Fabric Contemporary Art

Hand-dyed wool on cotton warp; A bold and expressive handwoven wool tapestry from the Zapotec weaving tradition of Teotitlán del Valle, Oaxaca. This pi...

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

A selection of butterfly collage artworks exhibiting examples of custom backgrounds with wrapped & painted frame options. This past year, Dawn has been creating large format butter...

Untitled. Oil on canvas. Dimensions: Canvas 25 1/4 in. x 36 in., circa 1960s.

A contemporary aboriginal painting by Kathleen Petyarre (1940-2018). The highly collectible painting was from 2012. It is stretched (no frame but ready to hang) and comes with a copy...

"El Estafador" - A Captivating Oil on Canvas Masterpiece by Argentine Contemporary Artist Diego Cabral (2021) Step into the imaginative world of Diego Ca...

Gabriel Godard. French, born 1933. Aux Chaise. Oil on canvas: 29 by 36 in. with frame 33 by 40 in. Signed lower left and dated 62. Gabriel Godard was born on April 28, 1933 in Delo...

British artist Grace Watts (b. 1990) works on hand-stretched linen in her east London studio. With its expressive mark-making, this piece in oil and graphite on a beige background is...

A beautiful, highhly textured painting in great detail by Frank Faulkner. Frank Faulkner by Philip Herrera, 2006: Born in Sumter, South Carolina in 1946, Frank Faulkner received his...

Courrèges cotton scarf in excellent condition found in Paris, France. Features bold pop-art style owl sitting on the Courrèges Paris logo. Set in a modern espresso teak box frame. ...

Mixed technique on canvas. Production time: 6-8 weeks for items without marble / 13-14 weeks for marble pieces. Shipping +10 additional business days. Casa Quieta uses natural m...

Oil on canvas, painting by Hans Speidel (1895-1976): Germany, Signed. Speidel, opposed the Hitlerian racial laws, and was a proponent of the German mo...

Painted canvas, or decorative panel, representing an elegant painting in the style of the 1950s. Contemporary French work of artists. Dimensions: H 160 x W 100 cm Reference: LS643...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera - including fragment...

Abstract artist, Lamar Briggs, was born November 13, 1935 in Lafayette, Louisiana. He initially attended the University of Southern Louisiana for architecture before transferring to the University of Houston in pursuit of painting. He eventually graduated from the Colorado Institute of Art in 1960 and was later inducted into their Hall of Fame in 2005. After graduating, Briggs returned to Houston and began working as a graphic designer and associate art director at KTRK-TV, Channel 13...

Extraordinary Mid-Century Modern cityscape painting with brown and green skyline. The large scale (5 foot) cityscape painting is reminiscent...

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...

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...

Framed, color screen-print on silk scarf. Untitled. 138/150. Measures: 37" W x 36.5" H.

A large and captivating unsigned painting featuring sinuous abstract leafy vine- like interlaced organic elements in orange, red and black on a soft mottled green and cream ground. U...

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.

This work has several points of view. It talks about getting a different perspective, very suddenly, unexpectedly. It can be on an emotional level, how a sudden upheaval in the mood ...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

Gerson Leiber "No Seashore Holiday" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary in the arm...

Gerson Leiber "Simplicity Is Hard to Achieve" Oil on Linen, 2015 Born in Brooklyn in 1921, Gerson showed promise in his high school art classes. Later, while stationed in Hungary ...

Painted canvas, or decorative panel, representing an Italian portrait in the Renaissance style. Contemporary work by French artists. Dimensions: H 160 x W 100 cm Reference: LS6335...

Painted canvas, or decorative panel, representing a Renaissance-style character. Contemporary work by French artists. Dimensions: H 160 x W 100 cm Reference: LS6335671M Possibili...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera—including fragments ...

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, Califo...

Chicago-based artist Michael Thompson creates unique compositions of abstract painted elements and a collage of vintage Asian ephemera—including fragments of fabric, scrolls, drawings, and books collected during his travels. In a departure from his split bamboo kite series, this work on stretched canvas entitled "Study in Red" layers textured paper and silken fragments within a rosy red color story. A gradient of red to pink sweeps across the composition, interrupted by a panel of Japanese silk depicting a whimsical scene...

J. Paramé is considered one of the most talented and promising Portuguese artists of his generation. Born in Lisbon in 1978, he studied at the National Society of Fine Arts in Lisbon...

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

James Strombotne is a contemporary artist who has had a successful career, since 1956. His artwork is held in many prestigious museums and private collections, including those of the Museum of Modern Art, New York, the Whitney Museum of American Art and the Hirschhorn Museum of the Smithsonian Institute. According to Strombotne, "Any subject is fair game...

Hervé Maury, signed. Painting depicting bear cubs, in shades of orange. Mixed technique mounted on canvas. Contemporary craftsmanship.

Still life painting in original wood frame, signed Lenfest. Oil on canvas. Frank Alger Lenfest (1909 - 1968) was active/lived in California. Frank Lenfest is known for Painter, com...

This is a modern abstract oil painting on canvas by Kay Hillman. The piece most likely dates to the late 70’s or early 80’s. The artist is American and passed away in 1996. It is sig...

Oil on canvas 30x40cm created 2015 Wolfgang Glechner was born in 1951 in Braunau am Inn. He is an autodidact. Since 1998 (according to his own developed "separation color theory") strongly colored paintings in oil and acrylic. Years ago he started as an working as an llustrator, working primarily black and white pen and ink drawings...

