Wall Decorations in Berkshires

This is a very handsome and well detailed watercolor from the mid-19th century. Signed and dated, mounted in a period gold-guilded frame and retaining the original old glass. The des...

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...

The Victorian Rococo giltwood top of mirror frame is hand-carved with flowers, leaves and scrolls. The centre oval contains two birds without stretched wings and a nest and eggs...

Each panel decorated with a landscape. Each panel is H.69 in. by 22 in.

Oil painting is composed of vibrant orange tones mingled with neutral brown and grey tones. Verso is titled and signed illegibly. Canvas measures approximate 20 inches squared in height and width. Signed original artwork, abstract Modernist art...

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

This huge pair of "Barbotine" ceramic plaques have all the bells and whistles. Completely hand-painted with inviting seascapes, each one is surrounded with paste flowers and realisti...

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

Rare 19th century American Quilt perhaps a unique design. The obvious Navajo influence of the Red Cross symbolizing the Spider Woman is unquestionable. They're being 13 crosses also ...

Silver and gold gilt decorative sculpture pediment with scroll work, sunflowers and leaves. Could be used over a mirror, bed as corona or door having the right width or above headboa...

Title: "Vaisseaux" From the series “Les ports de mer” This is one of the few seascapes woven at Beauvais. The series was based on the cartoons by joseph Van de Kerchove and Adrien Campion. Louis XIV ordered a set of four tapestries...

city scape, oil on canvas, art, painting, landscape, wall art wall decoration

The antique wrought iron bracket is decorated with curls and a spear-like tip. Holes on the side bar can be used to secure to the side of...

Ornate Italian Florentine giltwood hand carved wall bracket. With feather plume motif.

Striking and beautiful New England quilt in the princess feather and rose pattern. Excellent condition with a highly folky design pattern. Found in , this quilt made from blue and re...

Italian Florentine style giltwood carved wood wall bracket.

The antique unframed oil painting on canvas is in the Renaissance style. Two ladies are conversing with the man on the right. Canvas is stretched...

Decorative metal railing piece with grape motif makes a wonderful wall decoration piece. Can be hung vertical or horizontal.

A wonderful egg tempera on board painting by American Artist Meng S. Choy. This item is signed and dated on the back of the board as well as the safety backing for the board itself. ...

The Mower, by Vilma Eckl, 1930's and an excellent color and condition. This item has been framed and matted with Museum quality and profession. The frame is absolutely gorgeous. The ...

WOODY ALLEN WITH HIS HANDS OVER HEAD originally created by Al hirschfeld in 1967 and published in the New York Times. This is a hand-signed, limited-edition etching with an edition s...

This is one of the most highly detailed marble dust or sandpaper drawings I have ever seen. The meticulously executed in details and the subtlety of the buildings in the background i...

Depicting the meeting between Gombaut and Masse, set within a landscape, and surrounded by floral border

The five pen-and-ink drawings by Lauzon represent various aspects of a summer concert of the Boston Symphony Orchestra at Tanglewood, Lenox, MA: the co...

Pair Wall Sconces by Deborah Thomas of The Northern Fleet Series Constructed using numerous pieces of broken glass jars, each individually wired to an a...

Though this isn’t my usual areas of offerings, I was so excited when I came upon this amazing wine related piece of artwork. Perfect for a wine cellar or restaurant, this large mahog...

A vintage painting of a schooner. Signed By Artist (signature illegible). Appears to be oil on canvas or board and to date to the first half of the 20th Century. Framed in a vinta...

A very large and most impressive carved wood relief of a head of a Buddha. The stunning sculpture has interesting details. The panel once hung in th...

Early 20th century French tapestry makes a wonderful wall decoration.

The contemporary oil painting is of a street scene with rain reflecting images on the pavement. Canvas is stretched over a frame. Signed by the artist C. Galiano.  

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

Carol Anthony is an American painter who now resides in New Mexico. This particular painting is one of the earlier works of a series done on the "Road Taken". There are also Monoty...

"Two Flags" by Jasper Johns Unsigned Offset Lithograph. Custom framed. DATE: Made in 1969. EDITION: This Offset Lithograph is from an edition size of 800 and is not framed. DI...

