Eduardo Leyva Herrera Art

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 190, published by Aimé Maeght, Éditeur, Paris; printed ...

Four hand colored etchings and aquatints depicting interiors within English royal residences, including "The Blue Velvet Room at Carlton House", "The Queen's Library at Frogmore", "T...

A beautiful turn-of-the-century lake view of Chicago by an American artist known for his Texas landscapes. Etching with drypoint on watermarked Umbria laid paper with deckle edges, 7 1/4 x 10 7/8 inches (182 x 275 mm), full margins. Signed and numbered 4/25 in pencil, lower margin. In good condition with adhesive residue at the sheet edges on the verso, does not show through to the recto. A lovely Lake Michigan landscape...

This lithographic poster was printed at the Atelier Mourlot in 1959 for an exhibition of Picasso's "50 Masterpieces" at the Musée Cantini in Marseille, Fran...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 190, published by Aimé Maeght, Éditeur, Paris; printed ...

Summer. 1914. Drypoint. Appleby 46. 6 7/8 x 4 7/8 (sheet 11 5/8 x 9 3/16). Edition 77. A fine impression printed on cream wove paper on the full sheet with deckle edges. Signed in pe...

Lithograph on vélin paper. Inscription: Unsigned and unnumbered, as issued. Good condition. Notes: From Derrière le miroir, N° 190, published by Aimé Maeght, Éditeur, Paris; printed ...

Drypoint etching on white, buff laid paper with deckle edges, 8 13/16 x 12 inches (224 x 305 mm), full margins. One of only 25 proof impressions. In superb condition with excellent i...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...

Joan Miro - L'Issue Dérobée - Original Aquatint 1974 Dimensions: 36 x 54 cm Edition: 220 Jacques Dupin, L'Issue Dérobée, Maeght Editeur, Paris, 1974 (C. books 187) Biography Joa...

Make Fast, plate 2. 1929. Etching. Laver catalog number 146; Hurst catalog number 258. Plate: 14 3/8 x 9 13/16 (sheet 17 5/8 x 11 3/4). Trial proof 2, before the edition or 75. Ill...

An enchanting Southern landscape by the mother of the Charleston Renaissance. A native of Charleston, South Carolina, and educated under the tutelage of Thomas Anshutz at The Pennsylvania Academy of Fine Arts, O'Neill Verner was a teacher, a mother, an artist, an ardent preservationist, and a skilled autodidact. Having previously focused on painting, in the early 1920s she found herself deeply moved by printmaking as a media, and especially so by the simple, peaceful themes and tableaus she discovered in Japanese art. She embarked on a effort to teach herself Japanese printmaking techniques, and in the process, produced the charming images of every day life in Charleston and its environs that earned her recognition as a cultural icon in her day, and in more modern times, as the mother of the Charleston Renaissance, which flourished well into the 1930s. In 1923 she opened a studio in Charleston where she focused on documenting the local color and the architecture and landscape that distinguishes Charleston as one of the South's most beautiful cities, all the while applying the gentle and poetic thematic sensibilities of Japanese printmaking. O'Neill Verner soon found herself in high demand when municipalities and institutions throughout the country sought commissions from her to document the beauty of their grounds and historic buildings. She worked as far north as the campuses of Harvard and Princeton, and extensively across the South, including in Savannah, Georgia, where through sweeping commissions she was able to marry her love of southern preservation and art. O'Neill Verner was a lifelong learner, and continued a path of edification that led her to study etching at the Central School of Art in London, to travel extensively through Europe, and to visit Japan in 1937, where she studied sumi (brush and ink) painting. She was a founding member of the Charleston Etchers Club, and the Southern States Art League. Her works are represented in the permanent collections of leading museums across the American south, and in major national institutions including the Metropolitan Museum of Art, Boston's Museum of Fine Art, and the Smithsonian American Art Museum. O'Neil Verner...