Naturalistic Art

The work can be dated to 2005, when Luciano Zanoni (Ivan's father) was at the height of strength and skill. Characteristics allowed him to bring to life an object that is unique in i...

This digital print on handmade paper comes in a natural wood archival framing presentation I have called the body of work that I have done over the past decade “Imaging Biodiversity...

This image is from the series "Kroma". Pascal Goet looks for flowers, butterflies and other insect of items from the microworlds to attract our attention to the beauty of nature. P...

John Gould (British, 1804-1881) Nasiterna Pygmae c. 1849-1861 Hand Colored Lithograph Image Size: approx 19.5 x 13.5 inches Framed Size: 27 3/8 x 21 1/2 inches John Gould was an English ornithologist and bird artist. The Gould League in Australia was named after him. His identification of the birds now nicknamed "Darwin's finches" played a role in the inception of Darwin's theory of evolution by natural selection. Gould's work is referenced in Charles Darwin's book, On the Origin of Species. Gould was born in Lyme Regis, Dorset, the son of a gardener, and the boy probably had a scanty education. Shortly afterwards his father obtained a position on an estate near Guildford, Surrey, and then in 1818 became foreman in the Royal Gardens of Windsor. He was for some time under the care of J T Aiton, of the Royal Gardens of Windsor. The young Gould started training as a gardener, being employed under his father at Windsor from 1818 to 1824, and he was subsequently a gardener at Ripley Castle in Yorkshire. He became an expert in the art of taxidermy, and in 1824 he set himself up in business in London as a taxidermist, and his skill led to him becoming the first Curator and Preserver at the museum of the Zoological Society of London in 1827. Gould's position brought him into contact with the country's leading naturalists, and also meant that he was often the first to see new collections of birds given to the Society. In 1830 a collection of birds arrived from the Himalayas, many not previously described. Gould published these birds in A Century of Birds from the Himalaya Mountains (1830-1832). The text was by Nicholas Aylward Vigors, and the illustrations were lithographed by Gould's wife Elizabeth, daughter of Nicholas Coxen of Kent. This work was followed by four more in the next seven years including Birds of Europe in five volumes - completed in 1837, with the text written by Gould himself, edited by his clerk Edwin Prince. Some of the illustrations were made by Edward Lear as part of his Illustrations of the Family of Psittacidae in 1832. Lear however was in financial difficulty, and he sold the entire set of lithographs to Gould. The books were published in a very large size, imperial folio, with magnificent coloured plates. Eventually 41 of these volumes were published with about 3000 plates. They appeared in parts at £3 3s. a number, subscribed for in advance, and in spite of the heavy expense of preparing the plates, Gould succeeded in making his ventures pay and in realizing a fortune. In 1838 he and his wife moved to Australia to work on the Birds of Australia and shortly after his return to England, his wife died in 1841. When Charles Darwin presented his mammal and bird specimens collected during the second voyage of HMS Beagle to the Geological Society of London at their meeting on 4 January 1837, the bird specimens were given to Gould for identification. He set aside his paying work and at the next meeting on 10 January reported that birds from the Galápagos Islands, which Darwin had thought were blackbirds, "gross-bills" and finches were in fact "a series of ground Finches which are so peculiar" as to form "an entirely new group, containing 12 species." This story made the newspapers. In March, Darwin met Gould again, learning that his Galápagos "wren" was another species of finch and the mockingbirds he had labeled by island were separate species rather than just varieties, with relatives on the South American mainland. Subsequently Gould advised that the smaller southern Rhea specimen that had been rescued from a Christmas dinner...

George Lawrence Bulleid (1858-1933) A young beauty pencil and watercolour 3 ⅛ x 2 ⅜ in. (7.9 x 6 cm.) frame 9 ⅜ x 8 ¼ in. (23.9 x 20.9 cm.)

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...

