South Carolina - Art

Portrait of a dark horse with an Argentinian halter A portrait of a dark, velvet-coated horse looking over his shoulder The print series Equus: Light & Form focuses on the details ...

'New Rochelle - Before the Wind', drypoint, 1931, edition 30 (only a few impressions printed), Rose l.163. Signed, dated '1932' and numbered '1 – XXX' in ...

Benton Spruance, 'Slack Rope Artist', lithograph, 1930, edition 30, Fine and Looney 35. Signed and titled in pencil. Numbered '2' in the bottom right margin. A fine impression, with ...

Charles Quest, 'Underwater', 1948, chiaroscuro wood engraving, edition 12. Signed, titled, dated and numbered '3/12' in pencil. A fine, richly-inked impression, in dark brown and warm black, on off-white wove paper, with full margins (5/8 to 1 1/2 inch), in excellent condition. Scarce. ABOUT THE ARTIST Charles Quest, painter, printmaker, and fine art instructor, worked in various mediums, including mosaic, stained glass, mural painting, and sculpture. Quest grew up in St. Louis, his talent evident as a teenager when he began copying the works of masters such as Michelangelo on his bedroom walls. He studied at the Washington University School of Fine Arts, where he later taught from 1944 to 1971. He traveled to Europe after his graduation in 1929 and studied at La Grande Chaumière and Academie Colarossi, Paris, continuing to draw inspiration from the works of the Old Masters. After returning to St. Louis, Quest received several commissions to paint murals in public buildings, schools, and churches, including one from Joseph Cardinal Ritter, to paint a replica of Velasquez's Crucifixion over the main altar of the Old Cathedral in St. Louis. Quest soon became interested in the woodcut medium, which he learned through his study of J. J. Lankes' A Woodcut Manual (1932) and Paul Landacre's articles in American Artist magazine ‘since no artists in St. Louis were working in wood’ at that time. Quest also revealed that for him, wood cutting and engraving were ‘more enjoyable than any other means of expression.’ In the late 1940s, his graphic works began attracting critical attention—several of his woodcuts won prizes and were acquired by major American and European museums. His wood engraving entitled ‘Lovers’ was included in the American Federation of Art's traveling print exhibition in 1947. Two years later, Quest's two prize-winning prints, ‘Still Life with Grindstone’ and ‘Break Forth into Singing’, were exhibited in major American museums in a traveling show organized by the Philadelphia Print Club. His work was included in the Chicago Art Institute's exhibition, ‘Woodcut Through Six Centuries’, and the print ‘Still Life with Vise’ was purchased by the Museum of Modern Art in New York. In 1951 he was invited by artist-Curator Jacob Kainen to exhibit thirty wood engravings and color woodcuts in a one-person show at the Smithsonian's National Museum (now known as the American History Museum). Kainen's press release praised the ‘technical refinement’ of Quest's work: ‘He obtains a great variety of textural effects through the use of the graver, and these dense or transparent grays are set off against whites or blacks to achieve sparkling results. His work has the handsome qualities characteristic of the craftsman and designer.’ At the time of the Smithsonian exhibition, Quest's work was represented by three New York galleries in addition to one in his home town. He had won 38 prizes, and his prints were in the collections of the Library of Congress, the Chicago Art Institute, the Metropolitan Museum, and the Philadelphia Museum of Art. In cooperation with the Art in Embassies program, his color woodcuts were displayed at the American Embassy in Paris in 1951. Recognition at home came in 1955 with his first solo exhibition in St. Louis. Press coverage of the show heralded the ‘growth of graphic arts toward rivaling painting and sculpture as a major independent medium’. An exhibition of his prints at the Bethesda Art Gallery in 1983 attracted Curator Emeritus Joseph A. Haller, S.J., who began purchasing his work for Georgetown University's collection. In 1990 Georgetown University Library's Special Collections Division was the recipient of a large body of Quest's work, including prints, drawings, paintings, sculpture, stained glass, and his archive of correspondence and professional memorabilia. These extensive holdings, including some 260 of his fine prints, provide a rich opportunity for further study and appreciation of this versatile and not-to-be-forgotten mid-Western American artist...

Terry Haass, 'Quintet', etching and aquatint, edition 20, c. 1948. Signed, titled, and numbered '12/20' in pencil. A superb, richly-inked impression, on off-white wove paper, with fu...

Otto Kuhler, 'Bedrock', etching, 1928, edition 25, Kennedy 29. Signed and titled in pencil. A superb, richly-inked impression in brown/black ink, with skilfully wiped plate tone; on ...

The racing yachts Northern Light sailing across the Atlantic Ocean The billowy, light-filled sail gives way to the dark hull of the boat and waters below in this action-packed image The nautical print series Sail: Majesty at Sea is an intimate look at two revered racing boat classes and their incredible and enduring design as they navigate the open seas. Images from this series are in the permanent collection of the Mariners' Museum, Newport News...

Black and white portrait of the back of a young Rendille warrior wearing traditional adornments This warrior in a remote tribal community in Northern Kenya is the epitome of physica...

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...

