Wall Decorations

Victorian Beetle Prints Set of Four – Scarab & Stag Beetle Plates, 1893 Description: This decorative set of four natural history beetle plates originates from the influential Ge...

This vintage chrome plated Curtis Jere wall sculpture is from the 1970s. It is not signed that we can see. It is authentic. It is a combination of 5 sea creatures we call sea urchins...

Set of Five Antique Engravings of Spices and Colonial Crops from Diderot’s Encyclopédie, ca. 1770 A remarkable set of five copperplate engravings from Denis Diderot and Jean le Rond...

Museum Style Beetle Specimen Plates, Victorian Entomology Prints, Set of 8 Description: This striking decorative set of eight beetle plates originates from the celebrated German ent...

Decorative Antique Beetle Prints, European Coleoptera Chromolithographs, 1893 These striking natural history beetle plates originate from the celebrated German entomological work K...

Emlen Etting returned again and again to the theme of Icarus Falling, in part because it gave him an opportunity to depict the nude male in motion. This large drawing served as a stu...

Circa early 20th century pastel landscape painting depicting a lush country landscape cut by a small stream. Signed in lower right, attributed to William Henry Chandler. Beveled wood...

Lovely authentic and all original child's sampler, wrought by "M.M.F.", obviously the initials of a young girl who created this charming needlepoint on linen work which we now collec...

Serigraph from The Iconic Flower Series by Andy Warhol. A wonderful example with vibrant colors in a wood frame.

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

English Majolica vine & strawberries plate, circa 1880. Very rare color. Hairline.

Introducing "Le Havre", a limited edition, signed and numbered print that captures the renowned landscape of Le Havre bathed in the fiery hues of sunset. This geometric abstract, ali...

Danish modern teak wall unit designed by Poul Cadovius, Denmark, circa 1960s. This piece is contains one cabinet and 9 shelves This piece is completely adjustable, and any of the c...

Title: Basilica of Santa Maria Maggiore Interior, Rome – Benoist 1869 Lithograph Description: This refined 19th-century lithograph depicts the interior of the Basilica of Santa Mari...

Antique map titled 'Sweden and Norway'. Two individual sheets of Sweden and Norway. This map originates from 'Lowry's Table Atlas constructed and engraved from the most recent Author...

A really quite wonderful Mid-Century Modern vintage abstract Brutalist hanging wall sculpture featuring a school of fish. We believe this could very likely be a Curtis Jere work but...

Copy of Dutch Flemish still life of oysters with bread, wine, lemon and service pieces

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...

French Tapestry The Royal Hunt by Marc Waymel, created exclusively for Le Médaillier Franklin, France, ca. 1984. A colorful and beautiful vintage tapestry,...

Great image of medical interest. Unframed. Published, circa 1900.

Pair of exquisite paintings after Francois Boucher. Signed illegibly in lower left. The frames Are heavily carved and gilt in a medium tone gold. Boucher was a highly Admired artist of the 18th century. His work was very popular with the French Aristocracy. His works were in the rococo style and captured beautiful Garden scenes of romantic figures...

Majolica flowers and butterfly plate Wasmuel circa 1890.

Lovely set of 6 botanical prints Chromo-lithographs Original color Published, circa 1870 Unframed. The measurement given is for one print. Free shipping

This splendid round wall plate whit decorations fish was made by the Sardinian master ceramist Claudio Pulli. Made in Italy in the 1970s. Claudio Pulli's works have a particular ce...

Very nice original artwork by Stanislav Duda features on the Czech poster for Disney’s Lady and the Tramp. From the film's first-year-of-rele...

Lovely Majolica pink & purple cyclamens flowers plate signed Schultz Cilli, circa 1900, Art Nouveau.

Eye-catching Majolica glazed ceramic trompe l'oeil plate attributed to Vallauris. France, 1960s. This large plate has a black background and a colorful trompe l'oeil decoration comp...