" Balanced" This unique sculpture was created by David Marshall and Jennifer Baker from sand cast aluminium and cast glass. Mounted on sandstone base. Certified authentic by both art...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Baccharis (Baccharises); Chrysocoma (Golden Bitter Bush)" (Syngenesie; Polygamie, Plate 698) Portfolio: His...

This black and white photograph by Peter Beard, measures 40"x60" unframed, it measures 48" 3/4 x 76" framed. It is printed on platinum paper by W.Ingram signed in pencil by the artist, Peter Beard. This is an A/P from an edition of 15 Exhibited Nassau Co Museum of Art 2016 -2017 Illustrated in Peter Beards Book...

Naturalistic figure of a women with long hair and a long dress. The stone is a darker blue toned with natural veins and speckling. The figure is signed on the bottom of the dress.

Black and white naturalistic interior scene pencil drawing by artist Douglas Schneider. The work features a young woman laying on an intricate bedspread in a highly decorated room. S...

Photography of a landscape with trees. The work is in a deep tone. It is signed in pencil by the artist. The photograph is framed in a black frame with a white matte. Artist Biograp...

Collection of girl portrait studies that are signed and dated by the artist. The papers are not framed. The dimensions are of the larger work, the small...

Angkor Wat is a temple complex in Cambodia and is the largest religious monument in the world. Originally constructed as a Hindu temple dedicated to the god...

Copperplate engraving hand colored map of Northern America. The figures of the mythical figure along the right side and the animals were added in later after the original printing. T...

Serene beach house scene from Galveston, Texas painted by Martin. Intricate detail framed in a vintage frame that is in great condition. Signature in...

Naturalistic portrait of a french woman with a styled hair cut. The work is signed and dated by the artist. The paper is not framed. Many others are available. Please inquire to buy the entire collection. Artist Biography: Emile Lejeune...

Purple tonal naturalistic watercolor landscape by Texas artist Harry Worthman. This watercolor is an early watercolor made by the artist. It is signed, titled, and dated by the artis...

Original watercolor landscape painting of Niagra falls in the winter and in the spring. The pair of paintings are signed by the artist in the bottom corne...

Watercolor study of ducks who appear to be in a watery location. The work is signed by the artist in the bottom right corner. It is framed in a light wooden frame. Artist Biography:...

This image is from the series "Kroma". Pascal Goet looks for flowers, butterflies and other insect of items from the microworlds to attract our attention to the beauty of nature. P...

Lake Pleasant "Lake Pleasant, New York is a hamlet in the town of Lake Pleasant in Hamilton County, New York, United States. This community is the county seat and includes the Hamilt...

Seated nude woman that is looking down. The work is signed and dated by the artist. The paper is not framed. Many others are available. Please inqui...

Artist: Georges-Louis Leclerc, Comte de Buffon (French, 1707-1788) Title: "Ballota (Horehound); Marrubium (White Horehound)" (Didynamie, Gymospermie, Plate 508) Portfolio: Histoire N...

Figurative seated nude study of a woman draping fabric around herself. The work is signed by Thierry Andre thought to be a French who was influenced by Edgar Degas. The paper is not ...

Dancing nude figurative study of a french woman. The work is signed by Thierry Andre thought to be a French who was influenced by Edgar Degas. The paper i...

