United Kingdom - Paintings

The Flagellation of Christ Flemish Baroque, 17th century oil on wood panel, framed framed: 31 x 42 inches wood panel: 19.5 x 26 inches Provenance: pri...

Abstract Expressionist Composition by Jacques COULAIS (1955-2011) gouache painting on paper/ card unframed: 19 x 15.5 inches condition: excellent provenance: all the paintings we hav...

English School Farmyard Scene with Horses and Goat Oil on panel, unsigned The Circle of John Frederick Herring Sr. Circa 1880 Presented in a later gilt and painted frame This finely rendered 19th-century English farmyard scene captures the quiet dignity of rural life, with a group of three horses—white, chestnut, and black—gathered beneath a tree in the warm light of late afternoon. A small goat stands to one side near a rustic stable, adding a note of charming domesticity to the composition. The surrounding landscape, with its distant hills and careful play of shadow and cloud, speaks to the artist’s sensitivity to atmosphere and detail. Though unsigned, the painting is executed in a manner closely aligned with the work of John Frederick Herring Senior, one of Britain’s most celebrated animal painters of the Victorian era. The careful modelling of the horses, their distinctive postures and anatomy, and the tranquil farm setting are all hallmarks of Herring’s influence. Painted in oils on a wooden panel, the surface retains a fine, even gloss and a warm palette typical of the period. The composition is both balanced and lyrical: the interplay of form and gesture among the animals invites the viewer into a moment of repose between work and activity, emblematic of Victorian ideals of harmony between man, beast, and the land. A delightful example of 19th-century English rural painting...

‘The River Thames at Leigh by Moonlight’ by Henry Pether (1800-1880). The painting is signed by the artist and dated 1851 and is presented in a bespoke gold metal leaf frame. • Vi...

Impressionist autumnal landscape, finished with gilded highlights. Presented in a large silver-effect frame. Illegibly signed. On board.

Title: French Coastal Oil Painting of Lighthouse Cottages Rocky Shore and Stormy Sky By Fanch Lel Signed: Yes Size: 15 x 18.25 inches (height x ...

ARTIST: Georgette Tave (1925-2008) French TITLE: 'Olive Groves Provence" MEDIUM: oil on paper CONDITION: excellent - please excuse the horizontal white line along the bottom of the ...

Prize Old Gloucester Bull, circa 1800 William SHIELS (1785-1857) Large circa 1800 portrait of a prize Gloucester Bull, oil on canvas attributed to William Shiels. Excellent quality...

Nigel Hallard (1936-2020) signed oil on canvas, framed framed: 25 x 35 inches canvas : 20 x 30 inches Provenance: private collection, UK Condition: very good condition For more any ...

The Provencal House French, mid/second half 20th century indistinctly signed oil painting on canvas, framed framed: 28.75 x 47 inches canvas: 22.75 x 46 inches condition: very good...

John Rabone Harvey ( 1966 - 1922) graphic and chalk deep green artist paper , unframed artist paper : 5.5 x 7 inches Provenance: private collection Condition: very good condition Dou...

Painting of Church in Cornwall on the English South Coast with Figures & Boats by British Artist, Michael Kerris (1934-2024) Art measures 32 x 16 inches Frame measures 37.5 x 21.5...

Title: Original Oil Painting of Vibrant Still Life with Fruit Bowl and Sliced Fruit Artist: Roland Pichard Medium: Oil on oil paper, mounted on card Size: 13 (height) x 9.5 (width...

This painting is a contemporary abstract representation of dawn breaking above a forest with light reflecting on the water in a break in the tree line. The principal colours are pink...

Farmhouse by a River in the English Countryside by 20th Century British Artist, Peter J Greenhill Art measures 30 x 20 inches Frame measures 35 x 2...

Pocket Chiaroscuro Pomegranate Tableau is an original oil painting by Dani Humberstone as part of her Pocket painting series featuring small scale realistic oil paintings, with a nod...

