Outdoors Prints and Multiples

Color lithograph on Somerset white wove paper. Signed, dated and numbered 2/90 in pencil, lower margin. Printed by Derriere L'Etoile Studios, New York. Published by Brooke Alexander ...

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...

Once again, a splendid poster made by Bernard Villemot 🇫🇷 (1911-1989), in 1954 to promote tourism in the South West of France and more particularly, the Basque coast. The works of ...

Lithograph on vélin du Marais paper. Inscription: Unsigned and unnumbered, as issued. Good condition with publisher’s folds, as issued. Notes: From the volume, Verve: Revue Artistiqu...

The School of Hard Knocks is a lithograph on paper, 7.25 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 129/275 (there were also 100 Roman a...

Golden Tree by Chase Chen Chenoff, Chinese/American (1964) Date: circa 1980 Screenprint, signed and numbered in pencil Edition of HC 2/25 Size: 25 in. x 33 in. (63.5 cm x 83.82 cm)

Medium: Lithograph and stencil on vélin paper Year: 1954 Paper Size: 13.5 x 9.5 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Femmes de Lau...

Mark A Pearce Orchard Stripes Limited Edition Linocut Print Edition of 42 Artwork Size: H 40cm x W 40cm x D 0.5cm Sold Unframed Please note that in situ images are purely an indicati...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; under ...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

To see our other views of Oxford and Cambridge, or our other Modern British Art, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us ...

Archival pigment print Signed and numbered, verso 26.7 x 40 inches (Edition of 10) 40 x 60 inches (Edition of 5) 53.3 x 80 inches (Edition of 3) This artwork is offered by Clamp...

Panoramic View of Saruhashi is a modern artwork realized in the Mid-20th Century. Mixed colored lithograph after a woodcut realized by the great Japanese artist Utagawa Hiroshige in...

JOSEPH PENNELL (1857-1926) The Thames, 1894 Signed Aquatint Plate size 20.5 by 26.5 cm., 8 by 10 ½ in. (frame size 42 by 46 cm., 16 ½ by 18 in.) Pennell was born in Philadelphia where he studied at School of Industrial Art and the Academy of Fine Arts. In 1884 he was commissioned by the Century Magazine to supply a series of drawings of London...

Takashi Murakami Flowers Skateboard Decks: set of 3 works: Vibrant Takashi Murakami wall art produced as a limited series in conjunction with the 2017 Murakami exhibit: The Octopus E...

Clouds Behind Clouds II by Simon Tozer [2021] This is one of an ongoing series of seascapes and sky images that have clouds as their main focus. Clouds are ethereal forms, and along...

The Spring is a very brightly colored serigraph realized by the contemporary Italian artist Maddalena Striglio in the late 20th Century. Hand-sign...

Medium: etching (etched by Theophile Narcisse Chauvel after the Jacomin painting). This impression on laid paper was printed by Francois Lienard in 1875 and published in Paris for L'...

Created in 2018 by Alexandra Buckle. A reduction linocut of marsh marigolds next to a rippling pool of water with a reflected tree. This is one of a s...

C-Print on argentic paper Edition of 9 Others sizes are available upon simple request Shipping of the artwork will be done in a tube or flat in a crate with or without American box...

Country Town is an original colored screen print realized by Ivan Rabuzin in the 1990s. Hand-signed on the lower margin. Numbered on the lower left.143/150. This very fine print re...

Takashi Murakami Flowers Skateboard Decks (set of 2 works): The black & white deck marks a collaboration between Takashi Murakami and his friend, the rising Japanese artist 'Madsaki' (bio below). The impression is an urban twist on Takashi Murakami’s otherwise highly polished flowers motif - a beautiful juxtaposition between two very different styles from two masters of their craft. This limited work was published by Murakami’s Kaikai Kiki Gallery Japan in 2017. The blue was published circa 2017 in conjunction with the Murakami exhibit: The Octopus Eats Its Own Leg, MCA Chicago. A brilliant set that makes for vibrant, one of a kind wall-art that hangs with ease. Medium: Silkscreen on 2 individual Maple Wood skateboard decks. Crisp colors. Dimensions: 8.0 x 31 inches (20.5 x 79 cm) Condition: each housed in its original packaging; excellent overall condition. Each from a sold out limited edition of unknown; stamped by the artist on the reverse of each. Perhaps Murakami's most iconic motif, these candy-colored, smiling flowers came into the artist's work when he was preparing for his entrance exams for the Tokyo National University of Fine Arts, and he embraced the form over nine years teaching prep-school students to draw flowers. One of the most acclaimed artists to emerge from postwar Asia, Takashi Murakami—“the Warhol of Japan”—is known for his contemporary Pop synthesis of fine art and popular culture, particularly his use of a boldly graphic and colorful anime and manga cartoon style. MADSAKI (b. Japan 1974) Joining Murakami has led to a rapid evolution of Madsaki. Now with three Kaikai exhibitions under his belt––Hickory Dickory Dock; Here Today, Gone Tomorrow; and MADSAKI Says “Yo! snipe1 & UFO907, Get Your Asses Over Here!” Madsaki has made a firm imprint on the Murakami canon. In his introduction to Madsaki’s second solo exhibit, Here Today, Gone Tomorrow from 2017, Murakami jokingly points out how his direction and guidance successfully shaped Madsaki’s work. While the debt Madsaki owes to Murakami is patently clear, in an abrupt turnabout it appears that the apprentice guides the master in some ways as well...

