Unframed More Art

Contemporary Fiber Art, Mixed Media Wall Hanging, 41 x 29 in, Lesley Richmond Lesley Richmond was born in Cornwall, England. Lesley now lives in Vancouver, BC, Canada. She received ...

Jean-Michel Basquiat Charles the First - Set of 3 skate decks Made of 7 ply Grade A Canadian Maple Wood 31 1/2 × 7 9/10 in 80 × 20 cm (each deck)

Artists Statement: My interest is in exploring ways of building structural forms in ceramics. Many ideas for the forms come from architecture while the inherent organic quality of th...

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The vibrant colors in this piece highlight a dynamic interplay of orange and green hues, evoking freshness and vitality. It captures the essence of abundance ...

Yayoi Kusama Pumpkin ( red ) Print on the cotton towel Size 34.2 x 91.2 x 2.5 cm Framed with the purple golden aluminium frame and the UV-protected acrylic glass published by シンワ繊...

Glenn Ligon 30 Americans Rubell Family Collection (hand signed and dated by Glenn Ligon), 2012 Hardback monograph with no dust jacket as issued (hand signed and dated by Glenn Ligon) Hand signed and dated 2012 by Glenn Ligon 11 1/2 × 9 × 1 1/4 inches Provenance Hand signed by Glenn Ligon at the opening reception for the present owner (see included documentation) Makes a fantastic gift! This hardback monograph with illustrated boards was published on the occasion of the exhibition at Luhring Augustine Gallery in NY from October 26 to December 8, 2012. Hand signed and dated 2012 by Glenn Ligon for the present owner From its inception in the 1960s, the Rubell Collection has been able to boast a particularly fine range of African-American art. Recent New York exhibitions inspired the Rubell family to mount an exhibition of their holdings in this area, reproduced here in 30 Americans. With a late addition to this exhibition, there are in fact 31 artists: Nina Chanel Abney, John Bankston, Jean-Michel Basquiat, Mark Bradford, Iona Rozeal Brown, Nick Cave, Robert Colescott, Noah Davis, Leonard Drew, Renée Green, David Hammons, Barkley L. Hendricks, Rashid Johnson, Glenn Ligon, Kalup Linzy, Kerry James Marshall, Rodney McMillian, Wangechi Mutu, William Pope L., Gary Simmons, Xaviera Simmons, Lorna Simpson, Shinique Smith...

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This painting portrays one of the paths at the Glendalough Monastery in Ireland. The concealed monastery hosts numerous ruins of chapels and burial sites, wit...

Amazing collection of Banksy art photos. Volume 1 Hardcover by Banksy’s ex-manager Steve Lazarides. Limited edition of only 1000. Numbered inside book. Has many never before seen ima...

Ultra rare and precious exhibition leaflet of Cy Twombly's Exhibition at Galleria La Tartaruga, Rome, 1960. Lithograph on ivory colored cardboard. Invitation of the American master exhibition at the La Tartaruga Gallery in Rome from the 26th April 1960. Dimensions closed: cm. 15x17.5. The cover is an original lithograph after Cy Twombly...

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

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In his distinct style of impressionism, artist Onelio Marrero displays a man in a suit reading the news as he sits by an empty dining hall. He bases the piece on sketches of a Back Bay, Boston restaurant named Bistro du Midi. He creates a narrative of an imaginary proprietor perusing a newspaper before the establishment opens and the clients fill the place. Onelio gives the viewer a sense of the décor and light streaming through the windows - beyond it, a hint of the Boston Public Garden.

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: restaurant, newspaper, bistro, cafe, table, Boston, Public Garden, Boston Common...

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Artist Jo Galang paints a tranquil river tucked in the middle of the woods. "One of the joys of life is finding unexpected treasure in the midst of nowhere," ...

Christo (Christo Wladimirow Jawaschew, born 1935 in Bulgaria, died 2020 in New York) and Jeanne-Claude (Jeanne-Claude Marie Denat, born 1935 in Casablanca, died 2009...

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In this painting, artist Doug Cosbie features small-scale American tobacco farms with their fields. Each has a curing shed that is attached to the main structure. "The atmosphere is humid after the rain, and the air has an overwhelming but delightfully sweet and pungent smell."

