Paint Wall Decorations

Oil painting on artist board - portrait of a bare chested young man in forest - set in a contemporary silver leaf wood frame. Signed bottom right corner - A. Fein '52. Framed measure...

Reclaimed Fragments of Religious Artworks After Matteo di Pacino. A pair of reclaimed fragments of religious artworks after Matteo di Pacino, originally part of a triptych. Painted ...

Painting on Canvas Silence of the Sun, oil on canvas, with solid oak frame. Exceptional and unique paint. Canvas dimensions : L200xH200cm.

A charming early 20th-century oil on canvas depicting a Mediterranean hillside scene with cypress and blossoming trees, red-roofed villas, and distant mountains under a soft blue sky...

Here is a lively and whimsical collage on board by the San Francisco Bay Artist, Jean Varda. Varda is known for combining figurative, surrealist and abstract influences to make colla...

Oil on canvas impressionist style landscape painting by German artist Paul Ernst Wilke b.1891 - d.1971. 1913-14 studied at the art school in Bielefeld, 1914-15 in Dusseldorf. 1915-1...

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 ...

The artist behind this striking and original Art Deco portrait -- Agnes Tait -- is clearly emphasizing the parallels between a female figure and her Siamese cat, both shown with heavily-shadowed blue eyes and short, dark hair, the feline crouching familiarly on the shoulder of her companion. Because Tait painted a series of portraits for Florenz Ziegfeld of the young women who performed in the Ziegfeld Follies in 1932, it's possible that the figure here was one of her subjects. The woman is wearing an elegant black gown that bares her upper chest, and the background is a lovely shade of reddish purple. Tait was a native New Yorker, studying in her youth at the National Academy of Design under Leon Kroll and others, before becoming a WPA painter in the 1930s. She painted a series of tropical scenes for the United Fruit Company...

Beautiful tile mural with the "FISHING & HUNTING" motif finely painted. Quantity: 54 tiles Tile mural size: 35.4"H X 53.1"W (90cm X 135cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Or...

Reclaimed Fragments of Religious Artworks After Matteo di Pacino. A pair of reclaimed fragments of religious artworks after Matteo di Pacino, originally part of a triptych. Painted ...

A 19th century oil painting of the entrance to the Venice Grand Canal after Francesco Guardi (1712 – 1793). Within this bustling Continental School veduta, ships and gondolas surrou...

Top quality, hand carved nutwood eagle clock with Lenzkirch movement. An exceptional and rare late 19th century Black Forest wall clock of monumental size, featuring a superbly hand...

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...

Heyman Dullaert (Dutch, 1636-1684) Oil on Board Painting. Dullaert was a Dutch Golden Age painter, who worked under Rembrandt, and was known for 17th century mythological landscapes...

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...

This beautifully executed mixed-media painting by Boris Talberg (or Thalberg) was clearly executed in preparation for one of the artist's most famous works -- "The Gymnasts...

Painting on board of Chicago landmarks by Ivan Bartlett from 1951 that hung in the Ambassador East Hotel (see period photo from the Liebes Archive). In 1951 designer and weaver Doro...

Abstract figurative painting, oil on fiberboard, signed Zeitner, dated 1963.

Oil Painting on Canvas 'AG' by Anne Raymond, Modern Abstract USA, c. 2000 AG by Anne Raymond oil on canvas circa 2000. AG (Silver) oil painting on canvas by Southhampton, NY artist A...

Pair of large French 1950’s acrylic and resin abstract panels gold leaf circa 1950. Screens are made from browns, oranges, yellows and greens with gold leaf in places. They have be...

A highly decorative late 18th-century Dutch or Northern European School flower still life, painted in oil on a chamfered oak panel. The composition follows the Dutch still-life trad...

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

Original vintage mid century maritime oil on canvas Danish painting by Alfred Brændgaard (1901-) framed in a wooden frame. The motive shows a seaside small harbour with fishing boat...

Beautiful tile mural with the "FRUIT AND FLOWER BASKET" motif finely painted. Quantity: 50 tiles Tile mural size: 29.5"H X 59"W (75cm X 150cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm)...

Copy of a painting by American Regionalist Thomas Hart Benton titled,"Boom Town" showing industry in motion in a rural town Condition: Good; Wear consistent with age and use

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 (...

«Lovely Sky» ist ein sanftes, atmosphärisches Wandobjekt, inspiriert von einem ruhigen Wolkenhimmel. Die naturfarbene Jute wurde kalkweiss grundiert und in weichen, pastelligen Farbt...

19th Century Biedermeier Painting with Swans on a Lake This antique oil painting, set in a wooden gilded frame, was painted on canvas in the late...

Painted at a time when the nation was increasingly interested in exotic places and peoples -- including Mexico, the South Pacific, Asia and the Southwest -- this Art Deco painting of...

Italian Oil Painting on Canvas in a Giltwood Florentine Frame 18th Century This finely painted Italian oil on canvas, presented behind glass, dates from the 18th century and is belie...

An exquisite circa 1790 equestrian oil on canvas of a red-coated and bewigged gentleman fox hunter with outstretched arm and hand holding cap, 'riding to hounds' on a galloping bay h...

Impressive oil painting on board of the Esk river, executed in an impressionist style, with trees and rocks on a sunny day in Gilnockie Scotland. Signed by prolific English artist H....

