South Carolina - Art

Karl Michel, 'Elisabeth', woodcut, edition 20, 1923. Signed, dated, and numbered 'op.142b' and '12/20' in pencil. Signed in the block, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine impression, on heavy fibrous Japan paper, with full margins (1 3/16 to 3 1/2 inches), in good condition. Printed by the artist, With the artist’s blindstamp in the bottom center margin. Scarce. Matted to museum standards, unframed. Image size 4 15/16 x 6 inches (131 x 152 mm); sheet size 10 x 6 inches (254 x 152 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Black and white photograph of a Brown bear in the midst of dense foliage in Alaska Brown bears descend on this remote part of Alaska each year for the salmon run Each year, brown ...

A mother elephant never lets her young ones out of sight An extraordinary intimate portrait of a mother elephant with her young by her side Exceptional Creatures is a limited editi...

John Gould, 'Leucippus Fallax' (Buffy Hummingbird), original lithograph with hand-coloring (not a reproduction), c. 1850. Signed in typeset 'J. Gould and H. C. Richter, del et lith.'...

A superb impression in warm black ink, on cream, laid paper; the full sheet with margins (1 5/8 to 2 3/4 inches); original brown paper hinges on the top sheet edge recto, in excellen...

"Untitled 20" In this best-selling, award-winning black and white photograph, a Suri boy elegantly perched in a tree looks over his livestock. The distinctly preserved cultures of...

William Thon, 'The Ruby R', watercolor, c. 1990. Signed, lower right; titled verso. A fine, expressionist work, on off-white watercolor paper; the image extending to the sheet edges....

Robert Vale Faro, 'Cheerleader', wood engraving, 1945, edition 15. Signed, dated, titled, and numbered '104' (the artist's inventory number) and '8/15' in pencil. A fine, black impression, with full margins (1 1/2 inches), on heavy, cream wove paper, in excellent condition. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known modernist architect and artist associated with the Chicago Bauhaus...

Incredible portrait of a Mundari cattle camp with a tree in the background Expansive photograph of the Mundari cattle camp in Sudan In these scenes of life from South Sudan, experi...

"Kisses" Two wild horses share a affectionate moment in an ethereal scene from Sable Island. This is a best-selling image. The print series Discovering the Horses of Sable Isla...

Epic portrait in black and white of a magnificent rhino with a large tusk A single rhino with a large tusk on the plains Exceptional Creatures is a limited edition print series do...

Thomas Robertson, 'Composition #4,' color serigraph, edition 47, c. 1940. Signed, titled, and annotated 'Ed/47' in pencil. A superb, painterly impression, with fresh colors, on buff wove paper, the full sheet with margins (1 to 2 inches), in excellent condition. Matted to museum standards, unframed. Image size: 10 9/16 x 8 1/2 inches (268 x 216 mm); sheet size 13 x 12 1/2 inches (330 x 318 mm). An impression of this work is represented in the collection of the National Gallery of Art. ABOUT THE ARTIST Born in Little Rock, Arkansas, Thomas Arthur Robertson (1911-1976) was the son of an attorney. Although his father, a co-owner of the Arkansas Law School, insisted that his son study there, after graduating, Robertson enrolled at the Adrian Brewer...

Robert Blackburn, Untitled (Reclining Nude), brush and ink, c. 1948, unsigned. A fine, spontaneous work, on cream wove paper. Slight toning to the sheet edges; otherwise in excellent condition. Matted to museum standards, unframed. Image size 18 3/4 x 23 1/2 inches (476 x 597 mm). Provenance: Adrienne E. Wheeler Collection, acquired from the artist. ABOUT THE ARTIST Robert Blackburn (1920 - 2003) participated in the rich mix of art programs and creative groups available in Harlem as he grew up, including Charles Alston's Harlem Arts Workshop, the Harlem YMCA, and later the Harlem Artist's Guild. In 1937 he joined the WPA at the Harlem Community Art Center, the largest New York center for instruction in the arts. There he was exposed to Harlem's most prominent artists, Aaron Douglas, William Henry Johnson...

Karl Eugene Fortess, 'Tanks & Trees', lithograph, c. 1940, edition 100. Signed, titled, and numbered '100/P' in pencil. Inscribed 'For Usui - K.' in the bottom left margin. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 2 1/2 inches); a slight crease across the top right sheet corner, well away from the image; otherwise in excellent condition. Image size 13 1/8 x 10 inches; sheet size 17 3/8 x 13 3/16 inches. Matted to museum standards, unframed. Provenance: Estate of Francis Pratt. Francis and her husband Bumpei Usui...

