Fabric Contemporary Art

Handmade Wool Artwork made by M. Dombrowsky. An abstract, minimalist work made of wool and wood. Each work is handcrafted, the wool dyed and spun by hand. Intricately wrapped, and t...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Intriguing abstract painting by acclaim Russian artist Alexander gore, oil Painting on canvas and is frame in shadow box with glass for protection. Signed and dated by the artist. A...

Modern art is wonderful for updating any decor! This is a large scale modern abstract signed oil painting completed by Scottish American born Ni...

This wall hanging is a one of a kind heirloom piece. Taking inspiration from brutalism, mid-century abstraction, and Joseph Albers studies on the interaction of color. The entire pr...

Original framed Contemporary Art in Acrylic on Canvas in warm earth color palette. Executed in hard-edge technique with textured and raw surface. Has a wood Frame and it is Initiale...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

This wall hanging is a one of a kind heirloom piece, inspired byFrank Lloyd Wright and the Prairie School architects, and Joseph Albers studies on colors. The entire process of cre...

A fine example of Rachel Denny's earlier works, a mixed media piece incorporating photography, wood salvage and a resin seal. Piece is displayed on a burlap board (included). Ms. De...

The ecstasy of Saint Teresa. An original painting by Lynn Curlee, after a statue by Bernini Mr Curlee is a fine artist, and author illustrator of many award winning books for older ...

A wonderful and quite colorful oil on canvas painting by Swedish-American California artist Magnus Engstrom (1936- ). The painting features a futurist cityscape and is done in the neo-cubist abstract expressionist artistic painting style that Engstrom embraced. The painting is signed and dated (1970) by Engstrom. Would be a great addition to any Mid-Century Modern or California art painting collection...

Artist and professor of Kurashiki University of Science and The Arts. Born 1930 in Fukuyama-city, Hiroshima Prefecture. Awarded the Yasui Prize for his work "Tsuki no Michi" (The Moo...

Isabel Brinck Original Abstract Painting on Canvas Titled "Perpetua" Offered for sale is an original acrylic on canvas painting by Chilean-American Miami based artist Isabel Brinck...

Original painting by contemporary Swedish artist Nicolas Makelberge. Red ink and color pigments dyed in concentrated layers on raw cotton canvas, floating mount behind glass in custo...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

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...

Oil painting is composed of vibrant orange tones mingled with neutral brown and grey tones. Verso is titled and signed illegibly. Canvas measures approximate 20 inches squared in height and width. Signed original artwork, abstract Modernist art...

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...

Original oil on canvas painting by listed Italian artists Federico Salvatore. The painting depicts a sailboat coming out of the Marina Grande in Capri Italy. Hand marked ‘Marina ...

Scatter size Persian Kilim from the late 20th century with a jolly-go-lucky man on a camel field. This was originally belonging to a private Persian collector who requested to make...

17th century Italian fragment with natural ammonites, prehistoric shells, agatized coral, and polished coral branches on a burlap gallery 1-inch canvas. The 17th century fragment o...

Hand Painted Acrylic on Canvas in a brown oak frame. Ready to hang. A beautiful large painting to accentuate your home. 48" w x 60"h Painting is 47" x 59" Artist: Unknown This is an...

A beautiful work done by Philadelphia Artist Jane Potash. All original work with signature on front and original frame. Not dated, probably created late 19...

Scatter size Persian Kilim from the late 20th century with a large lonely white pigeon getting cuddled by a boy and a girl on a blue field This was originally belonging to a private...

On hold for exhibition. Available for shipment after May 20, 2026. Wall Sculpture #850 An organically shaped mixed medium wall sculpture with glazed ceramic panels woven together us...

Perhaps the largest original Robert Loughlin on the planet for sale. 6 feet wide. Circular canvas with orange and black paint. Massive 'Brute' with characteristic cigarette. Excellen...