Edward Landon, 'Dark Vessel', color serigraph, 1952, edition 50, Ryan 51. Signed, dated, and titled in pencil. A superb impression, with fresh colors, on c...

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;...

"Fleeting Time" This photograph features the boats Courageous, American Eagle, Victory ’83 and Intrepid in the Atlantic Ocean off of Newport, Rhode Island. The nautical print ser...

Portrait of a Rendille woman looking out over her ancestral territory in Kenya A Rendille woman dressed in traditional cultural beaded jewelry looks over her native homeland in East...

"Glisten" In this best-selling image, the droplets of water caused by the path of the 12-Meter yacht Northern Light added an incredible textural detail to the scene. The nautical ...

"Immersion" ⁠Through this minimalist, underwater environment, you can completely immerse yourself in the beauty of the horse’s form with no distractions to take away from the subjec...

"Celestial Light" Ethereal in nature, this image offers a new perspective reframing a classic, enduring subject. Created completely underwater, Equus...

Edward Landon, 'Untitled Fantasy', color serigraph, 1983, edition 30, Ryan 214. Signed, titled, and annotated 'Edition 30' in pencil. A fine impression, with fresh colors, on off-whi...

Carlo Alberto Petrucci, 'Still Life with Peonies', color monotype, c. 1915. Signed in pencil, in the image, lower right. A superb, painterly impression, with fresh colors, on heavy c...

Werner Drewes, 'Small Forms on Crossing Bands', drypoint and roulette, 1935, edition 20, Rose 1.197. Signed in pencil. A fine, rich impression, in warm black ink, on cream wove paper...

"Wisdom's Keepers" In this image, a group of elephants appears lined up against a hazy backdrop of fog. It was a perfect yet unexpected scene. Exceptional Creatures is a limited e...

Irving Lehman, Untitled (Woodland Reflection), watercolor, c. 1955. Unsigned, with the artist's estate stamp verso: 'Original Artwork By: IRVING G. LEHMAN Russian/American 1900-1982'...

"The Lookout" A mother polar bear rests while her cub curiously looks out from behind her. The limited edition print series Northern Dreams is a tribute to one of the most spectac...

"Rainbow Trailed" The J-Class boats Rainbow and Velsheda sail at near impossible angles as the sailors freely dangle their feet over the edge of the deck. This award-winning image is in the permanent collection of the Mariners' Museum, Newport News...

"Morning Rise" In this award-winning image, an unbelievable sunrise gave way to the cool blue colors in this inspiring scene. Inspired by this once-in-a-lifetime sunrise, the pri...

"Winter Reverie" Minke whale surfaces momentarily against the sea ice and backdrop of mountains. The limited edition print series Northern Dreams is a tribute to one of the most sp...

"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...

Exceptional Creatures is a limited edition print series documenting the most extraordinary animals roaming our Earth. These limited edition archival prints are carefully inspected, ...

A leopard stands in the tall dry grass of the Kenyan plains with its tail in a perfect curve Exceptional Creatures is a limited edition print series documenting the most extraordina...

"Arteti Leading Camels" In this iconic photograph, a Rendille warrior takes his camels to find water. It is part of his role to make sure that each animal has what they need, even ...

"Dreamland" This best-selling image features the white horses of Camargue congregating in the pools of water that form in their home in the South of France. The print series Band ...

John Taylor Arms, 'Limoges (French Church Series #32)', etching, 1932, edition 142, third (final) state impressions, Fletcher 244. Signed, dated, and annotated 'Ed 100 III' in pencil. A superb, finely detailed impression, in warm black ink, on antique, pale gray laid paper, with full margins (1 1/16 to 1 1/2 inches); adhesive stains in the bottom left and right sheet corners, well away from the image, otherwise in excellent condition. Matted to museum standards, unframed. A view of Limoges, France and the Saint-Martial Bridge from the far side of the Vienne river. According to Fletcher, author of the catalogue raisonné on the artist's graphic work, this etching is among the artist’s preferred plates. Published references: "An Appreciation to John Taylor Arms 1887-1953", in PRINT, Vol. VIII #5 P. viii, Feb.-March 1954. Impressions of this print are in the permanent collections of the Davis Museum at Wellesley College, National Gallery of Art, Saint John’s University, Smithsonian Institution, and Wake Forest University. ABOUT THE ARTIST “John Taylor Arms will live on and on and future generations centuries from now will marvel at his work... . As a friend and as a man, he fully matched his superb work.” —John Winkler, printmaker Born in Washington, D.C. in 1887, John Taylor Arms attended the Lawrenceville School and began the study of law at Princeton University. In 1907, he transferred to the Massachusetts Institute of Technology and took up the study of architecture. Arms evolved his unique drafting style, with its highly realistic, precise detail and exquisitely rendered effects of light, from his experience and practice as an architectural student. He graduated in 1911 and completed a master’s degree the following year. He then worked as a draftsman with the well-known Carrere and Hastings Company in New York. In 1913 Arms was given a hobbyist’s etching set, and he began to dabble with copperplate and acid. In 1915, after copying a handful of prints by Jongkind and other Etching Revivalists, Arms created his first original etching. His early experiments were picturesque views of European villages, reflecting the influence of Whistler. He inked and printed several of these plates in color in the manner of Charles Mielatz...

