20th Century Specialists Wall Decorations

This fantastic and graphic authentic Swiss poster that is on the rare and very obscure side is a stone lithograph that is archivally linen backed and custom framed. The 4 ply silk ma...

Still life painting (Violin, Flowers), Oil on canvas, by Agnes Weinrich, Signed and dated "22", Unframed: 20" x 16", Framed 27.5 x 23". Agnes Weinrich (1873-1946) was an early female, American modernist artist at a time when there was little interest in Modern Art in the USA and when few women were artists. She was a ground breaker in modern art. The painting shown is an important example of her mature phase of her work. A biography from Wiki-pedia follows: Agnes Weinrich (1873–1946) was one of the first American artists to make works of art that were modernist, abstract, and influenced by the Cubist style. She was also an energetic and effective proponent of modernist art in America, joining with like-minded others to promote experimentation as an alternative to the generally conservative art of their time. Early years[edit] Agnes Weinrich was born in 1873 on a prosperous farm in south east Iowa. Both her father and mother were German immigrants and German was the language spoken at home. Following her mother's death in 1879 she was raised by her father, Christian Weinrich. In 1894, at the age of 59, he retired from farming and moved his household, including his three youngest children—Christian Jr. (24), Agnes (21), and Lena (17), to nearby Burlington, Iowa, where Agnes attended the Burlington Collegiate Institute from which she graduated in 1897.[1][2][3] Christian took Agnes and Lena with him on a trip to Germany in 1899 to reestablish links with their German relatives. When he returned home later that year, he left the two women in Berlin with some of these relatives, and when, soon after his return, he died, they inherited sufficient wealth to live independently for the rest of their lives. Either before or during their trip to Germany Lena had decided to become a musician and while in Berlin studied piano at the Stern Conservatory. On her part, Agnes had determined to be an artist and began studies toward that end at the same time.[1][4] In 1904 the two returned from Berlin and settled for two years in Springfield, Illinois, where Lena taught piano in public schools and Agnes painted in a rented studio. At this time Lena changed her name to Helen. In 1905 they moved to Chicago where Agnes studied at the School of the Art Institute of Chicago under John Vanderpoel, Nellie Walker, and others.[1] In 1909 Agnes and Helen returned to Berlin and traveled from there to Munich, where Agnes studied briefly under Julius Exter, and on to Rome, Florence, and Venice before returning to Chicago.[5] They traveled to Europe for the third, and last, time in 1913, spending a year in Paris. There, they made friends with American artists and musicians who had gathered there around the local art scene. Throughout this period, the work Agnes produced was skillful but unoriginal—drawings, etching, and paintings in the dominant academic and impressionist styles.[1] On her return from Europe in 1914, she continued to study art, during the warm months of the year in Provincetown, Massachusetts,[1] where she was a member of the Provincetown Printers art colony in Massachusetts,[6] and during the colder ones in New York City. In Provincetown she attended classes at Charles Hawthorne's Cape Cod School of Art and in New York, the Art Students League.[1] Drawing of an old woman by Agnes Weinrich, graphite on paper, 11.5 x 7.5 inches. Hawthorne and other artists established the Provincetown Art Association in 1914 and held the first of many juried exhibitions the following year. Weinrich contributed nine pictures to this show, all of them representational and somewhat conservative in style.[1] A pencil sketch made about 1915 shows a figure, probably one of the Portuguese women of Provincetown. Weinrich was a metculous draftsperson and this drawing is typical of the work she did in the academic style between 1914 and 1920. She also produced works more akin to the Impressionist favored by Hawthorne and many of his students. When in 1917 Weinrich showed paintings in a New York women's club, the MacDowell Club, the art critic for the Brooklyn Daily Eagle said they showed a "strong note of impressionism."[7] Broken Fence by Agnes Weinrich, a white-line woodblock made on or before 1917; at left: the woodblock itself; at right: a print pulled from the woodblook. In 1916 Weinrich joined a group of printmakers which had begun using the white-line technique pioneered by Provincetown artist B.J.O. Nordfelt. She and the others in the group, including Blanche Lazzell, Ethel Mars and Edna Boies Hopkins, worked together, exchanging ideas and solving problems.[1][8] A year later Weinrich showed one of her first white-line prints at an exhibition held by the Pennsylvania Academy of Fine Arts in Philadelphia.