Chalk Figurative Drawings and Watercolors

This framed 21" x 19" academic drawing by artist James Cobb, 'Erika in Gesture II,' captures a female model in a standing pose. Facing away from the viewer...

A portrait of a male head, in profile by BenFenske. The artist uses a variety of colors to convey a naturalist impression. Artist Bio Ben Fenske (b. 1978) although a native of Minn...

Figurative chalk drawing of flying bird silhouettes on vintage collaged book pages 'Crowded Sky' by Louise Laplante in 2022 chalk on vintage collaged cranberry cultivation manual pages 42 x 48 1/2 inches unframed, 46 x 52.5 inches in natural wood frame with non-glare plexi This graphic, figurative drawing in green, black, orange and blue chalk with collaged pages from an antique cranberry cultivation manual was created by Louise Laplante in 2022. The vivid silhouettes of flying birds and feathers flutter in place and provide colorful contrast against a background of vintage manual pages. In certain segments the stenciled images are delicately brushed over with a thin wisp of chalk which adds a delicate textured effect to the drawing. The figurative chalk drawing is framed with a light wood frame and has non-glare plexi. About the artist: Interested in blending the old world with the new, mixed media artist Louise Laplante combines her original images with ephemera of the past, enticing a conversation about it’s “relevancy to the present.” Her compositions begin with vintage book pages, personal handwritten letters, sheet music, or instruction from old guides on etiquette or science. While the text itself is weighted with reference to a particular subject, the visual of the typed or handwritten words and printed illustrations establish a unique pattern. These layered backgrounds are superimposed with opaque charcoal drawings that are inspired by the themes read between the lines. Most recently, the artist has opted for larger scale work, combining multiple sheets of vintage paper to expand her unique motifs. Laplante exhibits across the Northeast and has shown with Carrie Haddad for more than ten years. Artist Statement: My work connects the texts, and ideas, in the vintage book, music or correspondence pages, with images those words evoke to comment on how the past still resonates, whether we are aware of it or not. It is informed by my love for old paper, letters, books and images, both as reminders of the past and as bits of pattern, tone, line and shape. The text on them acts as both content and visual device. With each work, I select, arrange and collage these pieces creating both a support and pattern building on it with motifs that are suggested by words on the papers. Although I often start with an agenda I always allow each work to build its own image. Artist Resume: Education MA in Fine Art, State University of New York at Albany, New York BFA, College of New Rochelle, New Rochelle, New York Studied, Art Institute of Boston, Boston, Massachusetts Exhibitions 2019 Mediums of Exchange, Lehman College Art Gallery, Lehman College, CUNY, Bronx, New York 2018 Figures We Fancy, Carrie Haddad Gallery, Hudson, New York Shelter, A.P.E. Gallery, Northampton, Massachusetts Material Flow: Rhythm in Collage and Sculpture, Pratt Gallery, Goddard College, Plainfield, Vermont 2017 Abstractions in Black and White, Gallery 175 Pawtucket, Rhode Island Blanche Ames National, Borderlands, North Easton, Massachusetts Five Points Biennial, Five Points Gallery, Torrington, Connecticut A Declaration of Sentiments: Reflections on the Centennial of Women’s Right to Vote in NYS, Athens Cultural Center, Athens, New York 2016 Winter Exhibit, Carrie Haddad Gallery, Hudson, New York 2015 Boston Biennial 4, Atlantic Gallery, Boston, Massachusetts Drawing, Carrie Haddad Gallery, Hudson, New York Taking Root: Caniskek and the Meeting of Two Worlds, Athens Cultural Center, Athens, New York North Northeast, Brattleboro Museum and Art Center, Brattleboro, Vermont NBMMA 45th Exhibition, New Britain Museum of American Art, New Britain, Connecticut 2014 New Directions ’14, Barrett Art Center, Poughkeepsie, New York Connecticut Women Artists – 85th National, Slater Memorial Museum, Norwich, Connecticut New England Collective V, Galatea Fine Art, Boston, Massachusetts Boston Biennial 3, Atlantic Works Gallery, Boston, Massachusetts 2013 Storytellers and Conjurers, Carrie Haddad Gallery, Hudson, New York 2012 Works on Paper, Carrie Haddad Gallery, Hudson, New York Drawing, b.j. spoke gallery, Huntington, New York Strange Glue, Thompson Gallery, Weston, Massachusetts Silhouette, A.P.E., Northampton, Massachusetts The Cadence of Familiarity, Krauss Gallery, Providence, Rhode Island 2011 20th Anniversary Exhibition, Carrie Haddad Gallery, Hudson, New York Paperworks, Paper City Studios, Holyoke, Massachusetts Small Works, Towne Gallery, Wheelock College, Boston, Massachusetts 2010 Text/Context, McCoy Gallery, Merrimack College, North Andover, Massachusetts A Community of Artists, Danforth Museum of Art, Framingham, Massachusetts Here and Gone: Presence, Absence, Memory and Time, Amy H. Carberry Fine Art Gallery, Springfield Technical Community College, Springfield, Massachusetts 2009 Dreamscape, Carrie Haddad Gallery, Hudson, New York 2008 Small ’08, Wunderarts Gallery, Amherst, Massachusetts Interaction: Louise Laplante and Liz Chalfin, Wunderarts Gallery, Amherst Massachusetts Artists and Books, Art Complex Museum, Duxbury, Massachusetts One Night, Pivot Gallery, Florence, Massachusetts 2007 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Biennial 2007, New Hampshire Art Institute, Manchester, New Hampshire Salon, Clark Gallery, Lincoln, Massachusetts 2006 Small: 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Salon, Clark Gallery, Lincoln, Massachusetts 2004 On Paper, Carrie Haddad Gallery, Hudson, New York Encaustics, Carrie Haddad Gallery, Hudson, New York New Acquisitions, University Gallery, University of Massachusetts, Amherst, Massachusetts 2003 Hart Gallery...

