Art by Medium: Fabric

I wanted to create this piece with one focus in mind - trying to get this colour palette to really sing on the canvas! So gold, prussian blue, olive green, yellow ochre and browns an...

Dating from circa 1884, this original French poster promotes La Révolution, a dramatic poem and historical drama written by the Comte Ottevaere-Larcher. Published by E. Dentu at the ...

"Rainy Night in Paris, Kissing in the Rain" 1908 Frédéric Levé (1877-1968) Oil on canvas Signature notated on stretcher bars on reverse 25 5/8 x 21 1/4 (32 7/8 x 28 1/3 frame) inch...

Queen Mary Of Scots (1542-1587), 18th Century Scottish School Large 18th Century Scottish School portrait of Queen Mary Of Scots, oil on canvas. Excellent quality and condition ear...

Magnificent Italian painting from the first half of the 18th century. This oil on canvas artwork depicts the biblical episode of Moses driving the shepherds from the well of Midian. ...

To Shizico Yi a triptych is a visual prayers; it embodies a meditative journeylike the form of meditation. The repetition of motifs within the triptych serves as a method to revisit...

A fine and important French oil painting of Napoleon & his army, by the French-American artist Raymond Desvarreux (1876-1963), the painting signed & dated 1906. The painting depicts Napoleon seated in his carriage examining battle plans...

Title: Nature I Medium: Oil on canvas Size: 27.5 x 39.25 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This paint...

Antique American school abstract expressionist painting. Oil on board. Signed. In excellent original condition. Nicely framed in a period wood molding. Excellent condition, read...

Henry John Boddington. 19th century English landscape with figures by a riverside. Simply one of the finest quality English landscape Ive ever had the pleasure of owning . This i...

Title: Nature II Medium: Oil on canvas Size: 27.25 x 39.25 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This pai...

This captivating artwork presents a lush and vibrant depiction of blooming irises in a sunlit meadow. The artist skillfully employs a rich palette of purples, blues, and pinks, givin...

The Unfurling is a dramatic abstract landscape painting of light and time. I am ever more aware of my nothingness, of my tiny, tiny place in this universe. Of the passage of time, pa...

A tribute to joy, simplicity, and friendship. Inspired by Snoopy’s gentle philosophy of life, this painting celebrates bliss, laughter, and emotional freedom. References include his ...

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...

We offer complimentary worldwide shipping and cover all tariffs and import taxes for this artwork. This exceptional artwork is currently on display and available for sale at Signet C...

Contemporary Art, Abstract Painting Acrylic on canvas 330 x 205 cm Signed FREE SHIPPING ROLLED UP About the artist Enrique Pichardo (Mexico City, 1973) graduated from Escuela Naci...

A passion for horses, equestrian pursuits, and painting define Brooke Major's life and career. A native of Atlanta, GA, Brooke Major has been living and working as a professional art...

Italian artist Alessandro Casetti's paintings metaphorically represent all the emotions, fears, and hopes that populate our daily life inside and outside of our own bodies. Through a...

A charming oil painting on canvas depicting a colorful floral still life in a blue vase on top of a wood table. The flowers depicted are a bright bunch of tulips, placed effortlessly...

A show of love to the friends you call family. Norfolk, England in Autumn ADDITIONAL INFORMATION: Acrylic paint on Canvas 100 H x 120 W x 4 D cm (39.37 x 47.24 x 1.57 in) Sold unfra...

The love affair between the Emperor Hadrian and his Greek companion Antinous is perhaps the most famous and tragic romance in Ancient Rome. So great that it inspired the final great...

Original Antique Western Nevada Desert Oil Landscape by Phoebe K. Higgins A mid-century desert oil landscape of Western Nevada by Phoebe K. Higgins (American, 1895 - c 1960), circa ...

The central concept of Larios painting series KHLORIS is based on the idea of ​​the garden as a metaphorical space. Larios seeks to find a certain romantic beauty in the details of n...

Los Angeles artist Marc Raphael's abstract expressionism paintings are influenced by New York's abstract expressionist movement. After encountering Jackson Pollock’s work for the fir...

Endless Beach was painted in North Cornwall and is based on coastal locations such as Daymer Bay, Polzeath and Padstow. It looks beautiful in a home with bright uplifting colours and...

The work reflects the artist’s mastery of gesture and emotion, where each mark becomes a visual language. A striking piece that brings movement, depth, and intensity to any collectio...

Acrylic painting on canvas Size: 70 × 92 × 2 cm (unframed) This modern abstract acrylic painting features bold black flowers in minimalist vases set against a vibrant polka dot back...

Bethanne Cople’s Felt The Sweets Of Fan is an intimate original oil painting on linen panel. At just 6 x 12 inches, its elongated format lends itself beautifully to intimate displays...

Portrait of a Mrs Ann Jennings, dated 1728 Enoch Seeman (1689-1744) Large 18th Century English School half-length portrait of a Mrs Ann Jennings, in straw hat and dress, oil on can...

Lilly Muth's architectural paintings transport viewers on a visual journey to a different world, where imagination knows no bounds and the boundaries between reality and fantasy blur...

