Symbolist Art

Rainbow Light can manifest anywhere and anytime, representing ominscience and it can dissolve instantly, representing impermanence. It is without shadow and represents awareness with...

Die Salzige Taufe is an original two volumes book written by A. Nowikow and A. Priboj and illustrated by Karl Rössing (1897) in 1933. Original First German Edition. Published by B...

"Ex Libris RS" is an original woodcut artwork on creamy paper by Michel Fingesten, Early 20th Century. Hand-signed on the lower right and with notes in pencil. In excellent conditio...

Figures is an original drawing in pencil on brownish paper realized by an Anonymous artist of the XX century. With the drawing on the rear. With the stamp on the lower right" Mouli...

"Die Tanzerin Gertrud Bodenwieser" is an original colored héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (Agram, 1866 – Vienna, 1...

"Weihnacht" 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...

"Verfuhrung" 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 Ma...

"Lugenbrucke" 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 M...

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...

A work in which we see abused animals bleeding, which reflects a real shame that continues to exist, which is animal abuse.

From Gammell's 'Answer to Job' series, Spider Web speaks to man's entrapment in the forces of nature and destiny.

Photography has always occupied a central place in Debra Pearlman’s work, as direct street photography and as source material for paintings and photo-based objects. The subjects are ...

Rochgrosse, Antoine Georges Marie. Poems Chantes/Gustave Carpentier /Paris/Henri Tellier, Editeur. 1896. 7 Color lithograph. Das fruhe Plakat 750 (Music Sheet). French painter, pri...

Photography always has occupied a central place in Debra Pearlman's work. Her subjects are typically children caught unawares in action, revealing an array of ambiguous emotions. The...

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...

"Woman & Fish" Figurative Charcoal Painting 20" x 25" inch by Ahmed Saber AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxor in Upper...

ROLAND HOLST, R.N. (Richard) (1868-1938). “Eere Tentoonstelling Bosboom/ 1817 1917/ Pulchri-Studio ‘s Gravenhage/ 21 Apr[il] 31 Mei”. Color lithograph (pa...

David Richardson Myth of Progress (AI) No. 3 40 x 26 in Acrylic Paint David Richardson’s paintings reinforce myth as the universal blueprint we all l...

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 bovine figure cradles two humanistic figu...

WENDINGEN- 5-8/9 1923 R. N. ROLAND HOLST. Shells, the Wonder Forms of the Sea. Published November 1923. Strange resemblance’s by R. N. Roland Holst; Na...

"Angel" Painting Acrylic and Inks 18" x 33" inch by Ahmed Saber Diptych AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxor in Upper Egypt, where he received his BFA ...

"Emmanuelle" is an original lithograph by Maurice Denis. It is a birth announcement for the artist's granddaughter and was printed in blue. 5 7/8" x 7...

WATERCOLOR ON PAPER HANDSIGNED LOWER RIGHT TITLED IN FRENCH " Hommage à Chagall" LOWER RIGHT IN FRENCH MINT CONDITION UNIQUE PIECE PINKHAS (Born in 1975) SOLOS EXHIBITIONS 2022 Gallery 55 TLV...

Martin, Jean Guillaume Henri. Girl with Lyre. 1905 [before lettering]. on Linen. Rare Henri Jean Guillaume Martin was a French painter known for his Neo-Impressionist paintings. L...

"Girl with Fish" Figurative Painting Acrylic and Inks 16" x 12"in by Ahmed Saber Comes framed as shown on second photo AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in...

"Mule II" Pencil on Paper Drawing 13" x 15" inch by Ahmed Saber AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxor in Upper Egypt, where he received his BFA with hon...

"Hymn of Osiris II" (FRAMED) Painting on Papyrus 22"" x 16" inch by Ahmed Saber ink on papyrus AHMED SABER - BIO Ahmed Saber is an Egyptian artist base...

"L'Etendard De La Vigilance" is an original etching and serigraph by Joel Cazaux. The artist signed the piece lower right, and wrote the edition number 38/100 in the lower left, and ...

MASTERPIECE Finely cut and assembled cotton paper. Handpainted LISTING =================================== 1 Handcrafted paper artwork =================================== DIMENSIONS =================================== 24" x 24" x2 " in or 60 x 60 x 5 cm =================================== DETAILS =================================== Time of Preparation: 2 months Made: Guadalajara, Jalisco - México Artisan: Manuel de la Peña...

"Soul Boat II" Figurative Sculpture 12" x 43" x 7" inch by Ahmed Saber Acrylic on Polyester AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxor in Upper Egypt, where...

"Still Life with Yarn" (FRAMED) Painting 16" x 16" inch by Ahmed Saber ink on paper AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxo...

original Ink on Paper Image size: H:41.5 cm x W:29.5 cm Complete Size of Unframed Work: H:41.5 cm x W:29.5 cm x D:0.1cm Sold Unframed Please note that insitu images are purely an indication of how a piece may look #2209F is an original meditative life drawing by David Jones. A technique the artist has developed to create these beautifully composed and minimal figurative...

"Asceticism" Figurative Painting 16" x 30" inch by Ahmed Saber Color Pencil and Acrylic on Paper. AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxor in Upper Egypt,...

The painting depicts a female figure turned in profile, crowned with laurel, impersonating Venus the Roman goddess of love. With his ability to bring to life images that defy time, ...

"Man with Fish" Diptych Engraving on Woodcut 32"x38"inch by Ahmed Saber Each piece comes in a separate glass frame as shown on 2nd and 3rd photo. AHMED SABER - BIO Ahmed Saber is ...

