New York City - Folk Art

Very special Baroque box with carved decorations of mythical creatures and figurative scenes Carved monogrammed initials "HPP" + Family Crest, origin: Gudbrandsdal, Norway, circa 174...

An antique Persian Gabbeh tribal rug handmade by the nomadic Qashqai tribe in South Persian during the early 20th century. One large orange folksy lion prances over the deep red fiel...

A vintage Persian Gabbeh modernist carpet from the mid-20th century. A vintage Persian Gabbeh rug. The khaki field of this small square tribal scatter is closely covered by a nested ...

South American Colonial (Peruvian 19th Cent) cowhide and leather floor trunk (Bataca) with a geometric strap design.

A rare figurative harp from made by the Vuvi or Tsogo people of Gabon. It is an instrument traditionally played by young men and boys. These rare instruments are well known for their...

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

Playful and thought-provoking, this small chair sculpture is crafted from papier-mâché over a Styrofoam core. Blending form and concept, it evokes the shape of a functional chair whi...

Important ceramic table lamp by ROBJ, located in NY.

Unique card holder composed of two original small-scale folk art paintings depicting figures with card suits by Polish artist, Irena Makowey, protected by two glass inserts to front ...

This hand-carved wooden stool was made in Tanzania by hand with native repair. The patch was added from hand-hammered brass. This piece has great energy and patina, giving it a cool ...

Two Burmese chin state tribal markers. Tribal Territory markers collected within the chin state Burma (Myanmar). Each piece is primitively carved with a face and a collection of item...

Fine and large tramp art cabinet signed 'Michael Lavery' and dated '98' on reverse (shown in Image #9) in whitewash paint. Certainly one of the fines...

A vintage Turkish Anatolian rug from the mid-20th century. Measures: 7' 3" x 9' 2".

A long Berber necklace, hand-crafted with stone beads and wool, with a round filigree silver accent. Morocco, early 20th Century. Green and blue amazonite, red coral, glass and sto...

The backplate is cast and featuring a deer in the center surrounded by open scrollwork. The side panels fitted with two servant lights, fronted by a row of eight oil fonts. Scholars theorize that these Polish Chanukah lamps that bear two servant lights (as opposed to the singular servant light normally found on a Hanukkah Lamp...

A vintage Turkish Tulu rug. A tribal rug that fits very well with contemporary furniture. All in red with an extra-long lustrous pile and uncountable wefts. No borders. No pattern. L...

American Country Rustic Western style wall hanging with a scene of a cowboy riding a horse with Indian and other Western motifs titled "Let r b...

1940s ceramic decorative bowl by Waylande Gregory featuring a highly stylized leaf pattern in mint green with white, black and gold leaf detail. Relatively large compared to more com...

A vintage theater mask from Bali, Indonesia, circa 1975-1980. Polychromed hand-carved teak, mounted on a black metal stand. This type of mask is used at Indonesian Topeng or Mas...

Indian stone carvings depicting reclining a cow / bull / ox, Nandi, or Vrishabha, the bull vahana or vehicle of the god Shiva, outfitted with saddles, bridles, and headpieces upon th...

A modern Persian flat-weave Kilim accent rug from the 21st century with four dark brown sections stitched together due to its nomadic nature. The blue, white, red, pink, and yellow s...

1160 Pair oversized matched pair one cream the other light brown French ceramic cat sculptures with glass eyes

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...

An exquisite Antique Laos Tribal Pha Hom Blanket. Very Specific and with this age quite rare. Pha Hom blanket used for healing and comforting. This Pha Hom Blanket is true to its...

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. She 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. Despite the quality of her work and despite the energy and skill with which she worked both to develop her own talent and to further the progressive movement in American art, Weinrich received little recognition during her lifetime and is only recently being recognized for her leadership as an important female artist bringing the modern movement to the USA. The painting shown is an important example of her mature phase of her work. Exhibitions This is a selective list of exhibitions in which she participated during her life. Its main source is Louise Noun's article on Weinrich in Woman's Art Journal, supplemented by contemporary news accounts in The New York Times, the Brooklyn Daily Eagle, the New York Evening Post, The Philadelphia Inquirer, and The Christian Science Monitor. 1915 onward: Provincetown Art Association 1917: Pennsylvania Academy of Fine Arts 1917: Pennsylvania Academy of Fine Arts, Philadelphia 1917-23: Society of Independent Artists, New York 1919: Art Institute of Chicago 1920: Boston Arts Club 1926 onward: New York Society of Women Artists 1928: Grace Horn Gallery, Boston 1929: Pennsylvania Academy of Fine Arts, Philadelphia 1932: Boston Public Library 1936: Harley Perkins Gallery, Boston (solo) 1938: Boston Society of Independent Artists 1938: Washington Public Library, Washington, D.C. 1939: Corcoran Gallery Biennial, Washington, D.C. 1939: Fogg Art Museum Twentieth Century Club, Boston 1939: Witherstine Gallery, Boston 1939: Institute of Modern Art, Boston 1945: Woljeska Gallery, Brooklyn, New York    Detailed Biography: 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. 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. 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.[ 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. 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...