Hand Painted Acrylic on Canvas in a brown oak frame. Ready to hang. A beautiful large painting to accentuate your home. 48" w x 36"h x 1.5" Painting is 47" x 35" Artist: Unknown This...

This wall hanging is a one of a kind heirloom piece. Taking inspiration from brutalism, mid-century abstraction, and Joseph Albers studies on the interaction of color. The entire pr...

A stunning abstract painting by Australian Aboriginal artist Nyurapayia Nampitjinpa (also known as Mrs. Bennett; 1935-2013). Entitled "Tjukurla Country", this work was acrylic on Be...

Rendered with reverent precision, this hand-signed 1996 depiction of the Great Sphinx of Giza emerges from its papyrus canvas in a luminous tableau of ancient mystique and modern art...

Exceptional oil painting of of street view of the old city in Jerusalem. Edward Philips, Ben Avram (born 1941) is an artist who was born in Bombay, India ...

Merino Wool, Wool, Dry and Wet Felting Method Mariana Chkonia (b. 1969) is an artist who lives and works between Tbilisi and Nukriani. In her prac- tice, she revives ancient felting...

Contemporary Artwork - Astronaut - Cosmonaut By Ricardo Rodriguez Black and white original painting (not a print), depicting a cosmonaut in his space suit and helmet. It is the work...

WALL SET M – WALNUT The Wall Set M allows multiple types of exercises in an elegant and efficient set that integrates subtly into any home or hotel environme...

Beautiful Swedish abstract oil on canvas artwork with a pine wooden frame by Bertil Berntsson from the 1962. In good vintage condition with patina from aging. Signed and dated lowe...

Step into a vivid flashback to the 1980s, where neon beats and sharp geometry ruled the scene. This dramatic, large-scale canvas, signed boldly “Dana” in playful pink, is a pure embo...

