Charcoal Drawings and Watercolor Paintings

Original charcoal drawing signed by the Artist on the lower right.

Drawn from her imagination, Paula Elliott’s modern abstract works of art depict mysterious objects. In her works pastel has become the principal medium combined with charcoal, pencil...

This original illustration, titled "Cops at Ease in the Muster Room of a Station," accompanied the article Nineteen Thousand Cops published in the July 1939 issue of Fortune Magazine. This issue was dedicated to the city of New York and included a total of ten paintings by Riggs for this article on New York City's police department. Robert Riggs was a gay artist.

Bratin Khan - Enlightened - 30 x 24 inches (unframed size) Charcoal and Pastel on Canvas , 2012 ( Framed & Ready to Hang ) Style : Marked for the refined handling of line work and p...

medium: Chinese ink, ink stick, and charcoal on handmade paper ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural id...

The eerie timeless Flat Iron building stands silhouetted against a winter sky one day in NYC. Tom was struck by the severe geometry of an historic b...

Medium: Charcoal on Paper Signature: Signed Lower Left

This evocative charcoal drawing portrays a man with dark, shoulder-length hair, gazing contemplatively to the right. The artist skillfully captures the intensity of the subject’s exp...

medium: Chinese ink, ink stick, and charcoal on handmade paper ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is roote...

Medium: Charcoal on Board Signature: Signed Upper Left Sight Size 20.00" x 28.00;" Framed 24.00" x 32.00"

Drawn from her imagination, Paula Elliott’s modern abstract works of art depict mysterious objects. In her works pastel has become the principal medium combined with charcoal, pencil...

Drawn from her imagination, Paula Elliott’s modern abstract works of art depict mysterious objects. In her works pastel has become the principal medium combined with charcoal, pencil...

Drawn from her imagination, Paula Elliott’s modern abstract works of art depict mysterious objects. In her works pastel has become the principal medium combined with charcoal, pencil...

Charcoal on paper - unframed. Neill creates works on canvas, linen and paper using a variety of mediums, including graphite, colored pencil, charcoal and paint. Her process involve...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the human form, whilst port...

Charcoal drawing on archival quality Ingres paper. Velvety quality of the blacks. Still life from observation. Favourite flower. When spring arrives it is time to paint nature. :: ...

collage created in 1998, from the artists studio, on archival paper, smudges, intentional with use of graphite. Mixed media, graphite, drawing, pastels, text. signed L.B. lower righ...

In her studio practice, Pelias embraces a process that is both intuitive and deliberate. Her work moves from paintings on canvas and works on paper to site-specific installations, ob...

Un Chemin dans la Forêt by Paulémile Pissarro (1884-1972) Pastel and charcoal on paper 24 x 31 cm (9 ¹/₂ x 12 ¹/₄ inches) Stamped lower middle-right, Paulémile Pissarro Provenance E...

Emile WAUTERS Bruxelles 1846 - Paris 1933 Autoportrait Vers 1880-1890 Fusain sur papier fort Signé en bas à droite 24 x 17 cm feuille 39 x 33 cm cadre Petites tâches peu visibles, B...

“Tom burst forth as a full-blown hero who had rescued the maiden from a watery grave...” Book illustration: Jo’s Boys, and How They Turned Out, by Louisa May Alcott; Publisher: (Litt...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

Still Life by Ludovic-Rodo Pissarro (1878-1952) Charcoal on paper 28.4 x 24.3 cm (11 ⅛ x 9 ⅝ inches) Signed lower right, L. Rodo Provenance Private Collection, London This work is ...

ANASTASIA PELIAS was born in New Orleans, LA to Greek parents. Her artistic practice is rooted in the dual cultural identity of both her native and ancestral roots in New Orleans, LA...

Medium: Charcoal Drawing Signature: Signed Lower Right Framed 40.00" x 32.00" Bad glare in photos taken. Piece is in perfect condition. Please let me know if you would like to see a...