Expressionist, lively and colored knife strokes. Oil on canvas by Columbian artist, Carlos Nariño, who lives and works in Paris since 1985. This was painted while visiting the US in ...

Jacob Glushakow (1914 – October 12, 2000[2]) was an American painter known for his keen observations of life in the city of Baltimore, Maryland, United States. He graduated from the ...

A wonderful egg tempera on board painting by American Artist Meng S. Choy. This particular Orchid goes by its Latin name of, Paphiopedilum Moquettianum. This item is signed and dated...

Mark Bullen began his studies at the University of Delaware and graduated from the Pennsylvania Academy of the Fine Arts in 1983. Bullen began exhibiting ...

Attributed to Leon Kroll oil on wood board painting of a Connecticut scene. The small but well done painting is representative of work done by Kroll. The painting depicting a Connect...

18th century French neoclassical barometer from the Louis XVI period. Now strictly a stunning decorative object with great style. It is no long...

Striking and beautiful New England quilt in the princess feather and rose pattern. Excellent condition with a highly folky design pattern. Found in , this quilt made from blue and re...

Gladys Morante was born in Peru in 1963 as the daughter of a professional jockey. After high school, she met a horse portrait artist with whom she began working. Realizing Gladys' p...

A wonderful egg tempera on board painting by American Artist Meng S. Choy. This item is signed and dated on the back of the board as well as the safety backing for the board itself. ...

Caroline Kaars Sypesteyn of Berkshire Artisanal is the artist who has created this black-and-white photographic print on linen of a sliced apple. Titled "Apple Portfolio Print." The ...

Architectural landscape drawing. Top piece of paper has been cut into unique shape. Part of top paper has inch deep tear. Appears to depict a campus. Piece is professionally framed w...

Butterflies in Amazonian Rain Forest Morpho Peleides. Oil on canvas by Columbian artist, Carlos Nariño, who lives and works in Paris since 1985. Abstract ...

The antique Italian drawing in pen-and-ink and wash pictures a landscape of a stone bridge, archway, trees and people in the Renaissance style. The drawing is set within a two-tone d...

The 19th century oil-on-canvas painting shows a gathering of roosters, hens, chicks and ducks in front of two farm buildings. The black frame in edged in gilt. The painting is wired for hanging. There is an artist's signature. Farm yard scene.

The four petite 20th century Parisian landscapes are painted and signed in oil on paper board by Andre Bessp. The artist has labeled and signed each one on the back: "Canal a Gaurnay fondly Bessp," "Place Furstenberg...

18th century French study of a painting of an allegory. Gold giltwood frame with salmon color moiré fabric around matting. Drawing measures 6" H x 8.5" W. Much of the white you see ...

Riccardo Magni signed gouache on paper, a beautifully illustrated pastel of an interior with furniture from the 40's done in the way only the v...

Butterflies in Amazonian Rain Forest Morpho Peleides. Oil on canvas by Columbian artist, Carlos Nariño, who lives and works in Paris since 1985. Abstract expressionist. Strong, vi...

Figurative expressive brush strokes, oil on canvas by Columbian artist, Carlos Nariño, who lives and works in Paris since 1985. This work was done while visiting the US in 2009 Ex...

Susan Grisell, American artist, signed, oil on canvas, abstract art. Impressionist-esque depiction of two cows standing amongst trees, measures 22 1/2 x ...

Wonderful oil on board painting of the Castelo and Ponte Saint Angelo. Beautifully rococo frame. Search terms: oil on canvas, Italian painting, art, landscape, wall art

Wonderfully distressed frame for that special piece of artwork. The original finish has been worn away leaving it with a natural distressed look that only time can achieve. Will fi...

The midcentury still life painting is oil on masonite and is signed in the lower left corner. The focus of the composition is a yellow bowl of ba...

Original pen and ink wash drawing in gold frame of a scene in European plaza with people/ Drawing size: 6.75 x 9. Search terms: painting, etching, art,

The view of this French impressionist oil-on-canvas painting is of a stone bridge arching over the Seine. Paris buildings are in the background while a leafless tree is in the foregr...

Miniature Continental landscape, oil on panel, depicting house and shored boat, initialed ''W'' lower right.

Still life, red and yellow with strong classical palette. Oil on canvas by Columbian artist, Carlos Nariño, who lives and works in Paris since 1985. ...