Tree Art

Samuelle Green’s work has always been multidisciplinary. Throughout all her mediums; painting, drawing, sculpture, and installation, there is a common thread of subject matter – that...

Frank Lewis Emanuel 1865 - 1948 By the River, Montreuil Oil on board, signed and inscribed on reverse Image size: 13 1/4 x 10 inches (33.5 x 25.5 c...

Tomas Sanchez "Untitled" 1995 Pastel on paper 12 x 18 in Included a certificate of authenticity by the artist Tomás Sánchez paints imagined landscapes that fall into two radically d...

New York City Street by Fernando Natalici: Manhattan 1984. The simplicity & grace of a metal sign featuring a cowboy boot sways in the wind. The trees twist and bend around the boots...

Alice in Acapulco - Alice Topping Poses by Pink Flowers and Palm Trees by Slim Aarons 16 x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. "Alice i...

Oil on linen board - 3mm MDF. Wimbledon Common. Varnished, unframed. ADDITIONAL INFORMATION: Original painting Oil paint on board Complete size of unframed painting: 24 H x 30 W x 1...

Original painting signed by the Artist lower right.

Bluebell woods 1 is an original painting by Rosemary Farrer. At this time of year I head for the woods to paint the bluebells. The colours are very hard to capture, not quite purple, not quite blue, photographs don't quite do them justice. This is where a painting has an advantage over a photograph, a combination of cooler blues and warmer purples, side by side, mix optically and create a shimmering field of colour, flecks of lime green from the new beech leaves provide the perfect foil. Rosemary Farrer, artists and printmaker sells with Wychwood Art online and in our art gallery in Oxfordshire. Rosemary paints in oils and also makes original prints. The prints are in no way copies of the paintings, they are conceived of, and made, as a response to the special and wonderful effects that can be achieved only through the various techniques of printmaking, whether it be the graphic, dynamic marks of a linocut, or the subtle tones and textures achievable in aquatint and etching. Design, composition and the use of colour are what excite her. She spends a lot of time drawing and painting outside, back in the studio, she will distil these ideas into strong graphic woodcuts, and linos or subtly textured etchings. Recent monotypes draw together the threads of her different media, with their graphic shapes and rich painterly colours. She studied fine art at Camberwell School of Art and The Ruskin School of Drawing, and learned printmaking at Morley College [London]. She has exhibited prints...

Come With Me 7, 2011 - Fern Plants on Forest Floor in English Woodland Landscape by Ellie Davies Come With Me 7 is a stunning Digital C-Type Print on Fuji Maxima Matte paper, availa...

Rezalia Thrash (1893 - 1982) Dallas Artist Image Size: 24 x 30 Frame Size: 30 x 36 Medium: Oil "Trees" Biography Rezalia Thrash (1893 - 1982) Rezalia C Thrash was the first ...

Acrylic paint on raw canvas.

Anne Sargent Walker’s “Flirtation Migration 5” is a 20 x 30 x 1.5 inch framed landscape painting on wood panel. The oil, acrylic and collage work in greens and soft blues with accent...

A group of skiers stand in line waiting for the ski lift in Vail, Colorado, USA, 1964. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the ...

Cityscape Harvey Kidder, American (1918–2001) Date: circa 1985 Aquatint Etching, Signed and numbered in Pencil Edition of 150 Image Size: 19 x 18 inches Size: 30 x 22 in. (76.2 x 55....

A little Bit of London and A little bit of Canary Wharf diptych Overall size cm : H48 x W102 Jayson Lilley A little bit of Canary Wharf Limited Edition City Scape Print Hand pulled Screen Print with Gold Leaf, Finished with Pen and Ink on Archival Museum Board Size: H 24cm x W 51cm x Sold Unframed Edition of 50 (Please note that in situ images are purely an indication of how a piece may look.) Jayson Lilley A little Bit of London Limited Edition City Scape Art...

Ahzad Bogosian Twilight on the Creek acrylic on canvas 24h x 36w in 60.96h x 91.44w cm Framed Dimensions 25h x 37w x 2d in 63.50h x 93.98w x 5.08d cm AZB157 Ahzad Bogosian SOLO EX...

Bowling (Ghost Town) - 2020 Sketches of a downtown disappearing. 40x40cm, Edition of 7, plus 2 Artist proofs. Digital silver gelatin print based on a Polaroid. Signed on back wit...

An oil painting by American Artist Kelly Carmody. Painted en-plein-air in Vermont, a pond has frozen over. A single tree stands straight up, adorned with just a couple of branches of...

