Symbolist Art

"In the edge of Poussin and Van Gogh" is a still-life painting by the impressionist Alexandr Reznichenko. About the artwork: TECHNIQUE: oil painting STYLE: Impressionist, Contempo...

Le Militaire et l'élègante is a beautiful original print on paper, realized by the French artist, Constantin Guys (1802 -1892). In very good condition, including a petrol-green colo...

Die Pest in Bergamo is an original modern rare book illustrated by Alois Kolb (Wien, 1875 - Leipzig, 1942) and written by Jens Peter Jacobsen (Thisted, 1847...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Der Zeichner is a superb etching made around 1900 by a still unknown author, but surely from the circle of Max Klinger (Leipzig, 1857 - Grossjena, 1920). Title on plate in the lower margin in the center. Posthumous impression of a matrix by an unknown author. The style refers to the Griffelkunst and the prescriptions of the Max Klinger "school of stylus"and of the artists who were close to him. In particular, for the subject in question, in the circle of Max Klinger, Saschia Schneider stands out, who placed male...

La femme au prisme is an original rare bookwritten by Franz Hellens (8 September 1881, Brussels – 20 January 1972, Brussels) and illustrated by Léon Spilliaert...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Portrait de Jeune Fille is a haunting portrait of a young girl also known as .. Justine… she could be either fading into the distance or just materializing out of a dream state. Her hair and the air around her is in shades of pale blue and the background is the white of the paper. This is a limited edition ( 170/300) aquatint , signed in the plate. In good condition with a 1" repaired tear midway on the right border which will not show when framed. Argentinian-born artist Leonor Fini (1907-1996) is considered one of the great female artists of the twentieth century. She moved to Paris in the early 1930’s where she spent most of her life and almost immediately formed friendships with Salvador Dali, Cartier- Bresson, Max Ernst and other intellectuals of the time. At twenty five she had her first one person show in Paris and was included in the 1936 pivotal exhibition at MOMA…Fantastic Art, Dada and Surrealism…..and that same year had an exhibition at a famous avant garde gallery in New York. Although Fini never considered herself a Surrealist she maintained close personal relationships with several members of the group. One can see how their ideology influenced her work but she remained firmly rooted in the tradition of Symbolism, Metaphysics and Italian and German Romanticism Her works can be found in most important collections of modern art around the world. Fini was renowned as a portraitist and as a painter of erotic sexual tensions with a mysterious atmosphere. She was adamant about being independent and not belonging to any one group. She lived life on her own terms and is sometimes referred to as …..the female Dali. She was also involved with designing for fashion and creating elaborate sets for opera and theatre. As a feminist she was definitely ahead of the times. She produced the first erotic male nude...

Albert Auguste FOURIE (1854-1937) The Naiad And The Swan Oil on Wood signed low left New golden and invory stick frame Dim wood panel : 35 X 27 ...

abstract "Golden sky" acrylic on linen canvas 750x73cm light yellow gold see taking the liberty of painting a type of sky that does not exist, an improbable water color… it is quite ...

Die Zisterne is a black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe, a port...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Erfüllung is a black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe, a portfol...

Salome Tanzt is a colored cliché from watercolor on cream-colored cardboard realized by Choisy Le Conin, as is remembered Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe, ...

