mid 19th Century Size: image: 8.5 x 5.5 inches P...

1025 Colors (1025 Farben) By Gerhard Richter 2013 Medium: Offset Lithograph Paper Size: 48 x 46 inches ( 122 x 117 cm ) Image Size: 43.75 x 43.5 inches ( 111 x 110 cm ) Editio...

Man 1, 2021, 120x55 cm

Raja Ravi Varma - Laxmi, 14.5 x 10.1 inches Oleograph, Circa (Framed & Delivered) Raja Ravi Varma (29 April 1848 – 2 October 1906) was an Indian painter and artist. He is considered...

Swiss-born artist Marco Schmidli creates large-scale minimalist paintings reminiscent of color field studies with a contemporary edge. Placing emphasis on process, he lets the medium...

Kehinde Wiley Andries Stilte oversized beach towel, 2008 Silkscreen on 100% Cotton Large Beach Towel or hanging tapestry 70 × 60 inches Edition of 2000 In original packaging with ta...

Chu Teh-Chun (1920-2014) - Composition abstraite Lithograph from 1960. Edition 60/60. Dimensions of work: 63.5 x 48.5 cm. Hand signed. Publisher: Galerie de France, Paris. Dime...

series "Personal Contacts", 61 x 48 cm The work is sold without a frame and mat

A Rare Jacobean Portrait of Lady Elizabeth Wheeler (née Cole), 1623 Attributed to Cornelius Johnson (1593–1661) This remarkably rare early oil on panel, presented by Titan Fine Art, has emerged as far more than an anonymous “Portrait of a Lady.” Preserved in outstanding condition—its surface retaining exceptional clarity in the lace and textiles—it has only recently been reunited with the identity of its sitter: Elizabeth Cole (1607–1670), later Lady Elizabeth Wheeler, a Westminster gentlewoman whose later life brought her into intimate royal service as laundress for His Majesty’s person. That combination—high quality, uncommon survival, a newly identified sitter, and a life that intersects directly with the last acts of Charles I—places this portrait in a category of genuine rarity. It is not simply a beautiful Jacobean likeness; it is a rediscovered historical document - legible and compelling. The sitter is presented half-length against a dark ground, enclosed within a painted sculpted oval surround that functions like an architectural frame. This device, fashionable in the 1620s, concentrates the viewer’s attention and heightens the sense of social presentation: the sitter appears both physically and symbolically “set apart,” as if viewed through a refined aperture. The portrait’s immediate power, however, lies in the costume—an ensemble of striking modernity for c. 1623 and rendered with a precision that survives with remarkable crispness. She wears a deep green gown—a fitted overgown with open sleeves—over a finely embroidered linen jacket (a stiffened bodice/waistcoat garment). The sleeves form pronounced “wings” at the shoulder, a structurally assertive fashion detail of the early 1620s that enlarges the silhouette and signals sophistication. Beneath the green overlayer, the white linen jacket is richly ornamented in gilt embroidery. The goldwork is arranged as scrolling foliate forms—looping, curling tendrils punctuated by seed-like stippling—organised into balanced compartments across the bodice and sleeves. The motifs read as stylised botanical forms with rounded fruit-like terminals and leaf elements: not literal naturalism, but controlled abundance. The technique is described with extraordinary intelligence, mimicking couched metallic thread through patterned, “stitched” marks, while tiny dots and short dashes create a lively tactile shimmer. This embroidered jacket sits above a newly fashionable high-waisted, sheer apron or overskirt. The translucent fabric falls in soft vertical folds and is articulated with narrow lace-edged bands, giving the skirt a crisp rhythm of alternating sheer and patterned strips. At the neck, a fine ruff frames the face: a disciplined structure of pleated linen finished with delicate lace. Draped diagonally across the torso are long gold chains, painted to suggest weight and metallic gleam; they function both as ornament and as a further signifier of status. The cumulative effect is controlled luxury: she is not overloaded with jewels, but clothed in textiles whose cost and craftsmanship speak unmistakably. The recent sitter’s identification rests on heraldic and genealogical analysis: the arms shown on the painting correspond to those recorded for several families in armorial sources, but when the lines of descent are tested against survival and chronology, the viable bearer by 1623 resolves to Cole, and—crucially—to the London branch. That resolution matters because it anchors the portrait to a very specific social world: London/Westminster civic gentry and Crown administration, the milieu in which portraiture served as both self-fashioning and social instrument. The recent identification of the sitter (the London Cole branch of the family) is not merely genealogical; it has direct implications for authorship. A London-based mercantile or civic-gentry family would have ready access to leading immigrant artists, familiarity with heraldic display conventions, and the means to commission oil on panel, still standard among Netherlandish-trained painters. In that context, the portrait’s age inscription and date become especially revealing. The painting states the sitter to be nineteen years of age. Yet Elizabeth Cole’s birth in 1607 suggests she would be younger if the portrait is dated as