Chicago - Art

Despite its explicit content, this intimate scene conveys a sense of tenderness and romantic love characteristic of Chinese erotic art. Known as “sp...

QUEEN OF KATMAI Katmai National Park, Alaska, 2017 Edition of 20: 24” x 36” (61 x 91.4 cm) - $3,500 Edition of 15: 31” x 46.5” (78.7 x 118.1 cm) Edition of 10: 40” x 60” (101.6 x 15...

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

Chicago-based fine art painter Bruno A. Surdo is classically trained in drawing and oil painting in the tradition of Renaissance masters. With strong command of the human form, Surdo...

This is a large scale black and white photo of Marlon Brando as a young man at his family farm with his dog. In 1951 Life Magazine asked Art Shay to photograph Marlon Brando at his family home in Libertyville, IL. This is one of the photos from that shoot. In 2000, Art Shay published Album for an Age: Unconventional Words and Pictures from the Twentieth Century. This artwork is matted and framed. Art Shay Marlon Brando Kissing Dog...

Martin Luther King speaking at a civil rights rally in central Los Angeles in 1963. Julian Wasser took this photo for TIME Magazine. Years later former president Barack Obama purchas...

After Egon Schiele (1890 – 1918), AUSTRIA “ART CANNOT BE MODERN, ART IS PRIMORDIALLY ETERNAL.” -SCHIELE Defiantly iconoclastic in life and art, Egon Schiele is esteemed for his mas...

“Ash Wednesday of Ashes” March 4, 1908 At approximately 9:30 a.m. on Wednesday, March 4, 1908, a fire started in the basement near the furnace, under the front stairwell of the school, which blocked the front door. Panicked children were trapped by a crush of bodies in the doorway of the exit of the rear stairwell, trapping the rest of the students and teachers in the upper floors. The community rushed to the school for rescue efforts only to find an impenetrable wall of bodies at the doors. Unable to help, rescuers could do nothing for nearly four hours but watch in horror as some children jumped from the windows to escape, while others remained trapped in the inferno. Firefighters eventually arrived from 10 miles away in nearby Cleveland, but they were too late. 175 perished including two teachers and one rescue worker. Eric Edward Esper Collinwood School Fire, Ohio 1908 oil on canvas 22h x 28w in (29.5h x 34w in, framed) 55.88h x 71.12w cm EEE010 Eric Edward Esper After obtaining my BFA in Illustration from Northern Michigan University in 1996 I relocated to Chicago to pursue my artistic endeavors. Here, I began exclusively oil painting and have assembled a body of paintings chronicling scenes of Chicago done primarily in plein air. Capturing parts of the city’s landscape during its cultural evolution had been my way of conveying history as a painter. My fascination with landscapes and history has led me to create oil paintings of scenes that have affected us in dramatic ways. Recently I have begun painting aerial views of locations that have interesting historical significance, encapsulating true stories that are hard to imagine and harder to forget. My latest paintings capture these places and depict them with historically accurate attention to detail. Using various sources I recreate these scenes with as many photographs of every angle of the incident and research the stories, submersing myself in the event. My newest body of paintings depicts events with a more historically tragic significance, depicting scenes of the darkest hours in America’s Midwest history, where the landscape became the backdrop for tragedy and calamity. These events that irrevocably altered so many lives are important to remember, not only for the people lost and how it affected our culture, but also to remind us that disaster can occur at any time, anywhere. Eric Edward Esper EDUCATION 1995 BFA, Illustration, Northern Michigan University, Marquette, Michigan SELECT EXHIBITIONS 2013 Chicago Catastrophes, Conflagrations, and Calamities, Solo show, Linda Warren Projects, Chicago, Illinois 2012 Group show, Metropolitan Capital Bank, Chicago, Illinois 2012 Ten year anniversary show, Sulzen Fine Art Studio, Chicago, Illinois 2010 Group show, Concordia University, River forest, Illinois 2009 Holiday Show, Sulzen Fine Art Studio, Chicago, Illinois 2008 Somewhere, Elsewhere, Group show, Linda Warren Gallery, Chicago, Illinois 2008 Scene in Chicago, Group show, Judy Saslow Gallery, Chicago, Illinois 2007 Holiday Show, Sulzen Fine Art Studio, Chicago, Illinois 2007 Cityscapes, Solo Exhibition, Oculus Gallery, Chicago, Illinois 2006 Solo exhibition, Meztli Gallery, Chicago, Illinois 2005 Around the Coyote 2005, Biannual Art Festival, Chicago, Illinois 2004 Chicago Art Open 2004, Chicago Artists' Coalition annual exhibit. Chicago, Illinois 2004 Chicago Images, Group show, Frederick Baker Inc. Chicago, Illinois 2004 Around the Coyote Winter Festival, Curator's Choice Show, Biannual art festival, Chicago, Illinois 2003 Landscape Unlimited, Group show, Fine Arts Building Gallery, Chicago, Illinois 2002 Chicago Art Open 2002, Chicago Artists' Coalition annual exhibit, Chicago, Illinois 1998 Shoe Show, Group show, Ariana Gallery, Royal Oak, Michigan 1998 Art and Design Alumni Exhibit, Lee Hall...

Original 1968 poster for exploitation film legend Herschell Gordon Lewis's She Devils on Wheels. A masterful statement of 1960s graphic design, this oversized drive-in poster was acq...

A Fine 1930s Modern Academic Figure Study Drawing, Depicting an Artist's Sketch Class and a Seated Young Male Mode by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An excep...