2018 marks the centenary anniversary of Ferdinand Hodler’s death. In that 100 years time, the art world’s esteem of this important artist has proved fickle. It has shifted from extolling his artistic merits during his lifetime to showing something of a feigned disdain- more reflective of the world political order than a true change of heart for Hodler’s work. After years of Hodler being all but a footnote in the annals of art history and generally ignored, finally, the pendulum has righted itself once again. Recent retrospective exhibitions in Europe and the United States have indicated not only a joyful rediscovery of Hodler’s art but a firm conviction that his work and world view hold particular relevance today. DAS WERK FERDINAND HODLERS is not only a collection of printed work reflecting the best of all of his painted work created up to 1914 just before the outbreak of World War I, the portfolio itself is an encapsulation of Hodler’s ethos, Parallelisme. Hodler developed his philosophy of Parallelisme as a unifying approach to art which strips away detail in search of harmony. By means of abstraction, symmetry and repetition, Hodler sought ways to depict Nature’s essence and her fundamental, universal order. He believed these universal laws governing the natural, observable world extend to the spiritual realm. Symbolist in nature with Romantic undertones, his works are equally portraits of these universal concepts and feelings governing all life as they are a visual portrait in the formal sense. Whether his subject is a solitary tree, a moment in battle, mortal fear, despair, the awe inspired by a vast mountain range, a tender moment or even the collective conviction in a belief, Hodler unveils this guiding principle of Parallelisme. Several aspects of Hodler’s portfolio reinforce his tenets of Parallelisme. The Table of Contents clearly preferences a harmonious design over detail. The two columns, consisting of twenty lines each, list the images by order of appearance using their German titles. The abbreviated titles are somewhat cryptic in that they obscure the identities of the sitters. Like the image Hodler presents, they are distillations of the sitter without any extraneous details. This shortening was also done in an effort to maintain a harmonious symmetry of the Table of Contents, themselves, and keep titles to a one-line limit. The twenty-fourth title: “Bildnis des Schweizerischen Gesandten C.” was so long, even with abbreviation, that it required two lines; so, for the sake of maintaining symmetry, the fortieth title: “Bauernmadchen” was omitted from the list. This explains why the images are not numbered. Hodler’s reasoning is not purely esoteric. Symmetry and pattern reach beyond mere formal design principles. Finding sameness and imposing it over disorder goes to the root of Hodler’s identity and his art. A Swiss native, Hodler was bi-lingual and spoke German and French. Each printed image, even number forty, have titles in both of Hodler’s languages. Certainly, there was a market for Hodler’s work among francophones and this inclusion may have been a polite gesture to that end; however, this is the only place in the portfolio which includes French. With German titles at the lower left of each image, Hodler’s name at bottom center and corresponding French titles at the lower right of each image, there is a harmony and symmetry woven into all aspects of the portfolio. This holds true for the page design, as it applies to each printed image and as it describes the Swiss artist himself. Seen in this light, Hodler’s portfolio of printed work is the epitome of Hodler’s Parallelisme. DAS WERK FERDINAND HODLERS is also one of the most significant documents to best tell the story of how Hodler, from Switzerland, became caught between political cross-hairs and how the changing tides of nations directly impacted the artist during his lifetime as well as the accessibility of his art for generations to come. The Munich-based publisher of the portfolio, R. Piper & Co., Verlag, plays a crucial role in this story. Publishing on a wide range of subjects from philosophy and world religion to music, literature and the visual arts; the publisher’s breadth of inquiry within any one genre was equal in scope. Their marketing strategy to publish multiple works on Hodler offers great insight as to what a hot commodity Hodler was at that time. R.Piper & Co.’s Almanach, which they published in 1914 in commemoration of their first ten years in business, clearly illustrates the rapid succession- strategically calculated for achieving the deepest and broadest impact - in which they released three works on Hodler to hit the market by the close of 1914. DAS WERK FERDINAND HODLERS was their premier publication. It preceded C.A. Loosli’s Die Zeichnungen Ferdinand Hodlers, a print portfolio after 50 drawings by Hodler which was released in Autumn of 1914 at the mid-level price-point of 75-150 Marks; and a third less expensive collection of prints after original works by Hodler, which had not been included in either of the first two portfolios, was released at the end of that year entitled Ferdinand Hodler by Dr. Ewald Bender. The title and timing of DAS WERK FERDINAND HODLERS' debut leaves little doubt as to the connection it has with another avant-garde portfolio of art prints, Das Werk Gustav Klimts, released in 5 installments from 1908 -1914 by Galerie Miethke in Vienna. Hodler, himself, was involved in Klimt’s ground-breaking project. As the owner of Klimt’s 1901 painting, “Judith with the Head of Holifernes” which appears as the ninth collotype print in the second installment of Das Werk Gustav Klimts, Hodler was obliged to grant access of the painting to the art printers in Vienna for them to create the collotype sometime before 1908. Hodler had been previously invited in 1904 to take part in what would be the last exhibition of the Vienna Secession before Klimt and others associated with Galerie Miethke broke away. In an interview that same year, Hodler indicated that he respected and was impressed by Klimt. Hodler’s esteem for Klimt went beyond the art itself; he emulated Klimt’s method aimed at increasing his market reach and appeal to a wider audience by creating a print portfolio of his painted work. By 1914, Hodler and his publisher had the benefit of hindsight to learn from Klimt’s Das Werk publication. Responding to the sluggish sales of Klimt’s expensive endeavor, Hodler’s publisher devised the same diversified 1-2-3 strategy for selling Hodler’s Das Werk portfolio as they did with regards to all three works on Hodler they published that year. For their premium tier of DAS WERKS FERDINAND HODLERS, R. Piper & Co. issued an exclusive Museum quality edition of 15 examples on which Hodler signed each page. At a cost of 600 Marks, this was generally on par with Klimt’s asking price of 600 Kronen for his Das Werk portfolio. A middle-tiered Preferred edition of 30, costing somewhat less and with Hodler’s signature only on the Title Page, was also available. The General edition, targeting the largest audience with its much more affordable price of 150 Marks, is distinguishable by its smaller size. Rather than use the subscription format Miethke had chosen for Klimt’s portfolios which proved to have had its challenges, R. Piper & Co. employed a different strategy. In addition to instantly gratifying the buyer with all 40 of the prints comprising DAS WERK FERDINAND HODLERS and the choice among three price points, they advertised in German journals a fourth possibility of ordering single prints from them directly. These printed images are easily discernible from the three complete folio editions. The paper size of the single purchased images is of the larger format like the Museum and Preferred editions, measuring 65 h x 50 w cm; however, the paper itself is the same copper print paper used in the General edition and then mounted on poster board. The publishing house positioned itself to be a direct retailer of Hodler’s art. They astutely recognized the potential for profitability and the importance, therefore, of having proprietary control over his graphic works. R. Piper & Co. owned the exclusive printing rights to Hodler’s best work found in their three publications dating from 1914. That same year, a competing publication out of Weimar entitled Ferdinand Hodler: Ein Deutungsversuch von Hans...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

