South Carolina - Art

Edouard Goerg, 'Le Paradis Terrestre' (Paradise on Earth), etching, 1931, edition 40. Signed, titled, and numbered '3/40' in pencil. A fine richly-inked impression, on heavy, cream w...

"""Sublime"" White horse swimming in a profile portrait taken underwater Ethereal underwater portrait of a white horse swimming in black and white The print series Band of Rebels:...

A sand dune in Namibia with a pattern of ripples in it from the wind A delicate texture appears where the wind whips the sand dunes. This ornate pattern will disappear when the wind...

"""Summer's Glory"" Black and white image of two brown bear cubs playing on a hillside Black & white image of two brown bear cubs playing Each year, brown bears descend on a rem...

Lawrence Nelson Wilbur (1897-1988), 'Tranquil Harbor' (Gloucester, Massachusetts), wood engraving, edition 55, 1958. Signed in pencil, and signe...

Robert Vale Faro, 'Dialogue Erudite', color lithograph, 1945, edition 16. Signed, dated, titled, and numbered '98' and '4/16' in pen. A fine, richly-inked impression with fresh colors, on heavy, off-white wove paper; full margins (1/2 to 1 1/4 inch), in excellent condition. Image size 20 1/2 x 14 3/8 inches; sheet size 22 1/2 x 17 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...

"Youthful Gaze" A young lion looks out from the tall grass at something that caught their eye A lion cub looks out from the tall grass in Kenya in this black and white portrait Ex...

"Shamrock Rising" With a lone sailor standing on deck, the famed racing yacht Shamrock looks extraordinary. The nautical print series Sail: Majesty at Sea is an intimate look at t...

Louis Lozowick, 'Corner of Steel Plant', lithograph, 1929, edition 25, and 10 printed in 1972; Flint 21. Signed, titled, dated, and numbered 'I/X' in penci...

Ira Moskowitz, 'Navajo Trading Post', lithograph, 1946, edition 30, Czestochowski 161. Signed and dated in the stone, lower left. A fine, richly-inked impression, on cream wove paper, with full margins (1 1/2 to 3 1/8 inches). Pale mat line, otherwise in excellent condition. Matted to museum standards, unframed. Image size 11 11/16 x 15 1/2 inches (297 x 395 mm); sheet size 16 5/16 x 191/8 inches (414 x 486 mm). 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 American Indian...

Karl Michel, 'Austellung Karl Michel', woodcut, 1924, edition 20. Signed, dated, numbered 'op. 173' (the artist's inventory number) and '7/20' (the impression number/edition size) and annotated 'Vorgesdruck' (artist's proof) in pencil. A fine, richly-inked impression on hand-made cream, wove paper, with full margins (1 1/16 to 1 1/2 inches); toning to the right sheet edge deckle, otherwise in good condition. With the artist's blind stamp in the bottom center margin. Designed and printed by the artist. Very scarce. Matted to museum standards (unframed). An elegantly designed, dynamic exhibition announcement with the German copy in the block: 'Austellung Karl Michel – Deutsches Buchmuseum Leipzig/Zeitzer str 12, Berlin S.W. 61 Teltower str 33 / Buchschmuck/ Plakate/ Anzeige/ Schultzmarke/ Illustrations/ Ex Libris'. English translation: 'Karl Michel Exhibition – German Book Museum, Leipzig Zeitzer Street 12, Berlin, S.W. 61 Teltower St. 33. / Book Decoration / Posters / Announcements / Illustrations / Ex Libris.' Image size 6 x 4 inches (152 x 102 mm); sheet size 8 1/16 x 5 1/2 inches (205 x 140 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 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...

Ralph Arnold, 'Cascade', mixed media: acrylic, pencil, conté crayon, marker, oil; 1986-88. Signed 'Arnold' and dated '86-88' in pencil, lower right. A fin...

"Caress" Signs of affection on Sable Island between the horses include nuzzling, like in this image here. The print series Discovering the Horses of Sable Island...

