Symbolist Art

Rare etching realized by Max Klinger in 1884. II state on 2. Image dimensions: 13.9x19 cm. Very good condition except for some diffused foxing in the margins. Ref. Singer, 284.

Marc Chagall (1887-1985) - Mother and Child Before Notre-Dame Lithograph from 1952. Dimensions of work: 35 x 26 cm Publisher: Tériade, Paris. On the verso another Lithograph in b...

"The Tides", is a symbolist oil painting on canvas by Andrée Bars. In this composition at once cosmic and contemplative, the artist explores the invisible motion that connects time...

Edouard Goerg, 'Le Paradis Terrestre' (Paradise on Earth), etching, 1931, edition 40. Signed, titled, and numbered '3/40' in pencil. A fine richly-inked impression, on heavy, cream w...

Mystical and mysterious, a mythological Ondine rests beside an ethereal forest pond in this majestic, original oil on canvas by French Symbolist Pierre-Amédée Marcel-Béronneau. A stu...

Maurice Denis, Untitled (Mother and Child), lithograph, 1897, edition not stated. Signed in the stone, lower right. Annotated in linotype 'MAURICE DENIS, ORIGINAL LITHOGRAPHIE PAN III' in the lower left sheet corner. A fine, atmospheric impression, in warm, dark gray ink, on buff wove paper, with full margins (2 1/2 to 1 3/4 inches); a small discoloration in the bottom left sheet corner, otherwise in good condition. Image size 8 5/8 x 6 7/8 inches; sheet size 13 7/8 x 10 5/8 inches. As published in 'Pan', the leading German magazine of the period devoted to art and literature. Matted to museum standards, unframed. Collection: Los Angeles County Museum of Art. Reproduced: German Expressionist Prints...

Young girl with rose tree. Oil on cardboard. Signed and situated 'Wien' Eduard Veith, son of the room painter Julius Veith (1820-1887) and his w...

Love, Death and the Beyond is a original modern artwork realized by Max Klinger in 1881. The artwork belongs to a series of prints called Intermezzi realized by Max Klinger, publish...

Chez les Passants is an original Rare Book written by Philippe-Auguste, comte de Villiers de l'Isle-Adam (7 November 1838 – 19 August 1889) and illustrated by Félicien Rops (Namur, 7 luglio 1833 – Essonnes, 23 agosto 1898) in 1890. Original First Edition. Published by Comptoir d’édition, Paris. Format: in 12°. The dimensions and the weight are indicative. The book includes 320 pages with full page frontispiece etching. Good conditions. Félicien Victor Joseph Rops (7 July 1833 – 23 August 1898) was a Belgian artist associated with Symbolism and the Parisian Fin-de Siecle. He was a painter, illustrator, caricaturist and a prolific and innovative print maker, particularly in intaglio (etching and aquatint). Although not well known to the general public, Rops was greatly respected by his peers and actively pursued and celebrated as an illustrator by the publishers, authors, and poets of his time and provided frontispieces and illustrations for Jules Barbey d'Aurevilly, Charles Baudelaire, Charles De Coster...

Bernard LOUEDIN Seascape : As Light as a Feather, 1978 Original Oil on Canvas Handsigned and dated in the lower left corner On canvas 46 x 61 cm (c. 1...

Nele Zirnite (1959) 2003 Associate Professor, Art Department, the Latvian Christian Academy 2000 M.F.A., the Latvian Art Academy 1995 – 2003 Lecturer, Graphic Arts Department...

ISMAEL GONZÁLEZ DE LA SERNA Spanish, 1898 - 1968 HARLEQUIN AND HIS DOG Signed and dated I. de la Serna, 1955 Oil on cardboard 42 X 27-1/2 i...

Menashe Kadishman, Sheep head, Symbolist painting, colored painting, Israeli art, Israeli art

Nele Zirnite (1959) 2003 Associate Professor, Art Department, the Latvian Christian Academy 2000 M.F.A., the Latvian Art Academy 1995 – 2003 Lecturer, Graphic Arts Department...

