Medium Art

An atmospheric study depicting the sun beginning to set over a vast landscape. The artist beautifully captures the subtle reflections of the setting sun in the water, bringing hints ...

OIL PAINTING 19th CENTURY Cram Seas GGF Description 19th Century Good condition canvas ..Piece has been cleaned , no repairs , Frame is in Good condition for age (see pictures) De...

Francesco Zuccarelli (Pitigliano 1702 – Florence 1788) – River Landscape with Horsemen and a Medieval Village. 53 x 70 cm (without frame) - 64.5 x 80.5 cm (with frame). Oil on canv...

Sequential V from the Sequential Portfolio by Richard Anuszkiewicz, American (1930–2020) Date: 1972 Screenprint, signed, dated, and numbered in pencil Edition of 165/200 Image Size: ...

In this contemporary oil painting on canvas, a bright and inviting interior scene is set with a still life arrangement of flowers in a green bottle, painted patterned china and fruit...

Frederik Lenditz 1873 - 1937 Rococco Interior Oil on canvas signed lower right Size: 58 x 79 cm Frame: 73 x 94 cm Besichtigung und Abholung nach vorheriger Terminvereinbarung gern...

powerful abstract composition defined by a restrained, almost monochromatic palette of blacks, greys, and subtle earthy tones. The surface is richly worked, with sweeping gestures an...

Two contrasting vessels anchor this abundant floral arrangement: a large pale jug with dark ornament and a smaller, nearly black pitcher placed slightly forward. Red, yellow, cream, ...

Gustavo Montoya “Niña con Perico” — CHILDREN SERIES. SERIGRAPH. Unframed. In “Niña con Perico,” celebrated Mexican artist Gustavo Montoya presents a young girl seated quietly with a...

This poignant Jules Olitski mixed media painting was originally sold by the Marianne Friedland Gallery, bearing it's label verso. Hand signed and dated on the front. This work has be...

"Modus Lumen 08" is an original artwork by Hyland Mather made of illuminated lost-object assemblage with translucent acrylic, tape drawing, string, aerosol, and light. It measures ap...

