Massachusetts - Wall Decorations

A whimsical painting on silverleaf by the tragically short lived Beat Generation artist Iris Brody (1927-1961). She was a fixture of the Greenwich Village b...

Chains echo different emotions in us, some see them as a symbol of imprisonment, and vulnerability and some see as an emotion of inter connectivity and strong bond between the people. The truth is ,chains as we see them in the moment will either resonate the first or the latter symbolism depending on the emotions we feel at the moment. This eye-catching wall hanging adds a nomadic and mystical feel to any room. Created through a hand-intensive process of linking hand built stoneware rings of different sizes, this wall hanging is a dynamic decoration for an eclectic bedroom...

19th-century Artist Signed Miniature French Portrait Painting. Dimensions: Height: 5.5 inches, Width: 4.75 inches. --

Abstract painting signed Gert [Gertrude] Fuhrman, dated 1957. It’s a joyous celebration of young motherhood and domestic life inspired by the artist’s own living room, and the child’...

Portrait of a working man, possible a self portrait of the artist Emanuel Glicen Romano or Emanuel Glicenstein (1897–1984). He was born in Italy and emigrated to America in the early...

'The Proposal (Point of View)' by Kevin Paulsen (2026). 13''h x 30''w. Paint, spray paint, and pigment on tinted synthetic plaster atop muslin, mounted on wooden cradle.

A large scale vintage abstract on canvas by the noted California artist Robert Lawson, circa 1960s.

Featuring a castle in the background surrounded by a forrest of trees with grass in the foreground with flowering plants. Floral border. Can be shipped reasonably. Newly backed.

This listing is for a beautiful pair of 2 large Chinese Export Gouache (watercolor) Paintings on paper from the mid-19th century of the Qing Dyn...

A mural sized (12 foot) allegorical diptych from a Western Massachusetts estate. According to the family, the artist attended the Brooklyn Museum Art School and received his MFA fro...

Large abstract on canvas, signed Anderson, ca. 1970s.

John A. Neff Connecticut, 1926-2017 "Good Harbor Beach Gloucester". Medium Watercolor on paper Measures: 8.5" x 10.5" sight. Framed 16.25" x 18".    

Norman Rockwell (American, 1894–1978) "Window Washer," Limited Edition Lithograph, Signed and Numbered, Edition 88/200 A quintessential example of Norman Rockwell’s masterful blend ...

A great ice axe that was made by the renown blacksmith Fritz Jörg in the small area of Zweilütschinen in the Interlaken-Oberhasli district. One side of the head is inscribed with “F. JORG ZWEILUTSCHINEN BERNER OBERLAND”. It has a wonderful patina that only comes with age. It features its a solid wooden shaft, curved adze and a traditional shaped spike. A wonderful old wooden ice axe from the heart of the Swiss Alps to add that extra decoration touch to your home or mountain lodge...

Nicely framed in gold with matting. Two images darker than others but all came together and work together.

"Duna" This sculptural wall installation is meticulously hand-built from individual stoneware links, assembled to create a flowing ceramic chain mail form. Each link is carefully sh...

A long rectangular panel with frame. Featuring a fox hunting scene with another vignette of fishing.

Sven Markelius (1889-1970), Pythagoras drapery panel produced in 1952 by Ljungberg's Textile AB, Sweden for Knoll Associates, New York, NY. Overall dime...

A religious oil painting on canvas, Jesus Heals the Sick, after the original painting by Gabriel Cornelius von Max, British, German, Czech, 1840 to 1915....

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

Print size: 15 inches by 10 inches. Lord Hamiltons Ancient Vases. Number 94. Johann Tischbein, Naples , Italy. The scene depicts a scene from Greek Mythology, specifically one of the...

Large stunning portrait of a beautiful seated woman in a red dress framed in a period carved giiltwood frame. Signed upper right R. Hinton Perry. Dated indistinctly 1931 or 1939. Roland Hinton Perry (1870-1941) was a sculptor and painter committed to the Beaux-Arts tradition. Born in New York, he studied in Paris at the Académie Julian under Henri Chapu and Denys Puech...

Modernist abstract painting on canvas circa 1960s. Notated on stretcher: “Shozo No. 2”.

A large carved painted wood crest once mounted over a public building in the British isles. Featuring a lion and unicorn flanked by a shield featuring the quartered arms of Ireland, ...

Sunset In Harbor by Dong Moy Chu Kingman (1911-2000) Watercolor Signed. A charming watercolor painting created by Dong Kingman. This is an extraordinary piece of his art style and un...

Chains echo different emotions in us, some see them as a symbol of imprisonment, and vulnerability and some see as an emotion of inter connectivity and strong bond between the people. The truth is ,chains as we see them in the moment will either resonate the first or the latter symbolism depending on the emotions we feel at the moment. This eye-catching wall hanging adds a nomadic and mystical feel to any room. Created through a hand-intensive process of linking hand built stoneware rings of different sizes, this wall hanging is a dynamic decoration for an eclectic bedroom...

