Charcoal Drawings and Watercolor Paintings

Figures is a Drawing on paper realized by painter Pierre Georges Jeanniot (1848-1934). Drawing in pencil. Signed on the lower. Good conditions. Pierre-Georges Jeanniot (1848–1934...

The Prisoner is a drawing in pastel and charcoal on paper realized by Léon Couturie in the early-20th Century. Hand-signed on the lower. Good condition except for missing piece of ...

Working Child is a drawing on creamy color paper realized by Tibor Gertler in the mid-20th century. Charcoal drawing. Good conditions, aged margins. The artwork is uniquely depict...

Old Man is a pencil and charcoal Drawing realized by Ricardo Flores in 1900. Good condition on a cream colored cardboard. Hand-signed by the artist on the lower right corner. Rica...

Portrait is an Original Charcoal Drawing and Watercolour realized by Edouard Dufeu (1836-1900). Good condition included a green and cream colored cardbo...

Portrait is an Original Charcoal Drawing realized by Edouard Dufeu (1836-1900). Good condition included a blue cardboard Passepartout (22x 16 cm). Hand-signed by the artist on the lower. Edouard Dufeu coming from a family originally from Egypt, Dufeu moved to Paris in 1860 and frequented the studio of Charles Gleyre...

Profile is an Original Charcoal and Watercolor Drawing realized by Edouard Dufeu (1836-1900). Good condition. Hand-signed by the artist on the lower. Edouard Dufeu coming from a family originally from Egypt, Dufeu moved to Paris in 1860 and frequented the studio of Charles Gleyre...

Landscape is an original drawing in charcoal realized in the early 20th Century by Edmond Cuisinier (1857-1917). Monogrammed on the lower. Good conditions. The artwork is depicted...

The Memory of the Sea is an original Drawing on paper realized by painter Pierre Georges Jeanniot (1848-1934) in the 1900s.. Drawing in charcoal. Hand-signed on the lower. Good co...

Carriage is an Original Drawing in Charcoal realized by Edouard Dufeu (1840-1900). Good conditions except for diffused foxings. The Artwork is depicted...

Woman is an original Drawing on paper realized by the painter Pierre Georges Jeanniot (1848-1934). Drawing in charcoal. Hand-signed on the lower. Good conditions except for aged m...

Woman is an original Drawing on paper realized by the painter Pierre Georges Jeanniot (1848-1934). Drawing in charcoal. Hand-signed on the lower. Fair conditions with a cut on the...

Interior is an Original drawing in ink, charcoal and watercolor realized in the late 19th Century by Ludwig Max Praetorius (1813-1887). Good conditions. The artwork is depicted thr...

The Mother and Child is an original Drawing in charcoal on ivory-colored paper realized by An anonymous artist in the early 20th century. Monogrammed on the lower right. Good condi...

The Injured Soldier is an original Drawing in charcoal on ivory-colored paper realized by an anonymous artist in the early 20th century. Good conditions. The artwork has represente...

French Landscape is a drawing in Charcoal and watercolor in the early 20th Century by Jean Le Soudier. Good Conditions. The artwork is depicted through soft strokes in a well-balan...

Portrait is an original Charcoal and Watercolour realized by Mino Maccari in mid-20th century. Good condition on a cream colored paper. Hand-signed by the artist with pencil. Min...

Sketches is an original Charcoal Drawing realized by Mino Maccari in mid-20th century. Good condition except for some spots on a white paper. Hand-signed by the artist with pencil....

Portrait is an original Charcoal and Watercolor realized by Mino Maccari in mid-20th century. Good condition except for a pitted margin on the white paper. Hand-signed by the artis...

Magicians and Nudes is an original Charcoal and Watercolour Drawing realized by Mino Maccari in mid-20th century. Good condition except for torn paper on the lower margin and a miss...

Portrait of the Nun is an original Charcoal Drawing realized by Mino Maccari in the Mid-20th Century. Good condition on a yellowed paper. Hand-signed by the artist with pencil. Mi...

Feeding Time is an original Charcoal Drawing realized by Mino Maccari in mid-20th century. Good condition on a yellowed paper. Hand-signed by the artist with pencil. Mino Maccari ...

Mother and Child is an original Pen Drawing realized by Mino Maccari in mid-20th Century. Good condition on a yellowed paper. Hand-signed by the artist with pencil. Mino Maccari (...

The Village is an original drawing in charcoal realized by an anonymous artist in 20 century, and signed "O. Rosai" (probably a fake signature). Good condition. The artwork is depi...

Portrait is an original Charcoal Ink Drawing realized by Mino Maccari in mid-20th Century. Good condition on a cream colored paper. Hand-signed by the artist with pencil. Mino Mac...

Smoking Man is an original drawing on paper, realized around the 1960s by the great Italian artist and journalist, Mino Maccari (Siena, 1898 - 1989). Charcoal and watercolor drawing...

Caricatured figures is an original drawing realized in the mid-20th Century. The artwork is a black and white pencil drawing depicting...

