Folk Art

Floral Echoes is a textured mix of colors and shapes that feel like petals, leaves, and landscapes woven together. Soft blues and greens resemble flowing rivers and lush fields, whi...

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...

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

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...

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...

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 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...

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...

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

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...

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

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...

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...

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 ...

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...

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...

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

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 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(...

This 20th-century Italian ceramic sculpture depicts Diana, the Roman goddess of the hunt, in an elegant and dynamic pose. Rendered in a glossy white glaze, the sculpture showcases Di...

Vintage Persian Micro Mosaic Chess Game Box. Intricately inlaid handcrafted Persian styled chess game board box. Handcrafted beautiful Middle Eastern Moorish style Khatam chess board covered with very delicate micro mosaic marquetry from the ancient Persian...

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...

Italian Faux marbleized wall-mounted console with a gilded lambs tongue egg and dart border, gilded scrolled acanthus legs, exterior and interior floral medallions, and resting on sc...

A fabulously hand carved antique neoclassical style Italian Carrara marble bust of Daphne. This bust is of immaculate quality and craftsmanship. Daphne's hair is beautifully hand car...

This fine ceramic butter churn or crock is in fine condition for its age. Its body is cream, with a fluted top. Two blue stripes decorate the body, all ...

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...

Neoclassical green painted and gilt armchair with caned seat. After a model by Jean-Joseph Chapuis. The front legs retain their brass casters, the rear legs are missing the casters.

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

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...

This is a unique Water color by the famed nautical painter C. Hjalmar Amundson. Born to the name Casper Hjalmar Emerson III, later changed to C. Hjalmar Amundson, he was only ever r...

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...

Pair of Italian neoclassical style painted demilune consoles with a centered floral medallion surrounded by a faux marbleized top, floral painted border and swag skirt, and terminat...

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...