Fabric Paintings

Svend Aage Tauscher (1911-1984), Danish artist. Oil on board. Modernist urban motif of Copenhagen. Dated 1956. The canvas measures: 100 x 85 cm. Signed SAAT 56 In very good condit...

Large modern abstract oil on canvas 'Sound Wave' by Carlo of Hollywood.

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...

A fine French oil painting on canvas of a Mediterranean harbour scene, featuring a view of sailboats and a picturesque town in an Impressionist style, signed in bottom right facing c...

A small American Classical framed painting of a stagecoach. This piece is framed in a deep wooden frame, with gilt gold around the edges and brown and black on the inside and outside...

A large stunning painting from the legendary Amazonian artist Moacir Andrade "A Lenda Do Pacu" (The legend of the Pacu) Acrylic on canvas depicting a central Pacu which is a lar...

A charming oil on board painting of a pondering dog in a country house kitchen. Age related craquelure to the painted surface, the odd knock and abrasion to the gilt gesso frame. But...

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...

Beautiful antique painting of "Pious Maidens" attributed to British Artist Francis Philip Stephanoff (1787-1860). Masterfully painted of two...

A triptych panel painting by Australian Aboriginal artist Ronnie Tjampitjinpa (1943-2023). Entitled "Tingari Cycle", the artwork was painted in 2002 for Art Mob, Tasmania in oil on c...

“40 Acres and a Mule” Satirical Folk Art Painting, American School, Late 19th Century Oil on Canvas, laid to stiff board. Measures: 22.875" w x 19.125" h A compelling and historic...

The Moon Goddess oil painting on canvas. Great colors with a lady under the moon with a cat and owl around her. Very fine contemporary painting, stretch...

Large oil on canvas painting by M J MYERS... depicting bar scene,, Amazing use of color ,space and texture,,, Born in Buffalo, NY and raised in the city of Tonawanda, MJ Myers attended the State University at New Paltz where he received a Bachelors of Fine Arts with a concentration in Drawing and Painting and a minor in Art History. Deeply embedded in the Buffalo art world, Myers works as an art handler for the Albright-Knox Art Gallery, UB Anderson Gallery, and Frank Lloyd Wright's Darwin D.Martin house. His work has been shown at multiple galleries as well as in many performances by the Buffalo, NY performance troupe Torn Space Theater. In 2014, MJ performed his first wedding painting...

Barton Lidice Benes (November 16, 1942 – Hackensack, New Jersey – May 30, 2012 – New York) was an artist who lived and worked in New York City. He studied at Pratt Institute, Brookly...

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

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

Oil and acrylic Untitled "Kane" painting by Matthew Chambers, signed and dated on reverse, unframed.

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

Modern abstract expressionism acrylic on canvas painting unsigned but possibly executed by Judith Godwin, period painting, amazing use of color, space an...

Large oil painting on canvas. Modernist Abstract, by Jim Bray, circa 1963. Charming image. Child-like. Great use of color, texture, space.

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

J. RILEY - Vintage acrylic still life painting on canvas covered panel - signed lower right - untitled - contained in a solid oak frame with white pickled finish - Canada - mid/late ...

Oil on canvas of the classical figure Diana holding a bow in a landscape setting with a putti and dogs in vivid colors. French School 18th century  

Modernist Abstract Oil Painting on canvas by WNY Artist Kathrin Langley ..Well executed,, great use of color, texture . Katherine was known for her abstract and her religious artwor...

A late 18th century oil on canvas depicting a bull baiting scene In England during the time of Queen Anne, bull-baiting was practised in London at Hoc...

Mel Smilow, 1988, an assemblage of cut foam blocks in an array of modern abstract image of shapes assembled in a grid pattern, covered in a white acrylic. Trimmed in a thin contrasting pine. Signed. Mel Smilow, the famed mid century furniture designer...

These Interactive art pieces are part of a series of 6 pieces, each one being one of a kind. Much like the card collecting of our youth, the compositio...

Pair of boards with fabric by Verner Panton in a wooden frame. Signed Verner Panton. Wear due to time and age of the boards. For shipping, request us for receive the best price.