Armin Landeck, '12th Street Walls', etching, edition 100, first state, 1944, Kraeft 93. Signed in pencil. Initialed in the plate lower left. A superb, early impression, with all the ...

Photograph by Herman Leonard Miles Davis drawing at his Malibu, CA. 1989 Signed by the late photographer Herman Leonard.

Aerial image of a surfer on a yellow board The aerial perspective lets you appreciate the immense expanse and incredible compositions created by the union of surfer and sea The pri...

A young lion cub feels safe and secure nestled in the tall grass of his home A young lion cub looks out through the tall grass in the Maasai Mara Exceptional Creatures is a limited...

Photo of a large brown bear waiting at the creek's edge during the salmon run A large brown bear stands at the creek's edge, waiting for the perfect moment Each year, brown bear...

Armin Landeck, 'Studio Interior No. 1', 1935, drypoint, edition 100, Kraeft 56. Signed in pencil. Signed in the plate, lower right. A fine, richly-inked impression, on cream laid pap...

Ira Moskowitz, 'The Three Gods of Healing (Navajo Medicine Ceremony of the Night Chant)', lithograph, 1945, edition 30, Czestochowski 148. Signed and titled in pencil. Signed and dated in the stone, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 1/4 to 2 3/4 inches), in excellent condition. Matted to museum standards, unframed. Image size 12 1/4 x 15 13/16 inches (311 x 402 mm); sheet size 17 1/8 x 20 7/8 inches (435 x 530 mm). ABOUT THIS WORK The nine-night ceremony known as the Night Chant or Nightway is believed to date from around 1000 B.C.E. when it was first performed by the Indians who lived in Canyon de Chelly (now eastern Arizona). It is considered the most sacred of all Navajo ceremonies and one of the most difficult and demanding to learn, as it encompasses hundreds of songs, dozens of prayers, and several highly complex sand paintings. And yet the demand for Night Chants is so great that as many as fifty such ceremonies might be held during a single winter season, which lasts eighteen to twenty weeks. The Night Chant is designed both to cure people who are ill and to restore the order and balance of human and non-human relationships within the Navajo universe. Led by a trained medicine man who has served a long apprenticeship and learned the intricate and detailed practices that are essential to the chant, the ceremony itself is capable of scaring off sickness and ugliness through techniques that shock or arouse. Once the disorder has been removed, order and balance are restored through song, prayer, sand painting, and other aspects of the ceremony. The medicine men who supervise the Night Chant ensure that everything—each dot and line in every sand painting, each verse in every song, each feather on each mask is arranged precisely, or it will not bring about the desired result. There are probably as many active Night Chant medicine men today as at any time in Navajo history due to the general increase in the Navajo population, the popularity of the ceremony, and the central role it plays in Navajo life and health. ABOUT THE ARTIST Ira Moskowitz was born in Galicia, Poland, in 1912, emigrating with his family to New York in 1927. He enrolled at the Art Student's League and studied there from 1928-31. In 1935, Moskowitz traveled to Paris and then lived until 1937 in what is now Israel. He returned to the United States in 1938 to marry artist Anna Barry in New York. The couple soon visited Taos and Santa Fe in New Mexico, returning for extended periods until 1944, when they moved there permanently, staying until 1949. During this especially productive New Mexico period, Moskowitz received a Guggenheim fellowship. His work was inspired by the New Mexico landscape and the state’s three cultures (American Southwest, Native American, and Mexican). He focused on Pueblo and Navajo life, producing an extensive oeuvre of authentic American Indian imagery. He and Anna also visited and sketched across the border in Old Mexico. While in the Southwest, Moskowitz flourished as a printmaker while continuing to produce oils and watercolors. Over 100 of Moskowitz’s works depicting Native American ceremonies were used to illustrate the book American Indian Ceremonial Dances by John Collier, Crown Publishers, New York, 1972. After leaving the Southwest, printmaking remained an essential medium for the artist while his focus changed to subject matter celebrating Judaic religious life and customs. These works were well received early on, and Moskowitz was content to stay with them the rest of his life. From 1963 until 1966, Moskowitz lived in Paris, returning to New York City in 1967, where he made his permanent home until he died in 2001. Shortly before his death, Zaplin-Lampert Gallery of Santa Fe staged an exhibition of the artist's works, December 2000 - January 2001. Other one-person shows included the 8th Street Playhouse, New York, 1934; Houston Museum, 1941; and the San Antonio Museum, 1941. The artist’s work was included in exhibitions at the Art Students League, Art Institute of Chicago, Philadelphia Print Club, College Art Association (promotes excellence in scholarship and teaching), and the International Exhibition of Graphic Arts (shown at MOMA, 1955). Moskowitz’s lithographs of...

