Canvas Folk Art

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...

Hand-sewed rice straw art by ARKO. Title: Composition Rinforzando This is one of the series named "Composition XX" Her works have the feelings of...

Antique French painting from 18th century. Oil on canvas framework depicting landscape with hunting dogs with partridges of good pictorial quality. Painting of great measure and impa...

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...

Painting Cattle Carriage on an Alpine Lake, Oil on Canvas 19th century A lovely antique oil painting depicting a Tyrolian farmers family which loads their cattle heard onto a boat. The scene is located on an mountain lake in the Alpine landscape. Oil on canvas 1st half of the 19th century. Framed with vintage gilded frame, paint partly with craquelure. This painting will be a highlight in each rural decoration. Alpine oil painting...

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...

Ancient Italian painting from the first half of the 18th century. Oil on canvas framework, first canvas, depicting historical/biblical subject, King David brings the ark of the covenant to Jerusalem...

O'Henry Tent and Awning sideshow banner with original shipping tag. Unusual subject matter and fantastic story from the Salem witch trails to Spider Girl. ...

Six different hot rod auto related canvas tote carry bags. Hand painted here in Detroit. Image on one side only.

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...

Nice portrait of baby / young child dating from the end of the 19th century. Beautiful quality of execution; The face of the child is very fine and pleasant. The subject is well trea...

Antique oil painting farm girl on a flower meadow by M. E. Ummenhofer An impressive antique oil painting depicting a farm girl on a summerly flower ...

In this extraordinary painting, Pantjiya Nungurrayi celebrates, using a three-colour palette, the sites for which she holds ritual guardianship. In this instance, she portrays Ngutju...

Hand-sewed rice straw art by ARKO. Title: Composition Marcato D Red Shadow This is one of the series named "Composition XX" The works that is mixed natur...

This is signed and dated, "G. Rasmussen 41" and in amazing as found condition. The walnut frame is hand carved and appears to be the original frame that the painting was placed in. T...

Late 19th Century primitive oil on canvas portrait of a Clumber Spaniel "Dash" by E Daulby to Mr R Crickmore, no doubt a commission for a much loved faithful friend. Dated 1884 Some ...

Hand-sewed rice straw art by ARKO. Title: Composition Allargando This is one of the series named "Composition XX" Her works have the feelings of ...

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...

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 ...

English pond yacht re-rigged with original Union Jack flags

Large Belgian painting dated 1920. Oil on canvas framework, on the first canvas, depicting a portrait of a lady (Maria Erminia Segers 1855-1924) of excellent pictorial quality. Large...

Spanish painting from the mid 20th century. Acrylic artwork on canvas depicting still life, vase with flowers, of good pictorial quality. Frame from the second half of the 20th centu...

Wooden produce sign found in England, circa 1920s. Wood foundation is covered in strips of canvas which have been hand painted by unknown artist.

A mixed media of acrylic paint applied by hand with acrylic spray paint and alcohol ink on a wood framed canvas. Inspired by the great Graffiti artist of m...

Hand-sewed rice straw art by ARKO. Title: Composition Rubato This is one of the series named "Composition XX" Her works have the feelings of cont...

Huge late 1970s/ early 1980s French painted fairground / carnival / sideshow banner. Presumably part of an American themed ride or attraction, it's decorated with cool girls, makeup,...

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 ...

19th century silk embroidered and hand painted oil on canvas seascape by Thomas Willis (1850 - 1925), depicting a schooner-rigged racing yacht closely ha...

This large oil painting is like a mural. It is large and very graphic. It is Signed by Linda and dated 1979. It has to minor old tiny repairs. It has a nice clear coat of artist v...

A 1960s oil on canvas painting by French artist Pierre Coquet. This textured abstract features fluid, geometric motifs in burnt orange with brown accents. Signed ‘P. Coquet’ bottom r...

Honor the spirit of resilience and leadership with this striking Portrait of Red Cloud, one of the most influential leaders of the Oglala Lakota Sioux. Captured with masterful detail...

A fine French oil painting on canvas of a harbor scene, featuring a view of a sailboat and a picturesque town, signed M. Barle in bottom left facing corner, mounted in a rectangular painted wooden frame. Maurice Barle...

Hand-sewed rice straw art by ARKO. Title: Composition Sostenuto This is one of the series named "Composition XX" Her works have the feelings of c...

About Alexander Gore, The artist as an observer decided after many years of visiting non-western places of culture to put his memories to use on visible surfaces for people to see...

Wonderful papier peint painted in lean tempera on paper, applied on canvas, with carved wooden frame, painted with tempera and gold paste. The papier peint represents Venus as if she...

19th Century Empire Original Oil Painting of 2 women by window

This charming 19th-century American School folk art painting, titled "Baby," captures the innocence and vitality of a young horse with delightful naivety and artistic flair. Executed...

Unsigned Victorian Oil Painting, of a Water Fall The painting is in its original elaborate Gilt Frame, the painting is in good condition mild scuffing and...

Summerly Mountain Landscape with Hiker on Hiking Trail, 19th century. An antique oil painting depicting a hiker on an alpine hiking trail and a bridge over a mountrain stream. Painted on canvas with pastell colors. Framed with antique decorative gilded frame. Painted in the area of Tyrol or South Germany, late 19th century. A high quality antique oil painting which will highlight your alpine cabin wall decoration. Frame with minor defects. The Biedermeier period runs parallel to the Romantic period and both are characterized by similar features. Domesticity, closeness to nature, folksiness and need for harmony are buzzwords of this time. The focus is on the simple, the conservative and the tried and tested. There is little experimentation and more observation and enjoyment. The art style is kept very realistic and shows great similarity to photography. Domestic idyllic representations, beautiful landscape and impressive portraits are the most popular topics for oil paintings...

