Naturalistic Art

This is an original John James Audubon hand-colored lithograph entitled "Golden Eagle", No. 3, Plate 12 from Audubon's "Birds of America, lithographed, printed and colored by JT Bowe...

Fish and seahorse, engraving with original hand-colouring, circa 1815. From Bilderbuch Zum Nutzen und Vergnugen Der Jugend by Friedrich Justin Bertuch (1747-1822), an encyclopaedic ...

This artwork is composed of four individual panels that together create one continuous composition. Overall dimensions: 170 × 200 cm. At Escat Gallery we are committed to maintainin...

Metamorphosis Insectorum Surinamensium, Plate No. 39; Unidentified tree with moth, caterpillar and pupa. The Netherlands: 1705....

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Wa-Kawn, A Winnebago Chief, No. 83 (The Snake)", published by Rice, Rutter &...

'Calceolaria' Process print from Frederick William Hulme’s ‘Familiar Wild Flowers’, circa 1890. Hulme was known as a teacher and an amateur b...

British painter (late 19th century) - Highland Cattle by a Lake. 102 x 77 cm (without frame) - 108 x 82 cm (with frame). Oil on canvas, in a gilded wood frame (not signed). The co...

An 18th century color printed in addition to hand colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) depicting the following flowering amaranthus p...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These triptychs are large pieces that feature lush blues, making them an impressive addition to any beautifully designed space. Each triptych is printed by hand and carefully crafted to capture the unique essence of these natural environments, with a focus on the interplay of light and shadows, and the subtle nuances of tone and texture. The beach and ocean scenes depict the dynamic beauty of waves crashing against the shore, with the cyanotype process lending a dreamy, ethereal quality to the images. Similarly, the forest and wood scenes offer a glimpse into the hidden depths of nature, with the cyanotype process lending a sense of mystery and wonder to the images, while the lush blues of cyanotypes imitate the sky and clouds perfectly. These triptychs are perfect for anyone who loves to surround themselves with the beauty of nature, and they make an excellent centerpiece for any beautifully designed space. Details: + Title: Desert Palm Trio + Year: 2024 + Edition Size: 20 + Stamped and Certificate of Authenticity provided + Measurements : 100x210 cm (40 x 84 in.) Each paper measures 70x100 cm (28x 40 in.) each, a standard frame size + All cyanotype prints are made on high-quality Italian watercolor paper WHAT IS A CYANOTYPE? The cyanotype (a.k.a. sun-print) process is one of the oldest in the history of photography, dating back to the 1840's. Cyanotypes were then made famous by Anna Atkins, considered the first female photographer. Inspired by nature, we feel the need to look back at a craft that is handmade, analogue, and using an all-natural light source: the sun. Our cyanotypes are made by coating high-quality Italian watercolor paper with a light-sensitive emulsion. We then expose it in direct sunlight for several minutes using a photo negative...

Landscape with birch trees and lake Hörken, pencil and graphite drawing, signed "Ruben Jansson" (1902–1987). Inscribed lower left "Parti från Hörken" (Detail from Hörken) This detail...

Coral Forest Triptych is a beautiful original triptych that explores the energy of organic forms through repeated lines and gestures. Branch-like shapes weave across the paper in shi...

This is a hand-colored engraving of a parrot bird entitled "La Perruche-Ara, de Cayenne (Parrot)" by Francois Nicolas Martinet, plate 864 from 'Histoire Naturelle des Oiseaux' in ass...

Firmado por el artista en la parte inferior El estado de la obra es bueno Se presenta sin enmarcar la pintura Medidas obra: 131 cm altura x 97 cm ancho ::::::::::::::::::::::::::...

This is an original rare and extremely collectible 1st royal octavo edition John James Audubon hand-colored lithograph entitled "American Swan", No. 77, Plate 384, 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 an adult white American Swan swimming in a body of water. Plants with yellow flowers are in the foreground and hills are in the background. This original rare first edition hand-colored Audubon bird lithograph has a mildly wavy lower edge of the paper where it was previously bound. It is otherwise in excellent condition. The sheet measures 6.63" x 10.13". The original text pages 226-234 are included. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

Vesuvius, engraving with original hand-colouring, 1815. From Bilderbuch Zum Nutzen und Vergnugen Der Jugend by Friedrich Justin Bertuch (1747-1822), an encyclopaedic collection of I...