This monumental drawing on canvas is part of a series, which gives praise to mankind’s quest for wisdom and vigorous resilience. Referring chiefly to the heavens, Earth, and the Underworld, the “Three Worlds...

Drypoint and aquatint (brown ink) on cream paper. Signed "Rehn" in pencil on the lower right margin. Titled and numbered in pencil on the lower left margin. Edition of 25 prints. Fr...

This abstract oil painting underscores the difference between notions of dark and light, challenging our ideas of how we distinguish good and evil. The firefly is a nocturnal creatur...

abstract "Landfill" acrylic linen canvas 73x60cm colourfull tsunami in this painting, Emmanuelle Vroelant worked on the idea of all that we bury, deep inside ourselves or that Nature...

This large artwork figures a bamboo forest in the night. The artist impasto technique is light, with textured painting and a few small reliefs. This artwork is not framed. Françoi...

The abstract figure depicted in this oil on canvas painting is an embodiment of all the different shades that color the human soul; good and evil, light and dark, sacred and profane ...

In this large abstract oil painting, Bhatt explores notions of desire, life and death, good versus evil, and their roles in the cycle of creation and destruction through ancient E...

Ex Libris Cseh Lajos Konive is an original Modern Artwork realized in the 20t Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. Total ...

This monumental drawing on canvas is part of a series, which gives praise to mankind’s quest for wisdom and vigorous resilience. Referring chiefly to the heavens, Earth, and the Underworld, the “Three Worlds...

This oil on canvas painting is inspired by the Hindu Goddess Kaamdhenu, the mother of all cows and Bhatt’s recurring symbol of desire. The dismembered human figures featured in tan...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Taya Bell (born 1974 in Semey, Kazakhstan) was educated in Almaty until 2000, graduating with a Bachelor's degree in Arts, as well as degrees in Pedagogy and Foreign Language. From 2...

Oil and oil stick Whether the subject matter is figuration or nature, Audrey Anastasi approaches all her subjects directly and unabashedly. In this pa...

This oil on canvas painting captures a playful approach to serious concerns. Viewing life as a circus act, Bhatt arranges figures that evoke emotions such as fear, aggression, and ...