- Tapis LOVE. Robert indiana Tapis love 2005 Édition limitée numérotée sur 999 exemplaires 100% laine Noué main Dimensions : 79.24 x 79.24 cm 6 disponibles Prix : 690 €.

Eddie Dabrowski was an American contemporary graphic street artist, self-taught, taking the concepts of street art to another level. Dabrowski’s work hangs in private collections and...

Moody and striking abstract painting with yellow circular element, random drips of paint and a marvelous color palette of olive green, light grey and charcoal.

Dynamic all-over abstraction constructed using alternative painting methods. The paintings are constructed using art conservation techniques and alternative processes to laying down ...

Acrylic on canvas. Signed lower right. Title above- "A good song takes on meaning as the years go by". A commercial artist out of New York who is inspired by Pop art. Set in a gra...

The Protector by Roy Fairchild-Woodard is #161/385. c. 1994 It is a mixed-media print on canvas 28" by 35". Fairchild-Woodard was born in England in 1...

“Every piece of textile has been designed, produced, and worn or used otherwise. Therefore, every piece of textile has a story, a particular atmosphere and beauty. Every piece of tex...

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...

100% silk scarf handwoven and hand-silkscreened finished with hand-rolled edges Measures: 35.4 x 35.4 inches edition of 2,500 custom gift box The scarf takes its motif from a...

Lovely pair of vintage 1970s pencil signed, limited edition arboreal prints. Arboreal because they’re all about trees… and leaves. This listing is for two pieces of art, one price. T...

A close-up picture of the red daliah. It is one of four paintings of vividly colored and almost stylistic flowers. About the artist: Esther Hansen grew up in the countryside an...

Manuel Monton Bunuel (Spanish, b. 1940), a moody Winter street scene, oil on canvas, signed Bunuel lower right, An expressive contemporary oil pai...

A Large Abstract oil on canvas painting by Robert K McKeller (1945-2009). A bold artwork full of emotion, a fabulous statement piece for those looking for an immersive piece of art for a large wall. An unique artwork by a well respected 20th Century artist. Measures 5ft wide by 4ft high. Robert K McKellar is an artist known for his distinctive style, often characterized by vibrant colours and dynamic forms. His work spans various mediums, including painting and sculpture, and frequently explores themes of nature, emotion, and abstraction. McKellar’s pieces might incorporate elements from his surroundings, reflecting a deep connection to the landscapes and experiences that inspire him. Robert McKellar’s abstract work often emphasizes colour, movement, and texture, creating immersive experiences for viewers. His approach uses bold and contrasting colours to evoke emotion and energy, drawing the viewer’s eye and stimulating the senses. His abstract pieces frequently feature fluid shapes and patterns that suggest movement, inviting interpretation and personal connection. Mixed Media Techniques: He often employs a variety of materials and techniques, layering paints and textures to add depth and complexity to his compositions. Nature-Inspired Elements: Many of his works reflect natural forms and landscapes, reinterpreted through an abstract lens, blending realism with abstraction. Emotional Resonance: McKellar’s art aims to convey feelings and moods rather than depict specific subjects, encouraging viewers to engage with the work on a personal level. His abstract art is celebrated for its ability to blend aesthetic appeal with deeper emotional and conceptual undertones, making each piece a unique exploration of the human experience. His works often resonate with audiences due to their emotional depth and visual impact. About Robert K McKeller Painter and teacher, born in Gravesend, Kent, where he attended the Technical School for Boys, 1957–62. Emigrated to New Zealand, 1964, returning to England on the death of his father in 1966. Did a foundation course at Medway College of Design, 1969–70, then a degree course at Camberwell School of Arts and Crafts, 1971–3. Gerald Norden...

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 ...

Modern abstract, oil on canvas painting; titled “Le Grand Bleu” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed...

Kenny Nguyen creates what he calls “deconstructed paintings”, large, bold works that are comprised of hundreds of silk strips, which he cuts, paints, and meticulously applies onto ca...

A stunning and rather rare diptych aboriginal painting by Kathleen Petyarre that depicts one of her most iconic subject. Each painting is 44" x 44". "Mountain Devil Lizard Arnkerrth...

Hugues Claude Pissarro (b. 1935) oil on canvas painting Le Bouquet Au Vase Bleu. Very fine impressionist oil on canvas by this highly sought aft...

This circa 1960s wall art depicts a bandage and is three-dimensional, not printed. Composed of a rubber, perforated "bandage" base and a centered square of what appears to be a cotton-linen blend "gauze" pad. The bandage is glued to paper, but with a slight ripple on one side, emphasizing the dimensionality. Obviously, it's perfect for a washroom, a medical office...

Abstract acrylic on canvas painting. Signed: Alexander Hecht, titled "Of The Game" and dated 2012, backside of the canvas, canvas size 40" x 60" x 1.75" profile. Alexander's artwork ...

Abstract oil painting by Listed Southhampton artist Russell Christoffersen.

1990 Original round abstract acrylic painting on canvas that is stretched over board title ‘Gibbous’’ by American listed artist Paul Maxwell 1925-2015. Hand sign on the front and ba...

Chicago-based artist Michael Thompson creates unique kites crafted from split bamboo frames covered with stretched muslin and a collage of vintage Asian ephemera - including fragment...