Painted Folk Art

A Belgian toleware vintage wall shop sign in slang for vegetables. This Végé metal shop sign can be mounted individually to taste. It is made of the four letters Végé and includes th...

New Guinea, Papua Gulf, probably Baimaru people, late 19th–early 20th century H. 81.5 x Diam. 15 cm. Provenance: - Collected by German biologist and cinematographer Thomas Schulze-...

Originally designed by architect, designer and artistic director Guido Andlovitz in 1936 for Società Ceramica Italiana Laveno, this pair of vases are indeed the rarest of finds. The vases were manufactured in 1942, as attested to by the marking "N - 42" on the base of each vase. The gold rims and aquatic scenes that surround each vase, are unique to each piece and were painted by hand in 1943. They are both signed by the artist "Miruccia". One of the vases has the words “Anni di Guerra” (Year of War) written on the base in reference to the Second World War . Founded in Laveno in 1856 by Severino Revelli and some former employees of the "Richard" manufacturer in Milan. The "SCI" (Italian Ceramic Society) began its activity as a manufacturer of wall tiles and fine tableware. In 1883 it became a limited company and obtained its first successes at numerous national exhibitions. In 1895, Cavalier Luciano Scotti took over the company and, thanks to his intuition and his entrepreneurial skills, the factory grew substantially in a few years. In those years, some Liberty-style pieces designed by Giorgio Spertini, the author of noteworthy elegant "whiplash" creations, were created in the Laveno factory. In 1906 "SCI" presented numerous works at the International Exhibition of Decorative Arts in Milan. Other collaborators from the beginning of the century were Silvio and Piero De Ambrosis, Felice Palucco, Giancarlo Jacopini and the brothers Marco and Luigi Raggiori. However, it was in 1923 that, under the direction of Guido Andlovitz, the company reached the peak of its fame and in 1925 was a resounding success at the 2nd Monza Biennale. Andlovitz, who collaborated with the manufacturer for almost forty years, applied to the production process the principle of seriality, a concept also put into effect by Giò Ponti at "Richard-Ginori", adopting various types of decoration which, although moulded and decal stamped, still retained an undeniable elegance. In 1924 the "Società Ceramica Revelli" became a consortium with the "SCI", the partnership would continue until 1932 and saw Franco Revelli's company marketing pottery and table porcelain on behalf of "SCI". From 1925 porcelain and crockery began to appear in the factory's catalogs. In 1927 the company was present at the 3rd Biennial of Decorative Arts in Monza. Between the end of the 1920's and the beginning of the 1930's, the decorators Giuseppe Bellorini and Daniela Ferretto began to collaborate with the "SCI". As of 1932 the company managed two factories: that of Laveno, which, with over 1300 employees, produced strong pottery, tableware and artistic ceramics and the smaller factory of Verbano, which employed about 400 people and produced, in addition to ceramics for the electrotechnical industry, excellent table porcelain. The products were marketed in the company owned stores in Rome, Genoa and Naples. This was an initiative realised by Andlovitz himself. In the mid-thirties, the decorators Ada Corsi and Ida Fonini among others, collaborated with the "SCI". From 1936 to 1940 the artistic direction of the company was entrusted to the sculptor and modeler Angelo Biancini. In 1939 about 1300 people worked in the Laveno plant and in 1951 about 2300. In the years between the two wars among the collaborators of the factory were Sirio Tofanari...

Give your wall some tasty decor with this delicious vintage painting on canvas. Proudly featuring a quartet of iconic glass soda-pop bottles...

Rita Alaoui is a French-Moroccan artist who lives and works in Paris. She is a graduate of Parsons School of Design in New York City. She seeks to explore and rethink our relationshi...

3 Mailbox by Lluis Clotet & Oscar Tusquets Dimensions: D 32 x W 24 x H 40 cm Materials: Made up of steel sheets painted in a black polyester powder coating (RAL 9005). Doors in p...

Very large retro vintage West Germany Scheurich Fat Lava vase / floor vase / ear vase Retro vintage West Germany Heinz Siery Scheurich floor vase...

