Massachusetts - Paintings

WPA era scene of skaters on a pond by the New York artist Ida York Abelman (1908-2002) is just in at the shop. Likely painted upstate in the vicinity of the Catskills, this watercolo...

An early 1960s oil of two hunt riders by Eunice “Lulu” Jensen Parsons of Portland, Oregon (1916-2024), an American modernist artist also well known for her collages. She was active u...

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

Tomas Aceves (Spanish, 19th century), circa 1870. Oil On Board in Giltwood Frame. "Alcazar of Seville Interior". This masterfully executed architectural interior painting, signed b...

Italian School, 18th century. A masterful example of 18th-century Italian School artistry, this Old Master landscape painting captures the sublime beauty of an idealized European co...

Abstract modernist painting by Engish artist Peter Daglish titled "Exit", dated 1962. From Ask Art: "Peter Daglish was born in Gillingham, England, in 1930. At age 25, he immigrat...

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

This emotive and skillfully rendered oil on canvas by Vladimir Volodia Lazarev depicts a solitary young musician in quiet reverie, absorbed in the act of playing a traditional Russia...

Italy, 18th century. This magnificent 18th-century Italian planter is a captivating example of Rococo Baroque craftsmanship, featuring an elegant French blue painted background that...

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

A large scale modernist nude on canvas signed Porter, dated 1983.

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

A large canvas by the Wellesley, MA artist Maryann Jaczko. Titled “The Boys are Home, 1977” This work channels the emotionally charged but “billboard” flat figurative works first pop...

After Claude Lorrain - Embarkation of the Queen of Sheba. The original painting which was painted in 1648 is housed in the National Gallery, Londo...

**Pair of Portrait Paintings Depicting King George IV and Queen Caroline, Attributed British School, Early 19th Century** Oil on canvas - laid to board and backed with wood panel. M...

Oil on canvas painting depicting East 78th St in the upper East Side of Manhattan in New York City. James B. Duke House is noted on the left. Gorgeous depiction of the sun's touch an...

Jean Ernest Aubert, born in Paris 1824. He was trained at the Ecole des Beaux Arts in Paris. "Sunrise with fishing boats", oil on panel, signed lower left. Size with frame: 43 x 56 c...

Born in Italy and lived mainly in France. He was an Italian post impressionist painter. He exhibited at the Societe des Artistes Inde'pendants and later at Salon des Tuileries and Sa...

SATURDAY SALE Galloping Horses, airbrushed watercolor by Benjamin Jorj Harris (American, 1904-1957) for Newman Decor. Dimensions shown are for fr...

A late 19th Century Renaissance Revival profile portrait of a young man, Italian School, ca. 1880s. This atmospheric portrait comes to us from a prominent North Shore of Boston fami...

Oil on board painting by Pieter Jacobsz Codde, 1599 to 1678, a Dutch artist. The artwork represents an interior genre scene, a company drinking and playing cards. The artist's monogr...

A finely rendered heraldic watercolor on paper depicting an elaborate composite coat of arms, signed lower right “E. Wenzel” and likely executed in the late 19th century. The work pr...

"Hunted by Bears" by artist Kevin Paulsen. Created with pigment and plaster applied to polystyrene, mounted in a shadow box frame.

A finely detailed landscape depicting the rocky shoreline of Odiorne Point in Rye, NH. This 1971 work, almost abstract in its intricacy, is by the Lowell, MA artist Ted Giavis (1920-...

Robert Duffy (American, 1928-2015). Oil On Canvas "Robert “Bob” Duffy is a “Plein Air Artist” who paints primarily in New England. Frequently, he can be seen in Northern Vermont ar...

Lovely painting by noted New York artist Kevin Paulsen featuring a river/harbor scene. Crafted with pigmented plaster on a polystyrene base cradled in a custom shadowbox.

This refined oil on canvas portrait captures a distinguished gentleman in half-length, presented within an illusionistic oval reserve against a darkened background. The sitter, portr...

This listing is for a beautiful set of 7 Chinese Export Gouache (watercolor) paintings on rice/pith papers depicting the traditional Chinese cos...

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...

Indian, 18th or early 19th century. This exquisite 18th-century Mughal School miniature painting is a masterful example of the rich artistic tradition that flourished under the Mugh...

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...

By highly collected New York artist Kevin Paulsen, this painting features lovely stylized sparrows within an imaginary woodland landscape. Crafted with pigment and stain applied to ...

Astonishingly beautiful and monumental mural spanning eleven individual panels (each just under 18 inches wide) which when assembled are 16 feet long by 6 feet high. The panels are reverse paint and applique on sheets of Plexiglass and were painted by Peter Ostuni (American, 1908-1992) in 1951 for the lobby bar of the Savoy-Plaza Hotel at Fifth Avenue between 58th and 59th Street, New York City under design firm Tom Lee...

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

Monumental, colorful and very graphic op-art pop art painting dated 1969 (acrylic on fiberboard) by Robert Bidner in a spectrum of greens and yellow. Robert D. H. Bidner, American, ...

This listing is for a beautiful set of 6 large Chinese Export Gouache (watercolor) Paintings on Rice/Pith Papers, It's called "Pua Gua" same as the meaning of "Fortune Teller" painted by George Mason...

19th Century China Trade Ship Portrait of the American Clipper Ship ORIENTAL, under full sail on starboard tack leaving Hong Kong Harbor for Bost...

