Symbolist Art

Frühling is a wonderful black and white photogravure of the original painting by Arnold Böcklin (Basel 1827 - Fiesole 1901), probably edited by Bruckman...

Bildnis mit florentiner Hut. is a beautiful black and white etching on cream-colored and laid paper, realized in 1898 by Hans Thoma. Monogram and Date on p...

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...

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...

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...

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...

Marc Chagall (1887-1985) - Moreover they made garments of ministration to minister in the Sanctuarie; they made also the holy garments for Aaron, as the Lorde had commanded Moses Li...

Ernst Max Pietschmann 1865 – Dresden – 1952 German Painter 'Moonlit Reflections on the Elbe at Pillnitz' Signature: signed lower right ‘Max Pietschmann’ Medium: oil on canvas Dimen...

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....

I worked on the idea of all that we bury, deep inside ourselves or that Nature buries with its force and violence.

John La Farge The Sphynx is Weary, She Dreams o'er the World, 1865 Initialed and dated lower right Gouache, watercolor and black chalk on illustration board 10 1/4 x 12 3/8 inches P...

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...

Titled "Cold Case: The Disappearance of Arthur in the Stars," this intriguing oil painting presents a visual narrative reminiscent of a detective's investigation board. The compositi...

In the painter's eyes, painting is an anthem of elegance and of beauty, as music. This artwork is a symbolist oil painting by Andrée Bars. 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...

Exhibit II, paper/etching, 68/99, 5.5x5 cm, 1989

Jealousy paper/etching, 19.5x15 cm, 1986

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...

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

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...

FREDERICK CAYLEY ROBINSON, ARA, RWS (1862-1927) A Summer Evening Signed l.r.: CAYLEY-ROBINSON; inscribed on the reverse: A Summer Evening/Exhibited at Leicester Galleries Oil on paper 16.5 by 18.5 cm., 6 ½ by 7 ¼ in. (frame size 38.5 by 40 cm., 15 ¼ by 15 ¾ in.) Exhibited: London, Leicester Galleries, Small Paintings and Sketches by the Late F. Cayley Robinson, ARA, RWS, December 1929 Born in Brentford-on-Thames, the son of a stockbroker, Robinson began his artistic training at the St John’s Wood...

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...

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...

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...

Confess, paper/etching, 9.8x7.5 cm

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

Akinesia paper/etching, 14x18 cm, 1989

Named "The lion cries", this hyper-realist oil painting on lin canvas by Andrée Bars invokes our planet situation, with the symbols of the lion and humming...

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 ...

Judith I, paper/etching, 13.5x9.5 cm, 1987

Architectural Details Catalogue 4, paper/etching, 81/99,10x9 cm

Monument XI, paper/etching, 13.5x10 cm

Acrylic, plastic, modeling paste on canvas

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...

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...

Marc Chagall (1887 Liozna near Vitebsk – 1985 Saint-Paul-de-Vence), Jerzy Ficowski: Lettre à Marc Chagall with five etchings by the artist, 1969 Technique: etching on paper Dimensio...

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...

French School 'Notre-Dame at Night' ‍ Oil on canvas 50 x 40 cm 1922

Lithograph of Symbolist painter Carlos Schwabe’s oil painting La mort du fossoyeur (The Death of the Gravedigger), 1895, published c. 1900 in Art et déc...

Gerhard Henning (1880–1967) Swedish-Danish Flöjtspelaren (The Flute Player), 1904 signed with monogram and dated lower left charcoal and ink on paper unframed 33 × 24 cm (13 × 9.4...

The artwork size is 15.25"x 26", oil on canvas. Signed lower left and dated and signed on verso. A gallery certificate is available.

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

Lady with an Umbrella, paper/etching,50/50, 10x7.5 cm

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...

A striking image from Gail Potocki's Seven Deadly Sins series, Lust is personified through a figure encircled by caressing tentacles Inspired by Hokusai's 1814 woodblock "The Dream o...

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...

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...

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...

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

Aija Zariņa is a prominent personality in Latvian art, actively advocating for idealism and personal freedom, against conformism. Her main theme is human existence, its fundamental c...

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....

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

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...

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...

Tango Boardgame Series: Alchemic Tango with acrylic paint, cold wax and rust paint and decorative paper on panel. Alchemy is an ancient proto-scientific and philosophical tradition o...

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...

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...

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...

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...