Naturalistic Art

Details: Title: Birds of Paradise Medium: Acrylic Painting and India Ink on Watercolor Paper Size: Size: 40x55.2 Inches (100x140cm), each panel measures 40x28 Inches (100x70 cm) Year...

American Crow by J.J. Audubon from his Birds of America folio shows an adult male crow in a Black Walnut bush with a nest of a Ruby-Throated Hummingbird in a branch below the crow. This original chromolithograph plate no. 226 is in good condition with a repairable water mark in the image on the left side as can be seen in the photos. The ” Birds of America” by John James...

'Eggs' Antique English natural history chromolithograph. Key to eggs below the image. Tiny numbers in the margins to identify the eggs. Sheet 19cm by 12.5cm, image 13cm by 9.5cm.

Alfred de Breanski Sr is one of the finest plein art artists of the Scottish Highlands. Renowned for capturing the fleeting light of sunset and sunrise, de Breanski masters layers an...

An original rare and extremely collectible first edition John James Audubon hand colored royal octavo lithograph entitled "Golden Eye Duck", No. 82, Plate 406, from Audubon's "Birds of America". It was lithographed, printed and colored by J. T. Bowen and published in Philadelphia between 1840-1844. It depicts male and female Golden Eye ducks in flight. This original rare first edition hand colored Audubon bird lithograph is in excellent condition. The sheet measures 6.25" x 10". The original text pages, pages 362-366, from Audubon's publication are included. John James Audubon (1785-1851) was a naturalist and artist. He was initially unsuccessful financially prior to the publication of his famous work “The Birds of America”, spending time in debtor’s prison, once stabbing a disgruntled investor in self-defense. However, his obsession with birds and art motivated him to persist in his goal of documenting every bird in America via his watercolor paintings and publishing his works for all to enjoy. Audubon's first illustrations were published in a large elephant folio size. Due to their expense they were purchased in rather small numbers by the wealthy. To reach a larger audience, Audubon, with the help of his sons and J. T. Bowen, published a smaller octavo sized lithograph version, which were much more affordable. With the success of his bird projects, Audubon then turned his attention to four-legged animals. He explored the Missouri River in 1843 sketching the four-legged animals he encountered in their natural setting. His expedition covered some of the same regions recently explored by Lewis and Clark, traveling from present day Alaska to Mexico. Audubon realized that this was an opportunity to document these animals in the still relatively pristine American wilderness, before man encroached on their environment. Between 1845 and 1848, Audubon and his sons John Woodhouse Audubon and Victor Gifford Audubon produced a set of elephant folio sized lithographs that were primarily engraved and hand colored by J. T. Bowen in Philadelphia. The publication, which included text descriptions of the animals was published 3 years before Audubon died. As with the birds, this was followed by a three-volume set of 155 octavo-sized plates entitled “The Quadrupeds of North America” completed and published by Audubon’s sons, John, Jr. and Victor. Audubon prints continue to be popular and a wise investment. The double elephant folio set...

Female Head Study signed with monogram and dated 1883 lower right by Axel Kulle (1846–1908). Oil on canvas laid down on panel. Original giltwood frame with relief ornamentation. The ...

About this work: Before he became the celebrated chronicler of Montmartre’s nightlife, Lautrec was surrounded by a different kind of spectacle. At his family’s estates, the young art...

The artist looks for a path between tangled branches. Reconfiguring a personal archive of diverse Colombian landscapes, experimenting with a variety of printing materials to reconstr...

Signed and titled in pencil. Inscribed "192/285." Edition 285.

This is an exclusive handprinted limited edition cyanotype. "Azure Clouds" is an cyanotype of the semi-abstract patterns of clouds in the sky, showing shades of blue. Details: + Tit...