This fine French Old Master portrait oil painting on canvas dates to circa 1770 and is attributed to the circle of Elizabeth Vigee Le Brun. The sitter is Madam van Robais. The van R...

Artist/ School: Italian Old Master, 18th century Title: Angel and Saints appearing to figures, one dressed in a white ruff collar. Medium: oil on canvas...

'Venice by Moonlight' by Henry Pether (1800-1880). The painting – which depicts an extensive nocturnal view of the Grand Canal with the Palazzo Pisani Gritti to the left and the Dors...

A beautiful small scale English impressionist oil on canvas depicting a figure wearing a hat lying in a field. Charming and very well painted en plein air work in lovely original co...

Portrait of a Lady (female saint?) Italian School, 17th century oil on copper, framed frame: 9 x 8 inches board: 5 x 4 inches provenance: private collection condition: very good and ...

Title: French Watercolor of St. Tropez Skyline with Bell Tower and Sea View by Robert Lepine (French, 1929 - 2017) Signed: Yes Medium: Watercolor painting on artists paper Size: 11.2...

The French Market by Michel Kritz (French 1925-1994) oil on canvas, unframed canvas: 24 x 32 inches provenance: private collection, France condition: very good and sound condition

A huge painting that would create an impressive focal point within a large room, flowers upon flowers upon flowers. Textured, tactile and inviting this artwork is packed with energy,...

Artist/ School: French School, 19th century, after the earlier work by Rembrandt Title: Self portrait of the artist Medium: oil on canvas, framed in antique gilt swept frame. Fra...

Title: French Market Scene Geometric Watercolour Study by Pierre Neveu Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artist paper, unframed Size (H x W): 6.75 x 8.5 inc...

Children holding pails with chickens by a duck pond & cottage in the English Countryside by British Artist, Les Parson entitled 'Arm in Arm'. Art measures...

This impressive mid-17th-century oil painting by Flemish artists Pieter Bout (1640 to 1645-1689 to 1719) and Adriaen Frans Boudewijns (1644-1719) depicts an extensive mountainous Rhi...

Classical Landscape Continental School, late 20th century signed oil on canvas, framed framed: 34 x 43 inches canvas: 27 x 34 inches provenance: fr...