early as 1623. The key insight is that the “incorrect” age is best understood not as a mistake but as a deliberate social adjustment, a performative statement rather than a documentary one. The most persuasive explanation is strategic. Portraits of high-status unmarried women were frequently made in connection with marriage negotiations. In the early 1620s, Elizabeth’s future husband, William Wheeler, was resident abroad at Middelburg in Zeeland in the Dutch Republic. If a portrait was intended to support or facilitate a match with an educated, ambitious man—“a man of learning and letters,” —then presenting a seventeen-year-old as nineteen would subtly reposition her as more mature and more nearly a peer in age, Wheeler being around twenty-two. The portrait thus becomes an instrument of alliance, not merely a likeness: an image designed to persuade, reassure, and elevate. This reading aligns perfectly with the period’s wider conditions. The early 1620s in England were charged with anxiety and expectation: James I’s later reign was marked by court faction, diplomatic tension, and the pressures of European conflict. The so-called “art market” was inseparable from these dynamics. Portraiture flourished because it served multiple functions: it fixed lineage, advertised alliance, signalled readiness for marriage, and projected the stability of elite households in an uncertain world. For Westminster families whose power came through office, portraiture was also a declaration of belonging—proof that administrative elites possessed the cultural polish traditionally associated with older aristocratic rank. Elizabeth’s later life vindicates the portrait’s impression of steadiness. Although no record survives of her marriage ceremony to William Wheeler, wills suggest she had married him by the mid-1630s, and there are strong grounds—consistent with the portrait’s implications—for a union already in place by the early 1630s, possibly earlier. Wheeler himself rose rapidly. By 1639 he held a manor at Westbury Leigh in Wiltshire and sought letters of denization due to overseas birth, enabling him to stand as Member of Parliament for Westbury. He leased the principal manor of Westbury the following year, coinciding with his election. In government service he became Remembrancer of the Exchequer and held office across regime change, a testament to administrative skill and political pragmatism. It is Elizabeth, however, who makes this portrait exceptional. She became laundress for His Majesty’s person, responsible for the washing and oversight of the King’s personal linen—an office that, despite its domestic description, required unusual trust, discretion, and access. Her role becomes visible in 1643 when she was granted a warrant signed by the Speaker of the House of Commons to follow the King to Oxford with her servant after the outbreak of the Civil War. She continued to serve during the King’s captivity after 1646, and at Carisbrooke Castle in 1647 she and her maid were implicated in smuggling secret correspondence to and from Charles I, in service of escape plans. After the King’s failed attempt to escape in March 1648, she was removed—yet the King’s trust persisted: he was permitted to send her remaining jewels in an ivory casket...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...

Nick Thomm 'After Dark' (Orange) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #76 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NE...

Color lithograph on cream wove paper, 1956. Edition of 200. Printed by Mourlout, Paris.

Consigned to the gallery, Pasadena, California; From a private collector, Encino, California, by descent; Acquired in 1997 by a private collector, Palo Alto, California; From Sean's Antiques, San Francisco, California. Signed "L.P. Latimer" on lower right Description This intimate watercolor captures Fallen Leaf Lake, a serene alpine lake in El Dorado County, California, situated just south of Lake Tahoe—an area celebrated each autumn for the Kokanee Salmon trail runs. Latimer invites the viewer onto a rocky slope, framed by stately evergreens, guiding the gaze across the lake’s glassy blue surface toward the snow-capped Sierra Nevada peaks beyond. His delicate washes and masterful color transitions—pale rose and gold in the drifting clouds, soft greens in the foliage, and muted blue-grays in the distant mountains—reflect his refined command of the watercolor medium. The composition conveys the quietude of early morning or late afternoon light in the high country, capturing a timeless sense of place that has long inspired artists of the Lake Tahoe region. Historical Significance Lorenzo Palmer Latimer (1857–1941) was a foundational figure in early 20th-century California plein air painting, especially known for his evocative watercolors of Lake Tahoe, the Sierra Nevada, and Northern California landscapes. He taught at the San Francisco Mechanics’ Institute and later founded the Latimer Art Club in Reno (1921), shaping an entire generation of regional artists. His deep connection to Fallen Leaf Lake is well-documented—he first painted there in 1914 and led annual summer workshops at the site, drawn by its pristine beauty and the opportunity to work directly from nature. Today, Latimer’s mastery is celebrated in the beautifully illustrated book The Latimer School: Lorenzo Latimer...