Sunset at Öresund with Kronborg Castle, late 19th century Danish school, oil on canvas. Original gilt wood frame. The present small format painting depicts Öresund at dusk, viewed from the Danish coast, with Kronborg Castle visible across the water in the middle distance. The castle is shown in a subdued atmospheric light, its towers and buildings softly defined against the pale evening sky. Several sailing boats are visible on the Sound, while in the foreground a small wooden boat has been hauled up onto the sandy shore. Rocks, posts and traces of seaweed provide additional detail along the water's edge. The work, most likely from the end of the 19th century, is executed on an unusually small canvas for a finished coastal view of this type. The intimate format, measuring only 18 × 14 cm, suggests that it may have been painted as a small personal memento, study, or gift, rather than as a formal exhibition work. The restrained palette of pale blue, ochre, grey and warm yellow is particularly effective in conveying the evening light. The distant architecture is handled with a light and economical touch, while the foreground boat and shoreline are painted with more defined brushwork. Despite its modest dimensions, the artist has created a convincing sense of recession from the beach across the water towards Kronborg. Kronborg and the surrounding coastline of northern Zealand were important subjects for Danish artists throughout the 19th century. The area around Helsingør, Kronborg and Øresund attracted painters from the Danish Golden Age onwards, while the coast and fishing communities continued to provide subjects for later 19th-century artists. Marine painting was an established speciality within Danish art, with artists such as Carl Dahl, Carl Frederik Sørensen...

Three botanical studies, watercolor on paper, mounted together in a single frame. Signed and dated Ester Brunstedt, 1898 on the reverse. This elegant group of three botanical waterco...

Poppy No.8 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 80x64 cm and is part of an exclusive series of 15 prints, each hand-sig...

This is an original John James Audubon hand-colored lithograph entitled "Canvass Back Duck, 1. Male 2. Female, View of Baltimore, Maryland", No. 79, Plate 395 from Audubon's "Birds o...

Painted plein air in oil on panel, this work captures the landscape of the artist’s childhood home, rendered directly from life. The immediacy of outdoor observation is evident in th...

Fine painting of iconic Iona Island coast by celebrated Scottish artist Duncan Cameron (1837-1916). Renowned for his landscape paintings, this work captures the natural light on the sea, sand and rocks with splashes of rich color under a big sky. Iona off the west coast of Scotland, has attracted artists for for its dramatic scenery and northern light, including the Scottish Colourists who favored the fresh pure light. The cliffs and coastal rocks are reminiscent of works by Samuel Peploe, John MacLauchlan Milne, Francis Cadell, and Duncan Fergusson of this fabled island. In 1876 Cameron won a Gold Medal for landscape painting, at the Crystal Palace exhibition. The year after this painting (circa 1870s) Cameron began exhibiting in the Royal Academy, Society of British Artists, and Royal Scottish Academy, showing his work consistently from 1880. Other venues for exhibiting his work include the Glasgow Institute, Walker Art Gallery in Liverpool, Manchester City Art Gallery, and the Royal Hibernian Academy. His work is sold today in Fine Art Galleries in the UK and in Saltire Gallerie, USA. His landscape paintings are widely acclaimed, and this landscape painting of considerable size and detail is a fine example. Born in Perthshire, Cameron studied in Dundee and in South Kensington, London. He later died in Edinburgh. The highest auction sale of his work reached nearly 20,000 GBP. He was widely acclaimed as a landscape artist, painting Scottish farmlands and haystacks, coastal scenes and lochs. In this work the colors of the sea change from blue to green with white crests of waves. The rocks have splashes of red, rust and orange, and the beach has red and green in the sand. Water laps at the edge of beach and rock. A sailboat is a focal point, with distant sailboats on the water, and a rowboat by the central sailboat. A hill rises behind the beach painted...

This picturesque mid-19th-century oil painting by English artist Frederick Waters Watts (1801-1870) depicts the Menai Strait in North Wales. It presents a sweeping view along the str...

