Naturalistic Art

Fine quality Bronze Goat statue by the esteemed French sculptor Ary Bitter (1883-1973), depicting a mother goat tenderly accompanied by her two young kids...

Jerusalem by Ludwig Blum Oil on canvas 18 x 28.7 inches / 45.7 x 73cm Signed Painted circa 1955

Franz Bergman's Vivid Tableau: A Bedouin Journey in Cold-Painted Bronze Dive into the historical essence of Bedouin life with Franz Bergman's exquisite cold-painted bronze group, a m...

Large Naturalist oil on board still life of poppies in a jar by Eduard Bauer-Bredt. The painting is signed and dated bottom left and signed, titled and with exhibition number to the back board. Presented in a deep patinated custom frame. A magnificent, lovely bright, cheery and impactful floral still life. Bauer-Bredt has used brush and knife to create a wonderful atmospheric rendition of freshly picked poppies in a large ceramic jar. The pinks and reds of the flowers sing against the more subtle taupe hues of the jar and the green of the foliage. A really lovely composition beautifully rendered in the tradition of Edouard Manet, Fantin Lantour and Leon Dabo. The artist Eduard Bauer-Bredt began his artistic studies in Ansbach. He became a pupil of the Orientalist painter Ferdinand Max Bredt...

Othmar Ruzicka Austrian, 1877-1962 Young Woman Sewing Oil on board 19 ¾ by 23 ¾ in, w/ frame 26 by 30 in Signed and dated 1913 lower left

Janet Skea (born 1947) Still life of strawberries Signed Watercolour 10.75 x 12 inches 19 x 20 inches with frame An incredibly highly detailed still life of a bowl of sumptuous stra...

Franz Bergman Cold Painted Bronze Vienna Lamp of an Arab in a Tent Viennese bronze cold painted lamp of a man sitting cross legged inside of a tall s...

American, b. 1949 In his more than three decades as an artist, Nicholas Berger (b. 1949) has created an outstanding body of work that continues to evolve and excite viewers. Best known for his industrial, waterfront scenes of New York between 1930-1970, Berger effortlessly captures a period when the technology and landscape of the city was rapidly changing. Although he paints scenes of a bygone era, Berger draws inspiration from the waterfronts near his home in New York’s Hudson River Highlands as well as historical sources in museums. Berger holds BFA and MFA degrees from Alfred University. Earlier in his career, the artist painted representational landscapes rendered in watercolor, a medium in which he achieved great success, sharing a sellout two-person show in Tokyo with Andrew Wyeth. In the mid-2000s, Berger transitioned to his signature industrial scenes of the city, employing oil on panel in a painterly manner influenced by the Hudson River and Brandywine schools...

The gentleman… a man of calm dignity and endessly kind eyes in Old Havana in 2016. A gentleman of Old Havana. A man of calm demeanour, and the kindest of eyes. This compelling bla...

This is a 19th century colored aquatint and stipple engraving finished by hand entitled "Silver Rock Melon", drawn and engraved by George Brookshaw and published in London in 1812 as plate 67 in his 'Pomona Britannica; or, A Collection of the Most Esteemed Fruits'. It depicts a Silver Rock Melon still on the vine, but the melon lies on a heater green mat. A wedge of the melon has been dissected to reveal its inner anatomy, including the seeds. The melon skin is a heather and light green color, while the inner portions are a light peach color. The vine and leaves are shown attractive shades of light green and there are soft yellow flowers. The plant is displayed on a light brown textured background with shadows to impart 3-dimensionality. The scene is reminiscent of an engraving in an 18th century artistically stylized human anatomy atlas. There are wide white margins. The title and inscription lies within the lower border. This striking engraving is presented in a reddish brown decorative wood frame with a darker brown scroll-work outer trim and a gold-colored inner fillet and a thick heather green mat. The frame measures 25.75" high, 21.5" wide and 1.13" deep. It is glazed with UV conservation glass. There is a short thin vertical line of discoloration in the lower margin through the word "melon" and a tiny spot in the upper margin on the left. The print and frame are otherwise in excellent condition. There is a second Brookshaw engraving that is framed in identical moulding, although a slightly different size and a different color mat. t depicts a cluster of grapes. The two prints would make a striking display pairing...

This early 19th century hand-colored double fold-out botanical engraving is entitled "Pendulous-flowered Bryophyllum", plate 1409, published in London in 1809 in William Curtis’s 'The Botanical Magazine, or Flower-Garden Displayed'. Bryophyllum pinnatum, also known as the air plant...

