Harry Wickey Art

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 with drypoint on cream wove paper with a deckle edge, 6 7/8 x 4 7/8 inches (200 x 125 mm); sheet 15 x 11 inches (380 x 280 mm), full margins. In excellent condition with mino...

Trees (Trees in Circle) Etching & drypoint with monotype inking, 1953-1955 Signed in pencil An unrecorded trial proof, printed on heavy wove proofing paper at Atelier 17, before the ...

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 ...

Manhattan Mountains. 1938. Etching and drypoint. 14 3/4 x 12 3/8 (sheet 17 1/4 x 14 3/4). Artist proof, previous to the edition of 40. An atmospheric impression printed on buff-colored laid paper. Signed and dated in the plate. Signed, titled, and annotated 'Final state' and 'Jones Proof'in pencil. Housed in an archival sleeve. Painter and printmaker Lawrence Nelson...

Etching with drypoint on lightweight Japon paper, 9 3/4 x 9 7/8 inches ( 247 x 250 mm); sheet 14 x 12 3/4 inches (355 x 324 mm), full margins. Signed in pencil in the lower margin. I...

An enchanting Southern landscape by the mother of the Charleston Renaissance, Elizabeth O'Neill Verner(1883-1979) Etching and drypoint on cream wove paper, 6 15/16 x 5 1/16 inches (175 x 128 mm), full margins. Signed, titled and numbered 72/100 in pencil, lower margin. Uniform age tone, minor surface soiling. A rich and inky impression of a magical southern landscape with figure tilling soil under Spanish moss covered oaks. A native of Charleston, South Carolina...

London: Fine Art Trade Guild, c1900. Etching with drypoint on cream laid paper with a deckle edge 11 1/2 x 8 1/4 inches (290 x 208 mm); sheet 15 x 11 5/8 inches (380 x 294 mm), full...

The image depicts a restaurant on New York's Mott Street with ornamental iron work on the balconies. There are six figures in the scene in various stages of contrast. Mott Street is considered the unofficial Main Street of New York's Chinatown. Ella Fitzgerald sang it best: “And tell me what street compares with Mott Street in July? Sweet pushcarts gently gliding by.” CFW Mielatz was an early influence on the drypoints and etchings of Martin Lewis. This piece was created in 1906 and it is signed in pencil. It is part of the collection of New York's Metropolitan Museum of Art C.F.W. Mielatz American, 1860-1919 Born in Bredding, Germany in 1864, Mielatz emigrated to the United States as a young boy and studied at the Chicago School of Design. Mostly self-taught, his first prints were large New England landscapes reminiscent of the painter-etcher school of American Art. Around 1890 he started to produce prints of New York City and by the time of his death, the number totaled over ninety images. He was a master technician in the field of etching, reworking many of his plates to get the exact feeling he was seeking. Mielatz was a member of the New York Etching...

Etching and drypoint on heavy cream wove paper, 11 5/8 x 18 1/4 inches (295 x 460mm); sheet 16 3/4 x 22 1/2 inches (425 x 570 mm), full margins. A superb proof printed in bistre brow...

Etching with drypoint on cream laid paper with a deckle edge, 7 7/8 x 13 1/8 inches ( 200 x 334 mm), full margins. Signed and numbered 27/100 in pencil in the lower margin. With two ...

Etching with drypoint on hand made laid Japan paper with a deckle edge, 8 9/16 x 11 5/8 inches (220 x 296 mm), full margins. Signed, dated and titled in pencil in the margin, recto. ...