Paul Huet Art

A Handsome 1940s Portrait of a Seated Man by Chicago Modern Artist, Harold Haydon (Am. 1909-1994). A wonderfully executed line drawing dating from 1946 with great character; looks ...

Figurative landscape of four infantrymen in formation with their long arquebus guns by Adolphe Ancker (Dutch, 19th Century), after Marchetti. Signed and dated "Adolph Ancker 1888" lo...

Hungarian/American artist/illustrator depicts a charming scene of sledding in the snow in Central Park. The work is abstract in its design as it's functional in its narrative - Unpublished New Yorker...

Jim’s of Lambertville is proud to offer this artwork by: Gershon Benjamin (1899-1985) An American Modernist of portraits, landscapes, still lives, and the urban scene, Gershon Benj...

The Endeavour. c.1935. Pencil and watercolor on watercolor board. 14 3/8 x 20 7/8. Signed in pencil, lower right; titled in pencil, verso. Housed in a subtle 23 1/2 x 36-inch light ...

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...

New York: c 1920. Etching with aquatint printed in brownish black ink on cream wove paper, 8 3/4 x 12 inches (220 x 304 mm), full margins. Signed and titled in pencil in the lower ma...

Oil bar, Pencil, Petal Flowers, Color and Ink on Paper. The base of this drawing is 120g/m2 Fabriano paper. I use natural dyes from flowers, herbs, leaves, and tree bark as the firs...

Watercolor and pencil on buff wove watercolor paper, 10 x 8 inches (255 x 203 mm). In good condition with overall minor toning. Some watercolor paint splatters on the verso, contem...

The Spire -- New York. 1985. Etching and drypoint. 14 1/2 x 11 (sheet 22 1/2 x 18). Trial proof of the second third, prior to the edition of 100. Printed on Rives cream wove paper, on the full sheet with deckle edges. A rich impression in pristine condition, housed in an archival sleeve. This etching has never been matted. Provenance: the artist's estate. Titled, annotated 'third state - trial proof' and signed in pencil. A dramatic view of the Chrysler Building. Painter and printmaker Lawrence Nelson...

Superb original drawing in coloured conté pencils, heightened with white on oatmeal coloured vergé paper by Claudio Bravo. The work was created during the artist's Moroccan period, a...

A fine impression on antique watermarked paper. Etching on antique blueish-gray antique laid paper with an unknown crown watermark, 10 1/2 x 6 7/8 inches ( 268 x 175 mm); sheet 13 3...