RAFAEL ZABALETA Spanish, 1907 - 1960 PERDICES Y RECLAMO signed "RZabaleta" (lower left) oil on canvas 32 x 39-1/2 inches (81 x 100 cm.) framed: 33-1/4 x 41-1/8 inches (84.5 x 104.5 c...

This work emerges from years of practice, observation, and reflection. It does not follow the pursuit of recognition, status, or financial return. Its origin lies in a relationship w...

This work emerges from years of practice, observation, and reflection. It does not follow the pursuit of recognition, status, or financial return. Its origin lies in a relationship w...

Artist Ernest Chateignon was born in 1887. Ernest Chateignon exhibited at the Salon since 1867. Through his painting, he always marries peasant exis...

Metamorphosis Insectorum Surinamensium, Plate No. 26; Cocoa plant, caterpillar, pupa, and butterflies. The Netherlands: 1705. En...

This original painting offers a striking exploration of contrast and form, where bold botanical lines intersect against a pale, subtly textured background. Inspired by the tangled st...

'Schmarotzerpflanzen I' (Parasitic plants) German chromolithograph, circa 1910. Central vertical fold as issued. 245mm by 305mm (sheet)

Victor Gabriel Gilbert (1847-1935) "Il cortile", olio su tela, firmato in basso a destra "V. Gilbert 72". Nella sua cornice originale in legno dorato con la targa in bronzo recante l...

This is an original 19th century hand-colored folio-size McKenney and Hall lithograph of a Native American entitled "Wa-Kawn, A Winnebago Chief", after a painting by Charles Bird Kin...

The artist develops each drawing through multiple layers of ballpoint pen, gradually building depth, texture, and atmosphere. By repeatedly working over the surface with fine lines, ...

This is an exclusive handprinted limited edition cyanotype. This cyanotype shows a desert palm tree located in the majestic mediterranean city of Cairo, Egypt. Details: + Title: C...

Walter Blackman American, 1847-1928 Young Beauty Oil on canvas 20 by 16 in, w/ frame 32 by 28 in Studied under Gerome, Paris Exhibited: Society of American Painters 1878 Paris Sal...

This is an original 19th century hand-colored folio size McKenney and Hall engraving of a Native American entitled "Ahyouwaighs, Chief of the Six Nat...

This beautiful painting explores organic growth through bold, biomorphic forms that evoke coral, foliage, and underwater ecosystems. Saturated reds, blues, and pinks interweave with ...

The artist applies the underpainting in approximately five to six layers, building a rich texture of brushstrokes that adds depth and atmosphere to the work. Although this process is...

The artist develops each drawing through multiple layers of ballpoint pen, gradually building depth, texture, and atmosphere. By repeatedly working over the surface with fine lines, ...

What began as a pretext to exercise MIguel Wynograd's gaze, little by little became a meditation on different intertwined temporalities. The superposition of very ancient times with ...

This beautiful, original hand-colored orchid lithograph entitled "Lycaste Harrisoniae Eburnea" Orchids by John Nugent Fitch is plate 100 in Robert Warner's publication 'The Orchid Al...

'Eglise de L'abbaye de St Denis', tinted lithograph by Felix Benoist (1818-1896). From a series of lithographs depicting the famous buildings of Paris - 'Paris dans sa Splendeur', p...

This beautiful diptych captures the vibrant intricacy of coral reef ecosystems through layered textures and flowing organic forms. Bold strokes of pink, violet, ochre, and coral oran...

The artist develops each drawing through multiple layers of ballpoint pen, gradually building depth, texture, and atmosphere. By repeatedly working over the surface with fine lines, ...

The artist develops each drawing through multiple layers of ballpoint pen, gradually building depth, texture, and atmosphere. By repeatedly working over the surface with fine lines, ...

This is a framed hand-colored folio sized lithograph entitled "Campylopterus Hyperythrus" (Rufous-breasted Sabrewing Hummingbird), Plate 51 from John Gould's "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts three hummingbirds displaying multiple colors, including, green, blue and shades of brown highlights among burgundy and cream colored flowers. The hummingbirds are highlighted by bright iridescent metallic paint. This beautiful Gould hummingbird...

'Fisom degli abiti dell' America Nord-oe / Uomo donna dell' Isola Nootka' / 'Nipissonghi / Ottovaeri' Italian lithograph, c1841. Originally from 'Galleria universale di tutti i popo...

