New York City - Folk Art

An exuberant early 20th century Turkish runner. Bright reds, orange, green and blue. Measures: 3' x 10'11''.

3-679 Scandinavian Folk Art bowl carved from a solid block of wood.

A Chinese silk pictorial rug. On a border-less burgundy red ground, 11 Immortals stand on clouds .Each immortal has its own unique colorful outfit o...

A handmade one of a kind American Hooked Rug from the 3rd quarter of the 20th century with an irregular checkerboard pattern Measures: 3' x 5'7''.

Description An American hooked accent-size rug from the 2nd quarter of the 20th century Details rug no. j3607 size 4' 4" x 5' 9" (132 x 175 cm)

An early 20th century American hooked round rug Measures: 2'.

A colorful one-of-a-kind Tibetan rug from the 3rd quarter of the 20th century with a dragon motif on red ground Measures: 3' x 5'7''.

Mid-20th century anatolian mat with a peculiar facial motif on a lavender field. Measures: 1'7" x 2'7”.

A handmade mini-size American hooked rug from the 3rd quarter of the 20th century showing an American eagle . Measures: 1'5'' x 2'5''.

A cute one of a kind Mid-20th Century Hand-knotted Turkish Anatolian Pictorial rug depicting a llama goats on a red field Measures: 2'2'' x 3'.

An early 20th century American hooked pictorial rug. Measures: 1'2'' x 1'7''.

A vintage Turkish Anatolian rug from the mid-20th century. Measures: 7' 3" x 9' 2".

A vintage Moroccan Folk Kilim flatweave from the late 20th century. Slate blue, yellow, red, black, and white are among the hues on this pileless flat Moroccan tribal carpet-textile ...

AN intermediate square size antique Caucasian shirvan pictorial rug circa 1875. Measures: 4'1" x 4'9''.

This rare early 19th-century French Colonial carved coconut "bugbear" flask is a fascinating artifact showcasing the artistry and resourcefulness of sailors, soldiers, or prisoners o...

One-of-a-kind early-20th century decorative Northwest Persian pictorial rug. 3'7'' x 3'11''

Rare size mid-20th century Turkish Deco long and narrow runner with a repetitive all-over checkerboard design. Measures: 2'3'' x 15'6''.

Swedish antique toy rocking horse, origin: Sweden, circa 1870 - 1900. Beautiful, untouched, original condition including the paint, ...

An early 20th-century American Hooked Small Rug Details rug no. j4544 size 2' 4" x 5' 1" (71 x 155 cm)

Important ceramic table lamp by ROBJ, located in NY.

A vintage Turkish Anatolian pictorial rug from the mid-20th century. A self-taught artist has depicted six buildings and one smokestack in a co...

An exceptional Swedish Gustavian dowry chest with original paint on the interior and exterior. The interior painting depicts a marriage scene and...

A vintage theater mask from Bali, Indonesia, circa 1975-1980. Polychromed hand-carved teak, mounted on a black metal stand. This type of mask is used at Indonesian Topeng or Mas...

A vintage Turkish Tulu rug from the mid-20th century.

Early American Folk Art Cherry wood firkin with original varnish finish and a sewing box interior 19th Century The name firkin originated from the Dutch word "viedikkijn" which mean...

French (19th Cent Napoleonic Era) folk art carved oak life size figure of an eagle with out stretched wings perched on a round globe with a marble base.     

Pair of oval 19th century Spanish Colonial giltwood mirrors. Intertwined rope design on frame, mirror insets in frame. Measurements: Height: 34" Wide :31"  

This rare mid-19th-century French Colonial carved coconut bugbear flask is a remarkable artifact that highlights the ingenuity and craftsmanship of sailors, soldiers, or prisoners of...

A vintage Turkish Anatolian carpet from the mid-20th century.

An antique Persian Gabbeh tribal rug handmade by the nomadic Qashqai tribe in South Persian during the early 20th century. One large orange folksy lion prances over the deep red fiel...

English two-sided handmade and painted metal pub sign depicting a king of clubs with the text "Flowers" above and "Kings Head" below (ca. early 1900s, England). Identical imagery and...

