London - Art

John Wootton (1686 - 1764) The Bloody-Shouldered Arabian Oil on canvas Inscribed below, 'Bred by Lord Oxford in 1755 & Sire of many famous Racers, including the Duke of Bolton's 'Swe...

'Fallen' 2023 From Limited edition of 15. Printed on archival Hahnemühle paper. Signed both front and back with Certificate of Authenticity. Photograph is shipped fast and flat in...

"Animal Friends" by Fox Photos 15th July 1931: Two women in bathing suits share a snack with a couple of sea lions during a display in Paris. Unframed Pape...

This is an unique one-off Artist Proof, in a rare Extra-Large square format. A special Proof that only 3 have been made with hand gilded Gold Leaf. The outstanding hand-painted qua...

'White Andalusian Horse' by Baldur Tryggvason A beautiful close up image of a white Andalusian horse dramatically silhouetted against a black backgro...

This is one of the most loved paintings of Shizico Yi to date. To document the streets they've walked and her late dog's favourite trees, Shizico Yi embark...

Reed Bowie Jagger Hug - signed limited edition print Lou Reed, Mick Jagger and David Bowie share a hug, Café Royal, London, 1973. (photo Mick Rock) paper size : 24x20 inches / 51 ...

“Nature creates nothing without the purpose” - Aristotele #flower; still life, flora, conceptual, transparency, prime colours, anthurium, red, yellow, green, warm colours, golden, se...

'Skiing In Gstaad' L-R; Christine Camerana, Caroline Stoop, and Christine Semenenko Warrender prepare for a day on the slopes in Gstaad, Switzerland, February 1977 40 x 30" inches...

Thierry Noir The energy of the dance floor comes straight back to my ears, 2025 Ukiyo-e print in colours on kizuki hosho paper hand made by Ichibei Iwano 27.4 x 27.4 cm 35.7 x 35.7 c...

'Andros Island' Friends prepare for a day snorkeling by Andros Island, Bahamas, 1957. 30x30" inches / 76 x 76 cm paper size Estate Stamped Collection Edition to 150 Photo by ...

Vernon Southward was a mid-20th-century painter, born in 1913, associated with the post-Impressionist landscape tradition. Although details of his life remain limited, his body of wo...

Atomic Yellow - Oversize Signed limited edition - Pop Art - Brigitte Bardot by the London based contemporary pop art image creator and artist, BATIK. Me...

Monocled Miss Renata Boeck enjoying breakfast in bed at the Regency Hotel in New York, 1964 20 x 20" - paper size Estate Stamped Collection Edition to 150 Photo by Slim Aaron...

Peonies Afloat Limited edition of 5 Archival pigment print on Hahnemühle Photo Rag fine art paper 126x100cm + 4 cm white border around the photograph Signed in the bottom right corne...

Yoshitomo Nara The Little Star Dweller Offset lithograph on paper Sheet size: 51.5 x 36.4 cm Stamped with title, artist's name, copyright and year published by N's Yard, Japan

'Melancholic Muses II', one of a poignant set of six signed artist proof lithographs by the celebrated Spanish artist from Barcelona, Vicenç Caraltó (circa 1960s). This collection of...

The Men are Playing Peggy by Helen Bradley British 1900-1979 Oil on board Signed lower right Board size: 11 x 14 inches Framed size: 17.5 x 21 inches

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Poppy No.12 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 40 x 32 cm and is part of an exclusive series of 20 prints, each hand-...

Oil on panel Panel size: 7.25 x 5.5 inches Framed size: 12.5 x 11 inches Signed top left

Henry Moore (1898-1986) Mother and Child: Petal Skirt conceived in 1955; cast in 1955 bronze; edition 4 of 6 plus 1 artist’s proof by the Fiorini foundry, London 19 x 9 x 15.5 cm (in...