Black and red chalk on paper, signed and dated (lower right), 31cm x 27cm (50cm x 45cm framed). Delmotte was a painter, draftsman, watercolourist and Belgian sculptor. A realist painter at first, he was influenced by Expressionism of the beginning of the century. An impressive list of gallery exhibitions of his work during his lifetime, either independently or as part of a group, indicate that he was a known and successful figure in art worlds of Belgium and Europe. Marcel Delmotte received numerous awards and honors throughout his career. He was named Knight of the Order of Leopold II...

Black and red chalk on paper, signed and dated (lower right), 31cm x 27cm (50cm x 45cm framed). Delmotte was a painter, draftsman, watercolourist and Belgian sculptor. A realist painter at first, he was influenced by Expressionism of the beginning of the century. An impressive list of gallery exhibitions of his work during his lifetime, either independently or as part of a group, indicate that he was a known and successful figure in art worlds of Belgium and Europe. Marcel Delmotte received numerous awards and honors throughout his career. He was named Knight of the Order of Leopold II...

This is a one of a kind original expressionist figurative drawing by Southern California artist, Lenore Simon. It is framed as pictured. Its framed dimensions are 26.45" x 30.6". A c...

"Mother & Child" French School, 19th century sanguine chalk drawing on paper, unframed painting: 23.25 x 17.75 inches Condition report: The painting i...

UNTITLED (GREEN RABBI HOLDING A SHOFAR) Signed S. I. Rusoff Genre: Judaica Subject: Religious Medium: Pastel, Chalk Surface: Paper Country: United States Dimensions: 16 1/2" x 12 3/...

CAROLYN SERGEANT (1937-2018) Girl Reading Pencil and black chalk, heightened with white, unframed 40.5 by 28 cm., 16 by 11 in. (mount size 57 by 43 cm., 22 ½ by 17 in.) Carolyn Cann studied at Wimbledon School of Art (1955-59) and at the Royal Academy Schools (1959-62) where she was a Silver Medallist. At the Royal Academy Schools she met and later married her fellow student, John Sergeant. She had several one-man exhibitions in London, at the Fine Art Society, Colnaghi, Hazlitt, Gooden & Fox, the Waterhouse Gallery and Waterman Gallery. She also showed at the Leicester Galleries, Roland, Browse and Delbanco and elsewhere. In 1983 John and Carolyn bought an old run down farm house near Builth Wells in Powys, mid Wales. The house needed such extensive renovation that it took many years to complete. After their two sons...

Madonna and Child is a beautiful colored chalk low relief realized in the 19th Century by Anonymous Artist. Frame included: 96x70 cm. Good condition except some minor cracks and lo...

This 11.25 x 15.25 work on paper features a lone, seated, female dancer viewed from the back. The figure is twisting toward the viewer as she begins to look over her right shoulder. Her legs are pulled toward her body with the left leg crossed over the right. The isolation of the seated figure within the ground of the page lends a vulnerable quality to the work. The 16 x 20 dark brown mat has a window size of 11.25 x 15.25. Bio: Jim Cobb, until recently was hanging his work on Canyon Rd in Santa Fe, New Mexico. One-man shows have been hosted in Taos, New Mexico, Norman, Oklahoma and Oklahoma City, Oklahoma. When the Oklahoma Art...

An early work on paper, by American Impressionist painter, Ben Fenske. It's rare to see a drawing like this from Fenske, especially of a self portrait. Fenske uses classical draftin...