Final Framed dimension: 18 x 22.5 collage art only: 9 x 12 full paper size: 15 x 19 Cecil Touchon Born 1956 Austin, Texas is a contemporary American collage artist, painter, publish...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. "Flying Dutchman" by Roman Goss is an original abstract painti...

Works on Paper About the Artist: Julie Schumer, a native of Los Angeles, California, and born in 1954, lives and paints in Santa Fe, New Mexico. She discovered her love of abstract ...

Camp

Fisherman Watercolor Comes Framed (see photo) About the Artist: Kenneth B Walsh (1922-1980) In the 1950s, Kenneth Bonar Walsh came to Montauk fr...

Roy Lichtenstein - Drowning Girl, 1963 Date of creation: 2024 Medium: Digital print on Canadian maple wood Edition: Open Size: 80 x 20 cm (each skate) Condition: In mint conditions ...

Nick Thomm 'GHOSTS' (Blue) 69cm x 92cm (27"×36″) Limited Edition of 199 Hand Signed and Numbered #113 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW. Wo...

Portrait of Mary Hooper (née Davie) in a Blue Dress & Seated in a Parkland c. 1715–1725 Jonathan Richardson the Elder (1667–1745) This portrait, presented by Titan Fine Art, is of p...

Capogrossi is the anastatic reprint edited by Edizioni del Cavallino in 1950, on the occasion of Capogrossi's first exhibition at the Galleria della Cometa in Rome. From the private collection of the Countess Anna Laetitia Pecci-Blunt. With an affectionate handwritten dedication to the Countess from the artist himself, dated 18 January 1953 and signed "Capogrossi". Introduction by Corrado Cagli (1910-1976). In-8º, text in Italian. pp. 7 + 7 b/w full-page ill., cm 24 x 0,3 x 18,5, 1950s. Reprint of the previous edition by De Luca Editor. Low-cut biding and visible signs of aging on the paper. Giuseppe Capogrossi (1900 - 1972) was a famous Italian painter, especially known for the foundation of the so-called Scuola Romana ("Roman School"), together with Corrado Cagli and Emanuele Cavalli...

Nick Thomm 'The Dreaming' (OPAL) 69cm x 92cm (27"×36″). Limited Edition of 99. Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Sold Unframed

Set of Six Hand Coloured Botanical Prints/Lithographs and Engravings Published by G. Ridgway, S. Curtis, W. Baxter and W. Fitch Early Mid 19th Century Size: image: 9.5 x 5.5 inches P...

The McGuires have created a body of work inspired by the seedy, shady underworld of Film Noir. Inhabited by gritty gangsters and femme fatales these characters come alive within a se...

Tracey Emin Tracey Emin: My Photo Album (Hand signed, inscribed and dated by Tracey Emin), 2013 Hardback monograph (hand signed, inscribed to Kevin and dated by Tracey Emin) Warmly signed, inscribed and dated by Tracey Emin on the title page 9 × 7 1/4 × 1 inches Warmly signed, inscribed to Kevin and dated by Tracey Emin on the title page Tracey signed this for the present owner at an official book signing in New York back in 2013, so provenance is direct. Publisher's blurb: My Photo Album is a journey through the life of British artist Tracey Emin using photographs from her personal collection. Edited from the albums she has kept from an early age, this visual autobiography contains some amazing images: Tracey sharing a pram as a baby with her twin Paul, her bus-pass photo aged 14, a ‘glamour’ shoot as a semi-naked art...

Two pines , 60x25 cm, oil on canvas

Invitation for Martin Luther King Day celebration 1988, designed by Keith Haring In 1988, 20 years after the death of Martin Luther King Jr., Keith Haring illustrated this rare invi...