Bold figurative abstract by California artist Catherine Freethy (American, b. 1962). This abstract features vibrant color block shapes in blue, red, and green, with accents in yellow...

Artist : Susan Kiefer Title : Vertigo Materials : oil on canvas Date : March 2020 Dimensions : 20" x 20" x 20" Description : Tilted green oval balanced between orange and brown oval...

Antique American landscape oil painting by . Oil on board. Signed. Framed. Measuring 16 by 19 inches overall and 10 by 13.5 painting alone.

Still life on black table. Oil on canvas, 135x140 cm

Motivated by bold color and fast brushwork, we are moved by the simplicity and thick textured oil paints in these works. Shaoul’s “My Heart Collection” is a vibrant and energetic dis...

Vintage American modernist oil painting. Oil on canvas. Unsigned. Framed. Provenance from a Sag Harbor, NY collection. Measuring: 51 by 131 inches overall. Handsomely framed in mini...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Valery Baida was born in 1958 in Russia. From 1983 to 1989 he studied at the All-Union State Institute of Cinematography at the Faculty of Arts. Taken part in exhibitions since 1983....

Time to Bloom from the Inner Landscapes series Acrylic on canvas Contemporary Abstract Landscape Painting Time to Bloom is a contemporary abstract landscape acrylic painting from th...

"Winter Morning" by Dan Young is an original oil painting depicting a rural snow scene. This painting is framed at 14.62 inches by 16.62 inches. Dan Young was born in Denver and gr...

Na Kumuwaiwai Hohonu, Underwater Spirt - Hawaiian Symbolist Figurative Hawaiian symbolist nocturnal figurative of glowing whispy figure underwater with mountains and red coral garden by Marguerite Louis Blasingame (American; 1906-1947), circa 1940-45. Marguerite and her husband Frank Blasingame...

LeRoy Neiman, American (1921 - 2012) - Olympic Jumper, Year: 1989, Medium: Tapestry, signed and dated, Size: 84 x 60 in. (213.36 x 152.4 cm)

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Still life Antonio Celli Italia 2002 Oil on canvas cm. 80x100 n this precious oil on canvas, Antonio Celli is inspired by the paintings of the Neapolitan...

Gwen Wong's work is both painterly and allegorical, caught somewhere in the middle between the representational painter and the narrator. "I am inspired by the idea of a childhood re...

Harriet Peale Portrait of Rebecca, 1840 Inscribed verso, “Portrait of Rebecca Greenwood (?)/ Aged 25 years/ Painted by Harriet C. Cany/ May 1840” Oil on canvas 28 3/4 x 23 3/4 inches...

Artist: Garry Nalbandyan Title: Walking Medium: Oil on Canvas Year: 2026 Style: Impressionism Dimensions: 22" x 16" x 0.8" inch (55 x 40 x 2cm) Presentation: Unframed, Gallery Wrappe...

This signed and dated landscape titled Lyngby Sø presents an unusually restrained exploration within Peder Mønsted’s overwhelmingly polychrome productionn. E...

The Artist's Apartment Mid-Century Fauvist Interior Scene Original Oil on Canvas Vibrant interior scene by Santa Cruz California artist Frances Rinaldo (American, b. 1943). A bright...

Lebanese American artist Sally K.'s captivating floral portraits are both mesmerizing and empowering. Her pop-realistic paintings are inspired by strong, feminine women, celebrating ...

This coastal landscape, painted in oil on canvas in the second half of the 19th century and attributed to the British marine artist William John Roffe (1845-1889), captures the poeti...

"Cabinet of Curiosities" Oil on canvas Large original, one-of-a-kind, painting 39x27in Shipped stretched and framed. In this new series artist explores and brings together the old an...

Jungle Nights Abstract Expressionist Composition in Oil on Canvas Color, texture, light and shadow interplay in this dark jewel tone abstract by an unknown Bay Area abstract express...

Pocket Rufous Hummingbird 238 (canvas size 5x5cm) is an original oil painting by Dani Humberstone as part of her Pocket Painting series featuring small scale realistic oil paintings,...

RAFAŁ GADOWSKI (born in 1973) Studied at The European Academy of Arts in Warsaw Faculty of Painting, as well as at the Faculty of Graphic Art at the Cracow Academy of Fine Arts. He...

17th century Flemish School, Saint Barbara This accomplished 17th-century Flemish oil painting depicts Saint Barbara, shown as a serene and powerful woman dressed in a luminous red gown, set against a warm, atmospheric background and proudly holding her traditional attribute; a tower. The invention of the present composition stems from 17th century Antwerp and was likely drawn by Theodoor van Thulden...

Caesar on his way to Pompeii. 1999, canvas, oil, 40x50 cm

A burst of sunlight captures the essence of a summer morning. This oil and pastel composition celebrates the beauty of simple pleasures. A white spherical vase anchors the scene. It ...

Love often gets caught in the crossfire of ego. We like the idea of romance, the gentle back-and-forth, the sweet anticipation, the playful dance of two people coming together. But w...