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70x70cm, print on canvas Edition of 20 pieces A different print size can be made upon request.

Color lithograph on Rives BFK, 2001. Proof, aside from the numbered edition of 200 . With the artist's estate ink stamp, verso. Published by Editions T.A.T. Arts, Paris. The sheet ...

Banana YP x Andy Warhol Date of creation: 2024 Medium: PVC or Silicon piping with LED lights mounted on recycled acrylic board Edition: Open Size: 62 x 26.5 cm Condition: Brand new ...

Gallery announcement, offset lithograph in colors, on lightweight off-white wove paper. Hand signed by the artist. From the edition of unknown size. Published by Leo Castelli Gallery...

This piece titled "Creepiest Button to Ever Exist" is a one-of-a-kind original piece by Nicole Nikolich (Lace in the Moon) and is made from crocheted acrylic and beads hanging from a...

Brillo Box YP x Andy Warhol Date of creation: 2024 Medium: PVC or Silicon piping with LED lights mounted on recycled acrylic board Edition: 500 Size: 62 x 60 cm Condition: Brand new...

Krooked x KAWS Limited edition silkscreen on 100% Canadian 7-ply maplewood skate deck skateboard Signed on the deck on the verso with KAWS copyright ...

One-of-a-kind Pop Art Original Painting on Canvas by Gardani available for you. Hand signed by the Artist front and back, comes with official Gardani Certificate of Authenticity with...

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...

Smooth-surfaced, engineered black granite is sculpted into an elegant, spinning form by Jeremy Guy. This lively shape that appears to spin dynamically on its narrow base, like a piro...

The girls are resting, 80x60 cm, acrylic on canvas

Twilight Solitude depicts the serene beauty of Florida's Nature Coast. The golden sunset bathes the marsh in a warm, radiant glow, creating a tranquil atmosphere. The purple clouds o...

Gjon Mili’s Inspirational Influence This oil painting ‘Neo Deco – 07-05-25’ is an elaboration of a recent graphite pencil drawing ‘Neo Deco – 10-03-25’. Homage to Al...

Through The Ages by Toko Shinoda, black and white signed lithograph calligraphy 11/35 obituary published by CNN March 2021 Celebra...

Gerhar Richter, in collaboration with Vorwerk, made a special edition titled: 1024 Colors. The color palette by Richter is brought in with high quality pieces of carpet. *The images...

Beautiful and charming, this woven silk child's kimono robe in frame makes a wonderful accent. Circa 1970. Presented in wooden frame under glass with ornat...

DC x Jean-Michel Basquiat Skateboard Deck: Limited edition Jean-Michel Basquiat Skateboard Deck licensed by the Estate of Jean-Michel Basquiat in conjunction with Artestar in 2021, f...

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Vase of Spring Light by Ann Goldberg captures the vibrant cont...

Artist Comments
"The source of inspiration for this painting came as I was walking in Manhattan in the rain," says artist Onelio Marrero. "This street is based on 8th Avenue ...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...

Akiko Hirai Moon Jar, 2021 Grogged stoneware, rugged and cracked porcelain deposits over layered slips beneath running ash glazes 63 x 60 x 60 cm 24 3/4 x 23 5/8 x 23 5/8 in

This Mixed Media piece titled "Cry No More" is an original artwork by Roxana Azar made of a digital print on acrylic. The piece measures approx. 30”h x 23”...

Artist Comments
Working from memory, artist Onelio Marrero paints a full moon in the early morning hours over the salt marshes in coastal New Jersey. The silvery glow in the early morning hours reflects dreamily onto still waters. "These wetlands are profoundly affected by the tides," says Onelio. "The channels that meander throughout the marshes invite the viewer to visually follow the bends and turns." There is a timeless and mysterious quality in these natural elements and Onelio's memory of the scene is well served in the execution of this painting.

About the Artist
Onelio Marrero paints city scenes of everyday life. In an impressionistic style he captures the romanticism of New York City, the picturesque fountains in Central Park and the wet city streets after a rainy afternoon. His use of warm tones creates a sense of nostalgia and the feeling that you have visited or seen this particular scene before. Onelio will often paint from direct observation, or he will work from a combination of photographs and combine numerous sources into one piece. In this way his work combines reality with fantasy, creating a new story with each painting. His work captures an appreciation for beauty in all of its greatest forms; nature, art, and people.

Words that describe this painting: marsh, wetland, swamp, inlet, waterway, stream, river, grass, tree, cloud, moon, mist, morning, water, reflection, dawn, impressionism, oilpaint, panoramic, nature, impressionism, nature, oil painting, blue

Morning Moon and Cloud...

KPM, Madonna del Dito, oval, slightly curved porcelain picture plate by KPM Berlin in fine polychrome onglaze painting, 27 x 22 cm (plate size), 33 x 28.5 cm (frame), unsigned, press...

sisterhood , 70x70cm, print on canvas Edition 20 pcs. A different print size can be made upon request.

Nineteenth Century Victorian Dutch Marine Oil Painting on Canvas of Boats and Fisherfolk off the Coast at Rotterdam. This is a superb luminous shimmering Oil on Canvas on stretchers which is framed in a period gold frame. This work is by the Listed and World Renowned Marine Painter James Webb...

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...

"The bay's radiance" captures the timeless charm of Perast, a picturesque old town nestled in the Bay of Kotor, Montenegro. Painted in the vibrant pointillist style, this artwork exu...

