USA - Folk Art

Solid black triangles abutting strips of lighter material, both solid and printed, make for a striking pattern in this Roman Stripe quilt. The solid black blocks make for a strong di...

Northern Plains hide painting, buffalo society, pre-reservation. Two buffalo heads, two full body buffalos, two thunderbirds and buffalo sun shield in ...

This exceptional blackware jar, created by renowned San Ildefonso Pueblo potter Maria Poveka Martinez (1887-1980), is a striking piece of Native American ...

Pawnee pipe tomahawk. File burnt and tacked with remnants of yellow paint over entire shaft. Exhibited in the Wichita Falls Museum 1967, Maryland Academy of Art and Science 1969, Flo...

Dramatic Star of Bethlehem Quilt (aka Lone Star or Texas Star) with beautiful printed fabrics on a solid white ground.
Surrounding stars...

Figural standing sailor whirligig, carved from Pine wearing a white hat with metal brim, a blue sailor’s middy with scarf, striped red and white unde...

Set of six floral mint green cloth placemats and matching napkins. A wonderful accent to a table setting, each set includes one placemat with a matching napkin. A mint green scallope...

A large modernist abstract by Hampton Roads artist Robert Vick, circa 1970s. Titled “Tuscan (ineligible)”., featuring a collage and acrylic paint on canvas. A modern landscape with cool blues and grays accented by warm golds, terracotta and peach colors. The collage providing a raised affect, with great depth. Signed. Condition: Some flaking and loss of collage. White paint splatter in some areas. Signed. Dimensions: 69 3/4” W x 56.5” tall x 1.5”D Shipping: This item will ship by personal courier. Please allow 4-6 weeks for delivery depending on your distance from the east coast and our shipper’s routes. Robert V. Vick ( 1935 - 2010) was a native of Portsmouth , Virginia and received a B.F.A. from Old Dominion University. He studied art under the prominent Virginia artist Charles Sibley...

Handcrafted antique 19th century copper Middle Eastern Islamic copper ewer with basin. The Turkish Ottoman style Arabian brass ewer with a rounded body, on short splayed foot, engrav...

**Historical Background** American carnival chalkware flourished from 1900-1950, with bulldogs being among the most popular prizes. These pieces were mass-produced as affordable carn...

Northern Plains hair drop with red beading with accents on hide, long quilled drops ending in tin cones with red feather fluffs, long black horsehair drop now doubled up on beading. Period: 19th century Origin: Great Plains - Northern Plains, Native American Size: 6" x 35" overall Family Owned & Operated Cisco’s Gallery deals in the rare, exceptional, and one-of-a-kind pieces that define the history of America and the Old West. Our pieces range from American Indian to Cowboy Western and include original items of everyday life, commerce, art, and warfare that tamed America’s frontier. Our 14,000 square foot gallery opened in 1996 in beautiful Coeur d’Alene, Idaho. Personal Service Cisco’s operates on old fashioned values – honesty and integrity, and all of our items are backed by our money back guarantee. We appreciate the opportunity to earn your business. Whether you desire assistance with a jewelry purchase, choosing a gift, identification, or even selling – we hope to be your trusted source. Native American, garments, Blackfeet, headdress, collectibles, antiques, Native American beadwork...

Stamps, or sellos, such as this one were common during the pre-Columbian period in Mesoamerica and most popular during the Formative Period that spanned the years between 1200-800 B....

Indian Weaving Bolster Pillow. Zippered sham. Feather and down insert.

19th Century sheet iron silhouette horse weather vane with original iron mounting rod. Mounted on a more modern base. 32"H x 44"L base 29" x 6" x 6"...

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...

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...

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...

This is an early pine wooden box. Great for storing firewood. We used it as a recycling bin. Multi-functions with this great early pine box. Wonderful li...

Moroccan vintage Berber rug from the Beni Ouarain tribes. Lush white and black organic wool rug with geometrical lozenges designs. From the Middle Atlas Mountains, circa 1950s, North...

42 STARS ON AN ANTIQUE AMERICAN FLAG WITH A WAVE CONFIGURATION OF LINEAL COLUMNS, AN UNOFFICIAL STAR COUNT THAT REFLECTS THE ADDITION OF WASHINGTON STATE, MONTANA, AND THE DAKOTAS, c...

Sterling Turquoise bolo tie by Teddy Goodluck. Extra large Sterling Bolo. Beautiful stone that measures 2.5" x 1.75" with tooled front with overall ...

Pair of Navajo Striped bolster pillows. Feather and down inserts and zippered casing.

Pair of Vintage blue rag rug textile custom made pillows. (2 sets available) All 4 can be purchased at 595.00 per set of 2 pillows. Pillows have ...

Pair of Mexican Indian Weaving Bolster Pillows. Feather and down inserts and zipper casing. Pair of pillows measurements differ slightly - measures 12 x 29 measures 13 x 28.

Pair of Beautiful Early 20th C Navajo Eye Dazzler Pillows New Feather and Down inserts.

Great vintage European street sign. Deep blue and white. Newly mounted and framed. People at play in the street. Cool piece of wall art.

This fine masterpiece is quite unusual and is in unbelievable condition. This is a fragile and amazing oil lamp with a handblown original glass globe. The condition is very good.

African Tribal Art parchment wall shade sconce featuring a large curved hide form stitched on iron and hand painted surface. These Moroccan Art pieces could be used as wall lamp sha...