This is an original framed 19th century hand-colored folio-sized lithograph entitled "Diphogena Aurora" (Bolivian Rainbow Hummingbirds) by John Gould, from his "Monograph of the Trochilidae, or Family of Hummingbirds", published in London in 1853. The print depicts two Bolivian Rainbow hummingbirds feeding on the nectar of small flowers on a branch. This striking framed Gould hand-colored lithograph is presented in a antiqued gold frame, a gold-colored fillet, and a light tan French mat, embellished with a mint-colored broad band. The frame measures 32" high, 25.5" wide and 1.25" thick. The hand-coloring is enhanced by the use of gum-arabic paint on the hummingbirds heads and necks, giving them an iridescent appearance. The descriptive text page from Gould's original publication is included. It is affixed to the back of the frame in a clear sleeve. The piece is in excellent condition. There are several other unframed Gould bird lithographs available on our 1stdibs and InCollect storefronts. Two or more of these striking lithographs would make an attractive display grouping. A discount is available for purchase of a set depending on the number. These additional Gould hummingbirds may be viewed by typing Timeless Intaglio in the 1stdibs or InCollect search field to be taken to our storefront. John Gould (1804-1881]) was an English ornithologist and artist. He, like his American contemporary John James Audubon, published a number of books on birds in the mid 19th century, illustrated by hand-colored lithographs. His wife and fellow artist, Elizabeth Gould, and several other artists including Edward Lear and Henry Constantine Richter produced lithographs for his various publications. He has been considered the father of bird study in Australia and the Gould League in Australia is named after him. Charles Darwin referenced Gould’s work in his book, "On the Origin of Species" and Gould named a bird after Darwin; "Darwin's finches". Gould began his career in London as a taxidermist, but in 1827 became the first curator and conservator at the museum of the Zoological Society of London. In this position naturalists brought him collections of birds from all over the world. He began creating drawings and eventually hand-colored lithographs with his wife and Edward Lear, which were the basis for his first publications. Darwin brought him specimens from the Galapagos Islands, including 12 species of finches which had never been described. In 1838, Gould and his wife travelled to Australia and their work led to the seven volume publication of “The Birds of Australia”. Gould had a fascination for hummingbirds and collected specimens of 320 varieties before ever seeing a live hummingbird on a trip to the United States in 1857. He eventually published “A Monograph of the Trochilidae, or Family of Humming-birds". Other large publications include: "The Birds of Europe"," A Monograph of the Ramphastidae, or Family of Toucans”, “A Synopsis of the Birds of Australia, and the Adjacent Islands”, “A Monograph of the Odontophorinae, or Partridges of America”, “The Birds of Asia”, “The Birds of Great Britain” and "The Birds of New Guinea and the Adjacent Papuan Islands, including many new species recently discovered in Australia". John Gould (1804-1881) was a British ornithologist and illustrator who is best known for his monumental work, "The Birds of Europe," published between 1832 and 1837. Gould was born in Lyme Regis, Dorset, England, and began working as a taxidermist and natural history dealer in London in the 1820s. In 1827, Gould was appointed the first curator and preserver of birds at the Zoological Society of London, where he began to build his collection of specimens and began to study the birds of the world. He published his first monograph, "A Century of Birds from the Himalaya Mountains," in 1831, which included 80 plates of Himalayan birds. Gould continued to publish numerous volumes on the birds of the world throughout his life, including "The Birds of Australia" (1840-1848) and "The Birds of Great Britain" (1862-1873). His works were highly regarded for their accuracy and detail, and he was one of the most prominent ornithologists of his time. In addition to his work as an ornithologist, Gould was also a successful businessman, and he used his profits to fund expeditions and to support the scientific community. He was elected a Fellow of the Royal Society in 1843, and he was awarded the Royal Medal...

Details: Title: Tropical Abundance VII Medium: Acrylic Painting and India Ink on Watercolor Paper Size: Size: 40x55.2 Inches (100x140cm), each panel measures 40x28 Inches (100x70 cm)...

'Horned Owl' The print depicts a Horned Owl perched alertly on a moss-covered rock, its striking orange eyes gazing forward while it clutches a small rodent in its talons. The rocky...

'Yucca filamentosa' (Adam's Needle) Original copper-line engraving with original hand-colouring. From 'Herbier general de l'amateur' by Jean Louis Auguste Loiseleur-Deslongchamps &...

Swedish winter landscape at dusk. The painting depicts a quiet winter landscape in the late afternoon and the setting sun, rendered in warm, softly atmospheric colors. Snow-covered ...

This is an original rare and extremely collectible first octavo edition John James Audubon hand colored lithograph entitled "Brown Pelican, Young First Winter", No. 85, Plate 424, fr...

