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.


STATUS: available at the 'A Feather in Fate' exhibition


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


STATUS: framed, available (Amsterdam)


Hemispheres  ( concept I )

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


STATUS: sold


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.



STATUS: unframed, available

The Four Seasons  ( concept IX )

oil and graphite on board  .  12in. x 16in.  ±30.5cm. x 40.6cm.

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 for this deeply emotional painting.


STATUS: unframed, available

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.


STATUS: sold


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.


STATUS: framed, available (Amsterdam)

En Pointe, Amy pose for Ballerina ( concept final )

graphite and red pencil on paper,  11.5in. x 9in.  ±29.2cm. x 22.9cm.

Amy Cantor posed for this figure that balances in 'En Pointe.'  Red notes are written on the drawing that tell of the composition, as well as Amy’s assistance.

It is also dated 2006.


STATUS: framed, available




Contact us for further information

about the status & availability of these original works of Tim Cantor