Symbolist Art

Albert Pike Lucas (Jersey City, 1862 – New York, 1945) Woman in Profile, 1893 Oil on canvas 41 x 33 cm 70 x 60.5 cm with its frame Signed 'AP Lucas' upper left, located and dated 'Pa...

'Kraft und Mut' (Courage and Strength) German wood-engraving, 1903. 320mm by 230mm (image) 280mm by 410mm (sheet)

Marc Chagall (1887-1985) - Le Verger (The Orchard) from Daphnis and Chloë. Lithograph from 1961. The edition of 34/60 on Arches paper with wide margins. Dimensions of work: 53.7 x...

The Queen by Diogène Ulysse Napoléon Maillart (French, 1840 – 1926) *see notes below oil painting on canvas, framed canvas: 42 x 30 inches framed: 45 x 33 inches condition: overall v...

This painting will come to you stretched on a wooden stretcher and completely ready to be placed in the interior. ABOUT THE ARTWORK "The 'Garden Guardian' serves as the keeper of our...

Ex Libris is a woodcut print created by Michel Fingesten in 1937. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czech painter an...

Médecine Expérimentale (Experimental medicine), is an original etching, soft ground, on Japanese paper realized by Félicien Rops in 1854, signed in the ...

Follower of Edgard Maxence. French ( b.1871 - d.1954 ). Meditation, Circa 1910. Oil On Canvas. Image size 34.4 inches x 22.2 inches ( 87.5cm x 56.5cm ). Frame size 44.1 inches x 31.9...

“I still look at and learn from the art of the past, and enjoy making interpretations of works which I admire.” Henry Moore Infanta, Floating Balance, Point in Time, and Visionary are monoprints with Chine collé from Suzanne Benton's Paintings in Proust series. This grouping also includes the dry-point etching with Chine collé. Infanta (edition of 10). The monoprints (unique prints) employ the collage technique, chine collé (glued paper). Collé papers are pre-inked and hand-painted. Dimensional printing plates emboss texture onto the prints. The plates are inked individually for each solo print. The images and collé papers are then laid onto the plate and adhere to the printmaking paper as the plate and paper run through the etching press. Other monoprint series have been devoted to Indian and Turkish miniature painting...

Georges Marie Julien Girardot (1856–1914) The Green Lady (Legend of Salins), 1897 Oil on canvas laid down on board 79 × 58 cm Signed lower right Pain...

This atmospheric painting by Anders Loman captures a quiet city street bathed in the subtle glow of gaslight on a winter evening.A horse-drawn carriage disappears into the distance, ...

Henri MARTIN Divine Comedy : Dante and Beatrice, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Li...

The European Macabre Dance N.38 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed ...

Monogrammed TG, Late 19th Century Symbolist Pre- Raphaelite Oil Painting Luna An intriguing painting displaying imaginative symbolism and referencing the Pre-Raphaelite movement. T...

Original Ex Libris, includes passpartout. Woodcut print. Hand signed. 

Menashe Kadishman, Sheep head, Symbolist painting, colored painting, Israeli art, Israeli art

Grotesque Expressionist Figural Scene Paris 1946 Symbolist Spanish Oil Painting Artist: Daniel Sabater Salabert Medium: Oil on panel Dimensions: 27 × 35 cm (10.6 × 13.8 in) Signature: Signed lower right Inscription: Paris 1946 (verso) Frame: Unframed Condition: Very good condition. Stable panel and original paint surface with age-appropriate craquelure Origin: Spain / Paris Period: 1946 Striking grotesque expressionist figural composition depicting a group of caricatured characters gathered around an open book filled with coins, executed by Spanish painter Daniel Sabater Salabert and inscribed Paris 1946. The theatrical arrangement suggests a symbolic or moralizing narrative scene, a recurring theme within Sabater’s most personal production associated with psychological satire and fantastical figuration. The exaggerated physiognomies, distorted facial structures and compressed spatial composition reinforce the expressive tension typical of European grotesque painting...

Rowing Figure in an Eerie Landscape is a 1929 watercolor-and-ink illustration by Swedish artist Einar Norelius. Created for the 22nd issue of Bland tomtar och troll, the cherished an...