GILLET Numa François (1868- 1940) Oil on wood panel signed low left Dedicated and dated 1933 Old Antique frame gilded with gold leaves Dim panel : 37 X 55 cm Dim frame : 61 X 78 cm GILLET Numa François (1868- 1940) French 19th-20th century Painter, ceramist, architect designer Symbolist movement Numa François Gillet...

Simplicius' Writing Lesson (Simplici Schreibstunde) (plate VII) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etchi...

The Serpent - Aboriginal Dot Painting in Acrylic on Canvas Bold dot painting with a snake by Aboriginal Australian artist Geoffrey "Pirup" Woods (Abor...

His first name sounds like a concerto. Vivacious, its name is reminiscent of an aperitif or a cyclist. The addition of the two evokes the Italianate. Indomitable and unavoidable. Mor...

Joseph André Mussler (1904-1980) was a Swiss painter known for his works depicting natural landscapes, often focusing on scenes from the Alps, such as mountain valleys and alpine hut...

L’agonie is an original colored etching on paper realized by Félicien Rops in 1886, 3rd state of colours proof n°8, from Pellet éditeur, inscribed in p...

Ramón Llovet (1917-1987) - Father and son - Oil on canvas Canvas measures 50x61 cm. Frame measures 56x67 cm. Ramon Llovet Miserol (Barcelona, ​​August 7, 1917 - Barcelona, ​​August ...

Menashe Kadishman, Sheep head, Symbolist painting, colored painting, Israeli art, Israeli art

Francis JOURDAIN Night Dream : the Swanns, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithogra...

La obra va firmada por el artista en la parte inferior y fechada del año 1941 Se presenta enmarcada la pintura (el marco presenta algunas leves faltas) El estado de la obra es buen...

Das Grausen is a lithograph realized after a work by Alfred Kubin in 1903, Hand-signed and titled, plate from Faksimiledrucke nach Kunstblättern, edition H. Von Weber. Included a...

Illustration from the series "Les Fleurs du Mal" is an etching print realized after Odilon Redon and published by Henri Felury in 1923. Monogrammed on the plate. Good conditions. ...

Landslide from Intermezzi belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed on the plate Goo...

Image dimension cm 29.7x19.9. Printed in the lower margin, center: «Max Klinger / Der Philisoph / (Aus «Vom Tode, II») / Pan I 2». Engraving from the art periodical Pan, vol. I, no...

Amor, Tod und Jenseits, (Cupid, death and afterlife) is an original etching and aquatint on paper Chine collé, realized by Max Klinger in 1881, plate XII from “Intermezzi” Opus IV,...

Ex Libris - Memento Vivere is a colored woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a ...

Gregory Kitterle's Sogno di Oro (Golden Dream) is a 39 x 50 inch horizontal figurative symbolist painting on canvas. This work brings the viewer in a magical setting of lapis lazuli ...

Ex Libris de Francisco Camp Rodon Valer is an Artwork, woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimensions: 20.5 x 15 cm. The artwork represents...

Titled "Each Has Its Destiny," this charming symbolist oil painting on canvas by Andrée Bars offers a serene and contemplative view of nature's delicate balance. The composition features three snails navigating their way across a barbed wire fence, set against a backdrop of a lush meadow under a clear blue sky. The snails, each with distinctively colored shells – one brown, one dark, and one golden – symbolize individuality and the unique paths each creature takes in life. The barbed wire, often associated with barriers and challenges, contrasts with the gentle and slow movement of the snails, suggesting a journey filled with obstacles yet approached with patience and determination. The bamboo stalks and various wildflowers in the background add a touch of whimsy and natural beauty, emphasizing the coexistence of fragility and resilience in the natural world. The delicate rendering of the leaves and flowers, along with the meticulous depiction of the snails, showcases the artist's attention to detail and mastery of texture. The painting's soft lighting and subtle color palette evoke a sense of calm and introspection, inviting the viewer to reflect on the theme of destiny and the slow but steady progress each individual makes despite life's challenges. "Each Has Its Destiny" is a poignant reminder of perseverance and the unique journey every being undertakes, rendered with elegance and sensitivity. Andrée Bars is a French painter. Having been strictly trained for 4 years by the American hyper-realist painter Mr. Ted Seth Jacobs, who himself inherited 19th century masters’ skills from his own professor, Andrée Bars learned the profession of painting in its purest tradition. She still applies these ancient masters...