Hans Richard von Volkmann (1860 Halle (Saale) - 1927 ibid.), Clay jug on a bench. Pencil and Watercolour on paper. 20 x 26,7 cm (visible size), 37 x 45 cm (frame), dated and monogrammed lower left "Februar 1890 - HR. V. V." - Minimally tanned. Framed behind glass in a passepartout. About the artwork Using the technique of his early youth - pencil and watercolour - Hans Richard von Volkmann depicts a still life. However, this is not a conventional indoor still life, but an open-air depiction, painted outdoors and not in the studio. It is therefore an open-air painting, characteristic of von Volkmann's oeuvre, which could have been painted in the Willingshausen colony of painters, where open-air painting was programmatically practised there and the artist stayed there that year. And indeed, this painting is a manifesto of open-air painting. Von Volkmann demonstrates that leaving the studio for the light of nature leads to an entirely new quality of art. To prove this, he uses the genre of still life, which can be described as the studio subject par excellence. Moreover, light plays an essential role in the classical still life. It is the real protagonist of the still life. And it is precisely this moment, essential to the still life, that von Volkmann exploits to demonstrate the potential of plein-air painting: He presents the objects as they appear in the sunlight. The date of February and the bare branches in the foreground make it clear that this is a clear winter day in bright sunlight. The delicate plant in the foreground casts a clearly defined shadow, as does the jug. However, the shadow is most pronounced on the jug itself: The underside of the handle appears almost black, making the top, and therefore the jug itself, shine all the more brightly. The shining of the objects in the sunlight is also visible on the bench. As complementary phenomena to the shadow zones, light edges can be seen on the boards of the seats and the upper foot of the bench shines entirely in the light. To achieve this intensity of light, von Volkmann activated the bright white of the painting ground. By depicting the objects in glistening sunlight, von Volkmann demonstrates that this quality of light is only to be found outdoors. And this light leads to a new way of looking at the objects themselves. The jug on the bench seems like an accidental arrangement, as if the artist had stumbled upon this unintentional still life and captured it with fascination. And in this fascination there is a moment of realisation that refers to the objects themselves. It is only when they shine brightly in the sunlight that their true nature is revealed. In this way, sunlight allows the objects to come into their own, so to speak. Sunlight, which is not present in the studio, gives the still life an entirely new dimension of reality, which is also reflected in the colours interwoven by the sunlight: The bench and the jug stand in a harmonious grey-pink contrast to the green of the implied meadow. The emphasis on the jug as the central subject of the picture also implies that the watercolour has not been completed. This non finito inscribes a processuality into the picture, making it clear that something processual has been depicted, the temporality of which has been made artistically permanent. This is why von Volkmann signed the painting and dated it to the month. About the Artist Von Volkmann made his first artistic attempts at the age of 14. He painted many watercolours of his home town of Halle. This laid the foundation for his later outdoor painting. In 1880 his autodidactic beginnings were professionalised with his admission to the Düsseldorf Art Academy. There he studied under Hugo Crola, Heinrich Lauenstein, Johann Peter Theodor Janssen and Eduard von Gebhardt until 1888. Von Volkmann then moved to the Karlsruhe Academy, where he was Gustav Schönleber's master pupil until 1892. In 1883 he came for the first time to Willingshausen, Germany's oldest painters' colony, at the suggestion of his student friend Adolf Lins...

Naturalistic style landscape of a small town in a valley. The work is signed by the artsit in the bottom corner. The work is framed in a tan frame with a white matte. Dimensions with...

Elevation 42 x 70" Ed. of 10, framed A resolutely minimalist and suggestive approach to get to the essential. Not trying to show a subject for what it is, but for what it expresses. This is my way of telling stories, of translating my sensibility”. J-M. Lenoir A passion for nature from an early age led Lenoir to photography as a means to capture magical moments of nature and wildlife. Starting with wildlife and wide spaces, he developed his own vision of photography. Landscape photography is an eternal quest for atmosphere where the light and the quest of beauty are key references, his aesthetic landmark. His photographic intention relies on his magnetic attraction for wide spaces combined with his quest of beautiful lights. A way that inspires him and his instinct of freedom. In photography, he is looking for simple pictures, which go straight to the subject core, with very few things in the frame. Lenoir follows a suggestive approach: he does not try to show a subject as it is, but to share what it expresses. It is his way of telling stories and conveying his sensibility, like his recent work “Evanescence”. Combining his passion for pictures with rugged landscapes, he organizes and guides photo tours with Photographes du Monde agency for seven years. From north of Europe (Scotland, Norway, Finland) to South america (Chile and Bolivia),his photographic world leads him into areas of wilderness from where he draws his main source of inspiration. Lenoir is an ambassador for Fujifilm cameras and Cokin filters. Keywords: Photography, ocean, blue, elements, landscape, nature, sea...

