Berkshires

These couture Roger Vivier Paris platform stilettos with a heel height of four-and-a-half inches feature dark-chocolate brown fine Italian leather and leopard-print animal hair with ...

Stamped "Western Germany" on the gold-tone underside of its box clasp, this double-strand long necklace with cherry-red beads and decorative clasp features the reflective glossy face...

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...

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

Distinguishing these couture Christian Dior Spring/Summer 1956 "Western Germany"-stamped silver earrings featuring the first Swarovski gold-foi...

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...

Set of 4 Salterini style iron mesh garden armchairs with mesh seat and mesh backs. Wonderful style and proportions for comfortable garden seating for dining and entertaining. Use the...

This antique French early Art-Deco period two-strand necklace is strung with a variety of Parisian handcrafted beads that date to the early 1920s, including sea-green lampwork glass,...

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 ...

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...

These French Art Deco chairs are made in the style of E, J. Ruhlmann or Paul Follot. There are six chairs available all together but are sold in pairs. These are perfect for comforta...

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...

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...

With settings and construction like Art Deco period unsigned crystal costume-jewelry by Bavarian-born blacksmith Henry Schreiner (1898-1954), this mid-century unsigned silver-soldere...

Lovely style and fabric in this summer dress of lavender voile embroidered allover with a repeat linear pattern in white and edged with a narrow white scallop. The shirt-style dress ...

Like a turtleneck ensemble acquired by TheMet, Ann Demeulemeester designed this bold-silhouette contrasting-texture wool set of chocolate ribbed tight high-neck cropped long-sleeve knit sweater and black bias-cut crepe mini skirt for her Fall/Winter 1996-1997 collection, when the latter low-waisted garment without a waistband was worn on the Paris runway over trousers. The soft thick darted pullover jumper characteristically has the designer's hallmark of oversized exaggerated cuffs, which can be left unfolded for a more feminine look. The Belgian designer meticulously tailored the brushed-wool skirt so that its three seams are in the back, where there are also darts to flatter the bias drape, two belt loops, and invisible zip closure at the center. Aside from featuring knitted turtlenecks in almost every ensemble that debuted on the runway that season, this collection was significant because Demeulemeester--who was known for her black-and-white palette of monochromatic pieces until she retired from her independent label in 2013--added colors and textures including this sweater. However, red was the only color featured on the runway. For an alternative pairing idea, we included a photo of a similar brown ribbed darted high-neck sweater, which was worn in Demeulemeester's runway show for Fall/Winter 2000, but with a shiny billowy slit maxi skirt...

This antique rare hand-pressed-glass necklace features semi-translucent grape-green large beads that are capped with gilt-brass filigree. Based on the combination of bead seams, spring-ring clasp, and metal findings on the unmarked faux Chinese-jade necklace, it dates to the late Victorian period most likely from Western Europe. Around WWI, hand presses, which stamped molten glass into a mold to create a bead with a hole and a seam, were often used to produce costume jewelry as a cottage industry in Germany and the Czech region. This was while there was a lack of factory machine presses and finishing tumblers that used sand to polish out the seam lines. Another reason that the cloudy green beads can be identified as atypically hand-pressed is that they are more opaque and therefore harder and less prone to breaking during formation than fully-translucent glass, which was better suited for automated-machine pressing. Also the green beads are an unusual swirled color including white, which suggests that their production was more limited than machine-pressing would enable. Without the bead-seams, this necklace could be mistaken for one by Coco Chanel. Her 1920s couture...

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

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.  

This is a beautiful and luxurious natural, muskrat mink fur, king size blanket. Soft pelts with rich, neutral and inviting coloration, are accented with black backing. This is perfec...

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...

This antique 19th Century Italian glass choker collar features a technically masterful link design that initially decorated chandeliers by the Seguso family, which founded Vetri d'Arte on the Venetian island of Murano centuries ago. In the style of elegant multi-pendant festoon necklaces from the mid-1800s, it dangles three one-inch drop pendants. The reddish pink mouth-blown glass balls with golden reflections are supported by brass findings. The handcrafted closed links appear to be miniature versions of the jewelry design made famous in the next century by the family's descendant Archimede Seguso (1909-1999), whom Gabrielle "Coco" Chanel worked...

Rosenfeld c.1960s evening bag with chain of gold metal metal molded in a quilted and wave design. A gold metal triangular clasp, echoed on the rever...

Black cardigan from the 1950s-'60s embellished with black beads and sequins. Sweater composition is lambswool, angora and nylon and has tiny spherical ...

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...

