Berkshires

Marble side or occasional table features a round marble top and a hand-carved wooden base painted gold.  

Pair of metal back and seat chairs with tubular frames. These Industrial chairs have taken on a truly special patina. The chairs would work well for both indoor and outdoor dining, a...

French strapped metal wine cage or safe. Pair of hinged doors with locking hasp, opens to store up to 200 bottles with individual fitted slots, original enamel. Lock hasp with metal ...

A rare find -- An American Victorian (5) piece wicker porch seating set including: sofa, matching rocking chair, arm chair with ottoman and glass top coff...

This rare Eastlake Victorian antique walnut pier mirror is a stunning piece that will add a touch of elegance to any room. Crafted in the late 1800s, it features a beautiful mirror i...

Antique Victorian Eastlake style centre table features rectangular marble top surmounting carved wood base and apron over central turned pedestal and surround of four legs on casters...

Versatile c.1980s mink jacket that converts to a vest by removal of the sleeves. The thigh-length jacket features a light fox open collar that extends to the hem and furnishes a nice...

A marriage of neoclassical, Louis XVI and late Victorian style design making it a rather handsome and decorative headboard for any bedroom. The headboard has wonderful marquetry, carved decorative swags plus painted decoration details. The bed is 57.5" wide, making it just shy of the 60" queen size bed . Some people have utilized a slightly smaller bed for a queen bed. Standard full or double is 54". Double bed, headboard for double bed.

The pair of dressers are In the French Louis XV country Provincial style with serpentine fronts Each chest has 3 full size pullout dovetail drawers. Made in the USA in the highest qu...

Faneuil by Tiffany & Co. sterling silver salt shaker and pepper mill set. Simple elegance, Salt shaker 1.5" D x 2.25" H. OFFERING FREE SHIPPING TO CONTINENTAL US. PLEASE JUST ASK FO...

Tiffany & company four-piece sterling silver coffee and tea set, circa 1940. Comprised of coffee pot, tea pot, sugar and creamer, all with faceted corners and monogrammed 'PPB', ...

Georgian-style large size chandelier with 12 (twelve) electrified arms, in polished brass. Features classic English design elements including urn shape in the post and large globe b...

The post modern dining chairs are designed by Pietro Costantini in San Vito al Torre Italy. The iconic chairs feature sculptural style, piano black lacquered frames with conforming b...

For his Gucci F/W 2001 collection, Tom Ford designed this sleek leather-and-knit pullover that features a suede collar and plunging V-neck front that drapes in a reverse V-shape on t...

A wonderful outdoor metal and wood patio glider painted white. Lean back and relax on your porch, patio, garden or deck and enjoy the smooth gliding rocki...

Stylish set of eight bamboo rattan dining armchairs made in the casual California or island coastal style. The backs and arms have gracefully curved shaped. Each chair is topped with...

1997 arguably marked the pinnacle of Japanese Comme des Garcons founding designer Rei Kawakubo's collection debuts when she introduced deconstructed asymmetrical "lumps and bumps" padding and transparent tops that both deformed and revealed female bodies. For the Fall/Winter "Adult Punk" collection, she designed this transparent ecru organza pullover blouse, whose bodice and lower long sleeves are color-blocked with white textured silk-blend appliques and lined in white tulle that is hand-sheered above the outer hem. A recent Parisian exhibition at Musee de la Mode, "1997 Fashion...

The 12 vintage hotel silver plate dinner forks are decorated with leaves and are marked "Oneida Ltd. Silversmiths."

Newly painted 40" round Mid-Century Modern Russell Woodard style wrought or cast iron base dining table with center hole for umbrella and four ...

Perfectly patinated work table. Great for hall or console surface. Nice weathered finish. Sturdy.

Small and wonderfully painted country style cupboard for the kitchen, a bedroom or a hallway, only 14" deep. This cabinet can be the perfect piece to fit into a small space or tuck i...

Ornate "S" scroll Italian Florentine giltwood hand carved wall bracket.

Exotic 19th century carved relief architectural wood element, once part of a building facade has now been mounted on metal stand and made into an exciting and impressive sculpture. ...

