Wes Olmsted Landscape Prints

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...

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...

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...

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...

Etching on medium stock, cream wove paper, 5 15/16 x 10 3/16 inches (151 x 259 mm), full margins. Signed and titled in pencil, lower margin. A fine and detailed impression in dark bl...

Etching on antique cream laid paper with a partial watermark (likely Arches), 12 1/8 x 6 1/8 inches (308 x 156 mm), full margins. Signed and dated in pencil in the lower right margin...

Ecthing in black ink on cream laid paper with a partial watermark, full margins. In excellent condition. A very scarce work from an edition of less than 20 impressions. Signed, date...

Etching on bluish-grey, antique laid paper, 5 x 3 5/8 inches (127 x 93 mm), signed, dated, and inscribed "III" in pencil, lower margin. A proof impression from the third state (of 3)...

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...

Etching and drypoint on greenish cream wove paper, 3 1/4 x 1 15/16 inches (81 x 48 mm), full margins. Signed, dated, and inscribed "III" in pencil. Number 46 from the French Churche...

A signed impression from the artist's own collection. Kansas City: Miniature Print Society, 1946. Etching on antique cream laid paper, 3 5/15 x 1 7/8 inches (84 x 49 mm), full margi...

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...