Symbolist Art

Ex Libris - Felicitas is an Etching print created by Michel Fingesten in 1937. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czec...

Ex Libris - Prof. Dr. Rudolf Voon Soo is an Etching print created by Michel Fingesten. Hand Signed on the lower right margin. Very good condition. Michel Fingesten (1884 - 1943) w...

Ex Libris - Eugène Strens is a woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czech paint...

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...

Ex Libris - Violette Talbot is an Etching print created by Michel Fingesten. Hand signed on the lower margin. Good conditions. Michel Fingesten (1884 - 1943) was a Czech painter ...

Le Masque de la Mort Rouge is a phototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felu...

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. ...

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 wi...

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...

Dante's Vision is a lithograph realized after a watercolor by Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 19...

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...

Ex Libris - Monique Van Paeschen is a Modern Artwork realized in 1982 s., by Linda Ruttelinck. B/W woodcut on paper. The work is glued on grey cardboard. Total dimensions: 20x...

Libro de Miguel Angel Dieguez is a Modern Artwork realized in 1903, by the Spanish Artist Joaquín Diéguez y Díaz. Coloured woodcut on paper. Hand signed on the back The work is g...

Man in pot is a woodcut print realized by Michel Fingesten in 1930s. Above the woodcut representing a man with one hand raised and fire; underneath a card with the engraver's signature and the number 86. 30x24 cm ; it includes passpartout. Good conditions. Michel Fingesten. of an Austrian weaver father and a Jewish mother originally from Trieste. At the age of 16 he studied at the Vienna Academy together with Oskar Kokoschka From 1902 to 1906 he wandered around America, and then Australia, to then arrive in Palermo in 1907. He traveled up the peninsula passing through Trieste and returning to Germany, settling first in Munich in Franz von Stuck's studio, practicing caricature and small format graphics and then in Berlin. In 1913 he began to engrave. He returned to Italy in 1935 to visit his maternal relatives from Trieste and remained there due to the racial persecutions to which the Jews in Silesia were subjected, settling in Milan. In this period he engraved 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...

Etching on paper, hand signed and titled in pencil. A powerful and introspective etching depicting a monumental winged figure, shown diagonally across the composition with one great...

Etching on laid paper, hand signed and numbered in pencil. This powerful etching presents a stark, vertical composition dominated by a towering rocky precipice rendered through dens...

Ex Libris Matea Serra is an Artwork, woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimensions: 21 x 15.5 cm. The artwork represents a daily scene, thr...

Etching on paper. Hand signed and numbered. Edition of 50. A finely wrought Symbolist etching depicting a nude couple locked in an intimate embrace within a sparse, wooded landscap...

Etching on laid paper. Signed in pencil by the artist at lower right.  A finely worked etching depicting a pastoral landscape animated by several nude figures, one reclining in the...

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 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...

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...

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...

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. ...

Le Liseur is a prototype reproduction realized after Odilon Redon. They belong to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Titl...

Akinesia paper/etching, 14x18 cm, 1989

"Portrait of Stefan George" is an original woodcut on brown-colored paper, realized by Reinhold Lepsius (1857-1922). The state of preservation of the ar...

Figure is an original etching artwork realized by Fingesten. The state of preservation is good except for a line of folding. Stamp on the rear "MICHEL FINGESTEN" The artwork repre...

Titled "Narcissus" and by Andrée Bars, this oil on linen canvas painting captivates with its introspective tranquility and intricate detail. The artwork features a young person draped in a richly textured golden coat with deep red accents, lying beside a reflective surface on a wooden floor. The thoughtful pose and downward gaze suggest a moment of deep reflection, reminiscent of the mythological Narcissus who was mesmerized by his own reflection. The background is adorned with a sheer, flowing curtain that adds a layer of softness to the composition, contrasting with the solid and tactile textures of the wooden floor. A lone white flower placed near a strategically positioned pocket watch further enriches the scene, introducing themes of beauty, fragility, and the relentless march of time. The use of muted, earthy tones alongside dramatic lighting not only highlights the figure and elements within the painting but also evokes a mood of contemplation and solitude. This painting, through its symbolic elements and masterful execution, invites viewers to ponder themes of self-reflection, identity, and the ephemeral nature of time. 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...

