Wool Folk Art

Vintage Pictorial Beauty with Giraffe Motifs! Amazing Worn Tree of Life Piece About: Never have i ever seen giraffes in a rug, but bring it on!! Love how unique and charming this ...

Funky Boho Vintage Kurdish Runner with Dazzling Colors; Lime Green, Tangerine, Watermelon, Blueberry & Indigo Size: 3.2 x 10.10 Age: Vintage, C. 1950's...

This African design throw from the SoShiro Pok collection is named Marsupia as it is best described as a wraparound cloak – a hybrid of throw and blanket...

Aki Rug Maroon red by Studio Christinekalia Dimensions: W 180 x L 300. Materials: Artificial wool, felt. Christine Kalia is a design studio exploring modes of spatial relations between architectural, interior and product design. The studio’s vision is calibrated towards ecocentric design and contemporary aesthetics; where the end products manifest the prime materials. The various collections take different approaches to this design mode, often seen as sitting in-between reality and daydreaming. The “coming from” of each design’s unique materiality is carefully crafted towards a “belonging with”, where the sophisticated design of the studio’s products is complementing any environment, in order to elevate its aesthetic aura. Christine Petrou...

CF Chromosome P. 28D by Caturegli Formica Dimensions: W 220 x L 180 cm Materials: Wool Carpets as deep information Carpets are very common items. But it has never really been...

CF BPG1 green Mutation by Caturegli Formica Dimensions: W 225 x L 240 cm Materials: Wool Carpets as deep information Carpets are very common items. But it has never really be...

BC ERBA/grass 1989-1990 by Caturegli Formica Dimensions: W 250 x L 250 cm Materials: Wool Produced by Elio Palmisano in 1989-90 for the collection/exhibition Tappeti e Arazzi ...

Aki Rug A by Studio Christinekalia Dimensions: W 350 x D 700 x H 1.5 cm. Materials: Artificial Wool, Felt. Christine Kalia is a design studio exploring m...

Aki Rug Maroon Red by Studio Christinekalia Dimensions: W 180 x L 300. Materials: Artificial wool, felt. Christine Kalia is a design studio exploring modes of spatial relations between architectural, interior and product design. The studio’s vision is calibrated towards ecocentric design and contemporary aesthetics; where the end products manifest the prime materials. The various collections take different approaches to this design mode, often seen as sitting in-between reality and daydreaming. The “coming from” of each design’s unique materiality is carefully crafted towards a “belonging with”, where the sophisticated design of the studio’s products is complementing any environment, in order to elevate its aesthetic aura. Christine Petrou...

Aki rug B by Studio Christinekalia Dimensions: W 180 x D 300 x H 1.5 cm. Materials: Artificial wool, felt. Christine Kalia is a design studio exploring modes of spatial relations between architectural, interior and product design. The studio’s vision is calibrated towards ecocentric design and contemporary aesthetics; where the end products manifest the prime materials. The various collections take different approaches to this design mode, often seen as sitting in-between reality and daydreaming. The “coming from” of each design’s unique materiality is carefully crafted towards a “belonging with”, where the sophisticated design of the studio’s products is complementing any environment, in order to elevate its aesthetic aura. Christine Petrou...

Aki rug D by Studio Christinekalia Dimensions: W 260 x L 700 x H 1.5 cm. Materials: Artificial wool, felt. Christine Kalia is a design studio exploring modes of spatial relations between architectural, interior and product design. The studio’s vision is calibrated towards ecocentric design and contemporary aesthetics; where the end products manifest the prime materials. The various collections take different approaches to this design mode, often seen as sitting in-between reality and daydreaming. The “coming from” of each design’s unique materiality is carefully crafted towards a “belonging with”, where the sophisticated design of the studio’s products is complementing any environment, in order to elevate its aesthetic aura. Christine Petrou...

The antique Caucasian rug in reds and greens is a captivating masterpiece that reflects the rich cultural heritage and artistic traditions of the Caucasus region. This rug is a testa...

This is a Khotan rug with a very rare design from the 1880's.

44 STAR ANTIQUE AMERICAN FLAG WITH AN HOURGLASS ARRANGEMENT ON A DUSTY BLUE CANTON; REFLECTS THE ERA WHEN WYOMING WAS THE MOST RECENT STATE TO JOIN THE UNION, 1890-1896 Wyoming was ...

42 HAND-SEWN STARS ON AN ANTIQUE AMERICAN FLAG WITH A TWO-TONE, DUSTY BLUE CANTON, REFLECTS THE ADDITION OF WASHINGTON STATE, MONTANA, AND THE DAKOTAS, NEVER AN OFFICIAL STAR COUNT, ...

13 STAR ANTIQUE AMERICAN FLAG WITH A MEDALLION CONFIGURATION OF HAND-SEWN STARS AND A BEAUTIFUL, ELONGATED PROFILE, MADE IN THE ERA OF THE 1876 CENTENNIAL OF AMERICAN INDEPENDENCE, I...

48 STAR U.S. NAVY JACK, MADE AT MARE ISLAND, CALIFORNIA, HEADQUARTERS OF THE PACIFIC FLEET, DURING WWII, DATED 1944 United States Navy jack with 48 stars, made during WWII (U.S. inv...

38 STARS, COLORADO STATEHOOD, A SCARCE AND BEAUTIFUL ANTIQUE AMERICAN FLAG WITH A MEDALLION PATTERN AND 4 LARGE CORNER STARS, PRESS-DYED ON WOOL BUNTING, MADE BY HORSTMANN BROTHERS I...

