Eugene Abeshaus Prints and Multiples

Drypoint etching on white, buff laid paper with deckle edges, 8 13/16 x 12 inches (224 x 305 mm), full margins. One of only 25 proof impressions. In superb condition with excellent 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...

Modern abstract etching with hard edges of the printing plate contrasting with the soft dark gray tones inside the figurative centerpiece. Titled "Falling Figures, Decayed State", "E...

Hand colored original artist proof etching by the well known Russian/American artist Nahum Tschacbasov. Marked “AP” lower left for artist proof in pencil. Signed by the artist lower...

A scene from a series of ghost stories and spooky rural legends. Tokyo: Matsuki Heikichi, 1896. Woodcut in ink with embossing and hand-coloring in watercolor on handmade mulberry pa...

Pugin, Augustus Charles & Rowlandson, Thomas (after). College of Physicians, from Ackermann's "Microcosm of London." London: Rudolph Ackermann, 1808. Hand-colored lithograph, 9 1/4 ...

Black and white original artist proof etching by the well known Russian/American artist Nahum Tschacbasov. Marked “Artist Proof lower left in pencil. Signed by the artist lower righ...

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 on cream wove paper, 2 3/8 x 3/14 inches (61 x 83), full margins. Signed, dated and inscribed "IV" in the artist's hand. In very good condition. Fletcher states only two tria...

London: Thomas McLean, 1835. Third Edition. Etching with hand coloring in watercolor on cream wove paper, 1818 (published August 1st, 1835) 9 1/2 x 13 3/4 inches (240 x 348 mm), full...

"Wine - SKOL" Intaglio and Hand painted on Paper by Diana Brady Original 1983 Intaglio titled "Appetizer" from the "The Perfect Meal" Folio featuring 14 Artists at San Francisco St...

An image of the last major insurrection in Great Britain, known as Guy Fawkes's Cato Street Conspiracy. London: Thomas Mclean, 1835. Etching with hand colo...