We work with a handful of Georgian artists whose paintings, prints and drawings end up where art really belongs — on the walls of galleries, hotels, quiet studios and homes that take their interiors seriously. If you're looking for originals that feel alive in a room, not just decorative, you're in the right place.
We're not a big gallery. We're a small team in Tbilisi that spent years walking through artist studios, drinking too much coffee, and slowly figuring out whose work we wanted to stand behind. Some of these artists have been painting in the same studio for thirty years. Some are younger and still figuring out their voice. What they share is something harder to name — a way of thinking through line, color and form that feels personal rather than decorative.
Georgia is an odd place to make art from. It's small, it sits between continents, and it has this long, strange tradition of visual thinking that runs from medieval frescoes through Pirosmani through the Soviet underground and into now. Our artists know all of that by osmosis. You can feel it in their work even when the subject is a girl with a bowl of goldfish or a red sail against a black triangle. There's a weight behind the image. A quietness that's not empty.
That's the kind of work we want to send out into the world. Paintings that don't shout for attention, but reward you for paying it. Prints that look better the tenth time you pass them than the first. Drawings with real ink on real paper, made by one person, one afternoon, and never repeated.
We ship from Tbilisi to galleries in Europe, to design studios in New York, to a hotel lobby in Belgrade, to private homes we've never visited. We write by email. We pick up the phone. We pack things carefully and we sleep better when they arrive intact. It's a small operation run by humans who care about where these works end up. That's sort of the whole pitch.
ArtLine Georgia started, honestly, because a friend of ours couldn't find good Georgian art in Europe. She'd moved to Vienna, opened a small design studio, and wanted three or four pieces that felt like home without being touristy. We spent a weekend making calls, picking up works from studios, wrapping them in blankets in the back of a car. By Sunday night we had her pieces. By Monday morning we realized there was probably a business here.
That was 2021. Since then we've put works in residences in Italy, in a boutique hotel in Tbilisi's old town, in a restaurant in Warsaw, in design practices in London and New York. Not hundreds of works. Dozens. Each one picked up from a studio we know, signed and certified, documented, photographed properly, packed by people who've wrapped paintings before.
We keep the operation small on purpose. There are plenty of agencies selling volume. We'd rather know every piece that leaves our studio, remember who bought it, and follow up a year later to see how it's aged on the wall.
The best thing someone said to us, about a work we'd sent to a collector in Amsterdam, was: it keeps changing depending on the light. That's the whole thing. That's what we look for.
A small selection from the current collection. These six happen to be our favorites this season — not the most expensive, not the most "important," just the ones we keep coming back to. The full catalogue is quite a bit larger; ask and we'll send it over.
Most of the works below are one-of-a-kind originals. A couple are limited edition prints, pulled in small runs by the artist themselves. Prices vary — we keep them off the site because every conversation about serious art works better with context. Tell us about the space, the budget, the mood, and we'll tell you what's honest.
V. Tatishvili
A sewing machine that's also a face, or a face that's also a sewing machine. You decide. The artist has been making these dense, patient ink compositions for years, and up close the line work is almost meditative. It reads completely differently across a room than it does from two feet away.
Gela Mikava
There's a small goldfish in the bowl. Once you see it you can't unsee it. The dress takes up most of the canvas and the paint is thick, almost sculpted. It's a picture that keeps the rest of a room in balance without competing with it.
Gela Mikava
A small figure, a huge armful of daisies. Most of the painting is the bouquet. There's something about the way her face is half-hidden that makes the work feel like a childhood memory you can't quite place. Works beautifully in a bedroom or a reading corner.
V. Tatishvili
Pure graphic thinking. Red horizontals, a black anchor, a triangle that might be a sail or the prow of something else. The hand-drawn line texture inside the forms is what rewards close looking. We've placed two of these in a finance office lobby and they work surprisingly well in corporate spaces.
Giorgi Buachidze
A small work but it carries. That red crown on top, the deep blue ground, the pale figure forming in the middle. Pastel is fragile and honest; you can't undo it the way you can with oil. This is one of a series the artist made over a single winter.
Gela Mikava
Third in a series of three girls with bouquets that we've shown above. This one is the most recent, and probably the most alive. The violet dress holds a lot of light. If you're building a trio for a hallway or a staircase, these three genuinely belong together.
There's no one template for partnerships in art. We've figured out over the years that most people come to us with one of four situations in mind. If your situation doesn't fit any of these, write to us anyway and we'll figure something out.
You run a gallery, you like some of our artists, you want to show and sell their work without buying it outright. We ship a curated selection to you on consignment, split revenue on a clear agreement, and sort out the paperwork, certificates and returns. We've done this with galleries in Warsaw, Milan, and one small but lovely space outside Vienna.
Let's talkYou have a space for two weeks, a month, a season. We curate a show around a theme, handle logistics from Tbilisi, fly one of the artists out if it makes sense, and help with PR and opening-night communications. Most of our pop-ups are small (15 to 30 works) and run between 10 and 30 days. Anything longer turns into a different conversation.
Pitch usA hotel with thirty rooms. A restaurant that wants actual art instead of printed reproductions. An office that decided its walls were too sad. We come in at concept stage, understand the brand and the spaces, and propose a coherent set of works that lives together. Sometimes we commission new pieces from our artists when nothing existing fits. This is the slowest but most satisfying kind of work.
Brief usYou're in a country we're not in, you know the art scene there, and you want to represent ArtLine Georgia locally. We give you an authorized status, co-branded materials, exclusive access to new works before they go on the site, a clear commission structure, and honest support. We're currently looking for partners in Germany, the Benelux, the Nordics and the US. If that's you, please write.
ApplyA note on what we don't do: we don't drop-ship, we don't license images for reproduction, we don't do NFTs, and we don't sell anonymously. Every work has a signed certificate. Every shipment has insurance. Every conversation has a real person on the other end. Old-fashioned, sure. But it's how the art world actually works when it works.
Most art websites have a "why us" section full of empty phrases. We tried to write ours like someone who'd have to explain it to a friend. If any of this sounds like us being tough on ourselves, that's because we like to be honest about what we do and don't do well.
We've visited every studio, talked to every artist, seen the works in person long before photographing them. No intermediaries, no hearsay, no deals with agencies. That's why the collection is small.
We ship from Tbilisi to Europe, the US, the UAE and the Balkans. Insured, tracked, wrapped in a way that would survive a minor earthquake. If something goes wrong (it hasn't yet, but one day it will), we handle it.
Signed by the artist. Certified on paper. Documented with high-resolution photos. The provenance file tells you when it was made, when it was sold, and how to care for it. It's not fancy but it's complete.
Consignment, outright purchase, project-based, long-term loan, buy-back if it doesn't sell. We've done all of these. Tell us what works for your business and we'll try to match it.
Catalogues, certificates, invoices, emails. Everything looks like a small luxury brand because it's meant to match the work you're receiving. If you're a gallery or an interior firm, you can co-brand most of it.
Within 24 hours on weekdays. Usually within three or four. By a person who knows the inventory, not a ticketing system. Simple, but it turns out that's rare.
Drop us a line. Tell us about your space, your gallery, the project you're thinking about, or just that you liked one of the works above. We answer every email personally, usually on the same day. If it's easier to talk, we're on WhatsApp and happy to schedule a call in your timezone.
You've read more than most people read on an art website. That tells us you're taking this seriously, and we'd love to do the same for you. Whether it's one painting for a specific wall, or a long-term partnership that starts with one conversation, we'd rather hear from you too early than too late.
Start the Conversation →Or write directly to dvips@gartline.com — we'll reply same day.