Charcoal Portrait Drawings and Watercolors

Unknown Artist, "Untitled Baseball Player", Figurative Charcoal Drawing, 17.50 x 23.50 (In Frame 25.50 x 31), Late 20th Century Colors: Blac...

Signed and dated (on back) "January 1845/ J.E.J." Provenance: Mr. and Mrs. Bertram Rowland, Buckingham, PA Mr. and Mrs. Edward Abraham, West Chester, PA Hirschl & Adler Galleries...

hrough drawings rendered in charcoal and ink, my recent work examines issues related to memory by exploring its limitations and aestheticizing the instability inherent in portraiture...

Medium: Charcoal and Wash on Board Dimensions: 30.00" x 19.00" Signature: Signed Lower Right

Hirsch, Joseph (American, 1910-1980). STUDENT. Charcoal drawing on paper, not dated, but before 1980. Signed lower left, "J Hirsch." 17 1/2 x 11 1/4 inches (framed to 25 x 19 inches)...

Published in the Saturday Evening Post dated 11-18 1922 page 107 for the "Winnie and the Copperhead” story written by Bertram Atkey Signed and dated lower left Arthur William Brown...

Date: 1934 Medium: Charcoal on Paper Dimensions: 34.00" x 25.00" Signature: Signed Lower Right Story illustration: Elegant couple considers floor plan drawn in the sand. “Benda finished explaining the house plan she had drawn in the sand. ‘But, Benda,’ Don said, examining it, ‘the place is not complete. Haven't you forgotten something?’ ‘That's all... I'm sure... Don,’ she answered softly.” Story illustration: “Between the Owl's Nest and a Rift in the Clouds”, author: Clara Hood Rugel, Good Housekeeping...

Serene charcoal portrait of a young woman, quietly seated and reading, c. 1990. Original artwork on paper displayed on a white mat with a gold border. Archival plastic sleeve and Ce...

An original watercolor painting by Westley "Wes" Olmsted. This work is currently featured in the exhibition Man of Extremes at Benjaman Gallery in Buffalo, NY. Westley G. Olmsted (1934-2011) was a painter and sculptor. He was born in Buffalo, New York, and was a distant relative Frederick Law Olmsted...

Tobey's work resembles Abstract Expressionism and Asian calligraphy.

Working with a palette of graphite and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alchemist, summoning ...

Working with a palette of graphite and gold leaf, Alessandra Maria masterfully weaves together elements of the earthly and ethereal. She is part sorceress, part alchemist, summoning ...

Diego Rivera 1886-1957 Mexican Niño Signed and dated “Diego Rivera 1935” (lower left) Charcoal and sanguine on rice paper A rebel against the traditional school of painting, Diego Rivera is revered as one of the greatest and most influential artists of the 20th century. Niño, completed by Rivera in 1935, represents a masterwork within an important part of the artist’s output — his portraits of children. It is a touching work paying homage to both childhood innocence and the cultural identity of the Mexican people...

