Thomas Gallery Ltd

2 Elegant French Mid-Century Modern sofa tables or consoles in Lucite / Plexiglass with stainless steel fittings. The pieces are seamlessly made with their clear, transparent bases a...

An Iconic French Modern Neoclassical 1940s hand hammered steel and tin rectangular wall mirror in the form a sunburst in the style of Gilbert Poillerat. Poillerat was the most import...

Elegant modernist floor lamp with dynamic cantilevered form and tripod legs with the base wrapped in alternating blue and yellow plastic rattan. Shown without shade. Height is adjust...

A rare and elegant pair of Italian Mid-Century Modern Neoclassical solid brass table lamps / desk lamps / bed-side or nightstand lamps, attributed to Pietro Chiesa and in the style...

Elegant, timeless Italian Mid-Century Modern Neoclassical brass and sanitized glass chandelier / pendant in the style of Fontana Arte and attributed to Pier Luigi Colli circa 1940-19...

Pair of French Mid-Century Modern, Marine Industrial wall lights or ceiling flush mount fixtures in a rare design and in the style of Jean Prouve featuring thick milk glass globes se...

Unique Hand Made Pair of French Mid-Century Modern hand hammered wrought iron wall lights in the Modern Craftsman style, circa 1940-1950. Sold by the pair. Additional References: F...

A Rare and Elegant Italian MId-Century Modern Neoclassical Desk / Writing Table by Gio Ponti in solid walnut with an inset top of black onyx glass and brass details. Ponti's design a...

2 pairs of French Midcentury plaster wall lights in the form of a shell attributed to Serge Roche. Priced and sold as Pairs. References: Mid-Century Modern, Neo-Baroque, Surrealism...

An Elegant and Timeless Set of Three French Mid-Century Modern Neoclassical solid bronze bar stools design based on Alberto and Diego Giacometti's "T...

Rare Pair of French Mid-Century Modern Neoclassical Silver Plated Bronze floor lamps, attributed to Andre Arbus, France, circa 1930-1940. The iconic standard lamps are supported by a...

Elegant, Custom French Modern Neoclassical hand-hammered and hand-wrought iron table base featuring a stunning spiral form stem and delicate fe...

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...

Pair of rare prototypes from the early history of the helicopter: Two French helicopter chairs including pilot and co-pilot's seats attributed to Louis Breguet similar to those of th...

A Rare sculpture / organic modern bench in thick, layered and molded plywood attributed to the European-American artist, sculptor, designer, Frederick J. Kiesler (born in Ukraine, 1890-1965) circa 1947. The works are important and signify the development of post-war design into abstract biomorphic sculptural forms. They occupy a curving, organic space and their negative space conveys transparency, lightness and airiness.They represent the continuity between art and life, movement and sculpture. Frederick Kiesler designed variant sculptural organic form chairs...

Two Rare Organic Modernist Sculptures that also function as lounge chairs and attributed to the European-American artist, sculptor and designer, Frederick Kiesler (born in Ukraine, 1890-1965). The pieces are hand crafted and composed of thick, layered and molded oak plywood and then hand lacquered. The works are important and signify the development of post-war design into abstract biomorphic sculptural forms. They occupy a curving, organic space and their negative space conveys transparency, lightness and airiness.They represent the continuity between art and life, movement and sculpture. The artist, Frederick Kiesler designed variant sculptural "Multi-Use Chairs" for Robert Motherwell's home in Provincetown circa 1947. The pieces are priced and sold individually but can also be purchased as a pair. An accompanying sculptural, organic form bench...

An Elegant Italian Mid-Century Modern brass, chrome and smoked green glass console / sofa table in the style of Willy Rizzo for Maison Jansen, circa 1970 with the smoked glass by Fontana Arte. This double tier console...

Elegant Large, Round French Modern Craftsman Mirror in the style of Adrien Audoux and Frida Minet. The mirror is composed of a round central mirror p...

A Rare and Elegant French Midcentury modernist lounge, club chair / armchair in Lucite, Plexiglass. The piece sits low to the ground and has a unique, aerodynamic form, yet is large ...

An Elegant and Timeless French Mid-Century Modern double tier Lucite, brass and glass trapezoid form console or sofa table, designed by Pierre Vandel and used by the Hermes boutique ...

