Tree Figurative Prints

Lithograph hand watercolored. Belongs to the Series "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration o...

Vue de Monaco is an artwork realized by P. Borol in the 1870s. Etching. Good conditions. Realized for the "Société des Aquafortistes. Born on the initiative of the publisher Alf...

Sultan, an internationally recognized artist who rose to prominence in the late 1970s as part of the “New Image” movement, is known for elevating the still-life tradition through the...

Archival pigment ink print on canvas Edition of 12 Sumit Mehndiratta is an Indian artist born in 1986 who lives & works in New Delhi, India. He has pursued Master of Science in Int...

Etching after Bocklin, realized in the early 20th Century. Titled in the plate in bottom center. Published by Druck & Verlag. Very good condition.

Etching on vélin paper, realized by Beier in the early 20th Century. Signed on the plate at the top right, countersigned in pencil at the bottom right. Good condition.

Environs de Chateau Gontier is a black and white etching realized by Tancrède Abraham in 1870s. Titled in the lower. Image size: 32.5cmx17cm. Good condition. Signed on the lower ...

This framed still is part of an animated video project titled "Gold Rush," from McLean Fahnestock's solo show at Channel to Channel, "Beautifully Awf...

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...

Lithograph and stencil on grand Velin d'Arches paper. Inscription: signed in the plate and unnumbered, as issued. Good condition. Notes: from the folio, Édouard Pignon, Arbres et Voi...

This exquisite collotype after Max Ernst (1891–1976), titled Les Pampas (The Pampas), from the album Max Ernst, Histoire Naturelle (Natural History), originates from the 1972 edition...

Woodcut print realized by Escher for the series "Emblemata", and published in 1931. On Hollande van Gelder paper. Edition of 300. Unsigned, as issued. Excellent condition, matted....

Mysterious Forest is a colored lithograph on paper realized by Tono Zancanaro in 1975. Hand-signed in pencil on the lower. Numbered, edition of 100 prints. Good conditions. Publi...

Altar of the Fatherland  is a modern artwork realized by Antonio Carbonati in 1947. Black and white etching Includes passepartout Hand signed and dated on the lower margin Original title: Altare della Patria Campidoglio - Palatino dai balconi di casa Carcano sul Colle Aventino Good conditions except for yellowing of paper. Antonio Carbonati (1893 - 1956).  He published a series of engravings of...

This artwork titled "Sub Culture" c1972 is an original color lithograph on wove paper by noted New Orleans artist Caroline Spellman Wogan Durieux, 1896-1989. It is hand signed, titled, dated and numbered 5/10 in pencil by the artist. The image size is 17.75 x 13 inches, sheet size is 19.85 x 15 inches. It is in excellent condition, some hanging tape from previous framing remaining on the back. About the artist: As a Southern female satirist, Caroline Spellman Wogan Durieux was a rare phenomenon in the early twentieth century. Today, she is highly regarded for her stinging lithographs that touch on human foibles as well as some of the important issues of her day. Born to a family of Creole descent in New Orleans, young Caroline was precocious; she began drawing at age four and completed a portfolio of watercolors depicting her city by the time she was twelve. She took lessons from Mary Butler, a member of the art faculty at Sophie Newcomb College, and, beginning in 1912, matriculated at the school full-time, where her instructors included Ellsworth Woodward, chair of the art department. She graduated with a bachelor’s degree in design in 1916 and one in education in 1917. Awarded a scholarship by the New Orleans Art Association, Durieux pursued further coursework at the Pennsylvania Academy of the Fine Arts from 1918 to 1920. Years later, she was encouraged to try lithography by Carl Zigrosser, an expert curator of prints at the Philadelphia Museum of Art, who became her mentor. With her husband Pierre Durieux—an importer of Latin American goods and later the chief representative of General Motors for South America—Caroline Durieux spent time in Cuba during the early 1920s. The couple moved in 1926 to Mexico City, where she met the great muralist Diego Rivera and became involved in the local art community. Following a short interval in New York City, Durieux went back to Mexico in 1931 and enrolled at the Academy of San Carlos (now the National University of Mexico) to study lithography. She returned to New Orleans seven years later and was hired to teach at her alma mater, Newcomb College, from 1938 to 1943. Starting in 1939, Durieux served as the director of Louisiana’s Works Progress Administration program, and her division was the only one in the state not to practice racial discrimination. This was a matter she felt strongly about, stating: “I had a feeling that an artist is an artist and it doesn’t make any difference what color he or she is.” From 1943 until her retirement in 1964, Durieux was a member of the faculty at Louisiana State University in Baton Rouge. Durieux’s forte was lithography, a technique popular in the mid-nineteenth century and long associated with social commentary, and her prints proved no exception. Her work in the 1930s and 1940s coincided with a rise in art that dealt with poverty, racism, and totalitarianism. She often presented stereotyped social climbers...