The pristine, symmetrical and orderly landscape brings an unnatural stillness to John Hrehov's painting entitled "Rising". The owl is central to the sparse landscape peeking out of it's home in the tree. Straight lines and geometric patterns are used to compose a glossy concept of reality. The painting is framed in a simple dark gray wooden frame measuring 25.25 x 29.25 inches. John Hrehov Rising oil on panel 24h x 28w in 60.96h x 71.12w cm JHR012 John Hrehov Education 1985 MFA-Painting, University of Illinois at Urbana-Champaign 1981 BFA-Painting, Cleveland Institute of Art, Cleveland, OH. Solo Exhibitions 2017 John Hrehov, Paintings and Drawings. Tom Thomas Gallery, Indiana University East, Richmond, IN. 2012 Shades from White to Black, New Drawings. Denise Bibro Fine Art, New York, NY. 2011 John Hrehov: Charcoal. Indiana University - Purdue University Fort Wayne. 2009 John Hrehov: A Survey 1999-2009 Denise Bibro Fine Art, New York, NY. Paintings and Drawings. Seerveld Gallery, Trinity Christian College, Palos Heights, IL. 2004 John Hrehov: Drawings and Paintings. Denise Bibro Fine Art, New York, NY. 2002 Paintings. Denise Bibro Fine Art, New York, NY. 2001 Charcoal. Indiana University - Purdue University Fort Wayne. John Hrehov, Paintings and Drawings. Wood Street Gallery, Chicago, IL. 2000 The Picture Proper. Denise Bibro Fine Art, New York, NY. Fearful Symmetry. Fort Wayne Museum of Art, Fort Wayne, IN. Allegories in Contemporary Life. Yvonne Rapp Gallery, Louisville, KY. 1999 Paintings and Working Drawings. Adams Hall Gallery, Wheaton College, Wheaton, IL. 1998 John Hrehov. Denise Bibro Fine Art, New York, NY. John Hrehov: Paintings and Drawings. Wood Street Gallery, Chicago, IL. 1997 Object Lesson, Paintings, and Drawings by John Hrehov. Yvonne Rapp Gallery, Louisville, KY. 1995 John Hrehov. Trinity Art Gallery, Trinity Christian College, Palos Heights, IL. 1993 John Hrehov: Selected Works 1980-1992 Indiana University - Purdue University Fort Wayne. Group Exhibitions 2019 2019 Alumni Exhibition. Reinberger Gallery at The Cleveland Institute of Art, Cleveland, OH. Out Of The Closet. Denise Bibro Fine Art, New York, NY. 1026 West Berry Street: The Fort Wayne Art School. Fort Wayne Museum of Art, Fort Wayne, IN. 2018 Artlink Regional Exhibition. Artlink Contemporary Art Gallery, Fort Wayne, IN. 2017 Sola Grace-Faith-Scripture: An Exhibition of Sacred Visual Art. Good Shepherd Institute at Concordia Theological Seminary, Fort Wayne, IN. Norman Bradley...

This artwork actually contains two landscapes. The inner landscape depicts a forest of birch trees at dawn or at dusk, with a purple sky and a fuzzy Sun. The ground is full of colored small flowers and plants. The outer landscape depicts a night green landscape through birch branches, with clouds and the Moon. Although both landscape can't actually merge, some branches of the inner landscape extends into those of the outer landscape, which makes this painting surrealist. Both landscapes are separated by a pink mosaic...

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...

My painting is an inquiry. I make images as a way of responding to experiences that are important to me. Experiences that help me to understand why I’m in this world often happens wh...

Autumn. 1967. Oil on cardboard, 68x57 cm Edgars Vinters (1919-2014) Edgars Vinters is working in oil, watercolor and monotype techniques. He paints landscapes in different seasons a...

Original Oil painting by Ukrainian artist Evgeny Chernyakovsky "Forest " 60.0 X 80.0 CM / 23.6 X 31.4 IN HIGH QUALITY oil on canvas Signed on the front and back Dated 2022 Go...

‘Bears in the Woods’ is a playful silkscreen print depicting a number bears going about their business in autumnal woods. This 6 colour silkscreen is printed on Somerset Velvet, a he...

Redwoods in the Snow by Bernice Huntington 1906-1998 Idyllic scene depicting a creek running through a snowy redwood forest. The trees reflect slightly in the water and add a pop of...

H-Allen Benowitz is a self-taught photographer, born and raised in Brooklyn, NY, and a graduate from the Interboro Institute of Business in Manhattan, migrated to Miami, FL in the 19...

In his oil painting, “Under the Hemlocks,” Walter Launt Palmer paints a small brook in a snowy wood.

Painting "AUTUMN", artist Oleksandr Khrapachov. is the embodiment of the charm of an autumn morning, when nature takes the breath away with its changeability and beauty. The fog that...

Chris Forrest, American (1946 - ) - Bob White Quails , Year: circa 1980, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP XL, Image Size: 22 x 18 inches, Size:...

Vintage Oil Painting Luminous Mountain Landscape by F.A. Millard c.1925 Original oil on panel Panel dimensions 10" wide x 15" high The frame measures 12.5" wide x 17.5" high Sign...