Mary Borgman’s work captivates the viewer in several ways. First is their scale. They hang like medieval tapestries, with figures standing as tall as eight feet. There is also their texture – created by using charcoal on Mylar, and the results are richly gestural, with distinct charcoal strokes and eraser marks animating the figure and ground alike. With a flat surface, she creates volume and life. And perhaps the most powerful of all, the viewer is caught be the gazes of the models, who stare forcefully out of the picture. They seem to be examining us every bit as much as we are examining them. These larger-than-life portraits stem from chance encounters that grow into meaningful connections between the artist and her subject. Most are strangers that she approaches on the street. They capture her attention with expressive eyes that show experience and wisdom, distinctive shapes and a casual body language. “I try to honor the people I am drawing by centering them in the format and shooting from slightly below their eye level. I choose an expression that exudes intelligence, self-awareness and complexity. I try to convey their humanness. I want the viewer to feel this person might be someone interesting to know”, says Borgman of her subjects. The intensity with which she conveys the eyes may stem from her many years of communicating in sign language, which is based on sustained eye contact. Borgman loves the directness of drawing. It is immediate, there is no lag time. There is no time waiting for the paint to dry. She works solely in charcoal which she can manipulate to achieve varying degrees of darkness and opacity. It is messy and the artist loves that. Mary Borgman Portrait of Feleg Abraha charcoal on mylar 41h x 56w in 104.14h x 142.24w cm MBG010 [This work is custom framed in shadow box style with non-reflective Tru-Vue Museum Glass] FRAMED DIMENSIONS 44.75h x 58.75w x 2.25d in 113.67h x 149.22w x 5.71d cm Mary Borgman b. October 4, 1959 St. Louis, MO SELECTED EXHIBITIONS 2017 Grand Opening: Coming Attractions, Gallery Victor Armendariz, Chicago, IL 2013 SOFA Chicago 2013, Ann Nathan Gallery, Navy Pier, Chicago, IL Portraiture Now: Drawing on the Edge, National Portrait Gallery, Arkansas Art Center, Little Rock, AR 2012 Portraiture Now: Drawing on the Edge, National Portrait Gallery, Washington D.C. SOFA Chicago 2012, Ann Nathan Gallery, Navy Pier, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2011 Gallery Group Ann Nathan Gallery, Chicago, IL SOFA NY, Ann Nathan Gallery, New York, NY 2010 SOFA Chicago 2010: Special Installation at SOFA Café, Navy Pier, Chicago, IL What’s the Buzz on the Playground: Art of Today from St. Louis curated by Mary Sprague...

Sean Keating (Irish 1889-1977) "Self Portrait" c. 1950s Charcoal on Paper Signed Lower Right Framed Size: approx 20 x 16 inches A noted portrait and figure painter, influenced by both Romanticism and Realism, Sean Keating was an Irish nationalist painter who executed several iconic images of the Irish Civil war era, and of the ensuing period of industrialization. One of the great exemplars of representational painting in Ireland, Keating was an intellectual artist in that he set out to depict the birth and development of the Republic of Ireland, and his pictures are deliberately idealized even heroic. However, he held very conservative views about art - verging on the academic style - and was a committed defender of traditional Irish painting, considering much modern art to be bogus. Born in Limerick, Sean Keating studied drawing at the Limerick Technical School before winning a scholarship, arranged for him by William Orpen, to study fine art painting at the Metropolitan School of Art in Dublin. In 1914 he won the Taylor Scholarship and the following year exhibited three paintings at the Royal Hibernian Academy. Over the next period of years he spent time on the Aran Islands off County Galway, and then in London. He returned to Ireland in 1916 and painted the war of independence and the subsequent civil war. Works he completed at this time include the painting: Men of the South (1921) depicting a group of IRA men about to stage a military ambush, and An Allegory (c. 1922) which features a cluster of figures representing the fractures in the young Irish state. Meantime, in 1919, Keating was appointed an assistant teacher at the Dublin Metropolitan School of Art. Then in 1921, he staged his first one-man show at The Hall, Leinster Street. In 1923, he was elected to the Royal Hibernian Academy. In a Dublin exhibition of Irish art held in 1924, Keating was awarded the gold medal for his picture Homage to Hugh Lane - now hanging in the Hugh Lane Gallery. In the late 1920s, Keating was commissioned to record the building of the hydro-electric power generator at Ardnacrusha, near Limerick. He painted a number of paintings of this scheme. Not unlike the Soviet Realism School of painting, these paintings sought to promote the construction work as an achievement of heroic proportions. Keating's works began to attract interest abroad. He exhibited at the Royal Academy in London and, in 1930, he held a one-man show at the Hackett Gallery, New York. In 1931 Keating's one-person exhibition was staged at the Victor Waddington Galleries, Dublin. In 1934 he was made professor of the National College of Art in Dublin, and Professor of Painting, three years later. His 1937 exhibition at the Victor Waddington Galleries attracted considerable interest. In 1939, he was asked to paint a wall-painting for the Irish pavilion at the New York World Fair and duly created a huge mural of fifty-four panels. He was President of the Royal Hibernian Academy from 1949 to 1962, exhibiting nearly 300 works during the period. In 1963, a retrospective exhibition was staged at the Municipal Gallery of Modern Art, which was opened by Irish President de Valera...