Manhattan - Wall Decorations

An antique 18th century French Verdure tapestry panel depicting a city on a hill, trees, and animals. Measurements: Height: 88" Width: 145" Depth:...

Vintage Scandinavian Verner Panton “Kreis” Textile, Country Of Origin: Scandinavia, Circa Date: Mid 20th Century

Monica Perez "Let Them Go #3" Original Acrylic Painting on Canvas 2021. W 40" x 60" Monica Perez’s works are expressions of emotion—impulsive, spontane...

16th Century Antique Flemish Silk And Wool Tapestry, Country Of Origin: Belgium, Circa Date: 16th Century. Size: 10 ft 2 in x 10 ft 9 in (3.1 m x 3.28 m)

French landscape tapestry probably Beauvais, circa 1750. Although not a product of the Royal Gobelins factory in Paris, this pictorial landscape tapestry is extremely Fine with silk highlights. The French royal tapestry works in the Gobelins made masterpieces for the crown. For the nobility and bourgeoisie, Beauvais was the source for attractive wall hangings in all sizes, degrees of fineness and subject matters. Rural scenes particularly appealed to urban collectors. Here two white geese cavort under a sandy bluff. The hillock is framed on each side by trees, one a blasted trunk, and topped by a picturesque rustic windmill. Realistically depicted flowers, overhanging grasses and luxuriant foliage give a summer air to the image. In addition, a startled bird, flies up to the right. The border is a trompe l’oeil gilt picture frame with corner bosses and low relief “carving”. The weave is quite Fine and is executed in wool with copious silk details. Although Jean Pillement...

An Exceptional Antique French 1st Empire Period Dore Bronze Grouping of Lovers, Attributed to Pierre-Philippe Thomire a Paris. Exceptionally cast, hand-chiseled and further burnished and matted with two-tone gold, this dore bronze grouping of two neoclassical lovers is of the upmost quality and craftsmanship. As Pierre-Philippe Thomire is regarded as one of the greatest bronzier's of the late 18th century and early 19th century, this dore bronze piece could only be made by someone with his artistic talents. The lovers are seen with the man seated on a cushioned bench with tasseled...

A vintage Persian Hamadan Oriental rug in runner size, size 16'6 x 2'6, circa 1930. This lovely hand knotted carpet features a dazzling floral design in the ivory central field, alte...

Gorgeous Swedish Mid-century Wall shelf decorated with metal filigree details around the upper shelf. Kidney shaped curved front that adds charm with the possibility to use for displ...

Print Archival pigment print on Moab Entrada Measures: 20.00 x 20.00 in 50.8 x 50.8 cm Edition of 50 This work comes with a signed Certificate of Authenticity. Frances Goodman...

Aquatint and drypoint etching by Pablo Picasso titled “Dans l’Atelier III,” executed in 1965. Number 34 from an edition of 50. Signed l/r Picasso, numbered lower left. In a custom gi...

Stunning hand carved wall sculpture by Oregon-based artist Julian Watts made of bleached maple with inlayed pink alabaster reliefs. Currently on view ...

An antique Persian Hamadan oriental rug, size 6'2 x 4'0, circa 1920. This small, handwoven wool carpet features a large-scale geometric design in the blue central field, which is enc...

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Trish DeMasi Lamella pod wall installation, 2021 Glazed ceramic Measures: 5 x 76 x 61 in.

Exceptional "Pygmalion" painting in patinated and engraved bronze and pewter with complex scene in enamel cloisonne with hand-brazed sculptured frame by Philip & Kelvin LaVerne, Ame...

Keith Haring New York 1982: Rare vintage original 1982 issue of Art News featuring a timeless cover image by Martha Cooper of Keith Haring painting the historic Bowery and Houston St...

Aptly titled "Jane Avril," celebrated lithograph artist Henri de Toulouse-Lautrec captures here, in static form, the very particular brand of motion Avril f...

Kim Jung Gi, South Korean, 1975 to 2022, mixed media painting on paper depicting a comics illustration with many characters, 2006. Signed, dated, and stamp...

A painting of the famous Hindenburg disaster in 1937. This was used as an illustration in SHIPS OF THE AIR, a book by award winning children's book author and illustrator Lynn Curlee...

A large and graphically stunning asafo flag. Fante flags represent the merger of two cultural traditions, the Akan tradition of combining proverbs with ...

An early 20th-century pair of Persian Sarouk Jozan Rugs. $ 1,500 each if purchased individually. Details rug no. j4476 size 1' 7" x 2' 6" (48 x 76 cm) rug type Sarouk

Suite of 17 stained glass panels representing symbolic images of the old and new testament, by Max Ingrand . Two panels are signed "Max Ingrand France ". Canada: circa 1950 These ...

