Fabric More Art

It is signed in a stitch Omaggio a Depero, Ivana, 2000 Fortunato Depero (1892 – 1960) was an Italian futurist artist and painter, writer, sculptor and graphic designer who worked in...

mountain landscape , 100x100cm, acrylic on canvas

Large Orig JEAN VOLLET French Impressionist Oil Painting. Unbelievable painting the colors are unbelievable. Definitely one of jeans best paintings. Measur...

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...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

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 ...

A fine impressionist oil painting of dappled light on the ocean by American artist Van Dearing Perrine (1869–1955). Perrine was born in Kansas and moved to New York in the early 1890...

Amber Young's creative focus centers on nature, with a particular emphasis on the intricate beauty of forests, flowers, and water reflections.Young's artistic journey is deeply roote...

This exceptionally handsome and imposing portrait is a particularly accomplished example of British grand-manner portraiture of the early Georgian period. Preserved in excellent over...

Expressive, romantic, and richly layered, this original floral abstract " Of Love and Other Things" by Sandy Palasti captures the quiet beauty of peonies in bloom through a contempor...

Fonfria's work explores human behavior and social rules with a critical eye and humor, touching on personal themes such as dreams, fears, and memories. The images come from old magaz...

Mark Acetelli’s oil and mixed media paintings awaken the viewer’s sense of exploration and adventure; they demand a new discovery. His artworks exhibit a chemistry of complexity and ...

Abraham Rattner (American, 1895-1978) Hand signed Rattner on the label and signed in the weave Edition 1 OF 8 (I do not know how many of the 8 were actually produced) Created at Itche Mambush Atelier Workshop Ein Hod Artist Village Israel. Titled: In Memory of the Six Million A stunning large example in a brightly colored Abstract expressionist design. A hand made made textile artwork Dimensions: 55 X 79 inches This is an Aubusson style flat weave hand woven wool tapestry wall Hanging. Hand signed. Executed at Itche Mambush studios Ein Hod Artists Village. Itche Mambouche worked with Marcel Janco, Mordecai Ardon, Robert Helman, Sami Briss, Abraham Rattner and others inspired by Jean Lurcat and Jean Picard le Doux. This is similar to an Aubusson style flat weave tapisserie hand woven wool tapestry. Along with the George Goldstein...

Mark Acetelli’s oil and mixed media paintings awaken the viewer’s sense of exploration and adventure; they demand a new discovery. His artworks exhibit a chemistry of complexity and ...

Louis Emiel Chappel (1888-1963) floral still life II oil painting, circa 1950s Beautiful full basket bouquet of flowers on a pedestal by listed artist Louis Chappel. Original oil o...

Faun`s sweet dream, 2021, 90x80 cm

Craig Alan – Rhapsody in Blue 2022 Medium: Giclée on Canvas Edition: Framed 5/75 Artwork Size: 50 x 62 in Framed Size: 50 x 62 in Price: $4,995 Craig Alan’s Rhapsody in Blue (2022) ...

"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 ...

After Alexander Calder – Star, Hand-Woven Jute Tapestry, Bon-Art Guatemala, 1975 A striking large-scale hand-woven tapestry titled Star, after Alexander Calder, produced in Guatemal...

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...

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...

Bold yet tranquil, this original floral abstract "The Comfort of Rituals" by Sandy Palasti is an expressive exploration of color, gesture, and atmosphere. Inspired by the fleeting be...

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

Canvas Sz: 17 1/4"H x 22 1/2"W Frame Sz: 22"H x 27 1/4"W w/ coral matte & gilt bamboo frame Partially finished Designed by Erica in the 70's, her vintage map recalls many of her ...

LEONARDO NIERMAN – UNTITLED TAPESTRY ⚜ Wool tapestry ⚜ Signed in the weaving lower right ⚜ Weaver: Gobelinos Riedl ⚜ Features original hanging loops ABSTRACT EXPRESSIONIST TAPESTRY ...

Textile size 8.5 x 10 in. Frame size 13.5 x 15 in. This piece is an ancient Coptic Egyptian textile fragment, dating from the 3rd to 5th century CE. It is composed of a coarse, plai...

Marine. Original tapestry RAVENTÓS Mª Assumpció – (San Sadurní d’Anoia, Barcelona 1930). Raventos trained at the elite Sant Jordi School of Fine Arts in Barcelona. Raventós expanded...

Manantial II. Original tapestry RAVENTÓS Mª Assumpció – (San Sadurní d’Anoia, Barcelona 1930). Raventos trained at the elite Sant Jordi School of Fine Arts in Barcelona. Raventós ex...

Triptych "A Story for Three" 100x50cm x3, acrylic, canvas

Rachel Taggart’s abstract paintings explore the way light passes through color and creates a sense of depth. Diluted acrylic washes settle into the raw canvas in translucent layers, ...