"Gatekeeper" An ephemeral capture of a truly enduring animal, this iconic black and white image is an ode to the American bison. Exceptional Creatures is a limited edition print s...

Artful, ephemeral capture of snow on trees which will disappear with the sun These trees appear to be painted in thick stripes with the first snowfall of the season in Grand Teton N...

Karl Michel, 'Viel Gluck 1923 Wunscht der Graphikverlag, J.G. Holzwarth/Bad Rothenfelde', woodcut, 1922, edition 20. Signed and numbered op. 135d and 20/20 in pencil. Signed in the image, lower left. Annotated 'Vorgesdruck' [artist’s proof] in pencil. A fine, richly-inked impression, on heavy, cream Japan paper, with full margins (5/8 to 1 1/8 inches), in good condition. With the artist’s blind stamp in the top left margin. Printed by the artist. Matted to museum standards, unframed. New Year's Greeting - "1923, Good Luck Wishes from the Graphic Press, J.G. Holzwarth/Bad Rothfelde." Image size 5 x 3 1/2 inches (127 x 89 mm); sheet size 6 5/8 x 5 7/8 inches (168 x 149 mm). ABOUT THE ARTIST Karl Michel (1889-1984) was a noted graphic designer and expressionist printmaker during Germany's pre-Nazi Weimar Republic (1919-1933). Michel’s work was the subject of a feature article in the influential German graphic design magazine Das Plakat (The Poster) in 1920. An anti-war advocate, Michel created a suite of 12 wood engravings depicting his impressions of the humanitarian toll of WWII entitled ‘Humanitas’ (Humanity). The German publishing house Greifenverlag published the series in a reduced folio of unsigned prints. Michel’s graphic work is held in the permanent collections of the Auckland War Memorial Museum (New Zealand), Frederikshavn Kunstmuseum & Exlibrissamling (Denmark), Museum of Applied Arts (Budapest), The Robert Gore Rifkind Center for German Expressionist Studies at the Los Angeles County Museum of Art, and the German Expressionism...

Katherine S. Dreier, 'Variation 8, Vol. 1' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

"Unlikely Companions" In this image, a large tusked elephant in Amboseli enjoys the grass that grows on the plains while two birds wait in the background ...

A young boy walks in the dusty cattle camps of the Mundari in South Sudan Life in the Mundari's moving camps is about caring for their elegant longhorn cattle, day in and day out I...

"Airborne" Black and white photo of two penguins leaping out of the water Two penguins effortlessly jump out of the water among icebergs on their way to their next destination in t...

"Winter's Lullaby" Black and white photograph of two gentoo penguins at the edge of the ice Two gentoo penguins stand side by side at the edge of the snow and ice against a minima...

Jerry Garcia Platinum Palladium photograph. 20x24 inch printed on Arches paper. Limited Edition of 4/35 “It was early in 1969, that Jann Wenner finally decided to do a Rolling S...

Twin Formation in Gray, color woodcut, 1982, edition 30, Rose III.400. Signed, dated and numbered I7/XXX in pencil, annotated 415 and titled in the bottom left sheet edge. A fine impression with fresh, rich colors, on heavy off-white Japan paper; the full sheet with wide margins (1 3/4 to 3 1/4 inches), in good condition. Printed in black, dark gray, medium gray, yellow/orange, and lemon yellow. Matted to museum standards, unframed. An impression of this work is included in the permanent collection of the Smithsonian American Art Museum. ABOUT THE ARTIST Painter, printmaker, and art teacher, Werner Drewes (1899–1985) was among the founding fathers of American abstraction. A student at the famed Bauhaus in the 1920s, he studied under Lyonel Feininger, Paul Klee, Laszlo Moholy-Nagy and Wassily Kandinsky. Following his emigration to the United States in 1930, he was instrumental in introducing modernist Bauhaus concepts and esthetics to America. Drewes’ boldly dynamic and emotionally expressive work, which encompassed both non-objective and figurative genres, brought him critical acclaim and numerous gallery and institutional exhibitions throughout his artistic career. Drewes' graphic work can be found in most major American art museums including, the Ackland Art Museum, The Art Institute of Chicago, Bauhaus Archive...

George Andreas Böckler, 'Chalice Garden Fountain', antique copperplate engraving, 1664, from the book 'Architectura Curiosa Nova'. A fine, richly inked ...

