Tree Prints and Multiples

The calm serenity of a frozen forest at night. An image of silence. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to the echoes of a half-remembered symphony. Poetical visions of paths and glades, ancient woods reflected in flood waters, nature revealed in its almost mythological beauty. Cawston’s images from the UK, Europe and America, convey a deeply-felt reverence for the natural world. – A larger format bespoke edition is also available on request. This custom edition of 3 pieces is produced to a client’s specifications. Typically this is for pieces greater than 250cm side. Please contact us for further details. Edition of 15 Presentation: Photographic print 5cm white border all around Signed by the Artist Certificate of Authenticity from the gallery Location: Mammoth Lakes...

The calm serenity of a frozen forest at night. An image of silence. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to the echoes of a half-remembered symphony. Poetical visions of paths and glades, ancient woods reflected in flood waters, nature revealed in its almost mythological beauty. Cawston’s images from the UK, Europe and America, convey a deeply-felt reverence for the natural world. – A larger format bespoke edition is also available on request. This custom edition of 3 pieces is produced to a client’s specifications. Typically this is for pieces greater than 150cm and up to 230cm on the longest side. Please contact us for further details. Edition of 15 Presentation: Photographic print with acrylic face mount Signed by the Artist Certificate of Authenticity from the gallery Location: Mammoth...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

An avenue of ancient oaks… – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to t...

An avenue of ancient oaks… – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to t...

The calm serenity of a frozen forest at night. An image of silence. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to the echoes of a half-remembered symphony. Poetical visions of paths and glades, ancient woods reflected in flood waters, nature revealed in its almost mythological beauty. Cawston’s images from the UK, Europe and America, convey a deeply-felt reverence for the natural world. – A larger format bespoke edition is also available on request. This custom edition of 3 pieces is produced to a client’s specifications. Typically this is for pieces greater than 250cm wide. Please contact us for further details. Edition of 12 Presentation: Photographic print Signed by the Artist Certificate of Authenticity from the gallery Location: Mammoth Lakes...

To see our other views of Oxford and Cambridge, scroll down to "More from this Seller" and below it click on "See all from this Seller" - or send us a message if you cannot find the ...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

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...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable p...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable ...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable ...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable ...

Lithograph hand watercolored. Plate from "Atlante di Botanica popolare ossia Illustrazione di Piante Notevoli di ogni famiglia" (Atlas of popular botany or illustration of notable ...

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...

Lantern in the forest. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to the e...

Lantern in the forest. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost in the detail as if listening to the e...

Autumn colours as silver birch prepare to shed their leaves – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the viewer rapt, lost i...

The colours of Autumn resplendent in the shedding leaves of a woodland tree. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the vi...

The colours of Autumn resplendent in the shedding leaves of a woodland tree. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the vi...

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...

Jane Peart Forest Glen Limited Edition Etching Print Edition of 100 Image Size: H 24cm x W 34cm Signed Sold Unframed Please note that in situ images are purely an indication of how ...

The colours of autumn resplendent in the shedding leaves of a woodland tree. – Cawston’s landscapes are filled with delicate harmonious tones. They resonate feeling and leave the vi...

Miles Cleveland Goodwin says, "I don’t like to do things I don’t know." Not unlike the spirit of Southern literature and Delta blues music, there is an autobiographical nature to his...

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...

This original 1983 Swiss travel poster by Degonda is a vivid tribute to the canton of Grisons (Graubünden), specifically highlighting the historic village of Waltensburg/Vuorz, one 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...

Mid Century Modern Palm Springs Architecture. White BMW Camino CSL vintage Car photographed in Palm Desert. Archival Inkjet Print on Cotton Paper. Mid Century Modern Architecture ...

Sir Francis Seymour Haden (1818-1910), Kensington Gardens (The Small Plate), drypoint, 1859, signed in pencil lower right. References: Harrington 12...

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.

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

Cascina (Farmhouse) Santo Stefano, rif. 490 Original etching, signed and numbered. Limited edition of 90. Federica Galli was one of Italy's leading contemporary etchers. She achi...

This is an original exhibition poster for Livet Som Kunst ("Life as Art"), held from February 14 to June 22, 2003 at the prestigious Louisiana Museum of Modern Art in Humlebæk, Denma...

This lithograph, titled Barren Tree, was created by the artist Boris Saillart and published by Leon Amiel in 1975. This particular print is a hand-signed Artist’s Proof, noted as "EA...

Site en Norvège is a black and white etching realized by Carolus-Duran (1837–1917) in 1870s. Titled in the lower. Image size: 28cmx17.5cm. Very Good condition. Realized by Cadart...

