Nature Figurative Prints

Swimmer is a contemporary artwork  realized by Kim Hyang in 2008. Mixed colored lithograph. Hand signed and numbered on the lower margin. Realized in occasion of the Olympic Games...

Wild Oats by Rob Barnes [2022] limited_edition and hand signed by the artist Linocut on paper Edition number 50 Image size: H:33 cm x W:44 cm Complete Size of Unframed Work: H:49 cm...

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 extol...

US World Cup Skiing Jim Jonson, American (1928–1999) Date: 1977 Lithograph, signed and numbered in pencil Edition of 300, AP Image Size: 18 x 25 inches Size: 22 in. x 30 in. (55.88 c...

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...

Cliff Edge by Ann Burnham [2022] limited_edition and hand signed by the artist Linocut on paper Edition number 4 Image size: H:56cm cm x W:42cm cm Comple...

Jan Dingle Morning Pastures, Limited Edition print Image size: 5.5″ x 6.5″ (133 x 165mm) Paper size: 10″ x 11.5″ (272 x 285mm) Edition size: 150 + 10% A/P Size: H:27.2 cm x ...

Les Moutons de Claudine is a black and White etching realized by Jules Herau in the Late 19th Century.  Titled in the lower Image Size: 23x31 Very good impression. Realized by Ca...

Swimmer is a contemporary artwork  realized by Kim Hyang in 2008. Mixed colored lithograph. Hand signed and numbered on the lower margin. Realized in occasion of the Olympic Games...

Torii Sea View by Alexandra Buckle Limited Edition Linocut on Paper Edition of 12 Image size: 30 cm x 40 cm x 0 cm Sheet Size: 37 cm x 47 cm x 0.1 cm Sold Unframed Please note than i...

Between full and last quarter moon, late at night or in the early morning, you may see the moon in its waning gibbous phase: less than full but more than half-lighted. A full moon ri...

Snowdrop Swathe by Rob Barnes [2020] limited_edition Linocut Edition number 50 Image size: H:33 cm x W:44 cm Complete Size of Unframed Work: H:49 cm x W:61 cm x D:0.2cm Sold Unframe...

Artist: Bill Beckley, American (1946 - ) Title: Three Quarter Moon - Two Evening Stars Year: circa 1980 Medium: Lithograph, signed and numbered in pencil...

Swimmer is a contemporary artwork  realized by Kim Hyang in 2008 Mixed colored lithograph. Hand signed and numbered on the lower margin Realized in occasion of the Olympic Games i...

Jennie Ing Primrose Hill: The View Limited Edition Print Edition of 40 Image Size: H 23cm x W 33cm Signed Sold Unframed Please note that in situ i...

Ian Phillips Catching the Light Limited Edition Linocut Print on Paper Edition of 12 Image Size: H 83cm x W 122cm x D 0.01cm Sold Unframed Free Ship...

An original diptych monotype by American contemporary artist Kathleen Sherin from the artist's Knot Series. Each monoprint is 40" x 30".

ARTIST: Salvador Dali TITLE: Tauramachi Surrealiste The Piano In The Snow MEDIUM: Etching SIGNED: Hand Signed PUBLISHER: Pierre Argillet, Paris EDITION NUMBER: L/C MEASUREMEN...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awful Scenes." This still depicts a ...

National Theatre [2021] limited_edition Brushed aluminium Edition number 25 Image size: H:62 cm x W:145 cm Complete Size of Unframed Work: H:62 cm...

Manhattan Skyline By Michael Wallner [2019] limited_edition Brushed aluminium Edition number 25 Image size: H:43 cm x W:135 cm Complete Size of Unfr...

Reflections, New York [2021] limited_edition Etching on Paper Edition number 75 Image size: H:16 cm x W:20 cm Complete Size of Unframed Work: H:16 cm x W:20 cm x D:0.1cm Sold Unfram...

House by the Sea [2020] limited_edition linocut Edition number 1-10 Image size: H:20cm cm x W:20cm cm Complete Size of Unframed Work: H:30cm cm x W:30cm cm x D:3mmcm Sold Unframed P...

Waning by Sarah Duncan [2021] limited_edition Etching print on paper Edition number 10 Image size: H:60 cm x W:60 cm Complete Size of Unframed Work: H:70 cm x W:70 cm x D:0.2cm Sold...

Moongazers [2018] limited_edition Etching and aquatint Edition number /40 Image size: H:15 cm x W:15 cm Complete Size of Unframed Work: H:26 cm x W:26 cm x D:0.1cm Sold Unframed Ple...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awful Scenes." This still depicts a ...