[9] Broken Fence, in its two states—the print and the woodblock from which she made it—show Weinrich to be moving away from realistic presentation, towards a style, which, while neither abstract, nor Cubist, brings the viewer's attention to the flat surface plane of the work with its juxtaposed shapes and blocks of contrasting colors. Cows Grazing in the Dunes near Provincetown by Agnes Weinrich, white-line woodcut, 10 x 10 1/2 inches When in 1920 the informal white-line printmakers' group organized its own exhibition, Weinrich showed a dozen works, including one called Cows Grazing in the Dunes near Provincetown. This print shows greater tendency to abstraction than eitherBroken Fence or the prints made by other Provincetown artists of the time. The cows and dunes are recognizable but not presented realistically. The white lines serve to emphasize the blocks of muted colors which are the print's main pictorial elements. Weinrich uses the texture of the wood surface to call attention to the two-dimensional plane—the paper on which she made the print—in contrast with the implicit depth of foreground and background of cows, dunes, and sky. While the work is not Cubist, it has a proto-Cubist feel in a way that is similar to some of the more abstract paintings of Paul Cézanne.[10] By 1919 or 1920, while still spending winters in Manhattan and summers on Cape Cod, the sisters came to consider Provincetown their formal place of residence.[1][11][12][13] By that time they had also met the painter, Karl Knaths. Like themselves a Midwesterner of German origin who had grown up in a household where German was spoken, he settled in Provincetown in 1919. Agnes and Knaths shared artistic leanings and mutually influenced each other's increasing use of abstraction in their work.[1][14] The sisters and Knaths became close companions. In 1922 Knaths married Helen and moved into the house which the sisters had rented. He was then 31, Helen 46, and Agnes 49 years old. When, two years later, the three decided to become year-round residents of Provincetown, Agnes and Helen used a part of their inheritance to buy land and materials for constructing a house and outbuildings for the three of them to share. Knaths himself acquired disused structures nearby as sources of lumber and, having once been employed as a set building for a theater company, he was able to build their new home.[15] Weinrich was somewhat in advance of Knaths in adopting a modernist style. She had seen avant-garde art while in Paris and met American artists who had begun to appreciate it. On her return to the United States she continued to discuss new theories and techniques with artists in New York and Provincetown, some of whom she had met in Paris. This loosely-knit group influenced one another as their individual styles evolved. In addition to Blance Lazzell, already mentioned, the group included Maude Squires, William Zorach, Oliver Chaffee, and Ambrose Webster. Some of them, including Lazzell and Flora Schofield had studied with influential modernists in Paris and most had read and discussed the influential Cubist and Futurist writings of Albert Gleizes and Gino Severini.[16][17] Mature style[edit] Woman with Flowers by Agnes Weinrich, circa 1920, oil on canvas, 34 x 30 1/4 inches, exhibited at the Provincetown Art Association exhibition of 1920, made available courtesy of the Association. Two of Weinrich's paintings, both produced about 1920, mark the emergence of her mature style. The first, Woman With Flowers, is similar to one by the French artist, Jean Metzinger called Le goûter (Tea Time) (1911).[18] Red Houses by Agnes Weinrich, circa 1921, oil on canvas on board, 24.25 x 25.5 inches; exhibited "Red Houses" at Fifth Annual Exhibition of the Society of Independent Artists. Like much of Metzinger's work, Le goûter was discussed in books and journals of the time—including one called Cubism co-authored by Metzinger himself.[19] Because the group with which Weinrich associated read about and discussed avant-garde art in general and Cubism in particular, it is reasonably likely that Weinrich was familiar with Metzinger's work before she began her own. The second painting, Red Houses, bears general similarity to landscapes by Cézanne and Braque. Both paintings are Cubist in style. However, with them Weinrich did not announce an abrupt conversion to Cubism, but rather marked a turning toward greater experimentation. In her later work she would not adopt a single style or stylistic tendency, but would produce both representative pictures and ones that were entirely abstract, always showing a strong sense of the two-dimensional plane of the picture's surface. After she made these two paintings neither her subject matter nor the media she used would dramatically change. She continued to employ subjects available to her in her Provincetown studio and the surrounding area to produce still lifes, village and pastoral scenes, portraits, and abstractions in oil on canvas and board; watercolor, pastel, crayon and graphite on paper; and woodblock prints.[20] Possessing an outgoing and engaging personality and an active, vigorous approach to life, Weinrich promoted her own work while also helping Karl Knaths to develop relationships with potential patrons, gallery owners, and people responsible for organizing exhibitions. With him, she put herself in the forefront of an informal movement toward experimentation in American art. Since, because of her independent means, she was not constrained to make her living by selling art, she was free to use exhibitions and her many contacts with artists and collectors to advance appreciation and understanding of works which did not conform to the still-conservative norm of the 1920s and 1930s.