Folk Art

Title: Sol Negro Fetiche Author: Rubenimichi Year: 2015 Size: 12 x 12 x 12 cm Technique: Wood and pyrography.  

A rare, domed, black and white enameled Art Nouveau advertising sign for Wiener Werkstatte. (founded by Josef Hoffmann, Koloman Moser and Fritz...

Fabulous very large handcrafted oval decorative brass tray. Very fine metalwork, hand-hammered & embossed with a floral pattern & center medallion with a fluted edge. Great to use on...

A pair of Meissen Hoopoe birds naturalistically modelled perched on leafy tree stumps after the models by J J Kandler with blue crossed sword marks, 19th century. Batch 71 61579 ...

1234 American Folk Art hand painted chef bank.

This unique Wool Hereke Carpet is among the highest-quality carpets in the Hereke workshop. There are traditional Ottoman Empire carnations and tulip design rows on a white backgroun...

This sculpture depicts the Virgin Mary, who is known as the mother of Jesus in Christian mythology. Weighing 1.5 kg, this sculpture is produced from pressed marble powder and made using the original molds from the museum. It can be used both indoors and outdoors. This work of art holds a special place for those interested in Christian art. The original depiction of the Virgin Mary makes it an excellent choice for art enthusiasts and collectors. Thanks to the high-quality material used in its production and the quality craftsmanship, it provides durability for many years. It can be used as a wonderful decorative piece in your garden, home, or office since it is suitable for both indoor and outdoor use. This Virgin Mary sculpture...

Pair of Kayo Lennar (French/ American, b. 1923), "Mr. & Mrs. Adam Go to the Beach," oil on canvas, and initialed on lower right. Signed and dated on reverse, unframed. circa 1979 Pro...

Polished brass Moorish style tray finely hand-hammered edge & etching in a pattern of linked hearts & foliage. In very good condition. Good size to easily move in or outdoors. Rare p...

Vintage Mexican Tonala hand painted pottery bird Folk Art. Flora de la Cruz Acapulco Gro Mexico hand painted bird dove ceramic. Warm earth tone polychrome colors with abstract desi...

39 star silk statehood flag. 23 1/2" x 15". Was the unofficial North Dakota Flag. As South Dakota was also admitted as the 40th state on the same day this...

Ceramic plate features a square shape with turned up corners. The plate is glazed in a soft cream and beige coloring with speckling throughout. The piece is finished with two hand pa...

Oversized vintage cheeseburger pop art in fiberglass. Likely used as a store display. Hand made in fiberglass and hand painted with great detail. ...

Masterful artisanal craftsmanship. Pinetti rectangular tissue box, made in ABS with chrome or gold finishing is covered with genuine waterproof leather and is available with gold ...

Unique pair of bisque planters. one is of a male buttock and genitalia, the second is of a female buttock and genitalia.

Moroccan Ethnic Berber handwoven tribal throw pillow made from a vintage rug. The front and the back are made from a different rug, front is more...

Sioux fully beaded moccasins. Red, yellow and blue on white background. Soft soled brain tanned hide. PERIOD: Late 19th Century ORIGIN: Great Plains ...

A fine quality pair of late 19th century Meissen porcelain Nodding Pagodas, each with wonderful bold coloring moving heads, tongues and hands....

Sioux fully beaded moccasins. Red, white and blue with geometric stacked colors. Hard soles, cotton cuff edging. Period: Late 19th Century Origin: Gr...

A fine vintage Winchcombe press-molded baking dish decorated with trailed slip designs attributable to Michael Cardew (British, 1901-1983) and probably ...

Great vintage hand-painted sign. No smoking and a crossed out cigarette hand-painted on white steel. Good vintage condition.

A gorgeously crafted, beautifully glazed, Mid-Century Modern curved bowl by California master ceramist Rupert Deese who worked closely with pottery legend Harrison Mcintosh. Signed with Deese's cipher/ stamp on the base. Would be a great addition to any Mid-Century Modern ceramics and pottery collection or a very eye-catching stand-alone accent piece in about any setting. Deese's work can be found in numerous collections and museums including: Museum of Fine Arts, Boston, Boston Everson Museum, Syracuse, New York Henry Art Gallery, University of Washington, Seattle Long Beach Museum of Art, Long Beach, California Los Angeles County Museum of Art, Los Angeles Maloof Foundation, Alta Loma, California Millard Sheets Collection, Gualala, California Mingei International Museum, San Diego Nora Eccles Harrison Museum of Art, Logan, Utah Renwick Gallery, Smithsonian Institution, Washington, DC Richard & Alice Petterson Museum, Claremont, California Roger Corsaw...