An 18th century naive landscape, in the middle ground is a neoclassical structure and round tower, the forerground with an extensive landscape depictin...

Rita Alaoui is a French-Moroccan artist who lives and works in Paris. She is a graduate of Parsons School of Design in New York City. She seeks to explore and rethink our relationshi...

Igneous is a design made from carbon powder and using Custhom’s innovative process of hand-foiling wallpapers, creates a unique distressed or highly polished finish in a wide range o...

This beautifully hand-painted stone by Ilya Schor captures a richly detailed scene infused with warmth, folklore, and storytelling. Featuring a Hasidic man standing on a bridge, the ...

Incredible early 1800s Parisian realism/ naive portrait of Madame de Graffigny. Measures 65 x 53. Françoise de Graffigny, author of the famous novel ‘letters from a Peruvian woman...

If great art is meant to inspire and provoke, this beautiful carving of a gnome with a deer on it's head may be the greatest piece of art ever made. Hand carved by the artist "R.S." in the year '75, this large pine log has become so much more than the sum of it's parts. Roughly hewn details give the sculpture an almost living, breathing feel. Perfect for fans of all sorts of woodland nymphs and creatures- from elves to hobbits and beyond. Please confirm item pickup location (Brooklyn NY or Wall NJ...

Intriguing group of three vintage decorative markers crafted in wood and painted with primary colors, now distressed.

Igneous is a design made from carbon powder and using Custhom’s innovative process of hand-foiling wallpapers, creates a unique distressed or highly polished finish in a wide range o...

Wintery landscape painting dating back to circa 1950, set in a combed maple frame. A glimpse of nature, as through a window.

The "Island" fine art print, shown here, is by UK artist Jan Erika. Unlike her exuberantly colored abstracts, this image reveals a more subtle approach to color and form. The Gicle...

Adorable, unusual small chair, with one armrest, containing a small compartment. The original paint beautifully worn and faded (minor retouching and over paint on the bottom stretche...

The rescue of Zapotec roots, the preservation of textile traditions and teaching are currently the occupations of Roman Gutiérrez, renowned master weaver of Oaxaca, a state that owns...

Don't miss out on a truly unique, once-in-a-lifetime piece of genuine folk art. This endlessly whimsical watercolor features an intriguing playful still life of Johnny Gruelle's icon...

Rita Alaoui seeks to explore and rethink our relationship with the wild world and to imagine connections with the extraordinary. Fascinated by the power of nature and concerned about...

The Backgammon Board is a handmade limited collection (100 pieces) designed by the young Milan based Valeria Molinari for Dilmos Edizioni. The project, composed of four boards inspir...

Part of the Little Man Series by Steven Colucci - Mixed media / Acrylic and chalk. Steven Colucci was born to an Italian family in the South Bronx, near Yankee Stadium. His father owned and operated the dry cleaning service used by New York Giants. Colucci remembers sharing dinners with legendary athletes like Tucker Frederickson, Rosey Grier, Jim Brown and Frank Gifford. At 12 years old, he was diagnosed with severe dyslexia and forced to enroll at New York University Reading Institute, a small-private school in the East Village. During his years at NYU Reading Institute, he was encouraged to express himself through painting; he became particularly in representing movements through paint and carefully studied the works of John Marin, Jackson Pollock and Willem de Kooning. After finishing the program at NYU Reading Institute, Colucci returned to William Taft high school in the Bronx, and remained focused on painting and won a scholarship to the School of Visual Arts. After graduating with the B.A. in painting, he moved to Paris to continue his studies in art and movement. It was in Paris that he began to study pantomime and ballet under the tutelage of world-famous movement artist Etienne Decroux. Decroux worked with him honing his talent, until he was discovered by Marcel Marceau in the late 70s. Marceau had few protégés, and Colucci quickly became one of them. For the next decade under Marceau’s instruction, he developed his own artistic voice and style. In the 1980s, he moved back to New York where he developed a dance and mime program, which offered one-on-one workshops with the world-renowned dancers and musicians like Martin VanHamel, Kevin McKenzie, Dennis Koster, Gerald Busby and more. He brought his workshop to numerous colleges across the United States including Bard College, nationally recognized for its prestigious arts program and the Philadelphia Art Museum. Ronal Wilford, President of Columbia Artists Management, recognized Colucci’s work as high art. Between 1980s and 1990s he was asked to collaborate with various dancers and artists including Alvin Ailey, Melba Moore, Royal Ballet of Flanders, Julio Iglesias...