'Eggs' Antique English natural history chromolithograph. Key to eggs below the image. Tiny numbers in the margins to identify the eggs. Sheet 19cm by 12.5cm, image 13cm by 9.5cm.

'Red Deer' The print depicts a majestic red deer stag moving through a rugged autumn landscape. The stag is rendered in warm brown tones with a large multi-pointed rack of antlers, ...

'Crested Porcupine' The print depicts a crested porcupine in dramatic close-up, shown in profile against a dark, rocky background. The animal's striking black and white quills radia...

'Roe Deer' This print depicts a male roe deer buck standing in profile in an autumnal forest scene. The deer is positioned beside a large tree trunk with vibrant orange and yellow f...

'Wolf' This chromolithograph depicts three wolves in a naturalistic landscape setting. Two wolves occupy the foreground and middle ground, one gazing directly at the viewer, while a...

'Orang' The print depicts a large male orangutan with distinctive cheek pads and long reddish-brown fur, suspended among branches and vines in a lush tropical rainforest. The ape ga...

'Ancienne Race de Wiltshire (The Old Wiltshire Breed)' Lithograph with original hand-colouring by Hermann Eichens (1813-1886) from a drawing by W. Nicholson after a painting by Wil...

This original painting by Romina Milano captures the quiet vitality of a prickly pear cactus in bloom, where bold forms and expressive brushwork meet a refined, illustrative sensibil...

Josechu Lalanda (1939-2015) Solitaire, sanglier Bronze à patine brune H. : 15 cm ; L. : 24 cm ; P. : 12 cm Daté « 1986 », signé « J. Lalanda » et numéroté « 186 / 250 » Fonte d’édi...

Signed in pencil below the image. Signed and dated in the plate. The number '327' inscribed in pencil in lower margin. Mortimer Menpes was an artist and engraver, author, printmake...

US buyers pay no import tariffs on this item. This early 19th-century watercolour, attributed to English artist Samuel Owen (1769-1857), depicts several vessels buffeted by turbulen...

'Squirrel' The print depicts two red squirrels on the trunk of a large tree in a forest. One squirrel clings upright on the left side of the trunk while a second peers around from t...

Watercolor painting of a street scene with two females and a man that appears to be a beggar. The work is signed by the artist. It is framed in a black frame with a yellow matte. Dim...

Antique bird egg colour woodblock , 1880, from Francis Orpen Morris’, 'A Natural History of the Nests & Eggs of British Birds', 1875. The woodblocks ...

Joseph Fleischmann, 'Whaling' (Hartingers Wandtafeln: Zoologie T. XXXII), monumental vintage color lithograph, 1900. Signed in the matrix, lower right. A superb, beautifully nuanced impression, on cream wove paper, the full sheet with margins (1 1/2 to 2 3/16 inches), in very good condition. The full sheet, unmounted and unmatted—shipped carefully rolled and protected. Sheet size 28 x 38 1/2 inches (711 x 978 mm). Rendering by A. Berger after Joseph Fleischmann. Published in "Hartinger's Wandtafeln Zoologie" (Hartinger's Zoological Wall Charts) by "Verlag von Carl Gerold's Sohn, Wien" (Published by Carl Gerold's Son, Vienna), 1900. This Artic whaling scene depicts a Greenland whale in the foreground pursued by whalers. A whaling ship is seen in the background and at right, another whale among icebergs with seagulls overhead. The composition is exceptionally accomplished. Rather than depicting the whale as a specimen, Fleischmann presents it as a monumental living creature within its Arctic environment. The distant sailing ship and whaleboats establish scale, while the drifting pack ice, seabirds, and subdued northern light create an atmospheric narrative. The image succeeds equally as a work of natural history and as a decorative maritime print. ABOUT THE ARTIST Josef Fleischmann was an Austrian painter, illustrator, and lithographic designer active in Vienna during the late nineteenth and early twentieth centuries. Working at a time when Vienna stood among Europe's foremost centers of chromolithographic printing, he became known for producing richly detailed natural history illustrations that combined scientific accuracy with exceptional artistic craftsmanship. Fleischmann worked for the distinguished Viennese publisher Carl Gerold's Sohn, contributing illustrations to the celebrated educational series Hartinger's Wandtafeln, a collection of zoological and botanical wall charts produced for schools, universities, and scientific institutions throughout the Austro-Hungarian Empire. Printed by the renowned lithographic establishment of Albert Berger...