Helen Oh's painting simply titled "Still Life with Tulips" is done in the style made famous by the Dutch Artists of the 17th Century. The simplicity of the p...

A Fine 1930s, Modern Academic Figure Study Drawing of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed, early 1930...

Frank Sinatra at home in Hoboken New Jersey. Circa 1939. Relaxing in bed reading the cartoons from the newspaper. Photo taken by Nancy Sinatra Senior. G...

The three prints included in this set are: "Retreat from Marignano", "Retreat from Marignano (left panel)", "Retreat from Marignano (right panel)". 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 Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser and subsequent Expressionist artists such as Egon Schiele. He was born into an impoverished family in Bern, Switzerland in 1853. His entire family succumbed to tuberculosis, and he was orphaned by the age of 13, the only surviving child among his 13 siblings. In the absence of family, the influence and guidance which his art instructors provided Hodler was foundational and profound. Hodler began formal studies in 1872 at the Geneva School of Design. Under Barthelemy Menn, Hodler was drawn to the ordered beauty of Euclidian geometry and Durer’s fundamentals of human proportion that proved to be guiding principles informing his art throughout his life. By the 1880s, Hodler began to enjoy some recognition for his work which put him on a new path towards stability. Remaining in Geneva, he became assistant to the well-known muralist, Edouard Castres. Following his first solo show in 1885, Hodler’s work took on a Symbolist quality. He frequently associated with a group of Swiss Symbolist...

Ceramic vase designed by Paul Dachsel for Amphora featuring delicate gold cross-hatching and relief elements to evoke peacock feathers. Polished gold glaze around mouth, on handles, and base relief...

A Fine, Modern 1930s Academic Anatomical Figure Study Drawing of a Standing Young Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well exe...

My work is about something I wish I could have seen, imaginary worlds, a commentary on awe that is inspired by nature, science, and history. Objects in my work are a stand in for the...

British rock band Queen, 1975. Clockwise from front, singer Freddie Mercury, drummer Roger Taylor, bassist John Deacon and guitarist Brian May Paper size: 16 H x 20 W inches Mat...

Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Artist Proofs Artist Poem on "A Window Open...

Oil, Gesso, & Recycled Plastic on Canvas 96 x 38 in (243 x 96 cm) "This collection was inspired by my ongoing fascination and respect for water and our environment, which has bee...

A Fine, 1940s Mid-Cenrury Modern Academic Figure Study Drawing of a Standing Male Nude Model by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An exceptionally well executed...

An abstracted interior scene on a bathroom scene in which a man showers as his 'ghosts' are washed away. "Chubb" is painted in shades of blue bringing a melancholy to the overall aes...

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 Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...

DAS WERK GUSTAV KLIMTS, a portfolio of 50 prints, ten of which are multicolor collotypes on chine colle paper laid down on hand-made heavy cream wove paper with deckled edges; 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...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East...

The Beholder Rwanda, 2018 24 × 36 in / 61 × 91.4 cm / Edition of 20 31 × 46.5 in / 78.7 × 118.1 cm / Edition of 15 40 × 60 in / 101.6 × 152.4 cm / Edition of 10 60 × 90 in / 152.4 ×...

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...

The Gold of the Moment Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Artist Proofs Artis...

Available Sizes: 16” x 20” Edition of 25 with 3 Artist Proofs 20” x 24” Edition of 10 with 3 Artist Proofs 30” x 40” Edition of 7 with 3 Artist Proofs Artist Poem on "The Sea Also ...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

A Pair of 1940s "Thumb Box", oil on paper paintings depicting stone wall menders in Thetford, Vermont. Image size: 4 1/2" x 6 each. Framed size: 6 1/2" x 7 3/4" each. Estate st...

An early 1940s fashion study featuring an advertisement for Lilly Daché Perfume. Artwork size: 11" x 8 1/2". Archivally matted to 12". x 16". Provenance: Cornelia Steckl-Jurin...

