New York City - Wall Decorations

An early 20th-century East Turkestan Khotan Pictographic rug Measures: 5'11'' x 9'7''.

Vintage early 1970s Alexander Calder off-set lithograph: Published by Art in America, circa early 1970s. Good to very good overall vintage condition. Printed signature from an editi...

Introducing "CHAMP DE COULEUR" - Our newest limited-release art print series. This first work in the collection is an interplay of colors and geometry. "Champ De Couleur" skillfully ...

Late 19th Century Chinese Silk Embroidery ( 5'10" x 9' - 177 x 274 )

A 1940s chinoiserie decorated screen with landscape motif on a silver and gold background. Measurements: Height: 84" Wide: 96"

Monumental and unique engraved painting, a combination of the “Horses Plaque” and “Peasants Plaque”, in patinated bronze and pewter with vibrant hand-applied enamel cloisonne in blue...

English Arts and Crafts gilt 3 fold screen with fretwork/spindle & ball design top and tapestry upholstered panels.

Rustic taxidermy small water buffalo skull with black horns mounted on wooden shield shaped wall plaque

KAWS 'TIDE' poster 2021 This classic KAWS poster features the artists signature Companion figure floating in a moonlit ocean and was published on the occasion of the much heralded 2021 KAWS: What Party exhibition at the Brooklyn Museum...

Introducing "Le Fourré" (The Thicket) - Our newest limited release art print series. Crafted with a meticulous blend of charcoal, oil stick, and graph...

Domenick Capobianco (American, born 1928) abstract pop art acrylic on canvas depicting a black circle on white ground surrounded by a rainbow, apparently unsigned, "Studio Domenick Capobianco" stamp to verso, unframed. 10" H x 10" W. Provenance: Property from the estate of the artist. Note: Domenick Capobianco (American, b. 1928) artist, is a graduate of Washington University at St. Louis and a Rutgers Fellow (1979) , and a Guggeheim Fellow (1984/85). Capobianco taught for many years on the faculty at Rutgers University, N.J. His work is in the collections of the Academie des Beaux-Arts, Ljubjana, Slovenia; the Sammlung Albertina, Vienna, Austria ; L’Instituto per la Culturea e L’Arte, Catania, Italy; The Kharkiv Museum, Kharkiv, Ukraine; Le Musee d’Art Contemporain, Skopje, Macedonia; The M.V. Nesterov Museum, Ufa, Russia; The Newark Public Library, Newark, NJ; The Robert Blackburn Collection, Library of Congress, Washington, DC; and the Weatherspoon Museum, Greensboro, N.C., among many others in Europe, Asia, and the U.S. Long a regular exhibitor at the famed 55 Mercer Gallery...

Étienne Pottier is drawn to the surprising, unpredictable character of ceramics, and his works are, perhaps by consequence, fantastical. The universe he creates is one of legends and...

A French Aubusson tapestry which is very likely part of a set from 'The Story of Telemachus' woven at Aubusson between 1776 and 1800 after engraved designs by various painters including Franc¸ois Boucher Antonio Tempesta and Charles Monnet...

Patrick Parrish is excited to offer an incredible group of original photographs printed by Meisel Photochrome Corporation of Dallas around 1970, shortly after the Apollo 11 Mission. Meisel was the official photo contractor for NASA and processed all the images from the Apollo missions. These beautiful vintage 8” x 8” chromogenic prints on Kodak paper are framed in a 13" x 13" frames and currently available at the gallery. NASA’s historic Apollo 11 Mission—crewed by astronauts Michael Collins, Buzz Aldrin, and commander Neil Armstrong—departed earth on July 16th, 1969, and landed on the moon four days later, near the Sea of Tranquility, while 500 million people watched on television. Armstrong and Aldrin spent two and a half hours exploring the surface of the moon, collecting samples and taking photographs. The camera they used was a modified 70mm Hasselblad lunar surface camera, designed specifically for the event. During the Mission, nine magazines of 70mm film were exposed, providing panoramic views of the surface near the lunar module...

Large black and white photograph of Marilyn Monroe in a white dress existing a car in a beige wooden frame with beige matting. Some damage to frame finish.

Vintage original advertisements for Warhol Queens at Leo Castelli gallery. Set of 3 circa 1985. Offset print on newspaper stock. Measures: 11 x 17 inches. Minor signs of handling; o...

African tribal carved wood Bambara Bamana tribal carved wood horned mask.

Vintage Persian Meshed Oriental Rug, Room size A vintage Persian Meshed oriental rug, size 11'3" x 8'2", circa 1950. This handsome hand-woven geometric rug features a central medal...

Middle Eastern Egyptian style (19th Century) small copper and silver deposit round charger / wall plaque with 3 figures and a harp centering various Egyptian motifs. Mounted on a stand.

Vintage European Kilim flatwoven rug flatwoven Kelim rug handmade tapestry 5x6 4'9" x 6'3" 145cm x 191cm "This is a beautiful European kilim Ru...

Aquatint of St. Mark's in Venice. Large framed vintage aquatint of St. Mark's in Venice. Europe, early 20th century Dimension: 41" L x 33.25" W; sight 33" L x 25.25" W

A stunning original engraving from The Lilies (Les Liliaceés) by P.J. Redouté, considered the greatest botanical artist of all time. Produced between 1802 and 1816 under the patron...

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...