ABOUT A 19th century oil portrait on canvas of a gentleman. Unsigned. CREATOR Unknown. DATE OF MANUFACTURE c.1800s. MATERIALS AND TECHNIQUES Oil on Canvas. Unframed. ...

A compelling late 19th-century oil on board portrait depicting a young Middle Eastern sheikh, masterfully rendered with remarkable sensitivity and quiet dignity. Signed H.P. Stevens ...

A beautiful pair of late 18th Century Italian oil on canvas riverside scene paintings. Dating to around 1780 set in to good ebonised and gilt frames. Circa 1790.

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 mid century modernist winter landscape oil on plate painting by Danish artist Sigvald Tingkær (1927-2017). The scene shows a snow-covered winter landscape with fur trees in ...

Extraordinary portrait miniature in a rare half body pose. The sitter appears to be in mourning. Exquisite details — her book, her rings, the arm garter! She has a Titus or coif...

A 19th Century Grand Tour Watercolour of Pompeii. A distant view of Pompeii, taken on a hazy morning. Mount Vesuvius can be seen in the distance, o...

Measuring 56 H x 67 W, this large Dutch oil on canvas painting from the 1700s depicts a Southern landscape of a glen beneath a rocky cliff. The expansive valley stretches far into the distance, before terminating at a lake in front of a mountain. Numerous flocks of sheep can be seen throughout the basin, including a group high up on the towering cliff with green trees dotting the sand-colored rock. Most of the flocks in the distance are being tended to by shepherds, but interestingly, a group of four men has gathered in the foreground to engage in leisurely activities as their sheep, cows, goat, and dog await nearby. A few chateaus can be seen in the distance, but most of the architecture is in the style of a capriccio, in that they are dilapidated. The top of a stone obelisk is missing and there are some losses to the inscribed pedestal next to it that supports a lidded urn. Large pieces of broken rock are scattered about, with one slab being used as a seat/table for two shepherds playing cards. Several birds fly in the blue sky, with the setting sun giving the clouds hues of gray, orange, and pink. The peaceful scene is surrounded by a brown wood frame with a thin undulating gilt border that edges the canvas. Our large Dutch painting...

Original painting by Cranbrook artist Ray Frost Fleming (1936-2012) Untitled circa 1970s Acrylic resist on canvas in a striking contrast of earth tones and vibrant blues Soft washe...

This monumental vintage abstract oil painting is a masterwork of Mid-Century Expressionism, drawing significant influence from Cubist geometric structures and avant-garde layering te...

Original Danish mid-century oil on plate painting of an alley in a Danish market town with traditional half-timbered houses. The painting has great architectural details and is kept ...

A French framed oil on canvas still-life painting from the mid-19th century, depicting a colorful bouquet of flowers in a vase, set in a carved giltwood frame. Born in France at the ...

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...

An atmospheric tonalist paintingof a beach in fog titled "Peace", by the beloved Nantucket artist Barbara J. Cocker (1923–2009). Her seascape and marine paintings explored the coasta...

Mid Century Post Modern Abstract Painting Framed Artwork oil on Canvas 8 Faces all facing the Right Layered. Bright colors with 7 different faces. Very presentable Painting. Oil pain...

Powerful and terrifying, this late 1930s painting by Jules Karl Rauschert constitutes a condemnation of the Axis powers that were drawing much of the world into genocide, mass suffer...

A serene mid century coastal harbor scene signed Charles Richardson. The composition captures a quiet waterfront with moored sailboats, shoreline buildings, and glassy turquoise wat...

Vintage watercolor on paper nautical painting depicting a marina / harbour filled with boats. Faint signature in lower right corner - possibly F. Evans. Speckled giltwood frame with ...

A painting depicting a woman amidst leaves, acrylic on board in hand-carved mid century modern frame. The wood of the frame is tropical, potentially jacaranda or mango, circa 1955, w...

Páramo expresses the malleability of the earth. This scalable set of mosaics modeled using parametric design allows for infinite variations. Sold per m2. The geographies that resu...

Beautiful tile mural with the "WINE PRESS" motif finely painted. Quantity: 104 tiles Tile mural size: 47.2"H X 76.7"W (120cm X 195cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origin:...

Swedish, 19th century corner cabinet with the most incredible carvings and lively blue interior that belies the humble pine construction. The quarter-round shape of the cabinet tucks...

A magnificent 18th century Portuguese wall console, also called a bracket, originally part of the architectural program of a cathedral altar. The shelf is painted in a muted palette ...

In this listing you will find a beautiful painting by a renowned Yugoslav artist, Radisav Raša Trkulja, titled "The Cypriot Landscape". This oil on canvas is done in subtle, warm, pa...

Oil on board by Angelo Charles Scibetta (1904- 1962) titled '"Throwing Rocks", painted in New York in the 1940's. Signed by the artist lower left. Professionally presented in a dee...

Oil on canvas still life "Pink Roses" by Albert Van Nesse Greene (1887-1971) Born in Jamaica, New York in 1887, Albert Van Nesse Green had a long and thorough art education. He stud...

A framed antique heraldic coat of arms coach panel dating to circa 1800. Painted in oils on wooden board, this painting captures an English family crest depicting a shield with a ce...

A gesticulative abstract expressionist painting on canvas, ca. 1960s, that once hung in the collection of the Pacific Design Center in Los Angeles,