Tri-State Area - Folk Art

Arthur court aluminum men's torso bust.

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

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...

American Country (19/20th Century) Folk Art sculpture of a painted and decorated sailor holding two flags mounted on an iron balance beam.

Beautiful small antique floral round American Hooked rug, country of origin: America, date circa 1900. Size: 2 ft 8 in x 2 ft 8 in (0.81 m x 0.81 m) This antique rug was made in A...

French (1930's) miniature salesman's sample model of natural wicker 4 piece salon set with orange and black trim.  

A fabulously hand carved antique neoclassical style Italian Carrara marble bust of Daphne. This bust is of immaculate quality and craftsmanship. Daphne's hair is beautifully hand car...

Mounted African tribal figure, used as a door latch in the early 20th century.

A hand-carved stone coin from Indonesia, white color. Round center. Mounted on a black metal stand. Dimensions: 30 inches in diameter, 3 inches thick. Height: 35 inches (mounted on a...

Oil on panel by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995), circa 1970. Fine example showcasing Del Favero's aptitude for creating fantastical landscapes. Contrasting oxen / bulls and flamingos with a castle backdrop creates an imaginary context removed from reality. Del Favero's marriage of fantasy and whimsy beautifully suits his Naïve painting style. Singed on verso. Bio from the Philadelphia Museum of Art: Born Princeton, Michigan, 1910; died Greenwich, Connecticut, 1995 Bruno Del Favero moved from Michigan to northern Italy with his parents at age five, returning in 1928 and settling in Greenwich, Connecticut, where he married and remained for the rest of his days. He made his living as a mason, chauffeur, and landscape gardener. It is not known exactly when or why he began to paint his delicate and mysterious landscapes, but he was exhibiting in local art shows by the early 1970s and took himself seriously enough as an artist to join the Greenwich Art Society. He maintained a studio in the basement of his home, but never shared his art with his wife and five children. After the artist's death his family introduced his work to New York dealers Shari Cavin...

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...

A late 19th century diamond pan from West Kalimantan, in the island of Borneo. At the heart of the Dayak territory, the rivers produced diamonds known for their singular colors. Ho...

Midcentury, Folk Art, double sided, painted wood "Doll Furniture" sign with jagged edges.

Large decorative African brush with a black antelope horn handle and thin red straw bristles.  

Mahal is a region in NW Persia. Mahal's just like Sultanabad’s are famous for their floral designs as they improved the quality and designs to match the European taste. Adapting the ...

Pair of Italian Renaissance style (19/20th Cent) iron life size page figures holding torch.

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

This exquisite Hollywood Regency style ebony game or card table is a stunning blend of style and functionality. One side features a beautifully finished checkerboard top, perfect for...

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.     

Brass Hanukkah Lamp, Salonika, Greece, 19th century. Openwork backplate with scrolled branches; three stylized flowers support central triangular c...

West Anatolia is one of the largest weaving regions in Turkey. Since the 15th century, Turkish rugs have always been on top of the list for having fine oriental rugs. Oushak rugs su...

3-458 Beautifully carved animal horn of a feathered bird signed Justa.

Unique, whimsical and original sculpture made from antique gilded carvings and vintage Murano glass. This particular fish is shown with a heavy eyebrow and murano teeth! One of two r...

Unique carved Folk Art panel, dated 1768, depicting a double portrait of mythological kings, whimsically portrayed in miniature stature with protruding...

The Shi peoples are agriculturalists living on the shores of Lake Kivu in D.R. Congo. Artistically they are best known for their distinctively carved cups and pitchers...

Antique Bakhshaish / 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...

An especially sweet four-drawer hand-carved "tramp art" box. The top is decorated with a symbolic heart and arrow, a common design element in Tramp Art. The drawers are embellished with porcelain knobs. Carved ladies boots...

This bronze head sculpture signed by artist O. Ramsburg can be displayed as an elegant table top art piece.

Beautiful one of a kind African carved wooden sculpture of a woman carrying a basket and a hat. Featured in a rich warmly stained wood, this stunning hand carved sculpture will surel...

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

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...

West Anatolia is one of the largest weaving regions in Turkey. Since the 15th century, Turkish rugs have always been on top of the list for having fine oriental rugs. Oushak rugs su...