Vintage, unframed lithographic print after Jean - Baptiste Camille Corot. Piece is titled "Vue de Mantes", published by Hyperion, printed in Italy. ...

Gordon Hunt Sail on by Cornwall coast Limited Edition Giclée Print Edition of 120 Image Size: H 60cm x W 60cm Sheet Size: H 70cm x W 70cm Signed Sold Unframed Please note that in sit...

Goujaterie Allemande et... Résignation Française is an satyrical original lithograph realized by the italian illustrator and engraver Giuseppe Tarantino...

Gordon Hunt Wild swim Limited edition print Image size: H 60cm x W 60cm Sheet Size: H 70cm s W 70cm x D 0.1cm Sold Unframed Please note that in situ images are purely an indication o...

This piece is an original linoleum block print created and printed by George Raab. The lower margin is titled and signed by the artist in graphite. The lower left has the title. The ...

Giacomo da Prato Faraglioni, Capri, Italy, 2022 40 x 40 inches edition of 10 Archival Pigment Print Mounted and Framed Certificate of Authenticity

Ancient Views of Yokohama is an original vintage albumen print on single cardboard: 34 x 26 cm. It was realized in the 1890s. Good conditions except for being aged. Caption in Ita...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 11.65 x 11.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Medium: Lithograph on vélin d'Arches paper Year: 1967 Paper Size: 20 x 26 inches Inscription: Signed in the plate and unnumbered, as issued Notes: From the folio, Dunoyer de Segonzac...

Medium: original etching and drypoint with aquatint and roulette. "L’Hiver a Paris" is also known as "La Neige a Paris". Executed in 1879 and published in Paris in 1881 for L'Art; t...

Skiing girls by Anne Storno [2021] This work is inspired by collage and surrealist artworks. I like combining images removed from their original narrative c...

Joan Miró Untitled from Derriere le Miroir, 1961 Original lithograph. Unsigned Size 37.7 x 27.6 cm Published by Maeght Editeur, Paris Reference: 924802-1976 FREE SHIPPING

Capri is an original modern artwork realized in Italy in the half of the 19th Century. Original lithograph on Ivory Paper. Inscripted on the lower margin. Good conditions. Some ...

Veduta di Sepino is an original artwork realized in the XIX Century by Cirelli. Colored Lithograph on paper. On the lower left corner the writing "P. Mattei di dal vero" and, on ...

Duane Bryers, American (1911 - 2012) - His Family, Year: 1979, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 300, AP, Image Size: 14.5 x 22.5 in., Size: 21.5 in. ...

Landscape is an original colored screen print on paper realized by Ivan Rabuzin in the 1990s. Hand-signed in pencil on the lower margin. Excellent conditions. This very fine pr...

Woodcut print realized by Escher in 1931. It belongs to the series "Emblemata". Signed with initials in the plate lower right. Ref. F.H. Bool, J.R. Kist, J.L. Locher and F. Wierda...

A beautiful soft landscape Giclee of a glowing meadow in the Sonoma Mountains by Donna McGinnis (American, 20th century). Signed "Donna McGinnis", titled "Sonoma Mountains", and numbered "5/195", lower edge. Limited edition Giclee, high resolution long life inkjet print, Edition 5/195, printed on Epson Somerset velvet cotton rag paper. Displayed in a custom mat and wood Italian classical frame. Image size 29"H x 39"W. Paper size, 32.5"H x 42.5"W. Donna McGinnis was born in Spokane, Washington. McGinnis grew up in an artistic family. Her mother was an artist, her grandmother a musician and her father a photographer. Drawing came naturally to her as she had very vivid memories of admiring her father’s black and white photography. These silvery prints inspired McGinnis. Through his love affair with the still image, McGinnis learned composition, chiaroscuro (light and dark tonality), form and line, in essence the basics of formal art theory. McGinnis had a childhood babysitter and mentor who taught her and her two sisters art...