Large painting by Lino Marzulli on canvas dated 29/11/79. Very large and colorful. Plexiglas glass so less fragile.

This handmade vase was designed and made by the collaboration of Spanish designers Carlos Jiménez, better known as `“Del Amor y la Belleza”´´, and Ranma. The vase is made of ceramic ...

This handmade vase was designed and made by the collaboration of Spanish designers Carlos Jiménez, better known as `“Del Amor y la Belleza”´´, and Ranma. The vase is made of ceramic...

5 Old traveling circus barriers. Painted on both sides. Were hung on supports, these supports are missing. Small breakages, wear of the patina. Very cha...

The young dancers wear an armor of threads over their bodies, showing off an ancient indigenous art form. Colorful thread combinations characterize the huipil dress, a rectangle of cloth handwoven on a backstrap loom that dates back thousands of years in used in Zapotec culture. Through symbols in their dresses, Zapotec women wear their identity, history, culture, power, social and marital status, religion, personality, and power. In this folkloric dance, “Flor de Piña” (Pineapple Flower), innocence surrounds young girls as they dance and hold pineapples on their shoulders as an offering. Their long braids represent purity and their bare feet symbolize their connection to the Earth. This folkloric dance is part of the “Guelaguetza” (name in the indigenous Zapotec language) Festival Celebration. Since pre-hispanic times, the indigenous people of Oaxaca have honored the goddess of maize with this festival, performing and offering gifts to ensure a good harvest. Husband and wife, master woodcarver Manuel Cruz and wood painter...

The Backgammon Board is a handmade limited collection (100 pieces) designed by the young Milan based Valeria Molinari for Dilmos Edizioni. The project, composed of four boards inspir...

Gus George - Pin up drawing on paper circa 1948. From a group of approx 20 works recently discovered in upper New York State.

Gus George - Pin up drawing on paper circa 1948. From a group of approx 20 works recently discovered in upper New York State.

Snowman: following a story of Harry de Leijer who moved to America and came to a closed auction, saved a horse from slaughter by paying 80 dollars for it. This horse, named Snowman, ...

Marilyn Monroe with plaster, the plaster represents what she knows about people she has shared the bed with, so she had to keep quiet. The tulips around her symbolize her femininity....

Original work by Lex Grote inspired by a model from the village of Nuenen, where famous artist Vincent van Gogh lived.

Meeting of Wellington & Butcher. Published by S.Lipschitz London and Hamburg. Not in its best condition but in what looks to be the original frame. Colours still vibrant, some st...

Francesco Raimondi, Poseidon Grotesque plate, glazed earthenware 60cm diameter - hand painted, unique piece Francesco Raimondi was born in 1959 in Vietri sul Mare on the Amalfi coast, where he currently lives and works. A decorative artist by vocation, from his adolescence he trained at the major ceramic’s factories in the area. Raimondi represents one of the most significant contemporary expression of Southern Italy Majolica tradition: he is an exquisite decorator transferring traditional propitiatory grotesque themes into a contemporary fresh and innovative interpretation. From the late 1990s Francesco Raimondi has taken part in numerous exhibitions at regional, national, and international level. His solo shows include “Contemporary Mediterranean” at Palazzo Sant’Agostino and at the Temple of Pomona in Salerno and “Raimondesche” a large retrospective of his work hosted at MIC - Museo Internazionale delle Ceramiche in Faenza, the museum with the largest ceramics collection in the world. In 2006, part of the Regione Campania pavilion, Raimondi won the Gold Medal at the Chelsea Flower Show in London, awarded by Queen Elizabeth II. In 2016 he was assigned the title “Master of Arts and Crafts” by the Cologni Foundation at Milan Triennale and was included in the Golden Book of Italy’s Crafts Excellence. In 2018 he was granted the title of Knight of the Order of Merit of the Republic of Italy...

