Thomas Higham Prints and Multiples

This exquisite engraving after Marie Laurencin (1883-1956), titled Sans titre (Untitled), from the folio Dialogue sur la Danse (Dialogue on the Dance), originates from the 1949 editi...

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...

A superb impression of Martin Lewis's consummate image of Japan. Etching with drypoint on fine cream laid paper, 13 7/8 x 10 3/8 inches (352 x 265 mm); sheet 17 3/4 x 14 1/4 inches ...

Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...

Samuel Chamberlain was a superb draftsman and his architectural images are often very complex. This image is, by contrast, quiet and understated: serene to the point of lonely. It's ...

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...

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...

A view of lower Manhattan's Cherry Street as it appeared at the turn of the 20th century. One of only 5 proof impressions. New York: 1904. Drypoint with aquatint on watermarked, cr...

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...

Etching with drypoint and aquatint on light cream wove paper, 5 1/2 x 5 inches (140 x 122 mm), full margins. Signed in pencil in the lower margin. One of a total of 400 signed impres...

Signed in pencil. This scene is a hundred years old but if we have snow this year it can easily be recreated.

This exquisite engraving after Marie Laurencin (1883-1956), titled Sans titre (Untitled), from the folio Dialogue sur la Danse (Dialogue on the Dance), originates from the 1949 editi...