Thea Tewi (German-American, 1902-1999) "Offering" abstract marble sculpture, signed to base, circa 1973. 28" H x 10" W x 7" D. Dealer: S138XX.

A wonderfully made and beautifully designed Mid-Century Modern pottery charger by famed California potter and sculptor Robert Maxwell. Maxwell co-founded Earthgender pottery with fellow potter David Cressey. This charger/platter was made at his Venice beach, California Pottery studio in the early 1960s as verified by his wife. It is a very rare piece in respect to design, pattern, and sheer Size/heft (it is a very heavy work). We have not seen another quite like it. Apparently, he only made a few with some filled with melted glass to create the design/pattern. Signed by Maxwell on the base. Would clearly be a great addition to any mid-century pottery/ceramics collection...

This is a very rare dog shaped covered basket. The basket lid is a very animated and charming dog head with long ears, expressive eyes, wicker curls on the to...

Monumental vintage Bayer pill in cream plaster/ceramic. 7" diameter. Likely used as a store display. Whimsical desktop object or paperweight. Black felted bottom. Great piece of art ...

A lovely 20th century oil painting of an English landscape with a church in the background. The contrast of the muted colors of the painting and the bright white frame really make th...

David Coleman Hickman (Texas/Illinois, 1937-2010), "Blue Sofa", signed and numbered serigraph, no. 39/40 Provenance: Procured by owner, a longtime Fredericksburg, Texas art collector, from Meredith...

Just perfect. A must have for your living, for your bedroom, for your bathroom, for your office. A soft rectangular tissue box in calf leather that comes in a wide range of colors...

Hermes is the messenger god in Greek mythology. He is the quickest and most clever of the gods. The original is displayed in the Side Museum. Measure: height: 11.8'' / Weight: 2 k...

Circa 1800 Spanish Majolica Faience centerpiece bowl or charger. This charming collectible antique painted ceramic dish is decorated with a large rear facing bull and with polychrom...

Moroccan glazed ceramic urn with lid from Fez. Moorish style ceramic handcrafted and hand-painted with Arabic calligraphy pink writing. This kind of Art Writing looks calligraphic...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrol...

This is a wonderful Folk Art collection of Mexican traditional Day-of-the-Dead ceramic figures. Although unsigned these figures are in the style of the Aguilar Family of Oaxacan pott...

Moroccan handcrafted decorative tile with hand painted Arabic writing in brown on ivory crackle glazed ceramic. Arabic writing on ceramic tile hand pai...

Original exhibition poster of Picasso, Framed, Edition of 2000, Printed by Schwenk-Wilk, Francfort, 1965, Germany, 1965. Measures: 58 x 84 cm. Bib...

19th Century Chinese export tole tea canister, mounted as a table lamp. A large general store tin tea caddy dating from the China Trade period, with late...

This pastel postage stamp quilt is such an unusual pattern and fine barber pole sliding border. The condition is very good and minor fade on one edge or border to the right of the ph...

Fisherman's Luck By Charles De Feo. Item Number: AG1731. (1892-1978) Oil on canvas; 30" x 20". Framed. Charles studied under Howard Pyle in Wilmington, and ...

We offer this fantastic collection of 27 Vintage Mexicano Betty Boop lulu steel soda trays. About "Lulu" The Mexican betty boop. If you've visite...

Michael Scheers is a Belgian visual artist. He was born in 1958. He lives and works in Rixensart (BE). Self-taught, Michael Scheers has been involved in the world of advertising since his early childhood. This world allowed him to demonstrate a great sense of detail from an early age. Michael Scheers' art lies halfway between optical illusion and movement. The discovery of his work is a process of transformation where the angle of vision defines forms and colours. Each geometric composition is a poetic journey where the mastery of colours and the discovery of unexpected configurations surprise, magnetise or question. Michael Scheers truly inhabits the space and interacts with the viewer who becomes a participant in spite of himself. Art in Motion is participatory, dynamic and social. One cannot ignore the parallels between his work and that of Walter Leblanc...

