Modern Folk Art

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...

Interesting hand thrown Japanese studio pottery creamware vase with a craquelure glaze by Takeshi Yasuda (Japanese, b.1943) dating from the 1980’s. The ...

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...

A very fine stoneware cup decorated in experimental glazes by renowned ceramic artist Eric James Mellon (British, 1925-2014) and dated 2006. Trai...

A wonderfully designed and unusually shaped wood-turned vessel/ sculpture. Signed by the artists with pressed signature and noted: "magnolia wood. carved in Hawaii". From a collection of wood...

As part of his Copper Clad Cedar Collection, this one of a kind Biomorphic form by Bill Anson is a wonderful example of his mixed media work utilizing cedar...

A mixture of nuts and bolts and scrap metal with gears welded together to make this Brutalist sculpture a real show stopper Bruce Gray known for his art in many museums and private ...

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...

Introducing "Tenderness" Native American Painting by Carol Theroux (USA 1930-2021), a captivating piece of art that encapsulates the profound ...

Introducing the Large Rug by Paola Lenti, a luxurious addition to any living space. Crafted with high quality materials and exquisite attention to detail, this rug exudes elegance an...

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...

Wall Painting “Yellow Flower” Stay by Malerba The “Yellow Flower” wall painting from the Stay collection by Malerba is an elegant decorative accessory suitable for the livin...

Filmmaking is a reflection of the culture it arises from, and Bollywood cinema has been forever intertwined with the Indian identity. The posters from the 1970s, especially the 1975 Alakh Niranjan, resonate with a formative period in the evolution of Bollywood, where the socio-political landscape was continuously shaping the narratives portrayed on screen. The film industry began to explore more complex character representations, especially those of women by integrating them as central figures. During this period, Bollywood began to solidify its role as a cultural touchstone that mirrored the aspirations and anxieties of Indian society. The presence of the panther that the actress holds on a leash is not only a stylistic choice; it reflects themes of power, dominance, and the connection between nature and human emotion, frequently explored in the films of that era. In Hinduism (Sanatana Dharma today), Alakh Niranjan is a term commonly used to refer to the Creator. It is also referenced to describe the qualities of both God and the Self, known as the Atman. The word Alakh translates to “that which cannot be perceived or seen,” while Niranjan means “free from blemishes or impurities.” Similar to Ghanaian horror posters that reflect the unique cultural fears and narratives of their society, Bollywood posters...

A fine porcelain figurine. In the form of a black back doll with pink geometric patterns to the torso that is reminiscent of magma cracks in stone. By Russel Biles. A self-d...

Have you ever envisioned the allure of Moroccan designs seamlessly blending with modern aesthetics? Behold the epitome of this fusion in our hand-knotted wool rug, meticulously craft...

Memorie, #13062, by Italian artist Gianfranco Asveri mixed media on paper, gallery framed in white wood frame and under glass. Depicted are some of his favorite subjects, his mother, his dog, and his cat. Live image measures 19.5 x 11.75 inches. Gianfranco Asveri was born in Fiorenzuola D’Arda, Italy, in 1948. The artist lives and works at Gasperini on the hills between Parma and Piacenza with his beloved dogs. He began to paint in 1969. His first work was merely figurative. In the 1980s he moved closer to the “Art Brut” style. Renowned in Italy, Asveri has just finished a solo exhibition in Genoa at the Medioeval “Commenda” and will be presented in Paris next February during the Contemporary Art Fair in Port de Versailles. Recently, the newspaper “Il Sole 24 Ore” (The Italian Economic newspaper) included Asveri among the artists to watch in terms of investment in the Italian Art Market. An appreciable number of famous critics have written essays about his works: Paolo Bledinger, Luca Beatrice, Flaminio Gualdoni and Martina Corgnati. Most Important Exhibitions: 2016 – Sogni dipinti, Galleria Rotaross, Novara. – Lo sguardo nascosto, Galleria Biffi Arte, Piacenza. 2015 – Abracadabra, Galleria Leonardus, Sestri Levante...

Vincent van Gogh, Ege Art Line, Modern Carpet, Cherry Blossom Rug, Signed & Labeled An exceptional 100% wool carpet from 'The 20th Century Masters Collection' by Ege Art Line and pr...

"Space bar" by WAS Airplane trolley turned into an unique Artwork The trolley has been customized by the french artist WAS transforming it into a work...