Hand carved and painted mint green fish souvenir spool from Nantucket Island (ca. 1940s, MA, USA). The fishing twine is connected to a small metal hook affixed to the fish's mouth. Warm patina / good age commensurate with history (small spots of wood / paint loss along with crazing). Small but impressive vintage fishing collectible...

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

American Country style taxidermy deer head with antlers mounted on oak shield shaped wall plaque

Primitive trunk / chest composed of a hinged wood plank top and painted wooden frame with brass and steel embellishments (brass nailheads with hand-hammered steel handles / hinges / ...

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...

A vintage theater mask from Bali, Indonesia, circa 1975-1980. Polychromed hand-carved teak, mounted on a black metal stand. This type of mask is used at Indonesian Topeng or Mas...

English Country style papier mache life size model of horse on rectangular platform base. (19/20th Cent.)

Siberian Eskimo people were introduced to tobacco in the 17th century, acquiring it from European traders in exchange for furs. Pipes based on European models, such as this example, ...

A male necklace from the Asmat Village, Papua New Guinea. Four rows of large polished white cowrie shells in two sizes, seamlessly sewn onto a cotton macramé base, which has been ha...

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

Black Forest-style carved wooden wall plaque featuring a game motif of a ram, pheasant, gun, and satchell with bordering oak leaves.

Gabonese mid 20th century ceremonial spoon of the Tsogo people depicting a carved male figure in ceremonial dress, pigmented and adorned with fabrics and raffia

African Ivory Coast 20th Century carved wood Baule male face mask featuring balanced proportion, 2 eye slits, incised hair strands and realistic symmetric facial features. Wear to f...

African Late 20th Century (1990s) painted Grebo face mask (embodying spirits residing in the forest) carved in oval form with tubular eyes, flattened nose and mouth, 2 side holes plu...

American Country (19th Century) painted red, white, & blue barber pole.

African Gabon Late 20th Century (1990s) carved wood Fang ceremonial mask features a curved & tapered ovoid head with large headress including an inlaid monkey skull, a painted grid p...

Amercian Federal style (Mid-20th Century) gold carved wooden eagle wall plaque in the style of Bellamy under a flowing God Bless America blue banner

African Congo 20th Century wood Songye Kfwebe Face Mask (to ward off supernatural threats) carved in circular form with painted decorative geometric grooves, an inlaid beaded pattern...

African (19/20th Century) figural wood carved cane Repairs to arms, some chips, splits.

African Cote d’Voire 20th Century carved wood Do Society Ligbi hornbill mask in bird form with eye and mouth slits, a long overlapping beak and inlaid decorative brass strips with a ...

African Congo Early 20th Century carved and painted Pende facial mask (for healing or preventing sickness) with a twisted nose and mouth, plus 2 eye slits, 2 side holes and elongated...

African Ngere Ivory Coast Late 20th Century / Early 21st carved wood Ngere monkey mask in symmetric geometric form with incised overlapping brow, triangular eye holes, protruding nos...

African Sierra Leone Contemporary (Early 2000s) carved wood openwork Temne Headcrest mask features a capped male figure at top grasping 2 serpents, followed by a pair or rams horns a...

PAIR of French Empire style bronze bird designed drapery tie backs (19/20th Cent)

Brass (20th Century) framed green leather bulletin board supported on a brass stand. Pitting, scratches, marks and loss at corners to leather

English Renaissance Revival (19/20th Century) copper lavabo with wrought iron bracket. No lid/ sold \"AS IS\".

Silver metal trophy with embossed acorn and leaf design and engraving "PRESENTED TO PAUL T. RIBETT JR., MASTER OF ISLAND CITY NO. 586 F&A.M, 1915)

Charming whirligig depicting a figure resembling Uncle Sam sawing a log mounted to a wooden base. Hand carved, painted, and assembled with applied facial details. When manually turne...

Continental 19th century Dutch life-sized carved wooden eagle figure with open mouth on square pedestal.

American Country rustic-style cast iron doorstop in the shape of a bull, with a beige and black painted finish.

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

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

1864 Embroidered Folk Art wall hanging applied to wood board. A home in the wilderness Framed Image size 17.5x24.5"

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