Unknown

Large American Folk Art Handmade Copper Fishing Village Lighthouse Art Sculpture

Rare Vintage unusual piece. In this bronze or metal sculpture by Frank Meisler, the artist depicts a Klezmer violin player The figure seems cartoon-like with exaggerated facial featu...

Rare Vintage unusual piece. In this bronze or metal sculpture by Frank Meisler, the artist recreates a Rabbi at prayer. The figure seems cartoon-like with exaggerated facial features...

Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style...

C. Jeré ( or Curtis Jere) is a metalwork artist of wall sculptures and household accessories. C. Jeré works are made by Artisan House. Curtis Jere is a compound nom de plume of artis...

Guillaume Couffignal (French b. 1964) Theatre, 2014. Bronze. 19 7/8 x 13 1/2 x 7 1/4 inches. Signed on the base: Couffignal. Beautiful texture and patina. Guillaume Couffignal is a French Postwar & Contemporary self taught, outsider artist who was born in 1964. He works in bronze casting complex, fantastic, architecture models, abstract theater and boat models that look like relics from the past. He learned the art of lost wax casting with a traditional African foundry in Koudougou, Burkina Faso in Africa when he was 23, blessed to find his way so young. He felt the deep alchemy of the process combining the elements of Nature to produce a concept that did not previously exist in our world. He saw the potential of this earth magic. It forces chance and pushes the limits of bronze because each sculpture can never be exactly reproduced. Like the use of clay, this art has a deep connection with the primitive elements of Nature. There is the wind and the sky and the earth and the fire. There are ashes and dust. Here exists a collaboration with the spirit of the Illusionist, an artist in all his unpredictability. But it is not an art of chance. The Illusionist / artist masters the elements of accident and surprise. He is a magician who controls the secrets of his process. In the case of Couffignal, this has to do with the three-dimensional collage of carefully chosen fragments and shapes and with its earth-like textures, carefully perfected over many years of experimentation. Its textures make the materials lie. They have an irregular patina of wear and bad weather. They make bronze itself secondary with this creamy pigmentation of the earth burnt by the sun. The texture then becomes a painting. Couffignal sets the scene for the pure drama of the void. He fills it with memories and voices. This decor is visually minimal, but this very minimalism points to the importance of his other intentions. Its boats are "soul boats" caught between two universes. Its architectural pieces evoke ruins and nevertheless attest to their own existence. Although this process is ancient, and in this case learned from the African tradition, the true testimony of the power of Guillaume Couffignal is that not a single element of his work derives from something existing. As a true iconoclast, he has taken up a traditional language, learned this language, and starting from this language has created a poetry completely unique and unique to him. Randal Morris, 2013. His work is from the tradition of outsider art, art brut, folk art, naïve art, visionary art and intuitive art with a sophisticated subject matter. A kind of symbiosis of jean Dubuffet and Daniel Arsham. Sculptures as forgotten images of a world where the trace always precedes presence. As in the art of raku, ancestral Japanese pottery where the cooking accident and the patina of use - wabi and sabi - testify to an intimate cosmogonic geography. Omnipresent memory of the color and the smell of the earth - mud, noble material which in Africa is used to erect huts, houses, palaces and mosques. Historically and up to the margins of the caravan route, on the borders of the great Arabic Muslim...

Olga Fisch was born in Hungary, studied in Germany and lived in Morocco and Ethiopia before receiving asylum as a Jewish refugee in Ecuador in 1939. For her Indian-inspired designs, Mrs. Fisch uses natural black and white sheep's wool colored with vegetable dye. To make one of her 9 by 12 rugs requires four weavers working eight hours a day for six weeks. Desiring to furnish her home with Ecuadorian-inspired rugs, she adapted designs from Indian pottery and tapas, sheets of native bark cloth. Taking the designs to Indian rugmakers, she had them woven into deep pile. Olga Fisch was respected both for her own art and for her collection of folk art. The folk art-inspired rugs she has designed can be admired, among other places, at the Museum of Modern Art, the United Nations Building, and the Metropolitan Opera House. Trained in the traditional German academic way in Dusseldorf in the 1920s, she is a painter of the realist school. Called the mother of Ecuadorian folk art, she discovered the beauty of Ecuadorian Indian textiles in the 1940s, when others regarded them as crude and worthless. Largely because of the efforts of Olga Fisch the artifacts produced by Ecuador's 250 Indian tribes are now highly regarded. Over the decades she has helped thousands of Indian artists and craftsmen acquire the means of placing their wares in the world market. In so doing she introduced their beauty to a once skeptical public. But when Mrs. Fisch first arrived in Quito as a Jewish refugee, she couldn't have guessed what direction her life would take. An artist who had studied painting in Dusseldorf, Germany, she managed to find work as a teacher in the Quito School...

To Chicago-based artist Patrick Fitzgerald, his sculptures are a means of traveling through time. Working from found materials, Fitzgerald constructs miniature soap box cars and the ...

Richly textured with whimsical appeal, this late 20th century wooden crow is a delightful example of naive American sculpture. Poised mid-caw, the crow's wings are outstretched, read...

Vintage wood mask. The edge undulates and is lightweight. Date and artist unknown.

ARROW AND BULL ROARER, wood folk art orange brown white Charlie Willeto Navajo Charlie Willetto (Diné/Navajo 1897-1964) ARROW AND BULL ROARER wood, paint, unique 17.5” x 5.5” x 2” ...

This honey colored wooden box depicts a breton figure in traditional clothing. Brittany is the northwesternmost region of France, heavily influenced by Celtic culture and was a part ...

19th C Pair of Breton polychromed fruitwood statues depicting Fisherman and his wife .Origin France.