Portrait of Grand Duke Pavel Petrovich (1754–1801), later Emperor Paul I of Russia After Alexander Roslin (1718–1793) Oil on canvas, oval, late 18th century This is an exceptionally handsome and historically resonant eighteenth-century portrait, uniting the immediacy of an intimate likeness with the authority of one of the defining dynastic images of Imperial Russia. Grand Duke Pavel Petrovich, the future Emperor Paul I, turns towards the spectator with a composed, almost conversational expression, his youthful face emerging softly from the restrained brown background. The rich scarlet of his coat, the deep blue of the sash and the flashes of gold, lace and jewelled decoration give the picture remarkable visual distinction, while the oval format concentrates attention upon the sitter’s face and magnificent ceremonial attire. Painted during the eighteenth century, the present work is a contemporary reduced version of Alexander Roslin’s monumental state portrait of 1777, now in the State Hermitage Museum, St Petersburg. Roslin’s full-length original measures approximately 265 by 168 centimetres; here, its essential elements have been reformulated as a more intimate portrait suitable for display within an aristocratic residence, diplomatic household or private cabinet. Pavel is dressed in the height of European court fashion of the later 1770s. His scarlet habit à la française comprises a close-fitting coat and elaborately embroidered waistcoat, enriched with scrolling metallic ornament, floral motifs and a sequence of large decorative buttons. The shoulder is finished with a densely worked epaulette-like band, while a white linen stock and delicate lace jabot frame the face. His powdered hair is dressed in the fashionable bag-wig, drawn back and tied with a broad black silk ribbon. Although the costume is unmistakably Russian in its dynastic significance, its cut and ornament belong to the international language of court dress then prevailing from Versailles and Vienna to Stockholm and St Petersburg. In Roslin’s original full-length composition, the costume was completed by matching scarlet breeches, silk stockings, buckled shoes, a sword and a plumed tricorne, all identifying Pavel as both a prince of the blood and a cultivated participant in the ceremonial life of Europe’s great courts. Across his breast passes the broad blue watered-silk sash of the Imperial Order of St Andrew the First-Called, the senior Russian order of chivalry established by Peter the Great. The sash, conventionally worn from the right shoulder towards the left hip, proclaimed the sitter’s position at the summit of the imperial hierarchy. Superimposed upon it is the red-enamelled cross of the Order of St Anna, surrounded in the portrait by scintillating, jewel-like highlights. The cross had a particular dynastic resonance: the order had been founded by Pavel’s paternal grandfather, Duke Karl Friedrich of Holstein-Gottorp, in memory of his wife Anna Petrovna, daughter of Peter the Great. Pavel’s display of the two orders therefore asserted not only rank and honour, but his descent from the founder of Imperial Russia and his inheritance through the Romanov and Holstein-Gottorp lines. Contemporary portraits similarly identify Pavel through the blue sash and star of St Andrew and the red cross of St Anna. Born in St Petersburg in 1754, Pavel Petrovich was the only son of Grand Duke Peter Fyodorovich, later Emperor Peter III, and Grand Duchess Catherine Alexeyevna, the future Catherine the Great. Through his father he was a great-grandson of Peter the Great and inherited the Romanov and Holstein-Gottorp bloodlines; through his mother, born Princess Sophie of Anhalt-Zerbst, he was connected to the extensive network of German princely houses that shaped eighteenth-century European dynastic politics. His childhood was dominated by the uncertainties of imperial succession. Soon after his birth, the Empress Elizabeth removed him to her own household and assumed control of his upbringing. Educated under the statesman Nikita Panin, Pavel studied history, geography and mathematics and became fluent in Russian, French and German. He was eight when his father ascended the throne in 1762, only to be deposed by Catherine within months and to die shortly afterwards in confinement. Although Pavel remained the acknowledged heir, Catherine ruled for another thirty-four years and excluded him from meaningful political authority. He was therefore publicly honoured as the future sovereign while being denied the practical experience of government. In 1773 he married Princess Wilhelmina Louisa of Hesse-Darmstadt, who converted to Orthodoxy as Grand Duchess Natalia Alexeievna. She died in April 1776 after a prolonged labour, together with her stillborn child, leaving Pavel widowed and the succession unsecured. A second marriage was arranged within months. His new bride was Duchess Sophie Dorothea of Württemberg, daughter of Friedrich Eugen, later Duke of Württemberg, and Friederike Dorothea of Brandenburg-Schwedt. Raised at Montbéliard in a cultivated German princely household, she converted to Orthodoxy as Maria Feodorovna and married Pavel in October 1776. The union strengthened Russia’s links with Württemberg and Brandenburg-Prussia, but also became an enduring domestic and cultural partnership. Maria was intelligent and artistically gifted, practising drawing, embroidery, ivory carving and hardstone work, while collecting books and decorative art and later supporting charitable and educational institutions. The couple had ten children, nine of whom survived childhood. Their eldest son, Alexander, succeeded Pavel as Emperor Alexander I and ruled during the Napoleonic era; their younger son Nicholas later became Emperor Nicholas I. Constantine Pavlovich became a prominent military figure and briefly stood at the centre of the succession crisis of 1825. Their daughters married into leading European dynasties: Alexandra into the Austrian imperial family, Elena into Mecklenburg-Schwerin, Maria into Saxe-Weimar-Eisenach, Catherine into Württemberg and Anna into the Dutch royal house. Through their children, Pavel and Maria extended Romanov influence across much of Europe. The birth of Alexander in 1777 secured the succession and prompted Catherine to give the couple the estate that became Pavlovsk, south of St Petersburg. Its Neoclassical palace, begun by Charles Cameron in the early 1780s, became closely associated with Maria’s artistic interests, family life and refined sociability. Gatchina, by contrast, reflected Pavel’s more martial character. There he developed his own court and pursued his interests in military organisation, ceremony and administrative discipline. In 1781–82 Pavel and Maria travelled through Europe as the Count and Countess of the North, visiting royal courts, artists, manufactories and antiquities collections. They acquired paintings, furniture, bronzes, sculpture, textiles and porcelain, helping to make Pavlovsk one of Russia’s most sophisticated expressions of international Neoclassical taste. Yet Catherine continued to restrict their independence, taking charge of the upbringing of Alexander and Constantine just as Empress Elizabeth had once removed Pavel from his own parents. This repetition deepened the estrangement between mother and son. Pavel finally succeeded Catherine in 1796, aged forty-two. His reign lasted little more than four years, but his Act of Succession of 1797 established male-line primogeniture and ended much of the uncertainty surrounding the Russian imperial succession. His attempts to regulate the court, army and administration, and to reverse elements of Catherine’s policies, alienated powerful members of the nobility and officer corps. In March 1801 he was assassinated during a palace coup at the Mikhailovsky Castle and was succeeded by Alexander. This knowledge lends the portrait particular poignancy: Pavel appears not as the embattled emperor of his final years, but as the elegant young heir at a moment when marriage, dynasty and the anticipated birth of a son seemed to promise stability and renewal. Roslin’s portrait should be understood within this urgent dynastic context. The Swedish painter had travelled to St Petersburg in 1775 at the personal invitation of Catherine II and was commissioned to paint monumental state portraits of the Empress, Pavel and Maria Feodorovna. The pendant portraits of the young couple presented the heir and his new wife as the polished, fertile and internationally connected future of the Romanov dynasty. Roslin recorded in 1777 that the ruling family had ordered multiple copies. At least six versions of Pavel’s portrait and twelve of Maria’s are known, and such replicas were distributed as courtly and diplomatic gifts. A pair was presented to James Harris, later First Earl of Malmesbury, then the British ambassador to Russia. The existence of numerous eighteenth-century replicas was therefore not accidental or merely commercial: repetition was integral to the commission’s political purpose. Each version extended the official image of succession from the imperial palace into allied courts, embassies and aristocratic collections. The present portrait belongs to that wider culture of dynastic dissemination. Rather than reproducing Roslin’s entire monumental setting, with its architectural balustrade, extensive Neva prospect, sword, hat and full ceremonial costume, the painter has selected the head and upper body and adapted them to an oval. This transformation changes the character of the image. The grandeur of the original remains legible in the orders, costume and confident turn of the figure, but the reduced composition produces a greater sense of proximity to Pavel himself. The face becomes dominant, and the future emperor appears less as a remote emblem of state than as a recognisable young man. The type also circulated through prints: an oval engraved version published in 1781 and now represented in the British Museum demonstrates how rapidly Roslin’s conception entered the broader visual culture of late-eighteenth-century Europe. The artistic economy in which the portrait was created differed substantially from the modern open market. In Catherine’s Russia, the most prestigious portrait production was sustained by imperial commissions, aristocratic patronage and diplomatic gift-giving. Roslin’s success was extraordinary: during approximately two years in Russia he received around seventy-five commissions, many of which had to be completed after his return west. The appetite for his work reflected both the wealth of the Russian court and its determination to present itself through the most polished international style available. Alongside imported masters such as Roslin, Russia was developing its own institutional artistic culture. The Academy of the Three Noble Arts had been founded in St Petersburg in 1757 and was elevated by Catherine in 1764 to the Imperial Academy of Arts. It recruited European teachers, trained Russian...

