New York - Folk Art

A vintage Turkish Sparta rug that has been overdyed teal with hand-knotted raised piles to form the 'pseudo' medallion, spandrels, and border of this modern folk piece.

Beautifully executed pastel of a Sponge Diver in amazing colors. Signed lower right corner Americo Di Franza is the artist. In excellent condition.

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

A modern Turkish Kilim from the 21st century. The rug consists of a vintage hemp Kilim as the white background and raised patches to form the design. No borders, but a finely abrashe...

Folk art hand shirred and hooked rug in wonderful colors on a black mottled background. Wool on linen, American, New England circa 1830's. The colors of the flowers are perfectly bea...

The patina and age of this well done carving make a striking display. I'm guessing its 18th century and Italian. It has just the right look.   

Brutalist wall sculpture, mixed metals by B. Walters Schreiber after Paul Evans. Wonderful wall hanging, hand executed, great example of classic Brutalist design.

An Eastern European Kethubah Strikingly Decorated in Papercut Form, and with the Central Traditional Hebrew Text of a Most Uncommon Petite Appearance. Uni...

An antique Persian Serab rug in runner format from the early 20th century. The warm camel-tone brown field spaciously displays a long pole medallion punctuated by geometric lozenges,...

Antique Serapi carpets are one of the most sought after rugs particularly in America and England for many years. Antique Serapi rugs are a major draw particularly in big city America...

1960s Swedish Rya rug with a colorful, plush wool pile. Size: 4'6" X 6'7".     

Scandinavian Folk Art nutcracker with man in cap decoration, circa 1920-1930s. Fine expressive facial and lovely hand painted details. Very nice, vintage condition with light wear co...

Pair of 1950s carved horns with dragon motif on wood base. They are a definite statement piece.

Beautiful 3 legged sewing stand in black lacquer with Mother of Pearl inlay. Gold stenciling on the base. Fabulously decorated. A mirror on the inside of the top lid. Lots of storage...

Spectacular one of a kind pieces, set of 7 includes two-seat bench 3 adirondack Classic style chairs 1 wheel barrel chair 1 table and 1 umbrella which act...

This antique world war 2 wooden propeller is inscribed with names of fallen veterans. This presentation piece is a great collectable as remembrance of the service given in war. Pleas...

Oushak rugs, also known as Ushak rugs, are woven in Western Turkey and have distinct designs, such as angular large-scale floral patterns. They usually evoke a calmness and peacefuln...

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...

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...

A vintage American braid carpet from the mid-20th century. The braided cloth strips may go across the entire width or only part way, but blue tones, from cyan to navy, definitely pre...

Antique Persian pictorial Malayer rug, wall hanging fine Persian wool rug showing the story of the King of Persia, signed and handmade rug. Size: 4'6" x...

A stunning and rare artist proof (42/50) by renowned artist Yankel Ginzburg, this acrylic lucite mezuzah is a mesmerizing fusion of tradition and contemporary artistry. The sculptura...

Six anatomical plaster casts of deformed hands. No provenance, however it seems likely they were used for anatomical studies or in a museum - the Boston Science Museum has some very...

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...

Painted blanket chest with turned feet. Rectangular lid with applied molding above dovetail jointed case . An absolute delight, this festive jewel made of dense poplar with a buttern...

Unusual iron welded handmade folk art locomotive, train, very well executed. Artist /maker unknown.

Wooden ebonized cat with dish sculpture mounted to a mahogany plinth. Dish can accommodate keys or smaller objects. Patina / light wear present (paint loss to the tips of ears / edges of green dish...

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

American 19th century still life painting of a compote of fruit on a table arranged with more fruit in a custom 20th century painted frame.

Oil on panel depicting a man in a horse-drawn carriage by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's ...

Two Pairs of Yoruba Edan Ogboni Figural Brass Staffs, each pair atop a stepped base, together with Segy Gallery documentation. Taller overall: 11.25" H x 5.25" W x 2.25" D. Provenanc...

Senufo "Wanyugo" Firespitter Helmet Mask, 19th century, with double-sided mythical beasts, mounted on patinated black metal stand. 20" H x 27" W x 12" D. Provenance: From a 35 East 7...

Pair of Mid-Century Modern cabinets, chests, nightstands, karl springer Style Pair of Nightstands or Chests in the Manner of Karl Springer, having a black lacquer and rattan finish. The base giving a floating chest...

