Naturalistic Art

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...

'Virginio - Sacerdote Virginio' / 'Gi' Indiant nella Virginia venerano il Fuoco'' Italian lithograph, c1841. Originally from 'Galleria universale di tutti i popoli del mondo' by Giu...

This is an original John James Audubon hand-colored lithograph entitled "Florida Rat", No. 1, Plate IV", from John James Audubon's Quadrupeds of North America, published in Philadelp...

Antique bird egg colour woodblock , 1880, from Francis Orpen Morris’, 'A Natural History of the Nests & Eggs of British Birds', 1875. The woodblocks ...

Carmen Almon uses copper sheeting, brass tubing, steel wire and enamel paint to create exquisite botanical sculptures. She captures the fragility of a moment in time by interpreting particular plants based on her memories of them. “These botanical compositions seem to defy their sheet-metal origins to come alive. Branches bend, vines loop, leaves twist, and a few surprising bugs, from butterflies to beetles, drop in to colonize her plants.” Through her work, one is reminded of the beautifully illustrated botanical books of the 17th and 18th century – Linneaeus, Ehret, Redouté – which Carmen often refers to for inspiration. Each piece takes up to twelve weeks to complete, therefore, few are realized each year making them rare treasures. In reference to our human connection to flowers, Carmen states, “Romance, marriage, funerals. Subconsciously, they represent so many things, innocent beauty, courage in the face of obstacles and continuity in the cycle of life and death. When I work on a plant, I am often thinking of this.” Almon grew up in Barcelona and Washington DC and resides in New Orleans, Louisiana. Her works are exhibited at the Chinese Porcelain Gallery, NY; and Octavia Art Gallery...

This plate is unique because of the bird species' unmistakable beauty and the great scientific and artistic skill with which Elisabeth and Jhon Gould rendered it. The price quoted h...

Carmen Almon grew up in Barcelona and Washington DC and resides in San Miguel de Allende, Mexico. She uses copper sheeting, brass tubing, steel wire and enamel paint to create botani...

'Aldborough Anemones' Flowers are numbered with a key to the varieties below the image. Antique English flower botanical chromolithograph.

'Il Quebec / Irochesi - Capo degl' Irochesi'' Italian lithograph, c1841. Originally from 'Galleria universale di tutti i popoli del mondo' by Giuseppe Antonelli, published in Venice...

AGNIESZKA STAAK-JANCZARSKA (born in 1994) A graduate of the State Secondary School of Art of Józef Kluza in Krakow. In 2020, she graduated from the Academy of Fine Arts in Krakow in ...

Artist: Phillip Graybill Title: Sosa Edition: Signed and numbered in the margin, archival pigment prints on 100% cotton rag paper with a Baryta finish. Edition as follows: 24X24 from an edition of 25 36c36 from an edition of 10 Remastered and printed at FATHOM Los Angeles Frame: FATHOM solid hardwood frames are sourced from managed forests that meet or exceed FSC certification standards. The shadow box style frame is 1 1/4 in high by 3/4 in wide with premium plexiglass. Phillip Graybill is from Atlanta, Georgia. He moved to NYC in 1996 where he lived for 20 years and now splits his time between NYC and Venice, Ca.  He has exhibited with celebrated artist Julian Schnabel. He has also exhibited alongside such photographic luminaries as Peter Lindbergh and Nigel Barker...

'Broad Bell-Flower' 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 ...

AGNIESZKA STAAK-JANCZARSKA (born in 1994) A graduate of the State Secondary School of Art of Józef Kluza in Krakow. In 2020, she graduated from the Academy of Fine Arts in Krakow in ...

Charming late 19th century oil on canvas of a pair of ducklings. Presented in a wooden gold frame. Unsigned. The stretcher with 'keys'. A warm and inviting painting beautifully executed and in great detail highlighting the soft downy feathers, the shiny beaks and the eye contact...

A very good large antique oil on canvas painting by the celebrated Spanish artist Maximo Juderias Caballero (1867-1951), Paris 1910. The painting depicting an interior scene of 17th ...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Tuko-See-Mathla, A Seminole Chief, No. 106", published by Rice, Rutter & Co. in 1865. For his portrait, painted by Charles Bird King, Tuko-See-Mathla wore a colorful outfit, primarily of red and blue with tassels and a matching headdress, a necklace including his presidential peace medal, two metallic bands on each arm, beautiful high moccasin boots and he carries a rifle. He appears to be standing in a desert landscape. This original beautifully hand-colored McKenney and Hall lithograph is presented in a cream colored mat (adhered at the top), suitable for framing with a protective clear sleeve. The mat measures 13.88" x 11.75" and the sheet measures 10.63" x 7.38. There is one tiny spot in the lower portion of the left and right margins and minimal discoloration at the left and right edges (obscured by the mat), but the print is otherwise in excellent condition. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis...

