Paulette Humbert Art

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 The work is abstract in its design as it's functional in its narrative - Unpublished New Yorker...

1926. Etching in sepia ink on Japon paper, 9 5/8 x 11 1/2 inches (245 x 292 mm), full margins with the lower margin slightly notched. Signed, titled and dated in pencil in the lower ...

Experience the romance and abstraction of 1950s Paris through this striking original mixed media drawing by the acclaimed American Modernist, Frederick E. Conway (1900–1973). This c...

Etching with drypoint on cream wove paper with a deckle edge, 6 7/8 x 4 7/8 inches (200 x 125 mm); sheet 15 x 11 inches (380 x 280 mm), full margins. In excellent condition with mino...

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...

Luigi Kasimir, 'Brooklyn Bridge', color etching with aquatint, 1927, edition 100. Signed in pencil. A superb impression, with fresh colors, on heavy, cream wove paper; with margins...

Etching with drypoint on cream wove paper with deckle edges, 4 3/8 x 12 3/4 inches (233 x 323 mm); sheet 9 1/2 x 15 3/4 inches (240 x 338 mm), full margins. Signed and numbered 4/75 ...

A lovely Regency era composition with a billowing sky and timber-framed houses; likely the Cotswolds or East Anglia. English School, 19th century c1820. Pen and ink in grayish black ...

Figurative ink and wash drawing of beagles and a terrier leading the hunter to the quarry by an unknown artist (American, 20th Century). Unsigned. Displayed in a rustic black and bro...

Thunderstorm over Boston. July 14, 1930. Ink and watercolor on paper. 10 5/8 x 17 5/8 (sheet 12 x 19 1/4). Signed and dated and titled in ink, lower right; titled verso and annotated...

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

Salvador Dali (Spanish, 1904-1989), "Expulse Comme un Megot Par Les Magots" [Flung Out Like a Fag-End by The Big Wigs], Drypoint Etching with Pochoir coloring, 1974, from After 50 Ye...