19th Century Set of 3 Framed Chinese Kesi Textiles ( 1' x 1'3" - 30 x 38 )

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...

Antique hand carved merbau wood panel from Lampung, Sumatra. We have a collection in various sizes. Please inquire. The size and price reflect the one shown. Stunning on both sides. ...

Lovely pair of hanging wall cabinets with glass doors and glass sides. The cabinets also have two shelves inside.

Framed Italian Majolica plaque, Castelli, circa 1750.

Kiko Lopez is one of the few artisans working today in the traditional craft of églomisé. With this beautiful well of glass, which changes dramatically from whichever perspective one...

Breathtaking 18th Century Antique French Beauvais Tapestry, Country of Origin: France, Circa Date: 18th Century - Size: 4 ft 4 in x 6 ft 9 in (1.32 m x 2.06 m).

"Mexican Sun," an oil on canvas by artist Kathi Robinson Frank is an abstract composition in sunny golds, whites and blacks inspired by the earth and brill...

"Peasants Plaque" in patinated and engraved bronze and pewter with hand enamel cloisonne by Philip & Kelvin LaVerne, American 1960's (signed front bottom center "Kelvin + Philip LaVe...

18 K Yellow gold and turquoise Diamond accent ring. Weigh 11.3 grams. Size 5.5 ring. Normal wear.

A hand painted Chinoiserie design in oil on rice paper, mounted on board. Depicting village figures in a scene with buildings, mountains, and greenery. The design is based on an exam...

Striking ‘pelangi’ tie-dyed textile from Toraja Land, South Sulawesi. We added a linen border, double backed on both ends. This beautiful panel can be used as a wall hanging, draped ...

Framed watercolor by Albert Andre signed lower right. Measures 17" x 15" including frame and 12" x 9" sight. Provenance: Sothebys Andre came to Paris in 1889 as an industrial designer. At the age of 23 he enrolled at the studio of William Bouguereau at the Académie Julian, where he met Ranson, Louis Valtat and the young poet and dramatist Henry Bataille, who at the time was training as a painter. He illustrated L'étang de Berre by Charles Maurras and Les Petites Alliées by Claude Farrère. He produced cartoons for tapestries for the Beauvais factory. In his youth he worked in Paris and Loudun, but later settled in the Midi, where he became curator of the museum in Bagnols-sur-Cèze, building up a major collection of contemporary art, including works by Monet, Renoir, Bonnard, Vuillard, Matisse and Despiau. In 1923, as a friend of Renoir, he compiled his recollections of the painter in a preface to an album of collotypes of his works. He was initially influenced in his painting by Delacroix, and it was Cézanne's paintings that helped him discover how to give the impression of volume using colour: warm tones for illuminated surfaces and cool colours for shadow. But it was undoubtedly Renoir who had the most profound influence on him, especially as it was Renoir who noticed his paintings in 1894 and introduced him to Paul Durand...

Extremely rare Armenian pottery plate depicting the mosaic floor at the ancient synagogue of Beit Alpha in Israel, circa 1920. Jerusalem's ancient 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 ...

Fine, scarce set of four original chromolithographs of Renaissance designs from Racinet's seminal L'Ornement Polychrome published by Firmin-Didot 1869-1873 and 1885-1887. Architectur...

a late 19th century intermediate size caucasian chi chi pattern rug Details rug no. j4028 size 4' 10" x 8' 9" (147 x 267 cm)

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...

Two (of four) designed and handmade frames by Dana Nicholson at Altura Studio in New York. Solid Mahogany and rosewood assembled in a heavy torsion box method. Custom cast brass fitt...

Edmond Louis Maire (French, 1862-1914) A Monkey Still Life Painting with Fruits and Flowers, 1904 Oil on canvas Signed Lower Right Edmond Maire a...

a late 19th-century French Tapestry Details rug no. j4508 size 5' 10" x 7' (178 x 213 cm)

A rare and well-sought variant of the celebrated poster "L'Artisan Moderne," by Henri de Toulouse-Lautrec, this special lithograph includes a seldom seen addition of the text reading...

- Midnight Sun by Jean Lurcat (1892-1966) - Provenance: France - 113.39 x 64.96 in / 288 x 165 cm -About Jean Lurçat's tapestries: In 1917, Jean Lurçat made his first tapestries: Filles Vertes (Green Girls) and Soirée dans Grenade (Evening in Grenada). At the end of the war in 1918, he returned to Switzerland where he had a holiday in Ticino (Swiss Italy), with Rilke, Busoni, Hermann Hesse...