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

Winter is serene in this landscape of a barn in winter as it begins to fade and head to spring. Owen Wexler is the artist; this is a limited edition lithograph signed and titled by him.

Grandfather tree. 1982, Paper, linocut, print size 50x55 cm; total 65x65 cm Dainis Rozkalns (1928 - 2018) Artist, graphic artist, illustrator of folklore and fiction publications. ...

AS FAR AS A VIEW, is part of a series of works that consider the decorative and escapist role of the landscape in the home. When seeking beauty in the world to distract us, delight us, and bring us into our own world, we seek something that stirs within us a memory or a dream. Traditionally, tapestries are a storytelling media as well as décor. This particular work is constructed from commercially printed tapestries acquired from a Chinese supplier during the pandemic. These tell a story of arrested, yet ample, desire. On one side of the piece we see a sunrise from a beach with palm trees. Gently folded over to the right is a second tapestry. In this the artist has chose to expose the desaturated backside which obscures slightly the third tapestry landscape of beach scene around midday. It brings to mind the passage of time much like time lapse photography...

First printing Drawing, Acrylic Paint on Archival Cotton Rag Paper, Hand-Deckled, Signed and Numbered by Dave Muller. Also Hand-Colored and Intialed by a ...

Published By Pictura Graphica AB, Karlstad, 1981. Printed In Sweden In Good Condition, slight pencil marking at bottom Measures 20 in x 27 in

"Herzliche Grüße aus Bayern" ("Warm Greetings from Bavaria") serigraph by artist Eric Bulatov (Bulatow) from the "Kinderstern" portfolio, published in 1989 by Edition Domberger to ra...

Seymour Haden (1818-1910), Shere Mill Pond II (Large Plate), etching and drypoint, 1860, signed in pencil lower right [also signed in the plate lower right]. Schneiderman 37, sixth state (of 9). In generally good condition (see note below) with margins, on a cream/ivory laid paper, 7 x 13 1/2, the sheet 8 1/8 x 13 3/4 inches. A very good impression, with rich burr especially in the reeds toward the right. Provenance: Frederick Keppel and Co., New York, NY. Illustrated: Guichard, British...

Primordial Splendor is a serigraph on paper with an image size 30.25 x 30.25 inches, signed 'Ricker' lower right and annotated lower left. From the edition of 500, numbered 161/200 (there were also 50 Roman on paper, 200 Arabic on canvas and 50 AP on canvas). Framed in a contemporary black moulding. Bruce Ricker...

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...

Many of the depicted scenes were inspired by moments where Fahnestock was astonished by something that was equal parts mesmerizing and distressing. “Seeing my first wildfire in person, or the images of San Francisco covered in an orange haze, all the while recognizing that these things were in fact terrible. They signified disasters and ecological shifts. The increase in wildfire events is due in part to the encroachment of larger, developed communities onto lands that were previously maintained for fire season by natural means or by the Forest Service...

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

An antique engraved view of "Romelborg", Sweden in 1705 from "Sueciae Antiquae et Hodiernae"' published in Stockholm by Erik Dahlberg (1625-1703). The engraving was created by Johan...

John McNulty, Irish/American (1949 - ) - Menara Gardens, Year: 1985, Medium: Aquatint Etching, signed and titled in pencil, Edition: 250, Size: 26 in....

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....

This breathtaking 1956 original travel poster, photographed by Bonnefoy, beautifully captures the untamed natural beauty of Corsica’s mountainous landscape in springtime. The image s...

Contemporary minimalistic black & white linocut print on paper by Polish artist Jolanta Babicz. Edition is limited to 5 copies. Artwork is not framed. Photos with frame are only visualizations. JOLANTA BABICZ (born in 1967) In 2009 she graduated from the Artistic Department of the University of Humanities and Economics in Łódź. The subject of her B.A. thesis was computer graphic...

Mel Hunter, American (1927 - 2004) - Dodge, Year: 1973, Medium: Lithograph, signed and numbered in pencil, Edition: 110, Size: 22 in. x 29 in. (55.88 cm x 73.66 cm), Description:...

Mel Hunter, American (1927 - 2004) - Addison County Showplace, Year: 1976, Medium: Lithograph, signed and numbered in pencil, Edition: M 9/10, Size: 15 x 20 in. (38.1 x 50.8 cm...

Chris Forrest, American (1946 - ) - Wild Geese, Year: Circa 1979, Medium: Lithograph, Signed and Numbered in Pencil, Edition: 300, AP 40, Image Size: 18 x 23 inches, Size: 23 in...

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...

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...