Fonfria's work explores human behavior and social rules with a critical eye and humor, touching on personal themes such as dreams, fears, and memories. The images come from old magaz...

Portrait of a Gentleman in a Red Coat and Periwig, c.1715-1725 Studio of Sir Godfrey Kneller (1646–1723) This portrait of a gentleman, presented by Titan Fine Art, is a fine and wel...

Composition Fond Bleu By Henri Matisse 1996 Medium: Offset Lithograph Paper Size: 39.25 x 27.5 inches ( 100 x 70 cm ) Image Size: 34.5 x 21.75 inches ( 88 x 55 cm ) Edition Si...

Montblanc Meisterstück Classique Fountain Pen c. mid 20th century Resin, metal; Nib: 14K solid gold

Les Etoiles (suivi de l’Astronomie des Dames) is an original modern rare book written by Joseph Méry and Le Comte Foelix and illustrated by Jean Jeacques G...

Les Contes Drolatiques is an original modern rare book written by Honoré de Balzac (1799 – 1850) and illustrated by Gustave Doré (Strasbourg, 1832 – 23 January 1883) in 1861. Publis...

DRINKS WITH DEGAS - This dress painting features an interplay of paint, lace collage and ribbon creating an outcome both expressive and refined. Through the process of adding and sub...

Marc Chagall (1887-1985) - Cover for Menu (trial proof) Lithograph from 1964. Trial proof - unique work. Dimensions of sheet: 45 x 32 cm Dimensions in frame: 53.2 x 43.2 cm Publ...

Nick Thomm 'After Dark' (Green) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #104 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NE...

René Magritte (1898-1967) - Les bijoux indiscrets Lithograph from 1975. Edition 70/575 (Photocopy of the colophone is included). Dimensions of work: 31 x 24 cm. Plate signed. Ea...

Carmen By Marc Chagall 1966 Medium: Lithograph Paper Size: 40 x 26 inches ( 102 x 66 cm ) Image Size: 40 x 26 inches ( 102 x 66 cm ) Edition Size: 3000

Couple at play Watercolour on paper laid to board 21cm x 14cm Mounted 39cm x 29cm 1921 Signed with Monogram Bottom right This is an exquisitely executed watercolour painting that ...

Jean-Michel Basquiat Skateboard Deck: Limited edition Basquiat skateboard deck licensed by the Estate of Jean-Michel Basquiat in conjunction with Artestar in 2018, featuring offset ...

Vintage Hermes Flap Bag Shiny black Porosus Piano Black Leather 1963 Claf leather lining

Limited edition Basquiat Gold Griot Skateboard Deck c. 2019: Rare limited edition Basquiat skateboard deck published by The Broad Museum Los Angeles in conjunction with the estate of...

Jean-Michel Basquiat - In Italian Date of creation: 2024 Medium: Digital print on Canadian maple wood Edition: Open Size: 80 x 20 cm (each skate) Condition: In mint conditions and n...

Kseniia Kokovashina - "Nude I&II" set of two. Beautiful limited edition art photography. Printable in colour or black/white. Editions: 20. Tec...

Jean-Michel Basquiat - Charles The First Date of creation: 2024 Medium: Digital print on Canadian maple wood Edition: Open Size: 80 x 20 cm (each skate) Condition: In mint condition...

In the artist's abstract print series, Cosmos, 2023 by a.muse represents an imaginary cosmos - the universe as a place of longing, dreams, wonder, and ethereal beauty. A 13.75" x 11"...

Nick Thomm 'After Dark' (Pink) 69cm x 92cm (27"×36″) Limited Edition of 125 Hand Signed and Numbered #84 Archival Pigment Print on Hahnemühle 308gsm Fine Art Paper. Condition: NEW....

Beautiful antique Peruvian face vessel. Chimu Inca, c.1500 Terracotta, measures h. 8 in., w. 4 7/8 inches. No repair or conservation.

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

Portrait of a Gentleman with Periwig and Blue Cloak c.1695-1710 Attributed to Thomas Murray (1663–1734) This accomplished oil-on-canvas portrait, presented by Titan Fine Art, was al...

L'Asino, Art Magazine, Year 24, no. 29, 1915, is an original colorful illustrated Italian magazine with a satiric political scene. Published on Sunday 18 Luglio 1915, in 4 pages, do...