Thomas Gallery Ltd

Sober, elegant French Mid-Century Modern neoclassical handwrought iron writing table bases or console bases in the manner of Alberto and Diego Giacometti for Jean-Michel Frank. The pair of bases...

2 exquisite French plaster chandeliers after a model by Alberto and Diego Giacometti for Jean-Michel Frank conceived in a sculptural organic form, circa 1937. Three Edison sockets light the fixture/pendant. Priced and sold individually. Height is variable according to the length of the supporting chains. Height of plaster fixture alone is 12". Edition of 8 pieces. #5 of 8 is currently available.The original Giacometti chandelier shown is owned by Thomas Gallery and is not for sale. Literature: Jean-Michel Frank, Leopold Diego Sanchez, Editions du Regard, Paris, 1997, p. 249 Jaques Granges...

Complementary pair of authentic French midcentury sea coral table lamps attributed to Jean-Charles Moreux and set against a sea grass background and various white and rose corals in ...

Elegant Pair of French Mid-Century Modern Style Wrought Iron and Limestone Side or End Tables in Style of Alberto and Diego Giacometti for Jean Michel Frank. Each table sits on a ...

An expandable French country dining table from the Directoire period (1795-1803) that combines warmth with sobriety with it's chic tapered legs and stretchers. Two pullout leaves and...

An elegant French midcentury crystal chandelier/fixture embracing neoclassicism and modernity. The piece has a silvered nickel metal center plate that is im-bedded with cut crysta...

A collection of five elegant 'Ice Glass' vases by Finnish Artist, Timo Sarpaneva for Iittala. Dimensions: 1) H 9 x 6 x 6; 2) H 6 x 4 x 4; 3) H 6 x 4.5 x 4.5; 4) Cylinder H...

Elegant, stunning pair of Italian Mid-Century Modern cantilevered armchairs / lounge chairs attributed to Augusto Bozzi. The pieces embody both Modernism and Craft. They are handmad...

Large French painted Tromp L'Oeil 4 Panel Theatrical / Decorative Screen from the Paris Opera Ballet, circa 1940. The screen is an elegant presentation of a classical scene featuring 2 twisted columns and rustication from a Renaissance building flanking an open cartouche with the image of towers in the distance. The piece stands at an impressive height of 92" and each panel is 14" wide. Provenance: Paris Opera Ballet, Paris, France. References: Choreographers or Principal Dancers of the Paris Opera Ballet have included Rudolph Nuryvev, Maurice Bejart, Pina Bausch.

Two French Mid-Century Modern / Art Deco plaster flush mount fixtures / chandeliers containing an open frame central reflector with three l...

A spirited late 19th century French cast stone sculpture of an adolescent male in a gay mood. The figure evokes the mood of Fragonard's painting 'L' indifferent. References: Beaux...

A dynamic expressionist work by Hans Kessler, a student of Kandinsky at the Bauhaus. Signed H.Kessler, 1925 at bottom. Gouache comes with Photocopy of ...

Cubist Painting by Hungarian Painter, Koroly Glonczy. Oil on cardboard. References: Modern and contemporary art. European 20th century, Mid-Century Modern.

Elegant and sober French Post-Art Deco style consoles in bronzed wrought iron supporting a top of stone. Consoles have a narrow profile with 10.5" depth. Each console is priced an...

Elegant Italian Mid-Century Modern chandelier / pendant / fixture with 16 arms elegantly set in a circular pattern in the spirit of a neoclassical sunburst. Composition: Elegant s...

Elegant Italian Mid-Century Modern chandelier / pendant / fixture with 16 arms elegantly set in a circular pattern in the spirit of a neoclassical sunburst. Composition: Elegant s...

Elegant, timeless Italian Mid-Century Modern cocktail table made of interlaced ash hard wood in a grid motif with inset glass top attributed to Marco Zanuso for Pogi.

Elegant Italian Mid-Century Modern pendant / chandelier attributed to Stilnovo, circa 1958 The fixture is suspended from a black enameled rectangular metal canopy with 2 round bras...

1 French Mid-Century Modern white enameled metal pendant / lantern fixture / chandelier with a luminescent bowl of holophane glass. Subtle, yet functional lighting when lit. Height i...

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...

Oil on canvas, mythological painting of Satyr (pan depicted with goat horns) and woman portraying the Classic eternal theme of Eros and the struggle against it. European (Italian ...

Mold blown Murano glass flush mount / pendant in satin glass. The glass is blown in a concentric circle with a geometric pattern. A hand blown rose form finial completes the piece. ...

Rare and important pair of Italian Mid-Century Modern mold blown white Murano milk glass table lamps. The lamps are space age in concept and design and function practically and as light sculptures with both lower and upper levels illuminating separately. Each piece of glass is mold blown of Murano glass. The lamps symbolize the Italian Radical...

Elegant and practical French midcentury nickeled faux bamboo étagère, shelves, storage, bookcase or vitrine in the modern neoclassical tradition by Maison Baguès. The unit has the or...

Italian Mid-Century Modern enameled steel, brass and glass cantilevered console Attributed to Franco Albini and Franca Helg. The console / sofa table is elegantly conceived with a...

An elegant, sober Italian midcentury pendant / chandelier designed by Pietro Chiesa for Fontana Arte in the Modern Neoclassical Style (Novecento) with six fluted arms in enameled met...

Elegant, timeless Italian Mid-Century Modern Neoclassical brass and sanitized glass chandelier / pendant by Pietro Chiesa for Fontana Arte, circa 1935-1940. The piece features a uni...