Gold Bajra Mandala Thangka is one of a kind 100% hand painted on canvas with center figurine of Green tara which is symbol of Posetive

Venus in Muschelwagen is a superb black and white etching on paper, realized in 1907 by the German artist Eduard Einschlag (Leipzig 1879 -1945), after Max Klinger (Leipzig 1857 - Gro...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Beautiful detailed artist designed transfer-printed glazed porcelain service plate. Published and manufactured by Rosenthal Limitierte Kunstre...

Candid oder der optimismus is an original modern rare book written by Voltaire and illustrated by Max Unold (Memmingen, 1885 - Munich, 1964) in 1913. Original Edition. 800 Numbere...

Ex Libris Naclowski is an original Contemporary Artwork realized in the early 20th Century. Original B/W woodcut print on ivory-colored paper. The work is glued on cardboard. ...

This monumental drawing on canvas is part of a series, which gives praise to mankind’s quest for wisdom and vigorous resilience. Referring chiefly to the heavens, Earth, and the Underworld, the “Three Worlds...

This monumental drawing on canvas is part of a series, which gives praise to mankind’s quest for wisdom and vigorous resilience. Referring chiefly to the heavens, Earth, and the Underworld, the “Three Worlds...

"Weddigen" is an original Black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Mappe...

WENDINGEN Number 3/4 of the 9th series (1928), dedicated to Jan Toorop, edited by H.C.Verkruysen, Dutch text, cover designed by R.N.Roland Holst. Lithogr...

Image dimensions: 11.5 x 9 cm. Ex Libris is an original woodcut print realized by Michel Fingesten. Hand-signed on the lower center and hand written notes. Mint conditions. Sheet Dimension: 15 x 20 Ex Libris is a Latin phrase meaning a bookplate that identifies the owner of the book into which it is pasted. In this artwork there is an entrance to a church, with a crucifix and two initials at the bottom "G" and "B". Behind the door of the church a large human face is the background. Michel Fingesten (Butzkowitz, 1884 - Cerisano, 1943) was a Czech painter...

This monumental drawing on canvas is part of a series, which gives praise to mankind’s quest for wisdom and vigorous resilience. Referring chiefly to the heavens, Earth, and the Underworld, the “Three Worlds...

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

La Danseuse is an heliogravure on paper, realized by the French artist, Guys Constantin (1802 -1892). In very good condition, including petrol-green colored cardboard passepartout, ...

Lithograph of Symbolist painter Carlos Schwabe’s oil painting La mort du fossoyeur (The Death of the Gravedigger), 1895, published c. 1900 in Art et déc...

Ex Libris is an original woodcut print realized by Michel Fingesten. Hand-signed on the lower center and hand written notes. Mint conditions. Sheet Dimension: 17.3 x11 Ex Libri...

"Immelmann" is an original Black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1924). From Map...

Lithograph from Carlos Schwabe’s series of hand-colored Symbolist fantasy illustrations for Catulle Mendès’ Hésperus, published in 1904 by Société de pr...

This monumental drawing on canvas is part of a series, which gives praise to mankind’s quest for wisdom and vigorous resilience. Referring chiefly to the heavens, Earth, and the Unde...

oil on canvas on heavy duty stretcher framing recommended but not required. By in large Basso is self taught. (after initially attending the School of Visual Arts taking evening cour...

Image dimensions: 36.5 x 23 cm. Fallen Knight from "Intermezzi" is an original print realized by Max Klinger in 1881. Signature and number of the print on plate. Black and white e...

Acrylic on theatrical backdrop muslin, can be rolled, rod pockets top and bottom for hanging. This painting was featured at the Parliament of World Religions in Toronto in 2018. Kuan Yin...

Fate. 2008, oil on canvas, 100x80 cm Fantasy painting with ship and sun

Abel Pann (1883–1963) was a European Jewish painter who settled in the Talpiot neighborhood of Jerusalem in the early twentieth century and taught at the Bezalel Academy of Art under...

Fireplace Farm Sign Springs, East Hampton NY, Archival Pigment Print, $550, Ed. 1/5, 2014 Printed to Order Also available in 20"x30" Edition of 10 $725 *Photography: U Wash Truck...

Shay Kun, balloon air, oil on canvas, Figurative, symbolist style, landscape, Israeli-american artist, Israeli art, 2012