Symbolist Prints and Multiples

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...

RICHARD TESCHNER (Prague 1879 – 1948) From: A Thousand and One Nights - SURREALIST WOMAN DEAD IN A TREASURE BOX, 1917 Aquatint, Proof no. 17. Aqua...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Printemps Lithograph from 1938. Dimensions of work: 35 x 26 cm Publisher: Téri...

The European Macabre Dance N.2 is an hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed...

Manuel ROBBE Elegant Women in a Park, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph cr...

Marc Chagall (1887–1985, France) Portfolio: The Fables of La Fontaine, 1952 Marc Chagall’s The Fables of La Fontaine is a masterful interpretation of Jean de La Fontaine’s classic 17th-century fables, blending poetic storytelling with Chagall’s dreamlike visual language. This rare edition, published by Tériade in Paris in 1952, features 100 handsigned etchings, each sequentially numbered 1–100, bringing to life the timeless allegories of human nature, morality, and wit. Chagall’s etchings...

Etching and aquatint realized in 1909. Belongs to the series "Amor und Psyche. Opus V". Very good condition.

Marc Chagall (1887-1985) - Then the Angel of the Lorde appeared unto him in a flame of fire, out of the middes of a bush; and he looked, and beholde, the bush was not consumed Litho...

Marc Chagall (1887-1985) - Mother and Child Before Notre-Dame Lithograph from 1952. Dimensions of work: 35 x 26 cm Publisher: Tériade, Paris. On the verso another Lithograph in b...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

Femme espèrent is a wonderful original photolithograph applied on paper, realized after the French artist, Guys Constantin (1802 -1892). In very good condition, including a petrol-g...

Etching and aquatint realized in 1909. Belongs to the series "Amor und Psyche. Opus V". Very good condition.

Francis JOURDAIN Night Dream : the Swanns, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithogra...

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 ...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. –- Marc Chagall (1887-1985) - La Ruse de Dorcon, from Daphnis et Chloé Lithograph from 1961. The edition of...

Bildnis mit florentiner Hut. is a beautiful black and white etching on cream-colored and laid paper, realized in 1898 by Hans Thoma. Monogram and Date on p...

Wassily Kandinsky (1866-1944) - Intime Mitteilung (Message intime) Etching and aquatint in color from 1925. The editon of 52/300. Dimensions of work: 57 x 45 cm. Monnogramed and ...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - So went Moses and Aaron, and gathered all the Elders of the children of Israel L...

"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...

Fallen Rider  is a modern artwork realized by Max Klinger in 1881. The artwork belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroef...

Image dimensions: 17.7 x 13.5 cm. The Harem is a black and white héliogravure on paper, realized in 1906 by an anonymous Austrian artist. An original illu...

Lithograph from Carlos Schwabe’s series of hand-colored Symbolist fantasy illustrations for Catulle Mendès’ Hésperus, published in 1904 by Société de pr...

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 ...

Opus IV, Simplicius in der Waldeinode (Simplicius in the Wilderness) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. ...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. The edition of 250 on Arches paper. Dimensions of work: 42 x 32.5 cm. Publisher: Tériade, Paris. Reference: Mourlot 487, ...

Bear And Elf from "Intermezzi" is a print realized by Max Klinger in 1881. Signature and number of the print on plate. Black and white etching and aquatint. Original title: Bär und...

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. –- Marc Chagall (1887-1985) - Disrobing Her with His Own Hand..., from Four Tales from the Arabian Nights Lit...

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 ...

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

Profil de Lumière is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 192...

Apocalypse de Saint Jean is a complete suite of 13 b/w lithographs (cover + 12 lithographs) on Chine collé , realized by Odilon Redon. All the lithographs are unsigned, as issued. P...

Etching after Bocklin, realized in the early 20th Century. Titled in the plate in bottom center. Published by Druck & Verlag. Very good condition.

The European Macabre Dance N.5 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed ...

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

Marc Chagall (1887–1985) Daphnes and Chloé, Planche XXVI Lithograph in colours, 1961, A unique trial proof printed, notably without the central fold and visible printing marks, with variant colouration differing from the standard edition of 150. Unsigned, as issued. Sheet: 55 x 76 cm Frame: 93.6 x 73cm Published by Mourlot, Paris Referenced in Cramer, Chagall: The Illustrated Books, no. 46; Sorlier 329 In excellent condition, the sheet fresh and vibrant, with no evidence of light exposure or discolouration. The work has been framed for the first time by the present gallery, using high quality materials. -- Marc Chagall's Daphnis and Chloé...

Edouard Goerg, 'Le Paradis Terrestre' (Paradise on Earth), etching, 1931, edition 40. Signed, titled, and numbered '3/40' in pencil. A fine richly-inked impression, on heavy, cream w...

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...

Etching and aquatint realized in 1909. Belongs to the series "Amor und Psyche. Opus V". Very good condition.

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

Héliogravure on japanese paper realized by Fraz von Bayros in 1913 for Ex Libris Verlag K. Th. Senger, Munich. Mounted on passepartout. Edition of 260, hand signed in pencil by the ...

The European Macabre Dance N.1 is an hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed...

Triumph der Salome is a black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe, ...

Image dimension cm 29.7x19.9. Printed in the lower margin, center: «Max Klinger / Der Philisoph / (Aus «Vom Tode, II») / Pan I 2». Engraving from the art periodical Pan, vol. I, no...

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Fall Der Engel is a black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, as is remembered Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe, ...

"Divina Commedia" is an original Black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (A...

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

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

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....

Pursued Centaur (Verfolgter Centaur) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed on the...

Moonlit Night from Intermezzi belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed on the plate ...

Kampfende Faune is an artwork realized by Franz von Stuck in the early 20th Century. Etching.

Le Masque de la Mort Rouge is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felu...

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...

The European Macabre Dance N.7 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed on the plate, Original Edition. Published by Domenico Longo, Treviso. Handcolored lithographic postcards. Very good conditions. Alberto Martini (Oderzo, 1876 - Milan, 1954); was an Italian draftsman, painter, engraver and illustrator, forerunner of the surrealist movement...

Le Liseur 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. Titl...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...