Canvas Folk Art

Harald Pryn: A winter landscape. Signed Harald Pryn Skovbrynet. Oil on canvas. Denmark

SHAWL Print on canvas. Frame in matte wood with black finishing.

INCREDIBLE. I use that word to describe only the befitting, and this piece truly is. Currently a piece in our personal collection, this female mannequin style bust on stand was pur...

Fabulous French abstract lion painting found at an antique fair in the South of France. Great color palette of blues, greens and oranges creating this s...

Tall maritime painting of two sailboats out to sea. Sails appear to be down, with white birds settling into the foreground. In the background, a lovely sunset gives the piece a warm ...

Karl Jensen: View from a thatched farmhouse. Signed and dated K. J. 1910. Oil on canvas. The Old Homested was painted by Karl Jensen who was born in De...

SHAWL Print on canvas. Frame in matte wood with black finishing.

Beautiful model sailboat or yacht created from wood, brass, and canvas. The body is painted in a deep blue at the bottom with white edges. A brass propeller sits underneath. All on a...

Vintage Orientalist oil on canvas portrait of a young girl, painting depicting an orientalist girl dressed in traditional garments. Meticulous atte...

Lynn Basa encaustic black and white stripe panel "Doppleganger" (signed and dated) 2013. Oil / beeswax on panel. This is part of our extensive collection ...

Superb Ammi Phillips American Folk Art Portrait painting, circa 1840 We are proud of our acquisition of this authentic masterpiece by Ammi Phillips (1788-1865). The finely rendered portrait depicts an attractive young girl in a delightful lifelike quality. The pretty face is a refreshing change from the stern expressions of most of the paintings showing mature female or male sitters. Phillips palette is dark with a strikingly dramatic use of light to her face. The painting, on its original stretchers, is in untouched condition. The frame is period. This painting is unsigned, as are most of his works, but bares the unmistakable characteristics of a Phillips painting. Portrait of a young girl holding a book and wearing a golden whistle. From the New England estate of the renowned Folk Art Collector and scholar, John Bauer...

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...

Signed oil painting of boots & glasses oil on canvas. Unframed and in pristine condition. Signed by Mary Juno.

PAPIER Lilac Print with white passe-partout and frame in gold finishing.

An antique oil painting depicting the holy Mother with Child named the Miraculous Image of Insbruck. Oil on canvas with pastell colors. Painted after a painting of Lucas Cranach whic...

Carta della luna is an exact reproduction of the surface of the Moon. It is a four-colour silkscreen print on black bookbinding canvas and the result is an elegant combination of sil...

Christian Zacho: A summer landscape. Signed and dated Chr. Zacho 30. juni 1869. Oil on canvas. Measures: 40.5 × 63.5 cm.

E. C. Ulnitz: pink roses. Signed and dated E. C. Ulnitz 1930. Oil on canvas. Measures: 27 × 21 cm. Europe, Denmark.

A great angelic oil painting depicting an angel sheltering a sleeping child from a snake. Oil painting on canvas with vigorous pastel colors. Framed wit...

Ttitle: Jilamara (Body Painting Design) Artist: Josephine Burak (1977-) Date: 2006 MediumL Acrylic on Canvas Size: 19.75"w X 29.5"h Provenance: Munupi Arts & Crafts, Melville Island, Northern...

Folk Art Still Life, 'Flowers and Chinese Export Porcelain', early 20th century. Oil on canvas with original lacquered frame. A charming painting of cut flowers with antique Chinese ...

These Interactive art pieces are part of a series of 6 pieces, each one being one of a kind. Much like the card collecting of our youth, the compositio...

SHAWL Print on canvas. Frame in matte wood with black finishing.

Fabulous early painting by listed Italian artist Sergio Sarri, Man and Horse, circa 1961 found in its original gilt silver and gold burnish wood frame. St...

Early example of American sideshow banner art. Painted at the Sunshine Studio in Witchita, Kansas by Geo Bellis. Signed by artist on front and studio name on front and back. This ban...

A large stunning painting from the legendary Amazonian artist Moacir Andrade "A Lenda Do Pacu" (The legend of the Pacu) Acrylic on canvas depicting a central Pacu which is a lar...

XVII century Mexican Painting by Arellano. "EL BENERABLE SIERVO D DIOS Fray Antonio de S. Pedro de la Sagrada Religion N. S. de la Merced" Signed: Arellano fecit

Handsome set of four Ndebele Mapoto beaded aprons from South Africa. They are canvas backed and in awesome condition. We have not detected any loose beads...

Poul Steffensen: Landscape with mottled cows. Signed Poul Steffensen. Oil on canvas, circa 1910, Denmark. Measures: 65 × 103 cm. It is not surprise ...

A wonderful and charming early 20th century American bush plane model constructed with painted canvas stretched over a wooden skeleton, and mounted on a custom steel mount.

