Canvas Wall Decorations

1999 Limited Edition Print on Canvas of “Carmel, Sunset on Ocean Avenue” by Thomas Kinkade. This limited EP edition is #418 of 680 and features a romantic, nostalgic street scene of ...

A sweeping Bavarian mountain landscape unfolds across this late nineteenth century oil on canvas, signed R. Waldau in the lower foreground. Towering Alpine peaks rise beneath a lumin...

Painting "Rural landscape". Origin : Denmark, early XX century Paintor : unknown Dimensions: Frame: height 71 cm / width 81 cm Image: height 55 cm / width 64 cm

This vintage French oil painting that depicts the one of the great water parterre at the palace of Versailles speaks to the enduring power of the place to still inspire wonder and am...

A large French 19th century oil on canvas (laid down on a masonite) "Les progrès de l'amour dans le cœur d'une jeune fille" The Progress of Love: The Lover Crowned, after Jean-Honoré...

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

Italian painting from 18th century. Oil painting on canvas, already backed again, depicting a subject of sacred art, Saint Francis of good pictorial quality. Large impact painting, a...

Antique charming painting, still life of flowers and very exclusive products for that time, oil on canvas, signed and dated lower right L. Bouchu, France 1912. In good antique condi...

Scott Kerr is a self-taught Contemporary Abstract Artist. As a young boy, he was exposed to the art world by his father through the works of a local Texas artist, David Brownlow. Ama...

Decorate a wall with this large and colorful oil on canvas painting. Painted in Paris circa 1970 and set in a thick carved gilt frame, the artwork beautifully captures the vibrant at...

A beautiful oil on canvas painting of a Parisian street scene. This painting perfectly depicts life in the "City of Lights" with its restaurants, busy streets, cafes and wonderful ar...

A shimmering jewel like antique oil painting of small size but powerful effect with still life composition of a violin in an amorphous setting. Gorgeous unexpected colors including ...

"Homage to Pablo Neruda" by Jean Picart Le Doux - Signed screenprint, Bolduc on the back of the tapestry, Numbered Edition 432/500 - 155Lx115H * This Tapestry has been cleaned by ou...

Antique 18th-century Flemish painting. Oil on canvas artwork depicting a delightful bucolic landscape with animals and shepherds, beautifully painted. Finely carved, gilded, and chis...

Produced by the preeminent John Frederick Herring Jr., this oil on canvas painting, “Horses, Ducks, and Roosters,” depicts a pastoral scene characteristic of Victorian nostalgia. Fol...

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

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...

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...

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 Belgian framed oil on canvas painting by Charles Van den Eycken (1859 – 1923), depicting two dogs in an interior. Created in Belgium during th...

Decorate a study or a den with this antique chicken painting composition. Created in Belgium circa 1890, and set in the original thick carved giltwood frame, this large painting depi...

Pair of 18th Century Very Large Oil on Canvas Panels framed Wall mount Art LA CA . Very RARE 18th century very large and impressive pair of French / Continental painted oil on canvas...

Gorgeous ,Framed original x large painting of Venice canal in Italy with lots of colorful flowers and building. With wide black and gold fram...

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...

Signed English oil on canvas beautifully depicting cliffs and crashing waves on a rocky shoreline with cormorants at sunset. The original plaster of Paris frame shows beautifully. So...

Cityscape oil on canvas painting by James Coignard, France (1925-2008). Signed and framed. Early period. Canvas size 28.5" x 23.5. Size with frame 35" x 30".

Large-Scale California mountain landscape painting by San Francisco, California artist Joseph Hastings Bennett (b.1889-d.1969). Painter, etcher and printmaker born in San Diego, Cali...

This is a pair of original oil on canvas paintings from Denmark painted by renowned artist William Henriksen (1880-1964). William Henriksen was an apprentice of famous painter H.O. ...

The Immaculate Defection is a large-scale contemporary oil on canvas painting by Steven E Robertson, created in 2025. Through a rich combination of figurative imagery, symbolic motif...

Debiève was a French artist who specialised in cubism and contemporary art work, often referred to as tapestries these pieces are actually screen prints on a variety of medium. ‘The Flight of the Flamingos’, or ‘Le vol de Flamants’ is screen printed on canvas mounted on board and brilliantly illustrates Debiève’s mastery of cubism. Producing only a few of these incredible, huge works of art, it is signed by the artist ‘R Debiève...

Circa 1840 james lowder oil on canvas of hoand jockey

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...

Jean Antoine Watteau (1684-1721) circle of. 18th century old master painting, France. With great pride we offer an extremely rare masterpiece from the 18th century, France. This painting is unsigned as most of his works. It has no provenance, but carries with it all the earmarks of the great Rococo style school of Watteau. It pictures one of his famous outdoor parties with a group of frolicking young people. In the background is a reference to a swing, a favored subject in his paintings. The composition of the painting, colors, brushstrokes (especially in the fabric) is clearly Watteau’s studio. This large 18th century canvas...

Mid-Century Abstract Painting. Offered is a lovely mid-century abstract cubist oil painting. This lovely painting is executed in beautiful shades of yellow, orange, tan and rust. Ar...

A beautiful painting and still life " After the Shoot" with pigeons, partridges and a pheasant, a percussion shotgun with a wicker basket. on a wooden ledge. The painting is signed...

Italian painting from the first half of the 20th century. Oil on canvas artwork, first canvas, depicting a portrait of a young girl with fruit, with good pictorial quality. The paint...

