Paint Wall Decorations

Extremely rare and important, this painting by Eugene Savage served as the preparatory study for one of six monumental Art Deco murals commissioned by the Matson Shipping company in ...

Add a touch of timeless elegance to your space with this beautiful hand-painted Gracie wallpaper panel. Featuring a delicate Chinoiserie landscape scene, this exquisite artwork is re...

“Big Sister Dance”: an oil on masonite painting by artist Åke Tügel (1925 - 2002), signed and dated, 1949. This stunning piece showcases extraordinary texture and boasts tones of bor...

Signed and dated 1924. Jean Germain-Jacob was a French artist who was born in the 20th Century. Possibly of "Rue animée" which Jacob has used as a backdrop in some of his street pain...

Framed Surrealist Seascape painting, oil on canvas with linen matting by California artist Robert Watson. Titled #27 Shoreline. Retains the original paper label from a San Francisco ...

Jennifer Gibbs draws artistic inspiration primarily from meditation and nature. Her extensive body of work ranges from abstract expressionism to delicate botanicals to her charcoal l...

Done with confidence and bravura, this trio of pen-and-watercolor paintings showing male nudes, singly and in pairs, was clearly executed by a skilled artist. They are not signed, b...

Vintage watercolor on paper nautical painting depicting a marina / harbour filled with boats. Faint signature in lower right corner - possibly F. Evans. Speckled giltwood frame with ...

Italian Baroque religious panel painting. Style of Giovan Battista Langetti, depicting St. Jerome, the revered early Christian scholar best known for translating the Bible into Lati...

Copy of Orientalist painting of two harem girls resting by a fountain in a courtyard.

19th C. carved painted & parcel gilt architectural element. The piece is painted in antique white with 22K gold leaf details throughout. There is also a metal stem of flowers in the ...

19th Century Nautical Maritime Seascape Sail Boat The Artist is Dutch painter Albert Hess signed lower right.

David Roberts oil on walnut panel in original wood frame. In excellent condition. Born: 1796 - Stockbridge, Scotland Died: 1864 - London, England A painter whose reputation was m...

Early to mid 20th century oil on board landscape painting depicting an Apline mountain lake viewed from a pine covered hilltop. Signed Enzmann in lower right - attributed to Eduard E...

Beautiful tile mural with the "ALBARRADA CHERUBS AND FLOWERS" motif finely painted. Quantity: 48 tiles Tile mural size: 47.2"H X 35.4"W (120cm X 90cm) Tile size: 5.9"H X 5.9"W (15...

Oil on canvas, signed and dated in the lower right corner. Presented in a carved frame measuring 38.5" x 33.75" overall. The work features a woman reading by lamp light in a very t...

A French framed oil on canvas floral painting from the 19th century, depicting roses. Born in France during the 19th century, this exquisite oil on canvas painting features a delicat...

18th Century Portrait of a French Nobleman in Original Louis XVI Giltwood Frame. Canvas is mounted on board. Nobleman is depicted in a luxurious burgundy velvet robe trimmed with go...

Late 20th century oil on canvas seascape / coastal painting titled "Costa Brava" by Salvador Caballero. Shows a view of the coastal town from the beach with boats in the foreground. ...

Immerse yourself in a world of nature with this stunning botanical print, presented in a gorgeous giltwood frame. The artwork on high-quality paper captures the essence of Hollywood ...

Oil on canvas painting signed on verso "B. Raab 5/75" After the famed "Homage to the Square" by Josef Albers Measures 30-1/4" X 30-1/4" square. Original aluminum frame. Colors are b...

Beautiful tile mural with the "Flower Vase" motif finely painted. Quantity: 80 tiles Tile mural size: 59"H X 47.2"W (150cm X 120cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin...

This rare large painted unframed canvas from the mid 18th century portrays the image of an idyllic pastoral scene in Southern France. Featuring a group of herons and swans in the di...

Beautiful tile mural with the "BUDDHA" motif finely painted. Quantity: 132 tiles Tile mural size: 64.9"H X 70.8"W (165cm X 180cm) Tile size: 5.9"H X 5.9"W (15cm X 15cm) Origin: P...

A delightful and vibrant vintage folk art painting depicting a bustling early-20th-century general store, signed M. Stevens on the lower right. This charming naive-style work is fil...

Surreal table scape by Virginia Todd Wylie (1918-1999) Showed in local and NYC art galleries and museums - Parrish Art, Guild Hall, Art Institute Chicago...

Copy of a portrait of "Emanuele Filiberto", Italian military leader of the 1500's

Beautiful tile mural with the "COUNTRYSIDE" motif finely painted. Quantity: 24 tiles Tile mural size: 47.2"W X 17.7"H (120cm X 45cm) Tile size: 5.9"W X 5.9"H (15cm X 15cm) Origi...

These carved wood wall mounted brackets have many uses as architectural pieces flanking either side of a mirror as well as functional holding small statues on a wall. This classic se...

Continental, likely German, 19th century. Oil on canvas, housed in a gilt oval frame. A town scene, unsigned.

Pair, original painted Russian icons on wood. Portrayal of Saint George, Saint Simon and Saint Aviva Age related crackles, dings/scratches, scuffs/nick...

A vintage pair of framed prints inspired by the red-figure pottery of ancient Greece, dating to the mid-20th century. One depicts two armed warriors in profile, the other shows three...

Expressionist Surrealist Landscape Painting in the style of Gertrude Abercrombie singed and dated: LW Cochran, June 2, 1966 in original wood frame "a haunting empty landscape with...