The Kidnapping is an original charcoal drawing realizedby Mino Maccari in 1950s. The artwork in in good conditions, except for the worn yellowed paper on the margins. Hand-signed b...

Study of a hand carrying a bag is an original black chalk drawing on greige sheet, realized at the beginning of the 20th Century by the artist Georges ...

Male bust and male head is an original black chalk drawing on greige sheet, realized at the beginning of 20th Century by the artist Georges Gôbo (Saint Francisco, 1876 - Nantes 1958)...

Portrait is an original modern artwork realized the 1980s by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original charcoal and watercolor drawing on Ivory paper. H...

Figure is an original modern artwork realized the 1980s by the Italian artist Mino Maccari (Siena, 1898 - Rome, 1989). Original charcoal drawing on Ivory paper. Hand-signed in pen...

"Figures" is an original drawing in tempera on paper, realized by Gabriel Guèrin. The state of preservation of the artwork is very good. Sheet dimension: 14.5 x 9.4 cm. Image Dimen...

"Studies" is an original drawing on paper, realized by an Anonymous French Artist of the XX Century . The state of preservation of the artwork is good; small tears on the side. She...

"Nude Studies" is an original drawing in tempera on paper, realized by an Anonymous Artist of the XX Century . The state of preservation of the artwork is very good; only small tea...

"Studies" is an original drawing in charcoal on paper, realized by an Anonymous Artist of the XX Century . The state of preservation of the artwork is very good. Sheet dimension: 2...

Pathos is an original drawing on ivory paper realized by Flor David in the 1950s This is an original pencil drawing on block notes and it represents a man with his head towards the ...

Two Women is an original drawing on ivory paper realized by Flor David in the 1950s This is an original Charcoal drawing on block notes and it represents two long hair women talking...

Portrait of Arab is an interesting drawing realized by the French artist Jean Louis Plumet. It is in very good conditions, except for some tiny stains and a fold on the lower part of...

Black and white charcoal on toned Grey archival paper signed and dated by artist. fantasy cat lady

K.G. Subramanyan - Untitled - 15 x 11 inches (unframed size) Charcoal & Wash on paper (Framed & Delivered) Style : K G Subramanyan was one of the leading artists who was part of India’s post-Independence search for identity through art. A writer, scholar, teacher and art historian, K G Subramanyan was prolific in his art, spanning the spectrum of mediums from painting to pottery, weaving, and glass painting. He believed in the value of Indian traditions and incorporated folklore, myth and local techniques and stories into his work. Critic Geeta Kapur has stated that Subramanyan was deeply influenced by popular, modern, classical and indigenous traditions. No matter what the medium, be it handmade paper or acrylic sheet, his artistic practice has integrated fluid traditions so as to create a new lingua franca. The strokes that shape the faces and the little blobs, the vertical and horizontal drama all become like a choreographed symbolism that has a sense of play in line and length. Nothing is in excess, nothing is obnoxious but each stroke forms the finesse of versatile ventures. About the Artist and his work : K.G. Subramanyan (1924-2016) was born in Kerala. Education : He completed his Bachelor’s Degree in Economics from the Presidency College in Chennai. In 1948, he graduated from Kala Bhavan in Santiniketan, where he studied under the tutelage of Benode Behari Mukherjee, Nandalal Bose and Ramkinkar Baij. In 1955, he received a British Council Research Fellowship to the Slade School of Art at the University of London. He was an inspiration to generations of students as a member of the Baroda M S Fine Arts Faculty. His focus there in later years was on terracotta and pottery. Solo Shows : 2014 – The Government Museum & Arts Gallery, Chandigarh. 2014 – Red Earth Gallery, Vadodara. 2018 – Art Musings, Mumbai, KG Subramanyan...

Jatin Das - Kneeled to the Earth - 30 x 20 inches (unframed size) Charcoal on paper Inclusive of shipment in a roll form. Style : The multi-faceted Jatin Das has been a part of the Indian art scene for more than four decades, with his paintings, murals and sculptures. The human body holds an endless fascination for him and he pursues his quest for dynamic figures tirelessly, using a linear structure and quick brushwork. The man-woman relationship, in particular, with all its attendant pain and joy is a constant source of inspiration to him. He believes that painting is an intensely personal experience, the results of which cannot always be shared with others. About the Artist and his work : Born : Jatin Das is one of India's most prominent painters. He was born in Mayurbhanj Orissa in 1941. Education : He has completed his education in 1962 from Sir J. J. School of Fine Arts, Mumbai. He has been also involved with art institutions, in several capacities as a teacher at the College of Art, New Delhi, and at the National School of Drama, New Delhi; as a consultant for the Handicrafts Board, and for the Folk Art Museum, Orissa, to mention a few of the positions he held. Solo exhibition : He has held many solo exhibition including : 2010-11 'Hand-held Space', Museum Gallery; Gallery Art and Soul, Mumbai, 2009 The Artists Alley Gallery, San Francisco, USA, 2009 Chelsea Arts Club, London, 1976 Kumar Art Gallery, New Delhi, 1975 Gallery de Sfinx, Amsterdam, 1975 Commonwealth Institute Art Gallery, London, UK, 1975 Schloss Bellevue, Kassel, West Germany, 1975 City Museum and Art Gallery, Birmingham, UK. Group exhibition : He has participated in many group exhibition including : 1982 ‘Moderene Kunst Heute’, Museum of Modern Art, Darmstad, Kunsthalle, West Germany, 1980 Contemporary Paintings in Miniature Format, Lalit Kala Akademi, New Delhi, 1979 All India Exhibition of Prints, Chandigarh, 1979 Asian Arts Exhibition, Fukoaka Art Museum, Japan, 1978 National Gallery of Modern Art (N.G.M.A) Collection, Warsaw, Alleppo, Damascus, Narodini Gallery V, Loden, Prague, Cultural Centre, Niavaran, Budapest. Honours and Awards : 2012 Padma Bhushan by the Government of India. 2007 Conferred the D.Litt. (Honoris Causa), Utkal University of Culture, Bhubaneswar. 2007 Seminar Management Institution, Bhubaneswar. 2007 Bharat Nirman Award. 2007 Order of the Star...