Figurative chalk drawing of grey, black, and teal clouds and birds silhouetted on collaged vintage music pages 'Black Bird Tours Around the World ' by Louise Laplante in 2022 silhouettes made with chalk on vintage collaged music pages 24 x 30 inches unframed, 27.5 x 33.5 inches in natural light wood frame with non-glare plexi Louise Laplante bridges the past and present with mixed media drawings made with figurative charcoal silhouettes juxtaposed on collaged sheets of vintage paper. Finding beauty in forgotten or discarded sheets of ephemera, Laplante uses it as a guide for playful compositions of stenciled birds in mid-flight, drifting feathers, or taxidermized deer heads in rich pastel. A final burst of wistful linework glides over the pastel forms, accentuating her subject’s movement while adding another layer of texture. In this particular work, the artist using a palette of black, grey and shades of blue and teal to compose a balanced graphic of fluffy clouds extending above a single black bird. In certain segments the stenciled images are delicately brushed over with a thin wisp of chalk which adds a delicate textured effect to the drawing. The drawing is framed with a light wood frame and has non-glare plexi glass galzing. About the artist: Interested in blending the old world with the new, mixed media artist Louise Laplante combines her original images with ephemera of the past, enticing a conversation about it’s “relevancy to the present.” Her compositions begin with vintage book pages, personal handwritten letters, sheet music, or instruction from old guides on etiquette or science. While the text itself is weighted with reference to a particular subject, the visual of the typed or handwritten words and printed illustrations establish a unique pattern. These layered backgrounds are superimposed with opaque charcoal drawings that are inspired by the themes read between the lines. Most recently, the artist has opted for larger scale work, combining multiple sheets of vintage paper to expand her unique motifs. Laplante exhibits across the Northeast and has shown with Carrie Haddad for more than ten years. Artist Statement: My work connects the texts, and ideas, in the vintage book, music or correspondence pages, with images those words evoke to comment on how the past still resonates, whether we are aware of it or not. It is informed by my love for old paper, letters, books and images, both as reminders of the past and as bits of pattern, tone, line and shape. The text on them acts as both content and visual device. With each work, I select, arrange and collage these pieces creating both a support and pattern building on it with motifs that are suggested by words on the papers. Although I often start with an agenda I always allow each work to build its own image. Artist Resume: Education MA in Fine Art, State University of New York at Albany, New York BFA, College of New Rochelle, New Rochelle, New York Studied, Art Institute of Boston, Boston, Massachusetts Exhibitions 2019 Mediums of Exchange, Lehman College Art Gallery, Lehman College, CUNY, Bronx, New York 2018 Figures We Fancy, Carrie Haddad Gallery, Hudson, New York Shelter, A.P.E. Gallery, Northampton, Massachusetts Material Flow: Rhythm in Collage and Sculpture, Pratt Gallery, Goddard College, Plainfield, Vermont 2017 Abstractions in Black and White, Gallery 175 Pawtucket, Rhode Island Blanche Ames National, Borderlands, North Easton, Massachusetts Five Points Biennial, Five Points Gallery, Torrington, Connecticut A Declaration of Sentiments: Reflections on the Centennial of Women’s Right to Vote in NYS, Athens Cultural Center, Athens, New York 2016 Winter Exhibit, Carrie Haddad Gallery, Hudson, New York 2015 Boston Biennial 4, Atlantic Gallery, Boston, Massachusetts Drawing, Carrie Haddad Gallery, Hudson, New York Taking Root: Caniskek and the Meeting of Two Worlds, Athens Cultural Center, Athens, New York North Northeast, Brattleboro Museum and Art Center, Brattleboro, Vermont NBMMA 45th Exhibition, New Britain Museum of American Art, New Britain, Connecticut 2014 New Directions ’14, Barrett Art Center, Poughkeepsie, New York Connecticut Women Artists – 85th National, Slater Memorial Museum, Norwich, Connecticut New England Collective V, Galatea Fine Art, Boston, Massachusetts Boston Biennial 3, Atlantic Works Gallery, Boston, Massachusetts 2013 Storytellers and Conjurers, Carrie Haddad Gallery, Hudson, New York 2012 Works on Paper, Carrie Haddad Gallery, Hudson, New York Drawing, b.j. spoke gallery, Huntington, New York Strange Glue, Thompson Gallery, Weston, Massachusetts Silhouette, A.P.E., Northampton, Massachusetts The Cadence of Familiarity, Krauss Gallery, Providence, Rhode Island 2011 20th Anniversary Exhibition, Carrie Haddad Gallery, Hudson, New York Paperworks, Paper City Studios, Holyoke, Massachusetts Small Works, Towne Gallery, Wheelock College, Boston, Massachusetts 2010 Text/Context, McCoy Gallery, Merrimack College, North Andover, Massachusetts A Community of Artists, Danforth Museum of Art, Framingham, Massachusetts Here and Gone: Presence, Absence, Memory and Time, Amy H. Carberry Fine Art Gallery, Springfield Technical Community College, Springfield, Massachusetts 2009 Dreamscape, Carrie Haddad Gallery, Hudson, New York 2008 Small ’08, Wunderarts Gallery, Amherst, Massachusetts Interaction: Louise Laplante and Liz Chalfin, Wunderarts Gallery, Amherst Massachusetts Artists and Books, Art Complex Museum, Duxbury, Massachusetts One Night, Pivot Gallery, Florence, Massachusetts 2007 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Biennial 2007, New Hampshire Art Institute, Manchester, New Hampshire Salon, Clark Gallery, Lincoln, Massachusetts 2006 Small: 20 Artists X 2 Feet, Wunderarts Gallery, Amherst, Massachusetts Salon, Clark Gallery, Lincoln, Massachusetts 2004 On Paper, Carrie Haddad Gallery, Hudson, New York Encaustics, Carrie Haddad Gallery, Hudson, New York New Acquisitions, University Gallery, University of Massachusetts, Amherst, Massachusetts 2003 Hart Gallery...

Sanguine red chalk drawing of a 1930's guitar serenade in Sevilla, Spain. Jacques Zucker was a prolific artist whose works are exhibited in Museums and galleries around the world. B...

