Paint Wall Decorations

Purvis Young (1943-2010) Abstract Painting, ca 1990s Includes paper attesting to this work being part of the "American Salvage Find" where numeroius work presumed to be Purvis Young...

A pair of 19th century polychrome painted ecclesiastical decorative wall panels, circa 1850. Each depicting a religious scene with haloed figures in vibrant shades of gilt, red and ...

Attributed to William Griggs, circa 1880, this pair of lithographs in hand-painted black frames depict a set of Neoclassical Wedgwood amphora vases. Both prints are on cream paper, a...

Beautiful tile mural with the "GENTLEMAN" motif finely painted. Tile mural size: 70.8"H X 53.1"W (180cm X 135cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portugal Production...

Oil on canvas signed lower right. Presents very well overall and measures 31" x 43" including the frame. Provenance: Bradbury Art and Antiques, Wiscasset, ME Private Collection G...

The Deck series. Screen-printed maple skate decks. Float-mounted on encaustic painted boards.This open edition set of 5 skate decks features Keith Haring's Monsters and was designed in 2019 by The Skateroom with the Keith Haring Foundation. Art Dimensions: 60 x 48 H inches Framed Dimensions: 61.5 W x 49.5 H x 4.25 D inches Over a year in the making, Decks is a mixed media series combining O'Hara's favorite medium, encaustic wax, as the backdrop and base for art-edition skate decks. The skate decks, screen-printed with contemporary art by Warhol, Basquiat, Haring, and more, are float mounted onto board. With a nod to pop art and street art, each board is painted to complement the decks that sit atop. In works like Deck 15 and Deck 18, O'Hara float mounts sets of Keith Haring decks...

American Victorian gilt framed oval oil portrait painting of man with black tie

Small French Cityscape Oil Painting, Parisian Street Scene Painting Decorate a home office, living room or den with this beautiful vintage Paris cityscape painting. Created in Franc...

Processional banner with a canvas of Our Lady of Candelaria, 16th century Very rare processional banner with an oil-painted canvas depicting Our L...

Alexander Michael Oil Painting of an Autumn Walk in a Park, 1969 This evocative oil painting, dated 1969, is a work of German artist Alexander Michael. It captures a tranquil autumn...

The original oil on canvas painting depicts a country scene with a woman handing laundry on the line with a few chickens and a dog surrounding her. Bright dress and colorful laundry ...

James Fairman, Scottish-American, 1826 to 1904, oil on canvas painting. The artwork depicts a panoramic view of the Windsor Castle. Titled Windsor Castle From the River. Signed in th...

A late eighteenth century portrait of a lady, oil on canvas, in a French Empire 19th century giltwood frame. Attributed to Henri-Pierre Dan...

Signed and attributed to Jasper Francis Cropsey (American, 1823-1900) oil on board painting, titled Lone Deer. Earth tone green forest with blue sky and one lone brown deer. Dated an...

Beautiful tile mural with the "GENTLEMAN" motif finely painted. Tile mural size: 76.7"H X 47.2"W (195cm X 120cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portugal Production...

TAKESHI KAWASHIMA (Japanese/American b. 1930) - Untitled No. 68 - 75/80 - Mid Century original lithograph on paper - featuring a gridded pattern with semi abstract shapes - unframed ...