Caldara - Winter landscape is an artwork realized by Karolina Szewczyk the 2020s. Etching, Aquatint. Hand-signed. Numbered. Edition 5/50.

Tree is an artwork realized by Karolina Szewczykin the 2020s. Etching. Hand-signed. Numbered. Edition 1/10.

Uses and Customs - Baths of Bormio is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the universe: " History of the ...

Uses and Customs - Massa Carrara is a lithograph on paper realized in 1862. The artwork belongs to the Suite Uses and customs of all the peoples of the ...

Title: Provence Village lithograph in colors after a painting by the artist Dimensions: 38 x 28 cm from the edition of 250 as issued in Warnod, Andre...

Le Tronc de l'arbre is an artwok realized in 1935, by the French Artist Paul Emile Colin . Black and white etching on paper. Hand Signed on the right corner. Limited edition of 35, ...

Le Bamier is an etching realized by Jacques Baron in 1771. It belongs to the suite "Histoire Naturelle de Buffon". The Artist's signature is engraved lower right. Good conditions.

Ex Libris - is a Modern Artwork realized in early-20th century. Ex Libris. B/W woodcut on ivory paper. The work is glued on cardboard. Total dimensions: 21x 15 cm. Good condit...

Skeleton is an etching realized by Jean Gullaume Moitte in 1771. It belongs to the suite "Histoire naturelle, générale et particulière avec la description du Cabinet du Roi". Artis...

The present hand-colored lithograph presents the viewer with a hunting scene in a picturesque landscape. In the foreground, a man approaches two partridges as his two pointers prepare to flush them out. Beyond, a white fence draws our eyes to the homestead in the distance. Images like this one show how people in the United States were trying to identify themselves as a new nation in the North American landscape - as separate from their European counterparts but with similar similar and specific wildlife and magesties of nature. It also identifies hunting in this landscape as an American pastime. 9.25 x 12.5 inches, artwork 18.38 x 22 inches, frame Entitled bottom center "Partridge Shooting...

Spotted Woodpecker is an Etching hand colored realized by Gotthilf Heinrich von Schubert - Johann Friedrich Naumann, Illustration from Natural history of birds in pictures, published...

Crow is an artwork realized by the Contemporary Italian artist Leo Guida (1992 - 2017) in 1972. Original black and white etching on paper. Hand Signed on the lower right margin, da...

The Tree at Villa is an artwork realized by the Contemporary Italian artist Leo Guida (1992 - 2017) in the 1970s. Original black and white etching on paper. Hand Signed on the low...

The Tree at Villa is an artwork realized by the Contemporary Italian artist Leo Guida (1992 - 2017) in the 1970s. Black and white etching on paper. Hand Signed on the lower right ...

Landscapes Of Autumn is a modern artwork realized by the painter Rolandi, in the 1980s. Mixed colored screen print. Hand signed on the lower right margin. Artist's proof (as repor...

This Fautrier - Galerie Di Meo is a vintage poster. This artwork was realized on occasion of the exhibition Fautrier œuvres 1940 - 1964 dedicated to the artist and held at Galerie...

Wild Birch - Forest. Fine Art Print. From the Niagara Escarpment: Another, in a series of digital prints. This one was born out of a photo that I took during my time living in a ...

In The Forest is a modern artwork realized by the Artist Rolandi, in the 1970s. Mixed colored screen print. Hand signed on the lower right margin. Artist's proof (as reported on th...