Exceptional limited edition 1/2 tapestry "Pelops" with certificate from a private collection, 1964. Ateliers Pinton brothers in Felletin, under the supervision of Pierre Baudouin 2ex + 1EA Editor Aram Iynedjian. The tapestry will be sold with its certificate of authenticity from the gallery. From the 15th century, the name of Pinton was associated with the Aubusson tapestry. Since then, over the generations, the Pinton family has largely contributed to the development of this fabulous cultural heritage until the creation in the 19th century, of the Felletin factory, in the department of Creuse. Even today, in these workshops, the craftsmen execute the same correct gestures with the same attention to detail and thus extend the chain of the history of the tapestry of tradition but also contemporary. The hand of specialists, the eye of designers and dyers and the taste of the most demanding clientele find their meaning in the fabric of the carpets. The excellence of French know-how, a living heritage society and custodian of Aubusson's cultural heritage, has always collaborated with great artists. The works of Charles Le Brun, Charles Lapicque, Pablo Picasso, Jean-Michel Othoniel, and many other big names in the world of painting, architecture, design, fell into the looms and know-how ancestral of this unique Creuse creator. Editor Aram Iynedjian Aram Iynedjian, Lausanne gallery owner and editor of tapestries from Braque, Estève and Lapicque, the latter meets Pierre Baudouin, the most famous of the cardboard painters of the time. The one who translated the works of Le Corbusier, Calder or Picasso into tapestry then collaborates with Charles Lapicque and they will develop a work of great richness. Lapicque came to realize these two summits which are "Pélops" and "Diane et Actéon". I realize that you should never try to describe a work of art Let’s look at it. Let us admire the science of composition, linear purity, technical perfection, the beauty of color, the truth of the drama. Let us see, if we can, the implacable presence of genius. "We will now understand that after having based a painting on the love of tapestry, it was relatively easy, and very tempting, to build a tapestry faithful to my painting," explained the artist in the exhibition catalog. of the Galerie Verrière in 1970. It was not until 1961 that he began to produce cardboards both for the tapestry of the Lisse in Aubusson, but also at the Mobilier National, with the help of Pierre Baudouin Charles Lapicque (1898-1988) Born in 1898 in Theizé (Rhône) in a family practicing both the arts and the sciences, Charles Lapicque is no exception to the rule: gifted for music and drawing, he graduated from the École Centrale in 1921, works as engineer until 1928 before integrating in 1931 a laboratory at the Faculty of Sciences of Paris, where he carried out research on the perception of colors, crowned by the title of Doctor of Physical Sciences in 1938. He thus studies the reactions of the eye in front of an intense light source, at the origin of the formation of starry images which he will use in his works, and defines a theory of the staggering of colors in space which overturns the rules of the Renaissance: "I had shown that the Classic rule, that of Vinci, advocating placing the blues in the distance, the reds, oranges and yellows in the foreground, is a nonsense; it makes more sense, more favorable to do the opposite. "(In Red and blue in the arts, 1936) It was around 1920 that Charles Lapicque began to paint in Brittany where he spent every summer since his childhood, first on the motif and then in a workshop that his stepfather Jean Perrin, Nobel Prize in Physics, had him build in 1927 ; he then definitively adopted the work of memory, in accordance with the art of music which he deeply loved and the Bergsonian philosophy of knowledge: "It is up to us to give reality an appearance that it has no itself, a form, a figure (...). " His youthful production immediately reveals a great originality, oscillating between figuration and abstraction which sometimes intertwine: alongside synthetic paintings by their simplified drawing and their flat colors, he designs an Homage to Palestrina (1925), composed of a grid derived from Cubism, entirely abstract, relayed by a Christ with Thorns (1939), according to a principle that he will develop after 1939, in line with his optical discoveries. In fact, during the war years, an almost abstract period began, that of the tight blue framework, applied to backgrounds ranging from yellow to red and revealing a more or less identifiable world (Jeanne d'Arc crossing the Loire, 1940; Rencontres series, 1940-1945). Exhibited in 1929 by the gallery owner Jeanne Bucher, Lapicque abandoned his scientific career in 1943 to devote himself entirely to painting. He continued his work which resulted in 1946-1953 in white-frame structures; their much softer lines lead him to the system of either black or white interlacing which encloses areas of pure color, most often in solid color. With The Battle of Waterloo in 1949, Lapicque still uses optics - zooming in on a given area - to depict spaces with multiple perspectives and decomposed times. This new interest in the liveliness of color developed in the following period, which can be described as flamboyant or Baroque (1954-1963): illustrated in particular by the series of Breton lagoons and twilight or nocturnal views of Venice in the light. Stars, which the artist himself describes as “daring sweets”, it begins with the Raoul Dufy Prize of the Venice Biennale, awarded in 1953 to the artist who took the opportunity to give free rein to his passion for the Serenissima until July 1956. Another point in common with his elder brother is the expression of movement. Begun in 1949 in The Battle of Waterloo then in 1952 with Dimanche aux regates, it became an obsession from 1964, in the exploration of new themes, such as the different shots of tennis players captured on the fly (1965), the mythological scenes and sea storms. These dizzying years precede the artist's last period: as he comes of age, he discovers serenity, revealed by a painting now with acrylic paint, much more peaceful from 1974, which even borders on a childish naivety at the end. of his life. All of his work includes an astonishing diversity of themes, also nourished by his travels (Rome in 1957, Greece in 1964, Holland in 1974 ...), with a predilection for the sea, rocks, sailboats, music, tennis, horses, wild beasts, but also for history and mythology, as evidenced by knights, kings and ancient gods. It also deploys, in total creative freedom, a wide variety of styles and orientations. Having been one of the pioneers of non-figurative art, thus paving the way for artists like Manessier, Bazaine, Vieira da Silva, De Staël, etc. Owners of the new non-figurative Paris School of the Postwar period, Charles Lapicque then returned to figuration, in a "new interpretation" of appearance, even if he continued to rub shoulders with abstraction at times. "Drawing runs after color and color after drawing. " Heir to the Fauves, Charles Lapicque plays like them on pure colors, whose dissonances, associated with a totally free design and an overloaded composition in a multiple space, make him a precursor of the New Figuration in all its forms: the Narrative Figuration born in France in the early 1960s, represented in particular by Gérard Fromanger, Erró, Bernard Rancillac and Gérard Guyomard; Free Figuration born in the early 1980s, marked by Robert Combas, Hervé and Richard Di Rosa, Louis Jammes and François Boisrond, and which, in turn, influenced the American Bad Painting of a Jean-Michel Basquiat or a Keith Haring, deliberately neglected and Expressionist; Lapicque's “Classic subjects” were able to feed Cultivated Painting, which also appeared in the early 1980s with Jean-Michel Alberola, Patrice Giorda and Gérard Garouste...