Heriz carpets are the staple of the furnishing market and remain the most popular of all NW Persian Carpets. They were produced for the rapidly growing US market in the late 19th-ear...

Bakshaish is a town on the banks of the Talke Rud River in the Heriz region of Northwest Persia. Situated in the mountainous region 60 miles east of the large city of Tabriz, Bakshai...

This double handled earthenware jug of pottery has a narrow mouth and two handles.

Antique Hanukkah lamp, cast brass, rivets, Algeria, circa 1880. Crescent-shaped back plate, with eight gates, a vase with flowers, apertures in veget...

Antique Folk Art from Flores. Handwoven iron mesh container with an hour glass shape. Measures: 10- 22" DIA x 34" high. Andrianna Shamaris, Inc. The Leader ...

A hinged naturalist’s case housing 156 catalogued marine specimens from North America, each numbered and precisely placed in a shadowbox display. Beyond the array of delicate gastrop...

Brass Hanukkah lamp Menorah, Poland, circa 1810. Cast in Bench form, on four feet. The backplate is cast and pierced featuring scrollwork. This lamp was made by the technique known as "sand casting". This process begins with a wooden mold that was carved out to create negative space, which in turn is used to make the inverse form or shape to be used for the casting of metal. The mold is pressed into fine sand mixed with clay, then removed, and molten brass poured into the impression. When a mold wears out, a casting from that mold is often used as the mold for the next generation. Those later lamps...

Antique Tabriz rugs are distinguished by their excellent weave and by their remarkable adherence to the classical traditions of Persian rug design. The city of Tabriz, situated in northwest region of Persia, was the earliest capital of the Safavid dynasty, and it can claim to have been a center of carpet production longer than any other city in Persia. This Tabriz carpet has a fabulous Shah Abbas...

Group of Two Folk Art Painted Wood Horse Toys, comprising: pull horse, 1983, one mounted on rectangular base and four metal wheels, marked "Sarried Ltd" to underside and miniature ro...

West Anatolia is one of the largest weaving regions in Turkey. Since the 15th century, Turkish rugs have always been on top of the list for having fine oriental rugs. Oushak/Ghiorde...

Navajo rugs and blankets are textiles produced by Navajo people of the four corners area of the United States. Navajo textiles are highly rega...

A Bamana Wood Reliquary Guardian Figure West Africa, Mali Property from the Estate of Paul B. Dombrowski, Monona, Wisconsin.

Antique Konya Prayer rug. A beautiful antique rug from central Turkey, in a distinct prayer rug style attributed to the small hamlet of Inlice, southw...

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...

Unique set of seven diminutive trench art goblets in brass (circa 1930s, USA). Formed from artillery shell stems supported by black bakelite bases. Bases are both card suit-forms (tw...

Large giltwood framed oil on canvas 19th century style still life of fruit. The oil painting is in great condition with minor wear consistent with...

Amusing Mexican terracotta doll figure with articulated limbs. Since it is solid terracotta it is likely this is a mold from which other dolls were made. As a folk art sculpture it i...

Brutalist Abstract sculpture, illegibly signed to base (Fuego?), circa late twentieth century. 34" H x 16.5" W x 7.5" D. Dealer: S138XX.

A Chinese silk pictorial animal motif rug from the 3rd quarter of the 20th century 4'2'' x 5'11''

Moroccan "Boucherouite" rug. A Moroccan rag rug, woven entirely with cut-up pieces of fabric from old clothes, etc. - boucherouite means rag or torn cloth in Moroccan Arabic. A relatively recent phenomenon, such weavings are products of socio-economic changes in Moroccan society, with nomadic tribes settling in towns, abandoning animal husbandry and losing access to wool. A very creative, artistic response by talented Moroccan women...

Discover one of the most unique gifts for her: the Creamy Onyx Smile Curve Incense Holder. With its sculptural form and semi-precious gemstone finish, it’s a modern accent that eleva...

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

An Italian neoclassical style painted two drawer commode raised on square tapering legs with arabesque decoration and reserved black and white panels of Asian figures.

This exquisite White Sapphire Buddha head sculpture from India embodies serenity and elegance. Carved with exceptional precision, the crystal-clear bri...

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...

Room size 1920s Persian Tabriz rug . 1 end border has red wool. rest of the border is in ivory. Intentionally done by the weaver rug no. j4097 size 9'2'' x 12' 4"