"Dans la rue à ville" painting. France, 1955.

A Victorian period, late 19th century ebonised or black painted Aesthetic three division Canterbury or magazine rack standing on turned feet ...

A pair of custom made hand-gilt classical pagoda models. Hand painted white columns and minor trim features. The roof, top, and lower floors of the model ...

Elegant watercolor depicting a bus scene by illustrator Gus Bofa. Dimensions: 12.5 x 24 cm

Painting of a classical game: "Tic Tac Toe". Black on black color scheme gives it an elevated and edgy look, that makes this pieces ideal for a study, livingroom or even a playroom.

Marilyn Monroe with plaster, the plaster represents what she knows about people she has shared the bed with, so she had to keep quiet. The tulips around her symbolize her femininity....

Elegant painting by Edmond Tapissier representing the rest during the flight to Egypt, magnificent fawn colors... landscape format.. It is an oil on canvas with a glass in front as w...

A spectacular and fine, dovetailed poplar, rosewood grain painted and ebonized document box. The gold stenciling is of a very fine quality. Retains the original fire gilded steel bai...

HAND-PAINTED 19TH CENTURY BANNER WITH AN 1867 VERSION OF THE SEAL OF THE STATE OF ILLINOIS, PROPOSED IN THAT YEAR BY THE SECRETARY OF STATE, BUT IN A VARIATION NEVER FORMALLY ADOPTED Banner with the Illinois State Seal, in a rare variation of the design, never adopted. In 1867 Illinois Secretary of State Sharon Tyndale proposed that the phrases in the state motto be reversed. In the wake of the Civil War, (which ended in 1865,) Tyndale suggested that the verbiage be changed from "State Sovereignty--National Union" to "National Union--State Sovereignty,” which made sense given the recent secession of the Southern States, which placed their own interests first. Illinois' own Abraham Lincoln had worked hard to preserve national interests, echoed here in the altering of the language. Though Tyndale’s suggestion was rejected, he was nonetheless charged with creating a new design, which he did and was soon adopted. This displayed the dates of "1818," when Illinois became a state, and "1868," when the seal was officially changed. Interestingly enough, Tyndale did manage to send a message in the new version by turning the word “sovereignty” upside-down , with the surmised explanation that this fit accordingly with the orientation / position of the streamer. The banner is beautifully hand-painted on muslin and retains its original staff. The shape is beautifully scalloped at the bottom edge, which is painted to look as if there is an applied fringe. Most of the elements are congruent with the 1868 version, but there are various differences. Set within a shield-shaped medallion—usually circular—is the expected eagle in a side view, spread wing pose with beak uplifted. The eagle is supposed to be perched upon a rock with one talon, while gripping a Federal shield in the other. Here there is no rock and both talons grip the shield, which displays 13 stars. Note the date of "1867" and Tyndale's preferred order of the wording on the billowing ribbon in the eagle's beak. The foreground of the official design is all grass. Here there are olive branches—a peacetime reference appropriate for a country recovering from war—on a grassy area, set upon a sandy shore before Lake Michigan, with a rising sun on the horizon. Mounting: The banner was mounted and framed within our own conservation department, which is led by masters degree trained staff. We take great care in the mounting and presentation of flags and have preserved thousands of examples; more than anyone worldwide. The background is 100% cotton twill, black in color. The mount was placed in a black-painted, hand-gilded and distressed Italian molding. A shadowbox was created to accommodate the staff. The glazing is U.V. protective plexiglass. Feel free to contact us for more details. Banner - 49" x 56.5" Frame - 67.75" x 59.25" About Jeff R. Bridgman Antiques, Inc.: As an advisor to top museums and collectors alike, Jeff Bridgman is the world's leading expert and source for antique American flags and political textiles...