Modern Folk Art

The artistic beauty is a sublime addition to any living space, seamlessly blending aesthetic charm with unparalleled comfort. Elevating the ambiance, this rug not only enhances the v...

Hey Archie rug is made with a combination of pink blush, blue, green a touch of maroon Original Designed by RAG Home Jakarta Hand-tufted Carpet with mixed Carving Embossed Methods ...

A masterpiece crafted in the heart of rural India! Immerse yourself in the allure of transitional design, where tribal motifs intertwine with cultural symbolism, creating a stimulati...

Incredibly true-to-life replica Harley Davidson motorcycle made of wicker. Designed by Tom Dixon for Habitat, the sculpture is crafted from wicker, rattan, and bamboo. The mechanics ...

Delightful studio pottery raku glazed figure of a resting pig dating from the 20th century. The hollow hand-crafted ceramic pig is simply detailed in a lying position with its head r...

We feel Mexican! Made with eco-friendly, washable, and resistant regenerated leather, the traditional Mexican Sombrero hat becomes a unique magazin...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. In this casket you can keep small objects of value, born as the materialization (and unive...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

A wonderful and hard to find vintage EGE Art Line Scandinavian (Denmark) Pablo Picasso rug based on his work "Woman With Guitar". This work was part of...

A contemporary hand knotted TULU (Turkish word for soft, cozy, high pile) rug made of fine hand-spun and hand-dyed lambswool. It is partly hand knotted (with pile) and partly flat-w...

From a very large Studio Pottery collection we offer this stunning vintage British Studio Pottery jug by renowned potter Sheila Casson and made in Ross-On-Wye and dating from the sec...

Entitled "Two Kuniya (Pythons) During Tingari Cycle", this mesmerizing painting was painted by Australian aboriginal artist Kenny Williams Tjampitjinpa...

Lovely Pinetti round wash clothes holder, part of Almeria collection. Four different water resistant sizes fixed at the end with chrome pins. The woven...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

An amazing and unique piece by renowned American pottery and ceramic master Paul Soldner who in the 1950s was Peter Voulkos' first student and who later became famed for developing the technique now known as "American Raku" - a practice of using low temperature salt firing...

Ever wondered how art could seamlessly blend with functionality? Behold this modern hand-tufted rug, a captivating masterpiece handmade in rural India. This bold creation is a playfu...

Corps Céleste III unique sculpture by Awaré Dimensions: L 35 x H 54cm Materials: Plane tree, naturel dyed silk, pigment, oxidation Awaré is the meeting of the sculptor Jérôme Pereira and the artist Sylvia Eustache...

If you haven’t experienced the transformative power of a tone-on-tone palette in your decor, you should introduce this modern marvel - an antique white canvas paired with a light co...

A stunning and rare artist proof (42/50) by renowned artist Yankel Ginzburg, this acrylic lucite mezuzah is a mesmerizing fusion of tradition and contemporary artistry. The sculptura...

A new collection joined the Pinetti family. Euclide with its geometric look is an elegant side table crafted with wood structure and entirely covered in recycled leather. This lovel...

A stylish English studio pottery bowl decorated in blue glazes with a trailing snake design by William Illesley (British, b.1948) and made at hi...

This is the largest of the Toulouse Lautrec portraits by famed artist Peter Max in peach pink. Professionally framed, signed and numbered.

Unravel the tapestry of modern artistry with handknotted masterpiece, a harmonious fusion of unpolished yarn knots and rural Indian craftsmanship. Lost in translation between hand an...

A stylish English studio pottery teapot and cover decorated in brown ash glazes by renowned potter Mike Dodd (English, b. 1943) and dating from t...

A beautiful hand thrown vase/vessel by renowned ceramic artist Stephen Polchert (1920-2008). Polchert attended Cranbrook Academy in the 1950s and was an assistant and friend of Maija Grotell.

A stylish vintage British studio pottery stoneware vase of simple graduated rounded shape decorated in grey, pink and textured glazes by renowned potter Robin Welch...

Mirror with decor and brass frame. A Classic Renaissance monofora is the form that inspired the two mirrors. The arc is defined by brass profile rounded at the bottom, just like on a...

Our backgammon set, a must of board games. Expertly crafted with canaletto walnut wood and dressed on the outside with a textured calfskin leather covering, its interior delivers ...

A new collection joined the Pinetti family. Euclide with its geometric look is an elegant stool crafted with wood structure and entirely covered in recycled leather. This lovely sto...

Embrace simplicity and elegance with our Flatweave rug, featuring minimal and unembellished patterns transitioning into subtle gradients. The rug's natural color scheme effortlessly ...

