North American Folk Art

Vintage Folk Art doll with tin drum body (oil can) and articulating arms, circa 1950s. The piece is handmade with a doll head and arms and a tin...

Exceptional pair of late 19th-century Northern Plains Native American wrist cuffs, attributed to the Crow (Apsáalooke) people. Also known as gauntlet cuffs, these pieces are crafted ...

1930's Original Barn Bench with original paint that has not been touched in many years. Please look at the photos, it has an unusual cut out ...

Abstract torch cut metal with geometric design makes for a stunning piece that can be hung in either direction.

Four pivoting elongated rectangular boxes by the Hermitage artists from upstate New York. Bottom stamped. Fantastic display of American Tramp Art. Per...

Antique Apache Large Earthenware Pot, Second Half 19th Century, a very large hand molded clay spheroid vessel, a classic "Olla," with it's original rawh...

Solid brass Perko air vent. Highly polished ventilator cowl from a boat. Nine inch diameter vent opening. Base is six inch diameter. Twelve inches tall with base flange pierced for f...

Chippewa pictorial canoe. Fully slated, having four grouse, four rabbits and leaf design. Bark varies in color from a light tan to a mid-tone brown. Circa 1930. Minor damage to one r...

Mid-19th century Benchmade child’s grain painted Miniature chest of drawers. A country piece in the American Empire style, with a step-back drawer and backsplash, above the case with...

Rare form and size. Nice example of Emil Milan's sculpture work. Signed

Set of Six Medium Size Vintage Breyer Horses. The set consists of four brown toned , one white toned and one grey toned Appaloosa . Sizes vary by inches. Not all are exactly the same...

This sign originally hung on a Coca Cola Bottling Company building in Longview, Texas. It was made in the first half of the 20th century, circa 1910. This sign contains seven differe...

An exquisite mid-20th century hand-stitched Amish quilt from Lancaster County, Pennsylvania, featuring the classic “Lemoyne Star” pattern. This one-of-a-kind piece showcases masterful craftsmanship and an authentic representation of Amish textile tradition. Rich hues of black and purple form the background, while the star pattern incorporates meticulously hand-cut pieces in green and purple cotton. With exceptionally fine hand stitching throughout, this heirloom-quality quilt reflects both utilitarian purpose and cultural artistry. Originally created for personal use within the Amish community using repurposed fabric, it is a stunning example of sustainable, handmade Americana. Ideal for collectors, interior designers, or anyone seeking a unique vintage textile to elevate a space. Dimensions: 41” x 80” Date of Manufacture: 2nd Quarter of the 1900s Place of Origin: Pennsylvania, United States Material: Cotton Condition: Good The Persian Knot Gallery, SKU: 2234 vintage Amish quilt, Lemoyne Star quilt, hand-stitched cotton quilt, Pennsylvania Amish textile, mid century American quilt, antique patchwork quilt, vintage quilt for sale, handmade Amish quilt, sustainable textile art, vintage home decor, collectible American quilts, Amish craftsmanship, upcycled fabric quilt, interior design textile, Lancaster County quilt, Amish One Star Quilt, American Amish Crib Quilts, Vintage Amish Quilts, Antique Amish Quilts, Amish American Quilts, Pennsylvania Quilts, Lancaster County Quilts...

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

Here is a bold Princess Feather quilt, all in solid colors, well done in every way. The red and green feathers are offset by orange centers and a similar orange flower at the center ...

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...

Dramatic Star of Bethlehem Quilt (aka Lone Star or Texas Star) with beautiful printed fabrics on a solid white ground.
Surrounding stars...

Novia Scotia wool rug 27" x 41". Purchased in Chetticamp, Novia Scotia 1997. Black,Red and White in 6 sections with stylized design including mythical animals. Always hung on a wall ...

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

Ship's binnacle with maker's plate from Baker Lyman Company of New Orleans, Louisiana. Wonderfully restored binnacle with gimballed compass and interior lighting. Overall dimensio...

Vintage hand-made studio pottery glazed ceramic lidded teapot - applied and articulated terracotta gargoyle face - the tongue of the beast forming ...

18th century American pine decorated blanket chest, probably from New England, circa 1770 having a dovetailed case on wide bracket feet, the li...

Wonderful Primitive Pine PA corner cupboard. 12 panels of early wavy glass. The bottom has two-shelf storage. Stunning piece for your farmhouse decor. True antique Primitive pieces t...