About the Artist
Artist Doug Cosbie presents the vibrancy found in nature with his impressionist, rural architecture centered artwork. Longing to create something that connects with people, Cosbie spent countless years perfecting how he portrays the world on canvas. Within his journey, he studied as an apprentice in the studios of Sam Black and Jack Shadbolt. As a plein air artist, Doug's studio is a portable pochade box...

Vintage Hermes Flap Bag Shiny black Porosus Piano Black Leather 1963 Claf leather lining

Rare antique enamel Vintage Singer Sewing Machine advertisement Sign in Hebrew or Yiddish. Please see photos for condition. Rare early Jewish advertising memorbilia This early twent...

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Inspired by the scenery of Monterey Bay in California, artist Lisa Elley captures a picturesque ocean view dotted with flowers in the foreground. California p...

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"This artwork is inspired by a vista I saw while on a camping trip to the Allegany Mountains," says artist David Thelen. The verdant trees bask in the sun's w...

This is a hardcover cloth-bound book with a dust jacket titled "Aidez L'Espagne", authored by J. Corredor-Matheos and published by Chartwell Books, Inc. in 1980. The text is presente...

Artist Comments
"This horse was just one in the midst of a crowd at the Santa Fe rodeo - a group that was waiting in the pens behind the action," shares artist Heather Foster...

Fireplace flame with angular base deep. Customization possible and designed in 2010. Also available to order in stainless steel. The included burner a...

Rare early 1980s exhibition catalogue published on the occasion of: “Expressive Painting After Picasso”- a group featuring works by: Pablo Picasso, Jean-Michel Basquiat, Francis Baco...

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Artist Suren Nersisyan shows an inviting view of a vineyard that draws the eyes further towards a scenic mountain range lining the distance. Rows of grapevine...

Struggle, 130x180cm, oil on canvas

Jean-Michel Basquiat The Offs 1984: "The Offs: First Record" original first printing, 1984, featuring original offset artwork by Jean-Michel Basquiat. This is from the original first...

Antique Chinese Four-Panel Lacquer Screen with Scenic Landscape Description: This exquisite antique Chinese four-panel lacquer screen is a remarkable example of traditional craftsma...

Andy Warhol Andy Warhol at Pace/Columbus (Hand signed during official signing), 1978 Super rare Limited Edition Fold-out Offset lithograph invitation. Boldly signed and inscribed by...

Frozen, 100x90cm, oil on canvas The work is sold without a frame.

Fire By Yoshitomo Nara 2025 Bamboo 23 x 3.5 x 1.5 cm

Hand signed lower right, Dated 1971 lower left This is not editioned and is a unique piece. 15 x 16 inches without mat Biographical info: The son of a rabbi, Yaacov Agam can trace ...

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...

The work is sold without a frame.

Raja Ravi Varma - Laxmi, 19 x 14 inches Oleograph with embellishments, Circa (Unframed & Delivered) Raja Ravi Varma (29 April 1848 – 2 October 1906) was an Indian painter and artist...

Invasion Map #23 Invader, "Invasion of Miami" Map "Invasion of Miami", 2012 Offset Lithograph 23.4 x 16.5 inches unfolded Printed on both sides Folded dimensions 8.25 x 4.75 inches C...

Mr. Dob, 2016 Edition of 750 Signature Stamped by artist's estate, Stamped by BAIT X Switch Series Mr. Dob Manufacturer ComplexCon Bait. Takashi Murakami’s Mr DOB sculpture toy is a...

Gallery service: Complimentary worldwide shipping is offered, with Signet Contemporary Art covering all tariffs, customs duties and import taxes, making international collecting simp...

Outdoor light for the garden or entrance area. This luminaire captivates by its unique shadow projection. The ball is supplied in rusty optics. The built-in lamp part has an E27 soc...

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...

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...

Enormous Greek Apulian Red Figure Lekythos, 19th/20th Century Terracotta 41 x 15 inches This has been mended and is showing numerous cracks. A lek...

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The setting is an arm of the Prospect Park Lake, known as the Lullwater for its stillness. In the foreground is the Prospect Park Audubon Center in the Boatho...

