Berkshires

The vintage neoclassical dressing table, vanity, desk or night table has gilt detailing, fluted legs, brass pulls and curved stretchers. Dr...

Wonderfully rustic pine cupboard. Can be used for linen, kitchen or where ever extra storage is needed. Three compartments at the top. Center door opens down. Lower part with 2 large...

The three contemporary display or sculpture stands have varying heights and the same width and depth dimensions. They are made of black iron with a brushed texture. These can be made...

Small 1960s crocodile handbag from Artbag on Madison Avenue, NY, features an envelope style top with snap closure and double handles that attach belo...

19th c primitive cabinet Beautiful weathered and natural patina Two doors over one in an asymmetrical configuration adding interest and a bit of abstraction. Great functional stora...

This couture Maison Martin Margiela Artisanal "Line 0" 1990s miniature-belt silver-plated buckled and riveted vegetable-tanned chocolate leather bracelet or anklet, whose harness-style firm strap mimics a fine-jewelry coiled metal rope chain, was hand moulded into a fixed shape from a remodeled strap from an eariler Margiela collection or used accessory. Notably, silver-frame buckles and riveted unstitched leather straps were among the founder's most repeated design elements for accessories at the Maison since his first fashion show in 1989 (see our snaps of early-Look-ensemble recreations that he handmade in miniature on dolls or the largest buckled leather belt that he designed), as well as during his tenure directing luxury womenswear at Hermes (1997-2003) when he created the iconic Double Tour wrap-around strap buckle-framed watch. Regarding the significance of the bare leather that he used in our piece and later for some ready-to-wear at Hermes, Martin Margiela was quoted (translated from French): "My favorite (Hermes) watch was the Cape Cod designed...

As conceptual art while he transitioned to French luxury house Hermes Creative Director in 1998, Martin Margiela--whose creations today debut mostly in contemporary-art galleries--de...

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...

19th c Scandinavian pine open bookshelf/plate rack. Likely originally used as a pewter shelf. There is a groove to the back of each shelf to show plates stood vertically Great worn p...

Donna Karan crochet lace dress crafted of metallic gold yarn that skims the body and features a deep V neckline front and back, flutter cap sleeves slit down the center, and handkerc...

This Valentino Made In Italy semi-transparent 100% silk charmeuse pink fuchsia raspberry sleeveless pullover top features a low scoop neck in front with wide shoulders and darts for ...

A beautiful organic specimen of aged teak wood found in it's natural state that has been turned into a sculpture. Can have lights added to be used as ...

The late Italian Gianni Versace near the end of his life--cut short by his murder in July 1997--designed this couture heavily embroidered semi-transparent silk chiffon sleeveless hou...

A profusion of multicolored beads and sequins adorns the surface of this eye-catching evening jacket. The mostly pastel beads cover the entire black silk surface in a riotous patter...

19th Century American white painted fireplace mantle with strong molding and handsome detailing. Dimensions of opening: 32.45" w x 29.13" h

The 19th century charming and rustic rocking horse now mounted on two straight boards is made of handcrafted wood pieces cleverly assembled, and has a leather saddle, reins and stirrups. A great addition for those who collect Early American country antiques...

A wonderfully handsome and well proportioned 19th century welsh oak dresser with scalloped decorative cornice, two plate rack shelves, two drawers w...

The Victorian dark brown iron metal washstand can be used as is or as a plant stand with the appropriate pot placed in the hole. The back splash holds ...

With a distinct silver twisted toggle clasp and multiple kinds of nubby rondelles dating to the late 1920s, Parisian parurier Louis Rousselet's workshop handcrafted this glass beaded...

Strongly resembling the Harry Bertoia Foundation's archived c.1947 unsigned small brooch (D.JE.27) that is essentially an elegant hammered silver curvilinear three-humped squiggle by...

Inspired by folk embroidery, filigree jewelry during the Georgian period transformed in the early 1800s into labor-intensive cannetille, like this antique handmade intricately woven ...

With Martin Margiela's original blank white textural cotton corner-sewn label from the early 1990s visible above the structural hole in the center of the circular knit, this openwork yarn top that is clearly a one-of-a-kind Artisanal "Line 0" garment by Maison Martin Margiela is crocheted from a brown soft animal-hair blend into a see-through changeante pattern recalling a collapsed spiderweb. A prominent European dealer sold a Margiela Fall/Winter 1994 similarly knit but longer deconstructed openwork mohair-blend dark grey cape-like "maxi cardigan" that also featured a circular knit hole and spiderweb aesthetic. Its remaining additional tag indicated that it was produced by Margiela's longtime Italian knitter Miss Deanna. Further, we have found similar one-of-a-kind Margiela openwork-knit and unraveled pieces, as well as one with oversized snaps like the fasteners on our top, dating back to his 1992 collection. Suggesting that our listing could have been from an even earlier collection possibly knit by Margiela's mother, Antwerp fashion museum MoMu featured a pale deconstructed mohair sweater dating from 1990 in its major Martin Margiela 20-year retrospective (see our snapshot), which was an exhibition produced in collaboration with the designer during his final year at the house in 2008. Our design may be a vintage style collected for reproduction before the new commissioned top was deconstructed with his Paris-based team. Our knit fastens with pompon-tipped yarn ties, along with two signature silver oversized snap-buttons, which appeared on Margiela tops most noticeably in 1994 for a collection that was inspired by toy doll wardrobes and included human-sized reproductions of actual loose-fitting miniatures. For price comparison beyond the recent record-breaking Margiela auctions in Paris, two other Margiela 1990s...

A unique find, this tunic top is composed of vertical rows of openwork metallic thread in shades of blues and lavender and features butterfly sleeves and scooped necklines back and f...