A set of 6 cast aluminum garden/patio arm chairs in the manner of Frances Elkins. This design was created by Howitt Barry and his son Jack in Birmingham, Alabama in 1960. They were ...

Contemporary white washed wicker sofa/loveseat with matching lounging armchair and ottoman. Great for porch, patio or garden room. Armchair measures: 34 x 33 x 30 inches. Rattan, s...

A rare wrought iron coffee table with a nested stone top by Gilbert Poillerat, circa 1940. The wrought iron base has beautifully over accentuated scrolling legs and a tapering that a...

The Art Nouveau glass perfume bottle is embellished with an English sterling (stamped and with rampant lion) silver filigree overlay and cap....

Silkscreen in 9 colors on 320 gram Coventry Rag Dimensions: 29" x 29" Signed by the Artists in pencil An edition of 75 John “CRASH” Matos and Eric Orr met for the first time as high school students. Although the exact location is unclear, both agree that it would have been at either Fashion Moda or the Writers’ Bench at 149th Street and Grand Concourse. Founded by Stefan Eins in 1978, Fashion Moda began as a “cultural concept” whose principles revolved around the fact that art can be made by anyone, anywhere and art should be accessible to anyone, anywhere. Located in the South Bronx, Fashion Moda embraced new talent and encouraged creative production across all mediums. The gallery has been credited as a major force behind the recognition of graffiti writing as an art form and it played a pivotal role in a community where Hip Hop was rapidly emerging. CRASH was only 19 years old when he curated “Graffiti Art Success for America” at Fashion Moda and his varied experiences at the gallery would later inspire his founding of WALLWORKS. The 149th Street Writers’ Bench, located at the back of the uptown...

French charming round bistro style table with curved iron base with black ebony stained wood table top. This bistro table will comfortably seat 2. The curved legs are joined in the c...

Georgian-style large size chandelier with eight (8) electrified arms, in polished brass. Features classic English design elements including urn shape in the post and large globe bel...

Convertible clutch in faux tortoise shell features a textured goldtone clasp and gold chain. The chain folds away to convert to a clutch. Fabric interior with side compartment. Made ...

While sleek cloche hats were the rage in Art Deco "flapper" fashion, this fur-felt hat was commissioned by Parisian couturier Elsa Schiaparelli and hand-crafted by an Irish milliner ...

PAN AM has a long history in Cey’s studio, first created as a painting within his Trusted Brands collection and then reimagined as a suite of hand-collaged monoprints in different co...

A stunningly beautiful 18th century French gold gilt barometer is a weather instrument with mercury-filled glass thermometer still in working order...

Signed "Made in France", this couture poured and lampwork glass flower-like spray brooch has its artisan-wired construction concealed by a decorative gilt filigree scalloped backplat...

"Smoke" is a suite of hand painted silkscreen prints on plastic. Each is signed and numbered by the artist, Jane Dickson. Jane Dickson has been exhibiting her paintings, drawings an...

Walter von Nessen white torchiere-style floor lamp. Made by Nessen Studio, Inc. USA, circa 1970. Enameled aluminum, plastic. Signed with cast manufacturer's mark to underside o...

Vintage indoor or outdoor round teak wood garden, porch or patio dining table with center hole for umbrella. Table has wonderful well weathered patina adding charm and character.  

Rustic oval teak table top with wonderful aged patina on a stylish custom iron base made by us, will make a perfect dining room, kitchen or that outdoor garden patio table. The curul...

A lightweight coat from the 1960s composed of a nubby off-white wool and featuring a straight cut with dolman sleeves, a small mink collar, and a single-breasted closure system with ...

Set includes 6 arm chairs and 1 chaise lounge. Seats and back have flexible black straps for added comfort. The 6 metal dining arm chairs will make a wonderful addition to indoor or ...

Kathline Carr’s “Sub-mission (Watery-Love)” is a 60 x 38 x 3 inch abstract oil painting on stretched canvas over wood panel. The painting is a love song to the mysteries of deep wate...