An exceptional 19th-century American Amish quilt featuring a striking "Diamond in a Square Trip Around the World" pattern, hand-stitched with precision and care. Originating from the Amish communities of Lancaster County, Pennsylvania, this quilt showcases a bold palette of forest green, burgundy, and baby blue — a unique color combination that enhances the geometric movement of the traditional layout. Each piece of fabric was hand-cut and repurposed from materials available at the time, resulting in a utilitarian object elevated to an expression of cultural identity and visual artistry. A superb example of early American craftsmanship, this quilt is both a collector’s item and a compelling piece of textile art for refined interiors. Dimensions: 73” x 73” Date of Manufacture: 4th Quarter of the 1800s Place of Origin: Pennsylvania, United States Material: Cotton Condition: Good 19th century Amish quilt, antique hand-stitched quilt, Diamond in a Square quilt, Trip Around the World quilt, Lancaster County quilt, forest green and burgundy quilt, baby blue quilt, antique American patchwork, Amish textile art, early American quilt, heirloom Pennsylvania quilt, folk art quilt, Amish repurposed fabric quilt, antique Americana textile, historic Amish hand quilting, Amish Trip Around the World Quilts, Amish American Quilts, Pennsylvania Quilts, Lancaster County Quilts...

Beautiful continuous line drawing by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

Gigantic California freeway sign from 1986. Two piece sign spanning 8.5 feet long and 6 feet tall. Cats eye reflectors throughout. Retired sign from California highway system. State Route 78 is a California State highway that runs the entire width of the state from Oceanside to Blythe. Green metal sign depicting Oceanside as North and Escondido to the East. Massive statement piece. Great piece of California and transportation ephemera. Stamped 'Property of the State of California...

Nest of three Nantucket lightship baskets, the swing handles, staves and the ears ( which attach the handle to the basket) are all carved from oak. The bottoms are made from pine and each are stenciled with the maker's mark, "R Folger Maker Nantucket Mass." Rowland Folger (1803-1883) is considered one of Nantucket's first makers of lightship baskets. His baskets are very durable and were definitely used as utilitarian.These three baskets were discovered in an attic, where they were living for the last 90 years...

We try not to use the term "museum quality" often but in the case of his particular work, it is more than apt. A simply breathtaking piece by famed American ceramicist Beatrice Wo...

Ex. Jane Cipley collection. Fantastic sheet and strap iron horse weathervane. Originally found in the midwest. Old make-do repair to tail. Great...

9” Open round salmon painted Nantucket Lightship basket with wooden ears and original paint. The nails on the interior bottom indicate this was probably used as a vegetable baske...

Beautiful continuous line drawings by Jean Negulesco - Oscar award winning Hollywood director. Multiple Colors available. Newly framed in oak

This beautifully hand-crafted Amish quilt, made in Lancaster County, Pennsylvania circa the mid-1900s, features the classic “Churn Dash” pattern—a beloved motif in American quiltmaking, symbolizing home, work, and tradition. Rendered in a joyful palette of lavender, turquoise, and pink, the design strikes a harmonious balance between bold geometry and gentle color. Each fabric piece was carefully hand-cut and stitched with remarkable precision, showcasing the exceptional skill and dedication of its maker. True to Amish tradition, the quilt was constructed from materials readily available in the home—an inspired act of reuse that transformed everyday fabric into lasting art. The result is a quilt that speaks not only to function but to deep cultural values: simplicity, resourcefulness, and quiet beauty. The fine craftsmanship and striking visual appeal make this piece a desirable collector’s item and a stunning candidate for wall display. Please note: Some color distortion may occur in photos—refer to the video for the most accurate representation. Dimensions: 43” x 55” Date of Manufacture: 2nd Quarter of the 1900s Place of Origin: Pennsylvania, United States Material: Cotton Condition: Good The Persian Knot, SKU: 2239 Amish Churn Dash Quilt, American Amish Churn Dash Quilts, Churn Dash Quilts, Vintage Amish Churn Dash Quilts, Antique Amish Quilts, Amish American Quilts, Pennsylvania Quilts, Lancaster County Quilts...

This very unique still bank is a "must have" for the discerning still bank collector, in that it is made of bakelite, in addition to it having a fish theme; only a couple of other banks depict a fish. American and probably manufactured around circa 1930, (making it an Art Deco piece), this pre-war bank, though unmarked, is undoubtedly a bakelite product; that company having been formed in 1922, utilizing the discovery and patent of bakelite in 1907 and 1909 respectively. Art Deco collectors would find this piece highly decorative and "period" compatible. This fish bank is in excellent and all original condition. The bank is rare in and of itself, but another element that makes it particularly scarce is the fact that, other than the old "knife in the slot" there was no way to remove the coins once the bank was filled without smashing it apart and destroying it. Great gift for that February/March pisces birthday. Dimensions: 8 1/4" long x 5" high x 2 1/8" wide Note:I am a leading specialist in the field of vintage coin banks...

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...

Glorious is the best way to describe this lone star quilt with chintz border and applique (broderie perse). The colors are as vibrant as the day it was ...