Adriaan Lubbers, 'Skyline from Jersey Heights', lithograph, 1930, edition 25. Signed, titled, and numbered '4/XXV' in pencil. Dated 'Paris 1930' in pencil. A fine impression, on crea...

"""Summer Dream"" Black and white timeless portrait of a brown bear resting on its paws Portrait of a brown bear resting on its paws Each year, brown bears descend on a remote par...

"Flight" A giraffe runs across the parched Earth near Amboseli National Park, Kenya Exceptional Creatures is a limited edition print series documenting the most extraordinary anim...

Ethereal portrait of a leopard sitting majestically atop a rock, looking at something to the right out of frame Exceptional Creatures is a limit...

Robert Riggs, 'Psychopathic Ward', 2-color lithograph, c. 1940, edition c. 50, Beall 60, Bassham 78. Signed, titled, and numbered '14' in pencil. Signed in the stone, lower right. A ...

Fritz Eichenberg, 'The Pimp', wood engraving, 1980, artist's proof before the edition. Signed in pencil. Signed in the block, lower right. A fine, richly-inked impression, on cream wove paper, with full margins (2 3/16 to 3 1/2 inches), in excellent condition. Archivally sleeved, unmatted. Image size 12 x 9 3/4 inches (305 x 248 mm); sheet size 18 x 14 inches (457 x 356 mm). ABOUT THE ARTIST Fritz Eichenberg (1901–1990) was a German-American illustrator and arts educator who worked primarily in wood engraving. His best-known works were concerned with religion, social justice, and nonviolence. Eichenberg was born to a Jewish family in Cologne, Germany, where the destruction of World War I helped to shape his anti-war sentiments. He worked as a printer's apprentice and studied at the Municipal School of Applied Arts in Cologne and the Academy of Graphic Arts in Leipzig, where he studied under Hugo Steiner-Prag. In 1923 he moved to Berlin to begin his career as an artist, producing illustrations for books and newspapers. In his newspaper and magazine work, Eichenberg was politically outspoken and sometimes wrote and illustrated his reporting. In 1933, the rise of Adolf Hitler drove Eichenberg, who was a public critic of the Nazis, to emigrate with his wife and children to the United States. He settled in New York City, where he lived most of his life. He worked in the WPA Federal Arts Project and was a member of the Society of American Graphic Artists. In his prolific career as a book illustrator, Eichenberg portrayed many forms of literature but specialized in works with elements of extreme spiritual and emotional conflict, fantasy, or social satire. Over his long career, Eichenberg was commissioned to illustrate more than 100 classics by publishers in the United States and abroad, including works by renowned authors Dostoyevsky, Tolstoy, Charlotte and Emily Brontë, Poe, Swift, and Grimmelshausen. He also wrote and illustrated books of folklore and children's stories. Eichenberg was a long-time contributor to the progressive magazine The Nation, his illustrations appearing between 1930 and 1980. Eichenberg’s work has been featured by such esteemed publishers as The Heritage Club, Random House, Book of the Month Club, The Limited Editions Club, Kingsport Press, Aquarius Press, and Doubleday. Raised in a non-religious family, Eichenberg had been attracted to Taoism as a child. Following his wife's unexpected death in 1937, he turned briefly to Zen Buddhist meditation, then joined the Religious Society of Friends in 1940. Though he remained a Quaker until his death, Eichenberg was also associated with Catholic charity work through his friendship with Dorothy Day...

Katherine S. Dreier, 'Variation 4, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

Leon Bibel, 'Clown', color serigraph, 1939, edition 20. Signed, dated, titled, and numbered '/20' in pencil. A fine, richly-inked, painterly impression, with fresh colors, on buff la...

A lone white horse photographed against formations of snow in the background Sometimes, it felt like the Icelandic horses were posing. They ap...

"Spirit of the Camargue" In this iconic black and white image, the Camargue horses wild, untamed essence is on full display. Coupled with their all-white coats and bold features, th...

Ralston Crawford, 'Third Avenue Elevated #1', lithograph, 1951, edition 55. Freeman L51.4. Signed, titled and numbered '48/55' in pencil. A fine, richly-inked impression, with rich ...

