Symbolist Art

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Then all the people pluckt from themselves the golden eare-rings, and they brough...

Denise Jones Adler's work is both personal and archetypical and seeks to memorialize a moment in time, the fragile nature of life, and the emotional impact of the past on the present. Her portraits and dreamscapes pinpoint an unsettled view of the world, layered with a subtle sense of amusement and innate feminism. Adler is influenced by the Feminist Art Movement as well as Expressionism and the Dada movement. The collages of Hannah Hoch...

Deluxe edition of only 23 copies including 40 original etchings by L. Marcoussis, including the title and a portrait of Apollinaire. One of the 20 copies on vélin d'Arches numbered i...

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

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...

Marc Chagall (1887-1985) - Le Sept Péchés Capitaux Etching from 1925. Edition of 300 proofs. Dimensions of work: 25 x 19.5 cm. Publisher: Tériade, Paris. Reference: Kornfeld 47....

Ex Libris - Dr. Walter Vogel is an Etching print created by Michel Fingesten, in 1923. Hand Signed and dated on the right margin. Good conditions except some foxings. Michel Fi...

The European Macabre Dance N.12 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Origina...

Ex Libris L'Amour et la Folie - Ex Libris Jean Brissac is a woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. Good conditions. Michel Fingesten (...

Figure of Woman is a woodcut print by Michel Fingesten, realized in 1936. Hand 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...

Ex Libris - Gianni Mantero -Ex Musicis is an Etching print created by Michel Fingesten. Hand Signed on the lower margin. Good conditions. Michel Fingesten (1884 - 1943) was a Cze...

Ex Libris - Mantero is an Etching print created by Michel Fingesten. Hand Signed on the right margin. Numbered on the left corner ex. 40/50. The work is glued on cardboard. Tota...

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

Ex Libris - André de Raynal - Ex Biblioteca Macabrum is an Etching print created by Michel Fingesten. Hand Signed and dated on the lower margin. Good conditions. Michel Fingesten...

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

Ex Libris- W. Talbot is an Etching print created by Michel Fingesten. Hand Signed on the lower right margin. The work is glued on cardboard. Total dimensions: 24.5 x 17.5 cm. Ve...

Ex Libris - H. Malz is a colored Woodcut print created by Michel Fingesten. Hand Signed on the lower right margin. The artwork is glued on cardboard. Total dimensions: 29 x 22.5...

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 is an Etching print created by Michel Fingesten in 1937. Hand Signed on the lower right margin. The work is glued on cardboard. Total dimensions: 32.5 x 24 cm. Very Go...

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

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...

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...

Fantastical portrayal of five white doves surrounded by flowers and clusters of grapes in a dreamy, colorful vineyard garden setting by Mohammad Hourian (Iranian/American, 1955-2014)...

Forellenweiher is a wonderful black and white etching and drypoint on wide rod cream paper realized by Franz von Stuck in 1890-1891. Hand signed in gr...

“I still look at and learn from the art of the past, and enjoy making interpretations of works which I admire.” Henry Moore Infanta, Floating Balance, Point in Time, and Visionary are monoprints with Chine collé from Suzanne Benton's Paintings in Proust series. This grouping also includes the dry-point etching with Chine collé. Infanta (edition of 10). The monoprints (unique prints) employ the collage technique, chine collé (glued paper). Collé papers are pre-inked and hand-painted. Dimensional printing plates emboss texture onto the prints. The plates are inked individually for each solo print. The images and collé papers are then laid onto the plate and adhere to the printmaking paper as the plate and paper run through the etching press. Other monoprint series have been devoted to Indian and Turkish miniature painting...

Meeting, paper/etching, 11.5x12.5 cm

This work will be exhibited at Art on Paper NYC, September 4–7, 2025. – Marc Chagall (1887-1985) - Moses wrath waxed hote, and he cast the Tables out of his handes, and brake them...

Ex Libris Marie Sprenger is an Artwork realized in 1915. Woodcut B./W. print on paper. The work is glued on ivory cardboard. Total dimensions: 20 x 14 cm. Good conditions. The ...

Ex Libris - Marcel Jonckheere is a Modern Artwork realized by Gerard Schelpe (1906-1973) in 1959.. Ex Libris. B/W woodcut on paper. Monogrammed on plate and dated on the back...

John Kingerlee. Irish ( b.1936 ). John, 1967. A Self-Portrait. Ink On Paper. Signed & Dated Lower Left. Image size 11 inches x 8.5 inches ( 28cm x 21.5cm ). Frame size 15 inches x ...

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...

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...

Cupid and Motifs is a woodcut print realized by the Anonymous artist in the early 20th century. Good conditions with slight foxing. Beautiful tiny and delicate artwork realized by ...

Ex Libris is a Modern Artwork realized in mid 20th Century. B/W woodcut on paper. The work is glued on cardboard. Total dimensions: 20 x 14.5 cm. Mint conditions. The art...

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...

Ex Libris De Swart is an Artwork, woodcut print on ivory-colored paper. The work is glued on cardboard. Total dimensions: 20 x 15 cm. The artwork represents a well-balanced composi...

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...

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...

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

Profil De Lumière is a lithograph realized after Odilon Redon. It belongs to the suite "Odilon Redon Peintre, Dessinateur et Graveur", published by Henri Felury in 1923. Good cond...

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...

Portrait VI,VII, paper/etching, 9.8x9.8 cm,1989

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...

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...

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

"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...

The European Macabre Dance N.6 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed ...

The European Macabre Dance N.28 is a hand-colored lithograph, from the Series "La Danza Macabra Europea" illustrated by Alberto Martini (Oderzo, 1876 – Milan, 1954) in 1915. Signed...

Cavalier and Lady is an original woodcut print on paper, realized by unknown Artist of the early 20th Century. Hand-signed on lower right, illegible. Included a Passepartout: 25 x...

Nude of a man is a wonderful double-colored lithograph on paper realized by the German artist, Max Lingner (Leipzig, 1988- Berlin, 1969). Signature and date on plate on lower right...

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

Tuscan Landscape is a color linocut realized in 1970s by the Austrian artist Karl Rössing (1897-1987). Hand-signed and numbered on the lower margin. Edition 4.971 of 10.000. Ver...

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...

André Eugène Costilhes (1865-1940) Portrait of a Lady bears the stamp of the studio of André Eugène Costilhes in the lower right-hand corner pencil red chalk and heightenings of whi...

Monument X, paper/etching,86/99, 13.5x10 cm, 1989

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

Image dimensions: 24.5 x 31.5 cm. Centaur In The Smithy is an original print, realized in 1898. Black and white xylograph on applied Japon paper. Good conditions except for yellowing of paper (especially along the margins), and very light foxings on lower part of paper. The print was realized by Johann Jacob Weber and it's part of the series Meisterwerke der Holzschneidekunst (original title: SECHZEHN HOLZSCHNITTE NACH GEMÄLDEN ARNOLD BÖCKLIN...

Substantial and symbolic oil painting titled "Future" by Nune Asatryan (b.1967). Strong symbolic image of a ship at sea and bold anchor and chain...

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...