Portrait of Mary Hammond in Sumptuous Attire, Jewels and Lace c.1618-22 Circle of Cornelius Johnson (1593-1661) This portrait of a lady, presented by Titan Fine Art, is an exquisite example of early seventeenth-century portraiture, remarkable both for the lavishness of its subject’s attire and for the distinguished provenance that has accompanied it across four centuries that adds a rich layer of historical significance. It was once part of the notable collection of Sir William Temple, 1st Baronet (1628–1699) at Moor Park, a stately mansion in Hertfordshire. Temple was a diplomat, essayist, philosopher, and the patron of Jonathan Swift. He was a key participate at an important period in English history, helping not only to negotiate the Triple Alliance, but also the marriage between William of Orange and Princess Mary. His collection at Moor Park was well known in its day, reflecting both his cultivated taste in art and literature and his international connections. Its fabulous attire, rendered with almost microscopic attention, is not merely decorative but emblematic of a world in which visual display was a language of power. Its provenance, stretching from the English country house and Enlightenment scholarship to modernist circles, forms a microcosm of cultural exchange across four centuries. Thus, the portrait of Mary Hammond stands as both a masterpiece of early seventeenth-century craftsmanship and a witness to the grand narrative of collecting and connoisseurship—a testament to the enduring fascination of beauty, status, and history intertwined. By tradition the portrait depicts Mary Hammond (born c.1602), who was Sir William Temple’s mother, and the daughter of the royal physician who served James I, Dr John Hammond (c.1555–1617) and whose family owned Chertsey Abbey in Surrey. The woman appears between 18 and 25 years old, and Mary would be about 18–20 when the portrait was painted circa 1620, therefore this matches the apparent age of the sitter and the fashion perfectly. Mary stood at the intersection of learned/courtly and gentry worlds. On 22 June 1627 she married her first cousin (a common practice for consolidating family wealth and influence during that era.) Sir John Temple (1600-1677) at St Michael, Cornhill in the City of London. The couple resided nearby, at Blackfriars. Her marriage to Sir Temple placed her at the heart of the social and political circles that shaped British history. The couple had at least five children, and they became highly significant historical figures: The eldest son, Sir William Temple, 1st Baronet, became a distinguished diplomat, statesman, and essayist, famous for his role in the Triple Alliance and as a patron and mentor to the writer Jonathan Swift – our portrait was in his collection. Their daughter, Martha Temple, later Lady Giffard, was a notable figure in her own right. She became her brother William's first biographer and a respected letter-writer, providing a rare female perspective on the events and high society of the time. Another son, also named Sir John Temple, became Attorney General for Ireland and was involved in the turbulent politics surrounding the English Civil War and the Act of Settlement in Ireland. Mary died in November 1638 after giving birth to twins and was buried at Penshurst, Kent. The family's connection to Penshurst Place is a major point of interest as this historic manor was the seat of the Sidney family, a major aristocratic and literary dynasty. The portrait was in the collection of the Mary’s son, Sir William Temple. From there it descended to his daughter, and then to her nephew, the Reverend Nicholas Bacon of Spixworth Park, Norfolk (his mother was Dorothy Temple who died in 1758). Indeed, by this time, many Temple relics were in the collection at Spixworth including the engagement ring of the illustrious Dorothy Osborne, Lady Temple, wife of Sir William Temple. The portrait thus linked two prominent English families—the Temples and the Bacons—for generations. It is listed in a Spixworth Park inventory of 27 October 1910 by the local collector and art historian, Prince Duleep Singh. He described it with characteristic precision as: “No. 69. Lady Half Length, body and face turned towards the sinister, hazel eyes upwards to the dexter, red hair dressed low and over the ears, a jewelled coronet behind, pearl ear-rings tied with black strings. Dress: black, bodice cut low and square, with lace all round the opening and over shoulders, sleeves with double slashes showing red lining and lace under, falling thin pleated lace collar, black strings tied behind it, a jewel suspended on a black string round the neck, and a double row of agate and silver beads all round to the shoulders. M. In brown veined stone frame. Age 30. Date c.1620. It is called ‘Dutch portrait from Moor Park, mentioned by Nicholas Bacon of Coddenham and Shrubland as a very valuable painting.’ A few years later, when Robert Bacon Longe’s executors sold the contents of Spixworth Park (19–22 May 1912), the portrait appeared as lot 262, described as: “A very valuable half-length portrait on panel, ‘Dutch Lady, with deep lace collar and pearl and amethyst necklace, pendant, and ear-rings, and auburn hair, with coronet’ Early Dutch School 1620.” Following this sale the painting entered the collection of David and Constance Garnett, prominent literary figures of the early twentieth century, before being gifted to Andre Vladimervitch Tchernavin by 1949, and subsequently passed by him to the present owners in 1994. The two great houses associated with the painting, Moor Park and Spixworth Park, further underscore its pedigree. Moor Park, in Hertfordshire, was among the grandest country estates of seventeenth-century England—its gardens famously redesigned by Sir William Temple himself and later influencing landscape design across Europe. Sir William's Temple's secretary was Jonathan Swift, who lived at Moor Park between 1689 and 1699. Swift began to write "A Tale of the Tub" and "The Battle of the Books" at Moor Park. Spixworth Park, near Norwich, was an Elizabethan country house in Spixworth, Norfolk, located just north of the city of Norwich. It was home to successive generations of the Bacon family, one of Norfolk’s most distinguished dynasties (later, the Bacon Longe family), who were considerable land owners (owning Reymerston Hall, Norfolk, Hingham Hall, Norfolk, Dunston Hall, Norfolk, Abbot's Hall, Stowmarket, and Yelverton Hall, Norfolk). Spixworth Hall and the surrounding parkland remained in the Longe family for 257 years until 1952, when it was demolished. Rendered with meticulous precision and sumptuous detail, the painting depicts an elegantly dressed woman—her poise, costume, and jewels all communicating a message of wealth, refinement, and social rank. Every brushstroke conveys an artist deeply attuned to the textures of luxury and the nuances of feminine dignity. The sitter’s attire is nothing short of magnificent. Her bodice and sleeves are fashioned from the finest black silk or satin, the fabric absorbing and reflecting light in equal measure, suggesting both depth and lustre. Around her shoulders lies an opulent lace ruff—a deep, radiating lace collar worked in such intricate detail that it testifies to both the artist’s technical skill and the sitter’s extravagant taste. Lace of this quality, especially Venetian or Flemish bobbin lace, was one of the costliest materials available in early seventeenth-century Europe, its weight worth more than gold, and was a marker of prestige that rivalled jewels in value. The painter has taken great care to delineate every loop and scallop of the lace, achieving an almost tactile realism. Pale skin was also a desired beauty standard, sometimes accentuated with contrasting black ribbons or strings. Her jewels amplify this display of affluence. Matching earrings and a delicate coronet or jewelled hair ornament with a feather adorn her hair, which is styled in the modest yet fashionable manner of the time. These details are far from decorative excess—they serve as visual emblems of social standing, refinement, and lineage. Portraits of this kind were statements of both identity and aspiration, intended to project a family’s prosperity and moral virtue to posterity. The portrait was most likely painted in London around 1618-1622. The low-cut, décolletage-revealing neckline was fashionable in the courts of England and France during the late Elizabethan and Jacobean eras (c. 1590s-1610s), this style did not prevail in the public fashion of the Low Countries at this time. This style of lace ruff — delicate needle lace with geometric openwork — was fashionable from c.1615 to 1622, and the jewelled caul (hair net) and lace edging over a stiffened coif are consistent with high-status English women’s portraiture between 1610–1620. The puffed sleeve slash and the use of pink satin beneath black velvet belong squarely to the late Jacobean...