Christian Dull, 'Mending Nets', aquatint, c. 1930, edition 50. Signed and numbered '50/-' in pencil. A fine impression, on cream laid paper, the full sheet with margins (1/2 to 1 1/2...

Maurice Denis, Untitled (Mother and Child), lithograph, 1897, edition not stated. Signed in the stone, lower right. Annotated in linotype 'MAURICE DENIS, ORIGINAL LITHOGRAPHIE PAN III' in the lower left sheet corner. A fine, atmospheric impression, in warm, dark gray ink, on buff wove paper, with full margins (2 1/2 to 1 3/4 inches); a small discoloration in the bottom left sheet corner, otherwise in good condition. Image size 8 5/8 x 6 7/8 inches; sheet size 13 7/8 x 10 5/8 inches. As published in 'Pan', the leading German magazine of the period devoted to art and literature. Matted to museum standards, unframed. Collection: Los Angeles County Museum of Art. Reproduced: German Expressionist Prints...

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...

"""River Titan"" Black & white image of brown bear after diving into water Brown bear dripping water after diving into creek Each year, brown bears descend on a remote part of the...

Lawrence Kupferman, 'Fantasia Americana – 1880', drypoint etching with sandground, 1943. Signed, titled, and annotated 'Series A, 1971 2/6' in pencil. A superb, richly-inked impression, on heavy, cream wove paper, with full margins (2 1/2 to 3 1/2 inches); the paper slightly lightened within the original mat opening, otherwise in excellent condition. One of only 6 impressions printed in 1971, with the added sandground grey background tint. Archivally matted to museum standards, unframed. Image size 11 13/16 x 14 3/4 inches; sheet size 18 x 20 1/4 inches. Collections: National Gallery of Art, Zimmerli Art Museum (Rutgers University). ABOUT THE ARTIST Lawrence Kupferman (1909 - 1982) was born in the Dorchester neighborhood of Boston and grew up in a working-class family. He attended the Boston Latin School and participated in the high school art program at the Museum of Fine Arts, Boston. In the late 1920s, he studied drawing under Philip Leslie Hale at the Museum School—an experience he called 'stultifying and repressive'. In 1932 he transferred to the Massachusetts College of Art, where he first met his wife, the artist Ruth Cobb. He returned briefly to the Museum School in 1946 to study with the influential expressionist German-American painter Karl Zerbe. Kupferman held various jobs while pursuing his artistic career, including two years as a security guard at the Museum of Fine Arts, Boston. During the 1930s he worked as a drypoint etcher for the Federal Art Project, creating architectural drawings in a formally realistic style—these works are held in the collections of the Fogg Museum and the Smithsonian American Art Museum. In the 1940s he began incorporating more expressionistic forms into his paintings as he became progressively more concerned with abstraction. In 1946 he began spending summers in Provincetown, Massachusetts, where he met and was influenced by Mark Rothko, Hans Hofmann, Jackson Pollock, and other abstract painters. At about the same time he began exhibiting his work at the Boris Mirski Gallery in Boston. In 1948, Kupferman was at the center of a controversy involving hundreds of Boston-area artists. In February of that year, the Boston Institute of Modern Art issued a manifesto titled 'Modern Art and the American Public' decrying 'the excesses of modern art,' and announced that it was changing its name to the Institute of Contemporary Art (ICA). The poorly conceived statement, intended to distinguish Boston's art scene from that of New York, was widely perceived as an attack on modernism. In protest, Boston artists such as Karl Zerbe, Jack Levine, and David Aronson formed the 'Modern Artists Group' and organized a mass meeting. On March 21, 300 artists, students, and other supporters met at the Old South Meeting House and demanded that the ICA retract its statement. Kupferman chaired the meeting and read this statement to the press: “The recent manifesto of the Institute is a fatuous declaration which misinforms and misleads the public concerning the integrity and intention of the modern artist. By arrogating to itself the privilege of telling the artists what art should be, the Institute runs counter to the original purposes of this organization whose function was to encourage and to assimilate contemporary innovation.” The other speakers were Karl Knaths...