This is an original rare and extremely collectible first edition John James Audubon hand colored lithograph entitled "Long-billed Curlew", No. 71, Plate 355, from Audubon's "Birds of America. It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts a male and a female Long-billed Curlew standing on a grassy mound with water and the skyline of the city of Charleston...

'Baltic pine' 2021 The pine forests of the Baltic coast are shaped by conditions that are both precise and unforgiving: sandy soil, constant wind, salt carried inland from the sea, and long seasonal extremes of light and darkness. These forces slow growth and distort form. Branches extend horizontally, twist, or break, adapting to pressure rather than symmetry. This photograph was made in Giruliai forest, Lithuania, using a large-format 4×5 film camera. The process demands stillness and time, mirroring the environment itself. Each exposure is deliberate; nothing is incidental. In Baltic landscapes, pine is not decorative. It is structural, a species that persists where others cannot. Its presence defines the rhythm of the coast and the experience of space within the forest. The image isolates this tension between endurance and fragility, movement and restraint. Rendered in black and white, the work removes seasonal colour and geographic nostalgia, allowing form, density, and light to become the primary language. The resulting image is not a description of a place, but a study of adaptation, how nature holds itself under continuous pressure. Printed as a limited edition of ten, this work belongs to an ongoing body of analogue photographs exploring northern landscapes through minimal intervention and material presence. Photographed in Lithuania, Giruliai forest using a 4x5 large format camera...

This is an original hand-colored lithograph entitled "Great American White Egret", No. 74, Plate 370, by John James Audubon from his "Birds of America" publication. It was lithograph...

Under the Abyss is a minimalist unique handmade cyanotype, that combines a contemporary visual language with the uniqueness of an analogue photographic process. This unique monotype...

Firmado en la parte inferior por el artista Se presenta enmarcada la obra Medidas obra: 33 cm. de altura x 46 cm. de ancho Medidas marco: 42 cm. de altura x 56 cm. de ancho Estad...

This is an early 18th century hand-colored copperplate engraving of the anatomy of grapefruit by Johann Christoph Volkhamer, entitled "Pompelmus (Grapefruit), Der Herra Sitz und Burg...

Merian & Johnston not signed

This is an original framed 19th century hand-colored folio-sized lithograph entitled "Ramphomicron vulcani" (Southern Thorn-Bill Hummingbirds) by John Gould, Pl. 186 from his "Monograph of the Trochilidae, or Family of Hummingbirds", published in London in 1853. The print depicts two Southern Thorn-Bill hummingbirds sitting on branches of a flowering plant. This striking framed Gould hand-colored lithograph is presented in a antiqued gold frame, a gold-colored fillet, and a light tan French mat, embellished with a mint-colored broad band. The frame measures 32" high, 25.5" wide and 1.25" thick. The hand-coloring is enhanced by the use of gum-arabic paint...

Perharidy, improbable light of a stormy evening.

This is a hand-colored folio sized lithograph entitled "Saucerottia Cyanifrons", Blue-capped Saucerottia Hummingbirds by John Gould, published in his "A Monograph of the Trochilidae, or Family of Humming-birds", published in London in 1850. The print, which was drawn by Gould and Henry Richter and lithographed by Hullmandel and Walton, depicts two green, blue and a little brown colored hummingbirds about a plant with green leaves and pink flowers. This beautiful Gould hand-colored hummingbird lithograph has a few very small faint spots, but it is otherwise in excellent condition. The original text page is included. There are other unframed Gould hummingbird...

Louis-Emile Adan French, 1839-1937 A Lady in a Garden Oil on board 9 ⅝ by 13 in, w/ frame 14 ⅞ by 18 ⅛ in Signed lower left French painter Louis-Emile Adan was born in Paris. Little is known of his earliest introduction to the visual arts, but he was admitted to the École des Beaux-Arts, where he initially studied with François-Edouard Picot (1786 – 1866), a successful painter who had himself been part of Jacques-Louis David’s studio, and who was one of the most popular professors at the École. Adan’s work during the 1860s embraced the mainstream tradition of neo-classicism espoused by J.A.D. Ingres (1780-1867). Simultaneously, Adan seems to have taken an interest in painting elegant young women. These images had considerable popular appeal, especially when they featured fashionable clothing in the latest styles. The decade of the 1880s was very busy, both with annual painting submissions to the Salon and with an expanding role as a book illustrator. Toward the end of the decade, Adan’s painting changed significantly. His earlier curiosity about Realist themes took on a new urgency as the artist explored the rigors of rural life. By the middle of the 1880s, Adan was actively engaged in the naturalist movement. Adan’s submissions for the 1889 Exposition Universelle in Paris showcased his naturalist aesthetic. His reputation as a distinguished painter was further recognized in 1892 when he became a Chevalier of the Legion of Honor, and again in 1900 when he was asked to sit on the jury of both the Salon and the Salon des Artistes Français. Museums: Macon, Agen, Pau, Alençon, Lyon, Mulhouse, Rouen, Nice, Péronne, Nantes, Pfister Art...

