Paint Folk Art

Tribal African Igbo Agbogo mwo mask This African Igbo mask, known as a "young girl", is decorated with a tangle of thick braids and fulfils the mos...

Immerse yourself in the timeless beauty of the Gilt Wood Framed Still Life Flowers & Fruit Oil on Canvas Painting by Christo Charpides (Gre...

American polished steel sky light binnacle with rope carved base, Philadelphia, New Orleans, Norfolk VA. Late 19th century. Binnacle has been electrified fo...

20th century framed block print.

Set of Eight American black lacquered and gilt fancy chairs with painted bird, floral, and shell motif. Two arms and six sides. Chairs have cane seats with...

Folk art patriotic shield painting of John Adams, dating to around 1876 and of a large size measuring 41" x 34.5". It is an oil on canvas laid down to boards. There is writing on the back of the boards, but I cannot make out what it says. There is another similar piece to this that features another signer of the constitution in the Smithsonian collection. This piece came from a collection in Portsmouth...

"The Adoration of the Magi"oil on wooden panels painting depicting a religious scene.

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 Vintage Reflective Road Sign depicts a black bicycle with a yellow background. Once used as a street sign to inform motorist of bicyclists in the area, this sign presents great ...

Early 20th century Folk Art whirligig figure We are proud to offer a true example of an early 20th century whirligig figure. Hand carved from scrat...

Interesting fanciful folk art village painting. American, 19th century. Original frame. H 18" W 24" Frame H 21-3/4" W 28". Inspected under UV light. No restoration noted.

This offer is for a collection of eighteen Swedish Dala horses by Nils Olsson. These are hand carved painted wood. The largest one is approximate 16...

William Pitt (active 1853-1890) was born at the end of the Georgian period, the exact dates of his birth and death are not known. He worked mainly in Birmingham and is known for his ...

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...

Very large mid-20th century Contemporary modern gilt wood frame hanging wall serigraph. The serigraph is in great condition. Pencil signature and number on the lower left hand corner...

American Country (20th Century) carved and painted double sided rocking horse.

Whimsical outsider, Folk Art oil painting by William R. Straly, excellent use of color. Texture and space.

Military painting, circa 1866 We are proud to offer a wonderful example of a mid-19th century German gouache folk art military painting. This exampl...

A petite hand-thrown drip ceramic bowl in blue and brown. This piece is small and perfect for use as a trinket dish for change or keys. The vessel is round in form, and features drip...

19thc oil painting on Board Wagon Train on Dusty Trail. Great Scenery of the difficulties of a life left in the past when manual labor and travel was based...

With a wood coloured base this signboard (crafted entirely from wood) highlights 3 large gold coloured Chinese Characters. The signboard dates to the Mid-20th Century and has aged be...

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

Beautifully executed pastel of a Sponge Diver in amazing colors. Signed lower right corner Americo Di Franza is the artist. In excellent condition.

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

This one of a kind original artwork is a lovely oil painting of a seaport in Marseille, France in the 1800s. It is painted on a piece of wood and has no frame. The texture is very un...

A vintage Boho original oil painting on board. A chic composition of a male nude in beautiful shades of green. Framed in a brilliant gilt wood frame. Acquired from a Palm Beach estate.

This colorful fortune wheel alebrije is made by Agustín Cruz Tinoco in Oaxaca Mexico. “I came up with the idea as a toy for children,” says Mexican master wood carver Agustin Cruz ...

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.

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...

A charming handmade storage piece in the form of a house with two chimneys. Executed in the American Folk Art style, this is a charming piece that is both decorative and practical. T...

A framed portrait painting of a man in the nude on wood. With wonderful texture, and muted greens, beiges, and browns, this painting will be a...

Umbrella storage doesn't have to be fussy. But it should be pretty. This bamboo umbrella stand is a fabulous way to store umbrellas and shoes without ...

Awesome American pine original paint Child's Cupboard finished in a stunning Georgian Blue with glass knobs. The back board on top of the piece can be removed upon request-- without ...

American Folk Art carved wood and painted ship officer on watch standing on a two tiered squared plinth with a brass and galvanized ship lantern hanging from wrist. Late 19th Century.

Jeka Kemp (Scottish,1876–1966) "No 6 Fleurs", Still Life depicting orange lilies, blue, purple and white flowers in a yellow pitcher, sitting atop a table with fabric draped in the ...

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...

A beautiful unique Indian motif box with a lid. This piece would be fantastic for storing cigars, tv remotes, or miscellaneous items on a dresser or coffee table. The top of the box ...

A unique original portrait painting of a dog named “Ike” by the late Oklahoma artist Clair Seglem. The artist captures this dog of Patricia Goetzinger ...

