Fabric Folk Art

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

Bijar rugs are often called the iron rugs of Persia. The Bijar is a heavy durable rug that has been very popular in the United States. Most Bijar carpets...

The Beni Mguild tribe is located in the mountainous region of the Moroccan Middle Atlas. Together with the Beni Ouarain, they represent the earliest Berber presence in that region as...

A rare and unusual Berber carpet from the Rehamna area, located in the plains near Marrakesh, distinguished by an orange background decorated uniquely by two vertical arrangements of conjoined diamond placed at the extreme sides of the field. What is quite unusual is the presence of three stars of David embellishing the center of the field, indicating that the carpet was possibly woven for a Moroccan Jewish...

Brage 28 Grader Diaz Edit Rug by HENZEL STUDIO Dimensions: W 200.66 x L 200.66 cm. Materials: Silk, Wool. Calle Henzel stands as a trailblazer in the realm of organic, free-form sha...

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...

Yeager Night Edit Rug by HENZEL STUDIO Dimensions: W 243.84 x L 299.72 cm. Materials: Silk. Calle Henzel stands as a trailblazer in the realm of organic, free-form shaped rugs, with...

Antique Kerman carpet, 12 x 18'10" This master crafted Persian Laver Kerman carpet exemplifies the profound understanding of the artistic principles of balance and harmony that ma...

Antique Turkish Oushak carpets made in the late 19th century are renowned for their exquisite craftsmanship, intricate designs, and stunning color palettes. These carpets were handwo...

Feathered Stars are beautifully combined with Oak leaves in this quilt from the 1860s. While the Stars are all identical, the maker took liberties with the Oak leaves. Most are the s...

Antique Serapi carpets are one of the most sought after rugs particularly in America and England for many years. Antique Serapi rugs are a major draw particularly in big city America...

This fine Ohio Amish quilt is in pristine condition and is made from polished cotton. The fine piecework of the postage stamp nine patch corners and geometric pattern surround. It is...

18th Century Trompe L'Oeil Oil painting, "Le Prisuer" Framed. See pic for details on piece written in french. Very handsome and fun piece for any unique space. Message us with ques...

This framed hooked rug or mat was done by the well known George Edouard Tremblay of Quebec Canada in approximately 1940 in his period Folk Art style. The rug or mat is done with wool...

This framed hooked rug or mat was done by the well known artist George Edouard Tremblay of Quebec Canada in approximately 1940 in his period Folk Art style. The rug or mat is done with wool on burlap which has been mounted on masonite board and framed in a rustic styled wooden frame. The rug depicts a winter woodland scene of a horse and sleigh and sugar shack...

Kastrup Closed On Sunday Night Edit Rug by HENZEL STUDIO Dimensions: W 139.7 x L 220.98 cm. Materials: Wool, Mohair & Silk. Calle Henzel stands as a trailblazer in the realm of orga...

19th Century (mid) Ruins in the Roman Forum. Beautiful oil painting on canvas. See detailed photos. Contact us for more information.

A Trio of Young Women Are Dancing in a meadow of colorful flowers - Vibrant Colored Hand Painting A framed oil painting on canvas panel by Self Taught Outsider Surrealist Folk Arti...

This vintage Navajo double saddle blanket, woven in the early 20th century (likely the 1920s), is a stunning example of traditional Navajo weavin...

Bakshaish is a town on the banks of the Talke Rud River in the Heriz region of Northwest Persia. Situated in the mountainous region 60 miles east of the large city of Tabriz, Bakshai...

Patriotic British Coronation Dominions Flag British Royal Family The flag represents the British Empire and the unity between the UK and its dominions during the coronation of King ...

This is a fine piecevof Kente Textile from the Ewe people of the Volta region of Ghana. Woven from handspun cotton and natural dyes. This is a prestige cloth worn by a high ranking Elder of the Ewe people. The pattern denotes the individuals high status within the community with the dark blue background indicating the wisdom and knowledge of the owner. This piece will date from the 1930's and is in very fine condition. Ewe Kente...