“It was shot on a grey misty day on Dungeness Beach in Sussex. Charlie Wood lit the sky rocket and stood to attention, and I fired the flashgun that was stuffed into his trousers to ...

"Impact" abstract acrylic paint and marbel powder on linen panel 100x100cm 2021 Work on the impact of elements on urban structures and organisation. I endeavored to give thickness t...

© Katie Eleanor, IV., Eye Infection As A Result Of Ingesting Poison Series: Saint Wanderer's Hospital, 2015 Archival Pigment Print of the hand Coloured Photograph on cotton fine art paper, custom frame 7 1/2 × 5 7/10 in 19 × 14.5 cm (unframed print) 35 x 30.5 cm (Framed : Museum mount-board, antireflective art glass in hardwood custom frame) Edition of 15 Framed or Unframed option available Saint Wanderer’s Hospital depicts a fictional tale birthed from the artist’s inherent need to find splendour in the idea of sickness. Rooted first from her own words, Katie used the idea of illustrating as a form of personal art therapy by immersing herself in the realm of the otherworldly characters. Every aspect of each scene was created by Katie alone, from building and designing the sets to printing and hand-colouring the final images. In this act, over the year long course of the projects creation, the artist managed to make certain turmoil in her personal life bearable. In the world of the hospital, the artist adapts the role of medical photographer – creating accurate portraits of each character’s condition as a record for the hospitals future use. The final series comprises of 8 ‘specimen cased...

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 ...

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...

Antonio Maraini (Rome 1886 - Florence 1963), Annunciata Marble sculpture 54 x 15 x 10 cm signed on base.

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 Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...

David Richardson R3 No.3 28 x 25 in Acrylic Paint Following a tour in Iraq, Richardson was posted to Seoul Korea for two years. There, he saw how the Koreans used large, brightly c...

Katie Blackmore, R.B.A., A.S.W.A. (fl.1913-1950) She was a female illustrator and artist who painted fantastic scenes of fairies and Angles and Doves floating in celestial space. Blackmore exhibited at the RBA, and also at RA, RI, RHA, Ridley Art Club, Carfax Gallery, Royal Glasgow Institute...

During street fighting in Ramadi and Fallujah, Iraq, Richardson noted the impact of stray gunfire and its decaying effect on the city. One particular memory he has is of a plywood sign featuring the figure of a man hoisting a barbell over his head, an advertisement for a local gym. As months passed, the sign splintered to near oblivion, first the figure’s legs, then his head and arms, and finally, most of his torso disappeared as the fighting smoldered on. Nearly ten years later, Richardson began to develop his own bullet ridden and splintered war motifs. In wartime, cards are the time killer’s friend, a way to pass time between patrols, operations, and the work of war. In Iraq, U.S. troops were issued playing card decks featuring Iraqi officials wanted by the U.S. Government. In the Shotgun...

During street fighting in Ramadi and Fallujah, Iraq, Richardson noted the impact of stray gunfire and its decaying effect on the city. One particular memory he has is of a plywood sign featuring the figure of a man hoisting a barbell over his head, an advertisement for a local gym. As months passed, the sign splintered to near oblivion, first the figure’s legs, then his head and arms, and finally, most of his torso disappeared as the fighting smoldered on. Nearly ten years later, Richardson began to develop his own bullet-ridden and splintered war motifs. In wartime, cards are the time killer’s friend, a way to pass time between patrols, operations, and the work of war. In Iraq, U.S. troops were issued playing card decks featuring Iraqi officials wanted by the U.S. Government. In the Shotgun...

During street fighting in Ramadi and Fallujah, Iraq, Richardson noted the impact of stray gunfire and its decaying effect on the city. One particular m...

MASTERPIECE Finely cut and assembled cotton paper. Handpainted LISTING =================================== 1 Handcrafted paper artwork =================================== DIMENSIONS =================================== 24" x 24" x2 " in or 60 x 60 x 5 cm =================================== DETAILS =================================== Time of Preparation: 2 months Made: Guadalajara, Jalisco - México Artisan: Manuel de la Peña...

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...

This oil on canvas painting blends Greek and Hindu theology to discuss questions concerning justice and morality. In the Greek Mythos, Prometheus was a Titan of fire and forethought...

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 ...

Gail Potocki b. 1961, Detroit, Michigan, U.S. Gail Potocki is an award-winning Symbolist artist utilizing the skills and techniques of the Old Masters in the 21st century. Influenced by 19th-century artists like Fernand Khnopff, Jean Delville...

Made with oil crayons, the artist creates this piece almost as a ritual in which her body and its movement become protagonists when drawing on paper. Beneath these figures and drawi...

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

"Mule I" Charcoal on Paper Drawing 12.5" x 20.5" inch by Ahmed Saber AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxor in U...

"Soul Boat III" Figurative Sculpture 12" x 43" x 7" inch by Ahmed Saber Acrylic on Polyester AHMED SABER - BIO Ahmed Saber is an Egyptian artist based in Luxor in Upper Egypt, wher...

Most likely for a Magazine like Redbook, Cosmopolitan and Good Housekeeping, Ladies Home Journal or Woman's day Lorraine Fox is Hall of Fame member of the Society of Illustrators She...

The diptych Untitled is part of the Cameo series by Anton Kushaev. Cameo (from the Old French camaieu - treasure, jewel) is a kind of gem, a carved semi-precious stone with a convex ...