Art

Flemish painter of the 16th-17th century The Annunciation Oil on canvas 844 x 33 cm./ in frame 63 x 52 cm.) The work presents itself with a canonical iconographic and stylistic scheme, with the Archangel Gabriel devoutly delivering the supreme annunciation to the Virgin child, although there are some details that make the composition very interesting. Entering into the details of the study of the painting, of excellent workmanship, we can immediately appreciate a style rooted in the Flemish tradition, recognising in the compositional layout strong references to the great masters of the Renaissance such as Jan van Eyck, Rogier van der Weyden, Dieric Bouts and Hans Memling...

Father Stefan Fridolin, "Schatzbehalter" (Treasury of the True Riches of Salvation): The 30th Figure - Astrological Diagram with Scene of the Nativity Woodcut, 1491 Unsigned, as iss...

Titan Fine Art present this picture which formed part of a historic collection of an English aristocratic family, Lord and Lady Sandys at their magnificent baroque and Regency Grade-...

FAILE (Brooklyn-based art collective in the form of Patrick Miller and Patrick McNeill) Modern Living, 2018 Hand-painted acrylic and silkscreen ink on heavyweight archival deckled pa...

Saint Jerome in the desert Cercle of Lambert Van Noort (1520-1571, Antwerp) Antwerp School, mid-16th century Oil on oak panel. Dimensions: panel h. 69 cm (27.16 in), l. 52.5 cm (20.6...

Josephus Augustus KNIP Tilbourg 1777 - Berlicum 1847 Picturesque landscape of the Alps with anthropomorphic rock Circa 1800 Watercolor, gouache and brown ink Signed lower left 47 x ...

John Ferneley Jnr Stabled horses Oil on canvas Canvas Size - 20 x 24 in Framed Size - 27 x 31 in Born in about 1815 at Melton Mowbray, he was the eldest son of the important sporting artist John E Ferneley. The latters other two children, Claude Lorraine and Sarah, were also artists. He spent his early life at Elgin Lodge and his father was a major influence on his artistic development and was in all probability his sole teacher. His father took him on trips to London and in 1832 to Durham and York where the younger Ferneley later settled in about 1839, probably because of the large number of patrons in the area. His first work, of a Whipping-in, was engraved and published in the New Sporting Magazine in May 1833 and was followed in the next year by an engraving of a Hunter. John E Ferneley had established a significant career as an equestrian artist in the old English tradition largely due to being a pupil of Ben...

🔸 _Title: Carnaval kawaii 🔸 _Artist: Diego Tirigall 🔸 _Year of Creation: 2024 🔸 _Dimensions: 160 W x 100 H x 2 D cm 🔸 _Medium: Enamel, Spray paint, Acrylic and Oil Stick 🔸 _Su...

Original "cassetta" frame in carved and gilded wood. Expertise by Prof. Giancarlo Sestieri.

With a "cassetta" frame in gilded and carved wood. Publications: - Expertise by Prof. Egidio Martini; - G. M. Guidetti, in From Sacro to Profano. The Giorgio Baratti...

Original frame in gilded wood and gilded pastiglia. Autograph dedication of the artist in the back of the painting. Natale Schiavoni (Chioggia (Venice), 1777 – Venice, 1858) wan a...

Pair of Italian 18' century paintings , oil on canvas with Venetian Palace gardens , antiques sculptures and various figures . Measurements with frame cm 75 x101

A tourist bus adorned with punchy hi-key graphics passes in front of a soaring Times Square billboard of similar nature. Street Photographer Mithcell Funk captures the precise momen...

Novy’s most-established series of koi fish references propaganda posters and anti-authoritarian symbols in Chinese art under communism. Koi traditionally symbolize the lessons and tr...

Novy’s most-established series of koi fish references propaganda posters and anti-authoritarian symbols in Chinese art under communism. Koi traditionally symbolize the lessons and tr...

Jeremy Novy (b. 1979) is a California-based street artist known for his stencils of koi fish and efforts in support of gay activism. Novy’s stencil art is remarkably complex for its ...

Novy’s most-established series of koi fish references propaganda posters and anti-authoritarian symbols in Chinese art under communism. Koi traditionally symbolize the lessons and tr...

In this drawing, inspired by his stay in Naples in 1765, William Marlow presents us with a view of Cape Posillipo, to the west of Naples, an essential stage during the Grand Tour. Th...