Original Artwork of cyclists, made from specially treated coffee and then submitted to a further setting treatment so the artwork will last Complete size of sheet: 42 x 59.4 cm ADD...

The Military Encampment Circle of Carel van Falens (1683-1733, Flemish) oil on canvas, unframed canvas: 8 x 10.5 inches provenance: private collection, UK condition: very good and so...

Four horses heading out to do their first mornings work from the yard in Newmarket. All quietly walking towards the bottom of the gallop as the sun is rising. A huge statement piece ...

Title: Sunlit Provence Street with Ochre House and Shaded Alley French Village Scene Artist: Pierre Neveu (French b.1929) Medium: Watercolour on artist paper, unframed Size (H x W): ...

A beautiful large mid 20th century oil on canvas depicting a moonlit coastal seascape by Arnold Beardsley. The work is signed lower right and presented in a gold frame with swept co...

Beautiful Chaos #6 – By Lucy Moore [2022] original Acrylic on canvas Image size: H:60 cm x W:98 cm Complete Size of Unframed Work: H:60 cm x W:98 cm x D:1.5cm Sold Unframed Plea...

FINE ORIGINAL ANTIQUE 18th CENTURY BRITISH OLD MASTER OIL PAINTING MAN O WAR IN HARBOUR Description Good Condition canvas but very old with some browning in places (see picture). C...

Jean Laurent, French 20th century marine artist signed oil on board, framed Framed: 13.5 x 21.5 inches Board: 8 x 16 inches Provenance: private collection, UK Condition: very good co...

Signed pointilist oil on canvas figures in landscape by sought after French post impressionist painter Jacques Martin-Ferrieres. This beautiful piece depicts a view of Collioure, a p...

