Naturalistic Art

Jean Poulain 1884-1967 Jean Poulain was born in 1884 in Katanga (former Belgian Congo). Self-taught artist from an early age, he will be in search of all the emotions and beauty of ...

A group of six chromolithographed illustrations of shoes, some printed with gold and silver inks. [Published: David Douglas, Edinburgh, 1900]. Plates taken from a scarce first edit...

Magnificent large plate illustrating the Vatican Museum at the end of the eighteenth century by Vincenzo Feoli (1750 - 1831) after Miccinelli and Costa. The Pio-Clementino museum, n...

'Ebren ha Dor, High Cirrus from the South West, September' Original Artwork. Framed ready to hang _________________ The dancing light and rapidly changing skies, hung high above the ...

POITEAU, A. and P. TURPIN. Traité des arbres fruitiers: A Group of six Pears. H. Perronneau for T. Delachausée, Paris, 1807-1835. A group of six stipple-engraved plates printed in c...

Contemporary Forged Bamboo Sculpture by Luciano Zanoni Hand-Forged Steel, Customizable Base – Italy This striking contemporary sculpture by Italian artist Luciano Zanoni features fi...

BUCHOZ, Pierre Joseph A Group of Six Hyacinths. Collection coloriée des plus belles variétés de Jacinthes, qu'on monte aux Curieux dans les Jardins des Fleuristes d’Harlem. Paris, T...

PONTING, Herbert. Stareek. circa 1935. Classic Ponting photograph from Captain Scott’s Terra Nova expedition (1910-1913). Showing one of the memb...

Great Britain SENEX, John. A New Map of Great Britain Corrected from the Observations communicated to the Royal Society at London. By John Senex F.R.S. To the Right Hono[ra]ble William Connelly ESQ. One of the Commissioners of His Maj[es]ties Revenue, Speakerof the Hono[a]ble House of Commons, and one of His Maj[es]ties most Hono[ra]ble Privy Council for Ye Kingdom of Ireland. This Map is dedicated by John Senex. John Senex F.R.S. 1710 [-1728]. John Senex (1678-1740) was one of the foremost mapmakers in England in the early eighteenth century. He was also a surveyor, globemaker, and geographer. As a young man, he was apprenticed to Robert Clavell, a bookseller. He worked with several mapmakers over the course of his career, including Jeremiah Seller and Charles Price...

Dancing Stems by Jo Haran [2020] original Gouache, watercolour ink and gesso. Image size: H:53.2 cm x W:62 cm Complete Size of Unframed Work: H:56 cm x W:64.5 cm x D:0.01cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look 'Dancing Stems' by Jo Haran is an original paitnng of lively rose stems and dark inky leaves in a dynamic composition. I used touches of neon pink acrylic...

ROBERTO NECCO, Turin 1969 SUMI- and , 2024 Painting in sumi-e ink and black suibokuga on handmade virgin Xuan paper (composed of mulberry fiber, wood and rice) artist's seal imprint...

Pascal Dabere is a French artist born in 1957 who lives & works in Amboise, Indre-et-Loire, France. At 17 years old, he was spotted by Dargaud Editions and works for Morris, the crea...

[CHINESE EXPORT WATERCOLOURS ON PITH PAPER]. A Group of 10 Flowers and Butterflies. mid to late nineteeenth century. A fine group of Chines...

'Lilly' 2022 The photograph comes in four editions: 10×13 cm mounted in archival mountboard, limited edition of 15 + 1AP (small) 32×41 cm limited edition of 20 + 1AP (medium) 97×12...

REDOUTE, Pierre-Joseph. Narcissus Paris, Chez L’Auteur, 1802-16 The highest peak of Redoute's artistic and botanical achievement... Among the most important monuments of botanic...

PONTING, Herbert. Finnesko with Crampons. circa 1935. Classic Ponting photograph from Captain Scott’s Terra Nova expedition (1910-1913). ‘No fur...

Modern Autumnal Landscape Oil Painting of Black Mountains Wales with Low Clouds A truly stunning Oil on Canvas by renowned Artist Crispin Thornton Jones - "Autumn View Black Mounta...

POITEAU, A. and P. TURPIN. Traité des arbres fruitiers: A Set of Four Apples H. Perronneau for T. Delachausée, Paris, 1807-1835. A set of Four Apples, fine stipple-engrave...

"The unripe water" figuratif marine acrylique on linen canvas 74x90cm sea blue white the force that lifts the water and the blast of foam

WEINMANN, Johann Wilhelm. Java Apples Hieronymous Lenzius, Regensburg, [1735]-1737-1745. attractive plates, being one of the earliest examples of colour printing. Johann Weinmann...

South America SENEX, John. South America Corrected from the Observations Communicated to the Royal Society’s of London & Paris. By John Senex. To Edmund Halley. LLD. Savilian Professor of Geometry in Oxford and Fellow of the Royal Society. This Map corrected from His own Discoveries In gratefull Acknowledgement of his Ready assistance to Encourage this Designe is Humbly Dedicated. John Senex, at the Globe against St Dunstans Church, Fleetstreet, London 1710 [-1728]. John Senex (1678-1740) was one of the foremost mapmakers in England in the early eighteenth century. He was also a surveyor, globemaker, and geographer. As a young man, he was apprenticed to Robert Clavell, a bookseller. He worked with several mapmakers over the course of his career, including Jeremiah Seller and Charles...