Maxwell Mays (1918-2009) American painter and illustrator. Signed and dated 1983. This painting titled "Cascade Springs" is an intricate and lively depiction of a bustling Colorado town during its historical boom period. The painting illustrates the vibrant energy of the town with details of trains, trolleys, horse-drawn carriages, and pedestrians in a winter landscape. The scene captures the essence of Victorian and Edwardian architecture alongside the Rockies, representing a mix of rural charm and the burgeoning industrial presence with trains labeled "Atchison, Topeka & Santa Fe" and freight cars marked "Rock Island" and "DRG." The composition is filled with movement: people strolling on the sidewalks, horses pulling carts loaded with goods, and trains arriving and departing, indicating a hub of economic and social activity. The detailed rendering of buildings, including "William M. Baxter Hay & Grain" and market scenes, emphasizes the town's industry and commerce. The snowy mountains and rooftops in the background further ground the painting in the Colorado Springs region, showcasing the rugged, wintry landscape that frames the town. The palette of subdued winter tones, combined with bright pops of color in the trains and clothing of the figures, enhances the painting’s nostalgic and whimsical quality typical of Mays' work. The title plaque on the back provides historical context, describing how people came to Colorado Springs for both riches and health, symbolizing a new society born from the merging of the West with industrial advancement. This picturesque narrative combined with Mays’ folk art style makes it a remarkable piece evoking both history and community. Overall, "Cascade Springs" is a celebration of early American life in a rapidly modernizing town, capturing both its charm and progressiveness through Mays' detailed and stylized artistic lens. Dimensions: 45.5"w x 35"h x 1.5"d (sight) Condition: Good. No issues observed. Ready to hang. About the Artist" Maxwell Mays was born in Rhode Island in 1918, and focused his art on celebrating the landscapes of his home state. Known for their birds-eye perspectives and nostalgic style, Mays' prints have appeared multiple times on the cover of Yankee Magazine. His paintings hang in many establishments, including the University of Rhode Island, and are particular favorites of Rhode Island residents. Mays' artwork often depicts scenes from throughout Rhode Island and the surrounding areas of New England but he did produce works depicting communities from across America . Featuring town squares, farm lands, and harbors, Maxwell Mays' prints celebrate the Americana found in small towns. A graduate of RISD, he began painting seriously while serving in the US Air Force in Brazil during WWII. His first one-man commercial show was at the Ferargil Gallery in New York in 1948. In the ensuing years he became notable for a number of highly successful art shows and magazine covers, and was a highly sought-after speaker and storyteller. As a successful businessman, he was Treasurer of Mays Manufacturing Company, a family business until its sale in the mid-1980s. He was Past President and Director Emeritus of the Providence Art...

Modernist stylized watercolor rendering of a bull by Oreste Dequel (1923-1989). Circa 1950-60. The simplicity of line suggests the outline of a bull accented with a highly saturated ...

VINTAGE ORIGINAL OIL PAINTING Depicting an ethereal dream-like scene with figures in a wooded landscape at night. Painted in a free expressionist bold style with a rich colour pale...

Pair of Roman scenes attributed to Annibale Gatti. Inscribed on reverse "A Gatti". 19th century. Oil on board. Paintings measure 14.5" x 4.5" without frames.

Giuseppe De Gregorio (Italian, 1920-2007) 1960s. Signed on lower right. In a nice gilt frame.

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

Modern Oil Painting, Urban Landscape, "Crépuscule" by Miloje Todorovitch, 1960 Wonderful and unique oil painting on canvas by the well known Serbian painter (biography at the end of...

Although not signed, this brilliant scene of a nude black male figure, marvelling at a vision of angels in the heaven from his position on the ground...

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 Taro Yamamoto (1919-1994) abstract mixed media on hand made paper. Circa 1950. A wonderful abstract rendering. Unframed, but mounted to a piece of cardboard with non-archiva...

Beautiful painting of a Tahitian girl in this modern - surrealist oil on canvas and some kind of collage , signed LR. Painting work itself, measures 21.5 x 13 inches.

This is an exclusive original oil on canvas painting by Hans Skou estimated to be from the mid century. It is framed in a white painted wooden frame and have a motive of town with be...

This captivating original abstract oil painting by artist Jane Tracy is a masterclass in Postmodern expressionism, bringing a visceral and organic energy to any interior. The composi...

This captivating oil on canvas, titled "A Berkshire Landscape," is a remarkable example of the work of John Bunyan Bristol, a distinguished 19th-century American artist known for his...

A true Art Deco masterpiece, painted as a final study for one of a series of large murals for the National Elks Memorial in Chicago, finished in 1926, this large gold-hued scene depi...

Monumental Harley Francis abstract male nudes oil painting on canvas Offered for sale is a monumental abstract oil painting by Harley Frances ( 1940...

Expressive black and white abstract painting with original frame. Palette and brush painted on artist board. Unusual framing with inset image and burlap matting. Artist signed but un...

This 20th Century Belgian still life painting presents a moody, atmospheric composition centered on humble kitchen objects arranged against a dark, textured backdrop. Pots, pans, and...

Portrait of an Aristocratic Lady, oil on canvas, European School, 18th century Oil on canvas depicting a noble lady, dressed in a low-cut red dress and blue cloak. The sobriety of ...

Still Life with Pears Belgium Mid 20th Century. Great and rather large painting. A bit like Picasso or De Chirico. Or Morandi. Still life with pears, apples and wine. Great colors a...

Original watercolors by Canadian artist Cameron O'Neal. We have selected this grouping of vivid "imagined landscapes" which are all hand-signed and titled. A wonderful grouping of ha...

Amy Kasi, Japenese American oil over canvass over masonite board.

This painted wall pocket or sculpture is beautifully constructed and ornamented with an English Woman in the center. This piece would be a wonderful architectural element standing al...