A charming watercolour scene of a stork standing by the river looking out over the woodland landscape. Signed to the lower right. On paper.

Both spare and dynamic, Karl Hartman’s hyper-saturated countrysides and surreal depictions of Americana perfectly match the vividness of our late-summer heatwave. Hartman’s tightly c...

Silverwood [2022] limited_edition Screen print Edition number 50 Image size: H:56 cm x W:25 cm Complete Size of Unframed Work: H:56 cm x W:25 cm x D:0.1cm Sold Unframed Please note ...

Chromogenic print on Kodak Endura paper Signed and numbered on label, verso 24 x 20 inches (Edition of 4) 61 x 50 inches (Edition of 6) This photograph is offered by ClampArt, loca...

Perfection exists in the form of blue eyes two arm thick waists and Malibu skies Perfection exists in thick sultry words free of fallacy too undeterred What is good? Wha...

'Snow in Provence', oil on board, by Yves Brayer (circa 1960s). A rare and atmospheric landscape by Yves Brayer, capturing an exceptional moment in the Provençal countryside. Snow in...

A charming landscape study depicting a country park in the height of summer. The artist captures the scene in various shades of green showing the vast range of summer foliage. Signed...

Black and white fine art long exposure waterscape - landscape photography print. Archival pigment ink print, edition of 15. Signed, titled, dated and numbered by artist. Certificate ...

Carl Linstrum's "Fade" series of paintings speak to disappearing ecosystems in a time of increasing climate crises, while celebrating the sheer beauty of nature through richly painted and textured imagery. On any level, Linstrum's Fade paintings...

Winter Landscape, 2016, 40 x 40 cm, edition of 10, digital C-Print based on a Polaroid, hand-numbered and signed on the back by artist. unmounted Artist Statement “Since my childh...

Tree of Life - 2017, Edition 3/7, 2 APs Based on an original Impossible film Digital C-print, not mounted. Signed on the back and with certificate. Artist inventory PL2017-797 Kirst...

This is an original John James Audubon hand-colored royal octavo lithograph entitled "American Black Bear", No. 29, Plate CXLI from Audubon's "Quadrupeds of North America". It was dr...

A poolside party at Phil Richards' home in Fort Lauderdale, Florida, May 1970. Slim Aarons Estate Edition, Certificate of Authenticity included Numbered and stamped by the Slim Aar...

Key West Bungalow She sang beyond the genius of the sea. The water never formed to mind or voice, Like a body wholly body, fluttering Its empty sleeves; and yet its mimic motio...

Title: Scent of Flower Medium: Oil on canvas Size: 20 x 24.5 inches Frame: Framing options available! Condition: The painting appears to be in excellent condition. Note: This p...

Winter Landscape oil/board 16.75 x 12.75 unframed image, 17.63 x 13.38 framed Here is a beautiful winter snow scene oil painting on board b...

Edition of 10. Fujicolour / DMEL: professional photo paper (from Kodak).

Black and white fine art landscape photography. Avenue of hedges in the garden of Versailles palace in Paris, France. Archival pigment ink print, edition of 9. Signed, titled, dated ...

Known for his use of paint; Don Sahli's brush stroke is exciting and carries a positive emotion to the viewer. His work is diverse carrying many labels inclu...

Farmland Study 3, Austria - no. 11524 Single tree in cornfield in stormy weather, international winning photography, Austria. Archival pigment ink print as part of a limited edition...

"Mountain Waters, Romans 1:11-12" (2025) by Thomas Kegler is an original, handmade oil painting that depicts a mountain river with serene waters. About the artist: Thomas Kegler’s ...

Ulrich Gleiter's (Europe based) "Winter Sunset" is an impasto oil painting that depicts a blue tinted winter sunset peeking out from behind barren snow c...

Archival pigment print Signed and numbered, verso 16 x 24 inches (Edition of 10) 20 x 30 inches (Edition of 7) 30 x 45 inches (Edition of 3) This photograph is offered by ClampArt...

Titled with artist's reference number and signed in pencil by Cole Weston with Edward Weston's facsimile signature on back of mount. Printed later from the original negative, now retired and housed at the Center for Creative Photography...

Marc Etherington’s works take pop culture, childhood memories and everyday domestic life as their subject matter, rendering them through a darkly humorous and sometimes absurd lens. ...

"Saxum Velum (stone sail)" by John Van Alstine Granite and bronze The sculpture of John Van Alstine beautifully, and powerfully, balances the union of stone and metal, while explori...

An oil painting of a verdant, wooded area, painted en-plein air in Arkansas. An old, rusted, abandoned race-car, a BMW Triumph, is the focal point behind a time-honored stone wall. D...

Titled "The remote", this artwork created by Frank Girard, utilizes pigments, Chinese ink, watercolors, acrylics, and colored pencils on 400g/m2 neutral white paper. It remains unfra...