Pine Dew - Photography realized by Michael Burgess. "From my time living in a studio in the woods, on the Niagara Escarpment, located in Ontario, Canada. That experience provided m...

Beside The Lake is a modern artwork realized by the Artist Rolandi, in the 1980s. Mixed colored screen print. Hand signed on the lower right margin. Numbered on the left corner, ...

Ancient Roman Scene from the series "Antiquities of Herculaneum", is an etching on paper realized by Niccolò Vanni in the 18th Century. Signed on the pl...

In The Forest is an original modern artwork realized by the painter Rolandi, in the 1980s. Mixed colored screen print. Hand signed on the lower right margin. Artist's proof (as re...

In The Forest is an original modern artwork realized by the painter Rolandi, in the 1980s. Mixed colored serigraph. Hand signed on the lower right margin. Artist's proof (as repor...

Grossbill is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Na...

Firecrest is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Nam...

In The Forest is an original modern artwork realized by the painter Rolandi, in the 1980s. Mixed colored screen print. Hand signed on the lower right margin. Artist's proof (as re...

In The Forest is an original modern artwork realized by the painter Rolandi, in the 1980s. Mixed colored serigraph. Hand signed on the lower right margin. Artist's proof (as repor...

Goldcrest is a modern artwork realized in 1870 by the British artist Alexander Francis Lydon (1836-1917) . Woodcut print, hand colored, published by London, Bell & Sons, 1870. Nam...

The Tree with Poem is an original artwork realized by the french artist Jean Lurçat (1892 Bruyeres - 1966 St.-Paul-de-Vence) Lithograph print, mid-20th century. Very good conditi...

A Bolt From the Blue is a lithograph on paper, 9.5 x 9 inches image size, and initialed 'BD' lower right. From the edition of 395, numbered 130/275 (there were also 100 Roman and 20 ...

Tunisian View is an original photolithograph realized in the 1990s by the Italian politician Bettino Craxi. Hand-signed. Artist's proof. Good conditions with some folding. In the...

Flowerpot is an original artwork realized by French artist Hervé Le Bourdelles (Paris, 1928). Etching print. Hand-signed on the lower right in pencil. O...

Hand Signed. Edition of 25 pieces in Roman Numbers. Very good conditions.

Portrait is an original lithograph realized by Bettino Craxi in 1992. The artwork is from the portfolio "The World", Ed. Serigraph, 1992. Signed and numbered in the bottom by the a...

La Majolata is an original woodcut print by Giorgio Levi-Minzi in the early 20th Century. Good conditions. The artwork is depicted through strong strokes in a well-balanced composi...

African Performer is an original lithograph realized in the early 1930s by Emmanuel Gondouin, (Versailles, 1883 - Parigi, 1934) The artwork is depicted through strong strokes and i...

Ancient View of the Dublin Bay is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. ...

Die Bettenburg is an original modern artwork realized in Germany in the Mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower central margin in Capital...

Ancient View of Costantinople is an original modern artwork realized in the first half of the 19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin ...

Ancient View of St. Gebhardsberg is an original modern artwork realized in the mid-19th Century. Original B/W Lithograph on Ivory Paper. Inscripted on the lower margin in Capital...

Composition of Diodora is an original lithograph realized by Bruno Capacci in 1950. The artwork is part of an edition in 500 pieces by "La nef d'argent" Paris. In good condition, n...

Ex Libris KRCMY is an original Modern Artwork realized in 1934. Original Ex Libris paper. Hand-signed and dated by the artist on the lower right corner in pencil. Original Colored ...

The Tree is an original Contemporary artwork realized in the the 1970s by the italian artist Leo Guida. Original Etching on paper. Numbered, titled and hand-signed in pencil on th...

The Tree is a Contemporary artwork realized in the 1970s by the italian artist Leo Guida. Original Etching on paper. Titled, hand-signed and numbered in pencil on the lower margin...

Landscape is an original lithography on paper realized by an Anonymous artist of the 19th Century. Printed in series of "France Pittoresque" at the top center. Titled in France on...