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 Muhlestein appeared. Its author, a young scholar, expressed his frustration with the limited availability of printable work by Hodler. In his Author’s Note on page 19, dated Easter, 1914, Muhlestein confirms that the publisher of Hodler’s three works from that same year owned the exclusive reproductive rights to Hodler’s printed original work. He goes further to explain that even after offering to pay to use certain of those images in his book, the publisher refused. Clearly, a lot of jockeying for position in what was perceived as a hot market was occurring in 1914. Instead, their timing couldn’t have been more ill-fated, and what began with such high hopes suddenly found a much different market amid a hostile climate. The onset of WWI directly impacted sales. Many, including Ferdinand Hodler, publicly protested the September invasion by Germany of France in which the Reims Cathedral, re-built in the 13th century, was shelled, destroying priceless stained glass and statuary and burning off the iron roof and badly damaging its wooden interior. Thomas Gaehtgens, Director of the Getty Research Institute describes how the bombing of Reims Cathedral triggered blindingly powerful and deeply-felt ultra-nationalistic responses: “The event profoundly shocked French intellectuals, who for the most part had an intense admiration for German literature, music and art. By relying on press accounts and abstracting from the visual propagandistic content, they were unable to interpret the siege of Reims without turning away from German culture in disgust. Similarly, the German intelligentsia and bourgeoisie were also shocked to find themselves described as vandals and barbarians. Ninety-three writers, scientists, university professors, and artists signed a protest, directed against the French insults, that defended the actions of the German army.” In similar fashion, a flurry of open letters published in German newspapers and journals as well as telegrams and postcards sent directly to Hodler following his outcry in support of Reims reflected the collectively critical reaction to Hodler’s position. Loosli documents that among the list of telegrams Hodler received was one from none other than his publisher in Germany, R.Piper & Co. Allegiances were questioned. The market for Hodler in Germany immediately softened. Matters worsened for the publisher beyond the German backlash to Hodler and his loss of appeal in the home market; with the war in full swing until 1918, there was little chance a German publisher would have much interest coming from outside of Germany and Austria. Following the war and Hodler’s death in 1918, the economy in Germany continued to spiral out and just 5 years later, hyper-inflation had rendered its currency worthless vis-a-vis its value in the pre-war years. Like the economy, Hodler’s reputation was slow to find currency in these difficult times. Even many French art fans had turned sour on Hodler as they considered his long-standing relationship in German and Austrian art circles. Thus, the portfolio’s rarity in Hodler’s lifetime and, consequently, the availability of these printed images from DAS WERK FERDINAND HODLERS since his death has been scarce. In many ways, Hodler and his portfolios were casualties of war. Thwarted from their intended purpose of reaching a wide audience and show-casing Parallelisme, Hodler’s unique approach to art, this important, undated work has been both elusive and shrouded in mystery. Perhaps DAS WERK FERDINAND HODLERS was left undated as a means of affirming the timelessness of Hodler’s art. Digging back into the past, Hodler’s contemporaries, like R. Piper, C.A. Loosli and Hans Muhlestein, indeed provide the keys to unequivocally clarify what has largely been mired in obscurity. Just after Hodler’s death, the May, 1918 issue of the Burlington Review ran a small column which opined hope for better access to R.Piper & Co.’s DAS WERK FERDINAND HODLERS; 100 years later, it is finally possible. Hodler’s voice rings out through these printed works. Once more, his modern approach to depicting portraits, landscapes and grand scale scenes of Swiss history speak to us of what is universal. Engaging with any one of these images is the chance to connect to Hodler’s vision and his world view- weltanschauung in German, vision du monde in French- however one expresses these concepts through language, its message embedded in his work is the same: “We differ from one another, but we are like each other even more. What unifies us is greater and more powerful than what divides us.” Today, Hodler’s art couldn’t be more timely. FERDINAND HODLER (SWISS, 1853-1918) explored Parallelisme through figurative poses evocative of music, dance and ritual. His images of sex, night, desertion and death as well as his many landscapes exploring the universal longing for harmony with Nature are unique and important works embodying a Symbolist paradigm. Truly a Modern Master, Hodler’s influence can be felt in the work of Gustav Klimt and Kolomon Moser...

At what appears to be a costume party, this beautiful woman, draped in a sheer tunic, must have been the center of attention. Dressed as Aphrodite, she clearly commands those around her. With his camera as his constant companion, Shay was able to capture moments of everyday life and make them extraordinary. This artwork is currently unframed. Contact gallery for framing options. Art Shay Woman in Sheer Dress silver gelatin print 20h x 16w in 50.80h x 40.64w cm 7ED.1.20.12005 ASY12005 “Art Shay’s photography shakes you up, sets you down gently, pats you on the head and then kicks you in the ass.” Roger Ebert “[Shay’s work] ranks with some of the greats of the 20th century.” Ellen & Richard Sandor, Renowned photo collectors “I’ve admired Art Shay’s work for almost forty years, and he keeps getting better. He can do anything with a camera, but what he mostly does is capture real moments and transform them into visual poetry. His work continues to be an inspiration to me.” William Friedkin, Director of French Connection “Art Shay is one of our finest photographers. His work over the past fifty years has artfully captured the beauty, humor, and pathos of America.” Studs Terkel “Art Shay is one of the best photojournalists I know. I’ve been a fan of his work since the early 1950s - before the launch of playboy magazine.” Hugh Hefner “Algren, Terkel, Royko, they gave us a voice. Art Shay gave us a face.” Tony Fitzpatrick, Chicago Artist “Art Shay is America’s Cartier-Bresson.” Thomas Dyja, author of The Third Coast “Chicago’s Art Shay in many ways is to American photography what Nelson Algren was to American writing: that rare and absolutely necessary citizen who’s blessed with a cold eye, a clear head, and a warm heart. What is it about Chicago that keeps giving us men like this?” Russell Banks, Novelist “The best images of Simone de Beauvoir and her times have been passed down to us by Henri Cartier-Bresson, Gisele Freund, Robert Doisneau, Georges Brassai, and in America, the Chicago-based Art Shay, all world-class photographers.” Christophe Loviny, Art Editor, Paris “Art Shay is the best photo-journalist Chicago ever produced.” Arthur Siegel, photographer; IIT Institute of Design President “I have one of Art Shay’s pictures over my desk. It reminds me every morning of my Chicago roots. Arts photos, like me, have the Chicago accent, which may be to say he’s telling you the truth. I think it takes a realist to see the humor in things. I know it takes a realist to see the depths of tragedy. Art’s work is so real it feels like a Madison Street guy tapping me on the forearm.” David Mamet

Based in Chicago, IL, contemporary artist Michael Thompson creates unique kites, collages and mixed media works assembled from material fragments of past and present collected in his...

Pallas Athene, no. 9 from the third installment of Das Werk Gustav Klimts The Klimt-led Vienna Secession which rebelled against the Academic State-run e...

