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Artist Doug Cosbie paints the East Quoddy Lighthouse, known as the Head Harbour Lightstation, to the locals. The building towers at...

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Dawn's first rays bathe the Los Angeles skyline, casting a burnished glow over the iconic palm trees. Billowing clouds add a touch of softness to the scene. T...

Clara Berta’s acrylic and mixed-media paintings blend texture and color to create harmony, mystery, and depth on the painted surface. Her paintings transform spaces into Zen environm...

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Artist Onelio Marrero portrays his niece examining Jules Bastien-Lepage’s 1879 painting of Joan of Arc receiving her life-changing vision. Set within a room...

The work is sold without a frame.

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Flowering bushes bloom, and trees thrive around a quiet summer pond. Loose brushstrokes suggest the forms and movement of the greenery. The scene captures a ser...

KAWS x Peanuts Joe Snoopy Vinyl Figure, 2011 The KAWS x Peanuts Joe Snoopy Vinyl Figure stands about 21 cm tall, and the mostly white Joe Snoopy is donning a yellow t-shirt with "JOE...

This framed 20.5" x 22" river landscape by German artist Ludwig Knaus features a mature tree stretching out over a calm body of water on a clear day. Knaus portrays sunlight and shad...

KAWS Monster: A highly collectible & super decorative KAWS art toy, featuring the artist’s rendition of the famed cereal character Frute Brute. A playful exploration of KAWS’s love for these timeless pop cultural characters featuring his signature motifs. New / never displayed; accompanied by full original packaging. Medium: Vinyl art toy. Approximately: 11.4 × 6.3 inches. New in original packaging. Published by the artist from a sold out edition of unknown. Further background: “Inspired by classic horror film characters, the Monster Cereals...

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"For a few brief moments on the south rim, the morning sun lights up the canyon walls like neon while casting blue shadows into its depths," says artist Cryst...

Important Arts & Crafts Presentation Cabinet by Voysey, Alma-Tadema & RAs By St John’s Wood Arts Club (British, active from 1862) British, 1899–1900 Cabinet: Height 18cm, Width 27cm, Depth 38cm. Case: Height 22cm, Width 31cm, Depth 43cm Few objects embody a moment in history as completely as this one. Conceived by the Copyright Committee of the St John’s Wood Arts Club and presented in 1900 to the jurist Sir Thomas Edward Scrutton (1856–1934) in gratitude for his work drafting the Copyright (Artistic) Bill, this cabinet stands at the intersection of Arts & Crafts design, Royal Academy art and Victorian legal history. Designed by C.F.A. Voysey — one of the defining architects of the Arts & Crafts movement — and fitted with an elaborate silver and turquoise lock by the sculptor George Simonds, signed and dated 1900, the leather-bound wooden cabinet is itself a masterwork of applied art. Within its eight glazed white maple drawers lies a unique group of drawings, watercolours and a bronze relief, each contributed by a leading member of the Club. The interior lid bears an illuminated address inscribed ‘To T.E. Scrutton from the Copyright Committee of the St John’s Wood Arts Club’, signed by Alma-Tadema, Dicksee, Edwin Bale, Alfred East, Solomon J. Solomon, G.A. Storey, W. Reynolds-Stephens, George Simonds, John Cother Webb, C.F.A. Voysey and H. Annesley Voysey as Legal Advisor, together with the monogram of T.E. Scrutton. The cabinet contains the following works: i) Sir Lawrence Alma-Tadema, O.M., R.A. (1836–1912). Portrait of a lady, probably the artist’s wife, Laura Theresa, Lady Alma-Tadema. Signed ‘L Alma Tadema...

Landscape , 190x190 cm, acrylic on canvas

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The original oil painting captures a wildflower meadow in full spring bloom. Layered paint, expressive brushwork, and subtle textural details create a sense of ...

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During an outdoor gala at the Philadelphia Museum of Art, artist Onelio Marrero records the preparations on the museum's steps beneath the grand colonnade. Cate...

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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A sunlit meadow bursts with vibrant orange and yellow wildflowers, filling the foreground with warmth. A towering leafy oak surrounded by lush trees stands prou...

Man 1, 2021, 120x55 cm

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The setting is the Corner Deli on Kenmare Street in Soho, New York, across the street from Lt. Petrosino Square. I was interested i...

Swiss-born artist Marco Schmidli creates minimalist paintings with a contemporary edge. Placing emphasis on process, he lets the mediums naturally manifest within his artwork. “An im...

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

100x130cm

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This impressionist painting invites a sense of quiet mystery. Artist Faye Vander Veer uses a muted palette with closely related values, allowing the warm sunlig...

I want to be with you so much, 100x100cm

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More and more I love to experiment with abstraction. It's amazing how realism with some abstraction somehow looks more true than when rendered using just real...

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The artwork depicts a warm summer day in Montmartre, Paris. An older couple walks arm in arm across the street while people dining al fresco bask in the afterno...

