Tri-State Area - Wall Decorations

SET of 10 Mid-Century French Modern Fruitwood Dining Chairs with original floral tapestry upholstered seat and back with 6-sided front legs with brass sabot feet (4 armchairs, 6 side...

Brussels Circa 1750-Probably woven by Francois Van Der Borcht 1720-1765-Tenier's Style-A placid harbor with a perspectival weighted fortified city scape to left and a stone quay in t...

Each with shaped shelf over a tapering base pierced and elaborately carved with foliate C-scrolls and rocaille decoration. Collection of Mario Buatta, New York, NY.

Copy of painting titled "The Letter" showing three Victorian women seated on a terrace by the ocean with one reading a letter aloud

Copy of a painting by Arthur Wardle showing 3 leopards in tall grass with red poppies around a woman in classical garb

"Chinese carved wooden wall panel depicting two riders on horseback attempting to capture a wild horse from its herd in a rectangular wooden frame. ...

Beautiful oil/acrylic on canvas painting by American artist Rebecca Ruoff, titled "Out of the Blue", 2021.

Pair of blue velvet wall shelves or brackets. Handmade and covered in silk-rayon velvet. Measures: 12" x 6" x 9" H each.

An antique Chinese reverse painting on glass from the early 20th century depicting a woman sitting next to a bowl of fruits. ...

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

An antique European School oil painting on canvas, depicting a portrait of seated elderly oriental man on a yellow background. Circa mid to late 19th century. Traces of pencil signat...

Pair Neoclassical Gilt and Ebonized Wall Brackets

Pair of petite Florentine wall brackets/shelves in giltwood with rocaille flourish and hand-painted details (ca. 1950s, Italy). Each bracket has two hooks for hanging. Rich, naturall...

Copy of a portrait painting titled "Woman Meditating" showing contemplative woman in blue dress under arches

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

Copy of a landscape titled "Quiet Time Out" Showing woman in Victorian garb with little girl reading in Garden.

Italian Renaissance style (20th Century) shield form wall plaque with a bird and egg having a red background.

Sculpture made from Swarovski crystals and a found, car-flattened "7-Up" can by Los Angeles-based artist Sam Keller. The backside is signed and features a D-ring anchor for hanging. ...

Neue Sachlichkeit drawing by Beeldens, unframed, pencil & charcoal on paper. Neue Sachlichkeit (The New Objectivity). New objectivity painters infus...

This captivating floral still life oil on canvas painting features a vibrant bouquet of orange-red, yellow, and pink flowers, elegantly arranged in a rich brown vase. The vivid colo...

Copy of a dog painting "Mignonne et Sylvie" showing two hounds in a classical landscape

This green wall is inspired by the design logic of the natural world and traditional Japanese zen gardens. Each custom wall is available with live or artificial silk plants...

Announcement or invitation card designed by Andy Warhol for his exhibition "Wild Raspberries" held at New York's Bodley Gallery from December 1-December 24, 1959. Offset lithograph w...

Copy of a Dutch Flemish still life painting titled "A Table of Desserts" showing wine, fruits and pie in copious amounts Condition: Good; Wear consistent with age and use

This Meiji-period color woodblock by Toyohara Chikanobu (1838-1912) depicts three elegant female courtiers in traditional dress taking refreshments. Th...

Vintage Scalamandre trompe L’Oeil Normandy blue ribbon, French wallpaper, 1986. Equivalent to 10+ single rolls at 5 yards each. Totals more than 50...

Original oil painting signed B. Asher of bright flowers. Framed in wood frame. Hanging wire along back.

Copy of a portrait of a Frenchman in uniform in a gold oval frame- (Companion to TR2006)

Founder of Ivana Helsinki, Paola Suhonen pressed flowers in a book, creating Herbario years later. Aimée worked with these elements to create a myriad of colorful wallpapers and fabr...

Original oil on board "Decouverte" with abstract figural motif by Jacques Fabert. Originally part of an exhibition in San Francisco 1962. Signed and labeled on verso as well as a lab...

13 old vintage red metal child's beach shovels custom mounted on a custom build pegged wooden display measuring 41" wide 11 1/2" tall and 2 1/2" deep. Great summer vacation home or c...