Artist: Ricardo Cejudo Nogales (Puertollano, 1952) Title: La Albufera de Valencia Year: 1986 Technique: Oil on canvas Canvas dimensions: 65 × 81 cm (25.6 × 31.9 in) Framed dimensions...

This is a hand cut and hand painted and hand made LED artwork by Italian artist Riffblast. It’s signed on the back as an original work of art ready to hang with frame. It has diffe...

Color lithograph. Printed by Ancourt, Paris. The Divan Japonais was a small café-concert at 75 rue des Martyrs, Paris, where Yvette Guilbert began her career. This is Toulouse-Lautr...

As a French Impressionist artist, most of Harry Deditch Dansky works were produced in the Mid-20th Century. He was known for his vibrant compositions and with a passion to portray li...

Boy in Red Shirt is an original lithograph by Margaret Keane c. 1980. A young boy in a red shirt is seen in front of a three story building in a city on a blue sky day. An ori...

Rare Limited Edition Serigraph of John Lennon's handwritten lyrics for the song "Little Flower Princess" first released on "Milk & Honey" in 1981 . It was written when Lennon was in...

Artist: Ernie Barnes Title: Destination Unknown Year: 1979 Print - Lithograph Size: 25" x 19 ½" inches Edition: Pencil signed and numbered 24/300 Unframed ‘Destination Unknow...

Robert Motherwell Pull Out All Flags (Engberg, Banach 263), 1980 Aquatint and etching in colors, on German Etching paper, with full margins Hand-signed by artist, Pencil signed and n...