WOOL HOOKED RUG WITH A BILLOWING AMERICAN FLAG AND A FORKED TAIL STREAMER WITH THE “DON’T TREAD ON ME” SLOGAN; made Circa 1880-1910; THE 5 STAR COUNT, IF PURPOSEFUL, WOULD CELEBRATE ...

13 STARS IN THE BETSY ROSS PATTERN, WITH 45 STARS ON THE REVERSE; ON AN ANTIQUE AMERICAN FLAG MADE AND SIGNED BY A PREVIOUSLY UNIDENTIFIED FLAG-MAKER, ANNIE MAC LACHLAN OF JERSEY CI...

OUTSTANDING, 13 STAR, ANTIQUE AMERICAN PRIVATE YACHT ENSIGN WITH GREAT FOLK QUALITIES THAT INCLUDE AN UNUSUALLY WIDE ANCHOR AND A DECIDEDLY LOPSIDED RING OF 13 STARS; MADE DURING THE 2ND HALF OF THE 19TH CENTURY; ITS DEVICE HAND-SEWN AND SINGLE-APPLIQUÉD Private yacht ensigns were approved American signals for maritime use that allowed pleasure boats to bypass customs. Though the legislation that approved them was adopted prior to 1850, almost all such flags that one will encounter were sewn by electric machine and made during the 20th century. The unusual gems among surviving examples are those that are earlier and include hand-sewn elements. Even more rare are a select few with atypical graphics. Barely any fall into both of these categories at once. Take note of the anchor on this particular flag, wide a long horizontal crossbar (stock) that contributes to uncommonly wide stance. Set within a ring of stars that is decidedly lopsided, the result is as bold as it is endearingly whimsical—two of the best qualities in American folk art, a category in which this particular example can be filed. While I have owned 13 star private yacht flags that have displayed star and canted anchor devices that were somewhat larger and/or bolder than typical, I cannot recall any that were so graphically intriguing as this one. Brief History of Private Yacht Ensigns: The medallion configuration, 13-star, 13-stripe flag, with a canted center anchor was entered into official use in 1848, following an act of Congress, that made it the official signal for U.S. pleasure sailing vessels. The need for such a flag arose with the popularity of boating as a pastime for well-to-do Americans, and as a competitive sport, in addition to its longstanding utilitarian role as a vehicle of trade. In early America, all boats were subject to customs searches at every port. Without modern income tax, the federal government derived its revenues mostly from tariffs, so an accounting of foreign goods on ships was a critical venture. As yachting for pleasure became more prevalent, however, more and more time was spent searching boats that had no such inventory, wasting time for both customs officials and wealthy ship owners. John Cox Stevens, a former president of the Jockey Club and future founder of the Union League Club, became the New York Yacht Club’s Commodore upon its founding in 1845. In 1847 he approached the secretary of the treasury and suggested that something be done to streamline the customs process for non-trade vessels. In 1848, legislation passed Congress requiring registration of these boats, which could then fly the “American Yachting Signal” to bypass customs. This remained on the books until the 1980’s, when the 1848 legislation was revoked, but the use of flags in this design for decorative function continues to this day. 13 star flags have been flown throughout our nation’s history for a variety of purposes. In addition to their use on private yachts, they were hoisted at patriotic events, including Lafayette’s final visit in 1824-25, the celebration of the nation’s centennial in 1876, and the sesquicentennial in 1926. They were displayed during the Civil War, to reference past struggles for American liberty and victory over oppression, and were used by 19th century politicians while campaigning for the same reason. The U.S. Navy used the 13 star count on small boats until 1916, because it was easier to discern fewer stars at a distance on a small flag. Commercial flag-makers mirrored this practice and some private ships flew 13 star flags during the same period as the Navy. Construction: The stars and anchor are made of cotton, hand-sewn, and single-appliquéd. This means that they were applied to one side of the canton, then the blue fabric was cut from behind each star, folded over, and under-hemmed, so that one star could be viewed on both sides of the flag. I always find single-appliquéd stars more interesting, not only because they are evidence of a more difficult level of seam-work and stitching, but also because they are more visually intriguing. The two visible rows of hand-stitching emphasize their hand-sewn construction. For these reasons, single-appliquéd stars often appeal to connoisseurs of early American textiles...

Commission pennants are the distinguishing mark of a commissioned U.S. Navy ship. Flown at the topmast, the typical American format is a long blue field, usually with a single row of white stars, although sometimes with their total divided into two rows, followed by two long stripes, red-over-white. A ship became commissioned when this pennant was hoisted. Flown during both times of peace and war, the only time the pennant is not flown is if a flag officer or civilian official was aboard and replaced it with their own flag. Sometimes the owners of private ships mimicked the use of Navy signals. Some seafaring men would have served in the Navy and become privy to various practices in that capacity. Others flew them purely for stylistic reasons, either on a regular basis or while the boat was dressed for special occasion. Hudson River steamers regularly flew pennants of this nature, as evidenced by period photography as well as the paintings of artists such as John and James Bard...

EXTREMELY RARE U.S. WAR DEPARTMENT COMMISSIONING PENNANT WITH 13 STARS, A REVERSAL OF THE U.S. NAVY COLOR SCHEME, TWENTY-FOUR FEET ON THE FLY, SP...