[1][21][22] Early in the 1920s, critics began to take notice of her work, recognizing her departure from the realism then prevailing in galleries and exhibitions. Paintings that she showed in 1922 drew the somewhat dry characterization of "individualistic.",[23] and in 1923 her work drew praise from a critic as "abstract, but at the same time not without emotion."[24] In 1925 Weinrich became a founding member of the New York Society of Women Artists. Other Provincetown members included Blanche Lazzell, Ellen Ravenscroft, Lucy L'Engle, and Marguerite Zorach. The membership was limited to 30 painters and sculptors all of whom could participate in the group's exhibitions, each getting the same space.[23][25][26] The group provided a platform for their members to distinguish themselves from the genteel and traditionalist art that women artists were at that time expected to show[27] and, by the account of a few critics, it appears their exhibitions achieved this goal.[1][28][29][30] In 1926 Weinrich joined with Knaths and other local artists in a rebellion against the "traditional" group that had dominated the Provincetown Art Association. For the next decade, 1927 through 1937, the association would mount two separate annual exhibitions, the one conservative in orientation and the other experimental, or, as it was said, radical.[31][32] Both Weinrich and Knaths participated on the jury that selected works for the first modernist exhibition.[11] Still Life by Agnes Weinrich, circa 1926, oil on canvas, 17 x 22 inches. Permission to use granted by Christine M. McCarthy, Executive Director, Provincetown Art Association and Museum. The painting was the gift of Warren Cresswell. Weinrich's painting, Still Life, made about 1926, may have been shown in the 1927 show. Representative of some aspects of her mature style, it is modernist but does not show Cubist influence. The objects pictured are entirely recognizable, but treated abstractly. Although fore- and background are distinguishable, the objects, as colored forms, make an interesting and visually satisfying surface design. In 1930 Weinrich put together a group show for modernists at the GRD Gallery in New York. The occasion was the first time a group of Provincetown artists exhibited together in New York. For it she selected works by Knaths, Charles Demuth, Oliver Chaffee, Margarite and William Zorach, Jack Tworkov, Janice Biala, Niles Spencer, E. Ambrose Webster, and others.[1][23] Later years[edit] Weinrich turned 60 on July 16, 1933. Although she had led a full and productive life devoted to development of her own art and to the advancement of modernism in art, she did not cease to work toward both objectives. She continued to work in oil on canvas and board, pastel and crayon on paper, and woodblock printing. Her output continued to vary in subject matter and treatment. For example, Still Life with Leaves, circa 1930 (oil on canvas, 18 x 24 inches) contains panels of contrasting colors with outlining similar to Knaths's style. Movement in C Minor, circa 1932 (oil on board, 9 x 12 inches) is entirely abstract. It too relates to Knaths's work, both in treatment (again, outlined panels of contrasting colors) and in its apparent relationship to music, something in which Knaths was also interested. Fish Shacks...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #28 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Painting of Nothing Series. Hirsch applies the waxy mix with a brush onto redwood plywood backed structures with two-inch wood strips all around and used various torches to layer, flux, bubble and blend. "Waxy and very tactile, they are probably the work Mark Rothko would have done had he spent most of his life in clay. Hirsch’s paintings have the nuance, subtle texture, and color shifts that become evident in blown-up photographs of his ceramic objects as well as a similar presence." Signed and dated en verso by the artist. This painting ship directly from the artist’s studio in Rochester, NY. (Literature: "With Fire: Richard Hirsch, A Life Between Chance and Design", Scott Meyer (Author), RIT Cary Graphic Arts Press 2012 - "The Paintings" pgs. 102 - 105) Richard Hirsch brief bio: In the field of contemporary ceramic, Rick Hirsch has earned an international reputation. He has achieved this recognition by engaging in numerous diversified professional activities. Through efforts in university teaching, exhibits, writing, lecturing and researching he has risen to worldwide prominence. In 1975, Hirsch co-authored a book entitled Raku, published by Watson-Guptill. This was the first comprehensive text to address the new innovations developing in the west that were transforming traditional Japanese Raku. Also, in the same year, Hirsch became a founding faculty member of The Program in Artistry at Boston University. Currently, Hirsch is a Professor Emeritus at The School for American Crafts which is a part of Rochester Institute of Technology in Rochester, NY. His university teaching career now spans well over four decades. Repeatedly, Hirsch has participated in several milestone exhibitions and publications. Significant shows include; The Evolution of American Art in Craft Media Since 1945; Echoes: Historical References in Contemporary Ceramics; American Ceramics Now; Raku: Origins, Impact and Contemporary Expression; and Convergences: The Presence of the Past in Contemporary American Ceramics...