Study of a woman reclining with her arm behind her head like the famous painting by Renaissance artist Titian's Venus of Urbino. She has on a loose dre...

Figurative study of a woman in her undergarments and elderly men's profile. The work is stamped by the artist. The paper is not framed. Many others are available. Please inquire to buy the entire collection. Artist Biography: Emile Lejeune...

Black and white photograph by Houston, Texas photographer, Nash Baker, of the Chapel of St. Basil's cross window and crucifixion procession sculpture. Titled, signed, and dated by ar...

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

Jim Rodgers 16" x 20" Oil on Board

Michael Mardikes Overall with Paintings (Thomas Hart Benton Plate #24) Year: 1956, 2021 Pigment Ink on Archival Paper Photograph Size: 8.5x12 in Paper Size: 14x11 in Edition: 1 Monog...

" Deep Breath " This unique sculpture was created by David Marshall and Jennifer Baker from sand cast aluminium and cast glass. Mounted on sandstone base. Certified authentic by bot...

‘Corvids Watching’ 2020 Image 49.5 x 44.5 cm woodcut (available from edition of 40. 35 prints Artist’s statement My preferred method of making images is through relief printmaking. I like exploring this expressive language in a dialogue between positive and negative, representation and abstraction, control and accident. I use lino...

The Procession is an oil painting depicting the act of veneration of the forces of nature. The painting depicts three women walking through the mist in a paradisiacal forest. The sce...

Untitled naturalist portrait of a musician with a guitar. The work is signed by the artist in the bottom corner and the work is not currently framed. Art...

Untitled naturalistic portrait of BBK. The work is signed by the artist in the bottom corner and the work is not currently framed. Artist Biography: Eyes are a recurring motif in the work of American artist Stanley Clark...

The Holy Man or High Priest is called Ida Pedanda and belongs to the Brahmana High Caste in Balinese society. They preach, teach, and perform ceremonies. The Pedanda dresses all in w...

Burma is one of the most devout Buddhist countries in the world. Every Buddhist Burmese boy between the age of 7 and 13 is expected to enter the monastery as a novice monk for a peri...

A French landscape of a town study. The work is stamped by the artist. Many others are available. Please inquire to buy the entire collection. Artist Biography: Emile Lejeune...

Landscape study of a French town on a mountain top. The work is signed and stamped by the artist. The paper is not framed. Many others are available. Please inquire to buy the entir...

Nude woman study sitting on the end of a bed. She is looking out at the viewer. The work is signed and dated by the artist. The paper is not framed. Ma...

Study of a cow strapped into a cow holder with one of its hine leg lifted. The work is stamped by the artist. The work is not framed. Artist Biography: Emile Lejeune...

Idyllic pastoral landscape painted in bright pastel toned colors. Signed by H. Mentzel in the bottom left corner.

Black and white photograph of a machine used in the early to the late 20th century to assist people who suffered from diseases like polio and certain poisons. The photograph is frame...

MACHO B is the name given to a wild jaguar living in the Northern Jaguar Preserve in Sonora Mexico. I created this piece for the Premium Outlets power center in Marana, AZ to show v...

This early 19th-century aquatint was engraved and colored by Mr. John Clarke after drawings by George Perry. The publication, CONCHOLOGY, OR, THE NATURAL HISTORY OF SHELLS… , was pub...

Artist Commentary: All of my ceramic sculptures are well crafted, hand-built and one of a kind. Keywords: Abstract Artist Biography: Judith grew up 15 miles north of Milwaukee in ...