A rare midcentury modern style American hooked runner Details rug no. j4054 size 2' 8" x 7' 10" (81 x 239 cm)

American whimsy with traditional 'ball in cage' decoration, all carved and whittled from one continuous piece of wood, circa early 20th century. The bottom tip suggests that this pie...

This Folk Art cobalt blue mask is a real Venetian creation, entirely hand-drawn and handcrafted with gold decor and white stone. Italian Artists have realized this piece in full res...

Large Japanese lacquer and Papier-Mâché (19th Century) Iki Ningyo mask or sometimes referred to as Noh mask, mounted on custom painted metal base.  Trim...

An antique Persian Afshar rug from the early 20th century. Vaguely insectoid unidirectional palmettes in mostly red and blue are displayed in seven rows on the ivory ground. This is ...

Folk Art whimsy 'ball in cage' obelisk sculpture whittled from one continuous piece of wood and adhered to a wooden plinth base, circa 1940s. The carved supports holding the two ball...

These 31 Brazilian amulets, or balangada, were hammered from sheets of silver in the 19th century to form pomegranates, sugar apples, guava, and other...

Stunning futuristic android bust by W. Beaupre. Bust is embellished with intricate gold chain, pearls and vintage jewelry findings. The atte...

English Country (20th Century) painted and carved wall plaque of golf sign.

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

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.

Pair of African (19/20th Cent) seated Cowrie fertility idol figures with a surface of small shells and beads and mounted on modern silver metal bases

Create a sculptural arrangement of organic shapes, combining style statement and functionality with these Italian vintage earthenware Art pieces: a group of 4 Mid-Century Modern different ceramics is available, 3 vases and a bowl/catch-all, by Bertoncello and designer Roberto Rigon, showing inspiration from Barbara Hepworth and Henry Moore work. This particular postmodern sculpture bowl is quite innovative in its aerodynamic shape for the period and particularly in the mid-20th-century ceramic sector, glazed in a beige terracotta...

Sergio Bustamante (20th century, Mexican) life sized paper mache lion from the early years of his Family Workshop Studio in Tlequepaque, Jalisco, Mexi...

A vintage theater mask from Bali, Indonesia, circa 1975-1980. Polychromed hand-carved teak, mounted on a black metal stand. This type of mask is used at Indonesian Topeng or Mas...

An early 20th century Persian pictorial rug Measures: 4'19'' x 6'3''.

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...

A vintage Tulu Turkish rug from the mid-20th century. A wide plain saturated marsala colored border with a beige open field. No ditzy ornamentation. Totally graphic with a very long ...

A vintage Persian Gabbeh modernist carpet from the mid-20th century. A vintage Persian Gabbeh rug. The khaki field of this small square tribal scatter is closely covered by a nested ...

American Country (20th Century) carved and painted double sided rocking horse.

A large Indian papier mache ceremonial Dhal shield. The round, slightly curved Dhal shield with four metal bosses is richly decorated with a rhythmic, hand painted pattern in red and...

Oil and acrylic Untitled "Kane" painting by Matthew Chambers, signed and dated on reverse, unframed.

Vintage small nautical searchlight by General Electric, USA, circa 1950. For decorative display purposes only, not operational.

A rare figurative harp from made by the Vuvi or Tsogo people of Gabon. It is an instrument traditionally played by young men and boys. These rare instruments are well known for their...

2 American Art Deco stained pine mannequin panel figures of man and woman with arms akimbo (PRICE EACH) (2 similar CER086A).   

Unusual Art Deco limed smoking stand from the 1930's. Originally designed for ashtrays, can now be used for snacks or plants. Folk Art and Art Deco vibes mixed in this hand made piec...

Spanish Provincial (20th Cent) style painted and carved horse head wall plaque/sign (La Taberna Caballoblanco) (Related item: 049724D).  

1940s ceramic decorative bowl by Waylande Gregory featuring a highly stylized leaf pattern in mint green with white, black and gold leaf detail. Relatively large compared to more com...

(French School, 19th Century) A fine quality Portrait of "A Young Officer" Oil on canvas, in original gilt-wood frame. Portrait of a handsome, young French officer wearing a bl...