Fabous authentic 1960s vintage Moroccan tribal African rug.Handwoven by Berber women in Morocco using organic wo and vegetable dyes. Very nice earth tone cors with dark royal blue.So...

Engelholm Nobu Edit Rug by HENZEL STUDIO Dimensions: W 170.18 x L 238.76 cm. Materials: Silk, Wool. Calle Henzel stands as a trailblazer in the realm of organic, free-form shaped ru...

"Residing in the Democratic Republic of Congo, the Kuba people are true artisans whose craftsmanship fueled traditional rituals, performances, and storytelling. Natural materials, in...

Large handwoven vintage Moroccan Berber Tribal kilim. This very large blanket was handwoven by the Berber women for their own use. Handcrafted folk art textiles from the Middle Atlas Berber tribes in Morocco with traditional stripes designs. Could be used as a floor covering, on a sofa or bed, or for upholstery. Great Moroccan vintage organic textile to add the Ethnic accent to any style of décor. Well-suited for a wide range of interior styles: Century Modern, Urban, and Loft interiors. Midcentury organic vintage handwoven textile...

Schoolhouse is one of the most iconic of American quilt patterns. This lovely example has each Schoolhouse set in a vivid red frame with x's at the intersections between the blocks. ...

A large 19th century oil on canvas landscape oil painting. c.1852 Singed by the artist to the bottom left - T Creswick RA (1811-1869), inducted into the Royal Academy as a full me...

Nazca Tunic/Poncho of stepped design and fringe in yellow ocher, burgundy and brown. Perfect condition, museum quality.

Sand Atlas – Beige and Taupe Hand-Knotted Wool Rug, Rectangular 300 by Mohebban Dimensions: W 300 x L 220 cm Materials: Wool. The Atlas rug collection is the story of an eternal and...

Mishapes is a fluid exploration of form and intuition where shapes appear to melt, collide, and settle into each other with quiet confidence. This rug embraces asymmetry and softness...

Life-sized, mohair Steiff Elk, probably from the 1960s. Steiff referred to these life-size stuffed creatures as, “studio animals” and were very expensive when new. As I child, we wou...

Solid black triangles abutting strips of lighter material, both solid and printed, make for a striking pattern in this Roman Stripe quilt. The solid black blocks make for a strong di...

Mid-20th century Tribal Zulu women's woven red cotton hat, Isicholo, from South Africa This woman's cotton Isicholo hat is a beautiful example of the hats worn during special ceremo...

A large brightly colored fabric appliqué collage tapestry of a bird with fish in its mouth. This dramatic fabric piece features carefully cut geometri...

Swedish Mid-Century Kilim with a beige base and pale blue boarder. With a scolloped inner border in tones of blue, gree and orange. Professionally cleaned. Sweden circa 1960. L 252cm...

Vintage American hand hooked rug was handcrafted in the early 1900s in the New England Area of the United States. It has a floral pattern with flowers in brilliant vintage colors including ivory, green, blue, and red. The Antique Hooked Rugs are a combination of Folk Art Creativity and Simplicity. When it comes to true simplicity and artistic creativity Antique Hooked Rugs have some of the best representations. The tradition of Hooked Rug started in New England. “Hooking” is the term used to describe the technique of hand crafting these rugs started as a hobby for the farmers in the long and dark cold winter nights of North East States in the US in the early 1800s. Hooked rugs were made as functional pieces for the home either as a table decoration or a wall art. Antique Hooked Rugs are a combination of Folk Art Creativity and Simplicity. When it comes to true simplicity and artistic creativity Antique Hooked Rugs have some of the best representations. Dimensions: 3’ x 4’ 9” Date of Manufacture: Early 1900s Place of Origin: America Material: Rag wool and cotton pile on a burlap foundation Condition: Wear consistent with age and use American Hooked Rugs, Vintage Hooked Rugs, Early American Hooked Rugs, American Rag Rugs, Antique Rug, Antique Rugs, Antique Carpets, Vintage Carpets, Handwoven Rugs, Vintage Artisan Rugs, Antique Handmade Rugs, Sustainability, Vintage Distressed Rugs, Allover Design Rug, Mid Century Modern Rugs, Vintage Rag Rugs, Vintage Wool Rag Rugs...