'Coupled Poppies’ photographed in London, United Kingdom 2023. It is a still life black and white film photograph, made with a large format 4x5 Linhof camera. Printed on Hahnemühle...

'Kloakentiere' (Monotremes - echidna and platypus)) German wood-engraving, circa 1895. 240mm by 155mm (sheet)

This is a beautiful oil on canvas painting of a vase of pink flowers. This work is circa the 19th century and is an original by the Belgain artist Jean Capeinick (1838-1890). ...

Seascape by famous artist of the period, this fine oil painting on canvas shows us soft hues in skies and waters, with a white-sailed ship in the center. One of Shayer’s more beauti...

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...

'Villagio indiano nell' Isola Quadra-Voncuver / Interno di Una capanna di Vakosei' (Indian Village on Quadra Island, Vancouver / Interior of a Vakosei hut) Italian lithograph, c184...

Signed lower right, 'W.H. McConnell' (American, 19/20 century) and dated 1936. A member of the Association of United Scenic Artists in Hollywood, W.H. McConnell worked as a backdrop...

Jean Adolphe Boucé (1818 - 1875) - Deer Hunting. 33.5 x 43 cm unframed, 38.5 x 48 cm with frame. Oil on paper mounted on canvas, in a contemporary 19th-century frame. - Signed and...

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...

Pug, Greyhound, Terrier 1883-84 Chromolithograph 8.5 x 11 inches

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

A fine small plein air study of three women picking flowers on the meadow next to white cliffs and sea. In the horizon where the sky ends, the contours of mainland is visible as a sh...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Bubo Maximus" (Great Horned or Eagle Owl) by John Gould, from the supplement to his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Eagle Owl about to feed her brood of babies who are in the their nest. A another adult (possibly the male) is seen in the distant background in the upper right. This striking framed Gould...

Poppy No.5 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...

'Eggs' Antique English natural history chromolithograph. Key to eggs below the image. Tiny numbers in the margins to identify the eggs. Sheet 19cm by 12.5cm, image 13cm by 9.5cm.

Selected from Phillip's acclaimed series, The Horses of Deep Hollow Ranch. Working with a vintage Mamiya handed to him by a stranger in NYC, Graybill creates contemporary photographic compositions in a style that is reminiscent of the Pictorial School from the early 1900’s. Artist: Phillip Graybill Title: Silver Edition: Signed and numbered in the margin, archival pigment prints on 100% cotton rag paper, remastered and printed at FATHOM Los Angeles Phillip Graybill is from Atlanta, Georgia. He moved to NYC in 1996 where he lived for 20 years and now splits his time between NYC and Venice, Ca.  He has exhibited with celebrated artist Julian Schnabel. He has also exhibited alongside such photographic luminaries as Peter Lindbergh and Nigel Barker. Graybill was the primary photographer for the Nine Inch Nails...

Peony No.11 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-...

This framed hand-colored engraving entitled "February Bouquet" is from 'The Twelve Months of Flowers' by Henry Furber, published in London in 1730 by Robert Sayer and John King. Each of the twelve hand-colored engravings in the book were produced from paintings by Pieter Casteels (1684-1749) and engraved by Henry Fletcher (1710-1753). The book featured twelve detailed engravings of seasonal plants in bloom in the form of a bouquet. More than 400 different species of flowering plants were included with each plant numbered and accompanied by a list of the corresponding species names. Thirty-five species of flowers are depicted in this engraving in a bouquet sitting in an ornate attractive bowl. A few of the flowers lie loose on a table. The flower species are listed in a table in the lower portion of the plate, along with the month that these flowers are in bloom. This colorful print is presented in a gold-colored wood frame with a cream-colored double mat with a heather green inner mat. The frame measures 23.5" High, 19" wide and 1.63" deep. There are a few small frame abrasions, but the print is in very good condition. Robert Furber...

This is a beautifully framed engraving, printed in colors with additional hand coloring, from the famous "Cries of London" series, depicting the lives and professions of the common p...

This is an original 19th century hand-colored folio-sized lithographic portrait of a Native American entitled "Qua-Ta-Wa-Pea, A Shawanoe Chief", from McKenney and Hall's 'History of the Indian Tribes of North America'. It was lithographed by J. T. Bowen after a painting by Charles Bird King and published by E. C. Biddle in Philadelphia in 1836. Quatawapea wears a maroon head covering, a white ruffled shirt and blue shawl with gray trim. His presidential peace medal is attached to a maroon fabric...

Blue Marine Flora is a dynamic, nature-inspired painting that evokes the lush complexity of coral ecosystems. With bold strokes in vivid blue, red and charcoal, the composition mimic...

