Canvas Wall Decorations

Vigorous Post-Impressionist Still-Life Oil Painting with 'Blue Carafe' made by Danish Modernist Karl Larsen. * Oil Painting on canvas with still-life of table with blue carafe. Gold...

"Ce qu'évoquent les Livres" Allegory of the Literature Oil on canvas Signed on the lower part beside parchment 111 x 133 x 2 cm Framed 125 x 146 x 7 cm Provenance: Collection Georges AUBRY, brother of the artist Bibliography: Illustrated in catalogue «Regards de peintre» , Suzanne AUBRY-CASANOVA, 1997, p.104 After trying years of forced confinement due to the war, he composed this allegorical fresco on the theme of Literature, Science and Arts was painted by Émile Aubry for his younger brother Georges Aubry, who had intended it for his library. This work, composed on the theme of the book it symbolizes, in its diversity by allegorical characters, he cannot help ordering the painting around Art, which he places at the top of the scale of human...

Attributed to Flora Crockett (American, 1892-1979), Untitled Abstraction. Flora Crockett is a newly discovered American abstractionist whose career spanned the middle decades of th...

Vintage (20th Century) still life oil painting of apples spilling from a bag on the forest floor, alongside a straw hat, painted on stretched canvas in a rectangular giltwood frame w...

This Fine Monumental Signed Heinz Pinggera Oil Painting, "Shakespeare at the Queen's Court" is a stunning depiction of a historic and dramatic scene. The artist, Heinz Pinggera, mast...

Alpine Landscape Oil Painting with Tyrolean Mountain Hut A large vintage landscape painting enclosed in an ornate, gold-colored frame. Painted on canvas with pastell colors. The pai...

Original oil on board; 9" x 12". Painting portrays a Native American camp scene with one teepee set up and another one with poles up. They are arranged in an open meadow with pink fl...

Antique Oil On Canvas Painting Of A Distinguished Gentleman Signed By A . L. Dalbey C1906 Measures - 33 1/4" x 28" x 2" An antique oil on canvas painting depicting a distinguished g...

A very fine and large 19th century Louis XV style Whimsical Neoclassical Revival style Oil on Canvas "The Triumph of Flora" attributed to Ferdinand Wagner II (German, 1847-1927), school of François Boucher (French, 1703-1770). The impressive artwork depicting a semi-nude Flora hovering through the clouds surrounded by playful cupids, cherubs, love doves and a seated maiden, within white and grey clouds, offering her Spring flower bouquets and floral wreaths, within a banded giltwood frame. Note: Previously used as a ceiling painting. Unsigned, Circa 1870. Measures: Canvas height: 91 3/4 inches (233 cm) Canvas width: 59 inches (150 cm) Frame height: 61 3/8 inches (155.9 cm) Frame width: 93 1/2 inches (237.5 cm) Depth: 2 3/8 inches (6 cm) Ferdinand Wagner II (German, 1847-1927) was the son of Passau Ferdinand Wagner Senior, a teacher at a vocational art school who began training him professionally at a young age. After traveling to Italy in 1867-1868, he continued with his art studies at The Munich Academy of Arts led by Peter Von Cornelius and Julius Schnorr Von Carolsfeld...

This bold modernist mixed media painting was painted by German / American artist Peter Robert Keil (b. 1942). Kiel was born in Züllichau / Pomerania and studied at the University of the Arts, Berlin. His first mentor was painter Otto Nagel. He admired the works of the Expressionists, Picasso in particular, whom he later met in Spain. The expressiveness of the vivid color opened a way to temporarily escape from the dullness and depression of everyday life in post-war Germany as Peter made his first attempts at visual art. He was also influenced by Juan Miro...

An evocative and atmospheric work from 1972, this signed original painting captures the poetry of solitude and transition along a quiet shoreline. A solitary figure—draped in white and veiled, a basket resting in her hands—stands between land and water, contemplation suspended between the familiar and the unknown. Behind her, a cluster of humble village homes and the faint trace of power lines...

(Slavic School, 19th Century) A Large Oil Painting "Saints Cyril and Methodius"   Very good quality painting, and subject. Painted by a master, apparently ...

Gorgeous original oil on canvas southwest desert plein air landscape painting by listed artist Dorothy Glascow, circa 1950s. This wonderful piece measures 33.25" x 27"and it is signe...

English, circa 1940 oil on canvas portrait of a young woman bearing a confident expression and the curious smile of Mona Lisa. A mottled background of taupe-gray is the perfect compl...

18th century French Rococo Painting Circle of François Boucher This idyllic pastoral oil painting shows Boucher’s impact on this f...