Sanat Kar - Mother - 22 x 18 inches (unframed size) Mixed Media and charcoal on paper Inclusive of shipment in roll form. Style: Majority of Sanat Kar's works are surrealistic and ...

Sanat Kar - HO. TOMMOROW - 22 x 18 inches (unframed size) Mixed Media and charcoal on paper Inclusive of shipment in roll form. Style: Majority of Sanat Kar's works are surrealisti...

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...

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

head study on black toned strathmore paper signed black female portrait with pearl necklace

These collages were created first in the presence of a model, working quickly, in charcoal and pastel, and again, later, alone, furiously tearing and pasting images from magazines, v...

Charcoal on paper, signed lower left Image size: 15 3/4 x 21 inches (40 x 53.5 cm) Contemporary frame James Stroudley Stroudley was born in London on 17 June 1906, the son of James Stroudley, showcard and ticket writer. He studied at Clapham School of Art (1923-27) and then at the Royal College of Art (1927-30), where his teachers included Alan Gwynne-Jones and William Rothenstein. As a recipient of the first Abbey Scholarship he was able to spend three years in Italy from 1930, where he absorbed the influences of Giotto and Piero della Francesca, and produced one of the last wholly satisfying decorative cycles by a Rome Scholar of the period. From 1934, he exhibited at the Royal Society of British Artists, and was elected to its membership in the following year. From the Second World War – in which he worked with the Camouflage Unit – Stroudley taught at St Martin’s School of Art and was a visiting lecturer at the Royal Academy Schools. Though he continued to live in London, his later work, exhibited at the Royal Academy from 1955, indicated regular painting trips to Kent and Sussex coasts. However, much of his later work was abstract. In 1971, his former student, Peter Coker, paid homage to Stroudley by including his work in the exhibition ‘Pupil & Masters’, held at Westgate House, Long Melford, Suffolk. Stroudley married three times, and his wives included the fashion artist to the Sun newspaper...

Born in Moscow, Idaho,and raised in Seattle, Robert Jessup received his BFA from the University of Washington in 1975 and his MFA from the University of Iowa in 1979. His work has be...

Jack Scott "Light Black Blur #2" 1978 Charcoal on unprimed canvas sprayed with custom fixative 177.25x83.25" unstretched Signed on reverse Installation: This piece is intended to be stretched and stapled to the wall without a frame. Excellent Condition - Minor wear consistent with age and history. This canvas is a testament to the artist's meticulous craftsmanship and creative vision. The intricate charcoal cross-hatch arches create a captivating play of light and shadow, each mark bearing the artist's hand. To enhance and preserve this piece, the artist has applied multiple layers of their custom-made a fixative. This carefully curated process not only protects the delicate charcoal work but also adds depth and texture to the piece. The result is a mesmerizing work of art that begs viewers to explore its intricate details and reveals new dimensions with each look. About the work: Working on large unstretched canvases, Jack Scott draws charcoal arcs in a freehand style. Through placement and density the arcs create patterns of light and dark, vibrating with a luminescence unanticipated by the rawness of the materials. In previous works the arcs coalesced into amorphous forms—romantic sensations suggesting clouds, smoke or fog. With his recent works Scott introduces a concrete graphic form, large bisecting arcs that are giant magnifications of the minutely rendered arcs. Environmental romanticism yields to a bolder sensibility, as these shapes bear relationship to configurations favored by Minimalists and hard-edge abstractionists. However, Scott’s web of soft, undulating arcs subverts the large-scale coolness of the primary form. In this sense the artist’s works remind one of Rothko, whose monumental forms were also conceived through a diffused or soft-edge development. The method of building up freehand forms is remarkable considering the massive scale favored by the artist. From this standpoint his drawing seems imbued with a medieval intensity, displaying a feeling for concentration and handcraft that is often absent from contemporary art. —Hal Fischer

A black and white charcoal drawing on paper by cubist and surrealist artist Benjamin Benno.Rather than depicting fruit or flowers on a table like a tra...

Avant-Garde Argentine