A masterpiece tailored to leave an indelible first impression while enduring through time! Crafted with precision and artistry, its design captivates with simplicity, elegance, and l...

Have you ever imagined turning your living space into a canvas of contemporary expression? Introducing our modern hand-tufted rug, a masterpiece meticulously handmade in rural India....

A fine English hand crafted large turned and carved oak wood vase by Richard Chapman (b.1951) and dating from the 20th century. The large bottle shaped...

David Whitehead Stoneware ceramic vase realised in La Borne Circa 2000 Unique handmade piece signed under the base Black and bron stoneware ceramic colors Measures: H...

Pop art Niki de Saint Phalle double sided inflatable plastic Snake collectibles, France, 1999. Swimming pool toys for happiness. Never used, New out of the ...

Koi Fish installation figure by Southern California Artist Robert "Bob" Matheny. This piece was acquired at Robert Matheny’s estate. The piece is 16” in...

Decorative coral sculpture. The coral is from the 1970s and has a beautiful light colored green shade. Medium size coral sculpture.

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

These splendid ceramic creations are born from the artistic laboratory of Mosche Bianche. The piggy bank, a means that has always been used to remind us of the importance of savi...

A truly fantastic, large, heavy charger/plate/platter by American master potter/artist Peter Voulkos who is known for his abstract expressionist ceramic pottery pieces and sculptures...

It’s easy to understand why they are called best seller. This is Poseidon, our square bathroom set entirely covered in soft and waterproof genuine leather. Our Rialto tray, together with a square soap dispenser, a toothbrush holder, and a cotton pad holder with simple and minimal design perfect for contemporary and traditional bathroom suites.

A beautiful, modern board game that displays elegantly no matter where it is. Our Boston tic tac toe board is a light-hearted, beautiful complement to any table. Crafted of premium I...

Lucien Petit French unique handmade sculpture by the artiste Lucien Petit Famous french ceramic artist This piece realised in 2000 is a paper sculpture with mixed media O...

A wonderful free-form organic bowl vessel by acclaimed British potter Peter Simpson. Simpson's works, such as this early piece, are inspired by organ...

Our Tic Tac Toe is a beautiful, modern and fun take on the classic game. The three dimensional pieces are handmade in white resin with black marbled texture and the board is made of ...

JFK MLK RFK- NO MORE DREAMS Purvis Young (1989-1999) A moving mourning work, depicting a funeral procession of John F. Kennedy, Martin L. King and Robert F. Kennedy. Painted ...

What whispers of elegance and serenity does this exquisite flatweave rug carry within its threads? Inspired by minimalism and adorned with unembellished patterns, its subtle gradient...

This 8' x 10' hand-knotted rug from Jaipur Rugs, in a soothing classic gray, offers a sophisticated, understated design perfect for versatile interior styling. The rug is meticulousl...

Artistry meets architecture in this hand-tufted rug from the collection - Concoction, a modern masterpiece by Shantanu Garg. Inspired by Garg's fusion of Indian design and global aes...

A wonderful example of Otto Heino's famous Chinese Imperial yellow glaze - thought to have been lost for years and rediscovered by Heino. A very rare and highly coveted glaze and textured shape. Sure to brings years of aesthetic pleasure. This piece has a great feel and heft to it. A fantastic work by all accounts. Signed and dated (2002) by Heino on the base. Would make for a fantastic addition to any modern ceramics and pottery collection or an eye-catching Stand-alone work in about any setting.  Otto and his wife Vivika worked in ceramics side by side for many years until her passing. The couple is winners of the following awards: Gold Medal from the sixth Biennale internationale de céramique d'art, in Vallauris, France, (1978). Silver medal from the International Ceramics Exhibitions in Ostend, Belgium, (1959) Their work can be found in the following collections: American Craft Museum, New York City, NY County Art Museum and Craft Folk Art Museum, Los Angeles, CA De Young Museum, San Francisco, CA Museum of Fine Arts, Boston, MA Picasso Museum in Vallauris, France Smithsonian Institution, Washington, DC Craft & Folk Art Museum, Los Angeles Mingei Museum, San Diego Ventura County...