Years of collecting books, travel archives and studying art in Europe, went hand in hand with visiting historical monuments and grand palaces, remnants of past golden eras. This nostalgic raking over the past encompasses these inspirational elements, weaved together with her own curiosity in loose charcoal lines depicting Baroque, whimsical and once decadent interiors. “The rooms in my paintings are small trips to the past. I look for an alternative reality through a fictional scenario, represented by a dystopian era of booms and declines.” Francisca Ahlers...

Drawn from her imagination, Paula Elliott’s modern abstract works of art depict mysterious objects. In her works pastel has become the principal medium combined with charcoal, pencil...

Charcoal on paper drawing by Toronto-based artist Katherine Curci. Unframed. Katherine Curci began this series of charcoal drawings, premiered in This...

Albert Charles DEQUÈNE Lille 1897 - 1973 View of a steelworks in the north of France First third of the 20th century Charcoal and pastel on Signed lower left 32 x 47.5 cm 49 x 63 cm...

Charcoal on paper, signed and dated (lower right), 33cm x 24cm, (66cm x 56cm framed). The work is framed behind UV glass and stepped gilded frame. Bortnyik was a painter and graphi...

Represented by Tuleste Factory French Teen Avec Chien, 2019 Rust color charcoal, ink and watercolor on paper by artist Brad Fisher. Unframed. 12 × 9 in Shipping is not included. ...

Suite of 3 drawings Charcoal and Getty Fire Ash on paper, 24 x 18 in (each)

Large charcoal drawing on Grey archival paper signed and dated bottom left. An unusual departure for the artist who generally works in color. Suitable for framing under glass. The ...