XVII century Mexican Painting by Arellano. "EL BENERABLE SIERVO D DIOS Fray Antonio de S. Pedro de la Sagrada Religion N. S. de la Merced" Signed: Arellano fecit

M. PLASKETT - Vintage folk art autumn landscape oil painting on prepared pressed paper board - signed lower right - vintage painted & gilt soft wood frame - Canada - mid 20th Century...

Modernist Abstract Oil Painting on canvas by WNY Artist Kathrin Langley titled "SEEBREEZ " ..Well executed,, great use of color, texture . Katherine wa...

Oversized original oil on canvas of a silo with weathervane. Signed upper left, Richard Treaster. Framed in a distressed lightly stained wood frame wi...

Stunning work of art in the form of an antique Flemish still life Good size at four feet tall - 121 CM Such a vivid piece with the colourful flowers overflowing from the campana urn ...

Exquisite oil painting on Canvas, painted and hand-signed by Henri in France. Titled ‘Life and Warmth’ and part of his ‘Life’ collection. Sophisticated and charming painting in beaut...

19th Century seascape with lighthouse, circa 1890, an oil on canvas view of a white-washed lighthouse tower on a small offshore rocky ledge, most...

Signed Norman Rockwell Style Painting of Golfers by Victor Olson. Possibly of the famous Golfer Sam Snead and company, Unframed. Victor Olson (1924-2007) of Fanton Meadows, West Red...

A wonderful, unique, and quite engaging original painting titled "Snake And Milky Way Dreaming" by indigenous Australian Aboriginal artist Janet ...

The Ocean - Elodie Huré Oil on canvas (without stretcher) 290 x 200cm 2020 Signed on the back Visual artist, videographer and collagist, also trained ...

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

A charming early 20th Century landscape oil painting. English. c.1910 Signed to bottom left - very skillfully painted landscape scene with fisherman and cottage. Some very minor ...

A charming early 20th century landscape oil painting. c.1910 Very skilfully painted landscape scene focusing on a herd of cattle. Some very minor damage to the edges as pictured.

Albert Chubac (1925-2008), Composition, Airbrush on canvas, France, circa 1960. Measures: Height 100 cm, width 50 cm. Albert Chubac was born in Geneva in 1920. After studying dec...

Naive Ethiopian Genre painting, 1970s oil on canvas with Ge'ez language inscriptions.

(French School, 19th Century) A fine quality Portrait of "A Young Officer" Oil on canvas, in original gilt-wood frame. Portrait of a handsome, young French officer wearing a bl...

Chancay painted panel with two figurines side by side. This is a complete panel with two rectangular box-headed personages on a busily packed background of geometric motifs of circle...

19th/20th Century Oil Painting of Kittens in a Basket at Feeding. A stunning detailed oil painting in a fine carved gilt gold frame depicting a group of kittens eating and drinking...

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

Set in a beautiful gilded frame, this artwork shows an early depiction of mountain climbing in the French Alps. Signed by artist on lower left corner. Frederik Hendrik Kaemmerer (1...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

Very nice 20th century French still-life oil on canvas Signed roux abougit from the 1930s. Roux-abougit is a French painter from Lyon (south-east of France). This painting represen...

A large size decorative Swedish folk art painted wall hanging-Bonad which may have been originally from a church. Painted on canvas in natural pigments it depicts naive biblical them...

Signed R.Porter watercolor of a bear in the woods in California.This California artist was found in Ojai,California in a antique collection.It has been newly framed and matted.Its re...

Presenting a glorious piece of original Dutch art, namely, a scene of Dutch ice skating oil on canvas by Van Buiksloot. J. Van Buiksloot was a Dut...

A fine French oil painting on canvas featuring a still life of a vase of flowers in a Montparnasse frame. The Montparnasse frame takes its name from the Parisian district where it w...

In this work from her abstract period, Isa Di Battista Gorini. Isa Di Battista Gorini is a Milanese painter who studied painting and decoration at the Brera Academy of Fine Arts. Af...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...

In this work from her geometric period, Isa Di Battista Gorini employs gauze as both a structural and poetic element, layering it over the painted surface like a delicate veil that b...