Stately sanguine portrait of Leopold Hamilton Myers (Novelist) by Sir William Rothenstein (English, 1872-1945). Captured in Rothenstein's characteristic style, Myers looks directly at the viewer with a neutral expression. Although this portrait uses only two colors and minimal shading, the likeness of Myers is incredibly well captured. Leo (Leopold) Hamilton Myers (1881 – 1944) was a British novelist. Numerous examples like this one of the writer are in the Tate Museum. Initialed and dated in the lower right corner ("W.R. 1936") Inscription on verso indicating materials, subject, and artist. Presented in a new cream colored mat with foamcore backing. Mat size: 18"H x 12"W Paper size: 15.25"H x 10.75"W William Rothenstein (English, 1872-1945) was born into a German-Jewish family in Bradford, West Yorkshire. His father, Moritz, emigrated from Germany in 1859 to work in Bradford's burgeoning textile industry. Soon afterwards he married Bertha Dux, and they had six children, of which William was the fifth. Rothenstein was knighted in 1931. Rothenstein left Bradford Grammar School at the age of sixteen to study at the Slade School of Art*, London (1888-1893), where he was taught by Alphonse Legros, and the Académie Julian* in Paris (1889-1893), where he met and was encouraged by James McNeill Whistler, Edgar Degas and Henri Toulouse-Lautrec. Whilst in Paris he also befriended the Anglo-Australian artist Charles Conder, with whom he shared a studio in Montmartre. In 1893 he returned to England to work on "Oxford Characters" a series of lithographic* portraits. In Oxford he met and became a close friend of the caricaturist* and parodist Max Beerbohm, who later immortalised him in the short story Enoch Soames (1919). During the 1890s Rothenstein exhibited with the New English Art Club* and, in 1900, won a silver medal for his painting The Doll's House at the Exposition Universelle. In 1898 he co-founded the Carfax Gallery in St. James' Piccadilly with John Fothergill. During its early years the gallery was closely associated with such artists as Charles Conder, Philip Wilson Steer, Charles Ricketts and Augustus John. It also exhibited the work of Auguste Rodin, whose growing reputation in England owed much to Rothenstein's friendship and missionary zeal. The gallery was later the home for all three exhibitions of The Camden Town Group*, led by Rothenstein's friend and close contemporary Walter Sickert. Rothenstein is best known for his portrait drawings of famous individuals and for being an official war artist in both World War I and World War II. He was also a member of the International Society of Sculptors, Painters & Gravers. The style and subject of his paintings varies, though certain themes reappear, in particular an interest in 'weighty' or 'essential' subjects tackled in a restrained manner. Good examples include Parting at Morning (1891), Mother and Child (1903) and Jews Mourning at a Synagogue (1907) - all of which are owned by the Tate Gallery. The National Portrait Gallery owns over two hundred of his portraits. In 2011 the BBC and the Public Catalogue Foundation began cataloguing all of his paintings in public ownership online. Between 1902 and 1912 Rothenstein lived in Hampstead, London, where his social circle included such names as H.G.Wells, Joseph Conrad and the artist Augustus John. Amongst the young artists to visit Rothenstein in Hampstead were Mark Gertler...

In this exhibition, British painter Michael Pemberton (b. 1974) suggests we each have a personal HUMAN ATMOSPHERE. An ether where we truly exist, unseen by the naked eye but as real ...

Stately portrait of George Arliss by Ivan Opffer (Danish, 1897-1980). Mr. Arliss is depicted wearing his signature monocle, looking directly at the viewer. Although this piece appears to be done rapidly, there is a clear confidence in Opffer's work - he was an accomplished portrait artist - and the resemblance to the subject is unmistakable. George Arliss (born Augustus George Andrews; 10 April 1868 – 5 February 1946) was an English actor, author, playwright, and filmmaker who found success in the United States. He was the first British actor to win an Academy Award – which he won for his performance as Victorian-era British prime minister Benjamin Disraeli in Disraeli (1929) – as well as the earliest-born actor to win the honour. He specialized in successful biopics, such as Disraeli, Voltaire (1933), and Cardinal Richelieu (1935), as well as light comedies, which included The Millionaire (1931) and A Successful Calamity (1932). Signed and dated "Ivan Opffer 1934" in the lower right. Titled "Mr. Arliss" in the lower left. Presented in a new off-white mat with foamcore backing. Mat size: 22"H x 16"W Art size: 17.5"H x 12"W Ivan Opffer (Danish, 1897-1980) was born in Nyborg, Denmark, on June 4, 1897, to a family of Danish scholars and journalists. His brother was Emil Opffer, a Danish merchant seaman and journalist who was known for his relationship with American writer Hart Crane. Ivan was raised in Mexico City and New York, where his anarchist father was the editor of a radical Danish-language newspaper. His involvement in painting and drawing began at an early age. At a summer workshop, he met and studied drawing with Winslow Homer, then went on to study at the National Academy of Design and the Art Students League of New York. When the US entered World War I, Opffer was one of the members of the American Army Camouflage Corps, headed by Homer Saint-Gaudens (whose mother was a relative of Winslow Homer), the son of Augustus Saint-Gaudens. As a camoufleur, Opffer served with other artists and architects, some of whom became well-known, including Barry Faulkner, Sherry Edmundson Fry, Kimon Nicolaides, Robert Lawson, Abraham Rattner, Kerr Eby, and others. It was this same unit, while still in training in at Camp American University in Washington DC, that launched a camp newspaper called The Camoufleur. Only three issues were published before the unit’s deployment to France in late 1917. In the October 31 issue, a satirical portrait by Opffer of Homer Saint-Gaudens (titled “Our Boss”) was published on page 5. After the war, Opffer returned to New York, where he became known for his caricatures of leading Modern writers, among them James Joyce, Edgar Lee Masters, Siegfried Sassoon, George Bernard Shaw, Carl Sandburg, G.K. Chesterton, and Thomas Mann. In the years between the wars, Opffer married Betty à Beckett Chomley, and settled in Paris, where he was a student at the Academie Julliard. He also lived in London and Copenhagen, where his drawings were frequently published in newspapers and magazines. With the outbreak of World War II, he and his family returned to New York and lived in Greenwich Village. Among his friends in that era were William Butler Yeats, F. Scott and Zelda Fitzgerald...