Title: French Harbour Scene with Moored Boats and Village Houses at Sunset by Fanch Lel Signed: Yes Size: 7.75 inches (height) x 9.75 inches (width) Medium: Oil on board, unframed Co...

Portrait of a Woman in Thought French School, early 20th century indistinctly signed oil on board, glass covering framed (please note the frame is a modern example) framed: 13 x 9 in...

In this series, I've poured my passion into the dynamic interplay of colors and forms to evoke a sense of both chaos and calm. The deep blues and vivid splashes represent the turbule...

Yellow Spiking Trees Signed by Fanch Lel Size: 13 x 16 inches (height x width) Oil painting on board , unframed Condition: Good condition overall with minor surface handling marks an...

A late 19th-century portrait of a woman in a shawl, attributed to Jan Dunselman (1863-1931). The work is unsigned. Presented in a decorative gilt-effect frame with the later inscript...

Tranquil Countryside Simone Forge 1930's French Impressionist oil on board unframed board: 7.5 x 9.5 inches Provenance: Private collection Condition: Great condition For more any ...

Tranquil harbor scene signed by Fanch Lel (French b. 1930) Size: 7.5 x 10 inches Oil painting on cardboard, unframed Condition: The painting is in good condition, with minor signs of...

Framed size: 26" x 30" - Signed bottom left La Plage de Cannes is a striking example of Lebasque’s mature Post‑Impressionist style: serene yet subtly vibrant, intimate yet expansive...

The Artists Model Portrait of a Young Male Nude French, late 19th century pencil drawing on artist paper, unframed with further sketches verso artist paper: 13 x 9.5 inches provenanc...

Summertime Harvest by Don Vaughan (British, 20th century) signed oil on canvas, framed framed: 25 x 35.5 inches canvas : 20 x 30 inches Provenance: private collection, Surrey, Englan...

New original landscape painting by Nicky Chubb. Colourful and textured landscape painting of a tree with a shiny background. ADDITIONAL INFORMATION: signed and dated by artist on th...

Abstract Composition by Jacqueline VERDET (French, 1931-2023) oil painting on canvas, unframed canvas: 39.5 x 29 inches condition: the work is in overall very sound and good conditio...

ARTIST: Unsigned Mid/Late 20th Century English School TITLE: "Still Life of Cut Flowers In A Vase" MEDIUM: oil on board SIZE: 54cm x 44cm incl. frame CONDITION: very good NOTES: Bea...

The Artist and his Model French School, 18th century oil on canvas, framed Framed: 14 x 17 inches Board: 11 x 14 inches Provenance: private collection, France Condition: very good co...

The Madonna, Christ Child and St. John Italian School, 18th century oil on wood, framed in period gilt antique frame framed: 16 x 14.5 inches wood: 9 x 6.5 inches provenance: private...

The Judgement of Paris Fontainebleau School, circa 1580 *see notes below oil painting on canvas, framed framed: 30 x 40 inches canvas: 27 x 37 inches Provenance: private collection, ...

The Woodsman by John Edwards (1940 - 2020) signed oil on canvas, framed framed: 29 x 23.5 inches board : 23 x 18 inches Provenance: private collection, UK Condition: very good condit...

Richmond Hill English, late 19th/ early 20th century inscribed/ signed verso (see photos) oil on canvas, framed framed: 18 x 24 inches canvas: 16 x 22 inches Provenance: private coll...

Deja Vu #1 by Judith North [2022] Deja Vu is a series of abstract paintings which aim to capture my response to something previously experienced. Additi...

A Gathering by a Lake in the Roman Campagna Oil on canvas: 48 x 65 in. Framed: 58 x 74 in. Circa 1840 Samuel James Ainsley (1820-1874) was a British artist recognized especially fo...

The Birth French Rococo School, mid 18th century sepia ink on paper over board, framed behind glass. framed: 13 x 11 inches painting : 8 x 6 inches Provenance: private collection, B...