Ex libris Mantero is an original etching realized by Michel Fingesten in 1930s.  It includes a white cardboard passpartout.  Hand signed in the lower right part.  Excellent condit...

Ex libris Mantero is an etching realized by Michel Fingesten in 1930s.  It includes a white cardboard passpartout.  Edition 23/50. Hand signed in the lower right part.  Excellent...

Ex Libris Mantero Sempre Sitis is an original etching realized by Michel Fingesten in 1930s.  It includes a white cardboard passpartout.  Limited Edition of 50..  Hand signed and ...

Denise Jones Adler's work is both personal and archetypical and seeks to memorialize a moment in time, the fragile nature of life, and the emotional impact of the past on the present...

Walpurgis Nacht is a drawing with pen and Indian ink on paper, realized by Alfred Kubin in 1920, Hand-signed. Provenance Zevi Collection Milan. Included a frame. In very good co...

Marc Chagall (1887–1985) L'Odyssée, Planche XIX Lithograph in colours, 1974, A unique trial proof printed, notably without the central fold, with variant colouration differing from ...

Das Grausen is a lithograph realized after a work by Alfred Kubin in 1903, Hand-signed and titled, plate from Faksimiledrucke nach Kunstblättern, edition H. Von Weber. Included a...

Original Ex Libris, includes passpartout. Etching on paper. Hand signed. 

Original Ex Libris, includes passpartout. Woodcut print on paper. Not signed. 

This large artwork figures a bamboo forest in the night. The artist impasto technique is light, with textured painting and a few small reliefs. This artwork is not framed. Françoi...

Olive Harvest in Southern Italy on Cold Coastal Morning Italian Riviera Olive Harvesters are bundled up against the cold and dust on a harvest morning, somewhere on the southern It...

Signed and dated oil on canvas portrait by French symbolist painter Lucien Victor Guirand De Scevola. The work depicts a brunette woman in an embellished off the shoulder white dress hand holding a sleepy ginger cat in one arm. Signature: Signed and dated 1905 lower right Dimensions: Framed: 35"x31" Unframed: 26"x22" Provenance: The collection of Barbara Taylor Bradford O.B.E. Lucien Victor Guirand de Scevola Biography View full artist profile Guirand de Scévola was a student of Cormon at the École des Beaux-Arts in Paris. He exhibited at the Salon des Artistes Français in Paris. He then became a committee member of the Société Nationale des Beaux-Arts in Paris, where he also exhibited. He became an officer of the Légion d'Honneur in 1914. Making rigorous accuracy his main concern, he had a brilliant career as a society portrait artist. As such, his works became widely known. He painted portraits of a variety of subjects, including the Duke of Massa, Henri Farman, the Duchess of Uzès and the Duchess of Brissac. Museum and Gallery Holdings: Mulhouse: Woman with a Veil...

Marc Chagall (1887-1985) - Sketch for L'Âne bleu stamped with the signature 'Marc Chagall' (lower right) pastel and charcoal on paper 18 7⁄8 x 24 in. (48 x 61 cm.) Executed in 1954 ...

The artwork measures 22 x 30 inches and is on paper. Signed by the artist in the lower right. Emil Kazaz’s oil paintings are distinguished by their masterful balance between classica...

Beautiful detailed artist designed transfer-printed glazed porcelain service plate. Published and manufactured by Rosenthal Limitierte Kunstre...

This is a painting by Puzant Godjamanian (1909-1993), a deeply meaningful composition depicting a mother singing her baby to sleep. The piece convey...

Karl Johan Holter (Norway, 1870–1960) Young Man with Beret, 1896 chalk and white heightening on paper, paper mounted on board approx. 58 × 39 cm (unframed) / 22.8 × 15.4 in signed ...

Artist/ School: Josnye Gallet (French signed and dated 1972) Title: Surrealist floating figures in a space like atmosphere. Medium: signed verso, oil painting on canvas, unframed....

