Paintings

Late 18th century or early 19th century French school circa 1800, Louis XV style oil on panel picturing Chinese people in an ideal garden with a pagoda, a harpsichord : a beautiful 18th century style chinoiserie, showing an idyllic vision of China seen by 18th century European people. Our work was painted in the spirit of Pillement ; it brings to mind 18th century lifestyle and softness. Jean Baptiste...

Signed Lionel Royer and dated 1882 (?) Former Salon exhibition label at the top right, n°538 Indication of an exhibition in Lyon on the back of the frame, n°163 Beautiful painting ...

Our Stock # 24729 This is an antique river landscape painting. A Scottish, oil on canvas in gilt frame, dating to the late 20th century, circa 1900. Appealing oil painting from the...

Pair of 1960s reverse painted and gilt glass paintings depicting zodiac imagery of Taurus and Cancer. Signed "C. Oakley."

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

We present this fantastic oil painting on board dating back to the end of the 19th century. The painting features the Leto signature at the bottom right (see photo). Attributable to ...

Large French painting dated 1899. Oil painting on canvas, first canvas, depicting a view of a country village with characters and animals of good...

Decorate an office or a study with this elegant pair of antique paintings on copper. Created in Holland circa 1860 and set in their original carved gilt frames, each painting depicts...

William Perehudoff (Canadian 1918-2013) Medium: Acrylic on canvas Dated: 1997 Size with frame 56.75" wide x 64.5" high Size without frame 54" wide x 61.5" high Biography: WILLIAM PEREHUDOFF was born in 1918 in Langham, Saskatchewan and is one of Canada’s foremost modernist painters. With a career that has spanned six decades he is known primarily as a colorist and part of the Colour Field movement. His representation of space has often been influenced by the expanse of Canada’s prairies...

Oil on canvas, signed and dated in the lower right. Measures 28" x 32" including the frame. A view of the village of Ceret in France. Pinchus Kremegne was a Latvian painter and ...

A six-fold Japanese screen by Tosa Mitsusuke (1675-1710), Japan 17th-18th century, Edo period. The signature reads Shoroku-i ge Tosa sa Konoe Shogen Mit...

Watercolour on paper, title and motif 'Off the Isle of Wight", dated a tergo 1863. By maritime painter Edoardo Federico de Martino. The Sorrento born painter had been an officer in...

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...

A handsome and most decorative pair of Italian late 19th century Basalt Wedgwood and patinated Wood plaques. Each finely detailed silhouette is identifying a Roman Emperor on a Basal...

National Gallery of Art, Washington by John Walker. Published by Harry N. Abrams Incorporated, New York, NY, 1975. Hardcover with dust jacket. Director Eme...

Two Lacquer panels on wood Japanese inspiration soft colors , floral theme. Style Art Nouveau// Art Deco. French origine. Could fit perfectly above a pair of Art Deco or art Nouveau ...

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...

Large Renaissance style painted porcelain plaque German, 20th century Frame: Height 50cm, width 64cm, depth 6cm Plaque: Height 34cm, width 49cm, depth 0.5cm In this beautifully painted porcelain plaque, a young woman in fine aristocratic clothing sits in a dark Renaissance style interior scene. She sits in a gold armchair, covered in ornate floral upholstery, stretching out her arm to pluck a rose from a bouquet of flowers on the table beside her. Behind her is a landscape painting with red velvet...

Michael Qvarsebo (born 1945), listed Swedish artist. Oil on board. Abstract composition with impasto brushstrokes. In perfect condition. Signed and d...

Oil on panel. Signed and dated. This early work by Rolf Wertheimer was executed in 1954, during his studies at the Royal Institute of Art in Stockholm under Ragnar Sandberg (1951–57...

Painted Pompeii fresco panel depicting scene VIII from the "Sala di Grande Dipinto" in the Villa de Misteri at Pompeii on canvas. This is in the style of painted on canvas. Measures ...

A beautiful, relatively large, colorful abstract artwork painting, oil or acrylic, on a hand-stretched canvas finished with a modern or mini...

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...

The 1844 summer market in the town of Lengerich, in the western German province of Westphalia, is the subject of this antique KPM porcelain plaque...

Le Thanh Son is a Vietnamese artist born in 1962. His works is known in Vietnam and this painting was purchased in Hanoi. it is signed T.Son and dated 2000 Framed .

This is an original coal drawing by Danish artist H. P. Carlsen from 1933. Hans Peter Carlsen (1855-1950) was a painter from Funen who attended the Royal Academy of Fine arts with f...

This is a beautiful oil on canvas painting by Jane Vivian (Active 1869-1890) signed on the lower left. The painting delightfully presents the view of a Venetian canal and a beauti...

