Canvas Furniture

Pastoe Kubus Armchair FM62 designed by Radboud van Beekum The Netherlands, 1981 Cube-shaped metal frame with new harness canvas upholstery. This cube-shaped chair from the eighties...

An expansive view of the flood plains of the Nile with people, palm trees, buildings and camel along the banks in the foreground and Pyramids in the background. - Oil on Canvas, sign...

A large and impressive E. Goyard steamer trunk, Paris, France circa 1900. It features a dome shaped trunk case covered with Goyard signature chevron canvas and befitted with patinate...

A sophisticated pair of large armchairs in the Georgian style, circa 1850, that exude a kind of regal confidence for placement in a range of rooms and decorating tastes. The squared,...

Painted canvas depicting a stylized Indian horse, seen in profile. Contemporary work by French artists. Dimensions: H 220 x W 120 cm Reference: LS65051086

1980s, Scandinavian swivel armchair. Original light brown furniture leather, canvas, bent beech wood, bent beech wood base. Original very good condition: no smells, no stains and sta...

Large French painting dated 1899. Oil painting on canvas, first canvas, depicting a view of a country village with characters and animals of good...

This oil painting on canvas by Swedish artist Tore Nyberg, created in the 1950s, exemplifies mid-century modern aesthetics through its use of overlapping geometric forms rendered in ...

Possibly late 18th century but most likely 19th century painted arched painted panel. Either a panel intended for a trumeau or to be inset into wall boiserie as a trumeau. The upper ...

