Folk Art

Embark on a visual journey with this Hand Knotted Rug , a tapestry of cultural echoes that transcend time. Like ancient tales inscribed in geometric poetry, this rug's complex design...

This is the largest of the Toulouse Lautrec portraits by famed artist Peter Max in peach pink. Professionally framed, signed and numbered.

This masterfully hand-woven basket belongs to our iconic Almeria collection. Made of eco-friendly leather, that is washable, resistant to light and water, it's suitable for indoor an...

A beautiful, modern board game that displays elegantly no matter where it is. Our Boston tic tac toe board is a light-hearted, beautiful complement to any table. Crafted of premium I...

A decorative one of a kind colorful mid 20th-century Turkish runner featuring 6 humans and 2 animals Measures: 3'1'' x 9'4''

Large Watercolor Painting of a Southern France Landscape by Emile Pressac. The painting is well-framed under glass. Watercolor on paper. Marcel PRESSAC, born in Paris, in the Faubou...

A stylish and unusual studio pottery model of a Courtroom scene by Chelsea Pottery, London and dating from the 20th century. The courtroom is modeled a...

A wonderful free-form organic bowl vessel by acclaimed British potter Peter Simpson. Simpson's works, such as this early piece, are inspired by organ...

A stunning abstract painting by Australian Aboriginal artist Nyurapayia Nampitjinpa (also known as Mrs. Bennett; 1935-2013). Entitled "Tjukurla Country", this work was acrylic on Be...

A wonderfully designed and exceptionally rare hand painted, earthenware three tile/panel plaque/ wall hanging by ceramics masters husband and wife artists Vivika and Otto Heino. Quite heavy and substantial in size. The couple was best known for their inspired designs and distinctive glazes. This massive 3 tile plaque, which shows clear signs of Asian influence, is attached to a board for hanging. Again exceptionally rare in both scale and design. We have never seen another like this by the couple. The work is signed and dated (1988). Would be the crown jewel in any Heino collection and sure to stand out in any setting, modern or otherwise. Very unique. Very rare. Dimensions: 47.5" high, 18" wide, 1.5" deep. The piece is quite substantial and weighs 44 pounds. The couple are winners of the following awards: Gold Medal from the sixth Biennale internationale de céramique d'art, in Vallauris, France, (1978). Silver medal from the International Ceramics Exhibitions in Ostend, Belgium, (1959). Their work can be found in the following museums and collections: American Craft Museum, New York City, NY American Museum of Ceramic Art, Pomona, California Ariana Museum, Geneva, Switzerland Arizona State University Art Museum, Tempe, Arizona Baltimore Museum of Art, Baltimore, Maryland Brunnier Art Museum, Iowa State University, Ames Iowa Cooper-Hewitt National Design Museum, Smithsonian Institution, New York, New York County Art Museum and Craft Folk Art Museum, Los Angeles, CA Craft and Folk Art Museum, Los Angeles, California Des Moines Art Center, Des Moines, Iowa De Young Museum, San Francisco, CA Everson Museum of Art, Syracuse, New York Fitchburg Art Museum, Fitchburg, Massachusetts Fred Jones, Jr. Museum of Art, The University of Oklahoma, Norman, Oklahoma Hartford Jewish Community Center, Hartford, Connecticut Joslyn Art Museum, Omaha, Nebraska Long Beach Museum of Art, Long Beach, California Los Angeles County Museum of Art (LACMA), Los Angeles, California Memphis College of Art, Memphis, Tennessee Mills College Art Museum, Oakland, California Mingei Museum, San Diego Museum of Art and Design, New York, New York Museum of Fine Arts, Boston, MA Newark Museum, Newark, New Jersey Nora Eccles Harrison Museum of Art, Utah State University, Logan, Utah Picasso Museum in Vallauris, France St. Paul Gallery, St. Paul, Minnesota Ruth Chandler Williamson Gallery, Scripps College, Claremont, California Smithsonian Institution, Washington, DC Southern Highland Craft Guild, Asheville, North Carolina Tweed Museum of Art, University of Minnesota, Duluth, Duluth, Minnesota University of Illinois at Urbana-Champaign, Champaign, Illinois Ventura County...

