Mid-20th Century Contemporary Art

Rare original vintage set of 2 "Città di Carta" screen print on wood panels, designed by Piero Fornasetti / made in Milan Italy by Fornasetti Original label on the back Each panel ha...

Original 1970's Alexander Calder Asymetrie coloured lithograph. Foxing to the paper., which should be visible in the photos. Reframed.

This elegant limited edition tempera serigraph with applications by celebrated Italian artist Gian Maria Ciferri, created circa the 1970s, 16.54 inches by 11.81 inches, exemplifies t...

The Encounter, 1944 Maurits Cornelis Escher (Dutch, 1898-1972) Print size: 13.5 by 18.5 inches (34.2 by 47 cm) Frame size: 23.25 x 27.5 inches (59 by 70 cm) From the catalogue raison...

A vibrant mid-century modern abstract oil painting by French artist Fandre. The artwork showcases a dynamic composition of colorful shapes on unique rice paper, signed by the artist ...

Oil on canvas painting was painted by German/American artist Peter Keil (born 1942). Original expressionist portrait of "The Clown." The painting is signed and dated on the reverse (...

Charming gathering of five small birds wall plaque, by Marianne Starck for Michael Andersen, Denmark Muted blue glaze with brown highlights on stonew...

Known as God's own Pop artist, Sister Mary Corita Kent went straight from high school into Catholic convent life in 1936. While serving her order and teaching art at Immaculate Heart...

"Chimes" by Harris Strong is a mixed media collage wall art in original frame with matting. Minimal color palette and strong color contrasts strengthen this rare, monumental piece w...

SALVADOR SANZ FAUS (1914-1997) - 'El Perro' - Remarkable and rare mid century hand painted, glazed and cold painted ceramic wall or cabinet plate - large size - featuring a Surrealis...

This refined limited edition color serigraph with applications by celebrated Italian artist Gian Maria Ciferri, created circa the 1970s, 16.54 inches by 11.81 inches, beautifully ref...

Opart print by Victor Vasarely. The print and the frame are from the 70s. In good condition. Signed Dimensions 51x51x2cm Hungarian-born Victor Vasarely is known as a founder of Opt...

Parisian cityscape, signed and framed oil on canvas by Serge Belloni, ‘57 This painting has all the quintessential features of Belloni’s renowned Parisi...

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...

Selection of Joan Miro color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple t...

A wonderful sketched lithograph by famed Swiss artists/sculptor Alberto Giacometti. The lithograph was printed in Paris by Mourlot Freres in 1964 and was issued in an edition of ...

Hans Fischer "Beasties" etchings, circa 1959. These etchings are from the limited edition folio ''Homme Deguise en Homme" and dep...

Selection of Alexander Calder color lithographs, France, circa 1960s. We purchased a group of these color lithographs from the estate of a couple that lived in France from 1951-1983. These are most likely from the limited edition folio “Derriere le Miroir”, published by the legendary Galerie Maeght. Please see our other 1stdibs listings for more Alexander Calder and Joan Miro lithographs from...

A poetic and instantly recognizable limited edition serigraph by celebrated Belgian artist Jean-Michel Folon (1934–2005) titled "Le Silence." This dreamlike composition depicts one o...

A framed lithographic plate from the 1948 Swedish, numbered limited edition portfolio of only 200 “Ceramiques de Picasso” by Albert Skira, framed, with the die-cut, gloss coloured l...

Dive into a nostalgic journey with this rare and unique large set of Michelin Man tiles, crafted by an unknown manufacturer in Spain circa 1960. The set comprises the complete series...

A large abstract expressionist framed painting, acrylic on canvas in a simple black frame A striking graphic composition using spontaneous energetic brushstrokes in a similar manner...

This multiple is sold together with the accompanying book 'Enrico Castellani Pittore' by Vincenzo Agnetti. Published by Achille Mauri, Milan, accompanying publication of the book 'E...

The Mastaba (Project for United Arab Emirates) by Christo Yavachev (1935 - 2020) Pencil and wax crayon Measures: 80 cm x 59 cm (31 x 23 1/4 inches) Signed and dated Christo 1979 E...

Raoul Dufy Hand Colored Illustration Pochoir from the Estate of CZ Guest. Finest quality lithograph is a French Pochoir, a complicated technical printi...

Vintage wooden Keep Off sign. Hand painted with red background and white lettering on thin wood board. Great colors and graphics. Great vintage condition. Coo...

Large colorful pop art acrylic on canvas painting "Danza Circolare" by Julián Pancheco, signed and dated 1973, professionally framed under glass. Dimensions: width 39.5 inches, heigh...

Rare Parisian Mid-Century French Tapestry “Le Fou du Roy” by Henri Gineste, with Original Exhibition Catalog, Henri Gineste “Le Fou du Roy” Mid-Century M...

This is the largest of the Toulouse Lautrec portraits by famed artist Peter Max in peach pink. Professionally framed, signed and numbered.

Pop Art didn't just hang on gallery walls; it jumped off them and onto the most humble of canvases. This exceptional archival piece—a collage of six original screen-printed paper pla...

A 1960s setting of a Brutalist Wall Sculpture in metal and aluminum, made by a Belgium Unknown Artist. The quarter-circle design allows for many pattern opti...

Trio of birds wall plaque, by Marianne Starck for Michael Andersen, Denmark Amusing trio glazed with blue, green and brown over stoneware Stamped MS...

