Eugene Abeshaus Art

This artwork titled "Double Faces" c.1975 is an original color etching with aquatint on wove paper by American surrealist artist Michael Bowen, 1937-2009. It is hand signed with initials in pencil by the artist. The plate mark (image) size is 21.75 x 17.5 inches, sheet size is 29.25 x 20.75 inches. It is in excellent condition, has never been framed. About the subject: Nowhere is the intertwining of metaphysical, biographic and social narratives more evident than in the Café Life series painted in the 1980’s. Though the “series” was done in the 80’s, the pieces really revive the spirit of the Beat café scene, which began in the mid-1950’s and which was so instrumental to the particular spiritual and social vibe of the counter culture. And his Café Life observations continue over his artist life with scenes, such as the ones here, from Los Angles, Bolinas, Mexico and Italy. About the artist: Michael Bowen (December 8, 1937 – March 7, 2009) was an American fine artist known as one of the co-founders of the late 20th and 21st century Visionary art movements. His works include paintings on canvas and paper, 92 intaglio etchings based on Jungian psychology, assemblage, bronze sculpture, collage, and handmade art books. An icon of the American Beat Generation and the 1960s counterculture, Bowen is also known for his role in inspiring and organizing the first Human Be-In in San Francisco. Chronicled in books and periodicals reflecting on the turbulent 1960s, Bowen's historical impact on both the literary and visual art worlds is well documented. He remains influential among avant-garde art circles around the world. He started his art career at age 17, when he joined the American installation artist Ed Kienholz in his Los Angeles studio. There he met and joined with other influential Beat Generation artists including Wallace Berman, John Altoon, and Dennis Hopper. Bowen participated in the construction of the Ferus Gallery and Now Gallery created by Ed Kienholz and curated by Walter Hopps. Bowen attended the Chouinard Art Institute for several years during his formative artistic experiences in Los Angeles. In the late 50s and early 60s, Bowen continued his spiritual training and research. He investigated and practiced a variety of occult topics, Eastern philosophies, and mysticism, and his artwork reflected these themes. Bowen is often referred to as a mystic artist. As a lifelong student of the Bhagavad-Gita, Bowen's entire career has emulated the spiritual warrior archetype of Arjuna, fighting for the Bill of Rights of the United States Constitution. Michael Bowen moved to San Francisco in the late 1950s, and along with fellow artist comrades Arthur Monroe...

This artwork "l'Entree du Port, Netherland" c. 1930 is an original color aquatint on wove paper by French/Armenian artist Heran Chaban, 1887-1939. It is h...

Original etching and drypoint on wove paper. This is the third version and the second edition printed in 1921 of Le Chapeau Epingle. Condition is very good...

New York: c 1920. Etching with aquatint printed in brownish black ink on cream wove paper, 8 3/4 x 12 inches (220 x 304 mm), full margins. Signed and titled in pencil in the lower ma...

Original artist proof engraving, aquatint, intaglio on archival paper by the Russian/American artist, Nahum Tschacbasov. Signed in pencil lower right and dated 1947. Condition: good...

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...

ANDRÉ MASSON – "LA JAMBE DÉGUISÉE" ⚜ Etching with Aquatint ⚜ Hand Signed Lower Right ⚜ Numbered 23/50 ⚜ Conservation Frame SURREAL FIGURATION AND AUTOMATIC LINE Created in 1975, La ...

Original etching and lavis in black ink on Arches watermarked crème laid paper by Paul Gauguin. Titled: “La Femme aux Figues” (The Woman with Figs). This impression is from the 3rd s...

'Woman Holding Woman' is a contemporary print by Katherine Bradford, featuring two figures and colors of purple, red, and yellow. KATHERINE BRADFORD (b. 1942) is an American artist ...

A lower Manhattan landscape as it existed in 1922, with Trinity Church and City Hall visible in the background. New York: c 1922 Etching with aquatint on heavy-weight cream wove pap...

Paul Cadmus (American, 1904-1999), "Waiting for Rehearsal", Etching on Paper, signed in pencil lower right, titled and numbered edition "138/175" lower left, and blind stamped "Pelav...

Donald Baechler "Flower," 2005: Medium: Aquatint and dry-point on Somerset paper. Sheet size: 25 1⁄2 x 18 inches. Image: 17.25 x 11 inches. Edition of 34 +5 AP. Hand signed, dated a...