Poppy No.9 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 40 x 32 cm and is part of an exclusive series of 20 prints, each hand-s...

This late 19th-century oil painting by Danish artist Harald Foss (1843-1922) depicts the gentle surroundings of Ørslev Monastery in Jutland, where fresh Spring leaves begin to unfurl...

Alfred de Breanski Sr is one of the finest plein art artists of the Scottish Highlands. Renowned for capturing the fleeting light of sunset and sunrise, de Breanski masters layers an...

Italian painter (19th century) - Still Life with Vase of Flowers. 83 x 62 cm (without frame) / 96.5 x 76.5 cm (with frame). Oil on panel, in wooden frame (not signed). Floral comp...

A superb coastal landscape by C. Follini, signed, depicting fishermen and fisherwomen gathered along a windswept shoreline at low tide. Executed in oil on canvas and signed in the lower right corner, the painting is a remarkable example of late nineteenth- or early twentieth-century European marine painting, distinguished by its atmospheric light and expansive sense of space. The composition unfolds across a broad sandy beach where small groups of figures are engaged in the daily activities of a fishing community. Several boats rest on the shore while waves break gently along the coastline. Above, an immense sky filled with dramatic clouds dominates the scene, becoming the true protagonist of the composition. Through subtle tonal transitions and luminous passages of light, the artist masterfully captures the ever-changing atmosphere of the sea. Particularly striking is the treatment of the sky, which occupies a substantial portion of the canvas and lends the work a profound sense of openness and grandeur. Soft grays, silvery blues, warm creams, and muted ochres are orchestrated with remarkable sensitivity, creating a rich atmospheric effect reminiscent of the great traditions of Dutch, Belgian, and French marine painting. Rather than focusing on anecdotal detail, Follini emphasizes mood, weather, and the relationship between human activity and the natural environment. The small scale of the figures compared to the vast beach and sky reinforces the poetic dimension of the work, evoking both the beauty and the power of the coastal landscape. The artist's confident handling of paint is evident throughout the composition. Broad brushstrokes and subtle impasto passages animate the clouds, sea, and sand, while preserving a remarkable sense of unity. The restrained palette contributes to the painting's elegance and timeless appeal, making it both an important marine subject and a highly decorative work. Combining genre painting, maritime life, and atmospheric landscape, this composition embodies the enduring appeal of European coastal art. It would make a distinguished addition to a collection of marine paintings, maritime subjects, or nineteenth- and early twentieth-century European landscapes. A poetic and beautifully executed seascape celebrating the rhythms of coastal life beneath a magnificent sky. C. Follini, Marine Painting, Fishermen on Beach, Coastal Landscape, Oil on Canvas, Fishing Boats, Fisherfolk, Seascape Painting, Maritime Art, Beach Scene, European Marine Art, Atmospheric Landscape, Coastal Life, Ocean Painting, Marine Antique...

'Ancienne Race de Wiltshire (The Old Wiltshire Breed)' Lithograph with original hand-colouring by Hermann Eichens (1813-1886) from a drawing by W. Nicholson after a painting by Wil...

Signed and titled in pencil. Inscribed "192/285." Edition 285.

Pair of large watercolors on paper one a Nutmeg shell and one Murex shell executed in a dramatic realistic style, signed by the artist Bonnie Smith and presented under glass in gilt ...

'Wild Mustard (Brassica sinapistrum. Boiss.)' Colour lithograph, 1909.

Contemporary realistic Colorado landscape nature painting by Houston based artist Jerry Greenberg. The work features sunlight streaming onto a rock path lined with aspen trees. Signed in the front lower right corner as well as titled on the reverse. Currently hung in a gold frame. Dimensions Without Frame: H 24 in. x W 24 in. Artist Biography: I have a deep appreciation for nature. In my work I seek to convey the landscape as I experience it emotionally as well as visually. I travel frequently throughout the United States and Europe in search of new landscapes. Some of my favorite subjects include rivers and creeks in the Texas hill country; aspen trees in the Rocky Mountains; ponds in New England; and lush rolling hills in the English countryside. My influences include French and Russian Impressionists and early California landscape...

This is an original antique colored botanical mezzotint and line engraving of flowering Gas Plants or Burning Bush and Fraxinella, which is finished with hand-coloring. It is entitle...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "A. Lathyrus Major Peremis Richern B. Lathyrus Narbonensis Flore Albescen...