Steven Spurrier, R.A. (1878-1961) The ocean depths signed ‘STEVEN SPURRIER’ (lower right) oil on canvas canvas 24 x 36 in. (60.9 x 91.4 cm.) frame 30 ...

"Kerfi-Zen beach" figurative painting on linen canvas 100x100cm the calm of the low tide the fascination with water and mineral that can be seen in Japanese gardens

"Want to swim" figuratif marine acrylique on linen canvas 60x100cm swimming in the open sea is a healing, gives a feeling of benefit from April to October, I enjoy entering the cold...

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Pascal Dabere is a French artist born in 1957 who lives & works in Amboise, Indre-et-Loire, France. At 17 years old, he was spotted by Dargaud Editions and works for Morris, the creator of Lucky Luke...

Iris Kaempferi: No. 91 CHO-HIYEN Tokyo, Yoshinoen-Garden, circa 1910. Hand-coloured woodblock print on handmade rice paper, numbered and captioned at top, outlined in ink. Framed in...

The Beanstalk is a singular and striking work of art, hand-forged in wrought iron by Italy's foremost living blacksmith-artist, Ivan Zanoni. This sculptural piece-showcased in 2024 at the prestigious Mart Museum in Rovereto-one of Italy's leading institutions for contemporary art-belongs to Zanoni's celebrated series of botanical subjects. Renowned for his expressive wrought iron creations, Ivan Zanoni is internationally recognized as one of today's most significant iron sculptors. His mastery of the medium brings an organic vitality to metal, particularly in his evocative depictions of plants and animals. Born and based in Caldes (Trentino, Italy), Zanoni inherited his passion and skill from his father, Luciano Zanoni. A revered artisan, Zanoni notably created a monumental four-meter olive tree...

Lucy Hatton is a British artist whose work is full of an ardent love of story. A graduate of Edinburgh College of Art, Hatton’s art is steeped in mystery and captivating depth. Her w...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Martin’s innovative photographs are created from plants grown by himself in his garden and greenhouse in Cambridge. A keen horticulturist, he cultivates his own plants and flowers, t...

Looking Towards Home [2021] original Oil on Canvas Image size: H:76 cm x W:122 cm Complete Size of Unframed Work: H:76 cm x W:122 cm x D:3cm Sold Unframed Please note that insit...

"Self-Portrait" abstract painting on linen canvas 100x120cm 2013 joy, the possibility of trusting myself, but remaining flexible the anguish of time passing too quickly and old age…

Themistokles von Eckenbrecher (1842 Athens - 1921 Goslar), Norwegian pine grove, 1901. Watercolor on blue-green paper, 30 x 22 cm. Signed, dated and inscribed in his own hand "TvE. Fagermes [i.e. Fagermes]. 26.6.[19]01." - Slight crease throughout at left margin, otherwise in good condition. About the artwork Themistokles von Eckenbrecher often traveled to Norway to study the nature that fascinated him there. On June 26, 1901, near the southern Norwegian town of Fagernes, in the summer evening sun, he saw a small pine grove, which he immediately captured in a watercolor. He exposed the trees growing on a small hill in front of the background, so that the pines completely define the picture and combine to form a tense motif. The tension comes from the contrast of form and color. The trunks, growing upward, form a vertical structure that is horizontally penetrated by the spreading branches and the pine needles, which are rendered as a plane. This structural tension is further intensified by the color contrast between the brown-reddish iridescent trunks and branches and the green-toned needlework. Themistokles von Eckenbrecher, however, does not use the observed natural scene as an inspiring model for a dance of color and form that detaches itself from the motif and thus treads the path of abstracting modernism. Its inner vitality is to be brought to light and made aesthetically accessible through the work of art. It is precisely in order to depict the inner vitality of nature that von Eckenbrecher chooses the technique of watercolor, in which the individual details, such as the needles, are not meticulously worked out, but rather a flowing movement is created that unites the contrasts. The trees seem to have formed the twisted trunks out of their own inner strength as they grew, creatingthose tense lineations that the artist has put into the picture. The inner strength continues in the branches and twigs, culminating in the upward growth of the needles. At the same time, the trunks, illuminated by the setting sun, seem to glow from within, adding an almost dramatic dimension to the growing movement. Through the artwork, nature itself is revealed as art. In order to make nature visible as art in the work, von Eckenbrecher exposes the group of trees so that they are bounded from the outside by an all-encompassing contour line and merge into an areal unity that enters into a figure-ground relationship with the blue-greenish watercolor paper. The figure-ground relationship emphasizes the ornamental quality of the natural work of art, which further enforces the artwork character of the group of trees. With the presentation of Themistokles von Eckenbrecher's artistic idea and its realization, it has become clear that the present watercolor is not a study of nature in the sense of a visual note by the artist, which might then be integrated into a larger work context, but a completely independent work of art. This is why von Eckenbrecher signed the watercolor. In addition, it is marked with a place and a date, which confirms that this work of nature presented itself to him in exactly this way at this place at this time. At the same time, the date and place make it clear that the natural work of art has been transferred into the sphere of art and thus removed from the time of the place of nature. About the artist Themistocles' parents instilled a life of travel in their son, who is said to have spoken eleven languages. His father, who was interested in ancient and oriental culture, was a doctor and had married Francesca Magdalena Danelon, an Italian, daughter of the British consul in Trieste. During a stay in Athens - Gustav von Eckenbrecher was a friend of Heinrich von Schliemann and is said to have given him crucial clues as to the location of Troy - Themistokles saw the light of day in 1842. After an interlude in Berlin, where Themistokles was educated at the English-American School, the journey began again. From 1850 to 1857 the family lived in Constantinople, after which the father opened a practice in Potsdam, where Themistokles, who wanted to become a painter, was taught by the court painter Carl Gustav Wegener. In 1861 the von Eckenbrechers left Potsdam and settled in Düsseldorf. There Themistokles received two years of private tuition from Oswald Aschenbach, who greatly admired the talented young artist. After his artistic training, he undertook extensive travels, often accompanied by Prince Peter zu Sayn-Wittgenstein, which took him to northern and eastern Europe, but above all to the Middle East and even to South America. The paintings that resulted from these journeys established his artistic reputation and led to his participation in large panoramas such as the 118 x 15 metre Entry of the Mecca Caravan into Cairo, painted for the City of Hamburg in 1882. 1882 was also the start of a total of 21 study trips to Scandinavia, most of them to Norway, and the unique Norwegian landscape with its rugged fjords became a central motif in his work. Along with Anders Askevold and Adelsteen Normann...