Franz Xaver Graessel (1861 Oberasbach/Baden - 1948 Emmering). In the forest of Durlach. 1881. Pencil drawing, heightened with white, on grey-green paper. 33 x 41.7 cm. Signed, dated and inscribed by the artist himself: 'Franz Graessel. Durlach, 12 April 1881". About the artwork The drawing depicts a view of the woods which, as if sharpening the visual focus, remains diffuse at the edges and does not allow the viewer to locate himself in the picture. As a result, the landscape appears to be an apparition, but at the same time it is given real substance by the solidity of the massive arched bridge made of quarry stone. As the main motif of the painting, the bridge, which blends in with nature like an archaic relic, also acts as a visual guide, drawing attention to the white, raised waters of the stream and the surrounding vegetation. The diffusion of perception that takes place there, however, draws the eye back to the bridge and thus to the overall view. This movement initiating a constant alternation of diffusion and concretion, which is the specific tension of the painting that brings the landscape to life. The materialisation and dematerialisation, however, does not take place solely through the eye's wandering through the picture; it is simultaneously linked to the viewer's approach to and distance from the picture, which loses its richness of detail precisely in the close-up, only to reconfigure itself with increasing distance. In this work, which dates from Graessel's studies in Karlsruhe, the artist reflects on the emergence of pictorial objectivity. Here, however, nature is more than a mere motif. The real connection between culture and nature is symbolically expressed by the choice of green paper. The drawing is an impressive testimony to Graessel's mastery of the sprezzatura with which he skilfully applies the most abstract of strokes, which visibly merge towards the centre of the picture. The signature and the exact date prove that Graessel gave this work more than the character of a mere sketch. About the artist Franz Graessel grew up in an environment that was to nourish his later key motifs: his parents' house was a mill. After attending the Karlsruhe Academy of Art from 1878 to 1884, where he studied under Carl Hoff, Graessel continued his training at the Munich Academy from 1886 to 1890 as a pupil of Wilhelm von Lindenschmidt. Trained primarily in genre and portrait painting, he initially portrayed the life of Black Forest farmers. From 1894 he turned increasingly to animal painting, concentrating on the depiction of ducks and geese, which earned him the nickname 'Enten-Graessel'. Graessel's work thus parallels that of Alexander Koester...

Artist Commentary: This image is drawn from my imagination and imagery that I am inspired by. Keywords: Landscape Artist Biography: Judith grew up 15 miles north of Milwaukee in t...

Historic set of three 18th century engravings hand painted in watercolor depicting seashell specimens in an early naturalist style. Presented u...

The sculptor is fresh from the success of a major exhibition that the MART, Museum of Modern Art in Rovereto (the most prominent in Italy), dedicated to him. Born and raised in Cal...

Set of four antique French engravings depicting lizard species as drawn from a scholastic folio with the expected foxing and presented in tool...

María José de la Macorra (México, D.F., 1964) realizó sus estudios en la Escuela de Cerámica y Porcelana de Toluca, Mokichi Okada Association,...

PLAN OF A PART OF NEWPORT, R.I. SHOWING CHANGES IN HIGHWAYS ASKED FOR BY O.H.P. BELMONT, ESQ. The original ink and watercolor plan on paper from 1907. The plan is extremely large; if fully assembled it would measure no less than 11.5 feet in height and 6.5 feet in breadth. Segmented and backed on modern linen in four sections – each section is 70 x 39 inches. This grand oversized folding map can be folded down to four sections each 17.5 x 11 inches and stored in a modern made leather and marble paper case 18 x 11.75 x 3 inches. Text continues, "Prepared for Charles Warren Lippitt at the office of J. P. Cotton, C.E. Newport, R.I. Oct. 28, 1907." A fine manuscript plan of the Bellevue neighborhood of Newport, depicting the street layout and the detailed footprints of the area’s many mansions. The plan was produced at the behest of Charles Warren Lippett (1846-1924), who served as governor of Rhode Island from 1895-1897. The Lippett “Breakwater” mansion is also shown on this plan, situated at the southernmost tip of the peninsula. Though the circumstances are unclear, Lippitt seems to have requested the plan be drawn out of some concern for road construction proposed by Oliver Hazard Perry...