This couture lingerie-like spaghetti-strapped black silk-satin apron vest--with extraordinary graphic cutwork featuring a heavily hand-beaded breastplate and appliques--was custom made by a young designer for a New York City female...

Unusual petite size neoclassical style table or desk lamp, dark green reservoir encircled by bronze band raised on cloven hoof tripod feet over circular marble base. Later converted ...

A rare large American baroque revival gilt-wood and composition full length pier mirror with a flamboyant crest that tops the elaborately decor...

Very handsome late 18th early 19th century American Corner cupboard, found in a barn near West Stockbridge Massachusetts. It has an older but not original blue green painted surface ...

c. 1970 mink jacket in a soft golden shade features a spread collar and comes with a brown leather sash belt. One fur hook and an interior tie keep allow ...

Mid Century leather sofa by Mogens Hansen, model #535. This sofa features gently curved track arms with soft, refined silhouettes. It's finished in supple leather with a soft, sun wa...

An Illum Wikkelso teak sofa for Soren Willadsen. Model no. 50-4. A four-seat sofa with a solid teak frame raised on six tapered cylindrical legs. Reupholstered in new velvet fabri...

The slipper chair reflects the Napoleon III style of the mid-19th century with gold brocade fabric with deep cushion affect and exuberant fringe. Fr...

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...

The 2 strand wicker/rattan club chair has rounded arm that comes with green and white wide striped canvas seat and back cushions. The side has pretzel shape x design. This lounge chair offers style and comfort for any porch or patio. The seat cushion has a wood frame at the bottom and metal support and springs, the way they used to make outdoor seat cushions...

Odette Barsa was primarily renowned for her exquisite lingerie, produced from the 1930s-1970s, and this vibrant red print ensemble may have been originall...

Acquired from the French flagship Christian Dior Boutique in Paris when John Galliano was its artistic director of both haute-couture and ready-to-wear, he designed this hip-accentua...

Arguable the most significant design in the Stella McCartney Spring/Summer 2003 collection--since our versatile garment debuted in different colors on the runway and was worn by the British designer to take her fashion-show bow--this pink-printed dark-grey silk-blend zip-front bubble-shaped mini dress with white-satin stripes and pink piping was a favorite of the show's Vogue critic and her father Beatles co-founder Paul McCarthy. Vogue wrote: "Her hippest new idea came in the form of puffy satin bombers--she transformed one, a fusion of sport and chinoiserie print, into an off-the-shoulder bubble dress. McCartney is so into the glam-bomber idea, in fact, that she bounded onto the runway wearing a black version herself." The garment's voluminous batwing sleeves with stretch-cotton ribbed neckline and hem, plus custom golden-charm two-way zipper, enable it to have different necklines and lengths, so that it can also be styled as a bomber jacket. Notably, the versatile piece that is subtly printed with mock-Beatles lyrics seems to have been the first tribute fashion-design that McCartney created to reference her father. Prior, she had credited her stylish mother Linda for instilling her with a love of fashion and inspiration for her initial namesake collections, which followed her first commercial collections with Phoebe Philo for Chloe. For background, when McCartney was a young girl in 1978, the mock-rock band The Rutles parodied a Beatles song, which was recorded by EMI as "Ging, Gang, Goolie". Given its lyrics, the chinoiserie-style dragon motifs were substituted by McCartney with bird skeletons...

Vintage taupe bathing cap in "pixie" fringe style with one rhinestone at top. Size Small.

Outstanding 18th century, Italian carved and giltwood altar sticks with circular tops, carved applied putti decoration and scrolled feet. Some paint losses, repairs and varying degre...

Golden mink stole of simple, yet novel, design, it sits around the shoulders and gracefully frames the upper chest, neck and face. Constructed of three skins, the longest hugs the ba...

Pair of elegant mirrored wall sconces with etched-under-glass design of flowers in urns. Great for bathroom or powder room. Electrified for USA, using regular bulbs. Should be rewire...

A statement necklace from 2010 by Rodrigo Otazu, known for his extravagant creations for Madonna, Lady Gaga, and for the Sex and the City cast. Fashioned from multiple layers of gold...