Provenance: with “Mr. Scheer,” Vienna, by July 1918; where acquired by: Jindřich Waldes, Prague, 1918–1941; thence by descent to: Private Collection, New York Literature: Rudolf Kuchynka, “České obrazy tabulové ve Waldesově obrazárně,” Památky archeologické, vol. 31 (1919), pp. 62-64, fig. 5. Jaroslav Pešina, “K datování deskových obrazů ve Waldesově obrazárně,” Ročenka Kruhu pro Pěstování Dějin Umění: za rok (1934), pp. 131-137. Jaroslav Pešina, Pozdně gotické deskové malířství v Čechách, Prague, 1940, pp. 150-151, 220. Patrik Šimon, Jindřich Waldes: sběratel umění, Prague, 2001, pp. 166, 168, footnote 190. Ivo Hlobil, “Tři gotické obrazy ze sbírky Jindřicha Waldese,” Umění, vol. 52, no. 4 (2004), p. 369. Executed sometime in the 1380s or 1390s by a close associate of the Master of the Třeboň Altarpiece, this impressive panel is a rare work created at the royal court in Prague and a significant re-discovery for the corpus of early Bohemian painting. It has emerged from an American collection, descendants of the celebrated Czech industrialist and collector Jindřich Waldes, who died in Havana fleeing Nazi-occupied Europe. The distinctive visual tradition of the Bohemian school first began to take shape in the middle of the fourteenth century after Charles IV—King of Bohemia and later Holy Roman Emperor—established Prague as a major artistic center. The influx of foreign artists and the importation of significant works of art from across Europe had a profound influence on the development of a local pictorial style. Early Italian paintings, especially those by Sienese painters and Tommaso da Modena (who worked at Charles IV’s court), had a considerable impact on the first generation of Bohemian painters. Although this influence is still felt in the brilliant gold ground and the delicate tooling of the present work, the author of this painting appears to be responding more to the paintings of his predecessors in Prague than to foreign influences. This Resurrection of Christ employs a compositional format that was popular throughout the late medieval period but was particularly pervasive in Bohemian painting. Christ is shown sitting atop a pink marble sarcophagus, stepping down onto the ground with one bare foot. He blesses the viewer with his right hand, while in his left he holds a triumphal cross with a fluttering banner, symbolizing his victory over death. Several Roman soldiers doze at the base of the tomb, except for one grotesque figure, who, beginning to wake, shields his eyes from the light and looks on with a face of bewilderment as Christ emerges from his tomb. Christ is wrapped in a striking red robe with a blue interior lining, the colors of which vary subtly in the changing light. He stands out prominently against the gold backdrop, which is interrupted only by the abstractly rendered landscape and trees on either side of him. The soldiers’ armor is rendered in exacting detail, the cool gray of the metal contrasting with the earth tones of the outer garments. The sleeping soldier set within a jumble of armor with neither face nor hands exposed, is covered with what appears to be a shield emblazoned with two flies on a white field, somewhat resembling a cartouche (Fig. 1). This may be a heraldic device of the altarpiece’s patron or it may signify evil, referencing either the Roman soldiers or death, over both of which Christ triumphs. This painting formed part of the collection assembled by the Czech industrialist and founder of the Waldes Koh-i-noor Company, Jindřich Waldes, in the early twentieth century. As a collector he is best remembered for establishing the Waldes Museum in Prague to house his collection of buttons (totaling nearly 70,000 items), as well as for being the primary patron of the modernist painter František Kupka. Waldes was also an avid collector of older art, and he approached his collecting activity with the goal of creating an encyclopedic collection of Czech art from the medieval period through to the then-present day. At the conclusion of two decades of collecting, his inventory counted 2331 paintings and drawings, 4764 prints, and 162 sculptures. This collection, which constituted the Waldesova Obrazárna (Waldes Picture Gallery), was first displayed in Waldes’ home in Prague at 44 Americká Street and later at his newly built Villa Marie at 12 Koperníkova Street. This Resurrection of Christ retains its frame from the Waldes Picture Gallery, including its original plaque “173 / Česky malíř z konce 14 stol.” (“Czech painter from the end of the 14th century”) and Waldes’ collection label on the reverse. The Resurrection of Christ was one of the most significant late medieval panel...

Pablo Picasso (1881-1973) L’ AVEILLE (L’ ABEILLE) (SEE B. 349; BA. 596) From the collection of Marina Picasso. Aquatint and drypoint, 1936 from ‘Picasso Eaux-fortes originales pour l...

Late 17th Century Italian School. The Return of the Ark on the Covenant, Oil on Canvas, in a Fine 17th Century Italian Frame, canvas: 40.25" x 49.75" (102.3 x 126cm) Fine quality and rare 17th century Italian Old Master...

Arriving in Rome in June 1735 as a resident at the Royal Academy, Pierre was unable to attend the Winter Carnival festivities of 1735, which he nevertheless immortalised in an engrav...

SOUVIENS-TOI DU FUTUR Mixed techniques on wood panel. Raw metal frame 6 x 4 CM. Lights x 2. 180x190CM. Thickness 62CM. 2016.