Original conte crayon drawing of one of his familiar models. In pristine condition and signed lower left. It is presented in a handmade gold lea...

Edmund Dulac (French, 1882 – 1953) A welcome refreshment Black crayon with a touch of white chalk Signed ‘E Dulac’ (upper right) 8.7/8 x 11 in. (22.5 x 28...

Femme nue de dos allongee Charcoal and white chalk on laid paper Signed in charcoal, lower right "Steinlen" (see photo) Note: Similar reclining nude drawing illustrated Slatkin No. 12 (See window on right) Similar drawing, same model, same media, Proute 1971, Catalog Dandre Bardon, no. 115 There also other similar finished drawings of nudes in similar poses and with the same couch, white blanket...

In this exhibition, British painter Michael Pemberton (b. 1974) suggests we each have a personal HUMAN ATMOSPHERE. An ether where we truly exist, unseen by the naked eye but as real ...

Drawing of a sleeping nude woman by S. LeDrew (20th Century). Signed "S. LeDREW" in the lower right corner. Presented in a double mat of dark red and whi...

America Martin "Woman Sits and Looks About" Blue Chalk on Paper 30” x 28” Framed AMERICA MARTIN is an internationally represented Colombian-American fine artist based in Los Angele...

1998 Signed and dated, l.r. Conté crayon on paper 22.5 x 15 inches, image

"Trois personnages nus" is a black conté crayon drawing on buff papaer by Francis Picabia. The artwork is signed in crayon, lower left, "Francis Picabia". The framed work measures 27 1/2 x 24 x 1 1/2 in. The Comité Francis Picabia has confirmed the authenticity of this drawing. Francis Picabia was an important French painter who experimented with a wide range of styles throughout his career and whose writings about art were influential in the development of the Dada movement...

graphite, conte crayon and charcoal on Arches paper 30 x 20.5 inches unframed Signed 'Beard 2006' lower left corner Atelier stamp in lower left, next to signature Unique figurative life study drawing of a standing male nude in graphite and conte crayon on Arches paper in a style that is at once traditional yet contemporary. Strong facial features and upper body muscles are evidence of the artist's excellent drafting skills. The handsome nude...

Provenance: Private Collection, UK After initial training under Justus Suttermans and Vincenzo Dandini, in 1673 Anton Domenico Gabbiani embar...

Inscribed: 3. una Madonna che va in Egitto, verso, and Madonna che va in Egitto, recto Provenance: Private Collection, UK, since 1999 This expressive and boldly executed drawing is the work of Luca...

Figurative male nude drawing on Arches paper by Mark Beard graphite, conte crayon and charcoal on Arches paper 22 x 15 inches unframed Contemporary figurative life study drawing of ...

Drawing in chalk and pastel on dark grey Strathmore paper signed bottom left.

Abstract expressionist CoBrA style chalk on paper of a human figure attributed to French artist, A Nuchy. The work is unsigned but was acquired along with ...

Jack Hooper "Pregnant Lady" c. 1960s Conte crayon on purple paper 8.5"x11" unframed Signed and dated in pencil lower right *Custom framing available for a...

Sketche for a Sculpture is an original Pencil and Pastel realized by Charles Moulin in early-20th Century. Good condition on a little brown paper. No ...