Oscar Bluemner was a German and an American, a trained architect who read voraciously in art theory, color theory, and philosophy, a writer of art criticism both in German and English, and, above all, a practicing artist. Bluemner was an intense man, who sought to express and share, through drawing and painting, universal emotional experience. Undergirded by theory, Bluemner chose color and line for his vehicles; but color especially became the focus of his passion. He was neither abstract artist nor realist, but employed the “expressional use of real phenomena” to pursue his ends. (Oscar Bluemner, from unpublished typescript on “Modern Art” for Camera Work, in Bluemner papers, Archives of American Art, Smithsonian Institution, as cited and quoted in Jeffrey R. Hayes, Oscar Bluemner [1991], p. 60. The Bluemner papers in the Archives [hereafter abbreviated as AAA] are the primary source for Bluemner scholars. Jeffrey Hayes read them thoroughly and translated key passages for his doctoral dissertation, Oscar Bluemner: Life, Art, and Theory [University of Maryland, 1982; UMI reprint, 1982], which remains the most comprehensive source on Bluemner. In 1991, Hayes published a monographic study of Bluemner digested from his dissertation and, in 2005, contributed a brief essay to the gallery show at Barbara Mathes, op. cit.. The most recent, accessible, and comprehensive view of Bluemner is the richly illustrated, Barbara Haskell, Oscar Bluemner: A Passion for Color, exhib. cat. [New York: Whitney Museum of American Art, 2005.]) Bluemner was born in the industrial city of Prenzlau, Prussia, the son and grandson of builders and artisans. He followed the family predilection and studied architecture, receiving a traditional and thorough German training. He was a prize-winning student and appeared to be on his way to a successful career when he decided, in 1892, to emigrate to America, drawn perhaps by the prospect of immediate architectural opportunities at the Chicago World’s Fair, but, more importantly, seeking a freedom of expression and an expansiveness that he believed he would find in the New World. The course of Bluemner’s American career proved uneven. He did indeed work as an architect in Chicago, but left there distressed at the formulaic quality of what he was paid to do. Plagued by periods of unemployment, he lived variously in Chicago, New York, and Boston. At one especially low point, he pawned his coat and drafting tools and lived in a Bowery flophouse, selling calendars on the streets of New York and begging for stale bread. In Boston, he almost decided to return home to Germany, but was deterred partly because he could not afford the fare for passage. He changed plans and direction again, heading for Chicago, where he married Lina Schumm, a second-generation German-American from Wisconsin. Their first child, Paul Robert, was born in 1897. In 1899, Bluemner became an American citizen. They moved to New York City where, until 1912, Bluemner worked as an architect and draftsman to support his family, which also included a daughter, Ella Vera, born in 1903. All the while, Oscar Bluemner was attracted to the freer possibilities of art. He spent weekends roaming Manhattan’s rural margins, visiting the Bronx, Brooklyn, Queens, and New Jersey, sketching landscapes in hundreds of small conté crayon drawings. Unlike so many city-based artists, Bluemner did not venture out in search of pristine countryside or unspoiled nature. As he wrote in 1932, in an unsuccessful application for a Guggenheim Fellowship, “I prefer the intimate landscape of our common surroundings, where town and country mingle. For we are in the habit to carry into them our feelings of pain and pleasure, our moods” (as quoted by Joyce E. Brodsky in “Oscar Bluemner in Black and White,” p. 4, in Bulletin 1977, I, no. 5, The William Benton Museum of Art, Storrs, Connecticut). By 1911, Bluemner had found a powerful muse in a series of old industrial towns, mostly in New Jersey, strung along the route of the Morris Canal. While he educated himself at museums and art galleries, Bluemner entered numerous architectural competitions. In 1903, in partnership with Michael Garven, he designed a new courthouse for Bronx County. Garven, who had ties to Tammany Hall, attempted to exclude Bluemner from financial or artistic credit, but Bluemner promptly sued, and, finally, in 1911, after numerous appeals, won a $7,000 judgment. Barbara Haskell’s recent catalogue reveals more details of Bluemner’s architectural career than have previously been known. Bluemner the architect was also married with a wife and two children. He took what work he could get and had little pride in what he produced, a galling situation for a passionate idealist, and the undoubted explanation for why he later destroyed the bulk of his records for these years. Beginning in 1907, Bluemner maintained a diary, his “Own Principles of Painting,” where he refined his ideas and incorporated insights from his extensive reading in philosophy and criticism both in English and German to create a theoretical basis for his art. Sometime between 1908 and 