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...

S. Angelo dei Lombardi is an original lithograph on paper realized by Giuseppe Megna. Hand-signed on the lower right and numbered on the lower left in pencil, edition of 187/200 pri...

New York City native Oscar Weissbuch (1904-1948), attended the Yale University School of Fine Arts and the Art Students League, NY. He participated in the NYC-WPA printmaking project...

SNCF Normandie is a 1952 French travel advertisement by artist Raoul Dufy for the French Railway. The French Railway is commonly known as SNCF, Societe Nationale de Chemin de Fer. Th...

Illustration II is an original etching by Maurice Chot Plassot (Neully-sur-Seine 1929). Hand- signed by the artist on the lower right corner and the title on the left corner. Imag...

Hand signed and numbered. Edition of 150 prints. 

Wonderful print with artist's title and description (written in pen and ink) "'Law of the Flaming Frontier' Interior of Pioneer Cabin with a gun and a rifle in Tombstone AZ when the West was young." By Harold Edgar Wenck (American, 1886-1958), circa 1920s. Signed within print and hand-signed below title/description (in pen and ink). Presented in a giltwood period frame. H. E. Wenck (also known as Joe) was born in Fort Assiniboine, Montana in 1896. According to an article in Arizona Kitty Kat...

Héliogravure, collotype vélin paper. Paper Size: 18.23 x 17.32 inches; image size: 11.69 x 11.65 inches. Inscription: Signed in the plate and unnumbered, as issued. Notes: From the f...

Laurent Marcel Salinas, Egyptian/French (1913 - 2010) - Rocky French Countryside. Year: circa 1985, Medium: Lithograph on Arches Paper, signed in pencil, Edition: EA, Image Size: 16...

Champagne City, Aqua Blue Thames Clare Halifax Signed by the artist Limited edition of 10 Image size: H:48 cm x W:48 cm Paper size: H:56 cm x W:56 cm x D:0.1 cm Please note that insitus are purely an indication of how a piece may look. Champagne City, Aqua Blue Thames is a limited edition cityscape print by Clare Halifax. Champagne City, Aqua Blue Thames features hand gilded champagne gold leaf 22.5ct with aqua blue thames. This 2 colour screen print with hand finished gilding is printed by the artist and shows the view of the thames from sky garden, edition of 10, printed onto somerset satin 300gms with deckle edge. Clare Halifax, artist, joins Wychwood Art selling art online and in their art gallery in Deddington. Clare Halifax is offering exclusive Cotswold screen prints with Wychwood Art as well as scenes of London and Oxford. Clare Halifax graduated from the University of Loughborough in 2000 with a BA Hons in Printed Textile design and went on to sell her work internationally to the fashion and interior markets...

9.25 x 12 inches (sheet), 8.75 x 12 inches (block) Linoleum block print on laid paper Framed 16 x 18.88 in Signed to lower margin

Food is a modern artwork realized d'apres Karl Werner  Mixed colored Chromolithograph.  The artwork is after the watercolor realized by the artist during a trip to Egypt between 18...

Artist: Menashe Kadishman, Israeli (1932 - 2015) Title: Circle of Sheep Year: circa 1979 Medium: Screenprint, Signed in Pencil Edition: PP Size: 29 in. x 41 in. (73.66 cm x 104....

To see our other original vintage travel posters, many of which are from Switzerland, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or sen...

Hunting dog speaking to the rabbit: "Be Quiet". Humor in art is rare! Titled and pencil signed by the artist Paul Wood. Published in France by Paris Etching Society. "Made in Fra...

Salvador Dali - The Vision - Original Lithograph Joseph FORET, Paris, 1957 PRINTER : Detruit. SIGNATURE : plate signed by Dali. LIMITED : 233 copies. SIZE : 41 x 33 cm REFERENCES ...

Takashi Murakami Skateboard Decks: Set of 2 works: 2015-2017: Takashi Murakami Skulls Skateboard Deck 2015: this highly collectible limited edition Mu...

Braun G. & Hogenberg F., Praga, Egra, from the collection Civitates Orbis Terrarum, Cologne, T. Graminaeus, 1572-1617. Image dimensions: 39.5 x 47.5 cm. Dimensions: 41 x 52.5 cm. Wo...

Jack Hofflander, American (1920 - 2003) - Barn in Stockport, New York, Year: 1980, Medium: Screenprint, signed and numbered in pencil, Edition: 250, AP 35, Size: 21.5 in. x 28 in...

Original collotype created from Gustav Klimt’s The Swamp, painted in 1900. Published and edited by Verlag H.O. Miethke and printed by k.k. Hof- und Sta...