Three pairs of elegant Italian Mid-Century Modern solid brass wall lights in a cone form by Gustavo Pulitzer for Arredoluce. The lights are suitable for bedroom or even as flush moun...

Extraordinary and rare dining table by Maison Ramsay in a modern neoclassical style in silver plated bronze/brass with the feet turned inward in the form of Greek keys and the base t...

Pair of French Mid-Century Modern neoclassical hand forged iron folding chairs attributed to Gilbert Poillerat. Gilbert Poillerat embraced Neo-Medieval traditions utilizing and w...

Large, sober Italian midcentury Venetian glass chandelier in the form of a disc that embraces both modern and neoclassical traditions. Height can be adjusted to need and can also...

Pair of Italian Mid-Century Modern solid brass stools or vanity benches based on a prototype by Ico Parisi. 'The creation of these artisan made pieces from the workshop of Aribert...

French Mid-Century Modern Neoclassical black leather strap lounge / slipper chair and ottoman / stool attributed to Pierre Lottier featuring a solid hard wood frame constructed in a ...

Pair of French Mid-Century Modern neoclassical wood end or side tables in the style of Andre Arbus.  

Elegant pair of midcentury Italian design, small lounge or slipper chairs attributed to Marco Zanuso. The chairs feature delicately tapered backs and front and rear sabered legs in s...

A single Spanish midcentury leather strap slipper chair in black leather with each strap interlaced with each other. The beautiful lines and form convey the modern neoclassical spiri...

A chic Italian Midcentury Modern style design sofa / settee in a dynamic form and with sensuous felt upholstery in moss green. Its unusual short width, low back and its sleek. low f...

Rare pair of French Mid-Century Modern neoclassical silver floor lamps, attributed to Andre Arbus, circa 1930-1940. The iconic standard lamps are supported by a triangular base w...

Classic French midcentury partially gilt wrought iron chandelier in the modern neoclassical spirit with six arms. Gilding on bobeches has aged to a dark gold patina. Height is adjust...

Elegant French Mid-Century twenty-eight-light chandelier in handwrought iron reflecting handmade craftmanship and a combination of Mid-Century Modern and Brutalist spirit.

Handmade French Post Art Deco wrought iron chandelier in the Brutalist tradition with six lights. The presentation of this piece is dramatic with a handmade chain link stretcher unit...

Rare pair of French Art Deco chandeliers or pendants in hand-hammered wrought iron attributed to Raymond Subes in the form of a star. The pieces are hung from three strands of large ...

2 elegant Italian / Venetian glass chandeliers in the Mid-Century Modern 1930s spirit in clear hand blown glass and with ten arms. Each Chandelier is USA wired and takes ten chandeli...

Two French early modern desk or table lamps in aluminum with movable and adjustable diffusers by Pirette. The pieces show the influence of Modern, Industrial and French Art Deco ...

Elegant Italian Alabaster Mid-Century Modern neoclassical pendant or chandelier in a Classic, pure form that references the Italian 'Novecento' and Art Deco periods. This fixture cou...

Italian Mid-Century Modern translucent purple Murano glass column pendant or chandelier attributed to Seguso with eight columns, each lighted with one c...

Painting of flowers by James Antonie. Signed. Acrylic on paper. The painting is filled with exuberant color, light, vitality and life Framed in white wood with plexi-glass. Dim...

French Mid-Century Modern neoclassical wall-mounted console with exquisitely reverse-painted (Verre Eglomisse) mirror top by Maison Jansen. One center drawer. This piece also func...

Large abstract expressionist painting on raw canvas by Belgian Painter, A.C. Hermkens. Signed. "Dynamicism and Space Co-exist in a Work of Subtle Tensions and Mythic Wishes.".  

Pair of French Mid-Century Modern adjustable Marine Industrial wall lights or flush mount ceiling fixtures in the style of Jean Prouve. The pieces are composed of copper and nick...

Italian Mid-Century Modern Murano or Venetian glass pendant or chandelier by Flavio Poli for Seguso. The glass is thick, mold blown glass with grey-green color; the frame and deta...

A French Mid-Century (1930) Modern Industrial iron table that works as dining table, center table, large desk with a cantilevered top of St. Gobain glass that is sheathed in an iron ...

Italian Mid-Century Modern white Murano glass pendant or lantern by Stilnovo. The height of the fixture is adjustable via the suspension ...

Rare pair of Italian Mid-Century Modern mold blown white Murano milk glass table lamps by Carlo Nason. The lamps are space age in concept and design and function both practically and as light sculptures with both lower and upper levels illuminating separately. Each piece of glass is mold blown of white Murano Glass and united by a central steel band. The lamps symbolize the Italian Radical...

An exquisite pair of Italian Mid-Century Modern neoclassical table lamps chosen from delicate veined marble and presented with both base and top in the form of inverted lotus blossom...

2 Italian Mid-Century Modern neoclassical hand hammered iron and gilt consoles / sofa tables by Giovanni Banci for Hermes. The consoles feature a stun...

Large, elegant French dining table by Dominique with the tabletop in rare Macassar ebony and with two extension leaves. The table can seat ...

Exotic pair of French Mid-Century Modern stools or benches in a sober, tripod form, covered entirely in goatskin. Chic and comfortable. Interesting pieces for a city apartment or a r...

Elegant French dining room table in the modern neoclassical taste in cherry by Andre Arbus. Table without leaves is 72" long. Each of 2 leaves is...

Two Italian Mid-Century Modern hand-hammered iron consoles or sofa tables by Italian sculptor and designer, Giovanni Banci. The pieces have been ...