German chromolithograph of native American artefacts. Circa 1895.

Arvid Mauritz Lindström (1849–1923) – Fall Landscape The painting presents a vast autumn landscape illuminated by the soft glow of a setting sun. At the center, a stream winds its wa...

19th century bronze group of a standing and sitting hare by French animalier sculptor Alfred Dubucand (1823-1894). Finely detailed bronze with good dark brown patination. Signature '...

Poppy No.12 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 125 x 100 cm and is part of an exclusive series of 10 prints, each han...

"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...

This is an original John James Audubon hand-colored lithograph entitled "Collies Squirrel, No. 21, Plate CIV", from John James Audubon's Quadrupeds of North America, published in Phi...

This is a hand-colored botanical mezzotint and line engraving by Johann Wilhelm Weinmann (1683-1741), entitled "A. Alcea Folio Lacinato, B. Alcea Vesicaria, C. Alchimilla minima, D. ...

"Rainforest Walk I" is an abstract expressionist painting by Romina Milano where a dance of black gestures unfolds across colorful brushstrokes infused with raw emotion. Romina Mil...

Orange and Turquoise Corals by Romina Milano is a vibrant diptych that captures the rhythm and complexity of underwater life. Created with gouache crayon on paper, the work layers or...

'Pale peaks' Alto Adige, Italy, 2021 Printed on the finest archival paper, these limited edition photographs are designed to withstand the test of time, preserving the beauty and e...

Poppy No.11 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 100 x 100 cm and is part of an exclusive series of 10 prints, each han...

'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...

Antique bird egg colour woodblock , 1880, from Francis Orpen Morris’, 'A Natural History of the Nests & Eggs of British Birds', 1875. The woodblocks ...

Triptych of Highland Mountains and River comprises three oil paintings by famed plein air artist Alfred de Breanski Sr., presenting a studies of the same mountain and river from diff...

This is a framed original 19th century hand-colored folio-sized lithograph entitled “Strix Flammea” (Barn Owl) by John Gould, from his "Birds of Great Britain", published in London between 1862 and 1873. The print depicts an adult Barn Owl perched on a log its three baby owls to the left. Another adult owl in the background on the right, presumably a male, watches over his family. There are leaves on the right contributing to this pleasant landscape composition. This striking framed Gould...

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored lithograph entitled "Brown Pelican, Young First Winter", No. 85, Plate 424, fr...

Engraving with original hand-colouring. 1834. 230mm by 155mm. From Paxton's 'Magazine of botany and register of flowering plants' by Sir Joseph Paxton.

This is an original John James Audubon hand-colored folio sized lithograph entitled "Swainson's Warbler, Male, Sylvicola Swainsonia, Tree: Vulgo, White Oak", No. 10, Plate 50, from A...

This is an original 19th century hand-colored McKenney and Hall lithograph of a Native American entitled "Not-Chi-Mi-Ne, An Ioway Chief, No. 91", published by Rice, Rutter & Co. in 1865. This original McKenney and Hall lithograph is presented in a cream-colored mat, suitable for framing with a protective clear sleeve. The mat measures 13.88" x 11.75" and the sheet measures 10.63" x 7.38. There is a spot in the lower left margin and tiny faint spots in the periphery, but the print is otherwise in very good condition. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis...

This is an original 19th century hand colored McKenney and Hall engraving of a Native American entitled "Chittee-Yoholo, A Seminole Chief, No. 76", published by Rice, Rutter & Co. in 1865. This original McKenney and Hall engraving is presented in a cream colored mat, suitable for framing, with a protective clear sleeve. The mat measures 13.88" x 11.75" and the sheet measures 10.63" x 7.38. The print is in excellent condition. Col. Thomas J. McKenney was Superintendant of The Bureau of Indian Affairs from 1816 until 1830. He was one of a very few government officials to defend American Indian interests and attempt to preserve their culture. He travelled to Indian lands meeting the Native American leaders. He brought with him an accomplished artist, James Otto Lewis, who sketched those willing to participate. A large number of the most influential Indian chiefs and warriors were later invited to come to Washington in 1821 to meet President Monroe. McKenney commissioned the prominent portrait painter Charles Bird King...

A nordic light nocturnal scene by Rolf Mellström (1896–1953) Two Eurasian woodcocks cross above the dark forest, their compact bodies reading as quick silhouettes against a late blue...

Poppy No.4 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 100 x 100 cm and is part of an exclusive series of 10 prints, each hand...

This is an original antique hand-colored botanical mezzotint and line engraving of flowering Chrysanthemum matricaria plants. It is entitled "A. Chrysanthemum Matricarice Folus Flore...