Fabric Contemporary Art

This is very large and wonderful wool fiber art piece accredited to the Robert Kidd studio, circa 1975. At 4'-10" by 8'-6" this piece will fill the largest...

Abstract oil on board painting by Robert Chapman. In the artist's hand made frame. As the assistant to Willem de Kooning for the last decade of de Koon...

"New York Math" Acrylic on canvas painting by Nicholas Howey. Signed, dated and titled on back.

Vivid color and movement to this original acrylic on canvas. Signed and dated on the verso. Shelley Herman 1970 "June Breath".

Robert Combas, large original serigraphy mounted on canvas, 83/100, 1992, signed in pencil, framed. 125 x 98cm with frame, 110 x 85cm without.  

A modernist painting oil on canvas by Olga Pagana, "Bailerina", dated 2002. Signed lower right. In very good condition and with original wooden frame. Oil on canvas 16.50 by 13 inch...

Introducing our exquisite "Large Giclée of a Reclining Nude Female" - a captivating piece of art that exudes grace, beauty, and sophistication. This stunning black and white pictur...

Rare abstract oil on canvas painting by the Swedish artist Bertil Berntsson made in 1963. In good vintage condition showing some signs from age and use. Measurements: 115 x 103 x 2 cm.

Nijinsky as Harlequin. Original life-size painting by Lynn Curlee The great dancer Vaslav Nijinsky in one of his most famous roles as Harlequin in Ca...

"Study in Orange" by Dennis Yersner in brass frame.

Juan Archuleta gates and garden painting. Well done in a fine custom gilt frame from a fine New Jersey private. collection. Juan S.E. Archuleta, Bor...

Original oil on canvas painting by listed Italian artists Federico Salvatore. The painting depicts a sailboat coming out of the Marina Grande in Capri Italy. Hand marked ‘Marina ...

A truly stunning, one-of-a-kind work by California master tapestry artist Helen Webber featuring various wild natural creatures in an African jungle scene. The colors are so rich and vibrant. This, without question, is one of the most wonderful pieces we have come across in some time. A vibrant, rich, heavy, substantial work overall. Displayed in a custom crackle finish frame. Sure to stand out in about any setting. This work leaps off the wall. Truly a designer's dream. The tapestry is signed by Webber in the lower left. Webber's works can be seen in a number of various settings including worship centers/churches/temples, hospitals and health care facilities (Betty Ford...

Wax, oil, paper and varnish on canvas. Dated 1994. Framed.

Milan Miletic, Serbian Artist, Born 1950. Pont Neuf, Paris oil on canvas, signed lower right and dated 2008. In decorative gilt frame. Yugoslavian...

Title: Ecriture Liee (Linked Writing) Artist: Jean-Daniel Rohrer (Swiss Canadian, 1960-). Media: Mixed media on Canvas (collage, stencil, chalk and oil on canvas). Year: 2007 Siz...

A fine impressionist oil on canvas by the well celebrated Reynolds Beal. Dated 1928 on verso and signed. The reverse bearing the Estate Stamp and Catalog page information. The USS Utah at Rockport Mass...

Fun and thought provoking bold painting on canvas with the message Wake Up as a call to awakening greater awareness. Beautiful contemporary double black frame.

Signed, dated, 1959, oil-on-canvas painting by listed, well-exhibited, French, Lyrical Abstraction painter, Pierre Fichet (1927-2007). Select group exhibitions: Paris Biennale, Franc...

Large abstract oil painting titled: "Connected Green Deal" Natural pigment on vintage Belgian linen canvas Textured green iguana abstract...

Oil on canvas painting "Untitled" by Paola Vega, Argentina, 2020. The painting was exhibited in her solo show "The life of paintings" at Calvaresi in Buenos Aires, 2020. Paola Vega bio: Paola Vega is an artist, researcher and curator. She graduated with a degree in History from the Universidad Nacional del Sur in 2003. In parallel, she began to study painting in Bahía Blanca at Espacio Vox with Gustavo López, and carried out work clinics with Jorge Gumier Maier and Diana Aisenberg between 2001 and 2002, and later in Buenos Aires with Pablo Siquier (2004) and Tulio de Sagastizábal (2005-2007). In 2003 she obtained a scholarship granted by the Antorchas Foundation to continue her training. She was selected to participate in the Artists Program of the Torcuato Di Tella University (2011) with tutoring from Jorge Macchi. In 2015 she did a residency in Madrid at El Prado...

Michel Fokine as Harlequin. In Carnaval, 1910. Original life-size painting by Lynn Curlee Fokine was choreographer of the famed Ballets Russes.    

Title: 'McLady' Technique: oil on canvas (vintage oil painting intervention) Artists: Tatsu & Horvikt Year: 2020 About 7710 studio: We are...

Selection of Modern Abstract paintings, probably American, circa late 1950s-early 1960s. From left to right, they are: 1) The framed abstract painting on paper on the left measure...

Framed oil on canvas "Maybe on Mars", Abstract, by Dino Savio. Unframed 16" x 16" Dino Savio earned a Bachelor of Fine Arts from Carnegie Mellon University in Pittsburgh, Pennsylv...

Rare abstract oil on canvas painting by the Swedish artist Bertil Berntsson made in 1964. In good vintage condition with small signs of use. Framed in a pine frame. 129 x 120 x 2 cm.

Title: Sailing Through Artist: Vanessa Joy Medium: Acrylic on canvas Subject matter: Abstract Art Size: 48 x 60 inches Sailing Through depicts the w...

