Adolphe Lalauze Art

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...

Color softground etching with aquatint and spitbite aquatint. Edition of 50

A lovely view of Venice from the water. Etching with drypoint on antique cream laid paper with a large figural watermark, signed in pencil, lower right. 14 1/4 x 11 inches (362 x 280...

Color softground etching with aquatint and drypoint. Edition of 35

Etching and drypoint on tissue-thin cream laid paper, 6 5/8 x 8 1/8 inches (167 x 205 mm), full margins. Signed in pencil in the lower right margin, and inscribed "Ponte Trinità, Florence" in pencil the lower left margin. Non-archival paper tape tabs at the top right and left corners on the verso, with minor associated discoloration which presents on the recto. Minor, light mat tone, and some very small losses at the extreme corners, well outside of image area. The numerals "325" written in pencil in the lower right margin, in reference to the Rinder catalog number. A beautiful, silvery, early-state impression. Rinder 325 [Rinder 325 iii/vii]. The son of a clergyman, Sir David Young Cameron was born in Glasgow in 1865. After a brief and unhappy dalliance in the fields of business and law, Cameron began attending the prestigious Glasgow School of the Arts in 1881, and later the Edinburgh School of the Arts. At first associated with the Glasgow Boys (John Lavery, Joseph Crawhall...

Signed Limited Edition Etching from Artists Studio. 12 of 25 Image 11" x 7" Matted 16" x 12" Ian Laurie was born in 1933 and is a self taught artist who made the transition from i...

ANDRÉ MASSON – "LA JAMBE DÉGUISÉE" ⚜ Etching with Aquatint ⚜ Hand Signed Lower Right ⚜ Numbered 23/50 ⚜ Conservation Frame SURREAL FIGURATION AND AUTOMATIC LINE Created in 1975, La ...

Paul Resika Untitled Signed lower right Etching on wove paper 10 1/2 x 6 inches Paul Resika (born 1928, New York, New York) is primarily recognized for his artwork featuring the di...

Color softground etching with aquatint and spitbite aquatint. Edition of 50

Pablo Picasso Painter in a Hat, Bearded Model and Naked Woman Spectator, 1963 Etching 18 x 14 ½ in Ed. 38 / 50 Georges Bloch catalogue raisonné as No. 1130 A number from this editio...

Etching and drypoint on cream wove paper, 10 3/4 x 7 1/2 inches (270 x 190 mm), full margins. Signed, inscribed and titled in pencil, lower margin. In good condition with minor mat t...

Amsterdam VI is an intriguing early career aquatint dry-needle etch print by renowned French-Dutch artist Olivier Julia. It depicts a detail of an old Amsterdam house facade and is b...