An abstract painting by Venezuelan artist Alejandro Rios. Rios is known for creating largely abstract landscapes that disappear through the texture a...

Small square size Persian Kilim from the late 20th century with a horse standing on a sky blue field Measures: 3'8'' x 3'9''. This was originally belonging to a private Persian col...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Sakura on FT.5'. Soft pastel, charcoal and cotton thread on pages of the Financial Times. Carla Groppi, 2025 Dimensions include frame. Award winning Carla Groppi was born and grew u...

A significant contemporary aboriginal painting by Kathleen Petyarre (1940-2018) in 2010. The painting was a rare oversize piece, exceptionally executed in earthy colors, showcasing m...

"Houses And River" Signed A. Huntington (English School) Oil on canvas Measures: Canvas - 60 x 110 cm (giltwood Frame - 76 x 126 cm) Private collection. Framed.

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...

Effortlessly bridging pop-art allure and refined modernism, this pair of 1980s Patrick Nagel portrait posters makes a bold visual statement. Each print features Nagel’s signature aes...

Accent size Persian kilim from the late 20th century with a lion on a striped field Measures: 4'9'' x 7'7''. This was originally belonging to a private Persian collector who re...

Original artwork. The continuum of form, space and texture. Hand torn / sculpted canvas, black gesso, thin wood frame.

Vintage Italian silk scarf with 18th century Italian gilded fragments and glass beveled beads on canvas. Vintage silk scarf depicting the important historical monuments of Rome with...

1974 Mid-Century Modern abstract artwork by Jonas Gerard.

Framed oil painting on canvas by Los Angeles artist, Sherry Schrut. The colors range from bright red and orange to cool blues and green. Signed by the ar...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

The abstract artwork signed by J. Holden is a captivating and vibrant piece, depicting a cowboy and his horse with a modern, imaginative twist. Rendered in bright, bold colors on a s...

This original mixed media artwork by local Texas artist, Scott Kerr, combines modern design, layered texture, and neutral colors to create a statement piece for any interior. Featuring tones of white, beige, gray, and taupe, the composition highlights movement and depth, making it versatile for both contemporary and transitional spaces. Handcrafted in Texas, this neutral wall art...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Large abstract oil painting titled: "Connected Green Deal" Natural pigment on vintage Belgian linen canvas Textured green iguana abstract...

This wall hanging is a one of a kind heirloom piece, inspired by brutalism, and Joseph Albers studies on the interactions of colors. The entire process of creating this wall hanging...

A dynamic 1980s Memphis-style mixed-media combine by Johnston, this sculptural wall work bursts with color, geometry, and dimensional energy. Layered plywood panels in vivid pink a...

Large scale abstract acrylic painting on canvas by American listed artist Ted Kerzie. Measurements: 178” Wide, 105” High, 3.5” Deep. Ted Kerzie Born in 1943 Tacoma Washington...

This large and important portrait contrasts a modern African American male nude with two other figures in an artist's studio: a life-size pl...