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Your fine art information site since 1995
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Offerings for Resale on artline



Beth Van Hoesen

The following Beth Van Hoesen original etchings have been submitted for resale from a client downsizing his collection. Click here to see whole collection.

Beth Van Hoesen, Artist, Maharani, artline

Beth Van Hoesen
Maharani, 1988
aquatint, drypoint, etching, ed. 50
15 1/4 x 12 7/9"
Beth Van Hoesen, Artist, Brown Bear, artline

Beth Van Hoesen
Brown Bear, 1985
aquatint, drypoint, watercolor, Bon-a-Tirer
14 3/8 x 20 1/4"
Beth Van Hoesen, Artist, Suffolk Sheep, artline

Beth Van Hoesen
Suffolk Sheep, 1982
aquatint, etching and watercolor, ed. 100
13 3/4 x 17"
Beth Van Hoesen, Artist, Puff, artline

Beth Van Hoesen
Puff, 1979
etching
10 1/4 x 10 1/4"



Mauricio Lasansky

Lasansky intaglios available for resale (contact)


Mauricio Lasansky, Tolstoy, on artline

Mauricio Lasansky
Tolstoy, 1986
etching, drypoint, soft ground, scraping and burnishing. fifteen plates: one copper master plate, one copper color plate, one galvanized color plate, twelve assembled shaped plates
edition 70
31.75 x 25.37"



Mauricio Lasansky, Michael Angelo, on artline

Mauricio Lasansky
Michael Angelo, 1988
etching, drypoint, soft ground, scraping and burnishing. three plates: one copper master plate, one copper color plate, one galvanized metal color plate
edition 70
36.12 x 33.12"







Paul Jenkins for resale on artline

Paul Jenkins. Phenomena: Su Ping Mantel, 1974. acrylic on canvas, 60 x 50", SOLD


This outstanding example of Paul Jenkins' work has recently come onto the market from a private collection and is now available through www.artline.com.

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Paul Jenkins called himself an Abstract Phenomenist meaning someone who creates an image through intuition. His works are metaphysical dramas or illusions.

One important teacher to this Kansas born artist was Yasuo Kuniyoshi. Jenkins was attracted to the moisture in Kuniyoshi's work and said, "moisture is water and air - the quality of moisture is life, a thing which breathes has moisture". Jenkins primed his canvases for both protection and to create a stimulating context which created a white undercoat that imparted a luminosity to the canvas and gave the veils a different substance quality and texture. He then proceeded to paint the invisible which he knew was there. The actual colors, light and substance, shapes that tapered and resisted association with geometry complete with swells and contractions that he considered vital to the phenomena which reflected or revealed an incandescent light. By the addition of gray Jenkins felt he was able to get a new sense of "structure". Gray provided him with a curious open space that challenged the scale of the painting no matter how small or large. Jenkins' phenomena was the link between the known and unknown, the material and spiritual.

source: Albert Elsen. Paul Jenkins, published by Harry N Abrams Inc, New York City.






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