Large 44.75" H porcelain letter B, from the former Stix, Baer & Fuller sign. This letter was once on the Mid-Century Modern Stix, Baer & Fuller department store in the Westroads Shop...

"Peg-leg Beggar" 19th century cast iron mechanical bank was probably inspired by the many disabled Civil War veterans begging for their subsistence. The bank was manufactured by the ...

Large sport fishing yacht heading out to sea. The captain is atop the flying bridge. Vessel is fitted with outriggers. Burgees are flying. Oil on canvas ...

American whimsy with traditional 'ball in cage' decoration, all carved and whittled from one continuous piece of wood, circa early 20th century. The bottom tip suggests that this pie...

Arthur court aluminum men's torso bust.

Stylized Art Deco flowers in urn with original paint. Attributed to Hubley, circa 1925. From a large collection.

Rare truly. Summer camp play backdrop depicting an abstract interpretation of the Rocky Mountain range. Condition is very good, this was found rolled up in a garage likely in place f...

A remarkable example of American textile folk art, this late 19th-century Society Crazy Quilt is hand-pieced, hand-stitched, and richly embroidered. Constructed in a 7x7 block structure, each 11" x 11" square was created by a different individual—likely members of a sewing society or women’s group—making this quilt not only a masterwork of craftsmanship but a collaborative historical artifact. The vibrant color palette includes striking combinations of turquoise, pink, yellow, navy, and green, giving the quilt dynamic visual appeal. Elaborate herringbone embroidery connects each block, showcasing both unity and individuality in the design. Backed with cotton and discovered in New England, this piece was possibly crafted in Pennsylvania in the early 20th century. Crazy quilts like this were traditionally used as decorative throws and are now highly collectible for their artistic composition and cultural resonance. Ideal for wall display, it embodies both bold aesthetics and a profound communal legacy. Dimensions: 77” x 77” Date of Manufacture: 4th Quarter of the 1800s Place of Origin: United States Material: Wool, Cotton Condition: Good The Persian Knot Gallery, SKU: 2136 19th century crazy quilt, Society quilt, American folk art textile, antique embroidered quilt, turquoise crazy quilt, hand-stitched crazy quilt, vintage patchwork quilt, herringbone embroidery quilt, Pennsylvania textile art, late 1800s quilt, collaborative American quilt, heirloom crazy quilt, antique quilt wall art, colorful crazy quilt, vintage decorative throw, early 20th century quilt, American Crazy Quilts, Vintage Crazy Quilts...

This is one of the best signs I've ever had. It's 10 feet 8 inches long by 19 inches by 5 inches thick. The letters are painted in the negative, just like an X-ray. The letters are "...

This very rare and absolutely stunning Edward Wormley designed end/ occasional table for Dunbar Furniture for their "Janus" collection, circa 1956-1957 comes with inlaid, glazed tile...

This is an original 48-star American parade flag, celebrating Arizona statehood. A wonderful product of our nation's early history, this flag is an authentic antique, with a fly date...

Ramos polychrome style pottery effigy vessel in the form of a human with a bulbous body, anthropomorphic head, low relief eyes, nose and slit mouth. Precisely painted surface with fi...

An Americana folk art copper weathervane circa early 20th century. The full-bodied piece depicts a Native American warrior in feather headdress and a wide belt shooting an arrow from...

Unusual hand carved wood machete. Just under 2 feet in length. Brown handle with blackened blade. Wear and age to wood. Great tabletop object.   

Vintage Folk Art Heron Decoy, likely, circa 1960s or 1970s. A stately heron carved in an alert posture with upraised head and elongated neck. Decoy was made in three parts, nicely ha...

Beautiful bronze Art Nouveau/Art Deco figurine sculpture woman in a long flowing 1920's dress with doves on a marble base. Unsigned but well crafted with intricate details standing ...

Mosaic tile art piece by California ceramicist Frank Matranga, c.1960s, USA. This piece is composed of varying shaped glazed ceramic tiles to create a mosaic cityscape. The colors ra...

Figural trade sign in the form of a mortar and pestle, both the mortar and pestle are hand turned and gilded, with strong ring turnings. The top is capped with zinc and still bears i...

This contemporary abstract wooden sculpture was done by Czeslaw Budny a Polish-Canadian artist in the constructivist style in circa 2010. This sculpture was made entirely of up-cycle...

Classic antique Maine Eider Drake Decoy, circa 1920s, with head tucked back in contented posture. Decoy is in well worn original paint with touch-ups to the black areas. The neck has obvious very old crack but is strong and stable. The great painted surface is dry and weathered. Looks and is a true down east "Old Salt...

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.

American Naval two masted clipper ship brig model mounted on stand under a glass case. The US Perry was a brig commissioned by the United States Navy October 1843 prior to the American Civil War...

American wrought iron and gilt trade sign bracket with decorative scroll work and gilt ball motif. Late 19th Century