This exquisite oil painting, is a masterful depiction of a pastoral scene that epitomizes the serene beauty of rural life. Likely created in the 17th century, the work surely of Flem...

Vintage Pichhavai painting on fabric of Krishna playing is flute with Radha and female Gopis gathered by his side. The colors, details and facial ex...

California Eucalyptus school pair of miniature framed Impressionist landscape paintings - painted in watercolor and gouache on paper (applied to boar...

JOHNSTON - Mid Century Modern - fine art print on paper - signed and dated upper right - unframed - Canada (likely) - circa 1974. Excellent vintage condition - upper left corner wit...

This small and exquisite 19th-century oil on cardboard titled “Reading to Mother” by Johann Georg Meyer von Bremen depicts a gentle interior scene with a young boy attentively reading to a woman, presumably his mother. They are both seated at a small table, the woman rests in a chair outfitted with a large pillow and a faraway look. The painting is nested in a statement giltwood frame, with the artist’s signature on the lower right corner. The frame is a neoclassical Louis XVI-style gilt frame with bellflower trim on the top edge, guilloche detailing on the back edge, ribbon trims, and a fluted cove. Oil paintings on cardboard gained popularity in the late 19th century, offering a convenient and affordable alternative to canvas for artists and enabling greater artistic experimentation. Many renowned artists explored this medium. Oil on paper was often prepared with a layer of primer or gesso to create a stable surface for the paint and to prevent the oils from soaking directly into the paper. Johann Georg Meyer von Bremen commonly known as Meyer von Bremen (1813-1886), was a German genre painter specializing in Biblical, peasant, and family scenes. He was a pupil of the Dusseldorf Academy where he largely painted religious and historical subjects. In 1840, after traveling in Bavaria and Switzerland, he began to develop pleasant genre scenes focused on incidents from popular life, especially among the Hessian peasantry, and the portrayal of childhood and family for which he became known. He spent the remainder of his career in Berlin, becoming a Professor at the Academy in 1863. He was also a member of the Amsterdam Academy and the Order of Leopold...

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 ...

Goya oil on canvas from xviii century The canvas is relined. It is from the same time that Goya made the cartons. The painting measures: 135 x 101 cm without frame. The dutch frame measures: 172 x 140 cm -The blind chicken (1789) is one of the cartoons that served as a model for the manufactures of the Royal Tapestry Factory of Santa Bárbara by Francisco de Goya...

Vintage Lee Reynolds for Vanguard Studios. A minimalist floral still life featuring tall, textured stems in a geometric-patterned vase against a grid-like background. This specific p...

Antique Portrait Painting of Boy and Dog Signed "A. Stoff 1878," Alois Stoff, 19th Century (1846- c. 1922) Austrian painter. A pupil of Karl Mayer (1810-1876...

This is an original vintage oil on canvas still life painting from 1933, Denmark. It has a motive of plants and flowers elegantly arranged on a window sill. It is signed “HP” in the...

19th century Italian painting of Mary and Jesus on canvas with barite, selenite blades, scolecite, green aventurine, and aragonite and framed with 18th century Italian hand-carved fl...

Painted by George W. Drew (American, 1875–1968), this atmospheric Venetian subject presents a lone gondolier guiding his boat through a narrow canal, the figure centered and upright ...

The Frameworks are created with the same technique as our wallcoverings and represent a unique artistic vision, which embellish the location where they are exhibited. This picture p...

Impressionist New York City, a snowy winter day on 5th avenue. Cars fill the street and snow fills the air. The city that never sleeps gleaming with patriotic pride with the famous E...

Sculptural canvas relief with a 17th century Italian Florence fragment by Elena Rousseau. The sculpted canvas is molded together with fresco plaster, g...

An impressive oil painting on canvas of a forrest landscape. A very lifelike rendering of trees and foliage in warm charming autumn tones. The scene itself is calm and quiet. Would ...

This is a pair of original Danish oil on canvas still life flower paintings from 1932 by artist CS. They are signed by the artist in the bottom right corner and framed in beautiful ...

This vibrant vintage oil painting on board captures the bold energy of the Cubist movement, drawing clear inspiration from Pablo Picasso’s iconic portraits of the mid-20th century. S...

Beautiful and colorful painting depicting the Hadwen House at Main and Pleasant Streets in Nantucket, Massachusetts as a couple walks down the street u...

1970s 84x48" abstract painting by Robert Natkin Intimate lighting series from a Prominent Hampton Estate Signed Bottom Center .in Custom wood f...

Philip & Kelvin LaVerne Chan decorative wall hanging. Original order form is included, model #140 ordered as a wall hanging incorporating colors from mode...