James Houston McConnell, 'Sister Kate', color serigraph, 1947, edition 24. Signed, dated, titled, and numbered '24' in pencil. Annotated '10.00 - 19 colors - 24 copies - #24' in pencil. A fine impression, with vibrant, fresh colors, on heavy tan wove paper, with full margins (11/16 to 1 1/2 inches). Tack holes in the four margin corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. Scarce. Another of McConnell's mid-century modernist, jazz-inspired serigraphs, 'Combo', is featured in the British Museum's 2008 publication (and traveling exhibition) 'The American Scene: Prints from Hopper to Pollock'. ABOUT THE IMAGE "I Wish I Could Shimmy Like My Sister Kate", often simply "Sister Kate", is an up-tempo jazz dance song, written by Armand J. Piron and published in 1922. The lyrics of the song are narrated in the first person by Kate's sister, who sings about Kate's impressive dancing skill and her wish to be able to emulate it. She laments that she's not quite "up to date", but believes that dancing like "Sister Kate" will rectify this, and she will be able to impress "all the boys in the neighborhood" like her sister. Over the years this song has been performed and recorded by many artists, including Frances Faye and Rusty Warren, a 1959 version by Shel Silverstein...

A lone surfer featured on a wave on the North Shore of Oahu, a surfing mecca To see the surfers from above makes their daring feats even more extraordinary The print series Swell: ...

"Symphony of Light" From the angelic light streaming in from the ocean's surface to the minute movements of the horse's hooves as she swims, each element in this image works togeth...

Adriaan Lubbers, 'Times Square', lithograph, 1929, edition 50. Signed, dated, titled, and editioned '(50)' in pencil. A fine impression, on cream wove paper, with full margins (2 1/2...

A young Mundari man walks through the smoky, dusty cattle camps of South Sudan Portrait of a young Mundari man walking swiftly through the cattle camps in South Sudan with a rope I...

"Blue Rhythm" A lone surfer enjoys the waves surrounding Oahu The print series Swell: Endless Blue takes you on a sweeping yet intimate aerial journey above some of the most formi...

Katherine S. Dreier, 'Variation 30, Vol. II' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annota...

"Sunset Beach" Palms provide an impressive, timeless silhouette on the shores of Sunset Beach while the incredibly hued sea helps create this minimal, aerial composition. The prin...

"Lapis at Dusk" Young Mundari boy looking at the camera and holding a stick among the long-horned cattle in the cattle camp on the banks of the Nile In these scenes of life from South Sudan, experience the surreal, roving camps of the Mundari...

"Windy Solitude" This best-selling image features a single horse on Sable Island as he looks back at the camera. " The print series Discovering the Horses of Sable...

Albert Urban, Untitled Abstraction (Figures in Red), color serigraph, 1944. Signed and dated in blue ink. A fine, painterly impression, with fresh, rich colors, on cream wove paper;...

"Windy Solitude" This best-selling image features a single horse on Sable Island as he looks back at the camera. " The print series Discovering the Horses of Sable Island documents...

"Gleam" In this award-winning, best-selling image, the rich cream-colored sunrise in the Pacific Northwest was enlightening and inspiring. Inspired by this once-in-a-lifetime sunri...

'Manhattan Bridge', etching, c. 1920, proofs only. Signed in ink in the image, lower right. A fine, rich impression, in warm black ink, on cream wove ...

Two horses swim underwater in this breathtaking black and white image Underwater image of two horses swimming in unison Created comple...

Beth Ganz, 'Craugh Phadrig, Ireland', copperplate photogravure etching, edition 10, 2020. Signed, titled, and numbered 6/10 in pencil. A superb, richly-inked impression in warm black ink, on cream, wove, cotton rag paper; the full sheet in excellent condition. Archivally sleeved, unmatted. Image size 10 1/2 x 10 1/2 inches; sheet size 16 x 15 1/2 inches. From the artist's series of 64 photogravure etchings, 'Axis Mundi'. Additional works from the series are available; please inquire. Exhibited: 'Photography in Ink, A Look at Contemporary Copper-Plate Photogravure,' Curated by Leandro Villaro, Penumbra Exhibition Space Gallery, Nov 30, 2022 - March 15, 2023. ABOUT THE IMAGE Cruach Phadraig in Irish, known as Croagh Patrick...

Two brown bears walk along the creek in search of salmon. Each year, brown bears descend on a remote part of the Alaskan wilderness in record numbers, gathering in search of the sal...