Silver Mountain By Chris Keegan [2021] limited_edition Screen print Edition number 40 Image size: H:56 cm x W:56 cm Complete Size of Unframed Work: H:...

Valley of Gold By Chris Keegan [2021] limited_edition Screen print Edition number 40 Image size: H:56 cm x W:56 cm Complete Size of Unframed Work: H:5...

Arthur Kolnik was born in Stanislavov, a small town in Galicia, which was then part of the Austro-Hungarian Empire. His father, who was originally from Lithuania, worked as an accoun...

Dusk at Morston – Large Canvas Print Limited edition canvas prints by Michael Sanders. These stunning prints are created using fine art archival quality inks and canvas with three la...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awf...

Toblino Castle is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, of the l...

Houses of Madagadassi is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the government, o...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awful Scenes." This still depicts a ...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awf...

Emilio Sanchez (1921-1999) created this color lithograph entitled “TIENDECITAS” in 1967. This impression is signed, titled, and inscribed “21/50” in pencil. The printed image size 15 x 23.13 inches (38 x 58.8 cm) and paper size 20.75 x 29 3/8 inches (53 x 74.5 cm). Printed in an edition of 50. Stamped on verso "Estate of Emilio Sanchez." “Best known for his architectural paintings and lithographs, Emilio Sanchez (1921-1999) explored the effects of light and shadow to emphasize the abstract geometry of his subjects. His artwork encompasses his Cuban heritage...

The present is one of the many prints John Thomas Smith produced of English cottages and vernacular architecture. This example, a view of a cottage in Edmonton, is closely related to...

Palanquins - Costumes   is a Hand-colored lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of th...

'Lobsterman's Wharf, Maine' is an original lithograph signed by Malvin Marr "Zsissly" Albright. While Malvin Marr – along with his better-known identical twin Ivan Albright – was known for his meticulous and unsettling magic realist compositions, he and his brother were also prolific in capturing landscapes of the coast of Maine where the two spent several consecutive summers away from Chicago over their lives. Sometimes these Maine landscapes and views would be painterly and seemingly antithetical to the careful realism of his other work; but in this example, however, the wharf is treated with the same macabre decay as his human subjects. In the composition, the shack...

Ex Libris - The Mountain is an Artwork realized in Mid 20th Century. Woodcut print on ivory paper. The work is glued on colored cardboard. Total dimensions: 11x21.5 cm. Good cond...

Lithograph in colours, 1971, on Japon nacré paper, signed in pencil, from the edition of 120, printed by Mourlot, published by Tériade, Paris, 50.4 x 66.2 cm. (19¾ x 26 in.)

Publisher GKM. Unframed. Edition of 150 ex. Signed by the artist. Free shipment worldwide. Reality or fantasy? What is the difference between fantasy and fact, between night and da...

The Vortex of Doom is an actual attraction performed by daredevils in traveling circus shows. After decades of creating Coney Island inspired images, t...

Diseases of the Plannta is a lithograph hand colored by Ottavio Muzzi for the edition of Antoine Chazal, Human Anatomy, Printers Batelli and Ridolfi, 1843. The work belongs to the A...

The Framers is an original etching realized by Eugène Burnand (1850-1921) in the Late 19th century. Signed on the plate. Good conditions with foxing. The artwork is realized thro...

Abramovitz, Albert (American, born Latvia, 1879-1963). CONCRETE MIXER MOSCOW. Linoleum cut, not dated, but circa 1930s. Edition size not known. Monogrammed in the block and signed i...

Peasants is a woodcut print realized by Augusto Monari in the Early-20th Century. Good conditions. The artwork is depicted through confident strokes in a well-balanced composition.

Hull is an engraving on paper realized by W.Finden in 1838. The artwork is in good condition. The artwork is depicted in a well-balanced composition.

Dream on paper realized by Hégésippe Moreau in 1838. The artwork is in good condition. Hégésippe Moreau (1810-1838) was a French lyric poet. The rom...

Bamborough is an original etching realized in 1845 by W.Finden. Signed in plate. The artwork is realized in a well-balanced composition.

This large-scale, colorful ocean landscape monotype gives the viewer a hidden vantage point: through the dark silhouette of tangled vines can be seen a placid, turquoise sea lapping ...

Landscape is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 1/99, ...

The Houses on the Lake is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 12/99, on the left margin...

Landscape with Mountains is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 3/99, on the left margi...

Landscape is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 7/99, on the left margin. On the back ...

The Village is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 10/99, on the left margin. On the b...

Landscape is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 2/99, on the left margin. On the back ...

Landscape is a lithograph attributed to Nicholas Verrall (1945) in the Late 20th Century. Hand-signed on the right corner. Numbered, Edition, 2/99, on the left margin. On the back i...