Benton Spruance, 'Eyes for the Night', color lithograph, 1948, edition 35, Fine and Looney 261. Signed, dated, and titled, and annotated 'Ed 35' in pencil. A fine impression with fresh colors, on cream wove paper; the full sheet with margins (1 to 1 3/8 inches), in excellent condition. Printed by master lithographer Theodore Cuno. Archivally matted to museum standards, unframed. Image size 19 x 13 inches; sheet size 21 1/8 x 15 1/4 inches. Selected by the artist for his retrospective exhibition 'Benton Spruance: Lithographs...

"Silent Giant" Craig is one of the greatest and most famous super tusk elephants in the world. With 200 lbs of tusks, he is royalty in the elephant world and an icon of survival. ...

"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...

A mother cheetah protects her cub as they both rest in the grassy plains of Amboseli in Kenya. Exceptional Creatures is a limited edition print series documenting the most extraordi...

"Take Heart" In this iconic, best-selling image of a wild horse sharing a tender moment with her young, she appears to have a heart on her forehead. The print series Discovering t...

Two giraffes walk across the plains with Kilimanjaro in the backdrop and dense cloud cover Exceptional Creatures is a limited edition print series documenting the most extraordinary...

"Monarch of the Flood Plains" Portrait of a young Mundari boy looking after his cattle in South Sudan In these scenes of life from South Sudan, experience the surreal, roving camps of the Mundari...

"A Young Goddess; Mindisayo" Confident and poised, Mindisayo represents the next generation of women who will set the course for the future of her village and her peers in the years...

"Untitled 32" A young Suri boy displays the confidence prevalent in his tribe. Jewelry and ornamentation is an important part of his culture, and he takes great pride in wearing his...

"Silent Grace" The gracefulness of the horses of Sable Island is only intensified by their steadfast, silent gaze that draws you in and embraces you. This is a best-selling imag...

A brown bear stands in the middle of dense foliage in Alaska. Each year, brown bears descend on a remote part of the Alaskan wilderness in record numbers, gathering in search of the...

"Pacific Glow" There are very few places on Earth where the light is as significant as it is in the morning along the coast of California. Join the photographic journey through th...

"Alight" This timeless image features a stretch of California Coast where it seems like the Earth ends and disappears into the sea. Join the photographic journey through the cultu...

"Speckled Crest" This iconic portrait draws the eye towards this speckled horse's exquisite features. This image has received several awards, including the highest honor of Gold at ...

"Steady" A lion walks in the confident, rhythmic gait symbolic of the grace and power of these big cats. With the minimal, sunbaked backdrop of the Maasai Mara behind him, he remain...

"Spilling Over" In this award-winning, abstract image, full of movement and action, the J-Class yacht Ranger sails on. The nautical print series Sail: Majesty at Sea is an intimat...

"Glisten" In this best-selling image, the droplets of water caused by the path of the 12-Meter yacht Northern Light added an incredible textural detail to the scene. The nautical ...

Gordon Phillips, 'Catchin' a Mount on a Frosty Morn', graphite, c. 1980. Signed and titled in pencil. A fine, spontaneous rendering, on white, wove bri...

"Ray of Light" In this award-winning image, a young Rendille woman named Mindisayo basks in the sun. The print series Desert Song: Compositions of Kenya exhibits classic, timeles...

"Beginnings" A mother looking after her young foal is a sign of the thriving community of wild horses on Sable Island. This is a best-selling image. The print series Discovering...

Konrad Cramer, 'Colored Drawing No. 6' (Reclining Woman), monotype, 1931. Signed and dated in pencil beneath the image, lower right. Annotated 'Colored D' (drawing), No 6' in pencil, lower left sheet corner. A fine, spontaneous work, on cream laid paper, with full margins (1 1/8 to 1 3/4 inches); original brown paper hinges in the top left and right sheet corners, in excellent condition. Image size 5 3/8 x 10 7/8 inches; sheet size 8 1/2 x 13 7/8 inches. Matted to museum standards, unframed. A monotype is the printmaking technique of drawing or painting on a smooth, non-absorbent surface. The surface or matrix can vary from a copper etching plate...

"""Unhindered"" Black and white profile portrait of a wild horse with a light blonde mane The poise and confidence of a wild Sable Island horse is part of what defines them The pr...

"At Sea" Here, the 12-Meter racing yachts Weatherly and American Eagle are featured on the Atlantic Ocean. The nautical print series Sail: Majesty at Sea is an intimate look at tw...

"Textures of Silence" The early morning light and the pristine water created a perfect reflection of the landscape in this black and white image...

"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...

"The Dance" This award-winning print features a stallion protecting his band from others by defending his family. The print series Discovering the Horses of Sable Island documents...

Boris Lovet-Lorski, 'Untitled (Nude Crucified)', lithograph, edition 250, 1929. Signed and numbered 19 in pencil. Number 19 of Volume 2, a series of 10 lithographs published by the a...

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

"Beginnings" A mother looking after her young foal is a sign of the thriving community of wild horses on Sable Island. This is a best-selling im...