A handsome and sophisticated mixed media on canvas by American artist John Rigsby. Found in a original state of preservation. His works are few and far between. The following biography was submitted by John David Rigsby, Jr., son of the artist. The author is Lisa Rigsby Peterson, daughter of the artist, and owner of the copyright of the biography. John David Rigsby was born on October 10, 1934, the seventh child of an Alabama Depression-era sharecropper's son. He and his family moved frequently, from one one-room structure to another, often with no running water, no plumbing, no heat but the stove. His father was killed in a car accident when Rigsby was just 9 years old. Life for the remaining eight family members proved tumultuous and difficult -- food wasn't plentiful, nor money. The family moved from place to place, following work -- Rigsby attended 30 different schools before graduating from high school. Despite living in poverty, Rigsby demonstrated academic and artistic aptitude at a young age. Two oil paintings on covers ripped off of old books that he painted when he was eight years old show the promise of an imaginative and gifted eye. Rigsby was drafted by the U.S. Army in 1953. As he later wrote, "When basic training at Fort Jackson, South Carolina, was over, I was told to go out and find a job. Jasper Johns was painting visual aids for the 28th Regimental Headquarters. He suggested the Band Training Unit." Rigsby played the clarinet in that unit, and after 2 years of service, he enrolled at the University of Alabama on the G.I. Bill to study art. After just two years, he left school and followed his mentor (and one of the greatest and longest-lasting influences on his art), Japanese artist and U of A art instructor Tatsu Heima, to New York City. Heima introduced him to Isamu Noguchi and suggested that Rigsby work as Noguchi's assistant. Instead, Rigsby chose a job as a guard at the Metropolitan Museum of Art, since "the notion of seeing all of that art appealed more to me than the boring task of studio assistant." The opportunity was a rich one for Rigsby. He had a chance to study the masters, and cited Rembrandt with his simplicity and elegance as another of the most important influences on his work. In the years between 1957 and 1963, when Rigsby eventually earned his BFA in sculpture, the artist traveled back and forth between New York and Tuscaloosa, alternating study with forays into the fertile New York art scene. Rigsby exhibited some of his early sculpture work in 1958 at a small New York gallery, which was also exhibiting the work of Willem and Elaine de Kooning and Theodore Stamos. Shortly thereafter, searching for an educational venue closer to New York City, Rigsby visited New Haven, Connecticut, and spent an afternoon speaking with Josef Albers at Yale. Albers agreed to accept Rigsby into the Yale program on the condition that he take freshman drawing all over again. A brilliant opportunity, but, in Rigsby's words, "When it was time to register, I was hitchhiking back to Alabama, looking for food and shelter." Rigsby had his first one-man show at the University of Alabama in 1959. A visiting critic from New York, J.F. Goosen, reviewed the show and wrote "here is a talent which produces art because that is the thing for a gifted person to do. In his effortless ease of conception and execution, he has already achieved a goal that eludes many artists for a lifetime." Finally, in 1963, Rigsby received his degree in sculpture, dissolved a short-lived marriage, visited his family, packed up his car and headed permanently for New York. That year, his work was included in a group show at the Delgado Museum in New Orleans - which led to a one-man exhibit at the Delgado in 1964. During 1964, Rigsby took drawing classes at Columbia University, and worked at the General Post Office at night. He met his future wife, Linda Palmieri, and married. In 1965, his daughter Lisa was born, followed in 1966 by the birth of his son, John David Jr. In 1966, Rigsby had a successful one-man show at the Pietrantonio Gallery in New York. Shortly thereafter, he and the family moved to Tunis, Tunisia at the suggestion of a colleague, who urged him to "come paint by the light of Klee." Rigsby worked for the United States Information Agency as a teacher, and he spent the next year and a half painting over ninety paintings inspired by the smells, light, and Phoenician and Roman art surrounding him. He also executed a number of character and landscape drawings, capturing the Tunisian way of life. During his time in Tunisia, Rigsby's work was shown there in two major exhibits. Upon the family's return to the U.S. in 1968, Rigsby once again exhibited at the Pietrantonio Gallery. Later that year, Rigsby enrolled in Southern Connecticut State College's Urban Studies program, earning a master's degree in 1970. During his time at SCSU, Rigsby worked as the city of Bridgeport's Curator of Exhibits, driving a mobile art gallery from schools to neighborhood fairs and housing projects. After completing his degree, Rigsby had an exhibit at the Telfair Museum in Savannah, Georgia. This exhibit caught the attention of a member of the search committee looking to hire an artist for a newly-developed program in neighboring South Carolina. In 1970, Rigsby was selected as the first Artist-in-Residence in the state of South Carolina for the National Endowment for the Arts Artists in Schools program. His work with the newly-integrated students at Beaufort (SC) High School over the term of his residency precluded substantial work on his own art. He did, however, set up a studio in downtown Beaufort, and was able to create a modest number of paintings, which were included in exhibits at the Columbia Museum in South Carolina in 1971 and Yale University in 1973. At the end of his residency in 1974, Rigsby was named the National Visual Arts Coordinator of the Artists in Schools program for the NEA, a post he held for two years. In this position, Rigsby traveled the country, reviewing grant applications, meeting with state leaders in government, education and the arts to promote program concepts and explore local opportunities. The message he repeated over and over again echoed that of one of the other major influences on Rigsby as an artist - Ruth Asawa Lanier, whose words taught him that all of the work that the artist does is the artist's work, not simply the paintings he creates. In his capacity as National Coordinator, as well as many times in the future, Rigsby stressed that artists function in the same way as any other person in society, and deserved the same respect and place for their work as did all other professions. After two years traveling the country, Rigsby was ready for a change, saying "for the first time in my adult life, there was not a body of paintings to show for the years put into my work." In 1976, a summer retreat to the mountain community of Central City, Colorado, led to a permanent relocation. Eventually settling in the small town of Evergreen, Rigsby followed his own advice about artists becoming actively involved in their communities, and he established the Evergreen Visual Arts Center. The Center provided working space for artists, classes for adults and children, and, most importantly, a place for Rigsby to create his own work. Buoyed by the opportunity to concentrate once again on his art, and inspired by his new surroundings, Rigsby entered an extremely prolific period in his career. In 1977, he organized a traveling exhibition of his paintings, which showed at the Kimball Arts Center in Utah, the Kennedy Center in Washington, D.C., and the Arvada Center in Colorado. 