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG BALLET UND PANTOMIME...

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...

Don Pollack Section 35 oil on canvas 48h x 48w in 121.92h x 121.92w cm DJP007 Don Pollack BIOGRAPHY Don Pollack is a Painter and Adjunct Associate Professor of Visual Communication at theSchool of t he Art Institute of Chicago. His work investigates among other things, the relationship between personal mythologies and representation in painting and how it may simultaneously give reference to a narrative.Working in cross disciplines has influenced his perspectives as projects begin with an epic adventure. Conceptually proceeding from the premise that all vision is historic and constructed, Pollack’s research starts with the planning of a long distance trek,– such as a 3000 mile journey via bicycle following Lewis and Clark. His work has utilized maps, documents, photography, painting, and installation.This work was routed in a previous investigation into the role of museums in the process of forming collective memory. Don studied design at the University of Illinois and painting at the Ohio State University where he received his MFA.The state of Illinois has recognized his history based work with a special bicentennial edition of the ‘Order of Abraham Lincoln’ award. He has exhibited nationally and internationally and has shown many solo shows in, Chicago, NewYork, Atlanta, and Canada. Don Pollack EDUCATION m.f.a. Ohio State University Columbus,Ohio b.f.a. University of Illinois Urbana, Illinois SOLO EXHIBITIONS 2016 Bridgeport Art Center, this land is not empty, Chicago, Illinois Carnegie Museum for Art and History, bernheim arboretum, New Albany, Indiana 2013 Perimeter Gallery, 34 days to washington, Chicago, Illinois 2011 Newzones Gallery, far from home, Calgary,Alberta, canada MarciaWood Gallery, far from home, Atlanta,Georgia 2010 Perimeter Gallery, mysterious island, Chicago, Illinois Marquette University Law Library, laying the foundation [a Lincoln Portrait], Milwaukee, Wisconsin 2009 Abraham Lincoln Presidential Library and Museum, the lincoln project, Springfield, Illinois The Union League Club, the lincoln project, Chicago, Illinois 2007 Newzones Gallery, the sheltering sky, Calgary,Alberta, canada Merwin andWakeley Galleries, IllinoisWesleyan University, american inheritance, Bloomington, Illinois MarciaWood Gallery, night, Atlanta,Georgia 2006 MargaretThatcher Projects, american gothic, past imperfect, NewYork,NewYork Perimeter Gallery, improvisation, Chicago, Illinois 2005 Newzones Gallery, missives, Calgary,Alberta, canada MarciaWood Gallery, south of the tennessee, remains of the campaign, Atlanta, Georgia 2004 Perimeter Gallery, voyages of discovery, from the earth to the moon, NewYork, NewYork 2003 Newzones Gallery, garden of forking paths, Calgary,Alberta, canada Perimeter Gallery, a search for heroes, lincoln & the illinois landscape...

A Fine 1930s Modern Academic Figure Study Drawing, Depicting an Artist's Sketch Class and a Seated Young Male Mode by Notable Chicago Artist, Harold Haydon (Am. 1909-1994). An excep...

