Folk Art

Large Moroccan glazed royal blue ceramic urn with lid from Fez. Vintage Moorish style ceramic handcrafted and hand painted with Arabic calligraphy wr...

Moroccan glazed polychrome ceramic tureen with cover. Hand painted ceramic Jubbana, handcrafted by skilled Moroccan artisans in Fez Morocco. Moorish desi...

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...

Large pair of Moroccan glazed polychrome ceramic water jug with handle. Hand painted ceramic handcrafted by skilled Moroccan artisans in Fez Morocco...

A vintage Turkish Sparta rug that has been overdyed teal with hand-knotted raised piles to form the 'pseudo' medallion, spandrels, and border of this modern folk piece.

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery artist...

Beautiful resin egg with clock parts inside, remind us to some the resin Oierre Giraudon , the resin is coloring with age.

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...

Gorgeous Erre Paris silk scarf in mint pristine condition. Erre Foulards 100% Silk Square 34" x 34” Scarf. Designed by Terry Pheto and Princess Charlene of Monaco. Great gift 100 ...

Enchant your living space with the allure of this stunning hand tufted rug from our Mythos collection, it's a masterpiece that seamlessly blends intricate design with an exotic color...

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 Palatial Persian Nain hand-knotted wool and silk Pile area rug. The very large and impressive vibrant and colorful medallion carpet with red-burgundy, ivory-beige, blue-Celeste and...

Contemporary art piece using spray paint and acrylic dots on paper. Signed KALM.

Stunning futuristic android bust by W. Beaupre. Bust is embellished with intricate gold chain, pearls and vintage jewelry findings. The atte...

Antique Qajar Middle Eastern Islamic tile plaque. Asian Moorish glazed ceramic tile depicting an outdoor scene with musician and women serving food and da...

Misshapes Dune Form explores the beauty of unstructured design through an organic, free-form silhouette inspired by nature’s slow transformations. This sculptural rug blends soft des...

Mirror with decor and brass frame. A Classic Renaissance monofora is the form that inspired the two mirrors. The arc is defined by brass profile rounded at the bottom, just like on a...

Step into a world of understated elegance with this exquisite rug from our Shudd collection, a testament to the beauty found in simplicity. The design of this hand tufted rug strikes...

Decorative coral sculpture. The coral is from the 1970s and has a beautiful light colored green shade. Medium size coral sculpture.

1990s Michael Graves Chess and Checkers Postmodern Set Maplewood Modern Board. Item features a maplewood board with black and white resin chess pieces, ...

19th century Middle Eastern traditional Arabian tinned copper and brass Dallah coffee pot. Coffee pot hand-hammered and chased copper with riveted brass...

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.

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...

This a wonderful driftwood sculpture or assemblage by Marc Bourlier originally purchased at Galerie Beatrice Soulier in Paris when the gallery had their exhibition 'Small de Marc Bou...

Vintage Moroccan glazed polychrome ceramic jar tureen with cover. Hand painted ceramic Jubbana, handcrafted by skilled Moroccan artisans in Fez Morocco. Mo...

"Space bar" by WAS Airplane trolley turned into an unique Artwork The trolley has been customized by the french artist WAS transforming it into a work...

Large Moroccan glazed ceramic vase from Fez. Moorish Granada style ceramic handcrafted and hand painted with Arabic calligraphy writing. This kind of art writing looks calligraphic i...

French landscape by Bernard Labbe (French mid 20th century), stamped verso original watercolor/gouache painting on paper overall size: 13 x 19.75 inches condition: very good and...

Painting of a Gypsy, Bohemian woman drawing the cards. Representation of a Cartomancer and Fortune Teller. Oil on canvas. Very well represented. fine and pleasant features. Delicate work. Signed lower right by M. Callewaert circa 1940 Maurice CALLEWAERT is a Belgian artist born in Belgium in 1900 and died in France in Paris in 1986. Belgian painter from West Flanders...

A large hand-carved stone coin from Indonesia, round center. Smooth finish in flat white. Mounted on a 18" x 8" black metal stand.

Wall Painting “Blue Rose” Stay by Malerba The “Blue Rose” wall painting from the Stay collection by Malerba is an elegant decorative accessory suitable for the living room, ...

Wall Painting “Red Rose” Stay by Malerba The “Red Rose” wall painting from the Stay collection by Malerba is an elegant decorative accessory...

Black bear paw by Georges Jouve, signed, 1960's

Blue landscape by Bernard Labbe (French mid 20th century), stamped verso original oil painting on paper overall size: 14 75 x 22 inches condition: very good and ready to be enjo...