'Gloriosa bud' is a black and white analogue photograph, captured using a large-format 4x5 camera. The composition focuses on minimalist form, light, and texture, emphasizing the natural elegance of flower bud. The monochrome palette enhances tonal contrasts, creating a timeless and balanced visual. Printed on archival Hahnemühle Photo Rag Baryta 308 gsm fine art paper, the photograph preserves the depth and detail of the original film exposure. Part of a limited edition of 25, each print is hand-signed, numbered, and accompanied by a certificate of authenticity. Artist Biography: Ugne is a Lithuanian fine art photographer based in London. Her work is inspired by the complexity and fragility of nature, often exploring its systems of growth and transformation. She uses analog techniques to translate her observations into poetic visual expressions, capturing moments of stillness that reveal nature's quiet power. Awards: 2024 Black Spider Awards, 2nd Place - Merit of Excellence in Still Life Gloriosa 2023 Budapest International Photo Awards, Honourable Mention in Fine Art-Abstract 2023 Black Spider Awards, Honourable Mention in Still Life 2022 Black Spider Awards, Honourable Mention in Still Life 2022 IPA International Photography Awards, Honourable Mention in Analog/Film Fine Art 2021 Mono Visions...

'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...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

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...

Yoshitomo Nara Dead Of Night Offset lithograph on paper Sheet size: 51.5 x 36.4 cm Stamped with title, artist's name, copyright and year published by N's Yard, Japan

Rajasthan Shadows, Rajasthan, India, 2009 - Steve McCurry (Colour Photography) Signed and affixed with photographer's edition label and numbered on reverse Digital c-type print Print...

'Orange Poppies No.2' Analogue colour floral photography. London, United Kingdom 2024. Limited edition of 20. Printed on the finest archival Hahnemühle Photo Rag paper, these lim...

Oil on canvas Canvas size: 32 x 45 inches Framed size: 35.5 x 50 inches Signed lower right

'Echoes No.2 ' London, United Kingdom 2024 Limited edition of 10 Pinted on archival Hahnehmule Photo rag paper, with care and attention to detail. The process involves layerin...

Oil on canvas, unsigned Image size: 22 x 20 inches (22.75 x 51 cm) Pierced gilt carved frame Provenance Commissioned by James Lenox Dutton (1713-1777) Sherborne House, Dorset Family descent This half-length portrait shows the sitter with her head and eyes looking over her shoulder, to the right. She is dressed in a delicate blue dress and blue shawl with her hair tied up away from her face. The composition of the painting is simple but effective; the woman stands out and is the undeniable focus of the viewer's attention. George Romney's artistic style is characterised by its focus on the beauty and elegance of human forms. Here, one can appreciate his ability to capture the delicacy of facial features and the soft textures of clothing. In addition, Romney has used a soft and diffuse brushstroke technique that creates a light and soft effect in the work. The dark and diffused background highlights the young woman's figure even more, creating an effect of depth and realism. The sitter of this painting is likely Anne Dutton, the daughter of James Lenox Dutton and Jane Bond. Anne Dutton (1743-1821) was the 13 x great great granddaughter of King Edward III, and married politician Samuel Blackwell. Anne sat for portraits by Francis Cotes which bear a striking resemblance to this portrait, and her father was a known patron of Romney. George Romney Romney was a fashionable portrait painter of late 18th-century English society. In his portraits Romney avoided delving into the character or sensibilities of the sitter. His great success with his society patrons depended largely on just this ability for dispassionate flattery. Line rather than colour dominates; the flowing rhythms and easy poses of Roman classical sculpture underlie the smooth patterns of his compositions. From 1755 to 1757 Romney was the pupil of Christopher Steele, an itinerant portrait and genre painter. Romney’s career began when he toured the northern English counties painting portraits for a few guineas each. In 1762 he went to London. His history painting The Death of General Wolfe won him an award from the Society of Arts; nonetheless he turned almost immediately to portrait painting. In 1764 he paid his first visit to Paris, where he was befriended by Joseph Vernet. Romney especially admired the work of Nicolas Le Sueur, whose use of the antique strongly appealed to him. In 1773 he went to Italy for two years, where he studied Raphael’s Stanze frescoes in Rome, Titian’s paintings...