Optional Omniscience & Snake Got You, Diptych, 2019 by Alex Hodge Carved porcelain Overall size: Height: 10 in x Width: 19.5 in x Depth: 0.5 in Optional Omniscience: Height: 10 in x...

A gorgeous work by 20th century master American and renowned Minnesota studio potter/artist Warren MacKenzie. The three-footed tenmoku glazed bowl is signed/ stamped along the foot rim by MacKenzie and features a unique decorative pattern. The dark, rich glaze radiates in the light. This work would a great addition to any Warren Mackenzie or modern pottery/ ceramic collection or eye-catching stand-alone accent piece in about any setting. A student of both famed ceramic artists Bernard Leach and Shoji Hamada, Mackenzie is credited with bringing the functional Japanese Mingei tradition and craft to the United States and spreading it through his own art and teaching mentorship during his long tenure at the University of Minnesota. Along with being named a Regent’s Professor, and a fellow of the International Academy of Ceramics, the highly decorated and awarded MacKenzie was the first to receive the Minnesota Governor’s Award in Crafts in 1986. He later received the Lifetime Achievement Award from the Minnesota Crafts Council in 1997 and a year later he was honored with the Gold Medal from the American Crafts Council. His work can be found in numerous collections and museums including: The Metropolitan Museum of Art in New York The Smithsonian Institution in Washington, D.C. The National Folk Art Museum in Tokyo, Japan The Victoria and Albert Museum in London, England Contemporary American Crafts...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

We feel Mexican! Made with eco-friendly, washable, and resistant regenerated leather, the traditional Mexican Sombrero hat becomes a unique magazin...

Hodge poetic porcelain plates examine and reimagine the history of art in a way that values ​​women not only in body, but in wholeness, power, and love. Focusing on the narrative qua...

A very fine quality large Georgian toleware black japanned bread basket with floral and a bird design probably Pontypool, Wales and dating from aroun...

Original framed poster of famous Al G. Barnes Circus "Animal show circus".

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

One-of-a-kind gift for board games enthusiasts. The impressive elegance of this Dominoes set is as always in the details. The handcrafted leather box opens to reveal two storage a...

'Mis-Shapes' Contemporary irregular abstract shape hand-tufted Viscose wool rug A combination of neatness and abstraction. A fluid patterns and shades of primary colors from vibrant to pastel, just enough to make your room stand out, yet still homey and comfortable. Original designed by Rannisa Soraya from RAG Home Hand-tufted with mixed Methods and Colours. It can be customised in size, and composition upon request. RAG under this brand, lies a strong picturesque construct with solid contemporary HOME ornaments. a delicate kind of mix materials arranged in artistic motifs the vision pursued by establishment of high-end line with the highest quality. RAG will constantly focusing and innovating, monitoring craftsmanship behind the product. RAG provide a wider selection to your HOME ornaments. The design will be consisted of limited edition with higher build quality to deliver premium value in unique features. Proudly Made In Indonesia...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

Seven Colored rectangular rug with organic pattern designed by Verner Panton. Material: 100% New Zealand's Wool Hand-tufted Color: Orange.

Awesome American pine original paint Child's Cupboard finished in a stunning Georgian Blue with glass knobs. The back board on top of the piece can be removed upon request-- without ...

A very stylish Scottish studio pottery shallow dish decorated with abstract designs by Barbara Davidson and dating from the early 1970's. The small ro...

Embark on a journey through timeless allure with the Tattvam rug from the Gauri Khan collection. This modern masterpiece, hand-knotted with precision in rural India, unveils rustic c...

A contemporary hand knotted TULU (Turkish word for soft, cozy, high pile) rug made of fine hand-spun and hand-dyed lambswool. It is partly hand knotted (with pile) and partly flat-w...

Designed by A. Andreucci, the spectacular board of this dynamic Nelson Chess Set has been crafted in mirrored glass and polished black lacquered wood and measures 40 x 40 cm. Perfect...