Painting. Acrylic on canvas by Gerard Economos (French,1935-) Gerard Economos is known for his passionate, intensely colored abstract compositions and large acrylic paintings that have been performed live in front of audiences in 12 countries. Economos has had over 88 events over the last 57 years and his work is now in collections in over 34 countries. He started Live Performances with the Greek avante-garde composer and architect, Iannis Xenakis during a Sound Festival; Subsequently he developed the "Une Musique a Voir" (A music to see) concept. 'La Cuisine aux Fleurs' (Cooking with Flowers) was a series of paintings initiated at the request of the renowned French Chef, Raymond Oliver in 1975 who wished to have his recipes illustrated. They have been rarely shown in public. For an illustrated 15 page biography of Economos please contact Thomas Gallery Ltd...

F. C. Kiærschou, “En sommerdag ved Sorgenfri” "A summerday by Sorgenfri", Denmark, Signed CK. A Summer Day is a superb landscape in the manner of the Danish Golden Age of Light ar...

Painting of panther made on canvas, painting made with marble dust and oil. Mixte technical by painter Carole Ivoy.

Harald Pryn: Spring day in the forest. Signed Harald Pryn. Oil on canvas. Denmark.

Ttitle: Jilamara (Body Paint Design) Artist: Sheila Puruntatameri (1971-) Date: 2006 Medium: Acrylic on Canvas Size: 15.8" x 23.6" (40cm x 60cm) Proven...

Johannes Boesen: Sunny day at the park with children playing. Signed and dated J. Boesen 188? Oil on canvas. This painting of two children playing by a lake is by Johannesburg Boese...

A late 18th century oil on canvas depicting a bull baiting scene In England during the time of Queen Anne, bull-baiting was practised in London at Hoc...

Original untitled hard edge abstract painting by Billy Criswell, circa 2004. Executed in paint and pencil on a wood framed canvas with artists signature on back. Purchased directly f...

Modern Abstract Art Oil on Canvas/ Board Painting of Still Life Vegetable. The art is signed as S Justin- difficult to read. Dimensions: 12"w x 16" Original Aged Condition. Refer ...

This is not a simple beautiful embroidered susani: it's a museum specimen. This ancient piece was embroidered in the surroundings of the ancient central city of Bokhara, on the Sil...

Early 19th century oil portrait of a handsome young man An original painting of a young man wearing his best suit of clothes. Original oil on ...

This fine Folk Art painting of a girl holding wheat in a field painted on board. It is unsigned and on board newly framed. The condition is very good.

Presenting a glorious piece of original Dutch art, namely, a scene of Dutch ice skating oil on canvas by Van Buiksloot. J. Van Buiksloot was a Dut...

This pair of oil paintings on canvas are done by the well known portrait and landscape Russian artist, Vera Alabaster in circa 1940 in a Folk Art style. The paintings depict a Jamaic...

This is a very unusual 19th century Irish petite point framed sampler. The piece shows a background of gradating tones of navy to cream in flame stitc...

This painting is dated on the stretcher frame 1940 and the large over sized dog is a pointer or know as a bird dog. The birds are quail. This painting is amazing and very well done. ...

A wonderful 16th century fresco of a very young Saint John the Baptist retrieved then transferred to canvas. Stunning wear and patina, very soft...

An original oil on canvas by the renowned artist Peter Howson OBE. The painting is entitled 'Towards Heaven' and was painted in 2000, signed lower right. Peter Howson OBE, was born ...

19th century painting representing a part of Jacob Jordaens' Allegory of Abundance, 1623.The original is at the Royal Museums of Fine Arts of Belgium, B...

Large 60" x 48" modern abstract oil on canvas painting. "Morning Glory" by Peter Caruso, NYC Artist. Amazing use of color, texture, space, very cool 1970s vibe. Would enhance any mod...

Far from referring to the gothic, or melancholic aspect that fascinates some people in these anatomical model, Dominique Yee (b. 1960), a Flemish painter with Chinese roots, has capt...

Desensitized Fritz Proctor is an American Painter from Niagara Falls, New York. Fritz acquired his BA in Studio Art from the University of Buffalo. H...

Signed Norman Rockwell Style Painting of Golfers by Victor Olsen. Possibly of the famous Golfer Sam Snead and company, Unframed. Victor Olson (1924-2007)...

Abstract mixed-media work by artist Purvis Young. Folk Art portraying bleeding and pregnant figures in a crowd, policemen on horseback and large blue eyes. Young used eyes as symbols...

A fine 19th century oil on canvas figurative painting. Signed, artist unknown. Country of origin unknown, we acquired this beautiful work of art in France. Stunning details. The pa...

We are proud to offer an exquisite early 20th century French hand lettering trade sign. This is truly a unique piece of trade sign retail art in our opi...

A personal favorite! 15 1/2 feet tall. American "Wondercade" sideshow banner. Painted and signed by J. Sigler. One of the great American sideshow banner artists. Death defying! This ...

Painted black with a red saddle, glass eyes and hairm. Missing one of its stirrups, the stirrup is carved from wood and is hanging from its original thick canvas. The ears which were...