TECHNICAL INFORMATION D*Face Kiss of Death Screenprint 25 1/2 x 25 1/2 in. Edition of 75 Pencil signed and numbered Accompanied with COA by Gregg Shien...

TECHNICAL INFORMATION: Shepard Fairey Chinese Soldiers 2006 Screenprint 24 x 18 in. Edition of 300 Pencil signed and numbered; accompanied with COA by...

TECHNICAL INFORMATION Ron English Combrat Boy 2015 3D Lenticular archival inks on PETG Plastic 36 x 24 in. Edition of 10 Signed and numbered on verso Accompanied with COA by G...

TECHNICAL INFORMATION Chinese Banner 2 2004 Screenprint 24 x 18 in. Edition of 300 Pencil signed & numbered Accompanied with COA by Gregg Shienb...

Thomas Smith of Derby Matlock High-Torr Landscape Oil on canvas 27 x 34.5 inches unframed 34 x 41.5 inches including frame Thomas Smith of Derby (died 12 September 1767) was an Engl...

Seen is widely regarded as one of the most influential and innovative graffiti artists of all time. His unique style, incorporating elements of calligraphy and abstract expressionism...

With thoughts on 21st century humans and their future, João Cardoso concludes that technology brings tools for two extremes. Thus, technology, as a much n...

Companion Blush Set of two painted vinyl figures in original packaging from Medicom Toy Corp. From KAWS' (a.k.a. Brian Donnelly's) open edition release in 2019.

This mid-18th-century Dutch oil painting depicts a seated 17th-century gentleman within a room by a forge. During the 17th century, the Netherlands flourished as a hub for trade and...

You can read the title of the painting in the composition of the painting itself. Spray paint on linen. “The Last Time I Saw You Wasn’t the Last Time I Saw You” presents slightly sma...

Circle of Peter Paul Rubens (Siegen 1577 - Antwerp 1640) The Judgement of King Solomon Oil on copper (41 x 49 cm. - with ebonised and gilded wooden frame 58 x 66 cm.) The proposed painting, executed in oil on copper, depicts the biblical episode known as the 'Judgement of King Solomon' and is taken from the Book of Kings, in the Old Testament (I Kings, 3, 16-28). The work is derived from the painting in the Statens Museum for Kunst in Copenhagen depicting the 'Judgement of Solomon', which was largely created by Rubens' workshop with some intervention by the master. The iconography of the painting was certainly made popular by the print made by the Dutch engraver Boetius Adams Bolswert (Bolsward, c. 1585 - Antwerp, 1633) now in the collection of the Metropolitan Museum. The extraordinary critical and illustrative success of the work is certain, of which several replicas and copies exist, preserved in museums and private collections: Delft, Rouen and Coutrai, Liechtenstein in Vaduz and in Seville Cathedral. The prototype for the original Copenhagen painting...

Titan Fine Art present this accomplished work, from Kilcooley Abbey, Co Tipperary, Ireland. It portrays a gentleman traditionally known as the English military commander and politic...

Thomas Smith of Derby (c. 1710-1767) View of Shipping on the River Avon from Durdham Down, near Bristol, 1756 Oil on canvas Canvas size - 20 x 47 in Framed size - 26 x 53 in Provena...

This particular piece depicts an anonymous portrait of a beautiful woman. Inspired by the every day, JM Robert strives to create paintings that mimic the fla...

Francis Sartorius (1734-1804) A bay horse with groom and dog Signed and dated 'F.Sartorius.Pinxt.1788' (lower right) Oil on canvas Canvas Size - 14 1/4 x 18 in Framed Size - 19 1/2 x...

Thomas Buttersworth (1768-1842) Shipping in choppy coastal waters signed and dated lower left Oil on canvas Canvas Size - 9 x 12 1/2 in Framed Size - 13 x 16 1/2 Immerse yourself in...

John Thomas Serres (1759-1825) Fisherfolk unloading the days catch Oil on canvas Canvas Size - 17 x 25 in Framed Size - 22 x 30 in John Thomas Serres, a luminary in the realm of mar...

Painted in the 19th century, this exquisite miniature portrait wonderfully exemplifies realism in traditional oil painting. The small artwork is painted in the conventional portraiture style of the Old Masters, and achieves soft realism with fine brushwork and a subdued, neutral palette. The half length portrait depicts a fine Victorian woman dressed in all black with a delicate lace collar and bonnet. She wears a ruby broach...

Pair of large and opulent 17th century Flemish floral still lifes by the celebrated artist Gaspar Pieter Verbruggen I Our paintings depict opulent floral arrangements consisting of,...

