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A fine European portrait of a priest, oil on canvas, probably dating to the 17th or 18th century, unsigned, with original stretcher, minor surface losses and damage, craquelure, edge...

70x70cm, print on canvas Edition 20 pcs.

70x70cm, print on canvas Edition 20 pcs.

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 ...

Sergei Inkatov’s original, abstract fine art oil paintings have been exhibited internationally. His expressionistic artworks are vivid and richly textured. Inkatov’s paintings radiat...

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...

“Bloom” is a contemporary porcelain wall sculpture installation by Heather Knight, founder of Element Clay Studio, a Savannah-based studio recognized for organic modern ceramic works...

Copper-plate engraving, hand-colored, 1608 - c.1630 and published by Joannes Jansonius, Amsterdam. Image size 15.75 x 21.19 inches (40 x 53.9 cm). A classic example of a world ma...

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...

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 ...

An intriguing example of a fully articulated circus puppet marionette, in the form of a clown. This figure is fully articulated with iron strings support...

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The floral still life painting features a bouquet of magnolias arranged in a tall glass vase. Artist Mary Pratt uses layers of soft green and silvery grey impas...

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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...

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...

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...

Performa x Barbara Kruger Don't Be a Jerk skateboard, 2017 Screenprint on skate deck Unsigned Edition of 100, unnumbered 31 × 8 inches From the Barbara Kruger "The Drop" show at Per...

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...

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...

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...

70x70cm, print on canvas Edition 20 pcs.

Guiding star, 70x50cm

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...

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A realistic animal painting depicts three great blue herons. Two of the herons are scanning their surroundings, seemingly in search of good fortune, trouble, or...

Artist Comments
Artist Onelio Marrero paints an emerald pool abundant with blooming water lilies. "I am fascinated by the three-fold nature of looking at the water's surface," says Onelio. He displays depth implied in the reflection of the sky, ripples, plants floating, and finally, the telltale signs of things just below the surface. Part of Onelio's ongoing series of paintings exploring bodies of water.

About the Artist
Artist Onelio Marrero paints impressionist city scenes of everyday life. He captures the romanticism of New York City, from the picturesque fountains in Central Park to a glistening city street on a rainy afternoon. He creates a sense of nostalgia and intimacy with his work, offering the feeling that you have visited this particular scene before. “Each play of light, each texture, and each movement of a figure can have a captivating effect on me,” says Onelio. He studied at The Cooper Union for the Advancement of Science and Art where he mastered discerning color and values, giving his work a more spontaneous appearance. Onelio’s work is an appreciation for beauty in all of its greatest forms; nature, art, and people.

Words that describe this painting: water lily, lilies, Monet, pond, lake, lily pads, reflection, forest, flower, impressionism, water, plants, oilpaint, nature, impressionism, nature, oil painting, green

Pink Water...

Cameo Pink Seaform with Black Lip Wrap (94.678.s1), 1994 Dale Chihuly (American, b. 1941) 14 x 32 x 18 inches Born in Tacoma, Washington, Dale Chihuly became the most famous ornate ...

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 ...

way home, 60x80cm

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Four Great Egrets stand together, all focused on something beyond the scene, while one appears to call out to the others. Artist Emil Morhardt notes that the bi...

Evening on the veranda , 80x70 cm, oil on canvas

Mayan Jewel by Jaroslav Prosek, Monumental Bohemian Crystal Sculpture, 2025 Carved Glass Crystal A monumental Bohemian crystal sculpture by master glass artist Jaroslav Prose, this ...

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A fallen tree stretches along a tranquil, icy riverbank, its gnarled branches reaching toward the pale winter sky. Patches of snow cling to the rugged bark, c...

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...

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...

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

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Bathed in quiet light, a weathered farmhouse radiates a sense of history and solitude. The faded clapboard siding, rusted tin roof, and simple lines stand resil...

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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Spring blossoms emerge under the morning sunlight, casting vivid colors across the landscape, even in the shadowed areas. Tall trees surround the house, creatin...

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Golden and orange light cuts through dark clouds, capturing the fleeting brilliance of sunset. The contrast between the fiery horizon and the brooding sky evoke...

Christa Capua says of her work... As a female artist working in the American South, I’ve always been intrigued by the contradictions that exist here and my relationship to them: the...

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Two woodsmen stand in a sunlit spring forest in this Fauvist painting. The figures balance the large tree trunks and dense foliage around them. Bright colors an...

Biomorphic Surrealism. Signed Luigi, Enamel on metal (probably copper). Mounted to a plexi or acrylic purple mounting. I am assuming it is Italian as it is signed Luigi but it might ...

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Artist Crystal DiPietro shares a spectacular mountain desert view from a camping and hiking trip to the Desert National Wildlife Refuge. Rendered en plein air, Crystal captured the sierra's golden summit as the sun sets, its rays melting into the west. "The late afternoon light lit up the dramatic peaks with a warm glow."