Inspired by the ancient trompe l'oeil roman frescos of the Villa di Livia, this gardenscapes by artist Carol Pylant focuses on the most deteriorated and weathered sections of the frescos. Amidst the flora, the artist inserts an architectural element, an ode to her travels and teaching in Italy. By combining the present with the past, the artist continues her exploration of our spiritual and concrete connections with the ancient world. This piece is framed measuring 25.5h x 25.5w inches. Carol S. Pylant Entrata Severa oil on panel 24h x 24w in 60.96h x 60.96w cm CSP031 CAROL PYLANT Resume Title Artist / Emeritus Professor, University of Wisconsin-Madison Education 1979 M.F.A. Painting, Wayne State University, Detroit, MI 1977 B.F.A. Painting, Wayne State University, Detroit, MI Academic Appointments 1996 - 2011 Professor, University of Wisconsin-Madison 1991-96 Associate Professor, University of Wisconsin-Madison 1987-91 Assistant Professor, University of Wisconsin-Madison 1985 Instructor, Simmons College, Boston, MA 1984 Instructor, Art Institute of Boston, Boston, MA 1984 Instructor, DeCordova Museum and School, Lincoln, MA 1984 Instructor, Brookline Arts Center, Brookline, MA 1982-84 Assistant Professor, California State University, Long Beach, CA 1978-82 Instructor, Wayne State University, Detroit, MI International Teaching 2011 Professor, UW- Madison, Villa Corsi Salviati, Sesto-Fiorentino, Italy 2006,7 Visiting Affiliate Professor, Santa Reparata International School of Art, Florence, Italy International Artist Residencies 2017 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 2015 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 2002 Fundacio J. Llorens Artigas, Barcelona, (Gallifa) Spain 1990 The Tyrone Guthrie Center, Co. Monaghan, Ireland 1990 Oberpfalzer Kunstlerhaus,Schwandorf/Fromberg, West Germany 1987 Rockefeller Foundation Residency Fellowship, Bellagio, Italy 1987 The Karolyi Foundation, Vence, France International Research Awards 2010 Faculty Research Fellowship, UW-Madison, "Villa di Livia Frescos, Museo Nazionale, Rome, Italy" 2005 Faculty Research Fellowship, UW-Madison, "Romanesque Art in France" 2004 Faculty Research Fellowship, UW-Madison, "Paintings Inspired by Romanesque Art in France" 2002 Faculty Research Fellowship, UW-Madison, "Pagan or Christian, Romanesque Art in Spain" 1998 Faculty Research Fellowship, UW-Madison, "Paintings of Neolithic Monuments in Brittany" 1996-7 Vilas Associate Award, University of Wisconsin System, "Paintings of Prehistoric Stone Circles, Ireland and the British Isles 1995 Faculty Research Fellowship, UW-Madison, "Paintings of Celtic Ceremonial Sites in Ireland and the British Isles" 1993 Faculty Research Fellowship, UW-Madison, "Egg Tempera Paintings in Florence, Italy" 1992 Faculty Research Fellowship, UW-Madison, "Paintings of Ireland" 1990 Faculty Research Fellowship, UW-Madison, "Figure and Environment: Ireland" 1989 Faculty Research Fellowship, UW-Madison, "Figure and Environment Painting: Germany" 1988 Faculty Research Fellowship, UW-Madison, "Figure and Landscape Painting: Umbria, Italy" Other Awards 2008 Faculty Research Fellowship, UW-Madison 2007 Sabbatical, University of Wisconsin-Madison 2006 Faculty Research Fellowship, UW-Madison 2002-3 Emily Mead Baldwin-Bascom Named Professorship, University of Wisconsin 2000 Alumni Arts Achievement Award, Wayne State University Dept. of Art & Art History, Detroit, MI 2000 Faculty Research Fellowship, UW-Madison 1999 Faculty Research Fellowship, UW-Madison, "Past /Present: Paintings based on Celtic Imagery" 1999 Sabbatical, University of Wisconsin 1998 Wisconsin Arts Board Visual Arts Fellowship 1993 Faculty Development Grant, "Figurative Sculpture" University of Wisconsin System 1991,93 Visual Arts Development Grant, The Wisconsin Arts Board 1989 Visual Arts Fellowship for Painting, The Wisconsin Arts Board, Madison, WI 1988 National Endowment for the Arts Regional Visual Arts Fellowship, Arts Midwest 1986 Residency, Yaddo Corporation, Saratoga Springs, NY 1985 Residency, The Millay Colony for the Arts, Austerlitz, NY 1985 Residency, The Virginia Center for the Creative Arts, Sweet Briar, VA 1985 Milton and Sally Avery Award for Painting, The MacDowell Colony, Peterborough, NH 1984,5,6 Residency, The MacDowell Colony, Peterborough, NH International Exhibitions 2010 Handmade Artist's Journals, Villa Corsi Salviati, Sesto-Fiorentino, Italy 2008 Oberpfalzer Kunstlerhaus, Schwandorf, Germany 1995-99 Jorgensen Fine Art, Dublin, Ireland 1994 "Exquisite Corpse" Transmission Gallery, Glasgow, Scotland 1992 "Faces and Places of Ireland" Ulster Bank, Ardara, Co. Donegal, Ireland 199l "Ardara Annual Show" Ardara, Co. Donegal, Ireland 1988 Oberpfalzer Kunstlerhaus, Schwandorf/Fromberg, West Germany 1988 "Art .... Made in USA" Stadische Galerie, Deutsch-Amerikanisches Institut, Regensberg, West Germany 1987 Rockefeller Foundation Bellagio Study and Conference Center, Bellagio, Italy One and Two Person Exhibitions 2005 Peltz Gallery, Milwaukee, WI 2001 Peltz Gallery, Milwaukee, WI 2000 Grace Chosy Gallery, Madison, WI 1999 Peltz Gallery, Milwaukee, WI (with John Sayers) 1998 Grace Chosy Gallery, Madison, WI 1997 Barbara Bunting Gallery, Royal Oak, MI 1993 Peltz Gallery, Milwaukee, WI 1993 Carey Gallery, Rochester, MI (with Jo Powers) 1993 J. Cacciola Galleries, New York, N.Y. 1990 Pennsylvania School of Art and Design Art Gallery, Lancaster, PA (with Dan Gihooley) 1990 Hobe Sound Gallery, Brunswick, ME 1990 Levinson Kane Gallery, Boston, MA 1989 Bowdoin College Museum of Art, Bowdoin College, Brunswick, ME 1985 Trustman Gallery, Simmons College, Boston, MA 1982 Willis Gallery, Detroit, MI Selected Group Exhibitions 2015 "Exquisite Corpse" Printworks Gallery, Chicago, IL 2014 "Non-Stop" Invitational, Train Depot, Madison, WI 1989-2014 Peltz Gallery, Milwaukee, WI 2012 "Invitational Alumni Exhibition", Elaine Jacobs Gallery, Wayne State University, Detroit, MI 