Francis Sartorius (1734-1804) A horse and groom with a dog signed 'F.Sartorius.Pinxt' (lower right) Oil on canvas Canvas Size - 14 1/4 x 18 in Framed Size - 16 1/2 x 19 1/2 in Franc...

John Rathbone (1750-1807) View at Tivoli Signed lower right Oil on Canvas Canvas size - 18 x 24 in Framed size - 24 x 30 in John Rathbone was born in Cheshire in 1750 and worked as ...

Offset lithograph (sticker) 4.72 x 5.71 in (12.0 x 14.5 cm) Created in a limited quantity (exact number in circulation is unknown). A highly sought after and now very rare piece of...

Romantic painter (19th century) - The Lutist. 72 x 57 cm without frame, 85.5 x 69.5 cm with frame. Antique oil painting on canvas, in a gilded wooden frame. Condition report: Orig...

The sitter is elegantly attired in a blue silk dress over a white frilled chemise and a striking crimson mantle. The artist, Thomas Murray, can be described as one of the most successful and talented during the last part of the seventeenth century. It is not surprising that Murray painted the portraits of King William III, Queen Mary, Queen Ann as well as several other high-ranking individuals. The influence of Sir Godfrey Kneller is evident and even expected considering the importance of Kneller, and even though the formula employed for head and shoulders portraits of woman during the period is similar, Murray’s work is distinguishable by a refined and elegant manner, a smooth overall feel, and often, distinctive eyes. Murray is known to have employed not only the same pattern as our portrait but the three distinctive colours (blue, white, red) many times. Thomas Murray was born in Scotland but moved to London to study with a member of the De Critz family. Later he was a pupil of the English portraitist John Riley (1646-1691), who was court painter to King William III and Queen Mary, and was practising as a painter on his own in the 1680s. In 1691 he took over Riley’s studio when that artist died in 1691 and he established a very successful practice. The Rev, James Dalloway accounted that Murray “was remarkable for his personal beauty and for the elegance of his manner” and he was also noted to have been hard working, courteous and popular with his customers. His portraiture retains an individual style and easily recognised but his earlier work is similar to John Closterman, who was a fellow pupil, and many consider this period to be his finest. Murray invested wisely in property and when he died in 1735, he left around £40,000. He had no children and he bequeathed his money to a nephew with instructions that his monument, with a bust, should be erected in Westminster Abbey, provided that it did not cost too much – but his nephew decided that it was indeed “too expensive” and the plan did not proceed. He is buried in St. Paul's, Covent Garden. Murray’s work is represented in many British country houses and private collections, the National Portrait Gallery London, Royal Society and Middle Temple in London, and in the Uffizi Gallery in Florence. A good example of 17th century British portraiture...

This exquisite portrait, presented by Titan Fine Art, was painted in the era of London’s Great Fire - a young woman has been depicted wearing the most luxurious attire and a fortune ...

Lombard painter of the 17th century Portrait of a Man in Armour Oil on canvas 81 x 71 cm. - In frame 94 x 82 cm. A handsome gentleman in armour, immortalised in an authoritative an...

George Knapton (London 1698 - 1778), attributable Portrait of a young aristocratic maiden sitting by a fountain in a garden in the company of a lamb Oil on canvas (127 x 102 cm - Fr...

Francesca Volò Smiller, called Vincenzina (Milan, 1657 - 1700) - circle of Floral composition Oil on canvas (97 x 72 cm. - in octagonal frame 100 x 84 cm.) A rich floral compositio...

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...

Portrait of Grace Saunderson, Viscountess Castleton (1635-1667) c.1665-67 Sir Peter Lely and Studio (1618-1680) Titan Fine Art present this work, which formed part of a collection of family pictures and heirlooms of the Saunderson, Viscount Castleton family and their descendants, the Earls of Scarbrough, at their magnificent family seat Sandbeck Park, where the Earls still reside today almost four hundred years later. It was painted in the studio of Sir Peter Lely...

Artist: Unknown (Likely French, 18th Century) Title: "La Femme Muse" *No signature found Circa: 1780 Medium: Original Pastel Drawing on heavy laid paper Frami...

A beautiful mid 17th century Flemish Old Master oil on panel depicting figures in a tavern interior by Anthonie Victoryns. Excellent quality early F...

DESCRIPTION: Perhaps the best Romney in private hands. If Vogue Magazine existed in the late 18th century, this image of Lady Caroline Price would be ...

The Painting and Its Style: "Tulip Mania" This painting is a prime example of Neo-Expressionism, a movement in the arts that emerged in the late 1970s and is characterized by its bo...

Jerkface WuBear, 2017 Hand signed and numbered by artist Giclee printed with U.V. ink On 100lb satin rag 24 x 36 in Edition of 50 Artwork ships in 2-4 weeks