Karl Schrag Art

Noel Daggett, American (1925 - 2005) - Halfway to Lamey, Year: circa 1979, Medium: Lithograph, signed and numbered in pencil, Edition: 300, AP 40, Image Size: 18 x 22 inches, Siz...

atmospheric diptych by celebrated Latvian printmaker Guntars Sietiņš, executed in mezzotint and aquatint. This richly dark composition juxtaposes a dense field of smoke or vapor wit...

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...

Landscape is an original lithograph on cardboard, realized by Mario Sportelli in 1980s. The state of preservation is very good. Hand-signed on the lower right Edition of 100 copi...

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 ...

Jonas Wood 24 Tennis Court Drawings book (hand signed, inscribed to Kevin and dated by the artist) Hardback monograph (signed, inscribed and dated 2003) 13 1/2 × 9 1/4 × 2/5 inches M...

from the Padoli Monotypes III

Complete book comprising of 20 offset lithographs and cardboard cover, all hand-colored with watercolor. From the edition of unknown size. All 20 sheets bound (as issued). Minor ti...

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...

c. 1654. Etching with engraving on thin laid paper with an early and large unidentified watermark with a sundial and a many-pointed star, and an unidentified collector's stamp in the...

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...