2 French Mid-Century Modern Perspex / Plexiglass valets with coat stands and pants rack. One piece has a jewelry box and one does not. Priced and sold indiv...

An Elegant, Large, Square, French Mid-Century Modern, double level cocktail table in Lucite and brass by Pierre Vandel, France, circa 1970. The square form of this table is rare and ...

A Pair of Large Scandinavian Mid-Century Modern Hand Blown Ice Glass Sconces Attributed to the leading Finnish designer, Tapio Wirkkala, circa 1970. Their shape is a subtle, elliptic...

A Stunning Pair of Italian Mid-Century Modern Hand Blown Venetian glass wall lights / Sconces in the form of Icicles and in a clear, opaque ...

Elegant Pair of Scandinavian Mid-Century Modern Glass Wall Sconces attributed to Tapio Wirkkala, Finland circa 1970. These are a pair of sober modern wall lights in thick colorless ...

Two Pairs of Italian Mid-Century Modern, thick hand blown Murano / Venetian glass wall lights in colorless opaque glass in an ice glass patt...

Elegant Pair of Italian MId-Century Modern Hand Blown Murano Ice Glass Sconces by Mazzega. The glass is hand blown in an ice glass pattern and...

A Scandinavian Mid-Century Organic Modern 'Swan' Sofa in Leather & Faux Leather Attributed to Arne Jacobsen, Sweden, circa 1960. Upholstered in its original leather with unique cross...

Elegant pair of Italian Mid-Century Modern, cantilevered lounge chairs attributed to Augusto Bozzi. The chairs feature an innovative architectural structure and transparent aesthetic...

Elegant pair of French Midcentury Modern hand-hammered solid brass table lamps in the spirit of Jean-Michel Frank in a round / circular / globe form transmitting a sober, modern spir...

A Rare Italian Mid-Century Modern Console / Writing Table by Ico Parisi, Italy circa 1960. The console has a exceptional, modernist form while being accented with diverse, compliment...

An Iconic French Mid-Century Modern Neoclassical gilt wrought iron round cocktail table or side / end table by Rene Drouet, France, 1940. The piece has an enchanting form with dynami...

An Elegant and Timeless French Art Deco / Mid-century Modern cocktail table in the Modern Neoclassical spirit by iconic French designer, Rene Drouet, France, circa 1940. The subtle a...

A Rare French Mid-Century Gilt Wrought Iron Stool / Bench by Rene Drouet, France, 1940. Drouet was one of the most important pre WWII creators in France and this work was emblematic ...

An Elegant French Mid-Century Modern Neoclassical Brass Faux Bamboo and Travertine Console by Maison Bagues circa 1960-1970. The piece is sublimely French using a spare, modern form ...

Pair of French Mid-Century Modern neoclassical end or side tables attributed to Jean-Charles Moreux for Maison Jansen. The pieces have a rare, compelling energy as they balance moder...

An Elegant and Timeless Pair of French Midcentury Modern Neoclassical Side or End Tables in Gilt Bronze and Marble by Maison Bagues.The tables are created with a sensuous and rare Ba...

Danish Mid-Century Modern Floor Lamp with both Minimalist and Art Deco Design influences attributed to Fog and Morup. The piece presents a pure, elegant form with a dynamic and sensu...

Elegant, sober and dramatic pair of Italian Mid-Century Modern Neoclassical walnut side chairs from circle of Gio Ponti, Italy, circa 1950. A combination of beautiful form, lines and...

Elegant, custom pair of Italian late 20th century iron and braided leather benches / stools designed for the Gucci shop, Florence, Italy.. These ...

An Elegant Italian Midcentury Modern Umbrella Stand or Trash Bin in the style of Gio Ponti. The piece is a modern multi-functional object, a trash bin or an umbrella stand. Above all...

A Large French Mid-Century Modern Gilt Iron Crown or Sunburst Pendant / Chandelier / Flush Mount in the spirit of the legendary French ironworker, Gilbert Poillerat, circa 1940. Thi...

An Elegant Pair of Italian Midcentury Modern Organic Form Stools / Benches / Ottomans / Poofs in the style of Marco Zanuso circa 1953. The pieces feature a delicate organic curved fo...

