Massachusetts

Tiffany & Co. has a long history of discovering rare colored stones and incorporating them into their finest designs. In 1876 Charles Lewis Tiffany acquired an extraordinary rube...

An impeccably carved Ruyi pendant in breathtaking emerald-green jade, glowing with a luminous, glassy translucency. This piece is certified by GIA under their updated nomenclature as...

The undulating black patio metal garden chaise loungeis relatively light weight for easy movability. The seat peaks where the knee bends making it extremely comfortable. The mesh cou...

A 0.67 fancy intense yellow pear modified brilliant-cut diamond and a 0.62 carat pear brilliant-cut diamond with round accent diamonds, mounted in 18k yellow gold and platinum Size...

Impressive wall system of extruded polished aluminum incorporating lighting and shelves. Schwietzer's patented design incorporates sophisticated engineering to achieve the appearance of invisible joinery at each cantilevered shelf.

To be worn long or short, this unusual pendant necklace features a beveled picture frame with loose, faceted sapphires inside and round, faceted sapphires around the border and on th...

Aston Estate Jewelry Presents: A classic Girard Perregaux wristwatch crafted in 14k gold and stainless steel. The round case measures 34mm in width, featuring a smooth gold bezel t...

Both functional and sculptural, this wall sconce features a captivating organic and earthy design. Resembling a blooming flower but also reminiscent of the geological formations of m...

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In this warm impressionist painting, artist Onelio Marrero captures his love of antiques and collectibles. He depicts the eclectic clutter of an antiques store ...

Sculptural pair of American lightning rods dating from the 1870's. They still maintain their original copper skin on its wrought iron twist rod staff wh...

From the Spring/Summer 2000 collection that Rei Kawakubo described as "beautiful chaos", this purple-overdyed grey stretch knit short-sleeve pullover top, which is perceived as diffe...

This exceptional antique silver overlay "Scotch" bottle combines functionality with refined craftsmanship, making it a standout piece for collectors of vintage barware. The bottle fe...

French, circa 1920. Antique French Gilt Bronze and Cut Crystal Regency Style Flush Mount Chandelier. Style of E. F. Caldwell and similar to the current production of Sherle Wagner. ...

Very handsome late 18th early 19th century American Corner cupboard, found in a barn near West Stockbridge Massachusetts. It has an older but not original blue green painted surface ...

Paola Lenti Sciara Outdoor Coffee Table Structure: AISI 304 stainless steel matt varnished grigio lava finish. plastic spacers. Top: lava stone with glass décor as a single element ...

Rectangular crown molding over a scalloped apron and three shelves. The conforming base with seven drawers with brass bail handles raised on turned legs with lower pot shelf. Block f...

The slipper chair reflects the Napoleon III style of the mid-19th century with gold brocade fabric with deep cushion affect and exuberant fringe. Fr...

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Bold texture and vibrant color convey the drama of Tennessee’s summer evenings. A vast sky of purples and blues reflects the shifting light at dusk, while lay...

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This abstract composition features blocks and shapes in shades of blue, teal, gray, black, and white, forming a towering, building-like structure. A light blue ...

A beautifully and heavy crafted bronze sculpture in the shape of a horse in a very detailed presentation with the high quality of body structure. The Hackney Index Horse Weather-Vane...

Artist Comments
Warm morning light bathes the desert of Big Bend National Park, casting a golden glow over the landscape. The iconic Mule Ear Peaks rise prominently from the de...

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...

Baroque Chest of Drawers, 1750-60 Discover a remarkable Baroque Chest of Drawers, originating in Switzerland. This exceptional chest of drawers hails from the years 1750-60 and boast...

Sara Fine-Wilsons “Tattered” is a gestural 17 x 8 x 9 inch ceramic sculpture in pale aqua, green, lavender, cream and gray. In this evocative sculpture individual slab elements are ...

Vintage taupe bathing cap in "pixie" fringe style with one rhinestone at top. Size Small.

Pair of Korean Bandaji (blanket) chests on stands with intricate brass-work and hardware, and original interior printed rice paper lining. Were used as night stands by prior owner. ...

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Three horses gather as the sun begins to set, their white forms outlined in confident black lines. The soft grey backdrop creates a calming atmosphere, allowing...

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Inspired by the scenery of Monterey Bay in California, artist Lisa Elley captures a picturesque ocean view dotted with flowers in the foreground. California p...

Mid Century leather sofa by Mogens Hansen, model #535. This sofa features gently curved track arms with soft, refined silhouettes. It's finished in supple leather with a soft, sun wa...

Stylish set of 4 vintage mid century danish modern teak dining chairs with woven seats. Unique ladder back design, with a gentle curve to the back, very similar to designs done by Ar...

Outstanding 18th century, Italian carved and giltwood altar sticks with circular tops, carved applied putti decoration and scrolled feet. Some paint losses, repairs and varying degre...