A good and finely made studio pottery stoneware bottle vase of small size decorated with a repeat brush pattern of stylized insect like designs by Derek Clarkson...

A wonderful and hard to find vintage EGE Art Line Scandinavian (Denmark) Pablo Picasso rug based on his work "Woman With Guitar". This work was part of...

Aboriginal 'dot' pattern studio pottery bowl with gilded highlights - wheel thrown conical shape - hand painted design with mirror black glaze to the outer sides and background - sig...

The ideal gift for poker players or card collectors. A wooden box covered with a luxurious grained leather with hand stitched details. This travel set comes in a wide range of colors...

Unravel the tapestry of modern artistry with handknotted masterpiece, a harmonious fusion of unpolished yarn knots and rural Indian craftsmanship. Lost in translation between hand an...

A wonderful and unique work by famed American ceramic master Don Reitz who was known for his salt-fired works and the distinctive colors and forms he achiev...

Delightful studio pottery raku glazed figure of a resting pig dating from the 20th century. The hollow hand-crafted ceramic pig is simply detailed in a lying position with its head r...

A new collection joined the Pinetti family. Euclide with its geometric look is an elegant stool crafted with wood structure and entirely covered in recycled leather. This lovely sto...

A stylish English studio pottery bowl decorated in blue glazes with a trailing snake design by William Illesley (British, b.1948) and made at hi...

An impressive and well-carved high relief Heraldic Crest in dark stained wood. A pair of fierce rampant lions flank the oval crest with a few fleur-de-lis and labeled Veritas. With a...

From a very large Studio Pottery collection we offer this stunning vintage British Studio Pottery jug by renowned potter Sheila Casson and made in Ross-On-Wye and dating from the sec...

A stylish vintage British studio pottery stoneware vase of simple graduated rounded shape decorated in grey, pink and textured glazes by renowned potter Robin Welch...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

Pop art Niki de Saint Phalle double sided inflatable plastic Snake collectibles, France, 1999. Swimming pool toys for happiness. Never used, New out of the ...

A large and colorful Folk Art carved and painted Shop Sign in the form of a sky gazing gentleman with folded arms. Strongly carved, the face conveying a trustworthy and slightly whim...

A wonderful and original George III provincial painted oak games table, with a canted column and cruciform base. The table has its original painted finish, with painted blue and whi...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. In this casket you can keep small objects of value, born as the materialization (and unive...

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...

Our Tic Tac Toe is a beautiful, modern and fun take on the classic game. The three dimensional pieces are handmade in white resin with black marbled texture and the board is made of ...

An amazing and unique piece by renowned American pottery and ceramic master Paul Soldner who in the 1950s was Peter Voulkos' first student and who later became famed for developing the technique now known as "American Raku" - a practice of using low temperature salt firing...

A very fine quality studio porcelain vase decorated in satin lavender hares fur glazes signed ST and in the style of Berndt Friberg dating from the 20th century. The small sized tall...

Lucien Petit French unique handmade sculpture by the artiste Lucien Petit Famous french ceramic artist This piece realised in 2000 is a paper sculpture with mixed media O...

A very beautifully made and sculpted wood-turned weed vase by famed American (Mendocino, California) artist/ sculptor Doug Ayers. The natural, organic wood grain is quite spectacular...

Limited edition Fecit Etching, numbered 36/200. Artwork is framed, and depicts a village in neutral tones. Art dimensions (Without frame): 20" W x 31" H.

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

A small wall hanging quilt by master quilter Nina M. Groves known for her famous Quilt barn trail which had designs of them painted on over 1000 bar...

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(...

Embrace the essence of timeless elegance with a touch of unexpected charm. This hand-knotted rug embodies the perfect balance between classic design and modern innovation. Its undyed...

Incredibly true-to-life replica Harley Davidson motorcycle made of wicker. Designed by Tom Dixon for Habitat, the sculpture is crafted from wicker, rattan, and bamboo. The mechanics ...

A good rare Prattware pottery model of a baby's cradle. Decorated with orange and blue intersecting circles throughout the body and embellished ye...