Vivid color and intricate design are the focal points of this aquatint colored etching print numbered 2 of 4. Signed I.P.I.

"Deco Train" Original painting by Lynn Curlee This painting was used as an illustration in Trains, a picturebook for older kids published by Simon & Schus...

This is an amazing and important collection of 8 plaques (7 tin metal and one in wood) that have been hand painted by Catholic religious devotees in gratitude to either Christ, Virgi...

This original and authentic Mid-Century Modern French stone lithograph designed by Jean Cocteau from the 1950s is for a ceramic exhibition of his pieces at Galerie Pont de Arts in th...

Contemporary New York artist Peter Buchman's "Goodnight Moon” is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series. To explain tha...

Large Oil on Board Abstract Figurative Painting of a Seated Figure. Beautiful Colors and very well done! Signed Hyland on the Back. Framed in what appears the Original 1950's Fram...

Patrick Parrish is excited to offer an incredible group of original photographs printed by Meisel Photochrome Corporation of Dallas around 1970, shortly after the Apollo 11 Mission. Meisel was the official photo contractor for NASA and processed all the images from the Apollo missions. These beautiful vintage 8” x 8” chromogenic prints on Kodak paper are framed in a 13" x 13" frames and currently available at the gallery. NASA’s historic Apollo 11 Mission—crewed by astronauts Michael Collins, Buzz Aldrin, and commander Neil Armstrong—departed earth on July 16th, 1969, and landed on the moon four days later, near the Sea of Tranquility, while 500 million people watched on television. Armstrong and Aldrin spent two and a half hours exploring the surface of the moon, collecting samples and taking photographs. The camera they used was a modified 70mm Hasselblad lunar surface camera, designed specifically for the event. During the Mission, nine magazines of 70mm film were exposed, providing panoramic views of the surface near the lunar module...

This work, an abstract geometric composition, captures the spirit of the late 1970s. Hand-assembled on a panel, this small tapestry, with its granular texture obtained by sand projec...

Paint on found wood by New York City picking and art legend, Robert Loughlin. “Wood” painted the on back. Featured in Patrick Parrish Gallery's “Robert Loughlin: 1998-2011” exhibitio...

Beautiful silver plated bird sculpture with 0nyx eyes.

Set of six beautiful hand-painted miniature portraits with mother of pearl details, having bronze framing and velvet cover in the back. Three of the six are signed. Made in France, l...

Andy Warhol Poster Chanel 5, from a set of 4 different colors. 1997 (We also have the full set of four colors). This listing is only for one "green-turquoise" poster. This listing...

"Peche au Cachalot" (Sperm whale fishing) Original colored lithograph enhanced with watercolor by Louis Lebreton (? - 1866).

Rare Mid-Century Modern signed 1949 cubist gouache painting of skyscrapers, rooftops and skyline of the City of New York including The Chrysler building by painter Theodore "Theo" Ha...