Collections: Sir Thomas Lawrence, who acquired the contents of Fuseli’s studio; Susan, Countess of Guilford, née Coutts (1771-1837), acquired from the Lawrence estate; Susan, Baroness North (1797-1884), daughter of the above; Mrs A. M. Jaffé, acquired in France, c. 1950 to 2016. Black chalks, on buff-coloured paper Stamped verso: ‘Baroness Norths Collection / of Drawings by H Fuseli Esq.’ Framed dimensions: 26.38 x 20.63 inches This boldly drawn sheet depicting a seated figure was made by Fuseli at an important and highly productive moment in his career. The monumental drawing is closely related to another sheet by Fuseli in the British Museum which Schiff published as subject unknown. Both drawings were made when Fuseli was designing his most important sequence of historical works, including scenes from Shakespeare and Milton, The Nightmare and The Death of Dido which was exhibited at the Royal Academy to great critical acclaim in 1781. The present drawing does not relate directly to any of Fuseli’s finished historical paintings of the period, but evidently the image of a slightly menacing, seated and covered old woman was precisely the sort of motif he was playing with. It is notable that the same figure reappears later in Fuseli’s work as the witch from Ben Jonson’s Witch’s Song which Fuseli produced as both a painting and engraving in 1812. Fuseli returned to London in 1779 from a highly creative and productive period in Rome and established himself as one of the leading history painters of the period. Fuseli re-established contact with his old mentor Sir Joshua Reynolds, becoming a regular guest at his dinner table and visitor to his studio. The earliest and most striking manifestation of this strategy was Fuseli's Death of Dido, exhibited in 1781 at the Royal Academy. Executed on the same scale as Reynolds's version (Royal Collection), Fuseli's vertically oriented picture was hung directly opposite Reynolds's with its horizontal orientation, inevitably inviting comparison between the two works and garnering Fuseli much publicity and favourable reviews in the newspapers. The present, previously unpublished sheet, relates closely to a drawing now in the British Museum. That sheet shows the same seated old woman, drawn on a smaller scale and more schematic in design, seated next to an anatomical drawing of a man. The pose of this figure is related to the pose of Dido in his Death of Dido; the foreshortened torso, arrangement of head, oblique view of Dido’s features and arms all suggest that the study can be viewed as an initial thought for the composition. Fuseli may have initially thought of including the figure of the hunched and covered old woman. Drawn on identical paper to the British Museum sheet, our study is an enlarged depiction of the same figure, more elaborately delineated and developed. The presence of a chain to the right of the figure, suggests that the iconography was related in some way to a scene of imprisonment. Fuseli had first explored the motif of the hooded old woman in an early Roman drawing, 'The Venus Seller'. The idea of a grotesque old woman, hooded and with angular nose and projecting chin seen in profile was most spectacularly used by Fuseli in his sequence of paintings depicting The Three Witches from Macbeth. Fuseli seems to have kept the present sheet and may have returned to it when preparing a painting of The Witch and the Mandrake from Ben Jonson’s Witch’s Song from his Masque of Queens in 1812. Here the same seated figure looks out from under her hood and picks a mandrake by moonlight. Jonson’s drama had been performed at the court of James I in 1609, inspired the subject. To throw the nobility of the queens into relief, the poet added a coven of witches, one of whom declares: ‘I last night lay all alone, On the ground, to hear the mandrake groan; And plucked him up, though he grew full low, And, as I had done, the cock did crow.’ The figure was reversed in the associated etching which was published in 1812. It seems likely that the present drawing remained as part of Fuseli’s working archive of figure studies. The present drawing was presumably purchased with the bulk of Fuseli’s drawings after the artist’s death by Sir Thomas Lawrence. Lawrence’s large group of Fuseli drawings were then acquired by Susan, Countess of Guildford (1771-1837). Lady Guildford was the eldest daughter of the banker Thomas Coutts (1735-1822), who himself had supported Fuseli’s journey to Rome in the 1770s and had remained one of the artist’s key...

Lester Johnson untitled charcoal, conte crayon, and spray enamel on board from 1972. Framed.

HERBERT JOHNSON HARVEY (British 1883-1956) Reverie Signed with monogram and dated l.l.: HJ 09 Red chalks Framed 29.5 by 22 cm., 11 ¾ by 8 ¾ in. (fra...

ERNST LUDWIG KIRCHNER 1880-1938 (German) Aschaffenburg 1880 - 1938 Davos Title: Ball Playing Nudes Ballspielende Akte, 1932 Technique: Chalk Drawing on Smooth Wove Paper Paper s...

Sanguine on paper. Signed and dated upper left. Provenance: Acquired directly from the artist at his home in Chiang Mai, Thailand in 1969.

This framed 13.5" x 13.5" charcoal and conte drawing by artist James Cobb captures a ballerina in a seated, relaxed pose. The work is on toned gray drawing...

This fresh sanguine sheet presents various studies placed next to each other in no apparent order. Two of the feet studies are preparatory to the first major commission received by the young Baldassare Franceschini, shortly after his installation in Florence, the frescoes for the Medici Fastes. This cycle was executed between 1636 and 1646 for the Villa La Petraia, a Medici villa on the outskirts of Florence, which allows us to date this sheet to the artist's youth. 1. The Medici Fastes, the first major commission for a young artist Born in Volterra in 1611, the town from which he took his nickname, Baldassare Franceschini apprenticed with his father, a sculptor of alabaster, one of his home town's specialities, and studied with Cosimo Daddi (1540-1630), a local artist. The Marquis Inghirami, who spotted his talent, sent him to the workshop of Matteo Rosselli (1578 - 1650) in Florence, which was also attended by Francesco Furini (1603 - 1646). In 1636, Lorenzo de' Medici, the youngest son of Ferdinand Ier and Christine of Lorraine, chose the 25-year-old artist, again on the advice of the Marquis Inghirami, to decorate with frescoes the loggias of the inner courtyard of the Villa La Petraia, which he had just inherited on the death of his mother. The project lasted about ten years and included ten scenes placed symmetrically in two loggias on either side of the courtyard: four main scenes and six placed above the doors, each to the glory of a member of the Medici family. This decoration was his major secular project, but Volterrano also executed several religious frescoes and a few easel paintings, often with less success. Among the religious commissions, we can cite the dome of the Colloredo chapel dedicated to Saint Lucy...