Jarron Con Flores, ink on paper by Rene Portocarrero (1912-1985). This wonderful drawing made by Rene Portocarrero, is one of the few that survive from his artistic period of the 1...

Selection of Surrealist Lithographs, by Wassily Kandinsky and Andre Masson for the limited edition 1938 portfolio Verve and printed by the famed French printer Mourlot. The one seen ...

Karl Otto Götz color lithograph 1.450,00 € incl. VAT Karl Otto Götz (1914 Aachen - 2017 Wolfenacker) Color lithograph "untitled", signed and dated, created 1967, framed behind glass ...

A large and powerful pair of Japanese calligraphic works, mid 20th century, Japan. One reading "Dragon", the other reading "Tiger". Ink on handmade paper, framed. The brush strok...

A striking geometric abstraction serigraph titled Volume by modernist printmaker Anton Fontescu, executed in bold planes of red, black, olive green, and cream. The sharply angled for...

A lithograph titled, "Elegy ( Study )" by Robert Motherwell 1979, signed and numbered 42/98 in pencil with Motherwell's blind stamp. There were 12 artist proofs in addition to the 98...

Knute Stiles-painter, art critic and poet was born in Minnesota in 1923 and died in Tuscon, Arizona in 2009. He attended the St. Paul Art School and later...

Semi abstract landscape mixed-media by Listed Artist Cecilia Garcia Amaro-framed under glass.-Price reduced from $2800

Original French impressionist oil on board painting depicting the waterways of what may Port Grimaud, near St. Tropez, France. Signed, but artist name is illegible and unknown. Di...

1960s Mid-Century Modern Brutalist Welded Steel Abstract Wall Sculpture An exceptional handcrafted Mid-Century Modern abstract wall sculpture executed in welded steel during the 196...

Mid-Century Modern iron, brass and nail Brutalist wall sculpture by Ron Schmidt circa 1960's. Fan pinwheel pattern. Very nice condition. Dimensions: 3.5" d...

A rare carved wall panel attributed to Studio Ponzio, created in 1930s Italy for Gruppo 4, a collective associated with the applied arts and architectural decoration of the interwar ...

Delightful and fun, vintage ceramic wall plaque of an 'early bird who has caught the worm', by illustrious designer Mari Simmulson for Upsa...

Niki De Saint Phalle Lithograph "Sweet Sexy Clarice" Original Kuliki Frame Signed and Editioned

A Mid Century lithograph by well listed Dutch artist Ru Van Rossem ( 1924-2007 ) titled " Destroyed City 2 " signed and numbered 140/ 210 ...

Large scale Pop Art lithograph with chrome and glass frame by Henry Pearson. Signed on bottom right and sealed on bottom left. #196/200.

Abstract oil painting titled 'Woman IV' by Bertil Berntsson, Sweden, 1957. A magnificent and rare abstract oil painting with its original pine frame titled 'Woman IV' composed by th...

Ugo Sterpini (Italian, 1927-2000) ''La Lotta Sulla Duna" (The Battle On The Dune). Mixed media on canvas, signed and dated ''58'' lower right, signed, tit...

This explosive Brutalist iron nail wall sculpture contrasting the cold black steel iron nails and the warm buffed-brass brazing combing artistic design, geometric form and the high q...

Beautiful Swedish abstract oil on canvas artwork with a pine wooden frame by Bertil Berntsson from the 1962. In good vintage condition with patina from aging. Signed and dated lowe...

Signed limited edition Op Art serigraph entitled "Tridim-Gordes" by Hungarian artist Victor Vasarely, circa 1972. The piece is hand signed in pencil by the artist (lower right) and i...

Light Prism by Alberto Biasi, a kinetic sculpture with moving prisms that decompose and reflect light, produced in a limited edition of 50 pieces by Centro Duchamp in San Lazzaro di ...

Large Jean Picart Le Doux "Horizon Marin" tapestry handwoven at Atelier Pinton in Aubusson France. Signed. Limited edition. Virtually no signs of wear. ...

A Dreamlike Journey: Abstract Color Lithograph "Le Rêve" This captivating abstract color lithograph, titled "Le Rêve" (The Dream) in French, invites the viewer on a journey of imagi...

This mid century decorative glass wall art is hand cut and made by hand by skillful artisans in Brooklyn, and framed in natural solid oak. Resistant to fading and aging. Limited e...

An iconic image by Pop Art master artist Roy Lichtenstein titled "Haystack #6" from his critically acclaimed, somewhat rare, and now hard-to-find Haystack series. Lichtenstein, inspired by his trip to Paris and viewing of Claude Monet's impressionistic paintings of haystacks, the work, and series is a pop art homage to the French painter. The series of seven "Haystack" prints runs from morning (yellow) to midnight (black, with embossing) each reflecting Monet's changing light effects. This work is a limited edition lithograph with screen printing on Rives BFK white wove paper. It was published by Gemini G.E.L., Los Angeles (with their blind stamps to the lower right margin). The work was done in a limited numbered edition of 100. The work is hand-signed in pencil, dated (1969), and numbered (90/100) by Lichtenstein. This particular work can be found in The Tate Museum, London, UK, The Philadelphia Art Museum...

Very beautiful and decorative mid century copper wall decoration with a stylized depiction of a sailboat in the sun. 1950s. Dimensions in cm: Length 48 cm, width 39 cm, depth 5 cm. ...

A very nice and hard to find vintage limited edition neo-expressionist serigraph entitled "Visage" by Peter Max, circa 1977. The piece is in very good condition and measures 30.25"...