Oversized vintage cheeseburger pop art in fiberglass. Likely used as a store display. Hand made in fiberglass and hand painted with great detail. ...

You are viewing a wonderful Duch still life oil painting A vivid floral spray in a vase that would brighten up any room or interior Comes in elegant gilt frame Good size at almost fo...

English Royal navy leather gun charge carrier with a centered coat of arms depicting lion and unicorn and the original tacked leather handle, Mid-19th...

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..

Original Oil Painting of Girl by Harry Roseland. Painting is in excellent shape for its age. Harry Roseland was a New York painter who lived from 1866 to 1957. Known for his cand...

Pair of English Regency serpentine splat back hand painted arm chairs with floral ribbon, swags, tassels, and medallion motif. Pair has scrolled ar...

A striking and highly detailed Continental 19th century Oil on Canvas and Giltwood school painting of ducks. This exceptional painting is set within its original stunning and richly ...

A small decorative white ceramic bowl. A gorgeous piece with faux bois feel. This piece is created from ceramic and glazed in white. Made to look like a woven wicker basket, this pie...

Clay sculpture of a disapproving Woman with her hands on her hips. No signature or known designer. Woman has short hair and a slender frame. Glaze finish with abstract coloring and p...

Vintage Moroccan mirror, hand painted, wooden Moorish window shaped mirror. Beautiful hand crafted mirror in a traditional hand painted Mooris...

Incredible original Witco carved cedar wood Medieval shield. This shield is in time capsule quality original condition. The original red faux fur has a brilliant color with no fading, no stains. Collectors will instantly recognize the chainsaw carved, richly figured cedar wood that distinguishes Witco. The shield is crowned with ornate carving. The medallion at center features a knight’s profile silhouette framed by two horses. The knight is highlighted with apropos silver paint. Two spears criss-cross the shield with gold colored metal chain dangling from each side. We had the piece arranged above a fireplace which seemed more that fitting. This is the ultimate man-cave accessory. LARPers and Dungeons and Dragons fans, you’ve met your match. We also have a Witco dining set, armless chairs and armchairs in the same red faux fur fabric (sold separate). Create an envious Renaissance theme room by adding more pieces of the collection. We also have a Witco sofa, group of cat sculptures, leopard arm chairs...

English Regency mahogany marble-top console with flanking Phoenix heads, original ormolu mounts, ebonized tapered legs, centered gilt urn and terminating on rectangular molded edge b...

Oil and acrylic on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's skill at layering textures along with an aptitude for creating fantastical landscapes. Adding out of place animals (in this case, a lion and a tiger) to an otherwise believable countryside setting for a deer hunt, creates an imaginary context removed from reality. Del Favero's marriage of fantasy and whimsy beautifully suits his Naïve painting style. Signed on verso. Bio from the Philadelphia Museum of Art: Born Princeton, Michigan, 1910; died Greenwich, Connecticut, 1995 Bruno Del Favero moved from Michigan to northern Italy with his parents at age five, returning in 1928 and settling in Greenwich, Connecticut, where he married and remained for the rest of his days. He made his living as a mason, chauffeur, and landscape gardener. It is not known exactly when or why he began to paint his delicate and mysterious landscapes, but he was exhibiting in local art shows by the early 1970s and took himself seriously enough as an artist to join the Greenwich Art Society. He maintained a studio in the basement of his home, but never shared his art with his wife and five children. After the artist's death his family introduced his work to New York dealers Shari Cavin...

Spectacular one of a kind pieces, set of 7 includes two-seat bench 3 adirondack Classic style chairs 1 wheel barrel chair 1 table and 1 umbrella which act...

Gabriel Cohen (1933-2017) French/Israeli, "L'Egypte ancienne..." Naive-style oil painted on sheet metal with a crimped and painted edge forming the frame. The work is a fantastic dep...

A petite small clay roadside decorative touring bowl. This catchall or dish is short, and wide, and decorated with a malachite look green marbled design on the exterior. The inside is glazed in deep verdigris or turquoise. A lovely piece of earthenware, it is hand made and marked on the bottom with: Central City...

A wooden architectural model in original paint of a garage or barn structure, likely used as a child's play object, with a single door and ...

Painted by a school teacher in rural Hautes Pyrenees, France. Based on the Toto, Lili, Rene and Jojo French educational stories. It is likely that the s...

Pair of African (19/20th Cent) seated Cowrie fertility idol figures with a surface of small shells and beads and mounted on modern silver metal bases

This is a fertility mask called an AKUABA. It's a ceremonial mask of the Akan tribe of Ghana.