HERBERT WILSON FOSTER (1846-1929) Spring Inscribed with title beneath the mount Chalk, circular Framed Diameter 42 cm., 16 ½ in. (frame size 61 by 58 cm., 24 by 22 ¾ in.) Herbert Wilson Foster was born in Endon, Staffordshire. He attended Hanley School of Art before continuing his studies in London, Belgium and France. His paintings of rural and domestic subjects were exhibited at the Royal Academy between 1873 and 1899. In 1893 he accepted a teaching position at the Nottingham School of Art, where his pupils included Laura Knight and Harold Knight. Works by him are in the collections of the Minton archives; the Wisbech & Fenland Museum; Leicester Art Gallery; Rushcliffe Council and Nottingham Castle Museum. In addition to his work as a painter he worked as a porcelain painter, working at one point on the tile panels in the Victoria & Albert Museum. He is known to have worked at Mintons from 1872 where he specialized in portraits of contemporary personalities, including members of the Royal Family. This head of a girl was probably intended for a painted ceramic wall charger...

HERBERT WILSON FOSTER (1846-1929) Summer Inscribed with title beneath the mount Chalk, circular Framed Diameter 42 cm., 16 ½ in. (frame size 61 by 58 cm., 24 by 22 ¾ in.) Herbert Wilson Foster was born in Endon, Staffordshire. He attended Hanley School of Art before continuing his studies in London, Belgium and France. His paintings of rural and domestic subjects were exhibited at the Royal Academy between 1873 and 1899. In 1893 he accepted a teaching position at the Nottingham School of Art, where his pupils included Laura Knight and Harold Knight. Works by him are in the collections of the Minton archives; the Wisbech & Fenland Museum; Leicester Art Gallery; Rushcliffe Council and Nottingham Castle Museum. In addition to his work as a painter he worked as a porcelain painter, working at one point on the tile panels in the Victoria & Albert Museum. He is known to have worked at Mintons from 1872 where he specialized in portraits of contemporary personalities, including members of the Royal Family. This head of a girl was probably intended for a painted ceramic wall charger...

Contemporary realistic figurative mixed media drawing PROVENANCE Exhibited at Katarzyna Napiorkowska Gallery. The Gallery is a primary representative for this artist. The Gallery o...

Original pencil, chalk and crayon drawing on paper. Hand signed and dated on front by the artist. Framed. Artwork is in excellent condition. Certificate of authenticity included. A...

George Frederic Watts OM RA (British, 1817 – 1904) Get thee beyond me, Satan red chalk on paper 10.5/8 x 8.1/2 in. (27 x 21.5 cm.) Provenance: From the...

18th Century French Sanguine drawing, possibly a preparatory sketch for the painting by Nattier after the painting by Rubens. Presented in shaped 'marie-louise' mount in plain gold wood frame with collection label. The subject is the Queen Marie de' Medici seated on a grand throne, the baby is in the arms of Health while Justice looks over him. Fecundity brings a cornucopia of fruit with the heads of the other children the Queen will bear. The Sun rides his chariot across the sky to indicate that Louis XIII was born in the morning and the calm figure of France surveys the whole scene. An engraving exists (see the Wellcome Collection) of this same image: 'The birth of King Louis XIII', after the engraving by B. Audran the younger after the painting by Jean-Marc Nattier after the oil painting of Peter Paul Rubens in the Louvre 'La Naissance du Dauphin (future Louis XIII) à Fontainebleau, le 27 septembre 1601'. Jean-Marc Nattier (17 March 1685 – 7 November 1766) was a French painter. He was born in Paris, the second son of Marc Nattier (1642–1705), a portrait painter, and of Marie Courtois (1655–1703), a miniaturist. He is noted for his portraits of the ladies of King Louis XV's court in classical mythological attire. He received his first instruction from his father, and from his uncle, the history painter Jean Jouvenet (1644–1717). He enrolled in the Royal Academy in 1703 and applied himself to copying pictures in the Luxembourg Palace, making a series of drawings of the Marie de Médici painting...

Equestrian Statue by Donatello- Padua near Venice, 1907, by Max Weber (1881-1961) Ink wash and blue chalk on paper 4 x 5 inches unframed (10.16 x 12.7 cm) 10 ¾ x 12 ⅞ inches framed...

HELLEU, PAUL CÉSAR (1859 -1927) "JEUNE FEMME ASSISE" (Young Woman Seated) Original Drawing in sanguine, white and black chalks, c. 1910 Signed in pencil by artist, lower right Full Margins on cream wove paperImage size: 17.5” x 11.02” Paul César Helleu...

Figurative nude drawing on Arches paper graphite, conte crayon and charcoal on Arches paper 22 x 15 inches unframed Contemporary figurative life study drawing of a reclining male nu...

Here for your consideration is an original drawing done with conte crayon with hints of watercolor of a floating market place by the French artist, Rob...

