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Silk screen

Ana Seggiaro's training as an engraver awakened her fascination for the works of Durero and Piranesi. This leads her both to recover the language of engraving itself through other me...

Ana Seggiaro's training as an engraver awakened her fascination for the works of Durero and Piranesi. This leads her both to recover the language of engraving itself through other me...

Ana Seggiaro's training as an engraver awakened her fascination for the works of Durero and Piranesi. This leads her both to recover the language of engraving itself through other me...

Thread on linen

Ana Seggiaro's training as an engraver awakened her fascination for the works of Durero and Piranesi. This leads her both to recover the language of engraving itself through other me...

Seggiaro's fascination for the human body, for the movement of the muscles, the bone structure, and the circulatory system coexists perfectly with the arteries of red linen, with the...

The ambitious exercise of working with techniques such as large-format embroidery only exacerbates the perfection of detail through the change of scale. What was once the page of a b...

Painted on Filey beach in early spring looking towards Bempton cliffs. ADDITIONAL INFORMATION: Oil on Canvas 61 H x 75 W x 2 D cm (24.02 x 29.53 x 0.79 in) Sold unframed Image size...

Untitled, 2019 by Ana Seggiaro From the series "Durero" Embroidery on printed cloth 35 cm H x 30 cm W Unframed Ana Seggiaro's training as an engraver awakens her fascination for the...

Seggiaro's fascination for the human body, for the movement of the muscles, the bone structure, and the circulatory system coexists perfectly with the arteries of red linen, with the...

Ana Seggiaro's training as an engraver awakened her fascination for the works of Durero and Piranesi. This leads her both to recover the language of engraving itself through other me...

Christo Sharpe discovered this image with perfectly divided shapes when visiting friends in Warwickshire. This landscape painting is the result. This is...

The ambitious exercise of working with techniques such as large-format embroidery only exacerbates the perfection of detail through the change of scale. What was once the page of a b...

Moment, 30x20 cm, oil on canvas

Born in 1979, Denis Meyers is a Belgian urban artist. He studied at the National Superior School of Arts and Visuals of la Cambre, in Brussels, city where he currently lives and wor...

"Zinnias and Cosmos" is an oil painting by British born, but Florence-based contemporary painter Amy Florence. A vertical composition of of bright glowing flowers in various hues of ...

Birendra Pani - Evening Ragas - 66 x 42 inches (unframed size) Acrylic on Canvas ** Free shipping ** Will be delivered in rolled form Should you want the work in ready to hand con...

Original Navajo Weaving. Artist and year of manufacture unknown.

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...

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...

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...

A fine abstract expressionist oil and paper painting by American artist Sam Tchakalian (1929-2004). Sam was born in Shanghai, China, and lived in China during the first 17 years of ...

Amit Bhar - Wet Lady Oil on Canvas, 36 x 48 inches (Shipment in a roll form) About Artist : Born and brought up in Hoogly, Chinsurah, in 1973, Amit Bhar’s a...

Denim City Dreams transforms reclaimed denim into a poetic urban landscape where architecture, memory, and craftsmanship come together. Carefully layered pieces of fabric, seams, poc...

The sun setting on the hills in summertime when all you can do is sit amongst the tall grasses and flowers to watch the beautiful colours and light. ADDITIONAL INFORMATION: Oil Pain...

Untitled , 160x100 cm , acrylic on canvas

This exceptional artwork is currently on display and available for sale at Signet Contemporary Art Gallery and online. Discover the vibrant and dynamic world of Adam Zoltowski’s “Na...

Harisha Chennangod Portrait of Present Series Acrylic on canvas, 36 x 24 inches, 2020 Date of Birth: 18th August 1984 EDUCATION : 2007- 09 MFA - MUSEOLOGY, FACULTY OF FINE ART ...

Painted from the cliff-top overlooking Whitby beach looking towards Sandsend. ADDITIONAL INFORMATION: Oil on Canvas 61 H x 76 W x 2 D cm (24.02 x 29.92 x 0.79 in) Sold unframed Ima...

Linda Kamille Schmidt plays with emotional connections and memory in her smaller, framed works. In their encasements, each collage appears as a portal; a...