Brass & Tortoise Etagere in the style of Mastercraft. USA, circa 1970-1980. Dimensions: Height: 72 inches H x 30 inches W x 14 inches D

This Comme des Garcons black flared-hip fitted shirt cum open jacket, which features a unique feminine bustle-like applique hand-stitched into draping bias-cut pleats layered around the inner hem, was designed by Japanese Junya Wantanabe for an early 2000s collection. Significantly, The Met museum made rare purchases of his similar experimental three-dimensional patterning for its Costume Institute after the designer debuted what he described as "techno couture...

This antique French chain necklace with three-inch drop pendants features 33 natural citrines, including 16 polished teardrop and 17 faceted golden quartz beads. It was constructed b...

19th century rustic American chest or floor trunk. Can be used for storage or coffee table. Place the blanket chest at the bottom of a bed or in a mud room and add a cushion for a bi...

Silkscreen in 7 colors with diamond dust 40 x 54 inches 2-Ply Museum Board Edition of 50 2014 Bob Gruen is one of the most well-known and respected photographers in rock and roll. F...

Stunning Italian iron Savonarola Dante chair also known as x chairs or Curule chairs. Featuring an iron frame that folds in a Campaign style with bronze-mounted finials. A sling back...

Designed by Oscar de la Renta (1932-2014) for his Resort 1975 collection, this deeply draping two-layer empire-waist maxi dress gown is hand-painted on white silk in a blue-and-cream...

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

Henry Schreiner, the Austrian-born blacksmith founder of Schreiner New York in 1932, handcrafted this multi-color prong-set Bavarian-crystal, stylized-flora spray, gold-gilt brass br...

Italian Miuccia Prada created for her F/W 2000 collection this Vogue-photographed fashion-show runway Look 1 three-piece ensemble, which includes a 1940s-inspired check-texture tweed wool skirt suit with defined hourglass waist and padded shoulders topped by a plush fur neck-piece. While Prada became known in the 1990s for some of the best accessories, this detachable multi-color red-fox collar with thin beige grosgrain ties and silk-lined reverse was featured in its ad campaigns and magazine spreads as the versatile must-have of the season at the turn of the century. To put this collection in perspective, Miuccia Prada was nominated as "Designer Of The Year" for the Vogue Fashion Awards. With 100% virgin wool, sharp shoulders, flap pockets, and full lining, the warm jacket...

Pair of charming rattan bamboo side chairs covered red and white checkered fabric seat cushions. Great as kitchen dining chairs or extra chairs for the porch or patio.

A large English Regency style white painted wired bird cage sits on top of a stand for better viewing both for the birds and for you. The wire bird cage has exceptional decorative a...

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...

Featuring his characteristic "couture a porter" innovative craftsmanship, Ermanno Scervino designed this guipure lace white viscose crochet knit mini dress for a resort collection. S...

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

Encrusted with enameled turbo shells shaped like miniature mollusks and mixed with iridescent crystals, this elaborately ornamented and intricately textured unsigned pair of yellow-g...

Unusual vintage necklace composed of a chain caught with a pearl at the hollow of the neck before it continues to down to a pierced medallion ...

Yves Saint Laurent rive gauche charcoal gray velvet jacket, c. late 1970s-early 1980s, trimmed on all edges in black braid. The collarless jacket is cropped and features narrow sleev...

Wreath-shaped brooch of various pearls, rhinestones, crystals, and micro gold beads by Robert, c.1960. Hook in addition to pin, so can be worn as pendant. Some of the Original by Robert...

French Jacques Adnet--before he gained fame designing furnishings for Parisian luxury artisan house Hermes--created this Art Deco period bar set with his characteristic combination o...

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...

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 ...

In 1972, John Lennon and Yoko Ono conceived a concert at Madison Garden called “One to One.” It was a benefit for the Willowbrook State School in Staten Island, a facility for mental...

Custom according to your needs. The listing shows a 9’ teak butcher block top on a 8’ industrial metal base. Ask us for a quote for a marble, quartz, granite, wood or a butcher blo...

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...

19th C Hemlock 7 drawer chest with wardrobes All the storage you will ever need! Three pieces. Drawers are all free and work nicely. Great craftsma...

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...

Featuring handmade double-spiral filigree links, this vintage collar choker necklace was created by tightly twisting fine silver wire, which was ...

Given the stenciled YSL logo that had been created in 1961 while the founding fashion designer was only producing haute couture, paired with the French-blue bordered "Yves Saint Laur...

Black sequined lace and taffeta cocktail dress, 1980s, the elongated and fitted long-sleeve bodice in lace embellished with wavy vertical rows of black sequins, the full skirt in ta...

Stately and impressive white washed 18th century Dutch linen press perfect as dining room china cupboard, entertainment center, bar or ...

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...

Made to sit on the mantel above a fireplace or hung, the trumeau mirror has two silvered mirrors framed in gilt and painted grey. The top overhang is also gilt. Can work well in Gust...

Fabulous long sheath of black crepe with allover beading in a squiggle design of black bugle beads. Narrow body hugging design with straight neckline front and back and cut-in armhol...

All featuring white cat's eyes, the 21 gray 3mm ball-cut moonstones of this necklace are beaded symmetrically on this antique choker between stations of shiny 14-karat yellow gold fi...

Black wool/cashmere blend easy jacket featuring a large and plush brown fox shawl collar. Raglan, above-the-wrist sleeves, no buttons, , hidden pockets in si...

This Bar Harbor painted stick wicker rattan rocking chair has classic rounded backrest and wide flat arms with diagonal latticing. Measures: Arm height 25".