Josechu Lalanda (1939-2015) Solitaire, sanglier Bronze à patine brune H. : 15 cm ; L. : 24 cm ; P. : 12 cm Daté « 1986 », signé « J. Lalanda » et numéroté « 186 / 250 » Fonte d’édi...

Arcadian landscape inspired tapestry. Belgian made, jacquard woven with relief stitch. Fully lined with rod pocket for hanging. Cotton and rayon. Measurements are approximate.

Nicholas Trofimuk is a fine art photographer and Master Printer whose work spans black-and-white landscapes, archival pigment color prints, and his signature "Vibographs." Raised in ...

'Torch Lily' Process print from Frederick William Hulme’s ‘Familiar Wild Flowers’, circa 1890. Hulme was known as a teacher and an amateur botanist. He was the Professor of Freehan...

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...

View across Lake Garda towards Monte Baldo, Italy. Signed H. Lund lower left, oil on canvas, circa 1900. The painting depicts a tranquil and atmospheric view across Lake Garda, with ...

'Yucca filamentosa' (Adam's Needle) Original copper-line engraving with original hand-colouring. From 'Herbier general de l'amateur' by Jean Louis Auguste Loiseleur-Deslongchamps &...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Digitalis rubra floribus albis maculatis. Digitalis angustifolia flore fe...

Imao Keinen, 'Tree Peony and Blue and White Flycatcher' from the series 'Birds and Flowers of the Four Seasons', color woodblock Oban dipty...

'Antirrhinum Orontium' Mezzotint printed in colours. Circa 1740. From Johann W Weinmann's Phytanthoza Iconographia, published in Regensburg 1737-45. The first botanical series to u...

This is an original John James Audubon hand-colored lithograph entitled "Migratory Squirrel, No. 7, Plate XXXV", from John James Audubon's Quadrupeds of North America, published in P...

"After the Storm" is the title of this oil painting on canvas by the Swedish artist Hjalmar Berghcrantz (1889–1961). Signed and dated 1917. The artwork depicts a rugged landscape whe...

'Coupled Poppies’ and Poppy No.3 two prints Each print 8x10" from limitd edition of 30. Photographed in London, United Kingdom 2023. It is a still life black and white film photog...

Metamorphosis Insectorum Surinamensium, Plate No. 6; Thistle and Moths. The Netherlands: 1705. Engraving with hand coloring in w...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

Romina Milano’s original triptych breathes with the untamed beauty of wild carnations. Petals unfurl in blush, crimson, lilac, and gold, outlined in fluid cobalt strokes that heighte...

'Sunflower' Process print from Frederick William Hulme’s ‘Familiar Wild Flowers’, circa 1890. Hulme was known as a teacher and an amateur botanist. He was the Professor of Freehand...

Mori Sōsen, 'Deer Beneath Falling Maple Leaves', color woodblock print after the artist's watercolor, 1899. Signed Sosen in black ink with the artist's seal in red, lower right. A su...

This is an original John James Audubon hand-colored lithograph entitled "Long Haired Squirrel, No. 6, Plate XXVII", from John James Audubon's Quadrupeds of North America, published i...

Nordic winter landscape with low growing pines and spruces rising from softly undulating snow covered ground and rocks. In the distance, dark forests and snow clad mountains emerge along the horizon beneath a pale blue sky. Executed with expressive brushwork and a restrained yet luminous palette, the painting captures the stillness and clarity of the Scandinavian winter. Oil on canvas mounted on board, signed John Öhwall. John Öhwall (1883–1957) was a Swedish painter best known for his realistic and atmospheric depictions of the Nordic landscape, particularly scenes from Bohuslän and Skåne. His art is characterized by vigorous brushwork, restrained yet expressive coloration, and a strong sensitivity to seasonal light and the quiet monumentality of the Scandinavian countryside. Öhwall was born in Skåne, and initially trained as a decorative painter before turning to fine art. In 1903 he began his artistic studies under the influential Swedish painter Carl Wilhelmson in Gothenburg, whose teaching had a lasting impact on his artistic development. Between 1908 and 1914, Öhwall undertook extensive walking journeys through Germany, Austria, Switzerland, France, and Italy while pursuing independent artistic studies. During this period he also studied for an extended time at the Academy of Fine Arts in Dresden and at Chrakovsky’s painting school in Rome. During the war years, from 1914 to 1917, he periodically continued his studies at Wilhelmson’s painting school in Stockholm. In the early 1920s he permanently settled on the Swedish west coast, a region that would provide inspiration for many of his most important landscape paintings. Öhwall made his debut as an exhibitor at Gummesons Konsthall during the 1910s, followed by solo exhibitions in Gothenburg, Oslo, and Norrköping. Together with Tor Otto Fredlin...

