Hand-Painted Wall Decorations

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 ...

Hand painted Naïf fish design terracotta wall plate Beautiful mid-20th century terracotta plate with hand painted naif fish decoration. ...

"The Chaperone" by Kevin Paulsen. Large format "fragment" painting created with pigment and plaster on polystyrene, mounted in shadow box frame.

Discover the elegance of this mid-century French needlepoint tapestry featuring an alteration from the exquisite design of the renowned medieval museum tapestry, "Les Vendanges" (gra...

Gorgeous blue hand painted Baroque cherub or angel 18th century style Portuguese ceramic tile/azulejo The tile painted in cobalt blue over white in typical 18th century Portugal set ...

Selby's Illustrations of British Ornithology (London: 1841-1846). Likely a later restrike printing (20th c.,) hand-colored prints, embossed with plate marks, includes: "Eider Duck, M...

Vintage polychrome hand painted and handcrafted ceramic wall decorative plate with polychrome Ottoman floral design. This is an intricately, hand painted Moorish plate that was made in Turkey. Turkey is famous for its kiln products, such as tiles and pottery, which are glazed and multicolored. It has a beautifully hand painted geometrical Moorish design in burgundy, yellow, turquoise, light and dark blue. An Islamic ceramic...

The "Antique Paintings, Landscape Paintings" category featured here includes a refined antique oil painting on canvas, created in France in the early 20th century. This old painting...

Wonderful large scale Italian mural from 1920s. Believed to have originally been set in the ceiling of a Palazzo it depicts a classic scene of Roman ruins painted in muted blue grey ...

Antique Victorian Papier-Mâché Wall Shelve with Japonizing Decoration A rare antique Papier-Mâché wall shelve with handpainted japonizing decoration featuring paintings of fishes an...

A hand-colored copper engraving from the original drawing by James Hope Stewart, of an Indian Rhinoceros, circa 1836 – framed. James Stewart (1789–1856) was a Scottish natural hist...

African Ethiopian painting imported to Italy by a diplomat during the Italian occupation of Ethiopia, in the late 1930s. This tribal folk art painting depicts a battle scene and the canvas is mounted on a parallelogram-shaped frame. It is a large battle painting...

 This captivating 17th century Venetian painting depicts the biblical scene of Christ and the Pilgrims at Emmaus, rendered with the ric...

Title: “Resurrection” 30” x 40”. Acrylic Mixed -Media on recycled canvas. Signed: on verso. Unframed. (Meaning to be displayed without frame). This is a large modern organic abstrac...

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)...

American Landscape Painting in the Manner of Albert York (1928-2009) Signed. Charming landscape painting in gouache on paper. It bears a signature in the ...

The Bellini Panel is a poetic expression of timeless elegance. Hand-painted in soft pink with intricate light taupe chinoiserie scenes, this piece echoes the romance of 18th-century ...

Well painted boy with vest and waistcoat holding a kite with ribbon and twine. In a landscape with trees.

Decorate a wall with this beautiful and colorful painting. Painted on canvas in Paris circa 1890 and set in a thick carved and gilt frame, the artwork beautifully captures the vibrant atmosphere of La Madeleine in Paris, a neoclassical church known for its imposing columns. The scene is set in front of the church, where bustling market stalls display a colorful array of flowers, and elegantly dressed Parisians walk by. The artist skillfully contrasts the grand architecture with the lively street life, highlighting the charm of daily activities in the heart of Paris. The use of rich colors and detailed brushwork conveys a sense of warmth and vibrancy, encapsulating a timeless Parisian moment. The artwork is signed in the lower left corner by French artist, E. Thioulouze, a follower of Edouard Leon Cortes. The painting is in excellent condition with vibrant colors and dressed in a beautiful and elegant gilt frame. The Church of Sainte-Marie-Madeleine, or less formally, La Madeleine, is a Catholic parish church on Place de la Madeleine in the 8th arrondissement of Paris. It was planned by Louis XV as the focal point of the new Rue Royal, leading to the new Place Louis XV, the present Place de la Concorde. It was dedicated in 1764 by Louis XV, but work halted due to the French Revolution. Napoleon Bonaparte had it redesigned in the Neoclassical style to become a monument to the glory of his armies. After his downfall in 1814 construction as a church resumed, but it was not completed until 1842. The building is surrounded on all four sides by Corinthian columns. The interior is noted for its frescoes on the domed ceiling, and monumental sculptures by François Rude, Carlo Marochetti and other prominent 19th-century French artists. Edouard Léon Cortès (1882-1969) was a French painter of French and Spanish ancestry. He is known as "Le Poète Parisien de la Peinture" or "the Parisian Poet of Painting...

This early 20th-century Belgian oil on canvas painting presents a finely composed portrait of two racing pigeons, depicted in profile and set against a softly rendered rocky landscap...

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...

Hand Made Garden Rustic Farm Door Bell Antique Los Angeles CA Cloche Old Fashion Measures: Height all the way to the handle is 33” the main body of the i...

A great looking hand carved original wooden Folk Art Wild Boar head wall decoration. A great piece for a suitable ambiance in a trophy room or the office of a Hunter or Woodsman. Mor...

Bring rustic charm to your interior with this intimate and richly textured barnyard scene painted by Edmond van Coppenolle. Executed circa 1880, likely during the artist’s time in Fr...