1978 brought more exhibits, notably in Aspen and Denver, as Rigsby's work continued. He took an extended trip to visit his mentor, Tatsu Heima, in Japan, where he climbed Mt. Fuji, followed by travels to Tehran, Delhi, and several European countries. He chronicled his impressions from his travels in a small collection of paintings upon his return to the U.S. - the beginning of a practice which would continue through the rest of his life. In 1979, Rigsby's marriage failed, and at the same time he lost the lease to his Evergreen studio to redevelopment plans. In response to the personal chaos around him, Rigsby began a series of what he called "hard-nosed process paintings," the watercolor paintings of dots which marked his work from this period. The paintings gained him an NEA Individual Artist grant in 1980, as well as a Yaddo fellowship in 1981. The polka dot paintings were followed by a series of cupcake-like images, again examining space and color. During the early 1980s, Rigsby lived in a suite of old dentists' offices in a rundown part of Denver, with a studio in an area that reminded him of the Bowery in New York. In 1984, Rigsby founded the Progreso Gallery in the building where he lived, using the space both to show his own work and also to mount shows of the work of many Colorado artists. The gallery also served as a focal point for Denver's local arts community, hosting weekly discussion groups and classes. In 1984, Rigsby traveled to the Baja Peninsula and then in 1985 to Yugoslavia. After each sojourn, Rigsby returned to create vibrant and explosive paintings based on his experiences, showing them at his Progreso gallery and another alternative gallery in Denver, the Edge Gallery. The economic recession of the mid-eighties hit the art market and Rigsby hard, however, and although he continued to create new works of art, major exhibitions were difficult to come by. In 1987, Rigsby decided to leave Denver and spent six months in Barcelona, Spain. It was an electrifying trip for him. Rigsby wrote of that time: "The streets alone are a visual feast, and the additions of museums from Saarinen, Picasso and Miro to 12th century icons produced artistic indigestion. My paintings are always about the way things look and feel. Barcelona was a time machine extending those sensory and emotional concerns back to the Middle Ages. I felt the need to reduce my work to essential elements of color, scale, drawing and format. The [resulting] color studies speak eloquently for themselves, and in doing so, redefine all of the work I've done in the past 35 years of painting." Rigsby completed over a hundred paintings while in Barcelona - color studies, street portraits of the characters he encountered on a daily basis, and a number of dark landscape paintings. He found time to run with the bulls in Pamplona, and began writing stories about his adventures that were later published. Upon his return to Denver in 1988, Rigsby continued to explore the alter egos of the color studies - he concentrated on a series of dark paintings, all prominently featuring back. He commented about these black paintings that he " decided it was time to explore the perception of the eye and physical space as defined by low -light conditions…I find these paintings elegant, joyous and light-filled, with no feeling of heaviness at all." In mid-1988, Rigsby moved permanently to Houston, Texas, where he would spend the last five years of his life. Once in Houston, Rigsby made a discovery that would serve as the inspiration and material for some of the last works of his career. In 1989, he discovered a salvage yard filled with scrap rubber, and he began working on black rubber sculptures, as well as paintings with rubber elements incorporated. He made strong connections in the Houston alternative arts scene, and became a regular contributor and art critic for a local weekly newspaper, The Public News. From 1989 through 1992, he exhibited his sculptures and paintings at Houston's Brent Gallery, Fountainhead Gallery, and Blaffer Gallery. He also produced an installation of his rubber sculptures on the roof of the Diverse Works Gallery in Houston. 1992 also marked Rigsby's return to Denver when he exhibited his sculptures at the Payton-Rule Gallery in Denver, leading to an Absolut Rigsby commission by Carillon Importers. The 1990s were a tremendous struggle for Rigsby, with financial crises compounded by physical trauma (he accidentally sawed off the top joint of the index finger of his left hand while working in his studio). Although his work was being shown, it wasn't selling, and the tremendous financial pressure he felt weighed heavily upon him. He spent an increasing proportion of his time going to flea markets and garage sales, rehabilitating and repairing the things he bought there, and then re-selling them simply to raise enough money to keep a roof over his head. He had little time to paint or sculpt, the things in life that had always, no matter what the circumstances, brought him joy. Rigsby's final works were a series of intricate paintings and drawings on used books that he purchased at the flea market. Most of these drawings, which he referred to as sculptural form drawings, were executed on page after page of science texts, music books, and a Korean bible and fill hundreds of pages. Additionally, Rigsby created an exquisite book he titled 28 de los Angeles, in which his twenty-eight simple and elegant drawings of angels resonated with the influence of Rembrandt he had so admired in his early days. In a sense, Rigsby's final works, art created on used books which were the only materials he could afford, brought his work and life full circle from his childhood days. Rigsby's life, though begun and ended in adversity, was nonetheless illuminated and enriched by the irresistible impulse he had to create art and beauty. John David Rigsby was killed in a one-car accident in Colorado in August, 1993. Biography from the Archives of askART Following is a review by Michael Paglia of the artist's July 2004 retrospective at the Denver Museum of Contemporary Art. It was submitted by John Rigsby, Jr., son of the artist. There's a magnificent retrospective at Denver's Museum of Contemporary Art devoted to the work of the late John David Rigsby, who was a major powerhouse in Colorado's art scene. "Dots, Blobs and Angels" surveys more than forty years' worth of the remarkable artist's paintings and sculptures. The year 1993 was strange, and by that I mean terrible. Many of the city's galleries closed because of bad economic times, and then the artists started dying. In a matter of a few months, Denver lost three significant artists: Rigsby, experimental photographer Wes Kennedy...