1910, Bluemner’s life as an artist was transformed by his encounter with the German-educated Alfred Stieglitz, proprietor of the Little Galleries of the Photo-Secession at 291 Fifth Avenue. The two men were kindred Teutonic souls. Bluemner met Stieglitz at about the time that Stieglitz was shifting his serious attention away from photography and toward contemporary art in a modernist idiom. Stieglitz encouraged and presided over Bluemner’s transition from architect to painter. During the same period elements of Bluemner’s study of art began to coalesce into a personal vision. A Van Gogh show in 1908 convinced Bluemner that color could be liberated from the constraints of naturalism. In 1911, Bluemner visited a Cézanne watercolor show at Stieglitz’s gallery and saw, in Cézanne’s formal experiments, a path for uniting Van Gogh’s expressionist use of color with a reality-based but non-objective language of form. A definitive change of course in Bluemner’s professional life came in 1912. Ironically, it was the proceeds from his successful suit to gain credit for his architectural work that enabled Bluemner to commit to painting as a profession. Dividing the judgment money to provide for the adequate support of his wife and two children, he took what remained and financed a trip to Europe. Bluemner traveled across the Continent and England, seeing as much art as possible along the way, and always working at a feverish pace. He took some of his already-completed work with him on his European trip, and arranged his first-ever solo exhibitions in Berlin, Leipzig, and Elberfeld, Germany. After Bluemner returned from his study trip, he was a painter, and would henceforth return to drafting only as a last-ditch expedient to support his family when his art failed to generate sufficient income. Bluemner became part of the circle of Stieglitz artists at “291,” a group which included Marsden Hartley, John Marin, and Arthur Dove. He returned to New York in time to show five paintings at the 1913 Armory Show and began, as well, to publish critical and theoretical essays in Stieglitz’s journal, Camera Work. In its pages he cogently defended the Armory Show against the onslaught of conservative attacks. In 1915, under Stieglitz’s auspices, Bluemner had his first American one-man show at “291.” Bluemner’s work offers an interesting contrast with that of another Stieglitz architect-turned-artist, John Marin, who also had New Jersey connections. The years after 1914 were increasingly uncomfortable. Bluemner remained, all of his life, proud of his German cultural legacy, contributing regularly to German language journals and newspapers in this country. The anti-German sentiment, indeed mania, before and during World War I, made life difficult for the artist and his family. It is impossible to escape the political agenda in Charles Caffin’s critique of Bluemner’s 1915 show. Caffin found in Bluemner’s precise and earnest explorations of form, “drilled, regimented, coerced . . . formations . . . utterly alien to the American idea of democracy” (New York American, reprinted in Camera Work, no. 48 [Oct. 1916], as quoted in Hayes, 1991, p. 71). In 1916, seeking a change of scene, more freedom to paint, and lower expenses, Bluemner moved his family to New Jersey, familiar terrain from his earlier sketching and painting. During the ten years they lived in New Jersey, the Bluemner family moved around the state, usually, but not always, one step ahead of the rent collector. In 1917, Stieglitz closed “291” and did not reestablish a Manhattan gallery until 1925. In the interim, Bluemner developed relationships with other dealers and with patrons. Throughout his career he drew support and encouragement from art cognoscenti who recognized his talent and the high quality of his work. Unfortunately, that did not pay the bills. Chronic shortfalls were aggravated by Bluemner’s inability to sustain supportive relationships. He was a difficult man, eternally bitter at the gap between the ideal and the real. Hard on himself and hard on those around him, he ultimately always found a reason to bite the hand that fed him. Bluemner never achieved financial stability. He left New Jersey in 1926, after the death of his beloved wife, and settled in South Braintree, Massachusetts, outside of Boston, where he continued to paint until his own death in 1938. As late as 1934 and again in 1936, he worked for New Deal art programs designed to support struggling artists. Bluemner held popular taste and mass culture in contempt, and there was certainly no room in his quasi-religious approach to art for accommodation to any perceived commercial advantage. His German background was also problematic, not only for its political disadvantages, but because, in a world where art is understood in terms of national styles, Bluemner was sui generis, and, to this day, lacks a comfortable context. In 1933, Bluemner adopted Florianus (definitively revising his birth names, Friedrich Julius Oskar) as his middle name and incorporated it into his signature, to present “a Latin version of his own surname that he believed reinforced his