Antwerp School, 17th Century "Portrait of Archimedes" Oil on canvas, coated 97 x 79 cm, framed 116 x 99 cm good condition

Exceptional pair of painted panels, which were used as doors and belonged to the renowned French magician Max Diff, are the work of painter Aldo Franceschini and dated around 1970. A...

Oil on academy board, one signed W. Sheridan. W. Sheridan was an English artist active in the 19th century. Each painting measures 22" x 29.5" including the frame. The pair togethe...

A fabulous vintage Boho Original oil painting on board. A chic Abstract composition in bright, clear colors. Signed by the artist. Acquired from a Palm Beach estate.

Umetaro Azechi "Three Men on Mountain" Abstract Woodcut Monoprint A colorful framed abstract woodcut monoprint by well-known Japanese printmaker Umetaro Azechi (1902-1999). He was b...

Drenched with sun and full of optimism, this depiction of a shirtless farm worker, with scythe in hand, is a high-spirited paean to the American laborer, at a time when the Works Progress Administration and other institutions were commissioning murals that celebrated industry, agriculture and commerce. Here, the worker is lean and strong, and his face shows signs of sunburn from his hours in the open. The painter was Allyn Cox, son of the famous muralist Kenyon Cox...

An original signed pencil and watercolor of a nude figure entering a bathtub, circa 1960. Depicted in the pop art style with bold colors and patterns of the period including gaudy pi...

Small oil painting, the city on it. Signed Ray Bai 1995. Hand painted in Denmark. In the set of white wood frame. Very nice small decoration for ...

Charming painting of 2 female farm labourers Unsigned. In the style of Jack Kampmann Oil on board. Possibly Faroe Islands Presented in an antique whi...

- This product is priced per square meter. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. A perfect combina...

A gorgeous Grand Tour style framed oil painting of an Italian Capriccio landscape with ruins Italy, Mid-20th Century Oil on canvas, gilt frame Measures: 9.5"W x 1"D x 9.5"H. Exce...

Ralph Pallen Coleman (American 1892-1968) A Monumental Painting of "The Resurrection of Jesus Christ", circa 1940.   Measuring 102" high x 77" wide (framed), this massive oil on canv...

Fantastic old master painting of a women, 16/17th century With frame: H. 107 W. 90 D. 10 cm H. 42.1 W. 35.4 D. 3.9 in Without frame: H. 80 W....

Large original painting of maidens by Hans Zatzka A Fabulous And All Original Oil Painting On Canvas By Hans Zatska.(Austrian1859-1945) In untouched condition this painting is top q...

Oil on canvas, signed lower right. Dimensions listed include the frame. Featuring the Privateer ship "America" under full sail. Title and dated on the reverse. The dimensions liste...

Whimsical small oil on board painting of a European town. Signed Spinola. Out of. Southampton, NY estate.

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...

- This product is priced per square meter. Please contact us for assistance with square footage calculations. - The lead time depends on the quantity of the order. Inspired by the l...

Custom Kitchen Tile Backsplash - Hand Painted Portuguese Tiles Any design, size or colour. Please message us with your requirements. - Our murals...

Oil on canvas signed in the upper right. Measurements listed include the frame. The canvas measures 30" x 40". It is in excellent condition and ready to hang. Born in 1934 in B...

Beautiful watercolor abstract cityscape by Rodolfo, 1986. The work is beautifully framed in a white edged acrylic box-frame. Measures 48 x 40 x 2" deep.

French (18th century) oil painting portrait of a woman holding grapes sitting next to a dog in a rectangular carved giltwood frame.

Gilt framed oil painting of a still life of a vase and pitcher with fruit and flowers.

Early 19th Century French Portrait of Commander in Legion of Honor By Alexandre Bailly (1764-1835) Beautiful painting purchased in France. Age appropriate wear, see detailed photos ...

Colorful Post-Cubist oil painting still life with guitar By Serge Magnin, born in France, 1934. Framed. Size of the frame: H 67 cm x L 81 cm x W 2 c...

Frans Franken III and aid, Adoration of the Magi Good condition The oil painting on wood, with a gold background, depicts an Adoration of the Magi. The Magi are dressed in sumptuous silk and brocade dresses; they wear precious hats and jewelery. The richness of their garments is in contrast with the humility of the Holy Family and of the other characters who, around curious, observe the scene. The hut is simple, made of wood and straw: above it shines the Comet, symbol of the divine event. In the distance, a group of wayfarers walk along a path that is lost on the horizon, blending into the gold of the bottom. The representation proposes a traditional iconography, in which the painter inserts some details that he lends himself to symbolic interpretations. Among these is the appearance of the Magi, who from the XIVth century differs iconographically: the wise astronomers represent the homage to Jesus of the then known parts of the world, namely Africa, Asia and Europe. To the right of the Magi, in the foreground, sits a monkey, considered a demonic creature and a symbol of lies and sin. It is depicted on the sidelines, as a defeat, next to a fragment of a classical column: ruin alludes to the end of paganism, of the old world that collapses with the advent of the new one, marked by the birth of Christ and liberation from the Original Sin. On the ruins he climbs the ivy, symbol of the immortality of the soul. The work is attributable to the workshop of the Flemish painter Frans Francken III...

Sitting Man Oil and Tempera Paint on Canvas Belgium 1964. A large and very well painted portrait of a sitting man framed in solid oak - dated 1964. Beautiful pose and very well cra...