This superb Louis Vuitton steamer trunk features the very sought after checkers canvas, all leather chocolate color trim, LV stamped solid brass locks and studs as well as solid bras...

School of Largillierre, Portrait of a Lady of the Verheyden Family. The original frame is black lacquered wood with gilt insert. Nicolas de Largilliere (1656-1746), was born in Paris...

Very nice Louis Vuitton hand stenciled monogram canvas featuring chocolate color leather trim and LV stamped solid brass locks and clasps, LV stamped studs as well as LV stamped soli...

Impressionist style oil on canvas landscape painting by A.A. Bosshart (American, 1880-1951), circa early 20th century. Signed lower right.

Peter Keil, Masterwork Mixed Media Textured Quadriptych (4) Portraits, c. 1980 Oil on Canvas Signed "P. Keil" Lower Left Dimensions: 40" W x 60" H Unframed Ready to Place or Frame...

Framed oil on canvas abstract painting, unsigned. Purchased from an estate in San Francisco / Bay Area. This is a very good quality painting (not a weekend type painter). Califor...

Known to many as 'the man who illuminated Finland', the legendary designer and met- alsmith Paavo Tynell is one of the leading lights of 20th-century industrial design . A classic 19...

A poised feline, in a patterned world of stripes, balancing balls and floral clouds. Circus Cat follows a lithe white feline as it moves across a striped ground that carries the q...

Modern Clemmen Clemmensen painting oil on canvas. 70 x 66 cm (27,5" x 26"), Denmark circa 1960. The painting is painted in a classic modern style with a slightly expressive character...

1960s oil on canvas abstract painting signed 'Reynolds'. This large scale artwork features a bright white ground with vivid yellow, orange, red and pink textured palette knife detail. See the obituary for Lee Reynolds Burr...

1987 modern oil on canvas abstract artwork painting, purchase at a estate in Maine, signed by the artist in vintage original condition with minor wear and patina due to age and use.

This is a fine Italian school oil on board of the view of the harbour in Venice, dating from the mid 19th century. This finely painted painting captures striking views of a busy har...

A beautiful pair of seascape paintings of fishing boats attributed to William Mcalpine (British 19th century) titled 'Beached Fishing Vessels' and 'Shipping in Rough Seas', Circa 186...

Alpine Landscape Oil Painting with Tyrolean Mountain Village A large landscape painting, framed in a gold-colored frame. Painted on canvas with oil paints. The painting shows a scen...

A fabulous oil on canvas portrait of a distinguished gentleman in period attire, circa 1790. The historic age of the work is expressed as dark coloration and craquelure texture in th...

Kaare Klint for Rud Rasmussen, pair of safari chairs model 'KK47000', ash, canvas, metal, brass, leather, Denmark, designed in 1933 and produced in 1960s. The chair shows very eleg...

19th century, by Giovanni Battista Salvi, known as Sassoferrato (Sassoferrato, 1609 - Rome, 1685) Praying Madonna Oil on canvas, 44 x 54 cm Framed, 88 x 60 cm Giovanni Battista S...

Beautiful antique Mexican oil on canvas painting of Saint Anthony with the infant Jesus. There are a few old repairs as shown on photos. Framed with ...

Set of six mid-century folding chairs featuring solid stained beech wood frames and natural canvas seats and backrests. Manufactured in Denmark by Sorø Møbelfabrik, model 330. Their ...

Wonderful 18th Century French three panel canvas screen in hand painted Chinoiserie decoration. Decorated on both sides. Each panel is 65cm wide.

Large Percisionist ModerN Oil Painting on Canvas by Canadian artist Allan Lorne Hecker,,Titled "A Calder walking to the park" Hand executed.. Great use of color, TEXTURE and space..

We are pleased to present this 19th-century Italian oil on canvas painting. It is a classic still life, characterized by a rich composition. A lush, vertical floral composition domi...

Bernhard Keil was among the most distinctive genre painters active in Italy during the second half of the seventeenth century. Born in Helsingør, Denmark, he apprenticed under the Co...

Pair of Arne Norell Sirocco Armchairs. Original canvas. Made in Sweden. Sheepskin throws included. Inspired by safari expeditions and campaign furniture in the 60s. 27w 25.5d 28h 14.5s

Signed B. Donahue and dated 1969 Patriotic Flag painting. On the left side a cemetery honoring fallen heroes in war. To the Right of the flag is a seemi...

Crafted in France and dated 1889, this refined antique still life oil painting presents a harmonious arrangement of chrysanthemums and fruit executed in the academic tradition of the...

A fine Italian 19th century oil painting on canvas "La Madonna della Seggiola" after Raphael (Raffaello Sanzio da Urbino 1483-1520). The circular painted canvas depicting a seated Ma...

Cuzco School Oil on Canvas Painting of San Isidoro the Laborer, patron saint of farmers and peasants. The saint is shown as a monumental figure dominating the pictorial space, an ico...