Humphrey Bogart & Ingrid Bergman CASABLANCA Oscars Academy Awards Movie Legends Al Hirschfeld (1903-2003) Humphrey Bogart & Ingrid Bergman in "Casablanca" Etching and Aquatint, 1998...

Series: Sea Within — Shells & Pearls. An open oyster reveals a collection of luminous pearls, nestled within a shell enriched by delicate gold detailing, warm antique-gold tones, and deep imperial violet hues. Balancing realism with decorative refinement, the painting transforms a natural form into something timeless and precious — an object that feels both discovered and treasured. The pearls emerge as quiet symbols of abundance, beauty, and hidden value. Rather than displaying luxury as something external, the work reflects a more intimate richness: the treasures carried within, shaped by time, experience, and light. While the gold detailing remains a constant presence, subtle pearlescent layers reveal themselves only from certain angles, creating shifting reflections and a changing visual depth. Imperial Pearls...

Flowerball (3D) - Turn Red!, 2013 by Takashi Murakami Woven paper, four-color offset print, cold foil stamp, glossy varnish Published by Kaikai Kiki Co., Ltd., Tokyo 28 in diameter 7...

Carlo Perindani Capri Italy Oil Painting Framed Original Harbor Impressionist . In good condition measures 30x24

In this abstract landscape I explore the quiet atmosphere of a northern dawn. The composition is built through horizontal layers that suggest a distant horizon and the slow emergence...

Emily Berger’s paintings are based on a structure of repetitive and deliberate gesture that is intuitive but carefully considered. She brushes, wipes, rubs, and scrapes, incorporatin...

Matt Talbert's "Remember When" (2024) is an original, handmade oil painting on panel that depicts a portrait of a seated brunette in deep contemplation. Artist bio/statement: Matt ...

A very beautiful 1930's oil on canvas by French artist Jean Busquets depicting the garden of the Parc de Saint-Cloud on the outskirts of Paris. Excelle...

Aquatint, etching, and drypoint on Richard de Bas wove paper Signed and numbered 15/50 in pencil Printed by Atelier Crommelynck, Mougins Published...

Costume Design for the Ballets de Roland Petit by Iconic French Fashion Designer YVES SAINT-LAURENT (French, 1936-2008) Costume design Project Pour TURANGALILA Sight: 18 1/2 x 24 1...

Matisse style pastel tulips in vase on kitchen table Oil pastel drawing on paper One of a kind artwork Size: 50 × 65 × 0,1 cm It is original hand drawing on 250 gsm acid-free paper...

Anders Loman (1879–1953) Sweden Mountain Landscape in Moonlight, 1926 signed and dated lower right 26 oil on canvas unframed 64 × 68.5 cm (25.2 × 27 in) framed 74 × 79 cm (29.1 × 3...

Arístides Esteban (ARES) Hernández Guerrero (Cuba, 1963) 'The Rolling Stone (verde)', 2016 silkscreen on paper 27.6 x 19.7 in. (70 x 49.8 cm.) Edition of 50 ID: ARE-204 Hand-signed ...

In this 80x80 cm oil on canvas painting, Anna Shesterikova depicts a girl from the American Amish sect, a community that lives its own unique way of life: without electricity, using ...

Gottfried Salzmann NYC I Giclee on Hahnemuehle Velvet Year: 2018 Image Size: 23.5 × 16 inches (59.7 × 40.6 cm) Sheet Size: 31.4 × 24 inches (79.8 × 61.0 cm) Edition: BAT from an edit...

Oil on canvas, Canvas size: 13 x 18 inches Framed size: 19.5 x 24.5 inches Signed lower left

<p>Artist Comments
A quiet landscape at dusk, rendered in expressionist strokes of greens, blue and white and highlights of reddish orange. The river refl...

Original 1907 etching with soft-ground etching and roulette. Pencil signed to the lower right. Presented in a wooden frame with cream mount. On paper. Image size: 44 x 55cm.

Federico Castellon, Spanish-American (1914 - 1971) - Touching, Year: circa 1965, Medium: Lithograph on Arches, signed and numbered in pencil, Edition: 31/100, Image Size: 19.75 x...

Oil on canvas 24 x 18 in., 27 x 21 in with frame. This is a tribute painting, it was inspired and dedicated to Leroy Neiman. Paolo Corvino was born September 20, 1930 in Bronx, New ...