Ralston Crawford, 'Los Penitentes #3', etching, 1976, edition 20. Signed and numbered '6/20' in pencil; titled and annotated 'specially selected for Marcelle and Dan' in the bottom s...

Robert Vale Faro, untitled (African Idol), serigraph, c. 1940, edition 6. Signed in pencil. A fine impression, with fresh colors, on buff wove paper; the full sheet with margins(5/8 to 1 3/8 inches), in excellent condition. Very rare. Matted to museum standards, unframed. Image size 8 3/4 x 6 inches (222 x 152 mm); sheet size 11 x 7 1/2 inches (279 x 192 mm). ABOUT THE ARTIST Robert Vale Faro (1902-1988) was a well-known 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, and Anne Ryan as New York members and Francine...

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...

"Young Goddesses of Kargi" Powerful, iconic image of three young women walking across the salt flats This iconic image features three young women who are keepers of their tribe's ...

"Winter's Dream" White horses running along a path in a snow-covered tundra in this surreal photo The light of Iceland cast an incredible glow across everything it touched, from it...

"Wild Tranquility" Fashion-inspired porrait of a horse on Sable Island with a long windswept mane A lone wild horse with a spectacular mane appears to pose on the shores of Sable I...

Leon Bibel, 'Food Not Cannon', etching, 1937, edition 12 (an early state, probably unique). Signed in pencil. A fine impression, on cream wove paper, with full margins (7/8 to 2 1/8 ...

"""Spirit at Dawn"" Beautiful, mysterious portrait of a wild horse looking out over Sable Island A wild and mysterious dark horse guards Sable Island, perched atop a sand dune wher...

"""Splendor"" A large tusked elephant turns toward the camera in this intimate portrait Black and white portrait of a large tusked elephant looking towards the camera Exceptional...

"""Simba Simba"" Exceptional black and white portrait of two lion cubs in Kenya Two lion cubs look curiously out onto the plains Exceptional Creatures is a limited edition print s...

"""Rushing Waters"" Black and white image of a river running through Yosemite Valley There's so much inspiration in nature's textures, from the smooth water to the crisp line of Yo...

"Beautiful white horse looking to the left beneath an ancient archway A black and white image of a white horse in an archway looking at something out of the frame This powerful glo...

"Layers of Light" In this award-winning image, Drew was interested in the way the light hit the sand dunes of Sossusvlei, Namibia creating this breathtaking, ethereal scene. The p...

Jan Charles Vondrous, 'Piazzetta, Venice', color etching, 1930. Signed, dated, and titled in pencil. Signed and dated in the plate, lower right. A fine impression, on cream, laid pap...

Katherine S. Dreier, 'Variation 5, Vol. I' from '1 to 40 Variations', lithograph with pochoir and hand-coloring, 1934, edition 65. Stenciled signature and date, lower right. Annotate...

"""Spotlight"" Leopard elegantly perched atop a rock looking off into the distance Elegant back and white portrait of a leopard on a rock looking out at something in the distance ...

"""Rugged Beauty"" Lone wild horse standing against the grass on Sable Island There is a very distinct beauty to the wild horses living on Sable Island, from their manes to their c...

"Charge" The Camargue horses enjoy the thrill of running through the water that populates their remote home in the South of France. The print series Band of Rebels: White Horses ...

