Frederick Landseer Griggs, R.A., R.E. Art

Louis Orr, 'New York' (from the portfolio 'Ports of America', published by Yale University Press, 1928), etching, 1925, edition not stated. Signed and titled in pencil. Signed in the...

George Elbert Burr, 'Old Cedars – New Mexico', etching, 1920, edition 40, Seeber 218. Signed and annotated '(c) George Elbert Burr Del. et Imp.' in pencil. ...

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...

"The Boat House" is a signed (lower center) etching by Edward Loyal Field. It depicts a scene across a river in the foreground, where a quaint set of houses sits in black and white.1...

Elizabeth O'Neill Verner (American, 1883 - 1979) Signed: Elizabeth O'Neill Verner (in pencil, lower, right) " Home of Dubose Heyward, Charleston ", circa 1930 Imp. V 12, (in pencil, Lower, Left) Etching 5" x 3 3/8" plate size 8" x 5 1/2" sheet size Housed in a 2" Period Carved Frame Overall Size: 16 1/2" x 13 1/4" This original print is in excellent original condition. A nice presentation, ready to be hung and enjoyed. DeBose Heyward (Am. 1885-1940) was a native of Charleston. And lived there until the mid-1930s. Author of the novel. " Porgy ", published in 1925. Artist Biography: A leader in establishing Charleston, South Carolina as a dynamic cultural center, Elizabeth Verner...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel, which he chose for its popularity. When illustrating the princ...

Etching on cream laid paper, 3 7/8 x 5 7/8 inches (99 x 150 mm), full margins. Signed, dated, and inscribed "Sketch Grolier Club Library Demonstration Print," and numbered "I" in pen...

From David Hockney’s celebrated Six Fairy Tales from the Brothers Grimm portfolio, an image from the story of Rapunzel. The Enchantress with the baby Rapunzel references a Heironymus...

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...

Boston: American Art Review, 1880. Etching on cream laid paper, 5 3/4 x 8 3/4 inches (146 x 230mm), full margins. Light uniform age tone, scattered handling creases and minor toning ...

Etching on elaborately watermarked, antique, cream laid Dard Hunter paper, 13 5/8 x 7 1/78 inches (347 x 181 mm), full margins. Signed, titled, dated and inscribed "Ed. 100 II." From...

This artwork titled "Bonn, Bethovenhaus" c. 1970 is an color etching by noted Austrian artist Josef Eidenberger, 1899-1991. It is hand signed, titled, dedicated and resigned a second time in pencil by the artist. The plate mark (image) size is 12 x 9.10 inches, framed size is 21.65 x 17.65 inches. Custom framed in a dark wood frame, with green matting. It is in excellent condition. About the artist. Josef Eidenberger was born in 1899 in the little town of Goisern, Austria,he began his artistic career as a landscape painter. In 1923 he enrolled in the famed Graphic Academy of Art in Vienna and studied under Professor Alfred Cossman. His recognized talent brought him many commissions from city officials and members of the business communities throughout Europe, especially in Austria and Germany. In 1973 after visiting the United States for the first time he created a series of California etchings...