2002-10 Grace Chosy Gallery, Madison, WI 2008 Chazen Museum of Art, University of Wisconsin-Madison 2008 Chapman Museum of Art, Myrtle Beach, NC 2007 Carthage College, Kenosha, WI 2007 Spartanburg Art Museum, Spartanburg, SC 2007 "Real and Imagined" Elaine Jacobs Gallery, Wayne State University, Detroit, MI 2003-7 Ann Nathan Gallery, Chicago, IL 2003 "The Exquisite Snake" Printworks Gallery, Chicago, IL 2003 Robert Kidd Gallery, Birmingham, MI 2002 Sonyia Zaks Gallery, Chicago, IL 1995 Butler Institute of American Art, Youngstown, OH 1994 Milwaukee Institute of Art & Design, Milwaukee, WI 1993 Madison Art Center, Madison, WI 1993 New York Arts Club, New York, N.Y. 1993 "Previews of l993" J. Cacciola Galleries, NY 1992 "Small Painting Exhibition" J. Cacciola Galleries, NY 1992 "Women in the Bowdoin Collection" Bowdoin College Museum of Art, Brunswick, MA 1992 Steibel Modern, New York, NY 1984-91 Levinson Kane Gallery, Boston, MA 1986-7 Portraits Inc., New York, NY 1985-6 Kathryn Markel Gallery, New York, NY 1981-4 Frumkin and Struve Gallery, Chicago, IL 1984 "All California '84" Laguna Beach Museum of Art, Laguna Beach, CA 1983 "Western States Figurative Realism" Cypress College Art Gallery, Cypress, CA 1982 "Atlas Building Artists" Detroit Artists Market, Detroit, MI 1981 "Michigan Artists 80-81" Flint Institute of Art, Flint, MI 1981 Detroit Focus Gallery, Detroit, MI 1970 Detroit Art Institute, Detroit, MI Public Collections Heidelberg University, Tiffin, Ohio Fundacio J. Llorens Artigas, Gallifa/Barcelona, Spain American Express Corporation, New York, New York Ulster Bank, Ardara, Co. Donegal, Ireland Chazen Museum of Art, Madison, Wisconsin The Block Museum of Northwestern University Malden Public Library, Malden, Massachusetts Bowdoin College Museum of Art, Brunswick, Maine Oberpfalzer Kunstlerhaus, Schwandorf/Fromberg, Germany Beach Museum of Art, Manhattan, Kansas Virginia Center for the Creative Arts, Sweet Briar, Virginia University of Wisconsin, The Graduate School, Madison, Wisconsin Carol Pylant Bibliography 2017 M is for Math, Museum and Manhattan Kansas, by Natasha Rozhkovskaya, Publisher: Tamara Rozhkovskaya Novosibrisk 2015 Exquisite Corpse, Printworks Gallery, Chicago, IL. (Exhibition catalogue) 2013 "Remarkable Women Exhibit" by Mary Louise Schumacher, Journal Sentinel, online, Milwaukee, WI, June 25 2012 "Peltz Gallery Celebrates Remarkable Women" by Peggy Sue Dunigan, The Sheperd Express, Milwaukee, WI, July 7 2008 "Teachers Who Can, UW Faculty..." by Jacob Stockinger, The Capital Times, Madison, WI, February 2007 "Art in Nature" by Bill Robbins, Kenosha News, Kenosha, WI, September 14 2004 "Ambition clothes 'Remarkable Women'" by James Auer, The Milwaukee Journal Sentinel, April 7 2004 "Waxing enthusiastic over 'Colors'" by James Auer, The Milwaukee Journal Sentinel, February 18 2003 "Remarkable Women Celebrated" by James Auer, The Milwaukee Journal Sentinel, March 2003 "Art Lesson" by Jennifer Smith, Isthmus, Madison, WI, February 21 2003 "Installation Appreciation" by Kevin Lynch, The Capital Times, February 7 2001 "Pylant unites sketches with classical style" by James Auer, The Milwaukee Journal Sentinel, September 12 2001 "WSU Exhibit shows figurative painting" by Keri Guten Cohen, The Detroit Free Press, February 18 1999 "On Art" by James Auer, The Milwaukee Journal/Sentinel October 12 1999 "School of Art quadrennial exhibition" by John Aehl, The Wisconsin State Journal, January 24 1999 "Something old, something new" by C.R. Gabriel, Isthmus, February 5 1999 "Honoring our Own" Madison Magazine, January 1998 "The Madison Fifty" Madison Magazine, November 1997 "Back in the Game" by James Auer, The Milwaukee Journal/Sentinel, Nov. 26 1997 "Three artists will charm at local shows" by Joy Hakanson Colby, The Detroit News, May 8 1997 "At the Galleries" by Keri Guten Cohen, The Detroit Free Press, April 27 1997 "Talent not gender, is focus at show", by James Auer, Milwaukee Journal/Sentinel, December 11 1996 "Remarkable Women Exhibition" by James Auer, The Milwaukee Journal/Sentinel, Jan 14 1994 "In Art, these 20 made an impression in '93" by James Auer, The Milwaukee Journal, Jan 9 1994 "Window to the World" by Michelle Grabner, Milwaukee Magazine, Guide to the Arts, February 1994 "Art of Love: ..." by Elby Frieda Abbe, Milwaukee Sentinel, Let's Go. February issue 1993 "Variations on a theme", by Paul Pace, Rochester Clarion, Rochester, Mi, December 9 1993 "Work of women holds surprises in summer show", by Janice T. Paine, Milwaukee Sentinel, June 4 1993 "Remarkable Women has merit with or without it's gender theme", by James Auer, The Milwaukee Journal, June 13 1993 "Irish Landscape" Cross Country, Country Living Magazine, March (feature article) 1993 "Ireland's Wild West" On the Road, Country Living Magazine, March 1993 "Short List SoHo Gallery Exhibitions, The New Yorker, February 14 & 22 1993 "SoHo Exhibitions", Gallery Listings, New York Magazine, February 7 1993 Gallery Listings, The New York Times, January 31 1993 Tandem Press: Five years of Collaboration by Drew Stevens, University of Wisconsin Press 1992 "From the World's Hot Spots to Ardara", by Michael McHugh, The Donegal Democrat, Co. Donegal, Ireland, August 6 1992 "Exhibits spotlight women", by Janice T. Paine, Milwaukee Sentinel, June 5 1992 " Women's show proves a strong one", by James Auer, The Milwaukee Journal, May 24 199l "Tandem Press foster diverse printmaking styles", by John Carlos Cantu, Ann Arbor News, December 1 1991 "Quadrennially yours...U W art faculty exhibit show vital, vibrant", by Katherine Rogers, Wisconsin State Journal, January 6 1991 Who's Who in the Midwest 23rd Edition, A.N. Marquis, MacMillian Directory Division, Wilmette, Illinois 1990 "Impressive Art on a Small Scale", by Nancy Stapen, The Boston Globe, December 20 1990 "View from the Tower", by James Rhem, The Isthmus, December 21 1990 "NEA Survives but Artists Shiver", by Bill Moore...