This Louis XV, Rococo style 3 light hanging lantern is typical of the period adorned with acanthus leaves and spiral decorations makes this lantern especially charming for any decor....

World tabletop globe by Replogle in the style of Paul McCobb. USA, circa 1970. Signed. Beige globe supported by swivel stand in dark finish. Featuring square tube design made popu...

Flattering mahogany mink hat featuring a broad, upturned brim and a round crown. The brim is stiffened to hold it shapeand edge can be unrolled for a straighter brim. Lined in black ...

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...

Set of five lead garden pigs. Circa 1890-1920’s. This farrow is a happy bunch indeed. Guaranteed to bring joy to any home they are given. Lengths vary from 9-13 inches. Found on Cape...

Embodying Yohji Yamamoto's unique mix of Japanese classic fashion draping and construction with Savile Row menswear tailoring for women, this convertible wool white-pinstripe grey re...

Wide-brimmed natural straw hat w/wide navy velvet band and red fabric roses. Small high crown perches on top of head, does not pull down, lined in taffeta. Wide brim, 5 1/2 inches at...

Made in Italy, this Emanuel Ungaro Paris double-ruffle-trimmed bright red layered baby-doll evening cocktail mini dress features a handpainted-tulip print that has different effects ...

A finely woven shawl in ivory wool bordered with lace. Large square in excellent condition. Beautiful, lightweight hand. Bergdorf Goodman label.

Uniquely designed as couture by French Jean-Charles de Castelbajac in the 1980s in Paris, this oversized soft cashmere-viscose-wool bias-cut Italian-knit black sweater has made-in-Fr...

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.

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...

"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...

Marked "Made In France" on their antique brass back-plates like the initial unbranded couture costume-jewelry commissioned by Gabrielle "Coco" Chanel since 1924, these painterly earl...

This antique French Belle-Epoque-period set incudes eight rare ball-cut moonstones beaded on a delicate gilt choker necklace and wire-hook dangle earrings for pierced ears. The necklace features two 12mm gilt-filigree-capped moonstones with atypical adularescence that glows as a sharply defined wide bluish-white circle below the surface. The pearl-like grayish-white moonstones are among beaded stations of cut-glass crystal that are spaced with tiny gilt balls. The matching earrings each feature a 6mm moonstone like the additional four on the necklace. The luminous moonstone beads look like quahog-clam pearls...

Impressive English cast iron painted garden throne chair with high back and wonderful decorative details that will add interest to any garden. Part of the decoration is missing but s...

A dramatic look in this 1970s gown of polyester matte jersey featuring a strapless, shirred bodice with long scarf ties attached at center; these can be worn in several ways over the...

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...

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...

Antique Roman / Etruscan style pottery partial statue. Robed figure in draped fabric. Measures: 7.5 inches in height. Exact age unknown, the pieces in t...

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...

English 19th Century Sheraton style country pine breakfront bookcase dresser cabinet with lattice center doors and open side shelves. The one piece construction classic country farmh...

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

On this Art-Deco period glass micro-bead 20-strand necklace, the yellow-gold-plated clasp is stamped with a crown-topped Trifari signature without a U.S.-copyright symbol, which Indi...

Stella McCartney debuted for the runway finale of her Fall/Winter 2002 collection this unique ethereal lingerie-like transparent silk georgette blouse as Look 36 among the Vogue cove...

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 ...

Vibrant crystal beaded choker composed of four strands of faceted round yellow crystals in front and two strands in back, separated by quarter-round spa...

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...

Made by a Jean-Paul Gaultier accessory designer during Paris Haute Couture Fashion Week in January 2004, this custom-made feather headpiece with a black long three-prong hair comb fe...

Woodard inspired sofa and matching lounge chairs, handmade wrought-iron outdoor patio, garden or porch furniture featuring scrolling map...

This antique Art-Nouveau-period solitaire ring features unique inter-grown azurmalachite that is more outstanding than the kind often featured in fine jewelry by David Webb or Jean Schlumberger. First appearing like an intense green-blue black opal...

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...

Made in Italy in the 1990s in garnet thick stretch wool for a soft tight fit that remarkably drapes, Romeo Gigli designed this off-shoulder pullover knit top like a long-sleeve blous...

Loro Piana large navy scarf/shawl featuring a scrolling floral pattern throughout. Solid wide border all around in subtle textured pattern. Composition is 60% silk, 40% cotton. It fe...

A four-piece serving set in the Spectator Cadet blue pattern by Ralph Lauren Home Collection. Signed, made in 1995-1996. Includes oval serving platter, round vegetable serving bowl,...