Joseph André Mussler (1904-1980) was a Swiss painter known for his works depicting natural landscapes, often focusing on scenes from the Alps, such as mountain valleys and alpine hut...

Oil and pencil on board. Signed "Boleslaw Biegas" Note: We do not ship uninsured. We require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and relia...

Title The Holy Hour Symbolist Landscape Figures Sunrise German School Oil Painting Key Details Artist: German School, circa 1930s Medium: Oil on canvas Size (canvas): 51 x 81 cm Sig...

"Illustrations of the Book of Job" Engraving "The Fire of God is Fallen From Heaven...And the Lord said unto Satan Behold All that he hath is in thy Power" Engraving, third printing...

Signed "Carlos Schwabe" Note: Due to the size, weight, and/or value of this piece, we require shipping through 1stDibs, for its cost effectiveness, full insurance coverage, and reli...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

ROGELIO DE EGUSQUIZA Spanish, 1845 - 1915 A REVERIE DURING THE BALL signed and dated "Rog. Egusquiza 1879" (lower right) oil on canvas 21-3/4 x 33-5/...

Gustave Riquet (1866-1938) Les Œillets de la vie, 1898 (Carnations of life) Signed and dated on the lower right, The text on the lower left is the following "Cueille dès aujourd'hui les oeillets de la vie" , which can be translated as "Pick today the carnations of life" watercolor on paper 37.5 x 51.5 cm In good condition In a modern frame : 53 x 67 cm The text clearly gives the meaning of this allegorical portrait...

Georges Antoine Rochegrosse (1859-1938) A man sitted, Study for the decoration of the Salle des fêtes (Ballroom) of the Exposition Internationale, Paris 1900 Pencil and charcoal on thin yellow paper 29.5 x 20 cm In acceptable condition : Tears and creases as visible on the photographs. In a modern frame : 46 x 36.5 cm Annotations on the back of the mount (now under the modern frame) that identifiy this drawing as a preparatory study for the decoration of the Salle des fêtes (Ballroom) of the 1900 Paris Exposition Internationale. It's also indicated that Henri Bataille...

Amor, Tod und Jenseits, (Cupid, death and afterlife) is an original etching and aquatint on paper Chine collé, realized by Max Klinger in 1881, plate XII from “Intermezzi” Opus IV,...

Provenance: Ina Colliander, relative of the artist; A private collection, Sweden; Bukowskis, Stockholm, Important Winter Sale, 2025, lot 711. Exhibited: Thielska Gallery, Stockholm,...

Image dimensions: 23 x 35 cm. Original Title: Von Piraten überfallene Burg am Meer Pirates attack the Castle on the sea is a black and white xylograph on Japon applied on ivory-colored paper, after Arnold Böcklin...

* No US duty or taxes to pay on this item * A beautiful early 1900's French Symbolist oil on board depicting two classical figures and a goat in a wooded landscape. Striking and ex...

This striking seascape, painted in 1943 by Jacob Löfgren, most likely depicts a view from Sandhamn, a location he frequently captured in his works. Four years earlier, he created ano...

Artist: German School, second half 20th century Medium: Oil on board Size: 33 x 41 inches (framed) Frame: Framed Signature: Indistinctly signed lower right Condition: Overall very go...