French Impressionist Harbor Scene, by J. Cord, 1939, a lovely oil on canvas impressionist view of the fishing boat "Girl Nancy" and another rafted together at wharf in the fishing po...

Cleve Gray (1918–2004), "Suntrack" Acrylic on Canvas - Dated 1987 Frame: 81" x 51", sight: 80" x 50". Radiant and vigorously lyrical, *Suntrack* is a monumental canvas by the Americ...

Period First Empire portrait of the Sisters Julie and Desiree Clary, Future Queens of Spain and Sweden by Robert Jacques Francois Lefevre (1755...

A post modern abstract stain painting in the manner of Helen Frankenthaler or Kenneth Noland.This work on raw canvas is signed A. Cohen, and dated 1980.

Late 18th to Early 19th Century Portrait of a Sea Captain, by Charles Delin (Netherlands: 1756-1818), circa 1810, a fine period oil on canvas quarter-length portrait of Captain Mellens, an elegant gentleman in navy blue woolen double breasted sea coat, with high starched collar shirt and neck cloth, unsigned; retains an old collection label on the reverse identifying the artist and subject. The painting remains in fine condition, in its original carved and gilded frame. Although identified by name, we could not find any additional information on the sitter. The name and clothing indicates that the captain was American or English. The artist Charles Delin was highly regarded in his day and specialized in sea captain portraits...

"The Chaperone" by Kevin Paulsen. Large format "fragment" painting created with pigment and plaster on polystyrene, mounted in shadow box frame.

Abstract oil (24" x 20") by Norman Gorbaty (b. 1932), circa late 1950s. Gorbaty was a young artist in his 1920s when his work was included in a 1954 show of American printmakers at t...

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

Samuel Abraham Marx (August 27, 1885 - January 1964) was an American architect, designer and interior decorator. He is generally considered a modernist, influenced by the Internation...

George Mears (British, active 1860–1895) Portrait of the Steamship "Rouen", 1888 Oil on canvas, signed and dated lower right Canvas: 26" w x 16.25" h Frame: 31.5" w x 21.75" h A cri...

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...

19th Century, American. This finely executed 19th-century American watercolor captures a dynamic maritime scene featuring the ship The Monk as its central subject. The vessel, depi...

**Set of 3, 19th Century Allegorical Reverse Glass Paintings** This captivating set of **three 19th-century allegorical reverse glass paintings** presents richly detailed narratives imbued with symbolism and classical themes. Each painting is executed in the traditional reverse glass technique, providing a smooth and reflective surface that enhances the vibrant palette and fine detailing. 1. **Painting 1 (Left Panel):** This scene portrays a dramatic encounter, likely a moment of judgment or persuasion, set against a distant landscape. A figure in a flowing blue robe gestures emphatically toward a well-dressed couple, perhaps symbolizing conflict, intervention, or moral decision-making. The background includes a sweeping view of the countryside, with figures in the distance adding depth and context. 2. **Painting 2 (Center Panel):** The central panel features a pastoral scene steeped in allegorical significance. A central figure dressed in red, resembling a shepherd, commands attention under a radiant sunburst. Surrounding characters appear in moments of tension and repose, including a reclining figure and a soldier-like character. This composition evokes themes of guidance, struggle, and divine providence, with the bright sky and natural elements reinforcing the allegorical tone. 3. **Painting 3 (Right Panel):** The final panel depicts an intimate interior scene, with two seated women engaged in conversation, one gesturing emphatically as a standing male figure observes. The setting includes detailed furnishings, such as a writing desk, a red draped curtain, and objects hinting at scholarly or domestic pursuits. This tableau may represent themes of wisdom, counsel, or moral reflection, supported by the characters' thoughtful expressions and elaborate dress. Each painting is framed in its **original dark wooden frame**, complementing the vibrant colors and enhancing their display value. The set embodies the **19th-century European fascination with allegory and storytelling**, making it a significant piece for collectors of reverse glass art...

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

Very large - six foot by four foot - 1960s era canvas by the American artist Charles Arcier (1914-1995). This vibrantly stylized painting perfectly captures the cool vibes and smoot...

Experience the serene beauty of this Antique Japanese Watercolor on Silk, a delicate artwork that captures the essence of Japan's rich cultural heritage. This exquisite piece portray...

Landscape oil painting. Framed.

"Cattle at the Water's Edge" Oil on Canvas with Board Backing William Hart (American, 1823–1894) 20.25" w x 18.25" h (Frame), 10.5" w x 8.375" h (canvas) This exquisite oil painti...

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

4 Drawings by a Boston Artist, Signed from 1908 D1 Four drawings of figures, each 7.25" x 4.5", were drawn in the early 20th century, 2 "Framed (16.75" x 22.5") under glass.

Chinese Export Maritime Painting of the Steam Yacht Empress of China Oil on canvas laid to board, in original black lacquered and giltwood frame China Trade, likely Hong Kong or Cant...

A charming and character-rich original watercolor illustration from the celebrated *Le Bon Genre* series, this early 19th-century drawing, titled *Mounito*, captures the whimsical el...

Modernist abstract oil on canvas, a tapestry of flowing ribbons in peacock hues, by noted New York artist Sidney E. Zimmerman, dated 1960. Zimmerman (1926-2007) studied in Berlin dur...