Tri-State Area - Paintings

Maud LEWIS (1903-1970) Sleighs passing through a village of red and yellow houses. Oil on panel. Signed lower right. 25.5 × 30.5 cm Provenance: -Acquired directly from the artist by ...

George Vempley Burwood, British (1844-1917) signed and dated. Sailing ship, schooner diorama, shadow box with figures and painted background.

A folk art wall panel hand painted by an itinerant artist in Sweden in 1837 (dated), depicting the nativity, with the three kings on horseback paying homage to Mary seated on a thron...

Eye catching colorful folk art rendering of a religious icon in typical Mexican primitive style on reclaimed wood and found materials.

Austrian School, 19th century, An Orientalist Portrait of a Turkish Sultan. Oil on Canvas, a very high quality painting, realistically painted of a ...

Transport yourself to the elegance of the 19th century with this captivating Gilt Wood Framed Oil on Canvas Wreath/Flowers and Fruits Still Life Painting. Meticulously created, this ...

refined Indian brush painting of a nobleman riding on a horse, intricate detail, ink, color and gold gilt on paper, Conservation framed

This charming and rare hand-painted stone by the renowned artist Ilya Schor beautifully captures a serene harbor scene in Provincetown, Massachusetts. The miniature artwork, painted ...

Vintage primitive floral still life on reclaimed wooden panels having a lovely curved top. Found in an antique store in Calabria about 30 years ago.

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...

19th century Lakeside Camp. Continental. Relined signed 34" x 42" framed Mid 19th century gilt wood framed oil on canvas painting featuring a lakeside scene camp. The painting is ...

Early 19th century gilt wood framed oil on canvas painting featuring basket of fruits and flowers. The painting is in good antique condition. Minor wear consistent with age / use. Ar...

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

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

A 19th century American folk art oil painting on canvas depicting a river scene at dawn with a horse and rider on a bridge over a waterf...

Large impressive Folk Art acrylic painting of a haunting, moonlit, church procession is signed by the Danish born artist and dated 1963. There is one small tear in the canvas as shown. Frame is aluminum and wood. This artist's work also includes our listed Folk Art Angel...

Watercolor / painting signed Hugo Scheiber: Budapest (1873-1950). Hugo Scheiber was born in Budapest in 1873. At the age of eight, he moved with his family from Budapest to Vienna. ...

(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...

Opaque watercolor heightened with gold on paper. A young prince is seated in a palace courtyard under a canopy receiving a party of noblemen. His ministers stand behind him, wearing peaked turbans with floral patterns, their gestures conveying their welcoming demeanor towards the noblemen. The guests are wearing red and blue turbans...

Oil on canvas painting. An antique 19th-century copy of a 1639 artwork titled The Infant Christ and St John the Baptist by Anthony Van Dyck, 1599 to...

A unique and beautifully preserved needlepoint textile portrait of Rabbi Akiva Eger (1761–1837), one of the most revered Talmudic scholars of the 18th–19th century. This hand-stitche...

This exquisite pair of antique Limoges wall plaques showcases the elegance and artistry of French craftsmanship. Each plaque features a finely enam...

refined Japanese brush painting of samurais and archers in the landscape, a section originally from a handscroll. ink and color on silk. Cons...

A Venetian Work of Art: Mid-19th Century Hand-Painted Artwork with Murano Glass Beads This extraordinary piece of art, created in Venice, Italy, during the mid-19th century, is both ...

Chinese School, 19th Century A Large Portrait of An "Emperor Holding A Bird" in a landscape. Oil on canvas laid on board. With Chinese style gilt-metal hooks for hanging. 48" high ...

Gabriel Cohen (1933-2017) French/Israeli, "L'Egypte ancienne..." Naive-style oil painted on sheet metal with a crimped and painted edge forming the frame. The work is a fantastic dep...

Vintage still life oil painting on board depicting a pitcher and a bowl of lemons on a checkered towel. Nicely done in confident technique with balanced composition, good color, and ...

Very large mid-20th century Contemporary modern gilt wood frame hanging wall serigraph. The serigraph is in great condition. Pencil signature and number on the lower left hand corner...

Immerse yourself in the timeless beauty of the Gilt Wood Framed Still Life Flowers & Fruit Oil on Canvas Painting by Christo Charpides (Gre...

Large giltwood framed oil on canvas painting of a young girl with book after the original by William Adolphe Bouguereau (1825-1905). The painting...

Large expressionist landscape painting in enamel on board depicting grasses or flowers against a seaside sunset, circa 1980s-1990s. Well matched with a wide, white, wooden frame. Mea...