Large Italian painting signed and dated 1898. Oil on canvas, first canvas, artwork depicting a portrait, Milanese noblewoman, of good pictorial quality. Painting of great size and im...

Condition: Original Vintage Condition Materials: Oil on Canvas, Carved Wood Frame Style: Still Life This vintage signed Clapkin floral still life oil painting, c.1960s, captures a w...

A very pleasing small abstract painting by Reginald Sidney Weston (1909-1967). Oil on canvas board, recently framed. 1950's - 1960's In excellent condition. Born in London, "Reggi...

Parisian cityscape, signed and framed oil on canvas by Serge Belloni, ‘57 This painting has all the quintessential features of Belloni’s renowned Parisi...

This antique Baroque period oil on canvas painting, is an authentic 1600s Italian School Allegory of Winter featuring putti and cherubs in a rich still life, and housed in its original golden frame, is a rare masterpiece preserved in prima tela (original first canvas). Sourced directly from an exclusive, historic private villa in Tuscany, this exceptional piece has been meticulously preserved by the same noble family for generations. Emerging on the art market for the very first time, this late 17th-century canvas represents a premier acquisition from The Tuscan Villa Collection, offering absolute authenticity and prestigious provenance. Design, Details & Attribution The composition is a sophisticated allegorical study executed with the dramatic chiaroscuro and emotional depth characteristic of the late Italian 1600s. Four masterfully proportioned putti (cherubs) gather around a small fire, their flesh tones illuminated by a theatrical play of light against a deep, crepuscular Italianate landscape. To the right, a monumental Baroque urn overflowing with a finely detailed floral still life anchors the scene, symbolizing the cycles of nature. The dense brushwork, rich earthy palette, and expressive anatomical rendering point directly to a highly skilled hand active in the Italian Baroque School circa 1680-1710. Stylistically, the artwork shares strong affinities with the classicizing Baroque circle of Carlo Cignani and central Italian genre painters of the era. The canvas remains housed in its spectacular coeval original frame, which retains its genuine gold leaf gilding and a magnificent, deep, age-earned patina. Styling & Placement With its grand visual presence and historical importance, this authentic 17th-century canvas serves as an elite statement piece for high-end interiors. The Classical Anchor: Perfectly suited above an early 18th-century walnut console table or credenza in a formal dining room, entryway, or library, where the golden frame and warm tones create an immediate focal point. The Curated Contrast: Highly effective when placed in a minimalist, contemporary space. The juxtaposition of a genuine Baroque masterpiece against clean, modern architecture offers profound historical depth. Collection Harmony: This painting communicates beautifully with fine period furniture, particularly Biedermeier walnut pieces or Italian marquetry chests...

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 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...

This striking large-scale oil on canvas, executed in 1997 by French artist Alain de Cerval, serves as a sophisticated dialogue between Mid-Century Modern geometry and late 20th-centu...

Wonderful Italian painting from the second half of the 17th century. Oil on canvas artwork depicting a splendid pastoral scene, with elements of classical arcadia that recall the tra...

An extraordinary architectural wall relief painting depicting the elegant façade of a Venetian palazzo in the Renaissance style. This highly decorative 20th-century piece is hand-pa...

This important antique still life painting, executed circa 1880, is the work of Pierre Bourgogne, a recognized French painter documented in Bénézit. The composition depicts a luxuria...

A refined 19th-century Romantic gallant scene painting, signed Béranger, depicting an intimate couple in a dreamlike Greco-Roman inspired setting. Executed in the spirit of the Schoo...

Soviet Leningrad Street Scene by Shalaev, Dated 1989 This evocative late–Soviet painting depicts a crowded nocturnal street scene in Leningrad at the threshold of political and soci...

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...

A Monumental contemporary school painting of "Sappho and Phaon" After Jacques-Louis David. The oil is on canvas and framed in gold with French relief. Phaon was said to be so beaut...

French School, after Nicolas-Louis-François Gosse (1787–1878) Napoleon I Receiving Queen Louise of Prussia at Tilsit, 6 July 1807 Bearing the signature “H. Vernet” lower left Oil on ...

This is a beautiful oil on canvas painting by Jane Vivian (Active 1869-1890) signed on the lower left. The painting delightfully presents the view of a Venetian canal and a beauti...

Swedish artist, oil on canvas. Abstract composition. Colouristic palette. In excellent condition with minimal wear. Indistinctly signed and dated '55. Visible dimensions: 67.5 cm x 5...

A brooding and intensely worked oil on canvas in the Danish Cubist-Expressionist tradition, signed by Copenhagen artist Benny Aage Møller and inscribed on the verso with the title Na...

Mid-Century Modern cityscape painting signed Neil Rosenblatt. Signed and dated 1961. Retaining original wooden frame. Depicting a city skyline with sea foreground. Soft pink, yellow ...

Einar Parslev (1891-1977) Oil on canvas, painted around 1920, framed, dimensions 25 x 22 cm Einar Parslev painted naturalistic portraits, figure paintings, landscapes, interiors, c...

Beautiful oleograph of Mary and Jesus. Flowers on border. On bottom reads "Ave Maria". Embroidery still in great shape with gold thread. Original wonderful big tassels and bar on top...

The antique paintings category features a large oil painting on canvas depicting an elegant female portrait, typical of painting french Belle Époque. Epoch Second Half of the Ninete...

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...