A gorgeous work by 20th century master American and renowned Minnesota studio potter/artist Warren MacKenzie. The three-footed tenmoku glazed bowl is signed/ stamped along the foot rim by MacKenzie and features a unique decorative pattern. The dark, rich glaze radiates in the light. This work would a great addition to any Warren Mackenzie or modern pottery/ ceramic collection or eye-catching stand-alone accent piece in about any setting. A student of both famed ceramic artists Bernard Leach and Shoji Hamada, Mackenzie is credited with bringing the functional Japanese Mingei tradition and craft to the United States and spreading it through his own art and teaching mentorship during his long tenure at the University of Minnesota. Along with being named a Regent’s Professor, and a fellow of the International Academy of Ceramics, the highly decorated and awarded MacKenzie was the first to receive the Minnesota Governor’s Award in Crafts in 1986. He later received the Lifetime Achievement Award from the Minnesota Crafts Council in 1997 and a year later he was honored with the Gold Medal from the American Crafts Council. His work can be found in numerous collections and museums including: The Metropolitan Museum of Art in New York The Smithsonian Institution in Washington, D.C. The National Folk Art Museum in Tokyo, Japan The Victoria and Albert Museum in London, England Contemporary American Crafts...

These handsome but quirky brothers designed by Miguel and Ilse Silva for Wooda are the result of an engaging mix of personality, love, fun and mischievousness. Los Hermanos Calavera(...

A vintage Turkish Tulu rug. A tribal rug that fits very well with contemporary furniture. All in red with an extra-long lustrous pile and uncountable wefts. No borders. No pattern. L...

Contemporary art piece using spray paint and acrylic dots on paper. Signed KALM.

Embrace the essence of timeless elegance with a touch of unexpected charm. This hand-knotted rug embodies the perfect balance between classic design and modern innovation. Its undyed...

Gorgeous Erre Paris silk scarf in mint pristine condition. Erre Foulards 100% Silk Square 34" x 34” Scarf. Designed by Terry Pheto and Princess Charlene of Monaco. Great gift 100 ...

A very fine quality studio porcelain vase decorated in satin lavender hares fur glazes signed ST and in the style of Berndt Friberg dating from the 20th century. The small sized tall...

Our Tic Tac Toe is a beautiful, modern and fun take on the classic game. The three dimensional pieces are handmade in black pearl resin, and board is in white pearl resin. It will be...

1970s Piaget lady gold watch, with the face watch in Jade, with original watch strap in alligator signed by Piaget. In excellent condition, it works p...

Ever dreamt of walking on a canvas of art? This hand-knotted rug , intricately carved with ethereal designs and patterns, beckons you to experience the sublime. Crafted in the heart ...

This collection is a work of art that make a statement in modern décor and in the modern cultural art world. It can be used as a vase containing flowers, or as a beautiful centerpiec...

Immerse yourself in the timeless elegance of this hand-knotted rug that paints a canvas of serenity and reflection. The ashwood ground and honey border evoke a palette of nature's tr...

Like a canvas brought to life, our Modern Hand Tufted rug from rural India is a masterpiece of contemporary design. Imagine a vibrant interplay of shapes akin to origami creations un...

This 5' x 8' hand-tufted wool and viscose rug from Jaipur Rugs presents a refined blend of classic gray and liquorice tones, offering a contemporary yet timeless look. The artistic a...

Wall Painting “Blue Rose” Stay by Malerba The “Blue Rose” wall painting from the Stay collection by Malerba is an elegant decorative accessory suitable for the living room, ...

Wall Painting “Red Rose” Stay by Malerba The “Red Rose” wall painting from the Stay collection by Malerba is an elegant decorative accessory...

A striking abstract painting by Australian Aboriginal painter Walangkura Napanangka (1940-2014), one of the matching pair painted in 2007 in Alice Spring. Entitled "Kutungka", acrylic on Belgium linen, inscribed on reverse with gallery catalog no. "Kutungka" depicts the landscape of a country where an old woman named "Kutungka" travelled from Malparingya to Kaltarra in Western Desert during the Dreamtime creation. The highly abstract forms are the dreamtime memory of the land features, such as rock piles and waterholes. Provenance: Grasstree Gallery, Australia. It comes with a COA from the gallery as well as progressive photos taken during the creation of this painting by the artist in 2007. Brief biography From Australian Art Gallery artist...

“Rainbow” Heechee Probe with black glass spine abstract Sculpture By Thomas Kelly.

Painting of a Gypsy, Bohemian woman drawing the cards. Representation of a Cartomancer and Fortune Teller. Oil on canvas. Very well represented. fine and pleasant features. Delicate work. Signed lower right by M. Callewaert circa 1940 Maurice CALLEWAERT is a Belgian artist born in Belgium in 1900 and died in France in Paris in 1986. Belgian painter from West Flanders...

French landscape by Bernard Labbe (French mid 20th century), stamped verso original watercolor/gouache painting on paper overall size: 13 x 19.75 inches condition: very good and...

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...

Ever wondered what a dance looks like frozen in time, captured on the floor? Look no further than this captivating hand-knotted rug, inspired by the sinuous movements of the hula dan...

Green ceramic vide de poche by Chambost