1970s Jaime Parlade designer hand painting "Tiger" oil on canvas.

Pair of circa 1940's oil on canvas Adam and Eve paintings with vintage frames. Measurements: Height: 74.25" Width: 32.75" Depth: 2.25"

This is a beautiful antique pair of oil on canvas paintings, one showing the view of the Grand Canal in Venice and the other the view of The Dogana, by the renowned British artist Al...

Oil on canvas by Austrian artist Alexander Demetrius Goltz (1857-1944) depicting a spring allegory subject, from circa 1900. Titled "Fruhling" or "Girl...

French vintage framed landscape painting on board of a mountain range with a river flowing through the steep valley and a bridge crossing to a small village. The contemporary palette...

Isabel Brinck Original Abstract Painting on Canvas Titled "Rain Check" Offered for sale is an original acrylic on canvas by Chilean-American artist Isabel Brinck titled "Rain Check"...

A charming mid century bullfight painting by Epifanio Ortega, A Mexican artist, ca' 1969. Born in 1947, Ortega's paintings have a very modern, Cub...

Isabel Brinck Abstract Painting on Canvas Titled "Squirrel Whisperer" Offered for sale is an acrylic painting on canvas by Chilean-American artist Isabel Brinck. This painting is ...

The Byzantine Period of Greek history is one of the least understood and the most important. The Byzantine Empire laid the foundations for Orthodox Chris...

This is a very interesting small antique original, oil on canvas painting, dating to the mid-19th century. The painting shows a landscape scene of a shanty town of simple buildings, all set in a clearing with woods and high hills...

Oil on canvas painting signed Hilgers bottom right. 1930s, depicting a young woman naked kind of Olympia in the Art Deco style.

Vintage Lee Reynolds, Vanguard Studios original signed textured abstract oil painting. Large Lee Reynolds abstract oil painting by Vanguard Studios. Gorgeous large-scale Lee Reynolds abstract painting, Mid-Century Modern. A vintage abstract painting composed of angled brush strokes in white, beige, blue, orange hues in varying intensities. The piece is signed Lee Reynolds in the lower right corner and is a production of his well known Vanguard Studios. Measures: Height: 48 inches; width: 60 inches. Circa 1960s. Lee Reynolds Lee Reynolds Burr (1936–2017) opened his Vanguard Studios in Beverly Hills, California, in 1964 to make oil paintings an attainable decoration for any American household. With seascapes, nautical scenes, still lifes, bullfights, cowboys, pastoral views, hot-air balloons, horse races and abstractions, there was a Vanguard Studios creation to match any taste and interior. Born in Los Angeles, Burr studied art at the University of Southern California. After graduating and a stint in the U.S. Army, he worked in a local studio as a painter before becoming a home decor entrepreneur with financial support from his mother. Only a fraction of the alleged hundreds of thousands of oil paintings produced by Vanguard were actually painted by Burr, even though they were signed “Lee Reynolds,” “Lee Burr...

Enhance a study or office with this distinguished antique oil on canvas, painted in England circa 1890. The composition features three hunting dogs resting at the edge of a wooded cl...

Antique Lombard painting of the 17th century. Oil painting on canvas of considerable size depicting a shepherd with his dogs immersed in a countryside landscape. Painting of great pi...

Museum-Quality Painting by Norwegian Artist Nikolai Olsen Berg (1875–1955) "Farmyard at Jølster" circa 1910 This exceptionally rare work by Norwegian painter Nikolai Olsen Berg exem...

Measuring 56 H x 67 W, this large Dutch oil on canvas painting from the 1700s depicts a Southern landscape of a glen beneath a rocky cliff. The expansive valley stretches far into the distance, before terminating at a lake in front of a mountain. Numerous flocks of sheep can be seen throughout the basin, including a group high up on the towering cliff with green trees dotting the sand-colored rock. Most of the flocks in the distance are being tended to by shepherds, but interestingly, a group of four men has gathered in the foreground to engage in leisurely activities as their sheep, cows, goat, and dog await nearby. A few chateaus can be seen in the distance, but most of the architecture is in the style of a capriccio, in that they are dilapidated. The top of a stone obelisk is missing and there are some losses to the inscribed pedestal next to it that supports a lidded urn. Large pieces of broken rock are scattered about, with one slab being used as a seat/table for two shepherds playing cards. Several birds fly in the blue sky, with the setting sun giving the clouds hues of gray, orange, and pink. The peaceful scene is surrounded by a brown wood frame with a thin undulating gilt border that edges the canvas. Our large Dutch painting...

