Symbolist Art

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

Original Ex Libris includes passpartout. Woodcut print on paper. Hand signed. 

Original Ex Libris, includes passpartout. Woodcut print on paper. Hand signed.  Very good condition.

"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...

Image dimensions: 23.5 x 16 cm. Les Sepulcres Secrets is an original artwork realized by Jean Torthe in the XX Century. Original ink and watercolor on paper. Hand-signed on the ...

"Lockung" 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, ...

"Sankt Franziskus" 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). F...

Marc Chagall (1887-1985) - Cirque Lithograph from 1967. From the book edition of 250 (there was also a signed and numbered edition of 24). Unsigned and unnumbered, as issued. Di...

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...

Ex Libris - Salve Pax is a woodcut print created by Michel Fingesten in 1937. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czech...

This painting by Olof Sager-Nelson, executed during his time in Bruges in 1894, is a splendid example of symbolism. It depicts a serene canal in Bruges, surrounded by sunlit houses w...

L'image est pleine de significations et de messages cachés ! et seul un collectionneur attentif découvrira son sens secret Je te tisser...

Gail Potocki's study from her Seven Deadly Sins series personifies Sloth through a frozen figure and her icy snail companion. Symbolist oil painting on linen, 2017. This artwork is presented professionally framed and arrives accompanied by a certificate of authenticity. Gail Potocki (b. 1961) is a contemporary artist whose work crosses multiple boundaries: she has been lauded by popular media (Huffington Post, Mother Jones) and pop culture art...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

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...

The European Macabre Dance N.3 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed ...

In “Dance of Eternity,” I sought to express the philosophical concept of the eternal cycle of life, where death and elemental forces exist in harmonious balance. The golden skulls in...

Marc Chagall (1887-1985) - L'Arbre Vert aux Amoureux Lithograph from 1980. Unsigned and unnumbered apart from the edition of 50. Dimensions of work: 64.5 x 48 cm. Reference: Chag...

"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...

Simplicius at the Hermit's Grave- Simplicius am Grabe des Einsiedlers (plate VIII) belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Str...

Opus IV Unter den Soldaten Rad belongs to a series of prints called Intermezzi realized by Max Klinger, published by Nurnberg: Stroefer, 1881. Etching on paper. Signed in the plate...

Apocalypse de Saint Jean is a complete suite of 13 b/w lithographs (cover + 12 lithographs) on Chine collé , realized by Odilon Redon. All the lithographs are unsigned, as issued. P...

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 extol...

Léon Spilliaert (1881 - 1946) 'Dans un Parc, la Balustrade Rose' ‍ Pencil, watercolour and gouache on paper 62.8 x 51 cm Executed in 1930, unsigned Spilliaert’s works, as here, oft...

Etching realized by Fritz Schwimbeck in 1918. Edition of 125 realized in Munich on mulberry paper. Hand signed in pencil.

Titled "Merry-Go-Round," this symbolist oil painting offers a surreal blend of time, space, and childhood nostalgia. The focal point of the composition is a complex armillary sphere, traditionally used to represent the celestial globe, now transformed into a whimsical carousel. Around the armillary sphere, wooden carousel horses are depicted in mid-gallop, their colorful saddles and bridles adding a vibrant contrast to the metallic gold of the armillary rings...

Monogram of the artist on plate. Edition of 150 copies. One of the 50 H.C.copies in Roman Numerals. This print is one of the illustrations realized by Odilon Redon for an important e...

Signed in the plate. Includes passepartout: 49x34 cm. Good conditions.

Image dimensions: 33 x 25 cm. Simplicius Writing Lesson from "Intermezzi" is an original print realized by Max Klinger in 1881. Signature and number of the print on plate. Black a...

Sibilla is an original couple of books engraved by Giulio Aristide Sartorio (Rome, 1860 - 1932) in 1922. Original First Edition. 1333 numbered and signed copies. Published by L'Eroica, Milan. Format: in 4°. The dimensions of the book are indicative. The book includes 230 pages with 219 etchings (70 of them are in full page). Good conditions. Giulio Aristide Sartorio (11 February 1860 – 3 October 1932) was an Italian painter and film director from Rome. Having attended the Rome Institute of Fine Arts, Sartorio presented a Symbolist work at the 1883 International Exposition of Rome. He formed friendships with Nino Costa and Gabriele D’Annunzio, and associated with the painters and photographers of the Roman countryside. He won a gold medal at the Paris Universal Exhibition of 1889 and met the Pre-Raphaelites in England in 1893. His participation in the Venice Biennale began in 1895 with the 1st International Exposition of Art of Venice, after which he taught at the Weimar Academy of Fine Arts from 1896 to 1898. His period of greatest renown came at the beginning of the century, when he produced decorative friezes for the 5th Esposizione Internazionale d’Arte of Venice (1903), the Mostra Nazionale of Fine Arts (Milan, Parco Sempione...

The European Macabre Dance N.1 is an hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed...

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...

Etching and aquatint realized in 1909. Belongs to the series "Amor und Psyche. Opus V". Very good condition.

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

"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...

