Fabric Paintings

Artist: Alexander Shandor Title: Village of Negrovets Medium: Oil on Canvas Year: 2024 Style: Impressionism Dimensions: 23.5" x 27.5" x 1" inch (60 x 70 x 2cm) Presentation: Unframe...

"With shades of Pierre Bonnard’s Parisian street vistas and Edward Hopper’s New York shopfronts, American impressionist Cindy Shaoul’s oil paintings depict the much-loved locales and...

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...

Stunning large scale abstract expressionist horse's head/eye, circa 1990. Unsigned. Unframed. Size: 60"H x 60"W x 1.5.

Nacre & acrylic on canvas, Kim Iljung is a Korean artist born in 1979 who lives and works in Seoul, South Korea. Adhere, Scratch, Push Away are his motto. The dual nature of mot...

Silent stillness and transient atmospherics draw me to paint the water and its reflections. There is a mystical infinite quality to the light, in particular the exquisite, vaporous a...

This sublime early 20th-century oil painting by Dutch artist Bernard De Hoog (1867-1943) celebrates one of life's quietest luxuries - an hour of uninterrupted contentment. Seated be...

Traces mixed media on canvas 100x120 cm 2017 original art ready to hang Marilina Marchica (Agrigento, 1984) Marilina Marchica, born in Agrigento, where she works and lives, she gr...

A classic still life with a softer, more neutral palette. This piece offers a timeless presence with a contemporary ease, making it highly versatile for a range of interiors. Perfect...

This enchanting early 19th-century portrait of a young girl in a pastoral landscape, attributed to the esteemed English portraitist Margaret Carpenter, is a rare and captivating exam...

A wonderful composition of one of Slonem's most iconic subjects of birds. The thick use of paint is greatly recognizable as he slathers on layer after layer of oil paint with multico...

Overall 21 X 27 image is 17.25 X 23.5 This is a mixed media print on canvas by beloved comedian and artist Jonathan Winters. This one depicts old biplane airplanes and parachutes ...

José María Marqués García Pastoral Landscape Oil Painting on Canvas. Oil on canvas. Signed by the artist in the lower right corner. Artwork: 68 × 97 cm (26.8 × 38.2 in.). Framed: 80 ...

Attributed to Pierre-Henri de Valenciennes Landscape with Setting Sun Oil on canvas Circa 1790 Unsigned A finely composed and atmospheric late 18th-century landscape attributed to P...

Aleksandra Batura (b. 1982 in Augustów) a Warsaw based artist. She learned a Doctor of Fine Arts degree from the Academy of Fine Arts in Cracow. She studied at the Faculty of Paintin...

Country girl - Pietro Colonna Italia 2006 - Oil on canvas cm. 45x25 Gold gilded wooden frame available on request The painting by Pietro Colonna is a free interpretation of the paint...

Artist: Alexander Shandor Title: Tenderness of Mountains Medium: Oil on Hardboard Year: 2025 Style: Impressionism Dimensions: 22 x 33.5" x 0.2" inch (56 x 85x 1cm) Presentation: Unf...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. Waltsak has portrayed this piece in a most intimate, yet energetic way, and has packed much feelin...

"Attempt at Harmony" is an abstract painting distinguished by its texture and intertwined layers of color. Dominated by ochre tones, the piece is complemented by flashes of blue, pur...

Deep in Conversation by Pierre Georgeot (French mid 20th century) oil on canvas, framed framed: 25 x 30 inches canvas : 24 x 29 inches Provenance: private collection, France Conditio...

Ed Baynard Composition with Two Purple Flowers, 2000 Signed, titled and dated on the reverse Oil on canvas 30 x 24 inches Provenance Private Collection, Minnesota Private Collection...

Contemporary acrylic on canvas painting by Polish artist Tomek Mistak. Painting depicts landscape reflection on the water surface. Painting is almost an abstraction. Main colors are ...

By the Roots unfolds the Primordial Garden as a place where human presence first encounters the memory of the earth. Three figures tell no story; instead, they dwell in silence besid...

A beautiful mid 20th century French naif oil on canvas depicting two skiers in a snow covered mountain landscape, by Maurice Loirand. Lovely painting of a rare subject! Maurice Loir...

Learn from the past, Live in the present, Hope for the future, Do your best today, Never give up, Improve your tomorrows. Shipping Procedure Ships in a well-protected tube from Nige...

Robert Motelski's paintings are exceptional visions of nature, visions of space which surrounds us. They tell about being, fate and passing. They depend on the season of year, the ti...

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

Flower bouquet, peonies, red, interior painting, impressionist, horizontal The painting "Bouquet of Peonies and Elderberries" is a pictorial ode to the blooming luxury and fleeting ...

Canvas 30 x 40 in. Frame: 37 1/4 x 47 1/4 in. Signed lower right The painting depicts the dramatic start of the J Class off Gen Cove during the annual regatta of the NYYC. This wa...

Artist: Alexander Shandor Title: Enchanted Valley Medium: Oil on Canvas Year: 2025 Style: Impressionism Dimensions: 23.5" x 31.5" x 1" inch (60x 80 x 2cm) Presentation: Unframed, Ga...

Elaborate Floral Arrangement French artist, 18th Century oil on canvas, framed Framed: 27 x 34 inches Canvas: 22 x 29 inches Provenance: private collection, England Condition: very...

