Folk Art

Part of a body of works ranging from 2020 to 2024, this 172x122cm (67.7"x48") piece titled "La famille" ("The family") by figurative artist of internationally renown Francky Criquet,...

Part of a body of works ranging from 2020 to 2024, this 172x122.5cm (67.7"x48.2") piece titled "Le minotaur" ("The minotaur") by figurative artist of internationally renown Francky C...

Large Pop Modernist Oil On Canvas titled "Audrey" by W.N.Y. Artist Joy Brandys.. Buffalo members gallery,, Burchfield Penny Art center ..Wonderful depiction Modernist woman,, Great u...

Dramatic mid 19th Century English Needlepoint ~ 7'7'' x 16'3'' English needlepoint rugs, renowned for their profuse floral motifs, reached an artistic zenith in 1700-1750 but were...

Nigeria, 1960's Guro chief’s cloth. Measures: H 179 x W 127 cm.    

1807 Floral Painted Light Blue Cabinet Dimension: H. 188 cm – W. 131 (146 to the corners) cm – D. 47 (55 to the corners) cm Era: 1807 Origin: Tyrol...

Incredible vintage advertising light up box by Marlboro. Massive scale. Looks great hanging on the wall or on the ground. Acrylic sides and cigarettes with metal frame. Some scuffs ...

Blue Painted Cabinet Circa 1810 Circa Measurements: H. 185 cm – L. 120 (129 at the frames) cm – D. 46 (51 at the frames) cm Period: approximately 1810 Origin: Tyrol Essence: Fir De...

Original "On Air" studio lighted box sign dating from the 1970s. The box is made of metal and front sign is made of plastic that is painted in an emerald green with bold opaque cream lettering. The piece is in great vintage condition and has been newly rewired. Would look great mounted on a wall or placed on a tabletop for a perfect room accent or mood lighting. Great piece of old Hollywood collectible.

Incredible vintage advertising light up box by Marlboro. Massive scale. Looks great hanging on the wall or on the ground. Slight sun fading gives this piece a beautiful yellowish hue...

Antique Persian Baluch Bagface Rug, Late 19th Century Additional information: Dimension: 2'9" W x 3'0" L Origin: Persia Period: Late 19th Century Condition: Good condition with a s...

Spanish Provincial (20th Cent) style painted and carved horse head wall plaque/sign (La Taberna Caballoblanco) (Related item: 049724D).  

Navajo rugs and blankets are textiles produced by Navajo people of the four corners area of the United States. Navajo textiles are highly regarded and have been sought after as trade...

This magnificent bust of Apollo, the Greek god of art, medicine, and music is directly inspired by the Classic marble statues in the Roman tradit...

Charming Benin King Oba and his Queen. Terrific pair of Benin hand carved ebony hardwood figures. Intricate detailing on each of these super West African carvings Circa Mid 20th c...

This is Central Anatolian antique Kilim from the Konya - Hotamis region with a rare and beautiful color composition. It belongs to the scallop from the Konya region of Central Anato...

A multi-coloured stone Shiva Lingam, a elongated egg shaped stone used for Shaivite worship in Hindu rituals These heavy stones are sacred and come from the Narmada River in In...

Large decorative African brush with a black antelope horn handle and thin red straw bristles.  

An Exceptional Carved 'Momento Mori' Skull Displaying unusual 'fan' shaped temples Marble Italy Circa 1620 / 17th Century Size: 16cm high, 16.5cm wide, 20cm deep - 6¼ ins high, 6½ i...

CF V9 by Caturegli Formica Dimensions: W 310 x L 260 cm Materials: Wool Produced by Elio Palmisano in 1989-90 for the collection/exhibition Tappeti e Arazzi Biographical notes Beppe...

In Christian mythology, she is the mother of Jesus, also known as the Virgin Mary. Weight: 1,5 kg -Produced from pressed marble powder. -Produced from the original molds of the wo...

Gorgeous wall sculpture of cast bronze and other mixed metals in the Brutalist style made by Giovanni Schoeman (1940-1980s). The wall sculpture is called "Cyclone" and shows an imaginary city of futuristic skyscrapers with few people. Many impressive details. Schoeman was a South African sculptor...

Ovo basket: Compact yet capacious. Fashioned of resistant recycled leather, with tan or black this basket boasts an unstructured silhouette with fl...

Strictly hand woven with meticulous care, Pinetti baskets are made with eco-friendly, washable, and resistant material. Part of the Demetra collections, our short basket comes in a ...

Pair of 18th century Italian hand-carved gold leaf tassel ornaments. They are two of the same shape of tassel but in two different sizes ...

Traditional vintage silvered-metal and brass Moroccan tea pot, embossed with traditional repousse design, nicely aged, handcrafted in Fez, stamped in ...