4 small water colors of 19th century children from a Madison Ave. gallery in NYC. Each child has his name written under the image. From a Southampton, NY estate.

Pin prick watercolour. Antique watercolour painting with pin pricking of a street vendor in double-sided glassed frame. Signed Babette Baronne Roth. Germany, 1785, Dimension: 14....

Folk Art Still Life, 'Flowers and Chinese Export Porcelain', early 20th century. Oil on canvas with original lacquered frame. A charming painting of cut flowers with antique Chinese ...

Painting. Acrylic on canvas by Gerard Economos (French,1935-) Gerard Economos is known for his passionate, intensely colored abstract compositions and large acrylic paintings that have been performed live in front of audiences in 12 countries. Economos has had over 88 events over the last 57 years and his work is now in collections in over 34 countries. He started Live Performances with the Greek avante-garde composer and architect, Iannis Xenakis during a Sound Festival; Subsequently he developed the "Une Musique a Voir" (A music to see) concept. 'La Cuisine aux Fleurs' (Cooking with Flowers) was a series of paintings initiated at the request of the renowned French Chef, Raymond Oliver in 1975 who wished to have his recipes illustrated. They have been rarely shown in public. For an illustrated 15 page biography of Economos please contact Thomas Gallery Ltd...

Folk Art depiction of the USS Constitution composed of cut sea glass mosaic with copper coin decorative accents and hand-painted details on wooden boa...

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 cre...

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 ...

Late 20th century giltwood framed oil on canvas still life painting. The oil painting is in good condition. Artist signature left hand corner. The frame is about 17 inches x 15 inche...

19th Century gilt wood framed oil on canvas painting featuring tableware and fruits . The painting is in good antique condition . Minor wear consistent with age / use . Artist signat...

Circa 1970 oil on panel depicting a traveling pack of animals by acclaimed outsider artist, Bruno Del Favero (b. Italy 1910, d. USA 1995). Fine example sho...

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...

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 backdrop...

Americana Amish "farmhouse" oil painting by Harvey Milligan, circa 1950s. Charming character scale and composition (figures are very small). Although n...

Bessie Boris (Johnstown, PA b. 1917, d. 1993) oil, watercolor, and pastel on paper entitled "Intersection" (1969). Boris placed great emphasis on color and psychologically charged di...

Grace Genevra Swank (New York, b. 1892 - d. 1977) "Non Objective" Op Art geometric abstract oil on canvas (ca. 1960s). Composed of concentric circle motif in vivid palette of navy, m...

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...

This striking hand-painted stone by the esteemed artist Ilya Schor, created in Provincetown, Massachusetts, during the 1950s, is a remarkable example of his unique blend of abstract ...

This exquisite hand-painted stone by renowned artist Ilya Schor is a captivating example of his distinct artistic style, blending Jewish folk imagery with masterful craftsmanship. Si...

This enchanting hand-painted stone by Ilya Schor is a captivating celebration of joy, festivity, and folk artistry. Signed on the back by the artist and marked with its place of crea...

Kayo Lennar (French/American, b. 1923) oil on canvas painting depicting polychrome flowers on an abstracted ground, apparently unsigned, housed in an eboni...

Kayo Lennar (French/American, b. 1923), "New York," collage, June 2008, signed and dated on reverse. Image: 21" H x 17" W; frame: 22.5" H x 18.5" W. Proven...

Large, mixed media, Folk Art angel is plaster sculpture with acrylic paint on wood cutout with newspaper backing on her wings. The angel is signed and date...

This exquisite hand-painted stone by the renowned artist Ilya Schor, created in Provincetown, Massachusetts, during the 1950s, beautifully captures the regal and spiritual essence of...

Add a sense of fun and a pop of color to any room with this wonderful vintage watercolor of a cartoon dog. This pup features a wonderful expression that is sure to be a conversation ...

Kayo Lennar (French/American, b. 1923), "Promising trips...," collage, 2008, initialed lower right, signed and dated on reverse. Image: 21.25" H x 16" W; f...

"The Adoration of the Magi"oil on wooden panels painting depicting a religious scene.

This beautifully hand-painted stone by Ilya Schor captures a richly detailed scene infused with warmth, folklore, and storytelling. Featuring a Hasidic man standing on a bridge, the ...

"Ottobre in Cantina" Painting, oil on canvas by Italian artist Sergio Agostini, Rome, 1960. Signed on lower left with sticker from original exhibition at Galleria L'88 on Via M...

Don't miss out on a truly unique, once-in-a-lifetime piece of genuine folk art. This endlessly whimsical watercolor features an intriguing playful still life of Johnny Gruelle's icon...