“Light Construction” is like a city being assembled from radiance itself. Blocks of saturated orange and electric blue interlock like scaffolding and sky, while slabs of olive green ...

Dennis Sheehan New England Sunset, circa 2025 Signed lower left Oil on canvas 36 x 48 inches Dennis Sheehan was born in Boston in 1950. His work is based upon the Barbizon School w...

Size: 120×97 cm (overall size with stretching 130×107 cm) Year: 2026 Materials: acrylic on canvas Shipping: rolled In this work, I explore the phenomenon of inner light — that unch...

"My work is rooted in abstract expressionism, and my process is deeply personal. It begins in a meditative state or an inner impulse, rather than a pre-established concept, allowing ...

Nicely painted large geometric abstract painting. Oil on canvas. Framed. Image size, 48 by 36 inches.

Paul Wadsworth 1964 - Current By the Wishing Tree, 2026 Oil on canvas 80 x 100 cm 31 1/2 x 39 3/8 in

Mixed media oil painting on canvas depicting a human figure intertwined with animal forms. The composition combines vibrant colors, abstract shapes, and figurative elements to explor...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, not a print or other type of copy. Accompanied by a Certificate of Authenticity (Issued by the Gallery) About Artist Arobieke Tomiwa...

Brittany Fanning is a painter known for her vibrant figurative works that blend humor, beauty, and psychological tension. Drawing from personal experiences spanning the American Sout...

Akingbade Mayowa 1988 - Current Attention, 2022 Acrylic on canvas 91.4 x 76.2 cm 36 x 30 in

* No US duty or taxes to pay on works of art * A beautiful late 19th century oil on canvas depicting a sailing ship off a harbour, by Gustave de Breanski. The work is signed and dat...

A gorgeous bright green expressionist landscape by Carl Ashby. From the collection of renowned painter Steve Wheeler. Nicely framed in a gold and black wooden floater frame. Measurin...

The painting depicts a solitary figure seated between two dense forms of landscape, extending her arm toward fragile, mushroom-like shapes. The gesture is slow and tentative, suspend...

Shipping Procedure Ships in a well-protected tube from Nigeria This work is unique, this is not a print or other type of copy. Accompanied by a Certificate of Authenticity. (Issues b...

Leigh Ann Van Fossan's "Le Jardin de Monet, II" is an original, handmade oil painting that depicts an impression of a lily pond. Van Fossan was born in Vail, Colorado, and began oi...

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...

Rafael Duran Benet (1931-2015) - Cadaques - Oil on canvas on cardboard Oil measurements 46x55 cm. Frameless. Rafael Duran Benet (Terrassa, 1931 - Barcelona, 2015) is a Catalan paint...

This painting captures a quiet yet emotionally charged moment where symbolism gently emerges from everyday life. A woman embraces a black cat whose direct gaze creates an immediate p...

Untitled LIX is a unique oil on free-standing canvas painting by contemporary artist Ferle, dimensions are 200 cm × 140 cm (78.7 × 55.1 in). The artwork is signed, sold unframed and ...

Signed impressionist oil on canvas figures in cityscape circa 1930 by sought after French painter Edouard Cortes. The work depicts a bustling evening street scene outside the Cafe Br...

On the red ground, black silhouettes stand still — quiet, alert, unbothered. They guard nothing and search for nothing — they simply see. Their presence fills the space with a weight...

At Escat Gallery we are committed to maintaining the highest standards of trust and professionalism for our collectors. Every artwork in our collection comes with a Certificate of Au...

The Petition to the King by Viktor von Schubert-Soldern (Austro-Bohemian, 1833/34–1912) A richly staged historical genre scene, The Petition to the King exemplifies the literary and...

M. Leveque (French, 20th Century) Place de la Concorde, Paris Oil on canvas, circa 1980 25 x 28 inches (framed) This vibrant view of the Place de la Concorde in Paris captures the bustling life and atmosphere of one of the city’s most celebrated landmarks. At the centre is the magnificent Fontaine des Mers, its cascades rendered with lively brushwork, while beyond rises the monumental Luxor Obelisk, a gift from Egypt in the 1830s that remains a defining feature of the square. The architectural backdrop of the Hôtel de Crillon and the Hôtel de la Marine situates the scene firmly within the grandeur of Paris’s historic heart. Painted with broad, impressionistic strokes, the artist animates the square with colourful figures in motion, their bright coats enlivening the composition and evoking the vibrancy of Parisian life. The fluid handling of paint and expressive use of colour are hallmarks of M. Leveque, a painter of mid- to late-20th century Paris street scenes...

Katheryn Holt (American, born 1951) "Passage" 2023 Oil Paint, Canvas, Stretcher Bars The artist signed the back of the painting. "Passage" by Katheryn Holt is a breathtaking 60" x 8...

Pausing for a Rest English School, circa 1800, unsigned the painting is very close to the works of Thomas Barker of Bath (English 1769-1847) oil on canvas, framed framed: 29 x 39 inc...

Guy C. Wiggins Washington Square, circa 1920 Signed lower right Oil on canvas 24 x 34 inches Provenance: Chapellier Galleries, New York Acquired from the above by Thomas A. Campbell...

A wonderful impressionist pastoral landscape with beautiful color tones throughout. Waltsak has portrayed this piece in a most intimate, yet energetic way, and has packed much feelin...

Vintage American modernist abstract oil painting. Oil on canvas. Signed.