Gardani announces a new Pop Art Limited Edition, Giclée printed on Paper. Each print is Hand signed and numbered by Gardani, with a signature, thumb print and registration number on...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...

Artist Comments
A vineyard stretches across the foreground of this French countryside scene. Olive trees scatter across the landscape, while a few houses sit at the foothills. ...

"She Carried Water", 2019 (Abstract Free Standing Tabletop Sculpture in Shades of White, Grey and Black) 31 x 12 x 8 inches Precision board, Venetian plaster, pigments, beeswax The ...

70x70cm, print on canvas Edition 20 pcs.

Artist Comments
Artist James Hartman captures the meeting point of the Berkeley Marina and San Francisco Bay in this expressive California landscape. A favorite Bay Area spot t...

The State Horse India, late 19th century Carved wood decorated with embossed and studded metal plates. Carving depicting the harness (bridle, saddle and caparison), embellished wi...

Victorian Maritime Oil Painting of HMS Ganges anchored off Falmouth with Sailors alighting and on deck with Sailing Boats. Oil on artists card, laid on board and framed in its orig...

A fine impressionist painting of a French pastoral landscape with trees and cows in the distance by American artist John Leslie Breck (1860-1899). Breck was born in the South Pacific...

Exhibition Poster - The Red Horseman (from Leo Castelli Gallery) after Roy Lichtenstein, unsigned Roy Lichtenstein was a leading figure in the Pop Art movement, recognized for his...

70x70cm, print on canvas Edition 20 pcs.

Resurrect Studio, “Tabasco,” Vintage Glass Sculpture, 26 x 19 x 12 in. “Tabasco” is a bold and commanding vintage glass sculpture by Resurrect Studio, the collaborative practice of ...

Yellow fields is an original painting by Eleanor Woolley. A beautiful view from May hill with the bright yellow fields of oil seed rape contrasting wildly with the ploughed patches ...

In this vibrant canvas, I've melded acrylics, oil, and spray paints to create a playful and energetic work that epitomizes the spirit of both comics and pop art. This piece bursts wi...

Jewish Museum x Kehinde Wiley Alios Itzhak (The Worldstage: Israel), 2011 Transfer print on 100% Canadian maplewood skate deck. Autographed by Kehinde Wiley in black marker Edition ...

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In this evocative watercolor painting, artist Vic Roschkov captures the quiet resilience of a coastal sanctuary. Bathed in the crisp light of a northern afterno...

BM Fiberglass / Carbon Fibre impregnated with catalysed polyester resin Powder filled acrylic lacquer on filled polyester resin base 27" x 10" x 11" "I am an artist, a sculptor not ...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...

This beautiful reverse-painted original chandelier by Ulla Darni features a beautiful and vibrant floral design with all colors of the rainbow included. The diameter of the chandelie...

Jean-Michel Basquiat 1000% Bearbrick Vinyl Figure: A nicely sized (27 inch), highly collectible Bearbrick Basquiat statue piece, trademarked & licensed by the Estate of Jean-Michel ...

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The impressionist landscape painting depicts a sunlit field flanked by birch trees near Bedouin, Provence, France. White trunks tower in the foreground, while a...

Suite of Ten etchings and dry-points: • L’Auberge des Trois-Corbeaux. Wentworth 29 (i/iii) • Quarrelling. Wentworth 18 • The Rubens’ Hat. Wentworth 8 • The Thames, Wentworth 20 • Bas...

This masterpiece is exhibited in the Zimmerman Gallery, Carmel CA. Dive into the whimsical realm of mystique with this utterly enchanting totem. Crafted with meticulous detail, this...

The colorful abstract artworks of Romanian artist Alex Voinea are inspired by experiments with paint poured over vibrating surfaces, such as speakers at full volume. Alex Voinea coll...

Artist Comments
A quiet winter stillness settles over the countryside. A massive evergreen stands sentinel beside a solitary house, framing the scene in profound silence. Paral...

Victorian Landscape with Horse and Foal with Cattle in a pasture by Moonlight. Large Framed Oil Painting of Animals gathered together in the Moonlight. An evocative Landscape which is well drawn and nicely executed. "Horse and Foal and Cattle in Pastures by Moonlight" Oil on Canvas (18 by 24 inches) Signed and dated 1899 and Framed in a traditional Impressionist Swept Frame. Charles Augustus Henry Lutyens was a portrait, animal and sporting painter. He was fairly eccentric and indeed named one of his sonsSir Edward...

In the transparent greenery of spring 80x60cm, oil on canvas

Artist Unknown The Bob Dylan Poster 1967 Lithograph Open edition 29.25 x 19.75 inches

Hand of Glory Sculpture; Metal, car paint, vintage light bulbs, motorized Year: 2018 Signed Size: 28.5 x 18 x 5.75 inches COA provided Tom Binger f...

This piece titled "S&S&S&S 6 Study in Venetian Pink Paper" is an original artwork by Matthew Shlian made of hand-folded archival paper. This piece measures 29"h x 13.5"w x 1.5"d and ...

70x70cm, print on canvas Edition 20 pcs.

A contemporary painting by British Artist Alec Cumming. Alec Cumming 'Through the Nights that have Gone' 76cm x 71cm - canvas 2014 Signed and dated verso with a Gallery for Art 18...