Watercolour on paper Paper size: 4 x 5 inches Framed size: 19 x 19.75 inches PROVENANCE A gift from Joseph Mallord William Turner to Miss Amelia Hawksworth (later Mrs Hotham), niece of Walter Fawkes. The watercolour descended through the ownership of Amelia Hawksworth, daughter of Francis Fawkes ( Walter Fawkes's brother) who was the main compiler of the Ornithological Collection (Miss Hawksworth owned five other bird studies by Turner). Private collection, London LITERATURE: For similar works by J M W Turner see Anne Lyles, The Tate catalogue for the exhibition 'Turner and Natural History, The Farnley Project', 1988. The present watercolour was drawn circa 1815-1820 for Walter Fawkes of Farnley Hall, for his Ornithological Collection Volume IV. Between 1808 and 1824, Turner visited Farnley Hall in Yorkshire to stay with the Fawkes family. Turner felt at home at Farnley - the Fawkes daughters reminded him of his own. He helped illustrate a five volume ornithological scrap book for the Fawkes children, making watercolour studies of the birds for the children to stick in opposite the pages on which feathers from similar birds were attached. His bird portraits were most effective, most "life-like", when in fact the bird was dead ! His watercolours of a live robin and goldfinch have a more hesitant touch. At this time Turner enjoyed the patronage first of Edward Lascelles, the heir to Harewood, and after 1808, of the radical landlord Walter Fawkes of Farnley Hall, near Otley. He became a close friend of the Fawkes family with whom he stayed for most summers until 1824. The last owner of Old Farnley Hall was Francis Fawkes, a rich widower with no direct heirs. When Francis Fawkes died in 1786 he left the house to Walter Beaumont Hawksworth of Hawksworth Hall, on condition that Hawksworth adopt the Fawkes name by Royal Licence. Walter Fawkes brought in architect John Carr of York to make extensions to the house, but he died before the work was completed, and Farnley Hall was passed on to his son, also called Walter who also took the Fawkes name and was known as Walter Ramsden Fawkes. It was this Walter who was a great friend of J M W Turner. Anne Lyles has confirmed the attribution and writes: "Everything fits in relation to the style of the watercolour and most especially the provenance - in the Turner and Natural History exhibition catalogue of 1988 we know that Amelia Hawksworth (Mrs Hotham) owned three studies of birds' heads by J M W Turner (previously with the Maas Gallery, and numbers 36, 37 and 61 in that catalogue) as well as two studies of dead game by the artist (catalogue numbers 59 and 63, the latter untraced in 1988). Interestingly, catalogue numbers 36 and 37 (the Merganser and the Smew) seem also originally to have been intended for Volume IV of the Ornithological Collection - it is likely that the "Study of the Head of a Moorhen...

Nothing beats a British Autumn - "Autumn Series" is one of the most personal projects of Shizico Yi, with the sensual colours and her signature expressive and confident brushstrokes,...

Pastel on paper Signed and titled (lower right) 84cm × 60cm (87cm × 62cm framed) Cayford, now retired, was a graphic designer and illustrator working in London in the postwar period...

Paul Villinski is an American sculptor widely known for transforming littered cans from the city streets into large-scale, abstract installations of life-like butterflies. Over three...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Step into the vibrant energy of New York City with Alex Hook K...

The Brooklyn Bridge (1959) Silver Gelatin Fibre Print - Oversized (Photo by H. Armstrong Roberts/Alamy) The Brooklyn Bridge and Downtown Manhattan, New York, USA, circa 1959. Ad...

'Palm Beach Street' by Slim Aarons Cars parked on a tree-lined street in Palm Beach, Florida, circa 1953. How typically 'Slim style' this photograph is. Beautiful and iconic 1950's...

'Porto Venere No.3' Lerici, Italy 2024 Limited edition of 20. Printed on Hahnemühle photo rag Baryta 308 Gsm fine art paper, these limited edition photographs are designed to with...

'Beach At St. Tropez' 1977 Slim Aarons Limited Estate Edition Sunbathers on the beach at St. Tropez, France, 1977. Produced from the original transparency Certificate of authentici...

Pool At Lake Tahoe 1959 by Slim Aarons Slim Aarons Limited Estate Edition Bathers by a pool on the shore of Lake Tahoe, California, 1959. unframed c type print printed 2023 20 x ...

This stunning extra large hand painted Edition offers a grand scale visual treat to your space and enrich your daily life. Limited Edition only 3 are published, and it's surreal vs a...

Dolomites No.3 Trentino-South Tyrol, Italy 2024 It is a black and white film photograph of Dolomite mountains, made using a 4x5 Large format camera Linhof. Ugne Pouwell does all th...

