Maria Mendelssohn Art

Color etching printed in gradient red, orange, yellow, green, blue, and violet ink, 8 3/8 x 15 inches (212 x 380 380 x mm), full margins. Signed, titled and numbered 46/100 in pencil, lower margin. Arnold Gross...

House on Cliff Walk, Newport, R.I. 1931-1932. Etching and drypoint. Hausberg catalog 13 state .i/ii. Edition 75 in this state. 5 7/8 x 7 7/8 (sheet 9 x 13 1/2). A rich impression pr...

Farmyard. c. 1925. Etching and drypoint. 5 1/2 x 11 (sheet 10 x 15 1/4). Edition 75, #54. A rich impression with plate tone printed on cream wove paper. Signed and numbered in pencil...

Bailey's Beach (Newport, Rhode Island). 1933. Etching. Hausberg 126 state v/vi. Edition 75. 6 x 7 7/8 (sheet 9 3/8 x 12 3/8). Printed with extensive plate tone with plate tone on 'Va...

Etching with aquatint on buff wove paper, 11 3/8 x 15 1/2 inches (287 x 392 mm), full margins. Signed, titled, and numbered 99/100 in pencil, lower margin. In good condition with som...

Bailey's Beach (Newport, Rhode Island). c. 1931-1933. Etching and drypoint. Hausberg catalog 126 state vi. Edition 75. 6 x 7 7/8 (sheet 9 9/16 x 12 1/2). Printed on cream wove paper ...

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...

Early Morning Rain Etching & color aquatint, 1977 Signed, titled, numbered and dated in pencil Edition: 40 (39/40) Published by Associated American Artists, New York Condition: Mint Image/Plate size: 16 1/2 x 15 3/8 inches Sheet size: 25 3/4 x 19 1/2 inches Reference: AAA Index No. 2486 "Norman Ackroyd (RA) is one of Britain’s most celebrated living landscape artists. He is renowned for his evocative and atmospheric visions of the British Isles. Working in both etching and watercolour, he is equally as adept at capturing the calm of a Summer’s daybreak as he is the ferocity of a winter sea. Born in 1938 in Leeds, he studied at Leeds College of Art (1957-61) and the Royal College of Art in London...

Etching on antique laid paper, 6 9/16 x 3 15/16 inches (167 x 100 mm), signed and dated in pencil, lower margin. Potentially a trial proof impression aside from the unsigned edition of 1459. Non-archival tape residue along the top and bottom sheet edges, recto, well outside of image area. Scattered handling creases and general scattered soiling in the margins, minor and unobtrusive. [Fletcher 217]. This work was commissioned by The Architectural Forum...

An etching of a view of the Manhattan skyline by artist Nat Lowell. Signed and titled in pencil, ca. 1940.

House on Cliff Walk, Newport, Rhode Island or Caprice, Newport, Rhode Island.. 1931/33. Etching. Hausberg catalog 138 state ii. 5 15/16 x 8 (sheet 7 7/8 x 9 5/8). A rich impression ...

Etching on antique cream laid paper, 12 7/8 x 5 1/2 inches (328 x 140 mm), full margins. Signed in pencil, lower margin. Laid down to non-archival board, general age tone and some ma...