Charles Levier born of a French Father and American mother. He was was active/lived in New York, California / United Kingdom, France and is known for landscape, still life and figura...

A beautiful antique hand-painted gilt wood framed oil on canvas forest landscape painting USA, Late 19th Century Measures: 9.75"W x 1.25"D x 11....

Oil painting By Victor Tempest On canvas Framed Mid/late 20th century.

This 1840s portrait presents a Dutch lady of notable status. She is dressed in a black embroidered tulle gown, with long gold earrings, a necklace, and a lace cap decorated with blue...

Like the Sun King himself, this French painting on canvas of the palace of Versailles stirs awe and wonder that such a person and place could exist. The setting sun bathes the Bacchus or Autumn fountain and the edifice in the most incredible golden light, while the focal point is the Neoclassical, reclining sculpture...

Charming 19th-Century Genre Scene After Greuze — Mother and Child This refined painting after Jean-Baptiste Greuze captures a surprisingly tender moment between a mother and her you...

Large painting by James Brewer titled Woman at Cafe, depicting a standing female figure rendered in layered tones of green, gold, and violet. The composition combines abstracted form...

This captivating painting by Gladys Kemarre (1937-2017), a respected Anmatyerre artist from Utopia in the Northern Territory, is a powerful expression of Aboriginal Dreaming—a visual...

Old painting, still life with fruit and an earthenware jug, classical composition, oil on canvas, signed J. Goens at the bottom right, undated but cautiously estimated at around the ...

Large Italian painting signed and dated 1898. Oil on canvas, first canvas, artwork depicting a portrait, Milanese noblewoman, of good pictorial quality. Painting of great size and im...

Gabe Silverman 1980s Abstract Op Art Painting on Canvas, Original metal frame. Offered for sale is an oversized original and exceptional Op Art painting recently discovered in a ti...

A small oil on canvas of a street scene by Albert Harold Palmer, 1911-1985. Artist and teacher, born in Northamptonshire, who studied art part-time, then full-time at Grimsby School...

A funky big eye girl painting by a self taught artist-signed W.D.Rossi 1968.

Rune P. Swedish artist. Oil on canvas. Modernist landscape, mid-20th century. The canvas measures: 89 x 64 cm. The frame measures: 2.5 cm. Signed. In very good condition. 20th c...

This oil on canvas, painted by Jean-Auguste Bard in 1838, was exhibited at the Salon the following year, as entry number 81. Jean-Auguste Bard (1812-1862) was a student of the renow...

A circa 1920s Spanish Colonial painting of an angel holding olive branch. Measurements: Height: 27.5" Width: 21.5" .

Scott Kerr is a self-taught Contemporary Abstract Artist. As a young boy, he was exposed to the art world by his father through the works of a local Texas artist, David Brownlow. Ama...

A Bold, Colorful Cubist Abstract Painting in the Manner of Jacques Villon Signed and dated lower right: “M. Jardet” Presented in a striking m...

This fine old painting is a typical pastiche of the kind popular throughout Italy and the world in the 17th, 18th and 19th centuries. The most commonly associated artist who really m...

Italian school painting from the second half of the 17th century. Oil on canvas artwork depicting David, the biblical hero, captured in the moment of triumph with the head of Goliath...

This painting shows a portrait of a gentleman wearing a red jacket. His face and his hands are very well detailed. It wears age and use. The painting is in France and will be shippe...

Elegant pair of tall oil on canvas paintings each depicting a romantic scene of lovers, both wearing traditional attire. The first painting depicts a lady feeding grapes to her lover...

A 19th Century painting of a couple in love / gallant scene of Greco-Roman inspiration of the School of Antoine Watteau Watteau by Jean Baptiste Emile Beranger. Beranger Signature. ...

Still life, classical palette for red and blue. Oil on canvas by Columbian artist, Carlos Nariño, who lives and works in Paris since 1985. Exhibits...

Spectacular, Vibrant, Mid Century Modern, framed oil painting by artist Pat McAlevey of an exciting yacht race in eye-catching orange and yellow colors. McAlevey captures the tense...

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...

Jan Frans van Bloemen, called Orizzonte (Antwerp, 1662 – Rome, 1749) A Late 17th–Early 18th Century Italian Landscape with Figures of the Roman Campagna...

J. Böréss, Swedish artist. Oil on canvas. Southern French landscape in fauvist style. Coloristic palette. Ca. 1930s. Exhibition label on the back. Signed illegible: John Böréss. In p...

Presenting a Peruvian Cusco School Revival painting from the mid 20th century, depicting the beloved figure of San Isidoro, the patron saint of farmers and laborers. This exquisite ...