career-long effort to translate ordinary perceptions into the more timeless and universal languages of art” (Hayes 1982, p. 189 n. 1). In 1939, critic Paul Rosenfeld, a friend and member of the Stieglitz circle, responding to the difficulty in categorizing Bluemner, perceptively located him among “the ranks of the pre-Nazi German moderns” (Hayes 1991, p. 41). Bluemner was powerfully influenced in his career by the intellectual heritage of two towering figures of nineteenth-century German culture, Johann Wolfgang von Goethe and Georg Wilhelm Friedrich Hegel. A keen student of color theory, Bluemner gave pride of place to the formulations of Goethe, who equated specific colors with emotional properties. In a November 19, 1915, interview in the German-language newspaper, New Yorker Staats-Zeitung (Abendblatt), he stated: I comprehend the visible world . . . abstract the primary-artistic . . . and after these elements of realty are extracted and analyzed, I reconstruct a new free creation that still resembles the original, but also . . . becomes an objectification of the abstract idea of beauty. The first—and most conspicuous mark of this creation is . . . colors which accord with the character of things, the locality . . . [and which] like the colors of Cranach, van der Weyden, or Durer, are of absolute purity, breadth, and luminosity. . . . I proceed from the psychological use of color by the Old Masters . . . [in which] we immediately recognize colors as carriers of “sorrow and joy” in Goethe’s sense, or as signs of human relationship. . . . Upon this color symbolism rests the beauty as well as the expressiveness, of earlier sacred paintings. Above all, I recognize myself as a contributor to the new German theory of light and color, which expands Goethe’s law of color through modern scientific means (as quoted in Hayes 1991, p. 71). Hayes has traced the global extent of Bluemner’s intellectual indebtedness to Hegel (1991, pp. 36–37). More specifically, Bluemner made visual, in his art, the Hegelian world view, in the thesis and antithesis of the straight line and the curve, the red and the green, the vertical and the horizontal, the agitation and the calm. Bluemner respected all of these elements equally, painting and drawing the tension and dynamic of the dialectic and seeking ultimate reconciliation in a final visual synthesis. Bluemner was a keen student of art, past and present, looking, dissecting, and digesting all that he saw. He found precedents for his non-naturalist use of brilliant-hued color not only in the work Van Gogh and Cezanne, but also in Gauguin, the Nabis, and the Symbolists, as well as among his contemporaries, the young Germans of Der Blaue Reiter. Bluemner was accustomed to working to the absolute standard of precision required of the architectural draftsman, who adjusts a design many times until its reality incorporates both practical imperatives and aesthetic intentions. Hayes describes Bluemner’s working method, explaining how the artist produced multiple images playing on the same theme—in sketch form, in charcoal, and in watercolor, leading to the oil works that express the ultimate completion of his process (Hayes, 1982, pp. 156–61, including relevant footnotes). Because of Bluemner’s working method, driven not only by visual considerations but also by theoretical constructs, his watercolor and charcoal studies have a unique integrity. They are not, as is sometimes the case with other artists, rough preparatory sketches. They stand on their own, unfinished only in the sense of not finally achieving Bluemner’s carefully considered purpose. The present charcoal drawing is one of a series of images that take as their starting point the Morris Canal as it passed through Rockaway, New Jersey. The Morris Canal industrial towns that Bluemner chose as the points of departure for his early artistic explorations in oil included Paterson with its silk mills (which recalled the mills in the artist’s childhood home in Elberfeld), the port city of Hoboken, Newark, and, more curiously, a series of iron ore mining and refining towns, in the north central part of the state that pre-dated the Canal, harkening back to the era of the Revolutionary War. The Rockaway theme was among the original group of oil paintings that Bluemner painted in six productive months from July through December 1911 and took with him to Europe in 1912. In his painting journal, Bluemner called this work Morris Canal at Rockaway N.J. (AAA, reel 339, frames 150 and 667, Hayes, 1982, pp. 116–17), and exhibited it at the Galerie Fritz Gurlitt in Berlin in 1912 as Rockaway N. J. Alter Kanal. After his return, Bluemner scraped down and reworked these canvases. The Rockaway picture survives today, revised between 1914 and 1922, as Old Canal, Red and Blue (Rockaway River) in the collection of the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D. C. (color illus. in Haskell, fig. 48, p. 65). For Bluemner, the charcoal expression of his artistic vision was a critical step in composition. It represented his own adaptation of Arthur Wesley’s Dow’s (1857–1922) description of a Japanese...