A rare and unusual Moroccan rug woven in the hooked technique using recycled industrial fibres on a plastic foundation. The directional character of the abstract pattern, which seem ...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 1 m, width 70 cm, depth 1 cm. Albert Chubac was born in Geneva in 1920. After studying decorative art, then at the Beaux-Arts in Geneva, he obtained grants to travel to Italy, Algeria, Spain, Egypt and Greece, stages which will mark his work. He settled in 1964 on the Côte d ‘Azur in Aspremont in a very Spartan house, attracted by the light, the sun and the colors of nature. The year 1967 is the year of the establishment of the School of Nice. He will work and exhibit alongside Aman, César, Tinguely, Gilli, Ben, Rayse, etc ... In 1990, it was the consecration with the opening of MAMAC in Nice. Albert Chubac then becomes accessible to the general public. He will use solid primary colors, will develop modifiable structures and then develop the collages in three dimensions. Gradually, he broke away from his classical training and figuration to move towards abstraction through the encounters and influences of contemporary artists. Always in search of simplicity, He will radically limit the plastic means with a reduced palette, geometric shapes and simple gestures to concentrate on minimum conditions of possibility. His work, which lies between constructivism and geometric abstraction, is playful and imbued with the artist's joie de vivre. In 2004, following the major retrospective at the Museum of Modern and Contemporary Art in Nice, he donated around one hundred works to the City of Nice. Albert Chubac died in 2008 in Tourrette-Levens, near Aspremont. Bibliography: - Albert Chubac, MAMAC Nice, Cultures Nice Editions, 2004. - Albert Chubac: exhibition, Nice, Museum of Modern and Contemporary Art, January 29 - May 16, 2004. - Albert Chubac, Galerie Harter, 2013. - Albert Chubac, a lifetime of artist, Patrick Boussu and Cynthia Lemesle, South Art éditions, 2021. During the workshop auctions in Nice and Marseille, the Harter Gallery acquired the largest part of his work. Personal exhibitions: - 1950: Personal exhibition in Athens at the Zappéion museum. - 1954: Exhibition at the Arman Gallery in Geneva. - 1956: Exhibition at the Galerie Connaître in Geneva. - 1957: Exhibition at the Galerie La Palette in Zurich. - 1958: Exhibition at the Galerie L’Entracte in Lausanne. - 1960: Exhibition at the World House Gallery in New York. - 1967: Exhibition at the Galerie Loo in Geneva, at the Salon Comparaison in Paris, Aspects in Chexbres in Switzerland. - 1968: “Paintings” exhibitions from March 30 to May 11 at the Galerie Alexandre de la Salle...

Scandinavian modern sculpture of a bird in metal and copper, wooden base

Tuba Player by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on paper board, unframed size: 10.5 x 7.25 inches condition: very good and ready to ...

Wacky Interior Scene by Bernard Labbe (French mid 20th century) original watercolour/ gouache painting on paper board, unframed size: 10 x 8.75 inches condition: very good and re...

Artforms: An Introduction to the Visual Arts Duane and Sarah Preble Softcover Book. 5th Edition 1994. Publisher: Harpercollins College Div, 1994. For Art Appreciation, Art for Non...

The Backgammon Board is a handmade limited collection (100 pieces) designed by the young Milan based Valeria Molinari for Dilmos Edizioni. The project, composed of four boards inspir...

My uncle Bob was a country lawyer in rural Alabama and Moses Tolliver was one of his friends and clients. The pair of original paintings you see here were given to my uncle by Mr. Tolliver in exchange for legal services in the 1980s. Both the human figure and the snake were painted on scrap wood paneling and each has an aluminum beer pull-tab on the back for hanging. The works have been framed so the pull tab is not visible; if you prefer, simply remove the frames and both pieces will be as created. The snake painting...

A wonderfully crafted and beautifully glazed framed pottery fragment by famed American/California ceramicist Beatrice Wood featuring her highly coveted, often experimental, gorgeous ...

French faux painted and gilt marbleized console with two hinged flanking doors, fleur-de-lee & figural faces, single fitted interior shelf, and ter...

Vintage 1958 Jos. Schiltz Large 73" Lighted Brewing Beer Advertisement Bar Sign. Item features a large impressive size, fluorescent lighted bulb interior, wonderful color, original l...

6ft wood Thai dancer statue Thai deity with mirrored accents throughout. Deity is holding a staff, with arm outstretched. Statue is hand carved.

1970s Piaget lady gold watch, with the face watch in Jade, with original watch strap in alligator signed by Piaget. In excellent condition, it works p...

Ever wondered what a dance looks like frozen in time, captured on the floor? Look no further than this captivating hand-knotted rug, inspired by the sinuous movements of the hula dan...

A stunning and rare artist proof (42/50) by renowned artist Yankel Ginzburg, this acrylic lucite mezuzah is a mesmerizing fusion of tradition and contemporary artistry. The sculptura...

Corps Céleste III unique sculpture by Awaré Dimensions: L 35 x H 54cm Materials: Plane tree, naturel dyed silk, pigment, oxidation Awaré is the meeting of the sculptor Jérôme Pereira and the artist Sylvia Eustache...

A truly wonderful design piece, and one of my favorite, is this Japanese hand-built wood fired twin handled studio pottery vase of sculptural form by Hajimo Kato (b.1947) dating from...

Wimbledon-Furniture Wimbledon-Furniture is delighted to offer for sale this vintage Masonic Lodge rotating wood sign with brass candle holders A g...

Eight colored rug with organic circle pattern designed by Verner Panton. Material: 100% New Zealand wool Hand tufted Color: Tone-in-tone dark yellow.

Baoulé portrait mask, carved wood, lacquer and pigments, circa 1940, Africa. Height 29 cm, width 17 cm, depth 14 cm.

Helmet sculpture with free stand in metal and aluminium Arai helmet , Japanese manufature, One of the most distinctive features of an Arai helmet is the comfort it offers. How comfor...

Introducing this luxurious wool rug from our Decade collection that blends sophistication and comfort in a stunning curvy embossed pattern. The curvy embossed pattern takes center st...

Middle Eastern traditional Arabian brass Dallah coffee pot. Islamic Arabian Coffee pot hand-hammered and chased Moorish brass with riveted brass finish an...

Bubble Grid is a bold experiment in structure and play. The rug features an interlocking pattern of ladder like forms in sea foam blue and olive green, connected by soft circular dot...