The raven is often thought of as a connection between the spiritual and physical world. In this painting, a wise young girl holds a raven in her hands up to her eye as if searching for some great meaning. A clock and a burning candle in the foreground suggests a symbolic connection between the two. The peaceful mountain landscape...

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...

The partially shrouded male nude stands in front of a doorway outlined in black. The rich burgundy background does not give us any clues as to where the figure is yet the darkened d...

An entire generation was traumatized by the grotesque classroom films on driving safety. After their sensible removal from the education system, these films became the stuff of legen...

The factories of Art Chartow's "Double Overtime Shift" represent strength, industrial might, and the ability to vanquish nature. This place is strange, sinister and forbidding yet at the same time beautiful and fragile. The artist's uses paint to express the power of light at this particular time of day. The winter sun has cast it's light onto the cold metal silos to bring some hope of warmth - as seen on the melting snow covered road. This contemporary realist painting is framed in a simple black wooden frame measuring 23.25h x 45.25w inches. Arthur Chartow Double Overtime Shift oil on canvas 22h x 44w in 55.88h x 111.76w cm ACH014 Arthur Chartow b. 1951, New York, NY Education 1972-74 M.F.A, Cranbrook Academy of Art, Bloomfield Hills, MI 1968-72 B.F.A, Carnegie – Mellon University, Pittsburgh, PA. Selected Exhibitions 2019 Earth Wind Fire, Gallery Victor Armendariz, Chicago, IL 2018 Portraits and Place: Select Works from Gallery Victor Armendariz, curated by Corporate Art Advisory, Metropolitan Capital Bank, Chicago, IL 2017 Scene Change, Gallery Victor Armendariz, Chicago, IL Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2016 Michigan Fine Arts Competition, Birmingham Bloomfield Art Center, Birmingham, MI 80th Annual Midyear Show, Butler Institute of American Art, Youngstown, OH 2015 Michigan Fine Arts Competition, Birmingham Bloomfield Art Center, Birmingham, MI 2012 City Streets II, George Billis Gallery, New York, NY 2010 Contemporary Realism Biennial, Fort Wayne Museum of Art, Fort Wayne, IN 2009 Selections, Ann Nathan Gallery, Chicago, IL 2006 Ann Nathan Gallery, Chicago, IL The Four Seasons, Sherry French Gallery, New York, NY Gallery and Invited Artists, Sherry French Gallery, New York, NY Michigan Fine Arts Competition, Birmingham Bloomfield Art Center, Birmingham, MI 2005 Mainely Maine, Sherry French Gallery, New York, NY 45th Annual Greater Michigan Art Exhibition, Dow Museum of Science and Art, Midland, MI 2004 Poetry = Painting: ut picture poesis, Sherry French Gallery, New York, NY Arthur Chartow: Quiet Places, Sherry French Gallery, New York, NY 2003 Mainely Maine, Sherry French Gallery, New York, NY Poetry = Painting: ut picture poesis, Sherry French Gallery, New York, NY Flowers in February, Sherry French Gallery, New York, NY 2002 Art of Collecting, Flint Institute of Art, Flint, MI Arthur Chartow: At Water’s Edge, Sherry French Gallery, New York, NY The Four Seasons, Sherry French Gallery, New York, NY Poetry = Painting: ut picture poesis, Sherry French Gallery, New York, NY Land and Water, Art Placement...

Big Shot Greenland Available sizes: 20 x 30 in / Edition of 6 - $7,500 32 x 48 in / Edition of 6 - $17,500 40 x 60 in / Edition of 6 - $18,500 50 x 75 in ...

For the love of vinyl – circa 1945. Frank Sinatra relaxing at home in Toluca Lake, CA preparing to listen to some music. Note daughter Nancy in the edge of the right frame. From Sin...

Kent Williams’ work melds the rigor of technical prowess with the iconoclast’s impulse to disrupt. Juxtaposing beautifully rendered classical forms with elements of abstraction and s...

Ahzad Bogosian Lake Michigan #2 acrylic on canvas 16h x 16w in 40.64h x 40.64w cm AZB169 Ahzad Bogosian SOLO EXHIBITIONS 2007 Landscapes, Ann Nathan Gallery, Chicago, IL 2006 Q...

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...