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

T. Athi Veerapandian - Untitled Acrylic on Canvas, 30 x 33 inches Attained a Diploma of Fine Art (1984-1989) and a Master of Fine Arts Degree at the Government College of Arts & Crafts, Chennai (1998-2000) Selected Exhibitions - T. Athiveerapandian’, The Noble Sage, London (2019); ‘group show Selected Exhibitions One man Show at ART HOUZ, Bengaluru february(2016) ‘Absence & presence’ One man Show at Dakshinachitra,Chennainovember(2015) ‘Absence & presence’ One man Show at Art Houz(2012)'Further towards nature' - T. Athiveerapandian’, The Noble Sage, London (2015); ‘101 Months of The Noble Sage’ Group Exhibition, The Noble Sage @ Candid Art Gallery, London (2015); ‘New Works in the collection by T. Athiveerapandian’, The Noble Sage, London (2013); ‘Further Towards Nature’, Solo Exhibition, The Noble Sage, London (2009); In the Fore, The Noble Sage, London (2008); ‘Towards Nature’, Solo Exhibition, The Mint, New Delhi (2008); ‘The Primera Collection’ xia, Bangalore (2008); ‘In the Fore’, The Noble Sage Art...

The Way Home is an original abstract painting by Janet Keith. The Way Home is an expressive, gestural painting evoking a feeling of movement, light and fresh air. The painting is bui...

ARTIST: Salvador Dali TITLE: Still Life By The Light of The Moon - Nature au Clair De Lune MEDIUM: Woven Tapestry SIGNED: Woven in the Tapestry EDITION NUMBER: 27/50 MEASUREMENTS: 35.6" x 54" YEAR: 1980 PUBLISHER: Walton-Gilbert Galleries, San Fransisco WOVEN BY: Art in Tapestry, El Paso Texas CONDITION: Excellent NOTE: Designed from a 1927 painting...

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...

Jonas Wood is a contemporary artist based in Los Angeles. Raised in Boston, Wood grew up surrounded by his grandfather's art collection which featured works from Francis Bacon, Al...

Still life , 120x100 cm, oil on canvas

Red peonies and books, 60x80cm

Still life with grass, 60x80cm

Still life with books, 120x80cm, oil on canvas

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...

Jonas Wood Untitled , 2018 Cashmere 200.0 x 135.0 cm Basketballs, ceramics, and lush plants fill Jonas Wood’s paintings, drawings, and prints, which mostly comprise intricate still ...

In my paintings, I chose the main character Gestalt wooden figurine of a man) and trying to "animate" his\her

In my paintings, I chose the main character Gestalt wooden figurine of a man) and trying to "animate" his\her

In my paintings, I chose the main character Gestalt wooden figurine of a man) and trying to "animate" his\her

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...

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...

Trevor Waugh St Ives, Cornwall Original Seaside Painting Oil Paint on Canvas Framed Size: H 30.5cm x W 40.5cm Sold Framed Please note that in situ images are purely an indication of ...

Jane Reichle (b.  1998, Bryan, TX) is an hand embroidery and textile artist based in Austin, Texas. When most people hear "embroidery," they think of pastel flowers and domesticity. ...

This sophisiticated oil on canvas work was realized by the esteemed Bay Area artist Tom Holland circa 1961, and boasts a prestigious provenance from the Stanford Museum of Art. Combining elements of futurism, Art Brut and Art Naif, with inspiration from his Bay Area contemporaries (such as Richard Diebenkorn), Holland has achieved both critical and commercial success over the last five plus decades of his career. He is currently represented by galleries in Dallas, Santa Fe and San Francisco and his prints are exhibited by Crown Point Press in San Francisco and Cirrus Editions in Los Angeles. This piece represents an exceptional example of his early practice. It offers a wealth of organic and geometric forms in coffee and chocolate brown, rendered in thick impasto, with cobalt blue peaking out from beneath. There are two orbital forms in the lower half of the canvas painted in a burnt umber hue. With its sophisticated palette and painterly aesthetic, this piece would be a winning acquisition for any avid collector of first-rate Mid Century Modern fine art...

This painting on cut linen canvas by Linda King Ferguson depicts a diamond shape that is halved horizontally by a color break. The top triangular section on the diamond is a brown ca...

Hecate. Mother , 140x90 cm, oil on canvas

This 36 inch square original oil painting on canvas is wired and ready to hang. The detail in this artwork is astounding. The crimson red tones make the female swimmers portrait real...

Floral tablecloth, 80x100 cm, acrylic on canvas

Gurunathan Govindhan - Untitled Pigment on Canvas, 84 x 60 inches

We received 5 tapestries from a dealers collection who retired from business and been stored properly, currently 4. There in no fading or damage to each and ready to hang condition....

Jane Reichle (b.  1998, Bryan, TX) is an hand embroidery and textile artist based in Austin, Texas. When most people hear "embroidery," they think of pastel flowers and domesticity. ...

Artist: Charles Chamot, Peruvian/American (1951) Title: Artichoke Year: 1979 Medium: Woven Wool Tapestry, signed and numbered on label, verso Edition: 1/6 Size: 84 x 72 inches