Lyonel Feininger, 'Church with Star (Kirche mit Stern)', woodcut, 1936, one of a small but unknown number of letterhead proofs; Prasse W265. Annotated 'W 265' (Feininger catalogue number) and inventory no. '2808' in pencil, in the bottom right sheet corner. A fine impression, on cream, laid letterhead stock; hinge remains on the left and right top sheet edges, verso, in excellent condition. Very scarce. Image size 2 3/8 x 2 3/8 inches; sheet size 10 1/16 x 7 1/16 inches. Archivally sleeved, unmatted. ABOUT THE ARTIST Lyonel Feininger (1871-1956) was born in New York City into a musical family—his father was a violinist and composer, his mother was a singer and pianist. He studied violin with his father, and by the age of 12, he was performing in public, but he also drew incessantly, most notably the steamboats and sailing ships on the Hudson and East Rivers, and the landscape around Sharon, Conn., where he spent time on a farm owned by a family friend. At the age of 16 he left New York to study music and art in Germany, from where his parents emigrated. Drawn more to the visual arts, he attended schools in Hamburg, Berlin, and Paris from 1887 to 1892. After completing his studies, Feininger began his artistic career as a cartoonist and illustrator, his originality leading him to great success. In 1906, after working for a dozen years in Germany, he was offered a job as a cartoonist at the Chicago Tribune, the largest circulation newspaper in the Midwest. He worked there for a year, inventing what became the standard design for the comic strip: in the words of John Carlin, “an overall pattern. . . that allowed the page to be read both as a series of elements one after the other, like language and as a group of juxtaposed images, like visual art.” His originality did not end there: he went on to become one of the great abstract painters. Like Kandinsky, music was his model, but Kandinsky only knew music from the outside—as a listener (inspired initially by Wagner, then by Schoenberg)—while Feininger knew it from the inside. He lived in Paris from 1906 to 1908, during which time he met and was influenced by the work of progressive painters Robert Delaunay and Jules Pascin, as well as that of Paul Cezanne and Vincent van Gogh. He began painting full-time, developing his distinctive Iyrical style based on Cubist and Expressionist idioms and a concern for the emotive qualities of light and color. He exhibited with the Der Blaue Reiter group in 1913, and in 1917, he had his first solo exhibition at Galerie Der Sturm in Berlin. One year after his solo exhibition, in 1918, Feininger began making woodcuts. He became enamored with the medium, producing an impressive 117 in his first year of exploring the printmaking medium. In 1919 at the invitation of the architect Walter Gropius, he was appointed the first master at the newly formed Staatliches Bauhaus in Weimar. His woodcut of a cathedral crowned...

John DePol, 'Reflections', chiaroscuro wood engraving, 1979, edition 160 in 1983. Signed, dated and titled in pencil. Signed in the block, lower right. A superb impression, on cream ...

Karl Michel, 'Ex Libris Verein' (New Year's Ex Libris Club Announcement), etching, 1924. Signed, dated, and numbered 'op. 167' in pencil. Signed and dated in...

Two white horses in a glacial pool of water nuzzling together Signs of affection in one of the most extreme places on Earth Set against Iceland’s ic...

Nathaniel Dirk, 'Cape Ann Harbor View', vintage watercolor on watercolor paper, 1948. A fine, spontaneous rendering, with fresh, undiminished colors, in very good condition; the arti...

"""Silent Titan"" Intimate portrait of a single wild horse living on Sable Island A lone dark horse looks over Sable Island. The wild horses that live there are a part of the islan...

Pamela Bianco, 'Fruit Piece', lithograph, c. 1925. Signed and titled in pencil. Signed in the stone, lower left. Annotated 'No. 8' in pencil, upper right...

"""Ripple Effect"" Surfers line up for a set of waves on the blue sea in this color photograph The unexpected beauty and delicate composition of the surfing line up can only be see...

"Almighty" An intimate portrait of Craig who is believed to be the largest living super tusk elephant on Earth. His tusks weigh a combined 200 pounds or more. Colossal Shadows: S...

"""On the Line"" Black and white photograph featuring three world-class racing yachts Velsheda, Ranger, and Lionheart together form an impressive crew of world class racing yachts...

Alonzo C. Webb, 'Bridges of Florence', etching, 1929, edition 100. Signed and titled in pencil. Signed and dated in the plate, lower left. A superb, richly-inked impression, in warm ...

A young Rendille woman wears traditional jewelry in this elegant portrait This portrait of a young Rendille woman shows off the traditional jewelr...

Joseph Hecht, 'Asie (Asia) from the series Atlas', engraving, 1928, edition c. 50, Tonneau-Ryckelynck & Plumart 162. Signed and annotated 'epreuve definitive' (final proof) in pencil...