Poppy No.11 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 32 x 32 cm and is part of an exclusive series of 20 prints, each hand-...

Details: Title: Coral Duo I Medium: Gouache Crayon on Watercolor Paper Size: Size: 40x55.2 Inches (100x140cm), each panel measures 40x28 Inches (100x70 cm) Year: 2026 * Certificate ...

Poppy No.4 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 32 x 32 cm and is part of an exclusive series of 20 prints, each hand-s...

Nicholas Trofimuk is a fine art photographer and Master Printer whose work spans black-and-white landscapes, archival pigment color prints, and his signature "Vibographs." Raised in ...

Original oil painting, signed by Robert Alexander and dated indistinctly, lower right. Fine painting of a mare and two foals in pastoral landscape setting, this work is presented in...

Peony No.10 printed on archival Hahnemühle Photo Rag Baryta fine art paper, this limited edition piece measures 40 x 32 cm and is part of an exclusive series of 20 prints, each hand-...

This series of cyanotype triptychs showcases the beauty of nature scenes, including stunning beaches and oceans, as well as the intricate textures of water, forests, and skies. These...

Arcadian landscape inspired tapestry. Belgian made, jacquard woven with relief stitch. Fully lined with rod pocket for hanging. Cotton and rayon. Measurements are approximate.

One feels very small yet peaceful strolling among Sequoia Sempervirens, California’s oldest living residents. And if that’s not enough to make a human feel insignificant, these coast...

One wonderful thing about this painting is its light. It’s pitch-perfect: if it were a tad darker, it would be gloomy; a tad lighter, and it there would be less to discover. The joy ...

Hibiscus Oasis is an original painting by Romina Milano that celebrates nature in full expansion. Exotic flowers rendered larger than life, pressing outward with color, movement, an...

Fine 19th century landscape oil on canvas by Alfred de Breanski Sr., this sunset, color and light, are exceptional in this work. Alfred De Brea...

Carl Friedrich Deiker (1838 Wetzlar - 1892 Düsseldorf). Vigilant fox. Pencil drawing on brown paper, 18 × 29.5 cm (inside measurement), 31.5 x 43.5 cm (mount), signed and dated "Deiker [18]54" at lower right. - a little bit stained, with a light water stain at lower right About the artwork Carl Friedrich Deiker's consummate ability to depict animals is already evident in this early work. He brought a whole new psychological dimension to animal painting, so that one could literally speak of animal portraits. The naturalistic appearance of the fox alone makes it seem alive. Every strand of muscle, even every hair, is captured, which requires an intensive artistic study of animal anatomy and physiology. But the fox's real liveliness comes not from its natural appearance, but from its internal movement: Stretched out, it has been brought out of rest. It turns around and, with its ears pricked up, looks intently in the direction from which it has seen something. His mouth is slightly open and his pointed teeth are bared, as if he were growling. Tension gradually takes hold of his whole body. While the hind legs were still in a relaxed position, closely observed by Deiker, one front leg was already raised, ready to begin a rising movement. The fox seems so alarmed with all its senses that one gets the impression that, at any moment, its tail will move jerkily and the animal will jump up. While wild animals have traditionally been portrayed as beasts or anthropomorphised, often for caricatural purposes, Deiker explores their inherent nature by attempting to capture their psychic impulses. The wild animal is neither bestial nor human, but a creature in its own right, valued by Deiker for its own sake. In this way, he brought the dignity of the animal into representation and raised animal painting to a whole new artistic level. About the artist Carl Friedrich Deiker was the son of the drawing teacher Christian Friedrich Deiker and the younger brother of the animal painter Johannes Deiker. In addition to the family art lessons, Christian Friedrich shared a studio with his brother Johannes at Braunfels Castle, Deiker attended the drawing academy in Hanau, and from 1858 he was a student at the Karlsruhe Art Academy, where he studied under the landscape painter Johann Wilhelm Schirmer. Carl Friedrich Deiker was already in demand as an artist during his first year: Grand Duke Frederick I of Baden, Margrave Max of Baden and Grand Duke Michael of Russia bought hunting scenes by him. In 1859 he went on a study trip to the Reinhardswald. Just as the Barbizon School had rediscovered the landscape, Deiker opened up the forest for animal painting. From 1861-64 Deiker had his own studio in Karlsruhe, then moved to Düsseldorf, where his brother Johannes followed four years later. Deiker married a daughter of the landscape painter Karl Hilger and remained in Düsseldorf until his death. In 1868 he finally achieved international fame with his painting 'Pursued Noble Deer' and was regarded as a virtuoso new founder of animal painting. "Deiker brought for the first time a truly great artistic quality to animal painting [...]". - Hans Vollmer From 1870 he participated in the academic art exhibitions in Berlin, Dresden, Munich and Hanover. He was also very busy as an illustrator. He drew for the Gartenlaube, the Salon, the Universum, and produced many of the finely illustrated hunting and animal books of the period. He also worked as a printmaker, while his oil paintings circulated as reprints by Franz Dinger. From 1865 to 1892 Deiker was a member of the artists' association Malkasten. Carl Friedrich Deiker's life's work was honoured with a large posthumous memorial exhibition at the Düsseldorf Kunsthalle in 1892. His son Carl Deiker, born in 1879, also became a painter. Selection of art museums that own works by Carl Friedrich Deiker: Hamburger Kunsthalle / Kunsthalle Karlsruhe / Kunstmuseum Düsseldorf / Wallraff Richartz Cologne. Selected Bibliography H. Schmidt: Johannes and...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: No.1:I; No. 2:1; II & III. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