A chic modernist early 20th century Dan Peoples stool from Ivory Coast, carved from one piece of wood with a simple hourglass form, and the most wonderful p...

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...

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...

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...

This is a Rug that was designed by Paola Lenti. It was produced in Italy and dates to 2005. The rug is an oval shape and is made of an unknown yarn material. The rug measures 8 ...

Beautiful signed Jan Il Yang visual abstract art piece. In its original gorgeous gold frame in great condition. Jan Yang uses a metallic gold foil in his artwork which gives it a ve...

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...

Albert Chubac, Composition, Mixed-media on paper, Stamped, circa 1960, France. Measures: Height 1m73, width 70 cm, depth 1 cm. Albert Chubac was born in Geneva in 1920. After studying decorative...

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...

These handmade decorative accessories combine the traditional Portuguese ceramic and glazing techniques in a modern approach of shapes and color, as they bring such brightness and jo...

A wonderfully colored and glazed, rather unique piece by renowned American Pacific Northwest Coast potter Anne Hirondelle who in 1993 was a recipient of a National Endowment for the ...

Unique Folk Art copper sculpture of a man in a rowboat by S. J. Rossbach circa 1966.

This handwoven rug from our Manifest collection transcends the ordinary, offering a canvas that goes beyond mere floor covering — it's a true game-changer in the world of interior ae...

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...

Inspired by our iconic Almeria baskets collection, Pinetti introduces a brand new family of lanterns. Wireless and USB rechargeable these lamps are made with hand-woven plastic modu...

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...

Step into the serene elegance of 'Cobblestone Whispers,' a hand-knotted rug. Much like a stroll on freshly fallen snow, this rug features a ground color of white, with a light peach ...

Tatra truck model, large dimensioned in steel. The truck is made by a person, who worked his adult life for the company Tatra. In his retirement he build of all the Tatra trucks a...

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

Hand crafted weed pot with scribble design and green and orange glaze. signed J.bock80.

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...

Original work of art, framed, acrylic painting on wood panel. "The Mistress", by artist Kimball Hall. Incorporates primary colors in a highly stylized cubist work of art. Created in ...

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 small wall hanging quilt by master quilter Nina M. Groves known for her famous Quilt barn trail which had designs of them painted on over 1000 bar...

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...

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,...

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...

Hand painted metal advertising sign for an optician. The shield was attached to the facade on an optician shop and is painted with the same motive on both sides. Signed from the si...

Large and colorful abstract, 49 x 72 full of organic and beautiful color. Layers of paint with alot of symbolism. In excellent vintage condition with minimal wear.

William Umbreit was born in East Orange, New Jersey, in 1935. After serving in the United States Army from 1954-56, he was honorably discharged in 1962. Umbreit received a BSA from N...

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...

Timeless Elegance in Organic Form This exquisite natural cowhide rug is a testament to understated luxury and organic beauty. Ethically sourced from Brazil and hand-selected for its...

Inspired by our iconic Almeria baskets collection, Pinetti introduces a brand new family of lanterns. Wireless and USB rechargeable these lamps are made with hand-woven plastic modu...

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...

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...

Nothing like a sleek waste bin in calfskin leather to keep your bathroom looking chic. The cylindrical body is entirely covered by hand with fine calfskin leather in a woven pattern....

The male figure is cone-shaped, with arms gently cradling his hands to his stomach, embodying introspection. His surface features bold, abstract patterns and a glossy glaze. The fem...

A vintage Turkish Sparta rug that has been overdyed teal with hand-knotted raised piles to form the 'pseudo' medallion, spandrels, and border of this modern folk piece.

Impressionist view of a interior cafe with a chef and patrons. Colorful palette with a Ashcan style in the Painting created about 1930. Unsigned. Framed in what appears to be the ori...

We love this piece! Number 2 from an edition of 2, the other was sold recently on Saatchi online, and honestly we don't mind rat dog hanging around, he eats no...

Fabulous large painting, wall mural of the Chain Bridge in Budapest Hungary. 10 feet x 4 feet with all the trimmings that surrounds the Danube River. Bridge was mostly destroyed by f...

A vintage Turkish flat-woven Kilim rug handmade during the mid-20th century. 3 offset sections with variating colors in persimmon, orange, coral, and dark blue are attached together ...