Manolo Blahnik shoe horn polished cast aluminium 2004, England. Manolo Blahnik`s iconic shoe horn was a collaboration with UK based store Habi...

With a bow front with central frieze drawer flanked by two short drawers and two false drawer fronts, at the ends with cupboard doors. Square tapered legs and spade feet. Brass ring ...

Original Japanese Woodblock print by Hokusai Katsushika, ???? '1760-1849' Color woodblock print on paper by Katsushika Hokusai, 1760 to 1849, a Jap...

A statement necklace from 2010 by Rodrigo Otazu, known for his extravagant creations for Madonna, Lady Gaga, and for the Sex and the City cast. Fashioned from multiple layers of gold...

This antique amuletic bronze framed pendant cages a dozen 7mm-diameter single-cut rock crystals that each feature a table-cut decagon crown, deep pavilion, 21 facets and uncut girdle, while the culets range from off-center to blunted. They are tightly set within four linked rings to overlap at the same angle in a sparkling single row. Seeming to retain a little of its original yellow-gold gilding on just the interior, the frame that surrounds each of the four sections of three crystals enables them to reflect pale yellow and lime light when the pendant is viewed from certain angles. Each crystal can be manually rotated. Suggesting French heritage, the medieval Frankish culture in northern France made jewelry in similar segmented or open-work shapes of wheels or whorls, which were worn as gem-decorated disk-shaped brooches or gold-caged rock...

If I had a daughter, these are the pearls I would buy her. Well, the first pearls anyway. Why? Because this 20" strand is everything a pearl necklace should be: composed of eighty-se...

With arched serpentine back and scrolled out arms with flower head and trailing leaf carving. Straight seat with cabriole legs with carved knees and paw feet.

Simply elegant 1960s-1970s chinoiserie style mirror that can serve well as full length dressing mirror, hall mirror, wall mirror, console or pier mirror, floor mirror.

Designed by Blair Moore as an entry seat, this New Vintage design features a modern, utility-driven form with a black powder-coated steel base and solid wood construction. Upholster...

18k ring with 18 carat green tourmaline, with 2carats of lab grown diamonds on each side

Large cabochon rainbow moonstones bordered by round-cut diamonds in a pave` setting in oxidized sterling silver. Beautiful blue iridescence to the moonstones. Diamonds total .32 carats, moonstones total 2.40 carats. French clip for pierced ears...

A pair of 18K gold South Indian dangle drop earrings hand-tooled testured design using the lost wax method. French wire for pierced ears. The fine jewelry collection is sourced, ...

Serpentine top with rosewood banded edge over a conforming case with a long central cutlery drawer flanked by a bottle drawer and a deep drawer. The drawer fronts with oak leaves and...

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

A post modern sculptural chaise longue by Vladimir Kagan for Directional, the "Marilyn", circa early 1990s. Needs to be recovered; ready for you to add your personal touch.

This exceptional 18th century French Louis XV bombe chest of drawers, dating from circa 1750–1760. It is a superb example of 18th-century craftsmanship and refined Rococo design. The...

1920's Swedish Cabinet. Stained flamed birch cabinet, in the style of Axel Einar Hjorth. 2 large doors conceal 3 interior adjustable shelves. 2 drawers below doors. This cabinet is ...

David Webb has crafted a refined pair of statement ear clips that are as easy for daytime wear as they are elegant for evening. Dimensions: 1 1/8” x 1 1/8” or 2.8 cm x 2.8 cm Gros...

This Bar Harbor painted stick wicker rattan rocking chair has classic rounded backrest and wide flat arms with diagonal latticing. Measures: Arm height 25".

A wonderful outdoor metal and wood patio glider painted white. Lean back and relax on your porch, patio, garden or deck and enjoy the smooth gliding rocki...

ANTIQUE CHINESE AGATE SNUFF BOTTLE 19th Century

1950's wall plaques made of colorfully enameled cast metal in form of stylized wine bottles. Various configurations possible as some are singles while others are doubles and triples...

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...

Trimmed with 40 rose-cut diamond-like stones and marked "deposee" on the Swiss clasp like antique European couture jewelry, this Art-Deco period unique Bucherer luxury snake-chain dr...

French Empire Chest of Drawers, France, 1810 – A Timeless Antique Masterpiece This exquisite French Empire chest of drawers, crafted in ...

Likely Chinese, late 19th to early 20th century. This carved buddha figure traditional features including elongated ears, draped robes, a lotus blossom support and raised hands. The...

A "Cyclone" chandelier by Gaetano Sciolari designed with spiral shaped, chrome-plated sheet metal and a matte white plastic inner tube shade. Italy, circa 1970.

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Artist Dorothy Gaziano layers orange and light blue with oil paint and cold wax. Using black to enhance details, she applies marks and scratches, adding contr...

A lovely sandstone Buddha head on wooden base, early 1900's, Utttar Pradesh, Northern India. The hand-carved features include the typical snail-s...