Entrance to the temple at Klungkung, Bali, 1925 With studio seal at the reverse, dated and described, bottom left Black chalk on paper, 53 x 46.5 cm In ebonized frame with white mount Willem Otto Wijnand Nieuwenkamp (1874-1950) Nieuwenkamp was born on July 27th 1874 in Amsterdam. His father owned sailing ships sailing to Indonesia and hearing the stories of the returning captains evoked in the young Nieuwenkamp an obsession for distant lands and adventure. After a failed attempt by his father to have his son make a career in his business, Nieuwenkamp attended the Academy for Decorative Art in Amsterdam. However, he left within one year to go his own way. He was an autodidact and a great experimenter with new techniques, particularly in the art of etching. Nieuwenkamp was a very focused man with the discipline of a scientist tempered by the sensitivity of an artist, a lust for adventure, a natural appreciation for ethnic arts and an enormous ambition to tread new paths. In 1898 he visited Indonesia for the first time and on his second visit in 1903-1904 he went on to Bali and became the first foreign artist to love Bali and the Balinese with a passion. Having secured agreements with several museums in the Netherlands to obtain Balinese art...

Frank Dobson (1888-1963) Study of a nude viewed from behind Signed Sanguine chalk on paper 10 x 13½ inches 21¼ x 24¼ inches with frame A wonderful exam...

Charcoal with red and white conté crayon on Rives BFK paper Signed and dated, recto This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt ...

Artist/ School: French School, 18th century Title: Classical figures within an interior. Medium: chalk on paper, mounted. Size: drawing: 11.5 x 13.5 inches Provenance:...

Vintage watercolor portrait of a seated female figure with red robe in front of a plant by Doris Ann Warner (American, 1925-2010). Signed "Warner" in the lower left corner. Presented...

This very early original red conte drawing is signed "Jack L. Nesbitt, 4/21/34". On the back of the drawing, Nesbitt has written "Quick sketch from fountain on Plaza". Jack was a student of Thomas Hart Benton at the Kansas City Art Institute during this period. The figure on the drawing is of a nude young boy with both arms in the air. A very rare early work by this fine artist. Jackson Lee Nesbitt, a noted printmaker and painter of the American Scene, dedicated his artistic career to the portrayal of ordinary people going about the business of their lives. A native of Oklahoma, Nesbitt created scenes from the Midwest during the 1930s and 1940s, but in the 1950s, when interest in his work diminished, he moved to Atlanta and established a second career in advertising. Thirty years later, Nesbitt sold his business and resumed his artistic career from Atlanta. He was born in McAlester, Oklahoma, on June 16, 1913, the only child of LuCena Grant and Howard Nesbitt. The family resided in Muskogee, Oklahoma, where his father owned a commercial printing business. Jack, as Nesbitt was known, helped out in the family business until 1931, when he enrolled at the University of Oklahoma in Norman. Two years later Nesbitt enrolled at the Kansas City Art Institute in Missouri. As a first-year student, he learned etching from John deMartelly, attended Ross Braught's painting class, and met his future wife, Elaine Thompson, who was a costume design student. Thomas Hart Benton, who joined the faculty in the fall of 1935, quickly became a close friend and mentor to the younger artist. In 1937 the management of the Sheffield Steel Corporation contacted deMartelly concerning an etching commission. Because Nesbitt was an outstanding student, his teacher suggested him for the job. When Nesbitt arrived at the plant one afternoon, he was taken to the open-hearth furnace area, where he diligently sketched anonymous workers in that dramatic setting until five o'clock the following morning. On the strength of his sketches, he was commissioned to create a series of etchings illustrating different phases of the steel industry. The commission launched Nesbitt's career as a professional artist. The commission with Sheffield Steel Corporation provided the financial security that enabled Jack and Elaine Nesbitt to marry on June 1, 1938. He graduated from the Kansas City Art Institute about the same time. Working as a freelance artist, Nesbitt augmented his commissioned work with genre scenes of the Midwest, and he routinely went with Benton on sketching trips to rural Arkansas. Beginning in 1939 Nesbitt's work gained widespread recognition. Open Hearth Door, a Sheffield Steel Corporation painting, was chosen to represent Missouri in the American Art Today exhibition at the New York World's Fair. Associated American Artists selected one of his etchings, Watering Place, for an edition of 250 prints that were sold through subscription. Having a print published by the association ensured national distribution, and four more of Nesbitt's works, all of rural southern genre scenes, were later selected by the print publisher. Over the next decade Nesbitt's work was exhibited in California, Colorado, Illinois, Missouri, New York, and Oklahoma. He was awarded the Eames Prize by the Society of American Etchers in 1946, and his work was included in the book American Prize Prints of the Twentieth Century, by Albert Reese. Major corporations with operations in the Midwest, including Brown and Bigelow, Butler Manufacturing Company, Humble Oil and Refining Company, Omaha Steel Works, Pratt and Whitney...

Charles Emile JACQUE (Paris 1813 - 1894) Two sheeps, studies Black chalk on paper 9 x 17 cm Framed 33 x 38 cm Charles Emile Jacque was born in 1...

A study in red chalk of a girl sitting and reading a book. Red chalk on paper under glass in a giltwood and gesso frame. This small drawing has a sense of intimacy in the capturing of a moment where the sitter is seemingly unaware of being observed, unlike the feeling of formailty and self-awareness in a staged portrait sitting Provenance: Private collection, Somerset With J. Davey & Sons Ltd, Liverpool William Hoare...