Antique portrait titled 'Thomas Muntzer'. Portrait of Thomas Müntzer. Thomas Müntzer was an early Reformation-era German theologian, who became a rebel leader during the Peasants' War. He turned against Luther with several anti-Lutheran writings, and supported the Anabaptists. In the Battle of Frankenhausen, Müntzer and his followers were defeated. He was captured, tortured and decapitated. This print originates from 'Historie der kerken en ketteren van den beginne des Nieuwen Testaments tot aan het jaar onses Heeren 1688 ... In het Neederduyts vertaald' by G. Arnold. Artists and Engravers: Gottfried Arnold (1666 – 1714) was a German Lutheran...

"Botanical Elegance: A Triptych of 19th-Century Floral Art" An exquisite collection of original antique prints from "Favourite Flowers of Garden and Greenhouse" by the esteemed bot...

This captivating hand-woven mohair tapestry, titled “Reflection in Pond,” is a stunning example of traditional tribal art from the Kingdom of Lesotho, Africa. Crafted from fine, handspun mohair wool and dyed using natural vegetable-based pigments, the piece features a serene scene of an antelope gazing at its reflection in a still pond. Rich in texture and narrative, the tapestry reflects the refined skill and storytelling heritage of African weavers. A hand-stitched sleeve is sewn into the back for easy wall display with a tapestry rod. This textile artwork offers a sophisticated and meaningful accent for interior designers, collectors, and decorators seeking authentic African craftsmanship. Dimensions: 31” x 33” Date of Manufacture: 3rd Quarter of the 1900s Place of Origin: Kingdom of Lesotho, Africa Material: Wool, Mohair on Linen Condition: Excellent The Persian Knot Gallery, SKU: 2206 African mohair tapestry, Lesotho tribal textile, handwoven African wall art, vintage African weaving, antelope tapestry art, African animal textile, mohair wall hanging, African storytelling art, natural dye tapestry, artisan African decor, reflection tapestry, traditional African weaving, wall art from Africa, collectible African textile, handspun mohair tapestry, African Village Tapestry, Tapestries from Africa, African Folk Art, Art of Africa, African Weavings, Vintage Handwoven Tapestries, African Tapestries, African Folk Art, African Weaving Art, Large Wall Tapestry, Handwoven Tapestry, Modernist Tapestry, Mid Century Wall Tapestry...

A beautiful work by famed Japanese artist Kaoru Kawano who was known for his whimsical portrayals of women, children, and animals. Stylistically, he was one of the first Japanese artists to combine Western-style elements with the traditional methods of woodblock printmaking. This work is known as "Dancing Figure (Eshima)" The print is signed (in white ink within the image) and sealed (in red) by Kawano. This work is a quite rare self-printed lifetime double dai Oban large-size print. The quality and colors are striking. It is likely from a limited edition and perhaps numbered on the lower margin (we can not verify as it was previously framed but we are confident that this is the case). A very beautiful and rich image. Would make for a great addition to any Japanese art and print collection or Stand-out accent work in about any setting. Frame dimensions: 30.5" high, 20.5" wide, .5" deep Viewable art...

An oil on canvas, signed lower right. Measuring 36" x 46" including the frame. Mr. Valery Tsarikovsky is an internationally respected artist known as Tsar - impressionism today, reflecting our environment vibrancy of the cities, harmony of any weather conditions, creating atmosphere of the present moment. Born in 1952 in Kiev (Ukraine), Val Tsar...

Handsome oil on board still life painting of birds in a decorative birdcage outfitted with berries and fruit. Note: A matching painting that is slightly ...

A Swedish Gustavian period painted wood wall hanging corner cabinet from the late 18th century, with blue paint, single door and weathered appearance. Created in Sweden during the la...

French Majolica cicada wall pocket signed Vallauris from Provence. Height / 5.3 inches.

Very pretty antique french Aubusson style tapestry with beautiful design from the nature with an eagle. Woven on Jacquard loom with wool and cotton. ✨✨✨ "Experience the epitome of lu...

