Edward Bawden Landscape Prints

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...

This view of the Brooklyn and Manhattan Bridges is looking down "Plymouth Street" to the intersection of Jay Street. It is #35 in the catalogue raisonne by Retif Salzer and is in the permanent collection of the Museum of City of New York...

In "Destinations", Frederick Mershimer creates an image of taxis rushing by the Fuller Building, better known as Flatiron Building. The building is only six feet wide at its rounded...

A beautiful turn-of-the-century lake view of Chicago by an American artist known for his Texas landscapes. Etching with drypoint on watermarked Umbria laid paper with deckle edges, 7 1/4 x 10 7/8 inches (182 x 275 mm), full margins. Signed and numbered 4/25 in pencil, lower margin. In good condition with adhesive residue at the sheet edges on the verso, does not show through to the recto. A lovely Lake Michigan landscape...

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 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 ...

Etching with drypoint on antique handmade laid Japon paper, 12 7/8 x 7 1/2 (327 x 191 mm); sheet 15 5/16 x 10 7/16 (389 x 265 mm), full margins. Signed in pencil in the lower margin....

Kathan Brown Evening Moon, 1962 Color etching on wove paper Hand signed, titled, dated and numbered 30/100 by Kathan Brown on the front 18 3/4 × 27 3/4 inches De-accessioned from the...

This image is the 3rd etching created by Arms. It was printed byGrederick Reynolds in an edition of 116. Referenced as Fletcher #3 the image is the second in his Gable series. Lis...

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...

Lower Manhattan and the Seaport as the artist imagined it would have appeared before 1835. New York: 1907. Etching with drypoint on Japon paper, 13 7/8 x 9 3/4 inches (353 x 248 mm...

The Fair. 1895-96. Lithograph. Way 92, Levy 144, Tedeschi, Stratis and Spink 135 state ii. Image 9 1/4 x 6 1/2 (sheet 13 x 9 5/8). A fine impression printed on antique cream-laid paper. Way lists 15-lifetime impressions (Goulding printed...