Oil More Art

"Firetruck" is a one-of-a-kind piece created by Eustace Mamba. This oils, acrylics, sewn mixed media, velcro, and thread artwork measures 13"h x 29.5"w and ships with a gallery-issue...

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 Fish Bowl" is a one-of-a-kind piece created by Eustace Mamba. This original artwork made of oils and acrylics on sewn mixed media measures 12”h x 12”w. It ships with a gallery-...

Faun`s sweet dream, 2021, 90x80 cm

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...

Faun`s rest, 2021, 80x70 cm

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Artist Alana Clumeck’s distinctive style comes through in this contemporary equestrian painting, marked by her signature patterns. A group of brown horses for...

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A bluebird perches quietly amidst a field of soft, lavender-toned flowers. Its vibrant orange breast and deep blue feathers provide a striking contrast to the d...

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A bouquet of white hydrangeas rests in a deep blue vase. Thick palette-knife strokes give the flowers a sculptural presence, while soft green tones in the backg...

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Artist Onelio Marrero captures a moment inside an antiques shop, where a man browses lamps, pictures, and replicas of Frederic Remington bronzes. The interior i...

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

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Fifteen identical horses move in unison across a field of soft, earthy tones, blending seamlessly with the background. Arranged in a deliberate, linear fashion,...

Faun`s rest, 2021, 80x70 cm

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A woman sits outside a Philadelphia bistro, reading her book. The bright morning light shines through the establishment's windows, revealing a glimpse of its i...

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Decisive brushwork and subtle color shifts bring magic to this winter New Jersey beach scene. Artist Onelio Marrero contrasts the expanse of climbing clouds wit...

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This contemporary oil painting explores the quiet poetry of interior spaces. With a carefully considered composition and layered brushwork, artist David Thelen ...

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A solitary horse stands prominently against a cream-colored background. Created with multiple layers of oil paint, the artwork boasts a unique texture, reveal...

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This still life celebrates the simple beauty of homegrown produce. With warm tones and detailed brushwork, artist Steve Boggs captures the essence of his summer...

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A herd of bison descends into a ravine, moving through a misty landscape. These majestic animals symbolize strength, power, and resilience as ethereal light s...

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...

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Artist Faye Vander Veer depicts a small group of people gathered around the statue of Venus at the Louvre in Paris. Sunlight s...

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 ...

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In this warm impressionist painting, artist Onelio Marrero captures his love of antiques and collectibles. He depicts the eclectic clutter of an antiques store ...

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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...

Dreams, 80x130 cm, oil, acrylic, coal, canvas

N3, 2022, 90x80 cm

Oil on canvas 50x50 cm

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This painting combines two of artist Onelio Marrero's interests: his love for the Metropolitan Museum of Art in New York City and his fascination with observi...

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A floral-patterned mug stands beside a gleaming metal teapot accompanied by a plate of buttery, sweet palmier cookies. The polished stainless steel reflects t...

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On a beautiful sunny morning, sunlight strikes the corner of a quiet stone house. A palm tree rises on the side, its fronds casting delicate shadows across the ...

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In 2023, artist Onelio Marrero began a series of oil sketches featuring men painting buildings high above city sidewalks. Inspired by one, this piece captures...

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Reflections on the water in Monet's pond at Giverny. Onelio spent some time there taking in the splendor of the setting. "Each view of the place was a paintin...

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Flowers bloom vibrantly beneath the windows as the Mediterranean sun highlights the character of the quaint stone walls and shutters. The composition captures...

This 25.5" x 29.5" oil on canvas painting is by an unknown artist; the signature in the bottom right corner reads as 'Pilou' which is a common European surname. The painting depicts ...

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A robot elephant balances an heirloom tomato and a pot of daisy flower on its head. This is artist Diane Flick's first painting using AI-generated reference p...

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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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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 ...

She raises her hands not to command, but to listen. The space around her is surreal, broken, shifting - a theatre of past selves, masks, fragments. :: Painting :: Surrealism :: T...

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

Oil on canvas 60x60 cm

"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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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...

Oil on canvas 60x60 cm

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 ...

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A lone multi-colored tree stands proudly in the middle of the composition, hazy and dream-like with its undefined edges. A gentle reflection of these fall col...

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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...

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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," ...

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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...

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Towering cumulus clouds drift overhead and provide shade to the beach below. The contrast between the monumental sky and the quiet human presence on the shore speaks to humans' small but significant place in the natural world. Painted with oil on canvas, this impressionist seascape evokes tranquility.

About the Artist
Artist Aruna Rao paints impressionistic seascapes that capture the shimmer of light, the movement of water, and the quiet poetry of coastal life. "I am endlessly inspired by how light transforms a scene, softening the atmosphere and turning an ordinary moment into something unforgettable," says Aruna. Growing up in a literary family in India, she was surrounded by stories and art, which sparked her love of narrative and visual expression. After a 20-year career in IT, she returned to painting, earning an MFA with top honors from the Academy of Art University in San Francisco. Living in Florida offers endless inspiration, from sunrise beaches and glowing horizons to quiet harbors and small human moments that evoke joy and nostalgia. Influenced by French Impressionists and contemporary coastal painters, Aruna creates luminous works that invite the viewer to pause, breathe, and rediscover the beauty of the present moment. When she is not painting, she enjoys beach walks, discovering music, watching films with her husband, and spending time with their two cats.

Words that describe this painting: cloudscape, cloud, beach, coast, shore, summer, Marc Hanson...

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Artist Christopher Garvey presents a group of varying glassware in different colors, sizes, and shapes. Set against a tonal background, the focus is drawn to ...

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...

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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...

N110 - 80x60, oil/canvas

Oil on canvas 60x40 cm

Oil on canvas 60x40 cm

Oil on canvas 60x60 cm

Victorian Nineteenth Century Marine Oil Painting of Fishing Boats off the Coast in Choppy Seas at Sunrise. A Traditional British Marine Scene off the Coast depicting Fishing Boats ...

Nineteenth Century Victorian Signed Marine Oil Painting on Canvas mounted on stretchers of Steam and Sail Ships in Harbour at Dusk. A wonderfully evocative painting of the River Med...

Description about painting “Spirit Herbal Fairies” . Collection "Spirit Herbals" In this painting I focus on what gives us resource and taste for life. I invite the viewer to get to ...

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...