Beautiful wall plate with the interpretation of opera singer Lina Cavalieri’s face are the basis of the iconic Tema e Variazioni series by Fornasetti. Beautiful hand-decorated porce...

This ikat textile from Sumba, Indonesia is a striking example of the island’s rich weaving tradition, celebrated for its bold narrative imagery and ceremonial importance. Handwoven u...

1970s Vintage W. Kwan Mid Century Modern Fiery Orange Abstract Sunset Sailboats Nautical Oil Painting Framed Gorgeous, stylized, abstract,framed, oil painting on canvas by W.Kwan ...

Frambuesas Del Sur. Francisco Mery. Oil painting on linen. Francisco Mery is a Chilean artist born in 1961. He is a graphic designer and self-taught painter. According to the arti...

19th Century Majolica flowers and butterfly plate Wasmuel.

This exceptional large modernist painting features a natural brass and fiberglass surface on board and is framed with brass flat bar stock. A central organic figure in dark purples a...

French Neoclassical–Style Blackened Iron Wall Shelf, Art Deco / Moderne Revival This refined late 20th-century decorative wall shelf is executed in a French Neoclassical revival sty...

Calder Flying Colors Lithograph Original lithograph from the 70s, does not have stamp Never framed, one owner from the 70s.

The antique botany print, titled 'Bladeren en Bloemen van de Barringtonia,' portrays the leaves and flowers of the Barringtonia plant. This plant, renowned for its unique feature of ...

Karl Blossfeldt — Framed Photogravure: Natural Grace, 1942 A striking Karl Blossfeldt photogravure from the 1942 edition of Wunder in der Natur. Retaining its original condition, i...

Colorful Palissy wall platter signed Hippolyte Boulenger Choisy le Roi, circa 1880. Decorated with fishs,snake, snail,bugs,shells,mussel and lea...

Rare 19th French Majolica Asparagus octogonal plate signed Iris Longchamp. Iris, dragonfly and yellow daisies.

Nude oil portrait by Emanuel Stephen Perry (1932-2019) ca. 1970s. Perry had a lifelong career as an illustrator for the Saturday Evening Post and as a noted fine artist and painter a...

A beautiful work by famed Japanese artist Kaoru Kawano who was known for his whimsical portrayals of women, children, and animals. Stylistically, he was one of the first Japanese art...

Antique French Tapestry 1920 Handmade Fountain Wool Foundation 1920 A magnificent antique French tapestry depicting a scene of people among a fountain. Beautiful colorway, and an ea...

Large Italian modular shelving unit produced in the 1970s combines black lacquered wood with thick glass shelving and chrome hardware througho...

Mid-century Brass Set of 3 Bird Family for Wall Decoration, 1960s, Germany Measurements : Big bird: 28 cm x 11 cm x 2 cm Medium bird: 25 cm x 11 cm x 2 cm Small bird: 21 cm X 11 ...

Set of four antique furniture prints depicting various bahuts and étagères. These prints originate from 'Le Magasin de Meubles' by Victor Quetion. Published in Paris, circa 1860.

A pair of circular glass and brass shelves, for display or storage, second half of the 20th century, unsigned. The shelves were found in Europe, and were perhaps used for shop displ...

A stunning and unique fine artwork that features an antique wood carving - seemingly depicting a medieval knight on horseback - set against a silken silver matting and centered in an...

Set of Four 20th Century Asian Style Water Color Painted Wall Panels, Faux Bamboo frame. Each panel measures 15" in width and stands 41" tall.

Charming and folky Scandinavian blue painted open spice shelves having shaped sides and chip carved edges, in lovely worn paint.

Vintage metal tree wall art, three trees. Comes ready to hang.    

The suzani fragment on the frame is from a 19th C. Suzani. It is hand backed on linen and streched over a strecher and finished with a wooden frame. Ready to go on any wall. The ite...