Koloman Moser (1868 –1918), AUSTRIAN Instead of applying his flair and art education solely to painting, Koloman Moser embodied the idea of Gesamt Kunstwerk (all-embracing art work) by designing architecture, furniture, jewelry, graphics, and tapestries meant to coordinate every detail of an environment. His work transcended the imitative decorative arts of earlier eras and helped to define Modernism for generations to come. Moser achieved a remarkable balance between intellectual structure (often geometric) and hedonistic luxury. Collaborating with Gustav Klimt and Josef Hoffmann, the artist was an editor and active contributor to Ver Sacrum, (Sacred Spring), the journal of the Viennese Secession that was so prized for its aesthetics and high quality production that it was considered a work of art. The magazine featured drawings and designs in the Jugendstil style (Youth) along with literary contributions from distinguished writers from across Europe. It quickly disseminated both the spirit and the style of the Secession. In 1903 Moser and Hoffmann founded and led the Wiener Werkstatte (Viennese Workshop) a collective of artisans that produced elegant decorative arts items, not as industrial prototypes but for the purpose of sale to the public. The plan, as idealistic then as now, was to elevate the lives of consumers by means of beautiful and useful interior surroundings. Moser’s influence has endured throughout the century. His design sensibility is evident from the mid-century modern furniture of the 1950s and ‘60s to the psychedelic rock posters...

The setting sun over the ocean creates a kaleidoscope of color in this small landscape painting by Art Chartow entitled "Arch Cape, Oregon" The pristine landscape is highlighted by the glowing horizon as the sun sets on another day. The painting is framed in a simple black wooden frame measuring 7.25h x 13.25w inches. Arthur Chartow Arch Cape, Oregon oil on panel 6h x 12w in 15.24h x 30.48w cm ACH027 Biography Solo Exhibitions 2004 “Quiet Places,” Sherry French Gallery, New York, NY 2002 “At Water’s Edge,” Sherry French Gallery, New York, NY 1986 Rubiner Gallery, West Bloomfield, MI. Museum Exhibitions 2016 “80th National Midyear show,” Butler Institute of American Art, Youngstown, OH 2010 “2010 Contemporary Realism Biennial,” Fort Wayne Museum of Art, Fort Wayne, IN 2008 “72nd National Midyear show,” Butler Institute of American Art, Youngstown, OH 2007 “71st National Midyear show,” Butler Institute of American Art 2002 “Art of Collecting,” Flint Institute of Art, Flint, MI Gallery Group Exhibitions 2012 “City Streets II,” George Billis Gallery, New York, NY 2009 “Selections,” Ann Nathan Gallery, Chicago, IL 2008 “Eye on the Environment,” Sherry French Gallery 2007 “Panoramas,” Sherry French Gallery. “The Four Seasons,” Sherry French Gallery. “Poetry = Painting,” Sherry French Gallery. 2006 “The Four Seasons,” Sherry French Gallery. Gallery and Invited Artists, Sherry French Gallery. “Mainely Maine,” Sherry French Gallery. Summer invitational, Ann Nathan Gallery, Chicago, IL Featured Artist, Susan Maasch Fine Art, Bangor, ME 2005 “Mainely Maine,” Sherry French Gallery. 2004 “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. 2003 “Mainely Maine,” Sherry French Gallery. “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. “Flowers in February,” Sherry French Gallery. 2002 “The Four Seasons,” Sherry French Gallery. “Poetry = Painting: ut pictura poesis,” Sherry French Gallery. 2001 “Mainely Maine,” Sherry French Gallery, New York, NY. “Small Sizes, Precious Pieces,” Sherry French Gallery. “Contemporary American Landscapes: An Urban and Rural Perspective, ” M. A. Doran Gallery, Tulsa, OK 1991 “Nine Views of Landscape,” Ruth Volid Gallery, Chicago, IL. Landscape show, Rubiner Gallery 1990 “LANDscape,” Ruth Volid Gallery. 1989 “Landscape,” Rubiner Gallery. 1986 “Works on Paper,” Gallery Henoch, New York, NY. Selected Group Exhibitions 2016 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2015 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2008 “Urban Edge,” Grosse Pointe Art Center, Grosse Pointe, MI “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center, Birmingham, MI. 2007 “Michigan Annual XXXIII,” Anton Art Center, Mt. Clemens, MI “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center. 2006 “Michigan Fine Arts Competition,” Birmingham Bloomfield Art Center. 2005 “45th Annual Greater Michigan Art Exhibition,” Alden B. Dow Museum of Science & Art, Midland, MI. 2002 “Land and Water,” Lobby of 717 Fifth Ave, New York, NY; Art Placement...

Christina Haglid Monolith No. 5 watercolor and gouache on paper 8h x 9w in 20.32h x 22.86w cm CMH071 Artist's Statement Tiny Sanctuaries There has always been an intersection betwee...

Ma’ah British Columbia, Canada, 2011 24 × 36 in / 61 × 91.4 cm / Edition of 20 - $3,500 31 × 46.5 in / 78.7 × 118.1 cm / Edition of 15 40 × 60 in / 101.6 × 152.4 cm / Edition of 10 ...

UNTITLED (INV# NP2230) Ken Price silkscreen on Arches 88 paper 14.875 x 12.375” 1981 edition of 150 stamped by Ken Price, SOMA Fine Art Press and Arabesque Books Ken Price (1935 - ...

Working with a palette of graphite and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alchemist, summoning ...

Striations of Time Iceberg Alley, Antarctica, 2017. 24 x 36 in / 61 x 91.4 cm / Edition of 20 31 x 46.5 in / 78.7 x 118.1 cm / Edition of 15 - $7,500 40 × 60 in / 101.6 x 152.4 cm /...

Life is a Struggle (The Golden Knight), no. 10 from the second installment of Das Werk Gustav Klimts With his golden armor meticulously and faithfully rendered after examples found ...