Mid Century Moody, Stormy Abstract Painting in a fabulous gilt frame. Some see mountains, others see an ocean. Great color, composition and movement. Signed by artist. Curbside to NY...

A French Aubusson tapestry from the late 19th century, featuring a rustic scene with a young man reposing on a bundle of hay while his damsel and her dog look on. Enclosed with a tro...

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...

An antique Japanese woodblock print from the 19th century depicting monks having tea. Created in Japan during the 19th century, this woodblock print showcases an indoor scene featuri...

Beautiful reprint of the famous Parisian poster by Henri de Toulouse-Lautrec, published by Imprimerie Chaix. Features the iconic Moulin Rouge dancers...

Original vintage French Art Nouveau color lithograph poster for Saxoléïne by Jules Chéret, 1900 (green dress) Catalogue raisonné: Lucy Broido, "The Posters of Jules Chéret," entry 9...

Ralph Pallen Coleman (American 1892-1968) A Monumental Painting of "The Resurrection of Jesus Christ", circa 1940.   Measuring 102" high x 77" wide (framed), this massive oil on canv...

An Important and Large Walasse Ting Chinese Acrylics on Paper 'Two Geishas and Parrots' Painting. This painting is by Walasse Ting (1929–2010), a Chinese-American artist known for h...

Eight vintage masks of a rogues' gallery framed in black plastic frames. Priced as a set.

Group of Five Panamanian Mola Textiles, one depicting a crab, giltwood frame, two polychrome geometric designs, gold-tone frames, and two polychrome Greek...

PAIR of Italian Rococo (mid-18th Century) carved silver gilt pilaster wall plaques with bird and floral carving under an Ionic capital pediment (PRICED ...

French Victorian (19/20th Cent) oil painting portrait of a lady and French poodle with blue bow in walnut and ebonized frame.  

Biker in a mirror black and white photograph Gravure print by Burk Uzzle 1980 Gravure print (1984, France). Burk Uzzle is an American photojournalist, previously member of Mag...

This geometric abstract pencil drawing by Terry Downs is signed, dated, and titled. Featuring various geometric shapes of numerous colors intersecting, and set over a white backgroun...

2 Pairs of Neo-Classical-style carved wooden wall shelves with demilune tops, with a notch-carved lip over a carved Greek key top border and decora...

Unique oil paint and wax on paper by James Nares ( British, b. 1953 ). Untitled. circa 2008. Archivally framed in a 12-karat white gold frame.

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

Silver Gelatin Print Signed & Numbered in blue pencil verso Along with copy right stamps and the negative number written in regular pencil Sheet size: 15.8" x 12" Image size: 14....

Brunschwig & Fils x Musée des Arts Décoratifs, Paris, Cristaux Wallpaper, 1983. Listing is for one roll of “Crystals,” a gorgeous vintage print from Brunschwig & Fils and the Musée...

Bring NYC vibes to your room with its notorious mascot—the pigeon! This quirky pattern pays homage to one of the most common birds found all over the world. Samples are available fo...

Vintage (20th Century) unframed tole painting depicting a lone jockey, his horse, and a background with a red barn and golden fields beneath a cloudy sky...

A Flemish rustic tapestry from the 19th century, envisioning a noblewoman seated at center holding a plate of food, with another woman standing to her right with an empty bird cage, ...

Copy of a painting titled "Sleeping" showing nude woman with red hair sleeping

Oil on canvas, signed in the lower right. Measures 176" x 18.5" including the frame and 8" x 10.5" sight. Francois Gall 1912-1987 French Well listed artist in the Benezit. ...

Vintage French Louis XV-style (20th Century) stained oak wall plaque carved with scrolls and laurels, framing a central still life oil painting of a floral arrangement.   

"Lotterie" Large French Art Nouveau Drama poster signed Pasge Daudin , black Frame

Contemporary Photography "Vestígios de Adoração" (Traces of Worship) from the "Arqueologia de Futuras Ruínas" (Archeology of Future Ruins) Series by Brazilian Photographer Felipe Var...

Oil on canvas, portrait of a lady with a hat late 19th France signed Julie Marest This dazzling painting represents a very beautiful lady in a hat topped with a black feather plume....

Hand-picked by buyers at Ann-Morris Inc.