Silver Hoganas Frozen Cut Rug by HENZEL STUDIO Dimensions: W 139.7 x L 220.98 cm. Materials: Silk. Calle Henzel stands as a trailblazer in the realm of organic, free-form shaped rug...

Cantaloup & Taupe Antique Haji Jalili Tabriz Rug Mat About: Very fine piece with iconic design from the workshop of one of the most famous weavers of all time, Haji Jalili Size: 2...

American abstract oil painting featuring pastel ombre color washes on textured canvas in a wooden frame. (\"Untitled\" Apollo Series, 1...

Elephants are often associated with political power in the highly stratified kingdoms of the Cameroon grasslands. Because imported beads were historically rare and costly, beadwork i...

Red Jane Rug by HARTO Dimensions: W 183 x D 1.5 x H 223 cm. Materials: 100% pure New Zealand wool hand tufted. Weight: 15.3 kg Jane is a large rug measuring 183 x 223 cm, generous ...

Blue Terracotta Inès Rug by HARTO Dimensions: W 170 x D 1.5 x H 240 cm. Materials: 100% pure New Zealand wool hand tufted. Weight: 15.0 kg Ultra cont...

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...

Rare Antique Woman's Silk Ceremonial Headscarf (Kiet), Cambodia This traditional head cloth or veil was made by the Cham people of Cambodia, a Muslim group with historic ties to Mal...

This 8' x 10' hand-knotted wool rug from Jaipur Rugs features a luxurious blend of dark ivory and medium caramel tones, creating a warm, sophisticated look. Its timeless geometric pa...

19th Century Pair of Iroquois Moccasins, New York or Ontario, mid to late 19th Century, a worn pair of moccasins with suede bodies, blue trade cloth tops with red trade cloth border,...

19th century Blue & white Irish chain quilt with fine quilting.This quilt is in great condition.

West Anatolia is one of the largest weaving regions in Turkey. Since the 15th century, Turkish rugs have always been on top of the list for having fine oriental rugs. Oushak rugs su...

Swasti Plush Wool Apricot Boteh Design Vintage Runner About: This is a fantastic piece with an iconic boteh design and filled with random animal motifs that are signs of protection....

Modernist Textile Flat Weave Rug signed Valja ,Wonderful hues of blues, grays taupes. Fit seamlessly into any environment.

Ancient nomadic belts, covered with embroidery and ancient coins. Purchased by a young oriental man in a European market. they can also be used as blinds for curtains. nr. 1 - cm. 5...

Original hand-painted canvas sideshow banner for carnival midway sideshow entrance. Not signed but most likely out of Chicago Tent and Awning's banner ...

Very large New York bus destination sign. Unusual in red. Very graphic. Bottom of roll was date stamped 1951. 7 1/2 feet tall.

Nothing could be more of the moment than this patriotic flag quilt depicting Old Glory. It was most likely made either for the admission of Arizona into st...

Magnificent Antique Blooming Sarouk in Coral, Berry, & Blue in Rare size Size: 6.2 x 9.1 Age: Antique, C. 1930's Pile: Low pile with character-rich patina throughout. One area I...

This is a classic Log Cabin Barnraising quilt in traditionally Pennsylvania colors. The use of lights and darks gives tremendous depth to the pattern. A note attached to the back re...

Coutinho Trasher Night Edit Rug by HENZEL STUDIO Dimensions: W 139.7 x L 220.98 cm. Materials: Wool, Mohair & Silk. Calle Henzel stands as a trailblazer in the realm of organic, fre...

This is a Central Asian Old Tekke Bukhara Turkmen Carpet from the Turkmenistan Bukhara region with a rare and beautiful color composition, high-quality materials like; wool & dyes. ...

Native American Navajo Indian single Yei rug weaving. In great original condition. Portrays single yei figure in center with feathered arrow designs going up either side. On top and ...