Early 17th century Flemish portico tapestry.

"Climb It, 2024" Oil, acrylic, pastel , and charcoal on canvas, diptych 114" x96" Oil on Canvas Commanding in scale and quietly powerful in message, "Climb It" (2024) is a monumenta...

An antique Brussels biblical tapestry from the late 16th century, attributed to Jan (Ian) Raes, depicting Moses at right, with Joshua kneeling before ...

This 17th-century French School drawing of a hand is a masterful work of art, presented in an elegant silver gilt frame. Measuring 20.75 inches by 20.75 inches, the drawing showcases...

A modern landscape scene painting artwork with man and dog, signed by artist, 1978. Painting, acrylic or oil paint, featuring a modern landscape scene with plush lawn, bright sky, am...

Vibrantly Happy Vintage Scandinavian “Checkers II” Verner Panton Fabric Textile, This Textile Was Created In: Scandinavia, This Textile Was Made A...

Charming modern tapestry designed and handwoven by Steve Chavez (b. 20th Century, American). Attributed, titled and dated to fabric tag verso: Steve Chavez/ "The Elements"/Ribbon Series/ copyright 1989 S. Chavez/Jan '89 Provenance: "New Mexico Tapestry...

1950s modern enamel on copper frame artwork by German born artist Karl Drerup. A rare collection of 5 pieces is available.

Vintage Run DMC Photograph (Run DMC Rushtown Management): Rare vintage original Run DMC press/promotional photograph published by Rushtown Management. Circa early 1980's. Dimensi...

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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. ...

Jane's Addiction at The World Halloween weekend 1988: Rare vintage original announcement flyer produced on the occasion of a historic 1988 Halloween weekend concert featuring Jane's Addiction; The World 254 East 2nd street New York, New York. Concert flyer: 9.5 x 6.5 inches Very good overall vintage condition. About: Jane's Addiction: Jane's Addiction is an American rock band from Los Angeles, California, formed in 1985. The band consists of vocalist Perry Farrell, guitarist Dave Navarro, drummer Stephen Perkins and bassist Chris Chaney. The band has been credited for inspiring the alternative rock movement of the 1990s. They have released four studio albums, including their breakthrough album Nothing's Shocking in 1988 and Ritual de lo Habitual in 1990. The band was formed in Los Angeles, California in 1985. Founder and singer Perry Farrell found bassist Eric Avery, who then brought on drummer Stephen Perkins and finally guitarist Dave Navarro, after auditioning many players. Jane’s Addiction became a sensation on the Los Angeles club scene and a staple on the Sunset Strip. The band’s original line-up featured Perry Farrell (vocals), Dave Navarro (guitar), Eric Avery (bass) and Stephen Perkins (drums). Jane’s Addiction was one of the first bands to emerge from the early 1990s alternative rock movement to gain mainstream media attention and commercial success in the United States. They recorded Nothing’s Shocking in 1988 (so they are celebrating 25-years in 2013!) and Ritual De Lo Habitual in 1990, both on Warner Brothers Records. Jane’s Addiction broke up in 1991 and their farewell tour coincided with Farrell founding the first Lollapalooza festival, an alternative rock showcase and lifestyle festival that is still to this day one of the most influential music festivals in the world. As a result, Jane’s Addiction became icons of what is dubbed the “Alternative Nation.” In 1997 Jane’s Addiction united briefly with Red Hot Chili Pepper’s Flea filling in on bass. Then in 2001 the band reconnected with Chris Chaney on bass and released the album Strays, produced by legendary producer Bob Ezrin. “Superhero” from this album became the theme song for HBO’s hit show Entourage. Farrell, Navarro, Perkins and Chaney returned in to release their fourth studio album, The Great Escape Artist, and toured the world. Jane’s Addiction is regarded as one of the most influential acts in alternative music. Tom Morello of Rage Against the Machine...

9'2 x 15'3. A magnificent and richly detailed verdure tapestry, woven in Flanders during the mid-17th century, showcasing the height of Baroque pastoral artistry. This summer scene i...

Beautiful ancient hand carved architectural panel from Toraja, Sulawesi. This impressive carving symbolizes courage and the protection of the home....

American Flag No. 1 by J. Wohnseidler. Arcylic on canvas with hand-applied starfish. Unframed. Signed/titled/dated by artist on back. Measures: 48 inches L x 36 inches H x 1.5 inches D.