Stands out for its simplicity. An umbrella stand with cylindrical silhouette ideal to give a stylish addition to any hallway. Covered with a soft grained or woven leather our umbr...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2015. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

Create a sculptural arrangement of organic shapes, combining style statement and functionality with these Italian vintage earthenware Art pieces: a group of 4 Mid-Century Modern different ceramics is available, 3 vases and a bowl/catch-all, by Bertoncello and designer Roberto Rigon, showing inspiration from Barbara Hepworth and Henry Moore work. This particular postmodern sculpture bowl is quite innovative in its aerodynamic shape for the period and particularly in the mid-20th-century ceramic sector, glazed in a beige terracotta...

Art Deco Port Sign - Bar wall decoration. An advertising sign for the Port: Les Portos Gibson. This old sign for the Appetizer Drink Gibson's Port is dated 1936 and was made by the Company Jofico Brussels Belgium. This sign from 1936 is a publicity sign for the four different White Gibsons's Port: Carte Noir, Ambassador, Royal and Imperial. As well the lettering as the bottles are in relief on the sign. This tin wall sign is great wall decoration in your house, kitchen, home bar, office, pub, cafe or restaurant. Port Drinker, Port Gift - Old Tin...

Collectible toy - Concorde 2 plane - 1970s Electric guided Joustra Edition Measures: L 59 x P 27 x H 13 cm Sheet metal and plastic Circa 1970 C...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world...

A porcelain sculpture by Wayne Fischer. Perfect original conditions. Signed. Unique piece. 2022. How can an inert object produce deeply unsuspecting, indecipherable, uncontrollable emotions? Wayne Fischer is an artist who can create works that force one to ask such moving questions as this. If he doesn’t know why, if he can’t explain the deepest reasons of his artistic research, he definitely knows the workings and limitations of the artistic process he invented. He has never deviated from the course he set for himself since university; translate life. The works presented here show the evolution of his creations over the past thirty years. If Wayne Fischer has received several international prizes and quickly obtained the recognition of his peers in ceramics, nevertheless he retains a singular position at once unavoidable and disturbing. His sculptures are paradoxical, powerful and sensual, and cause a certain unease. They are beautiful, carnal, touchable, all the while being outside the standard idea of beauty. The ambiguity of attraction and rejection is at the heart of this evolution. The pieces from the 1980s and 90s are imposing by their size, stature and symmetry, which give them balance. They generate surprise, curiosity and play between contrasts that are both soft and aggressive. They reference the body, muscles, and torso, without presenting an exact reality. They are double-faced, seductive, and enigmatic. Wayne’s shapes are inspired by shells, bivalves, sometimes presented as though they are floating in space. But the reference of the marine world to the mysterious female body has only one interpretation and only history and emotion condition the reaction of the spectator: he accepts or refuses to see, to be seduced. He is touched or he flees. The more recent sculptures are appreciated in the fullness of their round volume and the search for a pure universal beauty. “Metamorphosis,” the work recently awarded by the Bettencourt Foundation, is from this series of pieces wheel- thrown and deformed which pushes the porcelain from the inside so the bulges evoke the movement of waves or the musculature of several bodies. The exactness, the clean breaks, the assurance of lines and valleys are testimony to the interior power that governs the creation. The life energy expressed is also felt by the artist as the origin of ceramics. All the pieces are curved and tense. They show no marking, no sign of the hand, no imprints, and yet give an impression of spontaneity, as if a dropped piece of clay found its form by chance. Depending on the angles, the content becomes “the origins of the world”. Femininity and sensuality are exalted. Inspired by the body, before and after birth, or simply the sea, the parts of the sculpture conjugate around a mysterious interior cavity, secret and troubling. The interior wall doesn’t correspond to the exterior, and has its own volumes, deformities, and intimacy. The pieces present two kinds of interior: one open, and partially uncovered, the other totally hidden inside. The differences of their respective deformation reinforce the impression of life : the subjective representation of muscles and bones, of bulges pushed by an interior force, like a visceral movement of respiration. The surface of the ceramic is crackled but soft and fine, even reflecting light like the skin. The nuances of color reinforce the expression of sensuality. The alignment of technique and what it causes one to see and feel has rarely been so intimately successful. Wayne Fischer perfected his technique in the 1970s and has remained faithful to it. He adds fibers to porcelain clay that has been chosen for its whiteness to create and accentuate volume around empty space, by assembling slabs or thrown pieces. Then, he makes another piece that takes its place inside; both parts are formed with no hand...