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.

Sébastien Jean was born on 17 March 1980 in Thomassin, Haiti. He passed away, far too young, on November 24, 2020. Self-taught painter and sculptor, encouraged by his mother, he be...

Large Modern Framed Artwork Decorative Painting Landscape LA CA Art Gallery . Wall Art Decorative Hand painted Oil on Canvas Falling Vessel sculpted hand crafted silvered Frame. "Fa...

Oil painting by Ib Geertsen, 1959 Additional Information: Style: Mid century, Scandinavian Dimensions (W x H): 51.5 x 66.5 cm Condition: Good vintage condition

Whimsical folk art painted suitcase or valise featuring a striped canvas covered exterior with a painted face by artist Ira Yeager (American 1938-2022). The case is covered with vintage western European ports of call with a lovely aged, distressed patina. The interior has a green intact silk lining with pockets. Used as a prop in Yeager's Gallery studio in Calistoga, CA. Made by US manufacturer...

Very early American circus or carnival Sideshow Banner, circa 1890-1900. Fantastic paint detail. Great example of American folk art banner painting. The Great American African Camel...

Presenting an enchanting oil painting by the Danish artist Jørgen Sejersen, made in between 1960-1980s. This particular artwork captures a peaceful scene, showcasing a young boy im...

19th Century chromolithograph of a sailor boy, circa 1880, a colored print on canvas view of a young American sailor boy sitting astride a bowsprit. A class...

This souvenir model of a late 18 Century Sailing Frigate was crafted in Spain, circa 1950 and sits on an integral wooden base decorated with a small plaque which reads “Fragata Espanola...

Beautiful 19th century, French oil on canvas.

This painting comes from the Jilamara Design art center and dates back to 2013. It is made with earth ochres bound with acrylic pigment. Cornelia is considered a great artist of the first generation from this region. A certificate of authenticity is included. Cornelia Tipuamantumirri was born in Pirlangimpi (Garden Point), Melville Island, around 1930. Her father's ancestral land is Imalu Point, Melville Island, and her mother's ancestral land is Munupi, Melville Island. Her skin group is Warntarringa (Sun) and her dream is Jarrikalani (Turtle). Tipuamantumirri lives and works in Pirlangimpi, where she is an initiated and respected Tiwi elder. Tipuamantumirri uses the kayimwagakimi, a traditional carved wooden painting comb with a single row of teeth. Using a palette of ochres in pinks, yellows, blacks, and browns, her work depicts significant aspects of Tiwi life and culture with repeated dotted lines referencing yirrinkiripwoja (body painting) and the tidal movements of the surrounding seas. Tipuamantumirri, who began painting in 2010, is also an experienced weaver. Key recent solo and group exhibitions: - Warnarringa - Jarrikalani: Sun - Turtle, Alcaston Gallery, Melbourne (2014) - Cornelia Tipuamantumirri - New Paintings, Alcaston Gallery, Melbourne (2013) - Purunguparri (Stringy Bark Hut), Alcaston Gallery, Melbourne (2011) - Ngawa Munupula/Ngawa Kiripapiranjuwi: New Paintings from Munupi Art on the Tiwi Islands, Outstation Gallery, Darwin (2015) - Cornelia Tipuamantumirri and Delores Tipuamantumirri: New Paintings, Martin Browne Contemporary, Sydney (2015) - We are Tiwi: Munupi Arts from Melville Island, Artitja Fine Art, Fremantle, WA (2014) - The Tiwi: Art from Jilamara & Munupi Art Centres, Kluge-Ruhe Aboriginal Art Collection, Virginia, USA (2014) - Nginingawila Munupi Jilamara: Our Paintings from Munupi, Marshall Arts, Adelaide (2013) - Kirilima + Jarrikalani - Jungle Fowl + Loggerhead Turtle...

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...

Very nice painting with a folk art feel by the artist, Horace M. Stone, Jr. (1919-1978). The piece was executed in 1956. Stone has depicted the brick facade of the main offices of th...

Americana Folk Outsider Art oil on canvas by African American Artist, John Jones, circa 1990s-early 2000s, USA. Signed painting depicts man pointing out his Auntie’s behind. Excelle...

Oil Painting with the motif of the coast, the sand dunes and the sea in the background in windy weather with a dark blue sky. In a gilded frame and signed by Poul Fureby. Measuremen...

Large Percisionist ModerN Oil Painting on Canvas by Canadian artist Allan Lorne Hecker,,Titled "A Calder walking to the park" Hand executed.. Great use of color, TEXTURE and space..

Moroccan orientalist oil on canvas painting of a 19th century Moroccan rug market scene with an sellers seating on a pile of carpet and two other men wearing traditional colorful robes standing and checking the goods. The background depict an old house with wooden mucharabie and Moorish arches. Contemporary French oil on canvas orientalist painting of a Moroccan market...

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 ...

Alfonso Caliendo Abstract "3 Women" Large Oil on Canvas Mid Century Modern Art. Signed to lower left corner and rear. Circa Late 20th Century. Measurements: 49.5" H x 49.5" W x 1.5" D.