Paint Wall Decorations

Winter Landscape Snow Scene Country Road Painting Oil on Canvas Framed Argnegger . Late 19th-early 20th century winter landscape / snow scene, by...

Italian School 17th century "Christ in the Temple" Oil/canvas/double, 106 x 118 cm. good condition

Antonio Rivas (1845-1911) was active in Italy and Spain. This oil painting on board features two musicians serenading a reclining woman. Interior Orientalist or Eastern temple scene similar to his series of Harem Paintings...

Large Fine Art Oil Painting by F. Wagner dated 1/72 Gilt Wood Frame with Acanthus Scroll decoration. Title is yellow Roses in vintage Vase, a classic Floral Still Life Painting in th...

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...

Original oil on canvas painting of dog. Signature in bottom right corner. Small puncture seen above nose. Photo of back reveals two old patches/repairs. Canvas will benefit from lig...

19th century Italian still life painting executed in oil on canvas. The composition features fruit, gourds, and a bird arranged in a traditional still life format. The painting shows...

19th Century Academic Oil Study of a Bearded Philosopher An 19th-century oil on canvas character study, depicting an elderly man in a contemplative profile. This work is a masterclas...

Oversized Gabe Silverman 1980s Abstract Op Art Painting, Newly Framed Offered for sale is an oversized original Op Art painting recently discovered in a time capsule from the 1980s....

This piece of art is rare because it represents dual portraits Of the Emperor Napoleon and Queen Josephine in a Double framed presentation. Each portrait signed on the Side M Blume...

A vintage portrait by Belgian artist Edmond Delescluze (1905-1993). The subject is a young woman with fair hair and skin, her classic Flemish profile set off by a red hat decorated w...

This captivating 19th-century oil portrait presents a distinguished gentleman, rendered with a striking balance of realism and expressive brushwork. The "Boho" style hints at a depar...

A charming oil painting on oak panel, presented in a contemporary carved and gilded wooden frame with gold leaf. The work depicts a lively country scene, with figures resting along a...

A Tibetan Yamantaka Thangka 17th/18th Century The thangka is coloured and gilt with the fierce deity depicted striding in alidhasana surrounded by a fiery aureole. Numerous other de...

Abstract Composition Gouache on Paper, Miodrag, Signed

18th century Italian gold gilded tabernacle door adorned with naturally forming baroque pearls. This door once belonged on a tabernacle which housed the eucharist in a church. In the...

A large antique oil on canvas, 19th century or earlier, after Titian, depicting A Girl with a Basket of Fruit. The composition is based on Titian’s celebrated mid-16th-century work (...

PAIR of English Victorian gilt framed landscape oil paintings with house on lake and boat. (PRICED AS PAIR)

This is an original antique oil on canvas still life flower painting estimated to be from the 1920s Denmark It is unsigned and framed in a beautiful gold painted wooden frame. The ...

Mid Century Modern Impasto Portrait of a Woman. Heavy impasto painting on board. She reminds us of Jackie O with a headband but with white hair...

Each depicting a noble male figure in formal attire with a flower or cup in hand. Both portraits are embellished with gold and detailed borders, with inscriptions in Persian along th...

- This product is priced per square meter. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. A perfect combina...

Serving, perhaps, as a commentary on the futility and horror of war, this allegorical painting of "Two Philosophers" was made by Arthur Kampf in 1948-49, shortly after the end of World War II and toward the end of his long life. Kampf was known for his historical and allegorical paintings, including a large scene showing a group of nude soldiers...

Enchanting mid century Haitian acrylic painting on canvas of African animals and ducks in a pond in a jungle setting executed in a distinctive naive style, signed Jean Claude in the ...

Elegant late 18th-century European portrait depicting an aristocratic lady portrayed half-length in richly detailed court attire. Her imposing powdered coiffure, delicate lace collar...

18th century Italian hand-carved and gilded tabernacle door adorned with baroque pearls. This door once belonged on a tabernacle which served the eucharist in a church. It has a heav...

Vibrant and free-spirited, this original Boho abstract oil painting bursts with bold colors and fluid movement. Crafted on canvas, it's a one-of-a-kind piece that adds an eclectic, a...

Beautiful painting by the Polish-Belgian artist Mécislas de Rakowski. The painting shows a flower still life in a Chinese vase. Beautiful display of delicate white flowers against a...

One of the great masterworks of Herbert von Reyl-Hanish and clearly inspired by Renaissance portraits which show a dignified personage with an idyllic landscape behind, this portrait of a young, blond youth in traditional lederhosen is striking and powerful. The intense, open gaze of the young man, and his fresh, ruddy countenance, contrast dramatically with the jagged peaks and cool colors of the sky and mountains behind him. Reyl-Hanisch is sometimes described as a Magic Realist...

American portrait oil on canvas of a young ship captain holding a spyglass with a sailing ship, crew in rowboat, and gulls in lower background mounted in the original decorative gilt...

"Cypress on Fire" by Kevin Paulsen in collaboration with David Wiggins. Plater on fragmented polystyrene, mounted in a shadowbox frame.

SALVADOR SANZ FAUS (1914-1997) - 'El Perro' - Remarkable and rare mid century hand painted, glazed and cold painted ceramic wall or cabinet plate - large size - featuring a Surrealis...