Second Edition of 6 copies plus 3 Artist’s Proofs, realized in 1990 after the famous homonymous sculpture realized by Wildt in 1918/19. Authorized by Wildt's heirs, from the original...

Pursued Centaur (Verfolgter Centaur) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed on the...

"Ex Libris - Leicht"  is an etching on ivory-colorated paper by  Michel Fingesten,  Early 20th Century. Hand signed in pencil. In excellent conditions: As good as new. Michel Finges...

Stella Jae Flood 2023 Archival Pigment Print on Hahnemuehle Baryta Rag 315gsm Size: 24.01 x 18.11 inches (61 x 46cm) Edition: 15 Signed, titled and dated on...

François Maurice ROGANEAU Bordeaux, 1883 - Aix-en-Provence, 1973 Oil on canvas on cardboard 44 x 32 cm (55 x 44 cm with frame) Signed lower left “FMR” Mount Lycabettus opposite to t...

The artwork size is 7"x5", oil on canvas board. The frame is included.

"The Graces Lie Shy" intaglio etching by Chaim Koppelman (American b.1920 d.2009). Moody etching by prominent American printmaker and educator Chaim Koppelman. In this piece a nude...

Brahms-Phantasie is a wonderful in-folio volume: the Brahm's Phantasies musical score is incredibly illustrated with 37 numbered plates for a total of 41 original engravings (burin, ...

'Kraft und Mut' (Courage and Strength) German wood-engraving, 1903. 320mm by 230mm (image) 280mm by 410mm (sheet)

"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...

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...

Brussels: J. Bouwens, 1867. Etching with aquatint and engraving on laid Japan paper, 9 3/4 x 6 1/2 inches (247 x 163 mm), full margins. Fifth state (of 5). Scattered moderate foxing....

Bridges. From the series “My Riga”. 1967. Paper, linocut, 69x103 cm.

Manuel ROBBE Elegant Women in a Park, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograph cr...

Francis JOURDAIN Melancolic Seascape with Sailboats, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION...

Nele Zirnite (1959) 2003 Associate Professor, Art Department, the Latvian Christian Academy 2000 M.F.A., the Latvian Art Academy 1995 – 2003 Lecturer, Graphic Arts Department...

"Chasm" - Minimalist Abstract in Acrylic Minimalist abstract done in watercolor, acrylic and metallic paint (gold and light gray/blue). Titled, signed and dated on verso: "Chasm, d...

Nele Zirnite (1959) 2003 Associate Professor, Art Department, the Latvian Christian Academy 2000 M.F.A., the Latvian Art Academy 1995 – 2003 Lecturer, Graphic Arts Department...

ROBERTSON 20th Oil on canvas 60 x 73 cm (69 x 82 cm with frame) Signed and dated lower left "RBTSN / 1909" Very good condition Beautiful black frame with black edging This symbolist...

Fernand Blondin (1887-1967) was a Swiss painter and teacher, celebrated for his depictions of idyllic rural life, interiors, female nudes, portraits, still-lifes, religious subjects ...

Cityscape in Paris is a drawing realized by Marguerite Babillot in the Mid-20th Century. Hand-signed. Good conditions with slight foxing.

Ex Libris  - Giorgio Balbi  di Angelo is an Artwork in Mid 20th Century. Etching. Hand signed. Good conditions.

Louise BRESLAU Young Girl with an Orange, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lithograp...

Eugene DELATRE Young Girl Playing in the Woods, 1898 Original lithograph (Champenois workshop) Printed signature in the plate On vellum, 40 x 31 cm (c. 16 x 12 in) INFORMATION: Lit...

Robert Glick (American, born 1950) "Portrait of an Artist" 2024 Acrylic Paint, Canvas, Stretcher Bars The artist signed the bottom middle-right and the back of the painting. 'Portra...

Whimsical, mysterious seascapes, animals, and mythological figures weave throughout this expressive set of black and white Enzo Cucchi lithographs. The complete set of five lithograp...

Tribut der Salome 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 Ma...