'Checkered Flag' The checkered flag signals the end of the race during the 1963 Nassau Speed Week. 30 x 20" inches / 76 x 51 cm paper size Est...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

'Poppy Bunch’ London, United Kingdom 2024. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. The photograph is signed front and back...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

'Dahlia buds’ photographed in London, United Kingdom 2024. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. Giclée print on Hahnemühl...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

'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...

'Library' London, United Kingom 2024 Limited edition of 20. The photograph is signed front and back and comes with a Certificate of Authenticity. Carefully placed in a secure cardboard package and shipped with an insured express delivery service. Please feel free to contact if you have any questions. About the artist: Ugne Pouwell is a fine art photographer originally from Lithuania. Today she makes most of her creative work in London, United Kingdom. Her main focus is black-and-white landscape and floral photography. Mainly using a large format 4x5 Linhof camera to express the timeless beauty of the subject in focus. Many of the influences come from 20th-century photography. She processes her work from start to finish: film processing, scanning and printing. Her work is mainly printed on the world's oldest paper-producing houses Hahnemühle and Awagami and some more exclusive work on organic linen and cotton fabrics. Paper and canvas choices are mainly based on organic feeling also adding more special feeling to her work. 2016 Ugne finished her studies at the University of Westminster Photography and Digital Imaging Technologies. She continued her practice by applying scientific knowledge to her everyday work in fine art photography. Awards: 2023 Black Spider Awards, Honourable mention in Still Life 2022 Black Spider Awards, Honourable mention in Still Life 2022 IPA International Photography Awards, Honourable mention in Analogue / Film Fine Art 2021 Mono Visions...

Sir Peter Lely (Soest 1618 – 1680 London) Portrait of lady with a crown, possibly Bridget Drury Lady Shaw, formerly Viscountess Kilmorey, later Lady Baber (d.1696) c.1665 Oil on canvas 46 1/2 x 40 3/4 inches, Framed 42 1/4 x 36 1/4 inches, Unframed Inscribed left [……….]Isabella James Mulraine wrote the following for this piece: This portrait dates to the middle of the 1660s, the decade when Lely’s career took off as successor to Sir Anthony van Dyck. At the Restoration Charles II had appointed him Principal Painter to the King and paid a pension £200 per annum ‘as formerly to Sr. Vandyke...’1 Lely had trained in Haarlem and he was in his early twenties when he came to London in 1643. He was an astute businessman and a wise courtier. In 1650 he painted a portrait of Oliver Cromwell (Birmingham Museum and Art Gallery) while maintaining links with the Royalist exiles through the 1650s. He had arrived in England as a painter of small-scale portraits and lush scenes of nymphs in landscapes in a Dutch style. His experience of Van Dyck in English collections transformed his painting. His lavish and alluring vision of Arcadia exactly captured the spirit of the Court and as Principal Painter he dominated English portraiture for the next twenty years. Lely ran a highly efficient studio along Netherlandish lines, employing a team of specialists like the drapery painter John Baptist Gaspars and young artists-in-training like Nicolas de Largilliere. He had numerous rivals during that period, and by 1670 he had introduced numbered standard poses to speed up production, while collaborating with printmakers for further revenue and advertising. He died in 1680 of a stroke while painting, working to the last. The portrait, painted at a date when Lely’s poses and execution were still individual and inventive shows a lady sitting at three-quarter length facing away from the viewer. She has begun to turn towards the viewer, a pose with a long pedigree in art, first used by Leonardo da Vinci in the Mona Lisa (Louvre). She steadies her blue drapery where it might slip from her arm with the movement, a flash of realism beautifully captured. Like Van Dyck, Lely painted his female sitters in a timeless costume rather than contemporary fashion, showing a loose gown and floating silk draperies. It presented the sitter as a classical ideal. The portrait would not date. The saffron dress may be the work of a drapery painter but the brown scarf must be by Lely himself, and appears unfinished, broadly sketched in behind the shoulder. The delicate blue glaze and nervous highlights suggest shimmering translucence. Lely was a master of painting hands – his hand studies are marvels of drawing – and the lady’s hands are superb, exactly drawn, delicately modelled and expressive. The fidgety gestures, clutching the gown, fiddling with the edge of the scarf, give the portrait psychological bite, suggesting the personality behind the calm courtier’s expression, adding to the sense shown in the look of the eyes and mouth that the lady is about to speak. The portrait’s language is Vandykian. The inspiration comes directly from Van Dyck’s English portraits of women. Lely owned Van Dyck’s Portrait of Lady Elizabeth Thimbleby and Dorothy Viscountess Andover (National Gallery, London) and the sitter’s costume quotes Lady Andover’s saffron dress and brown scarf. But Lely paints a generation who sat nearer to the ground and through a dialogue of expression and gesture he shows sitters who are more flesh and blood than Van Dyck’s. The background with a column and curtain is different to those shown in most of Lely’s portraits of women. They tend to include trees or fountains, with a glimpse of landscape. But there are other examples. A portrait of the King’s reigning mistress, Barbara Villiers Duchess of Cleveland...