A charming late 19th/early 20th Century oil painting of a Bulldog, standing in a barn scene, with his rear feet behind a step and in proud stance, with a wooden water trough in the b...

This lovely and decorative painting of peasants in a bucolic setting with numerous farm animals is typical of the period and is designed to illustrate happier moments and a getting b...

Inspired by the sculptural forms, Frame Lounge Chair is a seating piece with a wider and lower design that presents a cocoon feeling to the person who sinks into it. With the idea of...

The Inheritance Armchair by Stephen Kenn is as comfortable as it is unique. The design features an exposed construction composed of three elements - a steel frame, plush upholstery, and supportive belts. The deep seating area is perfect for a relaxing lounge experience. This armchair comes with removable cushion covers to allow for easy cleaning should the need arise. Every Stephen Kenn piece is made to order through our Los Angeles studio in partnership with a number of small businesses and fabricators in the LA area. With this highly customizable armchair you can select from a wide range of finishes and materials to complement your home and lifestyle - please message us to see our Customization Guide with all available options. Since the development of the Inheritance Collection, Stephen Kenn has been inspired by the history inherent in vintage military-issue materials. This version of our Inheritance Armchair is upholstered with salvaged vintage military canvas...

Old Master John Linnell Landscape Collector Painting Oil on Canvas Museum Art. “The Barley Field” By John Linnell 1874 / Oil on Canvas / 1792-1882 / English . SIGNED and DATED at the...

This exceptionally rare and iconic “Monk” low lounge chair, designed by the renowned duo Afra and Tobia Scarpa and manufactured by Molteni in Italy in 1974, is a true collector’s pie...

A large abstract expressionist framed painting, acrylic on canvas in a simple black frame A striking graphic composition using spontaneous energetic brushstrokes in a similar manner...

A charming and authentic Louis Vuitton hard-sided case dating from the early 20th century, beautifully finished in the brand’s iconic stencilled monogram canvas. The exterior is comp...

Peruvian Cuzo School Oil on Canvas of the Archangel Raphael, 19th Century. The Cuzco or Cusco school was a Roman Catholic artistic tradition that began in the 1500's in Peru, foll...

George Clare Original Oil on Canvas, Still Life of Summer Flowers A charming original oil on canvas by acclaimed British Victorian artist George Clare (1835–1890), depicting a vibra...

This untitiled oil painting is thought to have been painted either before of after WWII, is an excellent example the painter's work at this time. Courtney Charles Allen (1896 - 1969) was born in Norfolk, Virginia, was a WWII Veteran in France and was active/lived in New York, and Massachusetts. Courtney Allen...

For your consideration, a vintage military bread bag (musette bag), highly consistent with mid-20th-century European designs, such as the 1910s WWI French Linen Musette Bag or the Pr...

Paul Jouve (1878-1973) Paul Jouve (1878-1973), né à Bourron-Marlotte, est un peintre animalier français, très tôt influencé par son père artiste et par son environnement. Installé à ...

This is a Period of the King Louis XV, very colorful and a deep green paint on the frame, those kind of trumeau are originally situate above a marble mantel.

1970s, Norwegian design, relax chair model 'Siesta' by Ingmar Relling for Westnofa. Original good condition with nice patina. No smells and no stains. Black leather, canvas, and bent...

Antique Italian painting from the second half of the 18th century. Oil on canvas artwork depicting a religious subject, Madonna and Child, of good pictorial quality. A beautifully si...

19th Century Seascape with Fishing Boats on Beach, British School, circa 1870, an oil on canvas seascape with two luggers high on beach at low ti...

Antique Italian painting dated 1881. Oil on canvas, first canvas, painting depicting a countryside landscape with a shepherd and cows, beautifully painted. Spectacular carved and gil...

Pair of Large 19th Century French still life oil on canvas paintings.In distressed giltwood frames showing gesso, both signed A. Bechard. One depicting asparagus bundles, cherries an...

1970s, Norwegian design by Ingmar Relling, model "Siesta". Original brown furniture leather, bent beech wood, canvas. Original good condition: no smells, no stains and stable constru...

Heinrich August Emil Dohm, 1875–1940 Interior scene depicting five figures gathered around a set dinner table on Christmas Eve. A woman plays the piano in front of a lit Christmas tree. Executed in oil on canvas and presented in a gilded wooden frame. Sight size: 79 x 63 cm. Signed H. Dohm. Denmark 1901. Measurements Frame: 89 x 73 x 3,5 Sight: 79 x 63 cm About the artist: Heinrich Dohm...

13 different cats are depicted in this charming -vibrant hand painting A framed oil painting on canvas panel by Self Taught Outsider Surrealist Folk Artist Gloria Antoinette Laposk...