American School watercolor on paper, village scene, c. early 20th century. Decoration missing from bottom of frame. Signed illegibly lower right.

Southern European harbor scene, oil on board, signed indistinctly L/R "Anuplaeasen", Measures: 27" x 39", framed 34" x 46 1/2".

1950's wall plaques made of colorfully enameled cast metal in form of stylized wine bottles. Various configurations possible as some are singles while others are doubles and triples...

'Fish Camp at Dawn' by Kevin Paulsen (2026). 20''h x 30''w. Paint, spray paint, and pigment on tinted synthetic plaster atop muslin, mounted on wooden cradle.

Italian born Gio Colucci (1892-1974) was mainly a painter but he also worked in ceramics, glass, and even did book illustrations. He studied architecture at the Fine Art School in Pa...

Angular modernist painting by the noted colorist Jacques Clements (1926-2019) of Rochester, NY, circa late 20th century.

Each with a removable brown and white serpentine marble top supported on a gessoed and water gilded carved oak and stylized palm leave brackets. The gilding is dry and subtle with gr...

Volumes 2, 4 and 5. Each volume double sided. The book spine stamped Carnesecchi Impronte Di Gemme. Featuring 268 plaster intaglios. Francesco Carnesecchi was a renowned 19th centur...

Artwork hand colored engraving by Maria Sybella Meriam, 1647-1717. Titled Surinam Insects. Pineapple and insects. This is an original print not a reproduction. An example of this is ...

With the lion and the unicorn flanking a shield featuring the quartered arms of Ireland, Scotland and the coat of arms of the United Kingdom. On base written in latin "He lives twice...

Six foot hand carved fish from England. Most recently from a local seafood restaurant. Nicely painted and carved showing fins, gills, mouth, eyes, etc...

Lepautre 1652-1716 was a French drawing artist and engraver,architect. He was appointed to the French royal design department headed by Mansart and later by Robert de Cotte in the la...

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

A modernist composition on canvas of colorful ribboned shapes dated 1973 by the late Bethesda, MD artist Irving Schultz.

Shield form with a crown over a coat of arms with different symbols, the frame carved and gilded in the baroque style. From the Michael Kittredge collection.

An impressionistic oil on canvas circa 1930s by the Boston School painter Robert Emmett Owen. He was a successful artist best known for his Impressionist views of the rural landscape...

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

Large (5' 9" x 4' 2") Modernist abstract painting circa 1960s by Worcester, Mass, born artist Phillip Callahan, (1918-1991). Callahan was a student at Boston’s School of the Museum o...

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...

Two framed hand colored stipple engravings of parrots by Jacques Barraband published 1801-05. In beautifully matted and gilded frames. From Judy Cormier. One print with some foxing.

Fantastical river scene with stylized trees and boat-like structures, created by noted New York artist Kevin Paulsen using paint and pigment applied to plaster coated on polystyrene,...

3 Drawings by a Boston Artist, Signed Early 20th Century, D3 Three drawings of figures, two 7.75" x 4.75", and one 4.25" x 4.25", were drawn in the early 20th century, Framed (22.5" ...

"Izza" This sculptural wall installation is meticulously hand-built from individual stoneware links, assembled to create a flowing ceramic chain mail form. Each link is carefully sh...

1960s oil on canvas abstract painting signed 'Reynolds'. This large scale artwork features a bright white ground with vivid yellow, orange, red and pink textured palette knife detail. See the obituary for Lee Reynolds Burr...

All by Basilius Besler { 1561-1629] Besler was an apothecary and botanist and managed the gardens of Bishop Johann Conrad of Eichstatt, Germany. Besler created 'Hortus Eystettensis a...

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...

Engraving showing Napoleon on the deck of his ship preparing to surrender. His officers stand nearby. Under the image reads "From the painting by the late Sir W Q Orchardson R.A.". M...

A wall mounted secretary desk, commissioned from the Cambridge, MA maker Charles Webb in the late 1970s. Fashioned in a glowing maple, it features a drop down writing surface support...

An op-art wall mounted sculpture consisting of tubes meticulously filled with colored sand, backed with a mirror, in a plexi box frame by the Israeli artist Moshe Alon. Created in Bo...

From a decommissioned ship, a chrome bunk rack with an upper shelf that measures 10"d, and two hanging rods underneath one of which is 6"d and the other 3.5" deep. Great to use in a bathroom or laundry room or on your own boat. Maritime Industrial style. From the 1970's. The Lockhart Collection is a personally curated gallery of antiques and fine jewelry, owned and operated by Deborah Lockhart Phillips. The antiques and vintage pieces encompass Nautical Artifacts...

Watercolor on paper mounted on masonite board with ornate gilt frame. Dimensions: (Board) H 13.5" x W 10"

A charming and rare set of 3 Chinese gouaches of sailing vessels/ junks, painted on pith paper, no frames but matted. Size: 15" W x 10.75" H with Mat; 12" W x 7.75" H without mat...

19th Century Seascape with Brig Under Full Sail, British School, circa 1870, an oil on canvas seascape with a square-rigged Brig under sail on th...

"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.