Two Chinese paintings of figures in court dress 19th century, opaque pigments on paper, each depicting a figure wearing robes decorated with dragon motifs on yellow-grounds. Pr...

A stunning pair of French 19th century oil on canvas paintings attributed to Jean-Baptiste Huet. Each painting is set within its origi...

JOHN R. WATTS (Unknown/Unidentified Artist) - Folk art watercolor and gouache landscape painting on paper - unframed - twice signed and dated lower right (one with applied paper stam...

A still life oil painting on board framed in distressed wood, signed Paul Petit 1885-1960

A striking Cubist French painting, dated 1968, that embodies the dynamic energy of postwar European abstraction. The composition is dominated by bold geometric forms, intersecting li...

Antique oil on canvas portrait of an unknown 19th Century Virginian Gentleman, beautifully framed to retain its sense of time and place. Rich brush strok...

Fantastic original oil painting of a man. Rich and moody tones dominate the composition. Signed by the artist, but I can’t make out the signature...

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.

A fine antique Adam Style watercolor interior design rendering reminiscent of Osterley Park, London. Dramatic blue-grey and pale salmon tones...

Antique 18th-century Italian painting. Oil on canvas artwork inspired by Luca Giordano's famous masterpiece, Christ and the Adulteress, an original from the second half of the 17th c...

Abstract painting signed D. Filov. Unique frame shape and beautiful color scheme. Dmitry Filov was born in 1953 in St. Peterburg. The age of maturity is being passed in the Crimea...

MOTEL SUITCASE SERIES 6034 by JORGE FICK Born in 1932 and passing in 2004 in the vibrant artistic community of Santa Fe, New Mexico, this artist was a prominent figure in the world of high color abstraction. His unique approach to abstract expressionism was deeply influenced by the teachings and mentorship of renowned artists Franz Kline, Jack Tworkov, Phillip Guston, and Joseph Fiore...

Unknown artist. Oil on board. Pointillistic landscape. Coloristic palette. Impasto brushstrokes. Dating: ca. 1960s. Signed illegible. Perfect condition. Dimensions: 34.0 cm. x 33.0 c...

Oil painting "The Man in the Gold Helmet" Rembrandt van Rijn Portrait copy of the famous Dutch painter Rembrandt van Rijn, overpainted print, signed. Fr...

Antique 17th-century Italian painting. Oil on canvas artwork with an intense depiction of Saint Francis of Assisi in ecstasy. The saint is depicted in prayer, kneeling, gazing heaven...

“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...

A vintage Mid-Century Modern original oil painting on canvas. A chic Abstract composition in pale neutral colors. Signed and Dated 1963. Acquired from an Miami estate.

Midcentury abstract oil painting framed in simple wood frame.

An Antique portrait of a tan and brown terrier mix wearing its collar with ring. Mounted in a deep elaborately carved baroque style gilt frame. Measures: Painting 9 x 9", age crazed...

Midcentury American Dorothy Draper-esque Hollywood Regency bedroom design painting, in oil or acrylic on paper. Gilt wood frame. Dimensions: width 77.5cm, height 58.5cm

Well done painting by Multidisciplinary American artist Beverly Lopez. A well developed male stands in semi nude posture. Framed in a rustic wood frame with linen mat. Signed under Alias Paul Whitney...

Signed lower left and on the stretcher. A lovely composition with two ladies seated at a cafe table chatting in an outside setting with flowers and plants. The artist is known for he...

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...

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 ...

Abstract oil painting on canvas of a Venetian cityscape. Unframed. No signature. It is attributed to Sadanand k. Bakre. In muted colors consistent with his early work in Europe. ...

This is an original vintage watercolour drawing by Danish artist Albert Elmstedt (1895-1976). It is made in aquarelle and tusch on paper in the colors purple and green with black dis...

18th century Spanish Colonial School, Cuzco: Angel, oil on tin. Framed, in good condition. Rich colors of red, blue and white. Inscribed in upp...

Wall Cusco school painting

RARE KPM Berlin porcelain plaque depicting Psyche holding a Urn, after R. Beyschlag A large KPM painted porcelain plaque depicting a Psyche holding a Lekythos/Urn. The lush and ove...

Reflecting the role that ancestor worship played in Chinese culture, this Qing-dynasty painting depicts several generations of family, dressed in intricately-detailed and brilliantly...

Danish mid century still life vintage oil on canvas painting featuring a bouquet with a red, a pink and a white flower arranged in a bright blue vase, highlighted by a dark red backg...

A almost life size depiction of a human skeleton holding a length of chain, with a banner at the base. We believe the piece to be Italian from the language used within the banner, ...

Magnificent large impressionist original landscape in the style of Monet, having two old fashioned ladies in white gowns strolling in a bucolic flower filled field with sailboats in ...