About the Artist
Many artists work with the landscape, but Crystal DiPietro sees her works as different from most in the genre. "I tend not to see landscapes as soft and pretty, but as rugged, dramatic and colorful." Many of her works depict wild storms and moody sunsets. She spends a lot of time in remote spots and uses layers of color to create her compositions. Her work hovers between a brief impression of a scene and a pure dream. Crystal's landscapes of southern Utah seem to undulate and continuously change. What's interesting, though, is that these mountains and valleys seem to do the same thing in person. In these areas, the view changes constantly throughout the day as the light shifts, throwing shadows of faces, mazes and alien patterns across the cliff faces. Crystal impressively captures what's there, and what seems to be but isn't.

Words that describe this painting: mountains, desert, peaks, sunset, landscape, southwest, west, western, plein air, Mojave, Joshua Tree, shadow, impressionism, oilpaint, impressionism, landscape, western, oil painting, blue

Sunset Glow...

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...

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

Sun and moon , 80x80cm, print on canvas.Edition 20 pcs. the sun and the moon symbolize dualism and the unity of opposites. The sun is often associated with masculinity, activity, st...

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Artist Janet Dyer captures the fleeting beauty of the sky in this coastal scene. Soft clouds drift above the horizon, golden sunset light receding in the distan...

The painting "First Rays," created in 2024 on Lake Skadar in Montenegro, is a stunning example of Pointillism or Divisionism. It depicts the mouth of the Rijeka Crnojevi?a River, whi...

Still life , 70x70cm, print on canvas Edition 20 pcs.

series "Shells", 70x50 cm, acrylic on cardboard The work is sold without a frame and mat

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The Strait of Juan de Fuca in Washington State provided the inspiration for this semi-abstract landscape painting. A rug...

Pose is a fired clay constructed, painted and mounted on MDF sculpture by Patricia Volk, dimensions are 80 × 61 × 16 cm (31.5 × 24 × 6.3 in). It is a unique signed piece and comes ...

Large Impressionist Oil Painting on Canvas, mounted on stretchers and framed in handmade frame. Depicting the Palaces along the Grand Canal with the Salute in the background and reflections and sunlight on the waters of the Grand Canal. Rene Jerome Legrand...

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

Butterfly Offering. Mexico. Signed and dated 96. Technique: Gouache and ink on paper.

Girl with umbrella 70x50 cm

This 12" x 15" etching in a 26.5" x 30.5" frame is attributed to Pablo Picasso. The imprint of the plate can be seen imbedded into the paper and is created using a deep brown ink. Th...

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

Edition of 20 pieces

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Artist Benjamin Xu presents a geometric architectural scene that conveys a strong sense of shelter, stillness, and spatial harmony. The viewer is drawn into a d...

Untitled Geometric Abstraction, an original oil on masonite by Juliette Steele, is a piece for the true collector. Steele's use of color and patterns immediately captivates the viewer, reminding us of works by other pioneer abstractionists, such as Piet Mondrian and Wassily Kandinsky. Steele's puzzle-like, discontinuous sections draw you across and into the work. This masterful original artwork comes with a minimalist frame and would make a great addition to an art collection, enhancing most any home, and perfect for those who have an affinity for abstracts, contemporary paintings, and color-rich works of art. Artist: JULIETTE STEELE (1909-1980) Title: UNTITLED GEOMETRIC ABSTRACTION Medium & Surface: ORIGINAL OIL ON MASONITE (framed) Signed: HAND SIGNED AND DATED BY ARTIST ON VERSO Year Created: CIRCA 1950 Country of Creation: UNITED STATES Image Area Dimensions: 22 x 28 INCHES Frame Dimensions:* 23 x 29 x 1.875 INCHES *This work of art is being sold framed. If you would like to change the frame to better match your style or environment, please contact us for Custom Archival Framing options. Additional Info: HIGHLY COLLECTIBLE WORK BY JULIETTE STEELE IN GREAT CONDITION CONSISTENT WITH AGE. THIS IS AN EXCEPTIONAL EXAMPLE OF THE ARTIST'S STYLE AND TECHNIQUE. THE FRAME IS A MINIMALIST WOOD FRAME WITH VERY MINOR SIGNS OF WEAR CONSISTENT WITH AGE. About the Artist: Juliette Steele, an American artist, was an accomplished printmaker, painter and teacher. Steele was part of the Geometric Abstraction and Abstract Expressionism movements. Her peers included Jackson Pollock, Mark Rothko, Hans Hofmann, Willem de Kooning, Franz Kline, and Clyfford Still. Steele was born in 1909 in Union City, New Jersey. In the late 1920s, she moved to New York to study art and fashion design at the Traphagen School of Design. A decade later, she moved to San Francisco with husband Edward Steele, and earned a Bachelor of Art degree from San Francisco State College. In the 1940s, Steele found inspiration from the new city, and produced a series of lithographs depicting San Francisco landmarks. At the same time, she earned a Master of Fine Arts from Stanford University, and continued her studies at the California School of Fine Arts in San Francisco. Here, she studied with Ray Bertrand and Clay Spohn...