Eugene Abeshaus Art

Temptation of Saint Anthony an etching in the manner of Hendrik Goltzius. Goltzius was born near Viersen in Bracht or Millebrecht, a village then in the Duchy of Julich, now in the ...

Paul César Helleu Vannes 1859 - 1927 Paris "Study of 4 women" Etching on handmade paper Signed in pencil lower left Inscribed lower right with "Unique epreuve, ....." Rare proof prin...

JOAN MIRÓ (1893–1983) – “L’OISEAU DU FORGERON” Etching and Aquatint in Colors with Debossing on Arches Paper ⚜ Hand Signed and Numbered ⚜ Custom Conservation Frame A POETIC DIALOGUE BETWEEN INDUSTRIAL MATTER AND THE LIFE OF THE BIRD “L’Oiseau du Forgeron”, or “The Blacksmith’s Bird,” is a 1963 etching and aquatint with debossing by Joan Miró, hand signed in pencil lower right and numbered 48 from the limited edition of 75. The work belongs to Miró’s celebrated Forgeron series, in which the artist used aggressive plate biting and physical debossing of the paper to summon the world of the blacksmith’s forge directly onto the printed sheet. Printed in colors on heavy Arches wove paper with the watermark present, the impression was published by Maeght Éditeur, Paris, the central printmaking publisher of Miró’s mature career, and is documented in Jacques Dupin’s Miró Engraver, Vol. II: 1961–1973 (Daniel Lelong Éditeur, Paris, 1989) as plate 363. The composition is built around a bold visual pairing. At its center sits a heavy gray geometric form, rendered through the combined effect of etching, aquatint, and debossing, the latter pressing the contours of the deeply etched plate physically into the paper to create a tactile, sculptural relief that mimics forged industrial iron. The form is perforated with a constellation of small circles that read as rivet holes and is edged with the irregular notches of a blacksmith’s tool...

This is a truly stunning work by contemporary great, Glenn Brown. This work is an Artist Proof, one of only 12 created. The frame is handmade by famous London framers, Darbyshire. I...

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...

Beautiful 19th-century colour etching Blechinger and Leykauf Vienna Printers. The image shows a painting entitled ‘Mélodie d'Amour’ (Melody of Love), a work depicting an elegant genr...

Edition of 50 Ger Doornink's limited editions are based on a high resolution scan of the original artwork. They are printed on archival Hahnemühle German Etching paper. This techniq...

Here for your consideration is a wonderful original etching on archival paper by the well known American artist, Ralph Fabri. Strong impression; signed in pencil by the artist lower right margin. Titled and dated bottom left of the sheet “1947-Americana”. Condition of the etching is excellent. Top corner of sheet and bottom right corner of sheet have tiny creases. Not visible, under the mat. Sheet size is 12 by 15 inches. Image size is 8 by 9.75 inches. Matted but not framed. Provenance: A Long Island, New York collector. Painter and printmaker, commercial artist, writer, and teacher, Ralph Fabri was born Fabri Reszo in Hungary in 1894. He was educated in Budapest, first studying architecture at the Royal Institute of Technology from 1912 to 1914. He then enrolled in the Royal Academy of Fine Arts, from which he graduated in 1918 with a Professor's Diploma (M.A.) "for teaching drawing, painting and geometry – including descriptive and projective geometry – in schools of higher education." Fabri arrived in New York City in 1921 and soon adopted the anglicized version of his name, Ralph Fabri. He began doing commercial design work and during the academic year of 1923/24 was enrolled as an evening student at the National Academy of Design. After becoming an American citizen in 1927, he traveled extensively in Europe. Upon returning to New York that same year, Fabri decided his financial situation was stable enough to allow him to focus his attention on fine art. During the Great Depression, Fabri's already inadequate portrait commissions and art sales further declined and he returned to commercial work. He established a workshop known as the Ralph Fabri Studios, that designed theatrical and movie sets, window displays, and retail interiors. But Fabri found the workshop dirty and distasteful, and eventually was able to concentrate on advertising work which could be done from home. The largest clients for his pen and ink drawings were The Stamp and Album Co. of America, Inc. (for which he designed covers for stamp albums and produced illustrations for envelopes housing sets of stamps sold to collectors), Geographica Map Co., and Joseph H. Cohen & Sons (for whom he designed and illustrated mail order catalogs). Another source of income during this period was the design and construction of an addition to "Iroki," Theodore Dreiser...

Etching 19.7cm × 13.2cm (37cm × 29cm framed) Contained within the Sickert Print Catalogue Raisonné (Ruth Bromberg 167 iii/iii), this image is possibly of a female impersonator, from...

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...

2021 Unique etching with hand-coloring on wove paper Plate size: 17.5 x 47.9 cm Sheet size: 29.8 x 56.8 cm Artist Proof of 4 Signed, dated and numbered in pencil by Adnan Published b...

Etching Signed (lower right) and dedicated ‘To Carmencita, 1939’ (lower left) From edition of 75 13cm x 18cm (plate size), (40cm x 44cm framed) Cadmus was an American artist known ...