English Fairground Carousel panel We are proud to offer a wonderful example of an early 20th century English fairground panel. From a fairground carou...

Pair of Art Nouveau wooden hand-painted floral shelves, Germany, 1910. A beautiful pair of antique Art Nouveau period wooden shelves/consoles with hand-painted floral decors. These ...

Fabulous large painting, wall mural of the Chain Bridge in Budapest Hungary. 10 feet x 4 feet with all the trimmings that surrounds the Danube River. Bridge was mostly destroyed by f...

let the sunshine in ! artwork by belgian artist Denis de Gloire ... color your life, color your world ! I can offer professional packing for this work.

An important, large and extremely rare original Hagenauer drawing of a head sculpture by Franz Hagenauer, from ca. 1930, No. 3080, from the workshop - Karl Hagenauer, Vienna - , samp...

If you love the look of De Gournay wallpaper but not the price, this is for you. The colorways in this sections present our latest colorways, whi...

Two absolutely fantastic, vintage paintings from Indonesia in a traditional Balinese style. One of the paintings is signed by the artist, W. Suaridi in the lower left (see photo). Bo...

Nice original watercolor of a footbridge over a pond in Central Park NYC. Skyscrapers of the day in the background. In excellent vintage condition with minimal wear, needs a new mat....

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...

This oil on canvas, both decorative and educational, depicts a lush vineyard of grapes with various varieties, carefully distinguished by color and shape. Framed by classical archite...

This elegant pair of Japanese botanical woodblock prints celebrates the refined simplicity of traditional Japanese floral illustration. Each print depicts a single flowering plant ac...

Discover a reproduction of the exquisite "Noble Amazone" French medieval museum tapestry, a true masterpiece of design. This captivating artwork showcases a noble lady elegantly seat...

A delightful pair of miniature still life paintings, each depicting an intimate arrangement of humble everyday objects against a deep, shadowed ground. One composition features two f...

19th century English silhouette with gold gilding details in original antique frame.

After the French painter, Hubert Robert, this oil on canvas painting from the 1800s depicts a beautiful and peaceful scene vertically. The artist did a wonderful job of capturing the...

Beautiful tile mural with the "FLOWERS AND LEMONS" motif finely painted. Tile mural size: 29.5"H X 41.3"W (75cm X 105cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: Portugal P...

Offered is a luminous limited edition print by artist Louis Shields, titled "The Lightness of Being." Created as part of Shields' 2018 Dancer Se...

GEORGE EDWARDS (Naturalist, ornithologist and artist 1694-1773) - 'A Natural History of Uncommon Birds' (Published in several volumes between 1743 and 1764) - Antique pair of mid 18t...

19th Century Seascape with Fishing Boats on Beach, British School, circa 1870, an oil on canvas seascape with two luggers high on beach at low ti...

Large modern abstract oil on canvas 'Sound Wave' by Carlo of Hollywood.

Ada Pratella (1901-1929) Houses at Capri, oil on canvas in gold frame, signed lower left. Italy, circa 1920 Dimensions: 17" W x 14.5" H x 1.88" D; sight 12.5" W x 10.25"H.

17th Century Flemish Old Master Painting Circle of Frans Francken Rare 17th century Flemish School painting, circle of Frans Francken the Younger (1581-1642). This Cabinet picture, ...

"Monkeys on the Hudson" by Kevin Paulsen. Forest scene with playful monkeys, created over a three year period with pigment on plaster on polystyrene, in shadowbox frame.

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...

Naturalistic Oil Painting of 'Young German Shepherd made by Danish Artist Oluf August Hermansen Hermansen in 1888. * Oil painting on wood plate depicting a Young German Shepherd. Bl...

Beautiful tile mural with the "Lemon Tree" motif finely painted. Quantity: 48 tiles Tile mural size: 35.4"W X 47.2"H (90cm X 120cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origin...

Belgium / 18th century / Painting / wood / Antique / Religious A 18th century painting on wood after a Rubens painting “Adoration of the Magi”. Elegantly encased in a stunning blac...

An elegant late 19th century French Chinoiserie oil painting on canvas, originally part of the decorative scheme of a Georgian townhouse. The ...

Pair of Large 19th Century French still life oil on canvas paintings.In distressed giltwood frames showing gesso, both signed A. Bechard. One depicting asparagus bundles, cherries an...

This is an Oil Painting of a Flamboyan or Royal Poinciana Tree by Moura. It depicts a Flamboyan tree beside a Puerto Rican countryside road. At the back of it, there is a wood small...

Original vintage Danish still life oil on canvas painting of lush red flowers in a vase placed on a delicate white table cloth. The background is muted and creates a contrast to the ...

Original antique oil on canvas painting titled “Percy Bysshe Shelley on the shore of Spezzia”. Presumed to be inspired by “Distress at sea” painting from 1843 by Henry Thomson...

A New England village street scene on a bright summer day. Beautiful rendering of light and shadow. Oil on canvas in a high quality closed corner frame Image 21 1/2 by 19 1/2. Maud...

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...

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

The backside of the drawing reads (Danish-English). Drawn by the illustrator (TH or FH..... For us sadly indistinguishable) 'The Flora Danica Illustrator' - A reference to a lexicon ...