This is an Autograph Letter Signed by Carlo Levi to the Countess A.L. Pecci Blunt. Rome, December 9th 1950. In Italian. One page, single-sided. Excellent condition, perfecly readable. Including original envelope. Carlo Levi (Tourin,1902 – Rome, 1975), the Italian painter, writer, activist, anti-fascist, best-known for his "Cristo si è fermato a Eboli" (Christ Stopped at Eboli),writes this letter to the Countess and patron of arts, A.L. Pecci Blunt to introduce the Italian playwright and director Alessandro Fersen (Łódź, 1911 - Rome, 2001). Artistic Intentions and common initiatives could arise. The background: In the same year of this letter, in 1950, Alessandro Fersen together with Walter Cantatore and Emanuele Luzzati...

Oleg Sohanievich (Soviet Ukrainian, American 1935-2017) Steel plates and rods Stress Steel Sculpture, 1997, Hand signed and dated Oleg Sohanievich '97, Dimensions: 18 1/2" h., 21" ...

Early 19th century European folk art painted wood wedding, hope or bridal chest. A superb example of a European hope or wedding chest in remarkable condition Of characteristic dome ...

Nicolas Party
 Portrait Plate, 2021 Fine bone china
 Diameter 26.7 cm
 Edition of 250 comes in the original presentation box Nicolas Party is a Swiss ar...

Claude Monet's painting of his lily pond at Giverny is transformed into this beautiful dramatic jacquard tapestry woven in Belgium. Monet painted many scenes from his home at Givern...

Asger Jorn (1914-1973) Ege Axminster, Denmark. Danish Tapestry Rug Art-Line Etiquette de l'éditeur Ege Axminster (Danemark) titrée au revers. Les Emigrants 132 x 98 inches, Pure ...

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...

Solneman der Unsichtbare is an original Rare Book illustrated by Otto Nückel (Cologne, 6 September 1888 – Cologne, 12 November 1955) and written by Alexander Moritz Frey (1881–1957) ...

Edition of 340 copies including 33 original engravings. Copy on vélin Montgolfier d'Annonay, including: - 11 etchings by J. Daragnes, H. David, P. Ganon, P. Guastalla, J. Hechr, Cha...

This masterwork is currently on display at the Zimmerman Gallery in Carmel, CA Please note: The base is not included. We will guide you through a simple installation process for out...

Paint and gold paint on wood Circa early to mid 20th century. This is not signed A treasure from a proud congregation. It is a hand-carved wooden sculpture showing the Tablets of the Law flanked by two Lions of Judah. Their paws held the tablets. Their roaring mouths faced outward, protecting the commandments from threats. In a foliage design with gold and silver paint. Circa 1920-1940's. This Neoclassical, Judaic, Art Deco, Egyptian revival, Shul, Aron Kodesh hand carving, wood with gilding, Hebrew lettering ten commandments sign sculpture, was produced probably in New York. There was a show at the Folk Art Museum titled “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” That featured these antique magnificent pieces. From gilded lions to high-stepping horses, the sacred to the secular, and the Old World to the New, “Gilded Lions and Jeweled Horses: The Synagogue to the Carousel” traces the journey of Jewish woodcarvers and other artisans from Eastern and Central Europe to America and the unsung role they played in establishing a distinct Jewish culture in communities throughout the United States. The exuberant artworks stand as a testament to a history of survival and transformation and provide a surprising revelation of the link that was forged between the synagogue and the carousel as immigrant Jewish artists transferred symbolic visual elements into this vernacular American idiom. The first major study of this important aspect of the Jewish contribution to American folk art, the exhibition features approximately one hundred artworks and objects, including rare documentary photographs of Eastern European synagogue arks and carved gravestones, sacred carvings, papercuts, and carousel animals. Some of these same Jewish European carvers worked on Coney Island amusement park rides and carousel horses and other carnival and circus carvings.