J.J. McVicker painting "Hard Edge" painting "Number 2", 1980. Jesse Jay McVicker (b.1911-d.2004) was an American painter, printmaker and sculptor. ...

Mathieu Matégot wool rug by Aubusson Made by the Aubusson manufacture Bold abstract design Signed Providence: Christie's auction house, circa 1950, France With restorations Go...

Contemporary New York artist Peter Buchman's "Truth be Told" is made of laser cut plexiglass, acrylic medium and enamel on wood. It's a part of his Voice-Over series, in which the ar...

Colorful expressionist mountain scene with lake in reds, gold, yellow, violet, blue and white; most likely by Barbara Leadabrand (1922-1994), a renowned Pasadena painter and sculptor...

This mural mask takes the form of a stylized figure, possibly reflecting a dialogue between ritual function and aesthetic research. Carved in wood, its oblong shape evokes the vertic...

Artistic pair of screenprints by Nerone Ceccarelli made in Italy in 1975. Immediately recognizable is the Nerone Patuzzi design style. The shapes, the use of depth, all is there. Pre...

Truly one of a kind, Wesley Johnson created this detailed artwork on a thick carved piece of wood. You can see how Johnson uses the movement of the wood to help section this piece. T...

Artist Georges Braque 1882-1963, etching and aquatint Le Nid Vert (The Green Nest) M.1028 on Rives BFK paper, circa 1950. Signed and dated to lower edge 'G. Braque 157/300'. This wor...

Abstract Image of Boats - Lithograph - signed Dated 1972 - 112 or 150 Very nice abstract image with great color. Will look great once framed. a couple of spots along edge a vertica...

Designer rugs of Australia, circa 1980s wool wall tapestry, hanging or rug, titled Space Fantasy and signed R.T on front. Raised plush rainbow spectrum a...

Stunning Large 45" Diameter three dimensional Disc wall sculpture titled "Desert Serenade" numbered 1 of 15 by JOHN RICHEN Dramatic Organic three dimensional wall sculpture crated ...

Renaissance revival tole metal wall hanging candelabra finished in gold leaf, silver leaf and green, red, yellow and brown lacquer. Center shield s...

This 1960s vintage raffia woven wall art with natural driftwood. This is a wonderfully organic art form. THIS ITEM IS LOCATED AND WILL SHIP FROM OUR MI...

Jack Brusca (1939-1993) was a painter who worked with an airbrush in acrylic paint. He won critical praise when he had his first one-man show, in 1969 at the Bonino Galleria on West...

Rare poster of Andy Warhol's Double Marilyn Monroe 1962 for The Greenberg Gallery, circa 1980s. Noted gallery owner Ronald Greenberg, establish his...

Thierry Despont was best-known for his very successful architectural practice—but he was also an accomplished artist. Some of his most interesting works are a series of sculptures fa...

Tadaaki Kuwayama, Aquatints, 1990, on hand made Ichibei Iwano Japanese paper, each signed in pencil, Printed by Wingate Studio, New Hampshire.

Poster of Miles Aldridges' work Scream #4, 2011 featuring a woman on a retro pink telephone, red-lipsticked mouth open in a provocative gasp or mock scr...

Scarlet O’Hara Peony by Michael Zeppetello A photograph of a Scarlet O’hara Peony by Michael Zeppetello in a custom wood frame lacquered white with 5 ply rag mat. Photographed on F...

Culinary still life, "Eggs and Garlic" painted by Bucks County artist, Valerie Von Betzen. Von Betzen is a regional artist well-known for her even...

Paint on canvas stretched on a metal armature by New York City picking and art legend, Robert Loughlin. Featured in Patrick Parrish Gallery's “Robert Loughlin: 1998-2011” show in 202...

While Thierry Despont (1948 - 2023) was best-known for his architectural practice—for his integral role in the restoration of the Statue of Liberty, his re-imagining of the Ritz in P...

This great Mid-Century Modern painting by George Coggeshall has vibrant colors with abstract forms. All is signed and has the luscious and vibrant layering of colors of plums and pur...

Striking oil on canvas painting titled The Taming of the Shrew by British artist Frank William Warwick Topham, created in 1879. Inspired by William Shakespeare’s iconic play, the pai...