An Elegant Pair of French Midcentury Modern Floor Lamps in Hand Stitched Black Leather by the French Master 20th Century Designer, Jacques Adnet circa 1955. This classic hand made m...

Elegant, Timeless French Mid-Century Modern Stool, Ottoman or Bench Hand-crafted and hand-knotted in Rope by Adrien Audoux and Frida Minet, France, circa 1960-1970. This modern craft...

A Magical, Rare French Mid-Century Modern Craftsman Floor Lamp / Light Sculpture in Rattan Attributed to Janine Abraham and Dirk Jan Roi. This minimalist sculpture reflects 1960's culture with its pure, natural aesthetic that was an integral part of American Post-Minimalism and Italian 'Arte Povera'. Simple, everyday materials are used to create an ethereal statement that transcends functional lighting and extends to the realm of light sculpture. The rattan outer structure is in the form of an ellipse that is aesthetically vibrant from every angle; the inner light source is shrouded in a cotton covering that softens the light, adding to the mystery of light itself. Height: 48 x 24 x12 Additional References: Isamu Noguchi, Otto Piene, James Turrrell, RM Fischer...

An Iconic Italian Mid-Century Sofa / Settee / Pair of Lounge Chairs by Piero Lissoni in a sleek, contemporary, low, square form circa 1970-1975. The sofa is modular, multi-functional...

An Elegant and Timeless French Art Deco Armchair / Lounge Chair composed of Macassar Ebony and in the Style of Emile-Jacques Ruhlmann. The chair is a prime example of cubism and the ...

An Elegant and Important Trend-setting Pair of Large French Rattan Sculptural Lounge Chairs by Janine Abraham and Dirk Jan Roi for Edition Rougier, circa 1955. This is a rare model w...

Elegant, modern and timeless french Mid-Century Modern hand-stitched leather and brass floor lamp attributed to Jacques Adnet. The lamp has a exquisite, pure form with its solid bras...

An elegant, sober French Mid-Century Modern Neoclassical / French Late Art Deco cut crystal chandelier attributed to Maison Bagues, Paris, 1930. The piece has an eye-pleasing, classi...

A Rare, elegant, sober, minimalist Italian Mid-Century Modern chandelier in the style of Fontana Arte composed of eight mold blown clear Murano glass reflectors arranged in a cross p...

A multi-tier Italian Mid-Century Modern Venetian / Murano glass chandelier or pendant by Vistosi. The piece is composed of round hand blown glass discs in an amber and off-white colo...

A Rare and Elegant Pair of Italian Mid-Century Modern Murano Glass Mirrors attributed to Max Ingrand for Fontana Arte. These exquisite pieces combine a timeless neoclassical shield b...

An Elegant and Timeless Pair of French Mid-Century Modern Neoclassical Lounge or Slipper Chairs in a solid hardwood frame and covered in a glove-like leather. These chairs are derived from neoclassical design ideas that are several centuries old. They are also characteristic of "Butaque,” the Mexican name for the low, inclined J-shaped wooden lounger...

An Exceptional Italian Mid-Century Cocktail / Coffee Table or Side / End Table in the Modern Neoclassical Style in the style of Ico Parisi, Italy, circa 1951. This elegant and timele...

An early French Architectural Mid-Century Modernist sofa / daybed by A.R.P. Atelier de Recherche Plastique and with a fabric color similar to Yves Klein Blue. The sofa / divan presen...

An important French Mid-Century Modern thick pile carpet in wool known as "1930" in a Cubist Design by Sonia Delaunay. Documentation: Monogrammed SD at corner of carpet. There is a c...

An Original Marco Zanuso Triennale Sofa , 3 seat model, made for Arflex, Italy, circa 1951. "This model was first presented by Marco Zanuso at t...

Two of the most elegant and important ceramic works of Vallauris artist, Marius Musara (France, 1910-1991). These French Mid-century Organic Modern sculptures or vases are beautiful, handmade, objects transposing dramatic size with a pure, sober, timeless form. In 1988, Musara was the winner of the International Biennale of contemporary ceramics, the top pottery prize in the world. The pieces are priced and sold as individual pieces. Sizes are: H 31.5 x D 8 and H 23.25 x D 10. Signed on bottom "Marius Musarra...