Pierre-Yves Trémois Art

Transport yourself to mid-century Scandinavia with this exquisite Vintage Wall Carpet by Eva Nemeth, hailing from Hungary. Crafted with meticulous attention to detail, this wool wove...

Contemporary figurative etching print by Polish arist living in Canada, Pawel Zablocki. Print depicts a horse on a monochromatic backroung. Artist's unique technique of printmaking c...

Beautiful little tapestry / wall hanging or table decoration with a geometrical Navajo design pattern. Woven with wool on cotton. Very good vintage condition. Dimensions excludes the...

A very interesting early 19th century needlework sampler depecting 'Solomons Temple' housed in its original rosewood frame.  

Named after the Greek Goddess of Dawn, EOS is a tufted wall rug designed to introduce tactile enrichment for the walls. Wall rugs come with a hanging att...

Original title: Die Tanzerin This original etching and aquatint, blue ink on ivory colored paper is hand-signed in pencil on lower-left. Edition of 530 prints. Including a poem by Amadée de la Houlette. Representing a vintage erotic scene...

Edmund Blampied, R.E. The Butterfly. 1928-29. Drypoint. Appleby 133. 9 5/8 x 7 7/8). Etching (sheet 15 1/4 x 10 3/16)on 100. A rich impression printed on cream-colored laid 'F.J.He...

Untitled Alpaca & Mixed Wool Painted by wool artist JG, this piece is felted of undyed, raw fleece from Shetland sheep in darker moorit brown, light brown and grey with merino and an apricot pink alpaca fleece glazed over the canvas of wool. This piece is a painterly rendering of entirely undyed fleece on a canvas of locally sourced wool. The raw, living edges...

Art Deco cubistic carpet / wall tapestry in wool and silk, France, 1930’s . Measures: (332 x 195 cm) This well preserved tapestry that can also be used as a carpet (no shoes allowed) comes from a meeting room from the head office of Philips Electronics in Eindhoven. It comes out of a meeting room and it is truly in an amazing condition. The silk has been very well preserved and the colours really stand out. The black colours work very well almost as a catalysator for the blue and red and together they create a great play between shapes and forms and different materials and colours. The well chosen symboles make this tapestry a pleasure for the eye. In real life much nicer than on the picture. We tried to give you a better understanding of its appearance by putting it in a few settings. Hopefully this helps. More pictures on request. And oh yes, the amazing black and white art work is by Noor Knip...

Leonor Fini - Untitled - Original Handsigned Etching Circa 1982 On colored paper Handsigned and Numbered Edition: 275 Dimensions: 69 x 52.5 cm Leonor Fini is considered one of the most important women artists of the mid-twentieth century, along with Leonora Carrington, Frida Kahlo, Meret Oppenheim, Remedios Varo, and Dorothea Tanning – most of whom Fini knew well. Her career, which spanned some six decades, included painting, graphic design, book illustration, product design (the renowned torso-shaped perfume bottle for Schiaparelli’s Shocking), and set and costume design for theatre, ballet, opera, and film. In this compellingly readable, exhaustively researched account, author Peter Webb brings Fini’s provocative art and unconventional personal life, as well as the vibrant avant-garde world in which she revolved, vividly in life. Born in Buenos Aires in 1907 (August 30 – January 18, 1996, Paris) to Italian and Argentine parents, Leonor grew up in Trieste, Italy, raised by her strong-willed, independent mother, Malvina. She was a virtually self-taught artist, learing anatomy directly from studying cadavers in the local morgue and absorbing composition and technique from the Old Masters through books and visits to museums. Fini’s fledging attempts at painting in Trieste let her to Milan, where she participated in her first group exhibition in 1929, and then to Paris in 1931. Her vivacious personality and flamboyant attire instantly garnered her a spotlight in the Parisian art world and she soon developed close relationships with the leading surrealist writers and painters, including Paul Eluard, Salvador Dali, Man Ray, and Max Ernst, who became her lover for a time. The only surrealist she could not abide because of his misogyny was André Breton. Although she repeatedly exhibited with them, she never considered herself a surrealist. The American dealer Julien Levy, very much impressed by Fini’s painting and smitten by her eccentric charms, invited her to New York in 1936, where she took part in a joint gallery exhibition with Max Ernst and met many American surrealists, including Joseph Cornell and Pavel Tchelitchew. Her work was included in MoMA’s pivotal Fantastic Art, Dada and Surrealism exhibition, along with De Chirico, Dali, Ernst, and Yves Tanguy. In 1939 in Paris she curated an exhibition of surrealist furniture for her childhood friend Leo Castelli for the opening of his first gallery. Introductions to her exhibition catalogues were written by De Chirico, Ernst, and Jean Cocteau. A predominant theme of Fini’s art is the complex relationship between the sexes, primarily the interplay between the dominant female and the passive, androgynous male. In many of her most powerful works, the female takes the form of a sphinx, often with the face of the artist. Fini was also an accomplished portraitist; among her subjects were Stanislao Lepri...

DUNAS TAPESTRY is a one of a kind contemporary artwork representing a beach dune landscape. Every day the tides and the wind brings new sand textures and shapes to the beautiful portuguese beaches...

This organic and beautiful two-tone hand-woven wool tapestry/ wall art hangs on a custom designed brass rod easily mountable to wall. THIS ITEM IS LOCATED AND WILL SHIP FROM OUR EAS...