Acrylic on canvas painting of a seahorse skeleton by Alabama and New Orleans based artist Heather Petterson. A great piece for any beach, ocean or nautical themed house. Measure: 30"...

Pair of colorful monotypes by Georges-Armand Masson. Dimensions: 16" x 19.5".

Nijinsky as Petrushka Original life-size painting by Lynn Curlee The famous dancer, Vaslav Nijinsky, as PETRUSHKA, one of his greatest roles. 1911. ...

Dramatic and eye-catching is this large scale contemporary black and white painting Nonconforming by Edward Evans. Evans creates sculptural modern illusions that are both lush and st...

A collection of 4 close-up vividly colored and almost stylistic oil on canvas paintings of respectively a white peony, a blue tulip, a dahlia and a cutleaf coneflower. About the art...

Contemporary Abstract Oil Painting 'Blue Boy 2' by Los Angeles based artist Justin Bower 95.5" x 75.5" oil on canvas. Bower is a studio artist with pai...

Nijinsky as the Faun Life-size painting by Lynn Curlee A portrait of the famous dancer, Vaslav Nijinsky in one of his most famous roles, As the Faun...

Selection of Mid-Century jazz themed paintings, American, circa 1930s-1970s. From left to right, they are: 1) New Orleans jazz watercolor by Leo Meirsdorff...

Artists: Angelos Panayiotou Born: 1943 Nationality: Greece Title: An elderly Man in Contemplation Medium: oil on canvas, Mark: signed lower r...

Very large and vibrant abstract painting and mixed media assemblage. Signed lower right. Block like elements in reds, tan, white and black. Along with black and white strings across ...

An original acrylic painting on canvas by contemporary American artist Lee Hafer (Ohio/California). The colorful abstract painting features a background of a...

Painting by the Danish painter Bente Ørum 2017. Walking in the woods is lovely. Sitting down might be exciting - but not everything is as peaceful as it could be. About the artist...

Beautiful and rare oil on canvas painting with a pine frame by Bertil Berntsson from the 1962. In good vintage condition with some signs from age and use.

Large aboriginal painting by contemporary artist Ningura Napurrula entitled "My country, rock holes". Canvas is not stretched for easy shipping. Ningura Napurrula (Australian Abor...

Square scatter size Persian Kilim from the 20th century with 2 cats going on a shopping adventure together on a beige field. This was originally belonging to a private Persian collec...

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...

Nijinsky as Till Eulenspiegel Original life-size painting by Lynn Curlee. The great dancer Vaslav Nijinsky in one of his famous roles. This painti...

Stunning XL black and gray abstract painting from NYC artist Rosalyn Engelman (1938). This masterfully created oil on canvas exudes great energy in a stunning sea of black and gray and is part of her Nocturnes of the Soul series created in the late 90's. A companion piece of this was exhibited at the Salon Art + Design at the Park Avenue Armory in 2017. Her influences include an expansive palette of artistic traditions, from the abstract expressionism for which she’s best known, to the Asian and Japanese art she focused on while at Rochester, to the Bauhaus tradition, which captured her attention as an undergraduate at City College in New York. SELECTED GROUP EXHIBITS Florence Biennale, EARTH:Creativity & Sustainability, Florence, Italy, 2017 Hebrew Union College...

Nijinsky in the Lezginka Original life-size painting by Lynn Curlee The great dancer Vaslav Nijinsky in one of his famous roles, 1909. This painti...

"Annette Lemieux is one of the few wunderkind of the 1980s global art scene who has endured beyond that feverish time to become a significant artist wh...

Nijinsky in Scheherazade. Original life-size painting by Lynn Curlee The great dancer Vaslav Nijinsky in one of his most famous roles, 1910. This ...

Stunning Mid-Century Modern oil on canvas, abstract composition by French artist, Roudneff, dated 1963. Beautiful and very interesting work. Monsieur Roudneff, created numerous mo...

Entitled "Study for Tarantula Nebula," this painting by Chicago-based artist Jan Pieter Fokkens offers a representation of the gigantic star-forming region of the same name. Located ...

A close-up oil on canvas painting of a cutleaf coneflower. It is one of four paintings of vividly colored and almost stylistic flowers. About the artist: Esther Hansen grew up in t...

Early work of Sylvia Hommert 2002 LA #501 untitled painting. Oil, beeswax, paua shell, and resin on canvas. Signed lower right.

Jake Attree, (Born 1950) Yorkshire artist, view of leeds. Oil on canvas, signed and dated verso: J Attree, 1992   The subject is a view across the City of Leeds taken from the artists studio on Maris Street which has since been demolished to develop a new road system. The painting is based upon a series of drawings. It was exhibited at Art Space Gallery, Michael Richardson...

A close-up oil on canvas painting of a blue tulip. It is one of four paintings of vividly colored and almost stylistic flowers. About the artist: Esther Hansen grew up in the...

This abstract monochrome painting by little known Los Angeles artist is a fine example of color abstraction. The canvas has been painted with a monochrome, purplish brown paint that ...

Set of 3 Contemporary abstract paintings (triptych) with gouache on rectangular canvas in shades of pink, red and white. (TOM JOHN, 2010)

An original painting on silk by Winifred Jagger. Upon spending time in Burma, Jagger was inspired by the techniques and vivid colours of local artists which she has developed into her own unique style. Peacock is painted with ink on silk...

Large oil on canvas by Los Angeles artist Andrew Shachat. Represented by Patricia Correia Gallery, Venice, CA. Patricia Correia Gallery (PCG) was first established in Venice, Cali...