"Peony no.2" – Edition 4 of 5 Cotton Canvas Scroll Floral Fine Art Photography Soft as breath and grounded in timeless stillness, “Peony no.2” is a meditation on fragility, presenc...

Merian & Johnston not signed

'Durham Cathedral' Wood-engraving after Samuel Read. From 'The Illustrated London News'. Samuel Read was an English illustrator who provided many illust...

Four plates from The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers. “Wolfsmelk Rupsen;" “Wolfsmilch, Raupe und Schmetterling" Amsterdam: J F Bernard, 1730. Each an engraving with hand coloring in watercolor and gouache printed on one sheet of watermarked Honig cream laid paper, each measures 6 1/4 x 5 inches (157 x 121 mm), sheet measures 20 5/8 x 14 inches (522 x 355 mm), full margins. With handling creases in the lower right sheet quadrant, as well as minor, loose cockling, otherwise in very good condition. The colors are superb with exceptionally fresh and bright saturation. Engraved between 1679 and 1683, printed 1730. Plates included: LIV, LV, LVI, & LVII. MARIA SIBYLLA MERIAN was one of the most highly respected entomologists of the 17th century, and remains today one of the field's most significant figures. A German-born naturalist and scientific illustrator, she reared herself on the study of caterpillars, and made tremendous contributions to the knowledge of the life cycles of numerous species. Until her detailed and careful study of the process of metamorphosis it was thought that insects were "born of mud," through spontaneous generation. Trained as a miniature painter by her stepfather, she published her first book of illustrations in 1675, at the age of 28. In 1679, Merian published the first volume of the two-volume series on caterpillars, The Wondrous Transformation of Caterpillars and their Strange Diet of Flowers; the second volume followed in 1683. Each volume contained 50 plates that she engraved and etched. In 1699, Merian traveled to Dutch Guiana...

This original triptych by Romina Milano presents a vibrant botanical landscape rendered in expressive, fluid brushwork. Stylized tropical blooms unfold across three panels, creating ...

This is a sensitive small-scale study portrait of a young girl, executed in warm monochrome brown tones. Painted during the second half of the 19th century, oil on paper and mounted ...

Metamorphosis Insectorum Surinamensium, Plate No. 39; Unidentified tree with moth, caterpillar and pupa. The Netherlands: 1705....

We are proud to present an exquisite drawing by the renowned artist Christian Berg (1893-1976), executed around the 1920s. This captivating artwork port...