Self-portrait. Paper, linocut, 31x21.5 cm Dzidra Ezergaile (1926-2013) Born in Riga. School years alternate with summer work in the countryside. In 1...

FEOLI, Vincenzo. Vedute del Museo Pio-Clementino. Rome, 1790. A double-page engraved plate after Miccinelli and Costa. Sheet size: 70.5cm by 99cm. Mounted size: 81cm by 101cm. Magnificent series of extra-large plates illustrating the Vatican Museum...

Uniche sensazioni Torre S.Emiliano by Amedeo Cianci [2017] original Olio su tela Image size: H:100 cm x W:150 cm Complete Size of Unframed Work: H:100 cm x W:150 cm x D:2cm Sold Unf...

Venice. 1998, oil on canvas, 45x60 cm Liena Baklane (1976) Born on March 23rd 1976, Riga, Latvia. EDUCATION: 1987 – 1994 J. Rozentāla Secondary Art Scool of Riga 1994 – 2002 Latvi...

Pedn Vounder coastal path view by Georgie Dowling [2021] original Oil paint on canvas Image size: H:40 cm x W:40 cm Complete Size of Unframed Work: H:40 cm x W:40 cm x D:2cm Sold Un...

Muted Cascade by Jo Haran [2021] original Gouache, watercolour ink and gesso. Image size: H:53.5 cm x W:38.4 cm Complete Size of Unframed Work: H:40.5 cm x W:56 cm x D:0.01cm Sold U...

PONTING, Herbert. Davis - ships carpenter - building Cape Evans hut. circa 1935. Classic Ponting photograph from Captain Scott’s Terra Nova exped...

Andrea Bates, Original Oil Painting, 46x61cm Down the sunny lanes in Oxfordshire where the sunlight catches the delicate blossoms of cow parsley after a ra...

This is a beautiful landscape painting by Alexandra Czierpka. By reducing color and form to their essentials, she invites the observer to contemplate the harmony between humans and n...

Tree Poem 23 [2021] original Oil on stretched canvas Image size: H:40 cm x W:60 cm Complete Size of Unframed Work: H:40 cm x W:60 cm x D:1.8cm Sold Unframed Please note that ins...

Chromolithograph of Ducks, laid on to contemporary card (as published). [Charles Scribner's Sons, New York, 1878]. Alexander Pope, Jr., was an American sculptor and painter. He’s kn...

Magnificent large plate illustrating the Vatican Museum at the end of the eighteenth century by Vincenzo Feoli (1750 - 1831) after Miccinelli and Costa. The Pio-Clementino museum, n...

Twentieth Century Watercolour Portrait and Equine Study showing Clowns and Circus Horses. This is highly typical of one of the important strands of Edward Seago's work - he was fascinated by the Circus and by the Travelling community. Edward Seago is a giant of 20th Century British paintings...

Magnificent large plate illustrating the Vatican Museum at the end of the eighteenth century by Vincenzo Feoli (1750 - 1831) after Miccinelli and Costa. The Pio-Clementino museum, n...

Magnificent large plate illustrating the Vatican Museum at the end of the eighteenth century by Vincenzo Feoli (1750 - 1831) after Miccinelli and Costa. The Pio-Clementino museum, n...

Six hand-coloured plates of Grapes, printed in colour and finished by hand. Framed and glazed, overall size: 42.5 by 57.5cm. Pomona Italiana Ossia Trattato Degli Alberi Fruttiferi...