Edward Bohlin Saddle (1895-1980) Hollywood, California Artist / Saddle Maker One of Montie Montana's personal Bohlin Saddles. Movie Star, Trick Rider, Trick Roper Signed. Leather & Sterling Silver #4 "Montie Montana's" Personal Bohlin Parade Saddle Circa Late 1930s - Early 1940s. It is all Bohlin made and marked to include the saddle, the headstall and the breast collar. All made in Hollywood California. Montie Montana (born Owen Harlen Mickel; June 21, 1910 – May 20, 1998) was a rodeo trick rider and trick roper, actor, stuntman and cowboy inducted into the Pro Rodeo Hall of fame in 1994 Biography Montana was born in Wolf Point, Montana, in 1910. He was a perennial participant in the Tournament of Roses Parade until his death in Los Angeles, California, in 1998. Television viewers know him from more than 60 appearances, waving to the crowd from his silver saddle. During the first inauguration of Dwight D. Eisenhower as the 34th President of the United States on January 20, 1953, Montana lassoed the president after his swearing-in. He can be seen as a contestant on the May 7, 1959 television broadcast of You Bet Your Life, along with his horse Rex.Montana would go to elementary schools and perform with Rex. He was at Camellia Avenue Elementary School in North Hollywood, California, in 1959, and he would talk about the rubber horseshoes Rex would be fitted with so Rex would not slip on the asphalt playground while Montie was riding Rex. He performed rope tricks on and off of Rex, and would pass out photos of him and Rex to the students at the end of his show. In 1996, a Golden Palm Star on the Palm Springs, California, Walk of Stars was dedicated to him. He was buried at the Oakwood Memorial Park in Chatsworth, California Filmography Year Title Role Notes 1932 The Saddle Buster Rodeo Performer Uncredited 1934 Stand Up And Cheer! Rope Spinner Uncredited 1935 The Circle of Death Little Buffalo, alias Jim Little 1935 Border Vengeance Montie Montana, Trick Rider Uncredited 1935 Melody Trail Rodeo Rider Uncredited 1936 Comin’ Round the Mountain Roper Uncredited 1936 Gun Smoke 1939 The Kid from Texas Trick Rider Uncredited 1943 Riders of the Deadline Ranger Kelton 1944 Take it Big Show Performer Uncredited 1944 Man from Frisco Montana Uncredited 1949 Down Dakota Way Sheriff Holbrook 1952 The Story of Will Rogers Trick Roping Double for Will Rogers Jr. Uncredited 1954 The Boy from Oklahoma Roper Uncredited 1960 The Rifleman Stage Driver 1962 The Man who shot Liberty Valence Cowboy on Pinto Pony Uncredited 1963 Hud Cowboy Uncredited 1964 Cheyene Autumn Trooper Uncredited 1968 Arizona Bushwackers Stage Driver 1972 The Young Rounders (final film role) Honors 1989 Rodeo Hall of Fame of the National Cowboy and Western Heritage Museum 1990 Pendleton Round-Up and Happy Canyon Hall of Fame 1994 Pro Rodeo Hall of Fame 1997 Ellensburg Rodeo Hall of Fame 2011 Cheyenne Frontier Days Hall of Fame 2015 Montana Cowboy Hall of Fame & Western Heritage THE BOHLIN BRAND IS AS ICONIC AS THE FAMED WESTERN STARS that wore it. The late actor Richard Farnsworth sported a recognizable gold steer-head Bohlin buckle...

Marina Abramović A Visual Biography (Hand signed by BOTH Marina Abramovic and Katya Tylevich), 2023 Large (huge!) hardback monograph with no dust jacket as issued Hand signed by BOT...

"SEPTA Bus" is a one-of-a-kind piece created by Eustace Mamba. This oils, acrylics, sewn mixed media, velcro, and thread artwork measures 10"h x 32"w and ships with a gallery-issued ...

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A poised cat with striking blue eyes sits amid an array of houseplants and dining wares. Pops of yellow contrast vibrantly against the background. The bold li...

Contemporary Figurative Ceramic Sculpture, Glazed, 23 x 20 x 18 in, Sunkoo Yuh The ceramic sculptures of SunKoo Yuh are composed of tight groupings of various forms including plants...

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...

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...

Le Diable Boiteux is an original modern rare book written by René Le Sage (Sarzeau, 1668 – Boulogne-sur-Mer, 1747) and illustrated by Tony Johannot (9 November 1803 – 4 August 1852) in 1840. Original First Edition. Published by Bourdin éditeur, Paris. Format: large 8°. The book includes 380 pages with several in text and full page illustrations. Mint conditions. Tony Johannot (9 November 1803 – 4 August 1852). Johannot was a French engraver, illustrator and painter. His historical paintings were exhibited at the Paris Salon for the first time in 1831. He became an illustrator much prized for his elegance, his diversity, and the lively character of his drawings, which were converted to engravings either by himself or by such artists as Jacques Adrien Lavieille, Émile Montigneul, and Alfred Revel. He was praised by Théophile Gautier.