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

Cosmic Travelers - Visionary Psychedelic Composition on Wood Panel Surreal, psychedelic composition by an unknown artist (20th Century). The face on the left side of the composition...

Beautiful and impressive painting by Marco Rossati, showing his interest for Classicism as well as for esotericism. Through a fine painting technique Rossati retrieves the values of ...

Ex Libris - Ruter is a Woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. Numbered on the left corner, ex. n. 6/30 Very good condition. Michel Fing...

Women and Dagger (ex Libris) is a woodcut print by Michel Fingesten, in 1936. Hand signed with pencil, included a white cardboard passpartout (30x24 cm). In excellent conditions: As good as new. Michel Fingesten (1884 - 1943) was a Czech painter and engraver of Jewish origin. He is considered one of the greatest Ex Libris artists in history. From an Austrian weaver father and a Jewish mother from Trieste. At 16 he studied at the Vienna Academy, together with Oskar Kokoschka. From 1902 to 1906 he wandered around America, and then Australia, before arriving in Palermo in 1907. He went up the peninsula via Trieste and returning to Germany, first settling in Munich in Franz von Stuck's studio, practicing caricature and small format graphics and then in Berlin. In 1913 he began to record. He returned to Italy in 1935 to visit his maternal relatives from Trieste and remained there because of the racial persecutions to which the Jews in Silesia were subject, settling in Milan. In this period he recorded about 500 exlibris. On 9 October 1940 he was arrested and interned as a foreigner in the camp of Civitella del Tronto and then of Ferramonti, (Cosenza) from November 1941 and will be accused by the Nazis of having painted degenerate art ("Entartete Kunst...

Symbolism, angel, paradise, black, vertical The painting "Young Angel" is a deeply symbolic work, a revelation that came to the artist in a dream. It is a mystical scene on the bord...

Rosenlaube is an amazing black and white etching on paper, realized in 1909 by the German painter, Bruno Héroux (Leipzig, 1868-1944). Signature and Title ...

Ex Libris Vieira is an Artwork realized in 1956. Woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimensions: 20.5 x 15 cm. The artwork represents...

Chimera with Green Eyes is an original lithograph on Chine collé, realized by Odilon Redon in 1888, plate 7 from “Les tentations de St.Antoine” (1ère série), unique state, first e...

Métiers des Hommes is an Original Rare book written by Pierre Courthion (1902-1988) and illustrated by Kurt Seligmann (Basel, 1900 - Middletown, 1961) in 1936. Original Edition. Pu...

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

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...

Disastrous is from Illustrations for Cressidra, a print on paper realized by André Suares in 1926.  Etching and drypoint Edition of 200 print Good conditions.

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

Henri DeGroux (1866-1930) was a Belgian Symbolist painter, sculptor and lithographer. He was known for his allegorical, religious and historical subject matter. He became an inspired...

The European Macabre Dance N.2 is an hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed...

Patricia Fabricant is a painter curator, and award-winning book designer, born in New York City. She received her BA from Wesleyan University and studied painting in Florence Italy. Her abstract and figurative paintings have been exhibited widely at such galleries as ODETTA, M David & Co, Front Room, SFA Projects, Equity Gallery, Morgan Lehman, the Painting Center, and 490 Atlantic. Her curatorial practice includes three editions of the benefit group show, Among Friends, Studio Mates at Front Room Gallery, and With the Grain, at Equity Gallery. She lives and works in Brooklyn, NY. Patricia Fabricant has a deep and abiding interest in process-driven work, from mandalas and yantras to Aboriginal song-line paintings, Islamic tiles...

Die Elixiere des Teufels is an original modern rare book written by Hoffman E.T.A. (24 January 1776 – 25 June 1822) and illustrated by Hugo Steiner-Prag (Prague, 1880 - New York, 194...

Patricia Fabricant is a painter curator, and award-winning book designer, born in New York City. She received her BA from Wesleyan University and studied painting in Florence Italy. Her abstract and figurative paintings have been exhibited widely at such galleries as ODETTA, M David & Co, Front Room, SFA Projects, Equity Gallery, Morgan Lehman, the Painting Center, and 490 Atlantic. Her curatorial practice includes three editions of the benefit group show, Among Friends, Studio Mates at Front Room Gallery, and With the Grain, at Equity Gallery. She lives and works in Brooklyn, NY. Patricia Fabricant has a deep and abiding interest in process-driven work, from mandalas and yantras to Aboriginal song-line paintings, Islamic tiles...

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...

Sire Halewyn is an original drypoint and color pencil on Japanese paper, realized by Fernand Khnopff in 1893, hand-signed and titled. In very good conditions. Fernand Khnopff's ...

“The Creative Woman” is an original oil painting by Andrée Bars. In this delicate and poetic work, the artist captures a fleeting yet profound moment: the serene, almost sacred sta...

Héliogravure on japanese paper realized by Fraz von Bayros in 1913 for Ex Libris Verlag K. Th. Senger, Munich. Mounted on passepartout. Edition of 260, hand signed in pencil by the ...

Ex Libris - H. Malz Wünscht is a Woodcut print created by Michel Fingesten in 1936. Hand signed on the lower margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czech pa...

Fallen Rider  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 ...