Our wallpaper panels are gorgeous enough to frame—and we’ve done all the work for you. Resized to capture the most alluring portions of the original design by Miles Redd, this art panel pairs...

Original 1960’s travel poster for the Zurich Lakeside Garden, with a design based on his painting by Hugo Wetli. Wetli (1916-1972) was a Swiss pa...

2 English Georgian style (19th Century) walnut carved wall plaques with oak leaf and laurel wreath design (Belmont Estate, Long Island) (PRICED EACH) Related items: 040434, 040434, 0...

Basquiat Movie Posters: set of 4 works: Vintage Basquiat Japan movie posters/ flyers; comprised of two posters from the documentary 'Boom For Real Th...

Rustic Continental elk head with Red painted "E" on forehead mounted on a wall plaque with oak leaves andscroll designs Damages to antlers,plaque still in good condition

A Flemish historical tapestry from the second half of the 16th century, depicting Tomyris’ victory over Cyrus the Great, with Tomyris, the leader of a ...

Brunschwig and Fils Boscobel Restoration Medford Inn 1804 hand-printed wallpaper. Very unusual paper - it is marked as custom hand-printed for the Bo...

English Victorian carved gilt framed oil seascape painting of 2 boats by white cliffs (Hayes) Condition: (Canvas has been patched and repaired, some small holes, cracks and repairs...

An antique Indian Agra rug 4'0" H x 2'0" W, in small rug (kaleghi), circa 1900. This fine floral wool rug features a repeating small-scale floral design throughout, iterated both in ...

Frank Lloyd Wright Schumacher wallcovering books catalogue reference 1986-1999 - ‘Prints inspired by nature’ Anyone with an ounce of interest i...

French mid-century red lacquered horizontal wall panel with landscape scene of deer grazing by a stream with a background of mountains (signed: "Andre Dambrun" acronym of Bernard Dun...

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...

Monica Perez "Title Processing" from Love & Courage. Original Acrylic Painting on Canvas 2021. W 40" x H 60" Monica Perez’s works are expressions of emo...

American Country-style (19/20th Century) brass bed warmer with turned wood handle and filigree cover

An antique American School Folk Art oil painting on canvas depicting an African American fisherman boy in a river landscape, 1913. Signed by the artist, J. Feindell and dated, lower ...

Antique Persian Sarouk Oriental Rug, circa 1910, Small size An antique Persian Sarouk oriental rug, size 4'8" x 3'5", circa 1910. This lovely hand-knotted wool rug features an intri...

This rare and exceptionally well-preserved oil on copper painting presents a raucous and theatrically detailed tavern scene, in which a cast of monkeys—standing in for mankind—engage...

A Flemish verdure landscape tapestry from the 17th century, depicting verdant hills with two large blossoming trees in the foreground, a stream and a large domicile in the middle gro...

Large, midcentury modern, floral motif, brass wall mounted sculpture by Curtis Jeré features five cascading pom-pom flowers amid delicate leaves.

Chinese ancestor portrait depicting a man in flowing golden robes decorated with medalions featuring dragons, seated above a floor featuring additional dragon designs in a heavy rect...

Represented by Tuleste Factory This circular resin artwork by Facture Studio was created to hang on a wall in your space. The piece play with how transparency and light interact wit...

An Angelo Brotto wall sculpture for Esperia. Featuring a backlit glass Murano glass detail. Crafted in Steel and brass signed by the artist.

Basquiat Downtown 81 movie poster: Vintage Japan promo poster, circa 2001 for the seminal Basquiat film, 'Downtown 81'. Measures: 12 x 6 inches. Minor...

Jean-Michel Basquiat Rare vintage Japanese publication from 1997 which chronicles the life of Basquiat and the feature film by Julian Schnabel. Includes great early photos...

Hand-picked by buyers at Ann-Morris Inc.

2'10 x 3'10. A French Hand Loomed circa 1890 tapestry. A noblewomen being amused by a servant playing a lute in a formal garden setting in the background is a stately home and the no...

Copy of a painting of a faux tiled mural of monument showing a medieval knight on horse against a red background

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

Abstract gouache painting by American artist Shawn Savage. Shades of blue with grey and black in a black frame. Signed by the artist.

A striking limited edition op art serigraph by American artist Frank Rowland (1927-2012) in the hard edge style. An abstract geometric composition in red, orange, and yellow against ...

Antique Persian Heriz Oriental Rug, Room size An antique Persian Heriz oriental rug, Size 11'9 x 9'8, circa 1920. This handsome hand-woven geometric rug features a central medallion on the coral field. The central field is enclosed within an outer border in navy tones with repeating geometric abstracts. The short wool pile is even throughout, and the rug is in excellent condition for its age and weaving style. A great value, and an excellent choice for an entry way, a foyer, a living space, a bedroom, or for use as wall decor or as a decorative accent! Bring this beautiful rug...

A mid-20th century Souf carpet woven somewhere in Central Iran. 1'8'' x 3'2'' Souf rugs are very rare technique found as they have a raised low and high...

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

Oil on canvas. Painting by Hans Speidel, Berlin. Speidel was among a group of painters known as the 'Neue Sachlichkeit' (New Objectivity). This betwee...

Continental Rustic Elk skull with a painted Insignia mounted on a shaped wall plaque featuring an oak leaf floral design with a scroll pediment and bottom Damages to antlers,plaq...