This is a hand-colored engraving of a black guillemot bird entitled "Le Guillemot" by Francois Nicolas Martinet, plate 903 from 'Histoire Naturelle des Oiseaux' in association with G...

The artist applies the underpainting in approximately five to six layers, building a rich texture of brushstrokes that adds depth and atmosphere to the work. Although this process is...

The artist looks for a path between tangled branches. Reconfiguring a personal archive of diverse Colombian landscapes, experimenting with a variety of printing materials to reconstr...

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored royal octavo lithograph entitled "Red-throated Diver", No. 96, Plate 478, from...

ARTIST - Italian, anonymous // PERIOD - Mid-19th century // ORIGIN - Italy // MEDIUM - Hand-carved shell cameo with gilt metal mount // STYLE - Italian Renaissance Revival // SUBJECT...

This striking hand-colored botanical mezzotint and line engraving is entitled Malus domestica, Pomier, Apfelbaunt (Apple)". It is plate 704 in Johann Weinmann's monumental publicatio...

The artist applies the underpainting in approximately five to six layers, building a rich texture of brushstrokes that adds depth and atmosphere to the work. Although this process is...

'Eriopsis Helenae', native orchid of Peru. Antique botanical lithograph with original hand-colouring , 1912, lithographed by John Nugent...

Primo Tempo 3 is a 30cm x 30cm digital print on 50cm x 50cm cotton paper in a limited edition of 9 + 2 Artist Proofs. A bucolic scene, almost reminiscent of Baroque or Renaissance ...

Swollen river, black water is a landscape painting by contemporary Scottish artist Jonathan Shearer. Often inspired by the more impetuous side of nature, in this artwork Jonathan She...

This is an original John James Audubon hand-colored lithograph entitled "Buff-breasted Merganser Goosander, 1. Male 2. Female", No. 83, Plate 411 from Audubon's "Birds of America, li...

Firmado por el artista en la parte inferior y fechado del año 1988 Se presenta enmarcada la obra (presenta una leve falta en una esquina) Medidas obra: 30 cm. de altura x 43 cm. de...

"First Flight of The Airship Super Dry" Gelatin Silver Print Image: 15.0×22.4 cm Sheet: 20.2×25.1 cm Photographed in 1987 at a shipbuilding company in Mülheim, Germany; Printed in 1...

"Coastal Ti Tree" Drypoint Etching in Ink on Paper No. 30/100 Detailed etching attributed to Ernest Edwin Abbot (British, 1888-1973). Several trees grow along the coast at the edge of the water at Ti Tree, Australia. In the far distance, a mountain range can be seen on the opposite shore. Titled and numbered "Coastal Ti Tree 30-100" in the left corner. Signed "G. Cope" in the right corner. Presented in a new black mat with foamcore backing. Mat size: 11"H x 14"W Paper size: 5.5"H x 10.25"W According to The Centre for Australian Art: Prints + Printmaking, Abbot often produced work under the pseudonym "G. Cope" Ernest Edwin Abbott was born in 1889 and grew up in Bideford United Kingdom, With his younger siblings Violet, Reginald, Olive and his parents Charles and Sarah Abbott, His Farther worked as a upholsterer. Abbott decided in 1911 to migrate to Western Australia on the ship Tainui, Settled in Western Australia he then married his wife Florence Radcliffe Olde in 1913 whom also came to Australia in 1912 from Bideford. They had two sons, Reginald Douglas Abbott and Kenneth John Abbott. They moved to South Australia where he taught art at Stott’s for four years. Later in 1920 the family moved to the suburb of Kew in Melbourne Victoria, where he took a studio in Oxford Chambers at 475 Bourke Street. He also built a studio later at his home in Black Rock. In about 1920 or 1930 he took up dry-point etching, and gave up his city studio to concentrate on printmaking at his home. Abbott made his own engraving tools...