"The Stair in the Tower" - original large art by Paula Craioveanu Original, large, unique painting, oil on canvas, 31.5x23.6in / 80x60cm. Shipped rolled in a tube. Check 1stDibs code FREESHIP This painting, a study of an elaborate spiral staircase, demonstrates the artist’s skill in merging architectural elegance with a dynamic sense of movement and mystery. The subject itself—a wrought iron spiral staircase—becomes more than a functional object; it transforms into a metaphor for transcendence, curiosity, and the infinite. The staircase is richly ornate, with swirling ironwork patterns and intricate details that capture the eye. The artist emphasizes the craftsmanship, elevating the staircase into a work of art itself. The ornamental designs echo Baroque or Rococo influences, known for their flamboyance and decorative excess. The spiral is inherently dynamic, drawing the viewer’s gaze upward in a continuous loop. This quality imbues the staircase with motion and energy, almost as if it is alive, spiraling into another dimension. The artist employs a dramatic perspective, positioning the viewer at the base of the staircase, looking upward. This composition evokes a sense of aspiration or awe, as if the staircase ascends to an unknown destination. The light filtering through the structure accentuates the curvature and creates a contrast between the solid metal of the staircase and the soft, ephemeral glow of the environment. This interplay of light and shadow enhances the mood, making the staircase seem both tangible and ethereal. The cool metallic grays and silvers of the staircase reflect its materiality, suggesting durability and permanence. At the same time, the reflective surfaces give it a shimmering, almost celestial quality. The background is suffused with warm, earthy tones—yellows, browns, and muted greens—that contrast with the cold metal of the staircase. This contrast creates a sense of tension between the man-made structure and the organic or natural environment surrounding it. Symbolism. Spiral staircases are often symbolic of a journey, both physical and spiritual. They represent the process of ascent, growth, and transformation. This staircase seems to lead into a vortex of light, suggesting a path to enlightenment or transcendence. The spiral is a recurring motif in art and nature, often representing infinity, cycles, and continuity. The staircase's design hints at a journey without end, encouraging reflection on the passage of time and the eternal nature of life. The destination of the staircase is deliberately obscured, leaving the viewer to wonder where it leads. This creates a sense of mystery, drawing the viewer into an imaginative exploration of the unknown. The swirling patterns in the ironwork mirror the overall spiral shape of the staircase, creating a sense of harmony and cohesion. These designs also add a decorative richness to the piece, tying it to the tradition of Romanticism or Gothic Revival, where even utilitarian objects were imbued with beauty and meaning. The background is loosely rendered, with soft, swirling brushstrokes that echo the spiral of the staircase. This abstraction contrasts with the detailed depiction of the staircase, making the environment feel less defined and more dreamlike. The staircase appears to float in a liminal space, further emphasizing its symbolic and otherworldly qualities. The viewer’s vantage point and the sheer scale of the staircase evoke a feeling of awe. It could symbolize humanity’s ambitions to reach higher realms—intellectually, spiritually, or artistically. The absence of people in the painting draws attention to the object itself, suggesting introspection or solitude. The staircase might represent a solitary journey, one that each individual must take alone. The intricate design and upward motion of the staircase, combined with the lack of a specific time or place, imbue the piece with a sense of timelessness. It could exist in any era, representing universal human themes. In comparison to the artist’s other works, this painting shifts focus from mythological and figurative themes to an architectural subject. Yet, it retains the artist’s characteristic use of ornamentation, bold perspectives, and symbolic depth. Like the Minotaur or Zeus paintings...

Les Pavots Noirs is a prototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923....

Albert Auguste FOURIE (1854-1937) The Naiad And The Swan Oil on Wood signed low left New golden and invory stick frame Dim wood panel : 35 X 27 ...

Art Nouveau coloured drawing of a young lady beauty before a mirror by Edmon Aman-Jean. The work is signed in pencil bottom left and presented in a plain wood frame with mount, under glass. A very charming early 20th century drawing capturing a young beauty admiring herself in front of a dressing mirror. n the background a fine interior with a louis XVI commode...

God and the Four Evangelists ("Fool's Concert") - 1943 Linocut on Paper Leopoldo Méndez (Mexico City, Mexico, 1902–1969) "Fool's Concert" (from the portfolio "25 Prints of Leopoldo ...

Everywhere Eyeballs Are Ablaze is an original lithograph on Chine collé, realized by Odilon Redon in 1888, plate 7 “Les tentations de St.Antoine”(1ère série), unique state, 1st edition printed...

Sergey Shcherbakov (1959) Sculpture, bronze, 50x17 cm

Gregory Kitterle's Sogno di Oro (Golden Dream) is a 39 x 50 inch horizontal figurative symbolist painting on canvas. This work brings the viewer in a magical setting of lapis lazuli ...

Marc Chagall (1887-1985) - Daphnes and Chloé, Planche XLI Lithograph from 1961. Dimensions of work: 43 x 66 cm. Enhanced with gouache. Examined and identified by a French gallery ...