Kerry Armstrong is a self‑taught Melbourne-based Abstract Expressionist whose large, emotive canvases reflect deeply personal moments and subconscious ...

CHARLES FREDERICK SURENDORF (American, 1906-1979) - 'Golden Gate Bridge' - Mid Century woodblock print - finished with a an ebonized softwood fra...

Massive abstract folk art painting signed by the artist and dated 1974 A colorful statement piece in greens and reds with yellow center eye detail Presumably originated in the Santa...

An American oil on board dog painting from the late 19th century in giltwood frame. How not to melt in front of this heartwarming scene? A russet and white dog is comfortably resting...

French circa 1890 portrait of a beautiful young woman in a fitted green blouse that complements her complexion, with pronounced red lips. The dark color palette of the work blends to...

Impressionist and scenic Bucks County Pa, a fresh morning on the Delaware River. Depicting the views across the Delaware River of the quaint village banks of Lumberville. The village...

This is an original antique oil on plate still life flower painting by artist Yelva Vermehren (1878-1981). Yelva Vermehren (1878-1981) was known especially for still lifes, floral ...

captivating vintage abstract painting, a beautiful example of mid-century modern artistry. This original piece boasts incredible texture and a soothing palette of blues, whites, and ...

English Needlework / Silkwork of a Family in a landscape setting with a pasture and trees. Beautifully framed in a Large Giltwood frame. Framed piece measures 30.25" in height and 3...

A 19th century Barbizon style landscape painting by notable English artist James Vivien de Fleury (1847-1902) entitled Montfort, Brittany. Beautifully detailed scene with women washi...

An English 19th century oil on canvas depicting a white dog and tabby cat standing before a kennel, set within a giltwood frame. The composition has strong Victorian charm, pairing t...

Striking oil painting on canvas of three parrots in a natural rain forest setting executed with hyper realism technique. Signed by noted American artist Andre Lange...

Offered is an original mixed‑media collage composed directly on a worn book cover, its past life quietly visible beneath layers of paint and paper. Created by Paris-born Sébastien Co...

A most decorative and large scale pair of Italian 18th century Grisaille wallpaper panels. The pair are of Italian landscapes with exceptional deta...

A small French oil on panel kitten painting from the early 20th century, signed by Jules Le Roy. This charming small French oil on panel kitten painting f...

A mid-century floral still life oil painting depicting a loosely arranged bouquet of garden flowers in a rustic ceramic jug. Executed in expressive, textured brushstrokes, the compo...

An English 19 th century oil on canvas of horse and jockey painting in carved gilt wood frame. This 19th c English oil on canvas is a 19 th c...

An exquisite large-scale South Indian Pichwai painting on silk depicting a royal courtship scene with a nobleman presenting gifts to a woman am...

Beautiful tile mural with the "UNICORNS" motif finely painted. Quantity: 56 tiles Tile mural size: 82.6"W X 23.6"H (210cm X 60cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origin: Por...

Art Deco French brown carved framed lithograph etching from a nude resting by the Artist Louis Icart, Paris 1928. These paintings hung in the master bedroom in the French apartments...

Brilliantly capturing the intensity and artistry of the sculptor at work, this large and important painting by Oscar Matthiesen depicts his subject with wild, unkempt hair and a lean...

Original oil on canvas painting of The Flight into Egypt with Mary and Christ child. Spanish School, Seville, 17th Century. Relined canvas. Age related craquelure throughout. Painti...

French Still Life Oil Painting – Colorful Fruits, Wine Bottle – Circa 1960 Description: This is a vibrant oil painting from France, dating to the 1960s, presented in a simple white wooden frame. The composition features a still life scene with fruits arranged in a basket and a wine bottle, painted in a bold, colorful style. The brushwork is expressive, with rich tones of red, green, orange, and yellow, creating a lively and cheerful atmosphere. This piece captures the spirit of mid-century French decorative painting, blending figurative charm with strong visual impact. Main Features: Medium: Oil on canvas Subject: Still life with fruits and wine bottle Period: 1960s Origin: France Frame: Original white wooden frame Colors: Vibrant and saturated tones Style: Post-impressionist / decorative modernism Usage & Style: Perfect for kitchens, dining rooms, or rustic-chic interiors, this artwork adds a touch of French authenticity and warmth. Its subject matter makes it particularly appealing in culinary or convivial settings. A piece that brings joy and color into any space. Keywords: French oil painting, 1960s still life, mid-century art, colorful kitchen decor, wine and fruit painting...

M. Louise Stanley is an American painter, known for irreverent figurative work that combines myth and allegory, satire, autobiography, and social commentary.

A pair of domestic conversation pieces, one showing a girl teasing kitten with her mother's skein of silk, the other a mother dressing daughter for fancy dress party. Both oils on c...

Antique 1913 Emily G. Hyde impressionist pastel on paper painting featuring a rural Indiana country farm / field landscape with haystacks / bales or sheaves under a hazy sky. Gold g...

Scandinavian mid century oil on canvas painting of farm houses in a green summertime landscape. The colors are fresh and clear and the sky is bl...

A large life size portrait by California artist Ejnar Hansen (b.1884-d.1965). An Expressionist style portrait of a seated woman bearing an uncanny resemblance to Virginia Woolf. Th...