In Bassano ceramics have been produced for 300 years. In fact, from the 17th century this art has been developed in Veneto thanks to the presence of plastic clay, solder and kaolin i...

Beautiful weathered Folk Art box made out of wood and covered with leather. Working lock and key. France, circa 1850 Weathered, small losses.

Cushions with zip on covers, fronts in 'Mikey' fabric designed by Lisa Larson, in typical Lisa Larson style, very reminiscent of her comical animal figures...

These handsome but quirky brothers designed by Miguel and Ilse Silva for Wooda are the result of an engaging mix of personality, love, fun and mischievousness. Los Hermanos Calavera(...

Tzinacan is the Nahuatl word for bat, and it is our gift for the bats represented in many ceramic pre-hispanic pieces. Bats have been part of the mythology of the cultures of pre-Hi...

This exquisite storage or jewelry box features hand-carved bas-relief detailing, showcasing expert craftsmanship. With its generous size and elegant design, this piece is perfect for...

A rather odd hand painted political black leather Gladstone holdall, believed to be a graduate college bag. American in origins, second quarter of the 20th century in age 3...

A spherical vase crafted from polychrome glazed ceramic, created by renowned ceramist Roland Breton. The piece is monogrammed under the base, showcasing Breton's signature style. Pr...

Circa 1900 French oak bread board. The board is turned and has a lovely hand-carved border with florals that are indigenous to Switzerland. The border surrounds a simple plateau wh...

This is an old Japanese tree object. The type of tree is unknown, but I think it's probably cedar. The details are unknown, but it looks like an object o...

Wonderfully detailed, antique, French, velocipede or toy tricycle featuring the body of a carved walnut horse with steel face plate on spoke wheels and ho...

This antique round box, crafted from brass, is adorned with blue enameled ceramic cabochons. Dating back to the early 20th century, this charming pie...

Enhance your space with these elegant vintage régule wall sconces. Perfect for adding a retro touch to your interior, these sconces feature a distinctive 1970s design that brings uni...

This is a hand spun, hand woven and hand painted cotton cloth for which an entire village takes part in its creation. Women of the Korhoga Tribe spin the cotton, while the men weave ...

Leskov, A Signed l.l. Measures: 8 1/2 x 5 1/4 in. (21.6 x 13.3 cm.); 11 x 8 in. (30 x 20 cm.) including frame. Provenance: From the private collection of Alexander Swarovski...

Alain Douillard Famous French metal abstract sculptor, circa 1975, mid-20th century art sculpture Black abstract freeform by the artist, signe...

Monumental hand carved wood sign from the 1930s. Made by H.H. Upham & Co. Interestingly, this company owned a huge sign manufacturing business in the ...

A big wall decoration ceramic plate by Roger Collet. Green and blue, white glazes decoration. Perfect original conditions. Signed under the base "Collet".

Discover the beauty of this elegant Syrian jewelry box, featuring intricate marquetry and a luxurious red velvet interior. This rectangular, flat box is ideal for storing jewelry, ke...

A striking Mid Century Sunburst with a central benign Goddess type face with staggered red and gray painted curved rays. They frame the high relief face with wavy brown hair and pain...

Antique Painted Wardrobe with Flowers Dimension: H. 195 cm – W. 126 (142 to the corners) cm – D. 47 (58 to the corners) cm Period: 1800 circa Origin: Alps Wood: Fir Description: Al...

Ceramics in the shape of a goat stamped Dominique Pouchain.

Original riveted sheet iron shoemakers shop sign. Unique find, France, circa 1800-1850. Traces of red paint visible. Weathered.

15″H x 6″W

Ashanti footstool or headstand, Ghana West-Africa Handcut and handcarved Fine condtion Period: probably post 1945

1960s Swedish Rya rug with a colorful, plush wool pile. Size: 4'6" X 6'7".     

A beautiful large size Austrian 20th century, carved wood bird, mounted on a stand for hanging. The tradition of these in Austria called "Viechtauer" birds goes back to the early 19t...

Kazak rugs have primarily been produced as village productions rather than city pieces. Made from materials particular to individual tribal provinces and the rugs of the Caucasus typically display bold geometric designs in primary colours. Kazak rugs are a type of Armenian rug...

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...

19Thc all original double horse pull toy with original iron wheels and red painted wood base. The condition is worn but in good condition.

Dolores Porras Enríquez is widely known throughout Mexico and the world for being the creator of a technique rooted in the land of Oaxaca: pottery in natural color, glazed and decora...

This 20th-century Swan Decoy embodies the spirit of American Folk Art. Crafted by an anonymous carver, it features a beautifully elongated neck and a square, sturdy body. The gentle ...