Through the Waters ( concept III )

oil, graphite and charcoal on paper,  11.5in. x 15in.  ±29.2cm. x 38.1cm.


A refined charcoal study on an oil painted thick paper backdrop.  This piece brings to light a drawing of the artist’s own hand, which, in the final painting, emanates an elaborate pattern of machinery that acts as a metaphor for “love in everything he does.”  Written below the hand are the artist’s words ‘I love you - These words, these days, are in everything I do.’  The drawn figure here shows a more related appearance to Tim Cantor than the final painting does.  In the final, Tim Cantor has aged himself to be an older man.  However, this piece shows an underlying resemblance to that aged portrayal.  On another note, a close-up of the hand in the final painting of "Through the Waters" was used by Imagine Dragons to represent their song Friction.  This image was used throughout the world on millions of promotional materials: billboards, posters, etc, to publicize the Smoke+Mirrors album.


Available Framed  US$ 5,500.

Ingénu ( concept I )

white charcoal, gouache, graphite and watercolor on paper

12in. x 9in.  ±30.5cm. x 22.9cm.




From the shoulders down, this was a drawing Tim Cantor created from memory of an unnamed sculpture at the Victoria and Albert Museum in London.  Heavy on the white charcoal, Tim Cantor wanted a porcelain impression to the final painting.  Written in the drawing are the words:

“Lo Infatuation - It wisps through me - like porage and trees - A craving - gone and back again”


Available Framed  US$ 2,200


Promised Land ( concept II )

graphite, blue pencil, watercolor, and charcoal on paper

11in. x 18in.  ±27.9cm. x 45.7cm.


A refined figure study in blue shades, this concept is larger than the actual painting.  So much movement exists in this piece with the sense of levitation, the birds, and the splashes of gouache.  Written within the artwork, Tim Cantor has placed the evocative words from his correlated poem: “The air, like fear, holds us bound by nothing true”


Available Framed  US$ 5,500.


Hemispheres ( concept I )




 oil and graphite on board,  12in. x 9in.  ±30.5cm. x 22.9cm.

Available Framed  US$ 3,800.



The Four Seasons ( concept IX ) oil and graphite on board 12in. x 16in. ±30.5cm. x 40.6cm. A refined charcoal study on an oil painted thick This concept for The Four Seasons is predominantly a study of hands. Movement and emotion was incredibly important in this painting, and those essentials to Tim Cantor live very significantly within how he envisions hands. Available Unframed US$ 3,500.
The Four Seasons ( concept IV ) graphite, watercolor, and charcoal on paper., 9in. x 12in. ±22.9cm. x 30.5cm. This concept for The Four Seasons is a combination of imagination and actual study of an unnamed statue in Venice’s San Vidal Church that inspired the final pose. Available Unframed US$ 1,900.
The Four Seasons ( concept XV ) oil and pencil on paper., 11in. x 8.5in. ±27.9cm. x 21.6cm. .

This oil concept for The Four Seasons was created very early.  The final design for the painting altered from this concept, but this reflects Tim Cantor’s primary visions.  The “V” in the top left corner indicates that this was part of a series taken from drawings Tim Cantor created in Venice, Italy, when he first envisioned his painting, The Four Seasons.


Available Unframed  US$ 3,900.



l’Ange de l’Assassinat (The Angel of Assassination) ( concept II ) pencil, charcoal, and watercolor on paper., 15in. x 11.5in. ±38cm. x 29.2cm. Perhaps the most detailed of concepts for l’ange de l’assassinat, this represents the final painting most accurately. In the bottom right, Tim Cantor has written ‘Marat’; a gesture to both Jean-Paul Marat, Charlotte Corday’s victim, and to Jacques-Louis David, who created the 1793 painting The Death of Marat, and inspired Tim Cantor to create his own composition in relation to the same tale. Available Unframed US$ 9,800.
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