Malian Decorative Art

19th century hand painted drawing on Indian cloth.

Author unknown, Composition Color lithograph Number 56/65 The work is signed by the artist and individually numbered (pencil) Work dimensions 67/52 The work is framed Work in origin...

Mid-20th century tribal beaded cache-sex modesty apron (Pikuran), Mandara Mountains, Cameroon These colorful cache-sex were worn for celebrations, rituals...

Mid-20th century man's ceremonial (cofradía) outfit, Chichicastenango, Guatemala. 25" (63.5 cm) shoulder to hem by 59" (274 cm) across shoulders It is rare to find a complete ceremonial cofradía outfit in such good condition. The blue zigzag embroidery at shoulders and cuffs is said to signify that the wearer was an astrologist or day-keeper of the ceremonial Maya calendar...

Mid-20th century tribal beaded cache-sexe modesty apron (pikuran), Mandara Mountains, Cameroon These colorful cache-sexe were worn for celebrations, rit...

Hand-sewed rice straw art by ARKO. Title: Composition Rinforzando This is one of the series named "Composition XX" Her works have the feelings of...

Tapa cloth made from mulberry fiber with natural pigments, Fiji, mid-20th century.

Beautifully framed vintage American needlework of daisies. Very modern almost Pop Art style needlework which really pops thanks to its striking blue background.

Hand-sewed rice straw art by ARKO. Title: Composition Marcato (B) This is one of the series named "Composition XX" Her works have the feelings of...

Beautifully and tastefully framed American needlepoint/ crewel. Circa 1960s. A charming and colorful design. Versatile design that would fit in any kind of room.

Print from the Collection Botanique Flowers representing Still Life, printed manually on 100% cotton engraving paper in Florence Italy. Each print is entirely painted by hand with wa...

Eduardo Chillida Lithograph on cardboard Number T 169/1000 The work is signed by the artist and individually numbered (pencil) Work dimensions 47/34 The work is framed Eduardo Chillida(1924 - 2002). He was a Spanish artist. He began his career in 1943, studying architecture at the University of Madrid, but in 1947 he took up drawing and sculpture. In 1948 he moved to Paris, then the world capital of art. Although he dropped out of college, his work betrays his architectural training, revealing an underlying sense of structural organization as well as material discipline, planning spatial relationships, and scaling elements. For years, the artist used materials that were the basis for his research on conceptual and metaphysical issues. Chillida's early efforts in stone and plaster oscillated between humans and the natural world. His return to the Spanish Basque country in 1951 initiated a change of vision, focusing more on the metamorphosis of space and the definition of spatial volume through form. Chillida soon abandoned the plaster he had used in his Paris works in favor of iron, then wood and steel. These materials represent Basque traditions in industry, architecture and agriculture, and recall the landscape and black light of the region. Chillida began using alabaster for its illuminated but veiled appearance, he used it in the sculpture How Deep is the Air (1996). Despite his use of a variety of media, Chillida's intentions for simplicity and balance never allowed the material to take on a form alien to its nature. He was consistently guided by the quality of space, density and rhythm. Major retrospectives of Chillida's graphic and sculptural works have been exhibited by the Museum of Fine Arts, Houston (1966), the Carnegie Institute, Pittsburgh (1979), the National Gallery of Art, Washington, D.C. (1979), the Guggenheim Museum (1980), the Palacio de Miramar, San Sebastián (1992), and Museo nacional centro de arte Reina Sofía, Madrid (1999). Chillida's monumental sculptures designed for urban and more remote spaces are permanently installed internationally and constitute a central aspect of his artistic production. Chillida has received numerous awards, including the Grand International Sculpture Prize at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...