This piece is made to order. Please allow for 4 to 6 weeks for production. This piece titled "DALL·E 2023-05-30 07.23.49" is a crafted original piece by Tuft the World...

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

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...

Jacquard woven with relief stitch. Fully lined with rod pocket for hanging. 65% wool with/cotton/rayon/polyester. Also available in size 67x77 ( $1,499.00). Please message for more...

DIEGO ARMANDO MARADONA (1960-2020) Official Le Coq Sportif Argentina No. 10 World Cup Shirt c. 1986 / Signed in 2008 Official Argentina National Team jersey by Le Cog Sportif, hand-s...

Birds, 100x120cm, oil on canvas

Drawing inspiration from an immersive and impressionistic interpretation of nature, Canadian artist Vé Boisvert paints textural original artworks that capture the fleeting effects of...

Born in 1982 in Manzanillo, Cuba, artist Darwin Estacio Martinez honed his artistic skills at the Professional Academy of Fine Arts "El Alba" i...

A fine impressionist marine painting of boats at dock on Cape Ann by American artist Emile Albert Gruppé (1896-1978). Gruppé was born in Rochester, NY, and is renowned for his New En...

70x70cm, print on canvas Edition 20 pcs.

Tracey Emin Always Me (Hand signed and dated by Tracey Emin), 2004-2016 Limited edition two-sided hand bag of printed cotton canvas, leather trimmings and wool felt patchwork. Uniquely hand signed and dated by Tracey Emin in black marker 10 × 18 1/4 × 8 1/4 inches Hand signed and dated in black marker by Tracey Emin; also bears plate signature Produced by Tracey Emin in collaboration with Longchamp If you're looking for a special Tracey Emin gift that few (if any) people you know would have, and that you are unlikely to find anywhere else in the world - this is it. Tracey Emin has been internationally acclaimed for her textile work, so it is not surprising that the company Longchamp would have commissioned her to design a bespoke handbag for them. This is the only Tracey Emin Longchamp...

N3, 2022, 90x80 cm

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...

This magnificent and exceptionally decorative portrait of a young woman is one of those early Georgian images in which likeness, sumptuous colour and symbolic meaning combine to unus...

Sol LeWitt Limited Edition Geometric Abstraction Silk Scarf, ca. 1987 Limited Edition Silkscreen on 100% Italian silk scarf/shawl Signed on the fabric with artist's printed signature...

A colorful tonalist landscape and the end of the day by contemporary artist Dennis Sheehan (b. 1950). Sheehan was born in Boston, Massachusetts and went on to become well known as a ...

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...

140x90 cm, oil on canvas

RED HEADS - (Diptych) - This pair of floral landscapes emphasize the thoughtful arrangement of elements, resulting in paintings that are understated yet visually compelling. Textile ...

“Elephant In The Pool,” an original oil on canvas by Robert K. White, is a piece for the true collector. White’s careful attention to detail and vivid use of greens, browns, and blue...

Autumn evening, 90x70 cm, acrylic , canvas

Here for your consideration is a vintage Chinese forbidden stitch silk embroidery metallic couching textile badge on a pure silk panel. Under glass. C...

ONLY PINK - An expressive burst of delicate pink flowers creates a composition full of movement and energy. A blend of acrylic and oil pastel is used to build up rich textures and lo...

An oil painting of boats at rest as seen from Secret Beach in Sag Harbor. "Secret Beach" is the name Ben Fenske has given to his favorite painting spot in Sag Harbor, NY. A place he ...