Last Bus In London by Bert Hardy Limited Edition silver gelatine print A couple saying goodbye on a bus in Shaftesbury Avenue in London, July 1953 . Original Publication: Picture Post - 6576 - Known Your Piccadilly - pub. 4th July 1953 (Photo by Bert Hardy/Picture Post/Hulton Archive/Getty Images Archive London England) Paper size 12x16 inches / 31 x 41 cm Produced utilising the original negative Numbered and stamped by the Getty Archive London Limited edition to 300 only Silver gelatine fibre based baryta paper print Certificate of authenticity included printed 2024 Ships securely from London. Other sizes and Framing available on request. Bert Hardy Bert Hardy Albert William Thomas Hardy (19 May 1913 – 3 July 1995) was an English documentary and press photographer known for his work published in the Picture Post magazine between 1941 and 1957. Life and work Born in Blackfriars, Bert Hardy rose from humble working class origins in Southwark, London. The eldest of seven children, he left school at age 14 to work for a chemist who also processed photos. His first big sale came in 1936 when he photographed King George V and Queen Mary in a passing carriage during the Silver Jubilee celebrations, and sold 200 small prints of his best view of the King. His first assignment, at age 23, was to photograph Hungarian actor Sakall at the Mayfair Hotel. Hardy freelanced for The Bicycle magazine, and bought his first small-format 35 mm Leica. He signed on with the General Photographic Agency as a Leica photographer, later founding his own freelance firm, Criterion. General Photographic Agency General Photographic Agency a Fleet Street, London agency, sold photos at least between 1880-1950. Picture Post and World War II In 1941, Hardy was recruited by the then editor Tom Hopkinson of the leading picture publication of the 1930s to the 1950s, Picture Post. Founded in 1938 and funded by publisher Edward Hulton, the magazine's first editor was Hungarian émigré Stefan Lorant (1901–97) assisted by Hopkinson, who took over as editor from 1940. The picture-centric, left-leaning and reasonably-priced publication was highly successful and circulation soon rose to over a million. Hardy's photographer colleagues included Felix H. Man (aka Hans Baumann...

Star Trek: The Motion Picture 1979 Original Vintage Poster measures 27×41" inches / 68 x 104 cm Star Trek: The Motion Picture is a 1979 American science fiction film directed by Robert Wise and based on the television series Star Trek created by Gene Roddenberry, who also served as its producer. It is the first installment in the Star Trek film series, and stars the cast of the original television series. In the film, set in the 2270s, a mysterious and immensely powerful alien cloud known as V'Ger approaches Earth, destroying everything in its path. Admiral James T. Kirk (William Shatner) assumes command of the recently refitted Starship USS Enterprise...

Arromanches - La Cale du Musée by Hugues Pissarro dit Pomié (B. 1935) Oil on canvas 92 x 73 cm (36 x 28 ¾ inches) Dated on reverse October 1998 This work is accompanied by a certifi...

Freddie Mercury Freddie Mercury and Queen rock band on stage London 1976 Photo by Martyn Goddard Printed 2024. Signed limited edition photograph; edition of 25 in this size. 20×...

Marbella House Party 1967 by Slim Aarons Slim Aarons Limited Estate Edition Guests at a party at the home of Sebastiano Bergese in Marbella, Spain, 1967. unframed c type print pr...

'3499' It is a black and white portrait film photograph. Giclée print on Hahnemühle photo rag Baryta 308 Gsm fine art paper. The photograph is signed front and back and comes wit...