This magnificent bouquet of Red Tulips is an original lithograph by famous French artist Roger Muhl. The elegant lines and joyful colors are typical of the artist's love for nature and its flora. Roger Muhl lived in the town of Mougins in the South of France and he was strongly inspired by the bright and warm light found in the Mediterranean. This original lithograph is from a signed and numbered edition in pencil by artist of 175 plus 10 artist proofs. Printed and published by Edition E.F. Mourlot in 1990 Certificate of Provenance: Each individual work of art carefully curated by Mourlot Editions...

Skadi Engeln, a Berlin- and France-based artist, studied sculpture at FH Ottersberg with Robert van de Laar and painting with Michael Kohr and Hermanus Westendorp. Her work has been ...

Faye Dunaway at the Beverly Hills Hotel, 1977, Printed Later Silver gelatin print 30 x 30” estate signature stamped and numbered edition of 50 with certificate of authenticity Terry...

This late 19th-century oil painting by Danish artist Harald Foss (1843-1922) depicts the gentle surroundings of Ørslev Monastery in Jutland, where fresh Spring leaves begin to unfurl...

Firmado por el artista en la parte inferior El estado de la obra es bueno Se presenta enmarcada la pintura Medidas obra: 46 x 38 cm. Medidas obra: 62 x 53 cm.

Theo Tobiasse Suite: Shavuot Festival Year: 1984 Medium: Original carborundum embossed etching lithograph in colors on Arches paper (deckle edged paper) Signature: Hand signed by t...

This beautiful 18th century Italian Old Master oil painting is something rather special. Painted circa 1750 the subject matter is Saint John the Baptist as a very young child. He is ...

Artist: Alexander Shandor Title: Indian Summer Medium: Oil on Canvas Year: 2021 Style: Impressionism Dimensions: 23.5" x 31.5" x 1" inch ( 60 x 80 x 2cm) Presentation: Unframed, Gal...

An engraving on paper by Charles Louis Balzac, "DESCRIPTION DE L'EGYPTE. Koum Omboû (Ombos) Vue du Grand Temple". (ANTIQUITES, volume I, planche 40). Artwork size: 21" x 28". Arch...

Justo Barboza (Argentina, 1938) '17 trazos', 1995 silkscreen on paper Guarro Geler 27.6 x 19.7 in. (70 x 50 cm.) Edition of 20 Unframed ID: BAR1437-011-025 Hand-signed by author

Contemporary expressive female portrait inspired by Matisse, bold Fauvist color modern art painting celebrating feminine strength, authenticity, and inner transformation “Between Ti...

This charming mid-20th-century oil painting by Danish artist C. Sørensen depicts a traditional home illuminated by warm sunlight. Sørensen's interiors are meticulous, affectionate r...

Albert Clark British, (1843-1928) Bay Horse in a Stable Oil on canvas, signed Image size: 19.25 inches x 23.25 inches Size including frame: 25.75 inches x 29.75 inches A well-execut...

Artist Comments
While visiting the United Kingdom, artist Onelio Marrero explored the Irish National Stud Farm, known for breeding thoroughbred horses. The farm boasts breath...

Title: French River Landscape with Reflections and Trees Watercolor Painting Artist: Pierre Neveu (French b.1929) Medium: Watercolour on card / thick paper, unframed Size (H x W): 20...

Artist: Slonem, Hunt Title: Twilight Bunnies Series: Bunnies Date: 2025 Medium: Lithograph on Paper Unframed Dimensions: 16" x 24" Framed Dimensions: 22" x 29" x 1.25" Signatu...

Utagawa HIROSHIGE (1797-1858, after) Japan, Suijin Shrine and Masaki on the Sumida River Lithograph after a woodcut (Mourlot workshop) Printed signature in the plate Numbered / 150 ...

This painting invites us to see strength in a different light, not as something loud or forceful, but as something calm, grounded, and quietly powerful. There’s a gentle confidence i...

Leisure In Antibes by Slim Aarons A woman sunbathing in a motorboat as it tows a waterskiier, in the sea off the Hotel du Cap-Eden-Roc in Antibes on the French Riviera, August 1969...

Jean-Michel Basquiat Pez Dispenser (1984) Made of 7 ply Grade A Canadian Maple Wood 31 1/2 × 7 9/10 in 80 × 20 cm