Imao Keinen, 'Flowering Quince and Cantonese Buttercup, Siskin' from the series 'Birds and Flowers of the Four Seasons', color woodblock Oban diptych, 1882. A fine impression, with fresh colors, on cream Japan paper, in excellent condition. Archivally sleeved, unmatted. Image size: diptych 12 5/8 x 17 7/8 inches (321 x 452 mm). ABOUT THE ARTIST Born in Kyoto, Imao Keinen (1845-1924) studied painting and calligraphy with Umegata Tokyo and Suzuki Hyakunen. He taught at the Kyoto Prefecture School of Painting and exhibited in shows in Japan and Paris. One of the most well-known Japanese painters of his time, Keinen was honored by his country with the title of 'Artist of the Japanese Empire...

Robert Vale Faro, 'Sylvan Maze', color lithograph, 1946, edition 20. Signed, dated, titled and numbered '112' and '11/20' in pencil. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1 to 1 1/2 inch), in excellent condition. Image size 13 11/16 x 9 11/16 inches; sheet size 16 1/8 x 12 5/16 inches. Scarce. Matted to museum standards, unframed. ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a modernist architect and artist associated with the Chicago Bauhaus. He received his degree in architecture and design from the Armour Institute in Chicago and worked at L'Ecole des Beaux-Arts, Paris, from 1924-27, where he was influenced by Harry Kurt Bieg and Le Corbusier. Upon his return to Chicago, Faro worked with the important modernist Chicago architects George and William Keck under Louis Sullivan. Faro founded the avant-garde printmaking group Vanguard in 1945. The group counted Atelier 17 artists Stanley William Hayter, Sue Fuller...

Raoul Dufy, 'La Pêche' (Fishing), woodcut, 1910, from the second edition of 220 printed in 1953. With the estate stamp 'ATELIER RAOUL DUFY' in the lower left margin. Numbered '106/220' in pencil, lower right. Titled in the block, lower right. A superb, richly-inked impression, on heavy, cream wove paper, the full sheet with wide margins (3 to 5 inches), slight toning at the sheet edges, well away from the image; otherwise in excellent condition. Archivally sleeved, unmatted. Image size 12 1/2 x 15 13/16 inches (318 x 402 mm); sheet size 19 9/16 x 25 3/4 inches (497 x 654 mm). From the suite of four woodcuts entitled 'Les Plaisirs de la Paix' (The Pleasures of Peace), originally published by Éditions de La Sirène, Paris in 1926. The other three works in the series are 'La Danse' (The Dance), 'La Chase' (The Hunt), and 'L'amore' (Love). See our other listings for 'La Danse' and 'L'amore'. Collections: Cleveland Museum of Art, Minneapolis Art...

Karl Michel, 'Viel Gluck 1923 Wunscht Karl Michel', etching, 1923, edition not stated but small. Signed, dated, and numbered 'op. 136' in pencil. Signed in the image, lower right. A...

Glenn O. Coleman, 'Hurdy Gurdy Ballet', lithograph 1928, edition 50. Signed, dated, and numbered '14/50' in pencil. Titled in the bottom left margin, in an...

Adato, a young Rendille woman, is a vision of calmness and tranquility. The young Rendille woman Adato draped in a wrap of fabric typical for the region The print series Desert Song: Compositions of Kenya exhibits classic, timeless beauty through portraits of the women of the Rendille tribe in a nod to fashion photography. Offered in a limited edition, these works are printed on Hahnemühle FineArt Baryta paper, which sets the standard for image definition and color depth. Each print includes an embossed certificate of authenticity and is signed and numbered. All images are printed in-house on Hahnemuhle Fine Art Baryta paper and come with a Certificate of Authenticity. For your convenience, all images are printed with a 3” paper border; this is not included in the listed sizes. Through a fashion-inspired lens, photographer and filmmaker Drew Doggett tells extraordinary stories of diverse cultures, animals, places, and communities. He has received over 130 prestigious international awards and has had his artwork featured in many publications, such as Conde Nast Traveler, Architectural Digest, Forbes, Bloomberg, Fortune, The Daily Mail, and Outside Magazine. His photographic work can be found in public collections globally, notably the Smithsonian African Art Museum (DC), as well as in hundreds of corporate and private collections in over 20 countries around the world, including that of Alec Baldwin, Gloria Steinem, Nicole Ari Parker, Eric Church...

Rémy Duval, 'Parisian Balcony', photogravure, 1946. A fine, richly-inked impression in warm black ink, on cream wove B.F.K. Rives paper; the sheet with deck...

'Set Pieces: Vanity of Trust', color lithograph, 1949, edition 40, Fine and Looney 279. Signed, titled, dated and numbered '23/40' in pencil. A fine, impression with fresh colors, on...

Wilhelm Hunt Diederich, 'Cossack Dancers', cut paper silhouette, c. 1920. Signed 'WHD' in pencil, lower left image. Black, wove, cut paper, laid on ...