Bomolo oil on canvas abstract painting signed bottom right 1960. Known in it's day as Airport Art, Local Artists would sell their paintings to Tourists. Ma...

Abstract oil on art board by Dorothy Vanderplas titled "Valley". Blues, greens. browns, and whites all in the realm of nature, executed with broad stokes and abstract imagery. Frame ...

Art Deco buildings incorporated figural panels in their facades such as this exquisite bas reliefs sculpted by Chuck Dodson. This has been framed in an industrial iron frame. The con...

Judith Minna Pike December 19, 1942- October 18, 2019 Portrait of a woman sitting with her eyes closed, resting her head on her hand. The texture of this piece is stunning. If y...

Richard E. Filipowski, graduate of the Chicago Institute of Design, hand-sculpted Marquette. Stylized branch composition out of delicate components...

Dating from the last few years when late Art Deco buildings incorporated figural panels in their facades, this exquisite bas reliefs was sculpted by Chuck Dodson, an artist active in...

Anna Condo, a filmmaker and a photographer born in Armenia and raised in France, has been photographing flowers, her "ultimate muse," since 2013. The medium became a creative outlet ...

Two panoramic engravings of Italian cityscapes by ports.

Large modernist abstract painting by Albert Chubac Water color on paper. Signed work of art with artist seal. Framed. Midcentury abstract modern. France, circa 1950. Good vinta...

One of a series of drawings Bernard Boutet de Monvel made circa 1922 while participating in the Croisière Citroën, an expedition comprising scientists and artists who traversed the S...

This flag represents the sign for "BOOT SIGNAL - STEER TOWARDS" - according to the international flags and pennants chart. The flag is a vivid yellow and blue. Hardware is galvanized steel. This is a large ship standard sized flag. THIS ITEM IS LOCATED AND WILL SHIP FROM OUR MIAMI, FLORIDA SHOWROOM. Professionally framed in natural maple low profile shadow box and sewn on to the matting, this vintage German-made nautical Signal flag from WW II era, was never used and acquired as a group. The purpose of International Signal Code Flags...

Contemporary American ceramic artist Richard Hirsch's encaustic Painting of Nothing #54 is made of ceramic raw materials, dry pigment and wax. This piece is part of his ongoing Paint...

Early 20th-Century French Watercolor of a Bird, Signed, in a Bamboo Frame This elegant early 20th-century French watercolor features a beautifully detailed bird perched on a branch ...

Philip & Kelvin LaVerne Chan decorative wall hanging. Original order form is included, model #140 ordered as a wall hanging incorporating colors from mode...

Painting. Gouache on board. Signed Bela Kadar (Hungary, 1877-1955) Bela Kadar was born in Hungary in 1877. Amongst his early interests was mural painting. Like many of the artists of his day he was drawn to Paris and Berlin, and by 1910 he had visited both cities twice. In 1923, Kadar showed his paintings in Berlin at the invitation of Herwath Walden. Walden was an important figure in the German avant-garde, being the publisher of the journal Der Sturm which featured the works of Franz Marc, Paul Klee, Wassily Kandinsky, Marc Chagall and Oskar Kokoschka. During the group exhibition at Walden's gallery with other artists of Der Sturm, Kadar met Katherine Dreier whose Societe Anonyme was instrumental in bringing the work of the European avant-garde to New York. With her help two major exhibitions of his work were planned for the Brooklyn Museum of Art, the second of whom in September, 1928 Kadar travelled from Europe to attend. Bela Kadar incorporated themes of Hungarian folklore...

This beautifully vibrant and custom framed oil painting by Havers circa 1960's is impressive.! Professional framing selected by Gustavo Olivieri Antiques.

JOSEF ALBERS (1888 – 1976) "Formulation : Articulation" Portfolio II, Folder 17 Screen-printed geometric composition printed by Ives Stillman, Inc., New Haven, CT. From the set of...

Two costume drawings for a production of "L'Incoronazione du Poppea." Watercolor and ink on paper. Matted and framed in white painted wood with glass....

This oil painting on canvas from the 1960s captures the spirit of an English bulldog in all its glory. The signature is eligible. The artist, whose signature is illegible, has captur...