Architectural Details Catalogue 1, paper/etching, 80/99, 10x9 cm,1989

Ex Libris is a woodcut print by Michel Fingesten, realized in 1936. Hand signed, included a white cardboard passpartout (24x30 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...

Ex Libris Heeren Herta is an etching realized by Michel Fingesten, in 1936. No signed, 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...

Das Grosse Tier II is an original etching and drypoint, realized by Richard Müller in 1919, signed on the plate, numbered 60/74 and signed in pencil l...

The European Macabre Dance N.7 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed on the plate, Original Edition. Published by Domenico Longo, Treviso. Handcolored lithographic postcards. Very good conditions. Alberto Martini (Oderzo, 1876 - Milan, 1954); was an Italian draftsman, painter, engraver and illustrator, forerunner of the surrealist movement...

Potiphar 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, a po...

Triumph der Salome 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, ...

Unidentified Artist (19th Century) "Family Gathering – The Christening Ceremony" This oil painting on canvas captures an intimate and lively family gathering, most likely a christen...

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...

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...

Fight Between Centaurs from "Intermezzi" is an original print realized by Max Klinger in 1881. Signature and number of the print on plate. Black and white etching and aquatint. Ori...

"Der Gute Hirte" 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). Fro...

"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...

Exhibit IV, paper/etching, 77/99, 5.5x5 cm, 1989

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...

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...

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...

Original woodcut print on paper. Very good conditions. Includes passepartout. Image Dimensions : 10.7 x 11.3 cm Michel Fingesten (Butzkowitz, 1884 - Cerisano, 1943) was a Czech pai...

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...

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...

Der Todseher is an original modern rare book written by Ernst Adolf Willkomm (Herwigsdorf, 1810 - Zittau, 1886) and illustrated by Alfred Leopold Isidor Kubin (Leitmeritz, 1877 – Zwickledt, 1959) in 1910. Original Edition. Published by Barsdorf, Berlin. 30 numbered copies of deluxe issue. Format: in 8°. The book includes 284 pages with six full page drawings. Mint conditions. Alfred Leopold Isidor Kubin (Leitmeritz, 1877 – Zwickledt, 1959) in 1910. He was an Austrian printmaker, illustrator, and occasional writer. Kubin is considered an important representative of Symbolism and Expressionism. Kubin is considered an important representative of Symbolism and Expressionism and is noted for dark, spectral, symbolic fantasies, often assembled into thematic series of drawings. Like Oskar Kokoschka and Albert Paris Gütersloh, Kubin had both artistic and literary talent. He illustrated the works of Edgar Allan Poe, E. T. A. Hoffmann, and Fyodor Dostoevsky, among others. Kubin also illustrated the German fantasy magazine Der Orchideengarten. Ernst Adolf Willkomm (Herwigsdorf, 1810 - Zittau, 1886). Willkomm was a German writer. Willkomm has published time-critical novels, travel sketches and short stories. With the title of his novel Die Europamüden in 1838 he took up a key word that had been coined by Heine in 1828 and with which an important aspect of thinking in the Vormärz was recorded. In the years 1845/46 Willkomm undertook a trip to Italy, whose experiences he processed in 1847 in the travel sketches Italian...

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...

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...

Le Cloître is a beautiful lithograph on ivory paper, realized by Constant Montald (1862-1944) in the late 19th Century. In good condition. This artw...

"Minotauros" 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...

"Divina Commedia" is an original Black and white héliogravure on cream-colored cardboard realized by Choisy Le Conin, pseudonym of Franz Von Bayros (A...

"Karfreitagszauber" 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...

"Dante" 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, a...

Marc Chagall (1887-1985) - Then came Amalek and fought with Israel in Rephidim. And Moses sayde to Ioshua, 'Chuse us our men, and goe fight with Amalek Lithograph from 1966. The ed...

Marc Chagall (1887-1985) - Couple sur fond noir Lithograph from 1974. This impression is notated as “Epreuve d’exposition H.C”. apart from the edition of 50 on Japon paper. Unsign...

Monument VII, paper/etching, 14x9.5 cm