Richard Rumi Furniture

A fun abstract painting on a merlot background in its original walnut & gilt frame with antique glass. We have not been able to find any information on the artist, but it is signed a...

Original Modern Contemporary Black and White Painting in Antique Gilt Frame by Shannon Weir, a distinguished artist based in Houston, Texas. Weir's...

Decorative large painting by Hanoi artist, "The Muse", circa 2007.

Monument forms are a series of paintings by Louis Jobst experimenting with form and color. Here there are two black abstract forms amongst a metaphysical landscape. The painting focu...

Hunt Slonem, Neo-Expressionist, Black and White Bunny Oil Painting, Framed, 2009 Hunt Slonem bunny oil painting signed and dated on the reverse. Oil on wood, 9.5 x 7.5 in. / Frame: ...

2013 abstract acrylic on canvas painting by David Grinnell (21st century) Texas. In green, blue and white. Signed lowr right corner, signed, titled Diebenkorn's Landscape on verso. U...

In Eric Fiazi's vertical abstract acrylic masterpiece, a symphony of colors dances across a serene lilac canvas, capturing the essence of life's vibrant complexities. The intertwinin...

19th century oil on wood of sheep in a Meadow by Charles Grant Davidson in original 19th century giltwood frame-size includes frame.

Original Modern Contemporary acrylic painting in antique frame by Shannon Weir. Signed in bottom right. This beautiful original art was made in 2022, but ...

Vintage Ezio Colosimo geometric abstract painting in Blush Tones Offered for sale is a vintage lyrical geometric abstract oil painting on canvas by Ez...

Abstract Oil Painting by Jose Maria Mijares, Cuban American Artist Offered for sale is an oil painting on canvas by the Cuban American artist Jose...

A mixed media on board from the 1960's by American Artist Agnes Sims "Agi" Sims is known for paintings and sculptures inspired by prehistoric rock art of New Mexico. Born in Devon, Pennsylvania, Sims attended the Pennsylvania Academy of Fine Art and the Philadelphia School of Design for Women. She managed a traveling marionette theater before establishing herself as a textile and needlework designer in Philadelphia. After a visit to New Mexico in 1938, Sims returned to Philadelphia, packed her belongings, and returned to make Santa Fe her permanent home. She opened a classical record store in an eighteenth-century farmhouse on Canyon Road, but the shortage of shellac during the War put her out of business. Sims then became a building contractor (skills taught her by her contractor father), purchasing and renovating historic houses around Santa Fe. She later bought a nineteenth-century house with acreage on Canyon Road and built a compound including a house for herself and one for her long-time partner, Mary Louise Aswell, the fiction editor at Harper's Bazaar who had brought writers such as Eurdora Welty and Truman Capote to the public's attention. Shortly after her arrival, a friend introduced Sims to the Galisteo Basin south of Santa Fe which was dotted with the ruins of prehistoric Indian Pueblos, and home to tens of thousands of ancient petroglyphs. The rock art captivated Sims and became her primary inspiration for the rest of her career. Over the next decade she recorded 3000 petroglyphs in drawings and thousands more in photographs. In 1949 she received a grant from the American Philosophical Society to further her research, and in 1950 she published a portfolio of selected rock at drawings in her monograph, San Cristobal Petroglyphs. Most of Sims paintings and sculptures were inspired by petroglyphs, but unlike her documentary drawings they never were literal copies. Rather she adopted and adapted the two-dimensional representations of people and animal into an art that fit comfortably into the larger world of mid-century modernism. She used simple, idiosyncratic figures to create her own symbolism, the original meanings of the ancient art being mostly lost to the past. Sims worked in a wide array of media. Her oil paintings on canvas often were mixed with an earthen medium which gave them a rough, stone-like texture. She developed a batik-like resist process for painting on cloth, and used it to produce large, un-stretched wall hangings. She used this technique to produce an architectural frieze 3.5 feet high and almost 150 feet long which still adorns the Century Bank lobby in downtown Santa Fe. Sims was a prolific sculptor, working in wood, stone, bronze, terracotta, fiberglass, and polyester. Sims was given one-woman shows at the Brooklyn Museum, U.S. Embassy in London, Folger Library, Colorado Springs Fine Art Center, Santa Barbara Museum of Art, McNay Art Institute in San Antonio, Texas, and the Museum of Fine Art in Santa Fe. She also showed her work at the gallery she owned on Canyon Road. At times, she rented studio space in her gallery building to local artisans, hoping to spark a revival of early New Mexico...