Les prisonniers sur la plage “Mazagan” by Georges Manzana Pissarro (1871-1961) Charcoal, colour crayon and watercolour on paper 19.5 × 25 cm ( 7 ⁵/₈ × 9 ⁷/₈ inches) Signed with Estat...

Art Sz: 18"H x 14"W Frame Sz: 22 1/2"H x 18 1/2"W Classic charcoal drawing of a polo player signed Jack Lorraine & dated Palm Beach 1951 M...

Years of collecting books, travel archives and studying art in Europe, went hand in hand with visiting historical monuments and grand palaces, remnants of past golden eras. This nostalgic raking over the past encompasses these inspirational elements, weaved together with her own curiosity in loose charcoal lines depicting Baroque, whimsical and once decadent interiors. “The rooms in my paintings are small trips to the past. I look for an alternative reality through a fictional scenario, represented by a dystopian era of booms and declines.” Francisca Ahlers has exhibited internationally with Villa del Arte Galleries...

Charcoal on paper, signed and dated '1888' bottom right Image size: 9 x 7 1/2 inches (22.75 x 19 cm) Period frame The half-length portrait depicts the subject sat, wearing a white s...

Years of collecting books, travel archives and studying art in Europe, went hand in hand with visiting historical monuments and grand palaces, remnan...

Village in Normandy by Paulémile Pissarro (1884 - 1972) Watercolour, ink and charcoal on paper 40 x 31.2 cm (15 ³/₄ x 12 ¹/₄ inches) Signed lower left, Paulémile Pissarro Executed ...

Painting, 20th century, charcoal drawing "Venice - Gondolier" by Paul Kuhfuss Original drawing. Signed and dated. Title "Traghetto". Framed, behind glass. Drawing unfortunately torn. Dimensions with frame 65.5cm x 51cm. Age-related condition. For magazines from the publishers Scherl, Mosse, Ullstein, youth (Munich) he worked as an illustrator. In October 1935, he was denounced to the Gestapo by a member of the artist association "Berlin North" for "expressionist impact" and "resistance to Nazi cultural propaganda" and the defense of Jewish colleagues after an exhibition opening in the castle Niederschönhausen. After that, participation in art exhibitions in Berlin was no longer possible. From 1945 he was until January 1960 lecturer at the Volkshochschule Berlin. From 1949 to 1954 he was in charge of the class "Act, Set Design and Costume Design" at the Textile and Clothing School Berlin. From 1912 to 1960 he participated in 173 exhibitions, in particular the Great Berlin Art Exhibitions...

HUGO SCHEIBER 1873-1950 1873 - Budapest - 1950 (Hungarian) Title: The Rhythm of the City, 1920's/1930's Technique: Original Signed Charcoal and Pastel Drawing on Paper Size: 61 x ...

*UK BUYERS WILL PAY AN ADDITIONAL 20% VAT ON TOP OF THE ABOVE PRICE Le corp de ferme by Paulémile Pissarro (1884-1972) Watercolour, ink and charcoal on paper 29.7 x 46.8 cm (11 ³/₄ ...

Painting, 20th century, charcoal drawing "Venice - Venezia" by Paul Kuhfuss Original drawing. Signed and dated. Title "Venezia". Framed, behind glass. Dimensions with frame 65.5cm x 51cm. Age-related condition. For magazines from the publishers Scherl, Mosse, Ullstein, youth (Munich) he worked as an illustrator. In October 1935, he was denounced to the Gestapo by a member of the artist association "Berlin North" for "expressionist impact" and "resistance to Nazi cultural propaganda" and the defense of Jewish colleagues after an exhibition opening in the castle Niederschönhausen. After that, participation in art exhibitions in Berlin was no longer possible. From 1945 he was until January 1960 lecturer at the Volkshochschule Berlin. From 1949 to 1954 he was in charge of the class "Act, Set Design and Costume Design" at the Textile and Clothing School Berlin. From 1912 to 1960 he participated in 173 exhibitions, in particular the Great Berlin Art Exhibitions...

Abstract work of art. Charcoal, pencil, pastel, and acrylic on paper.

Wild Ducks by Georges Manzana Pissarro (1871 - 1961) Charcoal and pastel on paper 46 x 62 cm (18 ⅛ x 24 ⅜ inches) Estate stamp lower left Manzana Pissarro Executed circa 1920 This w...

Charcoal on cream laid paper mounted on board. 940x590 mm; 37x23 1/4 inches. Signed in charcoal, lower right recto. Unframed, The Paper has a slight ripple in the chest area. Four s...

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

In this drawing, the background is deliberately neutral to accentuate the prominence of the face. Charcoal is a "free" drawing medium known for its expressive qualities, requiring artists to work within its unique constraints. As an experienced figure work instructor at the California Art Institute, Max Turner...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the female huma...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the female huma...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the female hu...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the female hu...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the human for...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the female hu...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the human for...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the human for...

Original charcoal drawing on paper by James Shipton My works are heavily influenced by the art work of Degas and Gustav Klimt. My desire is to capture the beauty of the human for...