Georgian or early Victorian Marine Oil on Panel of busy shipping scene with figures on Harbour, possibly the Isle of Wight Oil on wooden panel housed in a handmade gold frame. A ra...

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...

Single Window, 158x200 Cm, oil on canvas

Barn Number 3, 2018

Wonderful contemporary abstract signed painting Series of 4 canvas assembled to form a single painting signed Kozo Inoue dated 1974 This painting, never before on the market, comes f...

DEEP INSIDE is an original middle size abstract oil painting inspired by the quiet horizon where sea and sky meet. Soft gradients create a feeling of infinity, while a thin horizon l...

A cup of coffee 100x100 cm The work is sold without a frame.

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Artist Benjamin Xu paints a vibrant architectural scene that explores hope, resilience, and bright horizons. The artwork highlights a balance between structure ...

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A young boy sleeps on a couch with his plastic sword. He peacefully enters the dreamland with his favorite symbolic attire and a heroic pillowcase. The early mo...

"Seize the Moment", 60x40cm, acrylic, pastel, canvas

A fine impressionist landscape of a Vermont farm by American artist Paul Starrett Sample (1896-1974). Sample was born in Louisville, Kentucky and went to school at Dartmouth College,...

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A mother and child sit in front of a cozy fire, basking in the warmth it provides. The scene captures the miracle of childbirth and the intimate bond between th...

Impasto-painted strokes of bright colors are the framework of artist Shiri Phillips’ abstract artworks. Her paintings are flooded with texture through the layering of acrylic paint i...

Painting and three dimensional collage relief in gold, red and blue with portrait, stars, mandala like patterns; from the artist's MAGI INTENTIONS series exploring mystical symbols and characters. Layered found paper collage relief, acrylic paint, mixed media on panel. Custom white shadow box frame. ABOUT THE ARTIST Deming King...

Victorian Landscape Beach Scene Oil Painting of Mother, Child and Dog on the Beach. A beautiful and tender scene of a Mother with her young child and pet Dog playing gently by the Sea. A true gem of the Victorian era where the motif of family was strongly portrayed and romanticised. Frederick Thomas Charles Underhill British 1832 - 1896 London painter of genre, coastal scenes and biblical subjects. Born in Birmingham. Exhibited from 1851-75, at the RA between 1852-67. Titles at the RA including 'Sea Coast, 1852, 'The Gypsy Mother', 1855 and 'Hagar and Ishmael...

KAWS The Promise (grey): A unique KAWS Companion featuring a blue & green globe being affectionately shared between parent & child. This timeless, highly collectible KAWS art...

Richly textured with whimsical appeal, this late 20th century wooden crow is a delightful example of naive American sculpture. Poised mid-caw, the crow's wings are outstretched, read...

Village , 90x70 cm, Oil, Canvas, sand

Full title: "Ship of Cools, or, A Jolly Load of Boatmen Flat-Out Crossing the Mainstream, Some Being Kings, and Some Being 'Vagabonds' (We Await Your Applause) (#1318)" Watercolor, acrylic, and ink on paper (Diptych) Signed in black ink, l.l. This artwork references George Caleb Bingham’s 1846 painting “The Jolly Flatboatmen...

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This still-life painting depicts white roses arranged in a brass vase, with a pink one at the bottom. The earth-toned palette and thick bravura brushstrokes impart a timeless aura to the piece. Against the brown background, the elements stand out with their soft and endearing details.

About the Artist
Sherri Aldawood didn't intend to always paint flowers, but over time her love of gardens started to permeate her art. She focuses on the light and color of the flowers on the canvas. Sherri prefers alla prima, working with wet layers of paint instead of letting them dry. She keeps the paint as wet as possible by using walnut and clove oil...

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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Snow covers the landscape, painting the birch trees and soil white. Drawing from quiet, reflective walks in the woods, artist Valerie Berkely captures this sere...

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

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A delicate pink bonsai springs from a teal ceramic pot. Bold colors and defined brushstrokes bring the scene to life, giving it a lively and appealing appearanc...

Remote work

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Artist Pat Doherty paints a peach-colored orchid plant in a blue-and-white ceramic flower pot. Her still-life painting draws on her experience as a former comme...

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A young girl sits on a red cushioned stool, staring at her reflection in the mirror. Her slip white dress illustrates her innocence, while her expression hints ...

"Crested Ibis", 110x135 cm, acrylic / canvas

Playing with the interaction between positive and negative space, strong colors on neutral backgrounds, Canadian artist Virginie Schroeder creates pop art portraits and iconic pop cu...

Banana leaves 100x70 cm Fleur Professional artist from Belarus

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This contemporary floral painting captures a lush, stylized bouquet through bold color and expressive technique. The composition blends vibrant autumn hues with...

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Brilliant fall colors fill this landscape near Glenwood Canyon, Colorado. Bright orange trees stand against the cool shadows of a shaded hillside covered with...

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Artist Onelio Marrero lives just minutes from the New Jersey shore, where he and his wife enjoy long walks along the beach. In the quieter winter months, the ...

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

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