Fine painting of iconic Iona Island coast by celebrated Scottish artist Duncan Cameron (1837-1916). Renowned for his landscape paintings, this work captures the natural light on the sea, sand and rocks with splashes of rich color under a big sky. Iona off the west coast of Scotland, has attracted artists for for its dramatic scenery and northern light, including the Scottish Colourists who favored the fresh pure light. The cliffs and coastal rocks are reminiscent of works by Samuel Peploe, John MacLauchlan Milne, Francis Cadell, and Duncan Fergusson of this fabled island. In 1876 Cameron won a Gold Medal for landscape painting, at the Crystal Palace exhibition. The year after this painting (circa 1870s) Cameron began exhibiting in the Royal Academy, Society of British Artists, and Royal Scottish Academy, showing his work consistently from 1880. Other venues for exhibiting his work include the Glasgow Institute, Walker Art Gallery in Liverpool, Manchester City Art Gallery, and the Royal Hibernian Academy. His work is sold today in Fine Art Galleries in the UK and in Saltire Gallerie, USA. His landscape paintings are widely acclaimed, and this landscape painting of considerable size and detail is a fine example. Born in Perthshire, Cameron studied in Dundee and in South Kensington, London. He later died in Edinburgh. The highest auction sale of his work reached nearly 20,000 GBP. He was widely acclaimed as a landscape artist, painting Scottish farmlands and haystacks, coastal scenes and lochs. In this work the colors of the sea change from blue to green with white crests of waves. The rocks have splashes of red, rust and orange, and the beach has red and green in the sand. Water laps at the edge of beach and rock. A sailboat is a focal point, with distant sailboats on the water, and a rowboat by the central sailboat. A hill rises behind the beach painted...

Gibbon Falls, Yellow-Stone National Park  is a chromolithograph from c.1880 showing two fisherman at the base of Gibbon Falls.  This chromolithograph is a dramatic view of the powerful Gibbon waterfall that cascades 84 feet into a small, clear pool. The setting is quintessential Yellowstone, with scrubby pine trees and rocky cliffs. The inscription on the bottom left corner below the image says Scenery From Nature on the Northern Pacific R.R.   Established by the U.S. Congress and signed into law by President Ulysses S. Grant on March 1, 1872  Yellowstone was the first national park in the U.S. and is widely held to be the first national park in the world. Native Americans have lived in the Yellowstone  region for at least 11,000 years. The Northern Pacific Railroad...

Watercolor painting of a street scene with two females and a man that appears to be a beggar. The work is signed by the artist. It is framed in a black frame with a yellow matte. Dim...

Copper-line engraving by Binet after Charles Monnet (1732-1808). Agenor tells Cadmus to go and look for his sister Europae. From 'Les Metamorphoses d'...

'Algen I' (Seaweeds) German chromolithograph, circa 1895. Central vertical fold as issued. 240mm by 305mm (sheet)

British painter (late 19th century) — Landscape with Highland Cattle by a Lake. 51 x 76 cm. Oil on canvas, unframed. Signed lower left: indistinct signature. The painting depict...

American Crow by J.J. Audubon from his Birds of America folio shows an adult male crow in a Black Walnut bush with a nest of a Ruby-Throated Hummingbird in a branch below the crow. This original chromolithograph plate no. 226 is in good condition with a repairable water mark in the image on the left side as can be seen in the photos. The ” Birds of America” by John James...

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 striking hand-colored botanical mezzotint and line engraving is entitled "Gnaphalium, Gossypium (Cotton Plant)". It is plate 551 in Johann Weinmann's monumental publication "Phy...

Original large format Qantas Japan Australia's Overseas Airline vintage travel poster. This antique poster is archival linen backed and in very fine condition. This image was al...

This is an original rare and collectible first edition John James Audubon hand colored royal octavo lithograph entitled "Black-throated Diver", No. 96, Plate 477, from Audubon's "Bir...

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...

This hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741) is entitled "Caryophyllus Anglicus flore". It is plate 326 in Weinmann's monumental pu...