Pair of Beautiful Navajo Weaving Bolster pillow.

19th Century chromolithograph of a sailor boy, circa 1880, a colored print on canvas view of a young American sailor boy sitting astride a bowsprit. A class...

Unique papier mâché bust of a man. Massive scale. Great piece of hand painted folk art in good vintage condition with wear as shown.

An antique hand-made quilt circa 1890-1900s originated from Ohio. The quilt features a striking patched square pattern with fan motifs, all hand stitched with colorful cotton appliqu...

18th century Italian hand-carved mecca tassel ornaments. The tassels originally came from an Italian church in Tuscany and were used during feast days. These tassels were commonly used to adorn 18th and 19th century French and Italian chandeliers...

Well executed modern industrialist oil painting, futuristic factory workers. Amazing use of color, texture and space. Artist unknown. Mark Kostabi meets Fernand Leger.

Architectural door pull by Belgian ceramic tile artist Juliette Belarti. Vintage midcentury Belgian tile faced entry door pull handle. Mid-Centu...

Mammoth Ballroom Size Antique Ralph Lauren Vibe Luxurious & Velvety Botanical Navy & Pink About: This Sarouk Yazd would be PERFECT for a large commercial space, huge lobby or retai...

A fine American quilt of satin patchwork executed in the Flying Geese pattern circa late 19th to early 20th century. The main portion of the quilt consists of five columns of orange ...

A tall portrait painting of a woman with a flower in her hair. This piece was painted by the late Oklahoma artist Clair Seglem and is well known for his ...

African Salampasu Helmet Mask, carved wood, copper, and raffia, together with metal stand. Mask: 25" H x 10.75" W x 9" D. Provenance: From a Sutton Place Estate.

Vintage Folk Art Heron Decoy, likely, circa 1960s or 1970s. A stately heron carved in an alert posture with upraised head and elongated neck. Decoy was made in three parts, nicely ha...

Presented is a unique commemorative collage, celebrating the 1948 U.S. presidential election between Harry Truman and Thomas Dewey. This one-of-a-kind collage features a Harry Truman signed...

A truly fantastic, large, heavy charger/plate/platter by American master potter/artist Peter Voulkos who is known for his abstract expressionist ceramic pottery pieces and sculptures...

American wrought iron and gilt trade sign bracket with decorative scroll work and gilt ball motif. Late 19th Century

A handcrafted Tramp Art box or small chest. A detailed design on four tapered feet. The interior is lined with white quilted fabric and the lid is fitted with a large finial. The bot...

Life-size draped classical male ship's figurehead of English 19th century origin. The carving is quite similar to that of the figurehead rescued from the HMS...

SATURDAY SALE Oversized retail advertising presentation brass fountain pen and mechanical pencil display signs from the early 1920s when they would have been featured within a wood and glass display cabinet at the pen counter of a stationary store. Originally the fountain pen would have been marked on its side "Wahl Pen...

Vintage Moroccan flat-weave Kilim rug.Large size blanket vintage Moroccan rug, handwoven by Berber women in Morocco for their own use.This rug was made...

Late 19th to early 20th century bocce balls, France, set of three boxwood, iron and brass nails. The first ball has the letters PP in brass, the second ha...

While shield and spear were central to African combat, this iron example was most likely made to serve as a piece of trade currency. Many pre-colonization African currencies were modeled after objects of inherent value, resulting in sculptural combinations of function and beauty. This large iron spear dates to the early 20th century and is attributed to the Kuba people of the Democratic Republic of the Congo. Secured to a narrow handle of iron and wood, the flattened blade has an elegant, sloping silhouette, subtly textured with raised lines and a rusted, antique patina. Forged as a broadleaf spear, the weapon contrasts a violent potential with images of peaceful branches swaying in the wind. We've set this unusual Kuba spear...

A charming and expressive vintage sculpture by Marwal Industries, this piece was created in New York during the 1960s, and is a fine example of chalk...

This amazing Fisk made original painted heavy iron windmill weight is in fine condition.It has been placed on a wood base mount,custom made of course.The surface of the paint is the ...

INCREDIBLE. I use that word to describe only the befitting, and this piece truly is. Currently a piece in our personal collection, this female mannequin style bust on stand was pur...

Very unique figure of man with worn details and faded polychrome. Signs of heavy deterioration over the years. A curiosity/collectors piece. Please see detailed photos for c...

Antique watercolor view of a sailor with pet bird, circa 1800, a lovely detailed painting of a sailor seated in rough chair, tenderly spoon feeding a finch pe...

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...

Vintage Moroccan flat-weave stripe Kilim rug.Large size blanket vintage Moroccan rug, handwoven by Berber women in Morocco for their own use.This ethnic rug was made using flat-weave technique with linear pattern of alternating stripes in different cors in green, red, pink, black and ivory (a natural wo cor).This vintage Moroccan Kilim ethnic textile...

Geometric pieces of wood fitted together inside of laminate or plywood box.

Mid-Century Modern wicker wall mirror in a handcrafted Rhombus shape. Oval handwoven Bohemian Chic Folk Art mirror, made in France. Can be hung horizontal and vertical. Mirror si...

Quite charming folk art assemblage by the noted artist Pat MMervis Schwartz. Dated 1986, signed and titled “Once Known as the Fish People”. It is i...

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...