This Travel Size Backgammon Board by Geoffrey Parker is perfect for game lovers on-the-go. Its compact size makes it easy to transport, and its ...

A delightful grouping of natural sea stone specimens of flint and chalk from the shores of Denmark. Each stone is unique with the result of years of ero...

Exuberantly carved sunburst mounted on a black roundel. Provenance: From the Collection of Mario Buatta, New York, NY.

English painted wood dummy board depicting a royal navy lieutenant. Inscribed 'Made in England' on the reverse. Measures: 41" high x 21" wide x 9" deep ...

Pretzel and crown with cross trade sign mirror circa 1960s by Jo (Josephine) Mead, a trailblazer of female design entrepreneurship whose eponymous 'Jo Mead Designs' began in Illinois...

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...

American abstract oil painting featuring pastel ombre color washes on textured canvas in a wooden frame. (\"Untitled\" Apollo Series, 1...

Oushak rugs, also known as Ushak rugs, are woven in Western Turkey and have distinct designs, such as angular large-scale floral patterns. They usually evoke a calmness and peacefuln...

The town of Oushak first emerged as a center for the production of Ottoman Turkish court carpets from the end of the fifteenth century. Like these forerunners, the antique Oushak car...

Pair of cast iron George Washington Andirons: Measures: 9" x 20" x 16" Weighs: 30 LBS.

Large modernist abstract sculpture "INNERWOVEN STRUCTURE" by Duayne Hatchett. Amazing graceful bent layers of metal, can be mounted, hung as a mobile or on a stationary surface, i.e....

Large antique handcrafted Folk Art sign ..MASONIC TEMPLE,, Beautiful sign,, turn of the century,, Retains original finish,, patina,, modeled blue backgr...

Early Leo Sewell Assembledge. Sculpture, seated male figure, signed and dated, 1977. A charming array of whimsical found objects, Italian chair incl...

Finely woven Farahan Sarouks were produced in the late 19th century until just before World War I. They have become extremely rare and are highly valued for their artistry and colors...

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...

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

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

Rare Mbili currency used in the Ngbaka, Lobala and Bangala tribes in Congo. Circa Early 1800s, this spear point form is made in iron. It was used as a ma...

Asian Japanese Mid-Century Modern bleached wood carved religious figure of a Shinto Priest seated in Lotus position with legs crossed.

Rustic bud vase by master ceramicist Guido Gambone. Hand-thrown in an alluring organic shape with an elongated neck. The vase depicts a pastoral scene of a shepherd with his herd pai...

Modern abstract expressionism acrylic on canvas painting unsigned but possibly executed by Judith Godwin, period painting, amazing use of color, space an...

Looking forward, looking back Fritz proctor is an American painter from Niagara Falls, New York. Fritz acquired his BA in Studio Art from the Universi...

19th century Persian Serapi carpets are some of the most highly prized and sought-after antique Persian carpets in the world. They are characterized by their bold, geometric designs, vivid colors, and exceptional quality. Serapi carpets were originally woven in the Heriz region of northwestern Iran, but the term "Serapi" was coined by Western carpet dealers in the late 19th century to distinguish a higher-quality version of the Heriz carpet. Serapi carpets were made using the finest wool, which was dyed using natural, vegetable-based dyes. The wool was then spun by hand and woven into carpets using a symmetrical knotting technique. One of the defining features of 19th century Persian Serapi carpets is their bold, large-scale geometric designs. These designs often feature medallions, rosettes, and intricate borders, rendered in a palette of rich, saturated colors such as crimson, indigo, and gold. The colors used in Serapi carpets were achieved through a painstaking dyeing process that involved boiling the wool in vats of natural dyes, such as madder root or indigo. Another hallmark of 19th century Persian Serapi carpets is their durability and sturdiness. The wool used to make these carpets was of exceptional quality, with a high lanolin content that made it resistant to wear and tear. Additionally, the carpets were woven with a tight, dense pile that added to their strength and longevity. The size of 19th century Persian Serapi carpets is another factor that sets them apart from other antique Persian carpets. These carpets were typically large, with sizes ranging from 9 feet by 12 feet to 12 feet by 18 feet. Their large size was made custom for use in grand, formal spaces such as ballrooms and reception halls. Overall, 19th century Persian Serapi carpets are considered to be some of the most beautiful and valuable...

Prominent 1980s reversible LUNCH sign in a unique and bold blue base color with white font and borders. The reverse side features colorful flowers and the w...

Vintage jeweler's anvil, minor wear consistent with age and use.