Faun`s rest, 2021, 80x70 cm

Arizona artist Gail Titus paints vibrant abstract compositions in acrylic on canvas with a focus on texture and color. The geometric planes of her artworks and the texture in her movements are boldly hatched in contours of energetic brushstrokes. She sends the viewer on a journey of discovery across the painted surface to continually re-discover the the depth of hue, composition, and dimension. This large one-of-a-kind dynamic and textural painting is 60 inches high by 48 inches wide. It is wired and ready to hang. The sides of this expressive abstract artwork are painted as a continuation of the front. It does not require framing. It is signed and titled by the artist on the back. Free local Los Angeles area delivery and free professional installation in the local Los Angeles area is included, including placement and hardware. Affordable Continental U.S. and worldwide shipping is available. A certificate of authenticity issued by the art gallery is included. After working as a ceramic artist for more than twenty years creating wall sculptures and commissioned installation work, Gail Titus has been focusing more extensively into pursuing her long time interest in abstract painting. Her detailed studies of abstract painting techniques lead Gail Titus to develop works on canvas using acrylic paint and a carefully chosen mix of unconventional tools and techniques. The primary focus has been on surface development and exploring textures. Her artworks have been acquired by corporations and private collectors throughout the United States, Canada and Australia. They have been featured on hit TV shows such as "The Catch" on ABC. Artspace Warehouse has been representing and exhibiting Gail Titus' original artworks since 2017. The gallery has been a 1stdibs partner since 2014 with consistently excellent reviews from clients worldwide. The gallery exhibits a large selection of affordable original artworks from established and emerging international artists with diverse backgrounds at high standards. Artspace Warehouse is known to provide accurate descriptions, images, reliable services, communication, and delivery. REPRESENTATION Artspace Warehouse Los Angeles EXHIBITIONS 2022 The Unknown Nature of Being, Tubac Center of the Arts, Tubac, AZ 2021 Surfing Madonna Save the Ocean, Escondido Municipal Gallery, Escondido, CA Mission Valley Artwalk @ Little Italy, San Diego, CA Twenty Women Artists: NOW - Oceanside Museum of Art, Oceanside, CA 2020 20/20: Twenty Women of Vision, Fresh Paint Gallery, San Diego, CA 2019 OMA Artist Alliance: Creative License,- Sparks Gallery, San Diego, CA The First Artist’s Invitational, Swift Gallery, San Diego, CA Mission Federal Artwalk @ Little Italy, San Diego, CA Artwalk @ Liberty Station, San Diego, CA 2018 Informal Languages, Artspace Warehouse, Los Angeles Prom Dress: Seventeen on Being 17, Cannon Gallery, Carlsbad, CA 2017 Featured Artist Exhibition, SACCA, Tucson, AZ Pop Futurism and Abstraction, Artspace Warehouse, Los Angeles, CA 2010 Abstract Paintings, Ventana Canyon, Ventana medical Systems, Inc, Tucson, AZ 2007 hand + spirit + art, Tohono Chul, Tucson, AZ The Practice of Abstract Painting, The Drawing Studio, Tucson, AZ 2000 Crosscurrents, The Gallery at the Tucson International Airport, Tucson, AZ 1997 Art Spirit, Shemer Art Center, Phoenix, AZ Desert Reflections, Ironwood Gallery, Arizona-Sonoran Desert Museum, Tucson AZ 1996 Two person show, Tucson Jewish Community Center Fine Art Gallery, Tucson AZ From Earth to Art, Pink Adobe Gallery, Tucson, AZ 1995 Designer Showcase ’95, Tucson Museum of Art and ASID, Tucson, AZ 1993 Four Person Exhibit, After Image Gallery, Silver City, NM Alumni Show, WMNU McCray Gallery, Silver City, NM SACA Show, Desert Artisans Gallery, Tucson, AZ 1992 WNMU McCray Gallery, Silver City, NM All Fired Up, Impressions Gallery, Tucson, AZ 1991 Southern AZ Clay Artists, Impressions Gallery, Tucson, AZ 1988 Graduate Show, WNMU McCray Gallery, Silver City, NM AWARDS 2022 The Unknown Nature of Being, Best of Show Award 2010 Ventana Canyon Abstract Paintings, Honorable Mention 1997 Desert Reflections, Honorable Mention 1993 Southern AZ Clay Artists, Cash Award 1992 WNMU Miller Library Permanent Collection, Purchase Award COLLECTIONS USC Fisher Museum of Art permanent collection, Los Angeles, CA WNMU Miller Library permanent collection, Silver City, NM Law Office of Jojene Mills, Tucson, AZ Karp and Weiss, Tucson, AZ Farrell and Bromile, Tucson, AZ Crescent Real Estate, Fort Worth, TX Gavi Italian Restaurant Corporation, Tucson, AZ Myerscoff Restaurant Corporation, Inc., Charleston, IL Numerous Private Collections INSTALLATIONS 2006 Ceramic Installation, Ford Elementary School, TUSD,Tucson, AZ 2005 Ceramic Installation and Painted Mural, Gavi Italian Restaurant, Tucson AZ 2005 Ceramic Installation, Private Residence, Tucson AZ 2004 Ceramic Installation, Ochoa Elementary School, TUSD, Tucson, AZ MEDIA COVERAGE 2021 Interview, CBS Channel 8, San Diego PROFESSIONAL AFFILIATIONS Time for Women Artists, San Diego, CA American Women Artists, Chesterfield, MA EDUCATION 2018 Paulette Warner workshop, Tucson, AZ 2017-22 Pen and Ink, Athenaeum, La Jolla, CA 2008-11 Metalsmith Coursework, Pima Community College, Tucson AZ 2003-10 Drawing Studio, Abstract Painting, Tucson, AZ 1990-00 Graduate coursework in art, University of AZ and WNMU 1999 Paula Rice workshop, Tucson, AZ 1997 Frank Boydon workshop, Phoenix, AZ 1996 Akio Takamori, Phoenix, AZ 1996 Wayne Higby...

Harvest, 120x100cm, oil on canvas

Sterling Ruby (American, b. 1972) 2015 CHINATI FLAG (DNM) Tag printed with SR STUDIO LA CA printed with handwritten edition number Ed # 88/100 Hand signed "Sterling Ruby" in black pe...

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

A girl with cat, 50x60 cm, acrylic on canvas