A mid-20th century Turkish Oushak gallery size worn Runner Measures: 5' x 13'1''.

Santa Clause large light bulb. The condition is in very good.

This is a 19th-century Intaglio Tassie - A seal with the bust of a man on it. Thick gilt paper wrapped around the edge mimicking a frame. There are a few tiny faults in the mold but ...

This beautiful vintage mid century fabric is a 100% cotton barkcloth. Barkcloth is a textured printed woven fabric. The banana leaf and flower design with striking bright green, wavy stripes is a handprint design by Renee Harcombe...

Yua Shell Currency, Bride’s Price Sepik River Region, Papua New Guinea Hand carved from a clam shell 8 x 9.25 in / 20.5 x 23.5 cm Height on custom d...

Kayo Lennar (French/American, b. 1923) "Petit Tapis #5 Wrestling" oil on canvas painting depicting two colorful abstract figures wrestling atop a green and...

Mounted circa 1940s Navajo Weaving from the Trading Post Era. Seen is a stylized border with four airplane like central images and various male torsos with hats. Woven of native hand...

Yua Shell Currency, Bride’s Price Sepik River Region, Papua New Guinea Hand carved from a clam shell Measures: 7.5 x 8.5 in / 19 x 22 cm Height on c...

A stunning Canadian studio pottery miniature bowl decorated in yellow glazes with an associated pottery stand by Lane Gordon Thorlaksson (Canadian, 1937-2009) dated 1976. Lane Gordon Thorlaksson was born in 1937 in Winnipeg, Manitoba and moved to Vancouver as a child. In his twenties, he represented Canada in the 1959 Chicago Pan-American Games, running alongside Henry 'Harry' Winston Jerome in both the 100 yard and 220-yard dash. Following this, he attended San Jose University of California and in 1966 received a BFA in Ceramics. Working with clay was Thorlaksson’s passion. He was fascinated with Asian ceramics, in particular the Song dynasty Chinese pot forms and glazes. In 1985, the Mayor of Vancouver, Mike Harcourt, visited China on a goodwill mission for the twinning of Vancouver with Guangzhou China. As gifts, he took with him several of Thorlaksson’s ceramics and presented them to Cao Yun-ping, Secretary-General of the People's Municipal Government of Guangzhou. The pieces were well received and local Chinese potters were interested to learn about his glazing techniques. In 1987, Thorlaksson was invited to visit China’s Guangzhou University to exhibit more of his work. He was aided in this exchange by Joanne Mah, the Director of Intercultural Training and Educational Consultants (ITEC), who had worked with the Harcourt exchange. In 1988, she and her husband sponsored a pre-gallery showing of Thorlaksson’s ceramics at the ITEC’s Hong Kong office, prior to an exhibition at Alvin Gallery in Hong Kong. Thorlaksson was celebrated and introduced to academics and the media, including the head of ceramics at the Guangzhou Institute of Fine Arts. Local Chinese potters were eager to learn about his firing techniques, which used multiple firings to create special glaze characteristics. They were also intrigued to understand how he designed his own stands as an integrated part of his presentation. Unlike Asian potters who used wooden stands, Thorlaksson produced his stands in clay, matching each stand in aesthetic and tone to its pot. This two-part process elevated his pieces to sculpture. He believed that ceramics should be viewed as fine art and not craft. He was inspired by the female form and was quoted as saying 'Most potters make pots; I make parts of people'. The bowl is of wide squat rounded form with a fold over rim and is decorated in pale yellow glazes over a brown ground and stands on a narrow round unglazed foot. The design is probably based and inspired by a Chinese brush washer...